TV Kids MIPTV 2019

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TVKIDS

WWW.TVKIDS.WS

APRIL 2019

MIPTV & INTERNATIONAL EMMY KIDS AWARDS EDITION

OTT Demands / Preschool Shows / Media-Participations’ Claude de Saint Vincent / Rai’s Luca Milano Mondo TV’s Matteo Corradi / Serious Lunch’s Genevieve Dexter / Pop’s Sarah Muller / Gloob’s Tatiana Costa

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12 TV KIDS

CONTENTS

Outside the Box

FEATURES

32 DIGITAL NATIVES Leading distributors discuss how they are working with OTT platforms.

According to a recent assessment by Forbes, an 8-year-old boy is YouTube’s highest-paid star, raking in an estimated $22 million in the 12 months to June 2018.

Ricardo Seguin Guise Publisher Anna Carugati Group Editorial Director Mansha Daswani Editor Kristin Brzoznowski Executive Editor Chelsea Regan Alison Skilton Associate Editors Victor L. Cuevas Production & Design Director Phyllis Q. Busell Art Director Simon Weaver Online Director Dana Mattison Senior Sales & Marketing Manager Nathalia Lopez Sales & Marketing Coordinator Andrea Moreno Business Affairs Manager

Ricardo Seguin Guise President Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development TV Kids ©2019 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvkids.ws

Naturally, after reading a figure that staggering, I had to head over to the site to see just what this pint-sized power player is doing to earn this fortune. One of the platform’s top “influencers,” with some 18 million followers, the child star behind the YouTube channel Ryan ToysReview simply opens and plays with toys on camera—albeit doing so with a rather adorable grin and giggles.

While it may be head-scratching to some that kids would want to watch another kid playing with toys, the “unboxing” phenomenon is one that has hit YouTube and other social platforms in a big way. Similarly, there are scads of “Let’s Play” videos that allow people to watch other people playing video games, and the viewing numbers for them are beyond impressive.

These unboxing and Let’s Play videos are, for the most part, not very high quality; they’re often quite low budget and feature rudimentary editing. Nevertheless, they are notching up millions of views and providing stiff competition for kids’ time and attention against slick 3D animations and live-action shows with bigger price tags.

Between apps, video games, streaming platforms, linear channels and the like, children have a lot of options when it comes to how they can spend the limited screen time their parents allow. What does it take for a show or brand to stand out in this world of overabundant choice? This is a question the creative community is currently grappling with and one that those in the kids’ content business are keenly aware of.

In this issue of TV Kids, we hear from distributors of children’s programming about how digital platforms have shaken up the industry. There’s plenty of preschool content on on-demand services, as we hear in a special feature spotlighting this demographic. Executives from Media-Participations, Rai Ragazzi, Mondo TV, Serious Lunch, Pop and Gloob share insights into how their companies are dealing with the demands of the kids’ marketplace. Even with all the upheaval in the children’s landscape, the general sentiment coming from those working in the sector remains largely the same: good stories with relatable characters will always find an audience, regardless of the platform youngsters are choosing to watch them on.

—Kristin Brzoznowski

GET DAILY NEWS ON KIDS’ PROGRAMMING

32 42 SMALL WONDERS Spotlighting what’s new in the preschool space.

INTERVIEWS

50 Media-Participations’ Claude de Saint Vincent

54 Rai Ragazzi’s Luca Milano

58 Mondo TV’s Matteo Corradi

60 Serious Lunch’s Genevieve Dexter

63 Pop’s Sarah Muller

66 Gloob’s Tatiana Costa

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14 TV KIDS

4K Media Yu-Gi-Oh! VRAINS / Contra / Frogger Even more than before, 4K Media is focused on building out its franchises, creating content and managing its brands, including the Yu-Gi-Oh! IP. In addition to series such as the more recent installment Yu-Gi-Oh! VRAINS—which premiered last year on K2 in Italy and TELETOON in Canada— 4K Media is looking to distribute some 800 episodes from the anime franchise’s vast library. In Yu-Gi-Oh! VRAINS, virtual reality, artificial intelligence and high-speed dueling merge into a fighting extravaganza. Additional titles in the franchise include Yu-Gi-Oh! The Darkside of Dimensions, Yu-Gi-Oh! The Movie, Yu-Gi-Oh! ARC-V, Yu-Gi-Oh! ZEXAL and Yu-GiOh! Duel Monsters. Further, the company has an eye on growing its game-based Contra, Frogger and Bomberman IPs using a 360-degree approach to engage fans of the brands.

Yu-Gi-Oh! Duel Monsters Xavier Riddle and the Secret Museum

9 Story Media Group Moon and Me / The Hollow / Xavier Riddle and the Secret Museum From Teletubbies creator Andrew Davenport comes Moon and Me, a new series about a group of toys that magically come to life that’s already proving successful on CBeebies.

“There is a handcrafted feel to Moon and Me that is a timely counterpoint to the prominence of technology in kids’ lives today,” says Alix Wiseman, 9 Story Distribution International’s senior VP of business development and acquisitions. The company is also showcasing at MIPTV Slap Happy Cartoons’ serialized mystery series for the over-8 set, The Hollow; and Xavier Riddle and the Secret Museum, based on Brad Meltzer’s Ordinary People Change the World book series, which tells the stories of important historical figures in their childhoods before they made their notable cultural contributions.

“We have some fantastic new content to share, including shows in development and series in production.”

—Alix Wiseman

Allspark (formerly Hasbro Studios) Transformers Rescue Bots Academy / Power Rangers Beast Morphers / Zoids Rebranding as Allspark from Hasbro Studios, the company is returning to MIPTV with its new animated Transformers series Transformers Rescue Bots Academy. The latest installment of the Power Rangers franchise, Power Rangers Beast Morphers will also be a highlight at the market for Allspark. Zoids, in which rebels team up with the titular mechanized beasts to battle a common enemy of tech-obsessed villains, is returning to the U.S. market with a brand-new series. Back with fresh seasons are My Little Pony Friendship is Magic (season nine) and Transformers Cyberverse (season two). “Whether it’s the emphasis on leadership and teamwork in Transformers or friendship and acceptance in My Little Pony, buyers know that these characters and stories resonate with viewers,” says Stephen Davis, Hasbro’s executive VP and chief content officer.

Transformers Cyberverse

“We are excited to refine our brand in the industry under the moniker ‘Allspark,’ which is a fun homage to the life force in Transformers.”

—Stephen Davis

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16 TV KIDS

Ricky the Dinosaur

APC Kids Roger / Fox and Hare / Ricky the Dinosaur Stop-motion 3D series Roger from Je Suis Bien Content has finished production in time to be among APC Kids’ highlights at MIPTV. Following the friendship between a little girl and a clumsy alien on a tropical island, it’s a series Lionel Marty, APC Kids’ managing director, believes has great international appeal. “Fox and Hare has already shown it resonates with public broadcasters, as demonstrated by the dozens of presales we have secured around Europe thanks to its really interesting look, which mixes clay and 3D animation,” says Marty. The show is an adaptation of the book series of the same name, and it has already found homes in Belgium, Finland, Norway, Iceland and Denmark. There’s also 2D preschool series Ricky the Dinosaur, in which two little city-dwelling dinosaurs and their family manage to make the everyday extraordinary.

“We remain faithful to our development curation strategy, which is focused on bringing high-profile content to global audiences.”

—Lionel Marty

Australian Children’s Television Foundation Hardball / Little J & Big Cuz / Balloon Barnyard Hardball is the Australian Children’s Television Foundation’s (ACTF) newest series to be launched at MIPTV. The fishout-of-water comedy follows a preteen boy as he moves from New Zealand to Western Sydney and finds himself competing in a high-intensity schoolyard handball competition. Animated series Little J & Big Cuz shadows two cousins living with their grandma in the outback. Animated preschool property Balloon Barnyard introduces two lovable balloon donkeys with superhero ambitions and a barnyard full of balloon animal friends. “The breadth of the content, the style and the positive values of diversity, multiculturalism and inclusion give each series broad appeal,” says Roberta Di Vito, ACTF’s international sales manager.

“Quality programming is always in demand worldwide, and for this reason, our series resonate well with audiences.”

Balloon Barnyard

—Roberta Di Vito

Bejuba! Entertainment Ruff-Ruff, Tweet & Dave / Olly the Little White Van / Where in the World?

Bringing comedy and adventure to the preschool set, RuffRuff, Tweet & Dave features the topic of choices as a central element in each episode. The main characters in the Bejuba!

Entertainment series are Ruff-Ruff, a puppy who’s always running around sniffing out fun things to do; Tweet, a fluffy yellow bird who loves to sing; and Dave, a quirky, inventive blue panda. In addition to being lead characters, Ruff-Ruff, Tweet and Dave act as the three possible answers to a series of multiple-choice games and questions within the adventures that help the trio decide what to do or how to understand the world around them. Bejuba! Entertainment also has for the preschool demo Olly the Little White Van. The live-action series Where in the World? skews a little older, targeting kids 5-plus.

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Olly the Little White Van

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18 TV KIDS

Olobob Top

CAKE Olobob Top / Pablo / Space Chickens in Space Commissioned by CBeebies in the U.K., ABC in Australia and S4C in Wales, preschool series Olobob Top follows the adventurous magical tree-living trio of Tib, Lalloo and Bobble.

“Twenty-six new adventures combine a striking visual style with humor and continue themes of creativity, friendship and teamwork, which will appeal to children and parents everywhere,” says Ed Galton, CAKE’s chief commercial officer and managing director. Pablo, the first children’s series in which the central character has autism, shows a boy’s imaginative drawings coming to life and helping him confidently take on the world. CAKE’s new co-production Space Chickens in Space combines off-the-wall comedy and a distinctive design as it tells a story about a chicken sibling trio that winds up enrolled in an elite intergalactic academy.

