BANIJAY KIDS & FAMILY LAUNCHES MORE COMEDY
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MIPJR 2023
RAI KIDS FOCUSES ON INCLUSION AND SUSTAINABILITY
MADIATOON AND THE POWER OF CLASSIC IPS
#205 ∙ YEAR 23 ∙ OCTOBER 2023
GEN ZERS AND MILLENNIALS USE MANY TOOLS TO CONSUME CONTENT IN THE UNITED STATES AII adults 61%
Gen Z adults
Millennials
Gen Xers
Baby boomers
58% 47% 48%
41%
37% 30%
27%
32%
28% 21% 15%
SUBTITLES/CLOSED CAPTIONS
38%
EXTERNAL SPEAKERS
23% 10%
9%
HEADPHONES
61%
OF GEN Z ADULTS AND 58% OF MILLENNIALS SAID THAT THEY GENERALLY USE SUBTITLES WHEN WATCHING TV SHOWS OR MOVIES, ACCORDING TO MORNING CONSULT DATA.
30%
OF GEN X AUDIENCE ADMITTED TO WATCH SUBTITLED CONTENT.
27%
OF BABY BOOMERS USE SUBTITLES WHEN CONSUMING CONTENT.
Younger generations are more open to non-English content. While 38% of Gen Z adults and 45% of Millennials said they have a favorable opinion of foreign-language films and TV shows, those figures were much lower for Gen Xers (25%) and baby boomers (18%).
DEAPLANETA ENTERTAINMENT CLOSES NEW DEALS FOR “MILO” Fourth Wall and DeAPlaneta Entertainment continue expanding the global reach of preschool series “Milo.” In total, “Milo” is already broadcasted in 170 countries and has been dubbed into dozens of languages. The first season of the title is already airing in Clan TV Spain, Milkshake/ Channel 5 UK, Nick Jr., Mango TV China, Portugal's RTP and Canal Panda, MiniMini+ and TV Puls Poland, RAI YOYO, DeAJunior and TIM Vision Italy, Australia's ABC Kids, Hungary's MTVA, and Kid Zone TV, among others.∙
ANIMAJ ACQUIRES ICONIC SPANISH BRAND “POCOYO” Kids’ media company Animaj acquired the award-winning and iconic Spanish brand “Pocoyo.” The deal marks the beginning of Animaj’s journey to distribute the most influential independent kids’ IPs, capitalizing on the dynamic evolution of the children’s media industry, the rapid shift in kids’ content consumption from linear TV to digital platforms, and the emergence of AI to scale content production.∙
TEAMTO UNVEILS A NEW PRODUCTION, “WHAT’S UP EESHA?” French production and distribution company TeamTO launches “What’s Up Eesha?,” its new preschool series aimed to kids from 4 to 6 years old. The CG animation is produced by Corinne Kouper; with Creative Development Executives Mary Bredin Director, Loïc Espuche, and Scriptwriter Felicity Carpenter. It tells the story of Eesha, an imaginative penguin who loves to create but frequently finds her plans disrupted by her rambunctious fun-seeking friends. The series follows the twists and turns of an arctic community’s unexpected adventures as they learn to live together.∙
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BANIJAY KIDS & FAMILY NAMES ROUBINA TCHOBOIAN HEAD OF GLOBAL LICENSING
FRANCE’S GO-N PRODUCTIONS JOINS FEDERATION STUDIOS
Banijay Kids & Family appointmented Roubina Tchoboian as Head of Global Licensing. Reporting into Banijay Kids & Family’s Chief Commercial Officer, Delphine Dumont, Tchoboian will be responsible for growing the international licensing portfolio for the division’s brands, which includes animated spy-fi franchise “Totally Spies!,” upcoming CGI series “Shasha & Milo,” and iconic preschool brand “Topo Gigio.” Tchoboian joins the company from Cloudco Entertainment where she was Vice President of International Licensing, responsible for driving international partnerships for brands such as “Care Bears” and “Holly Hobbie.”∙
French animation production company GO-N Productions will join Federation Studios. Established in 2004, GO-N Productions is internationally recognized for hits such as “Simon Super Rabbit,” “Lou!,” “Zip Zip,” and “Tootuff,” all produced in-house at the company’s Paris based studio. By joining the French powerhouse, GO-N Productions becomes part of a group of 35 production companies in France and globally. Thanks to GO-N content (11 series totaling 250 half hours of animation), Federation Kids & Family’s catalog now boasts over 730 half-hours of kids animation and live-action programming.∙
FRANÇOISE GUYONNET IS THE NEW EVP OF STUDIOCANAL’S KIDS’ BRANDS Studiocanal announced that Françoise Guyonnet has been appointed CEO Copyrights Group and EVP Kids’ Brands. The company aims to accelerate growth in children’s IP, and follows the recent announcement of “Miffy” at BLE. Guyonnet has held the position of Director of TV Series at Studiocanal since 2017. She will take up her new role in early 2024, and will continue to report to Studiocanal’s CEO and Canal+ Group Deputy CEO, Anna Marsh. Meanwhile, Katheryn Needham, who has worked over the past year as the Interim CEO for Copyrights, will return to Studiocanal in early 2024 as Guyonnet moves formally into her new role.∙
