Youth-focused advertisers, licensees, and promotional partners are debating whether to align with a property that has millions of young fans and may be poised to become the next “Twilight” phenomena. The downside? The plot is about kids killing one another.
The Hunger Games is the latest in a series of edgy properties testing the boundaries and risk tolerance of youth-oriented brands. Most know to stay away from R-rated and horror films, but it’s a more complex question when the age appropriateness isn’t as clear and there are millions of young fans willing to pay for merchandise and brand extensions. Though each property needs to be evaluated individually, marketers identify a few key strategies that can minimize a brand’s risk when aligning with edgier properties:
• There’s safety in numbers;
• Time eases controversy;
• Perception overrides reality.
Mass Popularity Overshadows Mature Themes
Glee attracts more than 8 million viewers each week, and its 100 licensed products include nail polish, t-shirts, and Ritz crackers. Yet Glee‘s pop culture dominance has helped to obscure the fact that many of its plots include mature themes.
The show airs during the family-friendly 8 p.m. time slot, but carries a TV-14 rating. “This is a show about high school students, and the appropriate audience starts in high school, as far as I am concerned,” says Dana Walden of 20th Century Fox, which produces Glee.
While Glee plots may push the boundaries of age-appropriateness for younger kids, the property has several key elements that help make it amenable to youth brands. The show has seeped into pop culture to such an extent that kids want the merchandise even if they have never seen the program. Having a vast array of promotional partners and licensees has expanded Glee’s recognition to the point where it’s larger than any risky subplot.
While this means youth brands are unlikely to be singled out and criticized for aligning with the brand, a cluttered licensing program also means it’s harder to stand out or leverage the association.
CBS Consumer Products might have attracted negative attention from children’s advocacy groups and parents had it introduced kid-targeted merchandise based on the often-graphic CSI franchise during the show’s first season.
However, CBS’s announcement that it is teaming with Simon & Schuster’s Children’s Group to introduce a series of original novels for tweens starting in 2012 garnered no such concerns. The reasoning is that over the past decade, viewers (and parents) have grown to see CSI as more than a show with violence and mature plotlines.
CBS also eased into this younger category by first developing family-friendly CSI programs, such as its touring CSI science exhibition.
No Longer “Having A Cow” About Edgy Cartoons
Similarly, during the ’90s, Bart Simpson t-shirts were banned from schools, and parents expressed displeasure over The Simpsons characters’ influence over their children. Now as the show enters its 23rd season, parents seem to have accepted it. 20th Century Fox is launching “I Heart Maggie,” a line of apparel and accessories for tween and teen girls featuring “cutting-edge fashion and designs.”
The studio is also introducing a Bart Sports line of “edgy sports gear” as well as a family-focused Team Simpsons line that is inspired by the 2012 Olympic Games. In addition, Burger King is introducing a Simpsons-themed kids’ meal premium to support the property in September.
Even the controversial Family Guy, now in its 11th season, is becoming more kid-friendly. 20th Century Fox and Playmates Toys are introducing a 7-inch soft foam football in the shape of the character Stewie this fall and the “Family Guy Crazy Interactive World” collection of toys in spring 2012.
The resurgence of Family Guy and The Simpsons merchandise and promotional support and the expansion of the CSI franchise aren’t because these properties have become less edgy over the years, but because parents have become more accepting of them. When compared to MTV’s Jackass, The Simpsons‘ antics seem relatively tame. Similarly, parents are more likely to value CSI’s educational benefits than to worry about the few seconds of graphic recreations in an episode. Also, the children who once wore the banned “Don’t Have A Cow” t-shirts and were forbidden to stay up to watch CSI are now parents themselves.
It’s also important to note the emergence of what some call the “adult adolescents.” Today’s 20- and 30-somethings have maintained some of their childhood hobbies, including collecting toys and watching cartoons. Many of the owners of edgier properties introduce products with the understanding that young adults — rather than children — are the target buyers.
Perception Vs. Reality
Not all properties become more accepted as being appropriate for children through the passage of time, however. It’s the perception of a property that is the most critical factor in determining the viability of kid-friendly licensing and promotions. Even though Beavis & Butthead may be experiencing a revival, the property — or at least the memory of it — remains too adult for kid advertisers.
Pee Wee’s Playhouse is undeniably a hot property right now, and kids may love watching the episodes, but parents still seem to have a hard time separating the character Pee Wee from his creator, Paul Ruebens, and his past troubles with the law. This means Pee Wee licensing endeavors need to steer clear of products aimed at young children.
No Appetite For Hunger Games?
National Entertainment Collectible Association (NECA), licensor of The Hunger Games, isn’t concerned about finding promotional and licensing partners. “Look, [The Hunger Games] is not Shrek. But I doubt licensees would have lined up for the first Harry Potter novel if [that first novel] was as dark as the seventh on
e. Harry Potter sort of eased its way into more adult material. The Hunger Games is the same way,” says Joel Weinshanker of NECA, whose license covers both the book and movie (Scholastic serves as the property’s publisher; Lionsgate is producing the movie).
NECA, which also holds the Twilight license, is laying out a similar licensing program for The Hunger Games as it did for the vampire series. This means the first wave of merchandise is timed to coincide with the March 2012 release of the movie and will be small — 20 SKUs. It will be limited to licensees that cater to the property’s “core” fanbase: Hot Topic, F.Y.E., and book chains.
Assuming the first movie is a success, the program will expand to mass market retailers and mainstream promotional partners and licensees for the second film.
While he says NECA has been fielding a steady stream of inquiries from interested licensees, Weinshanker understands that some mainstream brands may be leery of the mature storyline. Yet he adds that they will eventually come around.
“Nobody would touch Twilight with the first movie because they all said it was too adult and too dark. But once it became widely successful, everyone wanted in. It’s how they operate. I get it. We’ll do the fast food tie-in with the second [movie].”
Contacts and Connections: CBS Consumer Products, Liz Kalodner, EVP/GM, 1675 Broadway, 17th Fl., New York, NY 10019; 212-975-5232; liz.kalodner@cbs.com; www.cbs.com.
Creative Artists Agency (Pee Wee’s Playhouse), Ian White, Agent, 2000 Ave. of the Stars, Los Angeles, CA 90067; 424-288-2000; iwhite@caa.com; www.caa.com.
National Entertainment Collectibles Assocation, Joel Weinshanker, President, 603 Sweetland Ave., Hillside, NJ 07205; 908-686-3300, x206; joelw@necaonline.com; www.necaonline.com.
Scholastic, Stacy Lellos, VP Trade Marketing, 557 Broadway, New York, NY 10012; 212-343-4750; slellos@scholastic.com; www.scholastic.com.
Simon & Schuster, Liz Perl, SVP Marketing, 1230 Avenue of the Americas, New York, NY 10022; 212-698-1204; liz.perl@simonandschuster.com; www.simonandschuster.com.
20th Century Fox, Robert Marick, EVP Licensing and Merchandising, 2121 Ave. of the Stars, #408, Los Angeles, CA 90067; 310-369-1279, robert.marick@fox.com; www.fox.com.
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