TV Kids MIPTV 2015

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TVKIDS

WWW.TVKIDS.WS

APRIL 2015

MIPTV EDITION

Co-Production Models / On-Demand Platforms / Rebooting Classics / Super RTL’s Claude Schmit Lagardère Active’s Caroline Cochaux / Disney Junior’s Nancy Kanter

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CONTENTS FEATURES

The Magic of Storytelling Parents and caretakers are well aware of the “stickiness” of shows—not sticky in the jam and jelly sense, but in the resonating and appealing sense.

Ricardo Seguin Guise Publisher Anna Carugati Editor Mansha Daswani Executive Editor Kristin Brzoznowski Managing Editor Joanna Padovano Associate Editor Joel Marino Assistant Editor Simon Weaver Online Director Victor L. Cuevas Production & Design Director Phyllis Q. Busell Art Director Faustyna Hariasz Sales & Marketing Manager Dana Mattison Sales & Marketing Coordinator Erika Santana Sales & Marketing Assistant Terry Acunzo Business Affairs Manager

Ricardo Seguin Guise President Anna Carugati Executive VP & Group Editorial Director Mansha Daswani Associate Publisher & VP of Strategic Development TV Kids © 2015 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvkids.ws

When a beloved show finds its way into the hearts and minds of children, it is shared, passed along and takes on a life of its own on social media.

More than ever these days, TV shows have influence beyond whatever screen they appear on. I was reminded of this during the International Emmy Kids Day, which preceded the International Emmys Kids Awards Gala this past February. The fastpaced morning was filled with diverse presentations and conversations that prompted out-of-the-box thinking, not only about producing for children but also about the viewing habits and play patterns of girls and boys.

Jason Klein of ListenFirst Media, an analytics company that tracks a wide range of data sources, explained that children’s brands like Sesame Street and Yo Gabba Gabba! consistently rank among the TV properties that generate the most engagement on social media. When following sites like Facebook, Tumblr, Instagram, YouTube and Wikipedia, Sesame Street was found to have greater engagement than ESPN’s SportsCenter, The Walking Dead or House of Cards. Klein ended his presentation with a fun and surprising announcement. As the exhausted father of a 2-year-old girl, his household and marriage had been saved by the TV show Peppa Pig, thanks to its calming effect on his headstrong daughter. We’ve all known TV shows can be effective babysitters—yes, all of us parents have placed our beloved little ones in front of a screen while attending to dinner or emails or phone calls—but family counselors as well? Storytelling can, indeed, accomplish so much more. Micah Rye Eckhardt, an expert from the MIT Media Lab, has developed specialized software that allows for group interactive story crafting, which has had astonishing results eliciting language and social collaboration among autistic children. Columbia University’s clinical child and adolescent psychologist, Anne Marie Albano, urged the producers in the room to stay away from reinforcing incorrect stereotypes and encouraged them to create shows that reflect the diversity children see in their everyday life experiences. I then had a one-on-one conversation with eOne Family’s Olivier Dumont, who provided insight into the business of producing, financing and distributing children’s shows. He also talked about the incredible success of Peppa Pig as a tele vision show—and apparently as a keeper of the peace in the families of rambunctious preschoolers!

—Anna Carugati

34 LEARNING TO SHARE

The ins and outs of the co-production model for kids’ programming.

44 DEMANDING KIDS

On-demand and streaming platforms have become major players in the kids’ business.

56 BACK IN STYLE

A host of beloved children’s properties from the past are being rebooted for a new generation of audiences.

56 INTERVIEWS

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Super RTL’s Claude Schmit

72

Lagardère Active’s Caroline Cochaux

82

Disney Junior’s Nancy Kanter

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4K Media Yu-Gi-Oh! ARC-V The main focus for 4K Media at this year’s MIPTV is introducing international buyers to Yu-Gi-Oh! ARC-V, the newest installment of the long-running Yu-Gi-Oh! franchise. The story centers on Yuya Sakaki, who is striving to become the best “duel-tainer” in history. The animated show has already been sold to ProSieben MAXX’s YEP! in Germany and K2 in Italy.

