TV Kids October 2024 by World Screen

Strategies / Known IP / Windowing Shifts / DreamWorks

Acquisition

Animation’s Margie Cohn Paramount’s Ramsey Naito / Disney Jr.’s Alyssa Sapire / Wizards Beyond Waverly Place’s Jed Elinoff & Scott Thomas

Blurred Lines

We all know how much time kids are spending on YouTube; they’re also engaging with their favorite YouTube characters on a raft of other platforms.

FEATURES

QUEST FOR THE BEST

Several leading buyers and commissioners share their programming strategies.

YOU KNOW US!

Producer-distributors talk about how they are catering to the increasing appetite for shows based on known IP.

TIME TO SHARE

Ricardo Seguin Guise

Publisher

Mansha Daswani

Editor-in-Chief

Anna Carugati

Editor-at-Large

Kristin Brzoznowski

Executive Editor

Jamie Stalcup

Senior Associate Editor

Alexa Alfano

Associate Editor

David Diehl

Production & Design Director

Simon Weaver

Online Director

Dana Mattison

Sales & Marketing Director

Genovick Acevedo

Sales & Marketing Manager

Ute Schwemmer Bookkeeper

Children’s media expert Emily Horgan, who runs The Kids StreamerSphere newsletter, has been doing a deep dive into Netflix’s data dumps and found that of the SVOD platform’s top ten kids’ IPs, four were born on YouTube. Among them is CoComelon Lane, a spin-off of the Moonbug Entertainment IP. “There’s a well-defined trend that global engagement with CoComelon overall on Netflix is softening,” Horgan explains. “The new spin-off show isn’t making up the difference for the decline in the original. That’s despite new series of both still coming consistently. It’s worth mentioning that this trend is also hinted at in U.S. Nielsen streaming rankings.”

For Horgan, the big question now is, “Who will take advantage of this space left by CoComelon? Perhaps it would be impossible for there to be any original new competitor because coming up on YouTube [for kids] hasn’t been possible in the past ﬁve years since the advertising crackdown.”

Exploring how kids’ IP owners are tapping into the AVOD and FAST space and adjusting their windowing approaches.

JUST FOR KIDS!

From best-selling book adaptations to returning hits to breakthrough new ideas, there’s plenty to sample in our latest edition of the TV Kids Screenings Festival.

Ricardo Seguin Guise

President

Anna Carugati

Executive VP

Mansha Daswani

Associate Publisher

Kristin Brzoznowski

VP, Content Strategy

401 Park Avenue South, Suite 1041, New York, NY 10016, U.S.A.

Phone: (212) 924-7620

Website: www.tvkids.com

Therein lies one of the biggest problems for kids’ IP owners today—how to create awareness for a brand and then, crucially, how to sustain it. Having known IP helps, as the team at Moonbug will tell you, but as Horgan’s data analysis indicates, awareness just isn’t enough. I explore the challenges and opportunities of working with existing properties in this edition, speaking with a range of IP owners on spot ting brands that are ripe for adaptation or reinvention and keeping their success year after year. That theme runs across the Q&As in this edition, including with Margie Cohn at DreamWorks Animation, Ramsey Naito at Paramount Animation and Nickelodeon Animation and Alyssa Sapire at Disney Jr.; all are mining their deep libraries alongside searching for the next great kids’ IP. We also hear from Jed Elinoff and Scott Thomas about their approach to resurrecting Wizards of Waverly Place more than a decade since that show wrapped its run.

Of course, part of maintaining a franchise involves ensuring it’s well-distributed, so we surveyed a range of executives about tapping into YouTube, clinching AVOD and FAST deals and refining windowing strategies amid a slowdown in commissioning. The theme across all of our coverage is it’s rough out there, but kids still want great storytelling and characters they can engage with across platforms; the key for the industry is figuring out how to fill that need with an economic model that makes sense for everyone. Mansha Daswani

APC Kids

Lana Longbeard / Nitso and the Very Hairy Alphabet / Stories from Backwoods

APC Kids is launching the 2D animated comedy-adventurefantasy series Lana Longbeard, co-produced by its Zephyr Animation production arm and Copernicus Studios for Warner Bros. Discovery (EMEA), Super RTL (Germany), M6’s Gulli (France) and CBC and Family Channel (Canada). APC Kids is also presenting the preschool animation Nitso and the Very Hairy Alphabet, in which a little yeti learns about words and languages, and the comedy Stories from Backwoods, about a city raccoon who ﬁnds her way into the backwoods. “From animation to live action across every genre and from TV exposure to brand building, we work with some of the most creative independent producers worldwide, with tailor-made services and long-term partnerships being key to our identity,” says Lionel Marty, managing director.

“APC Kids has opted for a boutique approach to kids’ and family content, focused on a limited number of carefully chosen productions.”

—Lionel Marty

Australian Children’s Television Foundation

Eddie’s Lil’ Homies / Windcatcher / Little J & Big Cuz

The Australian Children’s Television Foundation (ACTF) has on offer the ten-part series Eddie’s Lil’ Homies, in which 8-yearold Eddie and his friends bring viewers along on their playground adventures. The live-action ﬁlm Windcatcher centers on 10-year-old Percy Boy Collins and his crew, who outsmart a group of bullies. Also available from the ACTF, the fourth season of Little J & Big Cuz continues to follow the titular First Nations kids as they deal with the ups and downs of life on the playground and in the classroom. “Kids of all backgrounds and nationalities have one thing in common: they love laughter, adventure and stories that entertain,” says Tim Hegarty, international sales manager. With these series, “broadcasters from around the globe will ﬁnd content that offers their audience a truly fabulous viewing experience.”

Banijay Kids & Family

“The ACTF is known worldwide for its high-quality, Australian-made children’s television programs.”

—Tim Hegarty

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

Highlights from the Banijay Kids & Family catalog include the new comedy animation Super Happy Magic Forest, produced by Tiger Aspect Kids & Family with Movimenti Production, Monello Productions and Zodiak Kids & Family France. “Super Happy Magic Forest is a one-of-a-kind comedy starring heroes like Blossom the unicorn, Hooﬁus the faun and Herbert the gnome as they embark on many adventures, brought together by their love of questing, picnics and frolicking,” says Cecile Cau, senior VP of co-productions, sales and acquisitions at Banijay Kids & Family. The slate also features the 2D series Chimera Keepers: Adventures with Incredible Creatures, from Monello Productions, and the preschool adventure series Miniheroes of the Forest, from Movimenti Production and MoBo and co-produced by Zodiak Kids & Family France.

“We are looking forward to creating synergies with existing and new partners.”

Miniheroes of the Forest

Little J & Big Cuz

Stories from Backwoods

—Cecile Cau

BBC Studios Kids & Family

The Primrose Railway Children / Supertato / My Friend Maisy

BBC Studios Kids & Family is bringing to MIPCOM The Primrose Railway Children, a feature-length family drama based on Jacqueline Wilson’s novel of the same name. “Set against the stunning backdrop of the Scottish highlands and heritage railways, it is quintessentially British,” says Katharina Pietzsch, VP of content sales. “At its heart lies a beautiful story with universal themes that are sure to resonate with global audiences about growing up, secrets, being displaced and ﬁnding your way in a community that seems alien.” Also on offer, Supertato centers on a potato superhero and his fruit and veggie sidekicks as they work to protect their supermarket from an evil pea. My Friend Maisy reintroduces the titular mouse character and allows preschoolers to hear her talk for the ﬁrst time.

“We are bringing a wonderful selection of kids’ and family content to the market.”

—Katharina Pietzsch

Branscome International

ROBOTIK / Killer Lasagna / The Winning Score

ROBOTIK leads Branscome International’s slate, with a CG first season completed and a second season now in financing. The series “is proving to be a ‘brand on the go’ in many ways, attracting impressive partners around the world,” says Catherine Branscome, president and executive producer. The comedy-horror animated feature Killer Lasagna, for kids ages 7 and up, was recently completed. “We are premiering this 75- minute film at MIPCOM, so it’s fresh out of the oven,” Branscome notes. The Winning Score, based on a short film from Chile, follows a determined boy who dreams of leaving poverty behind and becoming an international soccer star. Branscome International is “seeking like-minded, inspired partners who connect with the director and producer’s vision,” adds Branscome.

CAKE

Nikhil & Jay / Talking Tom Heroes Suddenly Super / Mechamato

The CAKE highlight Nikhil & Jay , based on the awardwinning book series by Chitra Soundar, features the stories of two brothers who live in a multicultural family. “Nikhil & Jay authentically represents the everyday experience of dual-heritage children with warmth, heart, humor and family themes that children all over the world will relate to,” says Ed Galton, CEO. In the new launch Talking Tom Heroes Suddenly Super , Talking Tom and his friends Angela, Ben and Hank discover a strange device that grants them powers and makes them “suddenly super.” There’s a second season and movie for Mechamato, which continues the adventures of a creative young boy named Amato, who accidentally becomes the master of a high-tech robot named MechaBot.

“ROBOTIK is growing in many directions, gaining excellent traction on multiple platforms.”

—Catherine Branscome

Nikhil & Jay

“Following CAKE’s recent acquisition of the Jetpack brand, we have doubled the size of our catalog to 3,200 half-hours of high-quality kids’ and family content.”

—Ed Galton

The Primrose Railway Children

ROBOTIK

Cyber Group Studios

Alex Player / The McFire Family / Gigantosaurus

Cyber Group Studios has Alex Player on offer, following as a charismatic football player named Alex becomes the captain of an esports team. The McFire Family tells the story of a family of ﬁreﬁghters who work to keep their city safe every day. “We are particularly proud of this universe, where the whole family lives great adventures together,” says Raphaëlle Mathieu, COO. In the upcoming fourth season of Gigantosaurus, a character named Giganta will be introduced, and the baby dinos Rocky, Bill, Tiny and Mazu will return. At MIPCOM, Cyber Group aims to “meet as many of our partners as possible for sales and potential partnerships,” Mathieu says. “These are challenging times; we need to think out of the box. Let’s meet and invent the future together.”

Dandelooo

The Upside Down River / PongPong Dino / Under the Sofa

Dandelooo’s live-action fantasy series The Upside Down River tells the story of Tomek and Hannah, who team up while on different quests. Hannah hopes to collect a magic drop from the Qjar River to save her bird while Tomek searches for a lost memory. PongPong Dino encourages children to develop an interest in a wide variety of foods and introduces an open-minded approach to eating. The comedy Under the Sofa sees a group of lost objects get a second chance as they live in hiding under a couch. “Part sitcom, part adventure series, in Under the Sofa, we meet imperfect characters forced to live together in imperfect harmony, trying to survive in the apartment of a family that aspires to perfection,” says Emmanuèle Pétry, producer and head of international at Dandelooo.

“The storytelling and talent we attached to each of these shows are important to make sure we bring the most entertaining, smart and cool shows to the market.”

“These programs are bound to become long-lasting IPs all around the world.”

