MIPJUNIOR 2023 Preview Magazine

Kids’ content: ‘a modern goldrush’

Ramsey Naito, president of Paramount Animation/Nickelodeon Animation is giving a MIPJUNIOR Keynote on developments in the kids’ content industry over the last few years and into the future. Paramount is also presenting the MIPJUNIOR Opening Party on the same day. Lauren Marriott, senior vicepresident, content partnerships and brand strategy, Paramount Global Content Distribution, and Ramsey Naito spoke ahead of the keynote and party

WHEN she addresses MIPJUNIOR delegates in Cannes on Saturday October 14, Ramsey Naito said that one message will be loud and clear: “First and foremost, Nickelodeon and Paramount Animation are awesome!,” she told the MIPJUNIOR Preview. “We’re making animated movies and series for linear and streaming as well as theatrical films for Paramount Pictures. I’m excited to talk about the work and thoughtfulness that we put into creating beloved characters and telling resonate stories that are hilarious with high-stake adventures that speak authentically to all families across the globe.” She added: “And I’m really excited to talk about Dora who is a character loved for more than 20 years and has now been reimagined for a modern audience. I think Dora is a wonderful case story about bringing back something in a new way.”

Dora’s longevity demonstrates the enduring success of animation across the world. “It is a genre that can transcend borders and generations,” Lauren Marriott said. “You only need to look at SpongeBob SquarePants which is dubbed into 40+ languages and will celebrate its 25th birth-

day next year. However, what is changing is the way animation is consumed, with children and young people being the earliest adopters of new technology and platforms. It is more important than ever to be everywhere, in order to make an animated franchise successful — and with skillful windowing it is possible for multiple platforms to share in the success of a franchise.”

What has also changed, according to Naito, “is the amount and diversity of choices kids and families have today when it comes to entertainment options. This has created a modern gold rush in animation and kids programming, in that our industry is expanding and, in some cases, working overtime to keep

up with if not anticipate the demand and curiosity for great characters and storytelling that kids and families have today.”

Naito said that creativity is the key to maintaining quality in children’s programming, and by chance, COVID led to the introduction of fresh talent to the production process.

“What everyone discovered after the pandemic is that there are technologies at our fingertips that can connect people across countries, across regions and time zones in a way we weren’t doing before,” she said.

“My team at Nickelodeon Animation and Paramount Animation has really been a champion of this new openness and it has enhanced our workflow and brought so many necessary voices to the figurative table that wouldn’t have had otherwise.”

At the MIPJUNIOR Opening Party Marriott said “guests can look forward to a sneak peek of the new Dora animated theatrical short which will be rolling out in cinemas alongside the PAW Patrol: The Mighty Movie this Fall.” She added: “As far as new content goes, our focus is Dora, as well as new Nickelodeon animated series Bossy Bear, and we’ll be looking to secure free-TV windows for those shows as a priority.”

MIPJUNIOR KEYNOTE:

RAMSEY NAITO

SATURDAY, OCTOBER 14, GRAND THEATRE, 12:00 - 12:45

‘With skillful windowing it is possible for multiple platforms to share in the success of a franchise’

Lauren Marriott

Lauren Marriott

Ramsey Naito

52 x 11’

Based on the books «Gaston la Licorne» by Aurélie Chien Chow Chine, published by Hachette Enfants

Crayola: ‘content that inspires and nurtures the next generation’

Delegates in Cannes will know the name Crayola from their childhood — a brand of colouring pens and pencils that enabled them to make brightly coloured works of art at home and at school. Now that brand is applying itself to all kinds of content, as Crayola executive vice-president, marketing, Victoria Lozano explains in her MIPJUNIOR Keynote

“I’M SO excited to be giving the New ‘Kid’ in Town Keynote and am really looking forward to talking about the the creation of Crayola Studios and our move into kids’ entertainment content. My presentation will shed light on how Crayola is approaching the opportunity, our vision for Crayola Studio, and where we are in this effort todate,” Victoria Lozano said. Crayola as a brand champions children’s creative self-expression, which Lozano believes gives the company a unique perspective on what kids and parents want. The company is currently working with Mimo Studios in New York to develop the series The Alien Adventures Of Finn Caspian.

The 52 x 11 mins animated series revolves around a 10-yearold Finn Caspian, who along with his robotic best friend and a group of human friends, set out on unexpected, larger-thanlife, cosmic adventures that find them using every imaginable and creative problem-solving

skill to get themselves into and out of alien situations, comical and otherwise.

“The DNA of this series is at the very core of what we do at Crayola, encouraging kids to explore the power and limitless potential of imagination and creative self-expression,” Lozano said.

“It’s adapted by Brad Birch from the award-winning kids’ scifi podcast from Gen-Z Media, written and performed by popular author Jonathan Messinger, which is consistently Nº1 on the iTunes Kids & Family chart, has over 24 million downloads and has also spawned a best-selling and award-winning book series.”

And there is more to come:

“We have a robust but carefully planned development pipeline in place, with cross-genre projects across animation and live action for kids and families, across numerous content touchpoints. We want to develop entertainment content that inspires and nurtures the next generation and helps them de -

velop lifelong creative mindsets — this is the goal we are looking for across all our projects.”

But the craft products are still at the core of the company: “Crayola’s ambition is to be the leader of creative self-expression, and to actively advocate for and celebrate children’s creativity. We believe Crayola’s efforts around products, experiences and content all play an important role in serving that purpose.

Digital has been key to Crayola Studios’ strategy, the company targeting YouTube, Pinterest and TikTok for the proliferation of its content. It has also been working with TheSoul Publishing, a global digital media publisher based in Cyprus that monetises short-form craft-based content across multiple brands. Away from the MIPJUNIOR stage, Lozano aims to take advantage of the many networking opportunities available while in Cannes. “We have been blown away by the incredibly positive reaction from the industry to the announcement of the formation of Crayola Studios,” she said. “We have some hugely exciting meetings planned with broadcasters and potential partners. I am also hoping to be able to enjoy a local glass of rose on the beach overlooking the beautiful Cote D’Azur.”

NEW ‘KID’ IN TOWN CRAYOLA KEYNOTE

SUNDAY OCTOBER 15, GRAND THEATRE, 12.00-12.30

‘Crayola’s ambition is to be the leader of creative selfexpression’

Victoria Lozano

The future for FAST ‘is looking strong’

The session In Conversation With Streamers features Quing Fan, producer at China’s Tencent Video Kids. She spoke to the MIPJUNIOR Preview ahead of her appearance in Cannes

Tencent Video has 120 million paid subscribers, making it the 4th largest streaming service in the world. How do you aim to build on this growth? What is the growth strategy?

In simple terms, the growth strategy is to give viewers great content – if you give them what they want and love, and can’t find elsewhere, then they will come to us. We are driving our growth in subscriptions and viewership by providing high-quality, original and exclusive content, while also creating opportunities for extra offerings. Our rich IP portfolio offers boundless opportunities to drive synergies across a variety of media formats, while new technologies are enabling us to maximise the appeal and reach of our long-form content by creating integrated viewing experiences and producing enriching short video content. We have had great success with our international collaborations and, with more on the horizon along with our ambitious marketing plans, Tencent Video Kids is set to further expand its global footprint in the coming months and years.

What is your content strategy? What programming do subscribers see on the service?

We want to offer high-quality, fresh and original shows with compelling stories and appealing characters. Content that will engage and entertain children while also helping them to learn and grow – whether that’s improving their numeracy, literacy and knowledge or helping them to acquire valuable life skills that build confidence, empathy and communication abilities. This is the kind of content found on Tencent Video Kids and it’s also the kind of content we are looking to produce ourselves, or alongside international partners. We’re always on the lookout

for exciting new IP with a universal appeal and are also keen to develop literary adaptations which often come with an inbuilt fanbase.

What percentage of the output is original programming?

We have a high percentage of original programming and are looking to increase it further. We recognise the benefits it brings – for example, Monsters in the Forbidden City (78 x 10’) has brought us a significant number of new subscriptions through two seasons currently available to view and has additionally retained this group of new viewers. This award-winning new original IP for kids, produced by top Chinese animation studio Original Force, is a mix of live action and animation which immerses viewers in a wonderous world of mythical monsters, where an ordinary girl named Rain gains access to a parallel realm after discovering a mysterious gem in the Forbidden City. She is tasked with helping these extraordinary beings solve tricky problems to save this world of sacred beasts.

You are speaking about streaming opportunities at MIPJUNIOR. How do you see the future of this industry sector?

I think the future is looking strong – this is increasingly the way that people are consuming content. Competition is increasing though, and in the current global economic climate, where people are being more careful about their spending, great content is key to retaining and growing audiences. With our unique proposition we’re in a robust position and we see ourselves staying in the market for the foreseeable future. We want to continue to offer standout programming, both home grown and co-pros.

What other plans do you have for your visit to MIPCOM CANNES?

