BETWEEN 2022 AND 2023, THE GLOBAL SLOWDOWN IN COMMISSIONING SIGNIFICANTLY IMPACTED CHILDREN & FAMILY TITLES, WITH A 15% DECLINE IN THE NUMBER OF SHOWS.
18%
VOD ORIGINAL CHILDREN’S TV TITLES SAW AN EVEN SHARPER DECREASE OF 18% DURING THE SAME PERIOD.
4%
NON-ORIGINAL OR ACQUIRED TITLES GREW BY 4%, SHOWING THE POWER OF READY-MADE CONTENT.
Well-funded public broadcasters, particularly in Western Europe, have provided more consistent opportunities for the creation of children’s content. 29% of Western European commissioners that saw growth in children’s commissioning during this period were public broadcasters.
MILLIMAGES PROMOTED ALEXANDRA ALGARDMIKANOWSKI
With the goal of increase operational efficiency, improve responsiveness to customers, standardise the company’s sales strategy, and support the significant growth of its flagship IP, “Molang”, Millimages has promoted Alexandra Algard-Mikanowski to Commercial Director. Formerly Millimages’ Licensing Director, Algard-Mikanowski will bring Licensing, International Sales and E-commerce under a single department. The distribution team also added Géraldine Imbert-Cléry and Romane CotOgryzekwho. •
MOONBUG TAPPED BEATRIZ MILLER FOR ITS NORTH AMERICAN EXPANSION
JEROME ALBY JOINED THE NEWEN CONNECT
Newen Connect, the distribution arm of the TF1 Group, hired Jérôme Alby as SVP Distribution Animation, Kids & Family. Alby is responsible for leading the commercial strategy of the Kids & Family business, and securing international financing for co-productions and pre-sales for the group’s productions such as “Mille Bornes Challenge”, “The Borrowers”, and “Alice & Lewis,”, in close collaboration with Newen Connect and Blue Spirit Productions. •
Moonbug Entertainment tapped Beatriz Miller as Senior Director of Distribution and Originals for North America. Miller’s hire comes as the global entertainment company continues to expand in the North American market through the originals and distribution of blockbuster shows such as “CoComelon,” “Blippi,” and “Little Angel.” Miller will report to Nicolas Eglau, Moonbug’s Global Head of Distribution. Currently based in Miami, Miller will relocate to LA at the beginning of 2025. •
BANIJAY KIDS & FAMILY TO DISTRIBUTE EAGLET FILMS’ “PIRIPENGUINS”
Banijay Kids & Family
Distribution has acquired the worldwide distribution rights (excluding North America) to Eaglet Films’ new 2D/CG-animated kids’ comedy, “Piripenguins.” The 52 x 11’ series, produced by Eaglet Films, the makers of “Quentin Blake’s Box of Treasures,” together with Red Monk Studio (Italy) and Wild Child Animation (Scotland), has been commissioned by BBC and RAI, alongside support from the UK Global Screen Fund – financed by the UK Government’s Department for Culture, Media and Sport and administered by the BFI. •
FORMER MOONBUG TEAM LAUNCHED 8 LIONS ENTERTAINMENT
Former Moonbug Entertainment Jiella Esmat and Karine Ahton launched 8 Lions Entertainment, a London-based IP growth and development company. Esmat was Chief Revenue Officer of Amuse Animation & Amuse Studios, and Ahton was the General Counsel of Moonbug. 8 Lions will harness the power of data driven insights to develop, create, and grow properties that resonate with kids and teens worldwide. By blending traditional entertainment expertise with digital-first Creator-led IP strategies 8 Lions plans to scale IP globally, with an emphasis on creative synergies between the East & West. •
STUDIOCANAL REBRANDED COPYRIGHTS GROUP AS STUDIOCANAL KIDS & FAMILY
Studiocanal unveiled its new brand Studiocanal Kids & Family at Brand Licensing Europe 2024. This is a rebrand of The Copyrights Group which became a Studiocanal company in 2016, following Studiocanal’s acquisition of The Copyrights Group and PaddingtonTM IP. The company has long developed 360°strategies for brands and especially for the “Paddington” IP. Studiocanal Kids & Family will continue to drive full-service IP development with strategic worldwide brand development, licensing, experiential and retail expertise under the leadership of Francoise Guyonnet, CEO Studiocanal Kids & Family. •
CAKE COMPLETED JETPACK DISTRIBUTION’S ACQUISITION