“CAKE continues to work with partners distributing and developing content that will work successfully on multiple levels and platforms.”

—Ed Galton Taffy

Cyber Group Studios Gigantosaurus / Sadie Sparks / Taffy Cyber Group Studios has fresh episodes of three key in-house productions or co-productions: Gigantosaurus, Sadie Sparks and Taffy. These three shows are “having amazing success with our clients,” says Raphaelle Mathieu, the company’s senior VP of sales, acquisitions and new media. Cyber Group is also offering titles from independent producers “that we are proud to distribute and bring to children worldwide,” says Mathieu, highlighting Ernest & Rebecca and Purple Turtle. “I believe in the potential of Ernest & Rebecca and Purple Turtle to become strong assets for channels and platforms and to find their way in the hearts of children.” She adds, “We want to bring buyers worldwide programs that will address the wide variety of needs coming from all the different markets, but always from the best creators and greatest storytellers.”

“Cyber Group Studios is proud to bring to MIPTV comedy, adventure and edutainment series from the best talents worldwide.”

—Raphaelle Mathieu

DHX Media Up in the Air / Bajillionaires / Rev & Roll The latest live-action offering to join DHX Media’s catalog is Up in the Air, an aspirational and heartfelt series created

by Frank van Keeken (The Next Step, Wingin’ It) about three generations of gymnasts reconnecting and strengthening family ties over the backdrop of the Olympics. Also in the live-action genre for DHX is Bajillionaires, which follows “a group of neighborhood pals as they try to invent an amazing product, change the world and maybe even make a bajillion dollars in the process!” says Josh Scherba, president of DHX Media. Aimed at both boys and girls, the 3D animated preschool series Rev & Roll celebrates fun, adventure and friendship, as pals Rev and Rumble help out around town and explore the wilderness, ever ready to rev and roll.

Rev & Roll

“We’re looking to continue to partner with world-class broadcasters, streaming platforms and creators.”

—Josh Scherba

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School of Roars 20 TV KIDS

GoldBee Chop Chop Ninja / The Athena / School of Roars Ella Balinska, who will appear in the Charlie’s Angels reboot alongside Kristen Stewart, stars in the GoldBee title The Athena as a former model who ditches her career to pursue a new one as a creator, enrolling in a prestigious art school. Based on a mobile game, Chop Chop Ninja is an adventure series for the 6- to 9-year-old set that GoldBee is presenting to the market. It features Iro and his friends at the Ninja Academy who apply their ninja training to everything they do. School of Roars tackles the rite of passage of leaving home to go to school. “It’s one of the biggest things you’ll do in your life, wherever you live,” says Christophe Goldberger, the managing director at GoldBee. The show is generating strong ratings in Italy, following on success in the U.S. and U.K.

“Full of fun and laughter, School of Roars addresses the universal theme of leaving home to go to school for the first time.”

—Christophe Goldberger

Guru Studio True and the Rainbow Kingdom / Pikwik / Big Blue Recently greenlit for a fourth season by Netflix is Guru Studio’s flagship preschool series True and the Rainbow Kingdom, which centers on a hero armed with kindness and care for the world around her. The show “is doing extremely well on CBC Kids in Canada and its fan base on Netflix is growing strong,” says Jonathan Abraham, senior director of sales and new business development at Guru Studio. “We’re excited to have True available for linear free and pay TV worldwide this year.” Pikwik, acquired by Disney Junior and Hulu in the U.S., follows a hedgehog named Suki who delivers surprise-filled parcels to Pikwik’s residents. Underwater adventuring siblings Lettie and Lemo lead a quirky submarine crew in protecting their ocean-covered planet’s denizens in Big Blue, a new 2D animated series with Canada’s CBC.

True and the Rainbow Kingdom

“We have an incredibly strong lineup of originals that we can’t wait to introduce to buyers.”

—Jonathan Abraham

Jetpack Distribution Rainbow Butterfly Unicorn Kitty / Oswaldo / The Cul de Sac Rainbow Butterfly Unicorn Kitty will be showcased at MIPTV by Jetpack Distribution on the heels of its recent global launch on Nickelodeon. “It combines four of the most popular themes for 6- to 11-year-olds and focuses on empowerment and being yourself,” says Dominic Gardiner, Jetpack Distribution CEO. “This is very pertinent right now!” About to air on Cartoon Network in LatAm, Italy, the Middle East and Africa and on Disney in Southeast Asia is Oswaldo, an animated comedy with a lovable penguin as its protagonist. Starring Riverdale’s KJ Apa, The Cul de Sac is a live-action sci-fi drama that targets older children with dystopian themes and genuine frights. Gardiner adds, “We are now selling movies and have acquired four family films from Perplexia Pictures, all set in exotic locations.”

Oswaldo

“We now have a burgeoning catalog of 900 half-hours of content.”

—Dominic Gardiner 230 WORLD SCREEN 4/19

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Barbie Dreamhouse Adventures 22 TV KIDS

Mattel Barbie Dreamhouse Adventures / Thomas & Friends As the Barbie brand celebrates its 60th birthday, Mattel is highlighting the second season of its award-winning series Barbie Dreamhouse Adventures. “With more fun, positive messaging and imaginative stories than ever before, what starts out as a summer job at an epic new waterpark turns into an international adventure,” says Frederic Soulie, senior VP of content distribution and business development at Mattel. Thomas & Friends, a title in the company’s preschool content library, takes the beloved tank engine from the streets of Rome to Brazil, uncovering mysterious legends and making new friends along the way. “We have also just announced a development slate of 22 animated and live-action TV programs based on our storied brands and franchises,” says Soulie.

“This is a very exciting time to be a part of Mattel.”

—Frederic Soulie

Mediatoon Distribution

The Fox-Badger Family

Martin Morning / The Minimighty Kids / The Fox-Badger Family Martin Morning is back with a brand-new graphic design in CGI that showcases the titular character’s daily transformations into a myriad of figures—like a caveman, an astronaut and even a pharaoh—but these changes don’t stop Martin from having to go to school. The previous 2D series sold into over 150 territories and was translated into 18 languages. The Minimighty Kids, now in its third season, follows a group of children who turn their flaws into superpowers and “shows us that nobody is perfect, a heartwarming and inspiring lesson that makes it a standout series,” says Jérôme Alby, managing director at Mediatoon Distribution. Lastly, The Fox-Badger Family, adapted from the children’s book series Mr. Badger and Mrs. Fox, tells the story of a blended family that teaches lessons about tolerance, kindness and finding your own path.

“We take pride in building long-term relationships with our partners and continuously energizing the content we manage.”

—Jérôme Alby

MISTCO Aslan / Momo / Atishoo The animated series Aslan features a young boy who causes some trouble while coming up with new inventions but always takes away valuable lessons. The central character in Momo is a bunny gifted with a special ability for finding lost things who lives in a forest with his friends. Atishoo has an eponymous lead character, described as curious and active, who overcomes problems and goes on adventures with his friends. “It is a very entertaining show, with songs in each episode,” says Aysegul Tuzun, VP of sales and marketing at MISTCO, which represents series from Turkish broadcaster TRT. Tuzun highlights that TRT’s kids’ content is reviewed by editors and deemed appropriate for children of all age groups. “TRT is the only company that invests in the Turkish animation industry so aggressively,” she adds.

“All three of these shows have been sold to many territories worldwide for linear TV and VOD platforms, and we’ve received very positive feedback for each of them.”

—Aysegul Tuzun Aslan 232 WORLD SCREEN 4/19

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MeteoHeroes 24 TV KIDS

Mondo TV Group MeteoHeroes / Robot Trains / YooHoo to the Rescue

MeteoHeroes is an adventure-comedy that addresses climate change, ecology and respect for nature through the escapades of six children who transform into superheroes that control the weather. “This combination of action, comedy, strong personalities, friendship, diversity and a focus on issues like climate change is, we feel, a winning one that will have multiterritory appeal,” says Matteo Corradi, Mondo TV’s CEO. Meanwhile, Robot Trains is back for a second season, introducing new characters and storylines for the transforming locomotives of Train World. Also on Mondo’s slate is YooHoo to the Rescue, a 3D CGI Netflix original series based on the Aurora World plush toy line.

Similar to MeteoHeroes, YooHoo to the Rescue has strong environmental themes.

“We’re continuing to commit to diverse, innovative programming.”

—Matteo Corradi

Rainbow

2 Happy Farmers / Winx Club 8 / 44 Cats

The adventures of Summer and Tubb, sibling bears who run a farm, are at the center of Rainbow’s preschool edutainment property 2 Happy Farmers, which encourages kids to connect with nature and educates them about protecting the environment. “Living outdoors, cultivating and farming are activities that kids really need to relate to, especially in our technologic era,” says Andrea Graciotti, Rainbow’s head of sales for TV series, movies and co-productions. This year marks the 15th anniversary of Winx Club, a franchise set in a magical universe inhabited by fairies and other mythical creatures, and will see the animated show be adapted by Netflix into a live-action series for young adults. In 44 Cats, which is in production on its second season, the music of feline foursome The Buffycats is used to explore universal themes like diversity and friendship.

“Rainbow has been pushing the boundaries for years now, becoming a global content company that offers a quality portfolio of entertainment products.”

—Andrea Graciotti

44 Cats

Serious Lunch

Bo & To’s Family / Gigglebug / Operation Ouch!

Serious Lunch has been working with Comma Studio in Seoul to bring the stop-frame animation series Bo & To’s Family to the international market this year. The story is set in and around Bo & To’s Café, where two cats run circles around their owner and barista, Mr. A. “Bo & To’s Family is a non-dialogue comedy with a lot of charm that can reach children and adults alike,” says Leila Ouledcheikh, director of global sales at Serious Lunch. Meanwhile, Gigglebug, with its tagline “Laughing Together,” focuses on the titular character with an irresistible laugh that often gets him out of sticky situations. CBBC has commissioned eighth and ninth seasons of Operation Ouch!, an edutainment series that sees twin doctors teach kids about the human body, medicine and biology.

