TV Kids MIPCOM/October 2023

TVK I D S

Co-Production Models / Preschool Trends / AVOD Buyers / Disney Branded Television’s Ayo Davis

Superprod’s Clément Calvet & Jérémie Fajner / Rainbow’s Iginio Straffi / pocket.watch’s Chris M. Williams

Common Sense Networks’ Eric Berger / BLE Report / In-Demand: Comedy & Preschool / Screenings Festival

Mansha Daswani Editor-in-Chief

Anna Carugati Editor-at-Large

Kristin Brzoznowski Executive Editor

Jamie Stalcup

Alexa Alfano Associate Editors

David Diehl Production & Design Director

Simon Weaver Online Director

Dana Mattison Sales & Marketing Director

Genovick Acevedo Sales & Marketing Manager

Daphne Menard Bookkeeper Ricardo Seguin Guise President

Anna Carugati Executive VP

The Age of Angst

As we all know, producers and distributors clamored for that opportunity with a fair bit of “what-is-this-shiny-newthing” wonder. There may have been some disappointment.

Indeed, we’ve moved out of newborn joy and seem to have hit a period of tween angst. Models are changing again. Broadcasters are contending with an ad crunch that is constricting budgets. And the free ecosystem gets busier every day. While there have been casualties— AVOD streamer Playground TV, for example, announced it was shuttering last month—FAST channels are proliferating. The amount of time kids are spending on social media and gaming platforms means that you have to be there in some way if you’re looking to build a meaningful brand.

FEATURES

TEAM SPIRIT

Producers and distributors are increasingly forming partnerships to finance shows.

LITTLE LEARNERS

Spotlighting what’s new in preschool programming.

DEMANDING KIDS

Programmers from top AVOD platforms share their wish lists.

BLE REPORT

Trends in licensing and merchandising.

IN-DEMAND

Buzzy new preschool and comedy shows.

JUST FOR KIDS

Our TV Kids Screenings Festival spotlights shows from across the globe.

INTERVIEWS

TV Kids

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Fax: (212) 924-6940

Website: www.tvkids.com

The executives we spoke to across this MIPCOM and MIPJunior edition of TV Kids know that the next year or two will be tricky as we all come to grips with the latest disruptions. But this segment of the media business has long been known for deploying creative models to get things made. That sense of nimbleness is what production and distribution executives are relying on to get through these growing pains. We heard that across all of our interviews for the report on co-productions and financing. We heard it when checking in with sellers of preschool IP as they look for new ways to make a dent in an always crowded genre. Clément Calvet and Jérémie Fajner have placed innovation and creativity at the heart of their expanding Superprod Group as they look to cover all segments of the kids’ and family sector. It’s a similar story for animation pioneer Iginio Straffi, who remains focused on building breakout megabrands at Rainbow Group. Chris M. Williams continues to be bullish on the creator economy as pocket.watch builds YouTube shows into multiplatform brands across SVOD, AVOD, on-demand and FAST. Eric Berger is confident that the values developed at Common Sense Networks will keep the AVOD service Sensical and its new slate of FAST channels at the forefront of children’s usage time. Ayo Davis knows that kids will always be moved by the values of wonder and music that Disney has become known for, whatever platform they’re watch ing on.

Mansha Daswani

The global streamers betting big on children’s entertainment, often shelling out large sums to own properties for their global footprints, for the last few years cast an overall halo of positivity on the global kids’ sector.

Aardman

Ready Eddie Go! / Yukee / Quentin Blake’s Box of Treasures

Aardman is bringing to MIPCOM new children’s titles, including Ready Eddie Go!, a CGI series from Hocus Pocus Studio that offers “how to” guides for various life scenarios through the eyes of three preschool friends. Created by musicians for future musicians, the preschool series Yukee comes from Score Draw Media. Also on offer, Quentin Blake’s Box of Treasures features six stand-alone specials based on stories from illustrator and storyteller Quentin Blake. “These beautifully crafted, engaging stories of fun, friendship and adventure will provide an exclusive treat for all viewers, delivering family entertainment at its very best,” says Alison Taylor, director of distribution at Aardman. Other titles in Aardman’s catalog include Adventures of ArachnoFly, a spinoff of Lloyd of the Flies; Mitten & Shoe; and Monster Doctor.

Australian Children’s Television Foundation

Kangaroo Beach / Crazy Fun Park / Built to Survive

Kangaroo Beach, an animated series for preschool audiences about the adventures of four animal friends training as lifeguards and delivering messages about water safety, is on offer from the Australian Children’s Television Foundation. For teenagers, the horror comedy series Crazy Fun Park is about two best friends that death cannot keep apart. When Mapplethorpe is killed at an eerie abandoned theme park, his spirit lives on, and his best friend Chester returns each night to see him. Another featured title is the factual adventure series Built to Survive, providing a close look at the ultimate survivors of Australia’s most extreme habitats. “No matter where they’re from, kids love adventure, laughter, real-life stories and a bit of harmless horror thrown in for good measure,” says Tim Hegarty, international sales manager.

Banijay Kids & Family

Totally Spies! / Shasha & Milo / Silverpoint

Banijay Kids & Family’s Zodiak Kids & Family Distribution has on offer a new version of Totally Spies!, which is returning after ten years for a seventh season. “With strong female leads, the new series perfectly combines the sass, wit and charm of the original with a fresh look and feel for today’s audiences,” explains Julia Rowlands, senior VP of sales, co-productions and acquisitions at Zodiak Kids & Family Distribution. Shasha & Milo sees its titular characters battle evil forces using their abilities to shapeshift into cats while juggling normal 12-yearold lives. Silverpoint features “stunning cinematography and a rich narrative,” Rowlands says. With two seasons available, it follows a group of kids who discover a strange artifact at camp that may be linked to campers who went missing more than two decades prior.

“Every program highlighted features relatable casts, situations and experiences.”

—Alison Taylor

“From preschoolers to young adults, the Australian Children’s Television Foundation distributes world-class live-action, animated and factual content for every demographic.”

—Tim Hegarty

“Banijay Kids & Family is home to some of the biggest kids’ IP in the world.”

—Julia Rowlands

Shasha & Milo

Bavaria Media International

Meme Girls / Featuring Ella / A Secret Book of Friendship

Meme Girls, a six-part series available from Bavaria Media International, follows a 15-year-old aspiring influencer whose parents banish her from the online world and force her to switch from a private school to a public one. “It skillfully juxtaposes the real and online worlds, offering a blend of meme-infused humor and thoughtful exploration of teenage life,” says Helge Köhnen, head of content sales. Köhnen describes Featuring Ella as a “100-minute rock-and-roll rebellion film with a snappy young feminist twist.” It centers on a girl band that uses music to heal their worries and express their aspirations. A Secret Book of Friendship sees two boys run away on a treasure hunt. “International audiences will recognize elements reminiscent of classics like Huckleberry Finn and Indiana Jones,” Köhnen notes.

BBC Studios Kids & Family

Stan Can / Popularity Papers / Hey Duggee

The BBC Studios Kids & Family MIPCOM slate features the animated preschool series Stan Can, about a highly resourceful hamster and his community of friends. “The show is funny, playful and warm with a quirky humor and full to the brim with cute characters,” says Katharina Pietzsch, VP of content sales. “Also, Stanley has an amazing array of vehicles that really appeal to machine-obsessed little ones.” The live-action comedy Popularity Papers follows two middle school best friends as they try to determine what popularity means by conducting a variety of social experiments. “It deals with issues that affect school-aged kids across the globe, like navigating their way through unfamiliar feelings, family drama, friendship and crushes,” Pietzsch notes. There’s also a fourth season of Hey Duggee.

Branscome International

ROBOTIK Unplugged / ROBOTIK Super Charged / TIME FOR CLASSICS!

From Cheshire Smile Animation, ROBOTIK Unplugged and ROBOTIK Super Charged are among the titles Branscome International is showcasing. Tim Tyler, ROBOTIK’s executive producer and founder of Cheshire Smile, says, “Our next season promises adventures, more characters and more complex storytelling. Our initial shorts series of 42 episodes is traveling fast.” Catherine Branscome-Morrissey, executive producer and president of Branscome International, adds, “The initial ROBOTIK series proves the viability and parent-child coviewing appeal of this budding media-driven brand. Heartfelt vignettes feature a charming robot girl and her sidekick dogbot who cheerfully help their fellow robots in need of cool digital upgrades and physical fixes, too.” Branscome International is also premiering the shorts anthology TIME FOR CLASSICS!

“We explore universal and relatable themes, providing an engaging and entertaining experience for teenagers worldwide.”

—Helge Köhnen

ROBOTIK Unplugged

Hey

Duggee

“Our aim for MIPCOM and into the future is to help Cheshire Smile Animation

‘bring smiles to audiences worldwide.’ ”

—Catherine Branscome-Morrissey

“We have a robust portfolio and dynamic development slate of entertaining and distinctive content.”

—Katharina Pietzsch

CAKE

Cracké Family Scramble / Sherwood / Toru Superfox

CAKE’s slapstick animated comedy Cracké Family Scramble follows the adventures of an overprotective first-time daddy ostrich as he scrambles to keep control over his household of eight kids. Meanwhile, he must contend with his mischievous neighbors, the crows, who are determined to ruffle his feathers. The tween animated action series Sherwood reinvents the legend of Robin Hood in 15-year-old Robin Loxley, who brings down the corrupt and oppressive regime that has its hold over 23rd-century London, which has been devastated by climate change. Sherwood is available in eight languages. The preschool series Toru Superfox “helps young children to understand, identify and deal with their feelings,” says Ed Galton, CEO. Whenever his friends are in trouble, Toru puts on his superhero mask and comes to their rescue.

Cyber Group Studios

Press Start! / Droners / Taffy

Cyber Group Studios’ MIPCOM slate is led by the first completed episodes of Press Start!, a Peacock original comedyadventure series based on the best-selling Scholastic books written and illustrated by Thomas Flintham. The story sees two kids play inside their favorite video game and bond with their favorite character. “It’s a fun-filled, inclusive and top-quality production designed to bridge audiences worldwide,” says Michèle Massonnat, VP of sales and acquisitions at Cyber Group Studios. The second season of Droners features 26 episodes that continue the series’ high-tech adventures and drone races. Also in the catalog, Taffy has a third season in development. Additionally, Cyber Group Studios distributes the Splash Entertainment portfolio, which includes Chloe’s Closet and more.

DeAPlaneta Entertainment

Milo / Monster Shaker / Magic Lilly

DeAPlaneta Entertainment’s Milo leads the company’s roster of highlights. The animated preschool series is co-produced with Fourth Wall, and its first season is dubbed into a host of languages. The show’s second season is in production, to be released in 2024. The animated Monster Shaker is next, coproduced with GO-N Productions and based on the comic books of the same name. The global release is set for 2024, beginning with France’s Gulli. Magic Lilly is based on the literary and audiovisual saga born in Germany, entitled Lilly the Witch (Hexe Lilli). Preproduction is ongoing in Spain, with a release set for 2025. Although the titles have different audience targets, “they all have the common sense of DeAPlaneta Entertainment’s DNA,” says Carlos Biern, content and distribution director for the kids and family division.

“Our goal is now focused on setting up a digital and merchandising strategy.”

—Carlos Biern

Milo

Sherwood

Press Start!

“These three high-end animated series with universal themes for all demographics are sure to entertain and appeal to our international partners.”

—Ed Galton

“Our commitment is to bring exceptional independent series from talented producers to a global audience.”

—Michèle Massonnat

Filmax

SUPERTHINGS Rivals of Kaboom—Kazoom Power / Turu and the Wackies / Robotia

SUPERTHINGS Rivals of Kaboom—Kazoom Power, on offer from Filmax, is a series based on the universe and spirit of the SUPERTHINGS toys. Three friends find themselves caught up in an adventure “filled with action, excitement, danger, pace, tension, humor and, above all, wacky missions that will captivate kids around the world,” says Iván Díaz, head of international. “We think this is one of the IPs with the greatest potential in Europe,” he adds. The singing and dancing series Turu and the Wackies is also featured, along with Robotia, set in a world inhabited by machines that live, dream, learn and play. All the inhabitants of Robotia are interconnected, as they have been made from recycled parts. However, not everyone knows this, least of all Alex and Bibi.

Guru Studio

Big Blue / 123 Number Squad! / True and the Rainbow Kingdom

Guru Studio’s original 2D comedy adventure series Big Blue is among the featured titles on the company’s MIPCOM slate. Created by Ghanaian-Canadian artist Gyimah Gariba, the show “offers young viewers a comedic and heartfelt look at what it means to be part of a tightly-knit family, underscoring the message that caring for our planet and each other is the most important thing of all,” says Jennifer Oppenheimer, international sales and licensing manager. 123 Number Squad!, following Paula, Billy and Tim as they use numbers, counting and shapes to become a fastresponse rescue team that helps the citizens of Numberville, and True and the Rainbow Kingdom, encouraging children to be mindful, courageous and respectful of all living things, also rank as top titles.

HARI

123 Number Squad!

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

In HARI’s Mystery Lane, a hamster detective and her brother work on extraordinary cases that baffle Scotland Yard. It features “lots of mysteries, action, suspense and fun, packed in a feature-quality CGI animation with sophisticated storytelling that will captivate kids and families,” says Sophie “Kido” Prigent, head of sales. The Weasy Family combines “slapstick comedy and a heartwarming narrative with emotional stakes at the core,” she notes. The father-daughter relationship showcased in the show “will resonate with a wide audience, including parents.” Grizzy & the Lemmings World Tour sees Grizzy and his pals accidentally take off from the rangers’ station and travel the world. The series “continues to drive ratings with kids and preschoolers, boys and girls alike,” Prigent says.

“In the upcoming months, we will present new, very exciting and ambitious titles.”

—Iván Díaz

Mystery Lane

Robotia

“For over 20 years, Guru Studio has brought to life some of the most recognizable and beloved children’s properties in the world.”

—Jennifer Oppenheimer

“Mystery Lane is a new classic à la Scooby-Doo meets Sherlock Holmes.” —Sophie “Kido” Prigent

Hasbro Entertainment

My Little Pony: Tell Your Tale / My Little Pony: Make Your Mark / Peppa Pig Cruise Special

At MIPCOM, Hasbro Entertainment is presenting My Little Pony: Tell Your Tale and My Little Pony: Make Your Mark. “The rich storytelling and diverse set of characters showcased within both series inspire viewers to explore, express and celebrate what makes them unique,” says Monica Candiani, executive VP of content sales. “Kids can even see themselves reflected in these ponies.” As the Peppa Pig series approaches its 20th anniversary next year, the four-part Peppa Pig Cruise Special sees Peppa, George and their grandparents board a solar-powered cruise ship. The upcoming tenth season of the original Peppa Pig series will introduce new characters. The brand “encourages kids to jump in together and explore the world around them while giving them the confidence to treat every first step as a new adventure,” Candiani adds.

Headspinner Productions

Aunty B’s House / Gisele’s Mashup Adventures / My Shadow is Pink

The new 20x7-minute live-action series Aunty B’s House is one of Headspinner Productions’ top program highlights. Set in foster mom Aunty B’s home, the series is geared toward preschool-aged audiences and stars the show’s creator and former Canadian foster child Khalilah Brooks. Aunty B’s House “is incredibly diverse and has an important message of unconditional love and kindness,” says Michelle Melanson, president and executive producer at Headspinner Productions. More top program highlights from the company include Gisele’s Mashup Adventures, which asks children to help create stories and then animates them, allowing them to star in their own adventures, and My Shadow is Pink, based on Scott Stuart’s book of the same name that explores gender identity, equality and self-acceptance.

