During the 5th edition of the International Kids Licensing Days (Bologna, March 31 – April 2, 2025), Olivia Deane, Research Manager at Ampere Analysis, shared some valuable insights about the compelling role of fandom in the brand-building process and in shaping the content industry dynamics.
Can you give us a quick overview of the state of the children’s media market, and how it has changed in the last year?
At the beginning of 2024, the children’s media market was in a tough spot – streaming growth had stalled, with fewer original projects being greenlit. However, over the past year, the market experienced some encouraging signals of growth, with the Western European market bouncing back better than any other region. Between the second half of 2023 and 2024, the number of children and family titles increased by 13%. However, commissioning activity still remains below the peaks seen in 2021 and 2022. As a result, creators need to be strategic with their time and resources to secure commissions and a strong return on investment.
What are the main reasons for the children’s media market recovery in Western Europe?
A few key events caused the decline in the children’s commissioning market, including industrial action in North America and slowed growth of subscription video on demand.
While children may not be a significant subscription-driving factor, streaming services have significantly reduced their emphasis on original kids’ content. This fails to consider that, although children might not be the primary consumers in these dynamics, they play an important role in preventing adults from canceling their streaming subscriptions. Ampere’s research data about viewing hours on Netflix show that children and family content was the second most viewed content in the second half of 2024. As a result of this, in 2024 streamers focused on growing their catalogues of acquired children’s content. Netflix, Apple, Peacock and Hulu commissioned a lower volume of children’s titles, but the number of acquired kids content grew considerably – with Peacock increasing its catalogue by 30%. Thus, the revenue is being channeled back into the children’s media marketplace, with most of the acquired content still sourced from independent producers.
What is the role of fandom and intellectual property within these market dynamics?
In today’s digital world, social video, communities, and ultimately fandoms, are a driving force in sustaining and expanding fanbases. While commissions remain lower than 2022, the acquisitions market is really active. Content creators face two major challenges: a huge withdrawal of funding and, most importantly, oversaturation. Ampere’s Analytics data showed that in 2024 over 253 thousand hours of children’s content were available on streaming platforms or TV.
Fandom addresses both of these challenges. Brand partnerships help fund high-quality content that is more likely to succeed in a crowded marketplace as it relies on existing ideas with a strong fanbase. There are loads of recent examples: LEGO’s collaborations with Star Wars, Marvel, and Harry Potter, as well as Bluey teaming with Moose Toys and Crayola to expand into toys and activity kits, or Paw Patrol working with brands like Target and Kellogg’s to broaden its presence beyond TV.
These collaborations generate revenue while also encouraging multi-platform engagement – a form of worldbuilding that will be essential to fight the children’s media oversaturation and hold consumer’s attention.
What is the evidence of fandom helping content to stand out?
Ampere data show that titles based on preestablished franchises are more likely to show resilience, gain popularity and retain audiences than original titles. More than two-thirds of the top 100 most popular movies and TV shows in 2024 are based on existing ideas. Fans’ love for the IP thrives on participation, and builds a community: expanding outside passive viewing is a key factor. Fandom-based titles are proven to stand out, spanning toys, books, and games, while also showing endurance, as parents often introduce their children to their childhood favorites. When the market relies on established content rather than original projects, leveraging existing titles and catalogs can lead to determining successful outcomes.
A striking example is Wafku, produced by Ankama Animation. Based on a video game, Season 1 aired in 2008, but was canceled in 2010. In 2014, Netflix acquired the show, and Ankama immediately took advantage of this international exposure by launching two Kickstarter fundraising campaigns to produce Season 3 and 4, respectively released in 2017 and 2024. Currently, Wafku is available both on Amazon Prime and Netflix and has reached 52 markets, announcing the production of Season 5 in 2024.
Platforms like YouTube and TikTok have also proven effective in helping shows to stay relevant.
For companies aiming to secure commissions, which players are expected to be at the forefront of IP-driven content production in the coming year?
Public broadcasters are the jewel in the crown. Between the second half of 2023 and 2024, they announced the highest volume and proportion of children’s commissions, with a 11% growth. Even if the public broadcasting model required a shift in the age of streaming, it reminded us of its assets and value when the market proved to be volatile.
Public broadcasters continue to be key-players in European commissioning, while increasingly investing in literature adaptations, being the fastest-growing commissioners between 2020 and 2024.
When using existing content, are certain types of IP more likely to succeed in terms of both commissions and longevity?
Of all the IP-based children’s titles announced in western Europe between 2020 and 2024, book-based commissions were the fastest growingProviding rich worlds, beloved characters, and dedicated fanbases, books are more likely to evolve in long-term, successful multimedia franchises than any other IP-based commissions. Between 2020 and 2024, over a quarter of all children’s multimedia franchises were based on books, comics, or magazines.
One of the most outstanding examples is the adaptation of Enid Blyton’s Malory Towers. Published in 1946, a screen adaptation co-produced by the BBC, WildBrain, and BYUtv in the 2020s has enjoyed widespread success, being commissioned for 6 seasons and reaching 26 markets in just four years.
Read the complete article on our Summer Issue, pages 84 – 86.