The company is hoping to sign up several additional broadcasters at the market in Cannes. It is also looking to expand its European presence and explore new opportunities in Latin America. Other Yu-Gi-Oh! titles in the 4K Media catalogue include classic Yu-Gi-Oh!, Yu-Gi-Oh! GX, Yu-Gi-Oh! 5D’s and Yu-Gi-Oh! ZEXAL. The successful franchise has been enjoying more than 14 years of brand awareness around the globe.

Yu-Gi-Oh! ARC-V

9 Story Media Group Wild Kratts / Peg + Cat / Get Ace Thanks to a recent investment from ZelnickMedia, 9 Story Media Group has more resources to pursue a wider variety of projects. “We are looking for kids’ and family libraries, as well as notable brands that have potential for merchandising and licensing extensions,” says Natalie Osborne, the company’s managing director. At this year’s MIPTV, 9 Story is hoping to pique buyers’ interests with such titles as Wild Kratts, Peg + Cat and Get Ace. “Each of these shows is quite different from the others; however, they all feature engaging, funny characters that ultimately connect with the audience,” says Osborne. “We always strive to produce and acquire shows that will speak to an international audience, and our programming has achieved strong international distribution as a result.”

“We have a strong slate of programs for MIPTV, ranging from preschool to tween and live action to animation.”

—Natalie Osborne Peg + Cat

Animation from Spain Cleo Telerín / Four and a Half Friends The umbrella brand Animation from Spain is used to represent the Spanish animation industry. It receives support from ICEX (Spain Trade and Investment) and DIBOOS (Spanish Federation of Animation Producers’ Associations). Among the companies housed under Animation from Spain are Ánima Kitchent and Edebé Audiovisual Licensing, whose MIPTV highlights include the animated series Cleo Telerín and Four and a Half Friends, respectively. Others titles being presented by the umbrella brand this year include Blackie & Company from Baleuko, Filly Funtasia from BRB Internacional, Day of the Dead from Ficción Producciones, Cleo from Imira Entertainment, Pumpkin Reports from Motion Pictures and Mutant Busters from Planeta Junior.

Mutant Busters 224 World Screen 4/15

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Australian Children’s Television Foundation Little Lunch / Bushwhacked! / Hoopla Doopla The live-action dramedy Little Lunch is among the titles that Australian Children’s Television Foundation (ACTF) is presenting at MIPTV. The company is also showcasing season three of Bushwhacked!, a live-action factual series, and Hoopla Doopla, a live-action preschool program. “Just like adults, kids want to watch quality shows that engage, inspire and make them laugh,” says Tim Hegarty, ACTF’s international sales manager. “It doesn’t matter where they’re from or what device they’re watching it on, they just want to see good shows. And that’s universal! So whether it’s our newest series, the mockumentary comedy Little Lunch, or the continuing action and adventure of Bushwhacked!, or the gentle hijinks to be found in the preschool series Hoopla Doopla, buyers from around the globe will find content here that offers kids a fabulous and engaging viewing experience.” In addition to these newer highlights, ACTF has a catalogue of hits that continue to perform well in the international market, Hegarty explains. “Shows like Round the Twist are still entertaining kids around the world to this day, while more modern-day hits like Mortified have fan bases across the globe. ACTF is recognized internationally for its quality kids’ content.” Further catalogue highlights from ACTF include the factual comedy Wacky World Beaters and the comedic animated series The Flamin’ Thongs.

“ACTF has a deep catalogue of top-quality shows, many of which have had great success on a global scale.”

—Tim Hegarty

Little Lunch

Breakthrough Entertainment Science Max / Sports Lab Hosted by Phil McCordic, Science Max conducts supersized versions of experiments that are usually done on a smaller scale in the classroom. The show’s tagline is “Experiments at Large...,” and there are 13 half-hour episodes from Breakthrough Entertainment available for buyers. “Imagine basic principles of science and physics explained in a fun and exciting way by staging large-scale, super-sized experiments so kids understand the concepts while being fully entertained and engaged,” says Jodi Mackie, the director of international sales and acquisitions at Breakthrough Entertainment. “In every episode, Phil and his team progress through various stages to come up with the best design to make the experiment successful on a maxed-out scale.” The company is also promoting Sports Lab, a live-action educational program that showcases a wide variety of sports. “Sports Lab motivates and teaches kids how to excel at a game through a better understanding of the science behind their sport of choice,” says Mackie.

