Kidscreen October 2020 by Brunico Communications

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Future today Meet the kids of 2022

Broadcasters take the diversity lead Cool New Shows on the horizon

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KIDSCREEN | October 2020

Vivement Lundi! hits the mat with a new series.

16 October 2020

MOVES The List—Everything from royal production deals to the Powerpuff Girls is on our radar this month.

SCREEN Broadcasters are pushing producers to step up to the plate when it comes to diversity. Is it enough?

CONSUMER PRODUCTS Copycat products are taking over, forcing toymakers and retailers to get creative.

TECH COVID-19 has sparked a sudden rise in virtual education—can kidtech companies make the grade?

Special Reports

MEET THE KIDS OF 2022 If children’s content takes 18 months to get to screen, experts investigate what creators need to know today about the kids of tomorrow.

COOL NEW SHOWS The most magical new kids shows feature time travel, royalty and witchcraft.

Life in plastic is fantastic for OddBod Creations.

It’s a slam dunk for Rock Hill’s new content deal.

Be Amazing! Toys cracks the collectibles category.

COVER Our front cover sports an ad for Mediatoon’s Kid Lucky, while our editorial cover features an image from One Animation’s Future Bros.

KIDS 3-5 52 x 5’

KIDS 3-5 80 x 11’

KIDSCREEN | October 2020

FROM THE EDITOR

Facing reality ori Peek studies disasters. She literally wrote the book on Hurricane Katrina’s impact on kids. And make no mistake, the current pandemic is a disaster that will have a huge impact on how children grow up. COVID-19 is already affecting the way kids see themselves. A recent Smarty Pants survey found that children are less likely to describe themselves as brave (down 7% year over year), cool (down 6%) or funny (down 12%). Kids are more likely to report being anxious. They are concerned about the future. They are bored. They are not OK. And it’s OK that they aren’t OK. Even the least studious kids miss being at school. They’ve likely grown apart from some friends, even as they’ve grown closer to their families. They may feel like their parents, many of whom are struggling to balance work and parenting and teaching, don’t have enough time for them. Like adults, they mourn their pre-pandemic lives. We can’t just gloss over these missed milestones and experiences—however small we may think they are. This month, we wanted to dig into how 2020 will shape kids’ lives for years to come. So we went to

the researchers, who in turn went to kids. (Check out our full Kids of 2022 report on p. 51.) On a positive note, kids are almost certainly going to be fine. They’ll likely pull through this with more independence and resilience than previous generations. They will learn that their contributions matter (clean your hands to keep the family safe). They will learn not to take little moments with friends for granted (you never know when you’ll need to go back to Zoom-only playdates). They will learn how to roll with the punches, and that being flexible about future plans is a good way to go through life. And the pandemic, like past pandemics, will eventually fade into the background as we (hopefully) move past the scary risks to global health. Before that happens, however, Peek urges us to remember that disasters are a mirror held up to society—inequality in a pandemic is a reflection of systemic problems. We’re seeing this play out in real time as kids shift to online education, and many BIPOC and lower-income kids struggle to access digital learning (for more about how edtech companies are trying to make content more accessible to all, check out p. 46). We are also seeing this play out in kids’ home lives—BIPOC parents are most likely to

say they can’t work from home; and so they may be feeling the effects of COVID-19 more deeply. More broadly, kids need help coping with…well, all of this. Kids are seeking escapism. Some are turning to nurturing new talents and pursuits, picking up hobbies like cooking and knitting. And the kids industry will likely find a treasure trove of touchpoints to connect with their audience on these topics. But I also hope we don’t shy away from some tougher issues. Kids have lost family members. They have mourned milestones like graduations. They have become isolated. Some kids have fallen behind in school, and some will take years to catch back up to their peers. Content can play a role in helping children process that grief and inequality. As we look forward, it might be easy to say, “Two years from now, kids won’t want to hear about COVID-19…and forget masks!” But this has been a transformative event in kids’ lives (in some cases unifying, and in some cases divisive). I hope we respect them enough to understand that it can, and should, play a part in the stories we tell because kids don’t just need escapism, they need a dose of reality, too.

—Megan Haynes OCTOBER 2020 • VOLUME 24, ISSUE 5 | KIDSCREEN.COM VP & PUBLISHER Jocelyn Christie jchristie@brunico.com EDITORIAL EDITOR & CONTENT DIRECTOR Megan Haynes mhaynes@brunico.com FEATURES & SPECIAL PROJECTS EDITOR Jeremy Dickson jdickson@brunico.com COPY CHIEF & SPECIAL REPORTS EDITOR Elizabeth Foster efoster@brunico.com NEWS & SOCIAL MEDIA EDITOR Alexandra Whyte awhyte@brunico.com ONLINE WRITER Ryan Tuchow rtuchow@brunico.com WRITERS & CONTRIBUTORS Tiffany Aguilar (Provedence), Julie Baran (New York City), Lisa Dracolakis (LA), Johanna Faigelman (Toronto), Cathy Gallant (LA), Jordana Gilman (New York City), David Kleeman (Washington), Adam Woodgate (Leeds) BUSINESS DEVELOPMENT AND ADVERTISING SALES – (416) 408-2300 or 1-800-KID-4512 CREATIVE

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Watch for the next issue of

February/March 2021 | Street Date: February 7

The List 10 things on our radar this month

Oscars not so white?

Digital-first recognition

As part of its ongoing diversity initiative, the Academy Awards announced new inclusion thresholds for films vying for Best Picture at the 2024 ceremony. On the surface, the changes seem like a step in the right direction, but the move has come under fire for not going far enough—particularly with a standard that can be met if 30% of a film’s crew are filled by non-white individuals. For movies with massive animation teams, the threshold may not do much for representation.

Change on top

It may have felt like the world came to a standstill earlier this year, but hires, promotions and new endeavors don’t stop for anything—not even a pandemic. Case in point: WarnerMedia and Nickelodeon are getting some new studio leadership. At Cartoon Network, Warner Bros. Animation president Sam Register took over as president of CN Studios, while Rob Sorcher stepped down to focus on an overall production deal with WB TV Group. Meanwhile, Amy Friedman has taken on Sorcher’s programming responsibilities on an interim basis. And in the world of Nick, Ramsey Naito (pictured) has been promoted to president of Nickelodeon Animation, charged with overseeing the network’s animated content across all formats. These significant shifts come as both companies place more of an emphasis on streaming and having original content for their respective platforms.

The new movie-going experience is here. After a dry

spring and summer on the theater scene, the Annie Awards rolled with the punches and changed its eligibility requirements for Best Feature and Best Indie Feature to include digital releases. And while this is definitely a result of the pandemic pause on new films, the Annies made the change on a permanent basis moving forward. Will other awards follow suit?

October 2020 | MOVES

Hands-on, online

Pass the popcorn

Mistakes by Maddie

Greener pastures

A new recipe

Sleigh bells are ringing, and the holiday season is here. While more parents are shopping online, retailers are working to maintain some of that in-store magic digitally. Walmart launched its Wonder Lab to allow kids to play with toys online, while IKEA is using a virtual influencer to demonstrate products for one of its Japanese locations.

It’s the battle of the big (and slightly less big) screens. Chains like Cineplex and AMC are reopening locations as moviegoers debate whether they feel safe enough to return. For those looking to stay at home, Disney is focusing on premium VOD options for tentpole releases. Mulan bowed last month for Disney+ subscribers at US$29.99.

The kids are not alright

From COVID-19 to climate change to global protests against systemic racism, kids have plenty to be worried out about right now. According to new research from Smarty Pants, 11% of kids ages six to 12 say they feel stressed out or overwhelmed, while one in 10 feels scared or worried. And it’s having an impact on their sense of self: The number of kids who describe themselves as funny or silly dropped 12% year over year.

They say imitation is the sincerest form of flattery, but it’s also the quickest way to get pulled off the air. Silvergate was all set to premiere its new show Made by Maddie on Nickelodeon, but several people noticed similarities to the Oscar-winning Hair Love (including the short’s director). As a result, Nick paused the launch.

It has been a year like no other in terms of executive reorgs, and industry vets are stepping away from the companies they founded. Andrew Kerr and Irene Weibel recently left their prodco Sutikki after the arrival of new investors, while Fred Seibert is set to exit Frederator and parent company Wow! Unlimited.

The royal we Netflix is putting on its best fascinator and prepping

for tea by way of a new production deal with Prince Harry and Meghan Markle. The Duke and Duchess of Sussex will produce content including scripted shows, factual fare, features and (cue the trumpet!) children’s and family programming. Now that they’re parents, the couple said they’re looking for powerful storytelling through a relatable lens.

Forget sugar, spice and everything nice because the CW is bringing back Cartoon Network’s Powerpuff Girls series with a gritty, live-action, YA twist. The reboot joins the ranks of a number of new projects making a bid to tap into fan nostalgia. But will the brand’s new aged-up recipe be sweet or sour?

MOVES | October 2020

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

Unanico China Distribution (UK) Jian Luo VP of business/sales distribution Looking for: Animated TV series and movies that families in Asian countries will relate to in terms of cultural content and sense of humor. We’re seeking action-adventure, mystery, coming-of-age drama and preschool educational programming. Style: 2D, CG, hybrid animation Demographic: All age groups, with a focus on upper preschool, eight- to 12-year-olds and family content Format: 26 x 11 minutes, 52 x 11 minutes or 26 x five minutes Buying strategy: We primarily look at shows that are fully financed, and we remain open to exploring a wide range of budgets. All major digital platforms and TV channels in China are our focus, but we also have connections in Japan and South Korea. Both non-exclusive and exclusive AVOD and SVOD deals are acceptable. Recently acquired series: Buddi, Koala Brothers, Apple Tree House

ZDF Enterprises (Germany) Arne Lohmann VP of ZDFE.junior Looking for: Animation and live-action series with brand potential. These can be existing IPs or newly created content. Style: We co-produce about 25 shows every year, so we don’t focus on a particular style. Demographic: Preschool, upper preschool, eight- to 12-year-olds and families Format: 52 x 12 minutes, 26 x 26 minutes Buying strategy: We prefer to be involved at an early stage when we co-develop with our partners, and mainly look for projects with strong brand potential. In terms of co-development, we work with all European countries, including Germany, France, Italy, Spain, the UK and Benelux, as well as other global territories like Australia, India and Japan. Projects don’t need to be fully financed, but if the content is exceptional, we will spend more. And depending on the partners involved, we will secure exclusive and non-exclusive AVOD and SVOD rights. Recently acquired series: Heirs of the Night, Space Nova, Zoom—The White Dolphin

PGS Entertainment (France) Hannah Dubcoff VP of acquisitions Looking for: Animated brands with potential for multiplatform storytelling and worldwide appeal. We pick up a limited number of IPs each year—one or two—to ensure each receives the dedication and focus required for proper nurturing. We’re not fixed on specific, predetermined genres. Style: All animation styles Demographic: Preschool up to age 12 Format: Open to many formats Buying strategy: As a partner to creatives, producers and rights owners, we provide development input, financing and international brand management, and can participate at any or all of these stages. With Alvinnn!!! & the Chipmunks, for example, our involvement is limited to financing and distribution. On Gus the Itsy Bitsy Knight, however, we worked on the merchandizing and commercial aspects of the IP at an early stage, which led directly to a partnership between Technicolor, PGS and Mattel for a toy strategy. Recently acquired series: Moominvalley, The Dragon Prince, Cracke

MOVES | October 2020

Getting in the ring Vivement Lundi! is diving into Mexican culture, a new style of animation and a target demo it hasn’t talked to for awhile to make a show that’s a real knockout.

ivement Lundi!—the French studio behind Oscar-nominated short Mémorable—is lining up a stop-motion/ 2D hybrid series inspired by the iconic sport of lucha libre freestyle wrestling, marking a number of firsts for the company. After taking audiences to Africa with its preschool series Dimitri, the studio is preparing to highlight the popular Mexican spectacle with Super-Lucha (55 x 12 minutes), an adventure series for six to 10s about

four friends who don luchadore wrestling costumes to, well, kick some evil butt. Vivement has spent the past decade creating stop-motion series for kids that are educational and slower-paced, but wanted to prove that the medium can be more fast-paced and flexible than audiences realize, says producer Mathieu Courtois. In came the art of lucha libre. Unlike US wrestling, which focuses on powerful strikes and pins, lucha libre is defined by aerial maneuvers, colorful

costumes and masks that must never come off. This form of wrestling has been popular in Mexico since the 1930s, and in 2018 the Mexico City government granted the sport “cultural heritage” status, highlighting its long-standing importance to the country’s identity. Super-Lucha blends stop motion with 2D animation (primarily focusing on eyes and lips in post-production) to make the characters more expressive, Courtois says. The technique isn’t one the studio has tried before, but it allows the team to get around a few limitations of its preferred medium. “We specialize in stop motion—and don’t want to change that—but it is hard to produce action with it,” says Courtois. “Adding in the 2D animation, while telling a story about fighters, helps us create a more bankable product because all the movement makes it more exciting. Visually, it also matches with the colorful graphic style [traditionally used to] portray the luchadores in comics and anime, which inspired our show’s look.” The action sequences also give the producer an opportunity to expand beyond the preschool demo, which has been its primary focus for the past 10 years, says Courtois. Co-created and directed by Goulwen Merret, Super-Lucha marks the Mexican-born animator’s first show. This is also the first time Vivement Lundi! has tackled a project based on Mexican culture, and it is leaning on Merret’s knowledge of luchadores and his home country to keep the story authentic, Courtois adds. With a series budget of around US$8.5 million, the producer has completed a bible, and a script is in the works. “Mexico and the culture of luchadores is not something many kids in France, or around the world, will know about, which makes this fresh and exciting,” Courtois says. —Ryan Tuchow

Lorem Ipsum

MOVES | October 2020

What we can’t get enough of right now!

