TV Kids MIFA & ANNECY - June 2024 Edition

European Animation / Warner Bros. Discovery’s Adina Pitt Rainbow’s Iginio Straf f i

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Tried and True

What’s ruling the roost for the elusive 6-to-9 set in 2024? Apparently, the same show that was dominating kids’ attention in 1999.

EUROPE TOONS IN

Mansha Daswani checks in with some of Europe’s leading IP owners about the health of the animation sector.

Ricardo Seguin Guise Publisher

Mansha Daswani

Editor-in-Chief

Anna Carugati

Editor-at-Large

Kristin Brzoznowski

Executive Editor

Jamie Stalcup

Senior Associate Editor

Alexa Alfano

Associate Editor

David Diehl

Production & Design Director

Simon Weaver

Online Director

Dana Mattison

Sales & Marketing Director

Genovick Acevedo

Sales & Marketing Manager

Ute Schwemmer Bookkeeper

According to the trend trackers at Dubit, the antics of an enthusiastic sea sponge and his coterie of ocean besties continue to charm audiences, 25 years since SpongeBob SquarePants arrived on Nickelodeon and became a co-viewing hit. Alongside SpongeBob in the ranking— which you can learn more about by tuning into a session with Dubit’s David W. Kleeman and media consultant Emily Horgan at the TV Kids Summer Festival— is Bluey, which has set the standard for the perfect family sitcom that appeals to children and parents alike. PAW Patrol, on the air since 2013, is still striking a chord, as is Pokémon, so it’s no wonder that in a time of audience erosion and budget cuts, known IP is in demand.

TV KIDS PIONEER AWARD: ADINA PITT

Ricardo Seguin Guise

President

Anna Carugati

Executive VP

Mansha Daswani

Associate Publisher & VP of

Strategic Development

TV Kids

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Co-viewing and the difficulties of launching new IP are key themes of this year’s TV Kids Summer Festival, with almost 30 speakers weighing in on surviving and thriving in a market in the midst of transition. While concerns remain, kids’ media executives are relying on ingenuity, creativity and some tried-and-true models to navigate this great reset, as you’ll read in my special report on European animation. This edition also sees Warner Bros. Discovery’s Adina Pitt being honored with the TV Kids Pioneer Award. Mansha Daswani

Adina Pitt, VP for kids’ and family content acquisitions, partnerships and coproductions in the U.S. at Warner Bros. Discovery, is being honored with a TV Kids Pioneer Award.

RAINBOW’S IGINIO STRAFFI

Iginio Straffi, founder and CEO of Rainbow Group, reflects on Winx Club ’s 20 years of success.

9 Story Distribution International

Let’s Go, Bananas! / Dylan’s Playtime Adventures / Open Season: Call of Nature

9 Story Distribution International’s slate features the new 2D animated comedy Let’s Go, Bananas! “The series does a great job of highlighting relatable family moments through the unique and diverse perspectives of children that will appeal to kids and families around the world,” says Alix Wiseman, senior VP of distribution and acquisitions. The preschool show Dylan’s Playtime Adventures, based on the book series by Guy Parker-Rees, follows a striped dog who pretends to take on a new career in each episode by playing with regular household objects. It “models universal play patterns and encourages kids to use their imaginations,” Wiseman says. Open Season: Call of Nature, for children ages 6 to 11, centers on the adventures of characters from Sony Pictures Animation’s Open Season films, including grizzly bear Boog.

Animotion Media Group

Annie & Bennie / Mr. Dogood

Animotion Media Group is a new production, financing and sales company focused on animation. The multiplatform kids’ and family content company engages in licensing, distribution and strategic partnerships. Its slate includes Annie & Bennie, which tells the story of two unlikely best friends, and Mr. Dogood, created with puzzle enthusiasts in mind. Animotion is also developing a number of IPs for older children, teenagers and adults. “We decided to go beyond the bounds of kids’ and preschool content from the very beginning,” says Julia Nikolaeva, VP and chief content officer. Animotion Media Group also holds rights to a library of characters, including from The Fixies and Finnick franchises, Tina and Tony and Beardy Bodo. Animotion Music produces music and teams with artists whose work is targeted to kids, teens and families.

“9 Story’s distribution and development teams are looking forward to attending Annecy/Mifa this year.”

“Mr.

is a charming animated detective story.”

Banijay Kids & Family

Super Happy Magic Forest / Miniheroes of the Forest / Chimera Keepers: Adventures with Incredible Creatures

Leading Banijay Kids & Family’s offering, Super Happy Magic Forest comes from the producers of Mr Bean: The Animated Series and “is a great concept, filled with humor, adventure, picnics and frolicking,” says Delphine Dumont, chief commercial officer. Miniheroes of the Forest focuses on the playtime of four woodland creatures. “A proven IP with strong book sales, the transformation into a series, with its amazing design and playful storylines, makes it the perfect fit for a younger preschool market,” Dumont notes. The brand-new original series Chimera Keepers: Adventures with Incredible Creatures follows the adventures of two sisters after they discover that their grandfather’s garden is full of astounding creatures.

Miniheroes of the Forest

“Our

recent successes and upcoming titles are a testament to our producers’ ability to deliver long-running franchises and new shows.”

