Prensario Kids & Teens Summit Returns by Prensario

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[ PREMIUM INTERVIEW | PAY TV ]

Adult Swim: ‘We are focused on building our bench of globally appealing shows’ Adult Swim has been a US linear channel for more than 20 years and the #1 destination with young adults for more than 15. It started expanding to other territories more than five years ago with a 24-hour network in partnership with Corus Canada, branded blocks on linear networks around the world, SVOD partnerships, and now a global roll out of HBO Max. Prensario Kids & Teens interviews Michael Ouweleen, president, who underlined: ‘We have found that, even in markets where we aren’t distributed, young people know, and want our network with most of our digital traffic and views coming from outside the US’. He continued: ‘We have a history of doing well with acquisitions on linear, particularly Fox animated comedies, several of which were canceled before being picked up by us, and then got a second life thanks to the success they had on our air. This is true of Family Guy, Futurama, and others’. For a while, that was the majority of the linear airtime. But Adult Swim has also made scores of originals for

Michael Ouweleen, President

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20 years, hundreds and hundreds of episodes of animated comedies, anime and live action, and have won 24 Emmys across those originals. ‘Over time, that has become more and more of the linear airtime, and our recent 70-episodes order of Rick and Morty helps greatly there. We are focused on building our bench of globally appealing shows, with Rick and Morty as a base and building on the new series to be released this year’. Ouweleen continued: ‘We are working with our Warner Bros. Discovery and HBO Max coworkers across the globe to make sure our animation is premiering day and date to a global audience as much as possible. We also have been identifying talent from across the globe. Two of our comedies, YOLO: Crystal Fantasy and Smiling Friends, have the same Australian creator’. The company just had a pilot animated out of Mexico City and it has a long history of partnering with studios and directors out of Japan for anime originals. ‘We also try to highlight the next generation of animation talent through our “Smalls” project- working with creators from around the world’, he added. The executive outlined that the thing that defines Adult Swim isn’t just that it’s good at animation: ‘It’s that we continually defy expectation and ignite conversation by doing surprising things. We have a history of doing that in gaming, particularly mobile, and through music, events (Adult Swim Festival), etc. We have revamped our entire social approach to be on the screens closest to our young adult audience. While it’s important to keep linear fresh and exciting, for years we have been increasing our effort for smaller/faster/immediate screens- which reaches a global cohort instantly’. Adult Swim is participating at the the “Foro de Coproducción y Negocio” at Premios Quirino de la Animación Iberoamericana. To conclude, Ouweleen refers to the future in the Spanish-speaking industry: ‘There is so much animation talent in Latin America and Spain,

One of the most successful animated comedies of all times, Rick and Morty

New comedies in the grid: YOLO: Crystal Fantasy and Smiling Friends and it has only been growing. Part of what’s so gratifying about the rapidly growing globally are the possibilities for collaboration and creativity that can arise’.

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[ PREMIUM INTERVIEW | BROADCASTERS / DIGITAL ]

Sebastian Debertin, Head of International Content Acquisitions & Co-Productions, KiKA

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Sur/Letk ieciséis

the commercial competition in reaching the kids 3-13-years-old. The KiKA Player App, our Free VOD-offer, is getting used for streaming heavily. We are the #1 in terms of image ranking, far ahead of Netflix and others, while considered a trusted and loved brand by millions of children and parents alike in German speaking Europe’, he summarized. ‘Currently, we have a bigger number of national and international productions and co-productions in the pipeline, like animated series for preschoolers, animated comedies and specials. The latest one is the European co-production premiered last month, The Smurfs, with IMPS, Peyo Productions, Dargaud, TF1 (France) and RTBF (Belgium). Also, Schloss Einstein (MDR/ARD/KiKA), Die beste Klasse Deutschlands (KiKA/hr/ARD), preschool shows ENE MENE BU, Löwenzahn and Dein Song (both from ZDF), and special events like Junior Eurovision Song Contest (NDR/KiKA)’. ‘We provide life action series and features to news like daily news show logo, exclusively produced by ZDF. Animation was in the last 25 years and will also be in the future always a driving force. We’d like to see more original concepts in the next years, such as the book-based IP co-produced with Letko (Poland) and Sixteen South (Northern Ireland), Odo!, offering strong storytelling and a nice visual concept from Alena Tkatch from Ukraine’. ‘KiKA plays a pivotal role in children’s lives while they are consuming media. Therefore, we want and need more great new concepts and programs for all kinds and genres of shows from fiction to non-fiction. Animated feature films rank very high on the list, films suitable for all the different kids target groups plus family. In other words, co-viewing on top, is really advantageous. The same refers to live action feature films, for a kids -as well as for a kids- & family-audience. Depending on story and characters, the interest starts with films for a target of 5+ to 8-year-olds, followed by 6-10 and up to oldest kids 10-13’, he remarked.

D Credits:

KiKA, the German kids channel managed by a joint venture between the public entities ARD and ZDF, is turning 25 years this year and has achieved this strong position with educative and entertaining programs. In 2021, it was the top German speaking kids’ network with a share of 16. 4% among the 3–13-yearold for the third time in a row. ‘Many of our local and global production partners have contributed to our success. KiKA is a huge story of success: we are #1 in the German market, ahead of all the American powerhouses’, initiated Sebastian Debertin, head of international content acquisitions & co-productions, who is participating as a jury of this year’s Premios Quirino de la Animación Iberoamericana. ‘I’ve enjoyed the variety, quality and richness, as well as innovation, storytelling, character design, diversity of the different entries from Spain and Latin America’, he underlined. ‘I am proud to be on board since KiKA preparation in 1996 and start on January 1, 1997 and I am truly happy that we have been the overall leader in the (linear) kids’ TV market, being far ahead of

KiKA’s 25 anniversary: ‘Animation will always be a driving force’

The book-based IP series co-produced with Letko (Poland) and Sixteen South (Northern Ireland): Odo! (credit: Sixteen South/Letko)

‘Also, animated specials for linear and nonlinear, and not only for bank holidays: Raydar Media’s Piney follows KiKA’s Emmy nominee coproduction The Christmas Letter (Lupus Films and Dream Logic). We’ll co-produce another Halloween special with Dream Logic: The Ghastly Ghoul (’30) for the slots on bank holidays, Christmas or Easter’. ‘Another core need are animated series dedicated to the 6-9+ demo, for girls and boys alike, with high profile concept. Not so much in demand are the so-called bridge audience programs for the 4-7+ year old: Fireman Sam, which celebrates its 12th season and a new one to come up soon, joint by a Fireman Sam special. Or co-produced, like Dog loves books, an animated series featuring the fun to be found in the world of books, which we co-produced with iGeneration (aka Komixx Entertainment) and the BBC’. ‘We always try to identify appropriate live action series for the different age groups. Actually, we here are focusing on these series that are dedicated to the 6-9 demo. Innovative live action series for 10–13-yearolds, that reflect their specials needs and interests while not being too dark, are also on top. Our preschool slot Kikaninchen is very strong. In the years to come, we will be happy to be working with big and small companies from all over the world to find new strong concepts and a lot of the success stories come from small and creative boutique companies. Jointly we can make your new innovative concepts become strong shows and big brands’, concluded Debertin.

