SEÑAL NEWS KIDS | KIDSCREEN 2023

KIDSCREEN & CONTENT AMERICAS 2023

PINK PARROT, NEW CONTENT COMING FROM CANADA

LATIN AMERICA, A KEY TERRITORY FOR ZODIAK KIDS

MAGIC LIGHT CELEBRATES ITS TWENTIETH ANNIVERSARY

13-17

GEN Z AUDIENCE

SPEND A SLIGHTLY GREATER PROPORTION OF THEIR VIEWING TIME WITH NON-TV CONTENT.

13-17

GEN Z AUDIENCE

SPEND A SLIGHTLY GREATER PROPORTION OF THEIR VIEWING TIME WITH NON-TV CONTENT.

Smart

FOR ALL GEN Z GROUPS, THE SMARTPHONE IS WHERE CONTENT IS STREAMED THE MOST.

Platform

YOUNGER GEN ZERS ARE MORE DEPENDENT ON THEIR PARENTS IN WHICH SERVICES THEY CAN USE.

Older Gen Zers are more likely than their younger counterparts to access content through all types of platforms: subscription streaming services, free streaming services, traditional and new pay TV services.

XILAM ANIMATION APPOINTS JÉRÔME LACARRIÈRE

French animation studio Xilam Animation has appointed experienced industry executive Jérôme Lacarrière to the position of VP of Digital Business Development, in which he will be responsible for continuing the growth and expansion of the company’s well-established digital ecosystem and footprint. He is based in Xilam’s head office in Paris and reports to Morgann Favennec, EVP of Distribution. Lacarrière joins Xilam from the French streaming service Salto, where he held the position of Distribution and Partnership Manager since 2020.∙

TEAMTO MOVES TO NEW ECO-FRIENDLY STUDIO IN PARIS

TeamTO opened a revolutionary new, cutting-edge studio in Bastille, Paris, that will feature a host of energy saving and green protocols, significantly reducing its carbon footprint and making it one of the most energy-efficient studios in France. The new facilities are the culmination of fifteen years of research and experimentation initiated by founder Guillaume Hellouin and implemented by TeamTO CTO, Jean-Baptiste Spieser, and his technical team.∙

Mondo TV Studios confimed a new deal with V-Me Media, the US Hispanic pay TV company, for a number of popular children’s shows to be broadcast in English on Primo TV across the US. The duration of the license will be three years starting from this January 2023. Launch dates for the shows will be announced soon. The agreement between Mondo TV Studios and V-Me Media involves the following titles: “The Drakers”, “Dinofroz 1 & 2” and “Bat Pat 2”.∙

GREAT TO TAKE A MOMENT TO LOOK BACK AND ADMIRE OUR ACHIEVEMENTS”

 Muriel Thomas

MURIEL THOMAS, DIRECTOR OF INTERNATIONAL

DISTRIBUTION AT MAGIC LIGHT PICTURES, DESCRIBES THE COMPANY’S EVOLUTION DURING THE PAST TWO DECADES AND HIGHLIGHTS THE CHALLENGES THEY HAVE FACED DURING THIS TIME.

Which were the main challenges you faced during the 20 years of the company?

“Magic Light Pictures has faced various challenges over the past 20 years, and getting established was obviously the main one. It takes time to get your name out there, but you realize very quickly that the best way to be judged is by the quality of your work. As well as challenges, we have also had many opportunities.

Magic Light Pictures is celebrating its twentieth anniversary this year.

Muriel Thomas, Director of International Distribution at Magic Light Pictures, talked with Señal News about this milestone for the company and revealed the secrets behind this success.

Magic Light Pictures is celebrating 20 years this year. What does that milestone mean to you?

