TV Kids Guide 2022-2023

A Note from the Editor

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Publisher

Ricardo Seguin Guise

Group Editorial Director

Anna Carugati

Editor Mansha Daswani

Executive Editor and Editor, English-Language Guides Kristin Brzoznowski

Production and Design Director David Diehl

Associate Editor

Jamie Stalcup

Online

Simon Weaver

Dana Mattison

Sales

Genovick Acevedo

Moreno

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Ricardo Seguin Guise President

Anna Carugati Executive VP

Mansha Daswani VP of Strategic Development and Associate Publisher © 2022 WSN INC. 1123 Broadway, #1207 New York, NY 10010

Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvkids.com

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A Note from the Editor

What a difference a year makes. Just 12 months ago, the kids’ industry was heralding HBO Max’s arrival as a major new supporter of fresh content; today, that streamer’s positioning in the children’s and family segment is up in the air amid the impending combi nation with discovery+. Several ani mated projects have been in flux at Netflix as that giant faces slowing subscriber growth. AVOD is still a significant revenue opportunity—but, as many distributors have learned, also time-consuming when it comes to deliverables and potentially a headache in your windowing strategy. Oh, and now you probably need a metaverse strategy, and perhaps deals with TikTok influencers as you work on building your brand.

The kids’ business, however, is remarkably adept at navigating change. No surprise, given that the youngest viewers are early adopters, always keen to check out the next big thing as they dive deep into what they love. And there’s much to love in this year’s TV Kids Guide with a wealth of new properties, animated and live-action, seri alized and not, comedic and dramatic, educational and fun, set to launch at MIPJunior—which is finally back at the JW Marriott after last year’s muted affair in Cannes.

There are some other constants in this ever-changing business. Kids will be loyal to the brands they love if you give them reasons to be. Diversity and inclusion are still at the top of commissioners’ wish lists. Having a multiplat form strategy to be wherever your audience is remains paramount. Shows that make children laugh and bring fam ilies together will find a way to cut through the clutter. Financing still requires creative solutions, whether it’s a three-way treaty co-production or a global commission with a finely crafted windowing strategy to follow. And the endgame is still the same: to delight, educate, shape and inform kids wherever they are.

Mansha Daswani

INTERVIEWS

Philippe Bony General Manager, Thematic Channels M6 Group

TV KIDS: Are linear channels still an impor tant destination for children and families?

BONY: In France, kids’ consumption is more and more [moving] to nonlinear. And when it comes to co-viewing, it’s still on the television and linear programs most of the time. We see that the combi nation of the two is the best way to reach the whole family. It also gives children the opportunity to choose whatever they want at any moment of the day.

On nonlinear, we have developed our catch-up service, Gulli Replay, and we are trying to enhance the volume of programs available on this service. We are also trying to provide some other services, for example, gaming, which is also available on our platform. We have also developed an SVOD platform called GulliMax, which provides about 5,000 videos every month. Gulli Replay and GulliMax are dedicated specifically to children. Our competitors in the streaming business are inter national platforms. They have very strong programs dedicated to children, but globally, they are general-entertainment plat forms. With GulliMax and Gulli Replay, you know that all the programs will be only for children. We think we have to develop a different experience for children on linear TV. Tele vision provides the opportunity to broadcast new animation shows, which, of course, we do, but, in addition to that, we have a lot of entertainment shows, game shows, a lot of things that we can produce.

TV KIDS: How have Gulli and the other brands in your portfolio been helping the French animation market?

BONY: In France, we [are lucky to] have many producers and a great ecosystem. We have sustained this system. [Across] all our channels, we have transmitted something like 30,000 hours of French animation all around the world. We are the number one broadcaster of French animation around the world, and we are proud of that. We have about 20 different French animation shows either in active development or in production.

Thorsten Braun

CEO Super RTL

TV KIDS: How competitive is the kids’ TV market in Germany?

BRAUN: We have four relevant players in the linear business. Three of them are adfunded, one is a public player, but there are a lot of other options for kids to be entertained and to consume content. The digital platforms, like YouTube, and all the streaming services are also in Germany. There’s a lot of competition in the market, which brings us to the point that we had to reframe our strategy from a linear business to a multiplatform business.

TV KIDS: What sets Super RTL apart from the many other children’s channels and platforms?

BRAUN: The USP for us is a multiplatform business. We invested a lot of money and resources in building a proper kids’ web operation. We launched our own radio channel. We invested in our TOGGO tour. We also have a footprint in the retail business through our consumer-products operation. It’s a very broad range of platforms we serve. What we learned in the pandemic is that the kids are using more platforms. TikTok is very interesting for them. The metaverse, like Roblox, is working well. Our approach is to give an offer to the kids wherever they want to go. We are going into the TikTok business, and we plan to get a TOGGO experience on Roblox. We are the only German player building such a multiplatform approach.

TV KIDS: What challenges and opportunities do you see in the next 12 to 24 months?

BRAUN: Linear television is under pressure. That’s the most important challenge we are facing. The other is the fragmentation of media usage. The good point is, we have a strategy that is working. Wherever kids are, we are there with the TOGGO brand. The cooperation with RTL will deliver some good points, as we can benefit from tech and data experience. We can also look deeper into areas that in the past were not our focus, especially streaming SVOD.

Patricia Hidalgo Director, Children’s & Education BBC

TV KIDS: Tell us about how the BBC is adapting to stiff competition from the streamers and the move to devote greater resources to fewer titles.

HIDALGO: We have been working for a while to offer content to our audience how and where they like it. While we still have the two linear channels for children 0 to 12, we saw last year a lot of success in how our children are consuming our content on iPlayer. We had 1.2 billion hours of our content watched on our streaming platforms. We still commission about 450 hours of original content every year. Our commissions include all genres and formats. We are almost like a general-entertainment channel but for children, and that makes us quite different.

When we say “fewer” titles, we don’t mean producing less. What we mean is that we will commission more episodes of those titles that our audience loves. We make sure that we’re not recommissioning things that don’t have enough value for them.

We also, of course, have acquisitions. When we can’t make everything, we acquire content to supplement the content we commission. We look for global brands that have resonance. It’s not about having a lot of titles; it’s about having the right content and the right mix that our audience wants and that has relevance for them.

TV KIDS: What are you on the lookout for that you’d like to see the teams deliver?

HIDALGO: We want both animation and live-action comedy. We are keen to get more comedy into our slates for all ages, actually. We also want to have more family content. We want our audience to continue to identify with the characters, settings and stories we create. And we are still looking for unique British heritage and cultural values to be in those stories. We also want to develop unique content that has the potential to travel outside the U.K. At the end of the day, we want to make sure that we all work together across our commissions, productions and acquisitions to bring that richness of content across all the platforms.

Peter Gal

TV KIDS: Do streaming services provide creative freedoms that you didn’t have in the linear world?

GAL: Absolutely. When I worked for linear networks like Disney and Nickelodeon, serialized storytelling was incredibly chal lenging. The environment was unfriendly to it because they wanted to be able to replay the episodes over and over and out of order. Now, in streaming, you can embrace serialization in a different way. [Given] the volume of animation being done by the streamers, I’m excited to see people taking some risks and trying things that are different.

TV KIDS: Could you give some examples of how you decide on the right home for a given show?

GAL: We generally follow the passion of the different platforms. Every platform has its own strategy, but the strategy comes down to the individuals who are the decision-makers at those platforms. We work hard to maintain a broad development slate and a lot of different projects tonally. We have everything from the youngest preschool to bridge to older comedy to serialized adventure for the 6-to-8 age group, and serialized adventure that goes older, to [shows] that lean more teen. We try to manage the platforms by having a lot of different things always percolating up through the development pipeline.

TV KIDS: In your development, how do you balance new ideas against what you can take from the library?

GAL: We try to have a healthy mix at all times. It’s hard because sometimes it feels like the business is pivoting one way or the other. Sometimes the market feels very driven by people only wanting known IP and shows that have that built-in marketing advantage. But then, a few months later, one of our buyers will surface and say, We’re craving something brand-new. Every fran chise started as an original. Obviously, we’re not going to overlook an opportunity to do something exciting based on DreamWorks or Universal IP. But we’re developing originals.