Joana Klaus Kids content specialist for Globoplay PREVIOUSLY: Original content coordinator for Gloob and Gloobinho A NEW FOCUS Brazilian network Globosat has spent the past few months restructuring to become a more consumer-focused company, and it tapped veteran content coordinator Joana Klaus to head up its kid-specific streaming efforts. In her newly created role, she’s leading the charge on gathering existing IPs and finding new brands to build Globosat’s streaming service, Globoplay. The streamer has grown quickly—with more than 22 million monthly visitors in Latin America, it expanded internationally for the first time in January with its US launch. Now Klaus is on the hunt for content across target demos (kids ages six to 12, in particular) that covers a variety of formats and styles. “At Gloob [Globosat’s generalist pay-TV channel], I had the opportunity to work with the programming team. I developed a look for kids content, and gradually [learned] the needs of each target,” says Klaus. “It’s important to pick products that boost kids’ imagination and that can help them learn about diversity, empathy, equality and self-love.” CHANGING IT UP Globosat is looking to take the streaming wars by storm with Globoplay, she adds. The freemium streamer released nine originals (primarily for adults) in 2019, and had plans for double that in 2020. While there are no specific targets for kids originals yet, Klaus is looking forward to bringing all her previous experience at the network, which has included content analysis and production roles, to bear on growing the streamer’s kid-focused offerings. GOING GLOBAL Klaus previously oversaw the development of shows for Globosat’s channels, including ZAG’s Miraculous: Tales of Ladybug and Cat Noir and Power Players. Moving forward, she plans to expand the genres and formats that the streamer is picking up to better engage kids while making a more global product. “It’s exciting to follow the work of creators and producers from all over the world, and be in touch with different views, strategies and techniques.” —Ryan Tuchow

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I’m howling for Apple’s first animated feature film Wolfwalkers from Cartoon Saloon, which premiered at the socially distanced TIFF this year.

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Sinking Ship’s COVID-19 mystery series Lockdown is a binge-worthy blend of suspense and the feelings that come from being isolated in a pandemic.

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October 2020 | SCREEN

Nick launched The Twisted Timeline of Sammy & Raj in India with its regional affiliate

The onus of diversity Children’s broadcasters have been trying to improve diversity and inclusion at their own companies for decades. But in the wake of this summer’s fresh wave of Black Lives Matter protests, many are seeking ways to do more, asking external partners to step up to the plate or risk losing out on future work. BY: ALEXANDRA WHYTE

2016, Libbie Doherty was sitting in the audience at Kidscreen Summit listening to keynote speaker Geena Davis when she realized that she, as the commissioning editor for ABC Kids Australia, had to take a hard look at her slate. When she laid out each show on air and in the pipe, she realized the lineup had fallen behind on many fronts. With Davis emphasizing female parity, Doherty first looked at ABC’s representation of girls on screen and realized the pubcaster wasn’t doing enough. She scrapped a few ideas and ended up greenlighting others, including Mustangs FC, a dramedy about an all-girl soccer team. Following a wave of Black Lives Matter protests this summer, Doherty (who is now head of kids for ABC Australia) is once again reflecting on her lineup. And she is not alone. Many broadcasters have recognized that while their slates have improved on the gender-representation front, the content—and the teams behind it—are still pretty white. “Be more diverse or get left behind” is the message broadcasters are sending in the wake of George Floyd’s death and the ensuing protests. Some have put in place new policies, quotas and contract clauses—like ViacomCBS UK, which has a

new “no diversity, no commission” policy. Others, like Canadian broadcaster Corus Entertainment, are trying to build a larger pool of talent from the ground up. And ABC Australia has mandated that marginalized voices need to be in charge of their own stories. As a signatory on a Truth and Reconciliation agreement with Australia’s Indigenous people, ABC is contractually obligated to ensure their stories have an Indigenous person in a position of authority over the story, such as a writer, director, producer or showrunner (often called “authorship”). When the producer is new to kids TV, ABC pairs them with a seasoned production company to get the show made. It’s an important step: More than 90% of Hollywood showrunners are white (and a vast majority of those are men), according to nonprofit civil rights advocacy organization Color of Change. Making matters worse, roughly twothirds of those white showrunners don’t employ any Black people at all. Few, if any, stats exist around the number of Indigenous series leads. “But Indigenous content is just amazing content,” says Doherty. “In the past, people would have put it in a niche bucket.”

One such show is Grace Beside Me, which the broadcaster ordered for ABC ME in 2018 from Magpie Pictures. This adaptation of an award-winning novel follows a 13-year-old who discovers she can see ghosts. Author Sue McPherson is Indigenous and developed the series and wrote two episodes. Dena Curtis, also Indigenous, served as a creative producer and pitched in on development. The show also had several Indigenous writers and an Indigenous director. Doherty had hoped to fill the director’s chair with an all-Indigenous team, but many people they approached were in high demand, and as a result the role has gone largely to the nonIndigenous population. “Until we had exhausted all efforts, though, we wouldn’t have considered other people,” says Doherty. Colleen Russo Johnson, co-founder of Toronto’s Ryerson Children’s Media Lab, says while it’s great that Doherty tried, kids content commissioners need to “try harder.” And they also need to back their policies up with funds. “It’s great to think that people would do this because they have a moral obligation, but at the end of the day this is a business, and people are going to follow the money in order to make content,” says Russo Johnson.

SCREEN | October 2020

Kids TV has been having this conversation around inclusion for some time, and while much has changed for programming and scheduling, it’s still not reflective of this generation of kids, Russo Johnson adds. Broadcasters need to set rules to promote diversity on both ends—codified into contracts. Otherwise, she worries everyone will give up when it gets tough to find talent. “At the end of the day, almost everyone has good intentions and would love to have diversity. There’s a million reasons that hold them back from doing so,” she says, “It’s hard because there are not as many people available in those [senior] roles, which speaks to a larger problem.” As broadcasters wake up to the need for more BIPOC talent behind the camera and in the boardroom, finding and elevating marginalized voices is a challenge. Canadian broadcaster Corus (parentco to Nelvana and Kids Can Press), for example, has committed that 50% of the cast for some of its tentpole unscripted series will be Black, Indigenous or people of color. But the company has had issues finding talent with the experience required to lead a show off screen, says EVP of content Colin Bohm. “It’s hard to get experience [on] large-scale dramas because there aren’t that many written in Canada,” he says. “We need to continue to make it a priority to give people those breaks that they need.” When few shows are made, it becomes even harder for marginalized voices to be heard, since key roles often go to known entities or people broadcasters have previously worked with…who more often than not are white. It’s a circular issue: To hire BIPOC talent, they need experience. But to get experience, they need to be hired. And BIPOC creators face challenges in gaining this seniority from the get-go. A study published in

Toon Bops is working with an Indigenous composer collective

Administrative Science Quarterly found that companies are more than twice as likely to call minority applicants for interviews if they submit “whitened” resumés (usually swapping out an ethnically specific name for a “white-sounding” one). The report found this discriminatory practice is just as common for businesses that claim to value diversity as those that don’t. For Corus Kids, there are some more changes happening in order to help build that talent from the ground up. Nelvana’s development team is actively looking for stories from Black creators, along the lines of its co-production with Sesame Workshop, Esme & Roy. Nelvana is also working with Nagamo, an Indigenous composer collective, to create music for the second season of Toon Bops, its musical shorts on YouTube. Since Corus fills much of its kids lineup with Nickelodeon and Cartoon Network pick-ups, it

can’t control behind-the-scenes representation on those shows, says Bohm. But he’s willing to accept responsibility for the role Corus plays in its own greenlights. “You can give guidance and instructions to outside producers in terms of the properties and projects you’re looking for,” says Bohm. “But it’s not until you start to really insist and be more proactive in terms of casting, writer choices and key creative decisions that you really start to make an impact.” Kay Benbow—former controller at CBeebies and now a children’s media consultant on shows like Moon & Me and Ella and Sir Whoopsalot— agrees that broadcasters can play a big role in finding new talent, but she says they don’t always try hard enough to do so. Some barriers aren’t rocket science, either. For example, there’s a standing expectation that creatives should come and pitch broadcasters

SCREEN | October 2020

during their office hours, but Benbow points out many BIPOC writers, directors and producers have full-time jobs to support their creative endeavors. If broadcasters are serious about increasing representation on and off screen, then they need to make greater efforts to meet talent on the talent’s terms. Having been a broadcaster herself, Benbow knows it’s a huge challenge to find good shows with the right voices in a short amount of time, delivered on budget. But this is actually where a broadcaster’s power lies. Commissioners hold the purse strings and are able to insist that producers take time and money to focus on promoting diversity, she says. She also emphasizes that once you get new voices in the room, it’s not the end of the story. Execs need to make sure they’re being heard.

Grace Beside Me is part of ABC’s focus on diversity

“It’s not just about who shouts the loudest; it’s about which companies are building in opportunities,” says Benbow. “And if a [production] company says, ‘This is what we’re going to do [to bring in diverse talent], but it’s going to take a bit longer,’ then the broadcaster needs to take a risk and back them.” Following this summer’s Black Lives Matter protests, ViacomCBS UK was perhaps the most outspoken, saying, “No diversity, no commission.” That is to say, diversity should be included in all aspects, from “how you make it, to what your content idea is, and all of the things that go along with that process,” says Nina Hahn, SVP of production and development for ViacomCBS International Media Networks. Hahn says the UK team wants to take this messaging even further, extending the policy into the development phase as well. There are a lot more diversity and inclusion policies coming for VIMN, she adds, but there can’t just be one blanket policy across the entire network. Instead, the ViacomCBS team is trying to be as specific as possible in each territory. For example, in the US it’s focusing on Black Lives Matter with programming like Kids, Race and Unity: A Nick News Special. In India, Nickelodeon International partnered with its regional affiliate for the first time on The Twisted Timeline of Sammy & Raj. And in Australia, the team is looking for Indigenous-fronted shows. Hahn admits that while Nickelodeon has been focused on diversity and inclusion for some time, it could do better at promoting that same message to external production partners. “The idea is to raise your game,” says Hahn. “Each person in that [deal]—the producer and the broadcaster—takes on the role of making a better D&I representation than it’s been before.”

Keith Dawkins is no stranger to Nickelodeon’s work in the D&I space. He started at Viacom in 2000, departing in 2017 as EVP of NickToons and TeenNick. He says the entire time he was at Nickelodeon, diversity was a part of the conversation both internally and externally. But he says the kids space has a long way to go overall, especially globally. “When you go to industry events, you don’t see a lot of visible diversity at the big companies— the producers, distributors and creators of kids content in the marketplace around the globe,” Dawkins says. The only way to fix this issue, he adds, is for broadcasters to use a stronger guiding hand and force prodcos to bake in diversity and inclusion both on screen and off, throughout all levels of production. ViacomCBS UK’s new policy is a step in the right direction, but it’s still just a first (small) step. There are a lot of producers who will keep the status quo as long as they can still get a greenlight—even if it means forgoing diverse characters and storylines, says Dawkins. But audiences are paying attention to what broadcasters are doing now, he points out, which means they can’t just pay lip service anymore. Instead, the people with buying power are putting press releases and financials on the line. As this shift in perspective permeates the industry, ABC’s Doherty is excited for what the future holds. “It’s time to open it up anyways, because otherwise things get stale,” she says. “It’s beholden on broadcasters to lead. And it’s also important for production companies to selfreflect because they’re constructing the creative leadership on the projects they bring in. It’s a shared responsibility.”

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Saddle up for a wild ride and head to the best playground in the Wild West!

