Kidscreen August/September 2021 by Brunico Communications

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engaging the global children’s entertainment industry

AUGUST/SEPTEMBER 2021

Reuniting at Cartoon Forum Standout projects from the Toulouse pitchfest

Content takes center stage for toycos

Breaking down new models for IP ownership

THE BEST OF EUROPEAN ANIMATION

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KIDSCREEN | August/September 2021

CONTENTS August/September 2021

12 21 30 37 28

Land ho! Silvergate Media is launching an Octonauts spinoff series that will put the characters’ feet firmly on dry land for the first time.

Wham-O is ready to slip and slide into a new era.

Toycos get serious about content based on consumer products.

moves

The List—Everything on our radar this month, from the UK kids scene to the NFT trend. screen

Creators are looking for a bigger piece of the IP ownership pie, and prodcos are stepping up to deliver. consumer products

Limited licensing deals with small toycos are giving brand owners a big advantage. tech

Kidtech companies are getting children off the couch with outdoor-play offerings.

Cartoon Forum showcases spooky stories and environmental shows.

our front cover sports an ad for 50/50 Heroes from Cyber Group Studios, while our

editorial cover features Hygge from Dreamin’ Dolphin Film, Ouros and Parka Pictures.

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KIDSCREEN | August/September 2021

Defining a better “normal” guess it’s time to wear socks again. As many of us prepare for a return to working in person, I will mourn my barefoot year. I will miss my fridge (my waistline will not). I will forever cherish my commute down the hall to my home office. But I will also celebrate being able to see my colleagues again. I will savor coffee I didn’t have to make myself. And I think I will find new enjoyment in my solo walk from transit to the office. We at Kidscreen are hoping to be back in the office at least part time starting in September, and I understand from folks in the industry that others have already started to head back. Annecy took place this summer, and fingers crossed Cartoon Forum and MIPCOM will go off without a hitch. Live-action productions have resumed in many parts of the world. These are fantastic signs. We’re not back to normal yet, but we’re getting there slowly. It’s been—and continues to be—a tumultuous time. But I hope we’re able to take some lessons from 2020/2021, and that not everything has to go back to the way it was. Buried in the ongoing franchise-versusoriginal debate is the role of creative ownership. If we want to nurture fantastic new content to balance out well-known franchises, it’s important to consider what percentage the creators of this new content should own. Broadcasters, platforms and production companies should ask what role they play in

protecting the interests of the people without whom there would be no show? We dive into some new business models that have emerged in an effort to increase the level of ownership the original creator maintains (p 21). Tech companies like DIY.org and Biba Ventures, meanwhile, are making screenbased apps and products specifically designed to get kids to put down those devices (p. 37). The pandemic trapped kids indoors, but rather than force kids to give up the technology they’ve grown to rely on, these companies are using it to encourage activity in a non-obtrusive and fun way. And hopefully there are some other practices that are here to stay. I truly don’t think mental health would have the significant spotlight it does today if it weren’t for the collective strains we all experienced during the pandemic. Hopefully, the mental health of families will be front and center as we make decisions around the work-fromhome movement. While I suspect there will be a reckoning, it’s hard to walk that change back now that it’s out there. It won’t be easy to manage, but for many employees, a truly flexible hybrid office/home experience could be life-changing. And if this year has taught the business world anything, it’s that flexibility is vital— and, importantly, possible. Need to work from home? You can do it! Disrupted market schedules? There are alternatives. Scattered teammates? You’ll make it work. As the world faces uneven re-openings, there will no doubt be more challenges. Companies are going to have to learn how to manage hybrid employees. COVID-19 isn’t beat—we’re likely moving from pandemic to endemic, something we live with and manage. And it’ll be difficult to make concrete plans in a world where every person, every business and every country is at a slightly different stage in their return to normal. We’re all in this together, but with regions re-opening at different rates, every business will become an island. And if every business is an island, you’re only as good as the people you’ve gathered on it. So be good to them—whether they’re employees, creators or vendors. Fall is a great time to take stock—what does your return to “normal” look like? How will you make it better? And do we really have to wear socks?

—Megan Haynes

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October/November 2021 • Street Date: October 9 Kidscreen.com

MOVES | August/September 2021

Post-Brexit blues It hasn’t been an easy ride for the UK animation industry since Britain left the EU in 2020. Productions lost their access to Creative Europe funding, and were later unceremoniously denied solo application entry at Cartoon Forum (though co-pros with EU members were allowed). And if that wasn’t enough, the Young Audiences Content Fund (YACF) announced in May that its budget was being cut by US$18 million for the final year of its pilot, with pundits estimating that could result in 20 fewer productions receiving support. Perhaps related to this news, YACF also had to put out a call for more shows as it didn’t have enough to fill its mandate. All of this doesn’t even take into account the start-stop nature of COVID-19 filming, but hopefully the industry can keep calm and carry on.

THE

LIST

Ten things on our radar this month

Innovation effort

What Amazon wants

Hasbro has promoted Kim Boyd to head of global brands and consumer innovation as the toymaker works to address the rapidly changing needs of its young target demo. The new role will see Boyd work across all of the company’s toy franchises and with its entertainment and digital gaming divisions.

After shelving its slate two years ago, Amazon Kids+ is hinting at its new strategic direction. The streamer’s Super Spy Ryan pickup— featuring young YouTuber Ryan Kaji—and recent series greenlights for ARPO and Blippi (pictured) point to the SVOD wanting YouTube-heavy brands with CP potential.

August/September 2021 | MOVES

Blockbuster fight

The newest SVOD battlegound is over blockbusters. Disney+, Paramount+ and HBO Max are stacking their slates with their own titles, leaving other streamers to duke it out for the rest. But a compromise has been reached—Universal’s films will first go to Peacock for an exclusive four-month window before animated movies head to Netflix and live-action films go to Amazon for 10 months.

On the clock

TikTok is taking over. New data (2019 to 2021) from analytics firm App Annie has found that Android users in the US and UK now spend more time on TikTok than YouTube. The social app’s growing popularity has caused other platforms to stop and take notice, with the head of Instagram announcing in June that the company would focus on video content moving forward.

Missing middle grade

Broadcasters have been clamoring to order more preschool shows lately—even steadfast kids channel Cartoon Network got into preschool programming for the first time earlier this year. But what has that meant for the six-to-12 crowd? It’s been largely quiet on the middle-grade greenlight front as broadcasters have ordered one, maybe two new shows for that demo in the past quarter.