Chief Creative Officer, Television DreamWorks Animation

Hans Bourlon

CEO & Co-Founder Studio 100

TV KIDS: Tell us about Studio 100’s anima tion studios.

BOURLON: We have Flying Bark Productions in Sydney that produces toons and series. It also provides anima tion services for global clients like LEGO, Nickelodeon and Marvel. Then we have Studio Isar Animation in Munich, which we founded. It specializes in CGI produc tion. Both of those studios work very closely together. We have Little Airplane Productions in New York, specialized in original preschool creations. We also have Studio 100 Animation in Paris. All those studios can provide excellent quality series and movies. We are successfully selling them through Studio 100 Media and Studio 100 Film.

TV KIDS: Theme parks have no doubt undergone some challenges recently, but what are the plans looking ahead for this area?

BOURLON: We invested a lot of money in the leisure business over the last ten years. More than 3.5 million people every year visit our theme parks. In Poland, we’re creating two new theme parks. We’re looking at some other territories. All are [connected to] our television characters. Our group is unique in that we combine the production of live-action and animated series with the leisure business like theater shows and theme parks.

TV KIDS: How has the L&M segment been performing?

BOURLON: There are more direct-to-consumer models and strong e-commerce coming up. Covid still limits the brick-and-mortar retail, and the second challenge is the change in consumer behav iors. We are working on that every day. But in general, we’ve seen a positive development during the last years in regard to regional classics like Maya the Bee and Heidi. There’s a lot of nostalgia around those characters. Parents like to share those emotions with their children. Even grandparents. This guarantees a reliable business. There’s also a new focus on fashion and apparel for those classic brands. And we are focusing a lot on sustainability and the environment.

Frederic Soulie

Senior VP & General Manager Mattel Television

TV KIDS: What’s the strategy for mining Mattel’s portfolio of characters and franchises for episodic programming and TV specials?

SOULIE: At Mattel Television, we believe the best stories have universal themes that transcend generations and lan guages. Our various franchises are each built on a strong purpose, which creates universal appeal. We also make sure that our storytelling is visually dynamic. Barbie inspires the limitless potential in every child. Masters of the Universe encourages each of us to become the best version of ourselves. Thomas & Friends is all about the importance of friendship. These broader brand purposes are threaded throughout each piece of content we create.

TV KIDS: What is the approach for producing programming out side of known IP?

SOULIE: Mattel Television is focused on engaging audiences through timely and compelling episodic content and TV movies. Mattel’s purpose across all our franchises is to empower the next generation to explore the wonder of childhood and reach their full potential. As part of that commitment, we con tinue to find ways to represent the diverse world we live in through the content we create. It is a priority for us to tell diverse stories authentically, making sure to include subjectmatter experts through all areas of production, in order to design content that reflects the world around us.

TV KIDS: Is live action going to be more of a focus?

SOULIE: At Mattel, we have a treasure trove of brands that offers numerous opportunities to create great television across both live action and animation. Live action is defi nitely a priority for our overall television slate. We are also developing a robust unscripted slate, including a game show based on Pictionary that was picked up for a full season on all FOX-owned stations.

Dan Povenmire

Creator & Executive Producer Hamster & Gretel

TV KIDS: How did Hamster & Gretel come about?

POVENMIRE: We were writing the Phineas and Ferb movie for Disney+. I had this stack of three-by-five cards because we were using them to block out the movie. I was doodling while we were pitching ideas. I had a superhero hamster flying over the city because my daughters had hamsters at the time. The more I thought about it, the more it seemed like a show.

It’s about a much older brother and a younger sister. He’s driv ing her to soccer practice. They get stopped by aliens who tell them they have been chosen to receive superpowers. The aliens shoot them with this ray, and the brother is all excited about it. But the superpower has gone to Gretel, his younger sister, and her hamster, who just happened to be in the car, instead of on to him. And as you can imagine, that causes some comedic situations.

TV KIDS: Is humor still an essential ingredient in reaching kids?

POVENMIRE: If you can make people laugh, then they’ll tune back in. That’s what I’ve always tried to do; let’s make them laugh on as many different levels as we can, which is why we had a big adult following for Phineas and Ferb . We never [excluded] a joke because we didn’t think the kids would get it. We would put stuff in for everybody. And that’s what we’re doing on Hamster & Gretel.

TV KIDS: TikTok and YouTube didn’t exist when you started out in the business. Do they help you find talent?

POVENMIRE: We found voice actors on TikTok, some of whom had never done voice work before but were trying to get into it. You get to see people who are just really self-starters. They’re doing this because they love it, and they’re doing it every single day. If you get them into a [recording] booth, they’re not a one-trick pony. They can really deliver. I found songwriters through TikTok. It’s a good way of getting your talent out there so people like me can see it and say, Hey, would you like to come and do this?

Bruce W. Smith

TV KIDS: Why was now the right time to bring The Proud Family back?

SMITH: A good amount of time had passed [since the show had gone off-air]. In that period of time, a lot of things transpired. All of a sudden, there’s social media and a whole different attitude in terms of our culture. It felt like the right time. There was really nothing that followed [the show in a similar vein] in the wake of that time period, so for us, it made sense to have our African-American culture on display and in a celebrated way. It made sense for us to jump back into the zeitgeist.

TV KIDS: Tell us about the updated look and how it was achieved.

SMITH: The first time around, we were really scrambling once we got the green light. We’d never seen a show like this, so we scrambled with not a lot of money to put something together that we thought at least set the table. So, we had something to go by when we reinvented the show this time around. I’m an animator; that’s my natural artistic gift. I’m a real design freak as well. For a lot of the character-design aspects, I have a specific style and look that I want to go after. Then, I brought in an amazing art director, Eastwood Wong, who built the world around these characters. It has a really rich dimensional look, but it still is very 2D in its approach. It doesn’t look like a 3D Disney film, intentionally—2.5D is what we like to call it.

TV KIDS: What does The Proud Family: Louder and Prouder being on Disney+ versus Disney Channel offer in terms of freedom and flexibility with the storytelling and age targets?

SMITH: Disney+ allows us a wider format. When we were a Disney Channel show, we were more of a tween model. But we’ve aged the crew up two years. We’re now dealing with the truest form of teen issues. We take you through those formidable years. There’s so much to chew on that we felt like that was the perfect age to take our kids to. The Disney+ platform allows us to really lean into those aspects of growing up that we think are important.

Creator & Executive Producer

The Proud Family, The Proud Family: Louder and Prouder

Olivier Dumont

President eOne Family Brands

TV KIDS: What is eOne Family Brands’ content strategy?

DUMONT: We’re developing and pro ducing shows based on existing brands like My Little Pony , PJ Masks , Peppa Pig , Transformers and Power Rangers , as well as completely new original properties such as Kiya and more in our development pipeline. Most are in animation, but we also have Power Rangers , a live-action series. Our slate covers the full spectrum of demographics and genders, always with a strong commercial angle to them. We’re looking to develop properties with significant licensing and merchandising potential. And this is not really the result of anything new post the Hasbro acquisition, as we’ve always developed properties with strong commercial potential.

TV KIDS: What are the most effective ways of developing and rolling out a brand in today’s multiplatform environment?

DUMONT: It’s super hard to break through, so it’s critical to have brands with content rolling out on as many platforms as possible, in order to register with the target demographic. This means creating more short-form and interactive con tent to complement the traditional content produced for lin ear and VOD. That’s the piece that is probably more difficult for smaller companies. Having deeper pockets [helps] when it comes to marketing these brands, to make sure you’re directing consumers to these different platforms.

On preschool brands, you have the effect of all boats rise; the more exposure you have on different platforms, the more each of these different platforms does well. We’ve seen this time and time again on our different brands. For example, Peppa Pig is very strong on linear, on various SVOD platforms and YouTube. That boosts the awareness for the brand and allows it to remain relevant commercially despite the masses of preschool shows con stantly launching.

Jules Borkent

TV KIDS: What are you and your teams looking for in acquisitions and con tent partnerships?

