TV Kids Guide 2019/2020 by World Screen

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Contents A Note from the Editor . . . . . . . . . . . . 10 Interviews . . . . . . . . . . . . . . . . . . . . . . . . 11 Distributors . . . . . . . . . . . . . . . . . . . . . . 27

Publisher Ricardo Seguin Guise Group Editorial Director Anna Carugati

Ricardo Seguin Guise President

Editor Mansha Daswani Executive Editor and Editor, English-Language Guides Kristin Brzoznowski

Anna Carugati Executive VP Mansha Daswani VP of Strategic Development and Associate Publisher

Production and Design Director David Diehl

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A Note from the Editor Kristin Brzoznowski

While kids today are spoiled for choice when it comes to the staggering amount of programming they have at their fingertips, parents and caregivers have the headache-inducing task of monitoring what children are watching within this dizzying array of content. Making sure they’re tuned into an ageappropriate platform is, of course, an essential first step. YouTube had long raised eyebrows among parents concerned about the ease with which young ones could potentially stumble onto videos not suitable for them. The Google-owned video-sharing site was fined a record $170 million for violations of children’s privacy laws. YouTube has outlined changes it will be making in response to this and set up a $100 million fund dedicated to the creation of “thoughtful, original” children’s content for its platforms globally. The issue of what children are and should be watching goes beyond the idea of it just being age-appropriate, though. Many parents want their kids engaging with programming that is educational, perhaps with a STEM curriculum at its core. Others are keen on ecological messages. For some, values such as teamwork, friendship and inclusivity are top of mind. Common Sense Media put together a list of the latest shows that offer “exceptional content for families to enjoy together.” Most notable is that this batch of honorees features shows with a variety of smart, strong and admirable girls and women. Also, compassion, curiosity and embracing individuality are prominent themes running through many of the series that made the roster. With their voracious media appetites and impressionable minds, children represent one of the most important (and challenging) demographics in the programming industry. Producers, distributors and programmers of linear and on-demand platforms put a great deal of care into determining what young ones will be watching. The titles featured throughout this edition of the TV Kids Guide have a broad mix of characters, storylines and underlying themes that have been crafted specifically with the leaders of tomorrow in mind. 10

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INTERVIEWS

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Melissa Cobb VP, Original Animation Netflix

TV KIDS: How have you fostered a creatorfriendly environment at Netflix? COBB: When I got here, there wasn’t [an animation studio] yet. I had to think a lot about what we could create that would be different. One of the things I realized was that so many creators in the kids’ and family space are working in environments where there is a very clear brand profile to work under, and often one arbiter of that taste profile. I don’t know if there had been a studio yet that was truly creator-driven, with very different styles and tastes based on the creators working there. That seemed like an intriguing idea. So that was what we set out to do. It’s about bringing in the right creators. You need creators who have a strong enough vision that they can take it all the way to the finish line. We’re there to help provide them with support and guardrails and someone to bounce ideas off of. TV KIDS: What’s your approach to finding shows that will work on Netflix? COBB: We’re trying to look across all the projects and we have to make sure there is a real variety—more comedic things and more actiony things and things that appeal to the whole family and things that appeal to different age groups within the family. We look at our slate holistically to make sure we have a broad offering, with different tastes and kinds of creators too. TV KIDS: How important are acquisitions and co-productions to the Netflix kids’ slate? COBB: Licensed acquisitions are a big part of what we do. They always will be—working with the independent studios that are making great content. We are, more and more, working with those creators further upstream so that we can have more territories and it makes our lives easier and it’s good for our audience. It’s always going to be part of what we do. The big deals, like the DreamWorks deal, will continue on. There are market forces that lean us more toward our own original content, but it will always be a balance.

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Arnold Schwarzenegger Star Stan Lee’s Superhero Kindergarten TV KIDS: How did Stan Lee’s Superhero Kindergarten come about? SCHWARZENEGGER: It started a long time ago, when we were talking about doing something together. This must be ﬁve, six, seven years ago. [Stan Lee] asked me, What is your ultimate dream, what would you like to do? He would always ask really out-there questions! I said, I always wanted to do sequels to Kindergarten Cop and Twins. He said, Kindergarten Cop, why is that? I said, I always enjoyed not only doing movies for kids but working with kids—it was so much fun. He said, Let me get back to you on that. Then he’d call us back and say, I have an idea. He also told Andy Heyward [Chairman and CEO of Genius Brands International]. He had an idea of [me] playing a superhero who is retired and now teaching toddlers and young kids who all have superpowers how not to abuse those superpowers and instead channel them into something positive. That’s where my job comes in as the kindergarten teacher, teaching those kids lessons about discipline, environmental issues, bullying, being inclusive, setting goals and doing something good for the world and the community. They are unruly kids. They have tremendous powers. I’m supposed to bring order to the whole thing. This is how he explained it to us, and I said, That’s brilliant! It puts a whole other spin on Kindergarten Cop that makes it refreshing and new. TV KIDS: How did you work with the creative team on the look of your animated self, Captain Courage? SCHWARZENEGGER: They have brilliant animators. There’s not much to correct there. The only thing to discuss is the clothes he will wear, the look he should have, the haircut. You show them certain things from Kindergarten Cop that show the frustration in the face so they can draw that well. And I let them know the way I see it. But there’s not much I can influence because they are really, really good. 13

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Pierre Sissmann Chairman & CEO Cyber Group Studios

TV KIDS: How has the opening of a U.S. office beneﬁted your business? SISSMANN: We opened Cyber Group Studios in L.A. a couple of years ago. Richard Goldsmith is our CEO there. He takes care of our business in North America, plus China, Australia and New Zealand. Ira Singerman, who was at Mattel, Universal Pictures and Spin Master, is our VP of development. So far, we have used our office for two main purposes. One is to sell, obviously, and organizing the marketing of our series in the U.S., such as Gigantosaurus, which Richard has been very busy doing. We’ve been working with agents to secure many licensing deals in the U.S., such as apparel, bedding and publishing. We are ready for a big launch of the toys starting this fall. So we’ve been using the U.S. office, and Richard has been instrumental in this, to develop our brands and sell our series in the U.S. Second, we’ve looked to establish a development slate targeted more to North America and global, interfacing with the French office. So our series become more global. TV KIDS: What led to the creation of the new studio in Lille? SISSMANN: In Paris, we do mostly CG animation. And in Lille, we’ve established a new studio where we’re doing 2D. So in Lille, we’ve been doing part of Taffy. We’ve moved massively into 2D. As you know, we were preschool, then preschool kids, mostly CGI. Opening this studio in Lille is a very important point because it enables us to address all sides of creativity. Some things are better in 2D, other things are better in CGI, some are better with a mix of 2D and CG. The only thing we’re not doing so far is stop-motion. Maybe that will happen one day. But I want to break all the technological barriers so we can address any kind of creative issues. It’s not about, I’m doing this in 2D, this in CGI. It should be, I’m doing what is best for the series, for the vision of the creator. 14

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Iginio Straffi Founder & CEO Rainbow TV KIDS: Why did Rainbow decide to expand into live action? STRAFFI: For live action, you can see the results of your story within a maximum of two years from the initial concept development. With animation, the process is longer. However, this is not the only reason [we expanded into live action]. We want to grow Rainbow as a media content company beyond kids and animation, and this is the right moment to do it. There are many players—from traditional broadcasters to Netflix, Amazon, Hulu, Apple and others—that are putting good budgets behind content. Most of the time, it’s live action. I’ve been in kids’ and family entertainment for 25 years. Live action is a different challenge. It is very exciting for me to put my ideas behind something that is about emotion, touching your heart or inspiring you, but using different elements and real actors. TV KIDS: How has Winx Club been able to evolve to remain so popular over the last 15 years? STRAFFI: We always try to reinvent the story every time we write a new season. We never want to repeat the same thing over and over, so we’re always adding a lot of strong elements, secrets for the audience to discover. That was what kept it very entertaining for kids for 15 years. The other point I think is important is that, while the first three or four seasons of Winx Club were written and targeted to 8- to 12-year-olds, the last couple of seasons—especially season eight—were restyled visually and the stories [adapted to] a younger audience. In the last ten years, the animation audience has skewed younger. Nowadays, it’s very difficult to get a 10-yearold to watch cartoons. They all go for the live action. When your target is 4-to-8, your story cannot have the same level of complexity as the beginning seasons of Winx, where we had a lot of layers of different stories that came together at a certain point. Now everything is toned down, but we still have a lot of original elements, beautiful visuals and nice songs. 15

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Claude de Saint Vincent CEO Media-Participations

TV KIDS: What role does the audiovisual segment play in the overall organization? DE SAINT VINCENT: It has increased [in the last few years]. We took over a few libraries and we opened a new studio. So right now our library offers more than 3,000 hours of animation, which I think should put it among the largest European catalogs. Our audiovisual activities—production, sales, direct nonlinear broadcasting—represents about 10 percent of the annual turnover of the group. TV KIDS: How is the commissioning landscape for animation in France? DE SAINT VINCENT: France 4 is going to progressively stop its linear children’s programming broadcasts, and at the same time reassess its nonlinear strategy and offerings. In addition to the main broadcasters—France Télévisions, TF1, M6, Gulli and Canal+—we have the state funds and the regional funds, which are helping production. So France and Europe, especially Belgium with the tax shelter, have become interesting territories for co-production. There are many examples, not only with us but with other producers, of non-European IP that came to life thanks to partnerships with French and European producers. TV KIDS: How do the publishing and animation divisions collaborate to bring comic-book characters to life? DE SAINT VINCENT: By being part of a group housing several publishers, our in-house producers have the opportunity to work very closely not only with the editors but with the authors. We always associate the artist and the writer to our productions/TV shows. We have long-term relationships with the authors, a long-term relationship with our team, and we publish over 200 graphic novels a year and have been doing so for the last 30 years. We have a huge library to look for new themes, new heroes, new subjects. At the same time, we also are developing original series. 16

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Hans Bourlon Co-Founder & CEO Studio 100

TV KIDS: Now that the m4e integration is complete, what benefits are you deriving from that acquisition? BOURLON: For the expansion of our group in the international field, it was important to have that majority stake in m4e. They had some strong brands, like Mia and me, Wissper and Tip the Mouse and a vast back catalog. We were able to integrate this company into our activities and bring the best talent together. That’s a critical issue as this acquisition was the basis [for the creation of] Studio Isar Animation, which we founded in Munich. It was an entrepreneurial step we took on the heels of that acquisition to establish a new studio. So [the acquisition] brought two studios together, allowed us to have a good synergy of people and activities and gave us some extra brands that are performing very well. TV KIDS: How are you positioning your animation production facilities? BOURLON: We have Studio 100 Animation in Paris, Little Airplane Productions in New York, Flying Bark Productions in Sydney and Studio Isar Animation in Munich. That’s a lot of studios and making them work together is not easy, but we’ve tried to let them be as entrepreneurial as possible. They can come up with their own ideas, with their own cultural influences, and we’ve appointed Barbara Stephen, the managing director of Flying Bark, to be the lead for the content of all those studios as CEO of content. TV KIDS: How are your TV channels and digital platforms faring? BOURLON: In Belgium, we have Studio 100 TV. We even have a cooking channel in Belgium and the Netherlands [called njam!]. In Germany, we have Junior for children that is distributed via the Sky platform, and we have a deal with beIN Media Group in the MENA region, beJunior. Those are the deals we have ourselves [based on the library] of our characters like Maya, Heidi, Vic and Blinky Bill. We have lots of deals with distributors and channels as well. 17