Being seen

Seven-year-old Canadian author/illustrator Chryseis Knight (pictured right) just became the youngest author to be published by Penguin Random House India. And with voices like EP and writer Marley Dias (pictured left) and actor/producer Marsai Martin—both 16—stepping behind the camera, it seems there is a new wave of opportunities for (very) young creators of color.

Road to retail

The virtual collectible

All 10s

Moonbug Entertainment is armed with an AVOD-to-SVOD-to-retail strategy. Netflix picked up new CoComelon and Little Baby Bum series, while Amazon Kids+ is partnering with the company to produce preschool spinoff series ARPO Robot Babysitter with related merch set for Amazon’s retail platform.

The industry is starting to embrace nonfungible tokens (NFTs), with Mattel and Warner Bros. (Space Jam NFT pictured) rolling out digital collectibles. As more kidcos experiment with these pieces of virtual content, will kids take a pass or think they’re the “Next Fantastic Thing”?

It’s rare to get viewership data from streaming giants like Netflix, but the SVOD recently introduced a kid-specific version of its top10 feature. Available in 93 countries and updated daily, the Kids Top 10 will finally give audiences (and producers) a sense of what’s trending with the platform’s young viewers.

MOVES | August/September 2021

Kidscreen checks in on the content needs of international broadcasters. For more of this type of intel, check out our Global Pitch Guide at kidscreen.com.

TA-DAA! (Malaysia) Fara Aida Dahlan Assistant VP, international kids Looking for: Animated and live-action series or movies from comedy, action and adventure genres that appeal to kids and families. We’re also looking for co-production opportunities around new IPs with brand potential. Style: All types of animation Demographic: Families with kids ages seven to 11

Super RTL (Germany) Frank Dietz Deputy program director and head of acquisitions and co-productions

Format: Open to all formats Buying strategy: We are open to exploring different types of deals, but we’re

primarily looking at top titles or new titles with popular characters from various regions that resonate well with our family audience. We have worked with multiple international distributors—including WildBrain, Toei Animation, Moonbug, 9 Story Media Group and Bomanbridge—to acquire fully financed shows, but we are open to exploring co-productions that have brand potential, worldwide appeal and monetization opportunities. We require license deals that cover regional pay-TV and VOD rights. Recently acquired series: Dragon Force, Supa Strikas, Oddbods

Looking for: Themes with a long shelf life are preferred. Stories should be relatable to the everyday lives of our audience, with unique characters and plenty of adventure. Series with self-contained episodes—or story arcs that aren’t too serialized—work best, and content should appeal equally to girls and boys ages six to 10. Our focus is on animated series, but we also consider live-action and hybrid content. Style: Primarily CG and 2D animation Demographic: Preschool and six to 10

Sony YAY! (India) Ronojoy Chakraborty Head of programming

Format: 52 x 11 minutes, 26 x 22 minutes or

78 x seven minutes are preferred. Shorter formats are more suitable for digital only. We’re not looking for seasonal specials. Buying strategy: We operate two free-to-air

continent. We also look at programs that have had successful first runs on other broadcast platforms in the territory and have recently become available. New content currently in production can also be considered for pre-buys.

channels, SVOD and AVOD streaming platforms, websites, games, apps and a digital radio channel with music, news and audio plays. We also run an in-house consumer products agency, and therefore need a broad set of rights for all German-speaking territories. Additionally, we’re looking for non-exclusive AVOD/SVOD content for digital-only exploitation. We like to get involved at an early stage, and are open to co-development and pre-buys, but we also do straight acquisition deals for shows already in production.

Recently acquired series: Bernard Bear, Oscar’s Oasis, Horrid Henry

Recently acquired series: Idefix, Dino Ranch

Looking for: Animated TV series and movies with potential for

multi-platform storytelling and universal appeal. Content should predominantly be comedy with action, adventure and chase elements. Style: All animation styles Demographic: Six to 12 Format: 26 x 22 minutes (minimum); seven x three-minute and 12 x two-minute

shorts; and 75 minutes for long form Buying strategy: We primarily acquire satellite pay-TV rights for India and its sub-

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MOVES | August/September 2021

A fighting strategy The company behind Netflix’s The Toys That Made Us is pivoting from documenting toys to launching its own. BY: RYAN TUCHOW

he Nacelle Company is taking what it learned from making an unscripted show about toys, and using that know-how to produce a series about…well, one toy. Known for its critically acclaimed Netflix series The Toys That Made Us, the LA-based prodco acquired toy brand Robo Force from Toyfinity in June. When it came out in 1984 as a range of weapon-wielding robot figurines and a TV movie, Robo Force had all the right ingredients for success. But the rollout was quickly overshadowed by fellow bot-fighting toy brand Transformers, says Nacelle CEO Brian Volk-Weiss. And ultimately, Robo Force was defeated in the market by the might of the robots in disguise. Now, Nacelle is gearing up to jumpstart the ’80s IP again with a new show and consumer products push. The company is working on a treatment and bible for a

10-episode, all-ages animated series that’s currently in development. Details such as the series title and expected delivery date were still being finalized at press time. While the team will lean into the history of Robo Force, Nacelle plans to give the content a more modern take this time—the original TV movie focused on a good-versus-evil story, while the new series is all about a rivalry between the bots and a new group trying to steal their thunder. The prodco is using expertise it gleaned from making documentaries about the toy industry (The Toys That Made Us for Netflix and Behind The Attraction for Disney+) to fuel its launch strategy, says Volk-Weiss. Specifically, he has seen how toy brands can be galvanized to succeed through frequent releases of content and consumer products. As an example, Volk-Weiss points to Disney, which had an early flop on its hands

with Fantasia, but regularly released toys and ancillary products to turn the musical feature into a classic hit. To support the need for regular content, Nacelle has acquired Ingram Publishing and launched a podcast division so that it can build a comic book series and audio content for Robo Force. The team plans to be at Toy Fair in 2022 with a new range of products. Nacelle has also acquired other toy brands—though Volk-Weiss declined to share details—and it will follow the same strategy with them. The company’s ultimate goal is to become a one-stop shop that can create and build out its own IPs without having to wait on partners to create content, he says. “We’re going to create new mythology for the characters, populate the market with many different products, and just keep expanding these brands.”