—Delphine Dumont

Dogood

—Julia Nikolaeva

—Alix Wiseman

Dylan’s Playtime Adventures

Mr. Dogood

Boat Rocker

Dino Ranch / The Next Step / Olga Da Polga

Boat Rocker’s kids’ and family highlights include Dino Ranch, a preschool series that combines young children’s love for dinosaurs and cowboys. The show “weaves themes of teamwork, friendship and the great outdoors into its exciting, action-packed stories of ranch life with a difference,” says Gia DeLaney, senior VP of global sales for kids and family. The tween drama The Next Step follows a group of dancers at The Next Step dance studio as they attempt to win regional, national and international championships. In Olga Da Polga, based on the best-selling books from Paddington Bear creator Michael Bond, the “irrepressible, vividly imaginative heroine is always ready to spin an outlandish yarn, making for an irresistibly fun combination of cute animals, mischievous escapades and laugh-out-loud humor,” DeLaney says.

Brands & Rights 360

Elinor Wonders Why / Captain Tsubasa/Campeones / Gina Yei

Brands & Rights 360 is showcasing Elinor Wonders Why. The show “stands out globally by encouraging preschoolers to follow their curiosity, ask questions when they don’t understand and find answers using science inquiry skills,” says Ignacio (Iñaki) Orive, president. Orive adds that the show “involves parents and caregivers in the learning process, encouraging a collaborative exploration of nature and science.” Season two is set to air in June on PBS KIDS. Captain Tsubasa/Campeones, meanwhile, is a long-running, footballdriven animation. “We periodically relaunch the series to coincide with the EUROs and World Cup,” notes Orive. The live-action production Gina Yei is upcoming. Season two of Studio Campedelli, Cartobaleno and Digitoonz’s upperpreschool comedy Atchoo! rounds out the company’s slate.

Branscome International

ROBOTIK

From Cheshire Smile Animation, the series ROBOTIK is a top highlight from Branscome International. “We are delighted by the joy and impact of the series as it connects to children through more and more platforms and regions,” says Tim Tyler, executive producer and CEO at Cheshire Smile. “ROBOTIK season one ran successfully on CBC Kids, SRC and TFO in Canada. In the past year, its global footprint has expanded greatly thanks to media license partnerships that have resulted in multiple new language versions (Spanish, Portuguese, French, Arabic and Mandarin).” Catherine Branscome, executive producer and president of Branscome International, adds, “We look forward to the views and feedback from our current brand partners and to expanding the ROBOTIK family of talent and resources.”

“We’re working hard on creating even more fantastic content from our robust kids’ development pipeline to provide the next big global hits.”

—Gia DeLaney

“We have added new and exciting content to our portfolio that we are looking forward to sharing.”

—Ignacio (Iñaki) Orive

“An appealing and unique original IP, ROBOTIK has a distinctive, eye-pleasing color palette, warm-looking character designs and backgrounds that make you smile just looking at them.”

—Catherine Branscome

ROBOTIK

Gina Yei

Olga Da Polga

CAKE

Total Drama Island / Cracké Family Scramble / Mush-Mush & the Mushables

Total Drama Island, which counts among CAKE’s highlights, introduces a new cast of teen contestants to the Total Drama tween franchise with a new rebooted season, produced by Fresh TV. Cracké Family Scramble, a family-skewed nondialogue slapstick comedy, sees a first-time daddy ostrich try to control his eight kids while dealing with mischievous crow neighbors. A second season of Mush-Mush & the Mushables features “charming characters and warmhearted, joyful stories,” says Ed Galton, CEO of CAKE. It continues to follow the outdoor self-discovery adventures of the Mushable community. CAKE also has on offer the preschool series Wow Lisa!, the bridge comedy Stinkbomb & KetchupFace and the preschool show Bock-Bock Chicken, as well as Kiwi Island

Cyber Group Studios

Press Start! / Alex Player / Droners

The CGI comedy-adventure Press Start!, part of the Cyber Group Studios slate, is based on a best-selling book series written and illustrated by Thomas Flintham that has sold more than 4 million copies worldwide. The show captures the wish-fulfillment of kids being able to have epic adventures inside a video game world alongside their best friend, who happens to be an iconic video game hero. Also video game related, Alex Player centers on an esports team that replaces its captain with a charismatic football player who emphasizes qualities of courage, perseverance and team spirit. The show is done in 2D and CGI and targets 6- to 10-year-olds. Cyber Group Studios also has a second season of Droners, featuring a high-tech adventure set in an eco-friendly world.

Dandelooo

Pong Pong Dino / Birds & Bees / The Upside Down River

Pong Pong Dino, on offer from Dandelooo, takes place in a world where food comes to life. “It encourages children to develop an interest in a wide variety of foods and aims to dispel preconceptions that they may have about nourishment, helping to create a more open-minded approach to eating,” says Emmanuèle Pétry, producer and head of distribution. Birds & Bees, a stop-motion series for 8- to 11-year-olds, teaches lessons about sexuality, emotions and body development. The Upside Down River tells the story of Hannah and Tomek, whose quests overlap on their way to the Qjar River. “Our shows try to make outstanding design meet a strong message, and we believe subtle humor is key to catching kids’ attention and imagination and conveying meanings and emotions,” Pétry notes.