SCREEN | October 2020

Creating clay kingdoms OddBod Creations is inventing its own style of animation, blending claymation and CG to create a more cost-efficient show that retains the iconic plasticine aesthetic. BY: ALEXANDRA WHYTE

haotic is an apt description for OddBod Creations’ first full-length series, Chaos Castle. And this new project feels timely in such a crazy year on a couple of levels. Moniker aside, the 26 x 11-minute preschool show stars an adventure-seeking girl who is stuck having escapades within the confines of her own home. And it takes place in an ever-expanding castle, where new creations and rooms appear at random. Creators Chris Roe and Andy Simmons were banking on a big presentation at Cartoon Forum to debut Chaos Castle, but stuck in the UK due to COVID-19, the project was pitched on the event’s virtual stage instead. This isn’t a regular stop-motion or CG show. Chaos Castle is made using a blended style that circumnavigates the most expensive and timeconsuming limitations of each style. Everything—from set pieces to characters—is made out of plasticine, with flat backs and 3D textured fronts. Photographed from all angles, the

images are loaded into software, which then uses a technique called photogrammetry to animate the series. “You can get things from your imagination onto the screen really quickly,” says creative director Roe. “It also allows us to be more experimental with character design.” This process removes the CG step of having to rig, composite and create all of the characters and set pieces, which can be expensive. It also cuts down on the amount of time, money and space it takes to film a stop-motion series, which would often require hundreds of versions of characters that need to be positioned individually to achieve movement. “You’ve got to be realistic, and doing stop motion takes a lot of time and a lot of money,” says Simmons, OddBod’s managing director. “Using our method, you get the look of stop motion, but we get the ease and the speed of doing a lot of it using CG.”

OddBod maintained some traditional claymation techniques, primarily to capture close-up expressions and character transformations. Simmons says there’s no direct comparison for how much the show would have cost if it had been completely stop motion, though he adds the series likely wouldn’t have been made because it would have been price-prohibitive. Moving to a fully CG series also wouldn’t have been feasible, he says, adding that the aesthetic would have been lost. OddBod Creations is looking for financing to finish the show and a CG partner to handle the animation. Even though it is looking for partners, the prodco plans on maintaining complete control over a few key portions of the process. “We’ve got this cabinet in the studio that’s beautifully laid out with all of the different shades of plasticine, and we’re quite protective of it,” says Simmons about the roughly 220 pounds of plasticine the studio purchased online. “We don’t like people going into that cupboard.”

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SCREEN | October 2020

Credit: NBPA

An inclusive slam dunk Rock Hill and the NBPA team up to create content that taps into kids’ love of sports and the growing demand for diverse stories with commercial appeal. content deals were basketball plays, Rock Hill Media Ventures’ partnership with the National Basketball Players Association (NBPA) has the makings of a slam dunk. The media and social impact company—led by former Nickelodeon exec Keith Dawkins—has inked an agreement with the labor union of the NBA to

bring its players into the kids and family entertainment space. Through the NBPA, New York-based Rock Hill now has access to all 450 athletes represented by the union, including Giannis Antetokounmpo from the Milwaukee Bucks (last year’s NBA MVP) and veteran superstar LeBron James of the Los Angeles Lakers.

Dawkins, Rock Hill’s founder and CEO, is overseeing the strategy alongside Christina Norman, head of content for the NBPA’s licensing and business development division, THINK450. Though the partnership is new, Dawkins has known Norman since her days at Viacom running MTV and VH1 in the 2000s. Dawkins himself is well-versed in the world of sports. He launched the Nickelodeon Sports content and marketing initiative while at Viacom, and later became CEO of nonprofit youth development org The First Tee. Since founding Rock Hill in 2018, he has inked content deals with Believe Entertainment (Dear Basketball, The LeBrons) and former NFLer and children’s author Rashad Jennings. Rock Hill’s deal with the NBPA is unique because it’s the first one where NBA players won’t have to be secured through their individual representatives. Players will still be able to secure their own deals outside of the agreement (think LeBron James’s producer credit on Warner Bros.’ upcoming Space Jam sequel), but this won’t limit Rock Hill’s player outreach strategy. “We are hoping the strength of our relationship [with the NBPA] will help elevate opportunities and engage players who might have never considered the kids market,” he says. Though outreach has begun, details around prospective talent, new IPs and partners are under wraps for now. Dawkins adds that the co-venture is ripe for opportunities in animated and live-action content for preschoolers and six- to 11-year-olds. As for concepts that address racial justice and the Black Lives Matter movement—of which the NBA has been a vocal supporter—Dawkins says they could potentially explore the issues in kidappropriate ways. “There’s a strong diversity and inclusion component to the partnership because we’ll be establishing opportunities for creators of color and bringing new voices to the marketplace,” he says. There’s been growing demand for inclusive and diverse stories, Dawkins adds, as well as a huge opportunity in international markets—and NBA players are primed to fill it. More than 80% of NBA players are BIPOC, according to the Institute for Ethics and Diversity in Sport (compared to only 40% of Major League Baseball athletes), and nearly 25% of the league’s players were born outside the US. Dawkins adds that today’s NBA athletes are also more engaged with kids content, making their relatability to youngsters that much stronger. “Today’s generation either grew up as super-fans of the Nickelodeons, Cartoon Networks and Disneys of the world, or they now have kids of their own engaging with the same type of content,” he says. So far, Dawkins says the partnership has been well received by the industry, and plans are in motion to bring some new IPs into the marketplace next year. “Whatever opportunity we can unearth together, we will,” he says. —Jeremy Dickson

Emmy-nominated Brazilian hit comedy!

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SCREEN | October 2020

Plato, meet Gen Alpha Seeing a gap in the market, Maki Media is taking a chance on a philosophy-based show to get tweens excited about critical thinking. a tree falls in a TikTok video, does it make a sound? Philosophy probably isn’t a favorite school subject for most kids, but an emerging company from Montreal is out to prove that critical thinking can be just as fun for tweens as making funny videos. Maki Media was co-founded a year and a half ago by Madeleine Levesque and Dominique Mendel to create animated and live-action content for kids and adults. Levesque previously worked as VP of content at Sardine Productions and as director of original content at Teletoon, while Mendel served as VP of production for both Spectra Animation and Echo Media. When the partners were thinking about concepts that could challenge and entertain kids, they turned to the idea of a French-language show built around one of their favorite academic disciplines—philosophy. “To me, philosophy is like mental hygiene or exercise for the brain,” says Levesque. She and Mendel knew it would be a tough sell to kids and broadcasters, but they saw a gap in the market for philosophy-based shows and pushed forward anyways. “It’s not the first thing people think about in terms of screen-based content for kids—it’s quite cerebral. But we liked the challenge of trying to

make a philosophical show that would appeal to nine- to 12-year-olds.” The result of that thought puzzle is Pâte Philo, a 13 x half-hour live-action and animated series for French-Canadian pubcaster TFO. To make the show engaging, Mendel and Levesque developed a multi-format concept. The first part of each episode features a 10-minute sketch in three acts. Each act finishes on an open-ended note to make the case that nothing is as black and white as it may first seem. The second portion of each episode will provide reality-show testimonials inviting in real students to react at the end of each act. “What they may have thought about act one will no doubt change by act two,” says Levesque. To illustrate the concept, she says an act could end with a person stealing food from a store, which the kids might say is bad. “The second act could then pivot to show that the person stole to help feed their kids, which could trigger much different reactions from the students.” The third portion switches to a roundtable discussion on the episode’s theme. “But we will not moralize, stigmatize or in any way convey that anyone has a higher moral ground,” Levesque says. To create the roundtable dynamic for the audience, special guests who embody the theme

through personal experiences may be included, as well as physical games or activities. Pâte Philo will also use animated clips to act as counterpoints. “Animation is a good way to add humor to sometimes dark subjects, plus we want to keep things modern, funny and youthful,” says Levesque, adding that Maki is currently looking for an animation partner. Though the themes are being finalized, Levesque and Mendel say they will stem from standard philosophical streams, adapted and expressed in a way that’s kid friendly. They also took inspiration from the curriculum of Professor Matthew Lipman, who is widely recognized as the founder of the Philosophy for Children movement. And despite their concerns about broadcaster interest, Levesque says when they presented the idea to TFO, the pubcaster was quick to sign a development deal. Quebec studio Prestigo Media will handle the live-action elements, and the show is expected to begin production in spring 2021. “Surprisingly, we did not have trouble selling it, which shows the timing is right to tackle this subject,” says Levesque. “In times when opinions are so polarized, understanding nuance, developing discussion and listening skills, and being open to new ideas are as important as they are fun.” —Jeremy Dickson

SEASON 3 IN PRODUCTION! 156 X 11 minutes

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Tencent Kids Original

October 2020 | CONSUMER PRODUCTS

Knock it off With huge increases in online shopping complicating the fight against counterfeiters, toymakers have to get creative when it comes to taking down copycat products. BY: ELIZABETH FOSTER

ave you ever been scouring the internet for something—that hot new doll your kid just has to have—only to find a fake? It’s similar, but something about the doll is just off. Her face isn’t quite right, her hair is slightly strange, and—now that you look a little closer—you realize the listing isn’t actually the brand name you were searching for, but something incredibly similar. Counterfeit toys have long been a problem, but in recent months the issue has come to a head as consumers have embraced online shopping more fully. Amazon paved the way for companies to sell directly to consumers through its Marketplace functionality, later replicated by other retailers like Walmart, which hosts third-party sellers. While many third-party vendors are on the up-and-up, the convenience of opening these digital storefronts—combined with the legitimacy that big names like Amazon and Walmart provide—created an entire ecosystem for knockoff products. And the toy market, which is characterized by kids’ demand for newness and price-conscious parents, is particularly susceptible to those peddling cheap counterfeits. According to Barcelona-based brand protection partner Red Points, revenue generated from counterfeit toys reached US$32.3 billion in the US and US$44.6 billion in Europe last year. And concern around knockoff toys has only grown in recent months with the pandemic and

Knockoffs take advantage of the demand around viral toys like Hatchimals

CONSUMER PRODUCTS | October 2020

store closures accelerating consumers’ move to digital retail. As COVID-19 has shifted parental shopping online, toycos, distributors and retailers are being forced to find new ways to stop these copycats in their tracks.

The toymaker It’s crucial to crack down on counterfeiters because not only do knockoff toys damage the reputation of a brand, but they can be incredibly dangerous, says Chris Harrs, Spin Master’s EVP and general counsel. “These toys probably haven’t gone through any testing. E-commerce platforms need to [start] requiring third-party vendors to produce proof that these items have gone through the requisite testing [that brick-and-mortar retailers require]. These items are just going straight into consumers’ hands,” Harrs says. In recent years, children have been hospitalized due to everything from knockoff hoverboards that exploded

Spin Master catches thousands of copycats targeting its brands each month

while charging, to counterfeit construction sets that came apart to reveal tiny magnets. Spin Master has received its fair share of complaints from customers about counterfeit items that turned out to be choking or fire hazards. “They tell us, ‘Your product caught on fire!’ And we have to explain that it wasn’t our product.” Spin Master struggles with so many knockoffs, Harrs says, because the Toronto-based toymaker focuses on innovative technology (such as Hatchimals), and counterfeiters love to take advantage of the viral sensation of a new hit toy. “Hatchimals was the top gift for Christmas a few years in a row, and we had trouble supplying the market,” he says. “That’s when counterfeiters jump in to fill the void. With PAW Patrol, I probably shut down 2,000 to 3,000 counterfeit sellers in a month. The problem is that when you shut one down, it pops up again. The potential market size has grown, and we’ve had to adapt the way we fight.”

Knockoff products using a protected trademark (like PAW Patrol) are relatively easy to have removed from online retail platforms, Harrs says. Things become more complicated, however, when products that look identical to PAW Patrol are labelled something like “Dogs on Patrol.” In that case, Spin Master must prove copyright infringement, and it can be incredibly difficult to get online retailers to remove a knockoff product on that basis. Even more difficult, Harrs says, is trying to enforce a patent. “No one else ever had a toy hatch out of an egg like Hatchimals—it’s unique, and I have a patent for it,” he explains. “But to try and prove to an e-commerce site that someone is infringing on your patent—it’s too technical a discussion. For someone knocking off Hatchimals, it really has to use the name or look exactly like our product for me to stop them. If it just utilizes the technology, I’m not going to be able to stop that online sale.” One particularly effective method against knockoffs, Harrs says, is working with a legal team in the US to sue multiple counterfeiters (as many as 150 at once) for a temporary restraining order. The restraining order freezes accounts and payment mechanisms, he explains, which hits the infringers where it hurts—their bottom lines. Because these third-party vendors are often selling knockoffs of multiple brands, profit from all of those items (and not just those related to PAW Patrol) is frozen. “They don’t want to go to court because it’s too expensive, and so we end up settling. We take 90% [of the profit] and give 10% back, and now they want nothing to do with PAW Patrol because they don’t want their accounts frozen again. These temporary restraining orders are becoming very popular in the US.” One significant obstacle in the company’s fight, however, is the fact that the majority of online retailers have very little information on third-party sellers, says Harrs. These independent vendors offer a variety of merchandise, which can be new, used or refurbished. The companies often develop cheap versions of existing products, using poor-quality materials to undercut the original’s price. These counterfeiters can operate anywhere in the world and sell their products globally. Counterfeiters can also buy their way into consumers’ Google searches—a vendor selling knockoff Hatchimals, for example, might buy the “Hatchimals” search term so that consumers Googling a product will be directed to the knockoff instead. And because third-party sellers aren’t subject to the same scrutiny as wholesalers, counterfeiters can open up a new account and begin selling the same product within a few days after being removed for infringement. CONTINUED ON PAGE 38

Thanks to these great names for helping us make our name!