MOVES | August/September 2021

THE BIG GIG: EVP and GM of global franchise management at Genius Brands International PREVIOUSLY: President of global franchise management at Lionsgate NEW START Marketing and brand-building veteran Kerry Phelan—who previously worked

at LEGO, DreamWorks and Lionsgate—joined Genius Brands International in July as its new head of global franchises. And she already has big plans to expand all of the prodco’s shows into major licensing and merchandising properties. Phelan is looking for CP partners for the entire GBI catalogue, including Rainbow Rangers, Stan Lee’s Superhero Kindergarten and Shaq’s Garage. “Genius Brands has the entertainment up and running. Now we want to build that affinity with new touch-points,” says Phelan. “My goal is to create 360-degree ecosystems for all of the company’s projects, and add value by building new revenue streams.” NEW STRATEGIES Working on franchises such as How to Train Your Dragon and Madagascar at DreamWorks, Phelan learned that not every property can be painted with the same licensing brush. She’s now creating unique brand plans for each Genius Brand IP. For example, superhero show Rainbow Rangers is more toyetic and may even work as a theme park attraction, whereas the financial literacy focus of Secret Millionaire’s Club would be better suited to a video game, she says. The company can also tap into some star power through partnerships with Arnold Schwarzenegger (who is co-executive producer on Superhero Kindergarten) and Shaquille O’Neal (an executive producer on Shaq’s Garage), and the team plans to lean on these names to give the licensing programs a boost, she says.

Kerry Phelan

NEW PURPOSE Phelan is also excited for the prodco to unveil the new projects it’s developing, including titles under its Stan Lee Universe brand, which features more than 100 IPs created by the comic book legend. These brands will open up even greater consumer products potential for the company, she says. “This is a full-circle moment in my career as I get back into kids content after working at Lionsgate,” says Phelan. “I’m looking forward to digging into these brands and delivering content that has a purpose and gives kids positive messages.” —Ryan Tuchow

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August/September 2021 | SCREEN

Taking ownership It’s the great debate: How much IP ownership is enough? A growing number of creators want more than the standard 5%, and several production companies have burst onto the scene promising a greater stake in order to attract talent and bring in more money. BY: ALEXANDRA WHYTE idwan Moshood—executive producer on Garbage Boy and Trash Can, Cartoon Network’s first African superhero series—assumed that as the creator, he’d own 100% of the IP. He didn’t realize that creators, especially those who are new or unknown to the industry, rarely get to own more than 5% of their brands…if they get to keep any percentage at all. But Moshood wasn’t going to take no for an answer. “I’m the creator of the show, and it’s only right for me to retain a large amount of the IP,” he says. Moshood partnered with two people who would not only help him make Garbage Boy and Trash Can, but also protect his interests. And they created a brand-new production company to do it. Under the terms of this agreement, Moshood owns 40% of all work that comes out of the newly formed Pure Garbage studio (as well as 40% of the company), while his partners— Mike de Seve, head of New York-based Baboon Animation; and Nick Wilson, founder of Johannesburg’s African Animation Network—each have a 30% stake.

Angel Studios launched crowd-funding platform Angel Funds to help creators of shows like Wingfeather maintain 100% control and ownership of their IPs

SCREEN | August/September 2021

Ridwan Moshood co-founded Pure Garbage specifically to maintain ownership of Garbage Boy and Trash Can

“The old model doesn’t work because the creator [rarely] sees a penny of that success” — Mike de Seve, Pure Garbage

It’s a win-win partnership. Without the backing of a production company, Moshood wouldn’t have been able to hold on to 40% of his concept. On the flip side, without Moshood, Wilson and de Seve wouldn’t have a show at all. “Without all three of us, we couldn’t have gotten this deal with Cartoon Network,” says de Seve. “But there’s a distasteful history of white guys milking the hell out of something that a really talented Black guy came up with, and I don’t want to be the next person to be remembered that way. This is a way for us to be three musketeers.” There are many different ways that a deal can be structured, but typically, if an independent creator pitches a concept to a production company or broadcaster, they’ll retain a 2% to 10% stake in the IP. For writers or artists, selling their concept often serves as a job interview, through which they earn the right to work on their own show. If not, they will usually get a one-time payment and may never be involved in the project again. If the show is a success, creators may see a little money through royalties, after related expenses are deducted. “The old model doesn’t work because the creator [rarely] sees a penny of that success,” says de Seve. “People are getting rich—just not the person who made it all happen.” The argument from production companies has long been that they need to retain a large percentage of IP ownership because the margins on animation are so small. Without that larger cut, they might as well stick to service work. More recently, commissioning broadcasters and streamers have argued they should own 100% because they’re covering the majority of the production budget and distributing the series on their platforms. But in the kids space, a growing number of prodcos are unhappy with the old ownership model, and even more unhappy about completely handing over their creations to buyers.

Whether to attract top talent, edge out competitors or more thoroughly engage audiences, companies like Pure Garbage, Sow You, Angel Studios and The Co-Production Company have made it their priority to keep as much IP ownership in the hands of creators as possible. Giving up ownership is a young man’s game, says Doug Schwalbe, a long-time DreamWorks vet who launched his venture The Co-Production Company in March. To build relationships early in a career, it might make sense for creators to sign away their stake in exchange for US$10,000 to US$15,000 to work on spec. But with more than 30 years in the industry, it’s not something Schwalbe is interested in doing—and he certainly wouldn’t advise any of the creators he works with to do so either. Schwalbe’s proposition is a 50/50 split with creators, through which he’ll help polish the pitch package and scripts, and do the legwork to find a co-production partner to help with financing, tax breaks and production. (But just one partner—any more would dilute the ownership pie.) This means most creators working with Schwalbe keep roughly 25% of their IP. Rather than chase a broadcast or platform commission, his goal is to bring a fully financed and well-developed pitch to the table. By focusing on an acquisitions model, Schwalbe and the creator can keep their stake. Owning the IP means greater interest from investors for future projects, Schwalbe adds. And it also means that as an executive producer, even when his fees get squeezed—which they will—he still gets paid. Irish production company Sow You, meanwhile, gives its creators a 30% to 50% stake in their IPs. But there’s a catch—they need to be heavily involved throughout the entire process. The expectation is that the creator will stay on board through development and (if greenlit) production to ensure the show is infused with their specific voice and style.

