TV Kids Guide 2021-2022 by World Screen

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Contents A Note from the Editor . . . . . . . . . . . 10 Interviews . . . . . . . . . . . . . . . . . . . . . . . . 11 Distributors . . . . . . . . . . . . . . . . . . . . . . 27

Publisher Ricardo Seguin Guise Group Editorial Director Anna Carugati

Ricardo Seguin Guise President

Editor Mansha Daswani

Anna Carugati Executive VP

Executive Editor and Editor, English-Language Guides Kristin Brzoznowski

Mansha Daswani VP of Strategic Development and Associate Publisher

Production and Design Director David Diehl

Managing Editor Chelsea Regan

1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620

Associate Editor Jamie Stalcup

Fax: (212) 924-6940

Online Director Simon Weaver

Website: www.tvkids.com

Senior Sales and Marketing Manager Dana Mattison Sales and Marketing Coordinator Genovick Acevedo

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

Business Affairs Manager Andrea Moreno

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A DIVISION OF World Screen

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A Note from the Editor Mansha Daswani

It’s been a year and a half of lockdowns and reopenings, protests and instability, uncertainty over what a world without Covid-19—or maybe just a world in which we live with Covid-19—looks like. And we have all been transformed in one shape or another. But it does feel like it’s the kids’ business that has had to confront the biggest shifts. Now of course in production, at least in animation, remote work was pretty seamless, helping to ensure a steady supply of fresh content. But with kids stuck at home, the onus on content providers to educate and entertain—and provide some relief to beleaguered parents who had turned spare bedrooms and closets and kitchens into makeshift offices— was amplified. The huge gains in AVOD viewership among kids and families led to some quick rethinking of windowing strategies. Almost half of U.S. TV viewers are using AVOD services at least once a month, and 28 percent use a FAST service with ad-supported linear channels, according to Horowitz Research’s recent State of Viewing and Streaming 2021 report. Pluto TV, Tubi, The Roku Channel app and IMDb TV are among the AVOD services that survey respondents indicated they used most often—and all have selections of programming catering to kids. And diversity has become more than a conversation piece; it’s a must-have now, rather than a nice-to-have. (Disney Channel released a movie recently about a young Indian-American woman who aspired to be a DJ, which made me wonder—what if I’d had shows like that when I was a kid?) What hasn’t changed across the industry is a fierce commitment to making sure that what’s on kids’ screens speaks to them, understands them, reflects their lives and, with any luck, helps them make better decisions as they become the leaders (or DJs, for that matter) of tomorrow. 10

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INTERVIEWS

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Ynon Kreiz Chairman & CEO Mattel

TV KIDS: Tell us about Mattel Films and Mattel Television. KREIZ: We own one of the strongest catalogs of children’s and family entertainment franchises in the world. In addition to the signiﬁcant value we are creating on the toy side of the company—our core business—our strategy is designed to commercialize our brands in highly accretive business verticals that are directly adjacent to the toy industry and capture the full value of our IP. Two of those verticals are Mattel Films and Mattel Television. The mandate for both divisions is very clear: creating great quality content that people want to watch. This is not designed just to sell more toys. It is about making great content that will engage people at an additional level to what we do as a toy company. TV KIDS: How does reaching out to children and families through movies and television strengthen Mattel’s brands and their connection with consumers? KREIZ: This is a very important way for us to connect with consumers and engage with fans through multiple touchpoints. In today’s world it’s not just about one representation of a franchise or a brand. It’s a holistic experience. Owning the underlying rights for these brands gives us the ability to engage consumers and entertain them in multiple ways. We always stay true to the DNA of our brands and franchises. TV KIDS: How is Mattel’s e-commerce business performing? KREIZ: Retail and e-commerce are very important parts of our transformation strategy. Covid-19 brought about a big shift in how consumers shop, with the acceleration of online retail and e-commerce by two, three, maybe even ﬁve years, depending on the market. We pivoted the company and were able to respond to changes in consumer shopping habits. [We are] engaging with consumers in ways that strengthen and broaden what we do in brick-and-mortar stores. 14

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Eric Ellenbogen CEO & Vice Chair WildBrain TV KIDS: What must a media company do to remain responsive to changes in the media landscape? ELLENBOGEN: It is about being nimble. The one thing that has not changed in the media landscape is that great shows are watched by a lot of people. That said, we’ve obviously leaned into AVOD. We think it is very much the future. We’ve become obsessed with data analytics. It isn’t just about being a content creator and distributor and a center of creative excellence—now you’ve got to know the numbers. Because of our Spark division, we have become much more sophisticated about how we serve up content, and we understand so much more about our audience. TV KIDS: How do you and your teams give your brands the best exposure and monetization possible? ELLENBOGEN: There is an emphasis now on multiple platforms and AVOD distribution. [For example] one of our premier shows had been sought after by one of the platforms on an exclusive basis. We instead syndicated the content across rev-share deals in AVOD. I think we did better in one year than what had been on offer for something like a three- or four-year deal. A lot of it is understanding the content. One of the things that we love about working with platforms like Samsung, Comcast Xﬁnity and others is the availability of data. We get numbers back. We know who’s watching our shows, which informs our development process and our distribution strategy. TV KIDS: Will linear channels remain important players in the kids’ business in years to come? ELLENBOGEN: Linear viewing is declining, and it’s been in decline for a decade. That said, many of the linear telecasters are smartly diversifying into on-demand viewing. I think it’s about offering a suite of opportunities to viewers and ways of delivering the content wherever the audience is, whenever they are watching and curating that content as well. 15

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Philippe Bony

Head, Thematic & Youth Channels M6 Group TV KIDS: What viewing trends did you see amid Covid-19? BONY: There were two different evolutions. Co-viewing has increased a lot. Not only on the children’s channels but also on the general entertainment channels. The second one is an increase in nonlinear consumption. It’s not co-viewing—it’s single viewing by the children. TV KIDS: What investments are you making in programming? BONY: We have a big slate of animated series, which are important for us. As we have seen during the pandemic, we need to develop live shows on linear TV. We anticipate developing more and more entertainment and gaming shows on our channels. TV KIDS: What is the role of acquired content on the channels? BONY: We are co-producing French TV series, that’s a big part of our investment, but we are always interested in having the opportunity to buy some international series. We are interested in all kinds of animated series, in all genres. We are more interested in receiving some comedies for 7- to 10-year-olds. We are always happy to see any good idea. TV KIDS: How important is it to have a strong brand in a competitive TV market like France? BONY: Brands are key. We have to maintain these brands, and to do this, we have to develop our offer on television as a starting point. It’s important for a channel like Gulli to be present with a connection to children every day. That’s why we want to develop more interactive shows—we need to be in direct connection with the children where they are. We have developed the Gulli Park, where children can play, have birthday parties. We have cooperations in the stores; it’s important to have a very local presence near the children. And, of course, we have to develop digital and nonlinear services. We really trust in the combination of linear and nonlinear. The combination is great to develop our brands and our ratings. 16

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Claude Schmit CEO Super RTL

TV KIDS: How has Super RTL evolved to remain at the forefront of the German market? SCHMIT: We have succeeded in moving from a purely linear channel to a content hub. We have to make sure we offer content pieces, which have to be the best possible, to our viewers on whatever device they are on at whatever time they’re using it. Our ambition has to be that we are wherever our target group is. That means obviously linear television—we have two channels, and we were one of the ﬁrst in Germany to launch a time-shifted linear channel, TOGGO plus. We have our web applications TOGGO and Toggolino, apps, HbbTV, a streaming service, a YouTube presence and a radio station. We also have a very important merchandising business. TV KIDS: How has Super RTL’s acquisitions strategy evolved since Disney pulled its content? SCHMIT: Disney supplied about 33 percent of our daytime grid, so basically overnight, we had to replace quite a large chunk of our programming. Fortunately, our scouts were out there looking for suitable material. It was difficult because Disney programming is very high quality, but we found it. We found it with DreamWorks; we concluded an output deal with them for the German territories. That was a ﬁrst step where we could, in a relatively short time, have access to a relatively large and qualitatively well-positioned product library and new productions. Then we also decided to do some cherry-picking with producers. We succeeded in dispersing our acquisitions further away from one big player to a larger variety of big and small players. TV KIDS: What is the approach to original productions? SCHMIT: As a broadcaster, a content man, I love original productions, no question. Unfortunately, as the CEO, I’m a bit more skeptical. The numbers are quite different. As soon as you engage in inhouse productions, the tab tends to be a bit higher than if we just acquire the products from somewhere else. 17

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Tom Ascheim President, Warner Bros. Global Kids, Young Adults and Classics, WarnerMedia TV KIDS: Tell us about Cartoon Network’s “Redraw Your World” tagline. ASCHEIM: We have this incredible history at Warner Bros. A hundred years of Looney Tunes, a whole bunch of other years of DC and Hanna-Barbera and Cartoon Network. But we hadn’t had a chance to put all of our assets together and try to build a modern kids’ and family business that we think Warner Bros. and WarnerMedia deserve. That’s the quest we’ve been on, to build the world’s best kids’ and family business. To do that, we really had to think hard about who we are and our relationship with the audience. You start with a great brand and an emotional connection, and that was the root of Redraw Your World. [A] sense of inclusion is the root of how we want our audience to feel. We want them to feel that, when they’re with us, they get to be their own best self, with all the kookiness they’re in. That’s the most important part. The second part is understanding that this generation of kids is really powerful. Redraw Your World borrows this idea of imagination, which has always been the root of who we are, and creativity, but anchors it in the sense that you can reimagine the world to have it be the way you want it to be. TV KIDS: How are you expanding Cartoon Network’s reach? ASCHEIM: If inclusion is the centerpiece of what you do and why you do it, we had to face whether we were dealing appropriately with all the members of the audience that we want to talk to. So we are reformatting Cartoon Network to be sure that it is inclusive in the way it’s structured. We [launched] Cartoonito, the biggest preschool commitment we’ve ever made. We have a huge initiative to make sure that girls are an equal part of the audience for us. And over the years, I think, we have focused much more on the children part of the family. When we talked to families, pre-Covid, they were looking for moments to gather. We know that what really makes that happen successfully is when the entertainment is great for the family in totality; it’s not just for the children and the parents are gritting their teeth. 18