MOVIMENTI PRODUCTION BOLSTERS ITS SENIOR LEADERSHIP TEAM Movimenti Production, Italy’s independent production and animation studio, part of Banijay Kids & Family, announced three key hires: Cristiana Buzzelli as COO, Alessandra Principini as Fundraiser, and Federico Rognoni as Chief Financial Officer. Reporting directly to Giorgio Scorza, Movimenti Production’s CEOs and Creative Director, Buzzelli will oversee the management of the company’s IPs, from the financing and co-production stage to market launch, playing an active role in defining corporate strategies, working in synergy with the Banijay Kids & Family team.∙
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INTERVIEW
“COMEDY REMAINS A HUGE FOCUS FOR MANY BROADCASTERS” Cécile Cau
CECILE CAU, SENIOR VP OF SALES, COPRODUCTIONS AND ACQUISITIONS AT ZODIAK KIDS & FAMILY DISTRIBUTION, TALKS ABOUT THE PROPERTIES THAT BANIJAY KIDS & FAMILY IS CURRENTLY PUSHING, SUCH AS “SHASHA & MILO,” “THE GAME CATCHERS” AND “TOPO GIGIO.”
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ne of the global leaders in the children’s entertainment industry, Banijay Kids & Family, is the dedicated production, distribution, and sales division for children’s programming at Banijay. With a diverse content catalog, the company’s strategy is to partner with leading broadcasters and platforms globally and produce a wide range of animation and liveaction series, digital content, and entertainment formats for kids and families worldwide. Regarding particular properties, one of the company’s main focuses is its latest CGI action-comedy, “Shasha & Milo,” co-produced by Zodiak Kids & Family France and South Korean studio Pingo Entertainment, which will launch in Korea with public broadcaster EBS. Warner Bros. Discovery Latin America and Tencent in China have also confirmed to broadcast the series. “Shasha & Milo” centers around 12-year-old protagonists, Shasha and Milo, who are given a secret new role as the Crescent Island Guardians. Gifted with the power to transform between human, cat, and a formidable hybrid form, 4
they must protect the island from villainous forces while navigating the daily complexities of preteen life. “The main show we are pushing, launched during last Annecy MIFA, is ‘Shasha & Milo,’ a great new CGI action-comedy show. We have already secured international pre-sales for this title, too,” commented Cecile Cau, Senior VP of Sales, Coproductions and Acquisitions at Zodiak Kids & Family Distribution, in conversation with Señal News. Also, during the last Annecy MIFA, the company launched the distribution across Europe, except for Italy, Spain, and Portugal, of its new preschool show “The Game Catchers,” while also keeping its focus on “Topo Gigio,” the iconic children’s brand. “We are pushing ‘Topo Gigio’ in Europe. In fact, we have a few conversations ongoing in key markets,” Cau announced. Furthermore, targeting a different audience but conserving the company’s DNA, another highlight of the Banijay Kids & “Shasha & Milo”
Family’s catalog is “Corpse Talk,” described as a lethally entertaining, comedy-led chat show hosted by historyloving Adam (voiced by famous British actor and YouTuber Joe Sugg). In each episode, Adam digs up dirt on some of the most famous, infamous, and incredible historical figures, such as Mozart, Cleopatra, Leonardo Da Vinci, Marie Curie, and more, unearthing the unknown and surprising stories from these unique characters. The show is created by Tiger Aspect Kids & Family. According to Cau, regarding market trends, there is a clear need for comedy shows in Europe. “I think comedy remains a huge focus for many broadcasters. Plus, quite a few broadcasters have mentioned they are looking for shows for a slightly younger audience, like six to eight years old. I think this is the sweet spot for many broadcasters at the moment, which is exactly the target of ‘Shasha & Milo’ and ‘Topo Gigio,’” she said. According to Cau, broadcasters are now focusing on 6-8-year-old children because it is a target that offers them a clearer picture of where they are and how to reach them. “In this target, the broadcasters still know where the kids are. I think after that age of eight, it becomes a bit trickier for the broadcasters to reach them because they go to social networks and some other windows, which is a little more challenging for traditional linear broadcasters and even VOD platforms,” Cau explained. By Diego Alfagemez and Federico Marzullo
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DISTRIBUTION
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MAGIC LIGHT IS CELEBRATING 20 YEARS IN THE KIDS' CONTENT INDUSTRY. MURIEL THOMAS, THE COMPANY'S DIRECTOR OF INTERNATIONAL DISTRIBUTION, REVIEWS THESE TWO DECADES' ACHIEVEMENTS AND ANTICIPATES ITS NEW LAUNCHES.