SCREEN | August/September 2021

Sow You gives creators a 30% to 50% stake in their IPs, so long as they agree to be heavily involved

The model is a point of differentiation for the year-old prodco, and is so integral to their company ethos that the founders refer to it as their “North Star.” “We couldn’t offer somebody 5% to 10% because we’re saying, ‘We need you, this is your voice. We have to have you. You’re an integral part of this,’” says Sow You co-founder Chris Dicker. “There are a limited number of creators we can work with, [and] we want to make sure that it’s a partnership—not just a ‘give us your kids, and see you later’ type of scenario.” Sow You is so serious about the need for the full involvement of creators that it recently turned down a great pitch from a well-known kids content creator because, ultimately, the person wasn’t willing to be involved. Even though it occasionally means losing out on big-name talent, this approach gives Sow You a competitive advantage, says co-founder John Reynolds. The prodco can offer a truly “creator-driven show”—something many buyers like Cartoon Network and Netflix have said they’re looking for. But Dicker adds that it’s important there’s an upside for the creator as well. Owning 50% of their IPs acts as an insurance policy so that, regardless of what happens with the deals, creators get paid.

And if a buyer comes in and is willing to pay for the whole production in exchange for 100% ownership, that’s OK, too. “Any upside from the IP, we’ll both share,” says Reynolds. “We know that sometimes shows get bought out, but if it does, we’ll share that equally.” Angel Studios, meanwhile, wants its creators to retain 100% control and ownership over their shows, and it built the crowd-funding platform Angel Funds to deliver on that promise. Chris Wall, a former DreamWorks and VeggieTales producer, used Angel Funds to raise US$5 million in 20 days. That money fully financed six x 30-minute animated series Wingfeather, Angel Studios’ first original kids show. Produced by Wall’s shingle Shining Isle Productions, the series is for kids ages 12 and up, and will be distributed on a branded Wingfeather app as well as Angel Studios’ smart TV app. Like crowdfunding sites before it, investors get a reward—in this case, a share of Shining Isle’s subsidiary production company Toothy Cow. The model means that while Angel Studios hosts the series, it doesn’t have to put up any money for production, and instead makes revenue from the distribution.

Wall says this type of model really only works if a creator wants to be heavily involved in their show. “For content creators who just want to sell a concept and walk away, this is not a good fit,” says Wall. “But for creators who want to have a relationship with their audience, and have them engaged and excited—that’s who this is for.” In turn, Angel Studios CEO Neal Harmon says viewers get a better show because the creator is accountable to the viewers, who are also investors. And that means more of a financial reward for them if/when the content pays off down the line. While none of these production companies know whether their models will result in long-term success or change the industry in some fundamental way, they’re willing to give it a try. At the very least, they hope other studios will have to match their models to compete for talent, forcing some incremental change in the way IP ownership is allocated. “As the creator, you [should] be part of the exploitation of your original concept for the duration of your life,” says Pure Garbage’s Wilson. “The cornerstone of a truly sustainable career in the media industry is not just participation in the creative economy; it’s ownership of your original ideas.”

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August/September 2021 | SCREEN

An early peek at shows on the development track 6 to 11

Twende PRODUCERS: Braintrust (UK), Mind’s Eye Creative (South Africa) STYLE: 2D animation FORMAT: 13 x 11 minutes BUDGET: US$1.8 million STATUS: A bible and pilot episode are complete. The producers are looking for broadcast presales and global distribution. Negotiations with buyers are underway. DELIVERY: TBD

Set in a fictional East African city, this adventure-comedy tags along with a laidback boda boda driver who happens to be a pangolin—the slowest-moving animal on the savanna. In a job that requires speed, the show’s titular hero often requires help from his best friend, a speedy bird. The project is executive produced by creators Charlie and Regan Maas, along with Braintrust’s Sam Bank and Hélène Sifre. South African animation directors Mike Scott and Kayla Archer have been enlisted as co-creators, and they brought on Kenyan Kwame Nyong’o to co-executive produce and Mind’s Eye to do the animation.

Beat World: Legend of the Beat Master PRODUCER: Confidential Creative (US) STYLE: 2D animation FORMAT: 52 x 11 minutes BUDGET: US$1 million per episode STATUS: A pitch deck is completed. The producers are looking to bring in a high-level writer or showrunner of color, as well as setting up a diverse writers room. DELIVERY: 2023 6 to 12

With creative musical direction from American musician, producer and former American Idol judge Randy Jackson, this series inspires kids to broaden their musical interests, and features everything from K-Pop to Latin tunes. Hero Dre embarks on a mission to become the youngestever champion of the prestigious Beat World competition in this project created and produced by Andrew Seth Cohen and Ryan Kieffer of Confidential Creative. Additional producers include Jackson, Kate Schumaecker and Lucas Banker.

CONSUMER PRODUCTS | August/September 2021

Tech-focused Tonies has lent its unique audio system to giants such as Disney and Hasbro

Small partners, big gains Limited licensing agreements with start-ups and small companies are giving brand owners a huge advantage. BY: ELIZABETH FOSTER veryone loves a David and Goliath story. We all root for the underdog—especially when that underdog is scrappy and smart. But sometimes, instead of battling it out, the little guy and the giant team up. And that’s when the real magic happens. From access to emerging technologies to a chance to connect with a growing demographic, when it comes to doing limited deals with big brand owners, even the smallest toycos can offer some major advantages.

Tonies is a screen-free audio system that lets kids ages three and up listen to music and stories. By placing different figurines on a sensor on top of these smart speakers, children can unlock new content. The product first launched in Europe five years ago, and the tech company behind it, which has 327 employees, has since inked deals with Disney, Hasbro and Universal. While Tonies can’t offer an extensive CP program spanning several different

categories, the company can provide access to its unique technology. “We approached Disney [in 2017], and it took some education from our team to help them see how we could bring their wellknown characters to life in a new way. But once it clicked, Disney is such a forwardthinking company that it realized—maybe even more than we did—the potential of this technology,” says Christoph Frehsee, president of Tonies US.

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CONSUMER PRODUCTS | August/September 2021

In fact, it was the team at Disney that encouraged Tonies to expand into the US in 2020. The partners inked a deal in 2019 for IPs like The Little Mermaid, The Lion King and The Jungle Book, and the agreement was expanded this year to include additional SKUs in the US inspired by Monsters Inc., Aladdin, Frozen, Cinderella and Toy Story. Collaborating with a company as big as Disney certainly has its complications, though. Frehsee says there was a steep learning curve

the world of sports, with a specific focus on professional athletes and the Olympics. For Dr. Seuss Enterprises, the ability to reach new fanbases is a major motivation for inking smaller or limited licensing agreement with up-and-coming companies. Home of massive evergreen brands like The Cat in the Hat and The Grinch, Seuss reaches teachers, parents and young children on an ongoing basis. But when it comes to a slightly older demo, the company relies on smaller licensees and

Supreme has its own language with the teen and young adult demo, and by partnering with the company, Seuss was able to capitalize on Supreme’s cultural currency. That partnership taught the Seuss team that the fastest way to build trust with demographics it doesn’t normally or naturally reach through its traditional CP program is to partner with companies that are already entrenched, says Brandt. “We know we need to appeal to tweens, teens and adults to stay relevant,” she says.