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Matteo Corradi President & CEO Mondo TV

TV KIDS: Co-productions have become a major part of the Mondo TV strategy for the last few years. Why was this shift important? CORRADI: The content world is getting more crowded and more competitive. Investment risk is greater than it was. At the same time, there has been in recent years a greater influx of strong creativity from markets like China, Korea and Latin America. For creative as well as financial reasons, therefore, coproductions are becoming a very attractive option. They allow partners to share the financial risk but, at the same time, greatly expand the pool of talent that a series can draw on. Co-production has become an increasingly strong feature of our output and we’re very pleased with the results. TV KIDS: What have been some of the key lessons from this strategy in terms of how to best partner with companies creatively and financially? CORRADI: We’ve learned that there are a lot of good companies out there! We’ve also learned that the arrangements—financial, creative and strategic—will vary from one partnership to another. Sometimes, we take on the co-production of an established series. No two co-productions work to the same strategy, so the only lesson perhaps is to make sure that you and your partner agree on what is best for the property. TV KIDS: What are the greatest challenges and opportunities for animation studios in Europe today? CORRADI: Financing, competition, cooperation and innovation: all are opportunities and challenges. But multiplatform viewing environments are the greatest challenges, and opportunities, of all. A property can be transmitted to audiences everywhere quickly across multiple media, which is a boost for licensees, but can [also] aid targeting of innovative shows to smaller audiences willing to pay to see them. This is a boon to animation. 18

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Vince Commisso Co-Founding Partner, President & CEO 9 Story Media Group TV KIDS: It’s been almost ﬁve years since 9 Story acquired Brown Bag. How transformative was that deal for the company? COMMISSO: It was incredibly transformative. It’s changed our production mantra. It’s made our company international. It added factors of production we didn’t have in CG. It brought us tremendous talent, creative and managerial. We have been able to develop best practices across the Atlantic. That was evidenced by our recent Emmy nominations: 20, with ten on this side, ten on that side! It also taught us how to integrate, how to do M&A. TV KIDS: With kids bingeing entire seasons on SVOD, what do you have to do now to maintain momentum on a property? COMMISSO: That’s one of our missions here. We have to solve for awareness. Awareness was something the broadcasters in the linear world helped you with. We have seven shows in production that we developed and we own. We do a lot more shows—some are partnerships or co-productions, for example with Scholastic or Nickelodeon, but the IP is theirs—and we do service work. We have to focus on the seven that are ours in terms of solving for awareness because on the others, our partners will do that and we’ll help in any way we can. If you look at the way we develop and even produce content, we go wide. We have a lot of input for those three pipelines. With [the ones we own], we have to go deep and come up with marketing plans around each of the shows to solve for awareness. That is something you have to do today without the platform helping you. So, on the one hand, you’re hamstrung a bit because your platform doesn’t do promos—so that [wasn’t an expense before on linear]. On the other hand, you have social media and inﬂuencers that have greatly reduced the cost of solving for awareness. So then it becomes, How do you customize? So your solving for awareness is tied to the unique nature of the IP and the talent and how you answered the question of, Why this show, why now? 19

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Andy Heyward Chairman & CEO Genius Brands International

TV KIDS: How has the company grown over the last five years? HEYWARD: We have Rainbow Rangers on Nickelodeon and Llama Llama on Netflix. Our own network, the Genius Brands Network, has a very broad footprint and is available in about 80 million U.S. television households on major platforms such as Comcast, Cox, Dish, and OTT channels that range from Amazon Fire and Prime to Roku. Genius Brands is still a young company, but we’re growing rapidly. Our goal is not to have a catalog of 13,000 titles—it’s to have a select number of properties that are very successful. Rainbow Rangers and Llama Llama have been picked up for second seasons, they are doing well and they have robust licensing programs attached to them. Now we’re focused on our newest launch, Stan Lee’s Superhero Kindergarten. We have a team of champions behind the creative. Stan Lee was probably the greatest and most successful creator of all time, and this was likely his last creation. We’re working with Fabian Nicieza, who co-created Deadpool. And then what can we say about Arnold Schwarzenegger, another icon who Stan thought was a real superhero himself; he was a huge fan of Arnold’s. We are finalizing a deal now with a major global media company that will serve as a co-production partner. TV KIDS: What’s the approach to finding that great storytelling talent? HEYWARD: The first thing I ask them is, What do you read? If they tell me they read the classics, and they understand conflict and crisis and jeopardy and stakes, I have an insight into how they’re going to be as a storyteller. If what they are reading is fluff with no real value, I’m not going to be as excited about them as writers. When I’m meeting with designers, I ask them to show me their character drawings—I want to see how they draw characters. I’m a fundamentalist in that way. Those things aren’t going to change. 20

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Benoit di Sabatino CEO Zodiak Kids

TV KIDS: What’s driving the production division? DI SABATINO: From an editorial point of view, we are developing in-house series for all broadcasters and platforms and are also striking collaboration opportunities with co-producers. It’s important to believe in and invest in ideas developed by others. It’s also a way for Zodiak Kids to open its creative landscape and develop long-term relationships with co-producers. Additionally, we look to build strong brand extensions for all of our titles (games, shorts, contests) and support them with dedicated promotional drives on social media. Our goal is to produce four to six live-action series for the international and domestic markets, and two to four new animated series a year, while endeavoring to retain a high level of rights and worldwide distribution throughout our financing process. TV KIDS: How do you see the commissioning landscape in the markets in which Zodiak Kids is active? DI SABATINO: It has undoubtedly changed with the emergence of new global platforms, and these businesses are not playing in the same landscape as the traditional broadcasters. They are investing more money in more expensive shows. Away from advertising and audience constraints, [the SVODs] can explore new types of creation. In fact, they are acting as editorial R&D companies with huge means. It’s a fantastic opportunity for producers, but on the other hand, the producer takes the risk of losing a significant share of their rights. From this point of view, the new digital landscape is mainly a cultural revolution bringing new financial capabilities rather than representing a new business model. At the same time, broadcasters still need new shows. And since they are managing the program’s exposure, they can support producers in building an audience success. [And the producers] retain the majority of the rights. At the end of the day, the commissioning landscape for producers today [presents] new financial and editorial opportunities but with more complex rules. 21

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Josh Scherba President DHX Media

TV KIDS: How do you approach crafting a windowing strategy on a given property? SCHERBA: It starts with identifying what your creative aspirations are for the show and what the right budget level is accordingly. From there, it’s working through the math—what is the world worth in a door-to-door or market-tomarket strategy? We have a pretty good sense of what those numbers are. The layer we throw on top is our international sales team weighing in on whether they think those deals are achievable in each market, or where they see more likelihood versus less likelihood. You put all of those together and you have a projection. You weigh that versus your budget, and you take an informed view. At the same time, you’re considering the interests of the streaming services and then taking all that information and making a decision. One of the other factors at play is your aspirations around consumer products as you can tailor the right combination of platforms in each market to maximize awareness and enhance the demand for L&M. TV KIDS: How much of your distribution revenues are from digital platforms? SCHERBA: It’s meaningful and we were fortunate to have a large library when the streaming revolution started to happen. As a result, we were a turnkey solution for services such as Netflix that were expanding out globally. That helped us jump the queue in terms of having a direct relationship with the streaming services and that’s been an advantage for us right up until today. As we approach our slate these days, we’re looking for a combination; ideally, we’re doing some work with the streaming services, but not all. The fewer rights you have left on the table hurts your distribution numbers. However, on the other hand, bigger budgets and less risk help our studios’ numbers. It’s finding the right balance and mix that fits our company profile, and also fits the profile of projects we’re looking to greenlight. 22

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Ed Galton Managing Director & Chief Commercial Officer CAKE TV KIDS: How is CAKE positioning itself in the market today? GALTON: We’re acutely aware of the challenges in how shows are getting financed. We’ve positioned ourselves fairly well as both a distribution business and a production business. That means that we can drive both ends of the business. We can help put shows into production. For example, MushMush & the Mushables and Total Drama are two shows where we contributed significantly in getting the financing together and putting the shows into production. We can benefit from being producers, but then we can also benefit from placing content on platforms—linear, digital, wherever— when the opportunity arises. While others may feel exposed, we feel very positive about where we are and our position in today’s marketplace. TV KIDS: How does Netflix’s desire for an exclusive global window impact your distribution strategies? GALTON: Linear broadcasters are now reliant on on-demand activity to keep their relevance, especially in the kids’ space. We have lots of rights restrictions when we’re working with Netflix and some of the other platforms. That makes it much more complicated. Maybe there will be a settling of the marketplace when the growth of Netflix subscribers slows down in certain territories. In those territories, there might be a relaxation of the fears and anxieties about Netflix entering the marketplace. Right now, they are unwilling to share but hopefully, over time, that will relax. Window sharing has occurred forever in our business. With the emergence of the cable business, the free-TV broadcasters were sharing windows with the cable channels. There is still a massive demand for content; these channels still exist, the platforms still exist [and there will be a need to fill them with content], so I’m sure there has to be a give somewhere down the line. I’m hoping! It can be frustrating, but it just alters how we operate. 23

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Genevieve Dexter Founder & CEO Serious Lunch & Eye Present

TV KIDS: What is your sense of the health of the kids’ content business? DEXTER: From a distribution perspective, there is a drop in the amount of content available to distributors. That does tend to be cyclical. I remember in the ’90s, people were paying big minimum guarantees for kids’ content, though it excluded boutique kids’ startups at that time. When I set up CAKE in 2001, that was no longer the case. We couldn’t find significant minimum guarantees from distributors to close financing but were able to find the gap elsewhere and in so doing, retained the distribution rights. Skip forward ten years and the birth of Serious Lunch coincides with the rise of Netflix and Amazon providing us with large license fees in individual territories, but skip forward another five years and the same clients are moving to new business models that provide producers with a one-stop shop, and it makes life difficult for a distributor to find new content. From the Eye Present point of view, as a young production company, the SVOD one-stop shop has provided us with a lot of opportunities, so we hope by straddling both production and distribution we can benefit from the cyclical changes in the market. TV KIDS: What’s the rough breakdown for Serious Lunch’s sales across platforms? DEXTER: We tend to deal mostly with pay and free TV; we’re not doing so many local SVOD deals at a distribution level anymore. The SVODs used to be happy to pick up individual territories and now that position has changed quite substantially. They are getting much tougher on what they require and that is often hard to marry with our interest in IP and distribution rights. The vertical integration of the SVOD platforms is happening with in-house licensing and merchandising teams and homegrown animation studios. The public broadcasters are hurting a little bit, and we are happy to ease that with ever more inventive ways of funding our shows that they commission. 24

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Dominic Gardiner CEO Jetpack Distribution