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consistently widen the audience, and make Magic Light's content as accessible as possible. Our distribution team continues to grow Magic Light's footprint internationally. 'Pip and Posy' does well for us in multiple territories. We're constantly renewing the rights for 'The Gruffalo' worldwide, while 'Room on the Broom' is popular in the US, especially at Halloween," Thomas stated. Magic Light works with various partners, from public broadcasters and pay-TV networks to streamers and smaller independent companies. "Magic Light has built up such a reputation for quality.
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Muriel
Now buyers take presales of our new content, confident that it will be of a very high standard," Thomas affirmed.
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enormous pleasure to our family audiences. Alongside that, we built a company with wonderful values. Those values cascade through its work and all the people working with us," she said. The company is currently in expansion mode across all areas, including sales. "In terms of our distribution strategy, we have close relationships with many broadcasters around the world for our specials, but we want to expand our portfolio of partners,
"THE G
t has been an extraordinary two decades journey for Magic Light Pictures, during which the company has built one of the most enduring British animation production companies, bringing Julia Donaldson and Axel Scheffler's beloved children's books to the screen, including "The Gruffalo," "Stick Man," "Zog," and, most recently, "The Smeds and the Smoods." In doing so, Magic Light Pictures illuminated Christmas Day television for millions in the UK, and their work has traveled worldwide, winning countless awards. Along the way, the company produced live-action and animated feature films, an Oscar-nominated adaptation of Roald Dahl's "Revolting Rhymes," and recently launched its first preschool series, "Pip and Posy." Next Christmas will have the launch of "Tabby McTat," voiced by Jodie Whittaker ("Doctor Who"). With production almost complete, several presales for the show have already been inked. Muriel Thomas, Director of International Distribution at Magic Light Pictures, and her sales team attend Mipcom looking for additional partners. "Magic Light has become known for half-hour films with an incredibly high-quality threshold, enduring classics, viewed repeatedly, " which deliver 6
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20 YEARS OF TURNING CLASSIC CHILDREN’S STORIES INTO TV HITS
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BRANDS EXPANSION The company is developing a consumer line product strategy for the "Pip and Posy" preschool brand. The first products have started appearing in retail, including tie-in publishing from Nosy Crow, puzzles from Ravensburger, dress-up with Amscan, audio figurines with Tonies, and home accessories. The show's second season recently launched on Milkshake! and will hit Sky Kids later this year. There's also "Pip and Posy Let's Learn," a new off-shoot of the hit show debuting this month. In the series, viewers are invited along with Pip, Posy, and their friends as they use their sense of fun, imagination, and rhyme to explore a range of subjects. "We have a highly ambitious and robust development slate covering series, specials, and family dramas, which will allow us to bring wonderful new projects to screen and ensure we have a constant production pipeline," Thomas claimed. "We are in the final stages of development of our next preschool property, which we will announce this year, and have several other projects that are on the verge of being ready to announce," she added. By Romina Rodriguez
INTERVIEW
Jerome Alby
“CLASSIC PROPERTIES HELP TO MINIMIZE RISKS”
JÉRÔME ALBY, MANAGING DIRECTOR, WORLDWIDE PRESALES AND DISTRIBUTION, AND SOLÈNE CREPIN, SALES AND BUSINESS AFFAIRS EXECUTIVE AT MEDIATOON DISTRIBUTION, HIGHLIGHT THE IMPORTANCE OF CLASSIC SHOWS IN THE KIDS' CONTENT ARENA.