It’s my first MIP since 2019 so I have a lot of catching up to do! I’m really looking forward to meeting up with broadcasters and partners, and there are plenty of interesting sessions I’m planning to attend. It will be great to see people face to face on the beautiful Riviera.

IN CONVERSATION WITH STREAMERS MODERATED BY COLIN WILLIAMS, SIXTEEN SOUTH, UK SUNDAY, OCTOBER 15, SUQUET, 11.15-11.45

fresh start is always possible’

DUTCH distributor Incredible Film, the Netherland’s Phanta Basta! and Germany’s Indi Film present the premiere of the new live-action pre-school series, Saïd & Anna, at a MIPJUNIOR Showcase screening.

A co-production with three public broadcasters — the Netherlands’ EO/NPO Zappelin, Germany’s SWR/KiKA, and Belgium’s VRT/Ketnet — Saïd & Anna is targeted at young audiences from all over the world. The series follows best friends Saïd, age six, and Anna, age seven, who hang out every day in the repair shop, run by Saïd’s parents. While broken items are given a new life by using the right tools, the children also discover how to find solutions to their challenges, in a creative and collaborative way — inspiring young viewers.

The series teaches young people about the value of items, the importance of protecting the environment through sustainable repairs and limiting waste, and how to view the world inclusively.

“The imaginative surroundings of the repair shop where every detail matters absolutely capture the imagination,” Ketnet network manager Annemie Gulickx said. “Saïd and Anna are two warm, disarming children whose authenticity and spontaneity will take any child into the world of creativity and sustainability.”

Benjamin Manns, SWR editor, children and family, said Saïd and Anna are “two children in a place of unlimited possibilities — a repair shop, powered by a deep friendship”. He added that the series is “as funny as it is heartwarming, revealing the power of children’s imagination, creativity and enthusiasm, that is just so contagious. It is a wonderful production that makes you feel the proficiency, the commitment and the passion of every single person involved.”

Arnoud Bruinier, head of drama at EO, said: “It’s wonderful to showcase resourcefulness and dexterity in a series for young children, demonstrating how they can give

new life to broken items.” He added: “My son already feels empowered when he can change batteries on his own. There’s something magical about restoring what no longer works to its functioning state. I see the same magic in relationships. In Saïd and Anna, we want to teach children that it’s okay to make mistakes, have disagreements or experience failures because even then, a fresh start is always possible.”

The screening session will include a panel discussion with speakers including Annemie Gulickx, NPO Zappelin’s Robert Fortuijn, Incredible Film’s Danielle Raaphorst and Phanta Basta’s Harro Van Staverden.

MIPJUNIOR SHOWCASE: SAÏD & ANNA

PRESENTED BY INCREDIBLE FILM SATURDAY, OCTOBER 14, GRAND THEATRE, 16.15-16.45

‘We want to teach children that it’s OK to make mistakes’

Arnoud Bruinier

MIPJUNIOR SHOWCASE: SAÏD & ANNA

‘A

‘Opening up the frontiers of knowledge’

ONCE Upon a Time… The Objects, is the eighth series in the Once Upon a Time… saga, a 2D animation series that stars Maestro, a wise old man who teaches and entertains across the globally popular franchise.

In this new series, Maestro returns to tell children about everyday objects that surround them in their daily lives. Episodes are full of stories, historical characters and humour as they blend a wealth of scientific information with the characteristically humorous tone that has ensured the long-standing reputation and success of the past seven series.

In Once Upon a Time… The Objects, we learn how every object — even those that have become so familiar that we don’t notice them anymore — can tell exciting stories. Maestro will explain that behind pretty-well any object lies hundreds — even thousands — of years of history. Every object tells a story and gives the viewers the opportunity to visit various fields of knowledge — history, geography, physics, natural science, philosophy — and discover how the objects have played a role in the world and humanity.

For example, to discover that there’s a thousand years of history behind a simple spoon is both surprising and fun. The series aims

to help young viewers to look at daily life through new eyes and help them to understand their environment through objects that surround them.

Over 45 years, more than 200 million books in the franchise have been sold around the world, as well as 120 million DVDs. And currently more than 40 licensees are developing consumer products in numerous territories.

“We are celebrating the 45th anniversary of the Maestro Once Upon A Time saga,” president of Procidis/Hello Maestro, Hélène Barillé, said. “And I think that the planets are aligning for this programme today. It’s a new series, parents are returning to educational games for their children, but also the fact that Maestro’s eternal concerns are all topical today: respect for others, sustainable development, the status of women, humanism. ” She added that she is presenting the eighth series in the life of Maestro “with great pride and a certain emotion. My late husband, and creator of the series, was a trailblazer in the world of children’s programmes. He knew that the best way to teach children was to entertain them, well before the term ‘edutainment’ was coined. And to do this he surrounded himself with the leading

scientific minds of the time. His credo was ‘Push back the frontiers of ignorance and open the frontiers of knowledge’.”

Since its first broadcast back in 1978, the Once Upon a Time… saga, now synonymous with the Hello Maestro brand, has been on the air non-stop in France, translated into 80 languages and still airs in numerous countries around the world. And Maestro continues to claim celebrity status in more than 100 countries.

Scientifically thorough and backed up by a wealth of data and information, the series “offers children a means by which they are free to analyse themselves and thus retaining the information”. A scientific committee certifies, validates and updates all the information contained in the episodes and in 2020 the French Ministry of Education awards the National Learning Program label to the series. This, the eighth series in the saga, was produced in association with Hot, RTS and TV5 Monde and is distributed by APC Kids and Jetpack.

MIPJUNIOR WORLD PREMIERE SCREENING: ONCE UPON A TIME… THE OBJECTS SATURDAY, OCTOBER 14, GRAND THEATRE, 17.30-18.00

Hélène Barillé with Maestro

‘It has become a family programme, passed down from generation to generation’

Once Upon a Time…The Objects, the brand-new edutainment series co-produced by Procidis & Samka Productions in association with France Télévisions, is the World Premiere Screening at this year’s MIPJUNIOR

‘Moving, meaningful, magical’

Beta Film’s boutique label Beta Kids & Family, complements its vast and diverse library of content by addressing younger viewers. The catalogue is built from long-lasting co-operations with established premium producers and channels, which guarantee a broad range of quality fictional, animated and reality content. For the second year running the company is highlighting some of that product during a MIPJUNIOR Industry Showcase

TITLES in the Beta Kids & Family library includes established international brands including Skam, Rumors, Anne With An E, Rod Knock, Glow and All-Round Champion. This year, at the Beta Kids & Family Showcase, the label’s head Claudia Schmitt presents new titles to the international marketplace, spanning a range of genres and age groups.

“Without a doubt, our standout programme is Three, which aligns perfectly with our philosophy: ‘moving, meaningful, magical’,” Schmitt said. “Notably, it has also earned a spot on the shortlist at the Content Innovation Awards.”(Grand Auditorium, Wednesday, October 18, 17.30)

The musical series Three (20 x 25 mins), from Ananey Studios, has been shortlisted for the Content Innovation Award 2023 and centres on three talented teenagers from diverse backgrounds, who form a band aiming to make their voices

heard. However, they face a decision: soften their songs to climb high, or proudly show what makes them different.

Catering to the same age group, the series Prisma, centres around identical adolescent twins who challenge gender norms in different ways. Schmitt describes it as “a captivating series that delves into the lives of two distinctly different twins and their circle of friends, all bound together by their turbulent journey of self-discovery.”

For younger audiences, Pumuckl’s New Adventures continues the storyline of the 1980s classic German TV series about a lovable puck named Pumuckl, whose anarchic behaviour is certain to entertain a new generation of children.

“Additionally, we are thrilled to feature family-friendly feature films such as Laura’s Star or Oskar’s Dress, which Der Spiegel has described as ‘an exceptionally charming, cleverly constructed and often very funny movie,”’ Schmitt said, adding:

“Exclusively for those attending our Showcase during MIPJUNIOR, we have a special treat in store: a behind-the-scenes teaser for Benjamin Bat. This teaser is currently unavailable anywhere else, making this event a must-attend for animation enthusiasts.”

Schmitt said the “boutique” nature of the Kids & Family division is key to ensuring quality content.

“Our identity as a boutique business reflects our deliberate choice to meticulously curate our product offerings and devote undivided attention to a carefully selected range of programmes each year,” she said. “This approach enables us to wholeheartedly invest our energy into these programmes, thereby offering our best.”

Of the international market for content for children and young people, Schmitt said the trend is towards variety. “We believe that the market catering to children and young individuals is incredibly varied, encompassing a wide range of characters, storylines, formats and audience demographics. Some of our broadcasters have taken the initiative to broaden their target audience, spanning from 12-month-old infants to 18-year-old adolescents. In this respect, we consider the market to be healthy.”

In terms of overarching trends, she added: “It is evident that content aimed at kids and young people is becoming increasingly interactive. Take our show SuperBikes, for instance; it is designed to inspire children to embark on their own adventures in the real world.”

