Kids' TV genre still a star in the age of streaming?
traditional television
, industry data and expert opinions paint a more nuanced picture.
According to
TAM AdEx
, ad volumes for the kids genre grew by 23 per cent in 2024 compared to 2023, and 11 per cent as compared to 2022, marking a significant resurgence after a decline in 2023.
Though this indicates a fluctuating but overall positive trend in advertiser engagement with TV kids' content, the viewership of the genre declined by 25 per cent in 2024 as compared to 2023 according to industry experts. The Madison advertising report indicates that the kids' genre contributed between INR 400-500 crore to the total
TV advertising
expenditure in 2024.
Impact of digital on TV viewership
According to Surabhi Saxena, Associate Vice President – Strategy, Dentsu, today's Gen Alpha audience consumes around three to four hours of content daily, with 80 per cent of that time spent on digital platforms. Nearly 70 per cent of households with children now subscribe to at least one OTT service. She said, 'These platforms offer on-demand access, personalised content discovery, and interactive formats like YouTube Shorts and Reels.'
As per Kidscan 2024, there's been a 60 per cent increase in children's online video consumption since 2022, and 69 per cent now prefer video games over outdoor play. 'This shift has had a major impact on traditional
kids' TV channels
. Overall genre viewership declined by 25 per cent from 2023 to 2024. Additionally, 50 per cent of H1 2024 programming consisted of renewals, reflecting a slowdown in fresh content commissioning,' highlighted Saxena.
A JioStar spokesperson emphasised that despite the proliferation of
OTT platforms
, TV continues to be the preferred entertainment medium for kids and parents. They stated, 'Screen choices have expanded today, but we've seen that TV continues to remain the preferred choice for kids and parents alike, thanks to its professionally generated programming and brand-safe environment. That said, the rise of OTT hasn't disrupted kids' television; it has complemented it. What sets the
Indian media
landscape apart is not just our growth, but the way we are growing. We are not an 'OR' market but an 'AND' market, television and digital media are thriving together.'
The spokesperson also highlighted that the same shows that do well on television are thriving on digital platforms as well. 'We've embraced a TV + Digital strategy because, as the nation's storyteller, we aim to meet our viewers where they are. Kids are watching what they love, regardless of platform. That's why our content strategy focuses on building homegrown IPs that seamlessly travel across platforms,' said the spokesperson.
Stating a similar point of view, Ambesh Tiwari, business head, SPNI Kids and Animations, shared that the kids' genre on television continues to perform well, particularly in the urban 10+ ABC market.
He said, 'Over the past three years, TV in urban markets has seen a growth of approximately 10 per cent, and kids' viewership is also growing in the eight to 10 per cent range. The number of unique viewers is increasing, and our performance is in line with overall TV trends.'
He also added that major conglomerates like Sony itself are making significant investments in this space. For instance, Crunchyroll's entry into India and Sony Yay's own investments highlight how the genre is becoming a strategic focus. Despite assumptions that kids' content might struggle in a digital-first world, it's actually thriving.
He also highlighted that the kids' ecosystem is becoming better defined. Pre-teen content like
Cocomelon
is largely consumed on YouTube, whilst characters such as Shin-chan and Doraemon draw traditional TV audiences. 'This clear segmentation helps us better cater to specific viewer needs,' Tiwari added.
Whilst he agreed that digital platforms have influenced TV growth, Tiwari noted, 'Whilst the eight per cent growth we see now might have been higher in a pre-digital world, the digital ecosystem has also fuelled fandoms. Much of the engagement like memes, reactions, and fan theories happens on platforms like YouTube and Instagram, but the core content still resides on TV or OTT platforms. This synergy has helped us market our content more organically.'
Impact on ad revenue
Mayank Shah, VP, Parle, emphasised the critical importance of the kids' genre for the brand, noting that over 60 percent of Parle's portfolio, particularly confectionery and some biscuits, targets children.
Shah acknowledges a slight decline in traditional TV viewership among this demographic. He attributes this shift to Gen Z and Gen Alpha being a mobile-first generation. A significant portion of their media consumption, including gaming and kids' content, now occurs on mobile devices. 'TV still is an important medium to reach consumers and we don't see that changing for at least for next five years,' said Shah.