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ediatoon Distribution, part of Media Participations, a European leader in entertainment which owns more than 80 companies in creative industries, manages and markets iconic shows worldwide, with a varied offer that balances classic titles with innovative and modern shows. In dialogue with Señal News, Jérôme Alby, Managing Director, Worldwide Presales and Distribution, and Solène Crepin, Sales and Business Affairs Executive at Mediatoon Distribution, highlight the importance of classic titles. How would you describe the company's distribution strategy? JA: "One of the main aspects is that we continue to do much direct distribution. For many years, partners helped us sell our content in North and South America. Now, we do it directly, which is very important in our strategy. Another focus continues to be on family content, seeking to generate an alternative product to the offer of American and Asian studios. We also invest heavily in languages in many countries, mainly Latin America and the United States. In fact, all the series we produce are in English and some other languages. We invest a lot to place the shows in more territories." SC: "Neutral Spanish is one of the most popular languages. We have more than 500 half-hours dubbed in neutral Spanish, which is quite large compared to other languages. That helps us offer packages of classic series and new series with the same characters. For example, 'SamSam,' which launched at the beginning of the year on TV Ciudad in Uruguay, we've release a reboot for a slightly higher target.” How is the process of twisting classic properties into something new? JA: "I think the writing is the most important thing. 8
Solene Crepin
Classic properties help minimize risks, but you have to make sure that the storytelling is perfect and fits the market's needs. Sometimes, the IPs we have help us market tomorrow's IPs. That is a nice combination we managed to make." How important is having classic titles in the catalog? JA: "Risk is something we all fear. When you are a buyer, a broadcaster, or a platform, you always want something completely new and original. But you have to defend that with whoever will invest in it. The risk exists and is high because it may not work. After all, buyers usually come with the idea of something new and end up taking a classic." How much does ready-made dubbing help when closing a sale? SC: "It helps a lot. Except in some particular countries, like Argentina, which seeks to have an even more local flavor, it helps a lot. Some channels do not have enough investment funds to buy and dub content. In those cases, dubbing ends up being strategic." JA: "When you come in with something already folded, the message you are giving your partner is that you trust that show will succeed. If not, you would not have invested in doing the dubbing. That way, you are almost halfway there." Do you feel that children's content has gone from being just for kids to also being for the family? JA: "If you have the whole family, you have co-viewing. Your core target is much bigger if you have more people in front of the screen. We have 'oldies but goldies' shows, like 'Asterix' or 'Garfield,' which are clear examples of coviewing shows because they have a double reading level, meaning the whole family can enjoy them." SC: "'Living with Dad,' for example, is a series that we want to be seen by everyone. If you are in the market proposing disruptive content, that disruption must be all around the content and target all generations. In 'Living with Dad,' we present a family with a single father, which is a hot topic not only for children but also for parents." By Diego Alfagemez and Federico Marzullo
BUYERS
“THE MAIN VALUES SPREAD IN RAI KIDS' CONTENT ARE INCLUSION, SUSTAINABILITY, AND CHILDREN'S WELL-BEING" LUCA MILANO, HEAD OF RAI KIDS, SETS THE ACQUISITION AND PRODUCTION STRATEGY FOR THE LEADING ITALIAN PLAYER FOR KID'S CONTENT WHILE REMARKING ON THE BRAND'S VALUES, LOCALLY AND INTERNATIONALLY.