—Emmanuèle Pétry

Ellipse Animation/Mediatoon Distribution

Belfort & Lupin / The Marsupilamis / Martin Morning: The Chinese Mystery

Belfort & Lupin leads the Ellipse Animation slate that Mediatoon Distribution is presenting. The comedy series follows the adventures of a dog who’s lost his sense of smell and a scrappy wolf, both surrounded by the exotic animals of a 17th-century royal court. “We are also very excited to present The Marsupilamis ,” says Morgann Favennec, deputy managing director of Mediatoon Distribution and VP of international ﬁnancing at Ellipse Animation. “Our reboot of this timeless IP through a comedy show with top-tier 3D animation refreshes the brand.” The company is also highlighting Martin Morning: The Chinese Mystery, a feature ﬁlm aimed at family audiences. “Ready for delivery, the movie is a spin-off of the beloved character from the four-season animated series,” adds Favennec.

“Our ambition is to continue to diversify our offering.”

—Morgann Favennec

—Raphaëlle Mathieu

Belfort & Lupin

Gigantosaurus

PongPong Dino

Green Gold Animation

Mighty Little Bheem / Mighty Bheem’s Playtime / Chhota Startup

Green Gold Animation’s animated series Mighty Little Bheem centers on a toddler with superhuman strength and boundless curiosity who embarks on adventures in his small Indian town. The company is also highlighting Mighty Bheem’s Play time, in which Bheem heads to school. “Mighty Little Bheem and Mighty Bheem’s Playtime focus on the innocence and wonder of toddlers and infants—a universal theme that resonates deeply with parents and children alike,” says Rajiv Chilaka, founder and CEO. In Chhota Startup, three kids start a business that provides aid to others in their community. However, they soon realize that running an organization isn’t a cakewalk, and they must use their skills to solve challenges. Where everyone else sees problems and struggles, the little entrepreneurs see opportunity.

Guru Studio

Spot & Friends / Bark Heads / 123 Number Squad!

Spot & Friends, a highlight of Guru Studio’s catalog, follows the adventures of the rambunctious and curious puppy Spot, inspired by the best-selling children’s book Where’s Spot? “As guardians of this beloved literary legacy, we are excited for this new series to ignite that same curiosity with a fresh and contemporary style for today’s preschoolers,” says Frank Falcone, president and executive creative director. For kids ages 7 to 12, Bark Heads centers on a pig and his quest to be a dog. “The series celebrates loyalty and spirit and applauds those who are bold and dogged enough to chase their dreams (and their tails),” Falcone notes. The second season of 123 Number Squad! features new educational adventures in which the rescue team uses numbers, counting and shapes to save their fellow citizens.

“Our mission is to create content that resonates with children and families worldwide through rich storytelling and universal values.”

—Rajiv Chilaka

“Guru has a long track record of building iconic brands that resonate around the world.”

Hidden Pigeon Company

The Pigeon Show / Cat the Cat Tries That! / Elephant & Piggie’s Storytime Shorts!

Children’s book author and illustrator Mo Willems has built up Hidden Pigeon Company as a multiplatform entertainment company dedicated to bringing his storytelling to children and families with upcoming series, gaming, experiences and more. “The magic of Mo Willems’ books is that they bring together kids and the people who love them in laughter and play,” says Kristofer Updike, senior VP of creative at Hidden Pigeon Company. The company is creating a catalog of TV IP that includes The Pigeon Show, Cat the Cat Tries That! and Elephant & Piggie’s Storytime Shorts! “While many of Mo Willems’ characters have a global presence and are consistent bestsellers in the U.S., several of his works are new to the international community, and we are excited to share the power of Mo with buyers from around the world,” Updike says.

“Mo Willems’ humor lives in that sweet center of sophistication and silliness, of physicality and emotionality, of utter ridiculousness and meaningful reﬂection.”

—Kristofer Updike

–Frank Falcone

Hidden Pigeon Company characters Elephant & Piggie, The Pigeon and Knuffle Bunny

123 Number Squad!

Konami Cross Media NY

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

Konami Cross Media NY has a range of Yu-Gi-Oh! series on offer, including the two-season show Yu-Gi-Oh! GO RUSH!!

“This series is impressive for its well-written female characters, who bring humor and sensitivity to the program, along with tasteful references to older shows in the franchise,” says Mark Kirk, senior VP of distribution. Yu-Gi-Oh! SEVENS features “positive messaging, diverse representations of characters and youth-oriented humor,” Kirk explains. Yu-GiOh! Duel Monsters, “which remains very popular for its nostalgic appeal,” Kirk says, is also on offer. At MIPCOM, Konami Cross Media NY is “looking to increase the availability of our new series and our strong library of titles,” Kirk says. “We are hoping to identify some new IP projects for review, with the goal of developing them to ﬁt within our portfolio.”

Yu-Gi-Oh! SEVENS

“We are looking to identify partners who can offer new and interesting ways to engage our Yu-Gi-Oh! fan base.”

Lion Forge Entertainment

Iyanu / The Secret Society of Rebel Girls / Chicka Chicka Boom Boom

Leading Lion Forge Entertainment’s MIPCOM slate, Iyanu blends anime-style looks with African culture and Yoruban magic, with a basis in Nigerian mythology. The Secret Society of Rebel Girls, based on the Rebel Girls books that have sold around the world, features “relatable girls in today’s world navigating middle-school dramas” and has “a high-concept magical hook that brings [in] both the big-kid and tween audiences, as well as the legions of parents who love the Rebel Girls brand,” says Stephanie Sperber, president and chief content officer. Chicka Chicka Boom Boom brings the best-selling picture book to life for the upper preschool demographic. “This music-based series will lean into comedy and ‘gamiﬁed’ adventures, giving early exposure to letters and sounds in the bright, sunny style of the beloved book,” Sperber explains.

Mattel

“It’s

important that we continue to emphasize our guiding principle of diverse stories authentically told.”

Hot Wheels Let’s Race / Barbie Mysteries: The Great Horse Chase / Barney’s World

Mattel has on offer a second season of Hot Wheels Let’s Race, which follows the racers’ next level of training and their biggest challenges yet. Barbie Mysteries: The Great Horse Chase features a horse-centered storyline involving Barbie “Malibu” Roberts and Barbie “Brooklyn” Roberts and will be accompanied by a range of new toys. In the new animated series Barney’s World, the titular purple dinosaur from Barney & Friends returns for more music-ﬁlled adventures. “Each of these exciting new shows builds on our beloved global franchises, expanding fans’ favorite Mattel characters and storylines,” says Josh Silverman, chief franchise officer. “Here at Mattel, we strive to build and extend the emotional connections between our fans and our franchises through new stories, products and experiences for years to come.”

“Creative and meaningful storytelling is universal, but connecting with and appealing to audiences of all ages is Mattel’s specialty.”

—Josh Silverman

—Mark Kirk

Barney’s World

—Stephanie Sperber

Iyanu

Mediawan Kids & Family

Maddie + Triggs / The Three Musketeers / Pirate Academy

Mediawan Kids & Family is highlighting Maddie + Triggs, a preschool IP produced by Turnip + Duck for CBeebies. The series follows Maddie, a young visually impaired girl, and her doggy best friend Triggs as they embark on musical adventures. The Three Musketeers , newly reimagined for a new generation of kids, brings the Alexandre Dumas classic to life with a modern twist, as the legendary swashbucklers are now girls embarking on adventures to protect young King Louis XIII. Mediawan Kids & Family is also presenting Pirate Academy . “Inclusion, diversity and girls’ empowerment are critical topics on the roadmap of many broadcasters,” says Julien Borde, president. “These three series are specifically designed to meet this demand.”

Mercury Filmworks

“Our mission is to bring the next generation’s favorite franchises to the market.”

—Julien Borde

Don’t Walk Home Alone After Dark / Gustavo / A Mouse Called Julian

Mercury Filmworks has Don’t Walk Home Alone After Dark, a brand-new horror series for teens and tweens, on its MIPCOM roster. A suspenseful collection of modern folk tales that explore coming-of-age themes intended to be equal parts scary and heartfelt, the series embraces the crossover between podcast and YouTube content, allowing the audience to watch, listen or both. “Each episode is essentially a mini scary movie,” says Chantal Ling, VP of original series and co-productions. “It promises to be a unique entertainment experience in a genre that offers universal appeal.” Gustavo, on the other hand, is a comedy series based on The World of Gustavo book series. A core message of friendship is woven throughout the story. A Mouse Called Julian is based on the children’s book by Joe Todd-Stanton.

MIAM! distribution

The Tinies / Our Summer of Freedom / The Dangers

MIAM! distribution’s sitcom The Tinies takes place in a playful world built by toys, where the doll Ollie and her crafty friend Titus resolve problems within their community. It “fosters creativity, promotes DIY projects, builds pride and, best of all, helps reduce plastic waste,” says Mélanie Errea, head of sales and acquisitions. Our Summer of Freedom, set in 1955 Algiers, sees 9-year-old Khadidja work with friends to rescue her older brother, who was unfairly arrested. “Its universal themes of friendship, adventure and self-discovery make it an ideal pick for broadcasters,” Errea notes. In The Dangers, nature has reclaimed towns, animals can talk and technology has been wiped out. Two children, their father, a giant bacterium and a monster truck go on a journey to ﬁnd the kids’ missing mother.

“Whether

as a service provider or original IP creator, we continue to bring dynamic storytelling to life.”

“These titles stand out with their universal appeal, character-driven approach and strong storytelling.”

—Mélanie Errea

The Tinies

A Mouse Called Julian

Maddie + Triggs

—Chantal Ling

Paramount Global Content Distribution

Tales of the Teenage Mutant Ninja Turtles / Hamsters of Hamsterdale / Max & the Midknights

The latest installment in the Teenage Mutant Ninja Turtles ( TMNT ) franchise, Tales of the Teenage Mutant Ninja Turtles , on offer from Paramount Global Content Distribution, picks up where the TMNT: Mutant Mayhem movie left off. “It is true to the humor and style of the movie and will delight fans both old and new,” says Lauren Marriott, senior VP of content partnerships and brand strategy. Hamsters of Hamsterdale follows a team of pet hamsters who believe they are the heroic protectors of their 8-year-old owner, “King” Harry, who has no idea about their secret missions. Based on the book series by Lincoln Peirce ( Big Nate ), Max & the Midknights follows protagonist Max and her ragtag group of friends as they embark on a quest to save the kingdom of Byjovia.

pocket.watch

“Kids’ and family content remains a priority for Paramount Global Content Distribution, and we are looking forward to bringing these new titles to buyers at MIPCOM, as well as continuing business for our library and other key franchises.”

—Lauren Marriott

Ryan’s World the Movie: Titan Universe Adventure / Love, Diana: Musical Mysteries / LankyBox Ultimate Mishmash

pocket.watch is heading to MIPCOM with “a ton of new content starring kids’ favorite digital stars,” says Jeff Siegel, global head of content distribution. “Each title stars pocket.watch creators in elevated new content made and packaged for premium streaming platforms.” Ryan’s World the Movie: Titan Universe Adventure is set to make its move from the big screen to premium streaming platforms. Love, Diana: Musical Mysteries stars kid celebrity Diana, who boasts millions of followers on YouTube. “This new series is visually stunning, combining live action and multiple types of animation, with new songs that will entertain preschoolers and teach them important problem-solving skills,” adds Siegel. LankyBox Ultimate Mishmash follows best friends who have lots of laughs and play games.

