TV Kids April 2024

The Attention Economy

Anyone studying kids’ media habits will tell you that you absolutely must have a metaverse strategy for your piece of IP, but chances are most will not be able to tell you exactly how you make money out of that social media economy— outside of using it as a brand-building tool.

CONTENTS

FEATURES NOW WHAT?

From pioneering new financing models to embracing ubiquitous distribution strategies, a look at the techniques kids’ content executives are using to navigate the challenges of the market.

Ricardo Seguin Guise Publisher

Mansha Daswani Editor-in-Chief

Anna Carugati Editor-at-Large

Kristin Brzoznowski Executive Editor

Jamie Stalcup Senior Associate Editor

Alexa Alfano Associate Editor

David Diehl Production & Design Director

Simon Weaver Online Director

Dana Mattison Sales & Marketing Director

Genovick Acevedo Sales & Marketing Manager

It’s rough out there for everyone, but those making children’s content are not just contending with huge contractions at the streamers and a sluggish ad market; they’re competing with TikTok and Roblox and a sea of shows on YouTube made in some gamer’s garage that are outrating properties on major platforms.

“We often forget that we’re in the attention economy, not in the kids’ TV business,” Frank Falcone, president and executive creative director at Guru Studio, quipped during one of the sessions at our TV Kids Festival in February. “We’re chasing their attention. TV can only go so far with getting their attention—it has to be really beloved properties. Breaking new shows is increasingly challenging when you don’t have that immediate love and you have to build it up.”

As such, we’ll hear an awful lot about known IP until this latest round of market instability ends. But those with standout ideas shouldn’t be too disheartened; as our survey in this edition on how distributors are navigating the market indicates, there are still broadcasters and platforms willing to take bets on compelling characters and storylines, and many are increasingly open to new financing models.

GET SMART!

Producers and distributors reveal how to successfully incorporate STEAM curricula and social-emotional learning in ways that will resonate with young ones.

Ricardo Seguin Guise President

Anna Carugati Executive VP

Mansha Daswani

Associate Publisher & VP of Strategic Development

TV Kids

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“If there’s something that people are really confident will work, they’re still willing to take it,” Lauren Marriott, senior VP of content partnerships and brand strategy at Paramount Global Content Distribution, said at the TV Kids Festival. “There’s also a real need for a robust set of rights from buyers. There’s a lot of concern about being able to compete with YouTube. There’s definitely a need for AVOD rights, catch-up, etc. And I think we’re seeing less demand for exclusivity in favor of more rights non-exclusively.”

INTERVIEW

Industry veteran Tom Ascheim, speaking at the TV Kids Festival, called on delegates to remember the big picture and be heartened that a recovery is on the horizon (even if it feels like it’s a long way away). “You need a moment like this to create a renaissance,” Ascheim said. “I think we are poised for a breakthrough in how we reach children.”

Mansha Daswani

Sara DeWitt PBS KIDS

Cyber Group Studios

Press Start! / Alex Player / The McFire Family

The comedy Press Start!, on offer from Cyber Group Studios, is based on a best-selling book series of the same name. The series follows Sunny Zaki and Rue on their adventure inside a video game with their favorite hero, Super Rabbit Boy. MIPTV will also see the first episodes of Alex Player being showcased. “The series combines 2D animation for the ‘life’ scenes and Unreal Engine for the video games parts, playing with all the video game codes that kids are familiar with,” says Michèle Massonnat, VP of sales and acquisitions. “We are eager to introduce the very first animated series about esports.” Cyber Group Studios is looking for presales for The McFire Family , following a family of firefighters. “The supercool abilities of these heroes will have 5- to 8-year-olds psyched,” says Massonnat.

NHK Enterprises

Darwin’s Amazing Animals

On offer from NHK Enterprises, Darwin’s Amazing Animals takes an up-close and personal look at some of nature’s most fascinating creatures from across Asia, Africa and the Americas. “The animated character Uncle Charlie guides the story so that kids can easily understand the secrets and wonders of nature,” notes Akiko Nakano, senior manager for the Americas, EMEA, Oceania and Asia, excluding China, Taiwan, Hong Kong and Korea. Featured episodes include “A Prey on Birds—Praying Mantis, Japan,” which travels to a remote Japanese island to discover a type of bird-hunting praying mantis; “Walk then Run—Octopus Oliveri,” delving into a rare species of octopus that hides in the nooks and crannies off Japan’s coast; and “Snow Fairies—Shima-Enaga,” which heads to Hokkaido to discover the range of behaviors this unique species exhibits.