“We are very excited to showcase our vibrant slate of new shows at Annecy.”

—Ed Galton

“All three shows are deeply meaningful, with the objective to help children understand their world.”

—Emmanuèle Pétry

Birds & Bees

Mush-Mush & the Mushables

Press Start!

Ellipse Animation/Mediatoon Distribution

Komodo No Chill / The Marsupilamis / Belfort & Lupin

Ellipse Animation will be at Annecy pitching Komodo No Chill, a brand-new project and its first slapstick. The 2D original creation follows the misadventures of a Komodo dragon shipwrecked on an island guarded by a herd of overenthusiastic miniature sheep. The Marsupilamis marks the reboot of a classic IP through a comedy show with 3D animation, refreshing the brand. “We are super excited to welcome partners to our stand and immerse them in the universe of these adorable creatures that have been captivating generations of children for decades,” says Morgann Favennec, deputy managing director of Mediatoon Distribution and VP of international financing at Ellipse Animation. Belfort & Lupin, meanwhile, is entering its final phase of production and should be ready next year.

HARI

The Weasy Family / Mystery Lane / Grizzy & the Lemmings World Tour

HARI’s non-dialogue slapstick comedy The Weasy Family is currently in production. The show’s narrative, which has emotional stakes at its core, “resonates with a wide audience, including parents,” says Sophie “Kido” Prigent, head of distribution. Also a highlight in HARI’s slate, Mystery Lane is an animated comedy adventure series that takes inspiration from Scooby-Doo and Sherlock Holmes, while Grizzy & the Lemmings World Tour sees its wacky characters land in unexpected places, as Grizzy the bear believes he is above the animal kingdom, unlike the Lemmings. “ Grizzy & the Lemmings is driving the growth of our global digital strategy and licensing and merchandising program, thanks to its huge popularity worldwide,” adds Prigent.

“Every part of HARI is currently expanding.”

—Sophie “Kido”

Prigent

Konami Cross Media NY

Yu-Gi-Oh! Duel Monsters / Yu-Gi-Oh! SEVENS / Yu-Gi-Oh! GO RUSH!!

The Konami Cross Media NY offering features an array of series from the Yu-Gi-Oh! franchise. The storyline of Yu-Gi-Oh! Duel Monsters focuses on games pitting mystical creatures against each other. Yu-Gi-Oh! GO RUSH!! sees an extraterrestrial arrive on Earth after learning that the only way to stop the battle on his homeworld is through rush duels. Yu-Gi-Oh! SEVENS centers on the fifth grader who invents rush duels, a faster and simpler way to battle. “Fans are captivated by [Yu-Gi-Oh!’s] themes of friendship, inclusivity, self-power and self-expression,” says Mark Kirk, senior VP of distribution. The popularity of the brand is demonstrated by the Yu-Gi-Oh! trading card championship setting the Guinness World Records title for the most entrants in a trading card game tournament in April 2024.

“Annecy will be as busy as ever, with a powerful lineup of new productions, combining original creations and wellestablished IPs.”

“With its legendary characters, Yu-Gi-Oh! has become a multigenerational brand.”

—Mark Kirk

Yu-Gi-Oh! GO RUSH!!

—Morgann Favennec

Komodo No Chill

Grizzy & the Lemmings World Tour

LooLoo Kids

LooLoo Kids Musical Adventures

LooLoo Kids, which has 100 billion-plus views and over 120 million subscribers on YouTube, is showcasing LooLoo Kids Musical Adventures. The series is “perfect for strengthening the preschool audience on any platform,” says Valentin Pintilescu, development manager at LooLoo Kids. The 3D/CGI musical show follows the adventures of Johny and his friends in a diverse and enriching universe of educational topics that have become LooLoo Kids’ hallmark. “This 52x11-minute format is designed to integrate seamlessly into various distribution channels, offering flexible programming options while emphasizing the enchanting and educational essence that defines LooLoo Kids,” adds Pintilescu. There’s a nuanced approach for each language and culture with LooLoo Kids Musical Adventures

“We meticulously adapt our shows to reflect the cultural variations of each language and region, creating a connection that feels authentic and meaningful.”

—Valentin Pintilescu

Mattel Television Studios

Hot Wheels Let’s Race / Barbie: A Touch of Magic / Barney’s World

Leading Mattel Television Studios’ highlights, Hot Wheels Let’s Race brings the hit toy brand to the screen, providing viewers with engaging stories, characters and fast cars. Barbie: A Touch of Magic, now with a second season, continues to empower kids “with Barbie brand messaging that anyone can be anything,” says Michelle Mendelovitz, head of Mattel Television Studios. The upcoming series Barney’s World will introduce the iconic dinosaur to a new generation. “The series will reflect the world that kids are living in today and deliver meaningful lessons about navigating it while remaining true to the original theme of the brand,” Mendelovitz says. She adds, “With both the nostalgia and timelessness associated with our brands, our content strives to resonate across generations and is relatable to audiences all over the world.”