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[ PREMIUM INTERVIEW | PAY TV ]

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Yves Bigot, CEO TV5MONDE Group

Arabic territories. Nowadays, the genre represents 12% of our slate but we plan to reach 20% in the near future, adding international co-productions’, explained the CEO of the company, Yves Bigot to Prensario. Then, he referred to the global expansion of the Group, and remarked ‘a pivotal global moment for the company’ while it navigates the pandemic has been the expansion generated by the streaming platform TV5MONDEPlus, which was launched in September 2020. ‘TV5MONDEplus is a TV everywhere service in the USA that is included with a TV5MONDE subscription and also distributed as an AVOD service in other regions, providing +6,000 hours of content servicing 16 million people around the world and offered to subscribers in up to 5 subtitled languages. We have movies, TV series, documentaries, lifestyle programs, animation, web formats and iconic shows (French conferences of the Natural History Museum),’ added Bigot. After MIPTV, the company announced a strategic partnership with Netgem Group to launch TV5MONDEplus in the UK and Ireland across 15+ Ultrafast Fibre Broadband providers (PC, Android, iOS, Samsung, Amazon Fire stick and Chromecast). Content includes series with record audiences in their countries, such as Canadian Unité 9, Swiss Helvetica, French Meurtres à…., Belgian Ennemi Public, or the Senegalese-Nigerien political thriller Wara, movies from all genres including action, comedy, and dramas, documentaries, concerts, kids’ programs, magazines, and podcasts. Bigot emphasized about the streaming strategy: ‘We are learning while we walk. Even though there are so many different business models, we are focusing mostly in the AVOD but always analyzing new options that may add value to our programming.’ All programming available in the TV5MONDE services must be French-speaking. The content strategy is divided in three: first, the best offerings from French networks such

Mediato

As the global French language publicfounded entertainment network, TV5MONDE broadcasts 24x7 and provides content in 13 subtitled languages worldwide, providing 7 premium services TV5MONDE USA, TV5MONDE Cinema On Demand, TV5MONDE Style, TV5MONDE Docs, TV5MONDE Info, TiVi5MONDE and TV5MONDEplus. Last MIPTV edition in Cannes, the French public group celebrated the 10th anniversary of TiVi5MONDE. Lunched on January 2012, the network is aimed mainly to French-speaking African children (4–13 years) and the main goal is to teach French to young children through dedicated programs. The kids’ channel airs educational programs, cartoons, children’s series and games. All programming is French-speaking and without advertising. Among them, stand Oum the white dolphin, Lupin’s Tales, Our neighbors the pirates, Gabao, The Story House and Coach Me if you Can and Hey, little wolves! Actions to remember, or the classical preschool animation La Famille BlaireauRenard. ‘We are producing several originals in Africa, where the talent is better each year. And not only there, also in Morocco and other African-

Credits:

TiVi5MONDE: new opportunities to come

Classical preschool animation La Famille Blaireau-Renard as France Télévisions, ARTE, RTS (Switzerland) and RTBF (Belgium); second, own productions, including news, documentaries, lifestyle programming and content produced in Africa: cinema, TV series, docs, magazines, performances, animation; and third, acquisitions of the same genres. ‘We are enlarging our production slate in Africa, bringing more content such as the drama series Wara, shot in Senegal but including talent from the pan-African region. Or Timbuktu, nominated to the Oscars (2014). Every year, we have at least one new movie nominated for the Cannes Film Festival,’ added Bigot. Yearly, TV5MONDE generates 4-5 movies plus 20 new and returning TV series a year, produced in Senegal, Ivory Coast, Central America and territories of the Indian Ocean. ‘We try to have one new show from each of these French-speaking countries. The programming strategy of these contents differ depending on the territory: if it is a free or a paid one like TV5MONDE USA’, commented the executive. To conclude, Bigot commented that the company is not thinking of launching new services right now, but new ideas are always in the pipeline: ‘The last network we launched was in 2017, TV5MONDE Style which is now available in USA, Arabic and African countries and quickly expanding in South East Asia. Our offering includes travel, docs and animation. We are always open for new opportunities.’

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[ SPECIAL REPORT ] [ BY ALBERTO BUITRON AND FABRICIO FERRARA ]

Tenerife, Annecy and Miami: the most relevant global animation ever Prensario Kids & Teens presents this triple midyear edition, which covers three strategic events in the children’s and teen content business: the fifth edition of the Quirino Awards (Tenerife - Spain, May 1214 ); the Annecy Festival and its MIFA market (Annecy – France, June 13- 18); and the second edition of the Kidscreen Summit this year (Miami – USA, July 18-21). Quirino Awards, which were organized for the second year at San Cristóbal de La Laguna, Tenerife, reflected of an important evolution of the Spanish and Latin American market. There were 19 works from 12 countries in competition (44 hours) with 9 winners: Brazil, Mexico, Chile and Spain were the countries that receive most of the prizes. Bob Cuspe - Nós Não Gostamos de Gente (Brazil), Sustos ocultos de Frankelda (Mexico) and Bestia (Chile) were awarded for “Best Movie”, “Best Series” and “Best Short

The TV series Dos Pajaritos, co-produced by Palermo Estudio (Uruguay), Can Can Club (Argentina) and Señal Colombia, was nominated for the Quirino Awards and is also part of the Annecy Official Selection

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DEVICES MOST USED BY CHILDREN IN EUROPE (2021)

