The Bugg Report Magazine — Edition 45

THE BUGG REPORT'S 15TH ANNIVERSARY

The Bugg Report turns 15 years old this year (2023) and we have been fortunate to have been able to report on the brand licensing business!

We have witnessed significant change in the industry which in the beginning saw caps, t-shirts and mugs as its go-to merchandise format. Today with the explosion of technology, licensing is very different. NFT’s, The Metaverse, Gaming, Web 3 and many other emerging platforms have meant that organisations must think very differently when developing potential revenue channels.

Amazon burst onto the scene in the early 90’s and has since become a global monster. Social Media platforms such as X (formerly Twitter), Facebook, Instagram, LinkedIn and now TikTok have also changed the game, allowing anyone who has a good idea to participate and compete with much larger organisations without the resources necessary to operate a company.

The latest entrant to the game is Artificial Intelligence (AI) and it’s future is still being modelled but there is a lot of commentary around how it can be controlled and managed, so

it does not become a liability. In our view there is most certainly a place for traditional licensing when done right and managed with a good plan. There are many examples of this in the marketplace today.

The past 40 years in the toy and licensing industry has seen some amazing brands including — The Turtles, The Power Rangers, The Simpsons, Transformers, Barbie, Star Wars and Michael Jordan, to name just a few. It will be fascinating to see what brands are introduced over the next 40

years with all the changes taking place and new technology available.

We have always prided ourselves on doing things differently and we try to be original, colourful, different, fun and we aim to keep things simple. We are pleased to be able to once again have The Bugg Report as part of the media zone at Brand Licensing Europe this year and we hope you enjoy our contribution…

THANKS FOR READING!

Managing Director — Tony Bugg tony@buggsolutions.com.au

THE BUGG REPORT STAND AT THE 2011 TOY HOBBY & LICENSING FAIR IN MELBOURNE

WELCOME TO EDITION 45

THE UNSTOPPABLE RISE OF BLUEY

BBC STUDIOS

2023 MARKS BLUE CHIP BRANDS' 20TH ANNIVERSARY BLUE CHIP BRANDS

GARDENING AUSTRALIA JUNIOR NOW ON ABC KIDS

ABC LICENSING

CATALYSTS OF SUCCESS FOR GROWING LICENSES IN AUSTRALIA BRANDTRENDS

NO COMMERCIAL QUOTA / NO COMMERCIAL KIDS SHOWS

WIDE EYES NEWS FROM THE TUBE

NEW DATES: TOY HOBBY & LICENSING FAIR 2024

AUSTRALIAN TOY ASSOCIATION

A VIEW FROM THE UK AND THE BARBIE MOVIE ACCORDING TO DOWNSEY

INTERVIEW WITH LAURA TAKARAGAWA, VIZ MEDIA VIZ MEDIA

AUGMENTED REALITY MIRRORS — A NEW SALES CHANNEL

THE PARTY PEOPLE

15 YEARS ANNIVERSARY CELEBRATIONS

THE BUGG REPORT

The Unstoppable Rise of

From Down Under to Worldwide Wonder

In just five years Bluey has transcended cultural boundaries, becoming a cross-generational phenomenon that unites devoted fans across more than 60 countries.

Australia boasts a rich history of producing cherished children’s entertainment, however, in terms of global impact and reach, there’s one name that stands above the rest: Bluey. This animated series, created by Joe Brumm and brought to life by Brisbane-based Ludo Studio, has taken the world by storm since its launch in late 2018.

Most recently, the 10 new episodes of Bluey (Series 3) achieved a whopping series average, based on the total audience for each episode, of 11 million across ABC broadcast channels and ABC iview.*

What began as a television show has quickly evolved into a multi-platform phenomenon that has left an indelible mark on children’s entertainment. Bluey has collected a plethora of awards, including Logies, AACTAs, an International Emmy award, and a BAFTA. It’s also given rise to best-selling quality products, and real-world experiences such as Bluey’s Big Play The Stage Show that channel the show’s heart, humour and quintessential “Aussie-ness”.

The show’s universal themes of family, creativity, and the power of connection have struck a chord with audiences of all ages, making it more than just a children’s show; it’s a cultural phenomenon that transcends borders.

From books that extend the show’s narrative to melodious albums that let children and parents sing along to their favourite tunes, and from clothing lines that allow fans to proudly display their adoration for Bluey to an extensive array of toys that bring the show’s characters into the homes of viewers – Bluey’s offerings cater to an array of preferences.

Bluey is co-commissioned by ABC Children’s and BBC Studios Kids & Family, who as the international distributor, plays a pivotal role in the show’s local and international presence. Over the past five years, BBC Studios, has been the driving force behind Bluey’s global and commercial success, securing global deals with the likes of Disney, Moose Toys, Penguin Random House, Hasbro, Colgate, Yowie and Crayola.

Let’s look at what’s new in the world of Bluey:

1. Hammerbarn Shopping Playset

Discover endless fun with the Hammerbarn Shopping Playset by Moose Toys. Kids can embark on the ultimate shopping adventure, pushing the trolley around Hammerbarn, and playing with their Hammerbarn Bluey and Shopping Bingo figures. Explore nine exciting play zones, featuring 15 play pieces and a plethora of stickers to decorate your Hammerbarn. Find it in BIG W, Kmart, Target, and toy stores today!

4. Bluey and the Beach at BIG W

BBC Studios has partnered with BIG W to introduce a new Bluey-inspired beach collection, currently available instore Australia-wide and online. The collection boasts exclusive beach-themed items such as, a multipack of beach figurines from Moose Toys, an enlarged ‘Bluey: Beach’ board book from Penguin Random House and a range of clothing and swimwear from Designworks. Within physical stores, you’ll encounter eye-catching beach-themed gantry and pointof-sale displays. Additional beach-themed products are available at all major retailers, including the Bluey Beach Cabin playset and Beach Quad with Bandit playset from Moose Toys and Wahu Pool accessories. A comprehensive digital campaign has also taken over Bluey’s social media channels, featuring a profile rebrand and a plethora of beach-themed content, including stop-motion videos showcasing the new beach toys.

2. Cotton On Sleepwear Collection

Cotton On has launched an exclusive Bluey-themed sleepwear line in Australia, New Zealand, South Africa, and Brazil. The special collection boasts four sets of Supersoft pyjamas, two sets of lightweight cheesecloth pyjamas, and a cozy t-shirt nightdress. All sets come with short-sleeved tops and shorts, guaranteeing utmost comfort for your little ones as they sleep the night away.

