ACTF EMPOWERS AUSTRALIAN ANIMATION
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MIFA · KIDSCREEN 2022
TEAMTO FOCUSES ON DIVERSITY AND INCLUSION
GRUPPO ALCUNI, ANIMATION WITH HUMAN VALUES
#188 ∙ YEAR 22 ∙ JUNE 2022
7.9 MILLION
SUBSCRIBERS IS WHAT DISNEY+ HAS GLOBALLY ADDED TO ITS BASE IN THE SECOND FISCAL QUARTER.
50%
137.7
MILLION GLOBAL SUBSCRIBERS DISNEY+ REACHED IN THE PAST QUARTER.
13.5
BILLION WAS THE REVENUE OF THE WALT DISNEY COMPANY.
According to Parrot, Disney+’s global demand share for streaming originals has increased nearly 50% year over year. Since the beginning of 2021, all five Marvel live action originals have hit number one worldwide within two weeks of debuting.
PICTOR PRODUCTIONS AND SERIOUS KIDS TEAM UP FOR “FLIX –BY TOMI UNGERER” Irish indie Pictor Productions has signed a worldwide distribution deal with Serious Kids for the company’s first comedy animated production “Flix –by Tomi Ungerer” which is now in full production and will air on RTE in Spring 2023. Targeting kids aged 4-7, the series has received the support of Creative Europe, Screen Ireland and the Broadcasting Authority of Ireland. ∙
“DINO RANCH” EXPANDS ITS FOOTPRINT IN LATIN AMERICA Boat Rocker has announced a raft of activity in Latin America for its hit show “Dino Ranch” as the preschool animation continues to experience rapid global growth. Three licensing agents and a group of licensees have come onboard across the territory. Doce will be handling licensing for Chile and Peru, while IMC has signed-on for Argentina, Uruguay, Paraguay and Bolivia, and Tycoon Enterprises for Mexico, Brazil, the Caribbean and Central America. ∙
SUPERIGHTS CONFIRMS SECOND SEASON OF “KOUMI’S ANIMATED PICTURE BOOK” Superights will produce a new set of 52 episodes for its preschool series “Koumi’s Animated Picture Book.” The first season has already convinced many broadcasters around the world such as China on uYoung, Hong Kong on Now TV, Indonesia on Mola TV, USA on Minno, Australia on ABC Commercial, Slovenia on RTVS, Czech Republic on Ceska Televize, Israel on HOP, Ethiopia on Canal +, Latvia on LTV, Kosovo on Art Motion Media, Japan on Me Interactive, and Canada on TFO. The new season will be presented at MIFA. ∙
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9 STORY SECURES LICENSING DEALS FOR “KARMA’S WORLD” 9 Story Media Group and Karma’s World Entertainment have expanded their licensing program for the famous animated property “Karma’s World.” The slate of new deals was secured by 9 Story Brands. The list of new partners includes Rubies for Halloween costumes, Accutime for watches, Sunstaches for vision, Sprayground for co-branded bags/ backpacks, Trends for posters and stickers, ISlide USA for print on demand footwear, Prime 3D for lenticular puzzles, Zak Designs for drinkware, dinnerware, flatware, and IG Design Group for Valentine’s Day Cards and Easter seasonal products. ∙
JETPACK RESTRUCTURES SALES, ACQUISITIONS AND MARKETING TEAMS Jetpack Distribution announced a new team structure to grow its operations across the globe and consolidate the company’s content sales and acquisitions. Sophie Prigent has been promoted to Global Head of Sales, leading sales in Asia, Canada, France, Latin America, Portugal, Spain, and the Nordic countries, and AVOD sales globally. Gillian Calvert Ridge has been promoted to Global Distribution Director - Acquisitions and Development, leading the company’s acquisition of shows that are produced and in development stages. Matt Bowen has been appointed as Acquisitions Coordinator and will report directly to Gillian. ∙
XILAM TAPS JULIE APPERÉ AS HEAD OF TALENT ACQUISITION AND MANAGEMENT Following a period of acceleration in the company’s growth and production volume, Xilam Animation is further expanding with the appointment of Julie Apperé as Talent Scout – Head of Talent Acquisition and Management. In this newly created position, she will oversee the strategic scouting of talent, support the mobility of artists whilst also strengthening and promoting the Xilam brand at markets, festivals and in schools. Apperé will also play a crucial and strategic role in the development of the group’s social policy by leading across all activations in support of the fundamental principles and values carried by the company. ∙
ANIMACCORD EXPANDS MASHA’S SONGS ON CHINSE PLATFORMS
Animaccord’s “Masha and the Bear” reached 100 billion views worldwide on YouTube last year, and now has arranged various licensing and media deals in the Chinese market. By summer 2022, the company will bring the special musical season named “Masha’s Songs” to screens in China for the first time, in addition to the already available “Masha and the Bear” seasons and “Masha’s Spooky Stories.” The deal was made with Tencent Video, as well as a number of other platforms, that will be streaming the new content by the end of the year. Moreover, by the second half of 2022 “Masha’s Songs”will be distributed on major OTT platforms. ∙