“Operation Ouch! has traveled in an extraordinary way, and its ratings show a very high level of co-viewing.”

Operation Ouch!

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—Leila Ouledcheikh

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Miracle Tunes 26 TV KIDS

Showlab Miracle Tunes / YoYo / Whiskey & His Friends The Japanese IP Miracle Tunes is a live-action and 3D animation hybrid, and Showlab has customized the European version of it. “It has a special live-action focus on music and comedy for little girls mainly between ages 4 and 9, and for the time being, we are focusing on growing the brand in Italy and Spain,” says Guido Bertè, general manager of consumer products and kids’ content at Showlab parent company Prodea Group. Showlab is also highlighting YoYo, a comedy for kids 4 to 7 centered on a set of twins, and Whiskey & His Friends, a series for preschoolers 2 to 5 featuring a little spider and his friends. “Our goal is to create a whole range of compelling and engaging children’s projects that will become part of our heritage,” says Alfio Bastiancich, Showlab’s general manager of animation and youth programs.

“The lineup of shows we will showcase at MIPTV features customized stories based on books or successful IP.” —Guido Bertè Heidi

Studio 100 Media & m4e Heidi / Tip the Mouse / Wissper Studio 100 Media and m4e’s Heidi, a CGI animated series based on the famous 19th-century children’s book by Johanna Spyri, is back for a second season. “The brand has been and will always be a real worldwide evergreen, detached from any cultural expectations, representing universally valid and timeless values,” says Dorian Bühr, head of global distribution at Studio 100 Media and m4e. Also on the company’s slate is the preschool series Tip the Mouse, which follows the titular character as he grows up, embarking on all kinds of adventures in the meadow where he lives. Meanwhile, in the animated series Wissper, a 7-year-old girl talks to animals and helps solve their problems. “The show is designed to attract kids and families as well, offering a unique story about a cute animal whisperer and her animal friends,” says Bühr.

“Our mission is to create brands that are content-driven and entertain kids and families on every platform and wherever they are.”

—Dorian Bühr

Superights Pat the Dog / Helen’s Little School / Clay Time Pat the Dog, Superights’ animated series about the eponymous pup who is always saving the day, returns for a second season. “Broadcasters will discover new characters, backgrounds, funny adventures and also special episodes about Christmas and Halloween themes targeting 4- to 10-year-old kids,” says the company’s deputy managing director for sales and acquisitions, Nathalie Pinguet. In the preschool show Helen’s Little School, the titular 5-year-old achieves her dream of becoming a teacher, even if it is in an imaginary school and her students are her toys come to life. Meanwhile, Clay Time travels the globe, aiming to stimulate preschoolers’ imaginations with short-form episodes set in a world made of clay. The series is accompanied by tutorials to allow kids to sculpt their own clay worlds.

Clay Time

“With around 20 series in its catalog, Superights covers all genres and targets.”

—Nathalie Pinguet 236 WORLD SCREEN 4/19

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Lucy Lost

Xilam Animation Moka’s Fabulous Adventures! / Coach Me If You Can / Lucy Lost The adventures of an unlikely pair—a reckless crocodile and his rhinoceros friend—take center stage in Xilam Animation’s new animated comedy series Moka’s Fabulous Adventures!

“Not only will audiences be able to enjoy the highly entertaining comedic storylines as Moka and Cherry explore their kingdom together, as the series progresses, they will also see the characters grow and evolve together,” says Morgann Favennec, Xilam’s executive VP of global sales development.

The company is also offering up another animated comedy, Coach Me If You Can, which sees a mad sorcerer turn a famous football player into a ball; with the help of a hapless young player, he’ll start his journey back into human form.

Lastly, Xilam is introducing Lucy Lost, an adaptation of the best-selling novel Listen to the Moon by Michael Morpurgo.

“We continue to actively look for co-production and collaboration opportunities with partners who share our high-quality standards.”

—Morgann Favennec

Zodiak Kids Little Big Awesome / The Kicks / Lilybuds Several forms of mixed media, including puppets and live action—all set against an animated backdrop—create the quirky world of Townopolis, where Gluko, a bouncy jelly blob, and his best friend Lennon explore in Little Big Awesome. The Amazon original The Kicks, based on a book by Olympic gold medalist Alex Morgan, sees a young girl rise to the occasion and rally her losing soccer team as she tries to lead them to victory. Also on Zodiak Kids’ slate is Lilybuds, a preschool comedy that follows the adventures of a group of tiny magical gardeners. The show “has been a great success for us to date, and we are dedicated to bringing this lovely and enchanting preschool comedy to more audiences internationally,” says Delphine Dumont, Zodiak Kids’ senior VP of sales, acquisitions and co-productions.

“As ever, we are passionate about our catalog, and with a number of new titles up our sleeve, we are looking forward to reconnecting with our buyers.”

Little Big Awesome

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A family using Hopster.

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TV KIDS

David Wood hears from leading distributors about how they are working with digital platforms.

C

hildren in the U.K. spend about two hours online in a typical day, 20 minutes more than they spend in front of a TV set, British media regulator Ofcom reported in a study earlier this year.

Perhaps the most significant finding in the detailed study, which measured viewing habits in that busy children’s broadcasting market, was that while time spent online had stayed the same from the previous year, TVviewing time fell from about 2 hours to 1 hour and 52 minutes.

YouTube is the primary online destination, with about 80 percent of respondents having used the platform. In terms of SVOD, nearly 50 percent of kids and 32 percent of preschoolers watch services such as Netflix, Amazon Prime Video and NOW TV. Will Disney+ soon be part of that mix? Perhaps. The platform is set for a U.S. launch later this year. International expansion is likely, but no details have emerged yet.

The tidal wave of on-demand launches has caused enormous upheavals across the traditional kids’ TV landscape, changing viewing patterns and disrupting revenue streams in its wake.

RISING TIDE As Dominic Gardiner, the CEO at Jetpack Distribution, points out, it’s hard to overestimate the impact of OTT. “There used to be only three main commercial competitors— Disney, Turner and Nickelodeon. Suddenly, there are two other major players in Netflix and Amazon, which have succeeded in changing the landscape. It doesn’t matter what market you are in—kids’ TV or car manufacturing—if you suddenly get two new competitors on your doorstep, it gets everybody thinking.”

YouTube is just another complication, Gardiner adds.

“Three years ago, ratings suddenly fell off a cliff. What

happened? Well, in a nutshell, half of the world’s kids—in the West, at least—inherited an iPad. This had an immediate knock-on impact in lost revenue. Plus, established players are now confronted with having to spend less on content and more on technical development to compete.”

In part, lost revenues on linear platforms have been offset by the growth in distribution and commissioning opportunities on the new platforms.

Dorian Bühr, the head of global distribution at Studio 100 Media and m4e, explains, “The arrival of the OTT platforms resulted in a shift within the home-entertainment business from physical towards digital sales. These new revenues have not replaced the loss from the DVD market yet, but still make a substantial contribution and show immense potential for further growth in the near future. Not counting AVOD revenues, we now generate approximately one quarter of our distribution revenues from OTT/digital platforms.”

Mediatoon Distribution also reports a dramatic redistribution in revenues, with DVD falling fast and digital on the up.

Jérôme Alby, the company’s managing director, says that revenues from OTT are growing. “In 2008 it made up 2 percent to 3 percent; in 2018 it was up to a third. But DVD revenues are going down fast.”

At CAKE, OTT revenues are increasing year on year.

For the last two years they have made up over 50 percent of the company’s revenues.

While the growth curves of platforms such as Netflix are widely predicted to plateau soon, OTT/digital share will continue to increase as linear broadcasters evolve in the face of the on-demand challenge.

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9 Story teamed up with Scholastic to produce The Magic School Bus Rides Again for Netflix.

officer, Natalie Osborne. “What we expect to see going forward is a second wave of digital proliferation, as traditional free- and pay-TV channels launch their own OTT platforms. Disney, Nickelodeon, France Télévisions, BBC, ITV and many others are all launching their own services. Linear and OTT are now converging, so more and more, we are looking at this as part of the same revenue stream.”

MUST-HAVES

No longer do IP owners have to produce their own app or build an end-to-end SVOD service from scratch. They can choose to launch on preexisting distribution platforms, a useful option for those who feel they may struggle to scale up quickly or for those who do not have the funds to do so on their own.

Lower barriers to launching an on-demand service have also resulted in a new generation of niche services such as adfree preschool pay platforms Hopster, PlayKids and Azoomee.

“It’s admirable what they are doing, and we are looking at content deals with them,” Jetpack’s Gardiner notes. “For these players, the name of the game is all about distribution—getting kids or their parents to download their apps.”

Given the proliferation of new services, are linear platforms still relevant in an increasingly on-demand world?

For the time being, at least, the answer appears to be yes.

“For now, a linear TV launch is still the gold standard for a successful L&M campaign,” says 9 Story’s Osborne. “That

For linear platforms, adding a digital offering isn’t really a choice anymore, insists Ed Galton, the chief commercial officer and managing director at CAKE. “Delivery systems are collapsing, and traditional channels need to find new opportunities to stay relevant, with many now offering an on-demand service of their own. With more platforms launching, there is a greater demand for these rights, and we foresee continued growth.”

Another factor fueling the growth of digital is the fact that launching an OTT service has never been easier. In the early days of streaming platforms, players would need to acquire or produce content, create a bespoke app and then organize the distribution, as well as find a content delivery network, all of which had the potential to be a very expensive process, especially since costs were a lot higher back then.

Fast forward to today.

Content delivery costs have plummeted and there are many different ways to enter the market. Based on the Hasbro action figure, Allspark’s Stretch Armstrong and the Flex Fighters premiered on Netflix.