Source: OFCOM Film”, respectively. Las moscas solo viven un día (Spain), “Best School Short Film”, #NormasdeGéneroBinaria:Niñas (Chile), como “Best Animation Commissioned Film”, and Greak: Memories of Azur (Mexico, Argentina, Ecuador and Venezuela) as “Best Animation for Videogame”. ‘The regional animation has experienced remarkable growth in the last five years. And they are being recognized internationally at Annecy or the Oscar Awards, which is why they are increasingly attractive to sales agents and distributors from all over the world,’ said José Luis Farias, director of the event, which also has a Co-production and Business Forum that hosted some 700 meetings. Quirino will also host the 41st Ordinary Meeting of the Conference of Audiovisual and Cinematographic Authorities of Ibero-America (CAACI) and the 20th Extraordinary Meeting of the Intergovernmental Ibermedia Program. ‘It is a great responsibility and honor to organize them. It is a unique opportunity to focus and illuminate the sector for the authorities. We hope that these events will mark a before and after in public-private collaboration in IberoAmerican animation’, concluded Farias. The animation business circuit continues with Annecy Festival and its dedicated MIFA market, which celebrates its 60th anniversary with Switzerland as a “Country in Focus”. In the Official Selection, there are 38 titles, while in the Off-Limits and Perspectives and children’s audience sections, it announced 8, 17 and 9 works, respectively. Mickaël Marin, Director of CITIA/Annecy,

said: ‘Our goal, which motivates our decisions and work in the coming months, is to prepare the Festival in place as close as possible to how it was before 2020. We have an optimistic approach and we are looking forward to welcoming you in Annecy. From the 13th we want to celebrate the diversity and richness that animated cinema offers us all’. Lastly, July was the month chosen by the Kidscreen Summit for his return in person. Jocelyn Christie, VP Publisher of Kidscreen, explained: ‘After the cancellation of the meeting in February due to the growth of the Omicron variant, we decided to split the meeting in two: first, the virtual one in March, and then the face-to-face one at the InterContinental in Miami in July. The strategy was to reschedule the physical event without affecting the virtual one, which offered a full week of panels, presentations, Q&As and adapted versions of some of our exclusive networking formats’. Some executive consulted by Prensario Kids & Teens predict that animation, along with the children’s and teen programming, are gaining ‘great momentum’. There are two main reasons: a larger offer, more diverse and from different origins; and a greater demand with a growing audience that has access to more platforms and animated content that extends to adolescent and adult targets, which is one of the great trends that will be reflected in Tenerife, AnnecyMIFA and Kidscreen. The Tenerife Co-Production and Business Forum received Adult Swim (see a separated interview in this edition) among its buyers, and in the Annecy Official Selection there are

José Luis Farias, Director, Quirino Awards:

Mickaël Marin, Director of CITIA/Annecy:

Jocelyn Christie, VP Publisher of Kidscreen:

‘Ibero-American animation has experienced notable growth in the last five years, being recognized internationally at Annecy or the Oscar Awards’

‘Our goal, which motivates our decisions and work in the coming months, is to prepare the Festival in place as close as possible to how it was before 2020’.

‘We rescheduled the physical event without affecting the virtual one, which in March offered a full week of panels, presentations, Q&As and adapted versions of some of our exclusive networking formats’.

several projects of this type such as the second season of the futuristic series Riot Games and Netfilx Arcane: When These Walls Come Tumbling Down (9x’42). Statista confirmed that between 2020 and 2021, the share of American children who have a Smartphone increased by 5 points: 39%. The British OFCOM reported that the number of children who watch more content on VOD platforms than on free-to-air TV ‘skyrocketed’: ‘Almost all the children consulted (96%) saw any type of VOD versus a little more than half (56%) who watched live television’. Jonathan Watson, Chief Product Officer, The Insights Family, stated that many OTTs and production companies have found ‘a gold mine’ in the development of content for the children’s segment in different formats. ‘Filmmakers are already thinking about new narratives for kids and tween shows. The axes of themes today are sensitive souls, curious explorer, or characters who learn from their mistakes. Added to this, we are seeing more racial and cultural representation on TV; much more than before’, he stressed. Trends Another of the clearest trends this year is linked to the narrative axes that the content will have for the segment. Anu Sikka, Content Creation, Channel Strategy & Research at Viacom18, maintained that the content they develop is geared towards children’s emotions: ‘We believe it is very important to show that our children have positive emotions, as well as negative ones, and that it is good that they happen. Likewise, we are promoting short and dynamic content for OTTs and YouTube. Watson added: ‘Creators are expanding the range of emotions and themes they can

deal with within children’s narratives. Today’s children are curious, love innovation and are emotionally motivated’. Parrot Analytics reported that between January 1 and May 25, 2021, the demand for children’s programming with Asian American and Pacific Islander (AAPI) protagonists experienced a 9% growth in popularity compared to the same period of the year. previous. And Virginia Mouseler, CEO of The Wit, highlighted that cultural-themed content with a strong Asian presence is generating interest in several markets: ‘Creators are understanding the children. Networks like Nickelodeon India dedicate a lot of their programming to local representation and kids are loving this’, she explained. There are already large studios that have joined the representation of different regions in their content: the Marvel/Disney film Shang-Chi and the Legend of the Ten Rings or Encanto, based on Colombian culture; Netflix commissioned new animated projects with Asian-American creators; also Sesame Street introduced its first Asian-American character, Ji-Young; or CBC Kids, which is developing Pillango Productions’ Gangnam Project, a firstgeneration immigrant story set in the context of a K-Pop school. Animation and real-time Real-time animated productions are a direct result of the growth dimension of the video game industry and its game engines. Epic Games is one of the key companies in this segment. The company responsible for Fortnite has been carrying out the Epic MegaGrant since 2019, a USD 100 million program that seeks to support companies that carry out work in the

The second season of the Riot Games and Netflix’ Arcane: When These Walls Come Tumbling Down: animation for adults is the big trend in recent years

world of animation development and rendering in real time. Among those that received funds are Cyber Group Studios (France); One Animation; Lil Critter Workshop and Scribble Studios, both from Malaysia; Squeeze and Digital Dimension of Canada; HYPE Animation (Brazil) and Engine House (UK). There is also a return of series about boy bands or girl groups. Although shows about teenage boys were very present on TV in the 90s, The Wit assured that it will be a theme that will lead TV in 2022. Nickelodeon recently introduced pop/R&B girl group Good Newz Girls to the market with their debut Christmas-themed EP; CBBC also renewed its teen musical dramedy Almost Never for a third season, and Disney Channel announced that it had acquired the series for broadcast in the US. Lastly, Sony Pictures Animation is developing K-Pop: Demon Hunters, an action-adventure musical film about a K-Pop girl group whose members must balance life in the spotlight with their secret identity as demon hunters.