BORKENT: We’re flexible. In the past, we were pretty prescriptive about what we needed: two 11s, 22 minutes, maybe some short-form. We’re looking for shows that still very much fit the Nickelodeon ethos: making the world a more playful place, comedy, laughter and grounded in reality for kids to recognize themselves. Mainly, what we will be looking for in the animation space is comedy. Action-adventure is also going to be of some interest to us, given that we are launching

Transformers: EarthSpark with our partners at Hasbro. We’re looking for what more we can do in that space. We’re looking at [ Teenage Mutant Ninja ] Turtles in a new iteration. We announced Avatar Studios, where we are looking at the Avatar world and how we can bring that back for Paramount+ and potentially for linear services.

TV KIDS: What areas of growth have you identified for the kids and family business?

BORKENT: We know our content is incredibly popular on YouTube, and we know kids are on YouTube in vast amounts. We’re really looking at YouTube as a platform to bring our content to [an even wider audience] in a different format. Gaming is anothe r really important part. We’re doing a lot in that space, mainly around our key franchises. Pluto TV is a huge opportunity to dig into our library of content. Some of that content no longer lives on current linear services, but there’s still a real appetite for some of those shows on Pluto.

TV KIDS: You’ve been in the kids’ business for a long time. What still excites you about serving this audience?

BORKENT: The content we create puts smiles on kids’ faces. They love our shows. Despite the proliferation of platforms, they still come to us. I always say change is good. There’s always something to look forward to.

Managing Director & Executive VP, International Kids & Family Brands, Paramount

Sebastian Debertin

Head, International Content Acquisitions KiKA

TV KIDS: Tell us about the approach to content acquisitions.

DEBERTIN: As a public broadcaster, we provide content for 3- to 13-year-olds that educates, informs and entertains. So we are looking for a variety of programs for the different age groups. It is important that children can both relate to the pro grams from their own experiences and are taken beyond them to see other chil dren’s lives locally and across the world. While it is crucial for us to locally produce fiction and nonfiction programs to ensure our viewers can find themselves represented on-screen, we are excited to offer them co-productions and acquisitions from fur ther afield. We are interested in fiction and nonfiction programs that are entertaining and informative, that bring joy to our viewers and promote values such as empathy, kindness, community, open-mindedness, diversity, inclusion, sustainability and creativ ity, without indulging in stereotypes or merely ticking boxes.

TV KIDS: With the global streamers taking all rights, how has that impacted KiKA’s access to the best content?

DEBERTIN: The best approach here is not to fall into the trap of competing with them. Instead, we go on building our strong pro grams and brands as we have done for 25 years now, with the help of our shareholders and partners at ARD and ZDF, and through appropriate co-productions with local producers in Germany and Europe as well as worldwide.

TV KIDS: Tell us about the co-pros strategy.

DEBERTIN: Early involvement is key for ensuring that a project, for example, from another continent, will work for our audiences. At the same time, we also keep an eye on its international appeal. This makes co-productions successful—for us locally and our part ners abroad. The result is that our co-pro partners will be inter ested in doing more shows with German co-pro partners. I always feel truly satisfied when the shows work for our audience and pay off for our various co-producers internationally, too!

Francesca Newington

Director, POP Channels Narrative Entertainment

TV KIDS: What role do acquisitions play for the POP portfolio?

NEWINGTON: They’ve been 95 percent to 100 percent of our content. We are trying to do more prebuys where possible so that we can broaden our rights and plan future strategies a little bit better. We are also now diving into the world of co-pros and commissions. We also have our AVOD offering, the POP Player, which incorporates catch-up content. For that, we are looking to intro duce exclusive content that doesn’t feature on the linear channels.

TV KIDS: What sorts of things are you looking for?

NEWINGTON: We’re free-to-air, so we have a broad socioeco nomic audience. We’re keen for our channels to be all about diversity and broad representation. We want [audiences] to feel that the channels are genuinely inclusive and reflective of them. Volume is very important, so 26 half-hours minimum. POP tar gets 6- to 10-year-olds, with a focus on the 6-to-8s. And Tiny Pop is 4 to 6, so it’s very much the upper-preschool end. Any thing too slow-paced or too young would not be right for Tiny Pop, and anything with imitable behavior. Anything all-out educational is quite hard for us to schedule. At POP, the key ingredients are comedy, pace and adventure.

TV KIDS: Is exclusivity a make-or-break deal point?

NEWINGTON: We are aware that cross-pollination is really impor tant when it comes to the brand getting as many eyeballs as it possibly can. If you’re going to launch a commercial franchise, you want to be across as many platforms as you can. We will share rights if it’s already gone to a pay-TV or SVOD platform; we will come on as the second window and take the free-to-air rights. The issue there for us is that we get such limitations on dig ital rights. It’s becoming increasingly difficult to comply with five episodes only [on-demand] at any one time. If we want to increase our digital offering, we’re going to need to be brutal and reject content that we would love to have.

Kristen Bell

TV KIDS: What are the challenges in voic ing animated characters compared to onscreen acting?

BELL: It’s a bit of a paradox: Animated characters are infinitely easier and infi nitely harder than on-screen characters. It’s easier because I get to go in my paja mas, and there’s no hubbub around the whole thing. There’s no hair and makeup. Eliminating the visual component reduces the strain immensely from my point of view. But the chal lenge is that I have one tool to tell the story with and engage the audience with: my voice. I have learned a lot of tricks, which have mainly been gut instincts, about the tone and pace of my voice, how I’m forming the vowels in my mouth versus how they sound, to try to engage the audience and tell the maximum amount of emotion with a sound.

TV KIDS: What have you learned about the importance of music education for young ones?

BELL : Engagement with a show like this will help them learn music fundamentals because the show is talking about, under the guise of entertainment, music theory and vocabularies like beats, lyrics and tempo. It can help create an interest in music from an early age. The developmental benefits of music education don’t just inspire a love and appreciation for music; from a braindevelopment perspective, it gives them a head start on so many other things, including cooperation and sharing. Music can make you feel a certain way, so there’s social-emotional education.

TV KIDS: What are some of the underlying themes?

BELL: Cultural exposure and learning from it. When you’re pop ping your bubble and not limiting your exposure, you have a greater sense of empathy and compassion for sharing Earth. From an emotional standpoint, from an intimate, interpersonal stand point, music can affect the way you feel, and you can use it as a tool. It has the ability to change your feelings, exposing kids to the fact that there are tools out there to help them along the way.

Co-Creator & Executive Producer Do, Re & Mi

Photo: Ricky Middlesworth

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: Interstellar Ella: 52x11 min., CGI, adventure/wonder, 4-6; Lloyd of the Flies : 52x11 min., CGI, character-based comedy, 7-11; Pop Paper City: 52x11 min., 3D/mixed media, view-and-do adventure series, 4-6; The Very Small Creatures: 21x3 min., stop-frame, comedy/discovery, 1-3; Happy the Hoglet: 26x7 min. & 26x1 min. supporting content, 2D, emotional resilience/comedy, 4-6; The Abominable Snow Baby : 1x25 min., 2D, comedy, kids/family; Numberblocks: 120x5 min. & 1x20 min. & 3x10 min., CGI, educational, 3-5; Monster Doctor: 52x11 min., CGI, adventure/comedy, 6-9; Shaun the Sheep : 170x7 min. & 2x28 min. specials & 15x1 min. & 21x1 min., stop-frame, comedy, 6-9/family; Colourblocks : 30x5 min., CGI, educational, 3-5.

“Aardman is an award-winning producer dedicated to the development, production and distribution of its animated content. All of our productions are brilliantly character ized and full of charm, reflecting the unique talent, energy and commitment of the whole Aardman team. We are a boutique distribu tor, licensing shows on behalf of a select number of animation studios that have similar values to our own slate.

It’s a very exciting year for the Aardman distribution team, as for the first time, we will be entering six programs into the MIPJunior screenings, the most we’ve ever highlighted at once. These include brand-new properties such as Lloyd of the Flies, directed by Aardman talent Matthew Walker; Pop Paper City from LoveLove Films; Happy the Hoglet from Paper Owl Films; Colourblocks by Blue Zoo; and Interstellar Ella from Fabrique Fantastique and Apartment 11. Additionally, we’re showcasing Monster Doctor by Creative Conspiracy and Quentin Blake’s Box of Treasures by Eagle Eye Drama.”

—Alison Taylor, Director, Distribution

ADK Emotions NY

ADDRESS: 156 Fifth Ave., Suite 934, New York, NY 10010, U.S.A.

