TV Kids Guide 2015/2016 by World Screen

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GUIDE 2015/2016

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Contents A Note from the Editor . . . . . . . . . . . . .8 Interviews . . . . . . . . . . . . . . . . . . . . . . .9 Distributors . . . . . . . . . . . . . . . . . . . . .31

Publisher Ricardo Seguin Guise Group Editorial Director Anna Carugati

Ricardo Seguin Guise President

Editor Mansha Daswani Executive Editor and Editor, English-Language Guides Kristin Brzoznowski Production Director Victor L. Cuevas

Associate Editors Joanna Padovano Sara Alessi

1123 Broadway, #1207 New York, NY 10010

Assistant Editor Joel Marino

Fax: (212) 924-6940

Online Director Simon Weaver

Website: www.tvkids.ws

Sales and Marketing Managers Alberto Rodriguez Dana Mattison

Phone: (212) 924-7620

No part of this publication can be used, reprinted, copied or stored in any medium without the publisher’s authorization.

Business Affairs Manager Terry Acunzo

For a free subscription to our newsletters, please visit www.subscriptions.ws

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A Note from the Editor Kristin Brzoznowski

It seems like there are new viewing platforms popping up all the time, and kids are certainly taking advantage of them. Children are spending a great deal of their waking hours with multiple types of screens (and often more than one at a time). But what does all this choice mean for the future of linear viewing? Are kids no longer making an appointment to be in front of the TV set when their favorite show is about to come on? Broadcasters can rejoice that all signs seem to indicate that TV is still on top when it comes to kids’ media consumption. According to a recent study from Nielsen, the vast majority of American kids (95 percent) watched live or on-demand programming in the measured period from 2011 to 2014. However, TV-viewing behavior does vary depending on the age group, as children become more tech-savvy as they get older. Nielsen’s study shows that teens 14 to 17 had a decrease in TV viewing, from 99 percent in 2011 to 96 percent in 2014. Though this is just a slight dip, it does reflect the impact of the changing media landscape—4 percent of teens are watching content elsewhere. As producers and distributors adapt to these changes, there are many opportunities to be found within all the disruption. Notably, there is an increasing number of new players buying kids’ content. Many SVOD services, when they first launch, are quick to want to stock their slates, turning to companies with sizable catalogues for high-volume deals. As these services mature, exclusive or first-run programming becomes more important. A handful of digital platforms, among them Netflix and Amazon, have even started to commission their own children’s shows. All of this combined makes for exciting times in the children’s programming industry. This edition of the TV Kids Guide is chockfull of companies whose catalogues feature returning favorites and brand-new properties, all hoping to strike a chord with kids on whatever platform they may be watching on. 8

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INTERVIEWS

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Cyma Zarghami President Viacom’s Kids & Family Group

TV KIDS: Nickelodeon has always done extensive research. What can you tell us about today’s kids? ZARGHAMI: There’s a tremendous difference between the first Nickelodeon audience and the current Nickelodeon audience, starting with the fact that we called the first Nickelodeon audience “latchkey kids,” because they were the first generation of kids that were going home by themselves with their keys around their necks to let themselves into the house. With today’s kids, that’s the norm in many ways. In the early days, kids were seen and not heard. Kids rule the roost today! Parents didn’t necessarily ask their kids’ opinions for anything back then. Kids give their opinions about everything today! What’s going on in the world has changed radically and the amount of content and the places that kids can get [that content] has changed constantly. So the difference between serving today’s audience and serving the first Nickelodeon audience is a really giant difference. That’s one of the things that we’re spending the most time trying to understand, so that as our creators make shows for this audience, they are reflecting, not necessarily their own childhoods, but translating the stories that they want to tell for this current audience. TV KIDS: On what screens and devices are kids watching and playing? And how is Nickelodeon serving them? ZARGHAMI: In a very short time, the number of kids who have devices and smartphones has grown to tremendous numbers. So it is our obligation to give them content wherever they want it and whenever they want it. Linear television is still the primary place of discovery, and the extensions are still on those other devices. So between delivering the content on Nick.com and the Nick app, and Hulu Plus, Amazon Prime and VOD, we make it available everywhere and we’re very strategic about the way that we window from place to place. So when kids love something, they can see it the next day on one platform. If they...missed [something], then we give them opportunities to catch up. 10

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Claude Schmit CEO Super RTL

TV KIDS: How did you adjust your programming following the launch of Disney Channel in Germany? SCHMIT: We had to replace 30 percent of our programming. Since we had a very good network of potential licensors on the content side through our activities in the international market, we were very rapidly able to replace the Disney content with other programs. We had a threefold strategy that we still follow. The first one was, continue cherrypicking. We have the luxury of being able to buy from the international market exactly the type of programming we need for a specific time slot in our grid. Also, we have been spending much more money on development deals internationally. We are now in a position to secure the rights to upcoming TV shows. We have between five and ten production deals per year. The second strategic pillar is our deals with other large studios. DreamWorks Animation is the best example. We have a volume deal with Warner Bros. We are looking into other possibilities in the international market. The third part would be to tremendously increase our in-house productions. The aim is to have one or two shows in access prime time every day that are produced in-house. TV KIDS: How have you adapted to kidsâ&#x20AC;&#x2122; increasing demands for multiplatform content? SCHMIT: We made some structural adjustments. Carsten GĂśttel is our programming director and he is now responsible for our linear content as well as our nonlinear content. We also have been mobilizing all of our online platforms, meaning [making them] accessible via mobile devices. I do believe that the classic laptop era is totally over. Everybody is using tablets, smartphones, etc. Mobile applications and mobile compatibility are very important. I still think, for the foreseeable future, most of our money will be made in advertising revenues, either online or via linear television. Obviously [SVOD] is a new form of direct contact with the customer, generating money outside of the classic advertising revenue stream. That is something we will look [further] into. 11

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Caroline Cochaux

Executive Director of Broadcast & TV Programs France & International, Lagardère Active TV KIDS: How do the three Lagardère youth channels complement each other? COCHAUX: The difference between the three channels is the age of the audience. TiJi is for 3 to 6 or 7, Gulli is for 4 to 10 and families, Canal J is for 8 to 12, 8 to 14. The other difference is that Gulli, as a DTT channel, is really the most famous one in France because it’s free, and because it will take children from before they know how to read to the time they will leave to go to junior high or secondary school. The pay and DTT channels are complementary, and they allow us to cross-promote programs. TV KIDS: How important are local productions for you? COCHAUX: There are 30 [local productions] in total on Canal J, TiJi and Gulli. With Canal J we are engaged in about ten animated series. Co-producing series is important for us because they are followed step by step by our editorial team. They can adjust the way [characters] talk, the way they react, the interaction with the children, all the way through the animation. Our audience starts watching at age 8 and they finish at 12 or 13 and go off to some other channels—during this time, they are growing up and changing. We co-produce with Gulli most of the time, or with some other free-TV channels. I like co-producing with Gulli, where we can push a brand even though it’s not very famous. That’s what we did, for example, with SheZow and Sprout. When we saw that the [first episodes] didn’t have the impact [on Canal J] that we wanted, I pushed them by way of Gulli. Showing them on Gulli and telling the children they could see all of the episodes on Canal J gave the series a tremendous push. That’s the way we want to work, with our assets mutually benefiting each other. TV KIDS: What about acquisitions? COCHAUX: We love manga. We have Yu-Gi-Oh! ZEXAL and Les Chevaliers du Zodiaque (Saint Seiya Omega). And we’re still working every day, not only on the funny and sassy brands, but also on brands that will appeal to older viewers. 12

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Nancy Kanter

Executive VP of Original Programming & General Manager Disney Junior Worldwide TV KIDS: What’s been contributing to Disney Junior’s success? KANTER: We have focused on really rich storytelling with stories that matter to kids, that offer strong emotional connections and takeaway in terms of messages that are very relevant to their lives. Clearly, it’s all wrapped up in Disney characters that you fall in love with, stories you want to hear over and over again, music that really moves you. We try to reflect in Disney Junior all of the attributes that older children and adults attach to a Disney experience, whether it’s in a theme park or in a movie. TV KIDS: Are there certain curriculum requirements that you include in your shows? KANTER: We have curriculum advisors on staff, as part of Disney Junior’s ongoing team, but for each individual series we will hire specific curriculum experts. We also tend to focus a lot on social and emotional skills. I think most parents, and certainly most educators, agree that developing life skills and social skills that allow kids to be active learners, to be competent and resilient, is so important at this age, perhaps even more important than learning how to count to ten and spell your name. You really have to start with the basics, which is making a child see the benefits of being a competent learner. So we spend a lot of time talking to our experts and weaving those kinds of messages into the story lines. TV KIDS: How are your viewers engaging with the brand on mobile devices? KANTER: There is not a time when you are sitting in an airport or restaurant that you don’t see a little kid on a tablet or an iPhone. We know that is becoming a dominant way that kids are accessing content. So we are examining how to be sure that we have enough content to give them, and that we give them the right things in the right places on the right platforms. I don’t think it’s just about taking your TV episode and putting it on another platform. You want to give them something different. 13

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Adina Pitt

VP of Content Acquisitions & Co-Productions Cartoon Network & Boomerang TV KIDS: How are you working to serve young viewers across all platforms? PITT: We make every effort to know our viewers and their viewing habits, and to be everywhere they are. Whether it’s how we launch content or where it lives, the most important thing is to actually be present on all of those platforms. The thing about kids is that they love to watch their favorite properties over and over again, which has always been the case. It’s a strategy that programmers used long before nonlinear existed. So now, it’s not that it’s different. There are so many platforms available that you really have to be wherever they are. You have to have brand extensions available to your viewers in every single one of those places. That’s a very fastchanging game for everyone. TV KIDS: Is co-viewing important for the channel? PITT: We are still targeting kids, but we know that at certain times, you’re going to have a co-viewing experience. Sometimes those numbers can be shocking because you didn’t expect to get that kind of an audience composition—of women watching with their kids or dads watching with their kids. Everyone wants to be “approved.” You want your audience to love you, but you also want the parents to say, “I’m glad that you’re watching this show.” TV KIDS: Tell us about the rebranding of Boomerang. PITT: This was a long time coming. The look is completely uniform around the world, as is the lineup, with certain exceptions because there is local content in some of the regions. Our aim is to build that brand, specifically because in the U.S. it had been a long time since it’s had a refresh. It’s not a preschool channel. It’s not an educational channel. It is the home of Tom and Jerry, Scooby-Doo, a lot of the Cartoon Network originals from a long time ago. [There are] a lot more iconic brands there. It’s genderneutral as well. 14

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Tara Sorensen Head of Kids’ Programming Amazon Studios

TV KIDS: What kinds of content is Amazon Studios creating for kids? SORENSEN: There was a lot of thought that went into building out our goals that ultimately will create life-long learners out of Amazon kids. And we wanted to make sure that parents felt comfortable with the programming that we were putting in front of their 6- to 11-year-olds. We will look to provide positive role models that are still relevant to who kids are and what they expect. By that, I mean that there will still be aspirational characters, but there will be a grounded element to them. We will avoid anything that is heavily reliant on scatological humor, anything that is overly violent. We hope that there is a sophistication that we will be able to find in our programming. That might come in the form of serialized worlds and really being able to dig deep into characters and stories, where linear broadcasters might avoid serialization because of the way their service works. Also, as we talk a lot about the Amazon Prime member, mom and dad, I hope there is the opportunity for co-viewing. TV KIDS: What are you learning about how children are watching content? SORENSEN: The reason I came to Amazon Studios was because I had kids and saw how their “television” habits were changing. I knew that they did not rely on a linear broadcaster, certainly not the way I did growing up. I had an allegiance to one channel and I sat in front of the TV for hours on Saturday watching all the shows! Today, children are more platform-agnostic. They go between the computer and their tablets. Occasionally they watch linear channels— actually, my kids don’t, but obviously children are watching because broadcast is still working—but kids are more accustomed to getting things when they want them, where they want them. And if they don’t find what they want, they will go someplace else. 15

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Deirdre Brennan Head of Children’s Television ABC TV