“We know we need to appeal to tweens, teens and adults to stay relevant.” — Susan Brandt, Dr. Seuss Enterprises

Seuss has partnered with puzzle maker Liberty to attract older demos with its classic characters

when it came to the legal aspects of the partnership. Tonies even had to bring on extra legal expertise—not just to help the team fully understand all of the intricacies of the agreement, but also to handle the sheer volume of documents. “Smaller partners with less experience might not understand everything that goes into Disney when it launches something as simple as a water bottle—let alone something new and unique,” Frehsee says. “On the other hand, Disney might overestimate the capabilities of a small company’s legal department to comprehend and deal with hundreds of pages of documents.” Tonies also has agreements in place with the likes of Hasbro (Peppa Pig), Penguin Random House (Peter Rabbit) and Universal (Despicable Me). Moving forward, the company hopes to expand its reach even further by getting into

start-ups to help it connect with different audiences, says president Susan Brandt. Most recently, Seuss partnered with the 88-person team at Canadian apparel company tentree to launch a collaboration for kids and adults inspired by The Lorax in December 2020. A second collection is set to hit shelves later this year. The IP owner’s most significant limited partnership to date, however, was with New York-based streetwear brand Supreme in 2018. Supreme itself isn’t necessarily a boutique company—it was valued at US$1 billion when it was purchased by a private equity firm in 2017. But its licensing deal with Seuss was limited in terms of the number of SKUs available, and the fact that it was a one-time offering, making the items all that more covetable—the company’s Cat in the Hat sweater, for example, sold out in minutes.

Like Seuss, Sesame Workshop has pursued niche companies for licensing agreements and has also been pitched deals by these smaller manufacturers. For Sesame, tapping into the network of a tiny toyco is key because those companies—while small in the grand scheme of licensing—are often giants in their specific ecosystems. “When you think about those companies, they’re a big deal for that demographic, which makes the collaboration incredibly relevant to those consumers,” says Gabriela Arenas, Sesame’s VP of licensing in North America. “Part of the appeal in those agreements is that Sesame then becomes big for that demographic.” Take, for example, the company’s recent licensing agreement with three-year-old start-up Glo. In 2018, the 27-person Glo team launched a range of colorful cubes

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that light up when they come into contact with liquid, and quickly learned that the brand was especially popular among children with autism. To further connect with that audience, Glo Pals’ partnership with Sesame features Elmo and Julia, the first Muppet with autism. For these limited partnerships to succeed, Arenas says it’s not enough to simply let the toymaker apply fan-favorite characters to their products—both the item and the brand need to be properly spotlighted in a way that appeals to the target audience. “The deal needs to be something that not only aligns with our values, but also resonates with their consumers,” she says. “If the offering doesn’t connect with their fans and their expectations, the collaboration won’t resonate with them.” A new partnership with inclusive play company PunkinFutz introduced Sesame Street characters to a line of products and accessories designed to support kids with a broad range of physical, sensory, development and emotional needs. Targeting ages three and up, the items include a calming compression vest, a wheelchair bag and a fidget set.

Sesame’s licensing deals with PunkinFutz and Glo give the IP owner access to niche markets

Instead of just slapping a photo of Cookie Monster on the compression vest, the partners created a set of character patches that attach to the clothing using Velcro that kids can use to express their emotions. With only seven employees, PunkinFutz can’t provide the same minimum guarantee (an advance payment) that a larger manufacturer would, but it does provide insight into its target audience that allowed Sesame to launch a product that helps the nonprofit truly connect with—and become beloved by—specific demographics. So while these licensing partnerships are small, they are significant. Not just because they allow big brand owners like Sesame Workshop to establish themselves as authorities in niche markets, but also because even the most limited licensing deals can lead to longer-term deals. “It’s not just about opportunities within that specific demographic or that specific product line; it’s also about opportunities for other products [that may result from developing demos],” Arenas says. “Companies we work with for limited lines could become partners for years to come.”

August/September 2021 | CONSUMER PRODUCTS

Double Wham-O The toyco is expanding its classic brands with a one-two punch of content and consumer products.

BY: ELIZABETH FOSTER et out the garden hose because Wham-O is ready to slip and slide onto shelves with a host of new consumer products. The California-based toyco is working exclusively with licensing agent Anjar & Becker Associates to expand its classic toys—including Slip ‘N Slide, Hula Hoop and Frisbee—into 360-degree brands. The first phase of this strategy is focused on categories that will complement the origins of Wham-O’s many outdoor toys, and

it follows a period of massive growth for the category. US sales of outdoor and sports toys increased by 28% in 2020 to US$5.35 billion, according to Statista. “There’s a natural evolution,” says Becker Associates CEO Patti Becker about the plan. First, an agreement was inked with Jazwares to produce a line of pet toys (including balls, discs, tug toys and plush) that’s set to launch in fall 2022. Next, Wham-O signed a deal with Winning Moves for a spring 2022 range of retro-style toys inspired by the first versions of Frisbee, Hula Hoop, Super Ball, Hacky Sack, Slip ‘N Slide, Trac-Ball and Boogie Board. Upcoming licensing efforts will target categories that can build on these SKUs, like athletic apparel and sneakers. From there, the next steps will see Wham-O branch out even further into categories like crafts and DIY items. With the new products comes new content, starting with an unscripted effort. The company partnered with nonfiction prodco Critical Content in October 2020 to develop and create TV shows inspired by its brand portfolio. The first offering—Ultimate Slip

‘N Slide for NBC—is a reality competition series that sees participants pitted against each other on a massive obstacle course. It was scheduled to premiere in August following the Olympics, but production was paused in June, reportedly for health reasons. And then in July, it was reported that the show had been further delayed. Because Anjar & Becker Associates only signed on as Wham-O’s licensing agent in March 2021, there are no products tied directly to Ultimate Slip ‘N Slide that will be affected by the postponed broadcast launch. Becker does say, however, that connected consumer products programs will be a focus for content deals moving forward. “We are looking for partners for additional series inspired by the other brands,” she says. “We’re looking to get into scripted content as well.” The traditional narratives and new characters that may be introduced in scripted content open up an entirely new world as far as licensing goes, she says. This would allow Wham-O to move more easily into categories like dolls and action figures, further expanding the reach of its brands. Becker says Frisbee, Hula Hoop and Hacky Sack are all priorities moving forward as the toymaker and its licensing agency look to ink more deals. And when it comes to finding future licensing partners, whether for stand-alone items or consumer products related to content, Becker says Wham-O is looking for manufacturers with that certain je ne sais quoi. “There is a gut feeling you get,” she says. “While different companies will be the right fit for different products, for some of those partnerships, it’s about accessing certain spaces [whether it’s a retail setting or a new territory] in order to carry the brand forward and grow.”

