She is, however, on the hunt for bridge content for the five-to-six crowd. Internationally, however, Hahn is not looking for much in the way of preschool (despite how much of that content is coming out of the US). And while she’s not as likely to pick up regional (or, as she calls it, “bronze medal”) shows, when the right idea comes along she will give it a look. She also looks for what she calls “silver medal” content, which has broad reach outside of the US. The gold-medal show will have broad global appeal, and many of the brand’s existing IPs fall into that category.
Pitches to Hahn need to be aware of their geographical reach as well. Looking at existing content on air will also help producers see gaps in programming-the network generally tries to strike a gender and age balance, so pitching shows that fill those gaps is useful. Namely, when approaching Nickelodeon, producers should pair their own shows with something already on the network. When thinking through pitches, Hahn also recommends adopting a programmer's mindset. Parental characters on screen are reflecting that shift, being portrayed as someone younger characters respect and can turn to. Kids are actively involved in household decisions and parents take a bigger role in their kids' daily viewing habits. Today, however, the relationship between kids and their kin has changed. They were cartoonish and often misunderstood the main characters' intentions. The channel, and its content, was built as a parent-free zone and parental figures in shows reflected that. When Nick was originally founded, for example, parents were the outsiders. Recognizing shifting demographics is important, she says. Or, content may skew a bit older in an aspirational way. Nickelodeon is looking for content the audience can understand, targeting its key age demos (generally kids six to 11, with a sweet spot of nine). This doesn’t mean talking down to kids, Hahn says.
Usually, this results in a single character that everyone can relate to, while the crazy, outlandish behavior is handled by surrounding characters (Hahn specifically points to “everyman” SpongeBob as the epitome of this approach).įinally, content needs to be smart and, to an extent, simple. Heart is a bit easier to grasp: audiences need to know why they care about specific characters. But rather, Nickelodeon content should be broad, fun and funny-something that makes kids laugh, allowing them to let loose. "Farts" doesn’t actually mean flatulence humor, she clarified. The kidcaster is looking for three things in shows: “heart, smart and farts.” In a presentation to Annecy audiences, Nina Hahn broke down Nickelodeon’s international commissioning strategy in a way kids can understand.
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