“Whether it’s soccer, hockey or skiing, each episode uses CGI graphics to focus on showing how our bodies engage the muscles, helping kids understand the value of training to perform at their best.” Sports Lab contains 13 halfhour episodes.

“These unique programs provide a youthful and inspiring spin on topics that are universally fascinating.”

—Jodi Mackie

Science Max 226 World Screen 4/15

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CAKE Woozle & Pip / So Awkward / Wanda and the Alien Part of CAKE’s MIPTV slate, So Awkward tells the story of three bright but socially awkward 13-year-olds trying to make sense of life, boys and fitting in. The distributor is also highlighting two programs adapted from successful franchises. Woozle & Pip is a series based on a best-selling preschool brand from the Netherlands, while Wanda and the Alien is inspired by a collection of children’s books. The two titles center on the core values of family, friendship, laughter and imagination. “CAKE aims to find strong and varied content that has commercial international appeal,” says Edward Galton, the company’s chief commercial officer and managing director. “All three series, in their respective genres and age groups, fit this bill, focusing in their own ways on universally appealing themes.”

“CAKE has established itself as a boutique distributor in a competitive genre and is synonymous with high-quality storytelling and characters.”

—Edward Galton Wanda and the Alien

Cyber Group Studios Zorro the Chronicles / Mini Ninjas / Mia Putting a CGI spin on the classic tale of the famous masked swordsman is Zorro the Chronicles, which Cyber Group Studios is offering up at this year’s MIPTV. “This new adaptation…introduces many new facts and characters unknown up to now, such as the twin sister of Zorro,” says Pierre Sissmann, the company’s CEO and president. Another highlight is Mini Ninjas, a TV adaptation of the Square Enix video game, made by TF1 Production, Enanimation and Cyber Group. “It enable kids all over the world to immerse [themselves] in the adventures of heroes they know well,” says Sissmann.

Then there is Mia, a preschool program co-produced by Sardine Productions and Cyber Group that focuses on problem solving and self-consciousness.

“We constantly look for new ideas and partners, as we are adamant to learn and discover new areas and enlarge our creative and production scope.”

—Pierre Sissmann Mini Ninjas

DHX Media Make It Pop / KooKoo Harajuku / Twirlywoos The live-action musical comedy Make It Pop centers on three teenage girls who share a passion for all things K-Pop. “Cocreated by Tom Lynch and Ncredible’s Nick Cannon, and shot at DHX’s Epitome studios, Make It Pop already has a fantastic pedigree; we have also signed a global deal with Nickelodeon,” says Josh Scherba, the senior VP of distribution at DHX Media.

“Having a major international broadcaster of this caliber on board, together with YTV in Canada, is testament to the show’s considerable international appeal.” That title is being presented

by DHX Media in Cannes, along with KooKoo Harajuku, an animated show about a girl band, and Twirlywoos, a mixedmedia preschool program set in a safe world filled with silly fun and surprises.

“Our slate covers all demographics, from preschoolers to teens, and we are particularly proud of the strong creativity of our shows.”

—Josh Scherba Make It Pop 228 World Screen 4/15

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DQ Entertainment International Five & It / The New Adventures of Lassie / Robin Hood: Mischief in Sherwood Meant for viewers between the ages of 6 and 9, Five & It is an animated series that follows a group of children after they discover a sand fairy underneath their uncle’s beachfront mansion. DQ Entertainment International is showcasing that title at MIPTV, in addition to The New Adventures of Lassie and Robin Hood: Mischief in Sherwood. The former is an animated series focused on the iconic canine, while the latter spotlights a young version of the heroic outlaw. “We continuously endeavor to create quality entertainment content for kids,” says Tapaas Chakravarti, the company’s CEO. “We are grateful to all our broadcast and co-production partners worldwide who have always believed in us and shared our passion to create new and exciting properties with global appeal.”