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INTERVIEW
“WE ARE FOCUSED ON PROVIDING THE HIGHEST QUALITY SHOWS FOR AUSTRALIAN CHILDREN”
Jenny Buckland
THE AUSTRALIAN CHILDREN’S TELEVISION FOUNDATION HAS TURNED 40 IN 2022. JENNY BUCKLAND, CEO OF THE COMPANY, EXPLAINS THE EVOLUTION OF THE KIDS’ BUSINESS AND HOW ACTF HAS ADAPTED TO A NEW ENVIRONMENT.
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eaching the 40-year milestone in the current entertainment arena and success in the kids’ content business is a worthy achievement. The Australian Children’s Television Foundation (ACTF) turned 40 years in 2022, and Señal News spoke with its CEO, Jenny Buckland, about the main challenges on this unique path. What does ACTF have learned about kids during the past 40 years? “We’ve learned to stay true to our fundamental values and the things that have always been in our DNA while adapting and evolving for changing times. Respect for the past while looking to the future is our secret weapon. We have always focused on providing the highest quality shows for Australian children, breaking new boundaries, and having the audience at the center of every decision. The way we do things has changed, and the kind of programs we deliver has changed. Over the first 20 years, ACTF was directly involved in the production itself. Still, we decided to work with the independent sector all over Australia and support them to make shows that met our aspirations for the children’s audience. That opened us up to 4
new ideas and voices and enabled production all over the country. Today, with the competition for the children’s audience stronger than ever, we see primetime production values in children’s television and shorter-episode series. So, it’s about having a consistent culture of improvement and evolution while staying true to our audience and the values that make us unique”.
How have children and teen needs changed during these years? “Kids are still kids, but the world has changed a great deal over 40 years. Today’s kids have many more choices and are extremely discerning. They also have a lot less free time, with many more scheduled activities. They’re very aware of external forces shaping the world, like climate change, and they are under more pressure to achieve and compete at school. The programs we support need to accept that children don’t just plonk themselves in front of the TV and watch whatever they are served up. They have limited time and make active choices, so stories that draw them in and high production values are imperative. We have a real opportunity to contribute to the mental health of children by exploring relevant and contemporary issues, making room ‘MaveriX’
for fun and entertainment, and ensuring that children feel seen, heard, and valued with our content we provide.” How important is it to offer content with diverse and inclusive stories? “Today’s children live in a diverse world, where it’s more important than ever that we all get along and respect and value our differences. Valuing everyone means that everyone feels seen, but also that we all have an opportunity to try on someone else’s shoes and walk around in them. Diverse content builds people up and creates universal bonds and values. It’s also what young people today demand and expect to see.” What is the current company’s distribution strategy? “ACTF has always taken the approach that if a show is made with high production values and is entertaining and captivating, kids will find it, no matter what device they’re viewing content on or how they’re accessing it. ACTF will always ensure that its shows can be found via multiple access points. If the show is good, kids will seek it out and find it no matter where it is.” What are the latest ACTF’s content launches? “New releases include ‘MaveriX,’ a ten-part adventure drama series filmed in Alice Springs, which premiered on ABC ME in April. Netflix also premiered the series outside of Australia. Furthermore, ‘First Day’ returns with a new fourpart season. Another series to look forward to is ‘Barrumbi Kids,’ which will be available next July.” By Romina Rodriguez
DISTRIBUTION
Francesco Manfio
AT MIFA, GRUPPO ALCUNI IS HIGHLIGHTING NEW “MINI PET PALS” AND “MINI DINOS” EPISODES WHERE THEY EXCHANGE EXPERIENCES AS WELL AS NEW PRODUCTIONS LIKE “THE BLACK DIAMOND RACE” AND “GATEWAY 66.”