Large studios add representation of different origins in their shows, such as the case of Sesame Street that presented its first Asian-American character, Ji-Young

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[ SPECIAL REPORTS | DIGITAL, TV & PRODUCERS]

Escuela+: educational, diverse and multiplatform Ponchosauer, an Argentine producer with almost a decade of experience, has been in charge of the curatorship and content management of Escuela+ for six years, an educational program in the area of social responsibility that DirecTV broadcasts in Latin America and Brazil, through SKY. This year, he developed and produced the original series Acción, which is a finalist for the German Prix Jeunesse 2022. Released in March, it offers narrative and Fernando Collazo, cinematographic concepts in a playful and educational content director, and Karina Wroblewski, way so that children and young people can put together executive producer, their own audiovisual story with their cell phone. The Ponchosauer production company already has a second series underway: Cuenta Cuentos, with 10 episodes, which will be produced in Portuguese. Escuela+ offers educational content for audiences from 7-11, tweens, teens and families. It is a solidarity program that, for 13 years, has provided connectivity and offers free of charge all its materials to rural schools in South America. Due to its role, it is a key element of Acción, original series by the operator’s content strategy, owned by the Ponchosauer premiered on March 20 on Escuela+, Group Werthein since 2021. finalist for the Prix Fernando Collazo, Ponchosauer’s partner and Jeunesse 2022 Award executive producer, and Karina Wroblewski, content director: ‘Escuela+ is innovative because it is a regional educational program and because it dialogues dynamically with public and private sectors for the development of materials and for finding alternative ways of distribution of educational content throughout the region’. Wroblewski: ‘Its contents encourage curiosity and learning and are accompanied by pedagogical sheets for teachers and families. To the former, it offers suggestions to work on curricular content in the classroom, and to the latter it proposes ideas to accompany the process from their homes and generate conversation. ‘The contents combine technology and education, two key areas in the post-pandemic. Escuela+ is not a TV channel, but rather an educational program that distributes acquired content (60% produced in Europe and LATAM) and its own (40%) to a diverse group of audiences through a multimedia system. 60% of the grid is live action and 40% animation,’ concluded Collazo and Wroblewski. ESCUELA+ IN NUMBERS

• 9800 escuelas conectadas • 80% escuelas rurales • 15.000 docentes capacitados en 9 países • 2 millones de alumnos beneficiados • 7 millones de usuarios de DirecTV con acceso a Escuela+

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Nelvana: how to evolve on kids targets without losing the essence Owned by Corus Entertainment (Canada), Nelvana is one of the world’s leading creators of children’s and youth content. Prensario interviewed Nelvana’s head of development, Athena Georgaklis, who highlighted the new projects coming from the studio, strategy and trends in the animation segment. ‘We have a development team with six people within a team of 300 at the Toronto studio. We Athena Georgaklis, receive about 500 projects a year of which 7-10 go head of Development into development and three arrive to the screen. We are always open to working with new talent and to receive projects from all over the world. It is a great challenge to find the gems that differentiate us globally’, remarked Athena Georgaklis, Head of Development at Nelvana. ‘We take each idea and we put the best team together to make it work. That is our main task. We generate animation, especially preschool (6-11), and live action (8-12), where we are putting more emphasis. In addition, Corus owns a book publisher, Kids Can Press, from which we take many ideas for adaptations to series, movies and specials’, she continued. In animation, co-production is ‘key’, according to the executive. Nelvana has established many production partnerships over the years and is always looking for more partners to collaborate with, in addition to working with Corus-owned top kids networks in Canada. ‘We are the studio to Treehouse, TELETOON and YTV and therefore develop for these networks first and foremost. Preschool is our biggest priority and will continue to be our main focus’, said Georgaklis. And she continued: ‘Among our developments, 50% of it is preschool animation and the other 50% is divided into three sub-genres: 6-11, teen / tweens and adult animation. We are implementing software called Harmony from Toon Boom Animation, a group company that generates 2D content. Among the main success stories, the executive highlighted the live action series The Hardy Boys and a new animated series currently in development based on the short film The Most Magnificent Thing, which is based on the best-selling Max & Ruby, preschooler book from Kids Can Press. ‘The Dog animation is on top & Pony Show or Agent Binky: Pets of the Universe are two good cases, besides Franklin and Max & Ruby’, she added.

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[ EXHIBIDORES ]

Sesame: aprendizaje, inclusión y diversión Whit Higgins, SVP, medios y educación internacionales y distribución global, Sesame Workshop, destacó las nuevas producciones para los próximos años: de Guru Studios, destaca la nueva serie preescolar 3D Sesame Street Mecha Builders, que trae a Elmo, Cookie Monster y Abby Cadabby como héroes robots que usan superpoderes para resolver problemas extravagantes, y Bea’s Block que presenta un nuevo mundo donde los personajes de bloques de madera dan vueltas, se apilan y ruedan a través de aventuras llenas de bondad. Estos título se lanzarán en 2022 y principios de 2023. Y también la adaptación del clásico de E.B White, Whit Higgins, Charlotte’s Web como una miniserie animada de SVP, medios y educación eventos: la primera de lo que planeamos que sea internacionales y distribución global, una serie de propiedades animadas basadas en Sesame Workshop libros. ‘Además tenemos una nueva colección de formatos animados producidos con apoyo de Fundación LEGO, Play to Learn, diseñados para involucrar niños en edad preescolar con contenido lúdico de aprendizaje temprano: Big Feelings Explorers, Math Adventures, Let’s Find Out y Caring Friends’ Circle’, añadió Sesame Higgins. Nueva serie preescolar 3D Street Mecha Builders Sesame Workshop está invirtiendo en más contenido corto: Coming Together DE&I trae una serie de videos de “Palabra del día” a través de los Muppets y amigos famosos para el canal de YouTube: Amanda Gorman, Samuel L. Jackson, Gabrielle Union y Brett Goldstein. Higgins finalizó: ‘En Japón, tendremos eventos especiales en escuelas y centros de salud, parques temáticos, apps y ahora también en TV con U-NEXT. En Alemania, celebraremos en 2023 con Sesamstrasse, coproducción con NDR: eventos especiales, contenido al aire y colaboraciones con NDR, KiKa y nuestro socio Studio100. Nos expandimos en territorios clave, incluidos ABC, Netflix y STAN en Australia; WarnerMedia y TV Azteca en América Latina; TinyPop en UK; Treehouse y Crave en Canadá; y Tencent en China, entre otros’.