Inanimatti

Arky Arch Adventures

Inanimatti is featuring its inaugural animated IP, Arky Arch Adventures. For kids 6 to 12, the series follows the story of Arky, a hopeful, young Roman Arch who embarks on a highstakes journey across the planet Tredi to uncover his true purpose and save the world from devastation. While Arky is courageous, his passion for triumph and his natural leadership qualities allow him to make friends of all shapes, sizes and archetypes. “The series delivers immersive and edge-of-yourseat storytelling with incredibly unique world-building to create a fun, funny and dynamic adventure series that will connect and resonate with kids on every continent,” says Chris Bangle, co-founder of Inanimatti and creator of Arky Arch Adventures. The series aims to foster an appreciation for design, creativity and diversity among its audiences.

“We hope to encourage kids to see the world around them in a new and imaginative way.”

—Chris Bangle

“Aunty B ’s House is a show like no other.”

—Michelle Melanson

Arky Arch Adventures

“Quality is always of the utmost importance, but engaging stories and relatable characters are also key elements of each property.”

—Monica

Candiani

My Little Pony: Tell Your Tale

Aunty B’s House

The Jim Henson Company

Wowsabout / Dani Can Dance / Jim Henson’s Monster Jam

The Jim Henson Company’s top program highlights include the titles Wowsabout, Dani Can Dance and Jim Henson’s Monster Jam (w.t.). The all-new lineup of projects is geared toward preschool-aged audiences. Wowsabout is true to the company’s roots, using live puppets to drive the show. It follows a guitar-playing hedgehog and a tree-loving pig on their adventures as they experience the wonders of the natural world, and the show ultimately seeks to connect children to the Earth. Dani Can Dance and Jim Henson’s Monster Jam star computer-generated characters and were “created with a global audience in mind,” says Kerry Novick, VP of global distribution. The three highlights “showcase the top talent, gifted artists and cutting-edge technology that ensure our shows stand out in a crowded marketplace.”

Konami Cross Media NY

Yu-Gi-Oh! GO RUSH!! / Yu-Gi-Oh! SEVENS / Yu-Gi-Oh! VRAINS

Konami Cross Media NY has a slew of Yu-Gi-Oh! titles on offer, including Yu-Gi-Oh! GO RUSH!! The seventh spinoff in the franchise features monsters and powerful spells. Its predecessor, Yu-Gi-Oh! SEVENS, sees its characters use new strategies to make each rush duel more dynamic. Also on offer, Yu-Gi-Oh! VRAINS has three seasons and 120 episodes available. “This year marks the 25th anniversary of the Yu-Gi-Oh! trading game,” says Mark Kirk, senior VP of distribution. “It is providing our partners with a multitude of new opportunities as our franchise continues to add a new generation of fans with new content.” Kirk adds, “We are also looking to further opportunities to engage our Bomberman, Contra and Frogger gaming fans through different entertainment media.”

Lion Forge Entertainment

Iyanu / Bugtron / Best Wishes

MIPCOM marks the first market for the rebranded Lion Forge Entertainment. The company is launching its live-action film and TV development division and building out global transmedia franchises around Lion Forge IP. The slate includes Iyanu, set in the magical kingdom of Yorubaland; Bugtron, about a 12-year-old who is shrunk down to size and heralded as the ultimate hero of bugs; and Best Wishes, a series of films based on the best-selling books by Sarah Mlynowski. “As the focus remains on authenticity while telling stories from diverse perspectives, we ensure that kids from all over the world connect and engage with our characters and stories,” says Stephanie Sperber, president and chief content officer. “We also have the unique ability to co-finance projects, de-risking the greenlight decision for buyers.”

“International buyers have the opportunity to be part of the next wave of iconic properties from The Jim Henson Company.”

—Kerry Novick

“Lion Forge’s mission is to tell diverse stories authentically.”

—Stephanie

Sperber

Best Wishes

Yu-Gi-Oh! SEVENS

Jim Henson’s Monster Jam

“Our Yu-Gi-Oh! audience has never been stronger.”

—Mark Kirk

Barbie: A Touch of Magic

Mattel Television

Barbie: A Touch of Magic / Monster High / Barney’s World

Barbie: A Touch of Magic is a top program highlight from Mattel Television, along with Monster High and Barney’s World. The first title sees Barbie “Malibu” Roberts and Barbie “Brooklyn” Roberts forge new friendships and embark on mystical adventures at the shore when they stumble upon a baby pegasus. The pair must look to their friends and family to help keep their new friend safe from the clutches of Rocki, a magical being with her own agenda. “During a hugely exciting time for the Barbie brand, we are thrilled to announce all-new Barbie content in the months ahead,” says Alex Godfrey, VP of content distribution. The highlights Monster High, including a second season of the series and Monster High the Movie 2, and Barney’s World reinvigorate familiar Mattel brands and characters for television.

Mediatoon Distribution

SamSam: Cosmic Adventures / Versailles Unleashed / The Marsupilamis

Mediatoon Distribution is bringing to MIPCOM SamSam: Cosmic Adventures, the newest addition to the SamSam universe. Produced by Bayard Jeunesse and Folivari, it follows the small superhero as he gets older, goes to school and faces new challenges in outer space. Versailles Unleashed takes viewers into the Palace of Versailles and introduces its menagerie of animals through the eyes of King Louis XIV’s favorite dog, Belfort, and his companion, Lupin. Together, they explore the vast royal residence and sniff out its secrets. In The Marsupilamis, the fluffy, wild and playful creatures Hope, Twister and Punch swing from the tops of buildings and cause all kinds of chaos while having tons of fun together. Versailles Unleashed and The Marsupilamis come from Ellipse Animation.

Mediawan Kids & Family

Leaves & Roots / Boule & Bill / Toko Loko

Following their debuts at Cartoon Forum in Toulouse, Mediawan Kids & Family is presenting Leaves & Roots, Boule & Bill and Toko Loko. Additional highlights include Witch Detectives, a whodunit comedy series developed for TF1 and Super RTL, as well as Ki&Hi, a new anime-adjacent buddy comedy series for CANAL+. Buyers will also have the opportunity to preview the first episodes of Pirate Academy and The Little Prince and Friends in the screening rooms at MIPJunior. “Mediawan Kids & Family is a rapidly growing independent animation, production and distribution company that brings together talents and storytellers to create beloved franchises for the next generation,” says Julien Borde, president. “Our sales and editorial teams are eager to engage in business discussions and showcase our exciting projects to you.”

SamSam: Cosmic Adventures

“Our main ambition is to foster the best talent in Europe through our eight premium production labels.”

—Julien Borde

Leaves & Roots

“Mattel content shines due to the strength and mass public awareness of our longstanding IPs, beloved characters and appeal to diverse audiences across generations.”

—Alex Godfrey

Mercury Filmworks

Octicorn & Friends / A Mouse Called Julian / Tales of the Underwear Dragon

Mercury Filmworks’ top program highlights are all based on children’s books. Octicorn & Friends is based on the book Hello, My Name Is Octicorn, in which a half-octopus and halfunicorn protagonist tries to figure out what to do with his feelings. Tales of the Underwear Dragon, from the book Attack of the Underwear Dragon, delivers medieval stories about valiant knights and dastardly dragons. Episodes feature original songs written by Tony-, Emmy- and Grammy Awardwinning composer, producer, arranger and orchestrator Bill Sherman (Sesame Street, Hamilton). A Mouse Called Julian, based on the book of the same name, conveys messages about the importance of friendship. “It’s a powerful celebration of finding friendship in unexpected places,” says Chantal Ling, VP of original series and co-productions.

MIAM! distribution

Our Summer of Freedom / The MiniWhats / The Tinies

The MIAM! distribution slate features Our Summer of Freedom, an adventure series that follows the quest of Khadidja, Lyes, Philippe and Ahmed, four kids from different communities, in the city of Algiers in 1955. The MiniWhats centers on a group of six kids who use drawing to answer their questions. “The MiniWhats teach children important lessons in self-confidence and problem-solving,” says Mélanie Errea, head of sales and acquisitions. “Delicately balancing humor with creativity, each episode explores a new dream world that is both captivating and inspiring.” The Tinies takes place in a little city built by toys in the attic of a house. Ollie and Titus create their own games through upcycling. “The Tinies concretely show kids how to play with empty packages we usually throw in the recycling bin,” Errea says.

Mondo TV Group

MeteoHeroes / Monster Loving Maniacs / Agent 203

The environmentally-themed MeteoHeroes leads Mondo TV Group’s MIPCOM slate. Addressing issues such as climate change and respect for nature through the adventures of six children—each of whom can control a weather phenomenon— the series helps young ones understand how they can help the planet. In Monster Loving Maniacs, three kids are trained as monster hunters by their grandfather. Despite what they are told, the children save the monsters they are supposed to hunt. Agent 203 follows Zoe, a girl who, after finding out her dad used to be an intergalactic agent, decides to follow in his footsteps. Monster Loving Maniacs and Agent 203 are “aimed at audiences aged 6 and above and co-produced and codistributed with Toon2Tango,” and coming to screens soon, says Luana Perrero, head of content sales.

“These three programs are aligned with what we want to do at MIAM! and what we want to offer to the global buyers and audience.”

—Mélanie Errea

Monster Loving Maniacs

A Mouse Called Julian

Our Summer of Freedom

“We can hardly wait to bring these great new productions to young audiences everywhere!”

—Luana Perrero

“Our mission in developing content for children is to create value-driven and entertaining stories that resonate with today’s children all around the world.”

—Chantal Ling

Paramount Global Content Distribution

Dora / Bossy Bear / Rock, Paper, Scissors

The bilingual heroine Dora the Explorer returns in Dora, a featured series from Paramount Global Content Distribution. The title “encompasses all the adventure of the previous series and takes it to another level, with faster, more epic action,” says Lauren Marriott, senior VP of content partnerships and brand strategy. Objectives found in the prior iteration, such as solving problems and overcoming obstacles, remain present. More top titles include Bossy Bear and Rock, Paper, Scissors Bossy Bear, a brand-new preschool show, centers on the unlikely companionship between the extroverted Bossy Bear and the introverted Turtle, leaving friendship at the core of the show. Rock, Paper, Scissors follows three best friends (a rock, a paper and a pair of scissors) who share an apartment and compete over just about everything.

Pink Parrot Media

Sleepy’s Dream Team / Louis the Piglet / Joy Eternal

For preschool-aged audiences, the Pink Parrot Media highlight Sleepy’s Dream Team centers on Sleepy, a teddy bear, and his friends as they harvest dream dust for Starlet to scatter in bedrooms all over the world. Louis the Piglet, a highlight for 5to 8-year-olds, follows Louis and his best friend, Rascal, on their quest to find a magical helmet that may help the piglet take on his mean cousin Bruno. Joy Eternal follows 16-year-old Joy as she attempts to take down a megacorporation, losing everything she thought she knew in the process. Aimed at teen audiences, “the series explores themes of loss, grief, environmental crisis and the power of never giving up,” says Begoña Esteban, head of international TV sales and acquisitions. “The series is full of humor and adventure, and it offers unique social commentary on the world we live in.”

pocket.watch

Love, Diana / Toys and Colors Kaleidoscope City / Captain Future Pirate

Love, Diana ranks as a top offering among pocket.watch’s MIPCOM roster. The show takes its star Diana into the Land of Play, where she is transformed from her live-action self to the animated Princess of Play. Episodes showcase themes of friendship, leadership, imagination and play. Toys and Colors Kaleidoscope City also tops the list, delving into a magical world where kids can learn the importance of empathetic thinking. Captain Future Pirate guest stars a bevy of kid creators such as Jason Vlogs and Mackenzie Turner Roblox. “With today’s kids increasingly gravitating to social video platforms, pocket.watch is the leading force bringing them content that’s proven popular, highly curated and enriching, in places that are safe, selective and committed to quality,” notes Jeff Siegel, global head of content distribution.

“We are very much open for business in distributing our kids’ and family franchises to partners in all parts of the globe.”

—Lauren Marriott Dora

“Each series is very well focused on the target it wants to reach.”

—Begoña Esteban

“Pocket.watch has the largest collection of shows and stars that have proven appeal with today’s digital-first generation.”

—Jeff Siegel

Joy Eternal

pocket.watch Creators

Rainbow S.p.A.

Gormiti: The New Era / Mermaids: Magic of the Deep / Pinocchio and Friends

Gormiti, a long-standing franchise, has been reinvented into Gormiti: The New Era, a brand-new live-action series on offer from Rainbow. More featured titles include Mermaids: Magic of the Deep and the second season of Pinocchio and Friends Mermaids: Magic of the Deep, a CGI fantasy adventure, follows a mermaid princess with budding magical powers as she battles evil forces that seek to destroy the world. Ultimately, the power of female friendship and the loving bond of family are the most formidable forces of all. Pinocchio and Friends “is ready to come back with a second season full of surprises,” says Andrea Graciotti, head of sales for TV and VOD rights. After a rescue mission on the seven seas, the familiar puppet drags his friends into adventures full of twists and turns.

Studio 100 Media

Vegesaurs / 100% Wolf: The Book of Hath / FriendZSpace

The second season of Vegesaurs is featured in Studio 100 Media’s MIPCOM slate. Each mini-adventure in every episode is driven by the Tricarrotops Ginger and her friends the baby Pea-Rexes. The series, targeting 4- to 7-year-olds, “is a fresh and unique take on the dinosaur genre with admirable characters you can only find in this show,” says Dorian Bühr, head of global distribution. The second season of 100% Wolf, subtitled The Book of Hath, is also featured. When the werewolves are threatened, the fluffy pink werepoodle Freddy must lead his friends through another series of adventures and prove, once again, that he is 100 percent wolf. FriendZSpace, targeted at children aged 5 to 9, follows three best friends who embark on unique and tricky missions to make connections with alien kids.

Superights

Tara Duncan / Sullivan Sails / Clay Time

Leading program highlights from Superights include the animated series Tara Duncan , Sullivan Sails and Clay Time Tara Duncan, a fantasy series targeting kids ages 6 to 9, shows a strong heroine who learns how to control her new powers on a magical planet. Sullivan Sails, for children 3 to 5, sees the young hero Sullivan as he aspires to become a cartographer with the help of his imaginary friend Benji. “It encourages a love of adventure, exploration and imagination in young audiences,” says Nathalie Pinguet, deputy managing director of sales and acquisitions. “The series is vivid, colorful and creative.” Another title from Superights, Clay Time, is a DIY series aimed at 3- to 5-yearolds who are invited to develop their imagination through modeling clay.

“The goal remains to cover every segment of the entertainment industry, from the preschool target to kids to whole families.”

—Andrea Graciotti

“The Superights team would be delighted to talk to you about our ever-expanding catalog.”

—Nathalie Pinguet

Clay Time

Vegesaurs

Gormiti: The New Era

“We are recognized around the world for best-in-class programs.”