TV KIDS: What is your overarching strategy for kids’ content at ABC? BRENNAN: Our ongoing vision is to produce distinctive content for Australian children by being creatively adventurous, exploring innovative models and new formats and developing local talent while celebrating the expertise of established partners. ABC KIDS is the trusted home of the best local and international preschool content. [On ABC3] we deliver dedicated services for Australian kids and young teens, offering distinct, diverse and inspiring content for them and their families. TV KIDS: What sorts of programming are you looking for? BRENNAN: As a public broadcaster, we need to ensure that all our produced and acquired content supports our trusted position with Australian audiences. We not only need to provide local programming, but also an Australian perspective on content from around the world. We also have the ability to experiment with new formats and interactive concepts, to discover how our audience responds. Flexibility across ABC platforms is very important and we do work closely with creators to build the success of their programs in the territory. TV KIDS: What are your goals for ABC’s kids’ services in 2016? BRENNAN: TV continues to dominate Australian media consumption, but we are seeing an increasing preference for local Australian stories in prime time and a slow shift towards ondemand viewing. ABC remains the market leader in children’s, but we are very focused on improving and evolving our services to maintain this competitive position. This involves a clear digital roadmap, strong brand management and a focused, audience-led strategy for commissioned and acquired content. As new VOD players enter our market—Netflix, Stan, Presto, Hopster—our priority must be to deliver more Australian stories on all screens in order to differentiate ABC TV in an increasingly cluttered market. 16

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Vince Commisso President & CEO 9 Story Media Group

TV KIDS: What types of shows are resonating with audiences? COMMISSO: If we’re talking preschoolers, for an international distributor the show really has to be special. Every region and country is very protective of their preschoolers, so they turn to local programming first. To break through that, the show has to offer an incredible appeal in regard to its look. You have to feel that there’s an ambassadorship going on with the characters in the show and the preschooler at home. There has to be a connection with the audience that you have to be convinced of right away, both as a producer and as a buyer of the content. For kids 6 to 11, it’s still comedy, comedy, comedy. If the show is funny, that demographic wants to sit back and be entertained. They truly go to TV these days as a passive experience. They want to sit down, kick back and laugh. For reality shows that are targeted to kids, we look at it almost as the mirror opposite of the reality shows that are targeted at adults. The reality shows targeted to adults work for the whole family, but the entry point is the parent. We have to make the same kind of high-concept shows that work for the whole family, but the entry point is the child. TV KIDS: Is 9 Story finding new sales opportunities with digital platforms? COMMISSO: They are offering a service that is valuable to the consumers of content. We work with them in the same way that we work with traditional [linear] buyers. We say, The best thing we can do for you is offer you content that breaks through. If it does that, we all win. As complicated as the distribution platforms have become, and the more data influences the process, the simpler we see it as being about making great content. If you do that, you’ll win at the end of the day, regardless of how the [programming] is delivered to you. 17

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Hans Ulrich Stoef CEO m4e

TV KIDS: What’s been driving m4e’s growth over the last few years? STOEF: When we started in 2003, we tried to get some grip on the market but we didn’t have the financial capacity. A major step for us was raising some capital in order to be able to go into producing in a deeper way. A milestone for the company was our development, creation and production of Mia and me, and then distributing it to so many countries and getting Mattel as a toy partner. After that, we were able to produce and deliver Tip the Mouse. [That sent the message] that we are really putting out quality productions. We’ve again been able to deliver a master toy deal and 40-plus broadcasters, and we’re now going into a second season. We also bought many companies and now we have a library of 2,500 episodes of programs. TV KIDS: How important is volume as you’re dealing with the new digital players? STOEF: Very important. The market is in the midst of a big change right now. Content really matters, so that’s the good news. But the size of the company and its library matters, too. We have a library that services some of the needs of OTT platforms. It’s also important to go to platforms like YouTube and create our own channel business, especially for back-library titles. We have a great appetite to grow our library business. We are currently in discussions with many people on how to do that. It could be acquisitions, it could be mergers, it could be anything. From about €20 million to €25 million in revenues, we need to move this company into €80 million to €100 million in a short amount of time. That’s very important in order to generate cash flow on a broader basis with a large library and become a major player in Europe. I think we are already a major player with regards to our production output, and based on the number of developments and productions that we have in place. There are not many companies from Europe that have 150 episodes simultaneously in production, but it will be key to grow the library besides that in a faster way. 18

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Iginio Straffi Founder & CEO Rainbow

TV KIDS: What have been some of the strategies that have led to Rainbow’s success? STRAFFI: The key idea of the strategy was to create brands, not only TV content. We tried to create a world that kids could identify with and would want to live in, in order to be part of the cartoon and part of the adventure. I guess this was the difference between making just another cartoon or putting [in] all the elements, all the passion, all the ideas, to make [the show] last and make it a part of kids’ imaginations. From the beginning, we didn’t want to create many, many series and have a wide portfolio and offer everything to the market. Instead, we focused on [projects] that we felt were either missing from the market or were original enough to succeed compared to what was around. This strategy has been paying off over time because we managed to build, from Tommy & Oscar onward, licensing programs around [our properties], which gave us not only extra revenues, but also even more exposure from books, video games and the whole world that we create around them. That was the idea, which was not popular at the time, when I started 20 years ago. Back then it was believed it was better to have a huge library with a lot of episodes and be a big media company. Time has shown that our strategy of focusing on brands, not too many, but doing [a few] with a lot of care and effort, has been paying off. TV KIDS: And Winx Club is an example of that, right? STRAFFI: Winx Club is the best example, yes, that proved our strategy of creating a brand, a huge universe, a mythology, that has crossed generations. It’s interesting, the dancers and the singers of our latest live show, which was touring Italy with big success during the winter and continued into spring, they’re all around 21, 22, 23 years old, and they all were so excited to be interpreting Bloom, Musa, Stella or Flora, because they grew up with Winx Club as their heroes. 19

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Pierre Sissmann Chairman & CEO Cyber Group Studios

TV KIDS: How has Cyber Group Studios (CGS) been steadily expanding its development slate? SISSMANN: CGS has increased its development staff over the last two years with seasoned and trained executives, and it has been constantly on the lookout for new creative ideas fitting our major clients and our key targets. This includes inking co-production and development agreements with international partners such as Irish multi-awarded studio Brown Bag Films for Gilbert and Allie or The Jim Henson Company for two new projects. TV KIDS: What has led to the increase in productions targeting various age demographics? SISSMANN: First of all, a passion to explore new uncharted fields and to tell different stories, both from a creative and design perspective. It also comes down to the fact that broadcasters very often have different editorial lines while trying to cater to the same audience. So, we have to diversify our sources of inspiration, and this is good for creation. TV KIDS: What’s driving the company’s digital strategy? SISSMANN: Cyber Group Studios has recently entered the digital space on several fronts. First, with the creation of apps. The Zou app is already available in close to ten languages and charting around the world. Soon, a Mirette Investigates connected app will add extra entertainment for kids when they follow Mirette’s investigations on screen. But today, another field has also taken a lot of our time: providing content to SVOD or free VOD platforms. This can be original content or [programming] driven from our series. We estimate that about 20 percent of our revenues in 2015 will come from digital, and this will keep growing as kids change and adopt new viewing habits. 20

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Olivier Dumont

Managing Director Entertainment One (eOne) Family & eOne Licensing TV KIDS: Does a show have to connect with viewers before you can start thinking about products connected to it? DUMONT: It depends on the target demo. For preschool, definitely. You need to wait and work with the platforms that will give your brand the best exposure. That’s what will drive the success of your show in licensing and merchandising— the recognizability of your brand. When you’re tackling boys’ action, the timeframe between when you put the show on the air and when the product can hit the shelves needs to be much tighter. In preschool, you’re just relying on the broadcast platforms to push your brand. In actionadventure, you probably need to spend a lot more upfront in marketing to make sure that kids become aware of your show and the minute they are aware, the product [needs to be] on shelves in stores. TV KIDS: How do you maximize the revenue for a property while also protecting it and its shelf life? DUMONT: The recipe for success, to a great degree, is engineering discoverability. That’s what you need to do to create that strong emotional connection. If it’s something that we have discovered ourselves, we’re much more likely to make it our own and to stay with it for a long period of time. We were very conscious of that when we developed the licensing program for Peppa Pig, and that’s why we didn’t over-market it out of the gate. Working deeply with platforms to give the best exposure to your show— that is going to truly matter for discoverability. TV KIDS: Is on-demand viewing becoming more prevalent with little children? DUMONT: It’s definitely becoming more prevalent. Broadcasters are waking up to it a lot more these days. They are moving into that space, so now they have apps and you can get [the channels] on your tablet. That’s another way to access content and therefore these brands are still extremely relevant. 21

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Josh Scherba Senior VP of Distribution DHX Media

TV KIDS: What are you hearing from kids’ content buyers about what they’re looking for? SCHERBA: There’s a general openness to lots of different styles and formats and configurations of content. For a period it seemed like we were all looking to do the same things. Everyone was trying to replicate big successful franchises. Right now, you start to get the feeling that a hit can come from anywhere, in a different kind of package, from any network. We’ve had conversations about miniseries, we’ve had conversations about highly serialized telenovela-style liveaction series. It’s a really creatively liberating time right now, where everyone’s open to new ideas. TV KIDS: And are digital platforms helping to drive that? SCHERBA: They are helping, there’s no question. And it’s not just the new platforms—it’s also the consumption patterns. Even traditional broadcasters who have on-demand services realize that it’s not necessarily all tied to linear views anymore. Linear views are extremely important, but the on-demand views are also critical. So, we’ve talked a little bit about serialized content. The other thing with digital providers is, since they’re not filling a linear schedule, formats for them can be different. A 10x30-minute series is something that they would consider. TV KIDS: Are you doing mostly library deals with the new players, or are they also commissioning originals from you? SCHERBA: It’s definitely a combination. The scale of our library helped us to be a go-to supplier out of the gate. If you’re a digital provider and you’re launching in any given territory, resources are limited in terms of going out and sourcing as much content as possible. It’s easier to deal with fewer suppliers, so that’s a big advantage for us. On the other hand, digital providers are certainly looking to get more into the exclusive space, so we have a large slate of exclusive original content that seems to be connecting with them. 22

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Christopher Keenan VP of Global Content & Executive Producer HIT Entertainment

TV KIDS: What’s been your strategy for reinvigorating the HIT slate? KEENAN: We’ve taken a slightly different path towards reinvigorating each of the different brands. The most important thing for us is to maintain as much of the core DNA of each brand as possible, while making it as relevant and as compelling for today’s audiences as we can. TV KIDS: How do you adjust your development slate in order to speak to a new generation of preschoolers? KEENAN: The way preschoolers have evolved, particularly in the last five to ten years with the advances in technology and the wide variety of choices available to them, has really compelled us to take a look at the pacing and the sophistication of the storytelling. You’ll notice in the [new] Bob the Builder, as well as in some of our newer episodes of Thomas the Tank Engine and in Little People, that there’s a real emphasis on being clear in our storytelling and also increasing the pace to be something that our target audience will find appealing and compelling. The very slow pacing of some of the earlier iterations of these titles just isn’t suited for the way kids are consuming content today. TV KIDS: How many titles do you like to have in development at any one time? KEENAN: Our development slate has varied over the years, but it really is dictated by the content itself. We would never say we’re only going to develop five properties this year. A good idea can come from anywhere at any time, so in terms of a healthy development slate, I would say the most important thing for us to look at is the content and the diversity of that content. While we want to explore new territory, we want to be sure that everything we’re doing is going to be relevant to our audience, isn’t going to cannibalize on something we’re already doing, and has a replicable play pattern inherent to it so that whatever we’re doing can be experienced again and again by our audience once the television or iPad or whatever it may be is turned off. 23

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Jérôme Alby Managing Director Mediatoon Distribution

TV KIDS: How do you balance what’s coming through from Mediatoon’s sister production companies with thirdparty content? ALBY: We have an internal lineup where we define genres for different types of projects. The acquisitions we do are complementary to what the different in-house producers have in their lineups. We judge the potential of each, and whenever we see there is a void, we look to fill it. In terms of third-party content, we’re always looking for good comedy. We’re also known for managing iconic brands, so whenever there is an iconic brand with an idea for making a series, we align ourselves with it. Ninety-five percent of our catalogue is kids’ and family animation, which is our specialty. TV KIDS: With Netflix having entered France and other ondemand services popping up, is digital becoming a larger focus for Mediatoon? ALBY: We have been working with Netflix for several years now, in different countries (the U.S., Scandinavia, the Netherlands, the U.K.). Now that they launched in France, Belgium and Germany, we are of course continuing to work with them. However, as well as working with Netflix, we have provided series to other digital broadcasters, such as iTunes, Watchever, Amazon and DLA. For many years now, digital and nonlinear broadcasting has been a key element of our business strategy. While Mediatoon obviously offers up our catalogue to digital platforms, we also act as an aggregator, which means that we manage these rights for many independent producers. This enables us to offer an even richer catalogue. So overall, yes, nonlinear broadcasting is an increasing and complementary focus for us, which, along with linear broadcasting, helps us to carry out our overall strategy of managing iconic brands worldwide on all media. 24