“We will continue to produce and bring to life several new epic stories, raising the bar of creativity to entertain our young audiences all over the world.”

—Tapaas Chakravarti Robin Hood: Mischief in Sherwood

Entertainment One Family PJ Masks / Winston Steinburger & Sir Dudley Ding Dong / Peppa Pig There are two new animated series that Entertainment One (eOne) Family is bringing to this year’s MIPTV. The first, PJ Masks, is a superhero show for preschoolers based on a French picture-book series. The second is Winston Steinburger & Sir Dudley Ding Dong, a fast-paced comedy set in space. The company is also presenting the hit preschool program Peppa Pig and its latest specials, Golden Boots, Holiday and Halloween. “Peppa Pig perfectly captures the humor of everyday family life, which people around the globe feel an immediate emotional connection to,” says Monica Candiani, eOne Family’s head of international sales. “It’s this universal theme of family life, in addition to the fact that the writing is very funny, that underpins the series’ success with international audiences.”

“Winston Steinburger totally delivers on laughs, and we’re confident that once they see it, kids will be hooked.”

—Monica Candiani Winston Steinburger & Sir Dudley Ding Dong

Foothill Entertainment Boy and the Dinosaur / Rollie & Friends / The Cut The adventures of an ordinary boy and his prehistoric friend take center stage in Boy and the Dinosaur, a MIPTV highlight from Foothill Entertainment. “It blends strong visual storytelling and broad physical comedy with plenty of original music and a simple educational philosophy about growing up in a family,” says Elizabeth Stephens, the company’s VP of sales and development. “This series has universal themes and a family appeal all tied together with a unique look, which gives it a special, intimate, family-oriented atmosphere all its own.”

Foothill is also presenting Rollie & Friends, about an adorable little roller coaster with big ambitions, and The Cut, a soapopera-style online/broadcast show that follows a group of teens trying to carry on with life after the death of their friend.

“With traditional broadcasting giving way to a multiscreen, online experience, there still is no substitute for great storytelling.”

—Elizabeth Stephens Rollie & Friends 230 World Screen 4/15

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FremantleMedia Kids & Family Entertainment Danger Mouse / Kate & Mim-Mim / Tree Fu Tom An updated version of the iconic animated series from the 1980s, Danger Mouse is an action/adventure comedy from the FremantleMedia Kids & Family Entertainment (FMKFE) catalogue. The program was commissioned by CBBC. “The new series is set to have the same international appeal and all the classic characters, catchphrases and comedy [of the original],” says Joss Duffield, the VP of distribution for FMKFE. “We have a fantastic team on board that is busy creating a globe-spanning, visually exciting show with top-class comedy.” Danger Mouse is being offered by the company at MIPTV, along with Kate & Mim-Mim, a girls’ preschool program, and the upcoming third season of Tree Fu Tom, a CBeebies co-production.

“We pride ourselves on working with best-in-class partners to create entertaining and groundbreaking global franchises.”

—Joss Duffield Kate & Mim-Mim

Hasbro Studios Equestria Girls: Friendship Games / Transformers Rescue Bots Marking the third installment of the popular Equestria Girls franchise is Friendship Games, which sees Canterlot High compete against rival school Crystal Prep Academy. “Equestria Girls: Friendship Games appeals to younger and older girls alike, ensuring that we reach the teen and tween demographics,” says Finn Arnesen, the senior VP of global distribution and development at Hasbro Studios. Targeted more for boys, Rescue Bots is the younger-skewing installment of the Transformers franchise. “Rescue Bots provides adventure-based stories that speak across demographics with enough action for older kids, while being safer and more straightforward in its storytelling, something which is extremely appealing for parents,” says Arnesen.

“We have developed an ‘all screen’ strategy, ensuring our content is deliverable across all platforms that kids and their families are engaging with.”