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Sean Clarke Managing Director Aardman TV KIDS: How has Aardman embraced new technologies, new creators and innovation? CLARKE: We’ve always been known and world-renowned for our stop motion. It’s always been the studio’s ethos to embrace technology, even if it’s the cameras around stop motion or new cuttingedge technology. I’ve been at the studio now for 23 years. Twenty-one years ago, we launched our first movie with Chicken Run, which was a mammoth task in terms of putting together a crew for our first feature film. In the same year, at the turn of the millennium, we did a series called Angry Kid, which really embraced technology. It was a live-action, stop-motion mix. It was actually one of the first series on the internet, if you think about the turn of the new millennium. The internet was still very new in those days. It’s always been part of the studio’s ethos, and even more so in the last ten years. In our industry, technology has really motored on, both in terms of how we watch content—with the likes of the disruption created by the streamers—but as well as technology, meaning there’s a new toolbox for us to create stuff. At the heart of everything, it’s still us being storytellers, but we’re always continuing to embrace different and more unique ways to tell stories. TV KIDS: What environment does Aardman offer creators? CLARKE: My job really is to try and create a culture to allow creativity to thrive. The founders of the studio, David Sproxton and Peter Lord, always had an ethos about trying to create a friendly, family, open, collaborative environment, and that’s been underpinned by the fact that we’re now employee-owned. We are truly a valuesbased business, where all the value created, whether it’s money or investment, is with employees in mind—or partners, as we call them. It’s very much about creating a culture that allows creativity to thrive, and really about creating an environment for those ideas to spark. We have a building that encourages people to meet and talk and discuss. We have a lot of forums for people to present ideas, for them to be nurtured and hopefully come to fruition. 19

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Nicole Keeb

Head, International Co-Productions, Development & Acquisitions, Children’s & Youth, ZDF TV KIDS: Tell us about the vital role that kids’ programming plays on ZDF. KEEB: We are transmitting every week during the weekends, Saturday and Sunday mornings, for a total of eight hours. And on KiKA each day from 6 a.m. to 9 p.m. KiKA is a joint venture of ARD and ZDF. ZDF is obliged to deliver about 35 percent of KiKA’s programming. On ZDF itself, we have a children’s brand as well, ZDFtivi, which works like a channel within a channel. We entertain but also inform because we are public television and rely on public funds, so we feel we have to tackle special issues and topics; that’s our task and what we love to do. Linear TV on ZDF and KiKA is still very important; the audience really appreciates it, and the numbers show that. TV KIDS: What are some of the qualities you look for when buying shows? KEEB: We are looking for high-profile shows in live action and animation—warmhearted, well-told stories with threedimensional characters and fresh and funny designs in terms of animation. At the moment, our preschool shelves are quite well packed, but of course, if something is outstanding, we are happy to be part of it anyway. We really appreciate programs for the whole family; we want kids, parents and grandparents in front of the screen. The topics should show diversity, [as should the programs’] cast and crew. The formats are flexible—7-minutes, 11-minutes or 24-minutes—as well as specials and movies. TV KIDS: What makes ZDF a valuable co-production partner? KEEB: We not only invest in co-productions, but most importantly, we are giving our editorial input. I see my role as somebody who finds ideas, books, topics and themes that would work perfectly for ZDF and then find the international partners to realize those shows or topics and also bring together German and international partners. This happens very often with the support of ZDF Enterprises, which helps us to make an impact on the market. 20

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Sebastian Debertin Head, International Content Acquisitions KiKA

TV KIDS: How do you see the role of public broadcasting for kids today? DEBERTIN: KiKA, as well as our parent companies ARD and ZDF, always ensures to offer a balanced mix of educational and entertaining content for kids of all ages. We want to help kids while they are growing up, offering them broad and varied programming. In general, we want to help them navigate their way in a world that is becoming more complex every day. KiKA’s focus will always be on relevant issues, such as climate change, the environment and the importance of diversity and representation. We are fighting against clichés and stereotypes and offering our kids’ audience positive values. Especially in these times, public-media services are more important than ever. TV KIDS: What are you currently seeking in regard to acquisitions? DEBERTIN: Besides searching for fiction, I now also look for nonfiction programming internationally for KiKA. In general, I look for docs and factual titles that cover issues in kids’ lives. Of course, it must be relevant for the different target groups and enhance their positive view of the world as well as give them [direction] and deliver strong positive values. When it comes to fiction, we are looking for animated fulllength feature films and animated specials for bank holidays, Easter time, Christmas, etc., with a length of up to 30 minutes and age-wise starting with 5-year-olds, 6 to 10s and up to the oldest kids, ages 10 to 13. Family co-viewing on top is an advantage, but only if kids are the focus of the storytelling. Also, live-action feature films for a kids’ and family audience are on top of the list. We have a strong slate for our youngest viewers who love watching shows on KiKANiNCHEN. But we are always looking for additional strong animated series for preschoolers that can add up to great brands. For the so-called bridge audience, kids aged 4 to 7, we actively search for strong new additions to go along with successful series like Fireman Sam. 21

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Eric Berger CEO Common Sense Networks

TV KIDS: Tell us about the thinking that went into crafting Sensical. BERGER: We were focused on solving some speciﬁc issues in the market under the thesis that kids really do deserve better. Their viewing patterns have shifted to these large open platforms; they’re watching there far and away more than [anywhere] else. About 80 percent of kids are spending over an hour a day just on the [free] platforms; they’re also watching premium services and live TV. And unlike Sensical, which was designed speciﬁcally for kids, these platforms are designed for adults, which has inherent problems. They have content that is inappropriate, advertising that is inappropriate and the algorithms are a problem. We had to think about it holistically; we couldn’t just put something out there with some licensed content. It was so crucial for us to get the environment and the experience exactly right. TV KIDS: How did you curate your initial slate of content? BERGER: We wanted to curate content that allowed kids to explore their passions. We’re big believers in interest-based learning. We have 50 topic-based channels designed around things like how-to in categories like sports or drawing or dance or cooking or DIY or building. At the same time, we have these areas of passionate interest that kids like—animals, dinosaurs, video games, outer space or nature. Parents are looking for solid preschool learning— reading, math, science, music—and making and moving activities. All of those are there. TV KIDS: Are you looking at international expansion? BERGER: We’re testing in the U.S. right now but have a global vision. We want to, as quickly as we can, start to move into other territories. There are some big AVOD territories around the world that are obvious targets. In Europe, the U.K., Germany, France, Spain. In Asia, Japan, Australia. And Mexico and Brazil. Those are the obvious targets for us because there are AVOD businesses there. And other countries, of course. 22

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Daniel Nordberg CEO & Founder Playground TV TV KIDS: Tell us about how Playground TV came about. NORDBERG: Streaming services’ kids’ sections or dedicated services were often created as the second technology stack. You built the technology for a streaming service for adults first, and then you tried to adjust it for kids. While doing so, you didn’t respect the rules and regulations. I wanted to create a streaming service that was made for kids first—so thinking about the kid experience first, and taking the rules and regulations that exist in the world and start by defining our technology based on that. Our ambition is to build a kids-first media company with a passion for fun and learning technology, a belief in online safety and care for our kids’ childhood. TV KIDS: Tell us about the content lineup. NORDBERG: We target 2 to 9 currently. We divide that into two groups, 2 to 5 and 6 to 9. We’re trying to cherish diversity. We believe the world is growing into a more and more diverse place. We want to mimic with our portfolio the diverse world we live in. We have cartoons animated in India, China, Iran and Brazil to complement those shows from the bigger studios in the States and Europe. We believe that there are a lot of amazing productions across the world that don’t get their fair amount of exposure on the bigger streaming platforms. TV KIDS: Are your deals non-exclusive? NORDBERG: We don’t believe in exclusivity at Playground. It slows down competition, and it’s not beneficial to the producers. Often exclusive deals give a short-term win for both parties, while the production gets lost in the long run. There is an initial boost and then once that is capitalized on, the productions sometimes disappear within the service. I prefer a time to market or a windowing where within a given period of time, typically three months, both parties agree to do something and promote the title and then after that, the parties are free to do whatever they want. 23

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Martin Krieger CEO Studio 100 Media TV KIDS: How have co-production models evolved? KRIEGER: The classic model [of two commissioning broadcasters, combined with funding possibilities and presales to close the gap] has proven its worth. Naturally, it varies in terms of the weighting of the individual financing aspects, but it is still there as a basis for financing via broadcasters, funding, tax incentives and presales. The players involved do vary too, looking at streamers and other commissioning partners, but the known sources of financing remain the same. We are constantly monitoring the possibilities and want to use the best possible constellations for our productions/co-productions. As Studio 100 Group with its animation studios, which are based in different countries around the world, we can use the various country models for our productions— and are able to allocate the productions accordingly. Here, too, new options are opening up—for example, we are currently active in co-productions with partners in the Canary Islands, and attractive new tax refund models have also opened in Italy. TV KIDS: How are streaming services impacting business and co-productions? KRIEGER: Streaming services are very appealing partners offering great input within a production with their expert teams. Eventually, they are also another strong player for possible setups of co-productions. TV KIDS: What are you hearing from clients and partners about the type of programming they are looking for? KRIEGER: Studio 100 Group produces outstanding animation for kids and families. We combine comedy with strong storytelling and core values. That is what our partners expect from us—and that is also what is requested. Besides, we pay special attention to the values conveyed by our shows like diversity—not only with key brands like Maya the Bee or Mia and me, which for example, draw in fans of strong female characters. 24