CONSUMER PRODUCTS | August/September 2021

Product trends on the road to retail

Brand boosters Chris Byrne, president of Byrne Communications, explores the partnerships between kids properties and vitamin producers to see which companies are jumping on the bandwagon, and whether or not children will think these collabs are a tough pill to swallow.

SPONGEBOB SQUAREPANTS MASHA AND THE BEAR VITAMINS In May, Turkish vitamin manufacturer Kampotu partnered with Animaccord to launch a range of products inspired by the animated series Masha and the Bear. The line includes vitamins, minerals, food supplements and fish oil. In an effort to appeal to as wide a range of kids (and their parents) as possible, the vitamins are available as liquid syrups, soft gel capsules, chewable tablets and gummies. MINERALS Supplements for children have been around for decades—perhaps the most famous example, Flintstones Vitamins, hit shelves in 1968. A renewed focus on health during the pandemic has seen a number of kids brands partner with vitamin manufacturers recently. But skepticism is also on the rise as the focus on wellness has led to a better understanding of nutrition, Byrne says. And this means licensed products need to be so high-quality that they’d be worth purchasing even if they weren’t branded with a popular kids IP.

HEALTH “For years, the whole pre-

sumption was that kids wouldn’t take vitamins unless we made it fun,” says Byrne. “And from a licensing standpoint, why not? It’s incremental revenue.” However, he notes the Flintstones chewable tablet vitamins that dominated the category for so long were shaped like the show’s titular characters, while recent offerings are often of the gummy variety and therefore can’t resemble cartoon characters as closely. As a result, Byrne says the packaging for these products becomes more important to catch the eye of kids and convince parents of their worth. WELLNESS Late last year, UK-based nutraceutical manufacturer ParkAcre partnered with Nickelodeon to launch a line of vitamins inspired by PAW Patrol and SpongeBob SquarePants. In addition to chewable vitamins, the range also includes a multi-vitamin fizzy drink. These products target kids as young as two and as old as 13, and they are all vegetarianand vegan-approved, as well as glutenand lactose-free.

WILD KRATTS ORGANIC One of the more estab-

lished kid-focused vitamin offerings on shelves comes from Whole Foods Markets, which partnered with PBS KIDS show Wild Kratts to launch multivitamin gummies back in 2016. The vitamins are part of a larger health and wellness range from the partners, which also includes organic snacks like crackers. And while the line is licensed, the packaging highlights the show’s focus on animals and the environment. NATURAL Of the recent kid-focused vitamin launches, Byrne says this Wild Kratts approach makes the most sense because the educational, nature-focused brand easily lends itself to the health-based category. “That’s one where the brand image marries well with wellness,” he says. “If you’re going to put your brand on something that will be scrutinized by consumers the way vitamins are, you want to make sure it adds to your brand, and doesn’t make people question it.”

August/September 2021 | TECH

Connected outdoors As children choose tech over traditional toys and parents crave active play, there’s a perfect storm for kidtech companies to get families outside with new gadgets and content. BY: RYAN TUCHOW

TECH | August/September 2021

ids have been spending a lot of time on screens and playing by themselves during the pandemic. As families remained locked down, many looked outside to cope—in 2020, there was a surge in sales for outdoors and sports toys, which generated around US$5.35 billion, according to Statista. But while outdoor play has, for some, been an important respite, not every family has access to these activities. A 2020 study from the International Journal of Behavioural

2017, according to the NPD Group. But tech continues to make gains, with average weekly screen time among kids growing 11% between October 2019 and October 2020, according to research firm Dubit. And when the pandemic hit, screen time took off—the number of kids ages two to 12 playing games on their phones climbed 9% last year. Kidtech companies like DIY.org, Flycatcher and Biba Ventures see an opportunity in all the market analytics. As kids increasingly

are aimed at preschoolers. These sensorequipped playthings guide children on mini scavenger hunts, tasking them with goals like finding something red or identifying different shapes. They’re meant to get kids outside, make learning playful, and differentiate each play experience, says Chen. Flycatcher is expanding on its efforts to tech-ify the outdoors with the smART STIX Engineer Kit, which launches this month. The toy workbench comes complete with tools

favor tech-enabled play, and parents want them to spend more time off the couch, why not use technology to get children outside? So far, the strategy is working, says Shay Chen, CEO of Tel Aviv-based Flycatcher. The company focuses on blending tech with toys to make its products more engaging, and getting kids outdoors is a new priority. Flycatcher’s first outdoor-focused products —Smarty JOJO airplane and Smarty FLUTTER butterfly toys—launched in summer 2020 and

and gear that kids ages eight and up can use to bend rods and create new objects—like a helicopter—to play with outside. Families want outdoor play and learning, and products that tap into both desires are really appealing right now, Chen says. “Kids are running to screens partly because they see their parents are always on their phones. We want to expose kids to everything, not just devices.” Giving kids toys that can be used outside is one way to get them off the couch.