TV KIDS: What funding models are you using with your production partners? GARDINER: When you’re talking about a full 52x11-minute high-end animation that will go worldwide, financing takes a whole number of partners to join forces, have a common need and be able to work well together. There’s a lot of government intervention going on that is making that a little easier, whether it’s the more traditional markets like France and Canada, and now you have Singapore and Ireland and the U.K. It’s still very difficult, but everybody is trying to work together to enable series to get made. We work with producers right across the spectrum. For some, the financing is already done. Others have private funding. And we also work with people who need presales to close gaps. We also help marry broadcasters with producers and finesse the deal with editorial and give feedback and expertise if required. TV KIDS: What factors do you need to consider when weighing an SVOD opportunity? GARDINER: The requirements of traditional broadcasters have been evolving. Whereas before they didn’t care so much about video on demand, suddenly they care a lot about video on demand. Netflix was prepared to share, but then it turned out they would but only with these conditions. Some [broadcasters] felt, We want to air the series the way we want to air it, and we want to expose it on our app and our website and all the other things traditional broadcasters want to do. And then Netflix seemed to focus more on owning everything from the get-go. That’s great for some producers. For others, it’s a difficult model to get into. Ultimately, all producers need shows to be produced. If this is the one you’re going to sell [to a global SVOD], it’s like selling your house—you don’t get it back! You hand over the keys and that’s it, you move on to the next one. There are some where you don’t want to do that; you might have an idea that you think, this is the pension, it’s the one that will be paying me forever. With producers, we look at all the options and decide what’s best for that project. 25

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Brenda Bisner

Senior VP, Content & Business Development Kidoodle.TV TV KIDS: How is Kidoodle.TV uniquely positioned in the streaming landscape? BISNER: Since our inception in 2012, we recognized that open streaming platforms for children foster many problems against child safety and COPPA compliancy regulations. Kidoodle.TV, through its global reach to connected devices and strict Safe Streaming guidelines, allows our families to receive the streaming experience they want inside a guarantee of safety, which doesn’t exist anywhere else at the scale Kidoodle.TV has today. The coming months will reveal partnership announcements expanding Kidoodle.TV’s brand and customer base, as well as the release of new platform technologies and features that help creators manage and monetize their content on Kidoodle.TV. And, of course, we are undertaking our own version of originals that utilize the bilateral communication nature of the Kidoodle.TV platform. TV KIDS: What is Kidoodle.TV’s strategy for shaping the future of “Safe Streaming” for kids around the globe? BISNER: Safe Streaming was one of those meant-to-be moments for us and represents a lot of hard work to ensure that Kidoodle.TV is a safe alternative and a legitimate revenue opportunity for content providers and creators. The latest FTC ﬁne to YouTube is a clear indicator that the market has now made meaningful change by enforcing COPPA laws, and people are becoming very aware of the dangers open platforms present to children. In that light, we are shaping the future of kids’ streaming by offering to help creators monetize in as many markets they wish to be in, work with advertisers to ﬁnd consistent brand-safe value and, of course, carry the relevant content and experiences kids traditionally look for. Shaping this is a very exciting endeavor, and Safe Streaming is something we plan to expand to help establish healthy streaming habits for kids all over the world. 26

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DISTRIBUTORS

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41 Entertainment ADDRESS: 500 W. Putnam Ave., 4/Fl., Greenwich, CT 06830, U.S.A. TELEPHONE: ( 1-203) 717-1120 WEBSITE: www.41e.tv MANAGING DIRECTOR: Allen Bohbot VP, SALES & MARKETING: Nancy Koff CONTACT: nancy.koff@41ent.com PROGRAMS: S.M.A.S.H!: 52x11 min., CG/HD, adventure/comedy, 4-8; Skylanders Academy: 1x44 min. & 37x22 min., CG/HD, action/comedy, 6-11; Super Monsters: 52x11 min., CG/HD, comedy, 3-6; Monster Pets: 12x11 min., CG/HD, comedy, 2-4; PAC-MAN and the Ghostly Adventures: 52x22 min. & 2x44 min., CG/HD, action/comedy, 6-11; Kong—King of the Apes: 26x22 min., CG/HD, action/adventure, 6-11; Tarzan and Jane: 13x22 min., CG/HD, action/adventure, 6-11; The Mini Musketeers: 26x11 min., CG/HD, adventure/comedy, 3-6; Shooting Star: 13x22 min., CG/HD, adventure/comedy, girls 6-11. “41 Entertainment focuses on worldwide animation development, production, distribution (linear and nonlinear) and licensing and merchandising. Operating globally in the creation and distribution of children’s original proprietary characters and intellectual properties, we invest in each production and manage rights, including Skylanders Academy, Super Monsters, Monster Pets, S.M.A.S.H!, Kong—King of the Apes, Tarzan and Jane, PAC-MAN and the Ghostly Adventures, Shooting Star and The Mini Musketeers. Not only do we secure the best exposure through our network of major broadcasters and distributors worldwide, including linear and nonlinear, but we also look for the best licensing and merchandising partners for our brands through an in-house licensing and merchandising division. Managed by experienced individuals with extensive knowledge in animation production, distribution, sales, marketing, legal and business affairs, copyright and trademark protection, 41 Entertainment believes that market success is not based on the quantity of projects, but rather in the careful exploitation of a few high-quality intellectual-property projects for global consumption.” —Allen Bohbot, Managing Director

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Super Monsters: Welcome to Pitchfork Pines Preschool, where the children of the world’s famous (and not-sofamous) monsters come to learn to be the best people, and the best monsters, they can be. Drac, Cleo, Lobo, Katya, Zoe, Frankie, Spike and Vida are preschoolers with dual identities: they’re humans in the day and monsters after dark. That’s why this preschool starts each day at the end of the day. Monster Pets: The First Night Celebration marks the beginning of exciting and memorable experiences for our furry friends Griffy; Molasses; Phoebe; Jerry; Henri; Glorb; the comical Wingoat twins, Bubble and Trouble; and Luna, the loveable Moonicorn. The Monster Moon has more than enough magic for every Super Monster to ﬁnd their Furever Friend and create a bond between the kids and pets that will last a lifetime. Skylanders Academy: Follow the heroic adventures of Spyro, Eruptor, Stealth Elf, Jet-Vac, Pop Fizz and their team of young warriors as they travel the vast Skylands universe protecting it from evil-doers. Based on the popular Skylanders video game series, the action-comedy centers on the band of heroes as they train under the watchful eye of Master Eon, learning how to keep peace and protect their homeland from the constant threat of villainous forces. PAC-MAN and the Ghostly Adventures: Follow the daily events of Pac as he saves PacWorld. Together with his friends Cyli and Spiral, Pac and his buds face the issues of being teenagers while also protecting PacWorld from a ghostly army led by the evil Betrayus. PacWorlders do not want Betrayus and his ghostly minions returning from the Netherworld and wreaking havoc. When President Spheros teaches Pac and his pals about the legend prophesizing a round yellow PacWorlder rescuing the planet, Pac, the only round yellow citizen, knows he is the man for the job. Each adventure follows Pac and his friends as they try to return the ghosts to Netherworld, saving PacWorld. Shooting Star: When 13-year-old Piper Realto is struck by a sentient star, her life is changed forever as she is unwittingly transformed into the superhero Shooting Star. As an inexperienced, super-powered, cosmic champion, Piper must protect the star from those who would steal its power and use it to conquer the universe. Led by Ecliptica, this evil band of villains takes the form of teenagers and enrolls at Piper’s school to track down and defeat the Earthling. 31

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9 Story Media Group ADDRESS: 23 Fraser Ave., Toronto, ON M6K 1Y7, Canada TELEPHONE: (1-416) 530-9900 WEBSITE: www.9story.com PRESIDENT & CEO: Vince Commisso CHIEF STRATEGY OFFICER: Natalie Osborne SENIOR VP, DISTRIBUTION & ACQUISITIONS: Alix Wiseman CONTACT: distribution@9story.com PROGRAMS: Book Hungry Bears: 52x11 min., 3D, 3-5; Clifford the Big Red Dog: 78x11 min., 2D, 2-5; Xavier Riddle and the Secret Museum: 75x11 min. & 1x55 min., 2D, adventure/comedy, 4-7; Moon and Me: 50x22 min., stop motion, 2-5; The Hollow: 10x22 min., 2D, serialized adventure, 8-12; The Magic School Bus: Rides Again: 26x22 min., 2D, adventure, 4-8; Let’s Go Luna!: 76x11 min. & 1x44 min., 2D, adventure, 4-7; Luo Bao Bei: 52x11 min., 2D, 4-7; Daniel Tiger’s Neighbourhood: 206x11 min. & 6x22 min., 2D, 2-5; Anne of Green Gables: 3x88 min., live action, family.

“From development right through to licensing, 9 Story Media Group is one of the world’s leading kids’ and family content companies. Our award-winning animation studio, Brown Bag Films, is 100 percent creatively driven with a focus on producing the highest-quality cross-platform content with strong stories and engaging characters. The company’s international-distribution arm, 9 Story Distribution International, represents over 4,100 half-hours of animated and live-action programming, which can be viewed on major international broadcast and digital platforms. Our in-house consumer-products division, 9 Story Brands, builds global entertainment children’s brands, with expertise across creative, brand marketing and licensing. With facilities in Toronto, New York, Dublin, Manchester and Bali, 9 Story Media Group employs over 1,100 creative and corporate staff worldwide.” —Alix Wiseman, Senior VP, Distribution & Acquisitions

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Allspark ADDRESS: 4 The Square, Stockley Park, Uxbridge, Middlesex UB11 1ET, U.K. TELEPHONE: (44-208) 569-1234 WEBSITE: allspark.hasbro.com CHIEF CONTENT OFFICER & EXECUTIVE VP, HASBRO: Stephen J. Davis SENIOR VP, GLOBAL CONTENT DISTRIBUTION: Nina Scales CONTACT: internationalsales@hasbro.com PROGRAMS: My Little Pony Friendship Is Magic: 221x22 min., animation, 4-7; Chomp Squad: 25x5 min., animation, 3-5; Hanazuki Full of Treasures: 35x11 min., animation, 6-9; Stretch Armstrong and the Flex Fighters: 25x22 min., animation, 6-11; Transformers Cyberverse: 62x11 min., animation, 6-11; Transformers Rescue Bots Academy: 104x11 min., animation, 3-5; Power Rangers: 919x22 min., live action, 3-9; Micronauts: 26x22 min., animation, 6-11; Zoids: 26x22 min., animation, 6-12; Treehouse Detectives: 20x22 min., animation, 3-5.