Cake has completed the acquisition of the Jetpack Distribution brand, doubling the size of the company’s catalog to 3,200 half hours of high quality kids and family series. Cake also announced the subsequent restructuring of its business to provide enhanced expertise and services across its sales, distribution, marketing and acquisitions functions. Former Jetpack CEO Dominic Gardiner will join Cake as Managing Director of Distribution, leading the sales, marketing and acquisitions teams of Cake’s distribution arm, reporting toGroup CEO Ed Galton and Group CFO & COO Cat Seddon. •
"ESTABLISHED BRANDS SHOW LONGEVITY”
I
ROUBINA TCHOBOIAN, HEAD OF GLOBAL LICENSING AT BANIJAY KIDS
& FAMILY, SHARED INSIGHTS ON THE COMPANY'S GLOBAL LICENSING STRATEGY, FOCUSING ON LEVERAGING WELL-KNOWN BRANDS, TAILORING APPROACHES TO SPECIFIC REGIONS, AND COLLABORATING WITH TOP-TIER LICENSEES TO MAINTAIN BRAND QUALITY.
n September 2023, Roubina Tchoboian took on the role of Head of Global Licensing at Banijay Kids & Family. Her primary objective has been to rebuild the licensing team and expand Banijay's presence in the global licensing market. "We've had a brilliant year rebuilding our licensing team and Banijay Kids & Family's presence. We have a strong portfolio with brands like 'Mr. Bean' and 'Totally Spies!,' as well as new properties like 'Mini Heroes of the Forest' and 'Super Happy Magic Forest,'" she said.
Tchoboian commented that buyers and retailers often prefer established brands due to their longevity and built-in fan bases. "Established brands show longevity. Buyers tend to lean toward them. 'Mini Heroes of the Forest' and 'Super Happy Magic Forest' come from publishing,
which means they already have a fan base that can recognize and support a full licensing program," she explained. This trend reflects a desire for security in a crowded marketplace with fierce competition.
Navigating the licensing market presents challenges, especially with many new and old IPs constantly emerging. "It's tricky to carve out space in such a crowded market, but it's possible with the right tools and a slow build." She also emphasized the importance of maintaining product quality: "We are proud of the premium quality of our TV content, and we want the same for our licensed products," Tchoboian stated.
Banijay's global approach tailors programs to specific regions, a strategy that has proven successful with brands like "Totally Spies!" The reboot for Gulli in France in May 2023 saw excellent ratings, which allowed Banijay to launch a licensing program in France. "We already had partners on board before the relaunch, so we managed to introduce books, anime comics, audiobooks, puzzles, and more. A video game will launch later this year," Tchoboian said. The company plans to expand the brand further in Latin America, EMEA, and North America.
TOP-TIER PARTNERS
Banijay prioritizes working with top-tier partners who understand the core of their brands. "We look for best-in-class partners who understand the DNA of the brand. It's crucial to ensure that the brand's values are reflected in the products because if the DNA is wrong, the product won't sell," she stated. One of Banijay's biggest successes has been with "Mr. Bean." Earlier this year, the company took on worldwide licensing rights for the brand. They've appointed new agents in territories like the UK, Australia, and South Korea and signed deals in toys and live events, including a collectible with Steiff and a live event debut at the Qatar Toy Festival.
For "Totally Spies!" Banijay has expanded globally, appointing new agents in the US, Italy, and Brazil and launching a collaboration with Skinnydip in the UK. "We've also started selling to specialty retailers in the US through our partner, Ripple Junction," Tchoboian added. Looking ahead, Banijay has more exciting announcements in store, including plans for "Topo Gigio," which has a solid fan base in Latin America.
By Federico Martinez
Super Happy Magic Forest MiniHeroes of the Forest S2
Spies! Mr. Bean S3
KIDS’ CONTENT: NAVIGATING A CHALLENGING ENVIRONMENT
COMING FROM DIFFERENT PARTS OF THE WORLD, EXECUTIVES FROM STUDIO 100 INTERNATIONAL , ÁNIMA KITCHENT, DANDELOOO, AND TV ASAHI ANALYZE THE CURRENT LANDSCAPE OF THE KIDS’ CONTENT BUSINESS.