Alex Player

“All these shows include key ingredients that make them appealing internationally.”

—Michèle Massonnat

Powerkids Entertainment

Darwin’s Amazing Animals

“These new episodes will amaze and entertain kids globally.”

—Akiko Nakano

Adventures of Akira and Mowgli / Dragonero—The Tales of Paladins / Young Achievers Academy

Featuring a blend of characters from The Jungle Book and a brand-new protagonist, Adventures of Akira and Mowgli leads Powerkids Entertainment’s slate. It takes place in the Seonee jungle, where Mowgli, Baloo, Bagheera, Shere Khan and Kaa meet the fresh energy of Akira, a fearless girl from a nearby village. Dragonero—The Tales of Paladins, based on the Dragonero comics, features “a perfect mix of the irresistible dynamism of Japanese anime; the attention to detail, environments and character nuances of European animation; and the freshness of humor like American cartoon series,” says Manoj Mishra, CEO. Young Achievers Academy sees young talents trained in diverse fields, from aviation and skydiving to martial arts and underwater exploration, as they work for governments to tackle the global threat of a tech-savvy villain.

of Paladins

“We are excited to engage with fellow professionals, discuss potential collaborations and contribute to the dynamic landscape of the industry.”

—Manoj Mishra

APC Kids’ Walter ’s Christmas: Keeper of the Forest.

Now What?

Now What?

From pioneering new financing models to embracing ubiquitous distribution strategies, a look at the techniques kids’ content executives are using to navigate the challenges of the market. By Mansha Daswani

What’s the key to navigating a business in the midst of a dramatic reset? We heard some valuable advice from speakers at our own TV Kids Festival earlier this year. It boils down to getting creative; bracing for this disruption to last a little while; embracing a newfound willingness to rights-sharing, unique funding and distribution models and partnerships; always having a 360-degree strategy; arriving with known IP really helps, but don’t stop coming up with great new ideas that entertain and enrich young ones; and co-viewing very much still matters, perhaps more so than ever.

“Buckle up,” says Tom Ascheim, an industry veteran who has witnessed this industry’s peaks and troughs over his decades in the business. “This is not going to be an easy time for any of us. We always go through tumultuous times. Being great is your best strategy. Trying to find ways to make sure you’re digging deep to find the creative that inspires you and will inspire the audience is always your best strategy. It is less clear how we’re going to bring that forward. Therefore, the other thing to remember is that whatever got us here is probably not going to get us there. So, be great and forward-looking. Look at the audience, understand what they care about and ensure you’re anticipating, not just chasing.”

Last year was a tough one for everyone, observes Raphaëlle Mathieu, COO at Cyber Group Studios, referencing cutbacks at the streamers, budget restrictions and reduced commissions. “I expect it to be a very slow 2024.”

Alix Wiseman, senior VP of distribution and acquisitions at 9 Story Media Group, says that the industry has become more risk-averse when it comes to new commissions. “We’ve been leaning into our catalog. Our bestsellers, the shows that have performed for a long time, are the ones that are being relicensed and delivering across traditional platforms, AVOD and FAST.”

Wiseman expects it will take at least a year for the sector to return to anything that feels like “normal,” which is when she hopes to see a commissioning bounce-back. Until then, she predicts an interest in known brands will continue.

IN THE KNOW

Lionel Marty, managing director and founder at APC Kids, is also of the opinion that known IP is in high demand, especially with the streamers, but there are opportunities to introduce new brands via linear broadcasters. “There is still a chance to finance original IPs, although, in a fragmented media space, it’s easier for them to broadcast and introduce known properties. But there are more chances with linear broadcasters than with streamers.”

Richard Goldsmith, president of global distribution and consumer products at Atomic Cartoons and Thunderbird Entertainment, also finds that openness to new ideas depends on the market. “France, the U.K., Germany and Australia are much more open. The U.S. and global companies are focused on these big brands and have much more of a narrow focus. But across the board, we feel that people

are looking for the same things: co-viewing; well-known brands; preschool and bridge, which could be up to age 9; and a great 6-to-12 comedy.”

