TV Kids February 2023

2023 Trends to Watch / POP Channels’ Francesca Newington / The Jim Henson Company’s Brian Henson Kidoodle.TV’s Brenda Bisner / Behind the Scenes of Silverpoint

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Mansha Daswani Editor-in-Chief

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Andrea Moreno Business Affairs Manager

Growing Pains

Amid strategy shifts, economic concerns, the ongoing conflict in Europe and course corrections at the platforms as they prepare for the next era in the streaming wars, everything is in flux.

But as was evident as the kids’ business convened in person in Cannes in October for MIPJunior’s official return to the JW Marriott and virtually for our own fantastic festivals last year, the people making, financing and selling children’s content are infinitely adept at navigating the challenges the sector is facing.

That was the defining theme of my feature story in this edition on the trends that kids’ distributors are keeping their eye on as they look to thrive in what is set to be a challenging year. M&A is likely to continue as companies chase IP, scale and talent. The AVOD/FAST space is awash with opportunities—and some significant hurdles. Having a well-crafted windowing strategy is paramount. Everyone still wants known IP—with loads of books, games, comics and movies spawning new shows—as well as breakout new ideas they’re invested in enough to take a risk on. (But getting a commissioner to take a risk right now is no easy feat.) Having a metaverse/gaming/interactive strategy is crucial for building brands, as are live events. Diversity and real inclusion should not be an afterthought. And most importantly, premium quality storytelling will always rise to the top.

CONTENTS

FEATURES

WHAT’S NEXT?

Several leading content sales executives share their perspectives on what’s in store for the kids’ business in 2023.

ADVENTURE AWAITS

A look behind the scenes of Zodiak Kids & Family Productions UK’s Silverpoint, a live-action sci-fi drama for tweens.

INTERVIEWS

Ricardo Seguin Guise President

Anna Carugati Executive

VP

Mansha Daswani

Associate Publisher & VP of Strategic Development

TV Kids

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We heard similar refrains in our Q&As with TV Kids Pioneer Award recipient Francesca Newington, who is looking for compelling properties for Narrative Entertainment’s POP Channels in the U.K.; Brian Henson at The Jim Henson Company, which is driving innovation across its multimedia slate; and Kidoodle.TV’s Brenda Bisner, who is pioneering new models in AVOD and FAST while remaining committed to keeping kids safe online. We see the importance of high production values and inclusive storytelling in the success of Zodiak Kids & Family Productions UK’s Silverpoint , which is spotlighted in this edition. And you’ll see the dedication and passion that children’s media executives have for this segment of the business in our latest TV Kids Festival, featuring almost 40 speakers from across the sector and around the world. Enjoy the show!

Kids Pioneer Award: Francesca Newington POP Channels

Mansha Daswani

Like every other area of the media business, the kids’ content sector heads into 2023 with a fair bit of trepidation about what’s to come.

Brian Henson The Jim Henson Company

TV

Brenda Bisner Kidoodle.TV

Aardman

Big Lizard / Quentin Blake’s Box of Treasures / Lí Ban

A brand-new preschool series from Beakus and Je Suis Bien Content/Watch Next Media, Big Lizard is among the latest offerings from Aardman, commissioned by the BBC and France Télévisions. “It’s a beautiful project about friendship, curiosity, exploration and celebrating differences,” says Robin Gladman, head of acquisitions at Aardman. Also in the company’s catalog, Quentin Blake’s Box of Treasures is a BBC commission from Eagle Eye Drama. The collection of six animated specials is based on Blake’s best-selling books. Lí Ban from Paper Owl Films, meanwhile, comes from an untapped world of forgotten stories from Celtic folklore. “Lí Ban is a superb protagonist and role model, and kids everywhere will be excited by her story in this fantasyadventure, anime-style series,” says Gladman.

Boat Rocker

Dino Ranch / Trulli Tales / The Next Step

Leading Boat Rocker’s slate, Dino Ranch has sold to more than 170 territories. Its “Wild West setting and appealing dinosaur characters have led to the overwhelming success,” says Gia DeLaney, senior VP of global sales for kids and family. Trulli Tales sees its characters deal with the everyday problems faced by children of the same age, but in a magical setting, where magic wands are cooking utensils, recipes reveal feelings, a drop of oil can bring a talking book to life and more. In season eight of the hit dance series The Next Step , the “appealing teenaged characters learn that the only way they’re going to make it to the dramatic final dance competition is to put their differences aside and find a way to work together,” DeLaney says.

Cyber Group Studios

Droners / Zak Jinks / Nefertine on the Nile

Cyber Group Studios is bringing to Kidscreen Summit the first episodes of Droners’ second season. The adventure comedy sees its girl leads and their teammates take part in a drone race competition and brings eco-awareness to its viewers. Also on offer with a second season, Zak Jinks, an adaptation of a comic strip, continues to deliver “pure comedy, following the mischievous daily life and adventures of schoolboy Zak and his group of friends,” says Raphaëlle Mathieu, executive VP. Nefertine on the Nile, meanwhile, follows the adventures of Nefertine, the 8-year-old daughter of a scribe in ancient Egypt. She constantly records her adventures, such as investigating mysterious mummies and discovering the secrets of the sphinx, in her diary with the hope of eventually being the first female scribe.

“We pride ourselves on being the very best at building animated brands worldwide.”

—Robin Gladman

“As the home for creative visionaries, Boat Rocker’s purpose is to tell stories and build iconic brands across all genres and mediums.”

—Gia DeLaney

“With these three shows, we have a wide diversity of content, enabling us to talk to children all around the world.”

—Raphaëlle Mathieu

Nefertine on the Nile

The Next Step

Quentin Blake’s Box of Treasures

Guru Studio

Big Blue / 123 Number Squad! / True and the Rainbow Kingdom

Guru Studio’s Big Blue, created by Ghanaian-Canadian artist Gyimah Gariba, shows young children what it means to be part of a family and places emphasis on how caring for the planet and each other is important. 123 Number Squad! sees a rescue team use numbers, counting and shapes to help the citizens of Numberville. “This unique series offers fast and funny adventures for preschoolers, where they’ll learn and laugh as they go,” says Corey Caplan, senior director of international sales. True and the Rainbow Kingdom demonstrates how to be mindful, courageous and respectful. “True is everything you would want in a hero,” Caplan says. “She doesn’t wield a sword or wave a wand; instead, it’s her kindness and compassion that make her aspirational for boys and girls all over the world.”

HappyKids

happykids.tv

The unique selling point for the HappyKids platform is twofold, explains David Di Lorenzo, senior VP of kids and family at parent company Future Today. “On the one hand, HappyKids is one of the largest ad-supported kids’ streaming services and is available across multiple CTV platforms—from streaming devices to OEMs and MVPDs. Also, as a developer publisher, beyond our hub channel HappyKids, we operate a network of channels (apps) with several key partners, including LEGO, Moonbug Entertainment, Pinkfong and others.” The platform reaches families with kids from 0 to 12 and features a range of early-learning content, preschool programming, gaming and movies. “Our multiplatform distribution provides our partners access to a large-scale audience,” Di Lorenzo says.