—Dorian Bühr

Toon2Tango

Monster Loving Maniacs / The Wee Littles / Agent 203

Monster Loving Maniacs, a featured title from Toon2Tango, follows Edith, Ernest and Bo, three siblings who are being trained as monster hunters by their tough, old grandfather. Unlike their grandfather, the kids love paranormal creatures and look for a way to save the monsters rather than hunt them. “It’s a highly original story but also great fun, with lots of excitement and humor as well as bigger themes, like families, relationships and coping with our fears, all delivered with wit, energy and stylish, skilled animation,” says Ulli Stoef, CEO and producer. The Wee Littles, a preschool stop-motion series about a family of four small creatures, and Agent 203, centering on a daughter’s journey to follow in her father’s footsteps as an intergalactic agent, also top the company’s MIPCOM slate.

TV Asahi

Obocchama-Kun / Doraemon / Shin chan

Obocchama-Kun , a collaboration between TV Asahi and Sony Pictures Networks India, ranks as a top program highlight from the Japanese media group. The comedy about a wealthy boy is a sequel to the original series from 1989. Doraemon is soon to celebrate its 55th brand anniversary. The series sees a robot cat from the future get sent back in time to save a 10-year-old boy from getting into trouble. In honor of the anniversary, “we are planning to produce many special contents and events for the occasion,” says Maiko Sumida, head of animation sales and development for the international business department. Shin chan , meanwhile, is a slice-of-life show about a 5-year-old boy that has been airing for over 30 years.

TV Film International

Kiwi Island

Children can learn to cultivate their emotional intelligence in a fun-filled manner with Kiwi Island, the featured MIPCOM highlight from TV Film International. The 26x22-minute series showcases emotions that children may experience in their daily lives. All children, regardless of where they come from, must cope with emotions such as joy, sadness, frustration and hope. The show models a host of ways for kids to understand and navigate those feelings in a form that targets engagement and fun. Creative contributors for the series hail from the U.S., Latin America and India, among other countries, making for a multicultural and collaborative process. “Our goal at MIPCOM and MIPJunior is to bring Kiwi Island to life by establishing strong collaborative networks in new territories through securing additional presales,” says Juan Pablo Carpenter, CEO.

“We’re planning some strategic new developments that we’re keen to talk about very soon.”

—Ulli Stoef

“Kiwi Island focuses on helping children cultivate their emotional intelligence in a fun-filled manner.”

—Juan Pablo Carpenter

Kiwi Island

Doraemon

Agent 203

“TV Asahi is now putting more and more emphasis on the development of our own IP.”

—Maiko Sumida

WildBrain

Jonny Jetboy / Pet Hotel / Caillou

Jonny Jetboy, a new series from PAW Patrol creator Keith Chapman, leads WildBrain’s slate for MIPCOM. With heroic characters, action-packed adventures and high-tech gadgets, it “has all the right ingredients to entertain families worldwide,” says Caroline Tyre, VP of global sales and rights strategy. Pet Hotel follows the exploits of hotel owner Robin and his animal guests. The WildBrain catalog also features a new CG-animated version of Caillou, which “continues to bring to life pivotal themes of how to handle big emotions, how to dream big and how to foster curiosity in preschoolers—building on the enormous popularity of the existing Caillou content library,” Tyre says. “With an all-new look and storylines where Caillou explores the world through wonderful flights of imagination, Caillou is even more relevant for kids and parents today.”

Winsing Animation

Shadows of the Void / Mega Meow / Mongo

Shadows of the Void, Winsing Animation’s debut anime, is on offer at MIPCOM. The title “is an exhilarating 3D sci-fi and hot-blooded series for teenagers and young adults,” says Sophie Lau, head of international business, as it showcases two heroines whose intertwined destinies lead them on an extraordinary journey. For younger children aged 6 to 9, Mega Meow is a 3D animated series set in a fantastical world where alien cats, able to transform into humanoid superheroes, fight to save the Earth. Mongo is a 2Danimated slapstick comedy series that centers on the mischievous husky Hubro, ginger cat Habibi and parrot Heddy as they cause all kinds of trouble around the house. The series has no dialogue, eliminating translation barriers.

Wonderworld.fun

Secret Agent Jack Stalwart / Walk off the Earth in Space!

Seasons one and two of Secret Agent Jack Stalwart, on offer from Wonderworld.fun, are based on the chapter book series of the same name. Jack Stalwart is a spirited, inexperienced but brave 9-year-old secret agent who travels the world solving mysteries and righting wrongs, all while searching for his missing brother—and fellow secret agent— Max. Season one of the action comedy Walk off the Earth in Space! is also featured, telling the tale of the human band Walk off the Earth, featuring original songs by them. “The international appeal for these two shows is attributed, we believe, to their uniqueness, and we hope that global buyers will see this as an opportunity to fill the gap in their content,” says Emilie Pasquet, VP of distribution and co-production.

Secret Agent Jack Stalwart

Jonny Jetboy

“In recent years, Winsing has produced a number of animated series in various genres for different age groups.”

—Sophie Lau

“We are actively seeking new business opportunities and collaborations.”

—Emilie Pasquet

Shadows of the Void

“At WildBrain, we explore what’s possible rather than what’s expected.”

—Caroline Tyre

BBC Studios Kids & Family’s Nova Jones

TeamSpirit

As children, how often did we hear our parents encourage us to play together—an effort to teach us how to cooperate, share and listen to a different point of view? As we got older, teachers, counselors and coaches would help us through challenges by advising equal measures of effort, determination and patience.

Executives at independent production and distribution companies serving young viewers are heeding those voices from yesteryear. As they face a market rife with challenges and change, they know the value of finding partners to help finance shows.

“The children’s market is undergoing significant transformation,” notes Kate Sanagan, the head of sales and distribution at Sinking Ship Entertainment. “We’re in this challenging time, between all the shifting dynamics, budgetary constraints, changes in streaming models and technology advancements. And then, of course, the overarching global recession. It’s a perfect storm of a challenging environment. It is an uncertain space right now.”

“The reality is the children’s content market on a global scale has been shifting for a while now, which has created an industry slowdown as broadcasters and streamers take a beat to redefine their businesses,” adds Chantal Ling, the VP of original series and co-productions at Mercury Filmworks. “As we assess and listen to the marketplace and have more clarity on what broadcasters and streamers need, we can then react and curate what we present to best respond to their specific needs.”

Raphaëlle Mathieu, the COO of Cyber Group Studios, agrees. “The market is in flux, necessitating our adjustment to sometimes a reduced volume of orders and longer commitment timelines. While decision-making processes are currently slower—initiated during the Covid period and continuing due to market adjustments—we can view this as an opportunity to adapt to the changing landscape.”

Though so much is changing, industry players wait to see what programming strategies the streamers will employ and whether advertising will improve and give commercial channels a chance to increase their budgets.

In a difficult children’s content market, with broadcasters and streamers reducing their budgets, producers and distributors are increasingly forming partnerships to finance shows.

By Anna Carugati

In the meantime, one constant remains truer today than ever—quality programming makes a difference.

“Over the past few years, the market has restructured around bigger yet fewer broadcasters and streaming platforms, and in the meantime, more distributors and content creators are proposing a variety of shows,” says Solène Crépin, sales and business affairs executive at Mediatoon Distribution. “Buyers today have a much wider choice of content but won’t be able to commission it all. More than ever, producers must seek to diversify content, and that also means bigger budgets. We are therefore betting on high-quality and premium programs thanks to our inhouse studios and third-party producers.”

“But quality requires a bit of a leap of faith when you are in a data-driven economy,” notes Frank Falcone, the president and executive creative director of Guru Studio.

“People are using data to make informed decisions, which leads to conservative decisions and people going with what they know—brands that have awareness. Anything

that has cachet, has stood the test of time and has engagement on another platform currently or in the past is a better bet than something they’ve never seen before.”

Most channels and platforms prefer playing it safe when commissioning.

“Everyone possesses a natural preference for security over risk,” observes Cyber Group’s Mathieu. “We have always heard about creating IPs and brands. Now, known IPs and brands become more reassuring for people. This is particularly relevant as some financial adjustments have been made due to the repercussions of Covid and the subsequent crisis. The global streamers and the majors have faced challenges and implemented cost-saving measures, so it impacts our industry.”

“The number one driving force right now for what streamers and broadcasters are picking up is the financing,” says Sinking Ship’s Sanagan. “While thematic alignment is crucial, the ability to secure partnerships and financing is emerging as the driving factor. So, collaborations and other industry stakeholder partnerships have become important to us.”

BACK TO BASICS

ZDF Studios has a long history of successful co-productions, dating back to before the streamers started stepping up and covering the entire budget of a show.

“Today, we’re getting back to the old model of coproduction where you had to find different partners, and not only one partner who was able to finance a whole show,” notes Arne Lohmann, VP Junior at ZDF Studios. “We continue to bring different partners together to co-produce with the streamers [and broadcasters such as] BBC and France Télévisions.”

“Yes, partnerships matter more now than ever,” says Mercury Filmworks’ Ling. “In this current climate, I think people, specifically broadcasters, are looking for financial reassurance. Meaning it’s advantageous to come to the table with a financial mechanism in place such as a Canada-France co-production, for example.”

“The most important elements from the start are trust and commitment among the partners, along with a mutual goal and vision for the property,” Ling continues. “Our mission is to seek partners that embody the values we foster internally— integrity, boldness, leadership, diversity, innovation, commitment and passion. Having these mutual values as the foundation sets the tone as we move into creative and development. Once we have identified partners that meet these cr iteria, it typically leads to an organic

Mercury Filmworks has begun expanding its original IP with shows like the preschool offering Octicorn & Friends

Cyber Group Studios is working with Gulli on The McFire Family , a new series for kids 6 to 9.

work split, which is crucial in the development and production process.”

Clear communication of objectives is critical during development and when bringing on board partners for a project. Cyber Group’s Mathieu cites how the definition of a target audience can vary from one broadcaster or platform to another.

AGE COMPRESSION

“Today’s 10-year-olds or 6-year-olds have realities distinct from those a decade or even five years ago,” says Mathieu. “The concept of the 6-to-10 age group has transformed, with various interpretations depending on the player. This dynamic shift, however, opens up exciting opportunities for fresh perspectives.

“What you want to say and how you want to say it becomes increasingly important,” continues Mathieu. “Having discussions creatively is increasingly important to fight for the content you believe in. Buyers value security. As producers and distributors, we’re committed to showcasing how our content can meet their needs, even if initially uncertain. It’s more work and a great challenge but interesting.”

Mathieu emphasizes the importance of explaining in detail what best serves clients and “providing comprehensive pitches that precisely outline why our show’s target can effectively resonate with their audience. The complexity arises from the varying perceptions of the target audi ence—understanding its significance and whom it truly connects with poses the challenge.”

Sinking Ship’s Sanagan concurs with the necessity of clear communication: “Making sure everyone’s on the same page and that there’s not a misunderstanding [is critical] because there are different ways of doing business across cultures and each way has to be respected. We try to do that with transparent meetings and ongoing conversations. Shared values are important to us, so we work with folks like Fred Rogers Productions or BBC Studios. And then, just from a practical standpoint, the financing has to be an upside for both parties. The money needs to work for both sides.”

While there is a greater need for jointly financed projects, as Guru Studio’s Falcone points out, they are no less difficult to assemble. “Even though they’re necessary, there are tax structures that complicate matters in some territories, so getting things off the ground gets a little harder. And even with multiple broadcasters on board,

gaps still need to be filled. So, while normally you’d see an investment from a venture capital (VC) financier, that’s getting harder as interest rates have increased. They don’t get the money from our industry that they can get in other markets. It becomes less attractive when some of the rates out there are where they are. It’s hard to attract that kind of money in this high-interest-rate market. So [there are] further pressures on raising money for premium shows. It is a challenging environment to finance new productions.”

Even setting aside the high interest rates, dealing with private equity or venture capital funding is complicated. “I think the challenge of the model is the ROI, from the VCs’ point of view,” explains Mercury’s Ling. “The animation process can be quite extensive, at times expensive, and generally takes a long time for projects to go from concept to release, which is typically not very appealing to VCs looking for a quicker return. You need a full 360-degree exploitation plan with partners attached to make a VC deal meaningful.”

TAX TOOLS

Another advantage of co-productions is that partners in territories that offer tax incentives or soft money can bring additional money to a project.

“We are part of a bigger group that has subsidiaries throughout Europe,” says Julien Borde, the president of Mediawan Kids & Family. “[We are] using the Euro toolbox that is available for financing. [There is] real competition between the different tax credit systems in Europe to attract business, and that is helping us cope with the different financing challenges.”

“The industry does not generate as many eyeballs as it used to,” notes Guru Studio’s Falcone. “And because it doesn’t, it’s much harder to raise the money to make the kind of shows we’re accustomed to watching at the price point required to make them. We’re in an age of expensive supply, and monetization of the content is challenging for anyone investing in content.”

Despite the numerous challenges in the shifting kids’ content market, trends are emerging that are offering producers and distributors new opportunities.

“One noteworthy transformation is how exposure on YouTube, once viewed negatively by broadcasters and streamers, has undergone a positive shift, ” notes Mathieu. “Previously, there was hesitance to share rights, but the

Mediatoon Distribution’s Versailles Unleashed features such partners as France Télévisions and Radio-Canada.

current landscape is evolving in a different direction. Achieving success on platforms like YouTube or AVOD is now seen as a valuable asset for a brand. This has led to the consideration of non-exclusive content as a viable option. Additionally, the concept of generating digital spin-offs from brands has gained traction. We have explored this evolution with our digital native spin-off of Gigantosaurus , Giganto Club . Therefore, we are now happy to be co-producing new seasons with Mediacorp in Singapore. This would not have been possible three years ago.”

As Sinking Ship’s Sanagan points out, comedy is still popular among audiences and commissioners. “We are doing Odd Squad U.K., the U.K. version of Odd Squad. It’s an official treaty co-production between Sinking Ship Entertainment and BBC Studios Kids & Family. It’s a partnership with Fred Rogers Productions.”

Sinking Ship and BBC Studios have also partnered on another series. “While budgets and commissions have been reduced, it’s not all doom and gloom, and risks are still being taken,” notes Cecilia Persson, the managing director of BBC Studios Kids & Family. “BBC Children’s and Education recently took a big leap of faith in our teen drama Phoenix Rise, and Sinking Ship came on board as our distribution partner. The risk has paid dividends with fantastic critical reviews and a commission for series two.”

There is a need in the market for shows that appeal to tweens, teens and families. “Demand for family programming is increasing, which was something that for years was not in focus, but it is now,” says ZDF Studios’ Lohmann. “A good example is Theodosia, which we are doing together with Cottonwood Media. We have a second season that the BBC joined. The show targets a tween demographic but also has a strong family appeal.”

PERFECT PAIRINGS

Though aligning the needs of co-production partners can be challenging, that common ground can help attract buyers.

“You have to choose your partner carefully,” explains Lohmann. “We always discuss editorial first because sharing the same vision is necessary. That can be a benefit. With Theodosia, we started discussing the different needs of Germany and France. If a show can work in two territories, it’s most likely a good match for international distribution. That’s what we experienced here. That’s why the BBC came on board. It acquired the first season. It was very successful, and BBC prebought season two.”

“Globally, we have seen a trend for high-quality scripted series and animation focused at the older age range, while preschool animation continues to form a significant part of international broadcasters’ schedules for both linear and streamers,” says Persson. “The co-viewing trend is continuing and is one that all platforms seem keen to invest in. We are proud to have shows that tick all these boxes in our portfolio.”

Sinking Ship has a new series for family viewing. “ Beyond Black Beauty is a coproduction between ourselves and a Belgian company,” says Sanagan. “It will debut on Amazon Freevee in the U.S. That’s big for us because it’s a proper family series. We’ve lived in the kid world for a long time, so this will be new for us.”