NJ World

Nelly Jelly

NJ World has teamed up with the British creative studio 3Megos for a new preschool comedy series based on the Nelly Jelly IP. The brand, building on the hit children’s book series from Lithuania, already has a successful licensing business, including 30 partners. A hit in Lithuania across publishing, live experiences and more, Nelly Jelly is now going global with a new preschool comedy series. The companies will be at Annecy sharing the trailer and script for the animated series, which centers on a strong-willed girl with a big imagination who sometimes simply needs a little help from her monster friends. “The new animation will work across different languages and cultures and extend engagement beyond the original Nelly Jelly books,” says Simona Krasauskienė, CEO of NJ World.

“Each

of these shows builds off one of our beloved global franchises, expanding upon fans’ favorite characters, toys and brands.”

—Michelle

“Nelly Jelly offers a heartwarming, relatable story with elements of music, fun, surprises and comedy, making it great for family co-viewing.”

—Simona Krasauskienė

Nelly Jelly

Hot Wheels Let’s Race

LooLoo Kids

Mendelovitz

pocket.watch

Ryan’s World The Movie: Titan Universe Adventure / Love, Diana / Toys and Colors Kaleidoscope City

Ryan’s World The Movie: Titan Universe Adventure leads the pocket.watch slate. The film sees popular kids’ content creator Ryan Kaji’s twin sisters, Emma and Kate, become trapped in a comic book world. Ryan makes it his mission to rescue them and embarks on an epic adventure. Love, Diana takes its star into the Land of Play, where she is transformed into the animated Princess of Play. Episodes showcase themes of friendship, family, imagination and the power of play. “It’s been exciting to watch our existing programming from Ryan and Diana consistently trending on Disney+ and Hulu since the integration,” says Jeff Siegel, head of global content distribution. The series Toys and Colors Kaleidoscope City enters a magical world where kids learn to see through new perspectives.

Rainbow Group

Mermaid Magic / Gormiti—The New Era

Mermaid Magic is a high-budget CGI fantasy adventure show from Rainbow Group that will be released on Netflix worldwide in Q3 this year. It follows the adventures of mermaid princess Merlinda and her friends Sasha and Nerissa as they discover the surface world on an adventurefilled journey to save their magical underwater realm called Mertropia from the fearsome pirate Barbarossa and his sea monsters. Iginio Straffi, Rainbow’s founder and CEO, calls it a “series full of magic, colors, action, humor, strong emotions and great values such as environmental protection.” Gormiti—The New Era is Rainbow’s new live-action series based on the Giochi Preziosi brand launched in 2005. The show follows four boys from Earth chosen to become the new generation of Scions, heroes called to save Gorm.

“Our portfolio is helping streamers and networks attract and retain the kids audience that flocked to YouTube.”

—Jeff Siegel

“We are working to develop long-lasting stories that we hope will continue to entertain audiences for a long time.”

—Iginio Straffi

Thunderbird Distribution

Mermicorno: Starfall / BooSnoo! / Mittens & Pants

Thunderbird Distribution is highlighting Mermicorno: Starfall Richard Goldsmith, president, describes the series as “an epic adventure-comedy for kids 5 to 9 that will captivate audiences internationally with its incredible storytelling, setting, cool heroes and beautiful animation.” It is set to debut on Max in the U.S. in 2025. BooSnoo!, meanwhile, is a calming, dialogue-free program commissioned by Sky Kids that follows a little red ball on an exploration of different landscapes, machines and rooms. “It has the ability to appeal to kids and viewers of all ages and cultures,” notes Goldsmith. The live-action CBC Kids commission Mittens & Pants sees a kitten and puppy go about their lives in the all-animal town of Kibble Corners. Despite being a dog and a cat, they are the best of friends.

“We

are continuing to focus on expanding the distribution footprint for our series.”

—Richard Goldsmith

Mittens & Pants

Ryan’s World The Movie: Titan Universe Adventure

Mermaid Magic

VISMANIMATION

A Name That Is Not Mine / On Your Tail / mindTOONness

VISMANIMATION launched “with the mission of fostering production and distribution of high-quality animation and social impact-driven content,” says Lucia Vismara, founder. Among its slate, BRAND-CROSS’s A Name That Is Not Mine explains the Holocaust to a new audience of young ones through modern-day scenes and flashbacks. MAGA ANIMATION’s On Your Tail, an adaptation of the Nintendo Switch game, follows an aspiring goat detective who solves mysteries in a fantasy version of coastal Italy. MindTOONness , from VISMANIMATION and based on the children’s book series by psychologist and digital entrepreneur Luca Mazzucchelli, promotes mental health and wellness through the adventures of anthropomorphic animal characters.

Wind Sun Sky Entertainment

Creatures of Sonaria / Roblox Experiences / Future Chicken

Wind Sun Sky Entertainment is developing the IP for the Roblox game Creatures of Sonaria. The game sees players embark on epic adventures as fantastical creatures in a lush world full of engaging characters, comedy and combat, collecting artifacts along the way. Wind Sun Sky is also highlighting Future Chicken, a branded universe created to promote ecological positivity featuring a time-traveling chicken named Potato. The company has produced a host of Future Chicken content, including short form, a digital series, a Roblox experience, learning resources, a podcast and more. “Wind Sun Sky is expanding its existing expertise to work with IP owners to create holistic and immersive experiences that leverage the power of multiple platforms,” says Catherine Winder, founder, CEO and executive producer.