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Frederic Soulie Senior VP of Global Distribution Saban Brands

TV KIDS: How have things progressed since the establishment of Saban Brands’ global content distribution unit? SOULIE: Saban Brands is five years old this year. At the time the company first launched, it made sense to have a distributor handle the TV sales outside of the United States. Now that we’ve grown quite rapidly at the Saban Brands level, it also made sense to have a team in-house to handle the distribution directly. As we grew our slate and our activity around the world with different partners, broadcasters or digital platforms, there was a need to have direct relationships with the broadcasters, to understand what they’re looking for and know what they’re looking for before they need it. TV KIDS: How did the partnership with Cirque du Soleil Média for Luna Petunia come about? SOULIE: We first met with Cirque du Soleil and started talking about what we could do together in the kids’ space. They’ve never done anything in the kids’ area. They’re a huge brand, very global, but the kids’ space is something they wanted to get into. So we formed a partnership about a year ago. And our first show together is a preschool series called Cirque du Soleil—Luna Petunia. It is really inspired by Cirque’s core themes—creativity, color, imagination—and so it’s very visual as a show and we believe it’s something like you’ve never seen before. TV KIDS: What is the strategy for the division for the rest of 2015 and into 2016? SOULIE: We have seven active shows with many, many more in development; some new formats, some new genres. We’re actually in active discussions now with many broadcasters and digital partners about these new IPs. We believe in an opportunistic approach to content distribution. We like to know where and how the audience is experiencing watching the content, and we will continue to develop and distribute with a global strategy in mind. 25

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Dan Povenmire Co-Creator & Executive Producer Phineas and Ferb, Milo Murphy’s Law

TV KIDS: Looking back on Phineas and Ferb, what made it so successful? POVENMIRE: It’s two things. I think the songs had a lot to do with it. Whenever we talk to people they always feel like the songs are what hooked them in. But early on in the process there were decisions that Swampy [Jeff Marsh, cocreator] and I made to keep the show really positive and not have characters ever motivated by meanness, making them respectful of their elders, and that really resonated with parents, whether they knew that was it or not. A lot of people have talked about and blogged about those things, so we know it’s gotten through. Others have said they had a nice feeling about the show. They feel happy that they watched it and that their children watched it. It helps when the parents are on board. TV KIDS: Besides the Phineas and Ferb show there are also one-hour specials connected to the series, so you haven’t completely said goodbye to the characters? POVENMIRE: We haven’t completely said goodbye. There is a Doof and Perry-centric special called The O.W.C.A. Files, which we really like. Phineas and Ferb are in it, but only very briefly at the very end. TV KIDS: Tell me about the upcoming new show, Milo Murphy’s Law. POVENMIRE: Milo Murphy’s Law is about the great-greatgreat-great grandchild of the original Murphy from Murphy’s Law. In Milo’s whole life everything that can go wrong goes wrong around him. Instead of being upset or beaten down by this, he’s maintained a really positive outlook and that’s just the way his life is. He doesn’t think anything of it and he has developed all sorts of coping mechanisms. He has a backpack full of hazmat gloves and helmets and whatever you might need if some disaster happens. It’s just him going through his life in this weird prism of disaster. 26

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Avi Arad Founder Arad Productions

TV KIDS: When you created Arad Productions, what kinds of content did you want to make? ARAD: When I started Marvel Studios we did a lot of animation and then we started making movies, which was not an easy thing to do. [When we launched Arad Productions] we started to look at the kinds of IP that we couldn’t look at in the Marvel days. Manga was always a big priority, so we got into aggregating high-profile manga properties and big title video games, converting them into movies that would satisfy fans and become broad-based entertainment. The skill set necessary to translate [these video game and manga properties] into films and TV shows is virtually the same as what we did at Marvel. In the spirit of [creating] brand-building vehicles, we went back into animation. I became executive advisory chairman for Namco Bandai [creator of the PAC-MAN video game] and Production I.G., the company behind Ghost in the Shell. I told my friends at Bandai that they had one of the greatest properties of all time—PAC-MAN—but it had been dormant. So we started working on PAC-MAN and the Ghostly Adventures. We created characters and backgrounds and origin stories and so on. I brought Allen [Bohbot, managing director at 41 Entertainment] in to handle the distribution and licensing. Together we are building a major animation business. TV KIDS: What led to the Kong: King of the Apes series? ARAD: Allen Bohbot produced a Kong animated show many years ago. Kong is a wonderful character, especially if you humanize him and make him misunderstood. One of the hottest subjects for kids and for parents is the issue of poaching and protecting the environment. So Kong: King of the Apes is very environmentally correct, with lots of adventure. It features the adventures of Kong. He’s a hero to some and a menace to others—but the audience knows the truth! It’s a very different-looking Kong; all you want to do is hug him. But when he gets mad, watch out! 27

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Alex Hirsch Creator Gravity Falls

TV KIDS: How did the concept for Gravity Falls come about? HIRSCH: Gravity Falls is a strange, warped, fun-house-mirror reflection of my own childhood. I spent many summers with my own twin sister swatting mosquitoes and making s’mores in the woods with relatives. With the lack of TV and internet and modern distractions, we found our imaginations grew to fill the void. This show makes real all the paranormal fantasies I would invent to survive the lack of sensory input. TV KIDS: The ratings have been fantastic. To what do you attribute the series’ success? HIRSCH: Gravity Falls is a show that rewards obsessive viewers. Although we want most stories to be able to stand alone for a casual audience, we really try to play off of the questions and secrets that we sprinkle throughout the show [for viewers who are following along]. I think this is actually pretty rare in kids’ television. Once people start to realize that your story has a very specific plan, they can start to play along, theorizing and guessing where it’s headed. This makes watching premieres a kind of cool, shared, communal experience. Everyone wants to be there when the answers are finally revealed! TV KIDS: Comedy for kids is often very hard to nail down. How did you approach injecting humor into the series? HIRSCH: I think the most important thing is to create good characters. If your characters are flawed and relatable and come from a specific observation or idea, jokes will come naturally. Even if some jokes might go over the heads of certain age groups, personality is this immediate thing that people of all ages and backgrounds can understand. Kids are much smarter than people give them credit for. They enjoy a challenge, and if you give them a puzzle, they’ll solve it, whether that puzzle involves getting a joke or uncovering a mystery. 28

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Dan Good Creator Wissper

TV KIDS: Where did the idea for Wissper come from? GOOD: Wissper was inspired by my daughter, Indie. She is 8 years old now. The idea had been floating around for quite a while. It first came to me when she was about 4 or 5. We live in the city and we’ve got a little house in South London near Wimbledon and we have 12 pets. They are all Indie’s. And she believes—or certainly used to believe—that she could talk to them and they could talk to her. So I didn’t have the idea, it was just there in my world. It’s all about Indie. TV KIDS: Why do you think Wissper will resonate with kids around the world? GOOD: Wissper is a global idea. It’s not connected to any country or territory. The whole world is in the show. She goes everywhere to help animals. It’s mainly a girls’ show— I hope boys are going to watch it and I’m sure they will—and I can’t think of any little girl anywhere in the world that wouldn’t want to be an animal whisperer. A lot of preschool children actually do believe that they can talk to animals and that animals can talk to them. You see those games being played with their stuffed animals and their farmyard toys and everything else. Taking that message to children all over the world and sharing the magic with them—I have the best job in the world! TV KIDS: How did your daughter react when she saw the first artwork coming through for the show? GOOD: I don’t think she entirely wrapped her head around it at first. We do a lot of bonkers things in my house; we’re always making plasticine models and puppet films. But when she got hired by [Channel 5’s] Milkshake! to become the voice of Wissper, it became very, very real to her. And she’s now super excited and a bit of a diva, actually! [Laughs] She’s actually really gotten into the voice recording and she takes it quite seriously. 29

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Gwen Stefani Creator & Executive Producer Kuu Kuu Harajuku

TV KIDS: How did the collaboration with Moody Street Kids and Vision Animation for Kuu Kuu Harajuku come about? STEFANI: I’ve wanted to do an animated or live-action Harajuku TV show or movie since the conception of my dance record Love Angel Music Baby. It was one of the first things that I wanted to do; I wanted to do that along with the music. That was more than ten years ago! It is a dream come true that now it’s actually happening. I never really dreamed that it would come to life in the way that it has. [The show] is such a quality work of art with a team that is so devoted. TV KIDS: What are some of the core values of the Harajuku Girl characters that you want young viewers to embrace? STEFANI: Self-expression, confidence in who you are, uniqueness and individuality. Be sparkly, be curious, never give up, be resilient, be determined, be stylish, be creative. Basically they need to be me! [Laughs] TV KIDS: Why do you think this series will resonate with kids all over the world? STEFANI: Kids everywhere want to laugh, and kids want to see silly things happen. I think kids love to be in an imaginary world, and this cartoon has no boundaries. It literally has so much fantasy going on that your mind can go anywhere, and that is a global and universal thing. People like to escape. TV KIDS: What have you enjoyed most about the experience of working on Kuu Kuu Harajuku? STEFANI: The experience of working on the show has been nothing short of mind-blowing. With this brand, every artist and collaborator that has gotten involved took it to a place that I couldn’t even dream of. The characters are unstoppable. The Harajuku Girls can do anything, they can wear anything, and they can be anything. And that’s what this cartoon has been. Everybody that’s touching this show is so passionate about it and believes in it. 30

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DISTRIBUTORS

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41 Entertainment ADDRESS: 500 W. Putnam Ave., 4/Fl., Greenwich, CT 06830, U.S.A. TELEPHONE: (1-203) 717-1120 WEBSITE: www.41e.tv MANAGING DIRECTOR: Allen Bohbot SENIOR MANAGER, TV & NEW-MEDIA SALES: Nancy Koff CONTACT: nancy.koff@41ent.com PROGRAMS: Kong—King of the Apes: 1x83 min. & 26x22 min., HD/CGI/3D animation, action/adventure, 5-10; PAC-MAN and the Ghostly Adventures: 52x22 min. & 2x44 min., HD/CGI/3D animation, comedy, 5-10; Edgar Rice Burroughs’ Tarzan and Jane: 8x22 min., HD/CGI/3D animation, action/ adventure, 5-10; Stone Age: 26x22 min., 2D animation, comedy, 5-10; Legend of the Dragon: 26x22 min., 2D animation, action/adventure, 6-11; Dork Hunters from Outer Space: 26x22 min., 2D animation, action/adventure, 6-11. “41 Entertainment focuses on worldwide animation development, production, distribution, licensing and merchandising. Operating globally in the creation and distribution of children’s original proprietary characters and intellectual properties, we invest in each production and own all rights, including Kong—King of the Apes, Edgar Rice Burroughs’ Tarzan and Jane and worldwide rights to iconic established properties such as PAC-MAN and the Ghostly Adventures. Not only do we secure the best exposure through our network of major broadcasters and distributors worldwide, we also look for the best licensing and merchandising partners for our brands through an in-house licensing and merchandising division. Managed by experienced individuals with extensive knowledge in animation production, distribution, sales, marketing, legal and business affairs, copyright and trademark protection, 41 Entertainment believes that market success is not based on quantity of projects, but rather in the careful exploitation of a few high-quality intellectual-property projects for global consumption.” —Allen Bohbot, Managing Director

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Kong—King of the Apes: The future looks bright for San Francisco’s Alcatraz Island since its transformation into the most impressive natural-history and marine preserve on the planet. But when the star attraction suddenly goes ape and Kong becomes public enemy number one, the villain that framed him is free to unleash an army of gigantic robotic dinosaurs on the unsuspecting world. Ironically, Kong is the only force formidable enough to stop these super-powered dinosaurs and the evil genius manipulating them. PAC-MAN and the Ghostly Adventures: The show follows the daily events of Pac as he saves PacWorld. Together with his friends Cyli and Spiral, Pac and his buds face the issues of being teenagers, while also protecting PacWorld from a ghostly army led by the evil Betrayus. Edgar Rice Burroughs’ Tarzan and Jane: Tarzan, found in the jungle as a baby after a plane crash, is saved at birth from his injuries by a local medicine man, who injected him with lotions and potions made from the DNA of various animals, which in turn gave him great powers. Raised in the jungle by a gorilla until the age of 15, he is rescued in an expedition (paid for by his billionaire grandfather) and returned to London to attend boarding school, where he meets Jane. Together, they will fight against environmental injustice and solve crimes and mysteries. Stone Age: Set in the Stone Age, the series follows T-Bone Rex, Stella Stone Age, Neddy Neanderthal, Bill Brontosaurus, Camilla “Cammy” Bedrock and the annoying little brother Little Rock Rex, as they try to navigate daily life in the town of Rockville. Legend of the Dragon: Ang and Ling are twins born in the year of the Dragon—a brother and sister with a unique destiny. Ang is attracted by the light and Ling by the darkness. When Ang is chosen to be The Golden Dragon, Ling joins forces with the evil Zodiac Master to become The Shadow Dragon. Enter a world of magic, mystery, martial arts and the 12 lost temples of the ancient Chinese Zodiac in this action adventure of good against evil. Dork Hunters from Outer Space: The Earth has been invaded by dorks! However, these dorks are actually aliens from outer space with the ability to disguise themselves as humans. Now, the fate of the entire universe rests in the hands of three teenage aliens and two teen earthlings.