5. Latest Bluey toys from Vtech and LeapFrog

Vtech is bringing the family fun, thanks to two new interactive Bluey toys. Get ready to move and groove together with Shake It Bluey and embark on adventures with Scooter Time Bluey, both now available at BIG W, Myer, leading toy stores and online retailers. What better way to uncover the world of reading, playing, and exploring than with the Bluey LeapStart Bundle by LeapFrog. The new bundle offers an interactive learning system that ignites kids’ enthusiasm for counting, reading, problem solving and more. You can find the bundle at BIG W, Target, Myer, leading toy stores, and online retailers.

Bluey continues to captivate hearts worldwide and promises an exciting future ahead. We can’t wait to see what the next five years have in store!

3. Global Partnership with TOMY

BBC Studios has agreed a global partnership with TOMY International to expand its licensed toy category with the addition of Bluey. The animated Blue Heeler pup now features on a new range of Toomies bath toys. You can find Swimming Bluey available for purchase in the USA, Canada, United Kingdom, Australia and New Zealand, with plans for an extended presence in the EMEA region in 2024. Bluey is making bath time a joyful and playful experience!

Get in touch:

SydneyLCP@bbc.com www.bluey.tv

Follow us: @OfficialBlueyTV

www.bluechipbrands.com.au

Blue Chip Brands

2023 MARKS BLUE CHIP BRANDS' 20TH ANNIVERSARY

Anthony Harvey began his licensing journey straight out of University in April 1993, and now 30 years later he has built a highly successful licensing company Blue Chip Brands, which works with world-class brands across many categories. So much has changed between 1993 and 2023 in both the brand licensing industry and the world at large. The Bugg Report was able to speak to Anthony recently and put together the following feature article which highlights Anthony's journey from way back when up until today. We hope you enjoy the ride!

Anthony Harvey (Owner Blue Chip Brands) started his licensing journey straight out of University in April, 1993 when he began as a Junior Property Manager with what was then LeeWalsh Marketing and went on to become Licensing Works. Anthony had no real grasp of what licensing was all about, even when he accepted the position. At that time, the economy was a mess, unemployment rates were high and as a graduate, Anthony took the first job that he was offered.

Back then there were no computers or mobile phones, so communication was via landline or fax machine, and contracts and artwork approvals were via international courier. Artwork was sent to licensees in bromide format which involved cutting out images from A4 sheets!

Asked about his early days in business, Anthony noted that he was very fortunate to have John Walsh and Bob Lee as mentors:

"It was very much a family-oriented company and at times it felt more like that I was a son rather than an employee. After twelve months in the business, I started travelling to international trade shows (Licensing Expo in New York, Magic Show in Las Vegas, SuperShow in Atlanta and the UK Licensing Shows & Gift Fairs)."

Anthony explained that looking back now, he was very lucky to get to travel around the world, visit so many wonderful places and meet some great people along the way at such a young age. He mentioned

I was very fortunate to have John Walsh and Bob Lee as mentors. It was very much a family-oriented company and at times it felt more like that I was a son than an employee.

that he always looked young for his age but still found that it was a little embarrassing being asked for ID when ordering an alcoholic drink on a United Airlines flight, particularly as he was travelling in business class!

Some of the brands that Anthony was responsible for managing in the early days included Peanuts (until Tom & Yvonne won the rights!), Garfield, and what quickly became possibly his alltime favourite — Mr Men & Little Miss.

Anthony explained:

"I had great fun being involved in taking these children’s literary characters and establishing them in adult novelty/fashion categories with a great bunch of licensees led by Mitch Dowd Design, Top Heavy and Crystal Craft. So much did they become intrinsically linked with my licensing journey that they even made a guest appearance at my wedding reception in the form of a Mr Happy and Little Miss Naughty character costume. Not the most sophisticated of wedding attendees it has to be said."

Anthony Harvey — Blue Chip Brands

Some of the other key licenses that Anthony was fortunate enough to be involved with during his ten years with Licensing Works included the US Colleges, which afforded him the opportunity to be involved in the sports licensing business, Carlton & United Breweries and establishing programs for Jim Beam, Ford Motor Company and what was then World Wrestling Federation.

Anthony explained:

"I remember when WWF superstar Mick Foley (Mankind) came out to Australia for a promotional visit and Playcorp booked a private dining room at Cecconi's Restaurant at Crown. We had the key licensing and retail partners all dressed to the nines and Mick Foley walks in his flannelette shirt, tracky pants and runners. I also had my brush with royalty when managing the licensing for Budgie The Little Helicopter created by Fergie (HRH The Duchess of York at the time). We held a launch function at the Sofitel in Melbourne and it was without doubt the easiest function ever to get people to RSVP to with everything timed to military precision. If only the ABC had broadcast the television more regularly and in a better time slot, it could have been a licensing success."

Anthony was also lucky enough to be responsible for licensing a couple of movies that were a real buzz and they had the worldwide premiere of Bean The Movie, which was held in Sydney with Rowan Atkinson in attendance. The star of the licensing program was undoubtedly Mr Bean's knitted teddy which sold like hot cakes and JC Tomaselli still talks about it today.

Another license that Anthony worked on was Austin Powers. It wasn't the easiest of licenses to manage but it did give Anthony the perfect excuse to attend the Granny May's Christmas party dressed head to toe as Austin Powers, including a set of licensed teeth that made drinking almost impossible. He also managed to license a Swedish Penis enlarger which is one of the more unique products he granted a license for in his 30 years.

In 2003 Anthony made the difficult decision to leave Licensing Works and establish his own licensing agency – Blue Chip Brands. It was a tremendously tough move given the close relationship that he had with John and Bob, but after exploring options to purchase the business from them, the only way he was going to have equity in a business was to start his own. After a very shaky start with no actual clients and no revenue

stream, what went from plans for office space and staff soon changed to simply trying to bring in enough money to survive and support a young family. Anthony was fortunate enough to have some strong relationships in the industry, none greater than the late David Melkman at Top Heavy who he had worked closely with over the years on numerous licenses including Mr Men & Little Miss, US Colleges, Austin Powers, Jim Beam and Ford Motor Company.

For the first year Anthony worked on a consultancy basis for David, assisting in the on-track merchandise program for Ford Motor Company as well as managing the development of merchandise programs for two of the Ford V8 Supercar racing teams.

Anthony recalled:

"David was an iconic figure in the licensing business, a real personality, lovable rogue and the true definition of an entrepreneur. If he believed in a licensing opportunity, he would sign an agreement without any indication of retail support and back his own judgement. He was proven right many more times than not, and other companies would see Top Heavy take a license and follow suit based on David’s ability to back a winner."

Continued next page →

ANTHONY HARVEY — OWNER, BLUE CHIP BRANDS

FORD X ROLLAS COLLABORATION FROM 2021 SOLD IN AUSTRALIA, USA & JAPAN

The early years were very tough and Anthony worked part time in a bottle shop and in a warehouse picking and packing product just to keep some money coming in whilst he tried to secure some brands, sign some licensees and get product into retail.