“Allspark, a Hasbro company, is the award-winning studio that brings your favorite toys and games to life as episodic series, movies, shorts and more. Through quality animation and production, this global play and entertainment company brings great stories and characters to your family at home or on the go. Spark the magic of friendship with My Little Pony, roll into action with Transformers and morph into a world of adventure with the Power Rangers! By building global brands through play and entertainment, Allspark connects families to entertainment they can enjoy together.” —Corporate Communications

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Animasia Studio ADDRESS: No. 2 & 4, Jalan Sri Jati 2, Taman Sri Jati, Off Jalan Puchong, 58200 Kuala Lumpur, Malaysia TELEPHONE: (603) 7784-6987 WEBSITE: www.animasia-studio.com MANAGING DIRECTOR: Edmund Chan EXECUTIVE DIRECTOR: Raye Lee CONTACTS: edmund@animasia-studio.com; raye@animasiastudio.com; Joanne Lee, joanne@animasia-studio.com PROGRAMS: Harry and Bunnie: 78x7 min., 2D/ﬂash/HD, slapstick comedy/non-dialogue, 7-11; Chuck Chicken: S1 52x11 min., 2D/flash/HD, action/comedy, 7-11; Bola Kampung: 78x22 min., 2D/HD, sports/action/comedy, 7-11; Bola Kampung Movie: 1x95 min., CGI, sports/action/comedy, 7+; Supa Strikas: 65x22 min., 2D/HD, sports/action/comedy, 7-11; ABC Monsters: 26x22 min., 2D/HD, preschool/edutainment/ adventure, 4-7; Magiki: 52x11 min., 2D/HD, preschool/ edutainment/adventure, 4-7; Chuck Chicken: S2 52x11 min. in dvpmt., 2D/ﬂash/HD, comedy/action, 7-11; Mighty Mechs: 52x11 min. in dvpmt., CGI/HD, preschool/adventure, 4-7; Mighty Justice Go: 52x11 min., 2D/HD, action/comedy, 7-11.

“With our recent expansion of partnerships set up in the U.S.A., China and across Southeast Asia, Animasia will be an ideal value-adding partner for international producers seeking partnership for production support services, seeking ﬁnancing, distribution and coproduction projects. Animasia, being one of the leading IP creators and owners from Asia, is actively pursuing to create and unlock IPs to maximize positive monetary values.” —Edmund Chan, Managing Director

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Atlantyca Entertainment ADDRESS: Via Giacomo Leopardi, 8, 20123 Milan, Italy TELEPHONE: ( 39-02 ) 430-0101 WEBSITE: www.atlantyca.com HEAD, PRODUCTION & DISTRIBUTION DEPARTMENT; EXECUTIVE PRODUCER: Caterina Vacchi DISTRIBUTION MANAGER: Alessandra Dematteis CONTACT: alessandradematteis@atlantyca.it PROGRAMS: Geronimo Stilton: 78x23 min., 2D/HD, adventure, 6+; Bat Pat: 104x11 min., 2D/HD, creepy sitcom, 5-9; Berry Bees: 52x12 min., 2D/HD, spy/action, 5-9; Nutri Ventures: 52x23 min., 2D/HD, action, 6+; Toy Cop: 52x13 min., 3D/CGI, action, 4-8; Dive Olly Dive: 104x11 min., 3D/CGI; ZDF Junior catalog. “Atlantyca Entertainment has divisions for production and distribution, licensing, publishing, foreign-rights sales and live stage events. Atlantyca is the producer of three seasons of Geronimo Stilton, which have been sold all over the world. The company is delivering this fall the second season of Bat Pat, a spooky animated adventure comedy that proves the supernatural isn’t always evil, just misunderstood. In addition to that, Atlantyca is producing the buzz-kicking new animated spy-action series Berry Bees, featuring three extraordinarily talented 10-year-old girls named Bobby, Lola and Juliette, who have been selected by the B.I.A. (Bee Intelligence Agency) for those special spy missions that only child agents can be involved in. Atlantyca’s distribution arm represents a growing library of properties, including Toy Cops and the junior catalog of ZDF Enterprises for Italy (School of Roars, Ziggy and the Zootram, #LikeMe, Buck and H2O, among others).” —Corporate Communications

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BabyFirst ADDRESS: 3550 Wilshire Blvd., 20/Fl., Los Angeles, CA 90010, U.S.A. TELEPHONE: (1-310) 826-2534 WEBSITE: www.babyﬁrsttv.com EXECUTIVE VP, PROGRAMMING & DIGITAL: Arik Kerman CONTACT: akerman@bf-tv.com PROGRAMS: E.Z.Peasy ABC, 123 & Colors; Color Crew; Googoo; Harry The Bunny; 1,2,3 Race; Play Time with AL; My Animal Friends with Robi; Baby Class; BabyFirst’s Nursery Songs; Color Inspirations; Baby Playgen. “BabyFirst is an educational entertainment brand for babies and toddlers ages 0 to 4 and their mothers, owned and operated by First Media. The network includes over 90 original shows and characters that combine animation and live-action formats. BabyFirst reaches over 60 million homes in the United States. It is available on all but one U.S. cable provider, including Bright House, CenturyLink, Cox, Dish, DirecTV, FiOS, Google Fiber, Spectrum, Suddenlink, U-verse and Comcast’s Xﬁnity. Outside of the U.S., First Media’s BabyFirst is available in Central America and the Far East, and the content is available in 13 languages. Online, BabyFirst reaches over 110 million people worldwide on its YouTube and Facebook channels and via over-the-top providers like Roku, iQIYI and Amazon’s Prime Video Direct.” —Corporate Communications

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Ages 0 â&#x20AC;&#x201C; 4

Available in 13 Languages

100+ hours of Educational Content TV Everywhere (TVE) & Over the Top (OTT) rights

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Bejuba! Entertainment ADDRESS: 5353 Torbolton Ridge Rd., Woodlawn, ON K0A 3M0, Canada TELEPHONE: (1-310) 428-7192 WEBSITE: www.bejuba.com PRESIDENT: Tatiana Kober HEAD, SALES: Emilie Pasquet CONTACTS: tatiana@bejuba.com; emilie@bejuba.com PROGRAMS: I’m a Dino: 52x2 min., 2D, comedy, 6-7; Lil Astronaut: 57x7 min., 2D, comedy, 5-8; Flora of the Forest: 78x7 min. in dvpmt., CGI, 4-6/preschool; The Wonder Woollies: 78x7 min. in dvpmt., CGI, comedy, preschool; Chicken Big: 52x11 min. in dvpmt., 2D, comedy, 6-12; Cutie Pugs: 26x7 min., live action, comedy/educational, preschool; Wishfart: 52x11 min./26x30 min., 2D, comedy, 5+; The Grimes: 15x5 min., 2D, comedy, preschool; Ben & Hairy: 20x2 min., 2D, comedy, 5+; Shutterbugs: 52x11 min./26x30 min., 2D, comedy, 4-6/preschool/bridge. “Bejuba! Entertainment is a leading executiveproduction and distribution company representing top-quality children’s entertainment properties around the world. Bejuba! specializes in distribution and the closing of ﬁnancing in Canada, the U.S. and internationally. The company maintains a growing catalog of over 600 half-hours of award-winning children’s and family-oriented animated and live-action programs.” —Tatiana Kober, President

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Beyond Kids ADDRESS: 167-169 Wardour St., London W1F 8WP, U.K. TELEPHONE: (44-20) 7323-3444 WEBSITE: www.beyonddistribution.com/programmes/kids GENERAL MANAGER: Michael Murphy HEAD, SALES: Munia Kanna-Konsek CONTACT: munia@beyonddistribution.com PROGRAMS: Motown Magic: 26x11 min./13x22 min., 2D, entertainment/music, 6-12; Beat Bugs: S3 26x11 min./13x22 min. & 1x44 min., 2D, entertainment/music, 4-7; Dumbotz: 52x11 min., 2D, entertainment, 6-12; Quimbo’s Quest: 26x30 min., 2D, comedy/entertainment, 6-8; Hey You…What If…: 26x5 min., live action, documentary, 6-8.

“Beyond Kids is the kids’ entertainment division of Beyond Distribution, which forms part of Beyond International, one of Australia’s leading independent production and distribution companies. Launched last year, Beyond Kids’ catalog includes around 950 hours of kids’ content, featuring internationally renowned kids’ programming from the last 25 years. These include the BAFTA Award-winning Ocean Girl, CBBC’s Numberjacks, The Dengineers and Junior Vets.” —Corporate Communications

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Boat Rocker Studios ADDRESS: 310 King St. E., Toronto, ON M6A 1K6, Canada TELEPHONE: (1-416) 591-0065 WEBSITE: www.boatrocker.com PRESIDENT, RIGHTS & MANAGING DIRECTOR: Jon Rutherford SENIOR VP, GLOBAL SALES: Gia DeLaney CONTACT: gia@boatrocker.com PROGRAMS: Kingdom Force: 52x11 min., 3D, action/adventure, 3-6; Love Monster: 54x7 min., 2D, comedy/adventure, 2-5; Remy & Boo: 52x11 min., 3D, adventure, 3-5; The Next Step: S6-7 52x30 min., live action, drama/comedy, tweens/teens; The Strange Chores: 2D, comedy/adventure, 6-11; The Tasty Tales of the Food Truckers: 52x11 min., 3D, comedy/adventure, 5-8; Bitz & Bob: 42x11 min. & 44x4 min. & 1x22 min., 3D, educational/adventure, 2-5; Danger Mouse: 94x11 min. & 5x30 min., 2D, action/comedy, 6-11; The Polos: 26x11 min., 3D/live action, adventure/educational, 2-5; You’re Called What?!: 13x30 min., live action, educational/wildlife, 6-11.

“Boat Rocker Studios, the content, distribution and brands arm of Boat Rocker Media, consists of Temple Street, Crooked Horse, Proper Television, Insight Productions, Matador Content, Boat Rocker Studios Kids & Family and a partnership with Industrial Brothers. Boat Rocker Studios Kids & Family has a distinctive portfolio containing 45 brands and 150 series with over 1,000 hours of active programming. This includes the global hit dance drama The Next Step (CBBC) and upcoming projects Love Monster (BBC, UYoung), Remy & Boo (Universal Kids), Dino Ranch (Disney Junior) and the preschool animated action series Kingdom Force (CBC). Boat Rocker Studios’ distribution library includes the wellknown kids’ and family favorites Danger Mouse, Kate & Mim-Mim and Tree Fu Tom. Also included are the family cult classics Rainbow, Count Duckula and the original Danger Mouse series. Rounding out the extensive distribution library are the brand-new comedy series The Strange Chores and The Tasty Tales of the Food Truckers.” —Jon Rutherford, President, Rights & Managing Director

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CAKE ADDRESS: 5/Fl., 76 Charlotte St., London W1T 4QS, U.K. TELEPHONE: (44-207) 307-3230 WEBSITE: www.cakeentertainment.com HEAD, SALES: Bianca Rodriguez CONTACT: brodriguez@cakeentertainment.com PROGRAMS: Mush-Mush & the Mushables: 48x11 min. & 2x22 min., 3D, comedy/adventure; Treasure Trekkers: 52x11 min., 3D, adventure, 4-7; Legend Quest: 26x25 min., 2D, adventure/comedy, 8-12; Angry Birds MakerSpace: 20x1 min., 2D, comedy/non-dialogue, 4+; Mighty Mike: 78x7 min., 3D, comedy/non-dialogue, 6-12; Space Chickens in Space: 52x11 min., 2D, comedy, 6-12; Total Dramarama: 52x11 min., 2D, comedy, 6-12; Kiri and Lou: 52x5 min., 3D, comedy, preschool; Pablo: 104x11 min., 2D, preschool; Olobob Top: 52x5 min., 2D, creative, preschool.

