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FEBRUARY 2024 EDITION
2024 Trend Watch / TV Kids Pioneer Award: Sky’s Lucy Murphy CAKE’s Ed Galton / Cyber Group Studios’ Raphaëlle Mathieu
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CONTENTS
Getting Crafty
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 Daphne Menard Bookkeeper
Ricardo Seguin Guise President Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development TV Kids ©2024 WSN INC. 401 Park Avenue South, Suite 1041, New York, NY 10016, U.S.A. Phone: (212) 924-7620 Website: www.tvkids.com
FEATURE
16 WHAT’S NEXT? Amid drastic changes in the kids’ media landscape, several leading IP owners offer insights on navigating the year ahead.
From coming up with complex multi-territory financing agreements to deducing how to make money out of the creator economy to devising the best strategy to get a discerning young viewer to watch your show, buy the T-shirt and download the game, the kids’ media industry has an awful lot to navigate in 2024. Those were all, of course, things you were navigating in 2023, but this year comes with the added complication of a challenging—to say the least—economic climate, risk-aversion and a plunge in the number of commissions. Budgets are under pressure, as are advertising and subscription revenues. FAST presents a lucrative opportunity, but it’s not the easiest space to make an impact in, especially as the market is still maturing internationally. And, of course, there’s the metaverse, which isn’t the easiest space to make an impact in either. And yet, children’s media executives, while understandably concerned about what 2024 holds, will be tapping into a long tradition of creative problem-solving to manage the ups and downs ahead. That was the overarching theme of my survey of the state of the business in this edition, alongside the returning tropes of the value of known IP, having an always-on strategy and making sure that content reflects and speaks to the realities that children are facing today. It’s a recurring theme you’ll hear across the 15-plus sessions we have assembled for our fourth edition of the TV Kids Festival. Our latest virtual kids’ conference touches upon all the subjects that are weighing on IP owners’ minds today. Our trademark programmers panel hears directly from leading buyers and commissioners. We spotlight YouTube strategies and the creator economy, financing models, the challenges and opportunities in working with public broadcasters, incorporating STEAM and socialemotional learning in content, discovery and so much more. The festival will also deliver valuable insights from three leading executives featured in this edition of TV Kids. Lucy Murphy, recipient of the TV Kids Pioneer Award, discusses the success of the Sky Kids channel, a performance that speaks to the continued value of linear broadcast for young viewers and their families. CAKE CEO Ed Galton shares his expertise on brand-building and windowing. And Cyber Group Studios COO Raphaëlle Mathieu discusses how the company is focusing on innovation as it brings its shows to audiences across the globe. —Mansha Daswani
INTERVIEWS
22 Ed Galton CAKE
24 TV Kids Pioneer Award: Lucy Murphy Sky
30 Raphaëlle Mathieu Cyber Group Studios
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Shasha & Milo
Banijay Kids & Family Shasha & Milo / Moominvalley / Silverpoint Banijay Kids & Family’s comedy action series Shasha & Milo, from Zodiak Kids & Family France and Pingo Entertainment, debuted in South Korea in 2023, as well as in the U.K., Canada and Latin America. “It’s hugely exciting and a testament to the creative teams involved to have such success with an original IP,” says Delphine Dumont, chief commercial officer of Banijay Kids & Family. The company also represents Moominvalley, inspired by the stories of Tove Jansson. “It is such a well-known brand, with some of the best talent in the industry behind it,” Dumont notes. With the sci-fi adventure drama Silverpoint, “its scale and high-end production values make it appealing to a wide demographic, and the thrilling storylines keep audiences on the edge of their seats throughout the two [seasons],” says Dumont.
“We have an extremely healthy pipeline of world-class entertainment, from original IP to well-known brands.” —Delphine Dumont Deadly Mission Shark
BBC Studios Kids & Family Rafi the Wishing Wizard / Deadly Mission Shark / Popularity Papers A BBC Studios Kids & Family original, Rafi the Wishing Wizard centers on Rafi, Dash, Jake and their family cat. They run a bakery in an ordinary town, but the Martins are not an ordinary family; they are modern-day wizards. “Rafi is a brand-new magical series with stories that reflect everyday situations but with a magical twist,” says Katharina Pietzsch, VP of content sales. “It has great storytelling, relatable characters and oodles of magical fun.” Made by BBC Studios Natural History Unit, Deadly Mission Shark sees Steve Backshall take ten young trailblazers on an oceanic adventure to protect the future of sharks as they come under threat of extinction. Popularity Papers is set in a Canadian middle school yet deals with issues that affect school-aged kids across the globe. Pietzsch says the show is “full of humor and heart.”