“Turning twenty is a big achievement. Over those two decades, we have done so much. We have made live-action feature films, documentaries, and now we are known for our animated specials based on the work of Julia Donaldson and Axel Scheffler, as well as entering the pre-school world with our new IP ‘Pip and Posy.’ So much has been achieved and many awards have been won, and most importantly, worldwide audiences are delighted. Yet, we are still growing as a company. It’s great to take a moment to look back and admire our achievements, but we also need to continue to look forward and not stand still.”

Building up the company organically and over time has allowed us to remain focused on the quality of our productions. We have been flexible and worked with a wide range of partners across the world, ranging from creative talent to broadcasters. That is the best way to establish yourself.”

How would you compare the current animation industry to the one from 20 years ago?

“The animation industry is always evolving, especially in terms of technology. It had an impact not only in production, where 3D animation is always improving, but also in terms of delivering the content to the audience, where we saw viewing habits shifting to on-demand with the arrival of global streamers like Prime Video, Netflix or Disney+. Better technology and a bigger range of content doesn’t always mean increased quality, though. At Magic Light, we like to think that we have used the advances in animation to enhance our work rather than to produce more.”

What are the pros and cons of animation in the current global landscape?

“During the pandemic, making animation meant we didn’t have to

stop production. It’s a remarkably robust way of filmmaking, and you can creatively work around most problems. You aren’t always reliant on filming humans. The cons remain the same: it is an expensive business, and to do it well also takes a lot of time. Animation is not something you can rush; if you do, the quality suffers. There is also a lot of competition, from both the UK and from all over the world. If you get an animation right and make something beautiful, it can live forever. The best animation, like ‘The Gruffalo,’ can have a long shelf life and remain a classic that can last generations.”

What is the secret to staying in business for 20 years?

“Companies that produce quality always outlast those that go for a new trend or the hot new thing. It’s no secret that Magic Light puts so much love, care, and attention into every frame we make and produce. All work is done with love and passion. While our output has grown in recent years, and we are making more than ever, we refuse to lower our standards. It means the people that buy our shows know they can trust us to deliver exceptional content. We are committed to our mission statement of enriching the imagination of children and families worldwide. We want children to engage with our characters, products, and films, to inspire them to play creatively, think originally, and live imaginatively. We all believe this at Magic Light, where we think everything we make and produce reflects that.”

By Romina Rodriguez

“IT’S

AMERICA IS A STRATEGIC TERRITORY FOR US”

CÉCILE CAU, SVP SALES, CO-PRODUCTIONS

AND ACQUISITIONS AT ZODIAK KIDS & FAMILY DISTRIBUTION, ANALYZES THE POTENTIAL OF THE LATIN AMERICAN MARKET, DESCRIBES THE COMPANY’S SALES STRATEGY, AND DETAILS WHICH TITLES ZODIAK IS CURRENTLY FOCUSING ON.

Zodiak Kids & Family Distribution, the dedicated sales division for Banijay Kids & Family, currently represents over 2.200 hours of animated and live-action content, distributing a catalog of high-quality programming to entertain kids and families. Cécile Cau, SVP Sales, Co-productions and Acquisitions, analyzed the potential of the Latin American market, described the company’s sales strategy, and detailed which titles Zodiak is currently focusing on.

How would you describe the current scenario of the Latin American market?

“It is an important market for us. In fact, Latin America is a strategic territory for us. We have made several co-productions within the territory, some that we have already delivered and others that

we are going to deliver soon. Due to the pandemic and the mergers, the past two years have been challenging, but we are happy that business is now coming back. We have a strong catalog with new programs, but also a library of shows already dubbed into Spanish and Portuguese, something that is always very important for buyers.”

How important is the co-production business model in the region?

“Honestly, today I do not know which company can produce without joining other channels or platforms. For us, co-production is very important, mainly because we want our series to be as international as possible. It seems to me that having partners in various parts of the world makes the series have diversity and a more global appeal. Another important aspect is that all the partners who participate in a project think about windowing and exclusivity, so that everything works out efficiently.”

What kind of stories or characters are buyers looking for?