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talian leading animation company Gruppo Alcuni will attend MIFA 2022 with new “Mini Pet Pals” and “Mini Dinos” episodes as well as new productions such as “The Black Diamond Race,” the second series of “Leonardo da Vinci,” and “Gateway 66”. “I’m convinced that MIFA 2022 will establish an even greater comeback market”, Francesco Manfio, co-founder and CEO at Gruppo Alcuni, said to Señal News. Regarding “Mini Pet Pals” and “Mini Dinos,” Manfio asserted that along with Rai Ragazzi, co-producers of the show, they were looking for an idea to launch a new “Mini Pet Pals” season. “After 208 extremely successful episodes, we definitely wanted something original. With our writing team, we came up with the idea that Top Hat (our cute and clumsy bunny) could wander into a cave during a field trip and discover
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CHILDREN’S CONTENT THAT PROMOTES TOLERANCE, RESPECT, AND SOLIDARITY
a prehistoric mini dinosaur school. So the ‘Mini Pet Pals’ and ‘Mini Dinos’ begin to have an open exchange about their respective lifestyles. As the episodes evolve, they will realize that diversities aren’t limiting. As a matter of fact, they can be very enriching for everyone”, Manfio explained. “We feel that animation in general, but more specifically children’s content, should promote values like tolerance, respect, and solidarity, which are crucial for living together peacefully,” he added. Gruppo Alcuni’s writers and designers had fun creating adorable and graphically unique characters for this new production. The cast includes a couple of pterodactyl twins (Attila and Dactyla), a shy stegosaurus (Ego), a triceratops (Smash), a blue brontosaurus (Bump), a clever saber-tooth tiger (Smilla), and a bold T-Rex (Toothy). NEW PRODUCTIONS Gruppo Alcuni is currently in pre-production with “The Black Diamond Race” (9x60’ episodes), a series for older kids. Each episode revolves around the extraordinary adventures of a group of teens from different backgrounds who are forced to rally race against the sinister Elmo Van Der Graaf.
Seemingly, the prize is supposed to be the Black Diamond, but there’s much more at stake. “The series takes place in Europe and India at the end of the 1920s. It’s incredibly challenging from a creative and a production perspective. Creatively speaking, it’s a series that involves relentless, exhilarating plot twists. From a production point of view, it means accurately reconstructing the characters, locations, and cars (strictly inspired by the actual 1928 ones) of that time,” Manfio described. In addition, Gruppo Alcuni recently started production on “Gateway 66,” an exciting project that combines various genres and techniques. The show’s episodes revolve around a scientist who gets lost in another time-space dimension because of a failed experiment. “Thanks to the MUSE (Science Museum in Trento, Italy) research team, the adventures in the time-space portals our characters are hurled through will be absolutely scientifically accurate. The series will combine live-action with animation and authentic and virtual settings to create an extraordinary and fascinating impact,” Manfio concluded. By Romina Rodríguez
DISTRIBUTION
“JADE ARMOR,” A SHOW THAT BRACES FOR BROADER FEMALE REPRESENTATION TEAMTO’S ANIMATED SERIES STANDS OUT FOR ITS STRONG FEMALE REPRESENTATION IN THE CREATIVE TEAM AND CHARACTERS, AND PROMOTES DIVERSITY AND CULTURAL INCLUSION VALUES. CORINNE KOUPE, SVP OF PRODUCTION AND DEVELOPMENT AT TEAMTO, DEFINES THE CREATION PROCESS FOR THIS GLOBAL IP.