Boat Rocker
“We have some really exciting new liveaction and animation projects fresh from our development slate to talk to partners about.” —Katharina Pietzsch
Daniel Spellbound
Dino Ranch / The Next Step / Daniel Spellbound Leading Boat Rocker’s kids’ slate, Dino Ranch combines preschoolers’ love of dinosaurs and cowboys. The newest season centers on construction and features three seasonal episodes, new dino friends and more diverse characters. The tween drama The Next Step, now in its ninth season, follows the trials, tribulations and triumphs of the dancers at The Next Step dance studio. In Daniel Spellbound, the titular character tracks down magical ingredients for sorcerers. “These shows involve some of the top passions of young people worldwide— dinosaurs and the Wild West, magic and sorcery, dancing and music—while featuring universally relatable themes of teamwork and togetherness, friendships and family groups, all explored with heart and humor,” says Gia DeLaney, senior VP of global sales for kids and family at Boat Rocker Studios.
xxx
“All of the shows revolve around personable and empathetic characters.” —Gia DeLaney
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CAKE The Guava Juice Show / So Awkward Academy / Total Drama Island CAKE has on its slate The Guava Juice Show, a YouTube original produced by Mainframe Studios and Studio71 that stars Roi Fabito, YouTube superstar and creator of the hit Guava Juice YouTube channel, which has over 9 billion views and on which the series is based. There’s also the schoolbased comedy So Awkward Academy, produced by Channel X North. Ed Galton, CEO of CAKE, bills it as “a smart, funny comedy series with likable characters and hilarious storylines.” Total Drama has returned to the island in the reboot of Total Drama Island, currently premiering on CBBC in the U.K. “The first animated reality series for tweens and now a multi-award-winning franchise in its 12th season, Total Drama continues to entertain and delight fans all around the world,” Galton says.
The Guava Juice Show
“The Guava Juice Show models universal values of compassion, curiosity, confidence, loyalty and the irreplaceable value of best friends.”
Cyber Group Studios
—Ed Galton
Press Start!
Alex Player / Press Start! / Gigantosaurus Cyber Group Studios has revealed the first trailer for Alex Player and anticipates having the first episodes ready in March. Targeting 6- to 10-year-olds, the show features Camille, Amy and Mike, who founded the Mongooses esports team. When they need to replace their captain, they meet Alex, a passionate and charismatic football player who is super gifted. He shows the qualities of a real captain: courage, perseverance and team spirit. The 52x11-minute Press Start!, a Peacock original animated series, will have its first episode ready soon. The show, for 4- to 7-year-olds, is based on a best-selling book series. Meanwhile, a fourth season of Gigantosaurus recently launched. “One of preschoolers’ favorites is returning with new exciting adventures,” says Raphaëlle Mathieu, COO of Cyber Group Studios.
“We are happy to meet with our partners by Zoom or hopefully live, whether in San Diego or locally, as I am going to travel.” —Raphaëlle Mathieu
Guru Studio Big Blue / 123 Number Squad! / True and the Rainbow Kingdom Big Blue, a highlight from Guru Studio’s catalog, shows what it means to be part of a tight-knit family and demonstrates the importance of caring for the planet and each other. In 123 Number Squad!, the characters use numbers, counting and shapes to become a rescue team. “This fun and fast-paced educational adventure series allows preschoolers to learn and laugh as they go while also exploring key social and emotional development themes such as sharing, resilience, teamwork and friendship,” says Jennifer Oppenheimer, international sales and licensing manager. In True and the Rainbow Kingdom, another series on offer from Guru Studio, “True 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,” Oppenheimer explains.
123 Number Squad!
“Our focus as a studio continues to be transforming ideas into captivating animated stories loved by audiences all over the world.” —Jennifer Oppenheimer
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HARI Grizzy & the Lemmings World Tour / Mystery Lane / The Weasy Family HARI has on offer a fourth season of the slapstick comedy Grizzy & the Lemmings World Tour. As Grizzy and the Lemmings travel the globe, the series “continues to drive impressive ratings around the world with kids and preschoolers, boys and girls alike,” says Sophie “Kido” Prigent, head of distribution. Also available, the adventure comedy series Mystery Lane has “feature-quality CGI animation with sophisticated storytelling,” Prigent says. She describes it as “Scooby-Doo meets Sherlock Holmes,” as a sister-and-brother hamster duo solves mysteries around London that even Scotland Yard cannot. Another slapstick comedy, The Weasy Family features a heartwarming narrative about a weasel and the twin ducklings he adopts after accidentally incubating their egg.
Mystery Lane
“We look forward to meeting our partners and discussing the numerous opportunities for our shows in production and development.” —Sophie “Kido” Prigent
Mattel Television Studios Masters of the Universe: Revolution / Hot Wheels Let’s Race / New Barbie content The legacy Mattel brand He-Man and the Masters of the Universe is returning with Masters of the Universe: Revolution. As the sequel to 2021’s Masters of the Universe: Revelation, the series follows an all-new story and sports a voice cast of Mark Hamill, William Shatner, Keith David, Chris Wood, Melissa Benoist, Lena Headey, Meg Foster and more. Hot Wheels Let’s Race is also upcoming, following the newest generation of racers as they put the pedal to the medal. All-new animated Barbie content is also set to debut through Mattel’s partnership with Netflix. “The past few years have shown us just how much excitement there is around our brands and how universally powerful stories derived from them can be,” says Michelle Mendelovitz, head of Mattel Television Studios.