MIPJUNIOR INDUSTRY SHOWCASE

Music-based series Three

MIPJUNIOR INDUSTRY SHOWCASE PRESENTED BY BETA KIDS & FAMILY SUNDAY, OCTOBER 15, GRAND THEATRE, 10.45-11.15

Claudia Schmitt

Pitch Jury encourages creatives to focus on costs and diversity

One of the highlights of the MIPJUNIORevent is the MIPJUNIOR Project Pitch, a game-changing opportunity for kids producers to present new projects to the world’s leading commissioning editors, financiers, buyers and distributors

THE 2023 edition of the MIPJUNIOR Pitch will focus on shows for six- to 12-year-olds that have the potential to appeal to global audiences across TV and other platforms.

This year’s pitching process is moderated by Christophe Erbes, of French production company Godo Films. Speaking to the MIPJUNIOR Preview, Erbes said the event is a rare opportunity for buyers to view “excellent and innovative new voices”, while for producers it is an opportunity to secure feedback “at the best global market”.

In Erbes’ view, the Pitch is more important than ever, “because money is tighter, especially for the older kids demographic”. He also says it fits well at a time when the content market has shifted so decisively towards co-production: “With the decline in platform investment and producer consolidation, co-productions are required to add budgets. I also believe mixing ideas and cultures helps a project shine with originality.”

To be eligible for the Pitch, projects need to be either early stage (0% to 25% financed) or in development (25% to 75% financed). Aside from great characters and storytelling, they need to show “awareness about the importance

of meaningful content for kids/ tweens — for example in the context of diversity and inclusion, mental health and sustainability.” Finalists will get the chance to pitch their projects to an international jury in the Marriott Grand Theatre. This year’s jury line-up includes Edward Barnieh, vice-president, development, BBC Studios; Kerstin Viebach, commissioning lead, kids fiction, Super RTL; Rick Clodfelter, executive director, content acquisitions and partnerships, Disney Branded Television; and Yuanchang Sun, director of international co-production & IP Investment (Kids), Alibaba-Youku.

Viebach said the Pitch is “a good opportunity to look at projects that have not yet appeared on the market. I am hoping for an interesting exchange with kids professionals about their views on content, market potential and trends.”

On co-pros, she said: “Teaming up with others to realise topics that are interesting for all parties is nothing new. However, it is currently more important than ever to secure funding and jointly promote topics that can reach an international audience.”

For RTL, she said: “We want to reach girls and boys equally; the preferred genres are comedy and

action adventure. We are searching for original themes that touch, captivate, relax and amuse the children at the same time.”

Alibaba-Youku’s Sun said the Pitch is a great way to identify emerging editorial trends that are guiding programming. “Events like this also enhance multicultural understanding and showcase the hi-tech inventions of the industry.”

She added: “The preparation stage of a programme is critical, so the Pitch provides a brilliant opportunity to co-build inspired content and increase the global awareness of a programme prior to its debut.”

For BBC Studios’ Barnieh, events like the Kids Pitch are “priceless, because they help to guide creatives — using the experience of broadcasters and producers who know what works in their market, and what their audiences are looking for”.

Disney’s Clodfelter added that the pitch session is “extremely valuable to get a glimpse into early global content trends and approaches to content, particularly for companies with worldwide reach and specific content needs. Varied approaches to storytelling for kid-focused entertainment is critical to stay competitive and fresh.”

MIPJUNIOR PITCH SUNDAY, OCTOBER 15, GRAND THEATRE, 14.45-16.00

Disney Branded Television’s Rick Clodfelter

BBC Studios’ Edward Barnieh

Super RTL’s Kerstin Viehbach

Alibaba-Youku’s Yuanchang Sun

Conflict, compromise and commitment are key to a successful co-production

IN THE session Co-production

Unpacked: How To Co-produce And Finance Your Project, MIPJUNIOR delegates get the chance to hear from experts about how to navigate this complex world.

Panelist Adriano Schmid, vice-president of content at PBS Kids in the US, said he wants to “highlight the ways PBS Kids collaborates with producers and creators, and how that can fit an international co-production model for best-in-class multiplatform educational pre-school content.”

In Schmid’s view, the most important factor in a successful kids

FAST can add value to kids catalogues

THE RAPID growth of the global FAST-channel business has been a major talking point in the TV business over the last year. But not so much attention has been paid to how this emerging ecosystem will impact on kids’ audiences and content owners. That will be put right this week by leading executives in a MIPJunior panel entitled Digital Distribution/FAST Kids. Gregory Dray, president of French kids & family media company Animaj, said the goal of the session is to “share our experiences of the FAST kids market, outlining the opportunities, as

co-production is ensuring that “every party has their priorities clear from the outset, then come to the table and agree on the main goals. Conflict, compromise and commitment are the main ingredients for a solid creative direction.”

Looking at kids co-pro in 2023, he said: “Perhaps there’s more flexibility, an evolution from the commissioning model of a couple of years ago, when exclusivity and speed ruled the market.”

Sharing the panel with Schmid is AJ Trauth, vice-president, kids, at Canadian production house

Blue Ant Studios. In terms of what it takes to make a great co-pro, Trauth draws on recent experience: “While producing live-action teen comedy Davey And Jonesie’s Locker, we partnered with Hulu and Amazon Prime Video, which both had a creative seat at the table. The important factor was constant communication with our partners.” In another partnership with CloudCo Entertainment on the family series Overlord & The Underwoods, “we shared development steps and worked hand-inhand with their team creatively and commercially to bring in our broadcast partners. Open and honest dialogue was essential.”

As for the current market, Trauth said: “Budgets are tighter, but the demand for great content remains. Co-pros are more attractive than ever as a result. The risk and the reward is shared and if you get it right everyone can win.”

CO-PRODUCTION UNPACKED: HOW TO CO-PRODUCE AND FINANCE YOUR PROJECT, SATURDAY, OCTOBER 14, SUQUET, 11.15-11.45

well as the complexities and constraints related to the category. There’s a lot of buzz around FAST channels overall, but it is probably the first time we will do a deep dive on the best ways to approach this medium in the kids space.”

Dray said FAST is becoming increasingly relevant to the kids business, particularly companies with large libraries and IP with broad market visibility. “But there are a number of special considerations that need to be taken into account with kids and FAST. For one, a FAST channel dedicated to the kids and family audience does not need the volume of a FAST channel operating in other categories — 30 to 40 hours to start with is more than enough. That said, you need to be patient to scale monetisation and start generating meaningful revenues with a FAST kids channel.”

Also on the panel is Chris M Williams, president of digital studio pocket.watch. He is aiming to “shed light on the nuances and specifications for FAST content and distribution, specifically as it pertains to monetising in the kids’ space. Pocket.watch has the two most distributed kids and family FAST channels in the US, and we’ll aim to provide valuable insights into what makes content thrive in the FAST ecosystem.” Williams said “properly harnessed, FAST builds immense value in kids and family properties new and old. And pocket. watch has front-row insights with its channels, pocket.watch and Ryan and Friends, distributed on 10 platforms around the world.” They are joined on the panel by Stephen L Hodge, CEO, OTTera, and the session is moderated by Harry Teper, executive vice-president, commercial, Bolt.

PBS Kids’ Adriano Schmid

DIGITAL DISTRIBUTION/FAST KIDS SUNDAY, OCTOBER 15, GRAND THEATRE, 17.00-17.45

Animaj’s Greg Dray

Pocket.watch’s Chris M Williams

Blue Ant Studio’s AJ Trauth

KEYNOTE PANEL

STATE OF THE KIDS ENTERTAINMENT: CHALLENGES & OPPORTUNITIES

Fri. 13 Oct., 16.45-17.45, Grand Theatre

HIGHLIGHTS

MIPJUNIOR KEYNOTE

Sat 14 Oct., 12.00-12.30, Grand Theatre

NEW «KID» IN TOWN / CRAYOLA KEYNOTE

Sun. 15 Oct., 12.00-12.30, Grand Theatre

WORLD PREMIERE SCREENING ONCE UPON A TIME... THE OBJECTS...

Sat. 14 Oct., 17.30-18.00, Grand Theatre

Presented by

EMBRACING THE AI REVOLUTION IN ENTERTAINMENT: SHAPING HUMAN-AI COLLABORATION IN PRODUCTION

Sat. 14 Oct., 14.30-15.15, Grand Theatre

DIGITAL DISTRIBUTION / FAST KIDS

Sun. 15 Oct., 17.00-17.45, Grand Theatre

Deirdre BRENNAN COO, Wildbrain, Canada

Sarah DEWITT SVP & General Manager, PBS Kids, US

Olivier LELARDOUX CEO, Blue Spirit Studio, France

Keith CHAPMAN Creator of KIDS IP, Keith Chapman Productions Ltd, UK

Ramsey NAITO President, Nickelodeon Animation Paramount Animation, USA

Victoria LOZANO Executive Vice President, CRAYOLA, USA

Greg HARMAN CEO and Product Visionary Driving Innovation in Animation and Film Industry, Co-founder of Motion Tech Lab, New Zealand

Lesha SHALDENKO CEO at WANTENT, AI-powered audience insights and Engagement, Ukraine

Gregory DRAY President, ANIMAJ, France

Eline VAN DER VELDEN Founder, Particle6 Productions, UK

Pete ROBINSON KIDSKNOWBEST & GONE WITH, UK

Harry TEPER EVP Commercial, BOLT+, UK

Chris M. WILLIAMS President, POCKET WATCH, US

Stephen L. HODGE CEO, OTTera, USA

‘Change is driven by the audience we serve’

The last decade has seen profound changes in the kids business: the rise of digital and gaming platforms; the fragmentation of audiences; and the emergence of disruptive technologies, ranging from AI to the metaverse. So what does it all mean for kids content creators and distributors?