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eamTo animated show “Jade Armor” has a strong female representation in its creative team and main characters, including the teenage heroine and her two butt-kicking Kung-fu master grandmothers. The show also promotes broad diversity and cultural inclusion through its writers, co-director, specialist consultants, developers, head storyboard artists, and voice talent. “The strong female presence is an obvious element in the series, not only in the main character but also in the two grandmothers she lives with and who are her primary and daily instructors in the kung fu way of life. Jade lives in a multigenerational home where the wisdom of elders is respected and revered,” Corinne Koupe, SVP of Production and Development at TeamTO, told Señal News. “Another central element of the series that sets this action-comedy series apart is the teaching of the kung fu philosophy, not just inserting fight scenes for the sake of action. Our French-Cambodian co-director, Denis Do, was a Wushu (Chinese martial arts champion). At first glance, it may seem like a show with lots of fighting scenes, but we’ve dealt with these scenes with great attention to aesthetics. These scenes were choreographed by Kung Fu stunt artists, all former French Kung Futeam members. 8
But the show goes beyond this esthetic to address the message of Kung Fu and all martial arts: learn to fight, so you don’t have to fight, don’t just let go and lose self-control. It means understanding the vanity and the uselessness of violence. It is an important message for people, especially children, everywhere,” Koupe stated.
Corinne Koupe
DIVERSE PROCESS Jade Armor” is a mix of French, North American, and Asian concepts to appeal to global audiences. “The elements that will appeal to audiences globally are the themes around teenage issues: struggles with schoolmates, learning to work through problems with others, relationships with family members, and, primarily, finding your path in life. Through the arc of the series, Jade and all the main characters seek their path and meaning in life,
“Jade Armor”
exploring and pushing back on the expectations of family and society and learning about themselves. Hopefully, audiences can relate to the characters’ journeys while enjoying the comedy of Jade Armor’s adventures,” Koupe explained. The show’s cast is almost all of Asian descent or diverse. The co-director, Denis Do, is a French-Cambodian. There is also a Chinese cultural consultant on the show who ensures appropriate representation of artistic elements, including the practice of kung fu, central to the storyline. “Appointing a diverse group to work in the series was actually quite organic,” Koupe stated. “As the setting takes place in an imaginary Asian city, and the original concept for Jade was from Taiwan, it was obvious that we needed a team that understood and had an affinity for this cultural environment. That’s why we assembled so many writers with a strong Asian background. Also, the imaginary city (people on the street, shopkeepers, school kids) is not just Asian but from all sorts of backgrounds. We recruited an extremely diverse cast of actors, mostly non-white. We also have a primarily female creative team featuring our producer, director, cocreator, and head writer. All of them had given Jade and her two fabulous grandmothers a very authentic voice,” the executive ended. By Romina Rodriguez
DISTRIBUTION
THE GLOBAL POTENTIAL OF PLATOSHKA ANIMATION STUDIO’S FLAGSHIP PROJECT THE FIRST SEASON OF THE “BEADIES” SERIES SHOWED IMPRESSIVE ANNUAL RESULTS, WITH ITS SECOND SEASON SLATED TO HIT THE SCREENS IN SUMMER 2022. ANNA SHELEGINA, THE CEO AND GENERAL PRODUCER AT THE COMPANY, SHARES THE PROJECT’S SUCCESSES AND UPCOMING PLANS.