Barbie: A Touch of Magic
“With both the nostalgia and timelessness associated with our brands, Mattel content resonates across generations and is relatable to audiences all over the world.” —Michelle Mendelovitz
NBCUniversal Global TV Distribution Fright Krewe / Megamind Rules! / Superbuns NBCUniversal Global TV Distribution’s Fright Krewe, from DreamWorks Animation and created by actor-filmmaker Eli Roth and writer-producer James Frey, follows five unlikely high school friends with superhuman abilities bestowed upon them by spirits. When the group accidentally unleashes evil into the world, they must learn to put their differences aside and work together. In the new Megamind Rules! series, former villain Megamind returns and works to protect Metro City and its citizens. Superbuns, based on the popular children’s picture book, “shows viewers how cool and fun it is to be kind, encouraging them to be loving and supportive of their peers, increasing the likelihood of them becoming compassionate, empathetic adults,” says Chloe van den Berg, senior VP and head of kids and family entertainment sales.
Superbuns
“Superbuns is filled with physical gags in a ‘squash and stretch’ 2D animation that will delight young viewers and grown-ups too.” —Chloe van den Berg
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Mermicorno: Starfall
Thunderbird Brands Mermicorno: Starfall / BooSnoo! / Mittens & Pants Thunderbird Brands’ Mermicorno: Starfall is set to deliver in 2025. The comedy, for kids ages 5 to 9, features “incredible storytelling, fantastical settings, cool heroes and beautiful animation,” says Richard Goldsmith, president of global distribution and consumer products. The company has also acquired global rights to BooSnoo! and Mittens & Pants. BooSnoo!, a dialogue-free series that tracks a little red ball through an exploration of engaging landscapes, machines and rooms, is made to appeal to both neurodiverse and neurotypical children. The live-action Mittens & Pants, starring Mittens the kitten and Pants the puppy in the all-animal town of Kibble Corners, has been launched in North America and key markets in Europe and Asia. The show has “been a standout performer on platforms around the world,” adds Goldsmith.
“We are excited about the potential of all these series to become hits with kids and global brands.” —Richard Goldsmith
Wind Sun Sky Entertainment Future Chicken and the Planet Protectors
Future Chicken and the Planet Protectors
Wind Sun Sky Entertainment’s focus is bringing Future Chicken and the Planet Protectors to market. “Future Chicken was created to address the growing eco-anxiety and ‘climate doomism’ kids face today when it comes to the future of the environment—addressing it with humor and positivity,” says Catherine Winder, CEO, executive producer and founder. It features Potato the Chicken (aka Future Chicken) and her planet-protecting companions. The brand launched at the end of 2023 “with a flywheel of content that spans a comprehensive YouTube presence with over 120 pieces of short-form content, a YouTube series, a podcast, Roblox experiences, a website and more,” Winder says. The next step is to build on the momentum with a series that provides a deeper connection to the Future Chicken universe.
“Humor is Future Chicken’s secret sauce, leaning into character-driven comedy as a way to deliver kids’ environmental content.” —Catherine Winder
ZDF Studios Dino Mite / Klincus / Clan ZDF Studios’ Dino Mite follows Dino, a young dinosaur, and Lucy, a headstrong cave girl, as the pair navigates childhood together. Based on Ute Krause’s children’s books, the series explores themes of friendship and acceptance. Klincus, set in a magical world in the heart of the Great Forest, features a young orphan who escapes from an industrialist factory to a secret town where he finds refuge. “Klincus holds significant international appeal for the global marketplace due to its universal themes of nature and balance, timeless exploration of the clash between modernity and tradition and visually captivating steampunk fantasy world,” says Oliver Grundel, Director Junior. Clan is based on a Luigi Garlando novel that deals with the hardships of underserved teenagers. ZDF Studios is also looking for partners for Dougie Dolittle.
“At the core of our mission is the cultivation of long-standing partnerships worldwide.” Dino Mite
—Oliver Grundel
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Banijay Kids & Family’s Totally Spies!
WHAT’S
NEXT? I
Amid drastic changes in the kids’ media landscape, several leading IP owners offer insights on navigating the year ahead. By Mansha Daswani
t can’t be ignored: children’s programming executives are starting this year with a heightened sense of anxiety, not unlike how they began 2023. Indeed, the warning signs for the sector emerged in 2022, but it was last year that almost everyone in the ecosystem started to feel the pinch. You can blame YouTube or gaming, the ad crunch, the cost-of-living crisis or the streamers shifting their priorities. Or perhaps the post-Covid bubble just had to burst eventually. And it did. In October, Ampere Analysis released some sobering data about the kids’ sector: global commissions of kids’ shows were down 48 percent since February 2022. “Last year was certainly challenging for the industry, with margins being squeezed across the board,” says Delphine Dumont, chief commercial officer at Banijay Kids & Family. “It’s a tough economic climate, but content demand is still high, and I believe our creativity and talent will prevail. As
budgets tighten, broadcasters and streamers can become more risk-averse, which often leads to a slowdown in commissioning, particularly of original kids’ IP, as brands with established audiences can be seen as a safer investment. And fragmenting audiences makes reaching target viewers more challenging.” Oliver Grundel, Director Junior at ZDF Studios, also highlights the slowdown in content expenditures as a challenge the sector is working hard to overcome. “Falling advertising and subscription revenues for private broadcasters and streamers, as well as acceptance and funding problems for public broadcasters in Europe, led some of our customers to freeze their budgets or to invest very cautiously.” There are other factors at play, Grundel notes. “The distribution market went through a period of upheaval and consolidation, characterized by streaming providers reducing their investment in content, layoffs and restructuring among
00 WORLD SCREEN 10/23
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Törtle is an animated comedy for kids 6 to 9 on offer from ZDF Studios.