MIPJUNIOR delegates have an opportunity to find out the answer to this question from a lineup of experts in State Of The Kids Entertainment Industry: Challenges & Opportunities, part of the new pre-opening schedule, on Friday, October 13.

The session is moderated by Wildbrain COO Deirdre Brennan who said there is a lot to be energised about in the kids business. “Change is driven by the audience we serve. As a creative industry, we will always be impacted by that. It’s how we respond that’s the challenge, and I remain optimistic. Embracing new tech as tools and emerging platforms as communities, there has never been a more exciting time.”

Panelist Keith Chapman, creative director at Chapman Entertainment, is also upbeat — although he acknowledges that getting a foot in the door is tough these days: “It has seemed harder to place a show with a broadcaster in recent years, so some might say the industry has been affected in a negative way

for kids’ content creators. But as a creator, I’m always an optimist. I believe there is still the opportunity for a show to become the next global break-out hit, played on a variety of platforms.”

Also on the panel, Olivier Lelardoux, CEO of Blue Spirit Me -

and negative. Nevertheless, I view all of this as an exciting opportunity to produce new types of content for a global audience. The diversity of platforms opens doors to explore new creative horizons, such as producing animation for a more mature audience and expanding universes in various formats.”

Another panelist, Sarah DeWitt, senior vice-president and general manager, PBS Kids, is cautiously positive: “In the last few years as more companies have competed for content, so many more creators and writers have been able to get into the industry. This is great for all of us, and some exciting voices and projects have moved forward. That said, fragmentation has made discoverability much harder.”

So what are the panelists planning to do away from the session? DeWitt said: “We’re looking forward to reconnecting with partners and meeting potential new partners.”

Similarly Brennan will be “exploring new opportunities with partners and, hopefully, finding a new story that captures my imagination.”

dia said: “Broadly, I believe the most impactful change has been audience fragmentation across linear channels, streaming platforms, digital channels, fast channels, and now the rise of gaming metaverses like Roblox and Fortnite. Like any transformation, the effects are positive

Lelardoux will be unveiling the first episodes of Blue Spirit’s new series Mille Bornes Challenge and “perhaps initiating new partnership opportunities”. Chapman added: “I’ll be pitching new ideas as usual. And catching up with existing partners who are developing or in production on my shows. Also, meeting new companies to find out what they are looking for.”

STATE OF THE KIDS ENTERTAINMENT INDUSTRY: CHALLENGES & OPPORTUNITIES FRIDAY, OCTOBER 13, GRAND THEATRE, 16.45-17.45

‘So many more creators and writers have been able to get into the industry. This is great for all of us’

Sarah DeWitt

Wildbrain’s Deirdre Brennan

PBS Kids’ Sara DeWitt

Chapman Entertainment’s Keith Chapman

Blue Spirit Media’s Olivier Lelardoux

Co-production is about ‘sharing risk and sharing the upside’

AS AUDIENCES and platforms continue to fragment, so the investment landscape becomes more complex. A session titled Creating IP For Today’s Co-production & Finance Market offers insight into how co-production and financing is evolving and what this means for broadcasters, distributors and producers.

“The more fragmented platforms become, the more they impact license fees which have significantly reduced over the years,” session panelist and senior vice-president, distribution and acquisition at Canada’s 9 Story, Alix Wiseman, said. “This makes

our ability to window rights and extract as much value from different revenue streams paramount.

The problem with making up for the loss of license fees in this way is that we are at a point where all roads now lead to some form of digital offering, be it free or pay, thus effectively pitching all players against each other, competing in the same space.”

For panelist Patricia Hidalgo, director, BBC children’s and education, “it’s no secret that inflation, and the pull back from investment in children’s content by US broadcasters, will mean this market is going to be a challeng-

ing one for everyone.”

She added: We are also really keen to find ways to work with other children’s broadcasters to get projects off the ground, discuss co-production opportunities and find new partnerships.”

Wiseman said “co-production is a means of sharing risk and sharing the upside”, while it “creates a more synergistic point of view from an industry perspective and paves the way for more diversity and authentic representation in our content”. Hidalgo added: “We need to spread our money to go further, so co-productions have become an essential part of our strategy.”

Wiseman and Hidalgo are joined on the panel by Carla de Jong, head of production, Sinking Ship Entertainment, Canada.

MIPJUNIOR early birds have an opportunity to seize the initiative, gaining precious insights into the kids business at the first session of the three-day event: Key Trends That Will Shape The Kids Content Space In 2024, on Friday, October 13. Presented by UK-based research company The Insights Family, the session aims to bypass flash trends to focus on the opportunities for growth that exist in a

multiplatform media universe.

The Insights Family senior vice-president, international development, Ivan Colecchia, said: “The ascent of streaming services like Netflix, Disney+, Amazon Prime Video, and others has brought about a revolution in how children access and consume content. They now enjoy on-demand access to a vast library of content right at their fingertips. He added: “This shift has created new opportunities for content creators while intensifying global competition within the market.”

Content models today are completely different,” he said. “The challenge of translating your IP across gaming, TikTok, YouTube, Roblox and other platforms is

a tough one. The knowledge of what works across this eco system needs to be incredibly robust to cut through.”

Another trend the session aims to explore is “the substantial investment by streaming platforms and content producers in creating original kids’ content. This investment has led to an increase of animated series and movies tailored to diverse age groups and demographics.”

Colecchia said the company has also observed “businesses traditionally operating in completely different industries investing heavily in digital content, indicating that the future of the industry is bright. Some examples include Mattel with Barbie and Nintendo with Super Mario.”

KEY TRENDS THAT WILL SHAPE THE KIDS CONTENT SPACE IN 2024

FRIDAY, OCTOBER 13, GRAND THEATRE, 16,00-16.30

BBC’s Patricia Hidalgo

‘The future of the industry is bright’

9 Story’s Alix Wiseman

Sinking Ship’s Carla de Jong

Ivan Colecchia

‘AI is like any tool: it can be used for good or it can be used for evil’

THE TRANSFORMATIVE role of Artificial Intelligence (AI) in content production is the subject of a MIPJUNIOR session on Saturday, October 14. Panelists will explore real-world examples, ethical considerations and the potential of AI in shaping the current and future of content creation and production.

Eline van der Velden, founder, Particle6 Productions, a production company that operates remotely around the world and

from offices in Central London, said there is a lot of fear around the subject of AI. “There is also a negative association with AI, so people don’t want to admit to using it,” she said. “Yet nobody is embarrassed to say they use excel or google. At Particle6 I want to enforce the opposite and make sure we try to use it as much as possible, so we’re ahead of the curve as soon it will be a tool like any other programme and we

need to be skilled. Just as skilled as we are at using excel.”

Of the well-voiced concerns over the misuse of AI, van der Velden said: “AI is a tool like any other, say a hammer. It can be used for good or it can be used for evil — it depends on the intention of the person using the tool. It may offer efficiency, automation and innovative solutions — these are only good things if directed towards the right task.”

Currently, she said, AI “lacks the ability to innovate and create truly original ideas” but “I think in future that it may take over”. The panel is moderated by Pete Robinson of UK-kids digital media agency KidsKnowbest and also includes Lesha Shaldenko, CEO at Ukraine’s Wantent; and Greg Harman, co-founder of Motion Tech Lab, New Zealand.

EMBRACING THE AI REVOLUTION IN ENTERTAINMENT : SHAPING HUMAN-AI COLLABORATION IN PRODUCTION SATURDAY, OCTOBER 14, GRAND THEATRE, 14.30-15.15

A BIG challenge for kids content creators is how to ensure their cherished IP reaches audiences across multiple platforms. This subject will be explored by a panel of experts at MIPJunior, who will give insights into how to leverage IP and meet targets audiences wherever they are in the world.

On the panel is Delphine Dumont, chief commercial officer, Banijay Kids & Family. “This is a really important topic,” she said. “Audiences are being pulled in many directions, with a plethora of content at their fingertips. It is essential to ensure your shows are discoverable in what is an increasingly competitive market. My goal is to have an honest discussion about the challenges and opportunities.”

