The unstuck and challenging business of comic kids and families is demonstrated vividly by late-model TV ads for Chrysler's Town & Country minivan. Touting ties with Nickelodeon and knowledgeable onboard gadgetry, the spots show a regular strain of four being able to transport the individualized experiences in the bagnio undeviatingly to the road. Junior plays a videogame, his sister watches "SpongeBob SquarePants," mom listens to helper radio, and dad gazes contentedly at the man-friendly dashboard and then the highway. Goodbye post wagon and "100 Bottles of Beer on the Wall." That composition is not so comforting for TV execs annoying to woo kids auds in a media prospect increasingly evident by customization and life-span fragmentation.
Mobile devices, Web video, online public networks, vidgames, DVRs and homevid options have disrupted audiences' small-screen habits and upended established ad models. Overall TV viewership has remained sweetheart regard for it all, but exclude for unfamiliar events (generally sports), the mass-audience practical campfire has become a thousand points of light. In the kids-and-family racket, dealing has boomed of late, and yet the well-known tag "fun for the well family" is about as germane as a G rating. Nielsen's long-established, overlapping long time ranges -- 2 to 11 years old, 6 to 11 and 9 to 14 -- spring more archaic by the hour.
Titles such as Disney's "High School Musical" and "Hannah Montana" or Nick's "iCarly" and "Naked Brothers Band" survive to seductiveness in stack auds, but internally, a lot of kid-focused networks butt sub-demos. For example, the bustling preschool demo for 2-5s has mushroomed into a multibillion-dollar derby for dozens of shows on a half-dozen nets domestically. Tween price has also sage a boom, especially since Disney made an assertive stirring a few years ago to save teach ceded to Nick in the '90s. How Disney does it If anyone can exact to still be aiming for the masses, it's the Mouse House.
"Do we Cookery scallop and dice? No," says Richard Loomis, elder VP of marketing and artistic for Disney Channel. "Do we turn to be trim and focused and end bodies based on their media habits? Yes, that's something we appearance at. We don't ever countenance to eliminate a demo." Loomis cites "Phineas and Ferb," which launched in January. The toon was intended to rest out the female-skewing net's offering, though it still needed to get everybody into the tent.
"It's a mosaic approach," the exec says. "You have the underpinning of magnitude media to get kids interested, but then you team that with print, digital and grassroots efforts. We had a big appearance on the Winter X Games for example, which delivered boys.
" Other players aren't as prejudiced in completing the unscathed mosaic -- gladden to undertake changeless tiles. "People who undertake to be all things to all commonalty slew up being nothing to nobody," says Cheryl Gotthelf, major VP at Chorion, the U.K. train behind Nick's upcoming "Olivia" and Cartoon Network's "The Mr. Men Show." "Mr.
Men," based on the 37-year-old parade of books depicting characters defined by their emotions (source of the inventive "Little Miss Sunshine"), straddles the 2-5 and 6-11 demos. Built on today's multiplatform model, the show has tough ancillary components -- from online games to consumer products -- that replace constraint from the TV show to have under control the unrestricted demo. For some ages, the T-shirts and games are the listing point. Adults who themselves grew up on the books are also fueling sales, as is the chest with other unusual series, equal Nick's "Banana Splitz"-endebted "Yo Gabba Gabba." "We have this very stretch program," Gotthelf says.
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"Self-expression has hit at the heartbeat of this generation. Today's consumers, from a very dawn age, are about personalization and customization." As if marketing weren't anxiety-provoking enough, there are also scores of pitfalls for programmers and event execs. Now that the larger majority headings are breaking into smaller units, the come-on is to micro-target and develop a portfolio of programs that, bewitched together, reaches everybody.
Such is the happening with preschool nets, which supplicate at various times of the lifetime to 3-, 4- and 5-year-olds but hardly ever to all of them at once. Tweens, similarly, are a compressed demo, and while some properties "age down" to unholster 5- and 6-year-olds, the pleasing besmirch tends to be 8-11. That focus limit can vim a enormous array of revenue-producing extensions, from Broadway shows to soundtracks, but it also can be a straitjacket for actors. Witness the lap over Vanity Fair's suggestive Miley Cyrus photo shoot, or Josh Peck's stoner situation in "The Wackness." Boys vs. girls Gender also plays an increasingly pre-eminent role.
"Shows have become much more resolutely aimed at boys or girls because they can more definitely get grip that way," notes Alice Wilder, who burnt- a decade as greatest researcher on "Blue's Clues" and now produces PBS' "Super Why!" As the cross-currents continue, some vets wariness against too much figuring by those on the ingenious side.
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