business partners. As a result, we had to review the financing of certain programs due to the withdrawal of partners. We have also seen a noticeable decline in sales of our programs to streamers.” Katharina Pietzsch, VP of content sales at BBC Studios Kids & Family, adds: “Rising costs and shrinking budgets continued to have a major impact on the business last year. There was less willingness to be adventurous or take risks, so we saw buyers and commissioners leaning toward well-established IP and big brands. The impact of the writers’ strike was also felt with a slowdown in new content, and there was a stop to, or at least caution around, big spending commitments. We saw fewer full commissions and a rise in co-productions.”
WHERE’S THE MONEY? Funding models are evolving, notes Sophie “Kido” Prigent, head of distribution at HARI. “In some ways, it’s a choice; in other ways, it’s inevitable because of market disruption. We invest more and use our own capital because pre-financing investments account for less than they used to. Some solutions are easily identifiable, such as the reduction of costs. However, because we produce premium content, we must invest to retain high quality and generate other revenue streams to compensate and mitigate business risk.” Given the market disruption, being adept at the coproduction model—knowing how to cobble together the financing from multiple sources—is beneficial. “Broadcasters, studios and production companies are forming strategic partnerships to share the financial burden and risk,” says Grundel at ZDF Studios. “Forming alliances with like-minded partners is becoming increasingly important. At the same time, there is a growing willingness to rethink existing financing models and rights distribution strategies to ease budget constraints. Rightssplitting, co-exclusivity, shortening holdbacks and windowing are being explored as viable alternatives.” Pietzsch observes, “We know the different levers to pull and can draw on our skills to enable projects to get off the ground. It has been more challenging and has perhaps taken longer than usual, but it hasn’t been completely impossible, so we are happy to say we have a few new projects in the pipeline.”
At Banijay, Dumont says that traditional financing models are still in play for linear commissions, “but each show is different, and it feels like the whole industry is open to creative and new financing solutions to get a brilliant project to fruition. We are seeing greater flexibility and collaboration between international broadcast partners.” Indeed, the single global commission is few and far between these days, Pietzsch notes, “so funding models are more complex. The new trend is ‘patchwork funding,’ which is becoming more significant in enabling you to kick-start a project. Finding the right partners, though, is crucial. You have to be aligned editorially and be open and transparent from the beginning about what you want and expect. There are always challenges, but having a partner with the same creative vision makes it easier to find a middle ground when you hit any bumps in the road. Having international partners on board can also help to enrich the content with diverse cultural perspectives. This can make it more editorially appealing because it can travel, so it is more attractive to buyers.”
FINDING A HIT Being appealing to a content buyer is one matter—striking a chord with a young viewer who has a million other options at their disposal is another entirely, leaving the whole industry trying to come to grips with the discoverability conundrum. “We are taking a holistic approach to our content strategies, building audiences through a multiplatform approach across digital platforms and consumer products,” says Dumont. “The trick as an IP owner is to balance each commissioning platform’s needs for exclusivity while retaining control over the digital and commercial rights. It can be a juggling act, but we are confident that finding the right platform mix for the IP and its target audience is hugely beneficial for all our partners.” For Pietzsch, the key to discoverability is to “follow your audience, ensuring that your content is across multiple touchpoints. You need great visuals that instantly grab attention, which is slightly easier for animation than it perhaps is for live action, and the content has to be distinctive. For existing IP, it’s about taking a systematic approach. It used to be that you would create linear content and subsequently put it on YouTube. But that is too simplistic now. You need different tactics for different platforms, media and territories, and for your content to be consistently visible. And because kids are the vanguards of change, this ‘always-on’ approach needs to evolve with them.” At ZDF Studios, Grundel says that the approach to the discoverability challenge has been “comprehensive and dynamic. To ensure broad visibility, content is strategically distributed across a variety of channels, including our platforms such as ZDFmediathek, the ZDFtivi-App and KiKAPlayer, as well as partnerships with third-party platforms, VOD services, streaming platforms and technology providers. This approach accommodates different media
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BBC Studios Kids & Family’s Hey Duggee is now in its fourth season.