The Jim Henson Company

All-of-a-Kind Family / Gizmo Girls / Wowsabout

An adaptation of the classic book series, The Jim Henson Company’s All-of-a-Kind Family follows a hardworking Jewish family with five sisters: Ella, Henny, Sarah, Charlotte and Gerti. The girls must navigate the wonders and trials of being first-generation immigrants in Manhattan in 1911. “At the heart of the series is an emphasis on love, family, tradition and what an incredibly fun time it was to be a kid,” says Halle Stanford, president of television. Gizmo Girls, an animated preschool series, features superheroes who solve their town’s challenges with real tools. The live-action preschool puppet series Wowsabout sees a guitar-playing hedgehog and a treeloving pig experience all the wonders of the natural world. “Wowsabout is about connecting children to the magnificence and awe on planet Earth,” Stanford says.

Gizmo Girls

123 Number Squad!

“Our focus continues to be creating, developing and producing characterdriven shows that captivate and inspire kids and families.”

—Corey Caplan

“Our secret sauce, the ‘Henson way,’ is creating characters and shows with humor, heart and hope.”

—Halle Stanford

“We currently work with hundreds of partners from around the globe and are always looking for something new.”

—David Di Lorenzo

Kidoodle.TV

Safe Streaming

With a catalog of more than 40,000 episodes—and counting—Kidoodle.TV has a rich offering of content that’s been vetted for Safe Streaming. “Parents are looking for alternatives that are not just safe but also something that is free, with no barrier to entry,” says Brenda Bisner, chief content officer. “With a recession and the cost-of-living squeeze, it’s another really great thing we can do to ensure that not only families can afford it but that their kids can be safe while doing it.” Bisner also highlights the AVOD platform’s award-winning user experience. “If you go to Kidoodle.TV, the navigation is right for children. We consistently test. We’re a tech company at heart, and everything for us is built so that it is safe and there’s a reason behind it.”

Sinking Ship Entertainment

Beyond Black Beauty / Phoenix Rise / Alma’s Way

Beyond Black Beauty leads Sinking Ship Entertainment’s slate. Inspired by the classic novel, it follows an equestrian with hopes of someday making it to the Olympics. Her journey is upset when her mother moves them from their posh life in Belgium to her childhood home in Baltimore. Phoenix Rise centers on six students who form an unbreakable bond as they navigate school life and find their place in the world. Alma’s Way sees 6-year-old Alma, a Bronx-born Puerto Rican girl living in the city, treat the viewer as her confidant. These shows “embody universal themes we know are in demand right now in kids’ content: family, identity, community and self-exploration,” says Kate Sanagan, head of sales and distribution. “These themes are not specific to one territory.”

Studio 100 Media

Vegesaurs / 100% Wolf / FriendZSpace

The Studio 100 Media highlight Vegesaurs travels back to a prehistoric era populated by juicy and crunchy creatures such as the Tricarrotops and Pea-Rexes, providing “a fresh and unique take on the dinosaur genre with characters you can only find in this show,” says Dorian Bühr, head of global distribution. 100% Wolf , following a pink poodle who should have been a werewolf, “underlines that heroes come in many forms, displaying diversity by strength in being different and having self-confidence by choosing your own path,” Bühr says. FriendZSpace sees three human kids go on deep-space missions to find alien kids and make friends. “A signature element in the series is that every alien kid wants to be friends in the end, but getting there will rarely be easy,” Bühr notes.

100% Wolf

Alma’s Way

“We’ve always been positioned in a way that sets us up as a trusted destination.”

—Brenda Bisner

“It’s a big year with some big launches for Sinking Ship’s distribution department.”

—Kate Sanagan

“We are kicking off the new year with three very different series, attracting various target groups with a common theme of strong stories and values and, of course, lots of entertainment.”

—Dorian Bühr

Toon2Tango

Agent 203 / Monster Loving Maniacs / The Wee Littles

Toon2Tango’s highlight Agent 203 centers on a young girl who discovers that her father was a secret agent tasked with protecting the planet against alien invasions. When she is approached by his former partner, she decides to continue his work and find out what happened to him. Monster Loving Maniacs follows three kids who are being trained as monster hunters by their tough grandfather, but they would rather find a way to save the monsters. It “is great fun, with lots of excitement and humor, as well as bigger themes like families, relationships and coping with our fears, all delivered with wit, energy and stylish, skilled animation,” says Ulli Stoef, CEO and producer at Toon2Tango. The preschool show The Wee Littles focuses on a family of very small creatures.

ZDF Studios

Grisù / #LikeMe / Heirs of the Night

ZDF Studios is spotlighting Grisù , centered on a little dragon who dreams of being a firefighter. Though all positions are filled at the fire station, he is able to help out as needed, whether as a cook, florist, pilot or sailor. In #LikeMe , a young girl’s life in a remote village is thrown into upheaval when her mother is diagnosed with cancer and they must move to the city to be closer to the hospital. Heirs of the Night sees the heirs of the five remaining vampire clans of Europe unite to beat Dracula and avoid extinction. “Their different backgrounds and the fact that each of them has special qualities and powers makes this series a very timely production and teaches children the meaning of diversity,” says Katharina Pietzsch, Director Junior.

Zodiak Kids & Family Distribution

Corpse Talk / Topo Gigio / Silverpoint

Produced by Tiger Aspect Kids & Family, Corpse Talk tops Zodiak Kids & Family Distribution’s slate. It introduces its audience to key historical figures such as Josephine Baker and Leonardo Da Vinci through a chat show hosted by Adam, voiced by YouTuber Joe Sugg. Topo Gigio, a reimagining of the mouse originally created by Italian artist Maria Perego, follows the adventures of the first mouse to live among humans as he finds enjoyment in all that they do. The live-action sci-fi series Silverpoint centers on four kids who stumble across an unexpected alien artifact while at summer camp. “The show incorporates beautifully crafted storytelling and a gripping mystery, which are keeping audiences hooked,” says Julia Rowlands, senior VP of sales, co-productions and acquisitions at Zodiak Kids & Family Distribution.

Topo Gigio

Heirs

The Wee Littles

“Since we launched over three years ago, we have been able to develop, produce and distribute high-quality shows for all demographics.”

—Ulli Stoef

“We want to send a positive message, educate kids and put things in context, but also empower children and give them a voice.”

—Katharina Pietzsch

“Across animation and live action, we offer shows that delight and entertain kids and families all around the world.”

—Julia Rowlands

WHAT’S

NEXT?

Mansha Daswani checks in with several distributors about the trends they expect will shape the kids’ media business throughout 2023.