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9 Story Media Group ADDRESS: 23 Fraser Ave., Toronto, ON M6K 1Y7, Canada TELEPHONE: (1-416) 530-9900 WEBSITE: 9story.com PRESIDENT & CEO: Vince Commisso MANAGING DIRECTOR: Natalie Osborne CONTACT: distribution@9story.com PROGRAMS: Nature Cat: 80x11 min., 2D animation, preschool, 4-8; Peg + Cat: 80x12 min. & 50 new eps. coming soon, 2D animation, preschool, 2-5; Numb Chucks: 52x11 min. & 52 new eps. coming soon, 2D animation, comedy, 6-11; Wild Kratts: 92x22 min. & 26 new eps. coming soon, 2D animation, adventure/comedy, 4-9; Nerds and Monsters: 40x11 min. & 40 new eps. coming soon, 2D animation, comedy, 6-11; Get Ace: 52x11 min., 2D animation, comedy, 6-11; Guess How Much I Love You: 78x11 min., 2D animation, preschool, 2-5; Look Kool: 16x22 min., live action, family, 6-9; Daniel Tiger’s Neighbourhood: 130x11 min., 2D animation, preschool, 2-5; Monkey See Monkey Do: 26x11 min., 3D animation & live action, preschool, 2-5. “9 Story Media Group is a leading content creator, marketer and distributor of kids’ and familyfocused intellectual property. Recognized around the world for best-in-class brands such as Daniel Tiger’s Neighbourhood, Wild Kratts, Numb Chucks, Arthur and Peg + Cat, 9 Story represents over 1,800 half-hours of animated and live-action programming, seen on some of the most respected international channels and platforms. With one of North America’s largest animation studios, 9 Story employs over 250 creative and production staff and has produced over 900 half-hours of award-winning children’s content.” —Natalie Osborne, Managing Director

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ABC Commercial ADDRESS: 700 Harris St., Ultimo, NSW 2007, Australia TELEPHONE: (61-2) 8333-5351 WEBSITE: abccommercial.com/contentsales HEAD, SALES & BUSINESS DEVELOPMENT: Sharon Ramsay-Luck CONTACT: ramsay-luck.sharon@abc.net.au PROGRAMS: Emma!: 30x4 min. HD, live action, 2-6; The Wiggles Meet the Orchestra: 1x45 min. HD, live action, 2-6; Hoot Hoot Go!: 26x5 min. HD, live action, 2-6; The New Adventures of Figaro Pho: 13x22 min. HD/39x8 min. HD, 3D animation, 8-12; Prisoner Zero: 26x30 min. HD, 2D animation, 8-12; Bobbie the Bear: 10x3 min., live action, 3-8; Ready, Steady, Wiggle!: 104x11 min. HD, live action, 2-6; Dorothy the Dinosaur: 78x7 min., live action, 2-6; Kingdom of Paramithi: 52x7 min./30x30 min., live action, 2-6; Baby Antonio’s Circus: 39x3 min., live action, 2-6. “We are privileged to work with Australian producers who are renowned for creating outstanding children’s content that resonates with global audiences. The keystone to ABC Commercial’s children’s catalogue is highquality distinctive kids’ programming that entertains children and appeals to parents and caregivers. As the commercial arm of Australia’s national broadcaster, we are also uniquely positioned to draw upon content from the well-known and trusted kids’ brands ABC KIDS and ABC3 and present them to our international clients. This year, our new children’s offering includes live action and animation for kids of all ages. Available for presale is Hoot Hoot Go!, a spin-off from ABC KIDS’ phenomenally successful show Giggle and Hoot. We also have two new programs from the hugely successful entertainers The Wiggles, Emma!, starring the popular Yellow Wiggle, and a one-hour musical special, The Wiggles Meet the Orchestra. And for 8- to 12-year-olds is the hilarious and colorful series The New Adventures of Figaro Pho and an exciting sci-fi action series, Prisoner Zero.” —Sharon Ramsay-Luck, Head, Sales & Business Development

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Alterna’TV International Corporation ADDRESS: 2020 Ponce de Leon Blvd., Suite 1107, Coral Gables, FL 33134, U.S.A. TELEPHONE: (1-786) 609-9604 WEBSITE: www.alternatv.us CEO: Aymeric Genty DIRECTOR, AFFILIATE & AD SALES, CANADA, U.S.A. & MEXICO: Roberto Perez DIRECTOR, AFFILIATE & AD SALES, LATIN AMERICA: Leonardo Pinto CONTENT DIRECTOR: Alejandro Peñafiel CEO, YOUR FAMILY ENTERTAINMENT: Stefan Piëch “Alterna’TV, a subsidiary of Eutelsat Americas based in Miami, and Your Family Entertainment, a leading German independent content owner, are bringing the iconic comic duo of Fix&Foxi, the zany animated twin-brother foxes known to European fans, to television audiences in the U.S. and Latin America. Alterna’TV will offer the new 24-hour children’s animation and live-action entertainment programming service Fix&Foxi to its carriage partners in some 25 countries, spanning from Chile to Canada, as a linear channel, for VOD and as an app for iPads and mobile devices. The programming feeds, available through the Alterna’TV satellite platform, offer both English- and Spanishlanguage options. Alterna’TV is distributing the channel on behalf of Your Family Entertainment. Your Family Entertainment is a full-service company with a strong slate of new productions and extensive library of kids’ and family content—with more than 3,500 halfhours of programming—in addition to being a channel operator. This includes three regional feeds of the Fix&Foxi pay-TV channel: in Germany, Austria and parts of CEE; the Middle East and Africa; and Latin America, all in local languages, and RiC in Germany and Slovakia.” —Aymeric Genty, CEO

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Animasia Studio ADDRESS: No.2 & 4, Jalan Sri Jati 2, Taman Sri Jati, 58200 Kuala Lumpur, Malaysia TELEPHONE: (603) 7787-6987 WEBSITE: www.animasia-studio.com MANAGING DIRECTOR: Edmund Chan EXECUTIVE DIRECTOR: Raye Lee MARKETING MANAGER: Joanne Lee CONTACT: info@animasia-studio.com PROGRAMS: ABC Monsters: 26x22 min., 2D animation/HD/digital, preschool/edutainment, 4-6; Balla Bowl: 2x70 min., 2D animation, action/sports, 7-11; Bola Kampung Xtreme: 13x22 min., 2D animation/HD/digital, action/sports, 7-11; Robokicks (Bola Kampung Movie): 1x95 min., CGI, action/ adventure/comedy/sports, 7+; Chuck Chicken: 52x11 min., 2D animation/HD/digital, comedy/action/adventure, 7-11; Fairytales from the Orient: 26x22 min., 2D animation, folklores, 7-11; Harry and Bunny Show: 78x7 min., 2D animation/HD/digital, nondialogue/slapstick comedy, 7-11; Kung Fook College: 52x11 min., 2D animation/HD/digital, action/comedy, 7-11; Supa Strikas: 39x22 min., 2D animation/HD/digital, sports/action, 7-11.

“Animasia Studio, being one of the leading studios in Asia, will be attending both MIPJunior and MIPCOM with the objective of introducing its latest content such as Chuck Chicken, Harry and Bunny Show and Kung Fook College. These great concepts have strong story lines and unique character design and are targeted at kids ages 7 to 11. We would like to meet and discuss with potential buyers, distributors and investors to explore co-production opportunities with Animasia. On the other hand, we are also a trusted workfor-hire studio that delivers high-quality animation services; therefore, if there are producers out there looking for good studios to support their show, please do consider Animasia as your preferred partner in Asia.” —Edmund Chan, Managing Director

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Atlantyca Entertainment ADDRESS: Via Leopardi, 8 20123 Milan, Italy TELEPHONE: (39-02) 430-0101 WEBSITE: www.atlantyca.com DISTRIBUTION MANAGER: Pedro Citaristi HEAD, ANIMATION DEPARTMENT & EXECUTIVE PRODUCER: Caterina Vacchi EXECUTIVE PRODUCER: Niccolo Sacchi CONTACT: pedrocitaristi@atlantyca.it PROGRAMS: Bat Pat: 52x11 min., 2D animation/HD; Geronimo Stilton: 78x23 min., 2D animation/HD; Nutri Ventures: 52x23 min., 2D animation/HD; Dive Olly Dive: 104x11 min., 3D animation/CGI; Bolts & Blip: 26x22 min., 3D animation/CGI; The Fixies: 104x6 min., 3D animation/CGI; Taka & Maka: 40x1 min., 3D animation/CGI; Dive Olly Dive and the Pirate Treasure: 1x80 min., 3D animation/CGI. “A transmedia entertainment company, Atlantyca Entertainment maintains production and distribution, licensing, publishing and foreignrights sales divisions. The company maintains and manages the IP rights for the Geronimo Stilton brand and all of its franchises. Atlantyca is a co-producer of Geronimo Stilton, an animated series featuring the adventures of the most famous mouse journalist. Seasons one and two have been sold in more than 130 countries around the world. Atlantyca’s production-and-distribution arm is producing the 26x22 min. The New Adventures of Geronimo Stilton, a coproduction with France’s Superprod along with the participation of RAI and France Télévisions for 2016. In addition, the company is currently in production on its new series Bat Pat with coproduction partners Imira Entertainment and Mondo TV. RAI Fiction (Italy) and RTVE (Spain) are broadcast and participation partners, with delivery scheduled for the end of 2015. Atlantyca’s distribution arm represents a growing library of entertainment properties for children, including The Fixies, Taka & Maka, Dive Olly Dive and Bolts & Blip. The licensing division manages the international licensing initiatives for all the Geronimo Stilton and Bat Pat brands and any character spin-offs. Atlantyca’s foreign-rights division is specifically dedicated to securing sales of publishing rights for the Geronimo Stilton books and over 1,700 additional titles for other owned IPs, boasting more than 5,600 granted agreements for translations in over 46 languages.” —Pedro Citaristi, Distribution Manager 44