The entire content production and distribution industry is experiencing a huge disruption era. The kids' content business is particularly affected by budget constraints, IP greenlighting complications, and shifting audience habits. For that reason, Señal News spoke with different experts in the kids' arena to understand the whole picture of this situation.
In today's market, there's often a cautious approach toward new ideas and emerging IPs. "Buyers tend to favor established brands with strong recognition and a track record of success. However, innovation remains as important as ever. Creating fresh IPs that deliver captivating stories and memorable characters and connect deeply with audiences is vital. A distinctive USP is critical for any IP to stand out and achieve long-term success. In recent years, we have carefully analyzed the market, securing distribution deals for exciting upcoming TV shows, including those based on
popular comics and novels that have already succeeded in various regions," Dorian Buehr, Head of Global Distribution at Studio 100 International, explained. "The global content production and distribution business is tougher than ever, well more than I've ever experienced in 30 years, somewhat like the planet's environmental crises. But as we all know, it helps us reinvent ourselves and find solutions. Like the planet issue, it shows that we should produce less but better content, focusing on quality over quantity. It is our duty to stay optimistic and help kids understand their role in this situation," Emmanuèle Pétry, Producer & Head of International at Dandelooo, described.
Another burden in the kids' arena is that the preschool market is saturated with offerings, complicating the landscape with stiff competition. "In addition, budgets are limited, and the fees paid for content often do not cover the investment through traditional channels like broadcasting. That forces us to explore new sources of income, such as the digital space, advertising, FAST channels, and OTT platforms. The market is fragmented, with many active players, which increases both competition and opportunities for those who can adapt and find new business models. Despite the competitive and challenging nature of the preschool segment, there are significant opportunities for
"POL THE PIRATE MOUSE" · DANDELOOO
EMMANUÈLE PÉTRY
P roducer & Head of International at Dandelooo
DORIAN BUEHR Head of Global Distribution at Studio 100 International
innovation and standing out with high-quality content. Our challenge is differentiating ourselves through relevant content and effective distribution strategies," Miguel Aldasoro, International Sales and Copro Director at Ánima Kitchent, stated.
I nternational Sales and Copro Director at Ánima Kitchent
"The global kids' landscape has evolved significantly recently. We definitely have more choices now in terms of media, driven by the rise of digital and streaming services. That has led to an expansion in genres now as the popularity of anime has become more prominent worldwide. The availability of different types of content has given kids more control over their viewing experience," Maiko Sumida, Head of Animation Sales & Development at TV Asahi, said.
IP GREENLIGHT
Today, the kids’ content business finds a very difficult barrier to surpass: buyers are not so much focused on brand new content but rather on properties that have already proven to be a success, have a strong connection with the audience, a track record of performance, and clear brand recognition. “This is crucial, as the risk of betting on unproven content is higher in today’s competitive environment. In this regard, our brands, particularly ‘Cleo and Cuquín’ have a significant advantage. It is not only a well-known series but it has also achieved a strong presence in the digital space, specifically on YouTube. Content buyers, whether for television or streaming platforms, value programs that have clear data and performance metrics to support their potential,” Aldasoro said.
“Strong relatable characters which give children empowerment, meaningful stories with take-aways for the viewers, a comforting environment to calm anxiety are some of the essential features. These are only part of the puzzle of course. We need reliable co-producers because it is too risky to greenlight shows with only one commissioner. And you need to accept that not all projects get greenlit. It’s part of the game to develop some projects with all your energy and heart and learn to let go when it doesn’t happen,” Pétry noted. “As the kids’ population in some parts of the world, including Japan, has been shrinking, it is important to consider the possibility of global distribution as well as the 360-business model upfront when we greenlight projects. Quality storytelling, engaging narratives, and diverse characters are essential and ancillary revenue streams are now equally important to draw worldwide
audiences,” Sumida said.