“CAKE is one of the world’s leading independent entertainment companies specializing in the production, distribution, development, ﬁnancing and brand development of kids’ and family properties. CAKE works with renowned producers of animation and live-action content, including Rovio Entertainment, Fresh TV, Channel X and Animation Collective on the worldwide rollout of their brands. In addition, CAKE partners with production companies such as Anima Estudios (Space Chickens in Space for Disney EMEA), Paper Owl (Pablo for CBeebies), TeamTO (Angelo Rules, Mighty Mike), La Cabane and Thuristar (Mush-Mush & the Mushables), Cheeky Little Media and Kickstart Productions co-producing exciting new entertainment properties and turning them into aspiring brands. An award-winning company, CAKE is based in London and is headed up by Ed Galton and Tom van Waveren.” —Corporate Communications

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Cyber Group Studios ADDRESS: 44B Quai de Jemmapes, 75010 Paris, France TELEPHONE: (33-1) 5556-3232 WEBSITE: www.cybergroupstudios.com PRESIDENT & CEO: Pierre Sissmann SENIOR VP, SALES, ACQUISITIONS & NEW MEDIA: Raphaelle Mathieu CONTACT: rmathieu@cybergroupstudios.com PROGRAMS: Gigantosaurus: 52x11 min., 2D/CGI/HD, comedy/adventure, 4-6; Taffy: 78x7 min., 2D/HD, comedy, 6-10; Sadie Sparks: 52x11 min., 2D/CGI/HD, comedy, 6-11; Tom Sawyer: 26x22 min., CGI/HD, adventure, 6-12; Purple Turtle: 52x7 min., 2D/HD, comedy/edutainment, 3-6; Bananimals: 78x7 min., 2D/HD, comedy, 5-8; Ernest and Rebecca: 52x13 min., 2D/HD, comedy, 5-8; Zak Jinks: 52x13 min., 2D/HD, comedy, 6-10; Zou 3: 156x11 min., CGI/HD, comedy/edutainment, 3-6; Mini Ninjas 2: 104x11 min., CGI/2D/HD, adventure/comedy, 6-12. “Cyber Group Studios is a multi-awarded French independent producer and distributor specialized in top-quality kids’ programming with strong international appeal. Our rich and varied library boasts 1,000 half-hours of programming targeted at kids and families. To bring the highest quality entertainment, the company collaborates with the best creative talents around the world and develops breakthrough technology to enhance its productions. Cyber Group Studios is proud to continue the development of partnerships with top producers by bringing them high-value access to key players in the international market. Following the opening of a subsidiary in Los Angeles (U.S.A.) and Roubaix (Hauts-de-France), Cyber Group Studios has extended its international exposure on digital platforms thanks to key partnerships and new digital specialists. The company has also created an interactive division that is aimed at developing games and interactive experiences on digital platforms, as well as on console platforms and PCs.” —Raphaelle Mathieu, Senior VP, Sales, Acquisitions & New Media

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Dandelooo ADDRESS: 36 Boulevard de la Bastille, 75012 Paris, France TELEPHONE: (33-9) 7264-4601 WEBSITE: www.dandelooo.com PRODUCER: Emmanuèle Pétry Sirvin HEAD, INTERNATIONAL SALES: Melissa Vega CONTACT: emmap@dandelooo.com PROGRAMS: Stinky Dog: 52x13 min., 2D, comedy, 8-12; Shooom’s Odyssey: 1x26 min., 2D, adventure, family; Taina and the Amazon’s Guardians: S1 26x11 min., S2 26x11 min., 3D, adventure, preschool; Hungry Bear Tales: 26x7 min. & 26x2 min., 2D, comedy, upper preschool; The Treehouse Stories: S3 28x7 min., live action/2D, edutainment, upper preschool; Ella, Oscar & Hoo: 52x11 min., 2D, adventure, preschool; My Life in Versailles: 1x26 min., 2D, kids; Loco’s Lab: 13x11 min., 2D, comedy, kids; Jolly Jesters: 26x3.5 min., 2D, edutainment, 8-10; Petit: 26x7 min., 2D, comedy, preschool.

“Dandelooo is an awarding-winning and creative French boutique company based in Paris dedicated to the development, production and distribution of original and ambitious animations. The company has its own animation studio, Ooolala, in la Cartoucherie (Valence) and a sales office in Barcelona. Dandelooo’s productions include the hybrid preschool series The Treehouse Stories (two seasons on air, a third in production and two theatrical films), which won an International Emmy Kids Award in 2017; Chico Chica Boumba, commissioned by M6, and the animated feature film Houdini. Dandelooo is currently co-producing the kids’ animated comedy Stinky Dog for France Télévisions and has numerous projects in development, including two animated feature films.” —Emmanuèle Pétry Sirvin, Producer

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DHX Media ADDRESS: 207 Queen’s Quay W., Suite 550, Toronto, ON M5J 1A7, Canada TELEPHONE: (1-416) 363-8034 WEBSITE: www.dhxmedia.com PRESIDENT: Josh Scherba CONTACT: sales@dhxmedia.com PROGRAMS: Malory Towers: 13x24 min., live action, kids; Springboard (w/t): 15x30 min., live action, kids; Chip & Potato: 40x11 min., 2D, preschool; Dorg Van Dango: 52x11 min., 2D, 6-11; Rev & Roll: 52x11 min., 3D, preschool; Polly Pocket: 26x22 min. & 26x11 min., 2D, 6-9; Mega Man: Fully Charged: 52x11 min., 3D, 6-11.

“We have two brand-new live-action series that we’re really excited to be launching to the international market. Malory Towers is a fresh new version of Enid Blyton’s classic 1940s boarding school drama, and Springboard (working title) is the new gymnastics series from Frank van Keeken, the award-winning creator of The Next Step. Both shows underscore our commitment to producing distinctive tween live-action with global appeal. We are also ﬁring on multiple fronts with our animation slate, offering a lineup of new series targeting demographics from preschool to tweens. Chip & Potato and Rev & Roll bring universal themes of friendship, humor and adventure to preschool audiences, while a new season of Polly Pocket and the brand-new series Dorg Van Dango will entertain and enthrall kids 6 and up.” —Josh Scherba, President

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DQ Entertainment International ADDRESS: 644, Aurora Colony, Rd. No #3, Banjara Hills, Hyderabad, Telangana 500034, India TELEPHONE: (91-40) 2355-3726 WEBSITE: www.dqentertainment.com CEO & MANAGING DIRECTOR: Tapaas Chakravarti CHIEF OPERATING OFFICER: Manoj Mishra CONTACT: distribution@dqentertainment.com PROGRAMS: Scrambled: 52x11 min., 3D/HD/CGI, fantasy/adventure, 6-9; Toadally Awesome: 52x11 min., 3D/HD/CGI, comedy/adventure/friendship, 6-9; Cuddle Cubbies: 78x7 min., 3D/HD/CGI, fantasy/adventure, 3-6; The Psammy Show: 52x11 min., 3D/HD/CGI, comedy/adventure, 5-9; The Jungle Book: S1-3 156x11 min., 3D/HD/CGI, comedy/adventure, 4-8; The Jungle Book Safari: 26x12 min., 3D/HD/CGI/live action, edutainment, 5-9; The New Adventures of Peter Pan: S1-2 52x22 min., 3D/HD/CGI, fantasy/adventure, 5-9; The New Adventures of Lassie: 26x22 min., 2D/HD, family/adventure/drama, 6-9; Robin Hood: S1-2 104x11 min., 3D/HD/CGI, action/adventure, 5-9; Mysteries & Feluda: 13x22 min., 2D/HD, action/adventure, 6-9.

“DQ Entertainment (DQE) International is one of the leading global entertainment groups in the business of animation for television and theatricals as well as global licensing and distribution. DQE has provided animation services for globally recognized shows like NFL Rush Zone (Nicktoons), Miles from Tomorrowland (Disney XD), Mickey Mouse Club House (ﬁve seasons for Disney Junior), The Penguins of Madagascar (Nickelodeon) and stereoscopic animated theatricals such as The Prodigies, released by Warner Bros. France. DQE has produced/co-produced major IPs such as The Jungle Book, The New Adventures of Peter Pan, Robin Hood, Lanfeust Quest, The New Adventures of Lassie, Iron Man, Casper’s Scare School, Charlie Chaplin and many more in partnership with global broadcasters, distributors, licensees and large independent producers, especially in Europe and the U.S.A. DQE has consolidated its position as one of the major producers of 3D/2D animation and a global licensing and distribution house of animated properties.” —Corporate Communications

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Dynamic Television ADDRESS: 145 S. Fairfax Ave., Suite 404, Los Angeles, CA 90036, U.S.A. TELEPHONE: (1-323) 433-0100 WEBSITE: www.dynamictelevision.com MANAGING PARTNER: Dan March MANAGING PARTNER: Klaus Zimmermann CONTACT: dmarch@dynamictelevision.com PROGRAM: Almost Never: S1-2 13x30 min., comedy/drama, 9-14. “Dynamic’s drama series have a fantastic track record of delivering successful ratings for our partners, which is something we are very proud of as a company. Our program strategy is quality over quantity, and with Almost Never we believe we have the number one live-action kids’ series in the world, and we couldn’t be more excited for season two. We believe Almost Never will soon be a global brand among kids as the next wave of hit songs are soon released, and we hope our partners come on board for what promises to be the next must-have kids’ series.” —Dan March, Managing Partner

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Gaumont Animation & Family ADDRESS: 750 N. San Vicente Blvd., #1000, West Hollywood, CA 90069, U.S.A. TELEPHONE: (1-424) 281-5200 WEBSITE: www.gaumonttelevision.com VICE CEO, GAUMONT: Christophe Riandee PRESIDENT: Nicolas Atlan SENIOR VP, CREATIVE DEVELOPMENT: Terry Kalagian VP, CREATIVE DEVELOPMENT: Courtney Arumugam VP, CREATIVE DEVELOPMENT: Kimberly Dennison VP, INTERNATIONAL SALES: Laura Laas CONTACT: sales@gaumont.com PROGRAMS: Touch the Earth: 52x11 min., CGI, eco adventure, 5-7; The Royal Family: 52x11 min., 2D, comedy, 5-7; Bionic Max: 52x11 min., 2D, buddy comedy, 6-11; Furiki Wheels: 52x11 min., 2D/CG elements, slapstick/action/buddy comedy, 6-11; Belle & Sebastian: 52x11 min., 2D, adventure, 5-9; Do Re & Mi: 52x11 min., CGI, preschool, 2-5; Atomic Puppet: 52x11 min., 2D, comedy/action, 6-11; Calimero: 104x13 min., CGI, preschool, 2-5; Galactik Football: 78x26 min., CGI, action, 6-11; Lanfuest Quest: 26x26 min., CGI, adventure/comedy, 6-11; Gawayn: 104x13 min., 2D, action/comedy, 6-11. “Gaumont has a long legacy of creating the widest range of engaging and fun content for families and kids of all ages. This year at MIPJunior and MIPCOM, we are proud to be introducing two of our newest series in development. Touch the Earth is based on the New York Times best-selling children’s book series by Julian Lennon and Bart Davis. The story follows a team of international friends helping local kids to solve local problems and make the Earth a better place. And, based on another popular book series, La Famille Royale, we have The Royal Family, which follows a modern-day royal family eager to explore the extraordinarily ordinary discoveries of everyday life. We are currently in production on Do Re & Mi, an animated musical series for preschoolers featuring 52 original tracks performed by Kristen Bell (Princess Anna in the Disney ﬁlm Frozen) and Jackie Tohn (Glow, season eight American Idol ﬁnalist) for Amazon Studios; and Bionic Max with Gulli, a hilarious, fun, slapstick buddy comedy.” —Laura Laas, VP, International Sales

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Genius Brands International ADDRESS: 190 North Canon Dr., 4/Fl., Beverly Hills, CA 90210, U.S.A. TELEPHONE: (1-310) 273-4222 WEBSITE: www.gnusbrands.com CHAIRMAN & CEO: Andy Heyward SENIOR VP, INTERNATIONAL DISTRIBUTION & HEAD, GENIUS BRANDS NETWORK: Caroline Tyre HEAD, BUSINESS DEVELOPMENT: Jon Ollwerther PROGRAMS: Stan Lee’s Superhero Kindergarten: 52x11 min., CGI, action/adventure/comedy, 4-7; Rainbow Rangers: 26x30 min. & 52x11 min., CGI, adventure, preschool; Llama Llama: 15x30 min., 2D, edutainment, preschool.