Dumont says Banijay’s multiplatform approach “incorporates wide-ranging digital exploitation and strong brand licensing strategies. With a portfolio of long-lasting shows we can cut through the noise, and this also opens up commercial opportunities. We are growing our FAST, social media and AVOD audiences and driving digital revenue growth, leveraging our brands beyond the screen.”

She urges content creators to be open-minded about the impact of new platforms: “Television, films and books are still a huge part of childhood and a key driver to an IP’s success. However, we cannot ignore the huge impact other platforms are having — YouTubers and TikTokers are heroes for many, and these stars are able to forge incredibly strong connections.”

Joining Dumont on the panel are Jeremy Tucker, global chief marketing officer, toys and games company Spin Master

and Andy Yeatman, managing director at Moonbug Entertainment. Tucker said: “When we think of multiplatform, we are thinking of screens of all sizes including linear, streaming, gaming, metaverse, music and even the big screen in some cases. It can also mean physical product and experiences from toys and licensed consumer products to promotions and activations. This involves a variety of content including shorts, behind the scenes, main episodic content and virtual experiences.”

Spin Master has enjoyed a global hit with PAW Patrol and is now working with Netflix on Unicorn Academy. Moonbug owns preschool megabrand Cocomelon.

KEYS FOR A SUCCESSFUL MULTIPLATFORM IP STRATEGY

SUNDAY, OCTOBER 15, GRAND THEATRE, 16.15-16.45

Particle6 Productions’ Eline van der Velden

Discoverability is the key to monetisation

Banijay’s Delphine Dumont

Spin Master’s Jeremy Tucker

Moonbug’s Andy Yeatman

MIP MARKETS

THE WORLD’S LARGEST ENTERTAINMENT CONTENT MARKETS

14-17 November 2023 Moon Palace, Cancun, Mexico

21-24 October 2024 Palais des Festivals, Cannes, France 19-20 October 2024 JW Marriott, Cannes, France 15-17 April 2024 Palais des Festivals, Cannes, France

Can west learn from east when it comes to children’s storytelling?

IT IS widely acknowledged that kids and teens look to the characters in their favourite TV shows for guidance and support. So in these volatile times, it is vital that kids content creators look beyond entertainment and think about the tone of their messaging on issues such as social inclusion, mental health, biodiversity and climate change. This theme will be discussed in How To Create Meaningful Content, a MIPJUNIOR panel which explores the role of pro-social messaging in kids content. Moderator Gary Pope, co-founder of Kids Industries UK,

said the goal of the panel is to “shine a blinding light on the fact that this stuff matters and that our industry has a responsibility to apply the power of the media — in all its forms — to fulfil this need and inspire young people. The takeaway for me at least will be to give the audience tangible ideas, tactics and strategies for how to make meaningful work.” And content can be both entertaining and meaningful: “There’s no reason that important can’t be entertaining — other than lack of imagination. These are exactly the kinds of issues we have to put front

Telling stories in a changing world

KIDS LOVE TV, but the way they consume content has changed radically in recent years, thanks to the emergence of mobile devices, gaming and social media. So how, in this world of choice, do kids creators tell stories? Answers to this and more will be provided in The Key Components Of Successful Storytelling, on Saturday, October 14.

Panelist Shabnam Rezaei, CEO of Big Bad Boo Studios in Canada is aiming to “empower” industry leaders and storytellers in the kids’ TV space. “By bringing together writers, directors, animators, broadcasters, producers and

content buyers, we seek to delve into the art and science of creating captivating stories for children. We will explore how to craft narratives that resonate with young audiences today. Through this exploration, we aspire to inspire creativity, refine storytelling skills, and enhance the understanding of the ever-evolving market and its audience.”

Rezaei said there has been “a fascinating shift in the way children engage with content, fundamentally altering the landscape of kids’ TV. The rise of content snacking, where children consume bitesized, easily digestible pieces of media, has led to a reimagining of how we structure and deliver stories. Furthermore, the demand for interactivity has soared, with young viewers craving a sense of participation and control over narratives. As storytellers, we now embrace shorter, impactful narratives and innovative methods to

and centre of a nutritious but varied media diet for young people.” Also on the panel is Nigel Twumasi, co-founder of manga-led brand and content creator Mayamada. He is keen to “open the session’s audience up to the way that children’s media can be used to engage them in topics that are meaningful. My particular interest is how anime and manga accomplish this in ways Western media often do not, reflecting complex topics in ways that don’t talk down to — or patronise — children”. Twumasi agrees with Pope that it is “absolutely possible to include significant topics in children’s media while still being entertaining. Ultimately, it is still a priority to produce engaging stories. From there, it is up to the creators to find the balance.” The panel is completed by Lucy Murphy, director of kids content, UK & ROI at Sky/Sky+; and Katie Brill, senior vice-president PR & comms, from the UK’s Junk Kouture.

involve our young audience.”

Joining Rezaei on the panel are Magic Light Pictures joint CEO Michael Rose; and Lion Forge, senior vice-president at US animation producer, Koyalee Chanda. Rose, whose company is known for its award-winning adaptations of Julia Donaldson and Axel Scheffler books including The Gruffalo, said creators need to cling on tight to the sanctity of great story and character: “The means of delivery is constantly evolving, but our approach to storytelling hasn’t really changed. We believe good stories and strong characters are the foundation of all good filmmaking and, by delivering the highest quality, our productions will continue to find audiences no matter if the platforms change.”

The session is moderated by Christopher Keenan, executive producer, kids & family entertainment executive.

Sky’s Lucy Murphy

Mayamada’s Nigel Twumasi

THE KEY COMPONENTS OF SUCCESSFUL STORYTELLING SATURDAY, OCTOBER 14, SUQUET, 16.45-17.15

Magic Light Pictures’ Michael Rose

Big Bad Boo Studios’ Shabnam Rezaei

Junk Kouture’s Katie Brill

Fantasy, magic and the environment are captivating young audiences

MIPJUNIOR gets under way with a deep dive into the hot trends in kids TV, brought to delegates by Candice Alessandra, client and research manager at Paris-based audience research company Glance

IN HER 30-minute session that kicks off the 2023 edition of MIPJUNIOR, Glance’s Candice Alessandra is highlighting a selection of recently launched shows from around the world that have been successful with children. “We’ve been presenting this session since 2016, and it’s always a good opportunity for sellers and buyers to see a lot of programmes in a very short time,” she said. “Among kids scripted series, fantasy and magic ones are currently numerous,” she told the MIPJUNIOR Preview ahead of her session. “We have also seen more scripted series with suspenseful and thriller elements — typically aimed at tweens and pre-teens.”

Alessandra also noted that kids continue to be attracted to shows that are really meant for “grown-ups”, both unscripted and scripted. “A recent example was Wednesday. It was Netflix’ best show among children of four to 15 in the UK (BARB 07/11/22 to 31/12/22). The se -

Glance’s Candice Alessandra

ries was watched 2.5 times more than the second-best performer, Gabby’s Dollhouse.”

Looking across all kid-focused genres, she said: “Several programmes that have performed well in the past year focus on getting children involved in their neighbourhood to make a greater impact and solving environmen-

She added, however, that it is important to think about all the media choices kids make — not just TV. “In the daily lives of kids, video games and listening to music or podcasts, play an important role — even for younger kids. BBC pre-school series Bluey just released a mobile game and a console game will be released in November. There is currently also an important diversification towards podcasts and audio happening in the kids’ space.”

Video-sharing platforms such as TikTok or YouTube continue to grow in significance among kids, but still have some way to catch TV: “In the UK (2022), children spent 30 minutes a day on video-sharing platforms — mainly smartphones, tablets, computers — but still spent over an hour and forty minutes watching traditional broadcasters — SVOD/ AVOD/BVOD platforms — mainly on a TV set.”

tal problems along the way.” In terms of platform trends, Alessandra says FAST is still in its infancy for kids, but it is growing. “We have seen several brand owners test it, such as Hasbro with Transformers TV and Guru with True And The Rainbow Kingdom. More recently Banijay Kids & Family partnered with TheSoul Publishing. FAST is a way for content owners to test, and for old shows it can rebuild brand awareness. It can then help generate revenue across verticals like licensing.”

Where the kids TV economy is concerned, “the advertising market is complicated at the moment, and this has an impact on all genres”, she said. “Children’s programming is still dominated by animation, and animation is expensive. On the other hand, public services are often key funders of programmes. Consequently, investment in kids content will also depend on local political changes, about which we cannot generalise.”

BINGE WATCHING SESSION: KIDS AUDIENCE SUCCESSES ACROSS THE GLOBE SATURDAY, OCTOBER 14, JW MARRIOTT, 09.15-09.45

‘In the daily lives of kids, video games and listening to music or podcasts, play an important role’

Candice Alessandra

Content for sale

MATTEL

A NEW title from the extensive catalogue of Mattel is Barbie: A Touch Of Magic (26 x 22 mins), in which a baby magical horse, Peggy, is discovered on the beach and two Barbies have to protect it from a fantastical creature that followed in hopes of stealing the little horse’s wings. Further titles include: Barbie: Skipper And The Big Babysitting Adventure (1 x 60 mins), featuring Barbie’s younger sister; the 26th series of Thomas & Friends: All Engines Go; Thomas & Friends: The Mystery Of Lookout Mountain (1 x 60 mins); and He-Man And The Masters Of The Universe (26 x 22 mins).