Reimagining known IP is a favored strategy of many distributors. “We’re in production on the next part of the Dino franchise, which is Dino Dex,” says Sanagan. “Dino Dex is Dino Dana’s little brother. That is

Made by VRT and Fabric Magic, the live-action tween series #LikeMe from ZDF Studios is now in its fourth season.

Sinking Ship Entertainment came on board as the distribution partner on BBC Studios Kids & Family’s Phoenix Rise

with several partners: Prime Video in the U.S., TVO and TFO and Knowledge Kids in Canada. Delivery will be next year.”

Mediatoon is rebooting iconic characters by developing new series such as SamSam: Cosmic Adventures and The Marsupilamis, a co-production with M6’s Gulli. “This type of content is reassuring for broadcasters and streaming platforms, who can count on the popularity of our IPs and their solid, successful background,” says Crépin.

Series derived from books can also resonate with audiences. One new show from ZDF Studios is Tobie Lolness, based on a best-selling French novel. “It’s a co-production with France Télévisions,” explains Lohmann, “an epic and wonderful animated show for 6-plus but also a family audience.”

GLOBAL ALLIANCES

To fulfill broadcasters’ and platforms’ need for shows that will appeal to young audiences, producers and distributors are reaching out to international partners.

“The significance of anime, or the anime style, is rising across the globe,” says Cyber Group’s Mathieu. “In France, we’re fortunate to have a dynamic and passionate talent community that excels in collaborating with artists connected to the anime culture. At Cyber Group Studios, we started with Droners, co-commissioned by TF1 (France), WDR (Germany) and Disney Channel (France, Benelux). It’s not anime but an anime tribute. Another anime tribute is a show we showed last year at Cartoon Forum, The Tern, for which we now have our first big partner, CANAL+. It’s our version, our tribute, our creation, and to aggregate talents and passions is important.”

Asian partners are also present in Cyber Group’s Alex Player , a collaboration between France, Italy and Singapore. “It began as an internal initiative, developed over two years to ensure a high-quality show,” explains Mathieu. “Following a commission and a redevelopment

phase with France Télévisions, the project captured the attention of Rai (Italy), leading to the involvement of Italian co-producer Graphilm Entertainment. Then, Cyber Group Studios brought the series to Asia and teamed up with Scrawl Animation as co-producer. Working together, adding talents from all these regions and benefiting from their artistic and technical prowess is a remarkable advantage.”

Mercury Filmworks is also tapping into French animation expertise. “We currently have two projects with partners that are in various stages of development,” says Ling. “The first one is Octicorn & Friends, based on Hello, My Name Is Octicorn, which we are debuting at MIPJunior this year. We have partnered with France’s STIM Studio, which has firmly established itself as a leader in CGI fea ture animation. Given that this series is one of Mercury’s first CGI animated series, we believe STIM is the ideal fit as our co-produc tion partner.”

Persson’s team at BBC Studios found a partner in China: “We have launched the hit preschool animation Supertato The series is a highly successful co-pro duction between BBC Studios Kids & Family, BBC Children’s and Education and Tencent. The collaboration came about because we knew that Tencent was looking to invest in high-quality European children’s content, and they hold the licensing, merchandising and broadcast rights for China.”

GROWING PAINS

The children’s TV market is undergoing significant transformation, much of it driven by the streamers. As Mediawan’s Borde explains, not all of it has been negative: “The streaming boom has had a very good impact on the traditional broadcasters, who are open to different pitches from very young preschool to adult animation, even if they are commissioning slowly on adult animation. For us, it’s an array of opportunities. Broadcasters are more open than ever; they can [choose] more serialized series, even different demos. And in the last months, we have seen the streamers moving to more commercial IPs and mainstream commissioning. It’s an interesting time because everything is open on the market.”

Opportunities and challenges alike characterize today’s multiplatform children’s media landscape. “We at ZDF Studios are in a privileged position because everything is quite stable as far as our budgets are concerned, but I can see that a lot is going on in the market,” says Lohmann. “There are some partners we were working with for a long time, and they are no longer there.”

Despite current challenges, for Lohmann, “the demand is still there, and I don’t think we will have problems getting the right shows with strong editorial up and running.”

Producers and distributors must continue collaborating, listening to the market and sharing risks and rewards. “Globally, the industry has slowed down this past year, and I believe it will continue in the upcoming year,” notes Mathieu, “so we need to think differently, adopt fresh perspectives and innovative approaches.”

Elliott Studio and DEMD Productions partnered on Boule & Bill, which is being rolled out by Mediawan Kids & Family.

LITTLE LEARNERS

Leading producers and distributors share the latest trends in the preschool programming space. By Jamie Stalcup

The youngest viewers are turning to TV for entertainment more and more every day, so much so that parents across the U.K. have expressed concern about children’s screen time, according to a survey by BBC Children’s and Education. But while many adults are wary about overall screen time, they recognize the value programming can bring. Of the respondents, 65 percent agree that TV shows can foster creativity and communication, and a whopping 93 percent indicated interest in educational programming. It should be a comfort to parents worldwide that producers and distributors are dedicated to providing this kind of programming for their children.

Getting parental approval is of the utmost importance when it comes to preschool shows, says Halle Stanford, the president of television at The Jim Henson Company. “They always ask themselves: What will help my kids survive and thrive?”

SURVIVE & THRIVE

“The ‘thrive’ is what makes preschoolers happy and brings them joy,” she explains. “The ‘survive’ part is the educational content. It answers, How can this show help my child have a successful future? And the future could be kindergarten, or it could be inspiring their future careers.”

“Kids take away ideas from experiences or programming that engages them,” notes Monica Dennis, senior director of preschool content at Mattel Television. “There is a tremendous learning opportunity when content has

Mattel’s Barney’s World

meaningful educational value and effectively entertains kids. Content that weaves larger life lessons from a character’s triumphs or laugh-out-loud actions can leave a lasting impression.”

At Hasbro Entertainment (formerly eOne Family Brands), like at so many companies, “education in preschool programming is a core pillar for us,” says Monica Candiani, executive VP of content sales. And as the demand for educational content continues to grow, “our outlook is that every story or character device can be an opportunity to educate.”

It’s not just the parents who want programming to have educational components. The kids enjoy it, too. “I truly believe that kids love to learn,” notes Emmanuèle Pétry, producer and head of distribution at Dandelooo. “As long as it’s fun, learning is a game. It’s only when you start going to school and you have homework that it becomes [boring].”

TV can make learning about counting, reading and other school topics fun. Aardman’s approach is to entertain and engage kids first, drawing them in and educating them in the process. The company distributes the Blocks franchise, which includes Numberblocks , Alphablocks and Colourblocks , which teach precisely what their titles suggest. “The genius of these shows is that the kids are enjoying and learning without really knowing it because the stories are funny and engaging first, but they’re brilliantly educational as well,” explains Robin Gladman, head of acquisitions at Aardman.

The same can be said of Aardman’s own IP, Gladman notes, mentioning Learning Time with Timmy, a spinoff of the non-dialogue series Timmy Time , itself an extension of Shaun the Sheep . Developed with the British Council, Learning Time with Timmy helps nonEnglish-speaking kids learn the language in an entertaining way.

But education doesn’t just mean numbers, letters and the like. It can go much deeper than that. “Educational priorities change year to year,” The Jim Henson Company’s Stanford explains. “We’ve seen a lot of shows focusing on STEM learning in the past because that was an early educational mandate—particularly because there was a need to raise the next generation of scientists and engineers. Right now, however, we’re seeing a lot of shows dealing with anxiety and emotional readiness as a result of the pandemic.”

If taught during children’s most formative years, emotional lessons can carry on far into the future. “Everyone can remember their favorite shows they watched as a kid, and they can have a big impact on how we view the world as adults,” says Delphine Dumont, chief commercial officer at Banijay Kids & Family.

Dandelooo covers this with Ioguis, which intertwines comedy and yoga. “When [children] have problems, they can resolve them with a yoga pose,” or at least calm themselves down enough to effectively problem-solve, Pétry explains.

Movement is another method for emotional release and something that The Jim Henson Company likes to focus on. “When it comes to puppets, especially digital puppets, what they do well is dance,” Stanford says. “Puppets can bust a move.” With Dani Can Dance and Monster Jam, The Jim Henson Company shows children

The Jim Henson Company’s new preschool slate includes the puppet show Wowsabout

Hasbro Entertainment’s Peppa Pig remains among the biggest preschool brands worldwide.

Aardman is rolling out Mitten & Shoe, from Matinai Animation, Hotel Hungaria and Jam Media.

that movement can be used for personal expression, emotional release and artistic mastery.

MIAM! animation is another company that aims to address kids’ mental and emotional health. In The MiniWhats, a recent addition to its distribution catalog, a group of children meet up and discuss the problems of their daily lives. One of the children then uses his magic pencil to begin drawing and launches them into new adventures. “It’s about showing kids the power of drawing as a way to express their fears, questions and doubts,” explains Mélanie Errea, head of sales and acquisitions.

Similarly, Superights’ Momolu and Friends “helps young audiences explore and solve daily life challenges

be able to improve the devastating changes caused by those who came before them.

STAYING CONNECTED

“Preschoolers are so connected to all living creatures, so we have to create shows that encourage them to keep up those relationships,” Stanford explains. With the new show Wowsabout , The Jim Henson Company strives to do just that. “We’re exploring the theme of awe—being connected to and wowed by the natural and civilized world. If preschoolers know anything, they know the big ‘wow’s out there.”

through arts and crafts,” says Nathalie Pinguet, deputy managing director of sales and acquisitions. The company also offers Clay Time , which “embraces the DIY concept, encouraging preschoolers to explore their creativity through hands-on activities.”

GOING GREEN

Another hot topic in the preschool programming space is the environment. With climate change and its disasters frequently making headlines, fostering preschoolers’ love of the natural world and encouraging respect can create a new generation that will, hopefully,

In MIAM! animation’s Edmond and Lucy , the title characters take children on their daily adventures in the forest. With real-time CGI, the show features highly detailed backgrounds that allow kids to “feel that they’re having a walk in the forest with their heroes,” Errea says. The real-time animation method has also allowed the company to practice what it preaches; the technique has dramatically reduced the company’s CO2 impact, according to Errea.

As always, diversity is another priority for producers, distributors, broadcasters and audiences everywhere. Earlier this year, Samba TV found in its State of

Sullivan Sails, distributed by Superights, was commissioned by Irish pubcaster RTÉ.

“There is a tremendous learning opportunity when content has meaningful educational value and effectively entertains kids.”—Mattel’s Monica Dennis

Diversity on TV report that more than half of respondents say they are more likely to watch a show in which they see themselves represented. “The data shows that greater on-screen representation will tend to increase viewership overall and among diverse populations,” said Ashwin Navin, CEO and co-founder of Samba TV. And though preschoolers are young, they notice when they are (or are not) accurately represented. Luckily, producers and distributors have recognized the importance of authentic representation and inclusivity and integrated them into programming.

“The preschool stories we tell may feature human characters, vehicles, animals or anything in between, but in each story context, we depict unique, lived experiences of kids and families,” says Mattel’s Dennis. “We assemble creative teams with personal experiences to tell those stories as authentically as possible.”

The company teamed up with the Autistic Self Advocacy Network, among others, for its stories about

Bruno the Brake Car, the first autistic character in the Thomas & Friends franchise, to ensure a nonstereotypical portrayal.

It’s important to bring on more than one adviser for a given project. “We bring in the right advisers and experts to make sure we are best representing each group [and] to ensure we’re looking with a crow’s eye view at any particular diverse group,” explains The Jim Henson Company’s Stanford. “We have one show that we’re working on called All-ofa-Kind Family that has to do with Jewish identity. I’m a Jewish producer, and I can bring my expertise to the project, but I’m not going to represent every single voice in that arena.”

When dealing with diversity, it is also important not to depict it “in a clichéd way,” Dandelooo’s Pétry notes. “Not just, ‘Hey, let’s put a Black girl in there,’ or, ‘let’s put a kid in a wheelchair,’ because that’s like putting a sticker on. It has to be woven into the story.”

EVERYONE IS WELCOME

Banijay Kids & Family’s Dumont concurs, noting, “To have authenticity, the focus should always be on the characters and their stories, with difference, diversity and empathy integrated organically.”

This organic integration can take many forms. Hasbro Entertainment achieves it in Kiya & the Kimoja Heroes with a 7-year-old African girl who enjoys dancing and martial arts as its protagonist and a world inspired by the landscape and culture of Southern Africa. Superights’ Zibilla , meanwhile, fosters diversity acceptance by centering on a zebra who stands out from her horse classmates because of her stripes. Throughout the show, she slowly learns to embrace her differences and gains self-confidence.

Aside from incorporating various educational elements and social-emotional themes, preschool programming can strengthen bonds across generations. “Watching your favorite shows from childhood, like Fraggle Rock, with your kids is a super special bonding experience,” says Stanford.

Dandelooo is developing Gaston Gets It! , an upper preschool show, with CANAL+.

HARI is showcasing the new bridge CGI comedy The Weasy Family

Dennis expresses a similar sentiment, and Mattel Television has plenty of IP to back it up. “We’re fortunate to cultivate stories with an iconic roster of characters that have grown with families for generations,” she says, referencing everything from Barbie to Barney to Bob the Builder. “That connection of grandparents to parents and children, laughing and learning together, enhances the experience.”

Banijay Kids & Family’s Dumont has noticed the same, especially with the company bringing back the 1960s Italian puppet show Topo Gigio as an animated series. The new version “has been able to reach a wide audience, transcending generations by providing nostalgia for adults and entertainment for brand-new viewers,” she says.

Newer programming can foster this familial bonding just as well. The Jim Henson Company’s slate includes

Prigent gives Grizzy & the Lemmings as an example, as it can appeal to different demographics. In the U.K., Narrative Entertainment broadcasts seasons one and two on POP and Tiny Pop. “‘Fun for all and all for fun’ is our tagline for Grizzy & the Lemmings, and for us, that means our stories should entertain the widest audience possible while caring about the youngest eyeballs,” she says.

UBIQUITOUS DISTRIBUTION

In today’s world, with such an abundance of platforms, brands must be in as many places as possible to meet preschoolers and parents wherever they are and make an impact.

“It is more important than ever to build strong recognition for our shows,” says Hasbro Entertainment’s Candiani. MIAM! animation’s Errea cites Edmond and Lucy as a prime example of this multiplatform strategy. “We

Pajanimals , which Stanford says is “all about helping your kids get ready for nighttime—singing lullabies, getting in your pajamas and shaking out the squirmies— and so many parents say, ‘Watching Pajanimals is my snuggle time with my preschooler!’ ”

This carries over into bridge programming, which caters to children around 5 and 6, notes HARI’s Sophie “Kido” Prigent, head of sales. “Bridge content has seen a high level of demand, as it expands the reach from preschoolers to older kids, enabling siblings to share a moment in front of the screen without fighting for the remote control.”

didn’t just produce a 52x12-minute show,” she explains. “We also produce an additional series called Edmond and Lucy+ , with 13 episodes of 3 minutes. While Edmond and Lucy is a character-driven comedy, Edmond and Lucy+ is a more pedagogical series” for France Télévisions’ educational platform, Lumni. Additionally, the company produces a podcast for France Télévisions’ Okoo, in which the title characters discover the sounds of nature and nocturnal animals.