To get a new idea landed, partnerships and having a multiplatform skill set are crucial, observes Cecilia Persson, managing director at BBC Studios Kids & Family. “You need to be a partner that can bring several aspects to a property, particularly if you’re trying to get an original idea away. One of the things I see as a positive in these uncertain times is the fact that the rights are being asked for on a more non-exclusive basis, which is very helpful for an original idea. We have a content strategy team that spends time thinking about those things because it is needed—that additional push to make sure that you can get an original idea across the line.”

“The streamers know that they want to have awareness, and that means sometimes sharing exclusivity or having nonexclu sive rights with other broadcasters or platforms, AVOD, YouTube, because they know that it can bring some awareness for the shows they will market,” APC Kids’ Marty says.

“It has been a major shift in the dialogue that we’ve been having,” Goldsmith adds. “Streamers particularly, or worldwide linear companies that traditionally wanted all rights, are

now coming back and saying, Well, if you are getting some funding from a territory or two, we can share rights in those markets. We haven’t had that conversation in years. There are lots of discussions now about co-funding series. We’re doing deals now where we’re both putting up money and we’re sharing rights. The times of the windows are also being loosened up. That is one of the silver linings of the situation now.”

UBIQUITOUS DISTRIBUTION

That approach does bring some “complexity in dealmaking,” observes Frank Falcone, president and executive creative director at Guru Studio. “When you’re constructing deals with many potential windows and financiers, the recipe becomes complex. And sometimes deals lose momentum in this process. So, we really are reliant on our legal and business affairs teams to pull together tight, interesting deals quickly because, as you know, time kills all deals. We want to be quick about how we pull together our shows. Windows of opportunity can be missed if we’re not moving quickly.”

In order to be wherever kids are, Cyber Group Studios has been creating additional content for brands that are proving sticky with kids. “We can have content potentially available on AVOD in a certain mode,” Mathieu says. “We’ve made original songs and shorts. When the brand becomes bigger, you can have the licensing option growing with plush or theme parks.”

Lauren Marriott, senior VP of content partnerships and brand strategy at Paramount Global Content Distribution, also points to the importance of having content on YouTube and elsewhere ahead of a show launch. For the Dora reboot, for example, a short was placed with the PAW Patrol: The Mighty Movie theatrical release. At the same time, Paramount rolled out a YouTube channel with old seasons and four new episodes. “We continue to drip feed that with original content to build it with that demographic,” she says.

BBC Studios Kids & Family’s Supertato is based on a bestselling book series.

9 Story Distribution International licensed the preschool series Dylan’s Playtime Adventures to CBeebies.

Jo Redfern, managing director of kids at Wind Sun Sky Entertainment, sees YouTube as its “primary” platform. “It’s gone from outlier to being a nonnegotiable part of that flywheel. It’s part of a bigger jigsaw puzzle as brand owners and brand builders. Even the streamers have woken up to that power, too. Netflix is using YouTube in a really interesting way in terms of bringing YouTube viewers through. They’re dropping premiere episodes on YouTube. Your content needs to be where kids are hanging out. YouTube is a vital part of that. The streamers know it; broadcasters use it. What’s interesting for me, and it’s relatively nascent, is we’re now seeing the rise of YouTube on connected TVs. So, this battle for the living room is not just the preserve of broadcasters and streamers anymore. It is parents and kids sitting down and going, What can we watch together?”

IN THE GAME

Given how much time young ones are also spending on gaming, platforms like Roblox are similarly factoring into brand-building strategies. “We’ve been exploring Roblox as an extension of some of our brands,” says 9 Story’s Wiseman. “We’re seeing how we can fit into that ecosystem and whether it makes sense for these brands.”

9 Story is also in the works on a show based on a Roblox game, Wiseman says. “How do you explore that deepness in an episodic series? These are all really interesting parts we’re looking at as we develop this show and try to elevate, iterate on and support the Roblox game and take it into further natural extensions.”