With a market share in excess of 19%* among kids aged 2 to 11, we’ll always be there to help grow their popularity.

*Source: Numeris, InfosysTV, 2019–20 season, September 9, 2019, to August 16, 2020 (49 weeks; last 2 weeks preliminary data). Télé-Québec youth programming time slots: Monday–Friday 6 a.m. to 11:30 a.m. and 3:30 to 7 p.m., Saturday 6 a.m. to noon, Sunday 6 a.m. to 2 p.m.

CONSUMER PRODUCTS | October 2020

CONTINUED FROM PAGE 34

The retailer While the pandemic has only compounded this issue for toymakers, it’s a problem that online retailers like Amazon have been living with for awhile. Of the US$2.7 trillion in imports processed in 2019, the US Customs and Border Protection Office of Trade seized more than US$1.5 billion in goods through intellectual property rights enforcement. Amazon has a number of programs—like Brand Registry, Transparency and Project Zero—to combat the issue. These program broadly give IP owners the means to detect and report suspected infringement, arming items with unique codes that can be used to verify authenticity, or making it easier to report counterfeited items for removal. In June, Amazon established its Counterfeit Crimes Unit. The global team is composed of investigators, data analysts and former federal prosecutors, and its first objective is to prevent counterfeit items from being listed on the retailer’s platform. When counterfeit items are listed, the unit works with brands to pursue civil litigation against bad actors. In all, Amazon says more than 8,000 employees are dedicated to tackling fraud. In the past, however, Amazon has fought to limit its legal responsibility for the counterfeit goods sold on its platform. In 2017, a US federal appeals court upheld a 2015 decision in favor of Amazon in a dispute over goods sold by a third-party vendor on the platform. Seattle-based Milo & Gabby filed the case in 2013, alleging a manufacturer in China copied its pillowcase designs and then used Milo & Gabby’s product photos to sell the counterfeited items on Amazon.

Toymakers are seeking new legal methods to fight back against counterfeiters

Milo & Gabby argued that Amazon was liable for the infringement, but Amazon countered that its fulfillment, payment processing and product listing services do not mean the company is offering a product for sale. The courts agreed, ruling that Amazon was not responsible for any potential infringement in the case. As long as online retailers continue to distance themselves from the issue of counterfeiters, it will be difficult for IP owners to meaningfully address copycat toys, says Jason Aghatise, a trademark attorney for Wynne-Jones IP. It’s crucial, he says, for all industry players to collaborate in order to create substantial change.

The attorney Wynne-Jones first announced its Toy and Game Copycat Code of Conduct in September 2019. This effort is meant to protect brands by uniting partners across the industry—toycos would agree not to design copycat products, manufacturers would agree not to produce them, and retailers would agree not to stock them. The UK-based law firm was inspired to launch the code of conduct because retailers and knockoff manufacturers often operate within the laws of IP protection—if the product is just different enough, there’s nothing the owners of the original property can do. “Copyright protection guards the manifestation of an idea. If somebody tries to copy that manifestation, you have legal protection. The problem is that infringers are often not copying the manifestation of the idea, they’re copying the idea itself and manifesting it in a different way,” says Aghatise. “An example is Thomas the Tank Engine—if someone launched a show about Frank the Fire Engine, they’re manifesting the idea in a different way, even though the idea is incredibly similar. That makes it a copycat rather than a counterfeit, and that limits what an IP owner can do. And retailers like Amazon are selling these copycat products.”

Wynne-Jones’s plan is for participating toymakers to file a certification trademark, Aghatise says. This would place a symbol on the packaging— similar to the fair-trade mark—that signifies to consumers that the product is not a copycat, and that the company behind the toy adheres to the agreed-upon guidelines. The code would also give members an avenue for recourse—once complainants prove a product is their original idea, the manufacturer producing the copycat toy and the retailer selling it (presumably members of the coalition) would both be required to cease and desist. The system requires buy-in from all aspects of the industry, Aghatise says, but he believes companies will choose to participate when they realize the code encourages creativity by stifling copycat efforts. “If you could know that your hard work would not be copied, I think it would lead to more innovation. It would be good for the industry as a whole,” he says. Wynne-Jones is still in the process of organizing the code’s various structures, including methods of filing complaints against copycat toys and informing the involved parties that they are manufacturing or selling a knockoff. The company recently sent out questionnaires to members of the industry to better understand the needs of toymakers, manufacturers and retailers. The response, so far, has been largely positive, Aghatise says. The goal, he adds, is to make the process of shutting down counterfeiters much more efficient, and much less expensive. With the participation of a several influential companies— like, say, Amazon or Spin Master—he believes the code will have a significant impact. And these new efforts against counterfeiters are crucial, according to Harrs, because the issue of knockoffs and copycats is only getting worse. “It’s a constant fight for us.”

CONSUMER PRODUCTS | October 2020

Let it snow Be Amazing! Toys is ready to break the ice on the collectibles category with its new Snow Pets brand. BY: ELIZABETH FOSTER

storm is coming, but Be Amazing! Toys is ready for the snow. Best known for its STEM-focused activity kits, the toymaker plowed into the collectibles category in September with its Snow Pets brand. The range features eight winter-friendly animals contained in spheres filled with snow powder, a compound that expands and feels cool to the touch when watered. The force of the “avalanche” pops off the top of the sphere, revealing the character inside. “The snow powder has been in our line forever as part of various STEM kits,” says Collette Trejo, VP of sales for Be Amazing! Toys. The instant snow teaches kids about polymers and osmosis, but then the company started to think about other ways the compound could be used. Originally, the team came up with a snow angels concept—winter fairies that had animal companions. The sidekicks were so cute, though, that Be Amazing! developed an entire range around the furry friends. “Snow angels or snow fairies might make their way into the line at some point,” Trejo says. “But right now, we’re focused on the snow pets.” The first line launched with Amazon, as well as select specialty retailers, and it features animals like

a husky, an owl and a fawn. Each character also acts as a pencil topper, and rare versions of each animal are available covered in a glittery, “icy” finish. The second range will launch exclusively at Michaels stores in December. Be Amazing! has traditionally sold its products at specialty, Trejo says, but the team knew that working with online partners like Amazon would be important for the brand to take advantage of social media marketing efforts. In order to differentiate between the offerings—and ensure that sales for the toymaker’s specialty retailers aren’t cannibalized by online efforts—Be Amazing! launched an exclusive three-pack with Amazon. The team knows it is entering an incredibly crowded market, says Trejo. It’s not enough to grab kids’ attention with a flashy unboxing method—the brand needs to be able to hold their interest for months and years to come. Cue the avalanche. The toymaker chose to incorporate its instant snow into a toy brand in order to add play value to that range, since the compound can be used over and over again by kids either in conjunction with the collectibles or on its own. The compound itself, meanwhile, can be updated in subsequent launches to maintain

engagement. Be Amazing! is already developing new unboxing methods for upcoming SKUs, with potential plans for a spring series once winter has run its course. “The snow is definitely the core of the line, but we have some tricks up our sleeve to keep the interest going,” Trejo says. “For example, if there was a spring series, there could potentially be flowers in the snow.” And while the brand is starting with eight animals, she says those core characters will travel all around the world. Those adventures will lead them to explore different environments—which could be illustrated through different compounds—and make new animal friends. “We really have a long-term strategy beyond just the snowball reveal,” she says. Looking forward, Be Amazing! also has plans to expand into new categories. Trejo says playsets would be a good fit for the brand, for a start, and that licensing is a distinct possibility. There are also plans to focus on content. “The storytelling aspect is so important,” she says. “That’s how a lot of kids play, so we want to feed into that and give the kids more to chew on. Snow Pets isn’t just a one-note offering.”

CONSUMER PRODUCTS | October 2020

Moose Toys dons a new crown With the double-whammy launches of Squeakee and Gotta Go Flamingo, the toymaker is ready to expand its efforts in youth electronics. oose Toys is ready to conquer. “We’re known around the world as the king of collectibles,” says Ronnie Frankowski, CMO at the Australian toyco. Its Shopkins brand bowed in 2014, passed the US$1-billion mark in 2016, and has since expanded into multiple categories and licensing partnerships. Now, the toymaker is setting its sights on the youth electronics category. This isn’t the first time Moose has made moves in the world of electronic companions—the company launched its Little Live Pets youth electronics range in 2014. But Frankowski says the toymaker is ready to make the category a priority. Squeakee, an interactive pet that’s part dog and part balloon, launched on October 1. Targeting kids five and up, Squeakee features more than 60 sounds and movements, as well as multiple touch sensors. The toy does everything a regular dog would do—like play dead, for example—but with a fun, balloon-themed twist. “Squeakee comes with a little pushpin, so you can pop him—he’ll make a deflating sound, and that’s how he plays dead,” Frankowski says. “Then we have a feeding bottle that looks like an air pump, and you can feed Squeakee and puff him back up. It’s a magical moment that’s only possible with a balloon animal.” Gotta Go Flamingo, meanwhile, is the newest addition to the Little Live Pets family. Moose consistently updates the range with new puppies, kittens, birds and even fish, but Gotta Go Flamingo is packed with personality and represents a more whimsical direction for the brand. Kids ages four and up feed the flamingo his special food and then watch him wiggle as he eats. He’ll tell them when he has to go, and then it’s up to kids to get their feathered friend to his toilet in time to catch his squishy, neon poop. Gotta Go Flamingo also hit shelves on October 1.

“Focusing on youth electronics came from a strategic decision to grow in that category, but it was also opportunistic in that we happened to have two breakout ideas in that line this year,” Frankowski says. “This category really allows us to try something new.” More than just an increased focus on youth electronics, Moose Toys is using these launches to expand into new play experiences. Electronic companions are all about nurturing and interactivity, Frankowski says. And while Moose’s upcoming efforts absolutely incorporate those play patterns, Squeakee also focuses on learning and training, while Gotta Go Flamingo is about entertainment and humor. Both items are gender-neutral and aimed at younger kids, but future efforts in the category could target an older demo or have a stronger gender skew. “The general perception is, because of our long success in collectibles, we have a lot of equity with parents,” he says. “But it’s a very competitive industry, and it’s important for us to continue to grow the brand. This year, companionship and comfort are especially important, and the youth electronics category is a great way to deliver that.” Moving forward, Moose plans to take key learnings from its collectibles success and apply them to youth electronics. The biggest lesson Moose took from Shopkins is the commitment to do something differently, says Frankowski. When Shopkins launched, collectibles were generally seen as boy-skewing and for a younger demo. The toyco decided to market to older girls with a shopping play pattern (also generally associated with younger kids), and the rest is history. “The most important word in this industry is new, and new often means different,” Frankowski says. “But different can be scary.” —Elizabeth Foster

CONSUMER PRODUCTS | October 2020

The DTC soft touch

Kellytoy—known for its Squishmallows range—is reimagining its online business in a post-pandemic world.

quishmallows, the ridiculously soft plush brand from California-based Kellytoy Worldwide, was built for the brick-andmortar retail experience. Seeing an entire wall of those squeezable characters has proven to be tantalizing to kids and, let’s face it, to a lot of adults too. But in a post-pandemic world—one where parents are hyper-aware of what their children are touching—Kellytoy knew it needed to adapt its retail strategy. In the past, Squishmallows’ DTC platform served to feed the obsession of existing fans. Once kids were introduced to the brand through traditional retail channels, they would head online to fill any gaps in their collection, says CEO Jonathan Kelly. “We carry the whole line on DTC, so if there are characters people are looking for or trying to collect, they can [find them] on the website,” he says. “But since COVID-19, we’ve seen our online business grow tremendously. More consumers are buying online, rather than going to stores.” To take advantage of this uptick, the company is expanding its DTC focus and working to bring in new customers through the online program as well as using it as a vehicle to cater to existing fans. At the end of September, Kellytoy launched a limited exclusive online promotion for the brand’s 500th design. Only 500 units—numbered for authenticity—were available for purchase through the website. The company is also introducing new styles to the DTC platform each month, and launching special raffles, events and competitions through its website. These programs are all being supported by Squishmallows’ social media channels—another area Kelly says has become a significant priority for the company in recent months. The key, he says, is that any and all social media content needs to illustrate how soft the range is. This means much

of the toymaker’s efforts focus on video to draw in kids who aren’t already fans. The toyco is also working through social media to raise awareness about the fact that Squishmallows are machine-washable and dryer-safe, in order to make parents feel more comfortable about buying a hightouch item in stores. Kellytoy is also working with retail partners to capitalize on their own online shopping platforms. “They are also expanding their online efforts, and we’re working to make sure the products available online are often separate from what’s available in stores,” Kelly says. “That way, when retailers want to change what’s available on the floor [to make room for new units, for example], they can move those older items to the website.” Kellytoy will continue to expand its DTC efforts, to both attract new consumers and ensure existing fans feel as connected to the brand online as they did in stores, he says. “The average fan collects anywhere from 10 to 100 styles,” Kelly says. “We’re trying to maximize that lost traffic due to store closures.” Kellytoy is applying that same soft-touch strategy for its upcoming in-store marketing. “We do a Black Friday promotion for Squishmallows with Target, and usually they display the items in a huge pallet,” says Kelly. “But this year, Target will break the products down into four smaller displays that can be housed in different

parts of the store. There will be, say, 10 pieces on display instead of 60.” While Kellytoy will ship the same number of units to various retail partners, fewer items will be on the floor and available to touch. These smaller, spaced-out displays also help stores enforce social distancing measures, and as a bonus for the toymaker, create multiple opportunities for a consumer to stumble across the brand while they browse. —Elizabeth Foster

October 2020 | CONSUMER PRODUCTS

Bandwagon Product trends on the road to retail

Fast Food Chris Byrne, president of Byrne Communications, explores the newfound popularity of fast-food toy deals to see which companies are jumping on the bandwagon, and just how long they can stay fresh.