—Finn Arnesen Equestria Girls

HIT Entertainment Little People / Bob the Builder / Thomas & Friends Inspired by the Fisher-Price brand of the same name, Little People is an animated series focused on the developmental benefits of cooperative play. Christopher Keenan, the VP of global content and executive producer for HIT Entertainment, says Little People “taps into children’s love of music, humor, fantasy and role-play.” Another MIPTV highlight from the company’s catalogue is Bob the Builder, which teaches youngsters about construction while encouraging self-confidence. Referring to Bob the Builder, Keenan says, “HIT is answering the question ‘Can we build it?’ with a resounding ‘Yes we can!’ ” There are also new installments of Thomas & Friends, which follows the adventures of the titular tank engine.

“HIT Entertainment is looking forward to forging new relationships at MIPTV and continuing to provide the market with the highest quality content.”

—Christopher Keenan Thomas & Friends 232 World Screen 4/15

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IMPS The Smurfs / The Smurfs and the Magic Flute / From the World of Peyo to Planet Smurf The Smurfs may have started life in a Belgian comic in the ’50s, but the brand has gone on to conquer TV, film and licensed products. IMPS is promoting the animated series The Smurfs, as well as the feature film The Smurfs and the Magic Flute and the documentary From the World of Peyo to Planet Smurf. “First created in the 1980s, The Smurfs series has not lost an ounce of its charm; thanks to this, we will be able to provide our clients with the best possible quality for years to come,” says Nele De Wilde, the company’s business affairs manager for audiovisual. “The continuing success of The Smurfs is due to its broad appeal across cultural, age and gender demographics. The timeless stories with universal values continue to enchant children every day all over the world.”

“We are in the process of digitizing all our content, while at the same time performing an upgrade to HD.” The Smurfs

—Nele De Wilde

INK Global Masha and the Bear / D6 INK Global’s mission is to procure content that will form bonds with any audience. Its flagship title is Masha and the Bear, which tells the tale of an adorable little Russian girl who has adventures with her best friend, a retired circus bear. That series has already produced three seasons, with 119 countries airing episodes through broadcasters such as KiKA, EBS, Cartoon Network Latin America and more, according to Bruno Zarka, INK’s director of media. The show’s second and third seasons are being promoted at MIPTV, along with the Russian program D6, which follows six kids fighting against aliens who have invaded their community while their parents are busy working. Zarka says that films such as Home Alone and Men in Black inspired the show’s producers.

Masha and the Bear

“We want to bring our stories to our customers and partners and show that we are giving them a life on screen that will deliver happiness to any child in the world.”

—Bruno Zarka

ITV Studios Global Entertainment Thunderbirds Are Go A top priority for ITV Studios Global Entertainment (ITVS GE) at the market in Cannes is to promote Thunderbirds Are Go, a reinvention of the classic children’s series from the 1960s.

The show, which is produced by ITV Studios and Pukeko Pictures, is set to premiere on ITV and CITV in the U.K. this spring. It has already been commissioned for a 26-episode second season, which is slated for broadcast in 2016 and 2017. “Its unique mix of CGI animation and incredible model sets gives each episode a theatrical feel rarely seen in children’s TV; it’s also a 360-degree property, with linear and nonlinear content designed to reach kids across all channels and platforms,” says Steve Green, the executive VP of kids’ content and distribution at ITVS GE.

“We’ve already sold the series in Australia, New Zealand, Israel and across the Middle East, and we are in conversations with a range of other territories.”

—Steve Green Thunderbirds Are Go 234 World Screen 4/15

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m4e/Telescreen Mia and me / Wissper / Miffy’s Adventures, Big and Small Heading into its sophomore season, the animated program Mia and me leads off m4e/Telescreen’s MIPTV slate. “Mia and me is an established hit series around the globe,” says Hans Ulrich Stoef, the CEO of m4e. “With the new season, we will set a new visual standard. The show has been sold to 140 broadcasters around the world and is a huge ratings and L&M success.” Wissper is a new animated preschool series about an animal whisperer. “The design style and CG quality will meet everything the market is looking for,” says Stoef of Wissper, which is currently in production for delivery at the end of 2015 or early 2016. Then there is Miffy’s Adventures, Big and Small, which marks the first time the beloved bunny will appear in CGI.

“We have a variety of shows to offer that will appeal to all markets and deliver ratings to all broadcasters.”