ZDF Studios

Sam and Julia / Tobie Lolness / Klincus

ZDF Studios is showcasing a mix of established and brand-new properties. “TV channels and streaming providers are relying on proven hits, franchises, longstanding brands and reboots,” says Oliver Grundel, Director Junior. “This trend benefits established IPs like Grisù.” The company is also highlighting the 3D-animated Sam and Julia , which is produced in a stop-motion style to match the real-doll atmosphere of Karina Schaapman’s best-selling book series, off which the program is based. In Tobie Lolness , the very tiny Tobie’s father makes a discovery that has the potential to permanently damage their entire world, leading to exile. The ZDF Studios Jun ior slate also features the 26x22-minute animated series Klincus .

“VISMANIMATION’s goal is to help valuable content travel worldwide, positively impacting global audiences through quality storytelling.”

—Lucia Vismara

“We have a strategic in-house team and network of game developers to ensure that experiences deliver brands’ objectives.”

—Catherine Winder

“European animation is gaining recognition for its unique storytelling and artistic quality, resonating with children and family audiences worldwide.”

—Oliver Grundel

Sam and Julia

mindTOONness

Future Chicken

The only video portal for the kids’ media industry.

EUROPE TOONS IN TOONS IN EUROPE

As producers and distributors descend upon Annecy to tout their new projects, Mansha Daswani checks in with some of the region’s leading IP owners about the health of the animation sector.

HARI’s Grizzy & the Lemmings

Europe’s animation business is certainly not immune to the seismic shifts reshaping the global kids’ sector, from a change in priorities at the streamers to macroeconomic headwinds to children just not consuming content as they used to. However, the executives I surveyed for this piece indicate that the region has a fair bit going in its favor, including a robust pubcasting ecosystem that continues to commission high-quality fare for kids and a reliable government funding infrastructure.

“I think there’s a growing confidence in the European animation industry and a wish to foster and encourage more great, ambitious content and local talent,” observes Emmanuèle Pétry, producer and head of distribution at Dandelooo.

“Overall, European animation is gaining recognition for its unique storytelling and artistic quality, resonating with children and family audiences worldwide,” agrees Oliver Grundel, Director Junior at ZDF Studios. “There’s a noticeable trend toward more inclusive and culturally rich content, along with a growing interest in educational and environmentally themed animation.”

Sophie “Kido” Prigent, head of distribution at HARI, notes that European producers continue to succeed globally with animated projects, especially known IP like the com pany’s own Grizzy & the Lemmings . However, content creators are still feeling the pinch from the global slowdown in the industry.

“Service work flourished in Europe during and postCovid,” Prigent continues. “Some studios increased their capacity to respond to the initial orders and general market trends, but they are now impacted by the budget cuts and fewer commissions from the U.S. players such as Dis ney, Netflix and Warner Bros. Discovery.”

BETTER TOGETHER

Given a commissioning cutback driven by the global streamers, “many producers have turned back to public and private broadcasters and co-producers to finance their shows the traditional way,” explains Morgann Favennec, deputy managing director at Mediatoon Distribution, the distribution arm of Média-Participations. “Co-productions have always been the DNA of the group between Frenchbased Ellipse Animation and Belgian Belvision. Adding a new member to the family, Studio Campedelli in Italy, reinforces this strategy even more.”

European pubcasters are increasingly pooling their limited resources to get shows off the ground. “For many, European PSBs have been the steadiest partners lately,” says Prigent. “They are still considering fresh original content and innovative storytelling. They are also on the lookout for hits and are strong partners for consecutive seasons if the show delivers good ratings, as competition is fierce and linear viewing figures are in decline.”

Grundel expresses a similar opinion: “To manage the costs of premium content production, there’s a noticeable trend toward increased collaborations and co-productions. Co-productions will remain key to our business, allowing

us to combine resources, expertise and creative talent for more ambitious projects.”

Pétry adds that Europe’s public broadcasters are “fully aware of the financing challenges producers face and are now savvy on developing and producing series that work along their mandates. We have reached a kind of ‘golden age’ on the editorial side that nicely balances PC requirements, S&P rules and humor.”

FUNDING FORMULAS

Unlike North America, the region also boasts a welldeveloped system of tax breaks and funding programs such as Creative Europe MEDIA.

“The government funding ecosystem has been crucial in helping European animation companies navigate the current market challenges,” Grundel says. “Various funds and grants from national and regional governments and initiatives like Creative Europe provide essential financial support that helps studios mitigate risks and maintain production levels. This funding is particularly important in the face of economic uncertainties and the increasing costs of high-quality animation production. Government support has allowed our partners and us on several projects to continue innovating and producing content that might otherwise be unfeasible due to financial con straints.”

“Producing new shows would be possible without their support, but the level of quality would be very different, and thus the exportation potential much lower,” says Favennec.

“The Upside Down River would not have been financed if MEDIA did not exist,” Pétry says. “We are very thankful and proud to be European. It’s the same for our French

Dandelooo is home to several pubcaster commissions, including Stinky Dog on France Télévisions.