TELEPHONE: (1-929) 5 54-3249

WEBSITE: beyblade.com

CEO: Shunichi Ogawa

VP: Ayako Tsunekawa

LICENSING MANAGER: Alexis Wilcock

CONTACT: Mana Kimura, mana@adkemotions.com

PROGRAMS: Beyblade Burst: 51x22 min., animation, 8+; Beyblade Burst Evolution : 51x22 min., animation, 8+; Beyblade Burst Turbo : 51x22 min., animation, 8+; Beyblade Burst Rise : 26x22 min., animation, 8+; Beyblade Burst Surge: 26x22 min., animation, 8+; Beyblade Burst QuadDrive : 26x22 min., animation, 8+.

“ADK Emotions NY is a content and rights-management company specializing in bringing Japanese animated IP (anime) to the global market. From media placement and marketing to creative planning, localization and merchandise licensing, we help partners navigate the complexities of global distribution in order to bring engaging anime titles to a new and expanding demographic. Through deeper collabora tion with our broad network of partners, we are building a content business that moves audiences worldwide.”

—Corporate Communications

Atlantyca Entertainment

ADDRESS: Corso Magenta, 60/62, 20123 Milan, Italy

TELEPHONE: (39-02 ) 430-0101

WEBSITE: www.atlantyca.com

HEAD, ANIMATION DEPARTMENT, EXECUTIVE PRODUCER & DISTRIBUTION DIRECTOR: Caterina Vacchi

DISTRIBUTION MANAGER: Alessandra Dematteis CONTACT: alessandradematteis@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; ZDF Studios junior catalog (Italy).

“Atlantyca Entertainment is a transmedia entertainment company maintaining production, distribution, licensing, publishing, foreign-rights sales and live stage event divisions. The company is most recognized as the IP owner and pro ducer of the popular Geronimo Stilton animated series (three seasons) and the spooky animated adventure-comedy Bat Pat (two seasons).

Moreover, Atlantyca has produced the award-winning, buzz-kicking spy-action series Berry Bees , featuring three extraordinarily talented girls who have been selected by the B.I.A. (Bee Intelligence Agency) for special spy missions.

Atlantyca has also delivered its first live-action series, Snow Black, a co-production with Rai Kids. The series centers on the ghost of a young vlogger, nicknamed Snow Black, who wakes up trapped inside the web, and her two friends who help her to investigate the mysterious disappearances of young guys.

Atlantyca’s distribution arm represents a growing library of third-party properties, including the junior catalog of ZDF Studios for Italy.”

—Corporate Communications

Australian Children’s Television Foundation

ADDRESS: Level 3, 145 Smith St., Fitzroy, Victoria 3065, Australia

TELEPHONE: (61-3) 9200-5500

WEBSITE: www.actf.com.au

CEO: Jenny Buckland

HEAD, CONTENT: Bernadette O’Mahony

CONTACT: Roberta Di Vito, roberta.divito@actf.com.au

PROGRAMS: MaveriX : 10x30 min., live action, drama, 10-15; Crazy Fun Park: 10x30 min., live action, drama, 10-15; More Than This : 6x30 min., live action, drama, 13-17; Kangaroo Beach : 52x12 min., 3D, comedy, 2-6; Little J & Big Cuz : 50x12 min., 2D, comedy, 2-6; Built to Survive : 10x24 min., live action, documentary, 8-12; Barrumbi Kids : 10x30 min., live action, comedy, 6-12; First Day : 8x24 min., live action, drama, 8-14; Hardball: 23x24 min., live action, comedy, 8-14.

“Children from all over the globe enjoy watching Australian shows. The Australian Children’s Television Foundation (ACTF) distributes over 400 hours of Australia’s best chil dren’s programming, including live-action and animated series, early childhood programs, short-form content, tele movies and documentaries, to a global audience of preschoolers through to teenagers.

With over 30 years of experience distributing high-quality Australian children’s content globally, the ACTF is well regarded in the international children’s television market.

Our programs have proven to be successful on a global scale, attracting large audiences for broadcasters and win ning a slew of international awards, including multiple International Emmy Kids Awards, the Prix Jeunesse Award, a Banff Rockie Award, the Japan Prize and many Australian Film Institute (and AACTA) Awards.”

—Corporate Communications

Bimi Boo Kids

ADDRESS: 410 Hauser Blvd., Apt. 4C, Los Angeles, CA 90036, U.S.A.

TELEPHONE: (1-323) 393-5455

WEBSITES: series.bimiboo.com; bimiboo.com

CEO & CO-FOUNDER: Dmitriy Yan CONTACT: dmitriy@bimiboo.com

PROGRAM: The Incredible Stories of Bimi Boo and Friends : 52x5 min., 3D, adventure/educational/preschool, 2-6.

“Bimi Boo Kids is a company that creates products and content for a wholesome and safe childhood as a key component of a bright world. The company’s mission is to surround kids under 5 with exceptional products that become the first choice for their parents.

The company creates fun and educational apps for preschoolers, safe and eco-friendly wooden toys, and now it is developing a preschool show that pushes for a playful sense of curiosity and upholds children’s agency. In the series production, we strive to create content that inspires children to roam, play and learn something new outside. We believe that good cartoons make you want to stay home; great cartoons inspire you to roam. The series inspires to believe in oneself, to be unafraid of venturing out of one’s com fort zone to learn—what Bimi constantly does, pushing his friends into new adventures, and they learn by having constant fun. There is no topic out there that you can’t tackle, that bound aries can be overcome with knowledge and passion, introducing children to a wide range of subjects from arts to sciences.”

—Dmitriy Yan, CEO & Co-Founder

Boat Rocker

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: S1-2 52x11 min. each, 3D, adventure, 2-5; Daniel Spellbound: S1-2 10x30 min. each, 3D, action/adventure, 6-11; The Next Step : S1 30x30 min./ S2 34x30 min./S3 30x30 min./S4 40x30 min./S5 20x30 min./ S6 26x30 min./S7 26x30 min./S8 27x30 min., live action/scripted, 8-12; The Strange Chores: S1-2 26x11 min. each, 2D, adventure/ comedy, 6-11; Love Monster: S1 54x7 min./S2 27x7 min., 2D, 2-5; Kingdom Force: 52x11 min., 3D, action/adventure, 3-6; Remy & Boo: 52x11 min., 3D, adventure, 2-5; Hungry Brain: S1-2 100x11 min. each, educational/science, 6-11; Curious Crafting: 40x3 min., educational, 2-5; Badamanu: 52x12 min. & 52x11 min. & 26x5 min. & 32x1.5 min. & 178x2-2.5 min. & 11x12 min. & 36x6.5 min., 3D, edutainment, 3-7.

“Boat Rocker develops, produces and monetizes a catalog of premium live-action and animated entertainment for audi ences around the world. The Kids & Family division collabo rates 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 is an award-winning global provider of truly original kids’ and family content.

Current productions include Dino Ranch (Disney Junior, Disney+, CBC), Daniel Spellbound (Netflix), The Next Step (CBBC, YTV), Rebel Cheer Squad: A Get Even Series (Netflix, BBC) and Love Monster (BBC, UYoung).”

—Corporate Communications

CAKE

ADDRESS: 4/Fl., 50 Marshall St., Carnaby, London W1F 9BQ, U.K. TELEPHONE: (44-207) 307-3230

WEBSITE: www.cakeentertainment.com

CEO: Ed Galton

HEAD, SALES: Bianca Rodriguez CONTACT: brodriguez@cakeentertainment.com

PROGRAMS: Super Sema : 20x5 min. & 12x11 min., 2D, adventure, 5-7 ; My Brother the Monster : 26x11 min., 2D, comedy, 6-8; Tish Tash: 104x5 min., 2D, adventure, preschool; Total Drama Island : 26x22 min., 2D, comedy/reality/ adventure, 6-12; Lucas the Spider : 78x7 min., 3D, comedy, preschool; Draw with Will : 40x7-9 min., live action/2D, art/educational, 5-12; Dodo : 40x11 min., 2D, comedy, 8+; Angry Birds MakerSpace : S2 20x1 min., 3D, comedy, 4+; Mush-Mush & the Mushables : 96x11 min. & 4x22 min., 3D, comedy/adventure, 4-8; Kiri and Lou: 94x5 min., claymation, comedy, preschool.