“Our philosophy has been and will always be creating quality content over quantity and staying true to our mission of delivering ‘content with a purpose.’ To that end, we are presenting three series to international buyers that we know will resonate with young kids around the world. First up is our brand-new action-adventure comedy series, Stan Lee’s Superhero Kindergarten, which was created by Stan Lee as one of his last projects and whose animated likeness will make a cameo appearance in each episode. The series also stars and is co-produced by Arnold Schwarzenegger, along with an A-plus creative team behind it. The series features superhero-driven storylines and valuable lessons such as the importance of health, exercise, nutrition and antibullying. We also have our original preschool series Rainbow Rangers, which is currently in production on season two for Nick Jr. in the U.S., and our heartwarming preschool series starring Jennifer Garner, Llama Llama, with season two premiering on Netﬂix in November.” —Andy Heyward, Chairman & CEO

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GO-N International ADDRESS: 32 rue des Jeuneurs, 75002 Paris, France TELEPHONE: (33-1) 4874-8700 WEBSITE: www.go-n.fr PRESIDENT: Eric Garnet CONTACT: eric.garnet@go-n.fr PROGRAMS: Simon: S1-3 156x5 min., 2D, comedy, preschool; Zip Zip: S1-2 104x11 min., 2D, sitcom/comedy, 6-10; Tib & Tumtum: 52x11 min., 2D, comedy/adventure, 5-8; Tootuff: 75x7 min., 2D, comedy/sitcom, 6-10; Commander Clark: 52x11 min., 2D, comedy/adventure, 6-10; Lou: 52x11 min., 2D, comedy/sitcom, 6-10. “GO-N International is the commercial arm of GO-N Productions and is dedicated to the international sales of animated content made for kids and families to all media platforms worldwide. GO-N International is involved at every stage of a project—from its inception through to development, ﬁnancing, inking co-production partnerships, marketing and communication and international sales.” —Eric Garnet, President

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Guru Studio ADDRESS: 110 Spadina Ave., Unit 1000, Toronto, ON M5V 2K4, Canada TELEPHONE: (1-416) 599-4878 WEBSITE: gurustudio.com PRESIDENT & EXECUTIVE CREATIVE DIRECTOR: Frank Falcone VP, SALES & BUSINESS DEVELOPMENT: Jonathan Abraham CONTACT: sales@gurustudio.com PROGRAMS: Pikwik Pack: 52x11 min., 2D, preschool; True and the Rainbow Kingdom: 30x22 min., 3D, preschool; Big Blue: 52x11 min., 2D, comedy, 5-9; Justin Time: 74x11 min. & 2x22 min., 2D, preschool. “We are kicking off MIPCOM with an exclusive sneak peek of Pikwik Pack, our newest preschool series about a team of adorable animals who deliver surprise-ﬁlled packages to the charming residents of Pikwik. Preschoolers are going to fall in love with Pikwik Pack’s adorable characters and stories packed with huge laughs, inspiring adventures and big beating hearts. The broadcast support of Disney Junior, Hulu in the U.S. and Treehouse in Canada offers an incredible foundation to build a top-tier global brand. We’re going into our fourth season of True and the Rainbow Kingdom, which has quickly built a dedicated global following with its important message of empowering children to be mindful, courageous and respectful of all living things. We’ve also dived into production on Big Blue, a brandnew 2D series for all ages with CBC in Canada that’s ﬁlled with comedy and high-stakes adventure. The show follows sibling underwater adventurers who lead a quirky submarine crew as they explore and protect the denizens of a vast, ocean-covered planet.” —Jonathan Abraham, VP, Sales & Business Development

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ITV Studios Global Entertainment ADDRESS: 2 Waterhouse Sq., 140 Holborn, London EC1N 2AE, U.K. TELEPHONE: (44-207) 157-3000 WEBSITE: www.itvstudios.com/merchandise-licensing EXECUTIVE VP, KIDS CONTENT & DISTRIBUTION: Steve Green VP, HEAD, GLOBAL SALES: Maggy Harris CONTACT: global.kids@itv.com PROGRAMS: Robozuna: 40x22 min., 3D, action/adventure, 4-9; Thunderbirds Are Go: 78x22 min., 3D, action/adventure, 4-9; Top Class: 60x30 min., live action, game show/quiz, 7-11. “ITV Studios Global Entertainment (ITVS GE) is one of the world’s leading international TV distribution, home entertainment, publishing, merchandising and licensing businesses. ITVS GE’s kids’ content slate includes the brand-new animated series Robozuna, which launched on ITV in the U.K. to fantastic ratings, with 40x22-minute action-packed episodes now available worldwide. An incredible 78 episodes are now available for the ever-popular top-rated adventure hit Thunderbirds Are Go, available in multiple territories worldwide.” —Corporate Communications

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Jetpack Distribution ADDRESS: 3/Fl., 20 Bedford St., London WC2E 9HP, U.K. TELEPHONE: (44-78) 2500-6924 WEBSITE: jetpackdistribution.tv CEO: Dominic Gardiner INTERIM GLOBAL HEAD, SALES: Marie-Laure Roche SALES DIRECTOR: Sophie (Kido) Prigent CONTACTS: dominic.gardiner@jetpackdistribution.tv; marielaure.roche@jetpackdistribution.tv; kido@jetpackdistribution.tv PROGRAMS: Rainbow Butterfly Unicorn Kitty: 52x11 min., 2D/CGI, 6-11; Oswaldo: 52x11 min., 2D, 6-11; The Cul de Sac: 18x23 min., live action, 9+; Dennis & Gnasher Unleashed: S1 52x11 min., S2 52x11 min., 3D/CGI, 6-11; Kitty is Not a Cat: S1 52x11 min., S2 52x12 min., 2D, 6-11; Talking Tom & Friends: 156x11 min., 3D, 6+; Yoko: S1 52x11 min., S2 14x11 min., CGI, 4-6; Wolf: 156x7 min., 2D, 4-6; My Petsaurus: 60x2 min., 3D/live action, 4-6; Daisy & Ollie: 52x7 min. & 1x22 min., CGI, 3-5; Emmy & Gooroo: 52x11 min. & 104x7 min., 2D, 3-5; Barefoot Bandits: 25x22 min., 2D, CGI, 6-11. “Blasting the best kids’ content across the planet! At Jetpack, we find homes for highquality and enduringly appealing kids’ TV shows worldwide. We work directly with producers, creators, broadcasters and videoon-demand platforms to deliver great value and experiences. We are delighted to announce a 76 percent year-on-year sales growth and are now working with 26 producers and a burgeoning library of 1,011 half-hours of fantastic character-driven shows featuring timeless themes for all ages. We are thrilled to bring new seasons of the much-loved classic Dennis & Gnasher Unleashed and preschool live action My Petsaurus to the market this year. These join a stellar lineup of global hits, including Yoko, Oswaldo, Rainbow Butterfly Unicorn Kitty, Emmy & Gooroo, Wolf and Daisy & Ollie. Our approach is to partner with producers, nurture and promote their shows and together we ‘Jetpack’ for the stars. For platform partners, we curate some of the best content in the market and provide a quality of service and speed of negotiation and delivery—always with humor and a smile.” —Dominic Gardiner, CEO

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Lacey Entertainment ADDRESS: 39 N. Moore St., Suite 6A, New York, NY 10013, U.S.A. TELEPHONE: (1-646) 220-2507 WEBSITE: www.laceyentertainment.com PRESIDENT: Brian Lacey CONTACT: laceyent@gmail.com PROGRAMS: Topo Gigio: 52x11 min., animation, comedy, 4-8; Kiva Can Do!: 52x11 min., animation, 4-7; Dinosaur King: 79x22 min., animation, adventure, 6-11.

“Topo Gigio, a global entertainment icon, makes his animated debut at MIPCOM. Worldclass animation production, engaging stories, an ensemble cast of kid-identiﬁable characters and the always adorable Topo Gigio ensure this animated comedy-adventure series will provide heartfelt memories for young kids worldwide. The charming and award-winning Kiva Can Do!, currently broadcast on Nick Jr. in global markets, is now available for free TV and SVOD in 25 different languages. [It has] wonderful storytelling with positive prosocial themes. The top-performing and now-classic adventure series Dinosaur King continues to deliver loyal viewing audiences, most especially on OTT platforms.” —Brian Lacey, President

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Mattel ADDRESS: 333 Continental Blvd. 11-3, El Segundo, CA 90245, U.S.A. TELEPHONE: (44-207) 554-2500 WEBSITE: www.mattel.com CHAIRMAN & CEO: Ynon Kreiz SENIOR VP, CONTENT DISTRIBUTION & BUSINESS DEVELOPMENT: Frederic Soulie CONTACT: content_sales@mattel.com PROGRAMS: Barbie Dreamhouse Adventures: S2 26x22 min., 3D, comedy/adventure, kids; Barbie Magical Mermaid Mystery: 1x80min., 3D, comedy/adventure, kids; Barbie Princess Adventure: 1x72min., 3D, musical, kids; Barbie Vlogger: 60x5 min., 3D, comedy/educational, kids; Thomas & Friends: S23-24 40x11 min. & 6x22 min., 3D, friendship/ educational/adventure, preschool; Enchantimals Tales of Everwilde: S2 13x5 min., 2D, comedy/adventure, preschool; Enchantimals: 2x44 min., 2D, comedy/adventure, preschool; Masters of the Universe: Revelations: 26x22 min., 3D, action, kids; Polly Pocket: S2 26x11 min., 2D, adventure, kids; Fireman Sam: S12 13x11 min & 1x60 min., comedy/ action/educational, preschool.