Mondo TV Studios: animación con un mensaje Mondo TV Studios está en un momento de ampliación de sus líneas de negocio, entre los que se destaca el segmento de videojuegos con Sony Interactive Entertainment España y Gammera Nest, socios en el título inspirado en MeteoHeroes, serie disponible en 145 países. ‘Se ha lanzado a finales de febrero en formato digital para todo el mundo y llegará para NaviMaría Bonaria dades a las tiendas físicas en Italia y España. Además, Fois, CEO sellamos un acuerdo para la distribución en exclusiva de MeteoHeroes (serie y videojuego) en USA y Canadá con Kenn Viselman de itsy bitsy Entertainment’, inició María Bonaria Fois, CEO. MeteoHeroes se ha estrenado en PBS con un especial en ocasión del “Día de la Tierra”, al que seguirá un estreno oficial a finales del verano junto con una serie MeteoHeroes, propie complementaria, Real Superheroes don’t videojuego como la dad 360 con el novedad más reciente wear capes, cuya producción ejecutiva es del mismo Viselman. Mondo TV Studios promueve además Annie&Carola (52x11’) de Myriam Ballesteros, una comedia 2D con episodios auto conclusivos coproducida con Mondo TV S.p.A, MB Producciones, RTVE y con colaboración de RAI Ragazzi, que confirmó la pre-compra de los primeros 26 episodios. ‘Es un proyecto 360, y ya tenemos una estrategia transmedia para implementar’, adelantó la ejecutiva. Sobre Tenerife, añadió: ‘Es el centro de producción de animación de referencia en España y de los más importantes en Europa, gracias también a la condición muy favorable de tasación. Fuimos de los primeros en y testigos en los últimos seis años de sus capacidades productivas. Nuestro centro de operaciones es en Canarias, pero la mirada es internacional’. Y concluyó: ‘En 2021 tuvimos récord de facturación, aumentamos nuestra capacidad de servicios y sumamos proyectos como Letrabots (Cicaboom y Mondo TV S.p.A) o One Love (Mondo TV S.p.A y T-Rex Digimation). Cerramos un acuerdo para llevar una serie de la RAI al mercado internacional, y seguimos apostando a los videojuegos con más títulos inspirados en nuestras series, combinando educación y diversión con un mensaje’.

Superights lanzó Go! Go! Cory Carson Superights (Francia) adquirió los derechos internacionales de distribución de la serie animada ganadora del premio Emmy al líder mundial en productos electrónicos de aprendizaje para niños, VTech. Go! Go! Cory Carson es una serie preescolar basada en Go! Go! Smart Wheels, la línea de vehículos de juguete y juegos electrónicos más vendida que se emitió originalmente en Netflix en su primera ventana mundial. La serie ganó tres premios Emmy en 2021. Con este acuerdo, la distribuidora francesa maneja todos los derechos de transmisión lineal en todo el mundo n o excepto en China. ry Cars Go! Go! Co La serie de 84 episodios incluye episodios de 63x7’, com-

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plementados con una colección de cortos de 16x3’30, tres especiales de temporada centrados en Navidad, Halloween y Verano de 22 minutos, y una mini película de 42 minutos. Kuku Studios (Berkeley) fundado por antiguos talentos ganadores de premios Pixar (Alex Woo, Stanley Moore, Tim Hahn), produjo la serie, mientras que Superprod Studio se encargó de toda la producción CGI. Nathalie Pinguet, directora general adjunta de Superights: ‘Es un espectáculo encantador y debo decir que su narración alcanza un nivel emocional que calienta los corazones de los niños y los padres. También se enfoca en temas y valores como la perseverancia, la familia, el trabajo duro y el cuidado de los demás de una manera ligera y profunda’.

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Toonz: nuevo lineup de animaciones 8+ Toonz Distribution está reforzando su catálogo de distribución y preventa, donde sobresalen los contenidos animados de comedia para targets 8+. Bruno Zarka, presidente de distribución, y Marijo Arnaiz, a cargo de las ventas en Europa del Sur y América Latina destacaron que la compañía está ‘produciendo más Bruno Zarka, presidente de distribución, y Marijo Arnaiz, ventas y generando nuevas alianzas de copara Europa del Sur y América producción’. Latina, Toonz Distribution Y continuaron: ‘El objetivo es subir el target, reforzando nuestro catálogo de títulos para preescolar con temáticas comunes a ellos, divertidos y de altísimos niveles de producción, que es la demanda que estamos percibiendo desde las pantallas internacionales’. ‘Las televisoras quieren reconquistar este target, que se ha ido a las plataformas. Por eso proponemos títulos novedosos, con diseños divertidos y dinámicos de gran impacto visual’, explicó Arnáiz y ejemplificó con sus tres nuevas comedias: las coproducciones con España, Sunny Side Billy (52x’11) con Clan TVE e Imira, Telegael and Hearst Entertainment, y The Goober Troop (52x’11), co-desarrollada con Disney España, Buzo y Telegael, y Kingdom of None (52x’11) con Hearst Entertainment y Ferly (basada en Canadá y Finlandia). Sunny Side Billy entra en breve en producción y las preventas ya comenzaron desde MIPTV, siguiendo en Annecy y Kidscreen. Mientras The Goober Troop finalizó el desarrollo, Kingdom of None terminó detalles de animaón ci ción y ambos se producirán durante el verano uc od pr lly, co Sunny Side Bi e Imira europeo. ‘Los tres proyectos se estrenarán en E TV con Clan 2023’, adelantó Zarka. Toonz está poniendo énfasis en América Latina, donde considera que los contenidos de comedia y altas dosis de humor tienen buena recibida. ‘Contenidos divertidos, rosando lo absurdo, en 2D y con personajes entrañables. Esa puede ser una fórmula ganadora y ya lo estamos viendo en la recepción de nuestros proyectos. Hay espacio para crecer y queremos hacer más en esta parte del mundo’, concluyeron Zarka y Arnaiz.

Canary Island Film: los incentivos más atractivos de Europa De cara a los Premios Quirino de la Animación Iberoamericna, Natacha Mora, coordinadora de Canary Island Film, destaca los incentivos de las Islas Canarias, los más atractivos de España y Europa, además de sus recursos y talentos que le han permitido crecer año a año en volumen de producción y atracción de inversiones. ‘Tenemos 20 estudios de animación con un tamaño medio de 50 personas —algunos alcanzando 160—, que generan +650 trabajos directos. Hay tamNatacha Mora, bién 13 estudios de videojuegos con unas 7 personas coordinadora, en promedio y el más grande con 45. El sector emplea Canary Island Film a 170 personas’, describió. ‘Además de las ventajas fiscales, destacamos una industria local consolidada, acceso a talento local y programas formativos ad-hoc cubiertos por las instituciones, infraestructura top y calidad y costo de vida. Queremos abrir nuevos mercados con foco en Europa del Este, Rusia y Asia, y seguir Treas ure Trekkers, de mejorando los incentivos fiscales para poestudio local B-Wate sarrollada por el r tenciar las ventajas’, agregó. Para 2022, se incrementa la apuesta por el 45% Tax Rebate para el desarrollo de videojuegos mientras sigue empujando el 50% Tax Rebate para producciones internacionales, 50% Tax Credit para Co-Producciones, y el 4% Zona Especial Canarias (ZEC). Gracias a esta batería de incentivos, se desarrollaron Arcane de Netflix, desarrollada por In Efecto; Pocoyó, desarrollada por KOYI; Cleo & Cuquín, desarrollada por ÁNIMA; Momonsters, desarrollada por 3Doubles; y Treasure Trekkers, desarrollada por B-Water, entre otras. ‘Estamos colaborando con agentes, prescriptores y/o asociaciones, organizando misiones comerciales, webinars, agendas de negocios. Al mismo tiempo, reforzamos la colaboración con instituciones locales para una mejor gestión de los recursos y una más efectiva promoción en los mercados internacionales. Y con ICEX España para maximizar los proyectos de atracción de inversiones audiovisuales en el marco del Spain Audiovisual Hub’, concluyó Mora.