“CAKE is a leading independent entertainment company specializing in the production, distribution, development, financing and brand development of kids’ and family prop erties. CAKE Distribution distributes over 1,600 half-hours of animation and live-action content, working with renowned producers, including Rovio Entertainment, Fresh TV, Channel X, Kickstart Entertainment and Ragdoll Productions, on the worldwide rollouts of their brands. CAKE Productions drives CAKE’s development and pro duction activities on shared and originated projects. With over 13 properties in development, productions include Angry Birds: Summer Madness for Netflix; Mama K’s Team 4 with Triggerfish Animation for Netflix; Angelo Rules with TeamTO for France Télévisions, Canal+ and Super RTL; Space Chickens in Space with Ánima Estudios for Disney EMEA; Pablo with Paper Owl Films for CBeebies; and Mush-Mush & the Mushables with La Cabane Productions and Thuristar, currently premiering internationally on Boomerang. An award-winning company, CAKE is based in London.”

—Corporate Communications

Cisneros Media/Mobius Lab Kids

TELEPHONE: (1-305) 442-3400

WEBSITE: www.cisneros.com

PRESIDENT: Jonathan Blum

VP, CONTENT DEVELOPMENT & CREATIVE SERVICES: Ailing Zubizarreta

VP, SALES: Carlos Cabrera

SALES DIRECTOR: Maria Benel CONTACT: mbenel@cisneros.com

PROGRAMS: Zumbar: 26x5 min., live action/mixed media; AnimalFanPedia: 26x11 min., edutainment; My Birthday Bash: 13x22 min., live action; #GOAT : 26x5 min., tween; WERK! : 26x5 min., tween.

“Mobius Lab Kids is Cisneros Media’s children’s and family division. Driven by passion and purpose. Rooted in diversity, curiosity, inclusion and family values. We strive to give all children a voice and space in the world.”

—Corporate Communications

Cyber Group Studios

ADDRESS: 44B Quai de Jemmapes, 75010 Paris, France

TELEPHONE: (33-1) 5556-3232; (1-818) 844-1660

WEBSITE: www.cybergroupstudios.com

CHAIRMAN & CEO: Pierre Sissmann

EXECUTIVE VP: Raphaëlle Mathieu CONTACT: rmathieu@cybergroupstudios.com

PROGRAMS: Gigantosaurus : S1-3 156x11 min./78x26 min., CGI/2D, comedy/adventure, 4-6; Taffy: S1-2 156x7 min., 2D, cartoon/comedy, 6-10/family; 50/50 Heroes: 52x11 min., 2D, comedy/adventure, 6-10; Droners: S1-2 52x22 min., CGI/2D, adventure/comedy, 6-10; Zak Jinks: S1-2 104x13 min., 2D, adventure/comedy, 6-10; Nefertine on the Nile : 52x11 min., 2D/CGI, comedy, 4-7; The Case ( La Custodia ): 1x40 min., 2D, feature animation movie, family; Squared Zebra: 78x7 min., 2D, comedy/edutainment, 3-5; Bananimals : 78x7 min., 2D, comedy, 5-8; The Last Kids on Earth: 1x66 min. TV special & 24x22 min., comedy/action, 7-12.

“Founded in 2005, Cyber Group Studios is a leading multi-award-winning international producer and distributor of animated pro grams for an audience ranging from kids to young adults. The company is based in France, the U.S., the U.K., Italy and Singapore. Its team is driven by a passion for creating great stories targeted to a global audience on all continents. Its five production studios share a strong cul ture of innovation, offering audiences the best storytelling, animation and music experiences. Cyber Group Studios pro duces its own content as well as third-party productions that are distributed worldwide on all digital and linear platforms. It also engages in large-scale marketing and consumer-products licensing programs of its characters and properties.”

—Raphaëlle Mathieu, Executive VP

Gaumont

ADDRESS: 30, Avenue Charles de Gaulle, 92200 Neuillysur-Seine, France; 750 N. San Vicente Blvd., RW, Suite 1000, Los Angeles, CA 90069, U.S.A. TELEPHONE: (33-1) 4643-2023

WEBSITE: www.gaumonttelevision.com

PRESIDENT, GAUMONT U.S.: Nicolas Atlan

EXECUTIVE VP, INTERNATIONAL SALES & DEVELOPMENT: Cécilia Rossignol CONTACT: cecilia.rossignol@gaumont.com

PROGRAMS: Bionic Max: 52x11 min., 2D, slapstick/buddy comedy, 6-11; Furiki Wheels: 52x11 min., 2D, slapstick/buddy comedy, 6-11; Belle & Sebastian: 52x11 min., 2D, adventure/comedy, 5-9; Samurai Rabbit: The Usagi Chronicles: 20x30 min., CGI/2D, action/comedy, 6-11; Stillwater: 40x11 min., CGI/2D, mindfulness/ friendship, preschool; Do, Re & Mi : 52x11 min., CGI, musical/adventure/friendship/comedy, preschool.

“With offices in Paris, Los Angeles, London, Cologne, Berlin and Rome, Gaumont is an industry leader, producing and dis tributing high-quality TV programming and films. Special izing in producing local stories with global appeal, Gaumont’s current slate includes talent-driven, diverse and distinctive titles across multiple languages for the world’s leading global streaming platforms and channels.”

—Corporate Communications

Guang Dong Winsing Company

ADDRESS: No. 4, Caofangwei, Nanhua East Rd., Haizhu District, Guangzhou, Guangdong, China 510220

TELEPHONE: (86-20) 3763-5953

WEBSITE: en.winsing.net

VP: Echo Gu

HEAD, INTERNATIONAL MARKETING: Sophie Lau

PROGRAMS: Team S.T.E.A.M.!: 104x15 min., 3D, edutainment/ rescue, 4-8; GOGOBUS: 260x13 min., 3D, edutainment/ family, 3-6; GG Bond: Ocean Mission: 1x85 min., 3D, family/entertainment/comedy/adventure, 4-8; GG Bond: Dino Diary: 156x13 min., 3D, entertainment/adventure, 4-8; GG Bond: Kung Fu Pork Choppers: 104x15 min., 3D, family/entertainment/ adventure, 4-8.

“Founded in 1986, Winsing Animation has been dedicated to original 3D animated TV and film production, distribution, merchandising and licensing, toys, stage shows, theme parks and more for decades. With more than 600 in-house 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 and GOGOBUS and new, developing property Team S.T.E.A.M.! With the corporate philosophy of ‘Colorful Anima tion, 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

Guru Studio

ADDRESS: 110 Spadina Ave., Unit 500, Toronto, ON M5V 2K4, Canada

TELEPHONE: (1-416) 599-4878

WEBSITE: gurustudio.com

PRESIDENT & EXECUTIVE CREATIVE DIRECTOR: Frank Falcone

SENIOR DIRECTOR, INTERNATIONAL SALES: Corey Caplan CONTACT: sales@gurustudio.com

PROGRAMS: 123 Number Squad!: S1-2 104x11 min., 3D, preschool; 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.

In addition to our incredible roster of orig inal IP, we recently announced Guru’s distri bution and licensing representation of an exciting new educational adventure series from Omens Studios, 123 Number Squad! , which is now available for worldwide distri bution. The team at Omens has done a masterful job bringing this bustling world of adventure to life. The series is a place where preschoolers will learn and laugh while exploring key social and emotional development themes such as sharing, resilience, teamwork and friendship.

Our newest original 2D comedy-adventure series Big Blue continues to bring on new global partners, including Canal Panda in Portugal, NRK in Norway and EBS in South Korea. The series is performing extremely well on CBC Kids in Canada, Nicktoons in the U.K. and Cartoon Network in Africa. Big Blue offers young viewers a zany yet heartfelt look at what it means to be part of a tightly knit family and underscores the timely message of how caring for our planet and each other is the most important thing of all.”

—Corey Caplan, Senior Director, International Sales

Jetpack Distribution

ADDRESS: Spitalfields House, Stirling Way, Borehamwood, Hertfordshire WD6 2FX, U.K.