L&M partners are partial to shows that are exposed in multiple places, Thunderbird’s Goldsmith adds. “For the first time in my career, the people that we make substantial revenues from are indicating to us that they no longer really believe that being on a big streamer or big linear network is the best route. So, with Mittens & Pants , we’ve launched it everywhere. It’ll go on at least ten AVOD platforms in the U.S., YouTube, social media. That is a seismic shift. It’s great for building brands, great for monetizing brands, not so great for revenues up front that we’re now not getting from that big streamer or that big linear network.”

Paramount Global’s Marriott notes, “2023 was the year everyone realized that in order to make something successful, you have to be able to follow the consumer. You’ve got to satisfy your commissioning broadcaster or platform, so you can’t put everything on YouTube before it’s even gone to them. If we launch something in multiple nonexclusive places, is that actually going to fund the production of that show? That’s a puzzle that we all need to solve somehow. We’ve had to have a collaborative effort between production and distribution. We might create additional short-form content to put on YouTube to build up a property before we then have the long-form series that goes exclusively to the premiering partner. Maybe it’s about negotiating carve-outs to put a certain number of episodes on YouTube.”

AN END IN SIGHT?

From post-pandemic economic effects to the end of the streaming wars to further evolution in kids’ consumption trends, it has been a “perfect storm” when it comes to the unprecedented shifts in the market over the last 12 to 18 months, 9 Story’s Wiseman says. But she remains optimistic that a turnaround will happen.

“Kids are always going to need content,” she says. “The demand will come back for originals, just as much as known IP. The shape of the whole thing is changing—how it’s delivered, levels of exclusivity, the platforms. That opens possibilities to being creative and nimble, working differently, taking on a lot of new technologies, using those as tools. It will, of course, thrive and survive again. I think it’s just going to take a little bit of time.”

BBC Studios’ Persson agrees, adding, “I feel like this is going to open up opportunities for really interesting partnerships and combinations and ideas. Original ideas have to be truly original now and special to cut through. In hard times, you have to be much more inventive.”

“There’s still a huge demand for content and for great storytelling,” Thunderbird’s Goldsmith says. “With the streaming model being blown up and that huge amount of money that is now gone, there’s no doubt that it’s going to affect the industry. But those of us that make great content will continue to make great content.”

Cyber Group Studios’ library of animated series includes Nefertine on the Nile.

Summer Fest iva

The TV KIDS SUMMER FESTIVAL is a four-day must-attend virtual event taking place a week prior to Annecy/Mifa.

Set to be held from June 4 to 7, 2024, the fourth edition of the TV KIDS SUMMER

FESTIVAL will feature keynotes and panels with leading executives and creatives discussing the major trends in the children’s programming business. It will be streamed live and available on-demand for two months on TVKidsSummerFestival.com.

For sponsorship opportunities, please contact Ricardo Guise at rguise@worldscreen.com or Dana Mattison at dmattison@worldscreen.com.

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GET SMART!

Producers and distributors reveal how to successfully incorporate STEAM curricula and social-emotional learning in ways that will resonate with young ones. By Mansha Daswani

As parents struggle to limit screen time with this always-on generation, the need for content that will enrich young ones, educationally and emotionally, is surging. Whether it’s supplementing science, technology, engineering and math (STEM) lessons outside of the classroom or fostering self-esteem and teaching conflict resolution skills, parents, caregivers and children themselves are seeking out a nutritious entertainment diet. And while a slew of digital platforms are working to fill that appetite, legacy pubcasters remain at the forefront of combining entertainment and education in ways that children will respond to.

“I have a firm belief in the role and value of public broadcasting systems because their goal is not to make money or a profit; their goal is to service and give food for thought for children to grow up, to understand things, to understand themselves, to understand their emotions,” says Emmanuèle Pétry-Sirvin, producer and head of international at Dandelooo. With intense competition, “now they have to reinvent themselves. But their role is huge.”

“For children whose families can’t afford Disney+, Netflix, you name it, they can always rely on the public broadcasters to enrich and educate their children,” adds Halle Stanford, the president of television at The Jim Henson Company. “Times have changed, but their intention hasn’t. It’s their superpower.”