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Australian Children’s Television Foundation ADDRESS: 145 Smith St., 3/Fl., Fitzroy, Victoria 3065, Australia TELEPHONE: (61-3) 9200-5500 WEBSITE: www.actf.com.au CEO: Jenny Buckland INTERNATIONAL SALES MANAGER: Roberta Di Vito INTERNATIONAL SALES MANAGER: Tim Hegarty CONTACT: roberta.divito@actf.com.au PROGRAMS: Ready for This: 1x42 min. & 12x24 min./14x24 min., live action, drama, 10-15; Little Lunch: 26x12 min./13x24 min., live action, comedy, 6-11; Hoopla Doopla: 52x12 min., live action, preschool, 2-5; Wacky World Beaters: 20x24 min., live action, comedy/factual, 8-14; The Flamin Thongs: 26x12 min., 2D animation, comedy, 6-12; Bushwhacked!: 26x24 min., live action, adventure/documentary, 8-14; My:24: 13x24 min./26x12 min., live action, documentary, 8-14; Handball Heroes: 20x5 min., live action, documentary/ interstitial, 6-12; WAC—World Animal Championships: 52x24 min., live action, wildlife/documentary, 8-14; Worst Year of My Life, Again!: 13x24 min., live action, comedy, 8-14. “Children from all over the world enjoy watching Australian shows. We distribute over 400 hours of Australia’s best children’s programming, including live action, factual, animated series and preschool programs, to a global audience of preschoolers through to teenagers. Kids love to watch quality shows that engage, inspire and make them laugh. It doesn’t matter where they’re from or what device they’re watching it on, they just want to see good shows. And that’s universal! So whether it’s our latest aspirational drama series Ready for This that highlights the challenges and adventures of elite teens brought together in pursuit of their dreams or the mockumentary comedy of our newest series Little Lunch or the continuing action adventure of Bushwhacked!, buyers from around the globe will find content here that offers kids a fabulous and engaging viewing experience.” —Jenny Buckland, CEO

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Beyond Distribution ADDRESS: 167-169 Wardour St., London W1F 8WP, U.K. TELEPHONE: (44-20) 7323-3444 WEBSITE: www.beyonddistribution.com GENERAL MANAGER: Michael Murphy HEAD, SALES: Munia Kanna-Konsek HEAD, ACQUISITIONS: Caitlin Meek-O’Connor PROGRAMS: The Dengineers: 11x30 min. HD, live action, tween; Wild But True with Robert Irwin: 13x30 min. HD, live action, tween; Junior Vets: season 3, 10x30 min. HD, live action, tween; Pipsqueaks: 135x30 min. HD, live action, preschool; Hero Squad: 20x30 min. HD, live action, tween; Absolute Genius with Dick & Dom: 20x30 min. HD, live action, tween; History Hunters: 26x30 min. HD, live action, 6-10; Totally Rubbish: 10x30 min. HD, live action, tween; Get Squiggling Letters: 26x7 min. HD, animation, preschool; Toybox: 290x30 min., live action, preschool. “We’re celebrating Beyond’s 30-year anniversary this year and our kids’ catalogue has never been stronger. From superheroes to wildlife explorers, from animated cartoons to live action, our wide range of award-winning children’s and family shows is packed with great learning experiences for children of any age—fun and entertainment for the whole family! We’re excited to be launching The Dengineers, a brand-new makeover series transforming kids’ dens. The series is made in-house for CBBC, where they’ve ‘dengineered’ a kid-focused transformation show that kids will love to watch, dream of taking part in and talk to everyone about. We’re also bringing the latest season of Junior Vets and they’re now ‘on call.’ Season three of this fun series brings the kids out and about every episode, with two pairs of junior vets getting stuck in at vets practices, wildlife sanctuaries, rehoming centers or zoos.” —Caitlin Meek-O’Connor, Head, Acquisitions

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Breakthrough Entertainment ADDRESS: 35 Britain St., Toronto, ON M5A1R7, Canada TELEPHONE: (1-416) 366-6588 WEBSITE: www.breakthroughentertainment.com PRESIDENT, DISTRIBUTION: Nat Abraham VP, DISTRIBUTION: Craig McGillivray DIRECTOR, INTERNATIONAL SALES & ACQUISITIONS: Jodi Mackie CONTACTS: nabraham@breakthroughentertainment.com; cmcgillivray@breakthroughentertainment.com; jmackie@breakthroughentertainment.com PROGRAMS: Rocket Monkeys: 65x30 min./130x11 min., 7-11; The Adventures of Napkin Man: 46x12 min., preschool; Science Max: 13x30 min., 7-11; Sports Lab: 26x11 min., 7-11; Zerby Derby: 26x30 min./78x7 min., preschool. “Breakthrough Entertainment has had a wonderful 2015, with Rocket Monkeys winning multiple awards, including best animated series at the Canadian Screen Awards. The mixed live action and animation of The Adventures of Napkin Man was also able to take home multiple awards, including best preschool program and best host in a children’s series at the Canadian Screen Awards. Between new seasons of the hit programs Science Max, Rocket Monkeys, The Adventures of Napkin Man and My Big Big Friend on the horizon, as well as programs like Zerby Derby and its French version Zoubi Doubi racking up tens of millions of views on YouTube, there are no signs of Breakthrough’s success slowing down.” —Corporate Communications

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CAKE ADDRESS: 76 Charlotte St., 5/Fl., London W1T 4QS, U.K. TELEPHONE: (44-20) 7307-3230 WEBSITE: www.cakeentertainment.com CHIEF COMMERCIAL OFFICER & MANAGING DIRECTOR: Edward Galton SENIOR SALES MANAGER: Marie-Laure Roche CONTACT: info@cakeentertainment.com PROGRAMS: Angry Birds: 104x3 min., 2D animation, comedy, 4+; Angelo Rules: season 1, 78x7 min./season 2, 46x11 min. & 3x22 min./season 3, 46x11 min. & 3x22 min., 2D animation, comedy, 6-12; Piggy Tales: 55x1 min., 3D animation, comedy, 4+; Ready Jet Go!: 40x30 min., 2D animation, entertainment/ educational, 3-8; So Awkward: 26x28 min., live action, comedy, 6-12; The Sparticle Mystery: 36x30 min., live action, action, 6-11; Total Drama Presents: The Ridonculous Race: 26x30 min., 2D animation, action/comedy, 8-12; Trunk Train: 52x11 min., 2D animation, comedy, 6-12; Wanda and the Alien: 52x10 min. 2D animation, preschool, 3-6; Woozle & Pip: 52x5 min., 2D animation, preschool, 2-6. “2015 has been a busy year for CAKE, and we have a number of exciting new projects launching at MIPCOM, including the preschool space series Ready Jet Go!, created by Craig Barlett (PBS’s Dinosaur Train and Nickelodeon’s Hey Arnold!) and airing nationwide in a prime-time slot on PBS Kids next year; a third season of International Emmy Kids Award-nominated Angelo Rules, which we coproduce with the French production outfit TeamTO for France Télévisions, Super RTL and Cartoon Network; a new season of the highly successful Total Drama franchise; and most recently, CAKE signed an international distribution deal with Rovio Entertainment for its iconic brand Angry Birds, with a new series launching at MIPCOM. We are continuing to sell properties based on successful publishing activities, including the number one Dutch preschool property Woozle & Pip and the preschool series Wanda and the Alien, currently airing on Nickelodeon and Nick Jr.’s international channels.” —Edward Galton, Chief Commercial Officer & Managing Director

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Cyber Group Studios ADDRESS: 44B quai de Jemmapes, 75010 Paris, France TELEPHONE: (33-1) 555-63232 WEBSITE: www.cybergroupstudios.com CEO & PRESIDENT: Pierre Sissmann VP, SALES, ACQUISITIONS & NEW MEDIA: Marie Congé CONTACT: mconge@cybergroupstudios.com PROGRAMS: Zorro the Chronicles: 26x22 min., HD/CGI/animation, adventure, 6-12; The Long Long Holiday: 10x26 min./5x50 min., HD/CGI/animation, adventure, 6-12; Mini Ninjas: 52x11 min., HD/CGI/animation, action, 6-12; Zou: 104x11 min., HD/CGI/ animation, 3-6; G-Fighters: 26x22 min., HD/CGI/animation, adventure, 6-10; Mia: 39x11 min., HD/CGI/animation, 2-6; Mirette Investigates: 52x11 min., HD/CGI/animation, adventure/ comedy, 6-10; Balloopo: 52x11 min., HD/CGI/animation, adventure, 3-6; Tales of Tatonka: 52x13 min., HD/CGI/ animation/live footage, educational/adventure/documentary, 4-8; Mademoiselle Zazie: 78x7 min., HD/CGI/animation, adventure, 5-8. “Cyber Group Studios is a multi-awarded independent producer and distributor, specialized in top-quality kids’ programming with strong international appeal. Cyber Group Studios has become one of the leaders in youth programming. The company has built a catalogue of series representing 1,000 halfhours of HD programming, targeted at children aged 2 to 14, tweens and families. Cyber Group Studios’ mission is to bring to children and families around the world the best-quality entertainment experience, thanks to the company’s pool of international top creative talent, its breakthrough technology enabling it to bring theatrical animation quality to TV, new digital platforms and its distribution organization giving access to top broadcasters worldwide. Cyber Group Studios seeks partnership opportunities (coproductions, distribution) with other producers around the world sharing its values.” —Marie Congé, VP, Sales, Acquisitions & New Media

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DHX Media ADDRESS: 207 Queens Quay W., Suite 550, Toronto, ON M5J 1A7, Canada TELEPHONE: (1-416) 363-8034 WEBSITE: www.dhxmedia.com CEO: Dana Landry SENIOR VP, DISTRIBUTION: Josh Scherba CONTACT: sales@dhxmedia.com PROGRAMS: Backstage: 30x22 min., live action, tween; The Deep: 26x22 min., 3D animation, 6-12; Endangered Species: 26x22 min., 3D animation, 6-12; Kuu Kuu Harajuku: 26x22 min., 2D animation, 6-12; Looped: 26x22 min., 2D animation, 6-12; Make It Pop: 20x22 min., live action, tween; Messy Goes to Okido: 52x11 min., 3D animation, preschool; Rainbow Ruby: 52x11 min., 3D animation, preschool; Teletubbies: 60x11 min., mixed media, preschool; Twirlywoos: 50x11 min., mixed media, preschool. “DHX Media has a portfolio of standout entertainment programming, which we license extensively worldwide across multiple platforms. We have content for every young demographic, from preschool to teen shows, live action and animation—our offering at MIPCOM is our strongest yet. We’ll be showcasing the brand-new version of the preschool megabrand Teletubbies and unveiling Kuu Kuu Harajuku, the hip Gwen Stefani-inspired animation. For teens and tweens we are excited to be launching Backstage, a fantastic new show from Fresh TV centered on a school for performing arts, as well as the new season of Gaming Show, which is proving a hit with audiences across platforms. Our slate features established hits, including all episodes of Degrassi, the most successful and longest-running liveaction series for teens, which is continuing to win new generations of fans as a new season heads into production. In preschool, there’s a growing need from buyers for new girl-skewed content and we’re working with CJ E&M on the magical Rainbow Ruby, which we will be screening at MIPJunior.” —Josh Scherba, Senior VP, Distribution

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Distribution360 ADDRESS: 74 Fraser Ave., Suite 100, Toronto, ON M6K 3E1, Canada TELEPHONE: (1-416) 646-2711 WEBSITE: www.distribution360.com CEO: Mark Bishop SENIOR VP, INTERNATIONAL SALES & ACQUISITIONS: Diane Rankin CONTACT: sales@distribution360.com PROGRAMS: YaYa & Zouk: 78x5 min., animation, preschool, 2-6; Nico Can Dance!: 65x2 min., animation/live action/mixed media, preschool, 2-6; Ride or Wrong: 43x3 min., live action, game show, 6-12; Hi Opie!: 26x30 min./78x7 min., live action, preschool, 2-6; YOUniverse: 26x2 min., mixed media, preschool, 2-6. “Distribution360 has built an internationally recognized catalogue for preschoolers, kids and teens in both animation and live action. At this market, we are excited to debut two animated preschool properties that will entertain and engage young viewers, taking them into fantastical worlds, sparking their imaginations and encouraging creative movement. The animated brother-sister series YaYa & Zouk will provide endless entertainment for young children; these fun-loving siblings get themselves into hilarious situations as they travel between real and imaginary worlds. And Nico Can Dance! is sure to have preschoolers dancing at home. This fantastic mixedmedia series encourages kids to get up and move, as lovable animated cat Nico and live-action host Miss Frost use their imaginations and gain inspiration from the natural world to shake things up. As a dynamic and innovative rights-management business, Distribution360 is positioned to monetize content across all existing and emerging platforms around the world. We look forward to talking to both buyers and content creators at MIPCOM 2015.” —Diane Rankin, Senior VP, International Sales & Acquisitions