Rainbow

Mermaid Magic / Winx Club / Gormiti—The New Era

Rainbow has on offer Mermaid Magic, which has already proven to be a hit on Netflix since its August debut. The co-viewing title carries strong ecological messages about respect for nature and the importance of ocean conservation, along with themes about the power of friendship and the value of home. Winx Club is also a top highlight. “Now rebooted in spectacular style in CGI, Winx Club promises to take the magical dimension to a new level for a whole new generation of fans,” says Andrea Graciotti, head of sales for TV and VOD rights. It is set to deliver in 2025. Gormiti—The New Era follows the adventures of four young heroes from Earth who are called to save their planet and the fantasy realm of Gorm from war and destruction.

“We’re proud to be at the forefront of the continued growth and dominance of YouTube, as well as the explosive rise of the creator economy.”

—Jeff Siegel

“Rainbow has the power to create and build exciting new franchises across genres.”

Mermaid Magic

Max & the Midknights

—Andrea Graciotti

Ryan’s World the Movie: Titan Universe Adventure

Studio 100 International

DINO MATES / Waiko / BFF

Studio 100 International is bringing a raft of animated and live-action children’s shows to MIPCOM, including the upcoming DINO MATES. Targeted to kids ages 6 to 10, the series is currently in production. Thirteen episodes will be available by the end of 2024, with 13 more to drop in Q1 of 2025. The company is also presenting Waiko , a new mystery series for tweens and teens. “This thrilling, humorous series is set at a fair where teenage alien Nova, robot Ion and their human friends help extraterrestrials return home safely,” says Dorian Buehr, head of global distribution. The series is set to be completed in April 2025. The 2D animated comedy series BFF follows three friends who, despite their differences, share a deep bond and enjoy each other’s company.

Superights

Harrison & Me / Silly Sundays / Maelys’ Mysteries

Superights’ highlights for MIPCOM include Harrison & Me, a comedy featuring eco-friendly tips and encouraging the discovery of nature. The series follows the ever-cheerful Charlie and the fearful Zack, two kids guided by Harrison, an organic and vegetal being with a big heart. Silly Sundays, a feel-good comedy series, follows Sonia, Hugo, Mel, Mom, Dad and Granny on days when there is nothing to do except spend time together. Maelys’ Mysteries features a 10-year-old girl who is eager to solve mysteries. Everything that seems suspicious to her is the beginning of a new treasure hunt. “Although they belong to different genres, all three series have something feel-good about them,” says Nathalie Pinguet, deputy managing director of sales and acquisitions.

The Wiggles

Wiggle and Learn / Ready, Steady, Wiggle!

The Wiggles has two new seasons of its YouTube series Wiggle and Learn on offer. “Ms. Rachel joins us in a few of the episodes, and the entire series has really done well on the platform,” says Luke O’Neill, CEO. “The series explores crucial early childhood themes and offers a comprehensive and engaging educational experience for preschoolers focused on learning through the joy of music and play.” Episodes include “Learn About Friendship,” “Learning About Emotions and Feelings,” “Learn About Transport” and more. In addition, The Wiggles is in production on the seventh season of its successful Ready, Steady, Wiggle! series, and seasons four, ﬁve and six are available now. “Play, love, friendship, learning, singing and dancing are all themes that have no international boundaries,” O’Neill says.

“Our current program portfolio demonstrates a broader approach in terms of storytelling and target audiences.”

“Our catalog possesses a nice collection of series and TV specials aimed at children from all over the world.”

“The Wiggles has been a successful international brand for over 30 years.”

—Luke O ’Neill

—Nathalie Pinguet

Wiggle and Learn

—Dorian Buehr

DINO MATES

Silly Sundays

Toon2Tango

Dinomite & Lucy / Hey Fuzzy Yellow / Agent 203

Toon2Tango’s Dinomite & Lucy is slated to debut at the beginning of 2025. Set in an alternative prehistoric world where dinosaurs are the superior species, the show “stands out for many reasons, including a witty, appealing and unique theme,” says Ulli Stoef, CEO and co-founder. For younger viewers, Hey Fuzzy Yellow is on offer. Previewing at MIPCOM, the edutainment title focuses on thinking and self-expression through play. Agent 203 follows Zoe, a teen who discovers her dad used to be a secret agent protecting our planet against alien invasions. She decides to follow in his footsteps while still trying to balance her normal life. A second season for the series and a feature ﬁlm are in consideration. The company is also highlighting Monster Loving Maniacs

TV Asahi Corporation

Obocchama-kun / Doraemon / Shin chan

TV Asahi Corporation is hosting the world premiere of Obocchama-kun at MIPCOM. Based on the popular manga by Yoshinori Kobayashi, the comedy series centers on a “crazy rich” boy and his outrageous school life and family love. Obocchama-kun is a co-production between TV Asahi and Sony YAY!, and it is due to ﬁnish production in Q4 2024. The company’s animation slate also features Doraemon and Shin chan. “Doraemon is one of the longest-running Japanese animation series and is about a robot cat from the future,” says Maiko Sumida, head of animation sales and development. “With his gadgets, he saves a boy from getting into trouble.” Doraemon has 1,000-plus episodes, and the production is ongoing. Shin chan is a slice-of-life show about a cheeky 5-year-old boy. The brand’s 31st movie marks its ﬁrst in CGI.

WildBrain

Badjelly / Secrets at Red Rocks / Storybooth

WildBrain’s Badjelly is based on the kids’ book Badjelly the Witch: A Fairy Story by comedian Spike Milligan. “The series delivers a fresh take while preserving the humor, adventure and quirky characters from the original tale,” says Katie Wilson, VP of global sales and acquisitions. Secrets at Red Rocks, adapted from Rachael King’s awardwinning novel, follows 12-year-old Jake as he is drawn into a world of mythical creatures and adventure. When he ﬁnds a sealskin hidden on the rocky shores of his father’s seaside home in Wellington, New Zealand, unexpected dangers are unleashed, and Jake is called upon to protect his family. The title is set to deliver by the end of this year. Storybooth, aimed at tweens, teens and families, features stories submitted by real kids.

“We’re always looking for more properties and ideas that suit our skills and requirements.”

—Ulli Stoef

“For

a very long time, TV Asahi’s main focus for the international business of animation was on sales and distribution, but now we are expanding into development.”

—Maiko Sumida

“Across

animation and live action,

we’ve

got something for everyone, no matter where or how kids are discovering content.”

—Katie Wilson

Secrets at Red Rocks

Dinomite & Lucy

Obocchama-kun

Margie Cohn DreamWorks Animation at 30

on it. A common theme among employees is creative ambition—continually striving for risk-taking and delivering something never seen before.

TV KIDS: How are you tapping into your well of beloved IP to bring new stories to audiences?

COHN: We always have new audiences who can continually discover some of our beloved characters and stories as they grow. But Kung Fu Panda 4 delivered for longtime fans and added new characters and storylines for new audiences, resulting in multigenerational appeal. We never want to phone it in with our treasured IP, so we only move forward when we have the right story.

TV KIDS: What’s the key to retaining a known brand’s DNA while reinventing it for new viewers?

COHN: We seem to specialize in the underdog or unlikely heroes and the journeys they take to make their dreams come true. We also focus on transportative and immersive worlds, and that’s as true today as it was 30 years ago. DreamWorks’ stories take you to unexpected places best experienced in animation. The last ﬁve years have signaled a new chapter in DreamWorks’ storytelling, largely due to the visual innovations of our creatives.

TV KIDS: How are you developing characters and stories that can become the franchises of tomorrow?

COHN: Originals are the future of our studio, along with new chapters in beloved franchises that resonate with contemporary audiences. It’s a balance of honoring the best of what DWA has created in the past and leaning into innovation and artistry with originals.

TV KIDS: What are some of the highlights of your slate?

By Mansha Daswani

From the antics of a lovable ogre to the adventures of a dragon trainer to the shenanigans of former zoo animals marooned in Madagascar, DreamWorks Animation (DWA) is home to some of the biggest family franchises across television and film. Led by Margie Cohn as president, the division of NBCUniversal has grossed over $17 billion at the global box office and operates a television segment that entertains families in more than 190 countries through streaming and broadcast partners. As the studio turns 30, Cohn talks to TV Kids about the milestones so far and the journey ahead.

TV KIDS: What does the DWA brand symbolize today?

COHN: The DreamWorks brand has always stood for quality and innovation in visual artistry and creative ambition. We tell stories that stand the test of time, and we use that as our North Star to guide us into the future. The studio’s rich history has given us beloved characters and enduring franchises that continue to resonate globally, but we are also committed to creating compelling and artistic original ﬁlms and series for today’s market and audiences.

TV KIDS: How has the team pushed the boundaries of animation innovation?

COHN: DreamWorks is built on a culture of collaboration and giving ﬁlmmakers the freedom to create and be supported with the technological innovation needed to deliver

COHN: The Wild Robot is releasing around the globe this fall. For 2025, we have three feature ﬁlms that exemplify the diversity of tone we’re committed to. In January, we will bring Dav Pilkey’s best-selling series Dog Man to the big screen. Peter Hastings is directing an incredibly special ﬁlm that will deliver for the millions of kids who have read Dav’s books and bring something incredibly fresh to the Dog Man world. In August, The Bad Guys 2 will arrive, and the original cast is back along with some exciting new characters and a caper that will captivate. And in September, Gabby’s Dollhouse: The Movie will come to life in a live-action/animated hybrid. We are so proud of our homegrown IP, which started as a popular series and has grown into the next big preschool franchise. Shrek 5 will be coming to theaters in July 2026 with the original cast in what I can promise will be an epic tale for the ages.

TV KIDS: Amid this uncertainty in the business, how are you crafting your development slate?

COHN: We are in unprecedented times but are doing our best to listen to the market and meet the needs of our part ners from moment to moment. We have content in development and production for preschool, young adult and all-ages audiences, so as a studio, we feel conﬁdent that we are crafting a compelling slate that meets the many formats, demos and narratives driving today’s business.

QUEST for the BEST

Several leading buyers and commissioners share their programming strategies with TV Kids.

By Mansha Daswani

In the ultra-competitive battle for a share of kids’ attention, channels and platforms catering to young ones are adjusting their programming strategies to adapt to constantly shifting consumption habits.

Exclusivity isn’t as important as it once was (to a degree— more on that later); big brands are more crucial than ever; volume matters, especially for those services looking to beef up their on-demand services; and everyone is on the hunt for the next Bluey, or, at the very least, the next great co-viewing hit.

Acquired fare and co-productions feature prominently for all the buyers surveyed here, who run the gamut from pubcasters and commercial TV channels to ad-supported and SVOD streaming and FAST.

Last year, KiKA had more than 1,200 international programs across its grid, according to Sebastian Debertin, the ZDF and ARD joint venture’s head of international content acquisitions, programming and management department. Acquisitions and prebuys also form a key part of M6’s kids’ grid, including on the free DTT service Gulli, the pay-TV channels Canal J and TiJi and the AVOD service M6+, Coralie Boitrelle-Laigle, director of youth programs in France, says.

