{"id":29051,"date":"2025-02-04T11:24:57","date_gmt":"2025-02-04T16:24:57","guid":{"rendered":"https:\/\/worldscreen.com\/tvkids\/amperes-olivia-deane-outlines-commissioning-trends\/"},"modified":"2025-02-04T13:56:49","modified_gmt":"2025-02-04T18:56:49","slug":"amperes-olivia-deane-outlines-commissioning-trends","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvkids\/amperes-olivia-deane-outlines-commissioning-trends\/","title":{"rendered":"Ampere\u2019s Olivia Deane Outlines Commissioning Trends"},"content":{"rendered":"<p>Olivia Deane, research manager at Ampere Analysis, gave TV Kids Festival viewers valuable data on commissioning trends and provided insights for traversing the \u201cvolatile\u201d market today.<\/p>\n<p>Deane presented Ampere\u2019s research exploring the kids\u2019 content market in the era beyond peak TV, in a session that you can view on-demand <a href=\"https:\/\/worldscreenevents.com\/festivals\/ahead-of-the-curve-with-ampere\/\">here<\/a>.<\/p>\n<p>The broadband boom beginning in 2015 \u201copened the floodgates for the growth of OTT and a new era of global mass media on-demand,\u201d Deane explained. \u201cAs a result, the media market enjoyed exponential growth due to streamers, and content spending reached an all-time high. However, this boom couldn\u2019t last forever, and the more recent oversaturation of both consumers and content means that we\u2019re reaching the end of what we\u2019ve been calling peak TV.\u201d<\/p>\n<p>Deane showed Ampere data on connected-TV device gains between 2016 and 2024, noting those were driven by households with children. \u201cA much higher proportion of consumers who live with children own more than one TV-connected device than those without. Adults no longer have a monopoly on the single TV screen. That means that their children can watch what they want to watch. But the children are also being entertained, which means that the adults can actually enjoy the content <em>they<\/em> want to watch. This increase in demand saw streamers under new pressure to build a catalog that will appease this new youngest consumer group. As a result, more children and family titles were acquired by streamers than any other scripted genre in 2021. The big studios were the ones to benefit from this, so we had Disney, Warner, Paramount and Sony producing most of the acquired children\u2019s content available to stream in 2021. This rapid growth in acquisitions from what is a relatively new business line means that we saw a large amount of money being funneled straight back into children\u2019s commissioning.\u201d<\/p>\n<p>The volume of children\u2019s commissions announced increased by a whopping 53 percent between 2020 and 2022, Deane said, which was a boon for producers but led to a glut of content on the market. \u201cIn the third quarter of 2024, there were over 461,000 hours of children\u2019s content available to watch on streaming platforms or on scheduled TV. Not accounting for sleep, it would take you 52 years to watch all of the children\u2019s content that was available in the third quarter of 2024. This data doesn\u2019t account for the amount of children\u2019s content that\u2019s also available on free-to-watch platforms or social media.\u201d<\/p>\n<p>Compounding the saturation problem is the slowdown in SVOD take-up; \u201cnet adds are still far below what they were in 2019 and 2020,\u201d Deane said. \u201cThe drop in subscriber growth has had a knock-on effect on the media market as a whole. SVOD companies accounted for most of the growth in the media market between 2015 and 2024. Ultimately, this massive content boom we\u2019ve seen over the past ten years was due to streamers, and that has come to an end.\u201d<\/p>\n<p>All commissions were down in 2024, Deane said, adding that in children\u2019s and family in particular, \u201cdespite suffering a slowdown in the first part of the year, increased activity in the second half of the year saw children\u2019s and family commissions maintain a consistent volume across 2024 compared with the previous year. This was in stark contrast with decreases seen across more expensive scripted genres like romance, sci-fi and fantasy, and crime and thriller. So, it seems like it\u2019s quite good news for children\u2019s content, especially given the trends we were seeing at the start of 2024.\u201d<\/p>\n<p>There is a disclaimer to that, Deane added. \u201cWhen we look at 2023 and 2024 children\u2019s commissions by region, we can start to see that the data is being heavily skewed by increased activity in the Asia-Pacific market, where children\u2019s and family titles increased by almost a quarter over the period. The decreases across Western Europe and North America are certainly more in line with the struggles being faced by creators in English-speaking markets.\u201d<\/p>\n<p>Deane then looked specifically at the drastic fall in VOD kids\u2019 commissions, which dropped by 30 percent between 2023 and 2024. \u201cWith streaming growth slowing, VOD commissioners are having to be more selective about their spending on original content, and data can help them understand better what motivates people to subscribe. Only 15 percent of all SVOD consumers in Q3 2024 reported signing up for a service because it had content their children liked to watch.\u201d<\/p>\n<p>The trend is even more pronounced in Western markets, \u201cwhere streaming growth is the most stagnant,\u201d Deane explained. \u201cSVOD kids\u2019 commissions in Western Europe and North America declined by almost half between 2023 and 2024.\u201d<\/p>\n<p>Meanwhile, public broadcasters continue to support children\u2019s media, with Deane calling them \u201cthe jewel in the crown\u201d of the sector, especially in Western Europe and North America. \u201cBetween the first half of 2023 and 2024, not only did public broadcasters announce the highest volume of children\u2019s commissions, but they were also one of only three commissioner types to show growth in the volume of children\u2019s commissions announced.