The first major break was being granted representation rights for Jeep for Australia & New Zealand. Graham Stephen from CLM in South Africa had developed a superb licensing program for Jeep and was instrumental in having Blue Chip Brands appointed for Australasia. Anthony worked closely together with his licensee in South Africa to gradually build a Jeep apparel program with the local Australian licensing partner, which eventually grew to over 20 standalone retail stores nationally, a first for any automotive brand in the region.

Some other brands that were important to the growth of the business included Rachael Hale animal photography, IRONMAN (the triathlon, not the Marvel character) and Kimmidoll from The Aird Group in South Australia. In 2014 the brand that Anthony had hoped would be the foundation license for the company back in 2003 (Ford Motor Company) finally joined the brand roster and the program flourished and grew four-fold over the space of the first three years,

and this was highlighted through licensing deals with companies, both old and new, including Mitch Dowd Design, Licensing Essentials, the Royal Australian Mint, Australia Post, Motorsport Distributors Group, Cotton On and Rollas Jeans that saw fashion apparel sold throughout North America, Japan and Australasia.

Anthony explained:

"Another first, at least in Australia was licensing golf carts for both Ford and Shelby automotive brands as well as brokering the deals for Shelby golf carts and eBikes globally. Both Ford and IRONMAN came via his relationship with Global Icons in the USA, and whilst these brands are no longer part of either companies portfolios, they continue to find new opportunities to work on together."

One license that has found its way back via the Global Icons relationship is Betty Boop, and after managing it during the late 1990s at Licensing Works, Anthony is now starting to see some great success with local partners including Cotton On and Bravado.

More recently, two brands that have been very successful for Blue Chip Brands are LA Gear and Steven Rhodes. Anthony was introduced to LA Gear by colleague and friend Roger Lipman who was brokering licensing deals for the brand in the USA. It wasn’t an instant hit, but with perseverance, patience and working with people that shared a vision for what the brand could become, they now have a wonderful lifestyle products program with Big W across apparel, footwear, watches and eyewear.

Anthony stumbled across Steven Rhodes back in late 2018 when he was surfing the web and saw some unique designs selling at Spencer Gifts in the USA. As he dug deeper it became apparent that these were the creation of a Brisbane based artist/illustrator. Anthony thought it was fabulous that a local artist had cracked a wellknown retailer in the USA, so he made contact with the owner with a view to developing a local merchandise program in Australia.

STEVEN RHODES — T-SHIRT IMAGE FROM THE RANGE SOLD THROUGH ZARA STORES GLOBALLY IN 2021

Anthony explains:

"It soon became evident that the opportunity was far more extensive than just Australia & New Zealand. Over the space of a couple of years, Blue Chip Brands then came to represent the global licensing activity for Steven Rhodes — nostalgia injected with a twist of darkness! One of the most rewarding deals secured for Steven Rhodes was during the pandemic when they had a range of T-shirts launch through Zara stores around the world."

With so many licenses that dominate our local retail space originating from major markets such as the USA or UK, Anthony notes that what gives him the most pleasure and satisfaction is being part of taking a small Australian illustrator out to the rest of the world and seeing his designs in globally recognised retailers such as Zara, Urban Outfitters, HMV, Spencers and Hot Topic. The program continues to expand around the world and Blue Chip Brands now has around 25 licensees across North America, UK, Europe, Japan and Australia.

What has also been a bonus for Anthony is that he gets to work again with people who have been a part of his licensing journey over the years as Blue Chip Brands' sub-agent, Warwick Brenner at DtR in the UK, who worked on the Ford license in the UK/Europe and Charlie Day from The Sharpe Company in the USA. Charlie, coincidentally, was the individual Anthony reported to when he was Joint Managing Director at Copyright Promotions Licensing Group and managed Mr Men & Little Miss worldwide.

Anthony explains:

"Whilst the means of doing business have become infinitely easier and more efficient (no more faxes, approvals via international courier and hard copy artwork reference) I think other elements of the business have become more challenging in recent times. I continue to see viable retail options shrink in Australia. Many licensees have abandoned the gift industry in recent years."

Long gone are days when commissions were shared 1/3 brand owner, 1/3 global agent, 1/3 local sub agent, and with the brand owner seeking as larger share as possible, it makes the model less and less sustainable for the global and local agencies.

Anthony pointed out that the sad demise of retail groups such as Granny Mays and What’s New has made it far more difficult for licenses that either don’t have the mass appeal or meet the squeaky clean ‘PC standards’ that the major retailers demand. He said that he wonders what would happen today if licenses such as South Park or Austin Powers had to find a retail home and fears that many licenses may not get the opportunity to prove themselves as our larger volume retailers want to back the ‘sure thing’ that can warrant substantial volume orders.

Anthony applauds the job that retail brands such as Cotton On, Typo, Factorie and Jay Jays are doing but he believes there are still huge opportunities at retail for licenses that for one reason or another won’t be supported by our major discount retailers and would love to see a local version of a Hot Topic, HMV or Pull&Bear. Anthony went on to speak about how he sees a squeeze on agency commissions which makes it very difficult in what remains a relatively small market. Long gone are days when commissions were shared 1/3 brand owner, 1/3 global agent, 1/3 local sub agent, and with the brand owner seeking as larger share as possible, it makes the model less and less sustainable for the global and local agencies.

There’s also the on-going consolidation of brand ownership which makes it more difficult as a sub-agent. Whether it’s the large entertainment companies such as Disney acquiring other media companies or global brand juggernauts such as Authentic Brands Group purchasing corporate and lifestyle trademarks, it all results in less brands/licenses for the independent sub-agent to potentially represent.

Continued next page →

Anthony Harvey — Blue Chip Brands

Looking to the future Anthony sees the licensing world becoming more global with less territorial boundaries. He points to Australian licensees and retailers looking further afield and success stories such as Cotton On and Culture Kings only prove that if you can run a successful retail business in Australia with high rents, high wages and small population, there’s no reason that you can’t be successful in some of the larger international territories.

Anthony believes that the same applies to quality international retailers who will continue to see Australia as a key piece of their global business, particularly given Australian consumers insatiable appetite for branded products. Along with Aussie retailers looking for more global opportunities the same will apply to Australian licensing agencies.

"Due to the size of the Australian market we have to work hard and smart for the business that we generate and if given an opportunity to apply these attributes in markets with greater scope, I believe we can be involved in delivering some remarkable product programs."

We asked Anthony about what he sees that sets Blue Chip Brands apart and about his approach to business:

"Blue Chip Brands is a boutique agency. We don’t want a huge number of clients and the focus is to manage brands that can be developed into long term, sustainable consumer product programs. As a brand owner you have someone with thirty years of licensing experience working on your brand day to day. It’s not a situation whereby the Principal of the business secures the representation and hands over the day to day management to someone with considerably less knowledge and experience. I become very passionate about the brands I represent and really live and breathe them."