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Frank Falcone

President & Executive Creative Director Guru Studio TV KIDS: What approach do you take to crafting a development slate? FALCONE: If it resonates with us, if it piques our curiosity and makes us want to know more about the characters, then we pursue it and see if people can fulfill the promise of the creative. Plot-driven stories are not as appealing to us because they are puzzles. They tend to be mechanical. A clever plot is rarely enough to hold your human emotional attention. It’s always about the character and that bond created between them and the viewer that really cements our attention. In terms of specifics, we’re looking for shows that reach the widest possible audience. The demographic breakdown, because of the dissolution of the channel universe, is not as important. There is some focus on preschool, mainly because it’s monetizable, having more back-end potential than the older demo content, but everyone is crowding into preschool. That said, Guru has done a pretty good job at defining our place in the preschool universe and those types of shows remain very important to us. TV KIDS: As a business owner in an environment filled with uncertainty, how do you map out the next stage of Guru’s evolution? FALCONE: We continue to invest in and support the growth of a brand like True and the Rainbow Kingdom because it continues to be on an upward trajectory. We’re finding new audiences outside of the VOD space for second windows, four or five years into its life span. We’re discussing how to produce more content for the show to keep the brand growing. Pikwik Pack has performed strongly on Disney Junior, and we’re looking now at expanding that property as well and getting new seasons underway. New projects are also important, of course, but it’s harder to find their purchase in such a busy market. We are always wary of a show accidentally getting one season because it doesn’t land at the right time and place. 25

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Tony Hale

Writer, Executive Producer & Star Archibald’s Next Big Thing is Here! TV KIDS: What served as inspiration for Archibald? HALE: All I ever wanted was to be on a sitcom and work as a comedy actor. And I got my big thing, which was Arrested Development, and I found myself on the big thing, still looking to the next thing. And it was that big lesson for me: If I’m so focused on my next adventure, I’m going to miss the adventure that I’m on. It was a real wake-up call. [With] my buddies Tony Biaggne and Victor Huckabee, and the art was adapted by Misty Manley, we put this book together. It morphed from there. With my buddies Jacob [Moffat] and Drew [Champion], we brought it all to DreamWorks. TV KIDS: Did you bring any elements of comedic timing from your experience as an actor in live-action comedies to Archibald? HALE: So much of comedy is in editing—taking out space that’s not needed, cutting something a certain way—and many times with just a noise. Archibald sometimes will just make a noise. My character on Veep, Gary Walsh, really didn’t speak much; he just had a lot of random noises when he stood behind Julia Louis-Dreyfus. I was a huge fan of Beaker from The Muppet Show. Beaker was just so dear and so sweet, but he just made noises. Archibald reminded me of him. [There] was so much that he just said in little sounds and his physicality. TV KIDS: What are some of the themes of the series? HALE: [Archibald is] an example of someone who does see the best in everyone and who doesn’t immediately criticize and doesn’t immediately see the negative. He’s open to whatever comes his way. In addition to being present and seeing the best in everyone, in every script, he makes a mistake. It doesn’t bring him down. I mean, of course he gets upset, but he just goes with it. Mistakes get a bad rap. We need mistakes. In each story, you see these mistakes ﬁt into the overall puzzle of what’s happening and how there was a reason for them. I do love that he just has that [attitude of], “Alright, well this happened, let’s just go with it.” 26

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DISTRIBUTORS

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Aardman ADDRESS: Gas Ferry Rd., Bristol BS1 6UN, U.K. TELEPHONE: (44-117) 984-8485 WEBSITE: www.aardman.com MANAGING DIRECTOR: Sean Clarke DIRECTOR, DISTRIBUTION: Alison Taylor CONTACT: alison.taylor@aardman.com PROGRAMS: The Very Small Creatures: 20x3 min., stop-frame, comedy/discovery, 1-3; Big Lizard: 52x7 min., CGI, comedy/adventure/science, 4-6; Brave Bunnies: 52x7 min., 2D, edutainment, 3-5; Happy: 26x7 min., 2D, entertainment, 3-5; Lloyd of the Flies: 52x11 min., CGI, comedy, 7-11; Numberblocks: 120x5 min. & 1x20 min. & 3x10 min., CGI, educational, 3-5; Pop Paper City: 52x11 min., 3D/mixed media, view-and-do adventure series, 3-5; Shaun the Sheep: 170x7 min. & 2x28 min. special & 15x1 min. & 21x1 min., stop-frame animation, comedy, 6-9; Sol: 1x28 min., 2D, family; The Epic Adventures of Morph: 15x5 min. & 40x1 min., stop-frame, comedy, 6-9.

“Aardman is an award-winning producer, dedicated to the development, production and distribution of its animated content. All our productions are brilliantly characterized and full of charm, reﬂecting the unique talent, energy and commitment of the whole Aardman team. We are a boutique distributor, distributing shows on behalf of a select number of animation studios. We’ve just ﬁnished production on a new Shaun the Sheep 30-minute special The Flight Before Christmas and are in production on a new preschool series called The Very Small Creatures and a CGI animated series for kids called Lloyd of the Flies, all of which will be launching in either 2021 or 2022! In addition, Pop Paper City (Love Love Films), Happy (Paper Owl Films) and Interstellar Ella (Fabrique Fantastique and Apartment 11) are in production and launching from 2022, so it’s a very exciting and busy time for the distribution team.” —Alison Taylor, Director, Distribution

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ADK Emotions NY ADDRESS: 156 5th Ave., Suite 934, New York, NY 10010, U.S.A. TELEPHONE: (1-646) 284-9825 WEBSITE: adkemotions.com PRESIDENT & CEO: Shunichi Ogawa TV SALES & LICENSING DIRECTOR: Natasha Khavin Gross CONTACT: natasha@adkemotions.com PROGRAMS: Beyblade Burst (2016): 51x22 min., 2D, action/adventure, boys 6-11; Beyblade Burst Evolution (2017): 51x22 min., 2D, action/adventure, boys 6-11; Beyblade Burst Turbo (2018): 51x22 min., 2D, action/adventure, boys 6-11; Beyblade Burst Rise (2019): 26x22 min., 2D, action/adventure, boys 6-11; Beyblade Burst Surge (2020): 26x22 min., 2D, action/adventure, boys 6-11; Beyblade (2001): 51x22 min., 2D, action/adventure, boys 6-11; Beyblade: V-Force (2002): 51x22 min., 2D, action/adventure, boys 6-11; Beyblade: G-Revolution (2003): 52x22 min., 2D, action/adventure, boys 6-11.

“ADK Emotions NY is a dynamic global entertainment rights management company with distribution, licensing, marketing and foreign-rights divisions. The company maintains and manages the IP rights for the Beyblade franchise, which has had highly successful international launches in over 80 countries with over $3.65 billion in retail toy sales alone. ADK Emotions NY has had much success reviving the phenomenon with a new generation of animated content and a toy line from Hasbro in the western markets. The series is currently airing its ﬁfth season, entitled Beyblade Burst Surge, consisting of 26 22-minute episodes. The animated Beyblade Burst series continues to bring the characters and storylines to life with a relatable theme of sports, competition and the excitement of battle. Beyblade Burst continues to be supported by an innovative new toy line from Hasbro and underscores its dynamic ‘burst’ feature, where battling can trigger the spinning tops to burst into pieces. Hasbro’s latest release of Speedstorm battle sets feature a motorized central energy zone in the center of the Beystadium, elevating the gameplay to exciting new heights. The ﬁrst three seasons of the original Beyblade series, consisting of 154 22-minute episodes, are also available for distribution and offer core and nostalgic fans a way to support and connect with the brand. ADK Emotions NY is a subsidiary of ADK Emotions and specializes in bringing Japanese animated IP (anime) to the global market with the robust backing of the parent group, ADK Holdings, and its longstanding history in the animation business.” —Corporate Communications 30

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Atlantyca Entertainment ADDRESS: Corso Magenta, 60, 20123 Milan, Italy TELEPHONE: (39-02) 430-0101 WEBSITE: www.atlantyca.com HEAD, ANIMATION DEPARTMENT, EXECUTIVE PRODUCER & DISTRIBUTION DIRECTOR: Caterina Vacchi EXECUTIVE PRODUCER & DIRECTOR: Niccolò Sacchi DISTRIBUTION MANAGER: Alessandra Dematteis CONTACT: distribution@atlantyca.it PROGRAMS: Berry Bees: 52x12 min., 2D, spy action, 5-9; Bat Pat: 104x11 min., 2D, creepy sitcom, 5-9; Geronimo Stilton: 78x23 min., 2D, adventure, 6+; Snow Black: 10x30 min., live action, sci-ﬁ/mystery, 10-14; Dive Olly Dive: 104x11 min., 3D/CGI, adventure, 3-6; ZDFE.junior catalog.