“It depends a lot on the channel or the platform, so it is difficult to generalize, but we are seeing a lot

of interest in content that the whole family can watch at the same time. We also noticed a lot of competition in

the preschool demo. At the same time, I do not know if it is because we have had a very stressful two years or what, but everyone is looking for comedies. There is also a lot of gender-neutral content, that is neither for boys nor for girls, and animations for ages 6 and up. Moreover, many streaming platforms look for fictions for a slightly older age.”

Do you notice many differences between linear and digital?

“No, it mixes. In fact, many local and pan-regional channels now have their own OTT platforms and need content that works both linearly and digitally. In these cases, there is no clear distinction between these two worlds.”

Which shows are you currently pushing globally?

“The first one is ‘Silverpoint,’ our two-season fictional series that is truly international as it has coproducers from France, England, Germany, and the United States. We also have ‘Mumfie,’ our show for preschoolers, a co-production between France Télévisions and Rai that we have already sold in Eastern Europe and Germany. Then there is our comedy ‘The Unstoppable Yellow Yeti’ which is super funny and well produced. Finally, we have ‘Topo Gigio,’ a well-known series in Latin America that still has its rights available for free television.”

By Diego Alfagemez and Federico Marzullo

“LATIN

 Cécile Cau

“Mumfie” “Silverpoint”

CONTENT THAT STANDS OUT FOR ITS MESSAGE AND FORMAT

THE CANADIAN DISTRIBUTOR PINK PARROT WILL BE PART OF KIDSCREEN 2023 WITH A VAST RANGE OF KIDS’ TITLES WITH GLOBAL APPEAL. BEGOÑA ESTEBAN, HEAD OF INTERNATIONAL TV SALES & ACQUISITIONS OF THE COMPANY, DESCRIBES ITS NEW LAUNCHES.

Pink Parrot Media is a young distribution company founded in 2018 by Marie Claude Beauchamp and Tanía Pinto Da Cunha with a clear goal: distribute the titles produced by its mother company Carpe Diem until then, 3D animated films of the highest production quality and which have been great successes worldwide. “That is the case of ‘Snowtime’ or ‘Racetime,’ titles that were big box office successes all over the world,” Begoña Esteban, Head of International TV Sales & Acquisitions at Pink Parrot Media, told Señal News. “On the other hand, we help other producers with their projects, guiding them in the development phase so that their work is successful in the international market, helping to find the necessary financing to ensure the production and international distribution of both animated and live-action films and, in recent years, also animated series,” she continued.

Pink Parrot Media’s catalog stands out for having exceptional titles. “We look for titles that stand out for their message and format,” Esteban stated. The company is producing preschool shows such as “The Sleepy’s Dream Team,” a series produced by the German studio Bigchild, which was presented at the last Cartoon Forum. “It has 52 episodes of 5’ each with endearing characters and a spectacular design

that you will fall in love with from the first moment you see them. In Kidscreen, we will have the first finished episode to show,” Esteban anticipated. For the 6-10 target, the company is working on ‘Butterfly Academy’ (52x11’), based on the film ‘Butterfly Tale,’ which will be released in cinemas worldwide next autumn. We are very proud of the voice casting of the film. We have Tatania Maslany as Jennifer (‘SheHulk’) and Mena Massoud as Patrick (‘Aladdin’),” Esteban explained.

For teenagers, Pink Parrot worked on “Joy Eternal” (13x11’), an adventure full of mystery to transport the audience to a vision of life on Earth and the afterlife as never before. This co-production was made between Canada, Finland, and Spain with a humorous look and colorful animation.

LATIN AMERICAN FOOTPRINT

“The Latin market is crucial for the company. We have been working to strengthen our catalog with finished series, seeking to surprise either by the format or the educational touch of each episode, as is the case of ‘Time Traveler Luke.’ Moreover, we have many episodes of simple humor without dialogue and suitable for the whole family to enjoy together, such as ‘Zombie Dumb’ or ‘In: App,’” Esteban said.