CNC, which many countries envy; our audiovisual and cinema industry would not be the same without this virtuous system.”

ZDF Studios’ Grundel adds: “More countries are deploying animation tax incentives to attract co-production opportunities. These incentives make producing animation in certain regions more financially viable by reducing the overall production costs. Countries like France, Ireland and Spain have been particularly proactive in offering attractive tax credits and rebates. These incentives attract foreign investment and encourage local talent development and employment. As a result, we are more inclined to consider these locations for our projects, benefiting from both the financial incentives and the burgeoning local animation ecosystems.”

But the region’s producers need more support, HARI’s Prigent says, “given the difficulties of the international market now. Subsidies for versioning in different languages, for example. Or for greater access to ratings that aren’t shared and are costly to access via organizations such as Nielsen and Médiamétrie.”

BACK TO BASICS

The market is tough right now, especially when it comes to getting new ideas off the ground.

“The streamers have strongly decreased original commissions in animation, and there are more and more companies trying to produce animation,” Dandelooo’s Pétry says. “It obliges the producers to turn back to the ‘old model’ based on the public systems. France Télévisions receives between 800 and 1,000 offers every year, and the BBC tells me 20,000 per year! To stand out, our projects must be exceptional and essentially need to be ‘must-have’ for broadcasters. This emphasizes the importance of quality and originality in producing animated content to secure commissions in this competitive landscape.”

Prigent says the market is “tighter” amid increased competition for limited slots. “It’s easier for IP owners who have established relationships with broadcasters and where there is a history of strong IP performance. That can be tough for newcomers.”

ZDF Studios’ Klincus has a host of co-production partners, including ZDF, Rai Ragazzi, Fabrique d’Images, Showlab and Telegael.

Mediatoon Distribution’s

Living with Dad, made by Dupuis Audiovisuel and Belvision, is adapted from a best-selling comicbook series.

ZDF Studios’ Grundel adds, “Budget constraints have led broadcasters to become more selective in their commissioning choices. Collaborations and co-productions have also become key strategies to secure commissions and share the financial burden. It has been more challenging and has perhaps taken longer than usual. Still, it hasn’t been impossible, so we are happy to say that we were able to maintain our number of project developments in the challenging past years.”

LIBRARY WINS

The other silver lining is a bump in acquisitions as broadcasters and platforms find ways to do more with less. “There has been a noticeable increase in the acquisition of existing animation content,” Grundel notes. “Broadcasters and streaming platforms are looking to fill their programming schedules without bearing the high costs of new productions. If cost-cutting becomes necessary, series reruns

could also be an alternative. This trend has led us to prioritize offering renewals on expiring licenses to our partners and pointing to our robust library of high-quality, marketable, localized content that can be easily acquired and distributed. Acquisitions offer a more immediate and cost-effective solution for content providers, allowing them to quickly meet audience demand while maintaining a diverse and engaging programming slate.”

Indeed, having a diverse catalog of scale is increasingly important in an environment like this one. “Because of mergers and buyouts and cancellations by streamers, demand focuses mainly on IPs and wellestablished (with multiple seasons) brands, making introducing new projects a little more challenging,” Mediatoon’s Favennec says. “We are in a good place as the group counts 85 companies, the majority of which are publishing houses constituting a real IP treasure.”

Channels and platforms “are relying on proven hits, franchises, long-standing brands and reboots,” Grundel says. “This trend benefits established IPs. However, maintaining a balanced portfolio requires nurturing new IPs that have the potential to become future classics.”

And on that front, Annecy/Mifa hopes to deliver this year as it cements its position as a key platform for launching new projects and nurturing the content creators of tomorrow. “We have 4,000 animation students coming to Annecy,” says Mickaël Marin, CEO of the Annecy Festival. “We want to have them in the event because tomorrow they will be in the industry as the next producers, animators and directors.”

TV KIDS PIONEER AWARD

Adina Pitt

By Anna Carugati

Adina Pitt has worked in the children’s content business her entire career, currently as VP for kids’ and family content acquisitions, partnerships and co-productions in the U.S. at Warner Bros. Discovery. She is widely respected in the industry for her expertise in dealing with creators, evaluating projects, structuring deals and, above all, her respect for young viewers. She is equally beloved for her dedication to the kids’ community and organizing events that foster shared knowledge and a feeling of belonging. Pitt is being honored with a TV Kids Pionee r Award for her many accomplishments.

TV KIDS: What have children, their entertainment and well-being meant to you in all your years in the business?

PITT: Well, is there a better audience? For those who have dedicated our careers to the kids’ industry, it’s a calling. We are part of a community that stays through the good, the bad and the ugly, in service of the greatest audience: kids. I remember the early days of Sesame Street , all those wonderful PBS shows and all the cartoons we watched. I also have a background in early childhood education. I wanted to parlay that classroom experience in a broader way to serve kids. They always say what they think and mean what they say. It’s a tough audience because they will let you know in real-time how they feel and what they like and don’t like. There’s something refreshing about that honesty. And it keeps us all innovating because they expect us to up our ante with everything we do. As the world becomes even more complicated, I think there is no greater time to serve this audience with safe, entertaining, memory-making content, games, books—whatever your role is within this ecosystem. We are needed now more than ever.