Th e k ids’ business took some tough hits in 2022, beginning at the start of the year when the U.K.’s Department for Digital, Culture, Media & Sport said it would be discontinuing the Young Audi ences Content Fund. The confusion around HBO Max’s kids’ and family strategy that would begin later in the year, starting with Tom Ascheim’s exit from Warner Bros. Discovery and continuing with a slew of projects being canceled or put on hold, did not make life easier for producers and distributors. Inflation, slowing SVOD gains and a weakening ad market put pressure on budgets, making financing ever more complex. And with a fast-moving AVOD/FAST channel landscape, windowing became much more challenging.

“Last year, the consolidation of studios and buyers of kids’ content greatly impacted the global kids’ business,” reports Karen K. Miller, president and CEO of Cyber Group Studios USA. “Series in all stages of development and production were canceled or put on hold and have started flooding the marketplace in search of new partners.”

“The latter half of 2022 saw some turmoil in the industry, and as a result, programming needs have shifted considerably for some of the large streamers and linear channels,” adds Alix Wiseman, senior VP of distribution and acquisitions at 9 Story Media Group.

“Overall, 2022 was not an easy year for our industry, and we saw a number of major shifts and changes,” agrees Katharina

Aardman’s Happy the Hoglet.

Pietzsch, director in ZDF Studios’ junior department, referring to content being shifted increasingly to digital-only environments, editorial policy changes, budget cuts, a squeeze on available talent and rising costs.

“The streaming market is still evolving, with some subscriber numbers not hitting the huge growth levels of previous years,” observes Delphine Dumont, chief commercial officer at Banijay Kids & Family.

DIGITAL-FIRST

Indeed, keeping an eye on the fast-moving developments in the streaming space was paramount throughout 2022.

“Toward the tail end of 2022, there was a renewed energy and focus on emerging digital platforms—particularly in the U.S.—which has created many new opportunities in distribution and in financing new IP and content strategy on existing brands,” says Alison Taylor, director of distribution at Aardman.

“The rise of YouTube-first brands on global OTT services has led to an incredible shift in how we see the value of windows and formats of content,” notes Corey Caplan, senior director of international sales at Guru Studio. “The continued move toward direct-to-consumer streaming services in the SVOD and AVOD/FAST space is changing how broadcasters, distributors, producers and all rights holders think about windowing, brandbuilding and co-production partnerships.”

Taylor is of a similar perspective: “As ever, we have to be as nimble as possible when it comes to getting a show financed and keep the conversations moving in an ever-changing media landscape. On the one hand, more investors are out there now, with new platforms paying enhanced fees for exclusive rights in certain territories. However, with a number of key platforms undergoing mergers/re-strategizing, financing a new show can be more complex—especially on a new IP. On kids’ TV series, we have to seriously consider coproductions with other territories to develop and finance content, with the U.K. government deciding to stop the Young Audiences Content Fund and the U.K. tax credit becoming increasingly uncompetitive versus other territories.”

The increasingly challenging environment for getting a show off the ground financially was a recurring theme among the distributors surveyed here.

“More fragmentation means lower budgets, and it ultimately makes it harder to finance a show,” says Wiseman at 9 Story.

“You have to continue to deliver high-quality content and not compromise while being realistic about the financing. As ever, it’s all about carving out and protecting as many rights as possible while taking on board the levels of exclusivity that big investors require and expect. It means increasingly that for shows over a certain budget, the only way to finance them and retain ownership of the IP is through presales.”

Caplan believes that this year will require producers to be “as creative as possible” in cobbling together budgets. “Bringing in investment from as many partners as possible will be crucial to help fill the gap from a more fragmented funding environment.”

Dumont agrees, noting: “The market is constantly changing, and each region works differently, so we must be agile and adaptable in order to deliver funding models that work for us and our partners.”

“As the market becomes more fragmented and buyers tighten up on their spending, we have all had to be resourceful with production costs,” says Miller at Cyber Group Studios. “We do this alongside the sales teams, which continue to open up more international markets and explore new platform opportunities.”

Miller adds, “Kids’ distribution, and to a certain extent financing, has been slowed for many independent producers and distributors. On the other hand, orders for original programming are rising. For example, last year, we announced our first original project with Disney (in partnership with La Chouette Cie). In Europe, more specifically, the SMA law is making it compulsory for streamers to invest in European content. This should have a positive effect in 2023 on the content financed and/or acquired by these streamers.”

The key, ZDF Studios’ Pietzsch says, is finding the right partners on a project. “As well as the financials, the rights taken by each partner need to be aligned as well as the editorial line—it is essential that all partners share the same creative vision for the project. We have seen some well-established and successful partnerships change or end, but we have also seen some great new models come into being. With increased production budgets on the one hand and budget cuts and restrictions on the other, there continues to be a great demand for working together and sharing costs.”

Pietzsch continues: “Some global partners can carve out or hold back in certain territories and on rights if the overall model makes sense to them. At the same time, partners from ‘smaller’

Karma ’s World is a global Netflix original from 9 Story.

territories and with limited acquisition budgets are increasingly interested in coming on board a project early to secure content that would otherwise end up in a multi-territory deal and just not be available to them at a later stage. We see public-service broadcasters in Europe working together to co-fund projects. Having said this, there will still be full commissions on certain major brands and programs as exclusivity is a major USP—but these might be even harder to get the green light for and, as we already saw in 2022, more volatile.”

Another trend that continues to impact the kids’ production and distribution sector is a need for known IP that will be able to cut through the clutter.

BRAND RECOGNITION

“Existing brands have always been desirable, of course, but there appeared to be a renewed focus in this area, with many platforms and channels seemingly more risk-averse to new IP,” says Aardman’s Taylor on one of the critical shifts she witnessed in 2022. “That being said, we successfully launched several new series in 2022, including Interstellar Ella, Pop Paper City and Happy the Hoglet. So as long as the content is of a high standard, with inclusive and relatable characters alongside compelling stories, all opportunities certainly remain high.”

Cyber Group’s Miller agrees, adding, “Known IP continues to be in high demand, as does anime and gaming content. As always, great storytelling is at the forefront of all Cyber Group

Studios does, which helps ensure that the content we produce is picked up worldwide.”

Banijay’s Dumont also cites the wealth of opportunities in the market, regardless of the interest in brands with existing awareness. “From a surge in demand for content to attract four-quad and young adult audiences to a rise in animation IP, the landscape is broad. In the last year, we added two new labels to the company, Kindle Entertainment and Movimenti Production, further strengthening our market position.”

For the remainder of this year, Dumont says she and her team will be focused on “protecting our IP and supercharging our brands.”