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CAKE is working with Rovio on Angry Birds content for digital and linear, including Angry Birds Blues.

Jetpack Distribution’s My Petsaurus is available on the BBC iPlayer Kids app in the U.K.

being said, it is possible that OTT will be able to anchor an L&M success in the future.”

Studio 100 Media’s Bühr adds, “We still need our traditional linear partners to finance our shows and to build strong L&M campaigns. These linear partners are, however, not always happy to share rights with OTT platforms. If there is an opportunity to sell in a second window, we prefer to work with the bigger platforms on a non-exclusive basis, allowing us to make deals with smaller local players in the market. For bigger brands, we tend towards exclusive deals with bigger platforms, in as far as our linear broadcast deals allow for it.”

CAKE’s Galton adds that the contribution of a linear TV launch to audience numbers and brand awareness continues to be substantial and is certainly one of the elements that helps to build a strong campaign.

“However, a ‘Netflix Original’ is also a valuable brand endorsement, which can reap huge rewards,” Galton notes. “In addition, retailers are understanding the

growing significance of YouTube and are specifically asking about exposure on the platform. Lucas the Spider, an original series of YouTube shorts, achieved significant numbers, helping to shift 40,000 plushies in just over ten days. So, while a linear TV launch can play a significant part, it is no longer the only route to market.”

BRAND-SAFE Linear platforms still have a few significant advantages, such as the almost-universal approval of preschool parents.

With many parents perceiving the digital world as a kind of unregulated Wild West, the safety issue is one that some popular online platforms—notably YouTube—are struggling with. Stories of kids encountering inappropriate content and advertising are common. This is not the case for SVOD providers such as Netflix, Hopster and Azoomee.

Bühr acknowledges that the security of content and safety of viewers can’t be taken for granted. “We create and manage our YouTube content and channels ourselves. That’s still the best way to control what happens with your content.”

CAKE’s Galton adds that there’s plenty that producers and distributors can do to ensure that content remains in a “brand-safe” environment. “Multichannel services try to put provisions in their agreements enabling them to have the choice to broadcast on all platforms. However, in our agreements, we restrict broadcast to kids’-specific platforms only. We manage our own YouTube channels through our digital arm, Popcorn Digital, and although advertising placement is done by YouTube using algorithms and is therefore difficult to control directly, we take care to make sure that all our content is fully optimized to help ensure it is recognized as family content. We also work closely with YouTube to make sure that our titles are exposed to family-friendly advertisements and are specifically available in the YouTube Kids app.”

Osborne points out that 9 Story employs specific controls to safeguard content. “We block ads by sensitive categories to make sure appropriate and brand-safe ads run in the content. In light of recent YouTube events, we’ve ensured stricter controls by further refining our comment filters and manually reviewing all comments made on our official channels.”

She adds, “For additional digital platforms that run on an AVOD model, we make sure that the streaming services are kidSAFE COPPA and GDPR compliant. The onus is on the platform to ensure advertising that is completely appropriate, and we’ve seen successful results. For closed VOD systems such as SVOD and TVOD,

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Nonlinear platforms might initially take bigger packages of shows to build up their inventories, but when the rights expire and renewal comes, they are much choosier. “And when it comes to taking new shows, it becomes much harder because now those OTT platforms are pickier,” Alby says. “They are more aware of what is working on their platforms.”

MATTERS OF SCALE

Studio 100 and m4e’s Maya the Bee has been licensed to digital and linear services across the globe.

we research and vet the platforms to make sure that their offering is reputable for our content to sit alongside the entire portfolio.”

While three or four years ago OTT players were buying bulkier preschool packages to beef up their schedules, now they are selecting shows with more caution.

As Mediatoon’s Alby points out, “All channels at launch need a lot of content fast. The difference is that with a linear broadcaster, at least half of the shows they take are likely to work well, and you can be pretty sure that many of our successful shows, like Garfield, will be renewed.”

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Volume certainly helps in the new landscape, Alby states. “Our catalog has grown a lot over the last few years. It’s about 3,000 hours of animated TV shows and movies. That’s both from our internal production studios and thirdparty agreements. That allows Mediatoon Distribution to release a great diversity of shows.”

That mix includes shows of varying lengths, with the proliferation of digital platforms encouraging producers to venture out of traditional episode durations. For example, this year, Mediatoon is rolling out Garfield Originals, consisting of 3-minute shorts, commissioned by France Télévisions.

The way the OTTs work is very different from traditional broadcasters, adds Jetpack’s Gardiner. “Because they are primarily tech companies, their approach to content is very scientific. It’s all about metrics, audience measurements, performance and brand-awareness scores. They are very clued-up on what works and what doesn’t and are much

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more mature and selective. Effectively, they have gone all ‘nouvelle cuisine’ on us.”

CAKE’s Galton observes that there is “no hard-and-fast rule to the deals you can do. It will depend on the territory and competition in the marketplace, but as a general rule, the more new platforms grow and mature, the more influence they have.”

Galton adds that CAKE is developing a number of shows with global SVOD platforms that insist on exclusivity to all rights. He adds that while traditional broadcasters are currently reluctant to option second windows on digital-first content, they may ultimately have to change tack and work with the new ecosystem of rights.

SHARING IS CARING “As platforms grow and command more influence, broadcasters may have to put aside their resistance,” he declares. “We are now in the process of launching our YouTube original series Angry Birds On the Run. A fantastic response from fans made us feel that there were additional distribution opportunities to be had, leading us to reformat the series into longer-form specials with the view of introducing to broadcasters and platforms. As we move increasingly into producing original content for YouTube, we think that some content may translate and migrate effectively onto linear channels.”

9 Story’s Osborne notes the uptick in global SVOD deals on the kids’ side. “We’ve had a number of series greenlit by Netflix in the last few years, including The Magic School Bus Rides Again, Charlie’s Colorforms City and the holiday special Angela’s Christmas.”

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Allspark, formerly Hasbro Studios, used a digital-first strategy for Hanazuki: Full of Treasures, which premiered on YouTube. It was the company’s first original IP not based on an existing toy or gaming brand. “It was a really interesting experiment to see if we could launch a new property on a digital platform like YouTube and actually get the audience,” says Finn Arnesen, the senior VP of international distribution and development. “We now have a second window on linear. So we flipped the rollout model around. We’re always trying to find new ways to bring things to market and innovate in terms of where our audiences engage with our properties.”

DIGITAL FIRST Allspark is also deploying new distribution strategies with Equestria Girls, an older-skewing spin-off of My Little Pony. A digital series premiered on YouTube and is being re-versioned for the linear-TV market.

The future of distribution will be dealing with a mixed economy of OTT players and traditional brands with their own SVOD options, insists Mediatoon’s Alby. “At the end of the day, the decision about how to launch or distribute a new show will always be about numbers. The winner will be the platform that comes up with the best deal and the best promotion offered around your brand.”

Osborne concludes, “A key consideration going forward will be making sure content is available wherever kids are watching, and that might be on YouTube, Netflix and a traditional linear channel. Plus, it’s important to remember that, irrespective of platform, licensing success is only possible if you have great content.”

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Superights’ Bo Bear.

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David Wood explores the latest innovations in the alwaysbooming preschool space.

S

ome things about the kids’ preschool market don’t seem to change. Notably, content is abundant, a trend that shows no signs of abating as producers cater to a proliferation of distribution channels.

“Demand is coming from everywhere,” states Nathalie Pinguet, the deputy managing director of sales and acquisitions at Superights. “The preschool programming distribution business is in very good health. Linear channels are still providing very good opportunities, and the nonlinear market is growing with new platforms day after day.”

Lionel Marty, the managing director of APC Kids, adds that other factors underpin the preschool boom.

“Preschool is the most universal genre and the least costly to produce, so there will always be a lot of it, as illustrated by the content currently flooding streaming platforms. It’s also often driven directly or through partnerships with toy manufacturers.”

As Marty notes, there is plenty of preschool on ondemand platforms, with the genre seen as a must-have for retaining subscribers. He observes that a closer examination of the preschool lineups of OTT platforms and linear broadcasters reveals some differences in their preschool ambitions.

“The new streamers often focus on the younger end, as this age target felt neglected by traditional broadcasters, either because of regulations in certain countries (France, for instance) or simply because most rating measurement systems began at 4-year-olds, making anything younger commercially irrelevant. Traditional broadcasters still demand more of the upper ‘bridge’ end, as they aim for content capable of appealing to a wider age range of viewers.”

Pierre Sissmann, the chairman and CEO of Cyber Group Studios, argues that the sheer amount of preschool content is simply a sign of a healthy market. Of course, the challenge for preschool producers in a saturated market is making a show stand out from the crowd.

“If you had very little content in the preschool market, that would be a bigger problem,” Sissmann notes. “The fact that the market is expanding is a sign that it is healthy. The good shows will do well and the less good will not be recommissioned, so to succeed, you need to create the best shows using the best talent.”

Maria Bonaria Fois, the CEO of Mondo TV Iberoamerica, concurs that the preschool market is in a robust state of health. “Content is originating from many more channels— linear broadcast, OTT and informal channels like YouTube and social media. I don’t think the amount of preschool content vying for viewers’ attention will decrease anytime soon. But in a crowded market, it is important to consider that quality is, more than ever, an important differentiator.”

Olivier Dumont, the president of Entertainment One (eOne) Family & Brands, points to one recent development in preschool: “The market is very polarized at the moment. It seems like a handful of shows with significant production and marketing budgets are very successful, like PAW Patrol and our own Peppa Pig and PJ Masks. At the other end of the spectrum, homegrown preschool shows with smaller budgets are finding it increasingly harder to break out.”

LINEAR LEGACIES It is fair to say that the linear public-service broadcasters remain a significant force in preschool programming, as they are likely to demonstrate more commitment to shows and offer greater input into their successful development.