“Atlantyca Entertainment houses divisions for production and distribution, licensing, publishing, foreign-rights sales and live stage events. The company is the producer of three seasons of Geronimo Stilton, which have been sold all over the world, and two seasons of Bat Pat, the spooky animated adventure-comedy that proves the supernatural isn’t always evil, just misunderstood. In addition, Atlantyca has produced the award-winning buzz-kicking new 52x12-minute animated spy-action series Berry Bees, featuring three extraordinarily talented 10-yearold girls named Bobby, Lola and Juliette, who have been selected by the B.I.A. (Bee Intelligence Agency) for those special spy missions in which only child agents can be involved. Berry Bees has garnered top ratings in several countries. Atlantyca is currently working on its ﬁrst live-action series, Snow Black, a co-production with Rai Ragazzi. The series centers on the ghost of a young vlogger, nicknamed Snow Black, who wakes up trapped inside the web, and her two friends, siblings Ella and Kennedy Davis, who help her to investigate the mysterious disappearances of young guys in a small and seemingly quiet village. Atlantyca’s distribution arm represents a growing library of third-party properties, including the Junior catalog of ZDF Enterprises for Italy featuring such titles as School of Roars, Heirs of the Night, #Likeme, Buck, The Bureau of Magical Things and H2O, among others.” —Corporate Communications

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Atomic Cartoons ADDRESS: 2233 North Ontario St., Suite 100, Burbank, CA 91504, U.S.A. TELEPHONE: (1-310) 882-6265 WEBSITE: www.atomiccartoons.com CEO: Jenn McCarron CHIEF CREATIVE OFFICER: Matthew Berkowitz PRESIDENT, GLOBAL DISTRIBUTION & CONSUMER PRODUCTS: Richard Goldsmith CONTACT: rgoldsmith@atomiccartoons.com PROGRAM: The Last Kids on Earth: 24x22 min., 2D/3D, comedy/ action, 6-11.

“2021 is a milestone for Atomic Cartoons with the debut of its new distribution group. We are supporting Cyber Group Studios with its sales of our series The Last Kids on Earth, based on the New York Times best-selling series of seven books, a graphic novel and an activity book, with the seventh book having come out this September. The show is now available for television platforms after its successful debut on Netﬂix. We will also be acquiring our ﬁrst animated series from other extraordinary producers to serve as the global media and consumerproducts distributor. Finally, the company’s development team will be focused on presenting Atomic Cartoons’ new series to platforms worldwide as part of our initiative to expand company-owned intellectual property.” —Richard Goldsmith, President, Global Distribution & Consumer Products

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Boat Rocker Studios ADDRESS: 310 King St. E., Toronto, ON M5A 1K6, Canada TELEPHONE: (1-416) 591-0065 WEBSITE: www.boatrocker.com PRESIDENT, BOAT ROCKER STUDIOS, KIDS & FAMILY & RIGHTS: Jon Rutherford SENIOR VP, GLOBAL SALES, KIDS & FAMILY: Gia DeLaney CONTACT: gia@boatrocker.com PROGRAMS: Dino Ranch: 104x11 min., 3D, comedy/adventure/ preschool, 2-5; Love Monster: 79x7 min. & 1x14 min., 2D, comedy/ adventure/preschool, 3-5; Kingdom Force: 52x11 min., 3D, action/adventure/preschool, 3-6; Remy & Boo: 52x11 min., 3D, adventure/preschool, 2-5; The Next Step: S6-7 52x30 min., live action, drama/comedy, tweens/teens; The Strange Chores: 52x11 min., 2D, comedy/adventure, 6-11; Xploration: DIY SCI: 44x30 min., live action, educational/science & tech, 6-11; Danger Mouse: 96x11 min. & 4x30 min., 2D, action/comedy, 6-11; Bitz & Bob: 44x11 min. & 44x4 min., 3D, educational/ adventure/preschool, 2-5.

“Boat Rocker Studios’ Kids & Family division develops, produces and monetizes a catalog of premium live-action and animated entertainment for audiences around the world. The Kids & Family division collaborates with Rights & Brands on multiple franchise properties. With leading in-house animation capabilities and artful storytelling through Jam Filled Entertainment (2D and 3D animation) and an investment in Industrial Brothers (kids’ and family animation), Boat Rocker Studios is an award-winning global provider of truly original kids’ and family content. Current productions include Dino Ranch (Disney Junior, Disney+, CBC), Love Monster (BBC, UYoung), Get Even (Netflix, BBC), Daniel Spellbound (Netflix) and A Tale Dark & Grimm (Netflix).” —Corporate Communications

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Cookbook Media ADDRESS: 97 Judson Ave., Dobbs Ferry, NY 10522, U.S.A. TELEPHONE: (1-914) 844-5439 WEBSITE: www.cookbook-media.com PARTNER: Claudia Scott-Hansen PARTNER: Rob Bencal CONTACTS: cscotthansen@cookbook-media.com; rbencal@cookbook-media.com PROGRAMS: Aiko and the Masters of Time: 10x22 min., CG, sci-ﬁ/ action, 8+; Chase & CATCH: 13x22 min., UHD CGI, action/comedy, 7+; Farm on Mars: 52x11 min., CG, comedy, 3-6; Grant’s Wishes: 52x11 min., 2D, comedy, 6-11; Lil’ Stompers: 78x5 min., CG, social & emotional learning/soft comedy, 2-4; Ella: 52x11 min., CG, exploration/comedy, 4-6; Rainbow Magic: shorts, CG, adventure/ magic, 6+; Jolliest Elf: 12x7 min., real-time animation with Unreal Engine, holiday/talent show, 3+; Tasty Tales of the Food Truckers: 52x11 min., CG/2D, comedy/adventure, 6-11; Out of the Nest: 1x90 min., CG, comedy/adventure, 4+.

“Cookbook Media is a boutique agency focused on helping studios and brand and IP owners develop and monetize their properties. We have been fortunate to work with a unique set of partners in 2021 from different parts of the world, developing and executing franchisebuilding strategies, including the distribution of shows, digital media and consumer products. There is so much talent in our industry, and we’re excited to bring a variety of original voices and timely projects to the table. We’ve been specializing in developing new IP, but we’ve also been reinventing established IP in the digital space, such as the popular chapter book series for girls Rainbow Magic. We’ve also been working with a new entrant into the content space, the Alvin Ailey American Dance Theater, which is exploring content partnerships to reach beyond its current audience and build upon its historic, aspirational brand.” —Claudia Scott-Hansen, Partner

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Cyber Group Studios ADDRESS: 44B Quai de Jemmapes, 75010 Paris, France; 3500 W. Olive Ave., #1470, Burbank, CA 91505, U.S.A. TELEPHONE: (33-1) 5556-3232; (1-818) 844-1660 WEBSITE: www.cybergroupstudios.com CHAIRMAN & CEO: Pierre Sissmann SENIOR VP, SALES, ACQUISITIONS & NEW MEDIA: Raphaelle Mathieu CONTACT: rmathieu@cybergroupstudios.com PROGRAMS: 50/50 Heroes: 52x11 min., CGI, comedy/adventure, 6-10; The Last Kids on Earth: 1x66 min. pilot & 22x22 min. & 2 specials, comedy/action, 8-12; Gigantosaurus: 52x11 min., 2D/CGI, comedy/adventure, 4-6; Taffy: 78x7 min., 2D, cartoon/comedy, 6-10 & family; Droners: 26x22 min., 2D/CGI, adventure/comedy, 6-10; Nefertine: 52x11 min., 2D/CGI, comedy, 4-7; Squared Zebra: 78x7 min., 2D, comedy/edutainment, 3-5; Tom Sawyer: 26x22 min., CGI, adventure, 6-12; Orange Moo Cow: 52x7 min., 2D, comedy, 3-6; Bananimals: 78x7 min., 2D, comedy, 5-8.

“Cyber Group Studios is a leading producer and distributor of animated series and a developer of global entertainment brands for children and families worldwide. Founded in 2005 and employing around 150 people, the company has set its headquarters in Paris, two production studios in Paris and Roubaix (France), an office in Los Angeles (U.S.A.) and strategic partnerships in Russia and China. The company’s mission is to produce endlessly entertaining content for children around the world. The team has a passion for telling great stories leveraged by a strong creative identity, a diversity of animation styles and powerful music. To immerse the viewers in the emotion of its shows, the company works with top creative international talent and develops innovative technology. Cyber Group Studios develops its content for television, digital platforms, feature ﬁlms and direct-to-consumer (home entertainment, interactive games, consumer products). The company sells the media distribution rights of its own and third-party programs, localized in 30-plus languages, into more than 160 countries. Its distribution partners include TV broadcasters, VOD streaming platforms and home-entertainment companies. The dedication of its team to creating content resonating with kids and families worldwide has earned Cyber Group Studios multiple international awards.” —Raphaelle Mathieu, Senior VP, Sales, Acquisitions & New Media 40

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Gaumont ADDRESS: 30, Avenue Charles de Gaulle, 92200 Neuilly-sur-Seine, France TELEPHONE: (33-1) 4643-2000 WEBSITE: www.gaumonttelevision.com EXECUTIVE VP, INTERNATIONAL SALES & DEVELOPMENT: Cécilia Rossignol CONTACT: cecilia.rossignol@gaumont.com PROGRAMS: Do, Re & Mi: 52x11 min., CGI, comedy/musical, 2-5; Bionic Max: 52x11 min., 2D, slapstick buddy comedy, 6-11; Belle and Sebastian: 52x11 min., animation, action/ adventure/comedy, 5-9; Galactik Football: 78x26 min., CGI, football/action, 6-12.

“Formed in France in 1895, Gaumont is the first film company in the world, celebrating 125 years of history and innovation. With offices in Paris, Los Angeles, London and Berlin, Gaumont remains an industry leader, producing and distributing high-quality TV programming and films. Specializing in producing local stories with global appeal, Gaumont’s current slate includes talent-driven, diverse, distinctive titles across multiple languages for the world’s leading global streaming platforms and channels.” —Corporate Communications

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GoldBee ADDRESS: Carrer de Pau Alsina, 2, 08025 Barcelona, Spain TELEPHONE: (34) 931-592-212 WEBSITE: www.goldbee.es MANAGING DIRECTOR: Christophe Goldberger CONTACT: christophe@goldbee.es PROGRAMS: Hoodie: S1-2 104x11 min., live action, drama, tweens/teens; The Bureau of Magical Things: S1-2 40x25 min., live action, comedy/drama, tweens/teens; Heirs of the Night: S1-2 26x26 min., live action, drama, kids/family; The Worst Witch: S1-3 39x28 min., live action, comedy/drama, kids/tweens; Space Nova: 26x22 min., 3D, adventure, 6-10; Zoom the White Dolphin: S1-2 104x12 min., 3D, adventure, 6-10; The Game Catchers: 52x7 min., 2D/3D, preschool; School of Roars: S1-2 104x7 min., 2D, preschool; Time Traveler Luke: 52x11 min., 3D, adventure, 6-10; Ziggy and the Zoo Tram: 52x11 min., 3D, preschool.