Anthony points to buying a Ford Mustang to drive as an example when representing the Ford brand. He is not sure how this would translate if he had secured rights for Lamborghini or McLaren though! He says that because he lives and breathes the brands he manages, he likes to be involved with product design and development with licensees to ensure that the end product truly reflects the brand DNA and hopefully has maximum consumer appeal.

Anthony says that he would dearly like to see more sustainability with licensed product. He says that he appreciates that retailers are driven by sales and that higher prices generally don’t equate to greater sales. However, he would love to see licensed product take more of a lead in the push for product to be more sustainable for the planet:

"I’m loyal, tenacious and trustworthy and try to think outside the square. I will always look to support a licensee that has had the courage to support a license from the very beginning and work with them to build a program. The same applies to supporting retailers that are responsible for assisting in building a merchandise program. I represent a brand as if it were my own. Developing good product is much more important than developing product just for the sake of generating short term sales."

Finally, Anthony says that he is really enjoying taking the Steven Rhodes brand to the world and working with partners to grow a program in international markets. He says that it would be fantastic to have the opportunity to do this with other Australian brands!

CONGRATULATIONS BLUE CHIP BRANDS!

I have had the pleasure of knowing and dealing with Anthony for almost his whole 30 years in the industry. He has always been someone who delivers on what he promised and worked hard on the brands that he represents. He has continued this with his own business Blue Chip Brands.

Congratulations on your 30 years in the industry!!

Regards

Kiro Stojanoski Managing Director

CELEBRATING 30

YEARS OF LICENSING EXCELLENCE!

CONGRATULATIONS TO ANTHONY HARVEY AT BLUE CHIP BRANDS

In the world of licensing, certain individuals possess a unique ability to impact industries positively. Anthony Harvey, at Blue Chip Brands is one of these individuals. We join with Anthony to celebrate his impressive 30-year milestone. Anthony's contributions to Mitchdowd, through the licenses he has stewarded, have made a difference to our business. His approach and support have helped to elevate Mitchdowd to where it stands today.

Congratulations, Anthony Harvey!

We are privileged to have you as a partner in our journey.

Dane Totham

Something is Growing!

GARDENING AUSTRALIA JUNIOR NOW ON ABC KIDS

Have you always wanted to make a compost cauldron? A bee hotel? A rainbow veggie patch? Then this is the show for you and your kids! ABC is thrilled to announce a brand-new spinoff series, Gardening Australia Junior, that premiered on ABC Kids in September.

Hosted by gardening guru Costa Georgiadis, the series guides kids and their families through the wondrous world of gardening. From the luxurious open country to the smallest balcony gardens, wherever something grows, Gardening Australia Junior will be packed with gardening tips, tricks and activities that all kids will dig.

Costa is joined by familiar Gardening Australia faces — Tammy Huynh, Clarence Slockee and Hannah Moloney, alongside keen junior gardeners who tackle a fun new backyard gardening project each week.

Across 20 episodes, Costa and team inspire families around Australia to roll up their sleeves and get out into the beauty and hard work of the garden.

Gardening Australia Junior brings a vital First Nation voice across the series through a collaboration with Aboriginal-led horticultural organisation Wildflower, and Cudgenburra/Bunjalung man Clarence Slockee. Clarence leads the young green thumbs in a Native Garden segment.

Original music for Gardening Australia Junior composed by Lachlan Nicholson, led by music consultant Joff Bush — who also makes music for hit ABC Kids series Bluey!

Catch new episodes every Friday on ABC Kids — the perfect end of week viewing for the whole family or anytime on ABC iview.

For licensing opportunities to extend this wonderful show into the hands of the littlest gardeners please reach out to Wendy de Thame, ABC Licensing Manager via email at dethame.wendy@abc.net.au

CATALYSTS OF SUCCESS FOR GROWING LICENSES IN AUSTRALIA

Catalysts of Success for Growing Licenses in Australia

SHARED TRAITS AND DIVERSE APPEAL

The intricate dynamics of the entertainment licensing industry have come to the forefront as BrandTrends Group, the pioneering force in brand performance monitoring, unveils a captivating analysis that offers unique insights into the shifting preferences of today's young consumers.

In the ever-changing world of brand marketing, the Australian licensing market stands as a prime example of a thriving and competitive ecosystem. This dynamic industry is driven by a multitude of factors, where brand awareness, demographic segmentation, and the unrelenting pursuit of expansion weave together to create a landscape that demands both strategic finesse and creative ingenuity.

Australia, a land known for its diverse and enthusiastic consumer base, presents a unique playground for entertainment brands vying for attention. With a population of over 5 million children aged up to 14, the market is a testament to the power of entertainment in capturing the hearts and minds of the young generation. These children, collectively familiar with a staggering 242 entertainment brands, illustrate the vast exposure and intense brand competition within the market.

Upon closer examination, it becomes evident that the Australian licensing market is a well-structured arena, defined by a mosaic of brand awareness across various demographics. This segmentation is exemplified by the fact that each demographic displays familiarity with approximately 52 out of the 242 brands. This segmentation

extends further to reveal a distinct gender divide, as brands cater to the preferences of boys, girls, younger children, and older children. However, while the market's organization is evident, only around 32% of all brands manage to achieve a foothold in both the boys' and girls' segments, showcasing the inherent fragmentation of the market.

At the forefront of this dynamic landscape, the topperforming brands continue to assert their dominance. Unwavering in their positions, the top four brands hold their ground, led by the Australian sensation, Bluey (“Good on ya, mate”). With a remarkable 12.6% share and a gain of 1.8 points, Bluey's success resonates across the nation. Trailing closely behind are iconic names like LEGO and the internationally renowned Barbie. Notably, the digital realm's influence is apparent as Roblox claims its spot in the top four, boasting an 8.8% share after a notable 2-point gain.

www.brandtrends.com

While the top contenders maintain their positions, the remaining top 15 brands have not been immune to market fluctuations. A consequence of this is the decline experienced by most brands within this tier, except for the steadfast preschool favorites—The Wiggles and Peppa Pig.

Intriguingly, the key growth drivers within the Australian licensing market emerge from diverse domains, including video games, entertainment, media, and toys. Though varied in their offerings and target audiences, commonalities and themes weave through these brands, contributing to their growth trajectories:

• Global Recognition: Brands with international acclaim are positioned to capture a larger share of the market due to their established reputations and universal appeal.

• Pop Culture Impact: The brands that align with current pop culture trends resonate more strongly with audiences, riding the waves of zeitgeist and relevance.

• Multimedia Presence: Embracing various forms of media, from digital platforms to traditional broadcasts, enhances brand visibility and engagement.

• Nostalgia and Longevity: Brands that evoke nostalgia and have stood the test of time find favor among both new and returning audiences, tapping into a sense of familiarity and fondness.

