New research from YouGov has found that 55% of 18-24 year olds are now watching television online, compared to just 12% of over-55s. The online research provider’s ‘Media Migration’ study also found that of those already watching TV online, 54% are watching more than they did last year.

The study’s results will come as confirmation rather than shock to those watching the broadcasting industry. The continuing success of BBC’s iPlayer has seen other broadcasters race to replicate its offer, with the likes of Channel 4 and Five introducing on-demand services. MTV’s UK site has full episodes of some of its latest shows, and others available to download on YouTube.

BBC iPlayer goes from strength to strength

So what are the implications for marketers? Those involved in broadcasting will no doubt be knee-deep in research studies, war gaming and strategic visioning as they battle to predict the extent to which the advent of online TV will bring about a long-term shift in viewer habits. Meanwhile, the likes of Saga can rest secure in the knowledge that they’ll have a few more years before Saga On-Demand becomes a business prerequisite.

For those outside the industry - particularly those targeting the all-important ‘youf’ audiences –  the question becomes one of budget allocation. With more than half of young people apparently now choosing to watch TV online, how long can the traditional television advertising model remain preeminent?

For what it’s worth, our feeling here at The Value Engineers is that online TV won’t signal the death of watching ‘on the box’ anytime soon. Instead, I’d predict that we will see a gradual merging of technologies and viewing occasions, as television meets radio meets internet meets on-demand viewing. Expect to see manufacturers introducing easy-use, multi-function sets that will extend the reach of the ‘home media center’ beyond its current audience of early adopters, technological savants and value-conscious high earners.

In the meantime, I’m off to get some quality viewing time in on YouTube…

Two of the many favourite kids  brands as nominated by the team at The Value Engineers serve to demonstrate the power of brands to unite both peers and family members. Football stickers have been a central part of social currency for boys in playgrounds up and down the country and their popularity remains as high today as it has ever been. This continuity of appeal is delivered through a natural annual refreshment of new players and teams, whilst meeting the natural desires of boys in providing collectability, competition and peer inclusion.

The successful relaunch of Doctor Who has been well documented and the programme has re-established Saturday evening family viewing both on and behind the sofa! A new generation of Doctor Who fans have been recruited, all of whom will be watching with interest as Matt Smith takes on the challenge of picking up where David Tennant left off.

“Merlin stickers – the ones that got me as a youngster were of course Premier League Football Stickers. Like most of my friends at the time I was obsessed and vividly remember that the first person in my primary school to complete their album got a mention in the school assembly! I even remember the last sticker they needed – the Norwich kit on a glitter background. These stickers went beyond simple enjoyment – they took me, my friends and most of the　school playground to a level of social fanaticism never experienced before. Even today when I’m at the newsagent I still occasionally buy a pack or two…” Will Butterworth, Marketing Analyst.

“Dr Who: The ritual of the family sitting down together and excitement of the theme tune (on full blast). It takes your imagination on a journey. It’s not scared to deal with fear, loneliness and loss. However the meek always inherit the earth and so good always triumphs over evil, with a little help from The Doctor (who has also wrestled with his conscience).” Amelia Boothman, Senior Consultant.

For many people (both young & old) at the moment Saturday & Sunday night is X-Factor time. Undoubtedly the latest series has been phenomenally successful but what interests me is that the programme has huge appeal with young kids aged 7-11.

Whilst the show was not created with kids as its primary audience it has ‘unwittingly’ managed to tap into the core motivators of primary school children on so many levels. Of course music as a genre continues to hold a strong allure for ‘tweens’ as they gravitate away from cartoon characters and towards the aspirational youth culture. But X-Factor is so much more than just a music entertainment programme – it’s about living the dream and fundamentally mirrors the wannabe nature of tweens in their unbridled belief that they too can be rich and famous.

The interplay between the ‘good & evil’ judges coupled with the boos & hisses of the audience has a strong pantomime quality to it encouraging kids emotional (& sometimes physical) involvement. And then there’s the contestants; heart-throbs such as Lloyd and Joe captivates the girls whilst the comedic antics of John & Edward have kept the boys amused.

The voting system also meets desired tween empowerment providing that ever elusive sense of ‘control’ and the contest overall epitomizes the natural competitive spirit of boys in particular.

The final piece of the jigsaw is that X-Factor is naturally inclusive and allows kids to get involved as both a family viewing experience and as subsequent playground banter. This gives kids a true sense of belonging and a conversation currency that allows peer group acceptability.

Funnily enough Dreamworks acknowledged the appeal of the show when they created ‘Far Away Idol’ as an extra for the Shrek2 DVD in which the characters had a sing off and even Simon Cowell made an animated cameo appearance!

Like so many things that tweens ‘adopt’, X-Factor might not be regarded as a kids programme per se but it certainly fulfils all of their needs states. Perhaps it’s a salutary sense check to marketers of kid’s brands to reflect on whether their own brands have that ‘X-Factor’ quality.