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Foothill Entertainment ADDRESS: 1129 State St., Suite 3, Santa Barbara, CA 93101, U.S.A. TELEPHONE: (1-805) 965-4488 WEBSITE: www.foothillentertainment.com PRESIDENT: Jo Kavanagh-Payne VP, SALES & DEVELOPMENT: Elizabeth Stephens CONTACT: estephens@foothillentertainment.com PROGRAMS: My Side of the Sky: 6x30 min., live action, reality/action sports, teen; GUNK Aliens: 52x11 min., 3D animation/CGI, comedy/action, 6-11; Rollie & Friends: 52x11 min., 3D animation/CGI, action/comedy, 3-6; Boy and the Dinosaur: 52x11 min., 3D animation/CGI, comedy, 3-6; Robotech, Remastered: Extended Edition: 85x26 min., 2D animation, sci-fi/action, teen/tween; Stepping Up: 5x26 min., live action, drama, 10-13; The Cut: 40x26 min./200x5 min., live action, comedy/drama, teen; Bounty Hamster: 26x11 min., 2D animation, sci-fi/comedy, 8-12; Young Dracula: 66x26 min., live action, comedy/drama, teen/family; Milton the Monster: 26x22 min., 2D animation, sci-fi/comedy, 8-12. “Foothill Entertainment specializes in codeveloping and distributing children’s and family entertainment with global appeal. Together with its U.K. affiliate, Foothill Europe, it continues to expand its international footprint by developing and distributing high-quality animation and live-action titles worldwide. It is the exclusive agent for Content Media’s children’s catalogue, with over 1,600 episodes of high-quality programming, including international award-winning hits such as My Side of the Sky, Young Dracula and Stepping Up. Foothill—and in Europe, Foothill Europe—is frequently engaged as an executive producer to assist in the development of great content for markets worldwide. Some of the projects in which we are involved are the exciting and comedic preschool series Rollie & Friends, from the U.K.’s 1461 Limited; Boy and the Dinosaur, with Canada’s Echo Media and Shooting Star Animation from the U.K.; and the irreverent but hilarious book-based series GUNK Aliens, with Splash Entertainment. Foothill is actively seeking presale commitments across all platforms for these amazing properties. With a wide range of completed series from producers across the globe, Foothill Entertainment represents content that is sure to appeal to children and families worldwide.” —Jo Kavanagh-Payne, President

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FremantleMedia Kids & Family Entertainment ADDRESS: 1 Stephen St., London W1T 1AL, U.K. TELEPHONE: (44-20) 7691-6000 WEBSITE: www.fremantlemedia.com EXECUTIVE VP & GENERAL MANAGER: Rick Glankler VP, DISTRIBUTION & SALES: Joss Duffield VP, ASIA: Henry Or CONTACT: joss.duffield@fremantlemedia.com PROGRAMS: Danger Mouse: 52x11 min./26x22 min., CGI animation, comedy/action/adventure, 6-11; Kate & Mim-Mim: season 1, 52x11 min./26x22 min./season 2, 23x22 min., CGI animation, preschool, 2-5; Tree Fu Tom: 3 seasons, 26x30 min. each, CGI animation, preschool/action/adventure, 2-5; Ella the Elephant: 26x22 min./52x11 min., CGI animation, preschool, 2-5; Strange Hill High: 2 seasons, 13x30 min. each, hypervynorama [puppetry], comedy, 6-11; Max Steel: 2 seasons, 26x30 min. each, CGI animation, action/adventure, boys 6-11; Bunks: 1x90 min., live action, comedy, 9+; Grojband: 26x30 min./ 52x11 min., 2D animation, comedy, 6-11; Wizards vs Aliens: season 1, 12x30 min./season 2, 14x30 min./season 3, 10x30 min., 2D animation, comedy, 6-11; Team Toon: 26x30 min., live action/animation, comedy/adventure, 6-11. “FremantleMedia Kids & Family Entertainment is a worldwide leader in kids’ and family entertainment. We work with leading international partners and our shows air on all the major networks and services around the globe. We are excited to be heading to MIPCOM just after the highly anticipated launch of the brand-new reboot of the action-comedy series Danger Mouse on CBBC and ahead of its international launch on Netflix next year. Our top-rating and hugely successful preschool show Kate & Mim-Mim is currently in production in its second season, which will feature themed episodes and a tentpole special, while work has also started on the third season of preschool favorite Tree Fu Tom, which introduces a whole new level with red magic.” —Joss Duffield, VP, Distribution & Sales

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Hasbro Studios ADDRESS: 4 The Square, Stockley Park, Uxbridge, Middlesex UB11 1ET, U.K. TELEPHONE: (44-20) 8744-5708 WEBSITE: www.hasbrostudios.com SENIOR VP, GLOBAL DISTRIBUTION & DEVELOPMENT: Finn Arnesen VP, INTERNATIONAL DISTRIBUTION: Nina Scales CONTACT: internationalsales@hasbro.com PROGRAMS: Transformers Robots in Disguise: 45x22 min., animation, boys 6-11; Blazing Team: 52x22 min., animation, boys 6-11; My Little Pony Friendship is Magic: 143x22 min., animation, girls 4-7; Littlest Pet Shop: 104x22 min., animation, girls 6-11; Transformers Rescue Bots: 104x22 min., animation, boys 4-9; My Little Pony Equestria Girls: 3x72 min., animation, girls 6-11; Jem and the Holograms: 65x22 min., animation, girls 6-11; Pound Puppies: 65x22 min., animation, 4-9; The Adventures of Chuck and Friends: 78x11 min./39x22 min., animation, boys 3-5. “Hasbro Studios is responsible for entertainment and branddriven storytelling for Hasbro across television, film, commercial productions and short-form content. It develops, produces and distributes TV shows based on Hasbro’s worldclass brands, including Transformers, My Little Pony, Littlest Pet Shop and Family Game Night. Many of these shows air on Discovery Family Channel and on networks in more than 180 territories globally. Since its formation in 2009, the studio has received nine Daytime Emmy wins. On the film side, the studio has developed and produced a number of features based on Hasbro’s brands. In addition to partnering with leading studios, the company intends to make movies based on new and existing Hasbro brands for audiences globally through the Allspark Pictures film label. Films in development or planned for release include Candy Land (Sony), G.I. Joe 3 (Paramount), Jem and the Holograms (Universal and Allspark Pictures), Magic: The Gathering (21st Century Fox) and an animated feature based on My Little Pony (Allspark Pictures).” —Corporate Communications

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INK Global ADDRESS: Gothersgade 12, 1/Fl., 1123 Copenhagen, Denmark TELEPHONE: (45) 3355-6100 WEBSITES: www.ink-brands.com; www.incubator.ink MANAGING PARTNER: Claus Tomming DIRECTOR, MEDIA: Bruno Zarka CONTACT: bz@ink-brands.com PROGRAMS: Masha and the Bear: 2 seasons, 26x7 min. each, comedy; Masha’s Tales: 26x6 min., comedy; Masha’s Scary Tales: 13x5.5 min., comedy; D6: 26x11 min., action/comedy; The Mojicons: 52x11 min., comedy; The Fixies: 2 seasons, 52x6 min. each, comedy.

“We are always looking for projects that combine distinct originality with a really strong story, as this appeals not only to international media buyers, but most importantly to kids. We don’t represent a lot of shows, as we value quality over quantity, but all these projects definitely fit the bill and will benefit from our longterm, dedicated, global cross-media plan for building a franchise.” —Claus Tomming, Managing Partner

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ITV Studios Global Entertainment ADDRESS: The London Television Centre, Upper Ground, London SE1 9LT, U.K. TELEPHONE: (44-20) 7157-3000 WEBSITE: www.itvstudios.com EXECUTIVE VP, KIDS’ CONTENT & DISTRIBUTION: Steve Green EXECUTIVE VP, DISTRIBUTION, EMEA & GLOBAL DIGITAL PARTNERS: Dan Gopal EXECUTIVE VP, DISTRIBUTION, THE AMERICAS: Greg Johnson EXECUTIVE VP, DISTRIBUTION, ASIA PACIFIC: Augustus Dulgaro PROGRAM: Thunderbirds Are Go: 52x30 min., CGI animation/ live-action model sets, action/adventure, 5-11. “Thunderbirds Are Go is ITV Studios and Pukeko Pictures’ major new reinvention of the classic children’s series, which combines CGI animation and live-action model sets to deliver a new level of action-adventure animation for today’s audience while paying tribute to the legacy of model locations from the original series. Now recommissioned for a second season, Thunderbirds Are Go has launched in the U.K., Australia and New Zealand to fantastic ratings (close to 3 million consolidated viewers on ITV and CITV in the U.K.), huge social-media buzz (with 2 million views on our official YouTube channel) and strong retail support for Christmas 2015. We’ve already sold the series to 35 international broadcasters, with over 45 licensees on board the consumer-products program globally, and we’re now looking to unlock the full global potential of this powerhouse brand at MIPJunior and MIPCOM and into 2016.” —Steve Green, Executive VP, Kids’ Content & Distribution

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The Jim Henson Company ADDRESS: 1416 North La Brea Ave., Hollywood, CA 90028, U.S.A. TELEPHONE: (1-323) 802-1500 WEBSITE: www.henson.com CEO: Lisa Henson EXECUTIVE VP, GLOBAL DISTRIBUTION: Richard Goldsmith CONTACT: international@henson.com PROGRAMS: Dot.: 52x11 min., 2D animation, comedy/adventure, 4-7; Splash: Henson Digital Puppetry Studio, 4-7; Word Party: 26x11 min., Henson Digital Puppetry Studio, preschool, 2-4; Doozers: 52x11 min., CG animation, preschool, 2-5; Dinosaur Train: 89x30 min., CG animation, preschool, 2-5; Hi Opie!: 13x30 min./39x7 min., live action, preschool, 2-5; Pajanimals: 52x11 min., live-action puppetry, preschool, 2-5; Sid the Science Kid: 66x30 min., CG animation, preschool, 2-5; Elias: Rescue Team Adventures: 52x11 min., CG animation, preschool, 2-5; Lily’s Driftwood Bay: 52x7 min., mixedmedia animation, preschool, 4-6. “Celebrating its 60th anniversary this year, The Jim Henson Company has remained an established leader in family entertainment and is recognized worldwide as an innovator in puppetry, animatronics and digital animation. Best known as creators of the world famous Muppets, Henson has received over 50 Emmy Awards and nine Grammy Awards. Recent credits include the Emmy-nominated Sid the Science Kid, Dinosaur Train and Pajanimals, as well as the CG-animated preschool series Doozers and the upcoming Netflix series for preschoolers Word Party. Features include The Dark Crystal, Labyrinth and MirrorMask. Television productions include Fraggle Rock and the sci-fi cult series Farscape. Headquartered in Los Angeles on the historic Charlie Chaplin lot, the company is home to Jim Henson’s Creature Shop, a preeminent character-building and visual-effects group with international film, television, theme park and advertising clients, as well as Henson Recording Studios, one of the music industry’s top recording facilities, known for its world-class blend of state-of-the-art and vintage equipment.” —Corporate Communications

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m4e ADDRESS: Altlaufstr. 42, 85635 Hoehenkirchen-Siegertsbrunn, Germany TELEPHONE: (31-35) 6299-999 WEBSITES: www.m4e.de; www.telescreen.nl CEO: Hans Ulrich Stoef GENERAL MANAGER, TELESCREEN: Sjoerd Raemakers CONTACT: sjoerd@telescreen.nl PROGRAMS: Wissper: 52x7 min., 3D animation, comedy/ drama/preschool, girls 4-7; Mia and me: 52x23 min., live action/3D animation, fantasy/adventure, girls 6-12; Tip the Mouse: 52x7 min., 3D animation, comedy/preschool, 3-6; Tobot: 58x22 min., 3D animation, family/adventure, boys 3-8; Julio Bunny: 52x11 min., 2D animation, adventure/comedy/preschool, 3-6; Miffy’s Adventures, Big and Small: 52x7 min., 3D animation, comedy/preschool, 3-6; Atchoo!: 52x11 min. (in dvpmt.), 2D animation, comedy, 6-9; Conni: 26x11.5 min., animation, adventure/comedy, 3-6; The Cramp Twins: 104x24 min., animation, comedy, 8-12; Frog & Friends: 26x7 min., 2D animation, adventure/comedy/preschool, 4-7. “The m4e Group is an international kids’ and family entertainment and brand-management company. With our deep knowhow we are managing all business aspects, from production up to finished merchandise products, in order to roll out brands internationally. Since 2003, we have worked with many animation and live-action producers and studios, created our own original content and produced, co-produced, distributed and managed brands around the world. m4e’s library of nearly 2,300 episodes features some of the most recognizable brands such as Mia and me, Tip the Mouse, Miffy and Friends and many more. Currently, m4e has 130 episodes in production and eight new shows in development. Our subsidiary company Telescreen provides strategic media distribution also to third parties. Apart from m4e’s own productions, Telescreen represents a wide range of international producers and broadcasters, selling and distributing high-quality programs to all major TV channels in the world.” —Hans Ulrich Stoef, CEO

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MarVista Entertainment ADDRESS: 10277 W. Olympic Blvd., Los Angeles, CA 90067, U.S.A. TELEPHONE: (1-424) 274-3000 WEBSITE: www.marvista.net CEO: Fernando Szew EXECUTIVE VP, DISTRIBUTION: Vanessa Shapiro PROGRAMS: The Inspectors: 22x30 min., live action, 8+ & family; A Dogwalker’s Christmas Tale: 1x90 min., live action, holiday, 10+; Rodeo & Juliet: 1x90 min., live action, holiday/romance, 10+; Heroes: Legend of the Battle Disks: 26x30 min., 2D animation, 5-11; Pants on Fire: 1x90 min., live action, comedy, 8+ & family; All She Wishes: 1x90 min., live action, romantic comedy, teen; My Dad is Scrooge: 1x90 min., live action, holiday, 5+ & family; NFL Rush Zone: 42x30 min., 2D animation, sports, 5-11; Zapped: 1x90 min., live action, teen & family; Nicky Deuce: 1x70 min., live action, teen.