consumption habits and captures children’s attention across platforms. Personalization algorithms enhance the discovery experience by tailoring content recommendations based on individual viewing habits and preferences. Crucially, our stars are the programs themselves. Rigorous maintenance of rich metadata and strategic SEO marketing ensure that our content is effectively discoverable. Collaborations with popular platforms and streaming services extend our reach and place our content where kids are actively engaged. Cross-promotional strategies within our content portfolio effectively promote new releases or lesserknown shows within our established programs. Active engagement on various social media platforms builds community and excitement around our content. Innovative marketing campaigns, such as teaser trailers and exclusive sneak peeks, aim to capture the attention of our target audience. Establishing feedback loops allows users to provide insight into their preferences, enabling us to adapt our content strategy to evolving tastes.” HARI’s Grizzy & the Lemmings has established a significant presence on YouTube, and the leading video platform for kids remains at the heart of the company’s brandbuilding strategies. “A new partner will be announced that will enhance our YouTube exposure and strategy,” Prigent says. “We will continue to grow our distribution channels, still relying on traditional pan and local linear broadcasters that provide guarantees in terms of reach.”
ALWAYS-ON Building brands and “amplifying our IP across multiple platforms and sectors” are among the mantras at Banijay for navigating the year ahead, Dumont says. “With budgets squeezed, we are more focused than ever on leveraging our portfolio in other areas such as digital and licensing.” Pietzsch at BBC Studios is encouraged by the sustained interest in high-quality content and the ability for compelling IP to still resonate with commissioners. “The effects of the strikes on the global content lineup could provide new opportunities. We are looking to explore unscripted, game shows and entertainment, which have a faster turnaround time than animation and live action,” she adds. “We are also dipping our toe in FAST and AVOD with recent sales of Hey Duggee in the U.S.” ZDF Studios’ Grundel, too, is feeling cautiously optimistic. “We are pleased that we have been able to maintain our revenue and the number of projects in development during the
past few difficult years. We do not know how long the difficult economic situation will last. However, we hope that the streaming platforms, in particular, with whom we have successfully implemented major projects in recent years, will soon complete their consolidation phase and once again make significant financial contributions to our international co-productions. Our positioning allows us to respond flexibly to market conditions. Recent months have shown that we are wellrooted in alliances with traditional broadcasters and can withstand challenging periods. We will continue strengthening and maintaining our alliances, especially with European public broadcasters.” Direct-to-consumer is a key focus, Grundel notes, via the Pash brand, and ZDF Studios is closely monitoring the FAST space. “So far, we have been cautious because the monetization models have not convinced us. In addition to the framework agreement between ZDF Studios and Samsung TV Plus, which will also be filled with children’s content, we are in promising discussions and could consider becoming more actively involved. We are also keeping an eye on new social platforms such as Roblox. With our brand H2O—Just Add Water, we have a promising pilot project underway, which we will analyze throughout the year and possibly expand with additional themes.” Prigent notes that HARI remains focused on the longterm view as it navigates the current market disruption. “Because of our long-term editorial strategy, we are doubling the size of our studio, producing twice as many shows and increasing our talent pool. Our IPs are crafted with a 360-degree exploitation in mind. Admittedly, the traditional linear market has slowed down, but we’re also counting on the diversification of incomes with the growth opportunity in licensing and merchandising, for example.”
IN THE KNOW And while everyone is always looking to champion breakthrough new ideas, an emphasis on known IP and finding new ways to cut through the clutter will be top of mind as executives look for the best ways to ride the waves of the shifts in the landscape, both the blips and the more enduring ones. “I think highly recognizable IP will continue to flourish,” says Dumont. “Nostalgia and the familiar help shows stand out in a crowded market. They can be hugely valuable marketing assets for our partners, bringing large audiences to their linear and on-demand services. However, where that IP originates continues to evolve, with strong kids’ brands emerging from publishing, gaming and social platforms. I hope our industry continues to drive positive change in 2024 through the shows we create. We must keep striving to tell and produce stories responsibly, with a cross-section of representation both on- and off-screen, and multifaceted stories that reflect modern society.”
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and HBO Max, but we also had the opportunity to put the show on Netflix. We noticed that when it went on Netflix, the viewing figures went up on HBO Max. We can also help brands by placing content on multiple platforms. TV KIDS: What benefits does CAKE’s distribution business derive from a greater willingness to share rights? GALTON: There’s a give and take on everything. I’ve been an advocate of non-exclusive rights for as long as I’ve been doing this. Especially in the kids’ business, the need for content to be everywhere is really important. Where the market is a little bit different now is that we’re finally seeing a willingness to share more than ever before. Part of that has to do with the economics. Platforms are saying, if we can pay less, but we can share windows, that’s a win for us, and it’s a win for you. Is it a win for us, economically speaking? Maybe a little bit, maybe not; that’s still yet to be determined. But if the show we’re putting on the platforms can be more successful as a result, then that’s the win. We’re seeing more of that happen now in the economic downturn than in the past. People are starting to see the data, and it supports the idea that they don’t really have a degradation of audience by having these non-exclusive rights with particular brands.
