{"id":24027,"date":"2022-10-16T05:34:36","date_gmt":"2022-10-16T09:34:36","guid":{"rendered":"https:\/\/dev2.worldscreen.com\/tvkids\/special-report-buyers-want\/"},"modified":"2022-11-04T15:47:41","modified_gmt":"2022-11-04T19:47:41","slug":"special-report-what-do-buyers-want","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvkids\/special-report-what-do-buyers-want\/","title":{"rendered":"What Do Buyers Want?"},"content":{"rendered":"

From complex rights negotiations to the never-ending search for the perfect kids\u2019 comedy, leading programmers weigh in on their acquisition strategies.<\/em><\/p>\n

Kids\u2019 content buyers may be spoiled for choice given the sheer volume of animated and live-action fare available on the market, from classic library shows to premium OTT commissions now hitting their second windows. But that certainly hasn\u2019t made their jobs any easier as they look out for characters and concepts that will keep young ones engaged and tuned in when they have so many other options for their entertainment.<\/p>\n

Negotiations have also become far more complex as distributors deploy finely crafted windowing strategies to make the most out of their IP.<\/p>\n

\u201cExclusivity and windowing are very important when we look at the linear side and what we\u2019re trying to achieve with Paramount+,\u201d says Layla Lewis, senior VP of global acquisitions and content partnerships for Nickelodeon. \u201cWe want to reach our audience everywhere they are. If you have a broader scope of rights, you can work to meet them there. That\u2019s not always the opportunity. When we have the pitch at an early stage, we can discuss that with the partner to say, What is the opportunity? How best can we navigate through the platforms and the rights? We try to think about what\u2019s best for both of us in terms of our partnership.\u201d<\/p>\n

Francesca Newington, director of POP Channels at Narrative Entertainment\u2014which operates POP, Tiny Pop, POP MAX and the POP Player in the U.K.\u2014believes that the market is at a \u201cpivotal point\u201d when it comes to the question of exclusivity. \u201cWe are aware that cross-pollination is really important when it comes to the brand getting as many eyeballs as it possibly can. If you\u2019re going to launch a commercial franchise, you want to be across as many platforms as you can. It seems that it isn\u2019t that detrimental to each platform it is on\u2014it seems to be successful for each one. I think there\u2019s quite a large conversation to be had around this.\u201d<\/p>\n

Newington adds that the POP channels will often take a second window on shows that previously aired on a pay-TV or SVOD service. \u201cThe issue for us is that we get such limitations on digital rights. If we reject those limitations, that is detrimental to us because we lose that show, but it\u2019s also not helpful to the commissioner who wants eyeballs on that brand and wants to launch consumer products. It\u2019s about navigating those restrictions and whether we can deal with them. It is becoming increasingly difficult to comply with five episodes only [on-demand] and no more than that at any one time. If we want to increase our digital offering, we will need to be brutal and reject content we would love to have.\u201d<\/p>\n

At Sky, where Lucy Murphy, director of kids\u2019 content, is doing both volume deals and cherry-picking individual titles, \u201cit\u2019s not a deal-breaker if the content isn\u2019t exclusive; however, if it appears on several platforms, then, inevitably, our fees will be a lot lower,\u201d she says. \u201cThe key is transparency\u2014we need to know where else the content will be airing, so there aren\u2019t any surprises further down the line.\u201d<\/p>\n

Hop! Media Group in Israel operates four kids\u2019 channels\u2014Hop!, Luli, Israeli Childhood and WIZ\u2014and \u201cfull rights and exclusivity are a must,\u201d says Sharon Moverman, VP of acquisitions and international operations. \u201cNon-exclusivity and unavailability of digital and nonlinear rights may be a deal-breaker,\u201d she adds. \u201cHaving said that, we are willing to consider joint windows with global platforms in the territory on a case-by-case basis.\u201d<\/p>\n

At De Agostini Editore, Brenda Maffuchi, head of acquisitions and property development, is buying for two pay-TV channels and an on-demand player. She says that exclusivity for her is paramount. \u201cThe only thing we can have non-exclusively is VOD rights,\u201d Maffuchi explains. \u201cHoldbacks are still quite important for us. Depending on the case, we will have between 6 to 12 months of exclusivity for the content.\u201d<\/p>\n

Meanwhile, at Sensical in the U.S., it\u2019s all about volume, not exclusivity, per Bethany Boles, head of programming at the Common Sense Networks-owned AVOD service. \u201cWe are certainly looking to make deals that allow us rights for our growing products,\u201d Boles says. \u201cAs we grow as a company, we\u2019re thinking about worldwide, expanding with different FAST partners potentially. Those are the kinds of rights that we\u2019re trying to work into our deals going forward. When we get to the point where we\u2019re ready to have those conversations about exclusivity, it\u2019ll be data-driven. We\u2019re just not quite there yet.\u201d<\/p>\n