Millimages: foco en América Latina Millimages es una de las tradicionales productoras de animación en Francia, con más de 30 años en la industria. Es el creador de Molang, un éxito global que lleva seis temporadas y 9 especiales además de un fuerte desarrollo 360. La compañía busca potenciar sus nuevos IPs y crecer en América Latina. Lucille Janvier, responsable de ventas para América Latina: ‘Ser una serie no dialogada, le da a Molang una gran ventaja. Fue creada en 2015 y desde enles tonces hemos producido cinco series ecia esp y ada por Molang S5: nueva tem con la sexta en camino y 9 especiales

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de TV de 7 minutos. En América Latina está en TV Azteca (México), TV Cultura (Brasil), además de Disney Latin America’, señaló. Sigue empujando Pirata y Capitano, cuya segunda temporada (52x’11) se lanza a fines de este año. ‘Es una serie preescolar 4-7 años que ha funcionado bien y queremos tenerla en América Latina. Además, tenemos Spooky Wolf (26x’13) del estudio italiano Movimenti Productions que llegará en 2023, y Anatane Lucille Janvier, Saving the Children of Okura (26x’22), serie futurista ventas para que tiene lugar en Paris 2213, de Les Films de la PerriAmérica Latina ne en coproducción con Tooncan (Canadá).

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ICAA: compromiso con la animación española Como todos los años, el Instituto de la Cinematografía y de las Artes Audiovisuales (ICAA) tendrá una presencia y apoyo destacado a la animación española durante los Premios Quirino de la Animación Iberoamericana, donde hay 13 producciones nominadas. España es el segundo productor europeo y el quinto a nivel mundial con ingreso anuales por €900 millones y el 90% de su producción exportada con más de 30 acuerdos de coproducción internacional, según el “Who is Who 2022” de Animation from Spain (2022). Con 260 productores y distribuidores, la industria comprende el 4% del toeld Wiper de hi ds in tal de empresas audiovisuales, pero W e Th je 22 El cortometra o, ganador de un Oscar 20 lg genera el 20% del empleo (8.540 ie M o Albert profesionales, 35% es femenino). ‘El crecimiento ininterrumpido de los últimos años generó numerosos puestos de trabajo altamente cualificados y de jóvenes profesionales’, subrayó el informe “Resiliencia en la animación” de Quirino. El mismo reporte indicó: ‘La internacionalización se reconoce no sólo work in rto Vázquez: su be Al 21 de en sus talentos y en las coproduc20 s cy ar W ne de An Unicorn en el Festival ciones, cada vez más numerosas, progress brilló sino también en su comercialización ya que el 70% de la facturación de las empresas españolas dedicadas a la animación proviene del exterior’. Otro punto alto son los reconocimientos internacionales. En los Premios Oscar 2022, Alberto Mielgo recibió una estatuilla por el cortometraje animado The Windshield Wiper. En 2019, la película Klaus de Sergio Pablos estuvo nominada al Oscar a “Mejor Película de Animación”, y logró siete premios Annie, entre ellos el de “Mejor Película Animada”. Próximamente vendrá el largo de Fernando Trueba, They shot the piano player, mientras que el Work In Progress Unicorn Wars de Alberto Vázquez brilló en Annecy 2021. Las producciones españolas nominadas en Quirino por “Mejor largo-

metraje” son D’Artacán y los tres Mosqueperros de Toni García Martínez y Valentina de Chelo Loureiro; Brave Bunnies de Tim Fehrenbach por “Mejor serie de animación”; Leopoldo el del bar de Diego Porral por “Mejor cortometraje”; y Genethic de L. Batlle, C. Casas, L. Cuffi, M. Salas, I. Fernández, G. Grifell, S. Ros, S. Solanes, F. Tejedor y J. Valdivielso por “Mejor cortometraje de Escuela de Animación” y “Mejor diseño de animación”. También Lágrimas de dragón de Íñigo Álvarez y Antonio García Tardón y Las moscas solo viven un día de Mauro Luis López ambos por “Mejor cortometraje de Escuela de Animación”; tres nominados por “Mejor Animación de Videojuegos”: Aeterna Noctis de Aeternum Game Studios; Mirlo: Above the Sun de Digipen Institute of Technology Europe Bilbao; y Narita Boy de Studio Koba; Flash de Bruno Simões por “Mejor animación Iberoamericana de Encargo”; Nacer de Roberto Valle por “Mejor diseño de animación”; y The Monkey de Xosé Zapata y Lorenzo Degl’innocenti por “Mejor diseño de sonido y música original”. LA INDUSTRIA ESPAÑOLA DE LA ANIMACIÓN EN NÚMEROS

• Número de compañías (productoras y distribuidoras): 260 • Mayor número de empleos directos (8.540) e indirectos (21.000) • Nuevas producciones cada año: series (16), cortometrajes (52) y films (6) • Producción de películas (últimos 4 años): +25 • Producción de cortometrajes (últimos 4 años): +200 • Producción de series de TV (últimos 4 años): +70 • Número de coproducciones nacionales: 90% • Número de coproducciones internacionales: 70% • Principales coproductores/canales nacionales: TVE, TV3, A Punt • Principales regiones coproductoras: Europa e Iberoamérica • Ingresos anuales: €900 millones • Producción exportada: 90% • Acuerdos internacionales de coproducción: +30

Grafi2000: comedias para niños King Shakir (200x’11) es la marca infantil más popular en Cartoon Network Turquía, batiendo el récords de ventas en productos con licencia. Su segunda película ha batido el récords de taquilla, y la tercera, The Recycle, estrenará en cines luego de la pandemia. También hay dos TV Movies emitidas en Exxen Turquía. Con producción y distribución a cargo de Grafi 2000 Productions, la serie está dirigida a 7-9 como segmento principal, pero también llegando a niños en edad preescolar y familiares, King Shakir es un fenómeno que excede las fronteras de Turquía, habiéndose licenciado a Cartoon Network EMEA, donde busca potenciar el negocio de Licensing & Merchandising. ‘No solo estamos buscando pantallas, también implementaciones de marca, shows en vivo, parques temáticos y A Super Team alianzas con streamers internacionales. Hemos rubri-

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cado un acuerdo de distribución con Pick One Media de Mariana Fernández para América Latina, mientras estamos construyendo estrategias para Rusia e India’, explicó Varol Yasaroglu, co-fundador. ‘Nuestra narrativa puede atraer a cualquier niño del mundo. Por lo tanto, Kidscreen Summit Virtual y MIPTV son shows esenciales para nuestra estrategia. Tenemos grandes expectativas, especialmente para Varol Yasaroglu, compensar el tiempo que hemos perdido con la panco-fundador, demia’, completó el ejecutivo. Grafi2000 El estudio turco acaba de lanzar una nueva IP: A Super Team (26x’11) que muestra la forma más divertida y aventurera de contar las cuestiones medioambientales. Se dirige principalmente a 7-9 y también llega a preescolar / familia, al tiempo que impulsa sus productos con licencia.