Ed Galton CAKE By Anna Carugati
he CAKE catalog features a mix of established IPs such as the Angry Birds and Total Drama franchises and original shows like Pablo. While known brands may be easier to place in today’s challenging market, the company remains committed to championing fresh, original ideas that it falls in love with, and that includes an emphasis on shows that have diverse talent attached and at their heart. Ed Galton, CEO, talks to TV Kids about the company’s brand-building strategy.
T
TV KIDS: Can you give examples of how you have been building and maintaining brands in today’s market? GALTON: It’s about finding the right platforms and broadcast partners to work with to help champion the show. We can do so much on our side, but then it’s really what our broadcast partners can do with those projects and how they help them sustain a life with their audience. We can give them as much ammunition as possible to help them succeed. That’s generally in delivering a really good show that has great storytelling and characters. Ultimately, we must figure out how to connect with the audience. We’re always working with the broadcast partners to help them do that, but we’re also finding that in this new world, where you can share more, putting the shows on multiple platforms allows for greater success. An example of that is when we sold Lucas the Spider to WarnerMedia. We were able to share those rights not only with Cartoon Network
TV KIDS: Do you see opportunities in AVOD, FAST and gaming? GALTON: It’s early. I know everyone’s excited about being in the FAST channel space. If you talk to people in other genres, they’re seeing a better return. The advertising market hasn’t matured enough yet. While there are going to be opportunities, and I’m a big believer in the AVOD space, I don’t think it’s provided the type of return we would hope for so far. I certainly wouldn’t want my business model to be reliant on AVOD revenues. Moving down the line, once it matures, it’ll be an interesting business. We’re looking at the gaming space more. We understand the power of Roblox. We’re trying to figure out how our content can live on that platform. The challenge is how do you monetize that? How do we turn that into a meaningful business? We are having some conversations in that space, but they’re still in their infancy. TV KIDS: How has CAKE been embracing diversity in its storylines and through the talent it works with? GALTON: That’s an area we’ve been strong in for some time now. We’ve worked on shows like Pablo, which we fell in love with. It features a boy who has autism. All the voice talent and writers were somewhere on the autism spectrum. We feel strongly about promoting shows like that and seeing those come to life. That’s been a really amazing experience to be part of. Nikhil & Jay is a project that we’re working on about South Asian and British cultures combined under one household. We worked with Triggerfish Animation and Netflix on Supa Team 4, which is about four female teenage African superheroes. I also want to mention Super Sema, an African animated kids’ superhero franchise from an all-female studio, Kukua. We’ll continue looking for shows with a broad spectrum of diverse backgrounds in the characters in front of the camera and those who worked on the shows.
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TV KIDS PIONEER AWARD
Lucy Murphy Sky TV KIDS: What led to the launch of the Sky Kids linear channel, and how has it been received over the last year? MURPHY: We talk to our customers a lot, and before launching the channel, we had been speaking to parents who were telling us that as much as they love the flexibility of on-demand viewing for their children, they found linear channels for children important. Particularly, younger families enjoyed that with a linear channel, children come across new shows; they don’t binge-watch one particular show all the time. There’s variety; there are different genres they get exposed to. We thought that was interesting because so much data had been leading everybody to on-demand services— they’re great, and there is still room for linear channels. TV KIDS: Tell us about the current channel partnerships and why this is a real value-add for the Sky brand. MURPHY: We are so fortunate in the U.K. to have brilliant kids’ channels, all of which are on the Sky platform because we are an aggregator. There are great free-to-airs like CBeebies and Milkshake! through to pay-TV [channels] from Paramount and Warner Bros. Discovery. We have eight pay channels as well as the free-to-airs. Those relationships are incredibly important because we want the very best of everything. That means the best international channels and the best British channels. Having looked at all of that, there’s also room for us to make some very targeted commissions and acquisitions at Sky Kids to complement what we get from our partners.
By Kristin Brzoznowski
L
ast February, the U.K. welcomed a new linear service to its children’s entertainment landscape: Sky Kids. Home to ad-free, 24-hour programming, the channel showcases Sky originals and franchise favorites. Lucy Murphy, director of kids’ content for the U.K. and Ireland, is responsible for Sky’s children’s programming across all platforms, which includes eight live partner channels, a library of over 10,000 on-demand episodes and the Sky Kids channel. A 30-year industry veteran who is being recognized with the TV Kids Pioneer Award, Murphy tells TV Kids about what’s guiding the programming strategy across commissions and acquisitions.