“We offer our partners high-end productions ranging from preschool series such as the award-winning School of Roars, now in its second season, to the brand-new The Game Catchers, which promotes an active lifestyle. Our lineup also includes the science-based sci-ﬁ adventure series Space Nova and epic adventure Time Traveler Luke. Finally, we have an extensive slate of live-action series available for tweens and teens with family appeal such as Hoodie, now in its third season; The Worst Witch, with three seasons available; and the big-budget vampire saga Heirs of the Night.” —Christophe Goldberger, Managing Director

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Guang Dong Winsing Company ADDRESS: No.4, Caofangwei, Nanhua East Rd., Haizhu District, Guangzhou, Guangdong, China 510220 TELEPHONE: (86-20) 37635953 WEBSITE: en.winsing.net VP: Echo Gu HEAD, INTERNATIONAL MARKETING: Sophie Lau PROGRAMS: Team S.T.E.A.M.!: S1-4 26x15 min., 3D, edutainment/ rescue/STEM, 4-8; GOGOBUS: S1-8 26x13 min., 3D, edutainment/ family, 2-5; GG Bond: Kung Fu Pork Choppers: S1-4 26x13 min., 3D, adventure/action, 2-5.

“Founded in 1986, Winsing Animation is dedicated to original 3D animation TV and ﬁlm production, distribution, merchandising and licensing, toys, stage shows, theme parks and more, [and has done so] for decades. With more than 600 inhouse corporate staff members and talents worldwide, Winsing maintains a growing library of over 30,000 minutes and produces almost 5,000 minutes per year. It includes evergreen properties GG Bond, GOGOBUS and new, developing property Team S.T.E.A.M.! With the corporate philosophy of ‘Colorful Animation, Wonderful Life’ in its heart, Winsing always devotes itself to providing the best cultural content and product service for families and strives to be the leader in its trade.” —Corporate Communications

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Guru Studio ADDRESS: 110 Spadina Ave., Unit 1000, Toronto, ON M5V 2K4, Canada TELEPHONE: (1-416) 599-4878 WEBSITE: gurustudio.com PRESIDENT & EXECUTIVE CREATIVE DIRECTOR: Frank Falcone VP, SALES & BUSINESS DEVELOPMENT: Jonathan Abraham CONTACT: sales@gurustudio.com PROGRAMS: Big Blue: 52x11 min., 2D, comedy, 5-9; Pikwik Pack: 52x11 min., 2D, preschool; True and the Rainbow Kingdom: 30x22 min. & 5x22 min. seasonal specials & 1x44 min. holiday special & bonus content, 3D, preschool; Justin Time: 74x11 min. & 2x22 min., 2D, preschool.

“We’re looking forward to showcasing some phenomenal shows at this year’s MIPCOM. Big Blue, our newest 2D comedy-adventure for kids of all ages, is premiering this year on CBC Kids. New broadcasters have jumped on board, including ABC (Australia), NRK (Norway) and CTC Kids (Russia). Together with their quirky misfit crew, Lettie and Lemo set out to explore, protect and bring together their underwater world that’s filled with creatures from all walks of life. The series drops young viewers deep into a wacky world of comic adventure while helping to redefine what a family means and how caring for one another is the most important thing of all. Our new preschool series Pikwik Pack is airing on Disney Junior in the U.S. and Treehouse in Canada and is traveling around the world with new broadcast partners Tiny Pop (U.K.), Rai (Italy), Super RTL (Germany) and more! Preschoolers are falling in love with Pikwik Pack’s adorable characters and stories packed with huge laughs, inspiring adventures and big beating hearts. True and the Rainbow Kingdom is on its way to becoming a global hit and continues to be a top performer for broadcasters around the world. We’re excited to be launching a full range of toys worldwide this fall inspired by the Rainbow Kingdom universe.” —Jonathan Abraham, VP, Sales & Business Development

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Kidoodle.TV ADDRESS: Suite 320, 333 24th Ave., SW, Calgary, AB T2S 3E6, Canada WEBSITE: www.kidoodle.tv CHIEF CONTENT OFFICER: Brenda Bisner CONTACT: content@kidoodle.tv ABOUT: Owned by A Parent Media Co., Kidoodle.TV is a familyfocused Safe Streaming service committed to providing children under 12 a safe viewing experience. With over 30,000 episodes and growing, we are proud to have meaningful content relationships that not only provide creators and brand owners with an additional revenue stream but that also harness and protect their great content and brands within our Safe Streaming environment that is trusted by millions of families globally. Kidoodle.TV is available in over 160 countries and territories across our ever-expanding ecosystem of connected-TV devices and platforms to accommodate “anytime, anywhere” viewing for free with no barrier to entry. Currently serving as a trusted channel for kids globally in hundreds of millions of households, as a free app on supported iOS and Android devices, online as a browser at kidoodle.tv and as a channel in connected-TV environments—look for us on Roku, Apple TV 4, Android TV, Hisense, Vizio, Chromecast, Fire TV, LG Smart TVs, Plex, Samsung, Jio and many more. We continue to expand globally with many more ways to access the Kidoodle.TV service being launched.

“The important work we have been doing here at Kidoodle.TV since 2012 has proven incredibly valuable and desired in the post-Covid-19 era we are all living in. With our growth last year, we have made a household name and have become a trusted go-to destination for millions of kids who deserve a safe viewing experience and for their parents who insist on having one. Our commitment to children and the work we are doing to take care of families is only getting bigger.” —Brenda Bisner, Chief Content Officer

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Magic Light Pictures ADDRESS: 4/Fl., 41-42 Foley St., London W1W 7TS, U.K. TELEPHONE: (44-20) 7631-1800 MANAGING DIRECTOR: Michael Rose MANAGING DIRECTOR: Martin Pope INTERNATIONAL DISTRIBUTION DIRECTOR: Muriel Thomas CONTACT: Marc Ollington, marc@magiclightpictures.com PROGRAMS: The Gruffalo: 1x27 min., animation, family/kids, 3-7; The Gruffalo’s Child: 1x26 min., animation, family/kids, 3-7; Room on the Broom: 1x26 min., animation, family/kids, 3-7; Stick Man: 1x27 min., animation, family/kids, 3-7; The Highway Rat: 1x27 min., animation, family/kids, 4-10; Zog: 1x27 min., animation, family/kids/comedy, 3-7; The Snail and the Whale: 1x27 min., animation, family/kids, 3-7; Zog and the Flying Doctors: 1x26 min., animation, family/kids/comedy, 3-7; Pip and Posy: 52x7 min., animation, preschool, 2-5.

“We want to enrich the imaginations of children and families worldwide by producing content experiences, brand products and activities of the highest quality, which will be cherished for years to come. We want children to engage with our characters, products and ﬁlms so that they are inspired to play creatively, think originally and live imaginatively. Everything we produce (or which is produced in our name) needs to be something we can be proud of, something which delivers on our values. We’ve built the wonderful Gruffalo brand and enjoyed many award successes, but we’re happiest when our products delight their audience. We love stories, witty invention and evergreen characters, always balancing commercial imperatives with creativity to make products we can be proud of.” —Muriel Thomas, International Distribution Director

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Magic Light Pictures Pip and Posy: Pip and Posy are the best of friends. But friendship isn’t always straightforward; it can be tricky and messy and trigger big emotions. That’s when Pip and Posy have to put the feelings of others before their own in order to get back to doing what they love best: having fun! The Snail and the Whale: Join the snail on the tail of a great big gray-blue humpback whale on their journey around the globe. In the unlikely friendship between an ambitious sea snail and a humpback whale, discover the power of the sea and the perils of swimming too close to the shore. Can the snail save the whale when he is beached in a secluded bay? Zog and the Flying Doctors: Zog is back for another adventure with his friends Gadabout and Pearl, also known as the Flying Doctors. They soar through the skies and cure all kinds of creatures of their ailments, but when the King falls ill, can they do enough to save him? The Gruffalo: The magical tale of a mouse who sets out on a woodland adventure in search of a nut. Encountering predators who all wish to eat him—fox, owl and snake—the brave mouse creates a terrifying, imaginary monster to frighten them away. But what will the mouse do when he meets this frightful monster for real? Room on the Broom: A kind witch ignores the concerns of her long-suffering companion, a wonderful cat, and invites more and more animals to join them on her broom. But how will the gang overcome the fearsome dragon whose favorite dinner is witch and chips?

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Mattel Television ADDRESS: 333 Continental Blvd. 11-3, El Segundo, CA 90245, U.S.A. TELEPHONE: (1-310) 252-2000 WEBSITE: www.mattel.com CHAIRMAN & CEO, MATTEL: Ynon Kreiz SENIOR VP & GENERAL MANAGER: Frederic Soulie CONTACT: content_sales@mattel.com PROGRAMS: Barbie It Takes Two: 26x22 min., 3D, comedy/adventure, kids; Barbie Princess Adventure: 1x72 min., 3D, musical, kids; Barbie & Chelsea: The Lost Birthday: 1x60 min., 3D, comedy/adventure, kids; Barbie Big City Big Dreams: 1x60 min., 3D, musical, kids; Barbie Vlogger: 130x5 min., 3D, comedy/educational, kids; Thomas & Friends: S25-26 104x11 min. & 2x60 min., 2D, friendship/educational/adventure, preschool; Thomas & Friends: 20x2 min., 2D, friendship/educational/ adventure, preschool; He-Man and the Masters of the Universe: 26x22 min., CG, action, kids.