“Time Traveler Luke” is a comedy action adventure taking a time

journey on an elevator and visiting heritage sites worldwide. The ten mini-series are set around one specific mission and central location, such as Peru, France, India, and Greece. Each mini-series can be packaged as a 55-minute special or TV movie revolving around one adventure. The title has already been picked up in France by Canal+, in Korea, Poland, CIS, Singapore, Malaysia, Myanmar, and Greece.

For the 6-10 target, Pink Parrot offers “Polinopolis,” a series co-produced with PakaPaka in Argentina. “In ‘Polinopolis,’ an incredibly diverse group of friends will remind us that there is always a first time for everything by facing their first experiences in life,” Esteban stated.

Looking for more light-hearted comedy, Pink Parrot incorporated “Zombie Dumb,” a non-verbal slapstick series with three seasons. The second season was already acquired by Netflix globally. “This crazy 3D animated series takes us to a world ravaged by zombies and where there is no trace of humans, except for the last human girl alive, which invites more trouble”, Esteban commented.

At Kidscreen, Pink Parrot Media will also begin to close pre-sales for “The Little Orchestra” (26x11’), a series co-produced with PakaPaka in Argentina and Señal Colombia. “We are sure that many other Latin American territories will join soon,” Esteban assured. “With our attendance at Kidscreen, we seek to formalize sales and pre-sales of the titles we have talked about, strengthening our presence as a company in the international market, not only focused on cinema but also on television,” Esteban concluded.

By Romina Rodriguez

 Begoña Esteban

Butterfly Academy

“MULTIPLATINO BETS ON THE POTENTIAL OF THE JIM HENSON COMPANY”

SEBASTIÁN LAMI DOZO, CEO OF MULTIPLATINO, ANALYZES

THE OPPORTUNITIES THAT OPEN UP WITH THE NEW REPRESENTATION OF THE JIM HENSON COMPANY IN LATIN AMERICA WHILE EXPLAINING HOW IT NOURISHES ITS CATALOG WITH CONSOLIDATED PRODUCTS AND UNIQUE CONTENT.

 Sebastián Lami Dozo

Since 2022, Multiplatino represents The Jim Henson Company in Latin America. After attending Mipcom and MipCancun, Señal News spoke with Multiplatino’s CEO, Sebastián Lami Dozo, who evaluated the strength of The Jim Henson brand and its contribution to the kids’ content industry, with educational content that goes beyond pure entertainment. The executive also analyzed the dynamics that the industry experiences and the opportunities to explore new windows.

What potential does The Jim Henson Company catalog have in Latin America?

“The first thing I want to point out is that we are delighted to represent The Jim Henson Company in the region because it is a renowned company that has left its mark on many of the channels in which it has been, with brands closely

associated with kids’ and educational content that

is available for all windows. The potential, as always, will depend on the windows because the market has moved a lot. Currently, there are opportunities to explore both on large and local platforms and on pay TV, although we will have to evaluate how the mergers taking place in the industry evolve. We will also be alert to the possibilities on free TV, where channels continue to bet on preschool and educational content. They know perfectly well that The Jim Henson brand fits well with its audiences, where parents and children consume it because the content is fully curated. Also, the shows are already available in Spanish and Portuguese, although we can optionally develop them in English.”

What feedback did you get from the first markets you attended in 2022?

“So far, the response from the market has been excellent. Everyone recognizes that it is a powerful brand that has marked generations with essential shows for those who wish to bring content that goes beyond entertainment.”

How do you manage the sales of each show in Latin America?

“Shows programs that are brands themselves, such as ‘Dinotrain,’ ‘Sid the Scientist Boy,’ or ‘Doozers’ are super consolidated. There are also titles, such as ‘Word Party,’ made in co-production with Netflix, dedicated to language learning for girls and boys from 1 to 3 years old. We have well-known products, and others we know will find their place. Consequently, we will plan each of them, alternating the titles that will lead our portfolio according to each market.”