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latoshka Animation Studio’s flagship project, “Beadies,” is a learning animation series for children aged 0 to 4 years. The first season of the series premiered in 2021 and showed impressive annual results. The show’s second season is slated to hit the screens next summer. “‘Beadies’ shows an amazing pace of development and growth for the animation industry, and its pilot was created in six months. Starting from 2021, the studio team produces four series monthly, which is quite a significant result for a young studio launched in 2019’, Anna Shelegina, CEO and General Producer at Platoshka, told Señal News. “Beadies” premiered on YouTube in June 2021 and amassed almost 65 million views and 110,000 subscribers in less than a year. The channel’s regular weekly audience on YouTube exceeds 375,000 viewers, and Platoshka emphasizes that it has attracted its audience
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Anna Shelegina
organically. Besides YouTube, “Beadies” made it into all CIS VOD services catalogs and debuted on various TV channels. “It’s time to expand ‘Beadies’ media coverage further, with 55 episodes of 5 minutes for the first season ready for distribution, including English dubbing. There will be 55 more episodes to be delivered by 2023 as the studio team completes the production of the second season,” Shelegina stated. The project has a strong international potential. Its first season is already available in English on YouTube and VOD platforms worldwide. In addition, the Chinese version of “Beadies” is afoot and will be launched in 2022. A Chinese children’s media group UYoung has undertaken to localize “Beadies” into Mandarin and will be representing the brand
exclusively in China. Moreover, Platoshka has signed a long-term music distribution partnership with Universal Music Group. But geographic expansion is far from being the only area of work for “Beadies” producers. They are about to launch toys and print production with the series’ main characters. A range of products with augmented reality (AR) is also underway. “The series is attractive for licensees thanks to its format specificity. Every episode is built around a new game or toy (sorters, cubes, pyramids, balls, musical instruments, puzzles, mosaics, drawing sets,) turning it into an attractive purchase for the little viewers’ parents,” Shelegina explained. Striving for a high level of quality in every detail of the show, Platoshka is ready to provide its potential licensees with a detailed merchandise book and style guide and, if necessary, help with product design development. “Beadies” track record and stats are impressive. “We create cartoons worth showing to our own children, meaning that we care about their quality like no other. We are looking for ambitious partners interested in rapid international development together with us. The potential of the ‘Beadies’ project is based on high-quality content and a loyal audience inspiring us to develop. We receive hundreds of positive comments on social media every day,” Shelegina concluded. By Romina Rodriguez
INTERVIEW
“WE WANT TO ENRICH THE IMAGINATIONS OF CHILDREN AND FAMILIES” MURIEL THOMAS, DIRECTOR OF INTERNATIONAL DISTRIBUTION AT MAGIC LIGHT PICTURES, DESCRIBES HOW THE COMPANY OPERATES ACROSS DIFFERENT AREAS SUCH AS PRODUCTION, LICENSING, FINANCE, AND DISTRIBUTION WHILE LAUNCHING NEW GLOBAL IPS.
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agic Light Pictures’ series are airing and streaming in over 50 different languages and across over 180 countries. Muriel Thomas, Director of International Distribution, explains to Señal News why Magic Light Pictures’ content is so appealing around the world. Magic Light Pictures operates across different areas such as production, licensing, finance, distribution, and marketing. How do those businesses work together? “Across all our areas, Magic Light Pictures shares a common aim: we want to enrich the imaginations of children and families worldwide by producing content experiences, brand products, and activities of the highest quality, which will be cherished for years to come. Everything we do or create needs to be something we can be proud of, which delivers on our values. It’s a strategy that has paid off and gained us acclaim, most notably for our captivating animated half-hour specials, which have won many awards, including three International Emmys and two BAFTAs. We’ve also been nominated for four Oscars, three for our specials and one for our animated feature film ‘Chico and Rita.’” How do you work together with global partners to expand the company’s reach? “Over the past dozen years, we’ve been working with carefully chosen partners worldwide to connect our 12