MEDIAWAN RIGHTS

THREE kids from very different backgrounds join a prestigious school with an illustrious list of legendary pirate alumni in Pirate Academy (52 x 11 mins), currently in production and brought to Cannes by French distributor Mediawan. At the school the competition between classes is fierce and Finn, Sam and Andrew find themselves in Plankton class, with Captain Charlotte Le Crackers as their teacher, a semi-retired buccaneer with unconventional teaching methods. Even though the Planktons are as skilled as other students, they go the extra mile to prove their worth and become the greatest pirate students in the school’s history.

WONDERWORLD.FUN

NEWLY launched producer and distributor Wonderworld.Fun is showcasing CGI series Secret Agent Jack Stalwart (two seasons of 14 x 26 mins) at MIPJUNIOR and MIPCOM CANNES. Targeted at six to 10-year-olds and based on a popular series of books for young people by bestselling US author Elizabeth Singer Hunt, Secret Agent Jack Stalwart features a brave nine-year-old secret agent who travels the world solving mysteries and righting wrongs, while searching for his missing brother and fellow secret agent Max. The story follows Jack in London, going to school and playing football with his best friends. But when he discovers that his brother has gone missing, he becomes a secret agent and proves to be a surprisingly adept spy, with ingenuity and courage.

MERCURY FILMWORKS

CANADA’s Mercury Filmworks is debuting CGI animated series A Mouse Called Julian (52 x 11 mins/1 x 26 mins) at MIPJUNIOR. The series and special, currently in development for delivery in 2025, are created by Mercury Filmworks and based on a book by British illustrator Joe-Todd Stanton. The series features a mouse who is perfectly happy avoiding other animals. However, one day Julian has an unexpected guest when a fox tries to sneak into his burrow for a tasty bite of mouse, but instead finds itself stuck in the front door. At first alarmed, they soon find themselves having a lovely dinner together and they realise that they have each found a lifelong friend.

Secret Agent Jack Stalwart (Wonderworld.Fun)

Barbie: A Touch Of Magic (Mattel)

Pirate Academy (Mediawan)

A Mouse Called Julian (Mercury Filmworks)

Here we highlight some of the content for children and young people from around the world, available at MIPJUNIOR and onwards at MIPCOM CANNES

DEVSISTERS

COOKIERun: The Animated Series (working title), is highlighted in Cannes by Devsisters, the Korea-based developer of gaming franchise CookieRun. The first season of the animated series (26 x 22 mins) — billed as 2.5D (cartoon-style 3D) — is a comedy revolving around the bustling daily lives of three main characters, GingerBrave, Wizard Cookie and Strawberry Cookie, living in a tiny candy-themed kingdom. The CookieRun mobile games have reached 200 million players worldwide.

A PRIORITY for French animation producter and distributor Dandelooo is 2D animation Hold On Gaston! (52 x 11 mins) in Cannes. Targeted at upper pre-schoolers, the edutainment comedy is based on the book series Gaston’s Emotions by French artist Aurélie Chien Chow Chine, featuring a unicorn, which encourages children to identify emotions and manage them effectively, exploring diversity, tenderness and problem-solving. Gaston and his friends live in a peaceful village surrounded by green hills and his magical rainbow mane changes colour according to his emotions.

YOUNG TOYS

SUPERIGHTS

DISTRIBUTOR Superights

and French producer Princess Sam Entertainment Group are highlighting adventure/comedy/fantasy animation series

Tara Duncan (52 x 13 mins) in Cannes. Based on the successful publishing phenomenon by Sophie Audouin-Mamikonian, Tara Duncan launched in 2022. The second season is currently in production, with plans to produce 2 x 26 mins specials.

Tara Duncan is the story of an ordinary girl with extraordinary powers who discovers she is heir to the throne of the Meme empire. She finds herself on a magical planet where she makes new friends and tries to thwart the ambitions of the evil Magister. A digital ecosystem is also being developed to expand the Tara Duncan content, and a licensing campaign is also under way. Superights holds worldwide rights, excluding Mainland China.

TOBOT, the key franchise of Young Toys, debuted in 2010 and has since been successful over 100 countries globally. The new season, New Tobot, continues with the principal characters X, Y, Z and their pilots Kory, Dylan and Ryan. In the peaceful city of Daedo, Tobots and the old villains slowly fade when a new villain appears out of nowhere to threaten the city. Limo and Franklin, who were living a serene life, start to prepare Tobots in order to save the city. New Tobot marks a collaboration with Hyundai Motors, showcasing their new models. The Korean company also brings Secret Jouju Bijou of Stars, a series based on one of the Korea’s most beloved fashion doll brands. The new series sees Jouju tasked with finding the hidden Joubijou, balancing good and evil in the celestial world.

FEDERATION KIDS & FAMILY

DISTRIBUTOR Federation Kids & Family presents CGI pre-school animation series The New Adventures Of The Triplets (78 x 7 mins) in Cannes. The series follows three loveable children, each with their own way of looking at the world. The Triplets’ humorous approach to daily situations, and their entertaining reactions when confronted by something new, encourage children to look at new experiences in a different light.

CookieRun: The Animated Series (Devsisters)

The New Adventures Of The Triplets (Federation Kids & Family)

Tobot (Young Toys)

Tara Duncan (Superights)

MAGIC LIGHT PICTURES

HEART-warming animated series Tabby McTat (1 x 30 mins), from the UK’s Magic Light Pictures, is adapted from the successful book written by Julia Donaldson and illustrated by Axel Scheffler. It follows the warm relationship between a musical cat and a talented busker called Fred, who enjoy a contented life singing on the streets of London. But one day when chasing a thief, Fred falls and breaks his leg and is whisked away in an ambulance. What will become of Tabby McTat, who is left alone on the harsh city streets? Tabby McTat will premiere on BBC One during the christmas season this year.

PRIME ENTERTAINMENT GROUP

THE ANIMATION catalogue of Paris-based Prime Entertainment Group includes: Runes (26 x 22 mins), set in the 11th century as the future Duke of Normandy lives incognito with a peasant family when he discovers powerful ancient runes in a cave; the third season of Ariol (2 x 24 mins), following the adventures of an adorable little blue donkey and his many adventures; and Bellysaurus (1 x 8 mins), a non-speaking documentary about a tiny dinosaur who dreams of being big and scary.

THE MEDIA PIONEERS

LONDON-based distributor The Media Pioneers is highlighting animation Mironins (26 x 7 mins) in Cannes, an adventure series starring three tiny paint drops — Ro, Low and Blu — who have escaped from one of Joan Miro’s paintings. They leave the dark and boring storage room and explore the incredible museum. Also on the slate is Boris And Rufus (39 x 11 mins/2 x 22 mins christmas special), about cranky dog Boris, and Rufus, an excitable ferret who believes he is a dog. The company also brings: musical series Beadies (75 x 7 mins); Jili & Gulu (52 x 7 mins), about a bunch of animals in the Drip Drop forest; and Mini Town (52 x 7 mins), a pre-school show about family and friendship.

HG DISTRIBUTION

THE WIGGLES

LONG-running kids music brand The Wiggles is back in Cannes, with seasons four, five and six of The Wiggles: Ready, Steady, Wiggle! (65 x 11 mins) on offer. Featuring brand new songs and Wiggles classics, the series spotlight eight diverse and gender-balanced Wiggles: Anthony, Lachy, Simon, Tsehay, Evie, John, Carina and Lucia, as they entertain pre-schoolers through song, dance and storytelling.

HG DISTRIBUTION returns to Cannes with a new educational series for teens, Les Inventifs (26 x 30 mins). With a few items, a small budget, perseverance and a lot of ingenuity, a group of young people and their mentors discover that they can find solutions to concrete problems. Aimed at teens, Lou And Sophie (12 x 60 mins) is a story set over the course of a summer about the friendship of two girls who have a thirst for freedom from their suburban lives. Bull’s Eye (13 x 30 mins/HD/4K) is a dynamic and inclusive game show that allows young indigenous contestants to test their cultural knowledge. Quebec-based HG Distribution holds worldwide rights to all the shows.

Boris And Rufus (The Media Pioneers)

Ariol (Prime Entertainment Group)

Lou And Sophie (HG Distribution)

Tabby McTat (Magic Light Pictures)

The Wiggles: Ready, Steady, Wiggle! (The Wiggles)

CAKE ENTERTAINMENT

NEW FAMILY-skewed non-dialogue 3D animation comedy series Cracké Family Scramble (52 x 7 mins) is brought to Cannes by London-based Cake Entertainment. Produced by Canada’s Squeeze Productions, it features an overprotective daddy ostrich who scrambles to keep control over his household. On his own with eight kids, he tries to be the best dad he can be, using his ingenious creativity to more than compensate for his lack of experience while contending with his mischievous neighbours, the crows. A game and other licensing plans are also in the pipeline.