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ai Kids offers content for Italian-speaking children and families on the linear channels Rai Yoyo and Rai Gulp. That programming is also available on the digital offer of Rai Play and Rai Play Yoyo, and slots on Rai's main channels. Señal News spoke with Luca Milano, Head of Rai Kids, to describe the strategy of these brands. How would you define the acquisition strategy for Rai Kids and Rai Play? "The acquisition strategy for the linear channels of Rai Kids and its digital platform, Rai Play, and app Rai Play Yoyo focuses on providing a diverse and inclusive range of content for Italian-speaking children and families while entertaining kids with worldwide successful international shows. Rai Kids acquires a variety of Italian productions, European coproductions, and globally acclaimed series to offer a well-rounded selection of programming." What new Rai Kids originals are you launching this fall season? "Some of Rai Kids' new originals we launch this fall season include new episodes of 'Pinocchio and Friends,' a modern-day Italian adaptation celebrating the 140th anniversary of Carlo Collodi's 'The Adventures of Pinocchio.' Other new shows are 'Grisù,' a series featuring a young dragon aspiring to become a firefighter, and 'The Sound Collector,' a series about 10
a partially deaf boy passionate about recording nature's noises. We will also have 'Lampadino e Caramella,' an inclusive series combining animation with sign language, 'Acqua Team Adventures at Sea,' a special promoting marine conservation, and 'Pipo, Pepa &Pop,' an animation introducing economic concepts and teamwork. Moreover, we will launch 'Hello Kitty: Super Style!' featuring the iconic character, set in a futuristic Earth, focusing on responsible behavior and environmental conservation." What central values do you want to reflect in Rai Kids' content? "The main values spread in Rai Kids' content are inclusion, sustainability, and children's well-being. We promote these values through programming that empowers children. We focus on autism, dyslexia, nutrition, encouraging responsible behavior, and introducing economic and scientific concepts. Additionally, Rai Kids supports book reading with many products based on literary works and specific projects." What are the latest co-productions you have developed? "Rai Kids supports around 50 TV series for kids, at different stages of development and production. Many of those are international co-productions, often with other European public broadcasters. Our main partners are France (Street Football collection to the new Alex
Player's series about e-sports), Germany ('Grisou'), Spain ('Annie and Carola), and recently also the UK, notably with BBC ('Home Sweet Rome' live-action 'Super Happy Magic Forest' animation)." How would you describe the current context of Italian animation? "Italian animation had an incredible growth in the past years. Rai is traditionally the main sponsor of Italian animation, but the increased tax credit for the sector and other regional subsidies played a huge role, too. Italian production is more attractive to the rest of the world, and we noticed an increase in international co-productions. While great ideas and successful concepts are coming out from Italian studios, Rai Kids has been offering great support to producers by facilitating the dialogue with other European broadcasters and big industry players. We collaborate with Italian and international media companies to create engaging and meaningful content for our audience. We have a new dynamic and creative landscape for Italian animation and children's programming, so we have great expectations for the future." By Romina Rodriguez and Diego Alfagemez
INTERVIEW
“ANIMATION HAS A UNIVERSAL APPEAL IN ITS DNA” Raphaelle Mathieu
RAPHAELLE MATHIEU, CHIEF OPERATING OFFICER AT CYBER GROUP STUDIOS, TALKS ABOUT HER NEW POSITION, THE COMPANY’S APPROACH TO BUSINESS, AND THE MISSION OF FINDING THE RIGHT PARTNERS TO WORK WITH.
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ast June, Cyber Group Studios promoted Raphaelle Mathieu, previously Executive Vice-President of the company, to Chief Operating Officer. Mathieu succeeded Dominique Bourse, who was named Chairman and CEO in February. To talk about her new position, the company’s approach to business, and the mission to find the right partners to work with, Señal News chatted with Mathieu. Cyber Group Studios is almost two decades old. What has changed during that time? “We are going to be 18 years old this year. We are almost grown up! It is weird because it went by so fast. On one hand, the company remained true to itself, but on the other hand, it has changed a lot. We started with titles such as ‘Zou’ and ‘Ozie Boo,’ and then came ‘Gigantosaurus,’ a huge worldwide success. We all know how important it is to have properties that keep on living and how hard it is to stay true to yourself while coming up with something new.” Which business models work best for the company today? “Regarding coming up with 12
something new, we have been trying to do that in-house, which is why we opened an office in the United States. Moreover, what is important for us is working on coproductions. Having worked a lot on coproductions in many different territories enabled us to get closer to several people and gave us an idea of what we felt was important for us. That is growing, but with assets, with partners that have been in the market for a long time and know their territories.” How much time it takes to find those partners? “A lot, but that is how to grow organically, so it is essential. In Latin America, for example, which we feel is our next step, we are trying to expand, but we need to find the right partner. We want to move fast because, in this business, you need to move fast, as it changes so quickly. We need to adapt all the time, which is great but challenging because you have to be creative in every aspect.” How related is the global content scale to the company’s worldwide expansion? “Global content can come from any part of the world. Then, we work to make it as global as possible. Talents are everywhere, so it is more about working with them properly and making content appealing to as many people as possible. Animation has a universal appeal in its DNA, an international language, and creators often want