• Diverse Audience Appeal: Brands that cater to a broad spectrum of demographics, transcending age and gender, demonstrate an ability to capture the attention of a wider consumer base.

In this ever-evolving landscape, the prevalence of streaming sources like Netflix and YouTube, alongside traditional TV channels, reinforces their role as essential destinations for young viewers. The enduring popularity of these platforms underscores their status as the starting point for young consumers, who embark on their entertainment journeys by selecting their favorite shows from these avenues.

And when it comes to the adult market, superheroes and TV shows take the forefront. Marvel undeniably stands as the front runner in a notably diverse array of favored entertainment brands. Nevertheless, it's noteworthy that streaming platforms and TV channels play a comparatively smaller role as destinations for adults, as depicted in the table below.

UNIQUE INFLUENCES AND SHARED PREFERENCES: A COMPARISON OF THE AUSTRALIA-UK ENTERTAINMENT MARKETS

Australia's distinct market features "Bluey", an Australian animated series, as a standout brand with a remarkable 12.6% share, reflecting a strong affinity (and pride) for local content. The Australian market displays a diverse mix of brands that cater to various age groups and interests, reflecting the nation's eclectic consumer preferences.

The UK's dominance by Marvel at 12.9% and emphasis on British icons like Harry Potter and Peppa Pig highlights a preference for global superhero franchises as well as the influence of British creations that have achieved international acclaim, symbolizing the UK's cultural impact on the entertainment industry.

FEATURE REPORT BRANDTRENDS

CATALYSTS OF SUCCESS FOR GROWING LICENSES IN AUSTRALIA SHARED TRAITS AND DIVERSE APPEAL

www.brandtrends.com

So, to succeed in the dynamic and competitive Australian licensing market, Australian manufacturers should consider the following strategies:

• Embrace Local Identity: Create products that celebrate Australian culture and resonate with the local audience, building a strong emotional connection.

• Collaborate Creatively: Partner with local content creators, events, and iconic brands to craft unique and compelling products.

• Diverse Appeal: Design offerings for various age groups and preferences, acknowledging the segmented consumer base.

• Stay Relevant: Keep up with pop culture trends, embrace digital platforms, and innovate to maintain consumer engagement.

• Prioritize Sustainability: Adopt eco-friendly practices, demonstrating social responsibility and appealing to environmentally conscious consumers.

With a keen understanding of the nuanced dynamics within the Australian licensing market, players in this market can chart a course that harnesses the power of brand awareness, demographic segmentation, and the pursuit of growth to create impactful strategies that resonate with the hearts and minds of the young generation. As this dynamic landscape continues to evolve, the key to success lies in embracing innovation while staying attuned to the everchanging preferences of Australia's audience.

ABOUT THE REPORT

The current report provides a detailed analysis of brand awareness, popularity, and purchase intent of the most important Entertainment brands within a country. The most crucial aspect is that it predicts product category purchasing intentions. The service reports on 11,500+ different Entertainment, Fashion, or Sports brands four times a year, and interviews 200,000+ people ranging in age from infants to seniors in 42 countries.

NO COMMERCIAL QUOTA / NO COMMERCIAL KIDS SHOWS

ARTICLE BY WIDE EYES

Wide Eyes News from the Tube

NO COMMERCIAL QUOTA / NO COMMERCIAL KIDS SHOWS

At the recent Australian Children’s Content Summit held in late August in Coffs Harbour, Australia, the remaining broadcasters and producers of kids shows assembled to discuss the current state of play of the kids TV business Down Under.

So what was widely forecast to happen if the Federal Government removed the quota obligation from the Australian commercial TV broadcasters to make Australian children’s TV shows, has now happened.

Since the quota obligation was removed in 2021 by the Federal Government, all three Australian commercial TV broadcasters have all but stopped making children’s TV shows and production hours have fallen in 2022/3 from the preceding years by over 90%.

In 2023/24 there will be no new Australian children’s TV shows commissioned by the Australian commercial TV broadcasters and as far as they are concerned — good riddance — as the advertising restrictions imposed around the production and broadcasting of Australian shows for children made it a non-profitable enterprise.

So with the Australian commercial TV broadcasters out of making kids shows, what now?

The only small glimmer of new opportunity for the production of locally made kids shows is the yet to be issued draft legislation covering the subscription TV broadcasters in Australia and making them spend a percentage of their revenue on locally made TV shows including children’s.

This draft legislation is due to be released later this year or early next year to commence from financial year 2024/25 and the hope within the Australian children’s TV production sector is that the SVOD streamers like Netflix, Stan, Amazon Prime and the like will be imposed a minimum quota to make kids shows in Australia.

But the SVOD streamers’ argument against having a specific quota for producing kids content imposed on them is that this would not be a level playing field, meaning if the commercial broadcasters don’t have a kids’ quota to meet then why should one be put on them, which is an argument they could easily win without some serious action taken by the independents in the Senate to force a minimum children’s quota requirement into the legislation.

So that just leaves the public broadcaster ABC Kids and the broadcaster of indigenous shows NITV to be the sole producers of Australian children’s TV shows.

It’s a sad state of affairs when you see 250 Australian TV producers filling the one room listening intently to what the head of ABC Children's & Family TV has to say knowing that for nearly every one in the room this is the only meal ticket for their foreseeable future.

The local children’s TV production business was already in sharp decline and without Federal Government intervention there will be a lot less people attending next years Australian Children’s Content Summit.

At least there will be a new series of Bluey for our children to watch on ABC iview.

No commercial quota / no commercial kids shows produced Down Under — and the big red raspberry goes to... the Federal Government.

BY ALICE SANDERSON — EXECUTIVE MANAGER www.austoy.com.au

Australian Toy Association

NEW DATES: TOY HOBBY & LICENSING FAIR 2024

The Australian Toy Association (ATA) serves as the representative organization for a wide spectrum of entities in the toy industry, including distributors, wholesalers, importers, manufacturers, retailers, and licensors, along with their associated products. We offer comprehensive guidance on safety and compliance, encompassing both voluntary and regulatory standards for toys. Additionally, we provide valuable industry data, covering both the retail and consumer aspects, and we take pride in managing the largest business-to-business (B2B) trade fair in the country.

Our Toy Fair stands as a pivotal platform for more than 180 exhibitors to display their products to both major and independent retailers alike. It serves as a prime opportunity for networking and procurement for not only suppliers and retailers but also licensing and suppliers to the industry. The 2024 Fair is scheduled to take place at the Melbourne Convention and Exhibition Centre in Melbourne, commencing on Sunday, February 11th and concluding on Wednesday, February 14th.