Biba Ventures partners with brands like Hotel Transylvania to help kids connect with fanfavorite characters while outside

Nutrition and Physical Activity found that fewer than 5% of Canadian kids were meeting their daily movement guidelines. And in the US, more than half (54%) of parents with children ages five to eight reported that their kids were exercising less during the pandemic, according to a 2020 report from LA-based USC’s Keck School of Medicine. Overall toy usage, meanwhile, has been decreasing. US toy sales clocked in at US$20.9 billion in 2019, which was down from US$21.6 billion in 2018 and US$22 million in

August/September 2021 | TECH

But India-based kidtech company DIY.org is turning the passive act of watching videos into an outdoor adventure. The US$7.99-amonth educational subscription service offers content on topics like poetry, animation and growing organic food. Its virtual classrooms and camps feature 3,000 live and pre-recorded tutorials, with a focus on getting kids to put into practice what they’ve learned outside. DIY.org gamifies the experience by giving kids challenges, like taking a picture of themselves planting a tree, to share with others. It may seem counterintuitive to motivate five- to 15-year-olds to go outside by having them watch a video on a small screen, but the tutorials are short, says Tripti Ahuja, co-founder of DIY.org parentco Kyt Technologies. And the rest of kids’ time is spent doing the tasks themselves, she says. Kyt acquired DIY.org in February and plans to create more content about nature through partnerships with other prodcos. Since launching earlier this year, DIY.org has attracted more than 700,000 users worldwide. Looking ahead, the company will focus on partnering with schools to supplement in-class learning. As part of its growth strategy, and based on demand from parents looking to get their kids active, DIY.org made its content free for the summer. “There are all sorts of kids interested in learning about the outdoors,” says Ahuja. “We’re plugging in more environmental content to get them exploring nature and encourage them to do more of that learning offline.”

Flycatcher’s Smarty JOJO airplane toy blends basic education with active play

Biba Ventures uses AR to turn a park outing into a story-driven adventure

Beyond new toys and content, there are also opportunities to make familiar outdoor locations more engaging. Vancouver-based Biba Ventures, for example, uses AR to get kids to visit their local playgrounds. The free Biba Playground Games mobile app adds new elements to the play structures that kids ages three to nine are familiar with, turning them into a suite of games—such as scavenger hunts for familiar characters (à la Pokémon Go) or obstacle course-like challenges. Parents share the game instructions with their kids, and though they do occasionally interact with the screen, kids spend the the majority of their time with the app offline and being active. While the games themselves can be played with any equipment, Biba also offers sensors

that park owners can install to unlock additional games and content. Even before the pandemic, kids were accustomed to spending playtime on their devices at home, so when parents brought them to the playground they’d get bored and want to head home after only a few minutes, says Matt Toner, CEO of Biba Ventures. Parents tried combating this by turning trips into events, bringing toys and snacks to extend the play time. By leaning on children’s expectations that tech will be part of the play experience, Biba is able to make their time at a park more storydriven. says Toner. Giving kids characters and missions they can interact with keeps them playing longer and gets them more active. Playgrounds are also an untapped opportunity for kids IP owners, he adds. The company has partnered with brands such as Hotel Transylvania and Teletubbies to create new licensed apps, giving kids branded activities and games they can do while at the jungle gym. Looking to get more kids playing outside, the company is in talks with a Canadian public broadcaster to create an animated series featuring its characters. The show will focus on getting kids outside by teaching them the value of their local playgrounds and encouraging them to exercise with their families. “There’s a growing demand from parents, kids and the industry for content that provides physical literacy and gets kids excited about going outdoors,” says Toner. “Outdoor spaces like playgrounds have long been social spaces, and as the pandemic eases, we’re going to see kids and families return to them.”

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August/September 2021 | FEATURE

Playtime

IS OVER Toymakers are getting serious about content inspired by their products, focusing on deeper stories and new genres in an effort to entice a wider audience. BY: ELIZABETH FOSTER Hasbro is launching content inspired by toy brands including My Little Pony, Transformers and its games portfolio

ovies and series inspired by toys haven’t always had the best reputation. The term “glorified commercial” might come to mind. And after several years of influencer-focused unboxing videos on platforms like YouTube and TikTok, many in the larger entertainment industry still might consider toy-focused content to be distinctly lowbrow. Today, however, toymakers are focusing on high-quality, family-friendly content that attracts an audience far beyond the target demographics of their products. Mattel, for one, is launching a slate of new series that appeal to parents just as much as children. The LA-based toyco has a long history of launching content based on hit toy brands such as Barbie and Hot Wheels. But moving forward, Mattel is looking to lesser-known properties for inspiration, and focusing on unscripted formats to attract a larger audience. Case in point: Mattel is developing a reality show based on the classic carnival and arcade game Whac-A-Mole. The

series will see opposing teams fight to eliminate each other in challenges that feature life-sized Whac-A-Moles, races and obstacles courses. Another unscripted series from the toymaker is inspired by its card game UNO—this reality competition show pits four teams against each other in rounds of physical challenges and trivia. While Barbie naturally suggests a focus on fashion and the racing theme of Hot Wheels easily translates on screen, games like UNO and Whac-A-Mole don’t have such obvious storylines. As a result, the Mattel team was free to explore a variety of different themes and styles in its upcoming slate. The decision to focus on live-action content, meanwhile, signals a shift away from solely kid-focused fare and a concentration on formats that encourage co-viewing. But these new content offerings also open up possibilities for connected consumer products programs featuring categories that might not traditionally be considered a natural fit for, say, a board game brand. Turning UNO into a competition series, for example, could help the property

FEATURE | August/September 2021

expand into activity or outdoor items. This is especially important because, while market research firm The NPD Group reported that US toy sales grew by 16% to US$25.1 billion in 2020, licensed toys underperformed during that same period. US toy industry dollar volume for the heavily licensed action figures category, for example, increased by 9.2% in 2019, but dropped by 3.2% in 2020. MGA Entertainment, for one, is leveraging its upcoming feature film L.O.L. Surprise! The Movie to expand its hit collectibles range into new categories. The 45-minute, mixed-media adventure movie stars a live-action girl who finds herself in the dolls’ CG-animated world. It’s set to hit Netflix in Englishspeaking territories in October before rolling out more broadly in November. “This is the first time the dolls have personalities and talk,” says Anne Parducci, MGA’s chief content officer. “I don’t know if people realize, but L.O.L. launched with unboxing videos, and then we moved into stop-motion content, and those