TOON2TANGO

HIGHLIGHTS from the catalogue of Germany’s Toon2Tango include: Monster Loving Maniacs (52 x 11 mins), for six to 10-yearolds, about three siblings trained as monster hunters by their grandfather — but who are actually horror fans so really want to save the monsters; Agent 203 (26 x 22 mins), about Zoe, whose father used to be a secret agent, who with her new alien friend and her best friends follows in his footsteps, protecting the planet from General Gore, the ultimate badass alien; preschool series The Wee Littles (46 x 5 mins), about a family of four small creatures living in a big forest who work together to figure out life’s little obstacles; Littlest Robot (52 x 11 mins), a 3D animation for four- to eightyear-olds; and Pocats (13 x 7 mins, with another 39 x 7 mins in development), based on a book series featuring tiny cats who are seen by adults as toys, though children know they are magic.

ABC COMMERCIAL’s new children’s slate includes Planet Lulin (10 x 24 mins), a comingof-age sci-fi comedy for schoolaged kids that explores themes of self-discovery and belonging, while navigating the challenges of growing up. Gardening Australia Junior (20 x 15 mins) invites kids and their families to explore the world of gardening and offers advice and activities. Returning for second seasons are pre-school series Beep And Mort (20 x 15 mins) and Reef School (20 x 7 mns). The company also brings the fifth season of Ready Steady Wiggle! (26 x 11 mins), supplemented by 60-minute halloween and christmas specials.

CYBER GROUP STUDIOS

IN CANNES Cyber Group Studios unveils the first completed episodes of Press Start! (52 x 11 mins/CGI), a comedy adventure series designed for ages five to seven, featuring the exciting world of Super Rabbit Boy and his friends. Additionally, Retail Monster is to develop a licensing programme. Cyber Group Studios also brings the fully completed second season of Droners (52 x 22 mins/2D/CGI), including hightech adventures and drone races in an eco-inspired world.

GAUMONT

STUDIO ACORN

THE SECOND season of The World Of Curious Linda is brought to Cannes by Korea’s Studio Acorn. The 2D animation series, co-produced by Studio Acorn and Taktoon Enterprise, features the imaginary adventures of an assertive and creative five-year-old girl and her loveable friends. Together they travel into a fantasy world where the sky’s the limit, where they find solutions to everyday problems. They then come back to reality by riding the gogo bus.

NEW RECRUIT Samurai Rabbit Yuichi Usagi dreams of being history’s greatest Samurai. When he arrives in the futuristic city of Neo Edo to seek his destiny, he accidentally unleashes dozens of bizarre, ancient demons known as Yōkai. With the help of his new misfit crew — Chizu the ninja, Gen the rhino and Kitsune the fox — he must defeat the Yōkai. This new CGI animated series, Samurai Rabbit: The Usagi Chronicles (20 x 22 mins), aimed at eight- to 12-year-olds, is brought to Cannes by Gaumont.

Cracké Family Scramble (Cake Entertainment)

Littlest Robot (Toon2Tango)

Samurai Rabbit: The Usagi Chronicles (Gaumont)

Planet Lulin (ABC Commercial)

Press Start! (Cyber Group Studios)

TWO TITLES top the MIPCOM CANNES catalogue of Canada’s PVP Media. Goose And Cloud (39 x 7 mins), aimed at three- to five-year-olds, prioritises stories with emotional awareness and kindness, featuring the passionate and energetic Goose, who takes his first step out of the family nest with the help of a friendly cloud. Currently in development, animation series Sam & Guzman (13 x 22 mins) features a loose-cannon detective inspector salmon and a by-the-book field agent goose, who join forces to follow a trail of suspicion to a remote town, in the over-the-top parody and tribute to the 80s/90s buddy cop genre.

INCREDIBLE FILM

SAÏD & Anna (16 x 6.5 mins) follows best friends Saïd and Anna who hang out every day in the repair shop run by Saïd’s parents. While broken things are given a new life, the children also discover how to find solutions to their own challenges in a creative and collaborative way. The series aims to teach its young audience the value of pre-loved items, the importance of protecting the environment through sustainable repairs and limiting waste, and how to view the world inclusively. The co-production between three public broadcasters — the Netherlands’ EO/NPO Zappelin, Germany’s SWR/Kika, and Belgium’s VRT Ketnet — is brought to Cannes by Dutch distributor Incredible Film.

KUNGFU FAMILY ANIMATION

CHINA’s KungFu Family Animation highlights its series Season Elves at MIPCOM CANNES. In the story the Nian Beast has affected the climate of the world and has fled to the human world from where the elves live. The season elves help keep the serenity of the seasons of the year, especially helping people with agricultural problems. Four elves — Lichun, Lixia, Liqiu and Lidong — form a team to catch the Nian Beast and correct the chaos it has caused. They form a partnership with a young boy and girl and begin to travel between the two worlds, correcting the rhythm of the seasons.

MAGIC FRAME ANIMATION/CREATION ENTERTAINMENT MEDIA

CO-PRODUCTION BuddyBots follows two mechanically minded teens, Tin and Eeta, who discover a trio of defective robots. Together, they form a rather disorganised firefighting force, protecting the city and hunting down an elusive arsonist. But their greatest challenge is to overcome their individual flaws and unite as a team. The series focuses on learning, family and inclusion and is presented at MIPCOM CANNES by Magic Frame Animation and Creation Entertainment Media.

APC KIDS

APC KIDS, part of APC Studios, is bringing UK producer Kelebek Media’s new 2D animated kids series Isadora Moon (48 x 11 mins/2 x 22 mins) to MIPJUNIOR and MIPCOM CANNES. Based on the book series by Harriet Muncaster and scheduled for Warner Bros. Discovery (US) and Sky Kids (UK), the series is aimed at children aged four to seven. Isadora is half fairy, half vampire, with a lot to learn about the human world. APC Kids holds worldwide distribution rights for the series, excluding the US, UK and Italy.

Saïd & Anna (Incredible Film)

Goose And Cloud (PVP Media)

BuddyBots (Magic Frame Animation and Creation Entertainment Media)

Season Elves (KungFu Animation)

Isadora Moon (APC Kids)

Your unfair advantage

CONTENT STRATEGIES

FRENCH animation studio Xilam Animation is in Cannes with Buddybot (52 x 11 mins), a new 2D animated comedy series targeted at kids aged six- to 10-years-old. The series is currently in production and Xilam will be presenting the first episode to buyers in Cannes, with full delivery scheduled for Q3 2024. The series tells the story of the friendship between Chloe, an ordinary 12-year-old girl, and Buddybot, a little robot from the future. Sent by a mysterious creator, the robot comes from a time when the effects of climate change have drastically taken their toll. Buddybot wants him and Chloe to work towards positive change for the future.

BBC STUDIOS

PRODUCED by BBC Studios Kids & Family, Stan Can (52 x 11 mins) is a 2D animated pre-school series featuring Stanley, a resourceful ‘can-do’ hamster who is always found around his workshop and garage, where he works on his collection of vehicles and inventions. The series focuses on self-belief, imagination and friendship. Popularity Papers (26 x 30 mins) is a live-action comedy that follows two best friends as they set out to crack the code on how to become popular by conducting a variety of hilarious social experiments. BBC Studios also returns with more stories from the work of Enid Blyton in Famous Five (3 x 90 mins), based on 21 of her stories and following the young explorers in action-packed adventures.

Famous Five (BBC Studios)

Buddybot (Xilam Animation)

LOTTA ANIMATION

IN THE new ninth season of Go Go Dino, Go Go Dino (26 x 14 mins), the Dinosaur Museum has been upgraded with various dinosaur fossils and skeletons. It is also equipped with a new lab, a miniature of the Ururu Planet and a dinosaur card machine, which stores a large amount of information. With the help of new members Bobbi, Bibi and Boo, three kids — Andy, Jo, and Lucas — follow Go Go Dinos to the Ururu Planet where they encounter mysterious dinosaurs and prehistoric creatures, and help collect missing information about dinosaur fossils.

WILDBRAIN

THE SECOND season of Brave Bunnies (48 x 7 mins + 4 x 7 mins/1 x 28 mins bonus episodes) is brought to Cannes by WildBrain. Brave Bunnies is the inspiring story of two curious and adventurous bunny siblings, Boo and her big brother Bop. The bunnies and their family travel around the world in their Bunny Bus. Each day they camp and explore new landscapes, play new games, learn about new locations and learn that new friends sometimes do things differently. WildBrain holds worldwide rights for the pre-school series, excluding Ukraine and Spain.