MOOSE TOYS

PLAYMONSTER

BIG BACKLASH For a long time, the fastfood licensing agreement was king when it came to brand awareness. IP owners fought to have toys inspired by their properties pop up in kids meals. In recent years, however, health concerns led to backlash for restaurants providing toys alongside high-calorie menus. But today, with so much uncertainty in the retail space, Byrne says brands are looking to work with any company that can increase their exposure.

PARTNERSHIP

In March, Moose Toys partnered with McDonald’s to launch Pikmi Pops in Happy Meals. The range focused on unboxing and included 12 scented toys. “Any brands that get involved with a fast-food company have weighed the benefits and obstacles,” Byrne says. “And the fact that so many of these fast-food places now have healthy choices, like apple slices instead of fries, has blunted the criticism.”

“The ability for families to be able to go to the drive-through during quarantine has been a real advantage,” he says. “Every other restaurant has been faced with coming up with curbside delivery, but fast-food restaurants already had the infastructure in place. And kids aren’t going to the movies or the water park like they used to, so going to get fast food is one thing left that still feels like an event for families.”

BIGGER BENEFITS

PlayMonster also got in on the action, launching toys inspired by its My Singing Monsters brand in Carl’s Jr. and Hardee’s kid-focused Star Pals meals. The limited-time promotion ran from July to September. Partnering with fast-food joints is an especially strong choice for toy brands right now, Byrne says, because quick-service restaurants weren’t hit as hard by COVID-19 closures as traditional restaurants and brick-and-mortar retailers were.

PANDEMIC

DISCOVERY HAPPY MEAL Another

brand jumping on the bandwagon is Discovery. Targeting kids ages six to 12, its #MindBlown range with McDonald’s launched in 2019 and rolled out across participating locations in more than 80 countries throughout 2020. The STEM-focused robot figures teach kids about topics like light, sound, coding and space. The physical toys also included integrated content on the McPlay and Happy Studios mobile apps.

HUGE REACH “A

company like McDonald’s can generate a lot of awareness for a brand. Even if parents won’t take their family to a fast-food restaurant, their kids will likely still see a commercial.” This awareness is made all the more valuable, Byrne says, because the toys in kids meals don’t compete with other licensing efforts. “A kid who has a toy from the fast-food restaurant doesn’t stop wanting the action figure or the plush item.”

TECH | October 2020

Encantos is launching physical products and subscription boxes for kids with limited internet access

Learning curve

COVID-19 has sparked a sudden rise in virtual education, highlighting gaps in content accessibility. Now, kidtech companies are stepping up with new resources and tools to help level the learning playing field. BY: RYAN TUCHOW

OVID-19 has, in many cases, brought families closer together than ever— literally, since the pandemic has meant many kids have nowhere else to go. Parents became friends and entertainers. It wasn’t easy, as many struggled with the triple burden of being breadwinners, caregivers and teachers. But families figured it out, and kids largely made it through the 2019/2020 school year. As September inched closer, however, concerns around education continued to pop up: How would schools create safe environments? Was the parent-led homeschool method sustainable? And, importantly, what’s to be done about the seismic gaps in the education systems around the world? It’s hard to log into a virtual classroom if kids don’t have a computer at home, after all.

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TECH | October 2020

As kids continue to shift to online learning, there are three big gaps in their access to schooling, says Stefania Maggi, a psychology professor who specializes in educational development at Ottawa-based Carleton University. First, there’s a lack of access. For people in the middle or upper financial brackets, it’s easy to underestimate how many kids have to make do without computers or internet access at home. In 2018, around 94% of three- to 18-year-olds in the US had home internet access, according to the National Center for Education Statistics. The majority of children (88%) had access through a computer, but 6% only had access through a smartphone. A recent study from Common Sense Media and Boston Consulting found that nearly 16 million kids and 10% of teachers lacked a way of logging in to classes. The problem is particularly pronounced among BIPOC and minority homes, with 26% of Latino/Latina kids and 50% of Black families lacking access, compared to just 18% of white households. Globally, the UN estimates that just slightly more than half of the worldwide population had internet in 2019, leaving more than three billion people offline. The second barrier to distance education is that many kids simply do not learn from lecturing, Maggi says. Teachers play a crucial role in identifying those students and finding new ways of reaching them. In a fully online environment, that can be a challenge. And finally, according to a study by University College London, upwards of 10% of kids have a

learning disability and require specialized and individual care—something that’s virtually impossible to provide in a Zoom classroom, adds Maggi. COVID-19 has created a very real need for resources to help children learn. More than half of US elementary and high school students are only attending school virtually this fall, according to a recent study commissioned by calendar platform Burbio. Just one in four students will go to school daily, while 19% are doing some form of hybrid schooling (a few days in school mixed with a few at home). To bridge this gap, kidtech companies like iD Tech, Encantos and Curious World are rolling out new physical content and inking deals with schools. “You can’t just put a kid in front of Zoom all day and expect them to learn,” says Encantos CEO Steven Wolfe Pereira. “Even if they have access to the tech, kids learn in many different ways. More than ever, parents are looking for additive content that can help because they just can’t rely on schools anymore. The more resources we can have out there for families now, the better.”

New opportunities London-based preschool education app Curious World sees itself as part of kids’ learning toolkits. And while it can’t replace schools, it can supplement learning by making videos about physical and basic daily activities, like making breakfast, to give children a dose of content they don’t get in a virtual classroom, says product manager Chloë Meyronnet.

The app—which is aimed at kids ages two to seven—features videos, books and games. As a result of the pandemic, Curious World began producing videos about a variety of topics it previously hadn’t addressed, like meditation and mindfulness, as well as live-action clips showcasing different parts of the world, says Meyronnet. “Because kids are socializing at school, there’s a lot of learning that goes on beyond subjects like math and literacy,” she says. “Behaviors—like how kids are supposed to be around others—are reinforced. But kids aren’t getting exposed to that in the same way [at home], so now we have to pivot to help them learn lessons they might not be getting anywhere else.” Curious World is building its catalogue with videos about art projects and simple science experiments, as well as adding new features like a nighttime filter, which is softer on children’s eyes. There are also read-alongs to make sure kids aren’t spending too much time on the app. At the beginning of the pandemic, the company teamed up with private institutions to get its content into classrooms. To reach families in the public system, it’s also working to ink deals with school boards so parents can get access to the content while schools take care of the billing and fees, says Meyronnet. The app costs US$7.99 a month, with a seven-day free trial. And during the pandemic, the trial was extended with subscriptions offered at a discounted price. Looking forward, Curious World is working to make all of its content available offline or via printable worksheets, so families can access content even if their internet fails. The demand for educational support products was already growing prior to the pandemic—about 63% of kindergarten to grade 12 teachers in the US used tech in the classroom in 2017, up from 55% in 2016, according to the University of Phoenix. But the pandemic spurred a spike as parents had to suddenly lead their kids’ education, and as schools needed resources to help keep children engaged from a distance, adds Meyronnet. “Parents have become the educators for their kids, and we’ve seen a rise in school demand for resources that can make sure kids are learning,” she says. “Before COVID-19, schools were looking for more content to use in the classroom, but now the work kidtech companies are doing has become an important supplement to help kids wherever they are.”

New classrooms

Curious World is also rolling out printable materials for offline learning

California-based educational platform iD Tech is looking to give kids a more engaging online learning experience. Ahead of the return to school (in whatever form that may be), the tech company launched its Squads After School program, which connects small groups of kids online with an experienced teacher to learn about STEM,

October 2020 | TECH

iD Tech is gamifying lessons and using its Squads After School program to help kids focus on social learning

while simultaneously getting a chance to just hang out—something many still aren’t able to do as a result of social distancing measures, says CEO Pete Ingram-Cauchi. “What matters to kids is a fun and educational experience, and you have to avoid the tutor-heavy approach or you’ll lose them,” he says. “With the pandemic, it’s not just about giving them exciting content, they also want a chance to socialize and make new friends.” The company offers a variety of courses for more independent learning through its website, including Minecraft- and Roblox-themed programs that teach kids how to code through content. To make sessions more engaging, iD Tech uses a gamified approach to online learning whereby kids can level up once they complete certain lessons. iD Tech also recognizes there’s a fundamental gap in access to tech for many kids, and the company has previously partnered with businesses such as Salesforce and Nokia on sponsorship programs to send computers to underserved communities. (iD Tech hasn’t yet figured out a fix for kids who lack internet access, he adds.) This isn’t a short-term play for iD. While the pandemic spurred a more immediate solution to support kids’ Zoom-led learning, there’s also a need for the next generation of employees to have STEM skills and a knowledge of coding to fill available

jobs, Ingram-Cauchi says. Schools were only just starting to tackle these topics meaningfully in classrooms before COVID-19 hit, and edtech companies had already been working to fill the gaps. Kidtechled school support is only going to continue to grow in demand, even once kids are back in class in full force, he says.

A new blend of education For Wolfe Pereira at Encantos, education should focus on entertaining and representing diversity, which is a far cry from the traditional school format of teachers lecturing to students. Now, the company is rethinking distance education by rolling out new physical products to supplement kids who can’t learn from a screen, he says. Recognizing that some kids are tactile learners (which could be lost in a home environment) or have learning disabilities, Encantos has developed a new range of physical products to run alongside its content. The idea originated during the pandemic, and in the coming months, Encantos will launch a new range of subscription boxes that include branded puzzles and other learning tools. The puzzle line, specifically, should also help foster independent learning and can be used offline for those who don’t have computers or internet access at home, says Wolfe Pereira.

Encantos also sped up the launch of its new food-focused brand, Issa’s Edible Adventures, which was originally scheduled to roll out in 2021. The company partnered with influencer Aliya LeeKong, and in April began releasing videos and printable sheets on its website showcasing basic meal prep, recipes and safety tips for the kitchen. Wolfe Pereira also sees an opportunity for personalized learning tech. With the onus on kids and parents to manage their distance learning, it can be easy to become frustrated with the lack of guidance and simply give up. Teachers play an important role in identifying kids’ unique learning styles and needs, and helping them stay on track—something families may not be able to tackle themselves, he says. To address this, Encantos teamed up with tech company IBM Watson Education to build a personalized learning platform. Though it’s early days still, the AI software should be able to create bespoke education plans for kids based on their existing skillsets and understanding of different subjects. “Homeschooling is on the rise, and families are looking for brands that are direct-to-learner, digitally savvy and enriching because their kids are not going back to school anytime soon,” says Wolfe Pereira. “Until there’s a vaccine, many parents won’t be comfortable with sending their kids back to school, and that might not be for at least a year. This is our new reality.”

AAS pivots to virtual format Want to be among the first to discover this yearâ&#x20AC;&#x2122;s best new animation concepts developing in Asia-Pacific? This year, you can do it without leaving home! Due to travel restrictions and health & safety issues related to COVID-19, AAS 2020 will now be held as a virtual event, taking place online from November 16 to 27. Kidscreenâ&#x20AC;&#x2122;s AAS partners are in the process of selecting the most promising projects from their regions that are brand-new to the market and looking for financing and collaboration. Project presentations will be scheduled in morning and late evening time slots (EST) over two weeks. Because time zones and scheduling conflicts at home and work may prevent delegates from tuning in live, the sessions will also be recorded and made available for two weeks of anytime catch-up viewing online.

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October 2020 | FEATURE

“Unprecedented.” It’s a simple word to describe what has been a very (very!) complicated 2020. In a good year, most kids content takes 18 months to get to screen. That means creators today are looking at a 2022 release for a recently greenlit series. But how does one plan for two years down the line when the present is unprecedented? From the “silent generation” influenced by a pair of world wars, to a prosperous “baby boom” that spoke of nothing but promise and potential, to the launch of the internet and all that entailed—few global events have the power to collectively shape a generation. But for today’s Gen Alphas and Gen Zs, COVID-19 is likely to be one of those defining factors.