“Local pubcasters remain the go-to commissioners and privileged partners, as the projects benefit from their editorial guidance and insight,” says APC’s Marty. “Global linear channels allow for an international, simultaneous launch. The trick is to identify which is a better fit for the show’s DNA. Kid-E-Cats has found its home on Nick Jr., 4/19 WORLD SCREEN 253

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preschool hit—with the exception, perhaps, of PJ Masks. The VODs have yet to show their ability to forge these types of cultural phenomena with their global audience.”

BRIDGING THE GAP

Cyber Group is working with Aadarsh in India on the new preschool show Purple Turtle.

reaching more than 170 countries, whereas Fox and Hare has already appealed to a dozen different pubcasters across Europe.

“As far as the SVOD players are concerned, they have only recently started shifting from giving a second life to established properties to commissioning new content, so we’re exploring partnerships in that arena as well.”

Frank Falcone, the president and executive creative director at Guru Studio, adds, “Despite the rapid uniform globalization of platforms like Netflix, we have not yet seen the same kind of global hits that were birthed by the traditional cable-TV system just five years ago. In fact, since PAW Patrol, we haven’t seen a major preschool brand launch that has become a breakout

Most of the demand in the preschool market is at the upper age range. “That’s because 2- to 3-year-old kids are too young for most of us to target and 8- to 9-year-olds tend to leave the animation format,” notes Allen Bohbot, the managing director of 41 Entertainment.

“So, for the most part, we are all looking at an age range of 4-to-7 or bridge.”

It’s a view backed up by eOne’s Dumont. “I still believe that, more than ever, the upper end of preschool is the most in demand, as it allows for a broader audience within the preschool audience to enjoy a show and, therefore, has an impact on the viewership and ratings of these channels. It also gives siblings more co-viewing opportunities in households with children of varying ages.”

Guru’s Falcone agrees, stating, “Since the success of PAW Patrol, there has definitely been a clear wave of imitators and a trend of chasing the upper age range, the ‘pre-cool’ demographic.”

Falcone argues that this has opened up potential opportunities for kids’ producers elsewhere. “I feel that creators have begun to neglect younger audiences who also want shows with high energy but without complicated storylines or stakes so high that they induce anxiety,” he states.

Kid-E-Cats, which is distributed by APC Kids, encompasses more than 100 5-minute episodes and airs on Nick Jr. worldwide.

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Playmates Toys is the master toy partner for Guru Studio’s Pikwik, which has been acquired by Disney Junior and Hulu in the U.S.

“I think high energy and comedy are lacking in new preschool shows—this is why we are so excited about our new show Pikwik.”

41 Entertainment’s Bohbot believes that with so much preschool content made in the last five years, the innovation tank is starting to run on empty. “Diversity and inclusion are now automatic,” he says. “3D or even 2D/3D hybrids have been done—we are running out of innovations.”

Others argue that there is always room for new approaches in a preschool market that has continued to evolve over the years.

“In the ’60s, ’70s and ’80s, preschool was mainly about having fun,” says Cyber Group’s Sissmann. “Then the focus moved to education and edutainment; now it has shifted again to edutainment with values. That’s the key to the preschool market today—to create properties that offer edutainment, and at the same time, promote values.”

Falcone confirms that the straight didactic tone of core curriculum shows is definitely a thing of the past. “Nesting educational content into entertainment is something we’re seeing a lot more. We rarely see that old didactic tone that slows the pace of storytelling and turns off audiences. I think core curriculum content is better delivered via apps and games now.”

LAUGH TRACK APC’s Marty adds that comedy remains a key driver. “One of the most refreshing trends has been how preschool has wholeheartedly embraced comedy, both as a way of incorporating educational elements in a more entertaining way and as a nod to older co-viewers. This is the direction we’ve been taking with our preschool shows Kid-E-Cats and Ricky the Dinosaur.”

Dumont at eOne is of the opinion that there hasn’t been a breakthrough in preschool programming in terms of

innovation since Dora the Explorer. Perhaps, he muses, that’s because innovation isn’t as important to preschoolers as strong characters and stories that attract both children and their caregivers.

But overall, he adds, there is more emphasis on diversity in programming in general, and preschool is no exception.

“Coding is also a hot topic right now, and we should expect to see more shows tackling this concept very soon.”

Green themes are high up on the list of priority themes for Mondo TV’s Bonaria Fois. “We believe we’ve developed a series that incorporates both educational concepts and diversity and inclusion in a new way with MeteoHeroes. Due in 2020, it is an animated eco-adventure about special kids who can control the weather, encouraging viewers to take a stronger interest in issues like climate change, pollution and global warming. The show is given added global relevance by ensuring that its six main characters each come from a different continent. Caring for the environment is a growing concern of young viewers and their parents, and we feel we have responded in ways that are both innovative and entertaining.

These themes, of course, have to be entertaining in their own right. Worthy themes are no use without good storytelling.”

GOING LIVE Even with good storytelling, live action is struggling to make much headway in the preschool market. There’s no sign of animation relaxing its viselike grip over the preschool market anytime soon. “Live action has been here for years, but animation reigns,” says Bohbot.

Dumont agrees, noting, “I suspect that broadcasters are always interested in alternative formats to refresh their schedules and create a point of difference. But for us, there is less focus on live-action concepts for preschoolers, as we are interested in shows that have a truly global potential and it is harder to achieve this global appeal with liveaction formats.”

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Guru’s Falcone adds that live-action shows just don’t enjoy the same shelf life as animation. “With the rapid advancements of fashion and now video-capture technologies, live-action shows can quickly become very dated.

Preschoolers are now exposed to so much they have become junior connoisseurs of pop culture—they are swimming in it every day, and they know when something looks good and is current.”

However, Superights has seen traction with the liveaction Bo Bear, which has a second season in the works.

The series was commissioned by Norway’s NRK and notched up deals with broadcasters across Europe.

Real-life experiences have also emerged as a hot trend.

“It’s one of the most recent developments in the preschool sector,” reveals Dumont. “We are all surrounded by screens— parents and children alike are craving real-life experiences that give them the opportunity to interact with their favorite characters. So stage shows, location-based entertainment in general, including theme parks and costume-character encounters, are crucial pieces of engagement for fans and a necessary part of building a true brand from a TV show.”

APP-TASTIC Another fundamental way to increase engagement is by using digital extensions to brands, says APC’s Marty.

“These are digital-native preschoolers who are familiar with an array of devices for both viewing and playing from a younger age, so allowing them to experience the property in all these different ways is very important. The success of Kid-E-Cats’ mobile game extensions is a good example. We also noticed how the show’s buyers very much welcome any

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additional content like games, puzzles and riddles that they can incorporate into their dedicated websites.”

Dumont adds, “Digital extensions are very important for the rollout of the brand, as parents are keen to have active and engaging experiences for their preschoolers in addition to passive or ‘wind-down’ experiences.”

Falcone confirms that all brand extensions are essential— and digital is just one way to engage your audience.

“Kids want to experience their favorite characters in as many ways as possible, from games to toys, live shows and now even talking to them via Alexa and other home-assistant devices and digital toys.”

WHERE’S THE MONEY? Of course, before you can start building all those digital and live extensions, you need to get the money together to finance a show in the first place.

Guru’s Falcone insists that securing long-term episodic commitments in the new ecosystem remains a challenge. “The only broadcaster we know that routinely commits to large orders is PBS. Other broadcasters rarely commit beyond a season or two at best.”

The rise in the number of on-demand platforms that commission programming has created more funding possibilities than ever before. That being said, Dumont points to the increasing difficulty of combining linear and nonlinear platforms because they are both clamoring for exclusivity. “I think this is a mistake that many platforms are making when it comes to preschool programming—exclusivity is not the most important factor,” Dumont says. “What matters most is making popular content available on your platform.”

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edia-Participations is a publishing powerhouse in France, home to the iconic graphic-novel and comic-book labels Dargaud, Dupuis, Le Lombard and Lucky Comics, among others. It is also a dominant force in the animation sector with its six studios, among them Ellipsanime Productions and Storimages, while Mediatoon Distribution brings titles from the in-house producers, as well as third parties, to clients across the globe. As CEO, Claude de Saint Vincent is leading the organization through dramatic changes in the publishing and audiovisual businesses. He tells TV Kids about the keys to bringing comic-book characters to television, embracing digital media and the strengths of the French animation sector.

By Mansha Daswani TV KIDS: The company has many lines of business. What role does the audiovisual segment play in the overall organization?

DE SAINT VINCENT: It has increased [in the last few years].

We took over a few libraries and we opened a new studio.

So right now our library offers more than 3,000 hours of animation, which I think should put it among the largest European catalogs. Our audiovisual activities—production, sales, direct nonlinear broadcasting—represents about 10 percent of the annual turnover of the group.

TV KIDS: How is the commissioning landscape for animation in France today?

DE SAINT VINCENT: I don’t think it has changed a lot. There are many broadcasters and we work with most of them.

However, the breaking news is the announcement, last year, that France 4 is going to progressively but surely stop its linear children’s programming broadcasts, and at the time reassess its nonlinear strategy and offerings. In addition to the main broadcasters—France Télévisions, TF1, M6, Gulli and Canal+—we have the state funds and the regional funds, which are helping production. So France and Europe, especially Belgium with the tax shelter, have become interesting territories for co-production. There are many examples, not only with us but with other producers, of non-European IP that came to life thanks to partnerships with French and European producers. For instance, Garfield, a definite American icon and IP, has been published in the French language by Dargaud for over 30 years.

And it was well adapted by a French producer, Dargaud Media, for The Garfield Show. We produced 214 episodes between 2009 and 2015. And we are right now working on a brand-new series called Garfield Originals, which is in 2D. TV KIDS: France is being celebrated at MIPTV this year.

What are the main strengths of the local animation sector?