—Hans Ulrich Stoef Wissper

Mediatoon Distribution Garfield / Yakari / SamSam A lazy but lovable feline takes center stage in Garfield, a special episode of which, titled “Rodent Rebellion,” is being presented by Mediatoon Distribution at MIPTV. “Given the huge international success of the Garfield brand, we love seeing our favorite lasagna-loving cat embark on new, hilarious adventures,” says Jérôme Alby, Mediatoon’s managing director. The company is also offering up Yakari, which is currently in production on a new season. “It consistently does us proud, often in the top three among young viewers in France and Germany,” says Alby. “We are eager to see what is in store for our favorite Sioux boy!” Other highlights include The Crumpets, a family-oriented comedy, and SamSam, based on the books by Serge Bloch.

“Mediatoon’s impressive catalogue boasts titles from all possible genres of animation.”

—Jérôme Alby SamSam

Mondo TV Yoohoo & Friends / Secret Wings / Atomicron Mondo TV is in Cannes representing a diverse catalogue, with series ranging from boys’ adventures to girls’ comedies, and offerings for younger children. Yoohoo & Friends is a new 3D CGI show that the company is co-producing with Aurora World. Secret Wings is a new girls’ property co-produced with Blonde Pilot. Meanwhile, Atomicron is being showcased as one of the company’s two main boys’ properties, along with Dinofroz: Dragons’ Revenge. The latter title is the second season of the successful Giochi Preziosi brand, set to debut this fall across several channels in Europe. “Each of these series is made in a totally different style from the other and targets different age groups,” says Matteo Corradi, the CEO of Mondo TV.

“We are bringing a great variety of shows for every single channel style and target.”

—Matteo Corradi Secret Wings 236 World Screen 4/15

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Portfolio Entertainment Freaktown / Doki / The Cat in the Hat Knows a Lot About That!

Combining wild plots with outlandish characters, Portfolio Entertainment’s Freaktown follows the adventures of skeleton Ben Bones and his friends as they protect their town from Princess Boo Boo the Bouncy. For younger audiences, Portfolio presents the preschool series The Cat in the Hat Knows a Lot About That!, in which Dr. Seuss’s beloved character leads best friends Nick and Sally on adventures in the natural world. Doki takes preschoolers on journeys everywhere from the bottom of the sea to the International Space Station. The property’s new specials Past and Presents, Doki Rocks Rio and Doki on the High Seas are launching at this year’s MIPTV. “Preschoolers around the world love the characters and Doki’s expeditions,” says Joy Rosen, Portfolio’s co-founder and president.

“Portfolio has a steadfast commitment to attracting top talent, providing superior service and adapting to a transforming media landscape.”

—Joy Rosen The Cat in the Hat Knows a Lot About That!

Rainbow Royal Academy / My American Friend / Winx Club My American Friend is Rainbow’s first full live-action production. The show, which mixes fashion into its storytelling, is meant for teen audiences. The company is also launching a new cartoon, Royal Academy (working title), set to air this fall.

“It’s a brilliant comedy [made with] an impressive quality in animation that is a hallmark of all Rainbow productions,” says Cristiana Buzzelli, the company’s VP of contents. In addition, Rainbow is promoting in Cannes the latest season of Winx Club. Now on its seventh run, the series is currently available for worldwide linear and on-demand distribution. “Already on air in more than 150 countries, [the fairies] are back with new adventures and magical transformations that will ensure the usual chart-busting ratings for broadcasters,” Buzzelli says.

“Rainbow’s portfolio is getting richer and richer in terms of quality, variety and formats.”

—Cristiana Buzzelli Winx Club

Saban Brands Luna Petunia / Popples / Power Rangers Dino Charge Teaming up with the internationally renowned Cirque du Soleil Média, Saban Brands has developed the preschool series Luna Petunia for a 2016 launch. “We’re tapping into the foundation of the Cirque brand to incorporate universal themes of imagination and creativity into each story line,” says Frederic Soulie, the senior VP of global distribution at Saban Brands. The company has also been busy reimagining the ’80s characters Popples, prepping a comedy series for Netflix due out this fall.