shows with the widest audience locally and globally through television, home entertainment, streaming platforms, cinemas, and festivals. Our productions are airing and streaming in over 50 different languages and across over 180 countries. Meanwhile, we’ve built the wonderful ‘Gruffalo’ into a hugely admired brand with a cross-category consumer products program. It is an evergreen staple across the full retail spectrum in the UK, and our dedicated distribution, licensing, and merchandising teams are constantly finding new licensees and international partners to broaden its reach. We are meticulous about the quality and design of every product made.” Has the pandemic generated new trends in the distribution arena? “There were no specific new trends, but quality content was in high demand. Animation has especially done very well during the pandemic. Everyone could continue working, and there were many catalog sales to fill the gap in the schedules left by live-action. As everyone was at home, we all consumed a lot more, and our content was perfect for coviewing as families were together. Now things are returning to normal, but I believe that there is a greater “Superworm”
Muriel Thomas
awareness of the resourcefulness and capability of animation as a robust industry.” What are your Magic Light’s business goals for the rest of 2022? “Following the successful launch of ‘Pip and Posy’ in the UK, we’re now looking to roll it out internationally. We already have many key territories on board and more on the horizon. It’s crucial that the local language version of the show is exactly right to retain the charm and beauty of the original series. We also continue to secure strong sales for ‘Superworm,’ the third most-watched show in the UK over Christmas. We are starting to secure interest in our latest launch, ‘The Smeds and The Smoos.’ We are always looking to increase the reach of our shows internationally. The increase in demand during the pandemic opened up new markets for us, and we were able to sell to new licensees. We want to continue building upon that and work closely with all our partners in each territory to connect our shows with a new and wide audience constantly. We have shown our commitment to increasing our show’s global reach by hiring Marie-Laure Roche as Head of International Sales. This new position, focusing on Asia, Central & Eastern Europe, Scandinavia, Middle East &Africa, and Latin America, has been created to reflect and build upon the company’s expanding global footprint.” By Romina Rodríguez
“My Brother is a T-ReZ”
“Moles”
“Me, a Monster? - Mission Planet Earth”
“I Wish”
DISTRIBUTION
ANNECY SHOWCASES THE STRENGTH OF SPANISH ANIMATION ICEX SPAIN TRADE & INVESTMENT HAS ORGANIZED A SERIES OF ACTIVITIES FOR THE PROMOTION AND NETWORKING OF SPANISH COMPANIES, THEIR PROJECTS, AND CONTENT, WHICH ARE INCLUDED IN THE OFFICIAL MIFA 2022 AGENDA.
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CEX Spain Trade & Investment organizes again the Spanish pavilion, which, under the Animation from Spain brand, returns to Annecy International Animation Market (MIFA). In a format that brings back full in-person attendance, this year’s MIFA will occupy almost 8,000 m2 in Annecy’s iconic Impérial Palace Hotel, which will host nearly 100 activities and conferences and more than 150 stands. The Spanish companies participating in MIFA 2022 under the Animation from Spain umbrella are 3 Doubles Producciones, 4 Cats Pictures, Ánima Kitchent Canarias, Animazing Producciones, Armenteira Producciones, Fernando Cortizo Prod., Hampa Studio, Imagic Telecom, Morgana Studios, Most Wanted Studio, Mr. Klaus Studio, Simple Cloud, Studio Kimchi, Sygnatia, Terremoto A.I.E., The Frank & Barton Company, and TV On; as well as the public entity Canary Islands Film, the Clúster “Sex Symbols”
Audiovisual de Navarra and the Gran Canaria and Tenerife Film Commissions. ICEX has organized a series of activities for the promotion and networking of Spanish companies, their projects, and content, which are included in the official MIFA 2022 agenda. The showcase “Animation from Spain: Spanish Animation Industry in the spotlight” will highlight the potential of the Spanish industry with the latest figures provided by the “Libro Blanco de la Animación.” It will feature outstanding guests noted for their talent and career, such as Alberto Vázquez (director of ‘Unicorn Wars’) and a panel with representatives of producers, technical services companies, and international studios that have relocated to Spain due to the facilities and resources offered. The showcase will feature the potential of the Spanish animation industry: outstanding animated series and features acclaimed by
“Zoey Oceans”
global audiences; one of the most attractive tax incentives policies in Europe to stimulate international co-pros and relocation of foreign studios; and high-end tech companies developing the next generation of rendering and postproduction solutions. There will also be two pitching sessions: “European Women’s Associations Pitch - Projects from Spain, Africa, and France,” specifically for projects led by female talent, organized in collaboration with ICAA and the French association Les Femmes s’Animent. The second session will be “Animation from Spain Partners Pitches,” where their authors and producers will present ten projects in search of co-production partners to the international audience gathered in Annecy. ICEX will take the opportunity to distribute at its stand the latest edition of the Who is Who Animation from Spain 2022 guide, a promotional tool that includes national animation production and distribution companies, as well as tech companies related to animation and VFX sectors.