The fair will feature thousands of well-known and boutique toy brands, drawing visitors not only from Australia and New Zealand but also from around the globe. Our 2023 Fair was a resounding success and marked the first trade event hosted by ATA since the onset of the pandemic in 2020. We were thrilled to resume business activities, and it was evident that the industry shared our enthusiasm, with support from leading manufacturers such as LEGO, Mattel, Moose, Hunter Products, and Headstart, among others. Alongside the Fair is our awards program, which recognizes outstanding individuals, products, and licenses that have demonstrated success and significantly influenced the industry.

An example of such an accolade is the Rising Star Award, designed to honor emerging talent in the industry. In 2024, in conjunction with this prestigious award, the ATA is set to unveil our Mentor/Mentee program, aligning seamlessly with ATA's core mission of providing services that enhance the toy industry's performance.

As an enticing incentive, the four finalists of the 2024 Rising Star Award will receive automatic, exclusive entry into this program, affording them the valuable opportunity to connect with a distinguished industry leader. We are enthusiastic about expanding this remarkable initiative to include ATA members who express an interest in participating.

As we look ahead to 2024, the Fair and all its associated events is shaping up to be another prosperous event for our stakeholders.

We extend a warm invitation to join us and partake in the enjoyment that the Australian Toy Hobby and Licensing Fair offers.

COLUMN ACCORDING TO DOWNSEY

EDITION 19 — BY IAN DOWNES

www.twitter.com/startlicensing

According to Downsey

A VIEW FROM THE UK AND THE BARBIE MOVIE

It would be difficult to deliver a view from the UK at the moment without referencing the positive impact and success of the Barbie movie. Not only has it been a box office success it has also been a regular feature in the media with stories about the film appearing on prime time news bulletins and in national newspapers. It has of course been a positive event for licensing with a broad range of products and partnerships launched into the market.

Early indications are that the popularity of the film has translated into good product sell-through. A welcome boost for the licensing industry. Also encouragingly the Barbie film has inspired some new companies to give licensing a try and also seen some novel partnerships. Companies like retailer Lush have launched Barbie ranges whilst FMCG companies like Proper popcorn have developed special edition products. I am sure that the success of Barbie has also given other IP owners food for thought in regards to film launches and building franchises.

I am sure it has encouraged Mattel to explore similar campaigns for their other brands as well. Sadly not all recent developments have been as positive as the Barbie one. At the time of writing retailer Wilko has entered administration and it looks like their shops will be closed. The multi-products retailer has been a good supporter of licensing over the years and will be a loss to a number of licensees particularly those in categories such as confectionery, toys, stationery and gifting. It will also be a loss felt by local high streets and of course Wilko's employees.

In the context of tougher trading conditions it is interesting to see how retailers are finding ways to make their shops work harder and repurpose them. For example Primark operate a Friends themed Central Perk cafe in their Manchester store whilst HMV encourage local bands to play gigs in some of their stores.

Licensing can help retailers create themes and provide engaging content to them. A good example of how licensing can help create a retail event and deliver a point of difference at retail is the recent launch by FMCG company Schwartz of a range of meal kits and spices with chef and media personality Nadiya Hussain.

The range was launched in Asda with branded FSDUs, social media content and collaborative PR. The range was developed from scratch with Nadiya working closely with Schwartz. Both parties shared their knowledge and insight to create a range that delivered something new to the market but also filled a gap that was identified in the market. It is a great example of licensing adding value to a partnership but also a planned approach to product development.

Retailers have realised that they have new ways to use their floor space and are also looking at novel ways of engaging with the communities they serve. This mindset should open up new opportunities for licensing and partnerships.

Despite challenges in the market recent evidence shows that licensing has a role to play in retail and with retailers in particular ones who are looking for ways to proactively engage with consumers whilst making the most of their retail estates.

Ian Downes Start Licensing Ltd

WE SPEAK TO LAURA TAKARAGAWA VP CONSUMER PRODUCTS AND PROMOTIONS

We Speak to VIZ Media!

INTERVIEW WITH LAURA TAKARAGAWA, VIZ MEDIA

Thanks for speaking to us Laura! VIZ Media are a Manga, Anime & Consumer Products organization; can you provide a general overview of these divisions?

Manga — VIZ Media is the largest global producer of English-language manga, dominating international publishing markets where two in every three manga sold are published by VIZ (USA, Canada, UK & Ireland, ANZ). Today, manga makes up 53% of all comics/graphic novel sales and is up a staggering 110.2% in bookstores from the beginning of the pandemic through 2022.

Anime — VIZ also is a leading distributor of popular anime titles. We distribute anime via home entertainment (DVD, Blu-Rays and also digitally to EST, AVOD and streaming platforms like Hulu, Netflix, Disney+,

Crunchyroll, Tubi, Pluto, etc…), these platforms have a reach of over one billion households globally.

Lastly our Consumer Products business is the third key segment of our business and we work with hundreds of licensees, retailers and branded partners to deliver a range of anime merchandise from tees, toys, food/beverage and other lifestyle products around the globe. VIZ is a top 20 Global Licensing agent, a Top 50 Global Licensor according to License! Global and represents licensed sales of over $660 Million annually.

The distribution of content has changed over the years and streaming is now stronger than ever. How do you navigate this along with Social Media and new and emerging platforms like TikTok?

Our focus in regards to navigating streaming platforms is to be where our audience lives and consumes content. We work with most major global and domestic streaming platforms (like Hulu, Netflix, Disney+, etc...) to provide maximum exposure in support of our publishing, home entertainment, and consumer products business.

As for Social Media and emerging platforms, first we always look to see where the conversations are most active. Secondly, we do our best to tap into the zeitgeist as well as initiate positive conversation around anime/manga and the fandom. This is done through content creation and community engagement/management. VIZ Media maintains official accounts on TikTok, Facebook, Instagram, and X. TikTok, in particular, can be challenging since it necessitates customized content, but the platform does have useful tools for tracking trends and the volume of engagement by property hashtag.

We are building upon our international business over the past two years and see tremendous growth coming from territories outside of the US.

The VIZ Media portfolio is diverse to say the least. What are some of your current focus areas?

We are building upon our international business over the past two years and see tremendous growth coming from territories outside of the US. In order to grow that business, it is important that we have a compelling portfolio of titles that offers something for everyone.

One of our biggest growth titles is BLEACH and fans were overjoyed that BLEACH is Back after a 10-year hiatus in anime. VIZ has the merch rights for both Classic BLEACH anime (episodes 1-366) as well as the all new BLEACH Thousand-Year Blood War arc on a global (ex-asia) basis. Other key titles in our portfolio include Inuyasha, NANA, Dorohedoro (manga), Rooster Fighter (manga), Devil’s Candy (manga), Zom 100 and others.

Why do you think the anime genre is rebooting again?

Anime has never gone away. It has just continued to grow in popularity. Streaming and other video on demand (VOD) content providers have made anime more accessible than ever before. This has created avid anime fans across the globe!

