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Growing Up Fast

Sprout marks 2nd year in 35m homes

By Paige Albiniak -- Broadcasting & Cable, 11/5/2007

Sidebars:
Growing 'BE' Actors

It's just two years old and PBS Kids Sprout, the 24/7 pre-schoolers' network spawned by PBS, Comcast, Sesame Workshop and HIT Entertainment, may be one of fastest growing cable networks in history. PBS Kids Sprout, targeted at kids 2 to 5 years old, is designed to work on three platforms that support and supplement each other: the linear channel carried on digital cable tiers; a video-on-demand (VOD) service; and a robust—and recently relaunched—Website at www.sproutonline.com.

The partners first launched PBS Kids Sprout' VOD offering in April 2005. Video-on-demand is a perfect service for this young audience because they love to watch their favorite shows—Barney, Angelina Ballerina and Bob the Builder, among others—many times in a row.

In the past two years, the service has served up some 280 million videos, according to VOD tracking service Rentrak Corp. Sprout President Sandy Wax thinks that number may be even higher. “When kids want to see Thomas the Tank Engine, they want to see him over and over again,” says Wax. “With Comcast, if a child watches a show 10 times in a 24-hour period, that only counts as once. But pre-schoolers love repetition. They get a sense of mastery when they know something is going to happen.”

In September 2005, Sprout launched as a digital linear channel, now in 35 million homes. “Distribution is the key to any cable business. If Sprout isn't the fastest-growing channel in cable history, it's among the top five,” says Comcast Programming President Jeff Shell.

The linear channel closely tracks a pre-schooler's day through programming divided into dayparts. “Pre-schoolers are not spending their whole day in school yet,” says Wax. And each three-hour block is hosted by an adult or a character. “Our human hosts are talking directly to each child as they watch from home,” says Andrew Beecham, senior vice president of programming. “They aren't there as teachers or educators. They are there as friends, companions and guides.”

PBS Kids Sprout divides shows into tiny segments. “We know that six, seven or eight minutes were pretty much the tops that a regular 4-year-old can take in one viewing,” says Beecham. “So we deconstructed the half-hour format by chopping our regular shows into narrative elements. Thomas the Tank Engine on the linear channel is only a five-minute show.” Kids who crave more can use the VOD service.

The channel is currently focused on the launch of The Sunny Side Up Show, its first live morning show for kids, which kicked off Sept. 26, the network's second birthday. “The Sunny Side Up Show really pushes interactivity in a new direction,” says Wax. “We're really trying to connect TV with our online environment.”

Early mornings are crazy for kids and parents, so Musical Mornings airs then, starting at 6 a.m. The block features Coo, a first-of-its-kind animated cuckoo bird produced by The Jim Henson Co.

That show wakes kids up. In the afternoons, it's The Let's Go Show, with Miles and puppy puppet Bandit. At night the channel quiets kids down with The Good Night Show, hosted by Nina and her puppet, Star.

“Initially, the industry and parents were skeptical about our plans,” Beecham says. “But in the last few years, the whole universe has changed. Multi-platform opportunities have really changed the landscape, and shorter formats are working incredibly well. This format works really well for kids, and that's empowering for parents.”

 

Growing 'BE' Actors

In Hollywood, a lot of kids follow a path to stardom that goes something like this: Uncle Joe works in the business and gets niece Bipsy a bit part on a television show. Kid gets a credit and lands an agent. Fame sometimes follows but obscurity is good, too, for cocktail chatter years later.

A two-year-old venture called BE from former casting agent Erik DeSando is giving young performers without Hollywood connections a shot at breaking into the business, whether that's acting, singing, dancing or modeling. Taking a cue from Fox's American Idol, BE auditions kids around the country and hand-picks the most talented. These kids sign up for a membership that runs about $100 a month, which includes discounts on classes and one-on-one meetings with agents.

Then the kids get a chance to act on BE TV shows, sing and dance in BE's music group The Buzz, and model for magazines.

“We wanted to create this private membership organization and plop [branches] in the middle of every metropolitan area in the country,” says DeSando. “We'd put them in this private company where the kids get resources like they would in agencies, and they'd get discounts and referrals.”

BE generates revenue through its membership fees and its productions, including two TV shows airing on the CW affiliate in San Francisco: sketch comedy Say What? and sitcom Kids Unlimited.

BE also generates other content for its members. The Buzz records original songs and has been performing with singers like Mandy Moore.

Additional productions are coming, including a four-part, still-unnamed reality show where BE's kids go through a real audition process. A big-screen movie will tap into BE's singers and dancers.

And more TV shows will go into production. BE is in San Francisco, San Jose and San Diego, and by next year will be in Newport Beach, Sacramento, Phoenix and Las Vegas. Ten more markets are expected to open within two years.

“We will create new shows for each new market,” says Barry Falck, COO of BE. “They are all filmed in HD and professionally directed and produced. We build a studio in each location.” BE's productions are non-union but the kids get paid.

BE also carts out its members each month via video conference to Hollywood agents for $25 a kid.

“The conventions I used to go to as an agency owner run between $5,000 and $15,000 to meet the same agents,” Falck says. The most talented kids are shuttled off to Hollywood through an arrangement with BE's partner agency Urge Entertainment to audition for top-notch gigs.

DeSando says it's a win-win situation: “We, as the owners of the company, get to look at the talent and pick out the best of the kids. We can then make them into local-market stars, and eventually take them to Hollywood and manage them.”—Kevin Downey

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