“For some time, we have perceived unsatisfied demand in the global market for programming that can be co-viewed and enjoyed by parents and kids alike, and at MIPCOM we have a good selection! The Inspectors is a new series, debuting October 3 on CBS, which focuses on a teenager who overcomes being paralyzed in a car accident to thrive and work as an intern alongside his U.S. Postal Inspector mom. Together they solve crimes involving internet scams, identity and mail theft, and consumer fraud. Pants on Fire is a Disney XD movie premiere in which a 15-year-old uses white lies to gain favor and to get out of trouble—until they start coming true, throwing his life into chaos. Bradley Steven Perry (Good Luck Charlie), Joshua J. Ballard (Haunting Hour) and Tyrel Jackson Williams (Lab Rats) star. We also have some terrific holiday movies, including A Dogwalker’s Christmas Tale, about a spoiled college student who must learn to put aside her selfish ways in order to help save the local dog park before it is demolished on Christmas, and Rodeo & Juliet, about a city girl goes to the countryside for Christmas and meets a horse and cowboy who change her life.” —Vanessa Shapiro, Executive VP, Distribution

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Mediatoon Distribution ADDRESS: 15/27 Rue Moussorgski, 75018 Paris, France TELEPHONE: (33-1) 5326-3106 WEBSITE: www.mediatoon-distribution.com MANAGING DIRECTOR: Jérôme Alby CONTACT: Aude Rimbault-Joffard, aude.rimbault-joffard@mediatoon.com PROGRAMS: Bobby & Bill: 52x13 min., CGI, comedy, 5+ & family; The Garfield Show: 214x11 min., CGI, comedy, kids; Yakari: 130x13 min., 2D animation, adventure/edutainment, young kids; The Crumpets: 52x13 min., 2D animation, comedy, kids & family; Linkers: Secret Codes: 26x26 min., CGI, action/adventure, kids; SamSam: 52x7 min. & 39x8 min., CGI, adventure, young kids; Code Lyoko Evolution: 26x26 min., CGI, adventure, kids; Time Jam—Valerian & Laureline: 40x26 min., CGI, adventure/action/humor, kids; The New Adventures of Lucky Luke: 52x26 min., 2D animation, comedy, kids; The Darwinners: 120x3 min., 2D animation, comedy, teen. “Mediatoon belongs to the group MediaParticipations, which offers content to a large range of audiences and age groups via print, film, digital media and TV. Media-Participations is a leading producer of animated series in Europe. Mediatoon’s rich and varied library boasts 2,500 hours of programming, including such popular series as Garfield, Tintin, Lucky Luke, Cedric, Spirou, Babar, The Magic Roundabout and Yakari. Much of Mediatoon’s catalogue is produced by Media-Participations’ animation studios: Dargaud Media, Ellipsanime, Dupuis Audiovisuel, Belvision and Storimages. It is also enhanced by acquisitions from independent European studios such as 4.21 and Haut et Court, as well as by Asian producers of high-quality manga successes such as Keroro and Naruto. In 2014, Mediatoon [purchased] Moonscoop’s catalogue, enriching its already impressive catalogue with such hit shows as The Fantastic Four, Tootuff and Code Lyoko. These additions help to cement Mediatoon’s position as one of the leading animation distributors in Europe.” —Jérôme Alby, Managing Director

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Mondo TV ADDRESS: Via Brenta 11, 00198 Rome, Italy TELEPHONE: (39-06) 8632-3293 WEBSITE: www.mondotv.it CEO: Matteo Corradi HEAD, SALES: Micheline Azoury CONTACT: m.azoury@mondotv.it PROGRAMS: Dinofroz Dragons’ Revenge: 52x26 min., 2D animation, action/adventure, 5-10; Eddie is a Yeti: 26x3 min., 3D animation/CGI, comedy, 4-8; Secret Wings Pollen Princesses: 26x13 min., 2D animation, girls’ adventure, 4-9; YooHoo & Friends: 52x13 min., 3D animation/CGI, comedy/adventure, 4-7; Adventures in Duckport: 52x13 min., 2D animation, adventure, 4-7; Drakers: 26x26 min., 2D animation, adventure, 4-9; NORI— RollerCoaster Boy: 52x13 min., 3D animation/CGI, preschool/ adventure, 3-7; Atomicron: 26x13 min., 3D animation/CGI, action/adventure, 5-11; The Treasure Island: 26x26 min., 3D animation/CGI, classic adventure, 4-11; Sissi The Young Empress: 26x26 min., 2D animation, girls’ adventure, 4-9; Cuby Zoo: 52x11 min., 3D animation/CGI, preschool, 3-6. “Mondo TV is a group of companies that is a leader in Italy and among the primary European operators in the production and distribution of animated TV series and full-length feature films for TV and cinema. It owns one of the largest animation libraries consisting of more than 1,600 episodes of television series for all over the world together with more than 75 animated movies for video and theatrical release. The headquarters is in Rome and it is made up of an active international sales team headed by Micheline Azoury, who takes direct care of French-speaking territories as well as the Middle East, Africa, Europe, Australia and Asia, and Alessandro Venturi, who handles Eastern Europe. In order to support the sales activities in the Eastern European markets, the group assigned a direct sales manager for Greece, Cyprus and ex-Yugoslavia, Theo Kouroglou.” —Matteo Corradi, CEO

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Rainbow ADDRESS: Via Brecce, 60025, Loreto (AN), Italy TELEPHONE: (39-071) 7506-7500 WEBSITE: www.rbw.it FOUNDER & CEO: Iginio Straffi COO: Joanne Lee HEAD, SALES & CO-PRODUCTION: Andrea Graciotti CONTACT: info@rbw.it PROGRAMS: Winx Club 7: 26x30 min., 2D animation/HD, comedy/ action; Regal Academy: 26x30 min., 2D/HD/toon-shade animation; My American Friend (working title): 26x26 min., comedy/drama; Mia and me: 2 seasons, 52x30 min., live action/3D animation/CGI; Winx Club 6: 26x30 min., 2D/3D/CGI animation, comedy/action; Winx Club 5: 26x30 min., 2D/3D/CGI animation, comedy/action; Winx Club 3D: Magical Adventure: 1x80 min., 3D animation; Winx Club: The Mystery of the Abyss: 1x80 min., animation/CGI; PopPixie: 52x13 min., 2D animation; Huntik: 2 seasons, 52x30 min., 2D animation, adventure/comedy.

“Rainbow is one of the world’s biggest licensors and is Europe’s leading studio. Our success is due to the high quality of our productions, with brands such as Winx Club and Mia and me becoming major worldwide hits through broadcasters across the globe. In the near future we are concentrating on the seventh season of Winx Club and the second season of Mia and me, as well as selling globally the two big hits we are producing for 2016: Regal Academy and My American Friend (working title). Regal Academy is a hilarious animated comedy that presents fairy tales in a completely new and fresh way, while My American Friend (working title) is a live-action production that celebrates cultural differences and the power of friendship. We have very high expectations for both of these properties, as they have strong appeal for girls of all ages, from little ones right up to teenagers.” —Iginio Straffi, Founder & CEO

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Saban Brands ADDRESS: 10100 Santa Monica Blvd., Suite 500, Los Angeles, CA 90067, U.S.A. TELEPHONE: (1-310) 557-5230 WEBSITE: www.sabanbrands.com CEO: Janet Hsu SENIOR VP, GLOBAL DISTRIBUTION: Frederic Soulie CONTACT: fsoulie@sabanbrands.com PROGRAMS: Saban’s Power Rangers Dino Super Charge: 22x22 min., live action, boys’ action, 4-8; Popples: 52x11 min., 3D animation/CGI, comedy, 5-8; Cirque du Soleil—Luna Petunia: 52x11 min., mixed media, preschool, 2-5; Emojiville (working title): animation, comedy, 6-11; Glitter Force: 40x22 min., animation, girls’ action, 4-8; Julius Jr.: season 2, 52x11 min., animation, preschool, 2-5; Digimon Fusion: season 2, 24x22 min., anime, boys’ action, 4-8. “In early 2016, the 23rd Power Rangers season, Power Rangers Dino Super Charge, will debut, featuring ten Rangers on the same team for the first time in franchise history. Saban Brands will also launch Popples, a new Netflix original series for kids, this fall, followed by Cirque du Soleil—Luna Petunia, debuting as a Netflix exclusive in fall 2016. Glitter Force, Saban Brands’ newest series, was recently announced and will follow five preteen girls who form a legendary superhero squad, the Glitter Force, and must defend Earth from evil fairy tale villains. Julius Jr. concluded its second season on Nick Jr. in the U.S. and is premiering on international broadcasters throughout 2015. Season two of Digimon Fusion is currently airing in the U.S. on Nicktoons and rolling out globally throughout 2015. Additionally, Emojiville (working title), Saban Brands’ multiplatform kids’ property, is currently in development, launching as a television series in 2017.” —Frederic Soulie, Senior VP, Global Distribution

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Splash Entertainment ADDRESS: 21300 Oxnard St., #100, Woodland Hills, CA 91367, U.S.A. TELEPHONE: (1-818) 999-0062 WEBSITE: www.splashentertainment.com CO-CEO: Nicolas Atlan CO-CEO: Mike Young PRESIDENT, DISTRIBUTION: Mevelyn Noriega CONTACT: mevelyn.noriega@splashentertainment.com PROGRAMS: Kulipari: An Army of Frogs: 13x26 min., 2D animation, action/adventure, grade-school boys; Alpha and Omega: 3x45 min., 3D animation, comedy/adventure, family; Team Tigers: Always Take Action (working title): 26x26 min., 2D animation, action/adventure, 6-11; Tellur Aliens: 1x66 min., 3D animation, action/adventure, 6-11; Sabrina: Secrets of a Teenage Witch: 26x26 min., 3D animation, comedy/adventure, 6-11; Chloe’s Closet: 104x13 min./52x26 min., 2D animation, preschool/learning, 2-5; Dive Olly Dive!: 104x13 min./52x26 min., 3D animation, preschool/learning, 2-5; The DaVincibles: 52x13 min./26x26 min., 2D animation, comedy, 6-11; Growing Up Creepie: 52x13 min./26x26 min., 2D animation, comedy, 6-11; Pet Alien: 104x13 min./52x26 min., 3D animation, comedy, 6-11. “Specializing in children’s entertainment, Splash Entertainment is an innovator, developer and producer of original animated television series, properties and brands that are implemented across all digital platforms of media. The company’s library (over 550 half-hours) contains content airing in more than 180 territories worldwide. Among Splash Entertainment’s key brands licensed in markets worldwide and produced by its talented animation production staff are Chloe’s Closet, Dive Olly Dive!, Hero:108, Growing Up Creepie, Pet Alien and ToddWorld. Splash Entertainment’s newest productions include the animated family feature film Norm of the North, the next three 45-minute movies in the Alpha and Omega franchise, and the Netflix original series Kulipari: An Army of Frogs. Currently in production is Chloe’s Closet season three. As a production company hired by outside content owners, Splash Entertainment has produced animated series for a number of high-profile brands such as Care Bears, Clifford the Big Red Dog, Lalaloopsy, Strawberry Shortcake, Bratz, Zhu Zhu Pets and He-Man Masters of the Universe.” —Corporate Communications

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Studio 100 Media ADDRESS: Sapporobogen 6-8, D-80637 Munich, Germany TELEPHONE: (49-89) 960-8550 WEBSITE: www.studio100media.com CEO: Patrick Elmendorff HEAD, GLOBAL DISTRIBUTION: Martin Krieger CONTACT: Katharina Muck, katharina.muck@studio100media.com PROGRAMS: The Wild Adventures of Blinky Bill: 52x11 min., CGI animation, 5-8; Nils Holgersson: 52x13 min., CGI animation, 6-11; K3: 52x13 min., 2D animation, 4-10; Heidi: 39x22 min., CGI animation, 5-8; Tashi: 52x11 min., CGI animation, 6-11; Ghost Rockers: 53x12 min., live action, 8-14; Vic the Viking: 78x12 min., CGI animation, 5-8; Trains: 2 seasons, 46x5 min. each, CGI animation, 3-7; Knietzsche—The World’s Smallest Philosopher: 30x3 min., 2D animation, 5-12.