“At Mattel Television, our mandate is to engage audiences through timely and compelling episodic television content and television movies based on our iconic franchises. This includes animation, live-action, shortform, scripted and unscripted content. We currently have 18 shows and specials in production and more than 24 television projects in development. Each of our brands is built on a core purpose. Barbie inspires the limitless potential in every child, Thomas & Friends highlights the importance of friendship, and Masters of the Universe is about being the best version of yourself. The ethos of each of our brands is threaded throughout each piece of content we produce, resulting in programming that resonates deeply with global audiences. Shows in production are based on classic franchises, including Barbie, Masters of the Universe, Thomas & Friends, Monster High, Polly Pocket, Fireman Sam and more. As an IP owner, content producer and distributor, it is an exciting time to be in the industry, where strong, global, well-known brands and franchises are more than ever in high demand.” —Frederic Soulie, Senior VP & General Manager

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Mediatoon Distribution ADDRESS: 57 Rue Gaston Tessier, 75019 Paris, France TELEPHONE: (33-1) 5326-3100 WEBSITE: www.mediatoon-distribution.com MANAGING DIRECTOR: Jérôme Alby SALES & BUSINESS AFFAIRS MANAGER: Fanny Gilabert SALES & BUSINESS AFFAIRS EXECUTIVE: Franklin Cadre SALES & BUSINESS AFFAIRS EXECUTIVE: Solene Crepin JUNIOR SALES & BUSINESS AFFAIRS: Louis Perrin CONTACT: Charles Syssau, charles.syssau@mediatoon.com PROGRAMS: Nicholas’ Fantastic Summer: 52x12 min., 2D, comedy, 4-7; Living with Dad: 52x12 min., 2D, comedy/sitcom, 6+/co-viewing; Samsam: 52x12 min., 3D, adventure, 3-6; Little Furry: S2 39x7 min., 2D, adventure/edutainment, 3-6; Kid Lucky: 52x12 min., 2D, comedy, 6-10; Sardine in Outer Space: 52x12 min., 2D, adventure, 6+; Tom & Lili: 52x7 min., 2D, comedy, 6+; Fox Badger Family: 52x12 min., 2D, adventure/comedy, 4-7; Garfield Originals: 24x3 min., 2D, comedy, 6+; Martin Morning CGI reboot: 52x13 min., 3D, adventure, 4-7.

“Mediatoon is one of Europe’s leading kids’ and family animation producers, distributors and IP managers. We are committed to offering a truly global catalog that provides engaging, innovative and magical shows with a global reach. Thanks to Mediatoon’s production studios (Ellipsanime, Dargaud Media, Dupuis Audiovisuel) and third-party partner producers (including major anime studios), Mediatoon’s catalog cements over 4,000 hours’ worth of high-quality content. Our MIPCOM highlight is Nicholas’ Fantastic Summer. Holidays on the seaside are super fun! We spend time with our families, ﬁnd new places to explore and, above all, meet new friends to play with! We believe that Nicholas will fit in very well alongside other iconic heroes such as Yakari, Samsam and Garﬁeld.” —Jérôme Alby, Managing Director

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Mondo TV Group ADDRESS: Via Brenta 11, 00198, Rome, Italy TELEPHONE: (39-06) 8632-3293 WEBSITE: www.mondotvgroup.com PRESIDENT & CEO: Matteo Corradi HEAD, CONTENT SALES: Luana Perrero CONTACT: Silvia d’Archivio, silvia.darchivio@mondotvgroup.com PROGRAMS: MeteoHeroes: S2 52x13 min., 2D, comedy/ adventure/edutainment, 4-7; MeteoHeroes TV movie specials: 2x26 min., 2D, comedy/adventure/edutainment, 4-7; Robot Trains: S3 52x13 min., 3D/CGI, comedy/adventure, 3-6; Monster Loving Maniacs (presented by Mondo TV & Toon2Tango): 52x11 min., 2D, adventure/comedy, 6-10; The Wee Littles (presented by Mondo TV & Toon2Tango): 52x5 min., simulated stopmotion animation, comedy/adventure, 3-6; Annie & Carola: 52x11 min., 2D, comedy, 6-10; Grisù: 52x11 min., 3D/CGI, comedy/ adventure, 4-7; Nina & Olga: 52x7 min., 2D, comedy/adventure/ preschool, 4-6; Sex Symbols: 26x7 min., 2D, educational/sex education/emotional education/touch of comedy, 8-13.

“It’s already been an exciting year for the Mondo TV Group. MeteoHeroes has enjoyed great ratings and is now on-air and broadcasting in most of the 140 countries and 18 languages where it has currently been sold. Two new MeteoHeroes TV movies arrive this autumn, along with the ﬁrst episodes of series two. We are rolling out the third season of Robot Trains. New shows like Monster Loving Maniacs, The Wee Littles, Annie & Carola, Nina & Olga and a new series based on the classic property Grisù are attracting strong broadcaster interest. Our partnership with the kids’ and family entertainment company Toon2Tango continues to deliver exciting new content. Our Mondo TV Iberoamérica and Mondo TV Producciones Canarias divisions are now operating together under one name, Mondo TV Studios, making us more ﬂexible and competitive. And, of course, our L&M and distribution success is continuing in many territories.” —Matteo Corradi, President & CEO

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NBCUniversal Global Distribution ADDRESS: 10 Universal City Plaza, Universal City, CA 91608, U.S.A. TELEPHONE: (1-818) 777-1300 WEBSITE: www.nbcuniversal.com PRESIDENT & CHIEF REVENUE OFFICER, GLOBAL DISTRIBUTION & INTERNATIONAL: Belinda Menendez EXECUTIVE VP, HEAD, WORLDWIDE DISTRIBUTION, NBCUNIVERSAL: Don McGregor SENIOR VP, HEAD, KIDS & FAMILY ENTERTAINMENT: Chloe Van den Berg CONTACT: chloe.vandenberg@nbcuni.com PROGRAMS: The Croods: Family Tree: 52x30 min., CG, comedy/adventure, 6-11; Dragons Rescue Riders: Heroes of the Sky: 24x30 min., CG, adventure, 2-6; Take Note: 10x30 min., live action, music/comedy, 6-11; Create the Escape: 10x30 min., live action, competition/reality/DIY, 6-11; The Mighty Ones: 40x30 min., 2D, comedy, 6-11; Madagascar: A Little Wild: 52x30 min., 3D, comedy/adventure, 2-6; Archibald’s Next Big Thing is Here!: 24x30 min., 2D, comedy/adventure, 4-9; Gabby’s Dollhouse: 40x30 min., live action/3D, adventure, 2-6; Jurassic World: Camp Cretaceous: 49x30 min., 3D, action/adventure, 6-11; Go, Dog. Go!: 26x30 min., 3D, adventure, 2-6.

“NBCUniversal Global Distribution is responsible for the licensing and distribution of NBCUniversal product to all forms of television and new media platforms in the U.S., Canada and over 200 territories internationally. NBCUniversal’s content portfolio includes a vast and diverse library of more than 4,500 feature ﬁlms and 120,000 television episodes, including current and classic titles, non-scripted programming, kids, sports, news, long-form and short-form programming from Universal Pictures, Focus Features, Universal Television, UCP, NBCUniversal International Studios, Sky Studios, NBC Late Night properties, DreamWorks Animation, Telemundo and more, as well as locally produced content from around the world. Global Distribution is a division of Comcast NBCUniversal.” —Corporate Communications

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The Croods: Family Tree: Continues the ever-evolving story of the Croods and the Bettermans as they learn to live together on the most idyllic farm in prehistory. The journey from sparring rivals to unlikely friends is fraught with hilarious misadventures as the two families slowly overcome their differences to turn a treehouse divided into a tree home united. Take Note: Fourteen-year-old Calvin Richards has a wonderful, close-knit family who can survive anything as long as they’re together. And good thing because Calvin was chosen to compete on a tween reality singing show, Take Note, and they’re going to spend the summer navigating the crazy ups and downs of new friendships and competitions while being thrust into the national spotlight. Gabby’s Dollhouse: With a little magic and a new surprise every day, Gabby’s Dollhouse is ﬁlled with mini-worlds, irresistible kitty characters and super fun adventures! Join Gabby as she unboxes a brand-new surprise every episode, shares her excitement with her best stuffed animal pal, Pandy Paws, and takes everyone on the next great adventure. Jurassic World: Camp Cretaceous: Set against the timeline of the blockbuster ﬁlm Jurassic World, Jurassic World: Camp Cretaceous follows a group of six teenagers chosen for a once-in-a-lifetime experience at a new adventure camp on the opposite side of Isla Nublar. When dinosaurs wreak havoc across the island, the campers are unable to reach the outside world and will quickly go from strangers to friends to family as they band together to survive. Go, Dog. Go!: Based on P.D. Eastman’s beloved and classic children’s book, Go, Dog. Go! follows 6-year-old Tag Barker on her adventures in the city of Pawston, a fun-loving community of dogs on the go. Tag is a skilled mechanic and loves anything that goes. With her ingenuity and creativity, Tag can go as far as any plan will take her with her best friend Scooch Pooch by her side.