TV KIDS: What have you learned about what works best in a linear versus an on-demand environment, and how is that impacting your programming strategy? Are you using one to promote the other? MURPHY: We certainly use the linear channel to introduce new shows. That’s a great example of where, in this age of a very crowded environment and “discoverability” being a buzzword that everybody is talking about, a linear channel gives you an opportunity to introduce a new show and create an appetite and a love for it that can then get translated into the on-demand environment. Linear also gives us an opportunity to create mood and energy, which you can’t really do on-demand in quite the same way. Our linear channel gives us the opportunity to follow the rhythm of a young child’s day. Early in the morning, when kids are waking up, you don’t want something that’s going to get them leaping around instantly; you want something quiet and rather beautiful that is going to get them into the day quietly. Then you bring all your big brands in before school. We also recognize that we have children of different ages available at different times of the day. We assume the bigger kids
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Seasons one and two of the Pingu spin-off The Pingu Show, produced by Mattel Television, are on Sky Kids.
have gone off to school, so we can put on much younger-skewing programming during the middle of the day and think about what parents need at that moment. We’re constantly thinking about what families are doing and what kids are doing. How are they feeling at this moment in time? And what can we give them that is just perfect? TV KIDS: How much are you commissioning, in general, in a given year? MURPHY: We commission for ages 1 up to 10 years old. Sky Kids is for children 7 and under. There is an amount that we commission for on-demand only for the 6- to 10-year-old audiences. We’ve commissioned more than ever over the last couple of years, and we’re investing more than we have done before in U.K. content
Sky Kids was a presale partner on Mittens & Pants, part of the Thunderbird Distribution slate.
and creators. I’m really pleased to say that moving forward, we’re maintaining that investment. We’re committed to commissioning for a broad demographic and all the genres that fit into what children want to watch, whether that’s news and current affairs or animation or factual entertainment. TV KIDS: How much acquired fare is being programmed across the platforms? MURPHY: We don’t have a target or a quota for acquisitions; it changes year to year. We try to complement what we get from our pay partners. We look at where the gaps are so that we’re filling them in. Also, from any one year to the next, we never know what shows we need more of with second, third, fourth seasons, etc. So, we don’t have an actual number of hours per year that we take. You also have to look at what’s repeating well because, yes, of course, you need lots of new shows to refresh the service, but you also have to look at those shows that kids are loving and think, OK, this repeats so well, let’s take that for extra [seasons]. We also look for huge global brands—all the brands that you would expect from a premium entertainment service. When acquiring or commissioning, you really hope you’re going to find those little gems. A couple we bought that have done really well for us were Beep and Mort, which came out of Australia, and Norman Picklestripes, a stop-motion series made in Manchester. Those little gems that are not known IP and are not big brands have blossomed and flourished. TV KIDS: How are the Sky brands positioned to be competitive in the U.K. kids’ entertainment landscape? MURPHY: To be competitive in today’s landscape— particularly in the U.K., where we have a cost-of-living crisis, and it’s the same in other parts of the world—we’re looking all the time at what’s going to add value for our customers, what’s going to make them feel good about paying for their subscription. A part of staying competitive is about that value, and part of it is about keeping one step ahead so that you stay current, relevant and, most importantly, loved. We
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Sky Kids airs the DreamWorks Animation series Abominable and the Invisible City.
want kids to absolutely love [the brand], and we want parents to trust it. We also need to be inclusive. That inclusivity point is getting more and more important globally, not just in the type of shows that we are commissioning but in the experience of watching. We were delighted that we could launch the Sky Kids linear channel with 100 percent of the shows subtitled. We’ve also put a lot into subtitled collections of on-demand content because we know that it helps with kids learning to read. We’re constantly finetuning and finding ways to make the experience of watching amazing and for parents to think, Wow, that’s a little added extra that we get from Sky. This is a crowded market, and we want families and communities within our demographic to feel represented by the content that we’re commissioning or acquiring. It’s really important that kids feel it’s their channel and that they are represented in the content. Accessibility is also important. Diversity and inclusion are really important, and that’s been a real focus. We’ve commissioned what may at first seem quite niche propositions like BooSnoo! or Ready Eddie Go!, which we made for a wider audience but with a focus on the content and creativity for neurodiverse communities. What we’ve discovered, actually, is it’s not niche at all. We’re talking to active, vocal communities within the children’s landscape who are willing to engage with content, and it resonates with the wider audience as well. TV KIDS: What are the greatest shifts that have changed the way you have to approach the content you bring to children and the way that content is delivered? MURPHY: We all know that discoverability is absolutely key, and it’s top of mind for the industry. I’ve been in the industry long enough to remember a time before megabrands like PAW Patrol, Teletubbies, Peppa Pig and Hey Duggee existed. Anything coming into the market now has all that competition because it’s not going away; all those beloved brands are going to stay. So, anything coming now has to add to that landscape and create something a little bit different. Also, we’re thinking a lot about the robustness of brands to be able to carry through all the digital and reallife touchpoints that a family might have. I always say that the very best place for your show to end up is a
drawing on the fridge in the kitchen. If your child has drawn, colored in and given you a picture of their favorite character, it means they love it. And if whoever is looking after that child then hangs it on the fridge, that means they also like it and have invited it into their home. We’re always really aiming for that; we’re aiming for the fridge. All of the franchise planning, which used to be pretty much TV and then consumer products, is much more elaborate now, and producers are getting brilliant at doing all of that. It’s definitely something that we think about when we’re commissioning. The last point is that we need to ensure that the content we’re delivering stands out and provides an opportunity—whether that is a child just wants to be entertained, they want the funnies, they want to learn something or get up and dance. Whatever the need state is that they’re experiencing at that moment in time, we must have something that fits it. TV KIDS: What are the bright spots that keep you energized and excited about the work you do? MURPHY: The audience always inspires and motivates us. It starts with children and understanding the place and the environment that kids now live in and all the different calls upon their time; we have to be worthy of that. We have to make sure that we’re creating for them. The very best content is not just made for kids; it’s made with kids. For example, when we make our news show, we have children under 16 as the presenters because they get their audience and understand the things that matter. So, it makes a show that’s fresh, relevant and exciting. Also, the creativity of this industry gets me out of bed every morning. When you see something that is just so beautiful, so heartfelt or so original, and you think, Oh, I haven’t seen that before! You always open an email with a “What am I going to find?” and that’s really important. The way that tech is constantly leading us into new places is really exciting. Everybody’s been excited about the new LEGO-Fortnite relationship. We’ve been having a lot of fun with a new bit of tech called Sky Live, which is a camera that sits on top of the TV and allows for really immersive, interactive, gesture-based gameplay. When you see the joy and delight on a child’s face when they’re doing that, that’s out of this world and makes it so worthwhile.