“Studio 100 Media is an international production and distribution company within the children’s and family entertainment sector. Based in Munich, Germany, the company is a 100-percent subsidiary of the Belgian firm Studio 100. The company develops and acquires new content, engages in co-production and co-financing activities, and is also responsible for the international distribution of its own and third-party rights. With a new film division under the banner Studio 100 Film, a 100percent subsidiary of Studio 100 Media, the company has stepped into worldwide cinematic film sales. Studio 100 Media’s business model is the perfect vertical and horizontal integration of its IP. In marketing its license rights, the company pursues a global strategy within sectors ranging from licensing and merchandising, TV sales, home entertainment, games and interactive right through to theatrical movies, stage shows and theme parks.” —Patrick Elmendorff, CEO

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Superights ADDRESS: 13 Rue Keller, 75011 Paris, France TELEPHONE: (33-9) 6011-1333 WEBSITE: www.superights.net DEPUTY MANAGING DIRECTOR, INTERNATIONAL SALES & ACQUISITIONS: Morgann Favennec CONTACT: morgann.favennec@superights.net PROGRAMS: Boyster: 52x11 min., 2D animation, comedy, kids; Kika & Bob: 52x13 min., 2D animation, comedy/educational, kids; Picnic with Cake: 13x5 min. & 1x26 min., 2D animation, comedy, preschool; Will: 52x2 min., 2D animation, comedy, kids; Space Dog: 78x7 min., 3D animation, comedy/action, kids; Story Time!: 13x13 min., 2D animation, tales, preschool & family; The Big Bad Fox & Other Tales: 3x26 min., 2D animation, comedy, kids & family; Wubby School: 52x11 min., 3D animation, comedy, preschool. “Superights is an international boutique distribution company specialized in kids’ and family entertainment. Our catalogue covers all genres, all demographics and includes award-winning programs such as the preschool series Picnic with Cake and the feature film Song of the Sea. Besides [those titles], the comedy series Boyster, produced by the French studio Je Suis Bien Content with The Walt Disney Company EMEA, has been sold throughout the world, including in South Korea, where Animax bought it as their first European acquisition ever. Superights’ highlights for MIPCOM 2015 strengthen the distributor’s strategy of offering a wide and diversified selection of top-quality programming available on all media platforms, with new projects such as the preschool series of tales Story Time!, the ‘short-com’ for kids Will and Oscar-nominated Benjamin Renner’s collection of specials The Big Bad Fox & Other Tales.” —Morgann Favennec, Deputy Managing Director, International Sales & Acquisitions

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Toon Goggles ADDRESS: 20251 Ventura Blvd., Suite B, Woodland Hills, CA 91364, U.S.A. TELEPHONE: (1-888) 874-5411 WEBSITE: www.toongoggles.com CEO: Stephen L. Hodge CONTACT: info@toongoggles.com “Toon Goggles, an on-demand entertainment service for children, has the largest variety of animated and live-action shows, games, radio and 4K streaming video available worldwide. With kid-safe and parent-friendly content, Toon Goggles has partnered with the biggest names in tablets, mobile devices and smart TVs, including Sony, Sharp, Samsung, Roku and Kurio. The service features top animated comedies for kids like Bernard, Monk and Canimals, as well as educational, action and preschool shows. Toon Goggles is the only children’s service with 4K Ultra HD streaming, and the first to develop a custom application for the Apple Watch. The unique TG Shortiez section lets kids make their own videos, add filters and publish with parents’ approval. Toon Goggles is currently creating and merchandising an original show called Eddie is a Yeti, co-produced with Mondo TV. The platform truly gives the user a one-stop, allinclusive entertainment experience at home or on the go.” —Stephen L. Hodge, CEO

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Tricon Kids & Family ADDRESS: 786 King St. W., Toronto ON M5V 1N6, Canada; 602 Hampton Dr., Venice, CA 90291, U.S.A. TELEPHONE: (1-416) 341-9926; (1-310) 450-0101 WEBSITE: www.triconfilms.com PRESIDENT: Andrea Gorfolova EXECUTIVE VP, KIDS, FAMILY & ANIMATION: Frank Saperstein DIRECTOR, DEVELOPMENT & INTERNATIONAL SALES: Ashley Rite CONTACTS: franks@triconfilms.com; ashley@triconfilms.com PROGRAMS: Counterfeit Cat: 52x11 min. & 11x2 min., 2D animation, comedy, 6-12; React to That: 13x30 min., live action, factual, tween; Mission: 4Count: 8x30 min., live action, reality, tween; Fluffy Gardens: 80x7 min., 2D animation, preschool; Wildernuts: 52x7 min., 2D animation, preschool; Summer Beach Bash II: 1x60 min., live action, reality/event, tween; Shutterbugs: 52x11 min., 2D animation, preschool; Zoo Clues: 52x30 min., live action, trivia, family. “The Tricon Kids & Family division continues to grow with strategic global partnerships and alliances, featuring both acquired and produced content. Tricon’s strong track record in producing quality youth programming continues with the award-winning kids’ format The Next Star, reality series Mission: 4Count and the live-event special Summer Beach Bash, which took place for the second year in a row. The company was thrilled to announce its first animated series, Counterfeit Cat, coproduced between Tricon and Wildseed Studios and commissioned by Disney XD EMEA and TELETOON Canada. Our distribution library continues to stand out for its diverse range of titles and formats, most importantly with the newest acquisition React to That, produced by media mogul Nick Cannon and hit YouTube sensation The Fine Brothers. Our animated offerings continue to grow with the launch of the preschool series Shutterbugs, from Amberwood Entertainment and Big Jump Productions, as well as Kavaleer Productions’ second season of Wildernuts. We look forward to announcing exciting new projects and collaborations over the course of the next few months.” —Ashley Rite, Director, Development & International Sales

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Twofour Rights ADDRESS: Kingsbourne House, 229-231 High Holborn, London WC1V 7DA, U.K. TELEPHONE: (44-20) 7438-1800 WEBSITE: www.twofour-rights.co.uk CEO: Melanie Leach HEAD, SALES: Anthony Appell CONTACT: sales@twofour-rights.co.uk PROGRAMS: Toot the Tiny Tugboat: 52x11 min., 2D cel animation, preschool; Ludus: 20x30 min., live action, game show, 6-11; Our School: 30x30 min., live action, factual/reality, tween; Sunnyside Farm: 52x15 min., live action, factual, 2-6; Tommy Tishoo: 52x7 min., live action, entertainment, preschool. “This year has seen some exciting developments across our kids’ catalogue. Toot the Tiny Tugboat, our beautifully animated preschool series, continues to make waves. There are 26 new episodes of the energetic little tug’s harbor adventures currently airing on Channel 5 (U.K.) and Cartoonito (U.K.). The series regularly outperforms the slot average and is a channel favorite. In a new season of Our School, a fresh bunch of young children navigate the big new world of upper school. The original series was 53-percent up on the slot average. And, finally, there are farm adventures to enjoy in Sunnyside Farm, and the main character in Tommy Tishoo invites youngsters to join him in a world full of color and imagination. Going forward, we will continue to maximize all sales opportunities for the titles in our lively kids’ catalogue.” —Anthony Appell, Head, Sales

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Xilam Animation ADDRESS: 86-90 Rue Notre-Dame de Nazareth, 75003 Paris, France TELEPHONE: (33-1) 4018-7200 WEBSITE: www.xilam.com CEO: Marc du Pontavice EXECUTIVE VP, SALES: Erick Rouillé CONTACT: erouille@xilam.com PROGRAMS: If I Were an Animal…: 39x7 min., wildlife/docu-fiction; Oggy and the Cockroaches: seasons 1-4, 270x7 min./ 90x30 min./season 5, 78x7 min., slapstick comedy; Paprika: 78x7 min./26x30 min., preschool; Zig & Sharko: season 2, 156x7 min./52x30 min., slapstick comedy; Rolling with the Ronks!: 52x13 min./26x30 min., comedy; A Kind of Magic: season 1, 26x30 min./season 2, 52x13 min., comedy; Hubert & Takako: 78x7 min./26x30 min., comedy; The Daltons: season 2, 195x7 min./65x30 min., comedy; Floopaloo, Where Are You?: season 2, 104x13 min./52x30 min., comedy; What’s the Big Idea?: 52x5 min./13x30 min., philosophical.

“Xilam is one of Europe’s leading animation companies, committed to creating, producing and distributing topquality content, both 2D and CGI, for TV, film and new platform formats.” —Corporate Communications

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ZDF Enterprises ADDRESS: Erich-Dombrowski-Strasse 1, 55127 Mainz, Germany TELEPHONE: (49) 6131-9910 WEBSITE: www.zdf-enterprises.de PRESIDENT & CEO: Alexander Coridass EXECUTIVE VP & COO: Fred Burcksen VP, ZDFE.JUNIOR: Peter Lang CONTACT: zdfe.junior@zdf-enterprises.de PROGRAMS: Mako Mermaids: 68x26 min., live action, teen drama, 10+; H2O—Just Add Water: 78x26 min., live action, teen drama, 10+; Dance Academy: 65x26 min., live action, teen drama, 10+; Wolfblood: 52x26 min., live action, teen drama, 10+; Sam Fox— Extreme Adventures: 26x26 min., live action, teen drama, 10+; Coconut—The Little Dragon: 104x12 min., animation, adventure/ comedy, 2-6; Captain Flinn and the Pirate Dinosaurs: 52x11 min., animation, comedy, 2-6; Four and a Half Friends: 26x26 min., animation, detective adventure, 6-11; The Skinner Boys: Guardians of the Lost Secrets: 26x24 min., animation, adventure/comedy, 6-11; Marcus Level: 52x13 min., animation, adventure/comedy, 6-11. “We are the proud market leader in liveaction programs and focus on our renowned long-lasting brands under the label ‘Home of Mermaids.’ Our current highlight is the launch of the third season of Mako Mermaids. Our Home of Mermaids programs have traveled all over the world and found millions of devoted fans everywhere. Sold to over 160 territories, these award-winning shows stand out for their magical storytelling and for special effects and spectacular underwater photography. Mako Mermaids was even launched internationally as the first live-action Netflix original children’s series! Our MIPCOM highlight in animation is the adventure comedy series Coconut—The Little Dragon. Based on best-selling books, with over 6 million sold worldwide, the adventures of Coconut and his friends now come to life in a wonderful new animated series. Life is not always easy on Dragon Island; Coconut has flying problems, Oscar is the only vegetarian in his family and Matilda has no say as a porcupine anyway. Nevertheless, the three friends manage to solve every problem. With the help of curiosity and teamwork, they bring the most varied types of dragons together and always stand up for friendship and tolerance.” —Peter Lang, VP, ZDFE.junior 98

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