Julien Borde, the president of Mediawan Kids & Family, is a veteran of public broadcasting, having spent a decade at France Télévisions. “We are lucky to have strong publicser vice channels and groups in Europe,” he says. “They are critical for us to produce quality premium content. They are increasingly into their own mission of educating and entertaining. I’m a big believer that they will continue to care about children in the future and that in a more commercial environment, they will be asked by local governments to do more.”

When working with pubcasters in particular, Stanford notes that it’s essential to keep an eye on what parents need now—and what they will need a few years from now.

“We can’t be chasing a curriculum that’s already working,” she says. “We have to think about what is needed. You have to demonstrate a need in the future and an exciting

ZDF Studios’ Space Nova

opportunity. Bring out your crystal ball. Think about the toolbox parents need and where the future is headed.”

FACING THE FUTURE

And when it comes to preparing young viewers for what’s ahead, STEM skills are crucial.

“As the world becomes more technologically advanced, there’s a growing need for children to develop skills in science, technology, engineering and math from an early age,” says Susan Scheiner, director of content at Sesame Workshop. “TV shows can complement formal education and encourage curiosity and positive attitudes toward STEM and STEAM subjects at a very early age.”

Oliver Grundel, Director Junior at ZDF Studios, agrees, pointing to the “growing recognition of the importance of these skills in the modern world. Fields like science, technology, engineering, math and arts are quite important because they are connected to the fastest-growing industries in the economy. Parents and educators alike understand that fostering an early interest in these areas can contribute to a child’s academic success and better future career opportunities. In addition to that, as technology becomes more integrated into everyday life, there’s a desire for content that aligns with educational goals while remaining engaging for young audiences.”

Tatiana Kober, the president of Bejuba! Entertainment, is of the perspective that broadcasters are also looking for balance on their slates. “To have that kind of programming that is still fun and interesting to watch broadens kids’ minds and can be a real hit for the broadcasters as they move forward.”

While still driven by linear pubcasters, Grundel says STEAM content is also appearing on streaming platforms. “I think VOD platforms are interested in having more educational content, and it has expanded opportunities for educational programming in many ways. On-demand platforms allow for a more tailored content experience, enabling public broadcasters to reach a wider and more diverse audience. I think there are a lot of opportunities, and this shift has allowed for greater flexibility in the delivery of educational content, which can be tailored to specific age groups and interests. In addition, it opens up new avenues for educational content creators. They can experiment with innovative formats, interactive elements and engaging storytelling.”

Kober says weaving in entertainment is crucial to the success of STEAM shows “so that the kids don’t ‘smell’ school. STEAM has had an uptick, but I also think it’s still a

dif ficult push sometimes for the more mainstream broadcasters.”

But educational themes can be overt, Scheiner notes. “We start our shows with educational content. It’s an authentic part of the storyline and the content. We don’t layer it on top of the plot and the story. We bake it in at the foundation. That way, it feels natural and not like we’re just throwing words and concepts at the kids. We make it an integrated part of the story. Also, it helps that the children know and love the characters, and they watch because it’s fun. You want to make the education fun but baked into who the characters and storylines are.”

Grundel adds, “It’s about finding the delicate balance between education and entertainment. With a show for a very young audience, you can be quite straightforward and explicit. It’s OK to be slightly more educational with foundational concepts and interactive elements. As the viewers grow older, it becomes increasingly important to balance that and weave educational elements into the storytelling.”

IN THEIR FEELINGS

Beyond traditional educational values, social-emotional learning is becoming more important for European pubcasters, Dandelooo’s Pétry-Sirvin says.

“They’re very sensitive to the mental health of children,” adds The Jim Henson Company’s Stanford. “They’re looking at what kids need. So yes, that educational shift can change, and it should.”

Stanford has witnessed a “global call for anti-hate education. There’s also a global call for climate help and critical thinking skills when it comes to climate. A lot of the broadcasters are starting to get aligned in their mission, which is great for us as producers so that it doesn’t become so niche and we can find opportunity and financing in other territories.”

Koyalee Chanda, senior VP of animation at Lion Forge Entertainment, has witnessed an increased interest from parents and caregivers in “content that is more socio-emotional, rather than more hard curriculum like ABCs and STEM. It corresponded with some of the global polarization happening in our political world. There’s also the rise of bullying and anti-bullying initiatives. Parents want content to grow great humans, as opposed to being more traditional schoolbased curriculum.”