So how can the industry plan for a post-pandemic future? To start, you have to talk to your audience today. Experts from Disney, MarketCast Kids and Dubit went right to the source, checking in with families about how their lives have changed to discern which new trends and habits have staying power. Kidscreen also spoke with historians, natural disaster experts and anthropologists to see what forward-looking insights we can glean from past global events. And if these pages don’t satisfy your prognosticating needs, head online to kidscreen.com for even more future-focused intel. Read on for a snapshot into the kids of 2022, and how the current world is irrevocably changing their lives for years to come.

FEATURE | October 2020

Meet gen C COVID-19 has turned kids’ home lives into their only lives, and Disney Channel’s Lisa Dracolakis and Cathy Gallant look at how their family and friends dynamic has changed forever.

Pandemic parenting Parents are responding to the uncertainty of the wider world by prioritizing a sense of safety and stability at home. They’re finding ways to adapt to the hurdles thrown their way—creating new routines as they adjust to the “new normal.” When they can, parents are designating physical spaces for downtime, free play and crafting, and finding alternative ways to stay active—like family dance parties or exercising together. They are emphasizing values of patience, respect and resilience, and are having open conversations about money being tight or vacations put on hold. Parents are also seeking to ease anxieties around COVID-19 by guiding kids’ attention to what they can do to help. Families with younger kids are focusing on control and safety, and discussions are centering on things kids can do to stay safe, like washing their hands or staying inside. With older kids, conversations often focus on gratitude and empowerment, encouraging kids to do their part to slow the spread of the virus. Kids have come to their own realizations about what is most important to them, and what they hope to never take for granted

again—namely school and their friends. Roughly 35% of kids are worried about their friendships, while concern over how long they will be required to stay at home rose as the summer months came to an end. To cope, kids are actively seeking out ways to comfort each other through virtual support networks, helping peers with schoolwork and checking in on how they’re feeling each day. Nearly nine in 10 kids (86%) are using visuals like memes, emojis, GIFs or videos to brighten friends’ days. But they recognize technology’s limits and are developing a deeper appreciation for IRL interactions, understanding that true face-to-face time strengthens existing friendships and allows them to form new ones. And through the concern and anxiety, families are acting as teams and sticking together more than ever—one in three parents say they’ve gotten closer with their kids since lockdowns began. Parents are raising kids to be true to themselves and embrace what makes them unique, not to fit in. With fewer in-person interactions, kids are becoming more reliant on digital spaces and content to explore their multi-faceted identities. Curious and creatively inclined, they are also looking outside the digital sphere for ways to express themselves, both with their families and independently—like crafting, cooking, baking and gardening. This generation of parents embraces open and authentic conversations with their kids, who aren’t shielded from what is going on in the world. The realities of COVID-19 aren’t lost on kids, but

Credit: TopVectors

families adjusted to sheltering in place and kids switched to distance learning, routines were turned on their heads. The physical limitations of quarantine have left kids feeling bored and isolated—they miss seeing friends and teachers, and playing outdoors. We know many families—especially BIPOC kids and parents—are facing added pressures from income loss, lack of childcare, learning challenges, and space and technology constraints.

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56+ Billion Views and 120 Million Subscribers across 16 Channels in 13 Languages! Youtube’s global preschool superstars

VladandNiki Vlad.and.Niki @Vlad.super.Vlad @nikitoys_official

Haven Global Licensing — Anna Dupree anna@havenglobal.com Managing Director - Tom Punch tom@havenglobal.com

Retail Monster Licensing — Colin McLaughlin c.mclaughlin@retailmonster.com Founder — Michael Connolly m.connolly@retailmonster.com

FEATURE | October 2020

parents are entrusting and empowering children to do their part in keeping their communities safe. And kids believe they can, and are, making a difference.

Normalcy now

46%

OF KIDS SIX TO 11

ARE WEARING PAJAMAS OR GYM CLOTHES MORE OFTEN THAN

REGULAR CLOTHES

Comfort that helps kids and families wind down is a frequent and important need, and their time today is filled with more co-viewing moments than we’ve seen before. On their own, kids are re-watching familiar favorites and turning to passive entertainment like cooking shows or social media scrolling. Families are hosting regular movie nights filled with classics on repeat, and older kids are watching lean-back sitcoms with their parents. With the stress of the current moment weighing on kids, they’re also turning to content for much-needed laughter and emotional release. Kids are sharing coronavirus-related memes to try to inject some lightness into an otherwise serious situation. But they’re also totally escaping reality through cute animal videos, trending dances and “satisfying” slime videos. Like adults, kids are filling “bored” hours with content that draws them in and keeps them on the edge of their seat. And increasingly, they watch this content together with family members. Siblings and parents have begun selecting serialized shows and must-see events to watch together. An emerging content need of this generation is passion-based empowerment. Kids of all ages are taking this time to explore their passions and discover new ones. They are consuming content and tapping into technological tools to unleash their creativity, as well as to engage in “productive pursuits” and hobbies. Many are also joining in community activism to help those affected by COVID-19, and to make their voices heard on the social justice front.

Inevitable change

53%

OF KIDS SIX TO 11

HAVE A LATER

WAKE-UP TIME

Chaotic times make it hard to forecast two months out, let alone two years. But as families emerge on the other side of COVID-19, we can imagine how their trials might amplify some of the defining qualities of this generation and guide their content choices. As a result of this collective crash course in epidemiology, we may see a heightened interest in science, more discipline around maintaining healthy environments, and an appreciation of the everyday heroics of “essential workers.” And parents’ advice to focus on what you can control and be thankful for what you have may bolster kids’ confidence in their own ability to bounce back, and deepen their already generous capacity for empathy.

Speaking of empathy, the literal closeness of quarantine provides kids and parents new windows into each other’s daily struggles, which we think will lead to more patience, understanding and a stronger team spirit among families. The interruption of friendships may lead to a new appreciation of in-person social experiences (“getting to” go to school versus “having to” go to school). Reestablishing relationships and social ties are likely to be awkward and hard at first, and kids may place more value on forging fewer, closer friendships and a closer-knit support system. Although free time will be at a premium in a post-quarantine world, families will likely hold onto new co-viewing habits that allow for quality time that is equally fun for all. Not every new interest will stick (we’re looking at you, sourdough starter), but their exploration of hands-on hobbies can expose kids to both the emotional and practical benefits of practicing new skills and seeing concrete evidence of their contributions. Distance learning has many drawbacks, but self-directed learning may lead to an interest in more “educational” or “true story” content among kids. This is potentially reinforced by a social justice awakening that has encouraged many kids and parents to educate themselves on the topics of systemic racism and inequality. Resilience and empathy—fully on display in their response to this pandemic—are hallmarks of this generation. The kids and families we know are optimistic and inspiring. Their belief that they can and should make a positive impact—and their inclination to support those who need it—is a lesson we should all take to heart. Using a variety of research methodologies, including self-ethnography, weekly trend surveys and virtual focus groups over the course of spring and summer 2020, Disney Channel engaged with more than 2,000 kids ages six to 11 and their parents to understand how they are coping with the stress surrounding the pandemic.

Disney Channels Consumer Insights focuses on providing insights across all aspects of kids’ lives: culture, content and the evolving media landscape. The Consumer Insights team shares its learnings across all areas of the Disney Channels business, including creative development, programming, marketing, brand and business strategy; and produces innovative, award-winning research that informs all content and strategies.

FEATURE | October 2020

A slow-moving educational disaster Lori Peek, director of the University of Colorado Denver’s natural hazards center, looks at what we can learn from kids’ disrupted education in natural disaster zones. Credit: Laoshi

isasters are mirrors held up to society. In a world with high levels of inequality or educational disadvantage that run along familiar lines of race, those patterns of inequality get reflected back to us in times of disaster. Some 50% of [US] kids are on free or reduced lunch [programs], which speaks to the almost unspeakable levels of inequality our children were facing before this pandemic. Within a month of COVID-19 taking root, some 40% of children [in Los Angeles] had not even logged on to the online learning system. What will this look like 18 months from now? If disaster research has taught us anything, [it’s] that if we do not intervene soon, and in dramatic ways, we will only see a deepening of that disadvantage. Even two years after [Hurricane Katrina], research shows tens of thousands of children were still not back in stable school settings. They were displaced from their home communities, their schools and their social support networks. We found low-income African American children were at higher risk of having their education seriously disrupted. And all of the children we talked to reported how damaging and disruptive it was to be cut off from their friends, [who are] their primary source of emotional support. Some children missed big swaths of their educations—weeks, months and even years of schooling. There are real health risks to being out of school. We saw very young children experience what’s called regressive behavior—bed wetting, fighting with [siblings] and reverting in their language use. Other children became teen parents as a result of the “risky health” behaviors that follow disasters amongst youth.

Most kids do recover, in terms of mental health. But we really need to pay attention to the outliers—the 10% to 15 % who may develop longterm mental health issues. A minority of children can develop post-traumatic stress, depression and anxiety. Kids also experienced cultural loss. Schools are a big provider of key moments in a child’s life. They missed their prom or their eighthgrade commencement. [After Katrina], children shared with us that adults don’t take those moments in children’s lives seriously. [They would say,] “Oh, that was just your first love, it doesn’t matter.” But for a child, missing those moments can be heartbreaking. We [also saw] how much of a difference teachers, coaches and other [adult] advocates can have during recovery. These [school] advocates will be instrumental in helping put children on the pathway to success after a [literal and figurative] storm. Eighteen months from now, there’s going to be a lot of sadness. There’s going to be a true reckoning for what’s been lost. But I hope that there’s also a sense of possibility and reflection on what we have learned from this. What can be better? How can we be more connected? How can we stand up for others? Before this pandemic took root, children were leading some of the biggest climate marches in our history. They were taking to the streets to protest gun violence. They’re helping lead the Black Lives Matter protests now. Stories need to be told of the children who have been absolutely heroic through all of this—the kids doing novel, creative things on behalf of fellow children so that they can all recapture moments of their youth that otherwise will be lost. (As told to Megan Haynes.)

FOR SAles enquiries please contact Alison.taylor@aardman.com

FEATURE | October 2020

lockdown loyalty How families chose to spend their time early in the pandemic laid the groundwork for shifting entertainment habits. How can companies keep that viewing boom going? BY: DAVID KLEEMAN AND ADAM WOODGATE ver the years, Dubit’s research has consistently found that children’s foremost desire is for more time with their parents. But there’s a disconnect between what kids want and what actually happens. Roughly 70% of young people across the US, UK, France, Italy and Brazil say they enjoy doing things as a family, but well under a quarter say they do so daily. So it’s not surprising that when faced with this devastating and invisible threat, families opened up as they locked down. They tightened their nuclear orbit and deepened their bonds, quickly adopting new togetherness habits and traditions that they plan to keep even as the world opens up.

COVID choices Not surprisingly, “more” best describes media use during lockdown. Families added services and dropped screen-time restrictions. All subscription-based entertainment rose significantly year over year, and purchasing of premium VOD services was up more than 40%. We had

anticipated that families might cut back, given economic uncertainty due to closures, layoffs and work-from-home. Yet in the short term, nearly every parent said the added costs for home entertainment were offset by lockdown limitations, such as closed theaters or the hiatus of sports. Family entertainment practices also became more “resourceful.” Parents did their best to make replacement activities feel special, jazzing up movie nights with sweets and popcorn, or bringing warmth to the evening with hot chocolate, marshmallows and sleepovers. Many held game nights or quizzes with extended family via Zoom. One father taught his son a new skill (leaving the mother unamused): “My son played online poker with his dad and liked that a bit too much, I think.” Older tweens and teens exploited every communication platform to keep close to friends. Kids are “loitering” in Fortnite Creative, talking gaming in Discord, and using adult video chat platforms in greater numbers than ever.

Have paid to watch premium VOD on a TV (Two- to 15-year-olds) With cinemas closed, families get a taste of Hollywood in their own homes via premium video-on-demand.

44%

39%

35%

47%

When kids are overwhelmed or made anxious by what’s happening around them, familiarity breeds contentment. Long-established video game franchises made big comebacks. Children returned to favorites from the past like Sonic, Animal Jam and Clash of Clans (each jumped 50% or more in mentions year over year). Angry Birds rose almost as much. Even Grand Theft Auto—hardly calming or kid-friendly content, but a game that had passed its peak—rose in daily use. In comparison, few new games emerged during the pandemic. PlayersUnknown Battlegrounds, a battle royale game most popular (and controversial) in Asia, grew its US audience. Another battle royale that’s the top game in Brazil, Free Fire, got its first spontaneous mentions in the US. In video, steep adoption was predictable for Disney+, but parents said they chose it for safe content the family could watch together. Series that already brought families together before the pandemic continued to show strength, especially cooking, competition and game shows where parents and kids could find a contestant or character to root for. Some carried the on-screen action into real life, holding their own cooking and baking games, or creating backyard “ninja” obstacle courses. Reality shows, however, are not built for repeat viewing, and it remains to be seen how soon they can return to new production.