GoldBee: +40% de crecimiento en América Latina Más allá de la pandemia, los últimos dos años han sido muy buenos para la distribuidora independiente de contenido infanto-juvenil liderada por Christophe Goldberger, CEO. En 2021 ha crecido un 40% en la región latinoamericana, la marca más grande desde su lanzamiento. GoldBee tiene contenido animado y live action de varias distribuidoras internacionales y en la región es el representante exclusivo del contenido Junior de ZDF Studios (Alemania). ‘América Latina fue Christophe Goldberger, CEO siempre un territorio complejo pero en los últimos dos años los acuerdos han crecido significativamente’, explicó Christophe Goldberger, CEO. ‘Hemos cerrado deals con Disney+ como Heirs of the Night de ZDF Studios, una super-producción juvenil familiar of que permite co-viewing, que se estrenó rs ei H zo ar ó en m Disney+ estren F Studios el pasado mes de marzo. Y con Grupo ZD the Night de Globo (canal + OTT) un paquete de programas de más de 225 horas, incluyendo grandes marcas cómo Escuela de Rugidos, El libro de la Selva, Las nuevas aventuras de Peter Pan, Athena, Las sirenas de Mako, Dance Academy, y recientemente con la animación Space Nova y Captain para ada Henrietta Flinn and the Pirate Dinosaur para GloLa serie anim Gloobinho boplay, y Henrietta para Gloobinho, un récord para nuestra compañía’, añadió. También cerramos un acuerdo con América Móvil para programas de ficción, con Las Sirenas de Mako y WolfBlood. En Canal 11 de México se han emitido las dos primeras temporadas de la nueva producción de La bruja desastrosa y la primera temporada de El Maestro Torbellino por mencionar algunos ejemplos exitosos. Y WarnerMedia ha comprado más de 75 horas de nuestro line-up de ficción, incluyendo Athena, el animado H20 Mermaid Adventures y WolfBlood, entre otros. ‘Lo mejor de la región ha sido que aparecen nuevos jugadores permanentemente, lo que nos da nuevas oportunidades’, concluyó Goldberger.

Peekaboo: grandes novedades para Iberoamérica Peekaboo Animation (España) presenta diferentes novedades en su catálogo de distribución para las Américas en 2022. Además de su serie estrella Yo, Elvis Riboldi (52x11’), nominada a mejor serie de animación iberoamericana el año pasado y emitida por CarIván Agenjo, toon Network en la región, la novedad de catálogo es CEO y productor Mironins (26x7’), serie preescolar sin diálogos sobre ejecutivo, Peekaboo tres gotas de pintura que cobran vida en un museo. Animation ‘Con la segunda temporada en preproducción, pretende acercar a los niños al mundo del arte y de los museos desde un punto de vista lúdico y divertido. Se estrenó con éxito en España en varios canales: Clan, Super3 y À Pun, así como TFOU MAX (Francia). Además, la recopilación en versión largometraje estuvo nominada a mejor película de animación Mironins, serie prees diálogos sobre tres colar sin en los 36º Premios Goya y ganó el premio gotas de pintura que cobran vida en un Gaudí a mejor largometraje de animación’, museo explicó Iván Agenjo, CEO y productor ejecutivo de la compañía. La compañía ha firmado también un acuerdo de colaboración con la distribuidora Kids First (Francia) para añadir a su catálogo de distribución para la región de habla hispana y portuguesa tres series de comedia para el target infantil: Rocky Kwaterner (52x12’, Peekaboo con Mondo TV France y Monello), Nate Is Late (104x11’, emitida en cuatro continentes) y Best Bugs Forever (52x11’, producida para Disney Channel Europa). Actualmente, está cerrando financiación del proyecto Mis Pequeños Héroes (52x7’), la adaptación al audiovisual de la colección de biografías infantiles del mismo título publicadas por Shackleton Books y donde Peekaboo ha coordinado las ilustraciones. ‘El proyecto fue seleccionado por RTVE y se está cerrando la coproducción con países europeos’, añadió Agenjo. En su pipeline de nuevos proyectos, la compañía española cuenta con otros títulos en fases más tempranas de desarrollo: la sitcom Home Villa Tours, idea original de Irene Chica de Wackamola, la serie de aventura y misterio Best Friends Forever Stranded, creada por José Balbuena, o Babalú, una serie híbrida preescolar creada por Bea Segura y Emily Paine.

Sinking Ship: Dino Dana estrenará en Youku China Bomanbridge Media (Singapur) licenció las temporadas 1 y 2 de esta serie de aventuras sobre dinosaurios de Sinking Ship Entertainment (Canadá) a Youku (China), que la emitirá a fines de este año. Kate Sanagan, directora de ventas y distribución de Sinking Ship Entertainment: ‘Estamos encantados de que Youku traiga a Dino Dina a China para difundir la alegría de la educación y la curiosidad. La expansión de la serie a tantos mercados distintos es un claro reflejo de la alta calidad del programa y su amor genuino y universal por el aprendizaje’. Sonia Fleck, CEO de Bomanbridge Media: Las series de acción en vivo pueden ser un género difícil de ubicar en China, pero con nuestro enfoque cuidadoso sobre los excelentes estándares de doblaje y la garantía

de la serie para ofrecer un gran guion, desarrollo de personajes y CGI de primer nivel, fue una elección clara en el intento del transmisor de diversificar la oferta para niños y familias’. Dino Dana, ganadora del premio Emmy, sigue a una niña de 10 años a la que le encantan los dinosaurios. Ha asegurado socios de transmisión adicionales en América Latina, incluido Canal The magical Garden of 13th Street Once en México, así como Señal Colombia y Canal Capital en Colombia.