“We made a whole ecosystem around the IP, always having a super coherent approach,” Errea says. This not only ensures that children can encounter the IP on

MIAM! animation’s The MiniWhats targets kids aged 4 to 8.

“We’re seeing a lot of shows dealing with anxiety and emotional readiness as a result of the pandemic.” Henson’s Halle Stanford

multiple platforms—and therefore be drawn to others if they enjoy the content—it also allows them to have a 360-degree experience with the IP as a whole and fully immerse themselves in the Edmond and Lucy world.

“It is important to be everywhere kids and their parents are to fuel their fandom for our characters and brands,” Candiani agrees, noting that this also includes content that allows kids to interact with their favorite characters. She offers up the World of Peppa Pig app as an example. “It offers a safe and ad-free environment, filled with lots of learning, creative play and fun, combining both interactive content and full episodes of toddlers’ favorite brand.”

“Distribution is key,” concurs Aardman’s Gladman. “Building brands through your many touchpoints is vital for success.”

Last year, Aardman began a digital content lab to craft content specifically for the digital space, working across AVOD, FAST, YouTube, TikTok and more. “It’s exciting, and it’s something we’re starting to offer our third-party producers, too.”

“Defining success for a show is not limited to linear ratings,” stresses Banijay Kids & Family’s Dumont. “It can come from digital, publishing and consumer products. Combining all these elements ensures our content is as visible as possible and enhances its discoverability worldwide.”

The wider content is available, the more opportunity there is to bring joy to young ones and their parents, who are both in pivotal life stages. Preschoolers “are filled with wonder. They are so loving,” Stanford says. “It’s a vulnerable time for parents, but an exciting time because their children are now leaving the house and getting to know the world. Parents also relive their childhood with a preschooler and see experiences through their eyes again.”

And no matter what kinds of platforms content ends up on, as producers and distributors, “you have a responsibility when you put a child ages 2 to 5 in front of a screen,” Stanford says. “You better make sure that [the programming] is beautiful, has something to say and connects with their hearts.”

Banijay Kids & Family’s Mumfie is a French/Italian co-pro based on the Britt Allcroft IP.

DEMANDING KIDS

Mansha Daswani

From the major SVOD services rolling out ad-supported tiers to the boom in FAST channels, the media business at large is pivoting away from the subscription rush somewhat, and the kids’ business is no exception. The last few years have seen a dramatic proliferation in the availability of free ad-supported streaming platforms for kids. While they may not be commissioning big-budget originals or signing up for first-window rights, they are buying a lot of content and garnering an increasing share of kids’ viewing time.

“In the U.S., we lost about 6 million subscribers on cable and satellite last year,” says David Di Lorenzo, the senior VP of kids and family for Future Today, the parent company of the Hap pyKids service. “There’s been a paradigm shift in where audiences are going to watch content.”

Economic concerns have families scaling back their subscription spend, adds Brenda Bisner, chief content officer for

A Parent Media Co. (APMC), which operates Kidoodle.TV.

“There is a desperate need for content with no barrier to entry for kids and families globally. The drive for kids’ AVOD comes from parents being younger and having grown up with the internet and, of course, knowing the dangers that kids can face online and making wise decisions and researching where their children can safely view content.”

SHOWS THAT POP

Catering to multiple audience groups and niche interests, AVOD buyers have broad acquisition remits. HappyKids has been “aggressive in acquiring content,” Di Lorenzo explains. “Kids are watching a lot of different types of formats, a lot of different types of content. We’ve got a mix of studiopro duced content, YouTube influencers, UGC and gaming. We have very strict standards and practices, ensuring a safe environment for kids to watch this content. Last quarter, we brought in about a thousand half-hours.” Of that lineup, about two-thirds was studio-produced content from global

Programmers from leading AVOD services discuss sourcing content from the “creator economy,” weigh in on the role of exclusivity and share their wish lists.

By

producers. “The rest of that was YouTube content. And that was just in terms of new IP. We’ve got monthly refreshes from partners like Moonbug and others who are bringing in new content monthly.”

Moonbug Entertainment content has also made its way onto Canela Kids, a newer market entrant catering to Span ish-speaking children. “We took advantage of the fact that they had new content coming in that wasn’t available on other His panic streamers,” says Maggie Salas-Amaro, the director of Canela Kids at Canela Media. “We were able to capitalize on that. We’ve rolled out anywhere from 1,700 to 2,000 hours in the last year. We have about 3,000 hours right now on our platform.”

Kidoodle.TV has built up a “robust catalog,” Bisner notes, with the service having launched more than a decade ago. “We’re serving kids under 12 in 160 countries. It’s curating the biggest brands in the world. It’s not a quantity play but a quality play for us. We own the [phrase] ‘Safe Streaming.’ We want partners who care about that mission and what we’re doing to better the children’s experience online, matched with philanthropic endeavors. We want partners who are going to talk about being on Kidoodle.TV. We have a backstage analytics portal, which is very transparent, and it’s quality revenue.”

Bisner adds that IP owners in the AVOD space need a “social strategy. With the right execution, it does help elevate a brand. There’s a lot out there right now. There’s a lot to choose from. What’s going to get the attention of the parents that are scrolling?”

For Canela Kids, a critical need right now is shows for kids aged 7 to 9 and family-oriented titles, SalasAmaro notes.

Live action and movies are on Di Lorenzo’s wish list at HappyKids. “We’re also looking for new ways to work with partners, whether that is a spin-off series or something exclusive to our audience. It’s working with partners to find new ways to bring exciting content around a brand they already know. We’re 0 to 12, but our focus lately has been on juggernauts in the preschool space, whether CoComelon, DuckTales or PAW Patrol. One of the challenges for us is trying to find that older audience content,” especially liveaction sitcoms, he says.

Paramount Global Content Distribution’s SpongeBob SquarePants is among the big franchises available on Kidoodle.TV.

Once derided as offering up nothing but “digital pennies,” AVOD services have become a much more significant part of overall distribution cycles, and rev-share isn’t the only model available to IP owners.

Di Lorenzo says HappyKids is doing flat-fee licensing, advanced minimum guarantees and revenue shares. “It depends on the content, the exposure the content has across other platforms and how well it’s known across our audience. There’s no one set structure for us in operating with partners. We want to bring partners in and make sure that we do the best job we can to support their content, make sure that their content is seen and that it’s given an opportunity to shine on our network.”

It’s a similar situation at Canela Kids, Salas-Amaro adds. License fee models are preferred over rev-shares, “unless

it’s a FAST opportunity. A minimum guarantee depends on who it is. It depends again on the property and ultimately what it will bring to the platform.”

APMC is a tech company, Bisner notes, able to accurately measure how shows are faring. “Estimations can be made around brands that we know have already been successful with us. We pay a CPM rate that’s not advert-dependent, and all of our adverts are vetted for kids and not interrupting the show, which we are very serious about. We have been a new revenue stream for a lot of people. You want eyeballs and revenue. You want to reach kids, and how you’re reaching kids should matter. Just putting it anywhere and not knowing what it’s sitting next to, what it looks like on the service and how other things may be found are considerations that need to be put on the table before making any deal. We feel we have a very fair deal structure. Every conversation has to be different, especially the bigger the brands are. It’s a dialogue.”

MASS EXPOSURE

AVOD deals, while they do involve license fees at times, are still largely non-exclusive. “There’s no such thing as exclusivity in AVOD,” Bisner quips. What a platform does to make a piece of content feel exclusive is key. “When we acquired the Moonbug package, it was on another Hispanic streamer,” Salas-Amaro explains. “But since we had done a deal

Mondo TV’s Nina & Olga is available on Canela Kids.

after they did their deal, we got new stuff. That was the competitive advantage that we had. CoComelon is all over the place, and so are the other shows, but we’re coming in with new seasons, and we had two new shows that were not part of the package that another streamer had. Now their license is over, and we are the ones that are owning the space.”

“We work toward exclusive packages in some instances,” Di Lorenzo says. “Some of this content is across multiple platforms, so whether it’s an exclusive special or something we can say to our audience, we’re bringing something new to you that’s different. Future Today is a publisher of apps for a lot of different brands. It may not be exclusive content, but we’re the largest place to find that content. Whether we’re talking about the LEGO app, the CoComelon app or the Blippi app, these are destinations that have an entire portfolio of content. In that respect, it’s not necessarily exclusive, but it’s the destination hub to find everything under a specific brand.”

Original content is also still in its infancy in the AVOD streaming space, but projects are underway. “We’re not someone you would call for co-production or gap financing,” Bisner says. “Our originals are made in-house with our incredibly creative team. We’re taking analytical approaches to our decision-making there.”

Similarly, Di Lorenzo says HappyKids is not at the point where it would “co-produce a studio-produced show. We’re interested in exploring that, but we’re not sure 2023 will be that year. We work with many

gamers and have a lot of user-generated content. It gives us an opportunity to create thematics around some of this gaming content and make sure that it fits into our standards and practices.”

THE DISCOVERY CONUNDRUM

With the sheer volume available across the ecosystem— from AVOD to SVOD, linear and FAST channels, social media platforms and more—figuring out how to get kids’ attention remains challenging. Proper curation and welldesigned user interfaces are key.

“What is toward the front of any row is going to get more attention than anything past the fifth or the sixth poster,” Salas-Amaro observes. “It’s the same with the linear [FAST] channels.”

Di Lorenzo agrees, noting that it’s generally the “usual suspects”—well-known brands—that kids will flock to. “We try to ensure that we’re promoting these shows by using banner ads and billboards in different spots. One of the great things about AVOD is that we can have a large catalog of content that allows our users to search and find things. It’s nice to have lots of content for kids to watch because they want to explore. This platform allows us to create an environment to find a little bit of everything you want to watch.”

Bisner adds: “Shows have to compete against the usual suspects. Peppa Pig, PAW Patrol. How are you going to hold up? It goes back into that social strategy and that brand packaging and how it is special for being on that platform.”

Ayo Davis Disney Branded Television

respect and optimism. You mentioned music, which is so integral to our storytelling, and I think back to our rich history of sing-along songs and chart-topping soundtracks from Zombies to High School Musical to Descendants. All these titles have brought so much joy and happiness to our audiences, which really helped fuel connectivity and engagement. So, for us, it’s about creating stories and characters that encapsulate the best of Disney and forge deep emotional connections that stay with the hearts of our audiences for their entire lives.

TV KIDS: How do you determine how many new shows you need each year?

DAVIS: There is no real hard and fast answer to that. It depends on the timing of our development and production cycles. Frankly, it’s about the performance of our current titles in any given year. In many cases, though, with our franchise properties, we can opt to hold back on a launch or extend a rollout to better align with the companion movies or even retail windows, which mostly happens in our Disney Junior preschooler audience. But ultimately, our goal is to create the best content and ensure we’re finding the best time frames to capture the largest viewership.

TV KIDS: Would you give some examples of how you decide where to place a show and where it should run first, whether Disney Channel, Disney Junior, Disney XD or Disney+?

By Anna Carugati

As president of Disney Branded Television, Ayo Davis oversees the linear and nonlinear services of Dis ney Entertainment that cater to children, tweens, teens and families. Her teams create a wide offering of content, whether original ideas or reinventions of classic IP and Marvel and Star Wars franchises. Davis talks to TV Kids about connecting with young audiences wherever they are, their viewing patterns, representation and diversity and the attributes of the Disney brand.

TV KIDS: Disney Branded Television offers a broad range of programming, from animation and live action to dance, music and docuseries. What’s the strategy behind the offering, and how do you want to serve young viewers and families?

DAVIS: I have to start by sharing how incredibly proud we are to be a part of a company that, for over a century, has meant so much to so many people around the world. [My teams and I] have the privilege of continuing that legacy every day by creating stories for our most cherished audiences. Our group fuels kids’ and family content for Disney+, Disney Channel and Disney Junior. We have this huge slate that helps serve a global audience for preschoolers through adulthood. What all these shows have in common is that they are filled with signature Disney qualities of magic, wonder, adventure and heart, and with heroic characters that are relatable or reflective of the world that we live in and are truly guided by kindness, understanding,

DAVIS: Our main platforms are Disney Channel, Disney Junior and Disney+. The thing about the power of The Walt Disney Company is we’re able to meet our audiences wherever they are, whether it’s linear or streaming digital. We know that kids are watching their content everywhere. There’s very little overlap between viewers on these platforms. We actually get to reach our broadest audiences. Whether something launches first on linear or on streaming is based on the characteristics and circumstances of each of our titles. When you think about linear networks, we’re looking for shows that are highly repeatable. They lean into comedies. We give an emphasis to multi-cams and music. Ultimately, it’s our volume play. And when we’re thinking about Disney+, the storytelling here always appeals to our broader audience and has that premium “wow” factor. We tend to do more limited episodes, and, depending on the story, we’ll do an all-atonce drop or week-over-week cadence.

TV KIDS: Is there a difference between viewing patterns on Disney Channel or Disney Junior compared to Disney+? DAVIS: Whatever kids are really loving on linear, they’re really loving in streaming and digital. We’ve never really had a hit show on one that wasn’t a hit on another platform. That being said, though, our approach to launching shows on linear is so different than on Disney+. [With] linear launches, we can lean into scheduling, stunting and on-air promotion to drive sampling and awareness across the board. For Disney+, you have to be clever because it’s really

notoriously sticky once they fall in love with the show, but the tricky part is getting them there, especially during a time when we know that kids are watching content anywhere they can.

TV KIDS: Would you give some examples of extending some of the franchises you have, such as Marvel or Star Wars, into the world of young viewers?

DAVIS: That’s our core differentiator, and I like to call it our superpower. We’ve had great success with our Marvel and Lucasfilm partnerships. We focus primarily on preschool and kid audiences. When you think about it, we’re providing these early entry points into these beloved franchises and characters. Very early in the process, we work closely together to ensure that we’re combining their deep knowledge and expertise about the characters in their canon with our decades of experience creating engaging and trusted stories for kids. This is manifested in some great examples [such as] Spidey and His Amazing Friends. We’re embarking on our fourth season, and it’s continuing to thrive. The show is helping to drive affinity and consumer products through all of the fun characters and stories we’re telling. We’re also seeing this with Marvel’s Moon Girl and Devil Dinosaur, which is geared toward older kids. It’s doing well both on the channel and Disney+. We launched Star Wars: Young Jedi Adventures with our partners at Lucasfilm, and we’re super excited about that one as well.

TV KIDS: When it comes to actors, is it more challenging to spot talent in the under-18 age group than it is among adults?

DAVIS: Part of what we have to do is look for the potential because these kids are young; they’re learning, growing and building their skills. As you can imagine, it takes a lot at an early age to have the skills not only to act but also to sing and dance and, in a lot of cases, be funny. We know we’re asking a lot of our 11- to 14-year-old kids, especially those who are carrying entire shows. We work hard to set them up for success by giving them coaches and health and wellness guides to ensure that they can be at their best. We know it is a great responsibility, and we don’t take it lightly. We want to make sure that they feel good about what

they’re doing. We work collectively to ensure that these are great partnerships and that they’re happy because that’s ultimately what’s going to shine through at the end of the day.

TV KIDS: Disney Branded Television offers a range of programming that showcases diversity, whether it’s girl-led shows or characters from numerous ethnic backgrounds. Why is this important, and what are its benefits?