to talk to kids worldwide, not just in a couple of territories. Therefore, we bear some responsibility with content because we give kids things they will grow up with.” What are the main goals and challenges of your new position? “First of all, I am thrilled, proud, and grateful to Dominique Bourse for giving me this opportunity. One of the main goals will be to work together with the different entities even closer than we are now. Also, it enables every single pillar of the company to express itself and have the tools to do its best. Another goal will be to adjust to the market, which means not only a reaction but also anticipation. There is no financial deal today that looks like the next one, so everyone needs to be creative. We believe in content first. We believe in storytelling. Once we have it, we will decide if it is the right moment for it within our company and the market.” By Diego Alfagemez and Federico Marzullo
INTERVIEW
"THE INDUSTRY NEEDS DARING EDITORIAL PROPOSALS" Mediawan Group, a fast-growing company, is to enable European talents to bring their stories to kids and families."
JULIEN BORDE, PRESIDENT OF MEDIAWAN KIDS & FAMILY, EXPLAINS THE POTENTIAL OF KIDS' CONTENT WITHIN THE GROUP AND ANALYZES WHAT A PROJECT NEEDS TO HAVE TO GO FROM THE IDEA TO THE DEVELOPMENT.
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uring the last Annecy MIFA, Mediawan Group introduced its new division dedicated to production and distribution activities for youth and family content. Now celebrating its first anniversary, Mediawan Kids & Family is establishing itself as a powerhouse in this segment. Julien Borde, President of the division, explained the potential of kids' content within the group and analyzed what a project must have to go from the idea to the development. What is the potential of the kids' content for the company? "We are big believers of both kids and animation segments. There is a boom in animation, and that is because animation is not only for kids. At the same time, it is everywhere, as it fits both in digital and television. We have a slate covering a large range of target demos, such as preschool or adults. The idea with all of our European labels is to be ready to cover all the market needs. At the same time, our ambition within 14
What elements must a project have to be considered by Mediawan? "I would say it must have art and emotion. First, there is a meeting with the talent and the creative team to make us believe in a project. We know there are some needs in the market, and we obviously analyze the business side, but creatively, we focus on finding the people who can show their projects with heart, emotions, and can build universes that kids will enjoy. It is very subjective. I think the industry, in general, needs daring editorial proposals because animation is a very complex and long process. There is a tendency sometimes to copy and paste an old formula. We are creative and talentdriven, so we focus on finding the best daring shows and talents that will help us bring innovative shows to the audience."
Is it essential to have a mix between classic IP and new IP? "We are building our portfolio with a good balance of existing IPs and new ideas. The existing IPs are helping us to create new IPs. You use both when you are programming a kid's channel or service. That is because existing IPs help to sustain and grow new ideas. For us, it is part of the same 'toy box.' That is because, in a toy box, a kid surely has a fun toy that he knows very well, but he
also loves discovering new toys. That is a fun part of our formula to entertain kids." Do you believe that kids' content can travel to any platform? "This is an industry in which you have no recipe for success; you are building success case by case. Therefore, each IP deserves a specific strategy to grow and be shown to the demos all around the world. That is why it is fun, because, in a way, it is not an industry, as it is all art." What is the strategy to make an IP as global as possible? "It is all about partnering with the right people. We have a very solid network of windows with each IP, such as traditional broadcasters or streamers. We aim to combine our strengths in every expertise each time we partner. We are doing this with DeAPlaneta Entertainment, for example, one of the strongest groups in licensing and merchandising. We have built a strategic partnership with them to represent us. They are even a coproducer in our new show 'Karters.' So we combine our strengths to bring success to the market." How different is the timing of animation compared to other genres? "We have to be really agile. Things are changing a lot, and we will see massive changes in the future. I hope technology makes it easier for us to produce faster. That is one of my biggest expectations for the future. We have very long production processes, so being agile is more important than ever in this industry." By Diego Alfagemez and Federico Marzullo
INTERVIEW
"'JOY ETERNAL' TRANSPORTS AUDIENCES TO A WORLD THEY'VE NEVER SEEN BEFORE"
Begoña Esteban
BEGOÑA ESTEBAN, HEAD OF INTERNATIONAL TV SALES & ACQUISITIONS OF PINK PARROT MEDIA, DEFINES THE BRANDNEW MYSTERIOUS ANIMATED TITLE THAT THE CANADIAN DISTRIBUTOR WILL SHOWCASE IN CANNES.