“Parents need help,” adds Claudia Mazzucco, CEO of Atlantyca Entertainment. “Children are more exposed than ever to a constant and very accessible flow of audiovisual content that is not so well controlled. More than ever, children have to find a way to enhance their [self-esteem]. Our role as a content provider for children is to inspire them.”

And kids are seeking out this content on their own, Chanda notes. “With kids’ ability to navigate, they must be engaged by the storylines and great socio-emotional storylines that connect to their real life, to their every day, that make them laugh. That’s ultimately what is keeping them from swiping away. So, it’s in our best interests to make sure that this content connects at a very basic level, which means great characters and strong emotional connections to the stories and what the characters are going through.”

Lion Forge Entertainment’s Best Wishes is based on the best-selling book series by acclaimed author Sarah Mlynowski.

Sara DeWitt PBS KIDS

By Kristin Brzoznowski

The number one educational media brand for kids, PBS KIDS offers young ones aged 2 to 8 the chance to explore new ideas and worlds through TV, digital media and com munity-based programs. It takes a creator-driven approach to content, working with partners committed to being accessible to and inclusive of as many kids as possible across multiple touchpoints. Sara DeWitt, senior VP and general manager at PBS KIDS, talks to TV Kids about the broadcaster’s mission and its commissioning and acquisition strategies.

TV KIDS: What’s your view on the state of public broadcasting today?

DEWITT: It’s really strong right now. There’s been so much upheaval in the industry, so many changes and so much going on. Public media, while we are affected by that, sits in a different space. Our goal at PBS is to be as accessible to as many kids as possible. Our support is steady. We have been able to stay the course. The things we feel that we need to be doing for kids are still there and are maybe even more critical given learning loss during Covid and mental health challenges. We have a real purpose in this space, and it’s more

important than ever that we’re here—that the U.S. has an accessible, engaging media option for kids that’s also noncommercial and isn’t feeling the same pressures in the same way. We are trying to think about how we are having an impact on kids and making sure that we reach as many kids as possible throughout the country. We aren’t having to watch that bottom line in the same way that a lot of others in the industry are.

TV KIDS: What’s guiding the commissioning strategy?

DEWITT: Our focus is kids 2 to 8, and we want to be everywhere they are. For a couple of decades, our commissioning strategy has been looking beyond just linear and thinking about multiplatform options from the beginning. We have to be really flexible and think about how IP can operate in all of these different spaces.

We’re very much a creator-driven network. We are looking for creators who can come to us with an exciting idea, can speak to us from their lived experiences and share stories that are going to resonate with kids. It’s really [about] substance over volume.

We also think about how we can fill gaps. What kinds of things are kids missing right now? We’re thinking a lot about early literacy skills, early math skills, the things that families seem to be struggling with right now, and how we can make sure that we are putting content in front of them that can support them as they are trying to get their kids back up to speed or school-ready.

TV KIDS: How do acquisitions complement this slate?

DEWITT: Our primary focus is original content and content that we’ve had a hand in developing. Acquisitions are pretty limited. When we do think about them, we’re looking for opportunities to diversify our slate. We’re looking for content that fits nicely with the PBS KIDS mission, values and goals. And acquisitions are a good opportunity for us to experiment with different ways of engaging with the audience. But we don’t do them often; we’re more focused on commissioned projects.

TV KIDS: What are some key factors to consider when talking to partners about IP?

DEWITT: We are looking for strong ideas, someone who has a real passion for storytelling and has a story they want to share, something that we think is going to resonate with kids and inspire the audience’s passion for learning. You can tell when a creator comes in with something they’re so excited about and are excited to teach kids about. That can be infectious. We need to feel like the creators understand where we’re coming from, understand the values of PBS KIDS and the mission of reaching all kids and being as accessible as possible.

It is about representation and making sure that all the kids in our audience see characters who look like them or think about things in the way that they do. We also think about ways to reach kids who don’t have the latest gadgets or access to Wi-Fi all the time. A lot of our producers are excit ed about that mission, thinking about not only how their storytelling can resonate with these kids but how the games that they create alongside can work on lower-end devices, can work in and out of Wi-Fi, so that kids can take content with them