RTÉ commissions a slate of content to meet the needs of its audiences but is always on the lookout for acquisitions,

Suzanne Kelly, head of children’s and young people’s content at the Irish pubcaster, tells TV Kids

Darren Nartey, acquisitions manager for ﬁlms and kids at ITV, calls acquired fare an “important and necessary” part of the kids’ offering on ITVX. “It gives us a diverse pool of titles while bringing the biggest and most recognizable brands to British kids in an increasingly competitive landscape.”

Sandbox Group acquires for SVOD, AVOD and its FAST channel across 12 languages, with about 90 percent of its total slate made up of acquisitions, according to Ellen Sol berg, director of content, with an eye to buying 15 to 20 new shows over the next year for SVOD.

Brenda Bisner, chief content officer at the A Parent Media Co.-owned Kidoodle.TV, says acquisitions have been “critical” to the AVOD streamer, which celebrates its tenth anniversary this year, “as we are always seeking best-inclass content from all around the world, in multiple languages, that our audience wants to see.”

For many of those acquiring content today, a key shift has been the need for an extensive portfolio of on-demand rights.

“An absolute prerequisite is strong box-set rights for our VOD player,” Kelly says. “We used to operate on the basis that we would sometimes get a 30-day catch-up, but that just

doesn’t suffice anymore. Children are moving away from linear content. Everything is on-demand. So, we’re asking for very strong rights. If we can’t get those rights, we’re not buying that particular type of content. We’re also trying to build our brand signiﬁcantly on YouTube. So, we also argue quite strongly for geo-blocked and YouTube content so we can create some kind of experience on that platform, with a view to pushing toward our player.”

ITV shuttered its CITV linear channel in 2023, bringing its kids’ offering to the on-demand platform ITVX. “The move from linear to AVOD last year has allowed for us to increase the amount of kids’ content on the platform while expanding the content mix to include more genres and attract new audiences,” Nartey explains. “ITVX Kids is a brilliant platform that offers a wide range of shows we believe serve its audience well. We’ve also stepped away from short-form content and are now able to experiment with longer durations.”

Debertin has been exploring new markets for acquisitions and co-pros at KiKA, while at Sandbox, the biggest shift has been expanding beyond preschool, acquiring content for kids aged 6 to 12, Solberg says. Gaming is also increasingly important, as is having a presence in FAST.

RTÉ’s Kelly is looking at a wider array of touchpoints as well. “There’s so much content coming in from the U.S. and

the U.K., it’s very difficult to get kids to come to a public-service broadcaster. We’re not very cool! We are always looking at the various touchpoints we can create using the content in a clever way to try to engage them back to our service.”

Bisner highlights Kidoodle.TV’s greater focus on “strategic relationships with partners who care about our core Safe Streaming focus and participate in the journey of their content with us. We are acutely focused on proven brands while also taking leaps on up-and-comers.”

WISH LISTS

The diversity of the platforms surveyed for this piece is reﬂected in the broad range of their content needs in the run-up to MIPCOM.

Nartey notes that while ITVX is serving its preschool audience, his main focus at present is the 6-to-12 set. “For this age group, we are looking for animation of all genres and all demographics that would sit alongside our tentpole titles. For live action, we are open to all genres with a strong emphasis on entertainment such as American Ninja Warrior Junior , Detention Adventure and All-Round Champion.”

Solberg stresses that everything Sandbox acquires for its various services needs to ﬁt its key brand tenets. “We are playful. We want learning to be fun. We want the content to inspire kids to discover new hobbies and to go out and do things outside of the app and TV as well.”

She is buying for multiple demos (preschool, bridge and tween), mainly series. “Long-form and short-form do different jobs across the platform. For example, on mobile, we’re seeing short-form is engaged with more. On Amazon channels and Apple channels, the longer form does better. FAST is still quite new to us. It’ll be really interesting to see how that compares to the other platforms. Our FAST channel is planned around a child’s routine. In the morning, you want getting-ready content, and then there are activities throughout the day and then calmer content at night. We do need volume. We need longer-form content there that ﬁts into those themes.”

It’s a similarly wide set of needs at M6, Boitrelle-Laigle says. Gulli, geared to kids and families, is always in need of comedy that reﬂects the brand’s values. “Comedy grounded in the daily lives of children, so they can recognize themselves in the show,” along the lines of hits like The Loud House and SpongeBob SquarePants. TiJi, the preschool service, has a slight girl skew and has fared well with Barbie-themed content and Zoom the White Dolphin. Canal J is in need of actionadventure fare for kids 8 to 12, with volume being a key factor “because we program in big blocks.” Volume is also key for Gulli, given its wide audience target.

RTÉ is currently well-served on the preschool front. “We’re looking for a lot of comedy and slapstick in that bridge space,” Kelly explains. “And then, as we skew older, drama. The U.K. is producing quite a lot of drama, but for a point of difference, we’re looking outside of the U.K. We buy a lot of content from Canada and Australia. Sometimes, dubbing content that’s in a different language when it comes to Ireland can be quite a difﬁcult sell for audiences. For older kids, the 10-to-12 segment,

Several Mattel properties are now available on Kidoodle.TV, including shorts featuring characters from Thomas & Friends: All Engines Go.

Dandelooo’s Taina and the Amazon’s Guardians is available on Sandbox’s Hopster.

we look for more reality-based shows. We look for childcentric shows that are driven by kids.”

KiKA is serving the needs of its flagship channel as well as its on-demand player. On the preschool front, “We’re cherrypicking,” Debertin says. “We’re looking at everything because you never know.” KiKA is boarding a new preschool show from Croatia, Debertin notes, reflecting the wide net he has cast to fill the service’s needs. “It’s great to find these new, fresh, talented people in countries that you don’t have on your radar.”

Bisner says her shopping bag is ready to be ﬁlled at the market in Cannes. “We are continuing to grow our multi-language offering and presence in many regions globally. There is excitement around sports content for families, more gaming content, movies and, of course, anime.”

FILLING THE GAP

While the renaissance of kids’ programming amid the streamer wars certainly led to an abundance of content available on the market, there are areas buyers would like to see more options in.

For Nartey, “There’s a lack of live-action series in the market (scripted and non-scripted), but that’s because they’re

extremely difficult to produce in the current climate given the budget challenges creators currently face. I’m interested in seeing how other territories are managing this decline.”

Kelly says she wants to see more puppet-based content. “We don’t really get offered that much.”

Sandbox is taking more of a 360 approach to brands, Solberg says. “We have videos and games as part of our SVOD service, but we also have a publisher and activity boxes that we send out. It’s opening a whole new world for exploring brands and content and doing more with them. This is something we’re discussing now and looking at how to start testing that out.”

Debertin adds, “The world for kids nowadays is so much more difficult and challenging. I’d love to see solutions. We take the kids seriously, and we want to give them a helping hand. It is not about giving kids a written manual, not a handbook, but some kind of smaller or bigger solutions for their daily lives and their future.”

The broad success of the likes of Blippi and Ryan’s World, which originated on YouTube, has led many “traditional” players in the kids’ business to explore the creator economy for content acquisitions, but it can be a challenging process.

“We have to know what this audience likes apart from our TV programs,” Boitrelle-Laigle says. “We always keep an eye on YouTube and on social media. We sometimes collaborate with YouTubers, but more [so] to promote the shows. YouTubers and inﬂuencers are local celebrities, and we need an international celebrity to build an IP. It’s really hard for us to have special content based on a YouTuber. In our shows, we make the character use the codes of YouTube and social media to create a close link between our audience and those YouTubers and this new, fresh tone that we like.”

Some of RTÉ’s shows have been fronted by local talent with signiﬁcant social media followings. “Sometimes they transfer across really nicely, sometimes they don’t,” Kelly says. “The kids often sniff it out. They’re suspicious if we take their beloved social media stars and plunk them on a linear show. We’ve also tried to collaborate in interesting ways. We did Ireland’s Future is MINE , a skill-based show with Microsoft. We’re trying to muddy the waters and not be too platform-speciﬁc.”

Available on RTÉjr and RTÉ Player, the original series

Fia ’s Fairies is distributed by Monster Entertainment.

KiKA’s grid includes Crazy Fun Park from the Australian Children’s Television Foundation.

Solberg says Sandbox is looking at the creator economy space. “I’m curious about it. Because it is user-generated content, you need a level of involvement in selecting the content and the curation.”

Kelly agrees, noting, “That can be a tricky space to navigate. You want the inﬂuencers because they’re so popular on social. You bring them onto your beloved, familyfriendly, safe platform, and the next thing they’re doing on social is completely at odds with your brand. It’s a tricky state to navigate, but exciting.”

KiKA has started working with social media inﬂuencers who are popular among kids, Debertin adds. Viewers “see that we take them seriously and that we are where they are and also recognize that they have these new stars.”

“It also opens up loads of opportunities for the publicservice broadcaster to not be so serious,” Kelly notes. “It’s brilliant that we can use our platform to showcase completely demented stuff that you would only see on social media.”

Kidoodle.TV, which has come of age amid the renaissance in the creator economy for kids, is keen to align with digital creators, Bisner says. “New and innovative content born outside of what was a traditional broadcast method is clearly a mainstay and part of the way all content will be in the future. When we see legendary brands make a comeback and go viral, we are watching that, too. A wellorchestrated social presence and conversation where families are getting information is mandatory now.”

UBIQUITOUS DISTRIBUTION

The need to have a ubiquitous approach to building a brand has opened up a new conversation about exclusivity in the kids’ space, with some programmers willing to take a ﬂexible approach when needed.

“We’re pretty happy with things like simultaneous broadcasts,” Kelly says. “We’re really happy to geo-block for our territory. We’re not really that demanding. If we can just have strong box-set rights for our player, which is really where we’re pushing kids, and the ability to exploit a little

bit on YouTube to get a good taster as to what our content offering is, we’re open to negotiation. That kind of protectionist outlook on content is slightly old hat at this stage. You can deliver to your territory and to your audience without demanding that you own everything.”

BRAND-DEFINING

Debertin agrees with Kelly’s assessment but notes, “At a certain point, we need exclusivity and shows that set us apart. Rights are very often a project-by-project decision. [There is] a third season of The Smurfs. We wouldn’t have become one of the lead co-producers if we wouldn’t have gotten exclusivity. For free TV and BVOD, you have to have that. If you ﬁnd The Smurfs everywhere, that’s a problem.”

Boitrelle-Laigle is of a similar opinion, stating: “We are taking exclusive rights wherever we can, but it always depends on the IP. We’re open to discussing things case by case.”

Nartey says ITVX’s approach is ﬂexible—“but only to an extent. It ultimately depends on our level of investment in each project. I’d be wary of losing all exclusivity to digital platforms if they’re not taking the same risks we are.”

Exclusivity has not been a concern at Sandbox, Solberg says. “We’ve never really focused on buying content exclusively. We haven’t had the budget to consider it seriously because we’re covering so many territories and languages. It wouldn’t work. We’ve come in a bit later, or we’ve taken all the seasons. But I have noticed that there is a bit more availability now than there was a few years ago.”

At Kidoodle.TV, “We have a creative way of structuring deals, where it makes sense to have a window or a carve-out to mutually satisfy the joint efforts and power of the brands,” Bisner explains. “It is all contextual. We are a proven new revenue stream, working on a non-advert-dependent CPM rate, and, quite frankly, partners have the opportunity to see great revenue results from us, in addition to their business on other AVOD platforms. It is a balance of the theory that content should be available anywhere kids are seeking and the platform’s responsibility to their served audience.”