TELEPHONE: (44) 7 825-006924

WEBSITE: jetpackdistribution.tv CEO: Dominic Gardiner

GLOBAL HEAD, SALES: Sophie “Kido” Prigent CONTACT: kido@jetpackdistribution.tv

PROGRAMS: Mimi’s World: 40x11 min., hybrid, action, 4-6; Biff & Chip: 25x11 min., live action, action, 3-6; Alice’s Diary: 52x5 min., 2D, action, 4-6; The Mini Kids: 28x16 min., live action, action, 0-2; Silly Animals : 20x6 min., hybrid, edutainment, 5-12; Spookiz: 26x2 min., 2D, adventure, 6-11; Mechamato: 26x22 min., 3D, adventure, 6-12; Critters TV: 26x11 min., 2D, edutainment, 4-8; Viking Skool: 26x22 min., 2D, action, 6-10; Kung Fu Pork Choppers: 52x11 min., 3D/CGI, comedy, 4-8.

“Launching the best kids’ content across the planet! At Jetpack, we find homes for highquality and enduringly appealing kids’ shows worldwide. We were founded on the princi ple of being a true partner—to creators and makers of shows and to those acquiring con tent for their channels.

We have a passion for capturing the imagi nation of kids globally. And we champion quality content from a wide range of producers, big and small. We are very much an ‘indie,’ often celebrating the quirkier and more offthe-wall series alongside mainstream brands.

We are delighted at the continued growth of our library, working with 47 producers and 1,650 half-hours of a variety of content across all genres and for all age groups.

New shows in our catalog include Samka’s Viking Skool and Once Upon a Time…Objects; Chinese toon Kung Fu Pork Choppers, produced by China-based Winsing in collaboration with CraneKahn; the award-winning Adastra Development’s Mimi’s World; and Biff & Chip, produced by BBC Studios Kids & Family. These join a stellar lineup that includes Alice’s Diary, Silly Animals , Critters TV , Spookiz , Ladybird and Bee , Mechamato, Jamie’s Got Tentacles and Kitty is Not a Cat

We are committed to working with creators at early stages, and we’re proud of our development slate, which currently includes nine titles and a potential 164 half-hours of content.

We are dedicated to using our knowledge, skills and expe rience to help the market flourish so that more brilliant shows can be made and watched globally.”

—Dominic Gardiner, CEO

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. (APMC), Kidoodle.TV is a family-focused Safe Streaming service committed to providing children under 12 a safe viewing experience. With over 40,000 episodes and growing, we are uniquely positioned and proud to have impactful relationships that not only provide content own ers and organizations with additional revenue streams, but, most importantly, positively benefit children globally and ensure brand protection along the way. Our Safe Streaming environ ment is trusted by families globally for a reason.

Kidoodle.TV is available in over 160 countries and territo ries across our ecosystem of connected-TV devices and plat forms 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, Amazon Fire TV, LG smart TVs, Plex, Samsung, JioPhones and many more.

“The important work we are doing here at Kidoodle.TV comes back to our mission of Safe Streaming, where we believe every child deserves to be safe online. The impactful work we have done is something we are incredibly fortunate to be part of as we grow with like-minded brands. Being able to show case some phenomenal content in a trusted ecosystem to families around the world is most rewarding because it’s the right thing to do.”

—Brenda Bisner, Chief Content Officer

Magic Light Pictures

ADDRESS: 4/Fl., 41-42 Foley St., London W1W 7TS, U.K. TELEPHONE: (44-20) 7631-1800

WEBSITE: www.magiclightpictures.com

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/children, 3-7; The Gruffalo’s Child : 1x26 min., animation, family/ children, 3-7; Room on the Broom : 1x26 min., animation, family/children, 3-7; Stick Man: 1x27 min., animation, family/ children, 3-7; The Highway Rat : 1x27 min., animation, family/children, 4-10; Zog : 1x27 min., animation, family/children/comedy, 3-7; The Snail and the Whale : 1x27 min., animation, family/children, 3-7; Zog and the Flying Doctors : 1x26 min., animation, family/children/ comedy, 3-7; Pip and Posy: 52x7 min., animation, preschool, 2-5; Superworm: 52x7 min., animation, family/children/comedy, 3-7.

“We want to enrich the imaginations of chil dren and families worldwide by producing content experiences, brand products and activ ities of the highest quality that will be cher ished 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 that 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

Pip and Posy: Pip and Posy are the best of friends. But friend ship 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 preda tors 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 din ner is Witch and Chips?

Superworm : Tells the story of a super-long, super-strong earthworm who always comes to the rescue of bugs and ani mals in distress. He can fish Beetle out of a well and rescue Toad from a busy road. But who will come to Superworm’s rescue when he’s captured by a wicked Wizard Lizard? Luck ily, all of Superworm’s insect friends have a cunning plan.

Mattel Television

ADDRESS: 333 Continental Blvd., El Segundo, CA 90245, U.S.A.

TELEPHONE: (1-310) 252-3384

WEBSITE: www.mattel.com

SENIOR VP & GENERAL MANAGER: Fred Soulie

CONTACT: Casey McDonald, casey.mcdonald@mattel.com

PROGRAMS: Deepa & Anoop : 10x24 min., 3D, feel good/preschool/musical, 2-6; Barbie: It Takes Two: 26x23 min., 3D, musical/tween, 6-11; He-Man and the Masters of the Universe: S1-3 10x25 min. each, 3D, action, 6-11; Polly Pocket: S1 26x22 min./S2 13x22 min./S3P1 13x11 min./S3P2 13x11 min./S4P1 13x11 min./S4P2 13x11 min., 2D, feel good, 2-6/6-11; Thomas & Friends: All Engines Go: S26 52x11 min., preschool/feel good, 2-6/6-11.

“During this exciting period of growth for Mattel, we are well-positioned to continue growing our IP-driven toy business and expand our entertainment offering. By the end of 2022, Mattel Television will have launched 12 series and specials with many other animation, liveaction, short-form, scripted and unscripted projects in production or development.

Thomas & Friends is currently in its 26th season, and in August, we debuted Deepa & Anoop, our first series based on original IP. Strong consumer engagement with Mattel’s dolls portfolio has translated to successful television content for Barbie and Polly Pocket as well as Monster High, which will release both a live-action movie musical and animated series this fall. He-Man and the Masters of the Universe is in its third season, and we recently announced the upcoming sea son of Masters of the Universe: Revolution . Other Mattel brands with content in production include American Girl, Pictionary, Fireman Sam and more.”

—Fred Soulie, Senior VP & General Manager

Mediatoon Distribution

ADDRESS: 57 Rue Gaston Tessier, 75019 Paris, France

TELEPHONE: (33-9) 6517-4835

WEBSITE: www.mediatoon-distribution.com

MANAGING DIRECTOR: Jérôme Alby CONTACT: jerome.alby@mediatoon.com

PROGRAMS: Living with Dad: 52x12 min. (delivery Q3 2023), 2D, comedy/sitcom, kids; The Fox Badger Family: 104x12 min. (S2 delivery Q2 2023), 2D, comedy, preschool; Nicholas’ Fantastic Summer: 52x12 min., 2D, comedy, young kids; Kid Lucky: 52x12 min., 2D, comedy/adventure, young kids; Little Furry: 117x7 min., 2D, adventure/edutainment/nondialogue, preschool; Akissi: 1x26 min., 2D, comedy, young kids; The Marsupilamis: 52x12 min. (delivery Q4 2024), 3D, adventure/comedy, kids; SamSam new series: 52x12 min. (delivery Q4 2023), 3D, comedy/adventure, young kids; Versailles Unleashed—Belfort & Lupin: 26x26 min. (delivery Q4 2024), 2D, adventure/comedy, kids; ZooBox: 1x26 min. (delivery Q4 2023), stop-motion animation, adventure/ comedy, preschool.

“2022 is an exciting year for Mediatoon. We are very happy to be back to normal attending international events such as MIPCOM and extremely proud to present a fantastic lineup.

Firstly, we have the ultimate family sitcom Living with Dad for kids aged 6 to 12, produced by Dupuis and commissioned by M6/Gulli and RTBF. Next, after the remarkable success of season one achieving the Best Export Award, The Fox Badger Family is back for season two, produced by Dargaud Media and commissioned by France Télévisions and WDR. Télé-Québec and RTS are also on board. While our favorite families break through stereotypes, every child will learn to love their own uniqueness. Viewers worldwide will find common ground and relatability with these incredible characters.