DAVIS: We spend a lot of time thinking about the power of storytelling and the incredible responsibility that goes along with what we do. Our focus is to create entertainment that allows our audiences to see themselves authentically reflected in magical and optimistic stories and characters. My daughter loves superheroes. When she saw Captain Marvel, she understood for the first time that a woman could be the superhero and not just a sidekick. I love that she can see and understand through the stories we’re telling that the possibilities are limitless. And that’s why representation is so important—when people see themselves reflected in our stories, the stories of magic and wonder and adventure, I think that’s powerful stuff.

TV KIDS: Tell us about the significance of the Disney brand.

DAVIS: It’s a trusted brand. When you’re sitting down [to watch Disney programming], or you’re putting your child in front of it, you know what you’re getting. I talked a little bit about the qualities of magic, adventure and wonder. [We] have the opportunity to bring those experiences that you get through the rides at the parks and create stories that have those same core qualities. It’s important for those to speak to each other in a synonymous way and for parents and kids to know what they’re getting when they show up for our channels and platforms.

TV KIDS: There’s a lot of talk about the difficulty of discoverability these days. It’s helpful to have the linear channels and Disney+. They all reinforce one another, don’t they?

DAVIS: Oh, my goodness, yes, 100 percent! We love it. As I mentioned earlier, there’s very little duplication in how our audiences are watching the stories across all these different platforms. They complement each other in a very meaningful way.

Spidey and His Amazing Friends brings the beloved Marvel superhero to preschoolers on Disney Junior.

have bigger potential by mixing the fantasy world with football. We also thought we could bring in an extra level of quality because the technology has evolved a lot. There are things we could not do in the past. We gathered a team on the creative side and the writing side. We have a clear vision of the show and put a pilot together.

FAJNER: It has a very distinctive look. And we have the power to do everything in-house. We are a studio. That gives you much control and power over what you have on-screen. That’s exciting for the writers and Antoine, the director.

CALVET: It’s an important step for the company in terms of targeting—it will go up to 12 for sure. That’s something we’re not used to doing. We are just launching an animated feature film for adults, and we’re developing teen and adult animated series as well. This pilot is the first of its kind for us. We’re super excited to show it to the community. Our goal is not to do only one season. We’ll start with one season, but we have developed a deep arc that will sustain at least five seasons. We’d like to have one season for every event—the next World Cup, Euro, Copa América, etc. Every two years there’s a big event. We want to be ready to launch the show in parallel with those competitions.

Clément Calvet & Jérémie Fajner Superprod Group

By Mansha Daswani

Back when they were both at Gaumont Animation, Jérémie Fajner and Clément Calvet worked with the creatives behind Galactik Football, a French-Irish coproduction that enamored kids from across the globe with its potent mix of football and science fiction. Almost two decades later, in a markedly different kids’ landscape, Fajner and Calvet are returning to the world of soccer with the same team, unveiling Heroic Football at Cartoon Forum this year. The new production skews older than Superprod’s past animation shows, eyeing a demo of 8 to 12, and is allowing the venture to flex its technical skills across its studio facilities. TV Kids caught up with Calvet, CEO, and Fajner, managing director, to learn more about the new series and their approach to navigating the complexities of the kids’ sector today.

TV KIDS: It’s been a while since the kids’ industry has seen a big football-themed animated show. I think the last one was Galactik Football. How did Heroic Football come about?

CALVET: We gathered with our friends Antoine Charreyron, Guillaume Mautalent and Sébastien Oursel, the director and main writers of Galactik Football . We had such a great time producing that show together. We said, let’s do a series together again! That’s how it started. We put some themes on the table, what we wanted to play with. Football and fantasy was a good combination. It’s two subjects that kids are fans of. They never have enough football, and they love fantasy. We had success mixing sci-fi and football in Galactik Football. We felt we could

TV KIDS: The world has changed so much since Galactik Football , from the business models to how kids consume content. How different was the development process this time around?

CALVET: It’s a full CGI show, which was not the case with Galactik Football—it was in 2D with small pieces of CGI. Here, we took it directly into full CGI and were inspired by many new visual trends and animation styles. We gathered talents like Florent Auguy, who worked on Spi der-Man: Into the Spider-Verse. He brought a great touch to the artistic direction. There are some great women artists in the directing team, too.

FAJNER: We’re going for a very dynamic directing style— there is also a great combination of humor and action in the scripts. As producers, we’ve evolved as well. We’ve produced 15 shows since Galactik Football. Antoine has directed action series, including two seasons of Batwheels All of that feeds us.

CALVET: We produce series and features. We don’t separate the two. We want our series to benefit from the high-end quality of the features. We want our features to be as efficient as possible production-wise. All this drives us to provide the best.

TV KIDS: Are you already thinking about gaming extensions, or will that come later?

FAJNER: The better the series is, the better it will translate into both media. We start by doing the series, attracting as many viewers as possible. And then translate to other media.

CALVET: Even though the market has evolved, we all need a great story and great characters first.

FAJNER: And emotional involvement.

TV KIDS: I recall Galactik Football being pitc hed as being boyskewed; I imagine you can widen that demographic given how much more involved girls are in football these days.

CALVET: Look at the audience in the U.K. for the Women’s Euro and in Australia for the last World Cup, where stadiums were full. It’s getting bigger and bigger. We have mixed teams of girls and boys. The show needs to reflect real life and have diversity. Using fantasy as the theme, we can go even further with diversity.

FAJNER: And the lead character of Heroic Football is a girl!

TV KIDS: Let’s talk more about the studio, its pipeline and the techniques you can work in.

CALVET: We wanted to develop a studio that would be able to produce every kind of animation, for series and also features, using the high-end technology we have developed, a USD [Universal Scene Description] pipeline (named FLOW) that is at the forefront of what you can do and be as efficient as possible in production. We use it to do all our projects from preschool to adults.

FAJNER: The studio has about 600 to 700 seats. We are project-driven. Our projects are all different from one another. We’re finishing a series for Netflix, and we’re doing Batwheels for Warner Bros. Animation. Those were developed for them, and we’re doing the full series production. The directors are French; the storyboarders are French. The scripting is done in L.A., but everything else is done in France and Italy in our studios (in Paris, Angoulême—next to Bordeaux—and Milan). We just started the new Astérix CGI movie. That’s as big as a French CGI movie can be; it’s the biggest franchise here.

CALVET: We’re also launching our next 2D series, Harrison and Me , for France Télévisions. We can be agile, from simple shows to complex feature films, from 2D to CGI, for all targets. The goal is to push the limit each time so the team in the studio always gets excited.

FAJNER: We keep doing productions for majors like Warner Bros. Animation, Netflix, STUDIOCANAL, DreamWorks Animation and others, and our own shows. Some are original IPs we developed. We have a big in-house development team and develop at least three to four shows a year, original shows and adaptations of existing IP. This diversity excites us and takes us to the next lev el. We’re technology agnostic. What counts is what you have on the screen at the end of the day. We’re demanding with our tech teams and artists. This new pipeline we have and the technology we are using give creative freedom to the artist and bring more efficiency into the production. That’s key to what we want to do. Distinctive projects done in an efficient

way. We do smaller budget series and we do premium budget series. We do them with the same heart.

TV KIDS: How do you see AI impacting the efficiency of production processes?

FAJNER: All the software we use in our production chain now integrates some AI components. As with any plugin in any software, they bring some efficiencies and new abilities to work faster on repetitive tasks. We are integrating them into the production pipeline. But when it comes to creation, intention, vision and interpretation, nothing replaces a team of artists, a director and an actor doing the right stuff. There are industrial parts to what we do, so any tool helps, but the tool can also create more problems than solutions. You need a creative vision, first and foremost.

TV KIDS: How do you determine the best size for your development slate so you’re meeting varied market needs without stretching your capacity?

CALVET: We don’t give ourselves limits, except that we don’t want to develop a show that is the same as another one. We have a distribution arm, Superights, so we sell the shows we produce; we want to make sure they have a portfolio of diverse projects. Aside from that, we don’t see a limit. The limit is the capacity of the creativity of the team.

FAJNER: Some projects take time to mature. We can say, let’s stop this, but keep thinking about it. You need to have some projects in the back of your mind.

CALVET: And some projects are irresistible!

TV KIDS: It’s a challenging time for the business. What priorities are you focusing on for Superprod?

CALVET: We’re sticking to what we have decided to do from the first day of the company. We’re developing shows, telling the best stories possible, trying to work with the best talents and trying to go on evolving our tools. We keep the faith. The market is changing. Some times are more challenging than other times. At the end of the day, it’s all about producing great shows.

FAJNER: When times are difficult, you must be more creative than ever, more reliable than ever and true to your partners. That’s how we can find our way through these times.

Superprod unveiled the new CGI series Heroic Football at Cartoon Forum this year.

between our studios in Italy and Vancouver. We are working on other shows together; one is Mermaids: Magic of the Deep for Netflix, announced last year, and our reboot of Winx, which will probably be released in 2025.

We were also doing well in live action with Maggie & Bianca Fashion Friends, but the world was changing fast, and platforms’ appetites were getting bigger and bigger. So, I thought buying a studio specialized in live action would contribute to faster growth for Rainbow. In 2017, I acquired Colorado Film, an Italian leader in comedies. They have a network of screenwriters, directors, directors of photography and even a talent agency called Moviement. We thought we could grow much faster in live-action production through Colorado Film, and that has been the case. We continued with Colorado’s business in comedies, but we immediately started with new genres and more international shows in line with Rainbow’s DNA. We are producing successful thrillers based on best-selling books like The Girl in the Fog and Into the Labyrinth , a love story for Net flix, which was also quite successful. We had a big action movie, My Name is Vendetta, among [the top] nonEnglish-language movies on Netflix. This was a big achievement, not only because Colorado can now produce genres besides local comedies but also because we managed to have the most-viewed Italian movie on Netflix.

We are continuing our live-action kids’ and family strategy. We launched the Me Contro Te franchise, two very popular YouTubers. We are very happy to expand

Iginio Straffi Rainbow Group

By Anna Carugati

Rai nbow began as one company in 1995, focused on animated fare for youngsters. One of its first hits was Winx Club, a series for girls that spun off movies, a live-action series, toys and merchandising. Today, Rainbow Group, led by Iginio Straffi, founder and CEO, includes animation and live-action studios, a talent agency and a toy com pany. Straffi talks to TV Kids about his investments, upcoming shows and the joy he derives from reimagining stories from the past for today’s young audiences.

TV KIDS: What has been the strategy to expand the company? STRAFFI: My vision for the last ten years has been to grow the company with some strategic acquisitions, starting with Bardel in 2015, an established animation service provider in Vancouver and Kelowna. We wanted a fully integrated company from preproduction and postproduction facilities in our studios in Italy to original and top- quality animation in Canada and have everything inhouse, from the concept to the finished show. Bardel has contributed to increasing the quality of our work. They are also servicing Disney, Netflix and Warner Bros. We have produced many shows with Bardel, and visually, you can see the improvement. The first one was 44 Cats, which I believe brought the standard for television animation to a new level—the facial expressions, fur and movement, all of which we implemented thanks to the collaboration

TV KIDS: Is it necessary for a company to be of a certain size to compete in today’s market?

STRAFFI: Yes, that is one of the reasons why we have made these acquisitions. We are looking for other opportunities in the market because size matters a lot, nowadays more than before. You have to have a certain size to sit at certain tables, finance certain projects and retain the rights. If you don’t have money, you have to produce IPs just as a service provider; you will not get a contract where you own the IP. We try to own IPs and their rights and exploit them in every media, including licensing and merchandising. We have to make investments to finance our IPs and shows, and then the platforms will start to pay on delivery and, in the next two years, with quarterly payments. But you have to [make the investments] upfront. If you are too small, you can’t even find bank facilities to help.

TV KIDS: What is your view of the children’s content market today, and how do you identify ideas that have the potential to become successful brands?

STRAFFI: We see many proposals on paper and IPs coming from publishing or other media, such as video games, and we try to analyze their potential. First, it needs to be content

our content offer from kids’ animation to kids’ and adult live action in various genres.

audiences want to engage with. Second, it has to have merchandising opportunities. It’s a double challenge because sometimes we have content with great entertainment value but poor chances of translating into successful merchandising and none of the elements that make a toy company or licensees happy. So, most of the time, Rainbow has to pass on these kinds of IPs because we have developed our business into a company that produces content that can be merchandised with salespeople organized by categories and countries. To feed our organization, we need to have IPs with certain elements. That’s our criteria for choosing.

The world of cartoons and entertainment has fragmented. It is now more competitive than before because there are so many places where kids are watching their favorite content. The best option would be to be everywhere, which creates two problems. One is that many broadcasters want to have all the rights, and they also have certain digital expectations. The other is that there are too many broadcasters and platforms, but you can’t be on a network and a competing network, so it’s more difficult to reach kids. We’ve learned that if you have IP with a certain heritage, background and awareness, you can try to create something around it and bring it to a new audience. That is the advantage of something that is already in people’s minds. When you start from scratch, you need a great idea and very committed broadcast partners or platforms because otherwise, they don’t have the patience to let the IP grow. They want immediate results. You risk having a great product that never becomes successful.

TV KIDS: You are working on a live-action show, Gormiti: The New Era, that you will bring to MIPCOM.

STRAFFI: Gormiti was a toy in the ’80s but still has a high lev el of awareness in certain European countries. It started in Italy, but it’s also in Spain, France and Greece. It was brought to television in the form of cartoons. When I had the opportunity to create new content for this brand, I embarked on this project because I strongly believed in its potential. Instead of a new animated version, I immediately thought we should do a live-action show with many stunning visual effects—a very interesting coming-of-age story about kids who end up living an adventure far bigger than them. They must keep everything undercover because they cannot tell anyone in school or their parents. They must live a double life because they have this special encounter— they have to save the planet of Gorm, where the Gormiti are from. The children develop a bond with people from this other world and will have to save their world, which, in a way, is related to our planet. It is a real action adventure, but I want it to be more in line with today’s storytelling, like We Can Be Heroes, a very successful Netflix movie from a couple of years ago. To bring Gormiti to a new generation of fans, you have to give them all the [right] elements—characters they can relate to, a desire to become friends with the Gormiti and be part of the Gormiti world. We are very pleased with what we are doing.

TV KIDS: You also reimagined Pinocchio. STRAFFI: I’m trying to reimagine all these big IPs. My first question is always, what can be attractive today about this beautiful story if you are a boy or a girl in South Korea, Mexico or Africa? When I pose this question, I have to come up with solutions to reinvent parts of the story that the original author was not interested in solving. For Carlo Collodi, Pinocchio was an Italian tale told more than 100 years ago. His world was different from ours. I tried to reinvent the world of Pinocchio, maintaining its DNA, the main characters and the main parts of the story, like when Pinocchio has the misadventure with the shark. We have placed everything inside a modern setting where Pinocchio lives with his friend Freeda; I thought we needed a female lead in Pinocchio’s world. I liked the idea of having a pirate girl who lives on an island and is under a spell. She was transformed into a ragdoll and needs to become a girl again. We know from the book that Pinocchio wishes to become a real boy. It’s nice that these two characters cross paths, become friends, live an adventure and have the common goal of becoming human. Pinocchio and Friends is doing very well in the countries where it is airing, so I think we have managed to give new life to this fairy tale.

TV KIDS: How are Rainbow’s licensing and merchandising businesses?