Cyber Group Studios partnered with M6’s Gulli on The McFire Family

You

Mediawan Kids & Family’s

The Three Musketeers

Know Us!

Mansha Daswani

surveys a range of producer-distributors about how they are catering to the increasing appetite for

shows based on known IP.

Unveiling new research at the TV Kids Summer Festival this year, David W. Kleeman, senior VP of global trends at Dubit, offered up some sobering intelligence on one of the biggest trends shaping the kids’ media sector today: most of the leading shows for kids aged 6 to 11 have been around for a while (SpongeBob SquarePants turned 25 this year and still tops the charts).

“If the show itself hasn’t been around a long time, then at least the IP has,” Kleeman said. “How do you break in a new IP? How do you break in a new franchise when it’s so dominated by long-running IPs and where there’s little appetite for risk these days?”

“Times are difficult for original concepts,” says Morgann Favennec, deputy managing director at Mediatoon Distribution and VP of international ﬁnancing at Ellipse Animation. “Except for public channels, traditional broadcasters will take the safer option—i.e., new seasons of successful series and adaptations of books and comic books. Betting on known properties does not automatically translate into high ratings but remains reassuring in these troubled times. Having IPs in your development portfolio will help you get a foot in the door.”

“As a result of the slowdown in orders for new kids’ shows in the U.S., the international market is more crowded and competitive than ever,” says Julien Borde, president of Mediawan Kids & Family. “Known IP is an evergreen of the kids’ business, and it’s true that in times of crisis, existing IPs are more attractive and convenient for partners.”

Broadcasters and platforms are “increasingly focused on acquiring well-established IPs carrying a proven track

record of awareness and measurable popularity,” affirms Martin Krieger, CEO of Studio 100 International.

“Discoverability is key, and known IP leads in all our conversations,” says Kirsten Newlands, executive VP of production and partnerships at Lion Forge Entertainment. “We’re also looking at known acting talent, creators, showrunners and writers with track records who we know can build audiences. The best is when you have that onetwo punch of known IP and known talent.”

TRIED AND TRUE

Chantal Ling, VP of original series and co-productions at Mercury Filmworks, says known IP is “almost essential in many cases. Folks are looking for something that already has a built-in fan base. There’s comfort in knowing that there is a potential audience already out there, which makes the decision to move forward feel safer for everyone. On the ﬂip side, getting new, original IPs off the ground is becoming increasingly difficult. But once they are off the ground, we have seen that fans can propel an original onto the global stage by sharing and pushing what they love. Taking a gamble on something completely new without some sign of an existing audience is a much harder sell right now, but so worth it when a show truly ﬁnds its fan base.”

“Particularly over the last few years, there has been a strong narrative that clients are demanding known IP, and to some extent, this is true,” says Delphine Dumont, chief commercial officer at Banijay Kids & Family. “Having a show with an existing audience and a recognizable brand that cuts through is an attractive proposition for many of

Produced by Tiger Aspect Kids & Family and based on the original live-action comedy, the animated Mr Bean series is one of the biggest brands in the Banijay Kids & Family stable.

our buyers, but this does not guarantee success. It’s important to highlight how essential the production, writing, animation and quality of the show are. We don’t just want to bring audiences in for one episode—we want them to love the show and keep returning for more.”

BALANCING ACT

What are the keys to adapting or rebooting an existing property? Preserving the DNA of something that is already beloved while making it work for the medium requires a thoughtful process.

“It begins with ﬁnding a new creative voice who can identify the elements of the brand that made audiences fall in love with it in its original run,” says Michael McGahey,

VP of content for kids and family at Boat Rocker Studios. “Ideally, you want to tap into what made it unique and emotionally connective in the ﬁrst place while bringing new life to the storytelling. Contemporary writers with a distinctive vision should help make it fresh and work for a modern-day audience, but you still need to keep the core of the original structure intact.”

Aardman has successfully adapted many of its beloved characters into new series, including Shaun the Sheep and The Very Small Creatures

“Brands need to evolve and grow through different formats, territories and audience interactions, but they should always be anchored by a consistency of character and the core creative energy of the IP,” says Sarah Cox, the studio’s chief creative director. “Our characters are our most precious assets— they are like close friends who we need to recognize as authentic. We want them to grow and evolve, but their ﬂaws and rough edges are often what relates most, so it’s particularly important to retain this intrinsic appeal.”

Japan’s TV Asahi is rebooting its classic manga-based anime series Obocchama-kun for Sony Pictures Networks India. “Fortunately, the original creator and manga artist, Yoshinori Kobayashi, is still actively involved with the project today,” says Maiko Sumida, head of animation sales and development. “We asked him to collaborate on developing the plots and scripts for the new sequel and also supervise the basic artwork.”

The original remains popular, Sumida explains, noting, “The true challenge is in ensuring that the sequel lives up to expectations and does not let down the fan base when it is developed into a different media. We need to satisfy the initial fan base and bring something new to expand the fan base further.”

TV Asahi is resurrecting Obocchama-kun for Sony Pictures Networks India given the success of the original anime series.

Extending the works of award-winning New York Times best-selling children’s author/illustrator

MO WiLLEMS

into the entertainment space and beyond.

SEVERAL NEW SERIES IN DEVELOPMENT!

Krieger at Studio 100 adds: “It’s essential ﬁrst to understand and clearly deﬁne what a brand stands for and why consumers connect with it. The core values that made a classic series resonate must be faithfully carried into any new adaptation, ensuring that the essence of the original continues to drive the new content. Striking the right balance between preserving the DNA of a classic brand and making it relevant for today’s audience was our top priority when developing and producing new series and films for Maya the Bee, Heidi and Vic the Viking.”

It’s a similar ethos at Mercury Filmworks, Ling says. “It’s about keeping the essence intact, whether it’s the tone, the visuals or the core message. I love collaborating with the original creators to ensure we honor their vision while bringing something fresh to the screen. It’s a balance of staying authentic and embracing new possibilities for the adaptation.”

BRAND PLANS

Mediawan’s Method Animation is well-versed in reinventing classic properties. “We have a long track record of success in that area, from The Little Prince to Robin Hood, Peter Pan and Iron Man ,” Borde says. “Two things are crucial when working on such iconic properties: building trust with the IP owners or representatives and bringing the right talent to the table. People who fully understand the DNA of the universe, but also feel free to reinvent it.”

Method’s latest reinvention is The Three Musketeers , in which the legendary swashbucklers are now girls pro tecting the young King Louis XIII. “The twist is invigorating, inspiring and perfectly in line with our commitment to diversity and modernity in our production choices,” Borde says.

Banijay Kids & Family is home to the recently rebooted Totally Spies!, the long-running Mr Bean and the updated Topo Gigio, among other properties based on known IPs.

“You need to reflect contemporary society while being sympathetic to the original version,” Dumont says. “It is important you retain a classic brand’s DNA and don’t lose the core ingredients that made audiences initially fall in love with it, but you can’t remake it in the same way.

From production techniques to important topics, storylines that resonate and more in-depth character development, the world has inevitably changed, and so must our shows. And we feel privileged to work with some of the best creatives in the game who keep our titles fresh, innovative and watched.”

When updating The Marsupilamis , Lila Hannou, VP of creative development and strategy at Ellipse Animation, says the process began with understanding how to maintain the spirit of the original comics “while spicing it up with new elements. Our ambition is to provide the young audience a show they can easily relate to thanks to the tone and humor we put in the writing.”

Lion Forge is at work on adapting the picture book Chicka Chicka Boom Boom, where “we needed to expand beyond the book to include story and character in the series to create episodic drivers and connection with the audience,” Newlands says. “We leaned into the unique cadence of the book and are focused on music to bring it to a global audience. We need to know that the series can grow season after season.”

FEELING BOOKISH

Books and comics are the primary sources for potential adaptation, making it a competitive space. Mediatoon Distribution and Ellipse Animation have been tapping into the resources of their parent company, Média-Participations, and looking further afield, Hannou says. “We keep a close eye on other publishers and original IPs—good stories and strong concepts can come from anywhere. For example, for ADN (Anime Digital Network), we have adapted Dreamland , a manga published by Pika Édition, and we are currently in development with France Télévisions on Trotro & Zaza , based on the successful books published by Éditions Gallimard.”

Similarly, Lion Forge is working with its sister company Oni Press, a graphic novel publisher, and has a deal with Penguin Young Readers. “We look for source material that aligns with Lion Forge’s mission of diverse storytelling, authentically told, that we know we can build a team around, and that we can bring to market with a unique voice,” Newlands says.

Studio 100 International is home to beloved bookbased IP such as Maya the Bee

Studio 100 International has been “meticulously scouting the market” for compelling publishing properties, Krieger says. The company is already working with Gaumont and Gingersnap Productions to co-develop Jun gle Book: Cub Club Adventures (w.t.), based on the Rudyard Kipling classic.

“The source material we seek must feature a powerful narrative and compelling characters that kids can easily identify with,” Krieger says. “It’s essential that the content not only resonates with today’s generation but also possesses the scalability to evolve into a strong, long-term brand.”

“An engaging story, high sales numbers and a loyal fan base are important, but if the book has a concept that grabs you with a compelling story and dimensional characters, then it’s often worth pursuing whether it’s ‘known IP’ or not,” says McGahey at Boat Rocker. “But it always has to be great!”

On what she looks for, Dumont at Banijay says: “You want to be able to demonstrate a strong appetite for that

IP, be it through a significant international footprint, book sales, a vibrant consumer-products program or even sizeable social media followings. And it’s important to consider the amount of development that would need to go into translating an existing property into a show—the casting, storylines and script are all key.”

IN CHARACTER

Aardman hasn’t done much in the book-based space, Cox notes, adding, “We are open to creative inspiration and synergy from any source—it doesn’t matter what media it originates in. We primarily look for interesting characters with flaws or quirks. Or sometimes, it’s a character in an impossible situation where we can find an intrinsically comic take. This can be from any interactive media, a game, a book, a song or a single image—any of these could hold the seed of an idea that could be the start of a great Aardman IP.”

Indeed, development executives are looking for compelling characters and stories across multiple mediums.

“We make a huge effort in sourcing material from experienced creators and popular existing IP, whether it is books, of which we have a few in development, or through digital platforms like YouTube, which is the source of our new series debuting at MIPCOM, Don’t Walk Home Alone After Dark,” Ling at Mercury Filmworks says. “It is a way more attractive proposition to start with an IP from a channel with over 200,000 subscribers and 8 million views. Building an audience like this takes time, trust and genuine teamwork.”

Borde at Mediawan is bullish about the potential to build brands out of the creator economy. “Our teams are looking for new IPs based on games and social networks.”

From Lion Forge Entertainment, Chicka Chicka Boom Boom is based on a popular children’s picture book.

Ellipse Animation produces the comic-book-based The Marsupilamis, which is sold by Mediatoon Distribution.

Mercury Filmworks is introducing the tween/teen series

Don’t Walk Home Alone After Dark, based on a YouTube channel.