DE SAINT VINCENT: We have many young and new animation producers; it’s a very dynamic market right now. We have the fortune of having strong regulations that require our main broadcasters to produce animation and to invest in these sectors. We really hope this will continue. And we have regional funds that are investing in promoting local studios, helping to finance our productions. We have one of the best animation schools in the world with GOBELINS. Most of its students are picked up by Pixar/Disney and other major international producers. So we have a very rich ground, schools, subsidies, interest from the government and fiscal incentives, combined with immense talents, thus making French animation number one in Europe.

TV KIDS: What challenges is the sector facing, beyond the upcoming closure of France 4?

DE SAINT VINCENT: Twenty, thirty years ago, we used to have in each country two or three major broadcasters with strong budgets. Now we have 40 poor broadcasters!

[Laughs] The audience has been decreasing, so we’re dealing with partners who are not as strong as they used to be. Worldwide actors such as YouTube, Netflix, Apple and Amazon are new sources of revenue and new competitors. And we have to deal with a world with fewer and fewer borders.

TV KIDS: How do the publishing and animation divisions collaborate to bring beloved comic-book characters to life?

DE SAINT VINCENT: By being part of a group housing several publishers, our in-house producers have the opportunity to work very closely not only with the editors but with the authors. We always associate the artist and the writer to our productions/TV shows. Some are very eager to participate in the productions. Some of them have no time for it! It’s easier for us because we know our authors very well. For instance, we’ve been working with Jim Davis [creator of

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Dargaud Media produced The Garfield Show, which is sold worldwide by Mediatoon Distribution.

Garfield] since the end of the 1980s. So we have the confidence of the authors. That’s very helpful in bringing to life those adaptations without betraying or angering our authors. The first key to successful adaptations is very close cooperation with the original artist. Last year we delivered The Fox-Badger Family, which also comes from a graphic novel published by Dargaud. We had the same director, Philippe Vidal, working on The Garfield Show for almost ten years. So we have long-term relationships with the authors, a long-term relationship with our team, and we publish over 200 graphic novels a year and have been doing so for the last 30 years. We have a huge library to look for new themes, new heroes, new subjects. At the same time, we also are developing original series, not always based on books.

TV KIDS: What digital opportunities are you exploring within your publishing business?

DE SAINT VINCENT: Nine years ago we launched a platform with all the French publishers for graphic novels and comics from France and Belgium, izneo. We have over 10,000 books available. It controls 60 to 80 percent of French graphic novel digital reading. On izneo you can access the first five pages of all those titles for free. Digital reading in France is not as advanced as it is in the U.S., so it’s still a tiny market, but in 2018 izneo’s turnover was over €3 million, so it’s starting to pick up. And it’s increasing every year by 30 or 40 percent. We would be thrilled to have the same growth in all the other media!

TV KIDS: Are the group companies producing more shortform content for digital platforms?

DE SAINT VINCENT: Yes. Garfield Originals will mostly be on websites or direct services from the broadcasters.

It’s 2.5-minute episodes. And we are currently developing a short-form series, adapted from the comic book Roger and His Humans, written by France’s number one YouTuber, Cyprien.

TV KIDS: Looking ahead, what priorities are you focusing on for the group?

DE SAINT VINCENT: Keeping production very active. We have three to four new shows coming. We’re trying to acquire additional smaller libraries. We feel that with the new worldwide market, big is becoming more and more beautiful. When you deal with Netflix, Amazon or Apple, it’s much better to have 3,000 hours of a library behind you than just one new series to propose. So we keep consolidating our library. We’re very active and we look at every opportunity.

We are publishers, we are producers, we are distributors, and we have a small video game arm called Anuman Interactive. Last year we released two important games, one with Asterix and the other one was called Gear.Club. One of the objectives will be to associate this video game company more with our production activities to be able to produce and sell at the same time a television show and a video game, and if possible a graphic novel.

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TV KIDS: Tell us about how Rai is serving young audiences on television.

MILANO: We are the Italian public broadcaster with a bouquet of many channels. Two are devoted to kids. It’s a structure that is similar to the BBC. We have Rai YoYo, the leading Italian children’s channel, and often the leading Italian thematic channel, which is devoted to preschoolers. It broadcasts for 24 hours a day. The second channel is Rai Gulp, which is more focused on kids.

Rai YoYo is 80, 85 percent animation and the rest is live shows that are mostly produced in-house. Rai Gulp is 40 percent animation, 45 percent live-action series and the rest is in-house magazines and shows. Italy is not a country with many children—we are quite old in demographics, like Germany and other countries—but we have quite a lot of children’s channels. Italy has eight free-TV children’s channels and more than 15 pay-TV channels. Rai has the number one channel with audiences in Rai YoYo. We have a strong position that is very important for public-service television.

By Mansha Daswani

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ith two television channels and an on-demand service, the Italian public broadcaster Rai is committed to serving the needs of the country’s youngest viewers, from preschoolers with Rai YoYo to kids and tweens with Rai Gulp. As executive director of Rai Ragazzi, and chairperson of the European Broadcasting Union’s TV Children & Youth Experts Group, Luca Milano is well aware of the challenges being faced by public broadcasters the world over as they compete with well-funded global giants, both linear and digital. Milano tells TV Kids about the unique position Rai Ragazzi’s services hold in Italy and the kinds of content they are delivering that children can’t find anywhere else.

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TV KIDS: What are the biggest challenges public-service broadcasters are facing in financing kids’ programming?

MILANO: There are issues with the financing of publicservice media in general. In every country, it can be difficult to show how important it is to have a national public broadcaster when all the main channels are international, mostly American. In the fields of animation and kids’ drama, we, as a public broadcaster, still have national boundaries and national scope, but negotiations are now often made at a multiterritory level. It is more and more difficult to maintain a fresh and original excellent offer. That increasingly invites us to cooperate with other broadcasters. There are mostly two ways of financing series. One is by an OTT platform or a big international group that can invest in the funding and take the rights worldwide. The other is for a producer to look for two or three national broadcasters that can put their resources together and finance the project.

It’s much more difficult for us to cooperate with OTT or big international partners because there is a conflict with VOD rights. We cannot just buy the rights for TV broadcast as we also have a VOD player that is becoming more important. Our acquisition strategies must put together VOD and broadcasting rights. It is less complicated [to cooperate with] pay-TV channels; the main problem is if the windows are long—we don’t like to wait. With OTT they ask for limitations to our VOD rights and we cannot accept that.

TV KIDS: What are you learning from your VOD platform about how audiences are engaging with content?

MILANO: We started about two years ago with RaiPlay, which now has more than 5 or 6 million registered viewers. The number is increasing because people love to see Rai’s prime-time dramas on a nonlinear basis.

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Less than one year ago we launched RaiPlay YoYo with almost all the content we have on Rai YoYo. It is the first app for children in Italy. It is completely free, without advertising and without a subscription, so it’s sort of a gift! It’s included in the license fee and it’s becoming more popular. We are now making more sections and we aim to transform it from what is now a shelf where you can go and choose all the programs into a more friendly companion for the children. For kids aged 8 and older, we want to launch something new by the end of the year. The way of consuming media by kids of 8-, 9-, 10-years-old is entirely different from preschoolers. We have to choose more original ways to present the content. Our goal is put in our offering another service for kids and maybe up to teens, [alongside] the two channels and the RaiPlay YoYo app. We also have quite a meaningful presence, especially for Gulp, on Facebook and Instagram. We are working on producing unique content for Instagram that will be launched by the end of the year.

leading investors in European animation. Since we have an obligation specific to animation, it’s more difficult for us to find funds for international acquisitions and live action. The main line of investment is coproduction and pre-acquisition. Every title costs more when we have more rights and we have editorial participation. We work with independent producers; we do not produce animation in-house. We mostly work with projects from Italian independent producers, sometimes with us also being part of the development stage.

Sometimes we prebuy series that are co-produced between Italian partners and international companies, often as a minority part of the co-production. The countries that we co-produce most with are France, Germany and Spain. We also work with Belgium.

With the U.K. it’s more about acquisitions; it is less common for Italian and U.K. companies to work together. And we have good collaborations with Canadian entities, and sometimes with Brazilian and Indian and other Asian countries.

TV KIDS: How do you balance your slate between coproductions, prebuys and original commissions?

MILANO: In Italy we have a system of quotas. It’s not as specific as it is in France, but we do have an obligation to invest in European animation. We are one of the

TV KIDS: What are some of your recent or upcoming highlights?

MILANO: In the field of preschool we are one of the main broadcasters to take part as a co-producer in the new series from Entertainment One Family and the Italian

Rai was among the commissioning broadcasters on Pat the Dog, produced by France’s Superprod and Italy’s Animoka.

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Rainbow’s 44 Cats has been a huge hit on Rai YoYo.

company Maga Animation Studio, Ricky Zoom. We support Rainbow, a long-term partner with us. We had great success with 44 Cats, the new preschool series that has been a hit since the first day of broadcasting. Rainbow produces it in Italy with one of its companies, Bardel in Vancouver. We are also working on a kids’ drama, Club 57, which is a co-production between Rainbow and Nickelodeon Latin America. It’s a series that was filmed between Italy, the region of Puglia, and Miami. It’s an important series because of the scale—it’s 60 episodes of 45 minutes, which is a huge production for our standards in children’s programs. We have several other coproductions, like Pat the Dog with Superprod/Superights and the Italian studio Animoka. There are now at least a dozen good Italian studios that are working very well with international partners. Some are specialized in CGI, some in 2D. It’s becoming easier to find co-production agreements because two years ago Italy introduced a large tax credit for animation and children’s productions.

That’s been a big help for producers.