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[ SPECIAL REPORT | BUYERS ] [ BY ALBERTO BUITRON ]

Global buyers at Kidscreen Summit Virtual: where is the business going to? More than a dozen of key acquisitions and programming executives, as well as producers, are highlighted in this special report to analyze their content needs, objectives and main trends in their local and regional markets. Content Strategy at Clara Carpinacci, Head of Latin America: ‘While The Walt Disney Company e a strong local/ for Disney Channel we hav re we appear whe , regional content strategy for Disney IPs, the as co-producers or buying terms of in in es tegi Junior, we follow US stra America. th Nor in ed content curated and produc on the res: gen in s ical We manage different vert (Soy on acti live uire or acq Disney Channel, we develop that n atio anim ive Junior, interact Luna, Violeta); at Disney Disfor and t; men preschool seg promotes creativity in the the ect refl t tha s arie es, films and document ney+ we are looking for seri ’. diversity of Latin America

Sarah Muller, He ad of Commission ing & Acquisitions 7+, BBC (U K): ‘Since the CO VID crisis, there has been a cons tant search for content with a particular focus on pre-school. Before we licensed content twice a year, now it is a permanent search. We want animation and live action especially in char acter-driven come dies for the 6-9 block, as we ll as animated sh ows that feature action and adve nture for the 6-an d-under audienc e’.

i (Italy): of Kids Division, Ra Luca Milano, head nels for es two free TV chan ‘RAI RAGAZZI includ LP, with a i YOYO and RAI GU boys and girls: Ra rm. We Rai Play VOD platfo wide offer on the s, educa, children’s drama look for animation tertaincudramas, light en tional content, do co-procontinue betting on ment formats, while ing Italian y in projects involv ductions, especiall l, including focus on preschoo companies with a content is uisitions, European VOD rights. For acq an advantage’.

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Libbie Doherty, Direct or of Children’s Conten t at ABC (Australia), which operates ABC Kids (26 years), ABC ME (6-12) and ABC iview (linear and exclusive content for children): ‘We mainly offer content from ind ependent producers local, so international commissions are rar e, but we frequently do deals when an Austra lian producer is involved. For co-productions, Aus tralia must be represent ed in the production, as we ll as in the story. We look for content that fits six crit eria: it must be bold, courageous and take creative risks; it should always take an inclusive lens, giving children conten t where they can see selves because it create thems a sense of belonging in a national identity’.

Kim Berglund, VP Development, Disney Junior (USA): ‘I’m always on the hunt for content with a little of “Disney Magic” for kids 2-5. We are looking for creators with a “connection” to the programs they present: personal stories, dias mensional characters and high values such s, narrative rich want We . diversity and equality

including social and emotional learning, music, elements of fantasy and magic. Always aspirational and reflecting the world and its diversity’.

Nicole Keeb, Head Of International, Coproductions and Acquisitions, Children and Youth, ZDF: ‘As a public channel, we are obliged to offer high-profile programming in all genres (live action, entertainment and documentaries). The target: preschoolers and children from 6 to 12 years old for ZDF and KiKA. We look for programs that are fresh, funny and

moving in appearance and storytelling. Modern classics are appreciated, as well as shows that cover relevant issues in society’.

programming and Flavio Medeiro, director of s Latin America: acquisitions, Discovery Kid ated and live ac‘We are looking for anim or half an hour), tion TV series (11 minutes utes or an hour specials and movies (30 min from 4-8 years n and a half ) aimed at childre s. Comedy form for linear and digital plat shows that do as l, shows with a heart work wel tent feacon the sic. If incorporate magic and mu always uld sho it plex stories, tures villains or more com inal orig t ligh high aways. We also offer positive values or take José n (Jua ted Uni doLoco CGI’s Underdogs productions such as Mun March in Latin America’. Campanella) premiered in

Darren Nartey, Senior Programm e, Acquisitions Execut ive, ITV (UK): ‘CI TV has a cheeky, sometim es irreverent to ne , and engages its audie nce in a non-pe er patronizing way. Ch ildren’s voices ar e at the center and provide opportu nit ies for them to appe ar on or interact with the channel. We wa nt fresh ideas, long-lasting IPs and character -driven stories th at resonate with British children. Diversity and inc lusion are key th for us and should emes be considered in any idea that is presented’.

Decruiting and Talent Camille Eden, VP, Re nk thi lodeon (USA): ‘I velopment of Nicke e lik d orge Floyd an that cases like Ge reus people made that of many other within media coms file think talent pro the contents have panies. Although diversity for some been working on same within corpo years, it was not the gan ch give Faith this is rations. today i can a path towards inhow we are creating ing. And it’s great es and of other nationaliti t just of color, but no le, op pe of n clusio sexual identities.”

Luisa Albers, Senio r Editor, Super RT L (Germany): ‘There is no single style fo r an imation: we want to give a variety of th em es, characters and values, so that ch ild re n feel identified. We can summarize it as : international an imation and hig h pr oduction values, although we als o seek to increase the numb er of local gender -neutral productions’.

Leslie Lee, Head of Kids Content, Warner Bros. Discovery (AP AC): ‘Our reorganization responds to the needs of the children’s market, the revitalization of linear channels and the launch of HBO Max in APAC. We’ve launched a completely revamped Car toon Network in South Korea, Hong Kon g, and Taiwan featuring new colors, sho ws, music, and design . And Cartoonito, released in late 2021 in the Am ericas, will be available in 2022 in APAC.”

Verdell Walker, Head of Kids Audio Content, Spotify: ‘Spotify Kids offers kid- and parentappropriate audio content. We want to be the #1 audio platform in the world, and a

big part of that is making sure we have something for everyone. Kids were an overlooked audience, but we know there’s a lot of empty space in the world of spoken word audio for families’.

Steven Cout ure, founde r of the vi game and pr deo oduction com pa ny Ep ic St ryWorlds (Can oada): ‘It’s the new ecosystem that ever yone is talkin g about. The interesting th ing is that ther e are countless ways to lin k content with this world, and digital de vices or vide o games are perfect vector a for this. Thes e last points where it makes are the most sens e. The metauni was born fro verse m video gam es and is seei ties beyond th ng possibiliese’.

editor of WunderEmily Safian-Demers, ‘We are seeing man Thompson (USA): advantage of how brands are taking ns within the tio the different applica and attract ch target universe to rea industry, tile tex audiences: from the shows ; n hio fas through 100% digital igned des ces pie plastic artists making intoy the or ly; to be observed digital st mo the e, gam the video dustry and of course rs yea ing com the e that in consolidated. We believ be l wil it and nt me tributions in this seg we will see great con y will even have a the and s, live our in increasingly immersed h each other’. lot of relationship wit