“When selecting source material, we prioritize stories with strong narratives and engaging characters that children can easily connect with. It's important that the content not only resonates with today’s young audiences but also has the potential to grow into a longlasting and impactful brand. Most recently, Studio 100 International has formed a strategic partnership with Gaumont and Gingersnap Productions to co-develop a thrilling new series, ‘Jungle Book: Cub Club Adventures’ (working title), inspired by Rudyard Kipling’s legendary ‘The Jungle Book,’" Buehr stated.
LINEAR vs STREAMING
As the kids' business evolves, a huge factor to consider for its growth path is the balance between linear and digital projects and its subsequential global distribution. "Although streaming and digital businesses continue to grow, it remains important to consider and combine them with traditional linear businesses as they still play an essential role in the content ecosystem. Especially in the kids' space, it is still necessary to have a linear partner in terms of funding and greenlighting projects," Sumida pointed out.
"Alongside linear television and its ratings, digital platforms are essential for tracking and measuring the success of our IPs. Streamers are becoming increasingly important in our distribution strategy, and we offer a diverse range of programming to meet the needs of various clients, with some shows particularly well-suited for streaming audiences. Additionally, we maintain a robust presence on YouTube, regularly uploading content and staying responsive to evolving consumer trends. Our classic series continues to perform strongly, retaining their popularity on the platform," Buehr highlighted.
"Our strategy often begins by prioritizing content for streaming platforms, as they allow for more immediate global distribution and continuous exposure without relying on fixed schedules. However, we also recognize that linear television plays a crucial role, especially in markets with strong penetration or in certain audience segments that still prefer this format. That's why we produce content that can adapt to both environments, allowing programs initially created for streaming to be adjusted for linear TV and vice versa. This flexible approach maximizes the value of our content and allows us to leverage the best of both worlds," Aldasoro noted.
"At Dandelooo, we do not balance anything! As we've done for the past 14 years, we continue to build our financing from French broadcasters. We are extremely thankful to France Televisions and Canal+ Kids for supporting our projects and being part of our growth. We have never had a streamer commission one of our programs (although it was really close!) but are hopeful that it will eventually happen when we get over these hard times," Buehr explained.
By Diego Alfagemez
MIGUEL ALDASORO
MAIKO SUMIDA H ead of Animation Sales & Development at TV Asahi
JULIEN BORDE , PRESIDENT OF MEDIAWAN KIDS & FAMILY, HIGHLIGHTS THE COMPANY'S MILESTONES AND PROJECTS SINCE ITS LAUNCH TWO YEARS AGO IN A CHALLENGING KIDS' CONTENT LANDSCAPE.
Mediawan Kids & Family has been busy in the second semester of the year. First, it launched three brand-new shows at Cartoon Forum. At MipJunior, that agenda continues, and the French company will have the worldwide premiere of its latest premium TV series co-produced with Palomar Animation for France Télévisions, Rai, and ZDF, “The Three Musketeers.” Señal News spoke with Julien Borde, President of Mediawan Kids & Family, to review the company's milestones and projects since its launch two years ago.
As a relatively new division within the Mediawan Group, how would you evaluate Mediawan Kids & Family's progress since its launch two years ago?
"Mediawan Kids & Family has become one of the leading animation providers in Europe and a global key player. We are producing over eight series in our studios in Paris, Bristol, Amsterdam, and Rome for all the major European commissioners and international kids' networks. We collaborate with top creative talent to develop all animation genres, from preschool
"OUR MAIN FOCUS IS TO DEVELOP NEW, ORIGINAL IPS FROM SCRATCH"
to adult content. We are entirely talent and IP-driven, producing next-gen favorite entertainment within the Mediawan Group, a leading independent production and distribution powerhouse comprising 80 production companies across 13 countries."
Your catalog includes a blend of original IPs, IP adaptations, and acquisitions. How crucial is maintaining this diverse content mix in today's market?
"We see daily how having a broad content portfolio is highly valuable for broadcasters and commissioners. The kids' market is currently experiencing a challenging phase, with fewer commissions and a significant shift in consumer habits. Our partners are increasingly specific about what they want but remain very open to innovation. Our main focus is to develop new, original IPs from scratch that have the potential to grow into franchises that kids can enjoy anytime, anywhere in their daily lives. Two of our series in development at our Paris studio, 'Karters' for WarnerMedia and 'Witch Detectives' for TF1 and Super RTL, in addition to featuring strong female heroines who are perfectly in tune with the times, are excellent examples of IPs with the potential to grow and become new hits. We strongly believe in IPs originating from digital platforms, such as
'Chefclub Adventures,' based on the phenomenon digital brand Chefclub, or 'Ki & Hi,' our new anime-adjacent kids' comedy, the adaptation of the French best-selling manga of all time."