Parrot Analytics reports global demand for anime content grew 118 percent over the past two years (20202022), making it one of the fastestgrowing content genres throughout the pandemic. Grand View Research reports the global anime market was estimated at USD 28.61 billion in 2022 and is expected to grow to over 60 billion by 2030.

Content providers are offering platforms across both classic anime and new titles. There are titles like Naruto and BLEACH for instance that kids in the early 2000’s grew up with and now are adults and have a special nostalgic connection to their favorite stories from their childhood and may even pass this down to their children and have a shared connection.

Finally, Social Media has given anime fans yet another means to express their love of the industry. Our anime fans are the best in the world and they love to share their passion with the community which is infectious and continues to fuel the fandom, especially when some of those fans are a-list celebrities like Michael B Jordan, K-pop band BTS and even Elon Musk share their love for our brands.

What is your strongest category in English speaking countries?

The strongest categories are apparel, collectibles and video games which make up a large % of the business. Although we are seeing a nice increase in lifestyle categories such as Consumer Electronics/Gaming Accessories, Food & Beverage, and even Health & Beauty Aids.

Continued next page →

How does VIZ Media tie licensing into the business and across your brand portfolio?

Licensing is a critical factor in our overall VIZ Media business. We act as both a licensee in publishing, as well as a licensor and an agent on behalf of many licensors in Japan. Going back to the three pillars of our business, each one relies heavily on licensing.

As the largest publisher of English language manga, VIZ is a licensee of the content (often through Japanese publishers like Shueisha and Shogakukan — both of whom are our parent companies). We also act as an agent on behalf of licensors for anime rights where we produce home entertainment in the form of DVD/Blu-Ray.

We license titles like Naruto and Sailor Moon for instance and many more. We also license and distribute content through streamers and content providers like Hulu, Netflix, Crunchyroll, Disney+, Tubi, Pluto and others. Finally we represent a growing number of anime and manga titles for Consumer Products.

In some cases we are a licensor and are part of the ownership consortium and in other cases, we are granted the rights from a licensor acting as an agent on their behalf.

Our portfolio has grown significantly and includes many of the most-loved anime titles like Hunter Hunter, Death Note, JoJos and more. Additionally, international expansion has been a big focus for us in consumer products and we are securing broader rights across our titles.

Moving into the 4th quarter of 2023 and into 2024, what is on the horizon both globally and more specifically in Australia?

We are very excited to have welcomed WP Brands as our new agency for Oceania earlier this year. WP’s market expertise and outstanding reputation coupled with VIZ’s anime portfolio will allow us to get even more great anime merchandise into the hands of fans in Australia and New Zealand.

Currently, our global partners have a great presence within the hard goods

sector such as 3D collectible items from Bandai and Funko. We already have a successful specialty apparel program in place and we plan to have a wider range of titles available for our anime fans (including more offerings from Death Note, Hunter x Hunter, One Punch Man and JoJo's Bizarre Adventure).

We held our first Australian summit last month and we’ve received tremendous responses from the existing partners and numerous potential partners. Multiple halo programs are in discussion and we will be able to announce more details over the next few months.

Our goal is to build a strategic licensing program in Australia to cater our anime fans at all different retail levels and categories. Also be on the lookout for the hit anime title that everyone is talking about this summer, Zom 100: Bucket List of the Dead which snagged a Netflix Top 10 on the Global Non-English TV list over its premiere weekend.

www.viz.com

FIND PARTNERS FOR YOUR NEXT PRODUCT RANGE

Augmented Reality Mirrors

A NEW SALES CHANNEL

What if I told you that I created a toy store where customers can transform themselves into their favourite toy character... you would be thinking that’s pretty cool right?

What if I told you that your three biggest costs of staff, stock and rent could all be zero for that store... now you're thinking that I might be a little cuckoo right?

I trialled an Augmented Reality Mirror in my store for costumes and masks just before the pandemic in 2019 and it was fun, a great gimmick and had some good marketing and social power. In-store, customers loved them and they made for a great customer experience. However, they were expensive and outside of a great brand experience, finding a profitable way to use them was challenging.

So I had an idea to make the mirror a stand alone store that paid for itself. I had a vision that the mirror would be perfect for fashion stores, costumes stores and toy stores to use as a popup location in a shopping mall, but

also in dead spaces such as on a wall, shopfront hoarding so people can interact and shop with a brand before it opens or in a closed stores window after hours so people could literally window shop (not window browse).

Fast forward a false start and a few months later and now Uber, Lendlease, Shopify, StockInStore, Preezie, Starshipit, ShopExp and The Party People have come together to create a new retail channel, the Magic Mirror. Through Augmented reality, customers can try on fashion items and checkout on the spot, potentially with Uber getting it to their house before they get home. With a virtual assistant, the mirror can guide the user and without the need for any additional stock the retailer can fulfill the order from the eCommerce channel.

A project like this would have cost me approximately $150,000 to integrate all the tech needed to convert the existing try-on mirrors to be checkout enabled which was the challenge I initially faced but the companies above that came together have fully funded this,

and it is likely the innovation won't have cost me a cent to create and do a real world trial. Best of all, now I have created the technology (and already paid all the costs with thanks to my sponsors), I can roll this out to every Shopping Centre in the country with no staff at the stores, minimal rent and minimal extra stock due to my existing eCommerce business being the fulfillment. Scaling this is relatively low incremental cost, which is exciting.

This October I will be trialling the Magic Mirror as its own pop-up store in a Lendlease Shopping Centre to sell costumes. Customers will be able to try on items, then checkout and have Uber deliver it to their house. I don’t know how many costumes this might sell but that’s what the trial is for; to learn how customers use it and how they purchase. I have learned in my experience with innovation that customers are going to do things with this that I haven’t thought of yet, so I am excited to see what we learn from the trial in October.

For toys, this also offers the opportunity for customers to be their favourite character and I think this will be great for enhancing in-store experience but also for new toy launches.

Stay tuned to The Bugg Report and I will give an update on the pilot and what I learned later this year. If you want to come along to trial the mirror, hit me up on LinkedIn and I will let you know the location, as its not public information just yet. Have a great Halloween and Christmas trade guys!

Celebrating 15 Years of T he Bugg Report

2009 — 2023

The Bugg Report began in 2009 with a modest online service covering brand licensing news. We continued developing the platform and then introduced our "Bugg Express" express news service shortly after. During these early years we covered brands such as iCarly, Twilight, Top Gear, Chuggington, Ben 10, Teletubbies and Roary, just to highlight a few. We produced 35 reports which were released as full-length colourful emails!

Our first print magazine launched at the 2011 Australian Toy Hobby & Licensing Fair in Melbourne with Ben 10 on the front cover. Our 10th print magazine featured Cartoon Network at the Hong Kong Licensing Show.