We are confident that these upcoming launches will only bring us further success.”

—Jérôme Alby, Managing Director

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 : S1 52x7 min. & S2 52x13 min. & 4x26 min. TV-movie specials, 2D, comedy/adventure/ edutainment; Monster Loving Maniacs (presented by Mondo TV & Toon2Tango): 52x11 min., 2D, comedy/adventure, 6-10; Agent 203 (presented by Mondo TV & Toon2Tango): 26x22 min., 3D/CGI, spy-fi/adventure/comedy, 6-10; The Wee Littles (presented by Mondo TV & Toon2Tango): 46x5 min., simulated stop-motion animation, comedy/adventure, 3-6; Robot Trains: S3-4 26x13 min. each, 3D/CGI, comedy/adventure.

“

It’s another exciting year! MeteoHeroes , now in its second season and inspiring four TV movies, is a hit in over 180 countries and 22 languages, expanding to Asia and, thanks to Kenn Viselman’s Itsy Bitsy Entertainment, the U.S. A Sony PlayStation video game, MeteoHeroes—Saving Planet Earth! , is available internationally in the PlayStation store. We’re working with the family entertainment company Toon2Tango on the co-production and distribution of Monster Loving Maniacs, Agent 203, The Wee Littles and Grisù. Our series Annie & Carola is now in production with Clan and Rai Kids on board. New plans include One Love, a 26x7-minute preschool show based on a popular series of musical shorts made for Rai Kids. It’s a co-production with Mondo TV and T-Rex Digimation. L&M and distribution success continues, and Mondo TV Studios is growing as an international produc tion and animation service hub, including in areas such as video games.”

—Matteo Corradi, President & CEO

MeteoHeroes: Stars six superpowered kids—three girls and three boys—who can control weather phenomena. They come together from six different continents and go wherever they are needed to fulfill their mission: to save the Earth. This is a stylish and beautifully designed cartoon show delivering adventure, comedy and real scientific information in thrilling storylines that discuss contemporary issues like fighting pol lution and climate change in an accessible and appealing way. Each episode is inspired by a real event, ending with fun and interesting facts to round off an exciting and engaging mission.

Monster Loving Maniacs: Join Edith, Ernest and Bo, three siblings who are being trained as monster hunters by their tough old grandfather. These kids are massive horror fans who love dangerous paranormal creatures, which doesn’t quite match their grandfather’s old-school ideas. So, as soon as grandpa takes one of his many naps, they look for a way to save the monsters rather than hunt them.

Agent 203: Meet Zoe Stranek, a girl who discovers that her dad didn’t work at Starbucks but was a secret agent protecting our planet against alien invasions. When General Gore escapes the galactic prison, threatening Earth, her father’s former alien partner Ulav asks for Zoe’s help. Zoe decides to continue her father’s work with Ulav and her best friends Quigley and Rock. And maybe she can also find out what happened to her dad.

The Wee Littles: About a family of four very small creatures—mum, dad, Bitsy and Itsy—living in a great big forest world. Life is very different when you’re small, but the Wee Littles handle their tiny size with their own unique and inventive flair. They work together, figuring out how to overcome life’s little obstacles— like raindrops the size of your head!—with imagination, positive support and humor.

Robot Trains: The adventure continues for Kay, Alf, Victor, Maxie, Gary and Genie in the thrilling third season of Robot Trains , as Train X and his invention, the shadow energy, threaten the future of Railworld. His teammate Duke changes sides and comes to Railwatch’s rescue. Can Railwatch trust him? As Train X weakens Railwatch’s defenses, they may have no choice. Soon genius Genie and Duke develop a coun terforce to the shadow energy. A face-off against Train X (now SHADOW-X) draws closer. Maxie and Kay cannot neutralize the shadow energy alone. With Duke’s help, SHADOW-X can be defeated—but at what cost?

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 : Abominable and the Invisible City: 20x30 min., 3D, adventure/comedy, 6-11; Dragons: The Nine Realms : 52x30 min., 3D, action/adventure, 6-11; The Croods Family Tree : 52x30 min. , 3D, comedy/adventure, 6-11; Kung Fu Panda: The Dragon Knight : 41x30 min. & 1x60 min., 3D, come dy/action/adventure, 6-11; The Boss Baby: Back in the Crib : 28x30 min. & 1x60 min., 3D, comedy, 6-11; Gabby’s Dollhouse : 60x30 min., 3D/live action, 2-6; Jurassic World: Camp Cretaceous : 49x30 min., 3D, action/adventure, 6-11; Dodger: 10x60 min. & 3x60 min., live action, comedy/drama, 7-13; The Makery: 25x15 min., live action, crafting, 3-8; Team Zenko Go: 22x30 min., 3D, action, 3-5.

“NBCUniversal Global Distribution is responsible for the licens ing 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

Serious Kids

ADDRESS: 49 Greek St., London W1D 4EG, U.K.

TELEPHONE: (44-20) 8771-7310

WEBSITE: www.seriouskids.com

FOUNDER & CEO: Genevieve Dexter

SENIOR VP, GLOBAL DISTRIBUTION & COMMERCIAL DEVELOPMENT: Leila Ouledcheikh CONTACT: leila.o@seriouskids.com

PROGRAMS: Flix: 13x11 min./6x26 min., animation, 4-7; The Sound Collector: 60x5 min., stop frame/live action, 4-6; Messy Goes to Okido: 104x11 min., animation, 3-6; Girls of Olympus: 26x24 min., animation, 8-12; Tulipop: 52x5 min., animation, preschool; Welcome to Earth: 26x5 min., anima tion, 6-9; The New Legends of Monkey: 20x26 min., live action, action/adventure, 8-12/family; Tik Tak: 104x5 min., live action/animation, 1-3; Art Ninja: 40x26 min. & 15x20 min., entertainment, 6-9; Operation Ouch!: 146x26 min. & 20x15 min., factual entertainment, 6-11.

“We are excited to launch three new series at MIPCOM. Flix is a brand-new aspirational 13x11-minute animated comedy adventure for kids aged 4 to 7. The series originates from the book by one of the world’s most famous authors, Tomi Ungerer, celebrating friend ship and differences. The 60x5-minute The Sound Collector, commissioned by Rai and ITV, is a very special project about a tiny being who has a passion for sound, despite the fact that he is hard of hearing. We will showcase the first three episodes during the market. [There’s] a new season three for Messy Goes to Okido, com missioned by BBC and HBO Max. Messy is an inquisitive and lovable monster who brings science to life. There are 78 episodes produced so far, and the new 26x11-minute season will be ready by November 2023.”

—Leila Ouledcheikh, Senior VP, Global Distribution & Commercial Development

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 & EXECUTIVE PRODUCER: J.J. Johnson

PARTNER & EXECUTIVE PRODUCER: Blair Powers

PARTNER & EXECUTIVE ANIMATION PRODUCER: Matthew J.R. Bishop

HEAD, SALES & DISTRIBUTION: Kate Sanagan

CONTACT: Giddian Brown, giddian.brown@ledecompany.com

PROGRAMS: The Demon Headmaster: 10x22 min., live action, mystery, 8-12; Alma’s Way: 40x22 min./11 min. eps., animation, family, 4-6; The Fabulous Show with Fay & Fluffy: 26x11 min., live action, family, 2-5; Dino Dana: S1-4 52x22 min./104x11 min., live action/CGI, adventure, 5-9; Endlings: 24x22 min., live action/CGI, sci-fi/adventure, 8-12; Odd Squad: 114x22 min./ 11 min. eps. & 1x66 min. movie, live action, math comedy, 4-8; The Unlisted: 15x24 min., live action, mystery, 8-12; Annedroids: 52x22 min., live action/CGI, adventure, 6-9.

“We’re so excited to be back in person with our buyers, some of whom we haven’t seen for two-plus years. Sinking Ship Entertainment represents a collection of diverse stories, locally based but universal in theme. We’ll have a sneak-peek sizzle at MIPCOM of our new family series Beyond Black Beauty, cur rently in production with a 2023 delivery.

We’ll also have an episode available of the new teen BBC Studios series Phoenix Rise , also currently in production and spot lighted at MIPJunior’s premiere screenings. Finally, we’re bringing the fully animated preschool series Alma’s Way , which does a beautiful job of marrying universal themes with an authentic cultural experience in the Puerto Rican commu nity of New York. We have 20 episodes ready for delivery, with another 20 ready in early 2023.”