Concerning the distribution side of your business, what is your strategy for international expansion?
"Our distribution activity launched internally two years ago and has achieved great success thanks to the work of our dedicated team and a unique portfolio of content. That includes 'Miraculous – Tales of Ladybug' and 'Cat Noir,' now produced by Miraculous Corp, the groundbreaking joint venture between Mediawan and ZAG, dedicated to developing the franchise worldwide. We are fortunate to distribute not only the slates of our in-house European studios but also content from independent production companies, like 'Barnkidz' from La Station Animation, 'Idefix and the Indomitables' from Studio 58. We are eager to continue growing in Asia and Africa, where we see great business and creative opportunities."
How would you characterize this year for the company, and what are your primary goals as you look ahead to 2025?
"Energetic and exciting! We are building more and more coproductions between Mediawan companies, developing a new animated movie slate, and incubating new talents and universes to bring the best premium content to our partners and children around the globe."
By Romina Rodriguez and Diego Alfagemez
Julien Borde
"TIDDLER,"
A MAGIC LIGHT CLASSIC: MAKE THE CHRISTMAS SEASON SHINE
MAGIC LIGHT'S 12TH ANIMATED ADAPTATION, WILL PREMIERE ON BBC ONE NEXT CHRISTMAS. MURIEL THOMAS, INTERNATIONAL DISTRIBUTION DIRECTOR, EXPLAINS WHY THE BELOVED STORIES BY JULIA DONALDSON AND AXEL SCHEFFLER CONTINUE TO CAPTIVATE AUDIENCES WORLDWIDE.
It's a classic and effective alliance, and it's happening again. Magic Light Pictures and BBC are launching a new Christmas special, "Tiddler." The 12 th animated adaptation of Magic Light will premiere on BBC One next Christmas. "This time of the year is always the highlight for us," said Muriel Thomas, International Distribution Director.
"Tiddler" is the story of a small grey fish with a big imagination who gets lost in the deep, wide ocean until his own storytelling saves him. The half-hour animated special will have a stellar cast led by Hannah Waddingham ("Ted Lasso") as the narrator, Lolly Adefope ("Ghosts") as Miss Skate, Jayde Adams ("Ruby Speaking") as Plaice and other characters, plus Rob Brydon ("Gavin and Stacey") and will also feature the voices of child actors Reuben Kirby in the title role, and Theo Fraser as Johnny Dory. "'Tiddler' resonates because it is about imagination, adventure, and storytelling. It appeals to children and adults with its themes of creativity and perseverance," Thomas stated. The animation is based on the
book by Julia Donaldson and Axel Scheffler. "It is a chance to engage not only those familiar with the book but a broader audience. At Mipcom, we'll be showing a preview, and the international rollout will soon follow," Thomas added.
Magic Light Pictures, best known for their 2009 adaptation of "The Gruffalo," has become a Christmas staple, but they remain hugely popular all year round. "The aim is maintaining this success year after year. These stories are timeless. They speak to generations and can feel fresh no matter how many times they're seen," Thomas said.
The adaptability of Donaldson and Scheffler's stories also ensures their global appeal. "Our specials are relevant across different cultures, but maintaining the quality of local translations is crucial to ensuring their longevity," Thomas described. International pre-sales for "Tiddler" are already underway, and the executive is optimistic about its worldwide reception. "We've placed all our previous specials in over 180 countries and plan to follow the same strategy with 'Tiddler.' After Mipcom, we'll finalize our partners for the 2025 launch," she expressed.
While "Tiddler" is the main focus, Magic Light continues promoting its other animated works, including
"Pip & Posy," their first preschool series. "We're continuing to roll out the second season and the educational spin-off series, 'Pip & Posy Let's Learn,' around the world," Thomas remarked.
