Opinion: The case for kids’ linear in the streaming age

CoComelon

In a rapidly evolving media landscape, it is common to hear claims that linear TV is a dying medium, especially in the realm of children’s entertainment. While it’s true that kids’ primetime viewing figures in the US fell considerably between 2017 and 2021, according to a 2022 report by MoffettNathanson, audience viewing patterns are not reflective of what’s happening on a global level, especially in the children’s entertainment space.

From a global perspective, the conversation is a lot more nuanced. While it is true that most English-speaking countries, such as the US, Australia and most of Europe, are cutting the cord, millions of families across the world still rely on linear channels as their main source of programming. A 2021 Kagan Consumer Insights study found that the majority of adults in Asia still primarily watch linear TV, citing factors like the lack of quality native language video in SVOD content and the availability of inexpensive multichannel TV services. Similarly in Africa, there are 21.7 million pay-TV subscribers as of 2022.

As we look at audience engagement at a global level, internet access and educational content varies greatly by market, so it comes down to accessibility. I’ve seen the global success of linear at Moonbug Entertainment with our own Moonbug linear channel, reaching families in 75 countries that other services may have left behind.

Nicolas Eglau

We have a unique position as a trusted kids’ brand because we have the opportunity to create content that speaks to universal themes of growing up and learning, allowing our shows to resonate with audiences no matter their location. We ensure that we translate our content into local languages and have even started exploring multilingual characters, such as our most recent Blippi Buddy, Juca, who speaks Portuguese and has been created with a Brazilian audience in mind.

Additionally, the linear channel model can be a unique tool that families can use to create routines in conjunction with the scheduled programming. Whether it’s brushing teeth in the morning or going to sleep at night, we curate our content to reflect daily moments. We often look into our channel data and make changes to the programming to coincide with viewing habits unique to each territory. The audience success in markets like Malaysia, Indonesia, and Turkey shows how much young families value this curated 24/7 experience.

For platforms, the Moonbug channel offers a great opportunity to add a variety of global blockbuster brands to their line-up. Their subscribers recognise well-known shows like CoComelon and Blippi immediately, which reduces the need for expensive marketing campaigns. This translates into high engagement and loyal viewing behavior, which create significant value on both sides.

From a business viewpoint, expanding linear TV creates a huge opportunity to increase our brand’s global reach and deliver ad-free content, which is a priority for many families regardless of location. At Moonbug, we are always thinking about our community, so we show up in linear format because that’s where a part of our audience lives. The internet and other technological advancements have opened the door for studios and channels to be global, and it is time that media companies start focusing on their audience behavior from a regional perspective in order to meet families where they are and be successful in this highly competitive landscape.

Nicolas Eglau is managing director for EMEA & APAC at Moonbug Entertainment, the UK & US-based kids content company behind CoComelon and Blippi