TV KIDS: What are some effective strategies for connecting with kids in today’s crowded market?

PITT: It all starts with your intellectual property. What do you want to achieve with this IP? Are you hoping to build it into a series, shorts or games? How are you mapping out your idea? That’s an important conversation for creators to have with themselves because that will inform where to start deploying the content. So, if it’s a book, start with a book. If it’s shorts, maybe a big platform is not the place to start. Maybe you create your own channel. There are so many avenues that people can take, and the best path forward is to identify how you want to start. Where do I want to go? Work backward from there and be nimble. We have to be everywhere kids are. As big companies, we’ve been trying to diversify how we create content, where it starts, where it finishes. And we’re always troubleshooting. Kids are everywhere, so the chances of you grabbing them somewhere are good. The question is, are they going to stay?

I’ve always encouraged people not to be afraid to ask for help and partner with other creators or production and distribution companies. The business is so fragmented right now and so much content is available. You need to rely on people with expertise in the global marketplace and try not to be a hero. You do yourself a much better service if you ask for help and strategize with people who have been doing it for a while.

TV KIDS: When you evaluate projects and shows, what elements do you look for?

PITT: This answer changes all the time. Programming needs ebb and flow. Sometimes, we need a little more in the younger space, sometimes in the 6-to-11 [demographic]. Across the board, we want to ensure an authentic, diverse way of telling the story. If you’re going to feature characters that are either visibly or invisibly diverse, then that should be represented on and off the screen and be part of the development and production process. We always talk about wish fulfillment in the characters that we’ve created. That’s what keeps, as we used to say, “bums on seats,” everybody together and enjoying. It’s harder and harder to do that. It’s harder to innovate. We tend to lean in favor of legacy IP and the rebooting of those [brands]. And where you make room to onboard new IPs. We always have to keep some cadence allowing the new to come in as we celebrate the classics.

Without getting into specifics, we’re looking for authentic voices and creator-driven [projects]. We’re always excited to see ideas from creators that take into account the kids of today.

TV KIDS: Are you seeing less insistence on exclusivity? Are broadcasters and platforms more accepting of sharing rights or agreeing to shorter deals?

PITT: Yes, and this is very reminiscent of the late ’90s when cable was growing and there was a lot of investment. The current climate the kids’ media business is experiencing globally has enabled the conversation about non-exclusivity. It’s exciting because it protects the IP and allows for more discoverability of that IP the more places you deploy it. When you think about some of the biggest shows, you can find them in many places, and it doesn’t hurt the show. I think that’s going to be the new normal for a while. With less money and less need for content in the marketplace, it needs to be done.

TV KIDS: Has the need for co-produced or jointly financed programs increased recently?

PITT: For sure. The need for co-pros has been going on for a while because the U.S. isn’t party to any government funding the way some treaties exist in other countries. And so, if we want to get technical, we’re cofinancing as opposed to co-producing. For Canadian, French and Australian companies, it’s super beneficial to partner with other countries and for partners to get the funding that they need. It activates the government funding they can access if they have a partner like us. It just allows for more content to be produced. And by the way, by more content, I don’t even mean more shows—even more episodes within that one series. We were seeing a decline in the number of episodes being ordered because the costs were going up so astronomically. When I started in the business, it was standard to have 52 half-hours as a one-season pickup. That then became 26, then it became 13. Now, it’s going down to six or eight. The costs were going up so astronomically, something had to give. Now, co-producing is the right way to go. Creatively, it allows other voices in that room. If we’re going to say we want something diverse, then you have to have a variety of voices; it can’t just be your voice in the room, and co-producing allows for that.

TV KIDS: What elements make a co-production successful?

PITT: I say to creators, partner with somebody. You need to ascertain if there’s a place for your IP in the world. Are people going to spend whatever little money they have on it? Before you go out there, do some homework and talk to people—see what the market is looking for. If you’re asking what elements we need to see to make that decision, it’s simple. We’re not particularly precious about having too much. I always tell people not to spend all their

Mattel Television’s CG animated preschool series Barney ’s World is set to air on Cartoonito on Cartoon Network and Max in the U.S. later this year.

Mermicorno: Starfall, produced by Thunderbird Entertainment’s Atomic Cartoons in partnership with tokidoki, is slated to launch on Max in the U.S. in early 2025.

money making everything look beautiful. It’s really what’s on the page—what are we reading? What’s the story of the characters? Some art is always welcome. We love to see some sort of treatment. If you have a bible, great. In some cases, we love boards, but if you don’t have one, we’ll look at a script. In some cases, people need to see the script, and we might ask them to do another pass. It varies from project to project. The more you have to illustrate what you’re trying to achieve, the easier it is for us to decide on your IP

The level of investment for each project also varies [because] every project has a different price. You

might have 60 percent of your funding when you come to the table, but I may not be able to give you the remaining 40. Maybe a few years ago, that was the case. We have to have that honest conversation with the producers and say, what is your budget? Is that your ceiling? And work backward and say, we can only come in for this amount, and the production or distribution company will have to find the remaining money elsewhere. It’s all a series of bite-sized conversations. It all starts with the pitch. It has to be the right show at the right time and price.