Does The Jim Henson Company’s catalog circle only around preschool content?

“Not necessarily. It also offers series for a slightly larger target, which is interesting because many free TV channels do not need just preschool content. Either because it is not their focus or because they already have others shows for that target. A series like ‘Dot,’ in which a girl with a great personality solves everyday problems, is a product that applies to that strategy.”

What programming needs do you observe in terms of stories and characters?

“During Mipcom and MipCancun, nobody asked me for specific stories or characters. Brands have so much power that potential buyers come for what they already know. These are consolidated products that are already a part of the daily life of the audiences. Although there is a concern that educational channels are disappearing, that will give new opportunities to other windows.”

By Diego Alfagemez

 Francesco Manfio

“CHILDREN’S CONTENT SHOULD PROMOTE VALUES LIKE OPENMINDEDNESS, RESPECT, AND SOLIDARITY”

FRANCESCO MANFIO, CO-FOUNDER AND CEO OF GRUPPO ALCUNI, DESCRIBES THE THREE OUTSTANDING ANIMATION PROJECTS THAT THE COMPANY WILL PRESENT AT KIDSCREEN AND WEIGHS THE CURRENT PRODUCTION CHALLENGES IN THE INDUSTRY.

Italian animation company Gruppo Alcuni attends Kidscreen 2023 with three outstanding animated projects: “Mini Pet Pals and Mini Dinos,” “Gateway 66,” and “Leo da Vinci 2”. Señal News spoke with Francesco Manfio, co-founder and CEO of the company, to understand the global potential of these titles.

What are the expectations for Kidscreen 2023?

“We’re thrilled to be back in Miami, considering that we haven’t been able to attend in person since 2020. We’re sure this will be a great opportunity to present our newest productions and original projects in development, such as ‘Mini Pet Pals & Mini Dinos.’ After four seasons in our successful Mini Pet Pals brand, for a total of 208 episodes, we decided with co-producer Rai Kids to set the adventures of our adorable little animals in a new context where they face new exciting challenges. The series is about the meeting of two worlds that, at first glance, have very little in common. Fighting the urge to try and convince others that their idea is best, they all learn the true value of diversity. Gruppo Alcuni feels that animation, specifically children’s content, should promote values like open-mindedness, respect, and solidarity which are crucial for living together peacefully.”

What other projects will you feature during the market?

“The second new series we will showcase at Kidscreen is ‘Gateway 66,’ co-produced with RAI Kids, the MUSE

Museum (Trento science museum), the Renzo Piano Foundation, and the Trentino Film Commission. It’s a series that talks about science to youngsters in a fun and innovative way. This series is also particularly challenging to

produce since it mixes live-action with animation. Finally, we will also present the highly awaited ‘Leo da Vinci 2’ at Kidscreen. Like the previous one, the new season consists of 52 episodes of 13 minutes, co-produced with Rai Kids, HR, ARD, and Cosmos Maya. The phenomenal boy-genius returns with his buddies and embark on a risky mission to recover a legendary ruby disclosed by Marco Polo in his Travels. We are confident that ‘Leo da Vinci 2’ will confirm the excellent ratings of the first season, which has been distributed worldwide.”

What other projects do you currently have under development?

“We’re currently in pre-production with ‘The Black Diamond Race,’ 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 a race against the sinister Mr. K. Seemingly. The series takes place in Europe and India at the end of the 1920s, and, as a full CGI venture, it’s incredibly challenging from a creative and 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 1929 ones) of that time.”

How is the current political and economic situation affecting animation production?

“We are definitely experiencing a very challenging moment worldwide, impacting almost all production areas. Fortunately, creative industries such as ours are suffering less as they are not directly affected by the shortage of raw materials. Despite this context, Gruppo Alcuni is growing in all its business areas.”