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work in R&D to maximize quality and keep costs as constrained as possible. TV KIDS: How is Cyber Group Studios navigating the current market? MATHIEU: We are actively working to optimize our R&D and are now very well-advanced on the real-time animation front. This technology is used in our most recent productions, such as Alex Player (France Télévisions and Rai), The McFire Family (M6 Group and Super RTL) and Digital Girl (BBC and Super RTL). It enables us to raise the quality and maintain cost stability as much as possible. In addition, we use this technology to create additional content to help support our shows. We have started to do this with Gigantosaurus with the creation of companion content such as Giganto Club. Last but not least, we are investigating how AI can optimize a number of production tasks that are time-consuming and have very low added value.
Raphaëlle Mathieu Cyber Group Studios By Kristin Brzoznowski
eeping in step with industry shifts and technological advancements has long been at the core of Cyber Group Studios’ business. And it has perhaps never been more important to do so on both fronts. The company is optimizing its research and development, harnessing the power of real-time animation and exploring the prospects for AI. Raphaëlle Mathieu, COO, tells TV Kids about how Cyber Group Studios is positioned to navigate the changes in the marketplace.
K
TV KIDS: What are some of the most significant shifts you’ve seen in the kids’ entertainment market recently? MATHIEU: There have been many different shifts in a relatively short amount of time. The offer has changed with the streamers and their need to increase subscriber numbers. Bigger and newer were key elements, and lately, there’s a preference for originals, limiting possibilities for exposure on second windows and, therefore, exposure on free-to-air. Kids have gotten used to higher-quality shows globally and have greater expectations. Covid developed binge-watching. Post-Covid has seen linear broadcasters needing to adjust, often with less income generated by advertising and niche pay-TV going through crises (such as Disney closing more and more channels and Warner Bros. Discovery shutting down Boomerang). Wall Street wants to have cash-positive companies, which has led to massive layoffs at many majors such as Netflix, Disney and Warner Bros. Discovery. Kids are increasingly demanding in terms of quality, and it has become crucial
TV KIDS: How is Cyber Group Studios positioned to stay competitive amid a changing and challenging market? MATHIEU: We have a very strong development department run by the super-experienced Pierre Belaïsch in coordination with our L.A. office and the talented Ira Singerman. The aim is to work together to create, option and develop high-quality shows with global potential. We have, at any point in time, around 16 programs in our development pipeline, addressing different targets, genres and styles. Our aim is to optimize the chances to come to the market with quality shows, with the right timing, and always work with the most passionate artists. TV KIDS: Tell us about some of the properties Cyber Group Studios has for the market. MATHIEU: In times of crisis, known brands and IP are always important. In that spirit, we are counting on Gigantosaurus, as we are happy to launch the production of season four. We are also in the process of moving forward with our adaptation of Final Fantasy IX, which we have co-developed with Square Enix as a big event serialized series. Post-Covid, things have gone more multilocal. Luckily, it matches our strategy to structure strategic local partnerships. From this perspective, we now have partnerships in Italy (Graphilm), the U.K. (A Productions) and Singapore (Scrawl Animation). These companies have one big point in common: they all have a long-running presence and reputation in their own territories. It is a privilege to work with them daily and to learn from each other. TV KIDS: As you look ahead, what are the greatest challenges and opportunities? MATHIEU: I deeply believe that times of crisis truly lead to innovation. We are putting all our energy into creating new ways to work. We are putting all our energy into innovating in terms of content. We did so at Cartoon Forum, where we presented our first spooky comedy. We are working on this with Pierre Belaïsch and his team, who are developing a daring new concept, including for older targets. Last but not least, we are very lucky to have Dominique Bourse as our CEO. Not only is he co-founder of the company with Pierre Sissmann, but he also supports the teams, gives us energy and is profoundly convinced that it is in challenging times that we can make a difference.
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