“Mattel recently announced a slate of 22 shows in development for multiplatform distribution. This slate encompasses a broad range of genres, including animation, live action, action, adventure, comedy and game shows, targeting a wide audience from preschool to teens and families. The ﬁrst series to come out of our slate is our recently announced Masters of the Universe: Revelations as an animated series in partnership with Netﬂix. Mattel is also delighted to announce the return of the award-winning series Barbie Dreamhouse Adventures, as well as a brand-new 72-minute standalone special, Princess Adventure. On the preschool side, we’re gearing up to celebrate the 75th anniversary of Thomas & Friends with a brand-new series and two exciting specials, The Royal Engine and Marvellous Machinery. As an IP owner, content producer and distributor, it is an exciting time to be in the industry, where strong, global, well-known brands and franchises are more than ever in high demand.” —Frederic Soulie, Senior VP, Content Distribution & Business Development

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Mediatoon Distribution ADDRESS: 57 Rue Gaston Tessier, 75019 Paris, France TELEPHONE: (33-1) 5326-3100 WEBSITE: www.mediatoon-distribution.com MANAGING DIRECTOR: Jérôme Alby SENIOR INTERNATIONAL SALES MANAGER: Livia Guffanti SALES & BUSINESS AFFAIRS MANAGER: Mélanie Errea SALES & BUSINESS AFFAIRS EXECUTIVE: Fanny Gilabert CONTACTS: jerome.alby@mediatoon.com; livia.guffanti@mediatoon.com; melanie.errea@mediatoon.com; fanny.gilabert@mediatoon.com PROGRAMS: Sardine in Outer Space: 52x12 min., 2D, adventure/comedy, kids; Tom and Lili: 52x7 min., 2D, comedy, kids; Martin Morning: 52x13 min., CGI, comedy/adventure, young kids; The Fox-Badger Family: 52x12 min., 2D/CGI, adventure/comedy, preschool; Bobby and Bill: S2 52x12 min., 3D, comedy, young kids; Garﬁeld: 214x11 min., 3D, comedy, kids; Minimighty Kids: S3 78x8 min. & 1x26 min., 2D, action/comedy, kids; Lucas etc.: 52x7 min., live action, comedy, family co-viewing; Little Furry: 78x7 min., 2D, comedy, preschool; Yakari: 156x13 min., 2D, adventure/ edutainment, young kids. “Mediatoon Distribution successfully manages and markets iconic shows worldwide targeted at both family and kid audiences. Our catalog includes household titles, including Garﬁeld, Asterix, Tintin, Code Lyoko and Naruto, to name a few. Thanks to the success of these programs, Mediatoon is cemented as one of Europe’s leading kid and family IP managers and animation distributors.” —Jérôme Alby, Managing Director

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MISTCO ADDRESS: Murat Reis Mah, Yeni Ocak Sok, No: 45, 34664 Uskudar, Istanbul, Turkey TELEPHONE: (90-216) 695-1300 WEBSITE: www.mistco.tv VP, SALES & MARKETING: Aysegul Tuzun CONTACT: info@mistco.tv PROGRAMS: Aslan: 39x11 min., 3D, adventure, 2-6; Momo: 39x13 min., 3D, adventure, 2-6; Ege and Gaga: 62x7 min., 2D, adventure, 2-6; Little Lamb: 52x13 min. w/dialogue, 71x5 min., non-dialogue, 3D, adventure, 2-6; Team Square: 36x11 min., 2D, adventure, 2-6; Atishoo: 23x10 min., 3D, adventure, 2-6; Doru: 27x13 min., 3D, adventure, 6-11; Mint & Lemon: 130x10 min., 3D, adventure, 6-11; Adventures of Chef Roka: 13x5 min., 2D, 2-6; Pirdino: Surprise Egg: 1x76 min., live action/animation, 6-11. “MISTCO represents all the children’s content on TRT’s kids’ channel, TRT Çocuk, which is the top investor in animation production in Turkey. The animated series produced for TRT Çocuk are both for preschool and school-age kids, and they are very international. During their production process, the animated series go through the revision of very successful editors and competent pedagogues. We truly believe in TRT’s animated series, as they are very appealing among children in Turkey and they become instantly popular among children in every country they are broadcast in.” —Aysegul Tuzun, VP, Sales & Marketing

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Mondo TV Group ADDRESS: Via Brenta, 11, 00198 Rome, Italy TELEPHONE: (39-06) 8632-3293 WEBSITE: www.mondotvgroup.com PRESIDENT & CEO: Matteo Corradi HEAD, CONTENT SALES: Luana Perrero CONTACT: Silvia D’Archivio, silvia.darchivio@mondotvgroup.com PROGRAMS: MeteoHeroes: 52x7 min., 2D, comedy/adventure, 4-7; House of Talent: 260x10 min., live-action web series, reality/lifestyle, tweens/teens; Robot Trains: S1-2 84x11 min., S3 52x11 min. in prod., 3D/CGI, comedy/adventure, 3-5; YooHoo to the Rescue: 52x11 min., 3D/CGI, comedy/adventure, 3-6; Invention Story: 52x11 min., 3D/CGI, comedy, 4-7; Sissi the Young Empress 3: 26x11 min., 3D/CGI, comedy/ adventure, 4-8; Heidi Bienvenida: S1-2 120x45 min., live action, tweens/teens; Bat Pat: 52x11 min., 2D, comedy/ adventure, 5-9. “Mondo TV has successfully diversiﬁed its broadcast output for kids into live action and reality TV as well as many animated hits. We have formed new co-production partnerships in many [countries], establishing ourselves as a sought-after broadcast partner. Our shows have made inroads into social media, YouTube and OTT as well as linear TV. With House of Talent, we have produced our ﬁrst web-based show. Our kids’ shows have also focused on modern topical issues: YooHoo to the Rescue, Robot Trains and MeteoHeroes all take on environmental themes. We have enjoyed L&M success in many territories and across new categories. We have worked with augmented reality products, multimedia marketing strategies and traditional retail partnerships. And we have built new partnerships, notably with the new German kids’ and family entertainment company Toon2Tango. This is a very exciting time for the Mondo TV Group.” —Matteo Corradi, President & CEO

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Portfolio Entertainment ADDRESS: 901 King St. W., Suite 301, Toronto, ON M5V 3H5, Canada TELEPHONE: (1-416) 483-9773 WEBSITE: www.portfolioentertainment.com CEO & CO-FOUNDER: Joy Rosen CEO & CO-FOUNDER: Lisa Olfman VP, SALES & BUSINESS DEVELOPMENT: Donnie MacIntyre CONTACT: dmacintyre@portfolio-ent.com PROGRAMS: Hero Elementary: 40x22 min./80x11 min., 2D, 4-7; Cyberchase: 114x30 min., 2D, educational, 6-9; Do You Know?: 75x15 min., live action, educational, 4-7; The Cat in the Hat Knows a Lot About That!: 80x30 min./160x15 min. & 4x60 min., 2D, 4-7; Addison: 50x11 min., 3D, 4-6; Freaktown: 52x11 min./ 26x30 min., 2D, comedy, 6-11; Mack & Moxy: 12x13 min., 3D, 4-6; DOKI: 52x30 min./104x11 min. & 3x30 min., 2D, 4-6; Carl Squared: 65x30 min., 2D, comedy, tweens. “The whole Portfolio team is excited to be coming to MIPCOM with a robust catalog highlighted by one of our most ambitious and exciting projects yet. Hero Elementary blends super-powered action with exhilarating STEM-based discoveries in an animated series that will keep kids on the edge of their seats. The aspiring superheroes of Hero Elementary may get themselves in a jam or two as they fumble and learn how to master their extraordinary abilities, but with a sense of humor and undying determination, they’ll always ﬁnd a way to save the day. With its clever mix of comedy, action and education, Hero Elementary is the perfect title to complement some of our most beloved kids’ properties, including The Cat in the Hat Knows a Lot About That! and Addison. Portfolio Entertainment is positioned for another successful market— be sure to stop by and say hello.” —Donnie MacIntyre, VP, Sales & Business Development

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Primeworks Distribution ADDRESS: Sri Pentas, 1/Fl., North Wing, No. 3 Persiaran Bandar Utama, 47800 Petaling, Selangor TELEPHONE: (603) 7726-6333, ext. 10025 WEBSITE: www.primeworks.com.my CEO, PRIMEWORKS STUDIOS: Ahmad Izham Omar GENERAL MANAGER: Lyn Nasihin CONTACT: lynnazlina@mediaprima.com.my PROGRAMS: Ejen Ali the Movie: 1x90 min., 3D, action/adventure/feature film, 6-11; Adiwiraku 2: 1x90 min., live action, feature film/action/adventure, family; Ejen Ali: S1 13x30 min., S2 13x30 min., 3D, action/adventure, 6-11; Saladin: 26x30 min., 3D, action/adventure, 6-11; Ninja Cat: 52x11 min., 2D, action/comedy, 6-11; Soccer Bugs: S1 26x11 min., S2 26x11 min., 2D, sports/comedy, 6-11; Cingkus Blues: S1 26x11 min., S2 26x11 min., 2D, comedy, 6-11; Super Squad: 13x30 min., 3D, action/adventure, 6-11; Super Tots: S1 26x10 min., S2 13x20 min., 3D, action/adventure, preschool; Knowsy Nina: 52x5 min., 2D, educational, preschool. “We embarked on our first animation IP with Wau Animation for Ejen Ali, which we have sold to over 50 countries. Since then, our animation and kids’ content catalog has grown tremendously. In addition to projects that we co-produce, co-finance and develop, Primeworks Distribution represents a handful of titles by other production companies. This MIPCOM, we will be adding Ejen Ali the Movie and Adiwiraku 2 to our catalog. Ejen Ali the Movie promises a lot of action, world-class animation and a gripping storyline. The success of the first movie from the Adiwiraku (My Superhero) series has led us to take on the inspiring tale of the sequel, in which a teacher steers his team to win a gold medal for cricket in the 2017 South East Asian Games without knowing anything about the sport. Both titles are available for presales and theatrical distribution.” —Lyn Nasihin, General Manager

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Rainbow ADDRESS: Via Brecce, 60025 Loreto (AN), Italy TELEPHONE: (39-071) 7506-7500 WEBSITE: www.rbw.it FOUNDER & CEO: Iginio Straffi SENIOR VP, LICENSING & ACQUISITIONS: Cristiana Buzzelli HEAD, SALES & CO-PRODUCTION: Andrea Graciotti CONTACT: Silvia Conti, silvia.conti@rbw.it PROGRAMS: 44 Cats: S1 52x13 min., S2 52x13 min., 3D/CGI, comedy, 4-7; Winx Club: S8 26x26 min., 2D/HD, adventure/action/comedy, 5-10; Club 57: 60x45 min., live action, comedy, 7-14; 2 Happy Farmers: 52x7 min., CGI, comedy/edutainment, 2-5; Pinocchio: 52x13 min., CGI, adventure/comedy, 4-8; Regal Academy: S1-2 52x26 min., 2D/HD/toon-shade, comedy, 5-10; Maggie & Bianca Fashion Friends: S1-3 78x26 min. & 2x50 min., live action, comedy, 8-12; World of Winx: S1-2 26x26 min., 2D/HD, action/mystery, 5-10. “Rainbow Group was founded in 1995 by Iginio Straffi, president and CEO. The group operates in the children’s and teen entertainment industry, ranking among the main international companies for the creation, development and licensing of animated and live-action content for TV and cinema productions, as well as for the production of animated content for third parties integrated with the acquisition of Canadian studio Bardel Entertainment in 2015. The group also broadened its offer of TV and movie products dedicated to adults and families with the acquisition of Iven Group in 2017. With 20 years of history behind it, today the group can boast a wide product portfolio aired in over 100 countries through different broadcasting platforms. In the consumer products industry, the group ranks in the top positions on the annual Top 150 Global Licensors list and is ﬁrst in Europe, with more than 500 licensees worldwide.” —Corporate Communications