By Romina Rodríguez

“The Black Diamond Race”

“Mini Pet Pals and Mini Dinos”

DISTRIBUTION EL REINO INFANTIL EXPANDS ITS GLOBAL REACH

AT KIDSCREEN, THE COMPANY WILL FEATURE AN INCREMENTAL AND ROBUST ANIMATION AND PRODUCTION PIPELINE FOR 2023/2024, WITH NEW THEMES FOR “LA GRANJA DE ZENÓN” AND “BICHIKIDS” AND THE LAUNCH OF A NEW KIDS’ LIVEACTION FORMAT.

El Reino Infantil, the leading Spanish-speaking YouTube Network the world, is expanding its global reach with new content bundles with consumer product focused themes, more original content initiatives, new talent-based shows, and the evolution of global alliances in the world of streaming. Surpassing a new milestone of 200 million subscribers across the globe, El Reino Infantil is pushing preschool and kids’ music production efforts with regional and local taste for consolidated markets and new horizons.

“Last year meant a great leap in the quality of productions, consumer products, and new records for the company. In May, the spin-off of ‘La Granja de Zenón,’ ‘La Granja A Rodar,’ was launched in Spanish and English on YouTube, together with a first series of toys that sold out in Spain. In July, the special for HBO Max and Cartoonito, ‘Bartolito, an Feathered Adventure’ was released, entering the TOP 10 ranking of the HBO Max platform. Last, but not least, we launched ‘La Granja de Zenón,’ ‘Bichikids,’ and ‘Canciones del Zoo’ on Netflix in the US Hispanic, Spain, Latin America, and Brazil,” Roberto “Kuky” Pumar, CEO at El Reino Infantil, told Señal News. “Throughout the first semester, content collections were launched

on VIX, TelevisaUnivision, and Amazon Prime in Latin America, Europe and United States. That involved the development of ecommerce, with official stores in Mexico, Spain and in the US Hispanic market”, Pumar added.

2023/2024

PIPELINE

An incremental and robust animation and production pipeline for 2023/2024 with new themes for “La Granja de Zenón” and “Bichikids” is the biggest bet for the network. “We are really excited for the recent Spanish markets launch of the new live action format for preschoolers, seeking to become a global franchise, with Mexican talent Ger Otero,” Juan Ignacio Sixto, Global Head of Kids for El Reino Infantil, stated. “We are preparing a special original content bundle offer with ‘La Granja de Zenón’ based on the classic theme ‘How do things work?’ and building the evolution of our second major big IP, ‘Bichikids,’ with a specific approach for family bonds and toddler emotions, all aligned with our Consumer Products team’s needs and opportunities”, adds Sixto.

The expansion of “La Granja de Zenón” and “Bichikids” in the Spanish speaking markets hits another milestone with the partnership and launch of the IPs in RTVE in Spain. “We are thrilled with this achievement and the relationship with RTVE that comes from a long way. This is the result of the traction built by the IPs spreading throughout this market and expanding from digital to linear,” Pumar added.

In terms of production, the Network comes to Kidscreen as part of the constant search for content that complements its global expansion. “We are looking for new projects and shows that share not only the company’s vision but also its animation quality,” said Ylka Tapia, Content Acquisition Partnerships Manager for El Reino Infantil.

With the strength of its IPs and the strong landing in Europe, El Reino Infantil also seeks to increase its wide range of consumer products, to continue adding to its more than 60 licenses that include 600 products such as back to school, toys, books school supplies, clothing, linen, and bazaar.

Moreover, with an average of 130 million daily video views, and content developed in 9 languages (Spanish, English, Russian Portuguese, Italian, Korean, German, French and Romanian), the network has surpassed 200 million subscribers on YouTube with all its channels. “With a great bet on digital content and the arrival of the new generations, El Reino Infantil continues to consolidate itself on the main digital platforms. We

keep on bringing interactive experiences and theater shows in Latin America and Europe,” Pumar said.

By Romina Rodriguez

 Roberto “Kuky” Pumar