Similarly, Aardman’s Taylor is prioritizing “financing and distributing subsequent seasons and spin-offs of existing series, helping to support the brands’ global exposure and audience engagement across multiple channels and platforms. Regarding the further rise in digital platforms, especially AVOD and FAST channels, we’re being more strategic in terms of the rights we’re licensing, increasing our focus on the windowing of content to enable us to reach even more audiences globally. Licensing content to traditional channels and platforms remains key to any distribution strategy. Still, it’s [crucial] that we are also licensing content to all platforms where kids are viewing content in order to build a brand. If the brand grows due to this, then every channel, network and platform that is part of the brand’s exposure will be in a winning position.”

9 Story’s Wiseman also points to the importance of effective windowing strategies, noting: “We continue to take stock of how to monetize our catalog across both the AVOD and FAST channel realms and build on that moving forward. 9 Story has a vast library of over 4,400 half-hours, and these avenues have provided new opportunities for some of our evergreen content. We are also taking a closer look at some of the established IPs we have on our roster to meet the evolving needs of the market. This means listening to the needs of our clients and looking at our slate through that lens. For example, we’re hearing that some commissioners are moving away from curricu lum-based content in favor of comedies and lighter entertainment for preschoolers in the wake of the pandemic.”

One shift in the market that Guru’s Caplan is eyeing is innovation in short-form content. “There’s an opportunity now for producers to test the waters by producing shorter formats as the starting point for new IP before attempting to fully finance it as a long-form series,” he says. “There’s also more opportunity now for distributors to leverage their catalogs not only with linear partners but with new AVOD platforms and FAST channels to maximize the potential for reach and revenue.”

On the heels of much M&A at Banijay in 2022, Dumont says there is the opportunity for more as the company looks to align with premium content creators across the globe. “We are always looking for new talent and IP that will complement our existing portfolio, and M&A is a strong way to scale up our offering,” she explains. “Investment in brands and commercial growth is also a key area of focus, and we are keen to maximize expansion opportunities for our IP.”

ZDF Studios is a coproduction partner and distributor of the Grisù reboot from Mondo TV Studios and Toon2Tango.

Guru Studio’s Pikwik Pack is available on Hulu in the U.S. and Treehouse in Canada.

ZDF Studios’ Pietzsch stresses the need for flexibility. “Some partnerships might not work like in the past, and some negotiations may become more difficult than they were before. Established business models will be challenged and might change, but there are also great new opportunities. So thinking outside the box will be our key premise for 2023.”

More specifically, building on ZDF Studios’ live-action slate is a priority, Pietzsch explains. “Live-action series for the tween and teen audience have been a major contributor to our success to date, and we are looking to invest even more into content for these audiences.”

Live action is also a focus at 9 Story, Wiseman observes. “9 Story launched its live-action division in 2019, led by Gráinne McNamara. Our new series A Kind of Spark will premiere in the U.S. and the U.K. in the spring and is based on the book by award-winning neurodivergent author Elle McNicoll.”

At Aardman, Taylor says there’s a new focus on investing in content specifically for digital services, “so we can license content to additional platforms, offering the audience a different viewing experience to the content they may find on more traditional platforms, for the same brand. This is taking the form of financing spin-offs, creating bespoke content through a dedicated digital and social production team at Aardman and acquiring content that would suit AVOD and FAST channels specifically. With the growth of the digital space, we’ve also recently hired a head of digital and strategic development, Laura Taylor-Williams. A further growth opportunity is focused on expanding our acquisitions business, headed by Robin Gladman.”

Digital-only opportunities are also key at 9 Story, Wiseman explains. “We are doubling down on our strategy with respect to how we manage our YouTube business, which features 96 channels, 100-plus managed brands and has reached over 12 billion views.”

She adds, “We’ve been pursuing ways to innovate from a technical perspective. We recently did our first test with a new games engine pipeline, with the idea that this would eventually live alongside our traditional pipelines.”

FAST TIMES

The continued growth in FAST channels will further “change the way the industry thinks about ‘linear’ television and discoverability for new and library kids’ brands,” says Caplan at Guru Studio. “We also expect to start seeing more YouTubefirst properties and brands making their way off the platform and into the hands of traditional broadcasters looking for premium versions of the characters kids already love. Broadcasters might begin experimenting with commissioning shorter, non-traditional formats, certainly as kids spend more time on

phones, laptops and tablets.” In addition, Caplan observes, “the rise of Roblox, Fortnite and the metaverse as new arenas to grow engagement for kids has become a world for brand building.”

With the continued demand for premium content, there is a shortage of onand offscreen talent, Banijay’s Dumont notes. “As a group, Banijay Kids & Family is fortunate to have scale, which means we have immense in-house talent and, where needed, can collaborate on projects. We also have an incredibly strong animation output, which mitigates some of the shortages more apparent in live action due to its adaptability to enable us to work with global talent remotely.”

Miller at Cyber Group Studios also cites the benefits of scale, noting, “We are well positioned with our studio acquisitions— A Productions in Bristol, Scrawl Animation in Singapore and Graphilm Entertainment in Rome—as well as our real-time animation studio in Roubaix. Our goal is to help those talented production companies create global series. The first results are very encouraging, as evidenced by the recent commission from the BBC for Digital Girl from A Productions in the U.K. and from Rai for Alex Player at Graphilm in Italy. On Alex Player, commissioned by France Télévisions, we are using our real-time animation pipeline to optimize production and, ultimate ly, the global quality of this breakthrough content with the support of our amazing Scrawl team.”

CONTENT SHIFTS

As for changes in what kids want and need in their entertainment, Taylor observes, “We are keeping an active eye on audio and music trends, by way of enhancing brand engagement, but also as specific content strands. What’s key is keeping on top of where the audience consumes content and the type of content they’re engaging with the most. Data analysis is key to this and is something that we’re constantly reviewing when it comes to development ideas and acquiring new content.”

Pietzsch at ZDF Studios says there is a pressing demand for shows that aid young ones in making sense of the world around them. “Although Covid is finally mostly under control in large parts of the world, there is a war in Ukraine, the highest inflation in decades, an energy crisis and natural disasters caused by climate change, to name a few. On top of the ‘normal’ problems children face as part of their growing up, there’s a lot to take in. It’s important to help kids understand and deal with these issues. Ideally, our programs will show children that they are not alone with their worries and fears, that other kids are facing the same problems and that there are ways to deal with them or maybe even make a change. With all the bad news, we want to send a positive message, educate kids and put things in context, but also empower children and give them a voice. In this respect, I believe that fantastical or magical themes will continue to be a trend, helping kids ‘escape’ from the harsh realities of their daily lives or the bad news of the day, giving them opportunities to dream, imagine, travel, go on adventures or explore—even if just virtually and only for a little while.”

Ultimately, Cyber Group Studios’ Miller notes, “While the global economy and kids’ content business are still in flux, we are optimistic that great storytelling will always prevail.”

Cyber Group Studios is tapping into its global network for Alex Player, with both Graphilm in Italy and Scrawl Animation in Singapore working on the show for France Télévisions and Rai.

OUR PLAYGROUND IS GETTING BIGGER!