Method Animation is already working on Ki & Hi for CANAL+, based on the digital and publishing brand. “This new series based on the work of one of the most powerful French YouTubers, Kevin Tran, has global resonance for two reasons,” Borde explains. “It’s a comedy series based on the universal theme of brotherhood and an anime series for kids.”

Just as digital is an essential ecosystem to mine for new content, it’s also a necessary playground for expanding awareness, sustaining interest and understanding the needs and wants of the audience.

“In addition to linear television and its ratings, digital platforms play a crucial role in tracking and measuring the

success of our IPs,” Studio 100’s Krieger says. “We maintain a strong presence on YouTube, consistently uploading content and staying agile in response to consumer trends, where our classic series continue to enjoy signiﬁcant popularity. That’s why we are remastering some of our most beloved heritage series, making them available in full HD and 16:9 for the ﬁrst time.”

Banijay’s Dumont adds: “Social engagement is a key indicator of the reach of our brands, alongside audience and sales. Digital platforms allow us to see which brands are gaining traction and where there is a passionate fan base. Totally Spies! is a great example of this. Before the reboot, we knew it was still hugely loved by audiences through its fantastic digital popularity. This was useful when we were looking at revisiting the show for a new series.”

Borde is also tapping into data and analytics from the AVOD ecosystem. “We are working with our colleagues at Mediawan Thematics on expanding our footprint with new FAST TV projects dedicated to our beloved and iconic characters, such as Pinocchio, Robin Hood and The Little Prince. We are also exploiting more fulllength episodes of our back catalog in AVOD in selected territories. By leveraging the power of these platforms and partnerships, we can confidently determine when an IP is ripe for a reboot, backed by concrete data and audience enthusiasm.”

NEW BEGINNINGS

All those surveyed for this report had an addendum when discussing the importance of meeting the demand for known IPs. Yes, you should be looking at existing characters and worlds to build upon, but you can’t forget about the need for creative renewal. Ultimately, the business needs new ideas to survive.

“We must champion creativity and original productions, as these can become huge hits in their own right,” Krieger says. “Risk is key to supporting innovation and the broader creative economy.”

“We are rolling up our sleeves and committing to our creators and their content,” Mercury Filmworks’ Ling says. “We have had to reduce our slate, and therefore, we are even more committed to developing each project’s core promise. Development takes passion, trust and real collaboration. In times of uncertainty, we need to be sure about what we stand for and what projects we stand behind, always pushing our creative vision forward. Even if it is inch by inch.”

“There is a growing understanding around the world that known IPs have to be unknown at some point,” Mediawan’s Borde quips. “The most successful children’s franchises today, such as Miraculous, PAW Patrol or Peppa Pig, were all new seeds at the beginning. The industry needs to dare [to make] new shows that kids can relate to. Incubation is crucial to this process.”

A Sky Kids commission, The Very Small Creatures features a cast of characters who originated in the Aardman classic Morph

TIME TO SHARE

TV Kids explores how kids’ IP owners are tapping into the AVOD and FAST space and adjusting their windowing approaches.

By Mansha Daswani

Conversations about evolving exclusivity and holdback arrangements are happening across the media ecosystem, but none more so than in the kids’ media space, where being everywhere kids are—which is everywhere—is essential for boosting discovery and building a brand.

“All channels, subscription services and platforms want audiences to spend more time with them, and content is how they attract audiences and build their brands,” says Kate Smith, executive VP of audience engagement at Wild Brain. “We recognize the importance of supporting their investment by helping relevant audiences discover content. However, more and more, we’re seeing these clients open to exploring other platforms, including YouTube, to build awareness of their IP, which in turn can also help to drive viewers to their platform.”

“Almost every platform in the world is open to different funding strategies,” says Richard Goldsmith, president of global distribution and consumer products for Atomic Car toons and Thunderbird Entertainment. “A platform that has traditionally, or at least in the last ten years, said, ‘We need global rights,’ is now saying, ‘It’s OK if you bring in a partner in a couple of territories, and we can give them a ﬁrst window.’ That allows us to bring in co-production partners and do a couple of presales.”

Joe Barrett, VP of global sales at PBS Distribution, says buyers “always want exclusivity where they can get it. But there are two factors weighing in on this exclusivity piece. One is tightening budgets. The second is accessibility. The release approach needs to be multiplatform, and having your content on multiple platforms with tightening budgets tends to lean toward non-exclusivity. So, the

WildBrain’s Teletubbies.

pocket.watch’s Ryan’s World started life on YouTube and is now present across multiple platforms, including SVOD and FAST.

attitudes are changing based on the complexity of the platform strategy.”

IP owners should “have a windowing strategy that makes sense,” Barrett adds. “Particularly with new series, you don’t want to be cutting and structuring deals on AVOD and FAST before the broadcast and SVOD deals just for the revenue that it’s generating.”

It is the AVOD and FAST space that holds the most potential—for both driving revenues, albeit at a much smaller scale than traditional broadcast or SVOD deals, and building brands.

“When we take something out that has toy value, we sit with the toy companies and ask what they want us to do,” Goldsmith says. “Traditionally in the U.S., you had to be on

Disney, Nickelodeon or Cartoon Network, and that is still the main priority for some toy companies and retailers, but it’s changing dramatically.... No matter what platform you’re on, you need to have a very signiﬁcant YouTube plan.”

WildBrain saw the importance of being on YouTube early, Smith explains. “Our deep experience and broad network of channels—currently more than 500—gives us a sizable advantage in this space. YouTube is the number one destination for kids’ viewing—its popularity with kids and family audiences means it is an undeniable tool for building IP today. The platform is always evolving, so our presence is hugely helpful in tracking data and adapting to trends. Currently, we’re seeing the need for multiformat publishing with different types of content, including longer videos, shorts (under 1 minut e), live streaming, etc. It’s all about delivering relevant, platformappropri ate content to your audience, curated to their preferred viewing style.”

While many IP owners are figuring out how to mine their properties on YouTube, pocket.watch has built a thriving business on taking digital-native content birthed on the video-sharing site out into the wider media economy, including traditional linear channels, SVOD and now FAST. The company launched its first FAST channel in 2018 and followed that up with Ryan and Friends two years later. The pocket.watch channel and Ryan and Friends operate as part of the company’s overall “flywheel,” according to Corinna Fisher, senior director of programming.

“We use the channels to amplify other business lines. For example, with the movie [ Ryan’s World the Movie: Titan Universe Adventure ], we rolled out themed blocks and a stunt marathon leading up to the theatrical release. We also drive Ryan and Friends Plus subscribers by sampling exclusive original shows that we have on the SVOD service on the FAST channel and expanding awareness.”

KIDS GO FAST!

For Fisher, pocket.watch’s business model of bringing digital-ﬁrst YouTube content to multiple platforms lent itself naturally to the FAST space. “We recognized early on that it made sense for us to get into FAST to expand and promote all of our franchise lines and our evergrowing OTT network as a whole.”

WildBrain, too, has made a signiﬁcant commitment to the FAST space following its breakout YouTube success. Its library of well-known brands has helped power its gains in the FAST arena, Smith says.

“Single-IP channels are highly successful in FAST. As the largest player in the FAST space for kids’ content, we have launched almost 150 channels globally across major platforms—with each channel based around a single IP, including Teletubbies, Strawberry Shortcake, Inspector Gadget and more.”

Single-IP services, naturally, need volume, but, Smith notes, target demo does impact that equation. “When looking at an ideal volume of episodes, the number varies by age,” she says. “Fewer hours are needed for younger viewers, as preschool audiences tend to enjoy repeat

Guru Studio has a FAST channel for True and the Rainbow Kingdom, which was first commissioned by Netflix.

viewings. For non-preschool kids’ content, a large bank of content is key for success, with an ideal minimum of about 100 hours.”

At pocket.watch, “We plan our lineups to maximize a day-over-day and week-over-week refresh so that the channels are always feeling new and fresh,” Fisher says of her approach to curation. “We also plan around cultural, marketable moments that are relevant to our audience. We’ve developed annual repeatable stunts for kid-relevant holidays. We also offer a lot of value to our audience by windowing content. For example, we have world premiere videos that debut on SVOD and FAST channels before they even go to YouTube.”

SPEED BUMPS

There are, naturally, hurdles for everyone navigating the always-evolving digital media ecosystem for kids. Indeed, just getting a handle on data can be a challenge given the disparate sources you need to rely on.

“YouTube performance translates to OTT and FAST,” Fisher says. “We also see analogs in terms of dayparts and seasonality. So, for example, if we see a peak at a certain time on YouTube, we tend to see that uptick as well on

OTT. Similarly with seasonality, if there’s a dip at a certain time of year, that pattern will likely emerge on OTT as well. Audience alignment is also huge for us. We have found that we can attract and retain audiences by aggregating closely aligned content.”

The fundamental economics of the business have also shifted, with increasing capital investment needed to explore all modes of engagement.

“I’m looking at investing in Roblox and mobile games,” Thunderbird’s Goldsmith says. “All of that costs money. If you’re going to properly distribute something, as a producer or a distributor, you need to have a pool of investment capital that you’re able to spend. When you go on AVOD in the U.S., we might be on ten platforms, but we don’t get a dime as an advance from any of these platforms; it’s all on a rev-share. The only way that we’re able to do that is either with our own ﬁnancing or to have achieved enough sales outside the U.S.”

Several elements need to be in place before AVOD and FAST see signiﬁcant monetization gains.

“COPPA and GDPR inventory is just too small of a pie right now on FAST,” Fisher says. “Monetization is still not congruent with viewership. That’s going to start to even out. Ad revenue needs to move from linear and—pardon my pun—faster to FAST. If partners don’t feel like they’re monetizing their content or they can’t invest that revenue in funding more productions, the model won’t be sustainable. That shift is going to happen, and more ad dollars are going to move there.”

WildBrain’s Smith adds: “Better monetization is key at the moment, as the FAST space is still figuring out what’s next. There’s still further evolution required for both general audience content and, even more importantly, for kids’ channels. There’s increasing focus on improving the ad tech as viewing figures continue to rise across the AVOD and FAST space, but the advertisers haven’t kept the same pace. This will align, but it takes time. Essentially, through partners like WildBrain, increased monetization will come from improved ad sales. This can be supported by an augmented experience for advertisers with unified metrics and the ability to assess cross-platform performance.”

As we get there, Fisher expects “to see platforms and publishers focus more on integrating FAST into an overall ecosystem that includes AVOD, SVOD, gaming and other interactive elements, just making it feel more cohesive as a whole for the consumer.”

PBS KIDS has been using YouTube to drive interest in Carl the Collector, its new original series being rolled out by PBS Distribution.

Thunderbird Distribution did a series of AVOD deals on Mittens & Pants, including with Tubi.