Loyalty longevity 15%

14%

11%

2 02 0

2019

10%

5% 2019

2 02 0

france

2019

italy

2 02 0

2019

2 02 0

So as families turn inward, seeking comfort in private bubbles, what will drive loyalty postpandemic? We’ve identifed three key elements. Was the platform or service responsive, inviting and listening to feedback? Did it help support a feeling of normalcy when nothing was normal (such as Roblox birthday parties or concerts through Minecraft and Fortnite)? And finally, did it respect kids’ need for age-appropriate information that was neither frightening nor coddling? When kids are again able to play freely, we anticipate a drop in media use as they put down devices and pick up face-to-face play and sport.

October 2020 | FEATURE

Year-over-year change in use of video calling services (Two- to 15-year-olds) Significant increases across countries by kids using screens for video calls. Use a tablet for video calls Use a smartphone for video calls

brazil 2019

7% 14%

2 02 0

12% Media companies shouldn’t worry—they’ll come back, though perhaps with more balance between digital and physical play. Paid entertainment services and relaxed device time rules are the lockdown practices most likely to reverse in the years to come. Parents were anxious before about their children’s reliance on technology and media, but set aside concerns as TV, phones, tablets and computers became children’s sole link to entertainment, learning, play and friends. When that pressure’s off—and whenever children return to school—parents may “sneak in” cutbacks to relieve their subscription bottom line. They’ll keep the platforms that continually refresh content (we’ve already heard from parents that Disney+ needs new updates) and those with the most emotional resonance (the platforms that keeps kids from screaming). Even if films (and fans) return to theaters, it will be for shorter windows before going to cable or streamers. Now that families have recreated the cinema experience at home and much more affordably, it will take more than soda and popcorn to bring them back. Theaters will likely need to step up the pre-pandemic practice of filling empty moments with special event programming—live experiences that can’t be viewed at any other time or place. Zoom will return to being a staid, businessoriented platform. Young people reached Zoom fatigue in the spring; if they need to endure another semester or year of virtual learning, plus their family and friend video chats, they’ll be well and truly done with it. Older kids will return their full focus to social gaming platforms and image- or video-based communication apps. Younger children never were suited to video meetings, as they lack context for interaction, so parents will replace them long term with playful and purpose-made platforms like Messenger Kids, Kinzoo, Marco Polo Video Chat and CBBC Buzz.

20%

france 2019

12% 14%

2 02 0

14% 18%

italy 2019

11% 15%

2 02 0

9% 20%

UK 2019

12% 18%

2 02 0

18% 20%

US 2019

13% 19%

the Creative Playground where users can have adventures with friends; authors and musicians performed live on YouTube; and podcasts dropped new episodes on a predictable schedule to offer something to anticipate. We at Dubit have long talked about “emotional scheduling” and the theory that time of day— what one’s been doing and is about to do—is a proxy for mood state (which drives decisionmaking about platforms and content). During lockdown, however, time has lost its meaning. The pre-pandemic peaks and valleys of media use have flattened into a constant “on.” In 2022, young people may have occasional Zoom classes, training or meet-ups, but their time will largely be their own, and they will shape it to their own needs and interests. It will be hard to return them to “push” entertainment and learning. Content creators will have to give up some control and transform into guides supporting young people’s exploration of personal passions. As we emerge from the pandemic in the coming years, we believe loyalty will remain with content and platforms that made kids feel special, engaged and heartened. Families will keep their new social rituals even as they slowly widen their circle again. Winning brands must be flexible and playful. We still have a way to go before there’s a fixed “new normal.” In the meantime, are you listening to your audiences? Dubit Trends is a periodic quantitative survey of two- to 15-year-olds in the US, UK and several other countries. The April 2020 wave captured adaptations in the first weeks of lockdown surrounding device and platform use, content discovery and choice, and purchasing habits. For an up-to-date snapshot bringing statistics to life, we conducted parent interviews in August using Dubit’s virtual research facility, The Clickroom.

Engaged experiences

2 02 0

18% 25%

Kids stuck at home are feeling a strong need for connection, communication and care. They’re opting for experiences that feel responsive. Fortnite added

David Kleeman is SVP of global trends, and Adam Woodgate is SVP of media insights, for Dubit.

FEATURE | October 2020

a history lesson in the making

How have past pandemics like the Spanish flu changed the lives of kids, and what lessons can we take from them? Kids would have experienced the Spanish flu in parallel with World War One. That’s a generation that would have experienced a lot of dislocation and trauma. Some people speculate that the Spanish flu was forgotten because it was competing against the war— those two events register together as one big trauma. I think [COVID-19] is going to be profoundly significant for anyone under the age of 20. The interruption of school and social relationships, and the changes to their family lives—particularly if they have parents who lost jobs or income—is a lot of disruption. Some kids are going to be better protected, but some will be really strongly affected. Given the times we’re living through, it will be important for families to remember [that] kids are competent caregivers and can participate in the process of keeping their families safe. There’s a lot of uncertainty, and some of that is related to health and how to stay healthy. But kids are really good at remembering things like, “This is why and how we wash our hands,” “This is how close we can be to other people” and “This is how we can make sure our family stays OK.”

Medical and cultural anthropologist Martha Lincoln on what we can learn from past pandemics, and why the kids will be alright. BY: MEGAN HAYNES

When we think of past pandemics, is there an overarching shift in social dynamics they all share? People tend to forget them. There is an interesting tendency for us to recover from a pandemic and then to have it fall out of our cultural consciousness, which is good news and bad news. It speaks to the resilience of people—even for kids, who have an early and formative experience of living through something confusing. The bad news is forgetting about pandemics raises questions about preparedness. There had been plenty of signs that, at some point, we would be experiencing something like this. And maybe, in part because we haven’t culturally remembered what it’s like to experience [a pandemic], many people who should have taken this seriously did not. My dad, who was a member of the polio-affected generation—a kid in the 1950s—strongly remembers what it was like not to be able to go swimming, and to have to get these very painful (and not very effective) injections that were supposed to boost immunity. And he remembers how terrified his family was of the possibility that one of the kids would get polio. But it feels like a long time ago, and times have changed. [When COVID-19 hit], he was just as surprised as everybody else.

How kids describe themselves (Six- to 12-year-olds) US children are feeling less like themselves this back-to-school season. 2019

2020

52% 40% 34%

29% Smarty Pants’ Brand Love Study was fielded in July 2020 with a nationally representative sample of 5,795 US kids and tweens ages six to 12.

24%

Ambitious

34% 26%

Artsy

27%

athletic

38% 33%

brave

46%

36%

confident

cool

October 2020 | FEATURE

Childhood interrupted How anxiety will shape a generation. BY: JOHANNA FAIGELMAN ot since the generation that grew up during the Depression and the Second World War (known as the Silent Generation) has a group of kids faced a truly global, collective trauma close to the scale of what Gen Alpha is facing today. In stark contrast to Millennials, who created the gig economy and prided themselves on not seeking the job security of previous generations, today’s kids are more likely to grow up searching for stability and the opportunity to save for an uncertain future, much like their Silent Generation predecessors. This shift in values is already coming to the surface in our Culture Check interviews, where kids under 10 are expressing anxiety and insecurity about their family’s financial futures, and their own as well. This comes as kids are being exposed (at times unintentionally) to their parents’ job insecurity and money woes during lockdown. The issue is compounded by the fact that children are experiencing unprecedented levels of stress and anxiety in this pandemic, brought on by isolation, economic uncertainty and parental anxiety/stress.

Connected freedom Although parents worried about their kids’ safety pre-pandemic, there appeared to be an unwritten understanding that children should be able to

freely express themselves and explore the world around them; to feel, touch, play and explore…and maybe get a little dirty in the process. Freedom to explore unfettered is one of our most culturally valued aspects of childhood. In the current lockdown, the big, exciting world that can be explored has shrunk—often to the confines of a small apartment—and fears around contagion have interrupted the learning process. Kids will eventually be released from the current strict constraints and allowed to explore the world around them, albeit in an altered fashion. Over the next few years, Millennial parents, already big embracers of tracking their own health metrics through various apps, may come to rely on wearable tracking devices to help them gauge their child’s health status and risk of exposure to contagions prior to releasing them for “free play” in less secure environments.

Lessons learned In our interviews, kids shared that they were worried they have not been “getting any smarter” during the pandemic, not only because of delays to or suspension of the school year, but also due to their lack of direct exposure and interaction with their peers, who “inspire them to be better and think differently.”

70% 61%

58% 53%

Johanna Faigelman is a cultural anthropologist and CEO of Human Branding.

62% 56% 49%

45% 37%

25%

funny

Culture Check is Human Branding’s ongoing global research initiative that investigates the impact of cultural shifts on generational cohorts through an anthropological lens using a blend of dozens of in-depth ethnographic interviews, hundreds of hours of academic research, and ongoing global trendspotting.

69%

64%

35%

creative

As the world slowly opens up again, a higher degree of priority will be placed on spending time with friends in person. Kids are hardwired to seek out direct contact with their peers to gain key social skills vital to childhood development, including developing self-esteem, managing conflict and navigating developmental experiences. However, there will inevitably be some degree of lasting impact from the social deprivation created by this pandemic, and only time will tell if the net benefit is negative (delayed social development such as loss of confidence) or positive (the necessity of being more self-reliant leading to the development of important life skills such as flexibility, resilience and critical thinking). It’s not all doom and gloom. Positive cultural change often emerges following times of crisis. The Renaissance followed the end of the Black Plague, The Occupy movement followed the 2008 financial crash, and WWI brought on the women’s suffrage movement. The current pandemic has accelerated several societal trends already in motion, including the move to remote services, the reduction in companies’ physical footprints as they shifted to work from home, and the move towards an appreciation of shopping local. These trends, in conjunction with a new appreciation for more fundamental human needs and a desire for security, might create a more loyal audience for content and assets that strike the right chord moving forward.

kind

outdoorsy Outgoing

43%

41%

37%

29%

27%

24%

22%

Popular

smart

social

stylish

unique

FEATURE | October 2020

Press play Social-distanced playdates, FaceTime all the time, the death of sharing—MarketCast Kids breaks down the ways COVID-19 has forever altered play. BY: TIFFANY AGUILAR, JORDANA GILMAN AND JULIE BARAN lay means many things to kids—it’s how they express emotions, develop social skills, learn new things, and ultimately, it’s how kids grow. Through MarketCast’s research with children and families, we have seen first-hand the impact recent events are having on how kids play. But to truly understand COVID-19 and its affect on the future of playtime, we qualitatively checked in with the experts themselves—kids ages six to 13—five months after stay-at-home orders were put in place in the US.

The kids are alright Kids are incredibly resilient and naturally creative. They haven’t let a worldwide pandemic or political and social unrest stop them from doing what they love—having fun. Despite changes to their normal routines, they’ve found silver linings and workarounds to make being stuck at home more exciting. “Normally, I would be at camp during the summer, so this is the first time I have been home,” said one 11-year-old boy we spoke with. “I like it. I’ve

seen a lot of my family and my grandma, and I swim with my cousins a lot.” In our conversations with families, three consistent themes emerged that we believe are integral to how kids will play over the next few years: comfort, exploration and connection.

Comfort and connection According to a study presented at Prix Jeunesse this year, fewer than 10% of kids in the US are “very worried” about COVID-19. Despite less worry about the virus itself, kids are still struggling with changes to the structure of their daily lives, and are more likely to experience high rates of depression and anxiety during isolation, making the need for comfort essential. To maintain their mental health, kids turn to a variety of activities. When sad, they play or snuggle with their pets and stuffed animals. “[My squishies] help me when I am feeling stressed and don’t know what to do,” noted one six-year-old girl. “I squish it and it makes me feel better.” And to fill the loneliness, kids turn to family time, screen time and pretend play with dolls and figures. “I play with

October 2020 | FEATURE

recently surged in popularity by sharing relatable, hilarious videos teaching their kids how to do basic household chores. There is no doubt technology has been a saving grace for kids and parents alike—keeping kids occupied and connected to their schools, relatives and friends. With 31% of parents saying they will probably keep their child home from school this fall, technology gives kids opportunities to play together, catch up and simply spend time with one another. In fact, many kids we spoke with prefer virtual connections because they offer creative ways to share and stay linked with others. In some cases, kids are initiating FaceTime calls with their friends and leaving the app running in the background as they go about their daily routines. This provides a sense of being “virtually in the room” with friends, despite social distance. Others are using video conferencing features to share digital trinkets, such as Roblox animal trades, emojis and memes: “I love using emojis on FaceTime to react,” said an 11-year-old girl. “It makes hanging out more fun than just talking.” With more free time than usual, parents are allowing these prolonged virtual playdates, and kids are enjoying the freedom to just be with their friends in a less controlled way.