“Olivia and the Invisible Earthquake”
By Diego Alfagemez “Rock Bottom”
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INTERVIEW
“THE PEPPERCORNS,” DIVERSITY AND INCLUSION AS THE SUCCESS FORMULA Tania Reichert-Facilides
STUDIO HAMBURG HAS PRESENTED THE 18TH SEASON OF “THE PEPPERCORNS,” THE LONGEST-RUNNING LIVE-ACTION CHILDREN’S SERIES ON GERMAN TELEVISION. TANIA REICHERT-FACILIDES, HEAD OF STUDIO HAMBURG ENTERPRISES, DESCRIBES THE PROCESS OF MAINTAINING A HIT IP FOR ALMOST TWO DECADES.
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oung audiences have grown along with Studio Hamburg’s “The Peppercorns.” The show has been on the air for 18 seasons in Germany, with values like diversity and inclusion at the core of the storytelling. Señal News spoke with Tania ReichertFacilides, Head of Studio Hamburg Enterprises, to reflect on the global success of the show and the new topics young people can identify with. “The Peppercorns” is the longest-running live-action children’s series on German TV. What is the secret behind the show? “The series has always dealt with contemporary issues and will continue to evolve with current times. The stories covered in this series include fraud, cybercrime, drug trafficking, bullying, environmental issues such as the declining number of bees and water pollution, domestic violence, and educational challenges such as dealing with dyslexia. We have always kept representation and diversity at the heart of the storytelling and continue to do so with this new series and its crew of crime fighters with varying backgrounds, passions, ethnicities, and physical abilities.”
Why has the series been so successful during these years? “Live-action for kids never gets boring. Every season brings new stories from the detective’s personal lives: from finding first love to problems with siblings, parents, or issues at school. All of the “The Peppercorns” topics covered are universal. At the core of each episode are messages around building teams and working together, finding new friends, and learning how to say goodbye when characters move away to another country.” 14
How has the storytelling been adapted to the current audiences? “Every two years, there is a new generation of detective kids leading the series, which helps to refresh which current universal topics are addressed. For example, new topics that will be covered this season include smuggling diamonds, accessing the dark web, and bullying on social media – all of which are issues children worldwide can identify with.” How important is it to offer meaningful content to kids over the world? “For any country in the world, it’s important not to disregard the children’s market as something that can be quickly filled with shallow and meaningless but ‘fun’ stories. Of course, we must provide that slice of fun for kids to enjoy, but we have a unique opportunity to educate, lead, inspire, and provide hope to this huge and diverse market. Today’s kids have been through very trying times, and content can act as a comfort and a tool. Young audiences must see diverse and inclusive stories, particularly returnable ones they can rely on. That’s what we aim to provide through ‘The Peppercorns.’ We think it has done remarkably well since we’ve sold the show to Italy, Scandinavia (Sweden, Denmark, Norway, Finland), Benelux (the Netherlands, Belgium), Slovenia, Hungary, and Croatia. We would love to expand the show to Latin America.” Why are diversity and inclusion a key factor for “The Peppercorns”? “Reflecting the topics younger audiences care about has helped us keep the series strong for so many years, for 18 seasons, making it one of the longest-running kids shows in Europe. Combining this with reliable and authentic yet diverse and relatable characters is key to success. By putting inclusion at the heart of writing, we hope we’ve inspired a broader range of kids around the world who see themselves reflected in the Peppercorns. An example of that is the Kids Emmy Award the show won in 2017 for the ‘Cause I’m a Girl’ episode. It was also nominated for an International Emmy in 2019 and has won a Golden Sparrow award. Hopefully, this is a testament to its longevity, and the diverse and inclusive aspects have been key to this success.” By Romina Rodríguez