Ramsey Naito Paramount

Ramsey Naito was born into a family of artists and attended only art schools. Not surprisingly, she developed a deep understanding of the creative process. Upon completing a Master of Fine Arts at the California Institute of the Arts, where she befriended fell ow students in experimental animation, her career path was set. Through the years, her executive and producer credits have included numerous animated movies, including Jimmy Neutron: Boy Genius, The SpongeBob SquarePants Movie and Scooby Doo! The Mystery Begins. Today, she heads up both Paramount Animation and Nickelodeon Animation, overseeing feature films such as Teenage Mutant Ninja Turtles: Mutant Mayhem and PAW Patrol: The Mighty Movie , as well as television series. Naito talks to TV Kids about refreshing popular franchises, the unique collaboration animation requires and connecting with audiences through relevant characters. By Anna Carugati

TV KIDS: It’s been three years since the Paramount and Nick elodeon animation divisions were brought together. What have been the beneﬁts of combining these two units?

NAITO: With these two divisions being combined, we can be strategic with our talent and provide opportunities for them to work across so many different kinds of content, which broadens their skills and allows them to work with us for many years.

TV KIDS: What is the strategy for animated feature ﬁlms?

NAITO: Our strategy is to make great, amazing, fresh, irreverent, hilarious animated ﬁlms that are making a mark, have a soul, present new perspectives on characters and worlds we know or present new characters, worlds and franchises. We want to make two movies a year. For 2026, we have three. To tie into your ﬁrst question, we can be strategic. The Jimmy Neutron movie was a big theatrical tentpole that presented Jimmy Neutron as a new character, and then we made a series. The movie was, dare I say, a backdoor pilot. Similarly, we made an amazing Teenage Mutant Ninja Turtles movie with Seth Rogen, Jeff Rowe and the Point Grey [Pictures] team, and now we’ve debuted a great series as well.

TV KIDS: What is the strategy for animated TV series?

NAITO: Right now, our lineup is comprised of known IP, but we are actively developing and looking to greenlight an original. The originals are so important. There’s nothing like originals. They’re born today and speak to today. They add tremendous value by adding to our library of great legacy titles.

TV KIDS: Would you give some examples of how your teams have refreshed storied franchises?

NAITO: The real trick to reimagining an IP like Turtles or The Smurfs is ﬁnding incredible talent that love the IP and

have a perspective on what kind of story can be told today and how it can look while remaining true and authentic. It comes down to ﬁlmmakers who have something to offer from their hearts because they love the title.

TV KIDS: Does the A-list talent involved in voicing Transformers One speak to the franchise’s enduring popularity?

NAITO: Generally, in animation, it depends, but in Transformers, it made a huge difference. Chris Hemsworth, Brian Tyree Henry, Scarlett Johansson, Keegan-Michael Key and Steve Buscemi are amazing actors, and they brought their craft to this movie in a way that is extraordinary. It raised the bar for the film in every way. On top of it, they all have a fan base. The idea that these guys are together in a film is surprising and exciting, and it sends a message to many different aspects of our audience and gets them excited to come to the theater. Casting can bring a tone and signal a high bar for what a film is meant to be.

TV KIDS: How do you decide on an animation style for a new version of a franchise?

NAITO: Animation is limitless in terms of what you can do. Even though technologies continue to evolve, the look comes down to artists and filmmakers. On our films, they 100 percent dictate what the look of a film is going to be. It’s my job to support their vision and steer them in the right way so that we’re all successful, but so much comes from them. It takes a village. There’s no question that over the course of a movie, there is a magical sense of collaboration that also adds to the look. That’s the beauty of animation.

TV KIDS: What technological advances have sped up animation processes or made them more efficient?

NAITO: Making an animated movie or series takes a long time. Technology, slowly but surely, is helping us quicken that process. Technology supports our ability to get visions on-screen. When I first started out in theatricals, doing a squash-and-stretch type of comedic physical animation piece was hard. The technology would break. It wasn’t as malleable or artistfriendly. Today, it’s refined itself. Artists can put their fingerprints on every aspect of a movie and make it feel irregular and handmade. Eventually, animated filmmaking will become shorter and shorter. One thing will always remain: You need a great visionary and artist executing great work.

opinions, viewpoints and creative talents that makes for a better end product.

NAITO: One hundred percent. Animation is a people process. Animated films are a people process and an artist process. It’s like workshopping a play over the course of many years. You get to iterate, change, grind, try things on, make things better and rerecord, rewrite and reanimate. It’s a mystery to our liveaction cousins, but it’s magic to us animation folks. Who wouldn’t want to make something better? It’s those exciting, on-fire moments that are people moments, team moments and artist moments that you can’t replace.

“You have to tell stories with characters that feel authentic and fresh and that kids can identify with and see themselves in.”

TV KIDS: How do you envision AI impacting animation?

NAITO: When it comes to making movies, AI can’t replace people. Without people, you don’t have things that are handmade. You don’t have smart decisions at the end of the day. You don’t have intellectual perspectives coming together and creating a movement. AI is similar to the motion capture conversation. Animators hate it. Artists hate it. It’s conﬁning. It’s not handmade. It’s all in evolution. We may be in a very different place in 10 or 20 years.

TV KIDS: In a process like animation that requires so many people and a long time, it’s the convergence of

TV KIDS: What are some ways you connect with young viewers today?

NAITO: What’s really important is finding your audience. If you’re making The Smurfs , Transformers or an original, you have to be focused on marketing campaigns that reach audiences, know where kids are and speak to them. You have to tell stories with characters that feel authentic and fresh and that kids can identify with and see themselves in. It starts with stories that are good, funny and soulful. How are you going to make everyone know you have these great characters and great stories? You’ve got to go to TikTok, Instagram and YouTube.

The rebooted DORA, produced by Nickelodeon Animation, rolled out a second season in September.

relatable and funny. We want young viewers to connect to our stories, see themselves in our characters—who have a range of real emotions and experiences that kids can relate to—and get a window into how others navigate relationships and emotions. Our characters are largely curious, optimistic and joyful—because that’s a very real reﬂection of where preschoolers are.

TV KIDS: Disney has a treasure trove of IP. How are you adapting major franchises such as Star Wars and titles from Marvel for young viewers?

SAPIRE: Disney Jr. is the only brand within The Walt Disney Company that brings together all of the company’s most iconic characters under one umbrella. So, we get to adapt iconic IP from Marvel to Lucasfilm to Disney Princess and Pixar, reimagining the stories and characters for a preschool audience. We make the characters younger and more relatable to our audience. When kids see characters as kids themselves, like a young Spidey or a young Ariel, they relate to that much more and think they were made just for them. This is precisely what kids tell us themselves, and parents confirm all the time.

TV KIDS: What approach do you take to updating classics?

SAPIRE: It always goes back to strong storytelling and which characters we feel will resonate most with this generation of kids and families. We go directly to our audience and ask them what they want to see and what they love about these characters because we want to make sure they see themselves and the world around them reflected in the stories and characters, and we make sure to reflect real situations and emotions that preschoolers experience daily.

Alyssa Sapire Disney Jr.

By Anna Carugati

Disney Jr. is home to countless series based on classic IP, popular franchises and original shows like the hit Bluey. Alyssa Sapire, the senior VP of development, series and strategy, oversees premium original content for preschoolers and families offered across multiple Disney platforms. As she tells TV Kids , the common thread through all titles is relatable characters that reflect young viewers’ lives and aspirations.

TV KIDS: What does Disney Jr. want to offer young viewers?

SAPIRE: What’s exciting for us at Disney Jr. is that we are part of Disney Branded Television, led by Ayo Davis, which features some of the most iconic stories and beloved characters in the Disney portfolio. Disney Jr. is the preschool brand for The Walt Disney Company and the ﬁrst touchpoint for that lifelong relationship with Disney. We are careful about making sure that our stories are ﬁlled with signature qualities: magic, wonder, adventure and heart. We ensure that our characters are

TV KIDS: What roles do familiarity and the nostalgia parents feel for franchises and classics play when introducing them to a new generation?

SAPIRE: We know that parents and caregivers want to share these beloved characters they grew up on with their kids, and they want to share in the warmth and joy of those wondrous stories that shaped their childhoods. Parents appreciate when we adapt stories for a young audience, creating an entry point and a bridge to so many iconic movies and characters they love. This creates connections in families, generation after generation. Disney Jr. gets to build on those existing iconic characters that have stood the test of time, from Winnie the Pooh to Ariel to Spidey and, of course, Mickey.

TV KIDS: I’m sure that encourages co-viewing, too.

SAPIRE: Absolutely. When their kids or grandchildren embrace the same characters because they’re

embodying those qualities that were so inspirational to them as kids, that creates new connections within their families.

TV KIDS: Do Disney’s linear, streaming and digital platforms support one another?

SAPIRE: We meet our audiences where they are, whether it’s streaming globally on Disney+, our linear networks Disney Jr. and Disney Channel, or our Disney Jr. YouTube channel, a top-level destination with more than 20 million subscribers and [upwards of] 18 billion lifetime views. Beyond the screen, we have unrivaled products, parks and cruises that extend our storytelling in meaningful and memorable ways.

TV KIDS: We’ve talked about classics, but does the availability of multiple platforms help when launching new shows?

SAPIRE: Kids are platform-agnostic; they seek out what they love everywhere they can. So, our philosophy for distribution platforms is to always be where kids are. It’s vital to increasing demand for our stories and characters, so we are in all the places where kids like to be.

TV KIDS: To what do you attribute Bluey ’s success?

SAPIRE: Bluey is an incredibly special series, and its heart and optimism make it such a great ﬁt for Disney. Kids and parents see themselves in that family. It’s been able to reach a massive global audience on Disney+ and our linear networks. It’s received world-class marketing support with the power of Disney Branded Television and The Walt Disney Company behind it.

TV KIDS: What is Disney Jr.’s approach to acquisitions?

SAPIRE: We make sure to work with trusted partners and storytellers, and we look for those stories that complement our portfolio and embody our signature storytelling qualities. That is first and foremost for us.

TV KIDS: How important are games and other content, whether short-form or interactive, in strengthening the connection to children?

SAPIRE: It’s very important to deliver stories in many different forms, whether short-form on YouTube introducing new characters to go along with the series or music videos to showcase a show’s signature song approach. All of our preschool titles have corresponding games on Disney Now. For example, Ariel’s Undersea Adventure is a game that is a companion for Disney Jr.’s Ariel. Disney Junior Puzzles is the number one game on Disney Junior Now, and we have other games around Spidey and His Amazing Friends and SuperKitties. It’s critical to be there in all forms, and our storytelling takes precedence—it’s front and center on all these different platforms.

TV KIDS: How important is embedding social and emotional values into the storylines of shows?

SAPIRE: We know that the content we create has an impact on our audience, and we take it very seriously. Disney Jr. features stories and characters that are developmentally appropriate and relatable to preschoolers’ lives. We have a thoughtful storytelling approach that takes into consideration the integral parts of a preschooler’s development— social, emotional, creative world, cognitive and physical world—while also making sure our content is bringing joy, laughter and entertainment.

Disney Branded Television is BBC Studios Kids & Family’s global partner on Bluey

JUST FOR KIDS!

From

best-selling book adaptations to

returning hits to breakthrough new ideas, there’s plenty to sample in our latest edition of the TV Kids Screenings Festival .

Mediawan Kids & Family is rolling out a wealth of new animated content in Cannes, including the preschool musical comedy Maddie + Triggs , about a visi on-impaired girl and her playful dog. “Maddie + Triggs is a celebration of diversity and inclusion,” says Julien Borde, the company’s president. “Through musical storytelling, unique animation and relatable family dynamics, the show immerses viewers in a vibrant world, offering an inspiring and engaging experience that highlights the beauty of diverse perspectives.”