According to Saxena, whilst linear TV ad spending for the kids' genre remains under-indexed with declines across Disney (15 per cent), Nick (20 per cent), Hungama (30 per cent), and Sony YAY (15 per cent) from 2022 to 2023, budgets are increasingly being redirected to digital.
She highlighted, 'This is supported by a global slowdown in kids' content commissioning, suggesting budget shifts. Platforms like YouTube, gaming apps, and OTT zones are attracting influencer marketing budgets, contextual digital ad buys, and cross-platform campaign activations and drawing significant attention from marketers. Thus, whilst the ad spend may still be under-indexed on traditional TV, the genre is rapidly gaining relevance across newer digital formats.'
In India, digital ad spend is growing at 17 per cent year-over-year and is projected to reach INR 700 billion in 2024 and INR 1,104 billion by 2027, as per EY-FICCI 2025 report.
A JioStar spokesperson shared that the kids' genre continues to be under-indexed in terms of ad spends, but brands from flat categories are scaling up their spends because kids' content now offers measurable ROI in a brand-safe and integrated way. 'This genre presents an opportunity not only to reach kids but also parents due to significant co-viewing. JioStar's kids' portfolio enjoys a 55 per cent co-viewing rate, influencing purchasing decisions in the household.'
Tiwari highlighted that there has been a decline in advertiser count, especially after some brands like HUL paused advertising on kids' content. 'However, we're adapting by offering customised solutions to advertisers. FMCG still dominates the space, with successful campaigns such as ITC's Shin-chan juice packs and KidZania partnerships. Whilst categories have become fragmented, FMCG remains central.'
According to the TAM AdEx report for the kids' genre, FMCG brands notably dominated advertising in 2024. Reckitt Benckiser (India) leads with a 25 per cent share, followed by Hindustan Unilever at 20 per cent, and Godrej Consumer Products with an eight per cent share.
Beyond traditional ad revenues
To secure sustained growth in India's dynamic kids' genre, content providers are strategically looking beyond conventional advertising. Tiwari highlighted a significant shift in traditional FCT ad sales, once constituting 95-99 per cent of revenue, now accounting for only about 50 per cent. The remaining half for them is generated from diverse non-FCT avenues. This includes successful events like the Giant Wheel Festival in Mumbai, a growing focus on licensing and merchandising, and various gaming and IP extensions like Kiko Super Speedo and music collaborations.
Tiwari emphasises a commitment to 360-degree solutions and the critical role of IP monetisation across platforms, noting that for kids' channels, IP is the hero. Overall, roughly 40-45 per cent of total revenue stems from distribution, with the remaining 55-60 per cent split almost evenly between traditional advertising and these new, diversified streams.
This diversification is well-aligned with evolving advertiser perceptions. A JioStar spokesperson notes that the kids' genre is now viewed not just as a mass reach play, but as a contextual engagement platform, where brands leverage popular characters for both awareness and emotional connection. The 'Super Funday' feed for IPL matches on JioHotstar, featuring iconic Nicktoons as commentators, exemplifies this integrated approach.
Saxena further underscores the importance of these broader engagement strategies, driven by Gen Alpha's growing influence on household decisions (influencing 90 per cent of buying decisions and a 1.46X increase in smart TV purchase involvement). This influence is prompting a clear shift in investment towards digital platforms, where co-viewing scenarios are highly effective as its driving 50 per cent higher purchase intent. OTT platforms also strategically invest in kids' content to reduce churn.
Consequently, advertisers are increasing investment in influencer-led content, branded entertainment, and kid-safe programmatic advertising, all contributing to new growth avenues beyond conventional FCT.
Future of Kids genre
Shah believes TV networks must reinvent themselves with compelling content to attract Gen Z and Gen Alpha. Without this shift, these younger generations accustomed to instant digital access are likely to become 'cord-cutters' consuming media almost exclusively on mobile devices.
He said, 'This underscores the urgent need for television to adapt its strategy not just in terms of content, but also in delivery methods that resonate with a demographic raised on digital entertainment.'
Tiwari emphasised that the future of the kids' genre lies in recognising its core strength which is IP. As global leaders like Disney have shown, the key is to develop strong IP that can be monetized across multiple platforms, far beyond traditional advertising.
'In this evolving landscape, television's role shifts from being a simple FCT sales platform to a powerful amplifier of IP. While FCT sales still hold value, the true potential lies in diverse revenue streams like merchandise, experiences, and brand extensions built on well-established IP,' he concluded.
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