Brenda Bisner, the chief content officer at AVOD service Kidoodle.TV, is actively seeking non-exclusive AVOD rights with worldwide availability. \u201cMore rights restrictions that a brand has will translate to less reach and ultimately less revenue for them,\u201d Bisner explains. \u201cIn some cases, and mostly with brands with measurable performance data and a historical relationship, we can look at opportunistic exclusivity models on a windowing basis.\u201d<\/p>\n

The POP services have largely been acquisitions-based, Newington notes. \u201cWe are trying to do more prebuys where possible so that we can broaden our rights and also so that we can plan future strategy a little bit better,\u201d she explains. \u201cAnd we are also now diving into the world of co-pros and commissions. We\u2019re going to take it step by step, but we would welcome any submissions to us in that space. We also have our AVOD offering, the POP Player, which incorporates catch-up content. And for that, we are looking to introduce exclusive content that doesn\u2019t feature on the linear channels.\u201d<\/p>\n

Newington also has her eye on gender-neutral shows for the 6-to-8 set on POP. \u201cIf we take something very girly, we need to make sure that we\u2019ve got something for the boys as well,\u201d she says. \u201cWe\u2019re pretty much animation, but we are looking into that live-action space\u2014either a drama or factual entertainment, as long as it\u2019s upbeat and pacy enough, and it\u2019s not too old, dark or scary.\u201d<\/p>\n

On Tiny Pop, the wish is also for shows that will speak to boys and girls, again mostly animated, but she isn\u2019t ruling out live action. \u201cWe haven\u2019t seen anything musical for a while, so any musical content would be lovely. We\u2019re looking for movies, too. We\u2019d like to build up a movie inventory for special themes: Christmas, October, half-term, Halloween.\u201d<\/p>\n

Newington adds that as the POP channels are free to air, \u201cWe have a broad socioeconomic audience. We\u2019re keen for our channels to be all about diversity and broad representation. We want [audiences] to feel that the channels are genuinely inclusive and reflective of them. We are super commercial. We want to remain current. Volume is very important, so 26 half-hours minimum.\u201d<\/p>\n

Sky Kids\u2019 Murphy is on the hunt for shows with a \u201cfitness focus for younger children and premium animated specials that appeal to a wide age group. Music shows are successful for us, and this is an area that is constantly evolving that we\u2019d always look to add to, although we already have a lot of animated nursery rhymes for preschoolers, so we wouldn\u2019t be looking for more of those.\u201d<\/p>\n

For De Agostini\u2019s Maffuchi, \u201ccharacter-driven\u201d shows are paramount. \u201cFriendship and diversity are two things that we\u2019re constantly looking at. We are not 100 percent educational, so entertainment is important in terms of the balance.\u201d<\/p>\n

She and her teams continue to seek out big animated franchises for preschoolers. Like Newington, she is also eyeing gender-neutral shows for the 6-plus set, noting this becomes increasingly difficult for the upper end of the kids\u2019 target. Finding good animated comedies for the 6-to-11 set is a challenge, she says.<\/p>\n

In terms of live action, she is seeking content for the 8-to-10 set and possibly even reaching up to 13- and 14-year-olds. \u201cWe have the linear channels and the VOD platform. So, it\u2019s not only the content but also all the content we can build around the IP to connect as much as possible with the kids on all the different platforms. From 9 to 12, it\u2019s really difficult to keep them engaged as much as we would like to. This is what we\u2019re trying to work on. We will produce local game shows or entertainment formats for this target, with family co-viewing. This is something we are working on for 2023.\u201d<\/p>\n

Sensical takes its cues from being affiliated with Common Sense Media. \u201cAll of our content is filtered through the world\u2019s only age-appropriate content standards, grounded in child development and developed by experts from Common Sense Media over the last 20 years,\u201d Boles says. The platform\u2019s content is segmented by demo: 2 to 4, 5 to 7 and then 8-plus.<\/p>\n

Boles, too, has her eye on shows that will key into an older kid demo. \u201cI think we all know how hard it is to keep kids watching kids\u2019 TV,\u201d she says. \u201cFinding compelling content for the older kids is always important to us. In that older bracket, gaming content is crushing it. So we\u2019re looking for more age-appropriate gaming content\u2014that\u2019s the tricky part. We\u2019re looking for content across all ages that leans into what we call watch and do: cooking, arts and crafts, science experiments, things that kids can explore and hopefully want to go off and try, maybe even as a family. And give us all the Minecraft, the Roblox, bring it on!\u201d<\/p>\n

At Hop!, the focus is on \u201cinspiring curiosity, promoting social-emotional learning and broadening the minds of our viewers,\u201d Moverman says, focusing on toddlers and preschoolers up to the age of 7. \u201cWe acquire shows of all genres, but animation takes the lead as it travels well, is easier to adapt and often resonates better than acquired live-action shows.\u201d<\/p>\n

Kidoodle.TV targets kids under 12 and families and is looking for content in the preschool, 6-plus and 9-plus sets, with a focus on \u201cbrands that come with awareness and partners who are excited to participate in their brands\u2019 success on our service,\u201d Bisner says.<\/p>\n