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Serious Lunch ADDRESS: 6/Fl., Charlotte Building, 17 Gresse St., London W1T 1QL, U.K. TELEPHONE: (44-20) 8771-7310 WEBSITE: www.seriouslunch.co.uk CEO: Genevieve Dexter DIRECTOR, GLOBAL SALES: Leila Ouledcheikh CONTACT: louledcheikh@seriouslunch.co.uk PROGRAMS: Monty & Co: 52x11 min., puppets/animation, musical/sitcom, 3-5; The New Legends of Monkey: 20x26 min., live action, action/adventure, family; Tik Tak: 104x5 min., live action/animation, 1-3; Bo & To’s Family: 54x5 min./3.5 min., stop-frame animation, comedy, 4-6; Art Ninja: 50x26 min. & 15x20 min., entertainment, 6-9; Horrible Science: 10x26 min., comedy/drama, 7-9; Gigglebug: 52x5 min., animation, comedy, 3-5; Operation Ouch!: 99x26 min., factual entertainment, 7-11; Ronja, the Robber’s Daughter: 26x26 min., animation, 8-12. “We are excited to launch four new series at MIPCOM, including The New Legends of Monkey, a high-budget action-adventure series for family audiences from See Saw Films (Top of the Lake, State of the Nation), and Monty & Co, which is a British puppet musical sitcom. Our core brands Operation Ouch! and Ronja, the Robber’s Daughter go from strength to strength. Operation Ouch! is in production with its eighth season and continues to regularly rate as the number one show on CBBC, while KiKA has picked up a second season and NPO is producing the fourth season of the Dutch version, Top Doks. Ronja, the Robber’s Daughter has now launched in two further major territories, in Russia on Multimania and in China on Mango TV.” —Genevieve Dexter, CEO

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Studio 100 Media ADDRESS: Neumarkter Str. 18-20, 81673 Munich, Germany TELEPHONE: (49-89) 960-8550 WEBSITE: www.studio100media.com CEO: Martin Krieger CEO, STUDIO 100 MEDIA & STUDIO 100: Hans Bourlon HEAD, GLOBAL DISTRIBUTION: Dorian Bühr CONTACT: dorian.buehr@studio100media.com PROGRAMS: 100% Wolf: Legend of the Moonstone: 26x22 min., CGI, comedy/adventure, 6-10; Heidi: 65x22 min., CGI, adventure, 4-8; Tip the Mouse: 104x7 min., CGI, adventure/ comedy, 2-6/preschool; Wissper: 104x7 min., CGI, comedy/adventure, 3-5/preschool; Arthur and the Minimoys: The Series: 26x24 min., CGI, adventure/fantasy, boys 5-9; Maya the Bee: 130x12 min., CGI, adventure/comedy, 4-7; Mia and me: 78x23 min., CGI/live action, fantasy/adventure, girls 6-12; Drop Dead Weird: 62x24 min., live action, comedy, 6-12; Random & Whacky: 15x24 min., live action, comedy, 6-12; Ghost Rockers: 209x12 min. & 1x92 min., live action, mystery, 8-12. “Studio 100 develops and produces all forms of content, from theatrical movies to series, in both live action and CGI animation. Created by the group’s animation studios Flying Bark Productions, Little Airplane Productions, Studio 100 Animation and Studio Isar Animation, all productions are distributed by Studio 100 Media around the world. We extend our content into children’s rooms and lives with our international licensing and merchandising programs for both our new IPs and our established brands like Maya the Bee, Heidi and Mia and me. All fans of our characters experience their beloved heroes in live shows or theme parks across Europe. For Studio 100, this is the key to touching the hearts of kids and families and successfully entertaining them around the globe.” —Dorian Bühr, Head, Global Distribution

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BRAND NEW SERIES x I

VISIT US @ MIPCOM distribution@studio100media.com www.studio100media.com

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SUNRIGHTS ADDRESS: 515 W. 20th St., New York, NY 10011, U.S.A. TELEPHONE: (1-646) 284-9801 WEBSITE: www.sunrights-inc.com PRESIDENT & CEO: Shuji “Shawn” Wada LICENSING & TV SALES DIRECTOR: Natasha Gross CONTACT: Mia Yamashiro, mia.yamashiro@sunrights-inc.com PROGRAMS: Beyblade Burst: 51x22 min., animation, boys/action, 8-13; Beyblade Burst Evolution: 51x22 min., animation, boys/action, 8-13; Beyblade Burst Turbo: 51x22 min., animation, boys/action, 8-13; Beyblade Burst Rise: 26x22 min., animation, boys/action, 8-13.

“SUNRIGHTS (soon to be ADK Emotions NY) is a New Yorkbased rights-management company specializing in bringing dynamic Japanese animated IP to the western market, including the global phenomenon Beyblade Burst. By deploying comprehensive brand-licensing, promotional and marketing strategies, SUNRIGHTS has cultivated Beyblade Burst’s presence across major broadcast channels, digital streaming platforms such as Netﬂix and YouTube and popular social media. The Beyblade Burst toy line, produced in partnership with master toy licensee Hasbro, continues to engage fans of all ages worldwide. The brand’s momentum shows no signs of slowing, with the recent acquisition of season four of the animated series, Beyblade Burst Rise, by TELETOON in Canada. Under the management of Shuji ‘Shawn’ Wada (president and CEO) and Daichi ‘David’ Wakabayahi (COO), SUNRIGHTS plans to augment the company’s existing library with fresh content and has a number of exciting projects in development for fans to look forward to.” —Corporate Communications

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in the G10* YTD July 2019, growing +22% YOY.

Source: The NPD Group / Retail Tracking Service/ G10* = US, MX, CA, AU + EU6

www.beyblade.com CONTACT: @beyblade_burst Natasha Khavin Gross TV Sales and Licensing Director @officialbeyblade natasha.gross@sunrights-inc.com

ADK GROUP

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Superights ADDRESS: 107 Ave. Parmentier, 75011 Paris, France TELEPHONE: (33) 516-500-016 WEBSITE: www.superights.net/en/ DEPUTY MANAGING DIRECTOR, SALES & ACQUISITIONS: Nathalie Pinguet SALES MANAGER: Pedro Citaristi SALES MANAGER: Jérômine Ader CONTACT: sales@superights.net PROGRAMS: That’s Joey: 52x13 min., 3D, comedy, kids; Maelys’ Mysteries: 52x13 min., 2D, adventure/comedy, kids; Pat the Dog: 141x7 min. & 10x1.5 min. & 4x22 min., 3D, comedy, kids; Helen’s Little School: 52x13 min., 3D, social development/comedy, preschool; Zibilla: 1x26 min., 2D, preschool; Ralph & The Dinosaurs: 26x5 min., 2D, edutainment, preschool; Bo Bear: 52x5 min., live action, preschool/family; The Horn Quartet: 2x26 min., 2D, kids/family; Puffin Rock: 78x7 min., 2D, ecofriendly/comedy, preschool; Clay Time: 30x3 min. & 30 live tutorials, S2 in prod., 2D, edutainment, preschool.

“Superights is a key youth-content provider for the global market with well-established partnerships on all continents from traditional TV to digital and VOD platforms, L&M, theatrical and home video. We distribute kids’ programs from high-quality producers covering all genres and demographics. We are proud to offer a premium, diversiﬁed catalog covering all demographics, genres, techniques and lengths from ﬁrst-class producers around the globe. Our three highlights for this year are That’s Joey, Maelys’ Mysteries and Zibilla. These three new programs cover all genders and ages—from preschoolers to kids, comedy and adventure to edutainment—with one thing in common for all: friendship. Superights will present many new shows this year.” —Nathalie Pinguet, Deputy Managing Director, Sales & Acquisitions

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Xilam Animation ADDRESS: 57 Boulevard de la Villette, 75010 Paris, France TELEPHONE: (33-1) 4018-7200 WEBSITE: www.xilam.com CHAIRMAN & CEO: Marc du Pontavice EXECUTIVE VP, DEVELOPMENT & GLOBAL SALES: Morgann Favennec CONTACT: mfavennec@xilam.com PROGRAMS: Lupin’s Tales: 78x7 min., 2D/3D, comedy, preschool; Moka’s Fabulous Adventures!: 78x7 min., 2D, comedy, 6-10; Coach Me If You Can: 52x13 min., 2D, comedy, 6-10; Zig & Sharko: S3 78x7 min., 2D, non-dialogue/slapstick comedy, 6-10; Athleticus: 60x2.25 min., 3D, non-dialogue/ comedy, family; Learn and Play with Paprika: 47x3 min., 2D, educational, preschool; Mr Magoo: 78x7 min., 2D, comedy, 6-10; If I Were an Animal…: 52x5 min., live action, wildlife/ documentary, 4-8/family; Oggy and the Cockroaches: 350x7 min., 2D, non-dialogue/slapstick comedy, 6-10; A New Kind of Magic: 52x13 min., 2D, comedy, 6-10.

“Xilam is one of Europe’s leading animation companies, creating, producing and distributing original children’s and family entertainment content across TV, ﬁlm and digital media platforms. Founded in 1999 by Marc du Pontavice, Xilam owns a catalog of more than 2,000 animated episodes and four feature ﬁlms. The company’s portfolio includes the multi-award-winning animated feature I Lost My Body, alongside internationally successful brands such as Oggy and the Cockroaches, Zig & Sharko, The Daltons, Mr Magoo and Paprika. Broadcast in over 190 countries on all the major TV networks and digital platforms, including YouTube with over 600 million video views monthly, Xilam’s program catalog makes the company one of the top global content providers in animation. Xilam employs more than 400 people, including 300 artists, who are based across its four studios located in Paris, Lyon and Angoulême [in France] and Ho-Chi-Minh City in Vietnam.” —Corporate Communications

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ZDF Enterprises ADDRESS: Erich-Dombrowski-Str. 1, 55127 Mainz, Germany TELEPHONE: (49) 6131-9910 WEBSITE: www.zdf-enterprises.de PRESIDENT & CEO: Fred Burcksen VP, ZDFE.JUNIOR: Peter Lang CONTACT: zdfe.junior@zdf-enterprises.de PROGRAMS: Heirs of the Night: 26x26 min., live action; Henrietta: 52x7 min., animation; Zoom, the White Dolphin: 104x12 min., animation; The Jungle Book: 156x11 min., animation; The Bureau of Magical Things: 40x25 min., live action; Ziggy and the Zoo Tram: 52x11 min., animation; #LikeMe: 13x26 min., live action; The Athena: 26x26 min., live action; The Worst Witch: 39x28 min., live action. “Our objective for MIPCOM is to offer our clients successful programs, to strengthen existing customer relationships, to acquire new partners and, of course, to successfully launch our new titles through ﬁrst sales. We have a lot of new programs in our catalog, and we are proud to present them in Cannes.” —Fred Burcksen, President & CEO

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MIPCOM stand no. P-1.L2, P-1.M1 zdf-enterprises.de

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