Sunny Days Entertainment’s series Honey Bee Acres marks the first content offering based on one of its consumer products properties

characters spoke through emojis. We’ve done voiceover before, but we’ve never given the characters a voice in this way.” Previous L.O.L. content was designed strictly to spotlight the newest available products, but the film is a traditional movie with a full-fledged story, complex characters and genuine conflicts with real stakes. The animation is being handled by Pixel Zoo, an Australian studio that has also done work for Sesame Street and previously partnered with MGA on short-form content. By focusing on building an elaborate plot rather than simply showing off new SKUs, the movie will actually help the collectibles brand explore new themes and expand into additional categories. For example, L.O.L. Surprise! The Movie is all about the making of a movie—a film within a film—and that inspired an upcoming movie set playset. “The entertainment and the upcoming product line are all very integrated,” Parducci says. The target age demo for the L.O.L. toy line is six to 11, but the film is aging up to reach the six to 14 range. Bringing in these new fans will further bolster the toymaker’s efforts to expand into new categories that appeal to older kids. Similarly, South Carolina-headquartered Sunny Days Entertainment is looking to leverage new content in an effort to grow its audience. The toyco developed a 3D-animated series inspired by its new Honey Bee Acres brand in an effort to build a fanbase beyond the initial toy range’s preschool focus. The Honey Bee Acres collectibles line—which hits shelves this month—targets kids ages three and older, and features small dolls, playsets and vehicles. Moving forward, Sunny Days plans to expand the brand into additional categories that will appeal to older kids—including plush and DIY. Before that happens, though, the toymaker is launching a family-friendly YouTube series (eight x two minutes) inspired by the products. The first episodes will focus on introducing characters and highlighting the first toy offerings, but brand manager Lori Rotter says the rest of the episodes focus on world-building and will include more complicated themes like family dynamics and the importance of community. The long-term strategy is to pull in older children and encourage co-viewing with parents. “Traditionally, content comes out before products. A show becomes popular and then inspires a consumer products range, and that means there’s awareness of who these characters are before products hit the shelves,” Rotter says. “Alternatively, toys would come out and then, once the brand was entrenched in the market, content would follow.” But Sunny Days worked to produce episodes that will launch in September—just weeks after the Honey Bee Acres toys hit shelves—in the hopes that each branch will feed off the other. For example, one episode sees the power go out at the Honey Bee Acres farmhouse, forcing the heroes to use a jar of fireflies as a flashlight. Fireflies in a jar would make for an adorable toy, Rotter says, and that could be a SKU that would help expand the product line beyond the range’s initial focus on small doll collectibles

August/September 2021 | FEATURE

The entertainment and the upcoming product line are all VERY INTEGRATED —Anne Parducci, MGA Entertainment The L.O.L. Surprise! movie marks the first time the brand’s dolls have been given a traditional voice or storyline

into categories that will attract older kids. The plan is for the series to continue to grow, and eventually, Sunny Days has hopes for full-length episodes with a broadcast partner. This is a first for the toyco and its production and animation partner Rotter Creative Group, which in the past has focused on advertising and integrated marketing. But high demand for new shows and heightened expectations from both kids and parents means toymakers need to step up their game when it comes to content. And Rotter says Sunny Days is looking to companies like Mattel for inspiration as it works to build its entertainment business. But even for toymakers with a long history of launching content—both on TV and in theaters—this recent wave of content inspired by consumer products brands feels like a new endeavor. Hasbro is famous for its toy-inspired content, with decades worth of TV shows and movies based on brands like G.I. Joe, Transformers and My Little Pony. In fact, each of these properties currently boasts a new content offering— the newest G.I. Joe movie Snake Eyes hit theaters in July; there are two animated Transformers shows in the works; and Netflix recently picked up global rights to premiere the movie My Little Pony: A New Generation in September. While the original G.I. Joe series was created specifically to target kids and highlight new toy offerings, Hasbro’s modern entertainment business has been distinctly family-focused. And in 2019, the toymaker acquired Entertainment One to deepen its commitment to this strategy, appointing the team as its global entertainment arm with responsibility for content and distribution. The company’s film and television teams are focused on building entire universes for brands with rich narratives and beloved characters, says Olivier Dumont, eOne’s president of family brands. For example, eOne is partnering with Nickelodeon to co-produce an action-focused animated series that will introduce new Transformers species, while simultaneously working

with Netflix on a comedy toon inspired by the Transformers offshoot BotBots. Both shows will contribute to the brand’s overall content strategy and will pull in different subsets of the property’s fanbase, as will upcoming films like Transformers: Rise of the Beasts and the Bumblebee sequel. The fantasyfocused tabletop roleplaying game Dungeons & Dragons is set to get a similar treatment after it posted significant growth in fiscal 2020. In addition to launching new content based on evergreen brands, Hasbro is also working to take advantage of toy properties that haven’t traditionally inspired series or movies. eOne is currently developing non-scripted shows based on Easy Bake, Operation, Life, Monopoly, Battleship, Snakes and Ladders, Play-Doh, Lincoln Logs, Mouse Trap and Trivial Pursuit. The majority of these projects already have a network on board, though Dumont declined to identify these partners or share details about the timing of the launches. With more than 200 film and television projects in development spanning 30 different brands, Hasbro announced plans earlier this year to produce two or three major motion pictures and three or four TV series by 2023. The announcement came just before the toyco’s Q1 2021 fiscal report, which revealed that its entertainment segment had declined by 32% to US$218.7 million during the quarter as many theaters continued to be affected by shutdowns related to the pandemic. The US has since reported strong box-office returns for several films, though, and focusing on family-friendly content is a sure way to pack cinemas with more customers. “We are continuing to lean into our omni-channel storytelling strategy in 2021 and 2022,” Dumont says. And whether the content in question is destined for YouTube, a broadcaster or the big screen, toymakers are striving to create shows and films that will appeal to as wide an audience as possible. That means multiple takes on the same property, unscripted content, and a focus on stories over selling specific SKUs, he says. And in the end, “it all comes back to storytelling.”

FEATURE | August/September 2021

6 to 11

CARTOON FORUM GETS LIVELY With the annual pitch fest in Toulouse returning to a live-event format this fall, its reunited attendees will have a fresh batch of kids projects to check out together, including a number of spooky tales and an environmental series featuring a lovable compost monster. BY: JEREMY DICKSON

Me and My Compost Producers: Vivement Lundi! (France), Superprod (France) Style: 2D animation Format: 52 x 11 minutes Budget: US$7.6 million Status: A bible and several episode synopses and scripts are finished, and a teaser will be completed for the festival. Delivery is planned for late 2023.

Environmental activists Jérémie Pichon and Bénédicte Moret created a practical and humorous guide called Zero Waste Family and companion kids book Zen Children Zero Waste to help families reduce their daily environmental footprint. Writer Cédric Stéphan and director Lionel François are bringing these French publications to screen in a series about a six-year-old girl who teams up with her older brother and an eco-friendly monster to save the planet, one zero-waste quest at a time.

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