HIGH-QUALITY CONTENT
Cinema releases are another key business area for Magic Light. "Our specials are beautifully crafted, and the big screen offers a completely different experience. In countries like the UK and Australia, we've partnered with cinema chains to ensure regular screenings, and in other territories, we work with local distribution partners," Thomas said.
Magic Light Pictures remains committed to producing highquality content, and "Tiddler" continues this trend. The company recently announced its first full series adaptation of a Donaldson and Scheffler book, "Zog," set to launch in 2026. "It's an animated comedy-adventure series about caring for others and the world around us. We are hugely excited to expand the world of Zog, a popular and beloved character," Thomas added. As the landscape of children's entertainment continues to evolve, Magic Light Pictures is poised to remain at the forefront, combining flexibility with creativity to ensure their beloved stories reach audiences globally for generations to come.
By Romina Rodriguez
"Zog and The Flying Doctors"
"TO ESTABLISH AN IP, VOLUME IS NECESSARY”
Goldbee is presenting its new upper preschool heartwarming musical "DoReMi Dalimi" for the first time at MipJunior, produced by Sunwoo & Company. Ahead of the market, Christophe Goldberger, Goldbee's Managing Director, talked with Señal News about the production and his view of the industry's current state.
"DoReMi Dalimi" is a coproduction with KBS and Tooniverse in Korea, so the series premiered first on those two channels.
"After its great success on both platforms, it was purchased by several other clients in Korea, such as Netflix, JTBC, JeiTV, Anione, Bravo Kids, Animax, and Champ. Internationally, it also premiered on major channels in Asia, such as YoYo TV in Taiwan, RTV in Indonesia, iQiyi & Tencent in China, and KION in Russia," Goldberger described. He also mentioned that the series has achieved great success on YouTube, growing from 100 million to 300 million views in less than a year. "On the Spanish-language channel alone, the series generates one million views daily, demonstrating its global appeal. It's no longer just a Korean success in Korea but an international success. That is a key fact when presenting the IP to new clients," he said.
Looking to new territories for the series, the executive noted that they aim to enter the U.S. market, particularly the U.S. Hispanic market, due to its success on YouTube and Europe. Goldberger added that the success achieved across markets with different characteristics and consumption
CHRISTOPHE GOLDBERGER ,
MANAGING DIRECTOR
CONTENT
AT GOLDBEE, ANALYZES
THE KIDS'
INDUSTRY
WHILE HE PRESENTS "DOREMI DALIMI," THE COMPANY'S MAIN HIGHLIGHT FOR MIPJUNIOR.
patterns is mainly due to its musical component: "Music is a really powerful way to engage children. Catchy songs have an undeniable universal appeal that enhances authentic storytelling. From audience data analysis, we have also seen that the series attracts parents and a family audience. With its classic references to the full-fledged musical genre, the production breaks generational barriers," he said.
CHRISTOPHE GOLDBERGER, MANAGING DIRECTOR AT GOLDBEE
ONLINE HIT
Goldberger also highlighted that the online presence of the series provides Goldbee with "important data about consumption, what works, informing us about what the fan base wants to see, and user profiles. It allows us to integrate what we learn from consumption data to guide the production of new episodes. It's an informative process that holds great value for us." With over 80 songs, its presence on music platforms also contributes to its international recognition: Spotify, Apple Music, Amazon, Tidal, and Deezer.
The series has two seasons with a total of 39x11' episodes, and a third season consisting of 13x11' episodes with 26 new songs is in production and set to be released in 2025. "To establish an IP, especially Upper Preschool, volume is necessary. That will help
strengthen the IP," Goldberger stated.
Goldberger emphasized that there is no formula for success when identifying new productions: "We look for a clear artistic vision, a quality product that stands out in the market, and a narrative that can travel internationally. These are the most important criteria. Trends evolve, audiences change, and platform needs shift. One must always be mindful of market evolution." In this regard, he mentioned that the industry is currently in a phase of contraction in acquisitions and commissioning. "Many people are asking for either well-known IPs or data that supports the adoption of a new IP. It's always necessary to gather information on the audience's touchpoints with the IP before it becomes an audiovisual property. They're asking for co-viewing productions because everyone is consuming on their phones, tablets, in their own corners, but family moments are becoming more complicated, and finding a show suited for co-viewing between children and parents is challenging," he described.