\u201d<\/p>\n<p>The children\u2019s television market is in \u201cgeneral decline,\u201d Deane said, driven by the streamer pullback, but there are areas of growth, she explained. Among them, Deane highlighted the still significant role of kids fare on SVOD services, leading them to expand their acquired slates. \u201cChildren and family was the second most-viewed type of content on Netflix in the first half of 2024,\u201d Deane said. \u201cWe established earlier that children are not a major motivating factor for consumers when deciding to subscribe to a service. However, they still play an important role in subscriber behavior. Households with children are not only more likely to have more viewing devices, but they also make up a large proportion of Netflix viewing activity. While children\u2019s content isn\u2019t enticing people to sign up, it is stopping them from leaving. Across the board, households with children were less likely to churn. While streamers are limiting their budget for new, original and exclusive children\u2019s content, they are also acquiring large volumes of existing children\u2019s content to appease this important consumer group. While Amazon, Netflix and Disney all commissioned a much lower volume of children\u2019s content, the number of acquired children\u2019s titles on their platforms all grew.\u201d<\/p>\n<p>Deane continued, \u201cNot unlike the early days of streaming, where acquisition was a focus over commissioning, the big studio names are at the forefront of content sales. This is where we will start to see revenue flowing back into the marketplace for children\u2019s content. Most of the content is still sourced from independent producers.\u201d<\/p>\n<p>Of course, you need completed shows to sell, and securing a commission these days is a challenge. Deane highlighted some emerging models she believes could be useful to producers going forward, including the case of <em>Wakfu<\/em> from Ankama Animation. Based on a video game, the series premiered in 2008 and was canceled two years later, but following a sale to Netflix in 2014, Ankama established a Kickstarter, first to raise funds for an English dub and then later to finance a fourth season. \u201cIf we skip ahead four years, the fourth season is finally released. The title at this point has reached 52 different markets and is now available on Prime Video as well as Netflix. There\u2019s no need for the company to launch a Kickstarter. They have enough funds to announce the production of season five in the second quarter of 2024. This title is an excellent example of how creators don\u2019t necessarily need to reinvent the wheel to find success in post-peak TV, but they could instead look to their back catalog to leverage previously popular titles that were perhaps overlooked at a time when the focus was largely on new, original content.\u201d<\/p>\n<p>Titles based on existing IPs continue to generate interest, accounting for 30 percent of kids\u2019 commissions in the first half of 2024. However, Deane noted, \u201cTitles based on the most popular video games were practically non-existent, especially if you consider the sheer volume of titles on YouTube that are related to these things that are currently available to stream. It\u2019s really clear that commissioners aren\u2019t making the most of powerful IP and, in particular, IP that children are engaging with elsewhere. Not only do IP-based commissions satisfy consumers\u2019 desire to see their favorite stories imagined on screen, but they also provide a way for commissioners to safeguard their spending by investing in ideas that have already proved popular.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Olivia Deane, research manager at Ampere Analysis, gave TV Kids Festival viewers valuable data on commissioning trends and provided insights for traversing the \u201cvolatile\u201d market today.<\/p>\n","protected":false},"author":290,"featured_media":29057,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[21],"tags":[8563,10426,10494],"class_list":["post-29051","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-top-stories","tag-ampere-analysis","tag-olivia-deane","tag-tv-kids-festival-2025","pmpro-has-access"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Ampere\u2019s Olivia Deane Outlines Commissioning Trends - TVKIDS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/worldscreen.com\/tvkids\/amperes-olivia-deane-outlines-commissioning-trends\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ampere\u2019s Olivia Deane Outlines Commissioning Trends - TVKIDS\" \/>\n<meta property=\"og:description\" content=\"Olivia Deane, research manager at Ampere Analysis, gave TV Kids Festival viewers valuable data on commissioning trends and provided insights for traversing the \u201cvolatile\u201d market today.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worldscreen.com\/tvkids\/amperes-olivia-deane-outlines-commissioning-trends\/\" \/>\n<meta property=\"og:site_name\" content=\"TVKIDS\" \/>\n<meta property=\"article:published_time\" content=\"2025-02-04T16:24:57+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-02-04T18:56:49+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worldscreen.com\/tvkids\/wp-content\/uploads\/sites\/9\/2025\/02\/2025-02-04-AMPERE.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"640\" \/>\n\t<meta property=\"og:image:height\" content=\"394\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Mansha Daswani\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Mansha Daswani\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"7 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/worldscreen.com\/tvkids\/amperes-olivia-deane-outlines-commissioning-trends\/\",\"url\":\"https:\/\/worldscreen.com\/tvkids\/amperes-olivia-deane-outlines-commissioning-trends\/\",\"name\":\"Ampere\u2019s Olivia Deane Outlines Commissioning Trends - TVKIDS\",\"isPartOf\":{\"@id\":\"https:\/\/worldscreen.com\/tvkids\/#website\"},\"datePublished\":\"2025-02-04T16:24:57+00:00\",\"dateModified\":\"2025-02-04T18:56:49+00:00\",\"author\":{\"@id\":\"https:\/\/worldscreen.com\/tvkids\/#\/schema\/person\/83da304c8bad8bfdb3edd7eb47cfe5ad\"},\"breadcrumb\":{\"@id\":\"https:\/\/worldscreen.com\/tvkids\/amperes-olivia-deane-outlines-commissioning-trends\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/worldscreen.com\/tvkids\/amperes-olivia-deane-outlines-commissioning-trends\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/worldscreen.com\/tvkids\/amperes-olivia-deane-outlines-commissioning-trends\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/worldscreen.com\/tvkids\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Ampere\u2019s Olivia Deane Outlines Commissioning Trends\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/worldscreen.com\/tvkids\/#website\",\"url\":\"https:\/\/worldscreen.com\/tvkids\/\",\"name\":\"TVKIDS\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/worldscreen.com\/tvkids\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/worldscreen.com\/tvkids\/#\/schema\/person\/83da304c8bad8bfdb3edd7eb47cfe5ad\",\"name\":\"Mansha Daswani\",\"description\":\"Mansha Daswani is the editor-in-chief and associate publisher of World Screen. 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