When there are 20 children’s channels, you have to show that your channel airs content that the others don’t have. It’s very dangerous for us if children cannot identify a title with the channel brand. Last year we produced an animated special, The Star of Andra and Tati, based on the true story of two Italian sisters who were sent to Auschwitz as children and survived. It was a great success. We are now presenting it in schools and also distributing it internationally. In March we launched a drama miniseries of ten episodes called 266 WORLD SCREEN 4/19

Jams about sexual harassment. An 11-year-old girl is [abused] by a friend of her parents. Her friends understand something is wrong and are able to help her. The series is meant to show children how they should not be ashamed and that they should find an adult they trust and talk to them. We are preparing a campaign with a hashtag that translates as “It’s Better to Talk About It.” In May we’ll have an in-house production about coding. It is a game show with two teams in each episode and then there will be a final competition.

They have to program the coding for robots, which must overcome some obstacles while the opposing team tries to disable the robot’s actions. It’s not so easy to make a game show on coding! In Italy coding is becoming [more prominent] in all the school curricula, so it was not difficult to find competitors that had quite good abilities.

TV KIDS: You’ll be taking part in one of the kids’ content pitches at MIPTV. What will you be looking for at the market?

MILANO: MIPTV is when we usually have to decide what shows will be finally approved to start during the summer. It’s especially important for live action. I’ve been invited to take part in a new speed-pitching for kids’ drama. Having these kinds of pitches is good. It’s much easier to co-produce animated stories because of languages and national tastes, but now and then we can also support the production of kids’ drama, as we did on Find Me in Paris with Federation Kids & Family.

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reasons, therefore, co-productions are becoming a very attractive option. They allow partners to share the financial risk but, at the same time, greatly expand the pool of talent that a series can draw on. For some time now we have been involved in co-productions—we worked with CJ ENM for series two of Robot Trains, for example; with Henan York Animation for Invention Story; and with Aurora World for YooHoo to the Rescue. Our sister company Mondo TV Iberoamerica worked with Alianzas Producciones on our first-ever live-action show, Heidi Bienvenida. Co-production has become an increasingly strong feature of our output and we’re very pleased with the results.

TV KIDS: What have been some of the key lessons from this strategy in terms of how to best partner with companies creatively and financially?

CORRADI: We’ve learned that there are a lot of good companies out there! We’ve also learned that the arrangements—financial, creative and strategic—will vary from one partnership to another. It’s a matter of doing what is best for the property. Invention Story is, unusually, a five-season commitment due to the strength of its combination of humor and learning, notably as a potential source of licensed products.

YooHoo to the Rescue is based on a hit line of plush toys. This gives it a firm base for character development, which is a strong part of the show. MeteoHeroes has a very specific theme—kids who can control the weather—so needs a partner that can help us bring it to life while being technically accurate. In this case, it’s a co-production with MOPI [Meteo Operations Italia, also known as Centro Epson Meteo or Meteo Expert].

Sometimes, we take on the co-production of an established series. For example, we were solely a distributor for Robot Trains to start with; we became a producer for series two, which takes the characters in new and exciting directions.

No two co-productions work to the same strategy, so the only lesson perhaps is to make sure that you and your partner agree on what is best for the property.

By Mansha Daswani

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ince its creation as an importer of animation into Italy more than 50 years ago, Mondo TV Group has carved out a position as a significant producer and distributor in the global kids’ landscape. Under the leadership of CEO Matteo Corradi, Mondo TV has stepped up its co-production efforts, aligning with companies across the globe to build on its portfolio of IP, which stands at more than 1,600 episodes, plus a slate of animated features.

Corradi tells TV Kids why Mondo TV’s pivot towards international co-productions has been transformative and reveals how he is positioning the company for future growth.

TV KIDS: Co-productions have become a major part of the Mondo TV strategy for the last few years. Why was this shift important?

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TV KIDS: How are you balancing the business between rolling out shows based on established brands versus original ideas?

CORRADI: We are aware that many broadcasters are happier with known quantities. But we’re also proud of the fact that we don’t rest on our laurels. It’s true that YooHoo is based on an established plush toy brand, but our take on it—a magical eco-adventure—is highly original. The same goes for Heidi Bienvenida, a modern approach to a classic story. However, we are pleased to say that most of the output we are promoting at present is highly original and succeeding on its own terms.

TV KIDS: How has your L&M and toy business been, given the challenges in that marketplace?

CORRADI: It’s still growing! Robot Trains, in particular, has attracted a lot of interest in a number of markets, and with the arrival of series two, and the master toy category well established—along with many other categories—we have high hopes for continuing growth.

In addition, thanks to a collaboration with Bitbuu Games, a company that has developed a free-to-use

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Robot Trains AR app, Mondo TV is able to pioneer new possibilities for imaginative play, giving fans a personalized experience with their favorite characters. It’s accessed by scanning the packaging of products from licensees. This is a new concept for our market and has gained a lot of coverage.

YooHoo to the Rescue evolved from a hit line of plush toys, which certainly helps the licensing program. Heidi Bienvenida has already inspired a number of category launches, which is unusual for live action. It’s been particularly successful in Italy. So, while L&M is always going to be a fast-changing business, at the moment we’re very happy with our position.

TV KIDS: How is Mondo TV working with OTT platforms, both in terms of finished sales and new commissions?

CORRADI: YooHoo to the Rescue is the first-ever Netflix original series from co-producers Mondo TV and Aurora World. Its success will, we hope, lead to more such sales. We have also agreed to a deal with SVOD provider Ameba TV for a number of shows from the Mondo TV library, including Playtime Buddies, Robin Hood, Cinderella and Turtle Hero, to roll out on the platform’s branded channels in North America. We are strongly committed to all platforms and the opportunities they can present.

TV KIDS: You’ve had great success with Heidi Bienvenida.

What other plans do you have for your live-action business?

CORRADI: Season two and a forthcoming film have certainly encouraged us to do more in live action. In fact, through our sister company Mondo TV Iberoamerica, we aim to develop more content for the youth fiction series genre, a genre that works well internationally.

In addition, a very different property is in the works at the moment, confirming our objective of expanding our audience and diversifying the Mondo TV Iberoamerica business model. It’s called 2050. A sci-fi drama made up of eight episodes of one commercial hour each, targeting viewers from young adult upwards, it tells a thrilling and highly original

new story in which messages from the past bring hope to the people of a terrible future. It is a co-production of Mondo TV Iberoamerica together with VIP 2000 TV and Casablanca from Brazil. It’s in its early stages at the moment, but the production phase for the pilot of the show has just been completed, and I have to say it looks really good!

All of these developments are driven by a growing demand for Mondo TV’s content and its services.

TV KIDS: What are the greatest challenges for animation studios in Europe today, and what are your greatest opportunities?

CORRADI: Financing, competition, cooperation and innovation: all are opportunities and challenges. But multiplatform viewing environments are the greatest challenges, and opportunities, of all.

A property can be transmitted to audiences everywhere quickly across multiple media, which is a boost for licensees, but can [also] aid targeting of innovative shows to smaller audiences willing to pay to see them.

This is a boon to animation.

On the other hand, how do you measure audience numbers when viewers are watching your show on a smartphone? How loyal will audiences be to nonlinear platforms? And will you be ready to bring shows out in multiple languages simultaneously?

Platforms are changing and, where appropriate, we will adapt to that change, though we will not overlook linear TV, which will be around for a long while.

TV KIDS: What are your primary goals for Mondo TV for 2019 and 2020?

CORRADI: We have enjoyed a lot of success in coproduction. We will continue to pursue partnerships for new projects. We want to keep growing our distribution and licensing businesses. And we are looking forward to success for new seasons of Sissi, the Young Empress, Robot Trains and Heidi Bienvenida as well as the arrival on screens of Invention Story, YooHoo to the Rescue and MeteoHeroes.

Mondo TV partnered with CJ ENM in Korea on Robot Trains.

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property. For example, Flix is based on a book by Tomi Ungerer. He was a really a great artist with very strong recognition in France and Germany. Xephos & Honeydew is based on Minecraft avatars that have some 7.2 million subscribers on YouTube. We’re developing that as an adult animation. Best & Bester with Gigglebug is our first [series] that’s not based on an established IP. We picked that up because we felt that it had a very simple idea at its core that everybody can attach to: comparison.

Each project needs its own space, so to date we’ve done one per year. Xephos & Honeydew was in year one, Flix in year two, and Best & Bester in year three. Now that those properties are fully developed, we are focusing on going out and financing those and getting them made.

There’s always the danger at that point that you forget to start optioning or developing that fourth property, so we are looking around for what that fourth is going to be at the moment, but we haven’t found it yet.

TV KIDS: Will all the Eye Present IP be represented through Serious Lunch?

DEXTER: Not always. Where a co-production means that the majority of the rights have to go elsewhere, then Serious Lunch will retain some of the properties. That relationship is an evolution, so watch this space! As I’m the shareholder in both of them, I would love Serious Lunch to be able to distribute all of the programs that Eye Present makes. Sometimes that’s not possible. It’s part of the rationale of keeping the production and distribution separate so that you have more flexibility in terms of your partnerships and financing models.

By Kristin Brzoznowski

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n 2011, Genevieve Dexter set up Serious Lunch with an eye to leveraging her experience in the kids’ space—she had previously founded CAKE—to build long-lasting brands. While the distribution company has been rolling out its highly curated catalog around the world, Dexter has also set up the London-based CG/2D animation studio Eye Present.

TV KIDS: How do you approach selectively acquiring for the Serious Lunch catalog?

DEXTER: The main consideration is that we look after brands, we are brand-builders, as opposed to large catalog distribution. We find that in the long run, that is what produces the [best] results. The likelihood of a series to carry on into season three, four, five and six is one of the key considerations for us.

TV KIDS: In regard to Eye Present, what are you looking for in a project that the company would take on?

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TV KIDS: What is your sense of the overall health of the kids’ content business at present?