TV KIDS PIONEER AWARD

Francesca Newington

boy- skewed. POP Max takes the content that previously aired on POP. We have a mixture of well-known franchises and new content across all three channels.

The past year has been a really tough year for the kids’ market in general, and that does include the free-to-air channels. However, POP has retained its number one position in the commercial kids’ market [in the U.K.], which we are delighted with. POP Max has bucked the downward trend and had an amazing second half of the year in 2022. Tiny Pop was the top commercial channel for kids aged 4 to 6 across 2021-22, but it is now falling back down in line with the kids’ market, which is to be expected.

Although it was a challenging year, and the market is tough right now, the important thing to remember is that linear TV is still the most preferred way for parents to find kids’ content. It’s such an important tool for them to have that easy, free, fully complied and guaranteed safe route, put together by kids’ content specialists. Also, sometimes there’s just too much choice out there and people want to be fed a curated feed—we’re there for that too.

But we don’t just have linear over-the-air channels. We’ve launched a FAST channel called POP Kids that’s available on Samsung TV Plus, and we’re rolling it out across other platforms this year. We also have the POP Player, which is our AVOD app. It’s just so important to diversify our brands and be accessible in as many places as possible.

TV KIDS: What’s guiding the editorial strategy across the three linear services?

By Kristin Brzoznowski

As the director of POP Channels at Narrative Entertainment in the U.K., Francesca Newington is working across the POP, Tiny Pop and POP Max linear channels, the digital AVOD service POP Player and the newly launched POP Kids FAST channel. She is looking after a programming mix that is anchored in marquee franchises and features shows with the vibrancy and energy needed to really “pop” within today’s competitive landscape. Newington is being recognized with the TV Kids Pioneer Award for her role in bringing top-tier programming to the POP channels and platforms and keeping those brands in pole position.

TV KIDS: Tell us about the positioning and performance of the POP channels in the U.K.

NEWINGTON: POP and Tiny Pop are available on national Freeview as well as Sky and Freesat and on Virgin Media. POP is for boys and girls, and its current average age is 8. Tiny Pop is aimed at upper preschool, and its current average age is 6. POP Max is for 6 to 8s, but it’s more

NEWINGTON: We have to have our big franchises as headliners to entice kids first and foremost. Those include Pokémon, Miraculous: Tales of Ladybug & Cat Noir, LEGO Friends, Barbie and PJ Masks. Those are pillars that support the rest. And in those gaps, we then schedule content with a similar tone and themes that we think are likely to resonate with our POP channels, which are funny and full of energy. Those lesser-known titles can then find their audience via the franchises that brought [viewers] into the channels in the first place. A good example of that would be Kung Fu Sock , which launched on POP in summer ’22, and that launched close to ALVINNN!!! and the Chipmunks because we found them to be very different propositions but thematically similar and with the same kind of energy.

We do also have to be heavy with stacking our content during holiday periods. It’s how kids consume content now—voraciously—and it minimizes dropout. So, we like to have movies and specials during holiday periods as well. They’re always a big draw and they rate well.

There are also pockets where we can cultivate new fans. So, for example, we’ve introduced a live-action block that features series such as Annedroids and The InBESTigators, as well as a new show that we commissioned called Swipe It with Joe Tasker. Those have launched really well, and they are bolstered by the more well-known brands.

We want to increase the digital feel of our channels so that we can broaden our reach and entice back viewers who may have left the kids’ TV space altogether. We also want to increase interactivity with our viewers—talk to them, feature them and include them within our channels as much as possible.

We’re working on simple things as well, such as clearer signposting, continuity and messaging. We’ve been introducing a new tone of voice in our on-air branding, which is a continuing project, and that includes introducing new presenters, which we’ll see more of as the year goes on. We [have brought on] a wonderful presenter for Tiny Pop. She’s full of energy and charisma. We’d like to feature her a lot more in 2023, providing that human connection to our younger viewers, which is really important and something that has been missing in the past on Tiny Pop. That connection and appeal to parents are very important to us, and we want to maintain the quality of the output and keep that positive parental response going and that desire to co-view.

TV KIDS: What do you keep top of mind when buying across the channels?

NEWINGTON: To start with, anything that pops; anything with that vibration to it, that energy, and anything that’s funny—it keeps them hooked in. Franchises are very important for us. Anything that already has built-in recognition and nostalgia that appeals to parents for co-viewing. We ask ourselves, Would you sit and watch that with your child? Also, we always look for content that has diversity embedded within it. It’s so important to reflect our audience within our content. There’s so much more out there now that fulfills that criteria and in many different and authentic ways. That’s positive to see, and it’s always front of mind for us when shortlisting content.

As for rights, we’re looking for content that can be used across all our platforms without limitations. With formats, we’re after all sorts. Alongside the usual 11 or 22 minutes, it could be short-form snackable content or longer-form movies, specials, anything for the holiday periods, and anything that could be used across all platforms is quite key for us.

TV KIDS: What are you looking for now regarding acquisitions across the brands?

NEWINGTON: Right now, we’re on the lookout for comedy, in particular, for all the channels. It’s really hard actually to find comedy in the upper-preschool space. We did a recent audit on Tiny Pop and found we really didn’t have anything that was an out-and-out comedy, fully laughout-loud funny, on the channel. That was quite alarming to see. I feel that there’s a real lack of comedy for younger kids out there. So that’s what we’re after for Tiny Pop, but also for POP and POP Max. POP Max has really found its niche with slapstick comedy. So, when we’re buying for POP, we also have to bear in mind if it is going to translate across to POP Max.

TV KIDS: What’s driving the move into co-productions and commissions?

NEWINGTON: It’s about survival at the end of the day. We recognize that if we’re going to be able to continue diversifying and growing our brands and to give access to all areas that they desire, we are going to have to have some ownership over the content in our catalogs so that we can do what we need to do with it. It’s that simple, really. It’s about survival and growth. We’ve already commissioned Swipe It with Joe Tasker, which is a live-action series. It’s current, involves challenges, reviews and interaction with kids, and it references our POP shows as well. We want to continue with more seasons of that. Also, we are looking for opportunities to become fully involved in the financing of new productions. The floor is wide open on this one still. It’s likely, though, that we may start with live-action formats due to the shorter production time. It’s an evolving project, so stay tuned.

TV KIDS: What have you learned about how and what kids are watching on the POP Player and the strengths of the AVOD model?

NEWINGTON: Originally, the POP Player only existed as a mobile app, and then at the end of 2020, it was rolled out across Freeview Play, YouView and Freesat. Since then, it’s had really amazing growth, triple-figure growth. So, going

Cyber Group Studios’ Gigantosaurus airs on Tiny Pop.

forward, we have a busy year of new platform rollouts and feature developments to grow users and drive engagement. Viewing habits on the POP Player don’t actually correlate with the viewing habits on linear. The most popular shows are the ones with the most episodes available, quite simply. The ones that have newly launched on air and are still finding their audience, on the POP Player are instant hits. That’s not surprising because all our messaging points to the POP Player, and VOD is often how kids find their content in the first place.