Our 20th print magazine was a Sports Licensing special edition with an NRL x Marvel collaboration on the cover. Our 30th print magazine which featured at the Las Vegas Licensing Expo saw a new brand from Headstart called Hair Dooz. The 40th print magazine was none other than Australian brand Bluey, and this edition that you are reading now also features Bluey!

Over The Bugg Report's 15 year journey we have reported on and been present at the key brand licensing expos and been witness to many great brands over the years. We want to thank our regular writers for their contribution to both The Bugg Report and The Toy Universe publications.

We have also produced a range of amazing Brand Supplements including Halloween Specials, NRL, AFL, Care Bears 40th, the emoji company, Sesame Street's 50th Anniversary, Haven’s 20th Anniversary, Moshi Monsters and Dr Who. Along with our bespoke productions, we have now produced over 50 magazine publications over our journey, as well as our regular email newsletters and Bugg Express news.

To our clients and partners, thanks for your support over the years and now as we embark on building our new publication, The Toy Universe, we have introduced our new Media name:

— Bugg Media

CELEBRATING

15 YEARS OF THE BUGG REPORT!

As The Bugg Report turns 15 this year, we at Mattelʼs Australian Licensing team are thrilled to join the celebration of this remarkable milestone. It brings us great joy to commemorate this special occasion with you, an esteemed partner in the world of licensing.

Over the years we have had the privilege of witnessing your unwavering commitment to providing valuable insights and trends within the licensing industry. Your publication has been a valuable resource, helping us stay informed and connected in this ever-evolving landscape.

Our journey with Bugg Marketing Solutions has been marked by a shared passion for innovation, creativity, and a genuine love for what we do. Your teamʼs professionalism and expertise have made every interaction a pleasure.

As we look back at our long history together, we feel grateful for the enduring partnership we have forged. We eagerly anticipate the continued success of The Bugg Report in years to come.

Congratulations on this incredible milestone!

May your publication continue to thrive and inspire the licensing community for years to come!

Naomi, Lou, Olivia, Maddie and Georgie Mattel Australia

"Congratulations on 15 years of excellence in the world of brand licensing news! Your dedication to delivering insightful, and industry-relevant information has made a significant impact over the years. It has been a pleasure working with you thus far and looking forward to many more years of news and partnerships to come"

LIM MI-KYOUNG MANAGING DIRECTOR

MICHAEL HOUGH CHIEF OPERATIONS OFFICER

HAPPY ANNIVERSARY BUGG SOLUTIONS!

You are wonderful licensing ambassadors and a welcome partner preaching better licensing processes during your webinars, seminars and fantastic award shows.

Over the past fifteen years you have invited us into your network, even Hong Kong Trade Fairs, helping us build our business. We love working with Tony and Matt keeping the lights on for brands across Australia. You are truly great friends to work with.

Congratulations and look forward to more great years working with you!

Marty Malysz

CONGRATULATIONS ON 15 YEARS!

Start Licensing celebrates its 20th Anniversary this year so I am well aware of how tough it can be to set up a business and last the course. I admire anyone who has given their own business a go in licensing and appreciate the hard work that goes into building a successful business. With this in mind I congratulate Tony and The Bugg Report on their 15th Birthday. In marking The Bugg Reportʼs 15th birthday I applaud Tony, Matt and the team on developing a publication that presents the licensing industry in such a professional and informative fashion. It is always a great read.

Whilst the publication is focussed on the Australian market, it is a go to publication for the wider industry as it provides a great insight into the industry in general. It is also very good at profiling companies and people. There is a good mix of comment, news and analysis in every issue.

I enjoy contributing to The Bugg Report. My ʻAccording to Downseyʼ feature helps me to look at the UK market and hopefully shine a light on the UK industry. I appreciate the chance it gives me to share my thoughts. Licensing is a business built on contacts, networking and friendship – The Bugg Report is very much part of that ethos. It is important to remember the positive role that industry publications play in bringing us together, in sharing the industryʼs news and keeping the industry informed. We should never underestimate this.

Letʼs hope The Bugg Report enjoys many more years of success. It definitely deserves it.

Ian Downes

CONGRATULATIONS ON 15 YEARS!

Now I donʼt come from a Land Down Under, but I do know from my travels there and internationally, that whenever Iʼve needed expert opinion, advice, connection and support about what and who is moving and shaking in the Licensing world of Oz, Tony and Matt are the busiest and best Men At Work to know.

Wishing you well on your 15th Anniversary and blowing the top off a few cold ones in Blighty, as a toast to the next 15!

Congratulations gents!

All the best, Simon, SGLP

HAPPY ANNIVERSARY THE BUGG REPORT!

Big congratulations to Tony and the team for 15 years of The Bugg Report.

The longevity is testament to the quality of content in the magazine and also to Tony and his teamʼs ongoing dedication to the licensing industry.

Their depth of knowledge and understanding of the multiple aspects of the licensing business is clear for all to see and read.

Andrew Carley

CONGRATULATIONS!

I look forward to reading The Bugg Report every month as it provides me with valuable information on the industry. There is always a feature interview (sometimes with brands I am not always familiar with) and the ATA updates are always great for keeping me informed about dates.

There is always a market wrap of some kind with major brands that is very informative and guest speakers are also an informative surprise as well as the BrandTrend reports. There are also occasional reports on the history of the Toy Industry.

In my younger toy days, I used to pore over Playthings and the Toy Book from the US (always sent via snail mail and arriving 6 weeks after being published). The Bugg Report is an on point and informative digital magazine that gives me similar information in real time.

Tony and Matthew have done a wonderful job with this publication and now deservedly celebrate a successful 15 years!

Well done

John Redenbach

CONGRATULATIONS!

In the childrenʼs entertainment industry there are four English language trade magazines published around the world that are essential reading if you want to stay informed about the business — Total Licensing from the UK, Kidscreen from Canada, Global License from the US and the Bugg Report from Australia.

So if youʼre from Australia, like me, the Bugg Report is the magazine that gives a voice to home grown Australian entertainment properties and the companies that have helped deliver their success in both Australia and around the world.

Congratulations Tony and Matthew on being there for 15 years publishing a great news feed and magazine with original and uniquely Australian stories and articles, as well as introducing the best that the rest of the world has to offer in global entertainment.

The Brand Licensing & Market Specialists

As the leading independent Brand Licensing Specialists & Market Intelligence Agency in the business, we pride ourselves on being connected to Brands, Agencies, Retail and emerging trends and we are the go-to organisation to provide you with balanced, researched and up-to-date market intelligence.

We are the perfect conduit to the market for small to medium businesses that are not in a position to hire a full-time marketing or licensing manager.

Let us seamlessly connect YOU to brands & distribution channels at a fraction of the cost of a full-time employee!

Grahame Grassby