By Federico Martínez
SIMONA KRASAUSKIENĖ, CEO OF NJ WORLD, UNDERLINES THEIR FLAGSHIP BRAND'S VALUES AND GLOBAL POTENTIAL WHILE ANALYSES GEN ALPHA'S NEW CONSUMPTION HABITS.
Lithuania's NJ World has recently launched its flagship series, "Nelly Jelly," produced in collaboration with British animation studio 3Megos and designed to resonate with Gen Alpha's interests and values. Like any other 6-year-old child, Nelly Jelly has real problems, but she also has her monster friends, Jim and Jam, who burst into the world and offer funny, unconventional ideas and help. Nelly Jelly listens to their enthusiastic guidance but finds a solution for her problems herself. Through their interactions, the show explores themes of diversity, equality, and social awareness in a fun and engaging way. "'Nelly Jelly' tackles key social issues and challenges traditional stereotypes. Nelly Jelly's monster friend duo Jim and Jam surprises us by challenging traditional gender stereotypes," declared Simona Krasauskienė, CEO of NJ World to Señal News. "Gen Alpha encourages us to leave common stereotypes behind and have different representations of how girls and boys can look and behave, and we're confident in Nelly Jelly's potential to appeal to both Gen Alpha and up-coming Gen Beta, who value comedy, strong characters, and inclusive, engaging stories," she added.
Krasauskienė affirmed that their main goal is to produce content encouraging children to solve
TACKLING SOCIAL ISSUES AND CHALLENGING TRADITIONAL STEREOTYPES
their problems using imagination and emotional literacy. "We are creating engaging, meaningful, and educational content that reflects the real world and values relevant to today's children," she expressed. "In her native Lithuania, Nelly Jelly is a loved illustrated children's book character. Children are presented with relatable scenarios that require critical thinking and personal reflection, such as managing friendships, overcoming fears, and celebrating unique qualities," she described.
MULTIPLATFORM APPROACH
Since NJ World brands head to digital natives kids, the company is adopting a multi-platform approach to content delivery and expanding its content from traditional formats like books to include digital formats such as audiobooks, videos accessible via QR codes, and interactive apps. "This year, together with well-known Lithuanian chef Alfas Ivanauskas and our licensing partner, publishing house Alma Littera, NJ World published an interactive recipe book with integrated QR codes that takes the child to the video material that shows how to prepare dishes. The book encourages the family to spend time together, to develop creativity," Krasauskienė said. "We craft stories that resonate with children by reflecting their everyday experiences and believe that authentic content will always win their hearts," she added.
To ensure children are genuinely represented, NJ World involves them in the creative process,
listens to their feedback, and ensures their voices are heard. In Lithuania, "Nelly Jelly" has three live shows and two live musicals. "When I attend these performances, I focus on observing the reactions of the young audience rather than just the action on stage. Children's reactions to what is happening on stage give many insights into what they want to see in their content. The content children engage with (stories, characters, and visuals) greatly affects how they feel about themselves, others, and the world around them. That's why, when creating the world of 'Nelly Jelly,' we always consult with educators, psychologists, and parents and organize focus groups," Krasauskienė explained.
Currently, NJ World is launching several projects to engage Gen Alpha. "We continue to work with 3Megos Ltd to take 'Nelly Jelly' on an international adventure, expanding her reach to children worldwide. We recently introduced a few tech items, such as The Nelly Jelly smartwatch, featuring a SIM card, GPS tracking, and an SOS button to keep parents and kids connected. We've also launched safe, ergonomically designed wireless headphones for little ears. Additionally, our range of books, plush toys, skincare, gardening kits, and home decor supports creativity, emotional intelligence, and skill-building for curious young minds," she concluded.
By Romina Rodriguez
"Nelly Jelly"
PHOTOGALLERY
ANNECY 2024
José Iniesta (PIXELATL), Jose Luis Farias (NEXT LAB), Silvina Cornillon (VENTANA SUR), Beatriz Bartolome (PREMIOS QUIRINO)
Lucas Soussumi (BRAZIL CONTENT)
Marc Ollington, Hannah Jones (MAGIC LIGHT PICTURES)