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pocket.watch ADDRESS: 8500 Steller Dr., Bldg. 7, Culver City, CA 90232, U.S.A. TELEPHONE: (1-424) 298-8234 WEBSITE: pocket.watch SENIOR VP, GLOBAL DISTRIBUTION: Thanda Belker DIRECTOR, CONTENT DISTRIBUTION, EMEA: Kerstin Guehne FOUNDER & CEO: Chris Williams MANAGING DIRECTOR, ASIAPAC: Anshuman Misra CONTACT: thanda.belker@pocket.watch PROGRAMS: Ryan’s Mystery Playdate: Command Center: S4 10x22 min., comedy, preschool; Love, Diana Adventures: S2 24x4 min. & 1x6 min., comedy, preschool; Onyx Monster Mysteries: S2 12x7 min., animation, comedy, kids; Ryan’s World Specials: S1-6 87x22 min., live action/12 animated eps., preschool/comedy/educational, 3-8; MarMar Land: 30x11 min., live action/animation, preschool/educational, 3-7; Kids Diana Show Ultimate Mishmash: 15x22 min., live action, preschool/comedy, 3-7; Jillian’s Mystery Craft Box: 10x10 min., live action, crafts/activities, girls 4-8; Do Crew: 24x11 min., animation, preschool/educational, 3-6.

“Pocket.watch has pioneered a new contentto-commerce formula that harnesses the power of the world’s most popular kids’ and family digital creators with commercial opportunities across content, distribution, licensing, gaming and merchandising. We’re the leading company transforming kid YouTube stars into global franchises with premium original content, global distribution partnerships and massive consumer-products business, made possible through pocket.watch’s unique positioning in the industry. Demand for kids’ and family content has accelerated over this past year, and we’ve met that demand in a big way, supplying our premium and long-tail content to more than 41 platforms in 80plus territories—including Amazon, Hulu and Peacock—to deliver Generation Alpha even more of what they love. Our creatordriven programming—Ryan’s Mystery Playdate on Nickelodeon and Paramount+; Love, Diana Adventures, with more than 1 billion views on YouTube; Onyx Monster Mysteries; and MarMar Land—reaches kids and family audiences across the globe and generates immense value for our creators and distribution partners.” —Chris Williams, Founder & CEO

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Serious Kids ADDRESS: 6/Fl., Charlotte Building, 17 Gresse St., London W1T 1QL, U.K. TELEPHONE: (44-20) 8771-7310 WEBSITE: www.seriouskids.com CEO: Genevieve Dexter SENIOR VP, GLOBAL DISTRIBUTION & COMMERCIAL DEVELOPMENT: Leila Ouledcheikh CONTACT: leila.o@seriouskids.com PROGRAMS: Girls of Olympus: 26x24 min., animation, 8-12; Tulipop: 26x5 min., animation, preschool; Welcome to Earth: 26x5 min., animation, 6-9; Monty & Co: 34x11 min., puppet animation/musical/sitcom, 3-5; The New Legends of Monkey: 20x26 min., live action, action/adventure, 8-12/family; Tik Tak: 104x5 min., live action/animation, 1-3; Bo & To’s Family: 54x5 min./3.5 min., stop-frame animation, comedy, 4-6; Art Ninja: 40x26 min. & 15x20 min., entertainment, 6-9; Gigglebug: 52x5 min., animation, preschool/comedy, 3-5; Operation Ouch!: 116x26 min., factual entertainment, 7-11.

“We are excited to launch two new series at MIPCOM. Girls of Olympus, a brand-new 26episode half-hour animated fantasy-adventure serial from The Animation Band for kids aged 8 to 12, is now airing on RAI Play and RAI Gulp. It is an aspirational series about three feisty and fashionable girls who have to keep up their grades and go after Ares, the God of War. We also have the ﬁrst four episodes of the preschool animation Tulipop, an explosion of color and song celebrating friendship, identity and diversity. Our core brand Operation Ouch! goes onto seasons 10 and 11 with a new stage show in London this winter, while The New Legends of Monkey is now airing on CBBC and regularly in the top ten most-watched shows.” —Genevieve Dexter, CEO

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Sinking Ship Entertainment ADDRESS: 1179 King St. W., Suite 302, Toronto, ON M6K 3C5, Canada TELEPHONE: (1-416) 533-8172 WEBSITE: www.sinkingship.ca PARTNER: J.J. Johnson PARTNER: Blair Powers PARTNER: Matt Bishop HEAD, SALES & DISTRIBUTION: Kate Sanagan HEAD, SALES & DISTRIBUTION: Marilyn Kynaston CONTACTS: kate@sinkingship.ca; marilyn@sinkingship.ca PROGRAMS: Alma’s Way: 40x22 min./11 min. eps., 2D, 4-6; The Fabulous Show with Fay and Fluffy: 26x11 min., live action, preschool, 2-5; Dino Dana: 52x22 min./11 min. eps., live action/CGI, adventure, 5-9; Endlings: 24x22 min., live action/CGI, sci-ﬁ/action/adventure, 8-12; Dance Spies: 10x22 min., live action, action/drama, 10-14; Odd Squad: 114x22 min./11 min. eps., live action/CGI, comedy, 4-8; The Demon Headmaster: 10x22 min., live action, sci-ﬁ/psychological thriller, 8-12; The Unlisted: 15x24 min., live action, adventure, 8-12; Lockdown: 16x13 min./8x26 min., live action, tween mystery, 8-12; My Home, My Life!: 21x7 min./7x22 min., live action, docuseries, 6-9.

“This MIPCOM, we’re launching Alma’s Way (Fred Rogers Productions), a series created by Sonia Manzano (Maria from Sesame Street) in which 4- to 6-year-olds learn critical-thinking skills in stories ﬁlled with heart, comedy and the beat of the Bronx! Lyrics in the title song by Lin-Manuel Miranda. We’re also bringing the BBC Productions reboot of the iconic series The Demon Headmaster, about a small group of mismatched rebels who work out the truth about their terrifying headmaster and put their differences aside to ﬁght the headmaster’s mind control. Another new series, The Fabulous Show with Fay and Fluffy (Lopii Productions) is a new 11minute preschool series featuring the dynamic drag artists Fay and Fluffy as they invite young audiences to watch their storytime cabaret for kids and families. This literacy variety show promotes inclusivity and empathy, aiming to inspire a love of reading, stories and song.” —Kate Sanagan, Head, Sales & Distribution

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Sixteen South Rights ADDRESS: Pilots View, Heron Rd., Belfast BT3 9LE, Northern Ireland TELEPHONE: (44-28) 95-380415 WEBSITE: www.sixteensouth.tv MANAGING DIRECTOR: Colin Williams GENERAL MANAGER: Alexandros van Blanken CONTACT: alexandros@sixteensouthrights.tv PROGRAMS: The Coop Troop: 52x11 min., 3D, comedy, 6-9; ODO: 52x7 min., 2.5D, comedy, 2-6; Claude: 50x12 min. & 11x2 min., 2D, comedy, 2-6; WildWoods: 26x11 min., live action, comedy, 2-6; Lily’s Driftwood Bay: 96x7 min. & 4x14 min., 2D/mixed media, comedy, 2-6.

“Sixteen South Rights is an independent distributor that is part of the Sixteen South Group. It represents all of the studio’s original IP: four multi-award-winning completed titles and two new series currently in production. As a boutique independent distributor, we are completely aligned with the ethos of the studio that we were born from, and the three pillars of passion, heart and quality underpin everything that we do. We want to see our innovative and inspiring stories being enjoyed by every child in every home in every country around the world.” —Alexandros van Blanken, General Manager

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Studio 100 Media ADDRESS: Neumarkter Str. 18-20, 81673 Munich, Germany TELEPHONE: (49-89) 960855-0 WEBSITE: www.studio100group.com CEO: Martin Krieger HEAD, GLOBAL DISTRIBUTION: Dorian Bühr CONTACT: dorian.buehr@studio100media.com PROGRAMS: FriendZSpace: 52x11 min., CGI, comedy/adventure, 5-9; 100% Wolf—Legend of the Moonstone: 26x22 min., CGI, comedy/adventure, 6-10; Heidi: S1-2 65x22 min., CGI, adventure, 4-8; Tip the Mouse: S1-3 104x7 min., CGI, preschool/comedy, 2-6; Wissper: S1-2, 104x7 min., CGI, preschool/adventure/comedy, 3-5; Arthur and the Minimoys—The Series: 26x24 min., CGI, adventure/fantasy, boys 5-9; Maya the Bee: S1-2 130x13 min., CGI, adventure/preschool, 4-7; Mia and me: S1-3 78x23 min., live action/CGI, fantasy/adventure, girls 6-12; Ghost Rockers: 209x12 min. & 1x92 min., live action, mystery, 8-12.

“Bringing brands to life that are contentdriven and entertain kids and families, on every platform and wherever they are, is our mission in the kids’ entertainment world. We are pursuing this goal on every business level with our studios in Belgium producing liveaction shows; Flying Bark Productions, based in Australia; and our other animation studios around the world creating our animated movies and CGI TV shows. Our distribution arm brings the content to platforms, broadcasters and theaters around the globe, and we generate emotional experiences with our theme parks and live entertainment shows, extending these experiences through our licensing program into everyday life, thus offering a truly 360-degree approach.” —Dorian Bühr, Head, Global Distribution

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Superights ADDRESS: 107 Avenue Parmentier, 75011 Paris, France TELEPHONE: (33) 516-500-016 WEBSITE: www.superights.net/en DEPUTY MANAGING DIRECTOR, SALES & ACQUISITIONS: Nathalie Pinguet SALES MANAGER, CENTRAL & EASTERN EUROPE, MIDDLE EAST, AFRICA, LATAM & INFLIGHT: Jérômine Ader de la Villardière SALES DIRECTOR, ASIAPAC, NEW ZEALAND, U.K. & GERMANY: Marie-Laure Roche VP, SOUTHERN EUROPE OPERATIONS: Pedro Citaristi VP, U.S. OPERATIONS: Louise de Staël CONTACTS: npinguet@superights.net; jader@superights.net; mlroche@superights.net; pcitaristi@superights.net; ldestael@superights.net PROGRAMS: Anna & Friends: 78x7 min., clay motion, comedy, upper preschool; Croco Doc: 26x7 min., 2D, edutainment, upper preschool; The Adventures of Little Penguin: 52x5 min., 3D, adventure/comedy, upper preschool; Hidden Waste: 26x2 min. 30 sec., 2D, shortcom, kids/family; Percy’s Tiger Tales: 52x13 min. & 4x22 min., 3D, adventure/comedy, preschool; Handico: 24x3 min., 2D, shortcom, kids; Clay Time: 60x4 min. 30 sec., clay motion/2D, edutainment, preschool; Bo Bear: 52x5 min. & 10x12 min., live action, preschool; Giuseppe: 1x26 min., 2D, comedy, preschool; Koumi’s Animated Picture Book: 52x5 min., 2D/live action, edutainment, preschool.