Additionally, Saban is focusing on its popular Power Rangers property, which recently premiered its latest season, Power Rangers Dino Charge. “The dinosaur theme has historically been the strongest for the Power Rangers series…so we expect [this] to be one of the biggest seasons to date,” Soulie says.

“With our new in-house distribution team, we can now better serve the distribution community, directly manage our content and create more meaningful relationships with partners.”

—Frederic Soulie Power Rangers Dino Charge 238 World Screen 4/15

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Splash Entertainment Kulipari / Chloe’s Closet / Dive Olly Dive With a portfolio of more than 525 half-hours, Splash Entertainment is in Cannes promoting a number of titles, including the Kulipari miniseries movies Army of Frogs, The Rainbow Serpent and Amphibians’ End. These productions are based on a trilogy of books by former NFL star Trevor Pryce. “Born from Trevor’s fear of frogs as a child, Kulipari takes place in a fantasy version of the Australian outback where peaceful amphibians are attacked by an army of scorpions and spiders,” says Mevelyn Noriega, Splash’s senior VP of sales and administration. The company is also promoting Chloe’s Closet, heading into its third season, and the Dive Olly Dive franchise, which includes two movies and an animated series.

“We look forward to increased growth as we continue to build and develop brands worldwide.”

—Mevelyn Noriega Kulipari

Studio 100 Media Blinky / Nils Holgersson / K3 Along with producing brand-new animated and liveaction series, Studio 100 Media is creating modern CGI versions of its successful classics. Two shows benefiting from that strategy are Blinky and Nils Holgersson, the first a remake of an Australian children’s classic, the second a reboot of a Swedish property. “Our new Blinky and Nils Holgersson productions are based on their classic versions,” says Patrick Elmendorff, the CEO of Studio 100 Media. Among the company’s other catalogue highlights is K3, an animated series based on the popular Benelux girl band. “It’s a great girl-skewing property that focuses on fashionable teenage girls’ matters, with vibrant music and zany adventures,” Elmendorff says.

“We are accommodating present-day viewing habits by using new technology, in line with the expectations of today’s kids.”

—Patrick Elmendorff K3

Technicolor The Deep / Atomic Puppet A co-production between Technicolor, Nerd Corps Entertainment and A Stark Production, The Deep is an adventure series based on the hit graphic novels created by awardwinning comic book author and playwright Tom Taylor (Batman: Legends of the Dark Knight, Star Wars: Blood Ties) and illustrated by James Brouwer (Justice League Beyond). “It’s got high-tech gadgetry, excitement, action— there’s really nothing else quite like it in the marketplace,” says Alison Warner, Technicolor’s VP of IP sales, acquisitions and co-productions. Meanwhile, Atomic Puppet is a sharp-witted buddy comedy series, with Disney XD already on board to air it around the world, along with TELETOON in Canada.

“Technicolor is always looking for unique, standout ideas that appeal to children the world over.”

—Alison Warner The Deep 240 World Screen 4/15

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TM International Sapphire Blue / Curse of the Falcon / Hogi Kerstin Gier’s best-selling Precious Stone trilogy consists of Ruby Red, Sapphire Blue and Emerald Green. TM International is specifically promoting the second title to international buyers in Cannes. “Sapphire Blue is a unique blend of time-traveling mystery, adventure and a love story that just hits a nerve with the teenage audience,” says Carlos Hertel, the company’s head of international sales. “The main cast (made up of newcomers) is incredibly talented and attractive. All those elements together make this a very marketable feature film that appeals to young audiences worldwide.” Other MIPTV highlights from TM International include Curse of the Falcon, a new drama series that airs on KiKA, and Hogi, a movie that follows the adventures of an endearing little hedgehog.

“We are sure that children and grown-ups all over the world will fall in love with our little hedgehog and his family in Hogi.”