DEXTER: From a distribution perspective, we have found that there is a drop in the amount of content available to distributors. That does tend to be cyclical. I remember in the ’90s, people were paying big minimum guarantees for kids’ content, though it excluded boutique kids’ startups at that time. When I set up CAKE in 2001, that was no longer the case. We couldn’t find significant minimum guarantees from distributors to close financing but were able to find the gap elsewhere and in so doing retained the distribution rights. Skip forward ten years and the birth of Serious Lunch coincides with the rise of Netflix and Amazon providing us with large license fees in individual territories, but skip forward another five years and the same clients are moving to new business models that provide producers with a one-stop shop and it makes life difficult for a distributor to find new content. That’s a big shift.

From the Eye Present point of view, as a young production company, the SVOD one-stop shop has provided us with a lot of opportunities, so we hope by straddling both production and distribution we can benefit from the cyclical changes in the market. In the more traditional production-finance models, it’s all about gaining the confidence of the major broadcasters to commission your work once they are convinced by the creative.

Now that we’re in season three of Messy Goes to Okido for CBeebies, we’re hoping that our next two projects, Flix and Best & Bester, are going to fly and that we have earned that confidence.

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TV KIDS: What’s the rough breakdown for Serious Lunch’s sales across platforms?

DEXTER: Our business is still quite traditional. We tend to deal mostly with pay and free TV; we’re not doing so many local SVOD deals at a distribution level much anymore. I think that’s largely driven by a change in the SVODs, in that they used to be happy to pick up individual territories and now that position has changed quite substantially. They are getting much tougher on what they require and that is often hard to marry with our interest in IP and distribution rights. Multiterritory SVOD commissioning terms now mirror studio deals and co-commissions require a lot of the finance to come from elsewhere and also to be compatible with your financial plan, which is often hard. As a second-window acquisition, it is a requirement that your show be a number one-rated program in key territories. The vertical integration of the SVOD platforms is already happening with inhouse licensing and merchandising teams and homegrown animation studios. Right now, the public broadcasters are hurting a little bit and we are happy to ease that with ever more inventive ways of funding our shows that they commission. Another way that we adapt and survive is that Eye Present produces content targeted to a wide range of ages and platforms.

TV KIDS: How has the financing for kids’ programming changed, and what are the current models you’re using?

DEXTER: There’s the old-fashioned way—with a local broadcaster, two- or three-way co-pro, tax credits, subsidies, distribution guarantees and VC funding— and then there’s the one-stop-shop method, where your program is being funded largely by a multinational platform. When you go to market with a project, it starts to become clear early on which path you’re going to be going down. I really enjoy European co-production. It is hard, but the tendency to want to simplify everything and not really integrate with other cultures is quite sad really. You can make good and long-lasting relationships, which can lead to bigger things at a corporate level. If you can do a coproduction together, you can pretty much do anything together.

TV KIDS: Where do you see the opportunities ahead?

DEXTER: One of the business areas that is growing is experiential live performance. We [had] the Operation Ouch! stage show in London this [past] Christmas at the Apollo Theatre. We also have an e-store for Messy Goes to Okido. As you start to see what people are doing on your website, you can double-down on the items that they’re enjoying and remove the items that are not getting any traction. The analytics that you can derive from it are huge. If we can actually crack this direct-to-consumer licensing and merchandising program, it might not generate huge amounts, but let’s say now it’s generating £100,000 a year; in a few years’ time, maybe it will be generating £600,000 a year. That’s good revenue if it continues to build. We’d like to perhaps offer that service to our third-party brands once we’ve honed it.

The Serious Lunch distribution slate includes, from the top, Ronja, the Robber’s Daughter and Operation Ouch!, while sister outfit Eye Present is developing IP such as Flix and Best & Bester.

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our position as the U.K.’s number one commercial kids’ channel.

TV KIDS: What has been the programming strategy for Pop? MULLER: Historically, Pop has very much been an acquisitions-based business and that has been phenomenally successful, so we will continue to secure great titles that our audience will love in this way. But we are thinking carefully about how we can enter the originals space, too. Meanwhile, we are actively looking for exclusive brands that we can really make our own, offering producers and suppliers the opportunity to be part of the Sony family. Top performers [include] Pokémon and Grizzy & the Lemmings.

TV KIDS: What about for Tiny Pop? MULLER: It’s the same effective strategy. The Pop universe is a strong mix of recognizable and exclusive titles, and Tiny Pop is no different. Top shows are Super Wings, Masha and the Bear and Zafari, and again, we are looking for real brands that we can grow and make our own, like, for example, Care Bears. Care Bears is a much-loved and recognizable family brand, the new series of which we will be premiering in April. We are the U.K. linear home for the super-brand My Little Pony, and also—this is very exciting—Cookie Monster. Cookie Monster’s Foodie Truck is not only an opportunity to work with the world-famous Sesame Workshop, but also to bring a much-loved character to our audience.

By Kristin Brzoznowski

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arah Muller joined Sony Pictures Television Networks (SPTN) as its VP of children’s and youth entertainment programming just over a year ago. No stranger to the kids’ content business, Muller was previously at Channel 5, where she was responsible for the children’s brand Milkshake! She also spent ten years at the BBC, including as CBBC’s head of acquisitions and creative director. For the last year, Muller has been leading the programming and development of SPTN’s linear and AVOD kids’ brands, including Pop, Tiny Pop, Pop Max and the recently launched AVOD service, Pop Fun. She tells TV Kids about what’s guiding the strategy for each of those offerings.

TV KIDS: It has been a year since you joined SPTN. What are some of the successes of the last 12 months?

MULLER: It’s been quite an exciting 12 months. It’s hard to choose between the Tiny Pop rebrand that brought it firmly into the Pop family, the Pop app launch on PS4, the overhaul of our digital strategy to offer our audience more choice across new platforms—like our Pop Fun app and our YouView and Freeview players—or the significant uplift in our sponsorship business. Of course, we also maintained 4/19 WORLD SCREEN 273

TV KIDS: What has been working well over on Pop Max? MULLER: Pop Max has a very loyal following, and it’s Pokémon and Power Rangers all the way, with a liberal dose of laughter and cheekiness sprinkled all over.

TV KIDS: What is new for the Pop app? How does your approach for the app differ from your linear strategy?

MULLER: Sneak peeks of favorite titles and a refreshed catch-up service are all-new features for the app. Now the app properly reflects what we’re doing on-air and gives the audience a fully immersive 360-degree experience. There’s been a real emphasis on games, too, as they support key brands and enhance the user experience further. Apart from being an obvious part of the Pop world, the app engages the audience in a totally different way and, hopefully, drives eyeballs back to the linear channels, leveraging the value of existing content at a low cost.

TV KIDS: Is there anything in particular you have your eye on for acquisitions across the channels and platforms?

MULLER: We want two things: excellent comedy and live action.

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shows are present in 44 countries on free TV, pay TV, VOD and in-flight entertainment platforms. We firmly believe that Gloob’s content will have much to contribute to the international kids’ programming space.

TV KIDS: What are the main territories where Gloob’s programming is present?

COSTA: For our live-action shows, the main territories are Europe, the Middle East and Africa. But we take pride [in knowing] that our content transcends cultural barriers and has landed in territories like China and Scandinavia. In Latin America, we’ve launched content in Uruguay. We’re very excited about the new partnerships in development, as well as the great results the channel is garnering in Brazil.

TV KIDS: Are international buyers looking for more shows with female leads?

COSTA: Buyers are looking for content that sends a positive message. It’s crucial that shows have a long life cycle so they can reach kids on linear and nonlinear platforms. Gender is important from a commercial perspective, but it depends on each platform’s strategy.

Girl empowerment is currently an important trend. I think it’s fundamental that girls be the stars of their own adventures, but we also have to look for content that presents boys in different settings from the traditional ones. Just like girls, boys have been excluded from many topics and stories, and it’s time that they participate in different journeys and adventures—this needs to become a trend. It’s also important not to forget that music is a key element in kids’ content.

TV KIDS: What types of co-production opportunities are you exploring?

COSTA: We’re in a very competitive market, where costs are increasingly on the rise. Co-production is key because it allows us to expand our production value. At Gloob, we need to be creative to secure financing and to collaborate with the appropriate partners. One of our main goals is dedicating time and effort to establishing solid partnerships that are relevant in Brazil and around the world.

By Rafael Blanco

O

perated by the Brazilian media giant Globosat, the kids’ channel Gloob offers animation and live-action programming that promotes positive values to its target audience. Many of Gloob’s original shows have been sold to broadcasters in markets around the world. Tatiana Costa, the general director at Gloob, talks to TV Kids about the challenges and opportunities that come with working in the kids’ space, where consumption habits are changing rapidly and therefore it has become increasingly important to deliver high-quality content that keeps young ones engaged.

TV KIDS: Is Gloob content available in countries other than Brazil?

COSTA: Gloob is not available as a linear channel anywhere else apart from Brazil. However, we’re focused on distributing our original content, and thanks to our highquality standards, in a little over two years it has been recognized by many broadcasters around the world. The 276 WORLD SCREEN 4/19

TV KIDS: In a world where there are so many options available, what are kids currently looking for?

COSTA: Kids are looking for character-driven stories. It’s vital that content presents strong characters. At the end of the day, it has to do with compelling stories. This is core to every hit that we’ve had. We’re making sure that storytellers are always thinking about the characters. Without good stories and characters, the property doesn’t have a chance to grow and reach as many viewers as possible.

TV KIDS: Where do you see opportunities for growth this year and looking ahead?

COSTA: We are 100 percent focused on developing successful content and IP that can travel, as well as generating significant change in the Brazilian audience. Additionally, all of the brands and franchises we license must include a 360degree strategy. In other words, they should be relevant for OTT platforms, linear television and social media. We are focusing on developing high-quality content with commercial appeal that aligns with Gloob’s values. This is our challenge in the coming years.

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