STRAFFI: We suffered during the pandemic with stores closed and licensees that were not producing stuff for a while, at least not in Europe. Now, post-Covid, we are back in full action and very excited. Pinocchio and Friends is already delivering licensing results even with only 26 12- minute episodes, and the second season will be released this fall. We are launching the licensing program for Mermaids: Magic of the Deep, Gormiti: The New Era and, eventually, the reboot of Winx. We will have three merchandisable IPs that will air between 2024 and 2025.

TV KIDS: If you look ahead 12 to 24 months, in which businesses do you see the most growth potential?

STRAFFI: We have a lot of potential in licensing and merchandising, but my live-action division, Colorado Film, is growing double digits every year in revenues and number of projects. We have a pipeline with various output deals in place. I believe the kids’ licensing and live action for kids and adults should give us nice growth.

Rebooting classic IPs is among the priorities at Rainbow, which rolled out Pinocchio and Friends

Chris M. Williams pocket.watch

focus on walled gardens because we know there will be limited options and choices, and you want to be curated into those services. FAST was providing a new way of doing that. We saw it as a great opportunity early on to build our brands and fulfill our overall mission of being everywhere kids are. We want to bring kids and families the creator content they crave in ways that parents and the FAST channel platforms can embrace.

We’ve come a long way in the last five years. Our two channels, pocket.watch and Ryan and Friends, are the most distributed kids’ FAST channels. The pocket.watch channel is available on ten different platforms; Ryan and Friends is on nine. We’ve generated over 100 million hours of watch time since we launched, and we are doubling year over year.

TV KIDS: How has pocket.watch’s FAST strategy evolved over the last five years?

By Kristin Brzoznowski

Tapping into the creator community, pocket.watch has been building billion-dollar franchises around kid stars from YouTube, including the global phenomenon Ryan’s World. It has now taken its strategy of reaching kids and families everywhere they are into the FAST space, with two channels—Ryan and Friends and pocket.watch—that have garnered more than 100 million hours of watch time. Chris M. Williams, founder and CEO of pocket.watch, tells TV Kids about how the company is driving awareness for all of its YouTube-originated kids’ and family brands

TV KIDS: What opportunities did you identify early on in the FAST space?

WILLIAMS: A big part of what we do is working with popular creators from YouTube, primarily in the kids’ and family space. Extending their businesses in franchiselike ways, including content distribution, is our core mission. When I started the company, if you had said, “Hey, you’re going to have two linear channels,” I would have said, “You’re crazy.” VOD was taking over at that point. It took me by surprise how quickly these new FAST services came on. It was always important to me to get real estate early. When we see an area that has momentum, we try to get in front of it. When we started seeing services like Samsung TV Plus and Pluto TV growing, we said we should be there.

We also like that these are walled gardens. When we’re extending these massively popular creators’ IP into other areas, we don’t focus on the open platforms, like Facebook or Snapchat, as other companies do. We

WILLIAMS: We’ve benefited from being early. We introduced Ryan and Friends as our version of the Oprah Winfrey Network; Ryan [Kaji] is to Ryan and Friends as Oprah is to OWN. The idea was to bring together a lot of different creators; we have more than 23 friends as part of Ryan and Friends. This is a big evolution. We thought about individual show channels or creator channels, but we found a sweet spot with Ryan and Friends, where he can cast a halo over these other creators and their content. They’re also huge in their own right, but he is the biggest pop culture icon; he’s the ambassador. We’ve seen such great success with that. It’s a flywheel. Once these things gain momentum and success, other platforms want them.

Where the evolution needs to continue is monetization. When we think about kids’ content broadly, there’s been such an evolution in the business model from cable, which was a cash cow for funding great, enriching content, to now having to rely on subscription services. If we can become more successful in monetizing kids’ content through FAST channels and other means, advertising being a big component there, that is a big win for us, our creator partners and our platform partners.

We program our channels to support and amplify our other lines of business. You’ll see tie-ins where we might do a whole thematic around Ryan and Friends, which then might embody itself in consumer-products partnerships. We’re also beginning to focus on how we might drive subscribers to our SVOD service, Ryan and Friends Plus, which is an extension of our FAST channel Ryan and Friends.

TV KIDS: How are pocket.watch’s FAST offerings programmed, scheduled and curated?

WILLIAMS: So much of what we do is around working with these massively popular kids’ and family creators

on YouTube; we have 45 partners today, and we continue to grow. We are curating, enriching and packaging that content to be distributed more broadly onto premium platforms. We make it super safe and give a lot of confidence to business partners like FAST platforms and to parents directly that this is now a safe environment to give kids what they crave. We take that YouTube content and package it as 22-minute episodes, applying those standards of enrichment, finding the best of the best and making them more like TV with interstitials and things like that so they can sit on those platforms. That makes it much more flexible for us in terms of how we program our FAST channels, utilizing these YouTube-to-TV exports. We’re doing best-ofs, promotional episodes for new series, event-driven stunts—around Halloween, Black History Month—and try to eventize programming, not unlike what traditional television has always done in the past. Data informs what’s working and what’s not working and gives us roadmaps to curate and program our channels. That data is much richer and much more real-time, although it’s complicated and challenging. It enables us to make decisions pretty fast.

You’ll start to see our FAST channels serve as a window [for SVOD], as we are focused on original programming for Ryan and Friends Plus. Our original programming is done in partnership with these creators, so this is a new IP extension of what they’re already doing. We’ll make those a bigger part of our FAST channels going forward.

TV KIDS: Tell us about the revenue models pocket.watch is working with for FAST.

WILLIAMS: There are typically two ways you engage with a FAST platform. One is you take half the ad inventory and monetize that yourself through direct sales and programming any ad waterfalls associated with that inventory. Or you do some sort of rev-share where the platform sells the ads and shares the revenue with you. Every time we can, we choose the former; we would like the ad inventory. We’re packaging across many outlets. We’re one of only a handful of companies that Google has granted ad-sales rights to for selling YouTube Kids’ ad inventory. YouTube Kids is the largest platform for kids’ content distribution in the world. We can package that along with our FAST

channels, AVOD apps, gaming downloads and custom content from the biggest kids’ creators in the world. This creates an incredible mix of assets with so much value to advertisers.

There are still some instances of fixed fees, particularly if there’s an ask for no-advertising versions of your channels. We are launching on a platform with a non-ad-supported channel where we’ll get a fixed fee for every subscriber.

TV KIDS: How are you approaching analytics?

WILLIAMS: All of these platforms deliver data in different formats. We’ve developed proprietary tools that help us collect, normalize and analyze all that disparate data. We started making those investments three years ago, and they’re paying off in terms of at least giving us an opportunity to aggregate all that data and normalize it. It looks like an opportunity for someone, particularly as it relates to advertising. How are we able to communicate effectively with advertisers about how big the audiences are? We’re on ten platforms and continuing to grow. Pulling that all together and giving unduplicated data still represents a big challenge, especially as we try to make a go of it in the ad market. There are definitely opportunities there.

TV KIDS: What are your predictions for FAST and the kids’ programming segment?

WILLIAMS: This isn’t a category that five years ago I would have thought would be as huge as it is today. We think it’s going to grow. It’ll go through waves of adding and pruning channels. Over the last couple of years, it sped up so fast, and then there were so many channels; some were just not successful, and a lot of those got pruned. Now it’s back into growth mode again. We think [the market will] innovate in new ways to transition more fluidly between FAST, on-demand and subscription. A lot in the ecosystem needs development and innovation that will benefit publishers and studios like us and networks. In the long term, monetization has to improve. I think these FAST platforms will learn that they need to embrace as many partners as possible to improve that monetization.

Pocket.watch develops multiplatform brands out of YouTube creator shows, extending its footprint across SVOD, AVOD and linear channels.

in a safe environment. From there, we moved from owned-and-operated apps into FAST.

Just as we partner with leading platforms like TikTok and YouTube to help them elevate the quality of children’s digital media, we see a way to bring world-class content vetting and curation to the FAST space. FAST is increasing tremendously, but the kids’ sector is lagging in terms of monetization. Brands are concerned about trust, privacy issues and a lack of standards. We offer solutions that work not only for kids and families but also for brands and platforms, and this is true on FAST channels as well as across other media.

TV KIDS: What gaps do you see in the ecosystem?

BERGER: The FAST sector is narrow when it comes to the kids’ space. It’s missing the bridge age, kids 6 to tween. There are about 75 FAST channels out there in the kids’ space, mostly focused on preschool animation—missing out on a lot of the content that young kids, the ones above preschool, love: shows from digital-first creators that focus on a wide range of topics of interest, such as DIY, cooking, sports, video games, STEM, etc. It’s very difficult to find digital-first content that is appropriate; it takes a lot of trial and error. So, we anchor in thematic programming for our FAST channels. We’ve spent the last few years identifying well-produced, safe, digital-first content that’s widely appealing to kids and families.

TV KIDS: How does Common Sense Networks approach the content curation process for FAST channels?

Eric Berger Common Sense Networks

By Kristin Brzoznowski

Grounded in the work of Common Sense Media, Com mon Sense Networks is on a mission to create and curate safe, age-appropriate content for kids and families and reach these audiences across multiple platforms. Its Sensical AVOD service is a topic-based, algo rithm-free streaming OTT destination filtered through a proprietary rubric based on comprehensive child development research. There are also three dedicated FAST channels— Sensical Jr., Sensical Makers and Sensical Gaming—which again feature a vetting process that’s a key point of differentiation. Eric Berger, CEO and co-founder of Com mon Sense Networks, talks to TV Kids about the multiplatform strategy to reach kids everywhere they are.

TV KIDS: What’s guiding Common Sense Networks’ multiplatform strategy?

BERGER: We started Common Sense Networks’ business in 2020, inspired by the work of Common Sense Media, which is a leader in providing families with ageappropriate information at the center of technology and media. We launched Sensical two years ago, and it came out as a critically acclaimed AVOD service to provide kids and families with engaging video experiences that are algorithm-free so that kids can explore

BERGER: We source, but we vet. On the source side, it’s about understanding the audience deeply. We have a heritage of understanding the parent audience as it relates to media, but here, we need to understand kids at very specific age segments. We’re following trends, and we work with and across the major creator platforms as well to understand the content habits of these kids. We look at thousands of series where content is trending on these platforms, and we find content that is “good TV” for FAST. There’s a lot of content that works well on-demand, but it’s got to be good TV to be on FAST.

The secret sauce is the vetting side. We’ve created an industrial vetting process for looking at content. We’re the only ones that have child development experts watch every frame of every video, and we score it using our standard. We like to say that vigilance is our filter and consistency is our goal. In using this standard, we create an inordinate amount of metadata that helps us with the programming, content classification and advertising. This is done through a proprietary age-appropriate content standard that’s based on 20 years of child development research at Common Sense Media, but we’ve adapted it for shortform and digital-first content.

L&M Trends / Inanimatti’s Chris Bangle

The only video portal for the kids’ media industry.

Ricardo Seguin Guise Publisher

Mansha Daswani Editor-in-Chief

Anna Carugati Editor-at-Large

Kristin Brzoznowski Executive Editor

Jamie Stalcup

Alexa Alfano Associate Editors

David Diehl Production & Design Director

Simon Weaver Online Director

Dana Mattison Sales & Marketing Director

Genovick Acevedo Sales & Marketing Manager

Daphne Menard Bookkeeper

Brand Plans

Mattel and Hasbro made waves in the L&M business earlier this year, when the rival toy giants announced a multiyear agreement to create co-branded toys and games from some of their most popular brands. So much so that the news led to both companies seeing a spike in their share prices.

While parents will always find a way to spend money on the things their children want, inflationary pressures have families across the globe being smarter about their financial decisions. You need all the tools in your arsenal at the ready to make an impact if you’re going to prompt consumers to open up their wallets. And partnerships certainly help on that front, as several executives indicated to us in our special report on L&M trends.

CONTENTS

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Leading brand owners discuss their strategies for building awareness through robust L&M campaigns and extensive digital availability.

Ricardo Seguin Guise President

Anna Carugati Executive VP

Mansha Daswani

Associate Publisher & VP of Strategic Development

TV Kids

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IP owners are also prioritizing ubiquitous distribution, noting that you can’t just be on a Netflix or a Super RTL; if you want a brand to resonate, you do need to be everywhere. And if you’re launching something new, well, trying your brand out on gaming or social media platforms may be the wisest way to go. That was the message from media cartographer Evan Shapiro at the TV Kids Summer Festival this year: “Launch the content there, establish the IP and the relationship and the cult around the intellectual property on these other platforms before you start to try to extract the value from the gatekeeper economy.” Mansha Daswani

GET DAILY NEWS ON KIDS’ PROGRAMMING

INANIMATTI’S CHRIS BANGLE

The car designer is bringing his unique style to the animation space with the brand-new kids’ series

Arky Arch Adventures .

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TO PLAY

In a world where parents are becoming increasingly concerned about their children’s screen time, a well-planned consumer-products campaign can allow kids to step away from their TVs, tablets and phones while still engaging with the characters and brands they love through play.

Retail loyalty programs “enhance consumer awareness as well as amass demand for licensing and merchandising and create huge interest and awareness with broadcasters across the globe,” says Joachim Knödler, head of licensing at Studio 100 Media.

As always, the toys and games category remains one of the most important for the kids’ demographic, says Grégory Pierron, category manager at DeAPlaneta Kids & Family, pointing to successful toy lines created for Milo and Miraculous: Tales of Ladybug & Cat Noir with Bandai.

T he toys category “lays the foundation for all the other licensing categories,” Knödler notes. “Next, we see softlines (apparel) as the strongest category,” he says. “With the right approach, particularly with softlines for a more mature target group, it’s a key driver for significant turnover achievements.”

Leading brand owners discuss their strategies for building awareness through robust licensing and merchandising campaigns and extensive digital availability.

By Jamie Stalcup

Studio 100 Media has developed apparel programs for some of its most iconic IP, including Heidi and Maya the Bee . These softlines can reach beyond the kids’ demographic, as seen with Bergmensch’s adult Heidi T-shirt.

Collaborations with other brands and artists for special collections help to attract a wider audience.

“These partnerships result in unique and exclusive items that generate buzz and excitement among our customers,” says Catherine A. Rijsdijk Sous, senior category manager and head of international, fashion and LBE at DeAPlaneta Kids & Family.

As kids grow up, collectibles, figurines and apparel remain popular categories. Both are the strongest performing retail sections for Konami Cross Media NY’s Yu-Gi-Oh!, which is currently “enjoying a renaissance with the surging popularity of anime,” comments Jennifer Coleman, VP of licensing and marketing.

In this increasingly digital age, one might think that brick-andmortar retailers are a thing of the past. To the contrary, they are more important than ever in a myriad of ways, DeAPlaneta’s Pierron says. “Kids’ products such as toys, clothing and books often benefit from a hands-on, tactile experience,” he notes.

“Physical stores allow children and their parents to touch, feel, try on and interact with products before making a purchase.”

Studio 100 is the German L&M partner on BBC Studios’ Bluey, with a local slate of licensees that includes Moose Toys.

That being said, online availability is still vital. “This is notably the case for new brands,” Studio 100 Media’s Knödler says. “Online presence prepares the ground for brickand-mortar retail, where volume is still high and important.”

Such is the case with HARI, says Corentin Besse, brand manager. “At the moment, we sell our products mainly through our online shop. This distribution channel is working extremely well. We would like to grow the visibility of our products further and meet the high demand by developing a presence in major retailers.”

“Physical experiences and events provide us with unique opportunities to engage with our target audience in a more personal, emotional and tangible way,” notes DeAPlaneta’s Rijsdijk Sous.