Also in the preschool space, a second season of Supertato is among the lead offerings for BBC Studios Kids & Family following the breakout success of season one. “The ratings for the show are so strong that it was one of the

BBC Studios Kids & Family’s Supertato

fastest greenlights we’ve had,” says Katharina Pietzsch, VP of content sales. “The new series promises even more slapstick silliness, and there are new fruit and veggie characters.” Skewing older, BBC Studios Kids & Family is also unveiling The Primrose Railway Children, a feature-length family drama based on Jacqueline Wilson’s novel of the same name.

CAKE arrives in Cannes with an expanded lineup following its takeover of the Jetpack brand. “We have doubled the size of our catalog to 3,200 halfhours of high-quality kids’ and family content,” says CEO Ed Galton. Among the highlights is the non-dialogue animated series Cracké Family Scramble from Canadian studio Squeeze Productions, “based on the original shorts that aired in 210 territories on lead ing channels, including Disney, Nickelodeon, Cartoon Network, Teletoon, Tencent and CANAL+,” Galton says.

CAKE is also rolling out the preschool comedy Lucas The Spider, based on the worldwide viral YouTube hit. The series, Galton notes, “brings to life Lucas’s innocent and endearing perspective of the world while retaining the authenticity of the original shorts through longer narratives, new characters and an expanded universe.” CAKE will also be showcasing a second season of Mush-Mush and the Mushables .

Mediawan Kids & Family’s Maddie + Triggs

CAKE’s Lucas The Spider

Branscome International’s Catherine Branscome, executive producer, is excited to introduce her clients to season two of the upper preschool comedy ROBOTIK. “ROBOTIK’s digital short-form season one is enjoying incredible organic growth on YouTube, while broadcasters and VOD platforms pick up on our brand momentum as we expand to longer episode stories in season two,” she says.

Green Gold Animation will be in Cannes with its ﬂagship preschool show Mighty Little Bheem, which “captures the innocence and wonder of early childhood, making it relatable to families worldwide,” says Rajiv Chilaka, CEO. “Its dialogue-free storytelling transcends language barriers, focusing on universal themes like curiosity and imagination. This allows the show to engage diverse international audiences, resonating with both parents and children.”

Preschool also toplines the new offerings at Serious Kids. Happy Town is centered around teaching young ones about the importance of community. “We instantly fell in love with this adorable show,” says Leila Ouledcheikh, senior VP of global distribution. “Narrated by Mel B, Happy Town has powerful

Green Gold Animation’s Mighty Little Bheem

stories with universal messaging about kindness and community.” Ouled cheikh will also be pitching to her clients Team Nuggets, “an adorable comedy that will engage all kids aged 4-plus with fun and emotional moments reﬂective of real life at school.”

France’s MIAM! distribution is highlighting a slate targeting multiple demos, including the new preschool series The Tinies. “The Tinies tells the story of a community of toys living in a town built from familiar packaging, where each day brings new challenges to overcome together,” says Hanna Mouchez, CEO and executive producer. “With heroes that look like realistic toys, this series invites children to explore friendship and creativity while promoting DIY projects and building self-conﬁdence through crafting.” For family viewing, meanwhile, there’s the six-part Our Summer of Freedom, “which explores how children can transcend community differences,” says Mélanie Errea, head of sales and acquisitions. “With its high artistic ambitions, strong stories and a co-viewing audience, we are proud to bring this series to the international market.”

Serious Kids’ Happy Town

MIAM!

Scott Thomas (left) and Jed Elinoff (right).

Jed Elinoff & Scott Thomas Wizards Beyond Waverly Place

Wizards of Waverly Place debuted 17 years ago, becoming a hit and launching Selena Gomez to stardom. The world and its characters are returning 12 years after the original show’s finale in Wizards Beyond Waverly Place, which sees David Henrie reprise his role as Justin Russo, now an adult, whose everyday mortal life is thrown into disarray when Gomez’s Alex Russo brings a wizard-in-training to him for mentoring. The spin-off will debut on Disney Channel on October 29, followed by an eight-episode drop on Disney+ the next day. Writers and executive producers Jed Elinoff and Scott Thomas tell TV Kids about bringing back the iconic Disney IP and tapping into the nostalgia of the original series while introducing new elements for today’s children. By Jamie Stalcup

TV KIDS: Wizards of Waverly Place ended about 12 years ago, and a spin-off or sequel has been highly anticipated. Why was now the right time to bring this world and its characters back?

ELINOFF: The minute we sat down with David Henrie and Selena [Gomez], their passion for this show was infectious. You sit with them, and they immediately slip back into their characters and banter. They have this wonderful brotherly-sisterly vibe. When you experience them talk about the show, you go, “We have to do this again. We have to bring this back.” The lessons of the show are important, and the two of them are just so watchable that it’s a fun opportunity.

THOMAS: I also think that, in doing a continuation, for us, it was really exciting to do one where some time has passed, so we’re not just doing another season of the old show. There is an opportunity to ﬁnd these beloved characters later in life because Selena and David have been living with these characters. When we sat down with them, they were already excited about these conversations. That allowed us to have a lot of fun wondering where Justin is in life now that he’s in his 30s. When we last left him, he was going off to be the headmaster of WizTech. What happened between now and then that will allow us to drop the audience in, raise some questions and have some intrigue?

ELINOFF: How could we subvert what you might have expected from this most likely-to-succeed guy going back into the world so that we can tell a relevant story about somebody getting a second chance?

TV KIDS: Selena and David are credited as executive producers. Tell me about what kind of input they had on their character storylines and the show overall.

ELINOFF: We created this with them. They read everything. We came to them with our take. We had lengthy conversations

about it. What do they like? What do they not like? What’s important to them? And what’s important to us?

THOMAS: We started with, “What’s important to both of you?” If we’re going to do this, what important thing are we bringing to this new show? Then, it started to get a little more speciﬁc from there. Obviously, for both of them, the big thing is the show’s theme, which is family. It’s about family being there for each other. Then we got to get into the speciﬁcs of where Selena thought Alex was, where David thought Justin was, and what they loved about their characters. What were the things that you loved about each other’s characters? Those two characters affected each other so much. You saw how Justin would bring out the more emotional side of Alex, and Alex would bring out the adventurous side of Justin. We wanted to start the series with Justin needing to break out of his shell again. Alex is going to come in, and she will bring Billie, this new young wizard played by the amazing Janice [LeAnn Brown], and shake up Justin’s world in a way that only Alex can.

TV KIDS: Andy Fickman is the director of the pilot and multiple episodes, but Disney icons Raven-Symoné and Danielle Fishel were brought on as guest directors. What led to the decision to have them come on board, and what do their directing styles and visions lend to the series? And how does their experience starring in Disney shows add to their ability to direct a show like this?

ELINOFF: We worked with Raven for years, and Danielle also worked with us on Raven’s Home. The fact that they both grew up doing this gives them a unique perspective. Their shared experiences, their understanding of what it feels like to be on the set, feeling the machinery happening around you, and how to inhabit it and be true to yourself throughout all of it are key. They’re also incredibly talented, creative people who bring a point of view to the show.

TV KIDS: How does this new series tap into the nostalgia of the original while also introducing elements to appeal to a new generation of fans?

THOMAS: Walking that line was very important to us. We take both very seriously. We want to pay homage to the original show. We want to have fans come to this show and love seeing Alex and Justin and hopefully be intrigued and excited about where they are in their lives when we meet them now. But it was also very important to us to make a show that could stand on its own two feet. With the pilot, we found an image from an original episode of Wizards where Alex had her head on Justin’s shoulder, and they were having this tender moment, and we showed it to Andy Fickman, and we were like, “We have to capture this.” In the pilot, we have to have a moment. We had written an emotional moment between Justin and Alex, and we were like, “If we just get a tint of that magic, then that’s the AlexJustin moment that we’re striving for in addition to them just giving each other crap.” So, for us, it was the excitement that if it’s not an overt reference, like Alex showing up on the doorstep, there are little Easter eggs in there. Some spells used in the original show, Billie is now using. There are spells [where] she tries to pull one over on Justin, and he’s like, “You can’t do that; Alex did that to me when I was a teenager.” So, there is this history there that always comes up. But we also wanted to ensure that we had a show that was its own thing. This isn’t just more episodes of the old one. This is a new show with new characters and new kids.

TV KIDS: The world is a different place than it was when the show premiered in 2007. Will you be touching on modern themes that kids today deal with? And what are some of those?

ELINOFF: That’s the fun of having a character who grew up in the wizard world. She’s not necessarily as aware of how certain technology [works]. Some things she knows, some things she doesn’t know. Right out of the gate, we have an episode [addressing] Billie’s understanding of followers and what it means to have followers in a social media environment. There’s a great mix-up

that you wouldn’t have done on the original show. We do some fun technology stuff. We’re not pretending like this isn’t a part of our world. Phones are a part of their world. Social media is a part of their world. Connectivity is a part of their world, which creates larger-scale problems. If you’re trying to hide your wizardness and now everyone has a camera on them all the time—it’s all the stuff we experience daily. They also experience it, which makes for a fun and more realistic [story]. It also allows us to play with the magic a little bit more. They do things with magic that approximate what we do with technology, which is fun.

THOMAS: They have a Wizardpedia, who’s a wizard who pops up and can give them facts about anything and wants to give them long-winded explanations about anything they want to look up. Some of the things we’re doing are reactions to how the world is now. The theme of the show is about the importance of family and having people who care about you, caring about those people, and being there for them. We try to show the Russos sitting down and having dinner together. We show them having a game night together. We show them having these conversations with each other and with their parents so that it isn’t just about [how] we’re all isolated by our technology and in our own worlds. We want to remind the audience that these moments are important.

TV KIDS: Obviously, Disney+ was not around in 2007 or throughout the show’s original run. After this series debuts on Disney Channel, eight episodes will be on Disney+. Does that affect how you plan for a series, knowing it will go to streaming immediately?

ELINOFF: It does a little bit. You have to think about the blocks and things like that. You do have to think about it a little bit, but at the end of the day, our job is to make a fun, watchable family sitcom that people connect with, and that should be platform-agnostic. However you experience it, it should be enjoyable regardless of how you’re seeing it or where you’re seeing it.

THOMAS: I think that’s the beauty of Wizards —there’s already a heightened aspect to the show that lends itself a little more to streaming than maybe some other sitcoms would. There’s special effects, there’s magic, there’s adventure, there’s monsters, there’s a mythology arc. So, it’s stuff we already would have done on the channel anyway. The only thing that changes is you go, “OK, if we’re dropping eight, what’s the end of the eighth one? Is it a cliffhanger?” Those questions exist, but how we approach a series doesn’t change.

TV KIDS: Lastly, the theme song of the original, “Every thing Is Not As It Seems,” is just as iconic as the series itself. Selena performed that. Can you share anything about the theme song for this new series?

ELINOFF: You know what? I think you’re just going to have to watch and see. [Laughs]

Wizards Beyond Waverly Place arrives on Disney Channel and Disney+ this October.