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anada's Pink Parrot Media attends MipJunior and Mipcom with a new 2D animated TV series, "Joy Eternal," which targets 13 to 16-year-old audiences. Begoña Esteban, Head of International TV Sales & Acquisitions of the company, chatted with Señal News about the challenges of producing a series for today's teenagers. How would you define "Joy Eternal," Pink Parrot Media's big launch for MipJr and Mipcom 2023? "'Joy Eternal' is a mysterious 2D animated TV series with lots of adventure and comedy that transports audiences to a world they've never seen before. It is a coproduction between Finland (YLE), Canada, and Spain (Televisión de Cataluña). Joy's parents die trying to stop the corporation. Now, they are in the city of lost souls, and Joy is on a mission to find them. Joy dies early on her mission, but it doesn't stop her race to find her parents in the afterlife. She discovers that the corporation also reigns there, only more powerful and dangerous. That enemy is led by the most ruthless leader, who has too much to lose to let Joy ruin everything with conspiracy theories that turn out to be correct." Was it challenging to talk about life and the afterlife in a teen story? "Teens are the most challenging 16
audience to reach because they have lots of resources where they can binge unlimited content. Indeed, our biggest challenge with the series is catching their attention, but we believe 'Joy Eternal's' topics and intrigues are up to the stakes. We are confident it's the kind of content they wish to see. It is a thrilling science fiction story based on charismatic, unique characters with ultra-modern comic book designs and solid values and opinions. Joy is a leading character with incredible strength and determination, a sense of humor, and irony that will make audiences laugh. Joy will captivate them and make them want to accompany her in the difficult mission she has set for herself: to fight against a mega-corporation that commercializes souls. The audience will connect to Joy's concerns and establish an emotional relationship with the character, making them want to binge until the very last episode. Its narrative structure will leave each episode with an addictive cliffhanger for the audience. We play with suspense and intrigue to keep the viewer in tension until the very end." "Joy Eternal"
What values are highlighted during the "Joy Eternal" story? "The series has diverse characters of every race and gender, reflecting our multicultural world. Diversity, acceptance, and inclusion are a big focus of our series. There is also a feminist point of view, with our main character being a modern female leader with lots of strength. The importance of family and its precious bond is also the leading arch of this series." Would you define this project as a global story for teen audiences worldwide? "Yes, global viewers will be fascinated by stories with action, mystery, and intrigue trimmed with sarcastic humor. Our core target and young adults will certainly appreciate it as it is thrilling, exciting, and high-quality animation. Plus, the series was produced in 4K, so the audience can appreciate all the little details that make it so special." What are the following business steps for the project? "We are looking for the best broadcasters and digital platforms that will give worldwide awareness to this IP. We also hope to have a second season with webisodes and, why not, a movie." By Romina Rodríguez
PHOTOGALLERY
Mediawan Kids & Family Team
ANNECY MIFA 2023 Argentina's Animar stand in MIFA
Raphaelle Mathieu (CYBER GROUP STUDIOS)
Delphine Dumont, Gary Milne & Cecile Cau (BANIJAY KIDS & FAMILY)
Sépideh Shirazi-Moayed (MILLIMAGES)
Moggozi and Outfit7 deal
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Mario Santillana & Alex Agurto (STARS TOONS)
Eric Garnet (GO-ON)
Irmak Atabek Ndungu (MAKO) & Mbithi Masya
Jerome Alby & Solene Crepin (MEDIATOON)
Kristina Simon & Francesco Manfio (GRUPPO LCCUNI)
Paloma Baeza
Maria Bonaria Fois (MONDO TV STUDIOS)
Yael Ozsinay (WALKING THE DOG) & Ayala Sharot (MIND THE GAP ANIMATION)
Thailand delegation
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