Future play

Credit: SanyaSM

my dolls a lot,” noted an eight-year-old. “I play out different stories with them.” Kids are also using this time to discover and experiment with new interests, skills and ways of playing, often using online videos to spark ideas and give them concrete examples to practice with. They’re delving into creative outlets like arts & crafts, cooking/baking and dancing. Unable to go to movie theaters, indoor play spaces and theme parks, kids are also increasingly spending their time on physical and outdoor activities, including hikes and various sports like soccer or swimming. Parents, meanwhile, are seizing this moment by proactively teaching their kids basic life skills and how to do housework, creating ways for them to contribute while being at home. Kids also recognize the importance of these skills. One little chef-in-the-making cooked dinner for his family for the first time, noting, “It’s an important skill for me to have for when I live alone one day.” Chores were mentioned on social media platforms more than 15,500 times in a 30-day window this summer, and a number of TikTok users have

Kids will take many of the habits formed today and use them to be more autonomous and savvy about their playtime. Having overcome the upheavals of 2020, kids will be better equipped to handle any future disruptions to their day-to-day habits, and find ways to comfort themselves in times of need. Families will be closer as well. We believe siblings will have fewer rivalries, and homes—where space permits—will be outfitted to handle both indoor and outdoor play. Life’s milestones will continue to be modified, and celebrations made more intimate and family-centric (think field graduations and backyard birthdays), due to continued virus risk. Many pre-pandemic trends that provide comfort will continue to grow. Even in 2022, kids will seek comfort by watching and listening to ASMR videos, relieving stress in the kitchen, creating arts & crafts or slime, and squishing plush toys. Younger kids will work out their feelings through pretend play, placing more emphasis on everyday heroes, such as doctors, teachers and other essential workers, versus the more traditional comic book idols and law enforcement officers. And toy brands will continue to take notice. Recently, Mattel launched a “#ThankYouHeroes” Barbie campaign, while LEGO paused its digital marketing/ advertising for police sets and products. For LEGO specifically, its decision to pause marketing for police-themed products generated 35% of the brand’s total social media conversation since the beginning of June 2020. We see this toy trend persisting into 2022, with toymakers looking to heroes in the form of nurses, farmers and engineers.

THREE INTEGRAL

THEMES FOR PLAY ARE

CO M F O RT, EXPLORATION

AND CONNECTION. While the need to explore is a timeless aspect of childhood, the depth of exploration that took place during the pandemic will lead to kids being more adventurous, confident and skilled than ever before. With a refined sense of self, more kids will turn play into a physical production (think dance videos and baking tutorials), and parents will feel the benefits of their kids’ new talents around the house (say hello to miniature personal chefs and gardeners). The need to connect is integral for all, and in 2022, kids will definitely crave in-person interactions over digital ones. With the fear of recurring COVID-19 outbreaks, kids will continue to engage in more structured activities with friends with safety measures in place. Sharing toys and tchotchkes in person will be a thing of the past, and tech will become the way kids trade and collect. Kids will also become more comfortable relying on technology to connect, even as we transition to post-pandemic life (for example, worrying less about a friend moving away, since they now know FaceTime is available at any time). As history has proven, kids often emerge stronger and wiser through hard times. Their resilience in today’s world has proven that even through the most drastic changes to their daily lives, kids will adapt and find new, innovative ways to play that help them do the work of growing up. Using a mix of qualitative and quantitative studies, MarketCast Kids spoke with more than a dozen kids and their families, as well as analyzed more than 800,000 digital impressions between the months of June and August, to explore evolving play needs.

MarketCast Kids is a team of developmental experts who spend their waking hours pondering and communicating trends relating to youth. Find them at MarketCast.com

FEATURE | October 2020

MISSED CONNECTIONS 100% of kids miss their friends, but are keeping in touch through...

To understand the children of 2022, we first need to understand what they’re thinking and feeling today. Here’s a snapshot of how the pandemic has shaped kids so far this year.

W O R RY WA R T S ? 29%

of families are facing FINANCIAL STRAIN

27%

Phone calls 38%

FaceTime 37%

Texting 32%

Zoom calls 28%

Video game chats 27%

Social media 23%

32%

GROWN CLOSER WITH THEIR KIDS during the pandemic

1.5 BILLION KIDS were out of school at the

of kids are struggling with

height of the pandemic in April

THE “NEW NORMAL”

During the month of August, kids worried about...

of parents say they’ve

three out of four kids around the world are still unable to

ACCESS REMOTE LEARNING 22%

My family

27%

My family’s health

17%

26%

My health

30%

My friends

Being bored all the time

47%

Unsure how long we have to stay home

because they live in rural or poor households

77%

of parents took over their

child’s education through

HOME SCHOOLING

60% DISTANCE LEARNING of all pre-primary schools implemented

US kids ages six to 12 describe themselves as....

OPTIONS WORLDWIDE Depressed/Sad 11%

Stressed/Overwhelmed 10%

Mad/Frustrated 7%

Scared/Worried 6%

did not implement any digital

LEARNING SOLUTIONS

ISSUES KIDS CARE ABOUT Conversations around race and racism have spiked concern over the issue among kids—particularly in the US.

1 in 4 primary schools of parents say they’ve struggled to find a balance between TEACHING AND WORK

37% Racism + 241%

Gender equality + 169%

Human rights +138%

October 2020 | FEATURE

WHATCHA UP TO? HOW KIDS SPENT THEIR TIME 2019

2020

WHAT’S SELLING? TOP-THREE BRANDS AMONG KIDS SIX TO 12

Using a camera

18% 29% Playing a game on a handheld device

19%

Consumer spend on video games increased US$700 MILLION between Q1 and Q2 2020

27% Using a smartphone

60%

FLUCTUATING

65%

SALES

Watching TV

82% 82% Reading a book

ARTS & CRAFT

SUPPLIES +11% +107% SKATEBOARDS & SCOOTERS +117% +458% +116%

41% 36% Playing outside

LANGUAGE ARTS BOOKS

58% 48% Hanging out with friends

WEBCAMS

30% 19%

Top activities to enjoy with family Families with kids ages six to 11 are taking part in many different activities to cultivate family fun.

69%

COOKING

OR BAKING

67%

WATC H I N G

62%

OR MOVIES

PLAYING VIDEO GAMES

NEW TV SHOWS

OR BOARD GAMES

51% 52% ARTS & CRAFT

BUILDING THINGS

LIKE MODELS & LEGO SETS

+37%

PUZZLES

+125%

PROJECTS

BOOKS

ROUTERS

SCHOOL & EDUCATION NON-FICTION BOOKS

+27% OUTDOOR

-12% -32% E-BOOKS

ACTIVITY

+73%

SPORTS & TOYS

PLAYING CARDS

61%

Keeping kids entertained was the name of the shopping game in the summer months. But as the school year approached, parents turned to distance-learning supplies.

+62% K E Y B OA R D S

PENS, PENCILS &

SPIRAL NOTEBOOKS

CREDITS: TAYLEE BUTTIGIEG, ELIZABETH FOSTER, MEGAN HAYNES Disney Channels’ Mind & Mood Tracking Study | Dubit Trends | Smarty Pants 2020 Brand Love: A Brand Equity & Lifestyle Study of Youth Six to 17 | The Insights People: Trends Alert | United Nations: Are children able to continue learning during school closures? | The NPD Group Q1 2020 Games Market Dynamics: US Report | The NPD Group 2020 Gamer Segmentation Report | The NPD Group Retail Tracking Service

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October 2020 | FEATURE

COOL NEW SHOWS! BY: RYAN TUCHOW

Future Bros.

6 to 11

Producer: One Animation (Singapore) Style: CG animation Format: 52 x 11 minutes Budget: US$5.3 million Status: In development, with a pitch deck available. Delivery: 18 months from greenlight

When a time-traveling kid ventures into the future, he encounters the worst-case scenarioâ&#x20AC;&#x201D;his unimpressive teenage self. Created by Chris Karwowski and Joe Wong, this buddy comedy tags along with seven-year-old genius Andy as he discovers he ages into a lazy, moody and sophomoric 13-year-old. Young Andy creates new inventions and takes his older self on exciting adventures in the hopes of becoming the person he wants to be when he grows up. Focused on finding yourself (and not just literally), as well as the struggle of figuring out where your life should go, the series is executive produced by Richard Thomas and Michele Schofield.

FEATURE | October 2020

Rodney Raccoon

4 to 8

Producer: WayOut Kids (US) Style: 2D animation Format: 78 x seven minutes Budget: US$5 million Status: A pilot episode and a bible are complete. WayOut Kids is seeking broadcast, distribution and finance partners on the series. Delivery: 2021

Tapping into the trend of going green, a group of young animals embark on missions to protect their city and learn more about nature in this new series from WayOut Kids president JD Davis. From helping a gecko rebuild his home, to rescuing a dolphin, each episode begins at a local museum where the young creatures get a new environmentally focused mission. Rodney Racoon got its start as a musical stage performance, and the animated series will be supported by an educational program that teaches families how they can become more eco-conscious.

Bobble the Little Witch Producer: Gutsy Animations (Finland) Style: 2D animation Format: 26 x 11 minutes Budget: US$5.3 million Status: In development, with animation tests underway. Gutsy is looking for pre-sales and animation studio partners. Delivery: 2023

6 to 9

In this ode to nature, a young girl learns to communicate with the world around her after her family moves from the bustling city to a house in the country. Bobble, with a little help from a great aunt, learns how to use magic to turn the rubbish around her into new and exciting things. This marks the first environmentally focused series from the Finnish studio, and it combines Nordic visuals and mythology to encourage kids to connect with the natural world around them.

October 2020 | FEATURE

Meet the Walkerz

6 to 11

Producer: Shadow Valley Productions (US) Style: 3D animation Format: Four x 22 minutes, with an additional 16 x 11 minute episodes planned. Budget: US$15 million Status: Shadow Valley has completed a three-minute teaser, a bible and several episode synopses. The prodco signed Firefly Brand Management as the North American licensing agent, and is looking for broadcast and distribution partners. Delivery: Fall 2022

7 to 12

Royals Next Door Producers: Pikkukala (Finland/Spain), Lunanime (Belgium) and Ink and Light Film (Ireland) Style: 2D animation with photographic backgrounds Format: 52 x 11 minutes Budget: US$5 million Status: Starting production, with a bible, scripts and animation tests completed. Looking for pre-sales. Delivery: November 2021

Meet the new neighbors—they’re a totally typical family…a totally typical zombie family, that is. In this comedy series, the Walkerz get a chance to become the first (vegan) zombies to live in human society after winning a game show. But the undead have to go up against their zombie-hunting neighbor, who sees danger in those without a pulse. This family-friendly show is based on a series of comics by Jonathan Sanborn, with Shadow Valley execs Jeremy Christensen and Saber Christensen leading production.

Created by Veronica Lassenius (Fungi) and distributed by Dandelooo, this fantasy/comedy follows a royal family that ditches their majestic castle for a normal home to be closer to their subjects. The youngest princess starts a vlog to document her new life and all the amazing things she discovers. The show, which explores the challenge of adapting to change and retaining your identity, has already been picked up by a handful of European broadcasters, including YLE, RTVE, Ketnet and RTE.

Cub Squad

4 to 6

Producer: CAKE Entertainment (UK) Style: CG animation Format: TBD x 11-minutes Budget: US$7.8 million Status: A bible, an animation test script and the first draft of a song demo are all completed. CAKE is seeking broadcast partners. Delivery: Fall/Winter 2022

Sometimes you want to go where every cub knows your name. For a group of bears and cats, that means gathering at the Paws & Claws after-school club to sing, dance and paint. The furry friends support each other and work to put on musical shows, despite the many comedic problems that ensue, such as forgotten lines and crumbling sets. The series showcases the importance of friendship, believing in yourself and how, through teamwork, the curtain can rise and the show can go on.

KIDSCREEN | October 2020

WHO KNEW?

Millimages’ Lise Cosentino takes a break from communications to...

THRUST AND PARRY! ise Cosentino, director of marketing and communications for Parisian prodco Millimages, knew long before the pandemic how important it is to wear a mask. “I started to fence when I was six years old. At the time, I saw myself as the hero of an adventure movie like Mulan or Zorro,” she says. “When you’re fencing, you wear an outfit and a mask, and it’s like you can play a character. When I fence, I’m not the Lise my friends know.” Cosentino may have started fencing for fun, but she quickly became competitive. Fencing features three weapons— the sabre, foil and sword. Cosentino specializes in the sabre, and has been on France’s list of top athletes in the sport for more than 10 years. Fun fact: It was through fencing that she learned English. “In 2005, the national fencing team partnered with the US team, and those federations organized summer camps for the kids. I went to Atlanta, Georgia all by myself at 14. It was the first time I had visited the US.” More recently, Cosentino has represented Millimages at fencing competitions. But while she’s very proud of fencing for France and her studio, it’s ultimately an individual sport. “It’s especially important to push yourself in a sport like fencing because you don’t have a partner,” she says. “You need to be fully focused on what you’re doing and anticipate every move of your opponent. You can’t be thinking about anything else other than having fun and completely inhabiting the role of the samurai.” And speaking of samurai—as if fencing wasn’t impressive enough, Cosentino is also learning kendo, the swordbased Japanese martial art inspired by the samurai. “I’m a beginner at kendo, so I do a lot of things wrong— the posture, how you hold your weapon and how you move is all different from fencing. But I want to really focus on mastering kendo this year—I’m too competitive to do anything just for fun.” —Elizabeth Foster

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