On the whole, we do get a really positive response about the player. The main issue is the volume of content that we can offer. This is what we’re working on now. It’s about fulfilling that need, and this feeds back to our rights issues for acquisitions. We need to provide kids with an option to binge-watch, which is what they expect. So, we are looking at what else we can do in the content space and to find those

rights. That could mean gradually changing up what we offer on air, or we diverge and provide unique content to the POP Player where we know we have the full rights that are available, but it’s not something that we would put up on the linear channel. This is something we’re giving a lot of consideration to this year. It is an opportunity to offer up something unique to the platform, and it also gives us more freedom to step outside of those rigid parameters of target demo and format as well. It gives us more flexibility with what we take. We can still retain the same messaging and tone of voice across all our platforms to keep them linked, but we’d like to offer something unique on each service.

Another thing to note is that the player isn’t just about watching content. You can also enter competitions. We have a POP Artpad tool as well, which is part of the mechanics of a lot of our competition entries. [Kids] can do a design on the Artpad, and the winning designs could go on to be seen on air. Also, we’ve just launched a birthday feature on the app for Tiny Pop, where you can upload your child’s photo and their date of birth and see them in a special birthday song on the channel on their birthday.

TV KIDS: What led to the launch of the POP Kids FAST channel?

NEWINGTON: The fact that it’s free ad-supported streaming TV, we generally have those rights available to us already within our contracts. We also have programming and scheduling teams in place, which means it’s quite an easy choice to make. It’s an opportunity for us. If it goes well, we might launch more. We’re looking at rolling out on other platforms, too. At the moment, it’s too early to say whether or not it’s the future for us, but having the performance data we get from the platforms is very useful. We’ll be able to make a decision on where to go next once we have a better understanding of the performance, the opportunities that are there for us and the value we think that it can add to the portfolio.

TV KIDS: Is there a strategy around using YouTube?

NEWINGTON: This is the year when we really want to focus on YouTube seriously. So, using it as a platform for discovery, but also for more than that. We’re currently assessing all our rights situations. We’ll then be focusing on growing our subscribers and providing lots more unique content that isn’t available on our other platforms. Until recently, we had not dedicated enough time to looking after YouTube. We didn’t have the resources, but now we do; we have a team in the U.S. who are working on a large-scale YouTube strategy across both our kids’ and our movie and entertainment brands. We also have a YouTube content lead in-house who is working closely with us to complement what we have on air, in the VOD space and in the kids’ space in general. We have big plans for growth across YouTube for this year.

The live-action offerings on the POP channel include Annedroids from Sinking Ship Entertainment.

True and the Rainbow Kingdom, from Guru Studio, is among the key brands for Tiny Pop.

TV KIDS: Since you’re buying across multiple platforms, talk to us about exclusivity and your view on this regarding rights.

NEWINGTON: We’re taking exclusive rights wherever we can, and we’re covering that broader usage across VOD. But on the shows that we love that are already elsewhere, we are now seriously considering different ways to approach things so that we can maximize our offerings on all platforms. Linear is important, but it’s not the only thing now. We take it on a case-by-case basis. Does it merit being a standout series on linear only or not? Should it be replaced by something that we would have to work hard at promoting and building up but would give us the breadth of rights we need now?

TV KIDS: What types of ancillary rights and content do you look for to give multiple touchpoints to a POP property?

NEWINGTON: We ask for any short-form content, digital games, character vlogs, outtakes—anything additional. We also ask for bespoke content such as continuity links, which could introduce a series, or character intros or even shoutouts to viewers or participation in the stunts that we put on air. For example, we did Tiny Pop Big Quiz, where we had Cookie Monster and True from True and the Rainbow Kingdom asking all the questions. It was really nice to have them featured in other ways than just in a show on the channel. We like to have exclusive money-can’t-buy prizes like original artwork, or if it’s a live-action show, then maybe a piece of the set or a prop—anything that can help with engagement across all our platforms.

TV KIDS: You had been with the POP channels in 2006 and saw them through to their sale to Sony Pictures Television, then rejoined the channels at Narrative Entertainment in 2021. What drew you back to working with these brands?

NEWINGTON: Firstly, I already knew them so well. That was a very good, positive thing and an easy decision, really. Also, as a group, they’re very entrepreneurial, take risks and dare to do things differently, which is exciting. No matter what ownership they’ve been under, that has always been the same. As an individual, you can have a big influence as well.

There’s a lot of autonomy, and you can be very reactive to new opportunities. It’s interesting every day; I work with every single department—from finance to legal to marketing, digital and creative—so the remit is very broad. There’s just so much scope for the POP brands still; there’s more that they can still achieve.

TV KIDS: Having worked on the production side of the business as well, what advice do you have for producers working in the kids’ industry today about the types of content channels want to program, kids want to watch and parents want their children to watch?

NEWINGTON: You have to ask yourself a series of questions about the content you’re making to help sound it out: Who’s it aimed at? Do you fully know and understand the audience that you’re trying to reach? That’s the first point. Is it a concept that’s fresh and unique or is it an idea that’s been around a long time and is being rehashed, meaning it’s less likely to stand out? Is it diverse? Is it representative of its audience? Is it produced to a good enough standard? Is it visually interesting or different to make it stand out? Does it have repeatability? That’s quite key for us. Would it work globally? (If you’re looking to sell it everywhere.) That would come down to the quality of the scripting, too, and the structure of the story. Does it feel genuinely authentic? With anything educational, it needs to be treated carefully so as not to come across as preachy; kids won’t stand for it. If you want parents to be watching with their children, then you put yourself in their shoes and ask if you would sit and watch it. Is it compelling enough? Can you see your child enjoying it with you?

TV KIDS: In a time when kids have so many options for how to watch content—and how to spend their time in general— how are you keeping the POP channels competitive?

NEWINGTON: It’s a really tough and competitive market, packed with amazing channels—and not just channels anymore. We’re so lucky to have all this variety in the U.K., and we’re simply using our knowledge of what kids are attracted to and providing them with the funny stuff, the franchises, the variety and the quality they would expect. We’re doing that as best we can, and we’re trying to remain current and emulate the trends that kids are tapping into in the digital world so we can stay in touch with them and be a part of their conversation. I think that’s the most challenging thing and is what we’re really working hard on doing right now.

TV KIDS: What are you most excited about, within your role at POP and in the wider kids’ content industry, as you look ahead?

NEWINGTON: It’s an ever-changing landscape. I attended my first Cartoon Forum in 2022, and it was amazing to see the breadth and imagination in the content coming down the pipeline—I was quite blown away. Kids these days are so lucky to have so much available to them. It’s such a buzzing industry. When I took some time out in 2017, I found I was really missing it, and I had a big desire to come back. The opportunities for what comes next in the kids’ space are huge and wide open, and I’m sure that the landscape will have changed drastically again by the end of this year. So, there’s never a dull moment.