—Kate Sanagan, Head, Sales & Distribution

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 dis tributor 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

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: Vegesaurs: 20x5 min., CGI, comedy/adventure, 4-7; FriendZSpace: 52x11 min., CGI, comedy/adventure, 5-9; SeaBelievers: 52x11 min., CGI, eco-tainment, 4-7; 100% Wolf: S1-2 52x22 min., CGI, comedy/adventure, 6-10; Mia and me: S1-4 104x23 min., live action/CGI, fantasy/adventure, girls 6-12; Game Keepers: 10x25 min., live action, action/adventure/game, 9-16; Heidi: S1-2 65x22 min., CGI, adventure, 5-8; Tip the Mouse: S1-3 104x7 min., CGI, comedy/adventure, 3-6; Wissper: S1-2 104x7 min., CGI, adventure/comedy, 4-8; Maya the Bee: S1-2 130x13 min., CGI, adventure, 4-7.

“Great kids’ entertainment leaves room to change the point of view, to create, dream, imagine and grow. This is exactly what we pursue at Studio 100 with our programs and brands, on top of entertaining kids and fami lies. With all our business activities—from content production to licensing programs as well as the attractions in our theme parks— we want to create emotional experiences for audiences around the globe. This is also reflected in our lineup for MIPCOM with programs that inspire [kids] to dream big and grow (100% Wolf season two, SeaBelievers) or that provide a new point of view (Vegesaurs, FriendZSpace).”

—Martin Krieger, CEO

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 plat form 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 stu dios in China and have recently expanded our global pres ence by signing a number of high-profile co-production deals with prominent European animation studios to create stand out shows with universal appeal, including The Coop Troop, Supertato and Shasha & Milo

Our latest programming slate features a vibrant mix of shows for all ages—from the comedy of Pet Hotel to the adorable antics in The Adventures of Little Penguin, the aquatic adventures in animated comedy Deep in the Bowl and the colorful mermaid merriment of Rainbow Bubblegem.” —Corporate Communications

Thunderbird Distribution

ADDRESS: 2233 N. Ontario St., Suite 100, Burbank, CA 91504, U.S.A.

TELEPHONE: (1-310) 882-6 265

WEBSITES: www.thunderbird.tv; www.atomiccartoons.com

PRESIDENT, GLOBAL DISTRIBUTION & CONSUMER PRODUCTS: Richard Goldsmith

CONTACT: sales@thunderbird.tv

PROGRAMS: Mittens & Pants: 39x7 min., live action, comedy/preschool, 2-5; Mermicorno: 26x22 min., 2D, adventure/ comedy, 6-9; Hall Monitors: 52x11 min., 2D, comedy, 6-12.

“Our new distribution team has been focused on financing and distributing productions cre ated by animation studio Atomic Cartoons and Thunderbird’s scripted TV company. We are now looking to invest in and distribute excep tional commercial properties created by other extraordinary producers. We’ve just acquired media-distribution and consumer-products rights to the incredibly charming preschool series Mittens & Pants. Set to debut on CBC Kids and Sky Kids this fall, it’s unlike any series for young kids. It is an ultra-cute live-action series starring kitten Mittens and puppy Pants, who live in the allanimal town of Kibble Corners. Mittens & Pants celebrates the joys of having friends who are different than you.

We’ll also be looking for presales on a number of original series created by Thunderbird’s Atomic Cartoons, including Mermicorno, an epic 26x22-minute animated action-comedy inspired by tokidoki’s hit collectibles of the same name, and Hall Monitors, a very funny 52x11-minute comedy about two unlikely friends that inspire fun mayhem in their school.”

—Richard Goldsmith, President, Global Distribution & Consumer Products

Toonz Media Group

ADDRESS: 731-735 Nila Building, Technopark Campus Thiruvananthapuram, Kerala 695581, India

TELEPHONE: (91-471) 434-2500

WEBSITE: toonz.co

CEO: P. Jayakumar

PRESIDENT, DISTRIBUTION & FEATURE FILMS DIVISION: Bruno Zarka

CONTACTS: jaya@toonzmediagroup.com; bruno@toonzmediagroup.com

PROGRAMS: Briko : 52x10 min., CGI/live action, DIY, 4-7; Zoonicorn: 52x7 min., CGI, adventure, preschool; Bubble Bath Bay: 52x11 min., CGI, adventure, preschool; The Black Diamond Race: 9x60 min., CGI/2D look, period adventure, 9-12; Daisy Dew Drop: 52x11 min., CGI/live action, magical adventure, bridge; Swat Kats Revolution: 26x22 min., CGI/2D effects, reboot of original Swat Kats, 8+; Harold and the Bearsy Bears: 52x11 min., CGI, daily lifestyle, bridge; Sunnyside Billy: 52x11 min., characterdriven/zany comedy, 7+; Paddypaws: 52x11 min., adventure, preschool; Goldie & Friends: 52x11 min., STEM, 7+.

Toonz Media Group is committed to providing wholesome entertainment content to kids, and we have a long-term focus to become a pioneer and thought leader in this segment. I am confi dent that our creator-driven shows done with our partners such as Paddypaws, Swat Kats Revolution , Daisy Dew Drop , Issa’s Edible Adventure and Harold and the Bearsy Bears will fast-track our journey to becoming a forerunner in the kids’ content market.

We are proud to announce our latest co-productions Sunnyside Billy , Pinocchio and Friends , Zoonicorn , Briko , Pajama , Cat & Keet and Darwin & Newts in the run-up to MIPCOM. We are also launching our new distribution shows, such as Bubble Bath Bay , produced by Pop Family Entertainment and Telegael.

While we have clearly established ourselves in animation, our next big step will be to kickstart live-action in a significant way. I am sure Toonz Media Group will provide high-quality content to both kids and teens through the live-action medium as well.”

—P. Jayakumar, CEO

WildBrain

ADDRESS: 25 York St., Suite 1201, Toronto, ON M5J 2V5, Canada TELEPHONE: (1-416) 363-8034

WEBSITE: wildbrain.com

CEO & VICE CHAIR: Eric Ellenbogen

VP, GLOBAL SALES & RIGHTS STRATEGY: Caroline Tyre

CONTACT: Kelsey MacLeod, kelsey.macleod@wildbrain.com

PROGRAMS: Carmen Sandiego: S1-4 33x30 min., 2D, action, 6-12; Summer Memories : 25x30 min., 2D, comedy, 6-12; Jungle Beat: S1-3 13x5 min. each & S4-8 13x7 min. each & The Explorers shorts S1-2 13x1 min. each & Jungle Beat: The Movie 1x90 min. & Jungle Beat 2: The Past 1x90 min., CGI, comedy, kids; Life with Luca: 1x90 min., live action, comedy, family; Caillou CG specials: 5x44 min., CGI, family, preschool; Strawberry Shortcake: Berry in the Big City: S1-3 40x4 min. each, 2D, family, preschool; Slugterra: Ascension: 20x4 min., CGI, action, kids; Ruby & the Well: S1-2 10x45 min. each, live action, drama, family; Teletubbies Let’s Go: 52x5 min., CGI, family, preschool; Malory Towers : S1-4 13x30 min. each & 1x50 min. Christmas special, live action, drama, tween.

“We’re delighted to be back at MIPCOM and MIPJunior with all our friends, colleagues and partners. We’ve spent the last two years growing our very strong, diverse slate of properties. Our robust kids’ animation lineup includes new content from everyone’s favorite do-gooder thief, Carmen Sandiego, as well as Summer Memories and Slugterra: Ascension. The Jungle Beat series and movies, new CG ani mated episodes and specials from the beloved Caillou and a newly greenlit season of Strawberry Shortcake: Berry in the Big City are just a few highlights from our preschool program ming. Our digital studio, WildBrain Spark, will also be debut ing our new animated Teletubbies Let’s Go series. In live action, we’re excited to welcome new seasons of our co-view series Malory Towers , Ruby & the Well and the brand-new Life with Derek spin-off movie Life with Luca. Our acquisi tion team is eager to discover new content for distribution in 2024 and beyond.”

—Caroline Tyre, VP, Global Sales & Rights Strategy