Some companies can take this to the next level with elaborate location-based experiences. “Studio 100 has a significant theme park business,” Knödler points out. “This is where consumers can experience our brands directly, and we have a huge fan base, resulting in more than 4 million visitors in our nine theme parks and two water parks. There is a growing business of ‘multi-day experiences,’ thanks to the evolution of destinations like Studio 100’s indoor parks, water parks and even theaters, supported by holiday resorts, campsites and hotels.”

Youtooz has rolled out collectibles for Konami Cross Media NY’s Yu-Gi-Oh! brand.

These types of multi-day attractions aren’t the only way to engage children and their families in person, though.

“For retailers, we [offer] a ready-to-use package including immersive shelves, photocalls, one-to-one character silhouettes and more,” says HARI’s Besse.

Pop-up shops achieve the same level of connection. Konami Cross Media NY’s Coleman notes that Yu-Gi-Oh! licensing partner Hypland opened popups during the pandemic in New York City and Los Angeles and experienced lines around the block. “We know this is a way that Yu-Gi-Oh! fans will come together and support the brand, and we are actively looking at more ways to do this in different locations.”

Just as brands must be present in all types of retailers, they must be available across the many digital avenues, particularly social media. Kids love to feel like they are friends with their favorite characters, and social media offers a way to foster this connection.

“For our brand Vegesaurs, TikTok was a new opportunity, and we are delighted with the campaign and overall results,” says Studio 100 Media’s Knödler. “It gained an engagement rate that increased across all platforms, including Facebook and Instagram, by more than 50 percent within five months. We are creating more digital content and want to focus on the parent target group as well.”

There’s an extensive L&M campaign behind HARI’s Grizzy & the Lemmings.

HARI has encountered equally massive success via social platforms. “Our Grizzy & the Lemmings YouTube channel is consistently growing, with nearly 7 million subscribers and more than 1 billion viewers per year,” Besse says. “This channel complements the TV environment perfectly. We are also about to launch a YouTube channel for Mystery

Lane . Both properties have Facebook and Instagram pages, enabling direct communication and interaction with our base.”

DeAPlaneta has launched TikTok campaigns for IPs such as Miraculous and Pucca, featuring “snippets, challenges and trends that resonate particularly well with a younger audience, encouraging them to create and share their own content related to our IPs,” note Pere Bacardit Pujol, head of communications, and Anna Campistol Agustí, head of digital.

Where kids’ content will live at and after launch is perhaps the most crucial choice IP owners can make. “It is essential for the success of an L&M program that the content is continually available, either via television broadcast or streaming channels,” Knödler of Studio 100 Media says.

“It is essential for the success of any L&M program that the content is continually available.”

—Joachim Knödler, Studio 100 Media

Inanimatti is the home of an extensive narrative world created by renowned car designer Chris Bangle and his partners. Its first animated kids’ project is Arky Arch Adventures, a comedy adventure targeted to kids 6 to 12. It follows the story of Arky, a hopeful, young Roman Arch who embarks on a high-stakes journey across the planet Tredi to uncover his true purpose—and save the world from devastation.

Bangle, co-founder of Inanimatti and creator of Arky Arch Adventures, talks to TV Kids.

Chris Bangle Inanimatti

By Kristin Brzoznowski

TV KIDS: What types of productions do you want Inanimatti to become known for?

BANGLE: Arky Arch Adventures stands as the first property within the expansive Inanimatti universe that we have created. This series serves as the introduction to a realm that is literally brimming with countless tales and escapades that we’ve been painstakingly developing, all waiting to be uncovered in subsequent seasons.

TV KIDS: What makes the show stand out?

BANGLE: It harnesses the power of animation in a distinct manner, ingeniously transforming ordinary objects into relatable characters within an extraordinary dimension. This series offers captivating, on-the-edge-of-your-seat narratives.

In-Demand: Comedy

Shasha & Milo

Commissioners: EBS, Tencent, Warner Bros. Discovery Latin America

Producers: Zodiak Kids & Family France, Pingo Entertainment

Distributor: Pingo Entertainment exclusively controls all rights in Korea, Japan and Southeast Asia. Zodiak Kids & Family Distribution controls international distribution rights in the rest of the world.

Description: (6-9, 25x22 min. & 12x2 min.) Shasha and Milo are tasked with protecting Crescent Island from the dark forces that lurk beneath while navigating the daily complexities of preteen life.

Pitch Perfect: “Shasha & Milo will appeal to 6- to 9-year-old audiences globally, with powerful action and lighthearted comedy. An original series showcasing industry-leading, premium storytelling and world-class animation.”

—Delphine Dumont, Chief Commercial Officer, Banijay Kids & Family

Slot Winner: The series will debut this month on EBS in Korea. Warner Bros. Discovery Latin America and Tencent (China) have also picked up the show.

Sales Contacts: Cecile Cau, SVP, Co-Productions, Sales & Acquisitions; Julia Rowlands, SVP, Co-Productions, Sales & Acquisitions; Vaibhav Batter, Sales Executive.

Johnny Test

Commissioner: Netflix

Producer: WildBrain

Distributor: WildBrain with worldwide rights.

Description: (6+, S1-2: 40x11 min.) Johnny Test is back, along with his loyal dog Dukey, his super-genius sisters Susan and Mary, and all the craziest kid villains of Porkbelly. The initial six seasons of the animated comedy ran on several networks from 2005 to 2013, including TELETOON in Canada and Cartoon Network in the U.S. The revival land ed on Netflix in 2021.

Pitch Perfect: Two new seasons from original creator Scott Fellows. All-new, all-out adventures, battles and experiments-gone-haywire await as the unshakable kid with the flaming hair tackles the challenges of adolescence with the help of his sisters and their most cutting-edge experiments yet.

Sales Contacts: Caroline Tyre , VP, Global Sales & Rights Strategy; Wiebke Hoefer, Senior Director, Sales; Darcee McCartney, Sales Manager; Max Tang , Senior Manager, Content Partnerships.

In-Demand: Comedy

Monster Loving Maniacs

Commissioners: Super RTL, DR

Producers: Ja Film, Belvision, Ginger Pictures, Mondo TV

Distributors: Mondo TV and Toon2Tango worldwide, excluding Scandinavia.

Description: (52x11 min.) Three siblings go into training with their grandfather to become Monster Hunters—but they want to get to know the monsters rather than hunt them.

Pitch Perfect: The show is fun, with lots of excitement and humor, as well as bigger themes, like families, relationships and coping with our fears, all delivered with wit, energy and stylish, skilled animation. And, of course, there are lots and lots of monsters and lots of comedy.

Slot Winner: A hit on CBBC in the U.K. It will premiere on Super RTL in Germany on November 6. It has sold to 90 countries, striking a chord with broadcasters, with more to be announced soon.

Sales Contacts: Luana Perrero, Head, Content Sales, Mondo TV; Ulli Stoef, CEO & Producer, Toon2Tango.

Davey & Jonesie’s Locker

Commissioners: Hulu, Prime Video, Distribution360 (a Blue Ant Media company)

Producer: marblemedia (a Blue Ant Media company)

Distributor: Distribution360 holds rights outside of North America.

Description: (12-18, 10x30 min.) A comedy of multidimensional proportions featuring Davey and Jonesie, a pair of misfit BFFs in a teenage prison of mediocrity, also known as Schrodinger High. That is until their locker throws them a universe-twisting curve ball.

Pitch Perfect: A character-driven comedy like no other, with sophisticated humor that speaks to teens and a cool and quirky visual signature that will also appeal to older kids and a YA audience. Buddy comedies for-comedy’s-sake where the chemistry is palpable are most often reserved for male leads, so this female-forward approach is special. Davey and Jonesie’s friendship is relatable and aspirational; the girls affirm that you can go against the grain and let your freak flag fly with your BFF—especially if the result is hilarious pandemonium!

Sales Contact: Diane Rankin, EVP, Rights & Executive Producer, Distribution360.

In-Demand: Preschool

Jonny Jetboy

Commissioner: iQIYI

Producers: Beijing iQIYI Science & Technology Co., Winsing Animation, WildBrain

Distributor: WildBrain has worldwide rights, excluding China, Taiwan, Hong Kong and Macau.

Description: (Preschool 4-7 action/adventure, 40x11 min.) Jonny Jones and his family are secretly superheroes known as The JetFleet! Together, they face off against their city’s villains, all the while learning what it is to be a true hero.

Pitch Perfect: “This MIPJunior and MIPCOM, we’re launching Jonny Jetboy, an original series from PAW Patrol creator Keith Chapman, produced by iQIYI in collaboration with WildBrain and Winsing. Keith’s terrific new series has all the right ingredients to entertain families worldwide, including actionpacked adventures, heroic characters and high-tech gadgets.” —Caroline

Tyre, VP, Global Sales & Rights Strategy, WildBrain

Sales Contacts: Caroline Tyre; Wiebke Hoefer, Senior Director, Sales; Darcee McCartney, Sales Manager; Max Tang, Senior Manager, Content Partnerships.

Bing

Producers: Acamar Films, Brown Bag Films

Distributor: Acamar Films with all rights.

Description: (Preschool 0-6, S1: 26x7 min., S2: 26x7 min., S3: 26x7 min., S4: 26x7 min., Christmas special: 1x23 min., plus non-episodic content)

Delighting audiences for almost a decade, Bing embraces the big little moments and imperfect adventures of everyday toddler life.

Pitch Perfect: “Bing is the global award-winning series supporting healthy child development. Bing has been licensed to 130 territories and continues to ‘move and delight’ through an increasing range of award-winning books, magazines, apps, consumer products, live shows and digital and cinema experiences.” — Eroulla Constantine, Director, Sales & Distribution, Acamar Films

Slot Winner: Bing is a top-rated TV show, including on Rai Yoyo in Italy, Clan TV in Spain and CBeebies in the U.K. It remains one of the most requested preschool shows in the U.K. on BBC iPlayer. It launched in France on France 5 and Okoo, becoming a top-rated show in April 2023. Over 7 billion lifetime YouTube views and 1 billion watch time hours.

Sales Contact: Eroulla Constantine.

JUST FOR KIDS!

From beautifully animated new CGI preschool shows to high-energy comedies and compelling tween/teen series, there’s something for every kids’ content buyer in the latest edition of the TV Kids Screenings Festival

ZDF Studios is unveiling a preschool animated series this MIPJunior: Sam and Julia . “The funny, entertaining adventures of our two little heroes in and around The Mouse Mansion allow young viewers to become more integrated into new and different environments they may have to face,” says Arne Lohmann, VP Junior. Coming from a distant island, Julia, a cute and speedy little she-mouse, has moved into a residential building (aka “The Mouse Mansion”) where she feels a bit like a stranger. She gets to meet Sam, who also lives there and is a

ZDF Studios’ Sam and Julia

wel coming and crafty little hemouse. Julia only has her Mum. Sam, on the contrary, has a large family with Mum, Dad and six siblings. Despite their different characters, they soon get to like each other very much. Skewing older, to kids 6 to 9, Tobie Lolness is based on the novel by Timothée de Fombelle. “A coming-of-age story of adventure, heroism, friendship and survival, with a powerful environmental message, set in a miniature world,” Lohmann says.

HARI is targeting the 6-plus comedy space with its new CGI series Mystery Lane , which features “lots of mysteries, action, suspense and fun, packed in a feature-quality CGI animation with sophisticated sto rytelling that will captivate kids and families globally,” says Sophie “Kido” Prigent, head of sales. Prigent also highlights season four of Grizzy & the Lemmings World Tour : “Our multi-award-winning slapstick phenomenon is unstoppable,” she says.

The Australian Children’s Television Foundation (ACTF) is showcasing its latest live-action tween comedy, Crazy Fun Park , targeted at kids between the ages of 10 and 16. “Full of quirky characters and set in an extraordinary world full of ghosts and ghouls, Crazy Fun Park is a lifeaffirming, visually stunning, rollicking ride, and we can’t wait for audiences to experience it,” says Bernadette O’Mahony, head of content. For preschoolers, meanwhile, there’s the animated series Kangaroo Beach ,

HARI’s Mystery Lane

ACTF’s Crazy Fun Park

which delivers fun storylines alongside water safety messages. “There’s lots and lots of fun on the beach, adventure and a rescue and water safety awareness and guidance in every episode,” says Patrick Edgerton, executive producer at Cheeky Little Media.

An aspiring influencer sees her life turned upside down when her parents banish her from the online world and force her to switch from a posh private school to a regular one in Bavaria Media International’s Meme Girls . The dramedy is skewed toward 10- to 15-yearolds. “A young and cool female series for tweens and teens who are totally hooked on social media,” says Helge Köhnen, head of content sales.

ZDF Studios is also bringing two live-action kids’ series to MIPCOM, both returning brands. #LikeMe, with a fourth season available, “is a musical series that shows youngsters the lives of other youngsters in a unique and contemporary way—by using witty dialogue, familiar situations, pressing issues, strong characters and, of course, powerful music,” says Marei Bruckmann, Director Junior. Bruckmann also highlights season

Bavaria Media International’s Meme Girls

ZDF Studios’ Theodosia

CAKE’s Cracké Family Scramble

two of Theodosia . “After the success of the first season, more broadcasters and streamers will now join the magical adventures of Theodosia with the second season. The series provides exciting entertainment for children in all countries around the world. We are proud to be involved in another great project with our partners at Federation Kids & Family.”

CAKE recently took on the non-dialogue animated comedy Cracké Family Scramble from Squeeze Productions and will be launching the series, for kids 4-plus, at MIPCOM. “ Cracké Family Scramble is a fun, familyfirst, high-quality adventure series in which hilarious stories and physical humor center around family life and the many challenges of an inexperienced parent,” says CEO Ed Galton.

DeAPlaneta Entertainment Kids & Family is looking forward to introducing buyers to season two of Milo , a preschool adventure series. “We are happy to present the second season of Milo after the success of the first one, as well as a couple of 22-minute specials about Christmas and Hal loween,” says Carlos Biern, director of distribution and content. “Milo

Pink Parrot Media’s Joy Eternal

DeAPlaneta Entertainment’s Milo

Mediawan Kids & Family’s Leaves & Roots

and his friends will continue role-playing to show the kids that being whatever they want will be amazing.” There’s also a brand-new comedy for 5- to 8year-olds, Monster Shaker. The book-based animated show “is full of comedy that will depict a wide range of monsters kids will love,” Biern says.

Mediawan Kids & Family also arrives in Cannes with a new preschool animation: Leaves & Roots , about an ostrich and a mole who are best friends. “ Leaves & Roots is a new preschool comedy series star ring an adorable duo: a mole and an ostrich challenging norms and building bridges between their communities,” says Julien Borde, CEO. “Behind every story, we hope to show that peaceful coexistence provides emotional value if we take the time to learn and discover each other.”

Pink Parrot Media is introducing its clients to a new 2D mystery/adventure series focused on a 16-year-old girl. “ Joy Eternal is an incredible story that grabs you from minute one, and you will want to binge-watch,” says Begoña Esteban, head of international sales and acquisitions. “Mystery and adventure are accompanied by tons of verbal and kinetic humor with a simply spectacular look.” Also on offer, Louis the Piglet is targeted at kids aged 5 to 8, with 13 episodes available in season one and another 13 in development for season two.

ACTF’s Kangaroo Beach

DeAPlaneta Entertainment’s Monster Shaker