There are a number of shows from DreamWorks Animation on the POP channels, including Trolls: The Beat Goes On!

TV KIDS: What have been some of the milestones?

HENSON: The Henson Digital Puppetry Studio is performed, real-time captured animation. We started investing in it in the mid-’90s, and the first milestone came when computers became faster and cost-effective, allowing us to develop digital puppetry in a meaningful way. We quickly saw the fun of integrating motion capture, so we started using performer pairs—one performer for the motion capture of the character’s body and the other for performing the character’s voice and face.

Today, we have a full, multi-camera, real-time studio where the result is 3D animation. All the performers, the director, the crew and the client can see what the animation looks like as we’re producing it.

TV KIDS: What does the art of digital puppetry deliver for a program that’s unique to its form?

HENSON: Animation that is performer-driven is a live performance being rendered as CG animation. That creates a unique type of performance because unexpected things can happen—much like on a live-action set.

Brian Henson The Jim Henson Company

By Kristin Brzoznowski

Whether it’s puppets, animatronic creatures or real-time animation, Jim Henson’s Creature Shop brings characters to life that are full of personality and expression. The shop continues to innovate its groundbreaking technology, the Henson Digital Puppetry Studio, which allows performers to puppeteer and voice beautifully rendered CG characters in real time. Brian Henson, producer, director, writer, puppeteer and chairman of the board at The Jim Henson Company, takes TV Kids inside the pioneering studio.

TV KIDS: Tell us about the ethos at the heart of Jim Henson’s Creature Shop.

HENSON: We’re entertainers at heart, so it’s part of the soul of Jim Henson’s Creature Shop to create charac ters—not special effects—that can deliver nuanced performances for our shows and our thirdparty clients’ productions.

TV KIDS: What role does innovation play?

HENSON: We often begin a production with a challenge that we have no idea exactly how we’re going to deliver, but we’re confident we can figure it out. And that’s where innovation comes in. We are always solving problems that no one’s ever solved. And we’re searching for the innovation that will solve that problem in a way that’s better than falling back on old techniques.

For example, our series Dinosaurs was so complicated because of the animatronics and long shooting hours for the performers. We realized if we could build a digital character and perform it like an animatronic character, it would be easier on the performers and allow us to create our unique approach to animation, the Henson Digital Puppetry Studio.

There’s a feeling of spontaneity that gives a realness to the characters. It doesn’t have the precision of keyframe animation. Instead, it has a looseness that’s more organic and, in our minds, a more delightful way to create and perform a character.

TV KIDS: How does it differ from other approaches to performed animation or motion capture?

HENSON: We are producing the final animation much more efficiently. We develop characters in their environments in advance, and then we’re in production—doing everything in that one production step just like you would in live action and jumping over all of the intermediate steps and extra work of traditional keyframe animation. While other motion-capture animation systems are creating characters and later deciding how to shoot it, we remove all that extra work and capture it all in real time—the movement, the lighting, the props, everything. There’s a great efficiency in that.

TV KIDS: What are some of the latest innovations?

HENSON: Most recently, we’ve been able to work with Epic Games to integrate their Unreal Engine into the real-time rendering of our whole system. Now, when we’re in production, our imagery is at full resolution, so we can incorporate real-time lighting, and the director of photography can adjust lighting in real time, and a finished (or nearly finished) animated product is coming off the floor. Since it’s CG, we can still make adjustments in postproduction if we want to, which is terrific. We’re getting the best of both worlds: the spontaneous performance of puppetry with the endless possibilities of CG animation.

tvkIDSSCREENINGS.COM

The only video portal for the kids’ media industry.

Our Playground is Getting Bigger

keeping kids safe—COPPA, GDPR-K—and we take that very seriously as an organization.

We are a leading AVOD channel, and Safe Streaming has created a movement. Now we’re all talking about kids being safe—something that we have always stood strong in our values about, just like we’ve always stood strong with co-viewing. We’ve grown in ways that have been beneficial not only for children but also creators and brand owners.

TV KIDS: How is content curated on Kidoodle.TV?

BISNER: Our catalog is over 40,000 episodes—and it grows every single day. We feel very fortunate that we get to work with so many great content owners and bring hit shows like SpongeBob SquarePants , PAW Patrol , Ryan’s World and Kids Diana Show to our audience. We are in a relationship when we make those deals because we want to be able to engage with what’s going on with the brand. It’s never been about slapping it up on the channel and hoping for the best.

Brenda Bisner Kidoodle.TV

By Kristin Brzoznowski

Av ailable in over 160 countries and territories on thousands of connected devices, Kidoodle.TV provides peace of mind for parents that their kids are Safe Streaming—a term the company coined and continues to stand behind. Every show on the AVOD service is vetted by people (not algorithms) who are committed to the Safe Streaming experience, and that’s also what the platform is looking for in the partners it works with. Brenda Bisner, chief content officer, tells TV Kids about opportunities in the kids’ AVOD space and plans to continue building out the Kidoodle.TV offer.

TV KIDS: What opportunities did Kidoodle.TV see early on in the AVOD market for kids’ programming?

BISNER: A Parent Media Co. (APMC) birthed Kidoodle.TV back in 2012, which was a very different time. It was with the idea that APMC would have many babies and Kidoodle.TV would be one of those babies. The thought process behind that was we believe, as a company, that kids deserve to have a safe place to watch content online. At that time, we saw a migration [of viewing] to areas that were not safe for kids, just fundamentally because of how they were made. Back in 2012, AVOD was an untapped market with limited attention in terms of the architecture of how those platforms were going to cater to children. So, we coined Safe Streaming, which are words that we own. We are a Safe Streaming channel for kids under 12, and we adhere to the highest letters of the law when it comes to

We’re making sure that it’s positioned correctly—from a visual standpoint to a content-selection standpoint. How long is the content? What’s the completion rate? Are we giving the audience what they’re looking for?

TV KIDS: How often is content refreshed?

BISNER: We’re launching anywhere between 10 to 20 new shows a week, depending on what those brands are. We just started launching movies, which is exciting for us. We look forward to our launch days because we’re working with our partners not just on deals to deliver but, of course, on social cross-promotion. We love brands with a social strategy. It is important to us, and we ask a lot about that because we want to make sure that people know what’s on Kidoodle.TV.

Then, once we go live, our partners get access to our back-end analytics portal, called “Backstage,” which provides transparent access to content performance and a variety of other reporting tools. It’s the daily heartbeat, so our partners can actively participate. The transparency and honesty, the quality of revenue that’s coming in, are something we really put a lot of effort behind. Backstage was built for our partners. We’re the only AVOD channel to have something like this (outside of another large AVOD channel).