TV KIDS: You mentioned diversity. What kind of progress have you seen in the kids’ business in recent years?

PITT: So much, even in companies sprouting up in countries that never pitched to us before. It’s wonderful. Kids exist everywhere; their voices need to be heard, and their faces need to be seen. They’re all beautiful, and not everybody is born the same way. We love the pitches that feature both visible and invisible diversity. Neurodivergence needs to be seen. For years, producers have been banging on our doors to get visibility for these characters. The time is

now. When you look at the characters, what inspires me is that the stories are less tokenistic and much more authentic. We’re going to see more of that where it doesn’t stand out; it’s just part of the collection of IP that is out there. Those days of seeing that perfect shiny family—that’s not so necessary now. You just have to see a family that feels like your family.

TV KIDS: My impression has always been that the kids’ content community is populated by fun and passionate producers and executives. What has kept you in the kids’ business for so many years?

PITT: This is the greatest community in the world, bar none. We work hard. We love each other. We have been in each other’s homes. We have been to

our children’s events. I wish everyone the experi ence that I have had so far. The welcome they gave me when I first started in the industry—it was an instant community. I’m especially in awe of the independent community, who gets up every day and is committed to working through their ideas until they are shared with kids around the world. Some take years and years, and I tip my hat to them. They inspire me. Despite arts programs and all kinds of things being cut around the world, they still show up with ideas y ear after year. The buyers, the marketers and everybody involved in the service of kids love it. I’ve known some of these people for close to 30 years and will forever be grateful for what they’ve taught me and continue to teach me. I hope we can pay it forward with the next generation of creators and executives.

CAKE’s Lucas the Spider is airing on Warner Bros. Discovery platforms around the world.

Iginio Straffi Rainbow

By Kristin Brzoznowski

The global hit Winx Club is celebrating a milestone 20th anniversary this year, a testament to the power of Rainbow’s storytelling capabilities in keeping the show fresh for a new generation of fans. There’s a Winx Club reboot in the works as well as the Gormiti—The New Era live-action show, and Rainbow has a new animated series, Mermaid Magic , that it is bringing out at Annecy. Rainbow’s Colorado Film is also behind the teen romance drama The Tearsmith, which has been a resounding success on Netflix. Iginio Straffi, founder and CEO of Rainbow Group, talks to TV Kids about the different approaches for animation and live action.

TV KIDS: What is driving growth for Rainbow?

STRAFFI: We have had quite a lot of success in the liveaction division, starting from The Girl in the Fog but also, recently, My Name Is Vendetta , which is still in the top ten of Netflix for non-English-language movies. Our service division is also doing very well, producing Emmy Award-winning series. They’re also working on a theatrical movie for Disney. Last but not least, our animation series are doing great. We are going to be launching Mermaid Magic on Netflix in the summer and Gormiti— The New Era live-action show with stunning CGI effects in October this year. We are working very carefully on the reboot of the Winx Club animated series, with a lot of attention to the storytelling, animation and graphics. We want to bring the show to a new audience, with all

the DNA of Winx but with today’s quality animation and pace.

TV KIDS: Tell us about the new animation project Rainbow will be launching at Annecy.

STRAFFI: Mermaid Magic, a high-budget CGI IP, will be released on Netflix worldwide in Q3 ’24. It’s a magic story telling the adventures of mermaid princess Merlinda and her friends Sasha and Nerissa on a mission to the surface world to save the underwater kingdom of Mertropia. This series is the perfect mix between a great technical style and narrative of a beautiful story where adventure, magic, mystery and contemporary values such as ecology and protection of the marine environment merge to offer a series to entertain kids and the whole family.

TV KIDS: How is the 20th anniversary of Winx Club being celebrated?

STRAFFI: The celebration started in January and continues throughout the year and across the whole world. We launched many activities and content on social media to be sure our whole community could join the celebrations. We joined the main Comic-Con events around the world, not only in Italy but also in the U.S. and Brazil, where the fan base is stronger than ever. The biggest event will be the official Winx Club 20th birthday party in Rimini on August 31. The entire town will be buzzing with activities, surprises, concerts and special content for new and longtime fans. In the new version of Winx, the graphics have changed. From the traditional 2D, we have created CGI models, and everything has been redesigned. The storytelling will finally tell how Bloom joined the other Winx to form the Winx Club. In a coming-of-age story, she and the other fairies find out how to become more powerful and, most importantly, how to save the magic dimension from the dark forces who want to take control of it. We have put a new twist, and some new secrets will be revealed. We have new elements to the story in this reboot.

TV KIDS: What are the challenges in producing live action versus animation?

STRAFFI: I am really enjoying producing live action, trying to bring the experience that we have with animation series. We create and use storyboards and animatics usually used for animation to better develop some particular scenes for live-action series or TV movies. This gives us many advantages: it’s helpful with complicated scenes that may require more attention during the shooting. We work on them and study all possibilities very carefully in advance to avoid difficulties on sets. That’s how you work in animation to avoid mistakes and consequent costs, and when it comes to live action, we found out the best solution would be the same. Our passion is to identify stories that can be good for a global audience and try to tell them in a way that they can connect to the audience. It is always the biggest challenge. But, we really put all our passion, experience and investment in, and the result has been encouraging