Given the breadth of demos served by Nick\u2019s platforms, \u201cYou have to have characters that resonate with the audience in all of those touchpoints,\u201d Lewis explains. \u201cNickelodeon has always stood for the celebration of being a kid and understanding what it means to be a kid. So having that filter of a kid\u2019s point of view is important for us.\u201d<\/p>\n

For all the programmers surveyed for this piece, shows that truly embrace diversity and inclusion are in short supply.<\/p>\n

\u201cDiversity in children\u2019s media is severely under-served,\u201d Bisner says. \u201cThat is an area we always look at, along with foreign-language offerings, as we serve over 160 countries.\u201d<\/p>\n

\u201cWe talk about wanting every kid to be able to see themselves in our content,\u201d Sensical\u2019s Boles says. \u201cThat includes diversity in its many forms. We are seeking out content that\u2019s not only featuring diverse characters but also made by diverse creators. We are struggling to find content by Latinx creators and featuring Latinx characters. We want content from creators of all backgrounds.\u201d<\/p>\n

For Murphy at Sky Kids, a \u201cblack hole\u201d in the market currently is \u201clearning content that does the job of being inspiring and creative. A lot of the learning programming we are pitched feels old-fashioned, didactic and lacks spark, so we\u2019d love to find more learning shows created for kids, who, let\u2019s not forget, already have the world of the internet at their disposal.\u201d<\/p>\n

POP\u2019s Newington identifies girl-led comedies for the 6-to-8 set as a significant gap in the market. \u201cIt needs to be where the female gets the laughs rather than the tokenistic joke. We want the girl to have her time in the spotlight. And for that content not to turn off the boys but actually to appeal to them too.\u201d She\u2019s also seeking out anime that is appropriate for the POP demo. \u201cIt\u2019s difficult to pick up anime that isn\u2019t slightly too grown-up or risqu\u00e9. It would be fantastic to find something aimed at 8-year-olds without the concern that we would have to rip it apart in the compliance edit.\u201d<\/p>\n

She\u2019s also keen to find a \u201claugh-out-loud comedy\u201d for preschoolers that will entertain parents and older siblings. Lastly, Newington would love to see shows that \u201cgenuinely incorporate\u201d environmental themes, \u201crather than being crowbarred in there.\u201d<\/p>\n

Hop!\u2019s Moverman says she\u2019s always in the market for shows that are \u201centertaining and fun with an added value\u2014whether social, emotional or curriculum-based. We seek shows that echo children\u2019s inner world and reflect their everyday routines, challenges and experiences at home, kindergarten or school. We are also on the lookout for shows that center around topical issues, such as the environment, media literacy and inclusion, in a subtle and age-appropriate manner.\u201d<\/p>\n

For Boles, it\u2019s crucial that distributors \u201chave a clear audience in mind\u201d when approaching Sensical with acquisition opportunities. \u201cHaving a clear idea of where you think your content fits within one or more of [our] age brackets is helpful for us. We want to make sure that the content demonstrates benefits, whether learning benefits, D&I or social-emotional character-building elements. And then content that focuses on topics that kids love. So whether it is instructional\u2014cooking, arts and crafts, sports tutorials\u2014or more topic-based like travel or sports or music, we want to give kids what they want and do it in an age-appropriate way.\u201d<\/p>\n

Lewis calls on producers to spend time watching Nickelodeon, Nick Jr. and Paramount+ before approaching her and her team. \u201cIt\u2019s being aware of the shows we have and how anything will sit among them. We don\u2019t want to get into a situation of, what do you do with it? We have seen a lot of pitches in the bridge space, and we now have quite a lot of shows in that area. We\u2019re looking to complement that and maybe focus more on the younger end of the preschool demo. Another point that\u2019s come up is around ancillary. We have within Paramount other lines of business. We can leverage our content partnerships and co-productions to look at how we can partner with our in-house consumer-products teams. We also have a movie studio. We are looking at exploring opportunities quite far out now. Know the audience and think about them in everything that you do. Know our shows and some of those brand filters. And have fun and surprise us.\u201d<\/p>\n

De Agostini\u2019s Maffuchi expresses a similar sentiment: \u201cWe appreciate it when we are having a meeting with someone and they show us that they have studied. They know who we are and say, We think this could fit with this program.\u201d<\/p>\n

Sky Kids\u2019 Murphy encourages IP owners to approach her with \u201cdistinctive and original content that will surprise us. Good visuals are important, so we can easily see how it will stand out on our crowded platform, alongside a rationale on why it would work for Sky Kids. We respond better to a tailored pitch of programs picked out for us versus a huge catalog of hundreds of shows.\u201d<\/p>\n

Kidoodle.TV\u2019s Bisner offers this advice to distributors: \u201cKnow your rights, know how you can package to differentiate your content in the AVOD space. Having a social media strategy is really important. The messaging to complement kids\u2019 content for the parent experience on social media matters. Partners need to think of the parent demographic when establishing how the brand will have an impact outside of the content airing. Also, please email just once\u2014we get over 800 submissions a week and will respond as quickly as possible. The more robust, complete and proper the submission, the quicker we can make decisions.\u201d<\/p>\n

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