TV KIDS: What are the latest developments with original programming?

BISNER: Originals are so much fun. We just launched a show called What’s the Word? It is in Spanish and French. The fun part is that we are actively producing and launching interactive content on our AVOD channel, and this is something you’ll hear a lot more about. “Interactive” is a word that’s circulating in the business (just like the word “FAST” is). With interactive, we see that the completion rate and viewership are a lot higher. Viewers are not just passively watching the content. As we work to acquire content that is completed, we want to be able to bring our interactive components and other ideas to the table that can further advance the engagement of the audience with the content that they’re seeing.

TV KIDS: What’s guiding the acquisition strategy, and what’s on your wish list?

BISNER: Everything! Number one: partnership is the name of the game. We want partners that care about what we’re doing. We want partners that have seen Kidoodle.TV, that know what Kidoodle.TV is, that know what they’re engaging in—deals are relationships. It’s about the children, and it’s about Safe Streaming and how seriously we take that— and we want that commitment from our partners.

Completed content is a top priority. We do not gap finance; we do not co-produce. We’re not going to come to the table and save the day on some old-school businessstructure models we’ve seen in the past. We’re looking for content that you have ready to go and that has a proven audience around it. It is also important that there is a social media strategy. There’s a lot out there in the marketplace; a lot of channels, a lot of content. How are you going to get to the front? That thought process really benefits our brand owners when they have [a social or promotional strategy], especially if they’ve got their content in other places. The packaging of that content—what makes it different? If it’s everywhere for free, why should people care about that?

From a brand-owner perspective, I’m always encouraging partners to look at what they have, how they can package it and what their visuals are to engage the audience.

We look for non-exclusive AVOD rights, and we have a 30-day-out clause (or what I call a break-up clause), if that’s necessary. It’s not something that we exercise a lot because our partners are always happy with us. Come to the table with a clear package of what it is and how much of the world is available because we do seek worldwide [rights], though we can geo-block within reason.

One of the special things for us is we know that our sweet spot is about nine to ten minutes in length. Shorts are something that we don’t see a lot of completion rate on, oddly enough, and the longer content does better; it keeps the audience more engaged.

TV KIDS: In looking at the massive industry shifts and the impact on creators, how can Kidoodle.TV disrupt the status quo?

BISNER: It’s very difficult out there for creators right now. The industry is undoubtedly in a major shift. We are listening to that and embracing creators in the way they need right now. Creators are struggling, and it’s something we have to talk about.

We’re very much a place for content to launch. We’re in a position where we have a large audience, we’re a

channel that people are coming to, and we do good in the world. We’re looking to work with creators in a lot of different ways this year because not only do we believe in them, we think that they’re incredibly important. It’s a special talent to create content for kids and do wonderful things to entertain [them]. What a gift they all have! So, we’re looking at the marketplace. We’re showing up. We’re listening. We know that we are a new revenue stream for a lot of people, and we’re constantly keeping our focus on what’s next and what more we can do as an organization. We know it’s difficult out there for creators, and we know it’s necessary to find solutions.

TV KIDS: Tell us about the social impact work and philanthropy Kidoodle.TV is involved in.

BISNER: We are so grateful that we’ve been able to grow to a position where we can now do more than just offer Safe Streaming. Last year we cleared lists from teachers and classrooms so kids could have the supplies that they needed. We planted over 101,000 trees, which is great for our environment. We fed a lot of families. There are a lot of people suffering and making decisions around heat or food or gas—those are difficult decisions that we are looking to help with. As an organization, that’s important for all of us. A philanthropic tie-in to any brand is also inspiring and powerful and sets it apart. If there’s something about that brand that’s going to do more than just entertain but also give back and do good in the world for kids, that is the ideal.

Kidoodle.TV has a catalog of more than 40,000 episodes and is available in 160-plus countries and territories.

ADVENTURE AWAITS

Behind the scenes of Zodiak Kids & Family Productions UK’s Silverpoint.

By Kristin

Brzoznowski

The sci-fi adventure series Silverpoint follows a group of kids at camp who stumble on something buried in the woods that sends their lives spiraling out of control. The story originated from an idea by Steven Andrew and writer Lee Walters, and their collaboration resulted in an original live-action sci-fi drama about the mysterious disappearance of four children and the quest to discover what happened to them. “It’s a compelling and richly textured story that is unlike anything else currently in the tween space,” says Cheryl Taylor, creative director at Zodiak Kids & Family Productions UK.

Zodiak Kids & Family Productions UK’s partners on the project include BBC Children’s and ZDF/ZDF Studios, as well as Hulu and Northern Ireland Screen. “Our partners all have a genuine commitment to original and imaginative live-action drama series that offer something different to a young audience,” Taylor says. “We shoot Silverpoint in Northern Ireland, and it’s invaluable to have local expertise, knowledge and support.”

The show has been referred to as a U.K. cousin to Stranger Things, a comparison that Taylor is proud to accept. “There’s no doubt that interest in sci-fi has had a boost from the huge success enjoyed by the fictional inhabitants of Hawkins, Indiana! Silverpoint skews a little younger with its storytelling, but there are common themes around the compelling characters, the power of friendship, courage, curiosity and otherworldly adventures.”

Season one was well-received and was nominated for best scripted and best writer at the BAFTA Children & Young People Awards 2022. “Silverpoint is very different from other shows for 6 to 14s, and audiences loved the complex sci-fi mystery at the heart of the action,” Taylor says. “As well as the personal journeys our four misfit characters go on, they ultimately come

together as a family of friends. Their resulting loyalty is beautifully played out and was a strong draw for audiences.”

She also highlights that Walters’ writing is “full of remarkable twists and turns, and the many cliffhangers have kept audiences, including older family members, hooked.”

Walters expanded the cast in season two, with the four protagonists sharing the spotlight (as well as several new physical and cerebral challenges) with a group of fellow adventurers. “The narrative of season one was embellished with the unleashing of gigantic robots and wayward dinosaurs, and the second season delivers equally thrilling visual effects and encounters with magical creatures,” says Taylor. “Just at the moment when our protagonists, Team Dragonfly, think they’re going to find answers to the crucial questions posed by the first season, they’re presented with an even more complex mystery—one that bestows great responsibility on their young shoulders and makes their search for the truth ever more pressing.”

The draw of the series is universal, Taylor says, as “all kids love intrigue and adventure, and science fiction offers some of the biggest mysteries of all—alien encounters are a tantalizing prospect! At the same time, our protagonists are dealing with individual issues that reflect the personal challenges that many kids experience. For young people to find themselves authentically reflected (and brought to life by a supremely talented cast of young actors) in such an exciting and unique sci-fi arena is a genuine thrill.”

Seasons one and two are accompanied by the online Silverpoint: The Game , offering fans an immersive playalong experience of the complexities and various challenges faced in the show. There is also a community on the show’s dedicated social channels and YouTube.