“Superights is a major international distribution company dedicated to spreading children’s and family programming across the globe. Operating from Paris, Milan and Los Angeles, we are a key youth-content provider for the global market with wellestablished partnerships on all continents—from traditional TV to digital and VOD platforms, L&M, theatrical and home video.” —Corporate Communications

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Tencent Video ADDRESS: Sigma Building, No. 49 Zhichun Rd., Haidian District, Bejing 100190, China TELEPHONE: (86-10) 62671188 WEBSITE: v.qq.com/channel/child DIRECTOR, KIDS’ IP DEVELOPMENT & PROGRAMMING: Selina She PRODUCER, CONTENT INVESTMENT & CO-PRODUCTIONS: Qing Fan CONTACT: kid@tencent.com PROGRAMS: Deep in the Bowl: 52x5 min., 3D/live action, comedy, 8-12; Rainbow Bubblegem: 52x11 min., 3D, fantasy, 6-9; Mini Mind Warriors: 52x7 min., 2D, action/comedy, 8-12; Pet Hotel: 26x11 min./100x2 min., 2D, comedy, 8-12; Monsters in the Forbidden City: 78x10 min., live action/3D, comedy/drama, 9-12; Vivi Cat: 200x2 min., 3D, comedy, 7-9; Shake and Beita: 52x11 min., 3D, adventure, 7-9; Cruiser Chi Chi: 26x11 min., 3D, adventure, preschool; Super Boomi: 52x11 min., 3D, friendship/gaming, preschool; Cona Blue: 52x11 min., 3D, nature/adventure, preschool.

“Tencent Video is the leading online video streaming platform in China, providing the best entertainment experience to audiences across different platforms and devices. Tencent Video produces high-quality kids’ originals with enduring and engaging appeal. We partner with leading studios in China and have recently expanded our global presence by signing a number of high-proﬁle co-production deals with prominent European animation studios to create standout shows with universal appeal. Our latest programming slate features a vibrant mix of shows for all ages—from the amusing mythical monsters in our liveaction animation series Monsters in the Forbidden City to the aquatic adventures in the animated comedy Deep in the Bowl and the colorful mermaid merriment of Rainbow Bubblegem.” —Qing Fan, Producer, Content Investment & Co-Productions

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WildBrain ADDRESS: Queen’s Quay Terminal, 207 Queens Quay W., Suite 550, Toronto, ON M5J 1A7, Canada TELEPHONE: (1-416) 363-8034 WEBSITE: distribution.wildbrain.com PRESIDENT: Josh Scherba VP, GLOBAL SALES & RIGHTS STRATEGY: Caroline Tyre CONTACT: sales@wildbrain.com PROGRAMS: Ruby and the Well: 10x45 min., live action, drama, family; Strawberry Shortcake: Berry in the Big City: 40x4 min., 2D, family, preschool; Caillou’s New Adventures & New Caillou Seasonal Specials: 90x5 min. & 5x45 min., 2D & 3D, family, preschool; Tata & Kuma: 53x2 min. 30 sec., 2D, comedy/adventure, 6-10; Princess Mirror Belle: 13x22 min., live action, drama, 5-7; The Deep: S4 13x22 min., 3D, action, kids; The Kid Who Only Hit Homers: 1x52 min., live action, family; Denis and Me: S1-2 30x3 min. & 4x11 min., 2D, comedy, kids; The Brilliant World of Tom Gates: S1-2 40x12 min. & 1x22 min. Christmas special, mixed media, comedy, kids; Malory Towers: S2 26x24 min., live action, drama, tweens.

“At WildBrain, we inspire imaginations to run wild, engaging kids and families everywhere with great content across all media. With approximately 13,000 half-hours of ﬁlmed entertainment in our library—one of the world’s most extensive—we are home to such brands as Peanuts, Teletubbies, Strawberry Shortcake, Caillou, Inspector Gadget, Johnny Test and Degrassi. At our 75,000-square-foot state-of-the-art animation studio in Vancouver, BC, we produce such fan-favorite series as The Snoopy Show, Snoopy in Space, Chip & Potato, Carmen Sandiego, Go, Dog. Go! and more. Our shows are enjoyed worldwide in more than 150 countries on over 500 streaming platforms and telecasters, and our AVOD business—WildBrain Spark—offers one of the largest networks of kids’ channels on YouTube, garnering billions of views per month from over 150 million subscribers. We also license consumer products and location-based entertainment in every major territory for our own properties as well as for our clients and content partners. Our television group owns and operates four family entertainment channels that are among the most viewed in Canada. WildBrain is headquartered in Canada with offices worldwide and trades on the Toronto Stock Exchange. Please visit us at wildbrain.com.” —Corporate Communications

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Xilam Animation ADDRESS: 57 Boulevard de la Villette, 75010 Paris, France TELEPHONE: (33-1) 4018-7200 WEBSITE: www.xilam.com CEO & FOUNDER: Marc du Pontavice EXECUTIVE VP, DISTRIBUTION: Morgann Favennec SENIOR VP, MEDIA SALES DISTRIBUTION, ASIAPAC, CANADA, NORTHERN & EASTERN EUROPE: Céline Carenco SENIOR VP, MEDIA SALES DISTRIBUTION, LATIN AMERICA, MIDDLE EAST, AFRICA, SOUTHERN EUROPE & INFLIGHT: Safaa Benazzouz CONTACT: sales@xilam.com PROGRAMS: Mr Magoo: S2 69x7 min. & 3x21 min. specials, animation, comedy; Oggy Oggy: S1-2 156x7 min., animation, comedy/adventure/non-dialogue, preschool; Pfffirates: 52x11 min., animation, comedy/action, upper preschool; Tangranimals: 52x11 min., animation, adventure/comedy, upper preschool; Where’s Chicky?: S1-2 156x1 min., comedy/non-dialogue; Athleticus: S1-3 90x2 min. 15 sec., animation, comedy/non-dialogue; Lupin’s Tales: 78x7 min., animation, comedy, upper preschool; Boon & Pimento: 30x1 min. 40 sec., animation, comedy/non-dialogue.

“A major player in animation, Xilam is an integrated studio founded in 1999 that creates, produces and distributes original programs in more than 190 countries for both children and adult audiences. Xilam content is broadcast on television, SVOD and AVOD streaming platforms. Each year, Xilam builds real successes and capitalizes on its powerful historical brands, including Oggy and the Cockroaches and Zig & Sharko, as well as new properties such as Oggy Oggy for a preschool audience, Moka’s Fabulous Adventures!, Mr Magoo and the Academy Award-nominated adult feature ﬁlm I Lost My Body. Xilam’s expanding and strong catalog now consists of over 2,200 episodes and three feature ﬁlms. In 2019, Xilam acquired Cube Creative, a studio providing the company with unique expertise in 3D and computergenerated images. Xilam employs more than 500 individuals, including 400 artists, across its studios in Paris, Lyon, Angoulême and Ho Chi Minh in Vietnam.” —Corporate Communications

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ZDF Enterprises ADDRESS: Erich-Dombrowski-Str. 1, 55127 Mainz, Germany TELEPHONE: (49) 6131-991-0 WEBSITE: www.zdf-enterprises.de PRESIDENT & CEO: Fred Burcksen VP ZDFE.JUNIOR: Peter Lang CONTACT: zdfe.junior@zdf-enterprises.de PROGRAMS: School of Roars: 104x7 min., animation, comedy, 2-6; Scream Street: 78x11 min., animation, thriller, 6-10; The Muscleteers: 45x11 min., animation, comedy, 6-10; Zoom—The White Dolphin: 104x12 min., animation, comedy, 6-10; Heirs of the Night: 26x26 min., live action, vampire saga, 10+/family; Find Me in Paris: 78x25 min., live action, magical adventure, 10+/family; Hoodie: 104x11 min., live action, action/adventure, 10+/family; The Bureau of Magical Things: 40x22 min., live action, magical action adventure, 10+/family; #LikeMe: 39x26 min., live action, musical series, 10+/family; Pan Tau: 14x25 min., live action, magical comedy adventure, 10+/family.

“ZDF Enterprises was founded in 1993 and is responsible for worldwide program distribution, international co-productions, program acquisitions as well as the merchandising of strong program brands in its own name, for broadcaster ZDF and for third parties. Bound into a strong group of 18 subsidiaries and affiliated companies, ZDF Enterprises manages the largest German-language program stock worldwide and an impressive portfolio of international productions, consisting of series and miniseries, TV movies, documentaries and children’s programs. ZDF Enterprises provides a comprehensive, fullservice offering and covers every step in the chain of creation and exploitation of successful content, from development to production and marketing.” —Corporate Communications

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