SYON MEDIA

CANADIAN distributor Syon Media returns to Cannes two series in development. The Enchanted World of Emilily, a co-production with All In One Production (France) and White Boat Pictures (Belgium), is about a young girl’s friendship with a wacky witch, and their adventures to build a bridge between generations. Tween series Cleo & Frida’s Undad Tales, in co-production with Barry Company (Brazil), takes place in a future where a virus has turned everyone reaching sixteen into zombies. In this adult-free world, Cleo and her sister Frida are trying to find a cure. The company also highlights JToon’s The Beachbuds and ToonDraw’s Genius Genie.

PINGUIM CONTENT

THE THIRD season of Fishtronaut (26 x 11 mins) is brought to Cannes by Brazil’s Pinguim Content. After two seasons and two feature films, the new series Fishtronaut is now in 3D. It follows the environmental endeavours of a resourceful goldfish agent for the Secret Environmental Agency, who is tasked with solving the mysteries that arise in Smiling Trees Park, where the animals talk and mingle with people. Each day Fishtronaut is given a mystery to solve, and he and his friends go on missions to promote sustainability worldwide.

The Enchanted World Of Emilily (Syon Media)

Go Go Dino, Go Go Dino (Lotta Animation)

Fishtronaut (Pinguim Content)

Brave Bunnies (WildBrain)

INANIMATTI

NEW PRODUCER Inanimatti brings Arky Arch Adventures (13 x 20 mins) to MIPJUNIOR and MIPCOM CANNES, a series where inanimate objects come to life. Currently in development, the series follows Arky, a young Roman Arch who embarks on a journey across the planet Tredi to uncover his true purpose — and save the world from devastation. The story takes place in the time of the Gothic Wars where objects come to life. In school, some classmates tease Arky because on the outside, he is strange — he is made of one block, without a real keystone — but inside, Arky is smart, thoughtful, courageous and resourceful.

7 MEDIA

FORTUNE Guardians: A Fantasy Journey, is an animated film from China’s 7 Media. Hua is left behind when families bid farewell to the Fortune God on the fifth day of Lunar New Year, but the Fortune Guardians guide her into the metaverse, where she discovers her hidden talent as a singer and embarks on a journey of self-discovery. The company also brings five seasons — 500 one-minute episodes — of Buddy Adventures, in which beloved historical figures inspire the characters, bringing their qualities to life in charming and hilarious ways.

Fortune Guardians (7 Media)

MONSTER ENTERTAINMENT

MONSTER Entertainment returns to Cannes with three new series in production: Tiny Toot (26 x 7 mins), a pre-school series, with 13 episodes completed by November and the last 13 in March 2024; Doodle Girl (26 x 7 mins), aimed at four- to eightyear-olds; and Holt (26 x 11 mins), for six- to 11-year-olds, due to for delivery in 2025. Monster also brings second seasons of pre-school series Fia’s Fairies (52 x 7 mins), Urban Tails (52 x 2 mins), Pins And Nettie (52 x 5 mins), Peek Zoo (52 x 7 mins), Noodle And Bun (26 x 5 mins) and Storybud (30 x 7 mins); and the eighth season of STEM-skewed series, Earth To Luna (208 x 12 mins).

TTCZ FILM AND TELEVISION PRODUCTIONS

SHENZHEN-based animation studio, TTCZ Film and Television Productions presents a 90-minute feature film, Growing Up With Tiantian, and a new season of the TV series of the same name (26 x 13 mins). Both titles are aimed at children aged four to 10, and their families. The story follows a six-year-old girl adapting to her new life after her parents relocate from the city to a small village. The family faces all kinds of unexpected challenges, while young Tiantian is making new friends, including animals. This is a story of an inexperienced couple and their responsible child, discovering the beauty of nature, understanding the essence of family and life, and most importantly, growing up together.

Growing Up With Tiantian (TTCZ Film and Television Productions)

Tiny Toot (Monster Entertainment)

Arky Arch Adventures (Inanimatti)

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GUANGZHOU AIFAY CULTURE COMMUNICATION CO

HULULU Dreamland is a new animated fantasy series for children aged three to eight, produced by China’s Guangzhou Aifay Culture Communication Co, which follows little girl Yummy and her dog Moco. The story transforms real-life experiences into fairytale fantasy stories, prompting children and their parents to contemplate issues such as self, lies and friendship, and prompting them to find answers together. The characters include magicians, giants and monsters, as the stories help youngsters find answers to their troubles through dream-like tales.

MONDO TV

THE ROSTER from Italian animation producer and distributor Mondo TV, includes: Lola On Board (26 x 7 mins/3D CGI), about a little girl who spends part of her summer holiday on a cruise ship with her grandmother Agata and three special animal friends she can talk to — the series is set to complete production in summer 2024; One Love (26 x 7 mins/2D), about a planet with a beating heart, where two best friends have adventures full of positivity to spread a message of sharing love; two seasons of MeteoHeroes, dedicated entirely to climate and environmental sustainability — a podcast MeteoHeroes Adventures’ (52 x 7 mins) has just launched; Monster Loving Maniacs (52 x 11 mins/2D), aimed at six- to 10-year-olds, about three siblings who, though they are horror fans, are unwillingly trained as monster hunters by their tough grandfather; Agent 203 (26 x 22 mins/CGI), primarily targeted at girls aged six to 10; and a new series with classic character Grisù (52 x 12 mins).

LIGHTHOUSE STUDIOS

TWO ANIMATION studios in Ireland, Lighthouse Studios and Dog Ears, are partnering to co-produce a new children’s animated adventure series, for kids aged five to seven. In Stage Struck! (52 x 11 mins), creatures — including Coco the crocodile and her friends — are welcomed to Showtime School, founded by Miss Feathers. Everyday classes present performance challenges and opportunities, with classrooms full of pianos and crash mats, and even normal subjects have a theatrical spin — from the history of puppetry to the science of sound waves. The series is based on Tor Freeman’s book Showtime For Billie And Coco.

ZDF KIDS

ZDF KIDS returns to Cannes with a kids catalogue that includes: Tobie Lolness (13 x 52 mins/26 x 26 mins), an animation about tiny Tobie who lives in the Great Oak Tree, and has to try and save it; Sam And Julie (78 x 7 mins), about a mouse who moves into a new house and gets to know a neighbouring new family; the second season of Theodosia (26 x 26 mins), a live-action magical series about the daughter of two Egyptologists; the fourth season of live-action musical series #LikeMe (13 x 26 mins); live-action pop-rap musical Dancing Juli (1 x 45 mins); and Slava The Dog (1 x 90 mins/6 x 15 mins) a live-action drama set in the first year of the Russian invasion of Ukraine.

Hululu Dreamland (Guangzhou Aifay Culture Communication Co

Stage Struck! (Lighthouse Studios)

Monster Loving Maniacs (Mondo TV)

Theodosia (ZDF Kids)

ROYA KIDS

ROYA Kids, a division of Roya Media Group in Jordan, brings Did You Know

With Luna to Cannes. The 2D pre-school edutainment animation stars Luna, along with her two friends Faisal and Zeid. The friends explore many subjects — including food, life cycles, animals, dinosaurs and space — while working together despite their different backgrounds, abilities and disabilities. The production is in Arabic and ready to be dubbed into all languages. The fourth season is in production.

PRESTIGO

CANADA’s Prestigo brings a new project in development to Cannes. Flora’s Magic Toolbox is a live-action series aimed at three- to six-year-olds featuring Flora, the neighbour everyone dreams of having. Flora has a magical workshop where she repairs all kinds of objects for her friends and neighbours who visit her during the show. Every episode is associated with a question that may arise in a child’s life, but for which Flora, her comical parrot Pipit and their friends, will always offer an answer. The series is currently in development with TVO Kids (Canada) and Prestigo is looking for other international partners.

AVENIDA

MONTREAL-based Avenida is launching drama series Pauline (39 x 7 mins) in Cannes, aimed at four- to seven-year-olds. Based on a comic-book series by Anouk Mahiout, Pauline is about an eight-year-old girl who feels different, both at home and in school, and searches for her place in the world. Fortunately, she has a trick to deal with these emotions — when she closes her eyes she can take refuge in her imagination. There, she freely expresses everything she feels and lives fantastic adventures that allow her to tame her worries.

SERIOUS KIDS

LONDON-based Serious Kids presents a new series making its premiere screening at MIPJUNIOR, What’s In Your Bag (30 x 7 mins + 10 x 5 mins), produced by Gold Wala for CBeebies. The live action pre-school series features passionate people who share their jobs, cultures and hobbies with young kids, allowing them to explore the skills and meaning behind their vocations. In their bags they may carry gymnastic ribbons, bagpipes, DJ decks, shofars — all things that kids can see in action and try out. What’s In Your Bag aims to help young children understand the range of possibilities in life and to celebrate diversity.

What’s In Your Bag (Serious Kids)

Did You Know With Luna (Roya Kids)

Flora’s Magic Toolbox (Prestigo)

Pauline (Avenida)