—Carlos Hertel Hogi

Toon Goggles www.toongoggles.com The on-demand entertainment destination Toon Goggles is available online and on many smartphones, tablets, smart TVs and set-top boxes. It was the first children’s service to launch 4K streaming for its mobile hub, according to Stephen L. Hodge, the company’s managing director. Among the many titles offered on Toon Goggles are Bernard from BRB Internacional, Gormiti from Mondo TV and Umigo from DHX Media, to name a few. “Bernard is a proven property in the short-form and comedy categories,” says Hodge. “A top show that Toon Goggles brought to the United States, Gormiti is a multibillion-dollar brand that is well known across Europe and Asia.

Umigo is a popular, engaging educational show that teaches children early math through comedy and music videos.”

“Toon Goggles continues to find new animation and follow new technologies to create a one-stop application for children around the world.”

—Stephen L. Hodge Toon Goggles app on Hisense smart TV

ZDF Enterprises Captain Flinn and the Pirate Dinosaurs / Sam Fox: Extreme Adventures / Four and a Half Friends ZDF Enterprises’ ZDFE.junior offers a wide-ranging catalogue featuring animated series and live-action titles. “Our content is created by an ensemble of great international partners, ensuring that the storytelling is universal and can travel across cultural borders,” says Fred Burcksen, the company’s executive VP and COO. Offerings include Captain Flinn and the Pirate Dinosaurs, an action-adventure comedy for preschoolers based on picture books by Giles Andreae and Russell Ayto. Sam Fox: Extreme Adventures, inspired by the books from Justin D’Ath, follows the titular teenage “danger magnet” as he travels the world conquering challenges with his family and friends. Four and a Half Friends tells the story of an unlikely group of junior detectives and their dog.

“Our kids’ slate is comprised of high-end series produced with renowned partners in the industry, many of them through international co-productions.”

—Fred Burcksen Sam Fox: Extreme Adventures 242 World Screen 4/15

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Cyber Group’s Gilbert and Allie.

LEARNING TO SHARE Andy Fry explores the ins and outs of the co-production model for kids’ programming.

“Kids co-production” is one of those terms that everyone in the children’s TV business kind of understands. But, it’s actually a vague umbrella phrase covering several distinct scenarios.

In some situations, for example, “co-production” is used as shorthand for “cross-territory funding.” Animation and drama producers, in particular, are often unable to raise their entire production budget from within one territory. So, they piece together their funding by doing deals with two or three broadcasters and an international distributor. Sometimes, access to a foreign broadcaster will only be possible via a producer in that market, so this kind of co-production can quickly end up with five or more participants engaged in the dialogue.

This generic use of the word “co-production” can, however, be confusing for producers based in markets that have bilateral co-production treaties with other countries. The purpose of such treaties is to create a situation whereby, subject to various criteria, a co-production can be treated as though it is a domestic production in each of the two participating territories. The advantage of this framework is that shows defined as domestic can then gain access to any production incentives that exist in that market. So, if you talk to a Canadian producer about co-productions, one of the first things they’ll want to know is whether you mean an “official” or “treaty” co-production. If not, they’ll be

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tempted to use alternative terms like “co-venture,” “alliance” or “presale” to avoid any confusion.

PARTNER POTENTIAL Cyber Group Studios’ CEO and president, Pierre Sissmann, says his company gets involved in co-productions for various reasons. “Money is an obvious reason, but it’s not the only one.

We’ve been involved in productions where either side could have raised the money, but the decision to work together was about the compatibility of talent, the chance to make a great show.”

A recent example of this, he says, is Gilbert and Allie, an animation series created by Brown Bag Films in Ireland about a teen girl who discovers she has magical powers. Unfortunately, she can only use them in partnership with an ancient and extremely grumpy magical rabbit who wants to retire.

Other motivations for embarking on a co-production can be logistics-based, continues Sissmann. “Maybe you are going into a new region like China or Brazil and you need a local alliance. Or maybe you have a skill set that the other partner wants to tap into. We’re talking to a Canadian company that doesn’t have our distribution capability, for example. Sometimes the discussion can be based around available studio capacity at that time.”

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eOne Family struck a co-pro deal in Australia on the Canadian-originated series Winston Steinburger & Sir Dudley Ding Dong.

Sissmann says he is not averse to doing a co-production with any country in the world, but there are various checks that need to be made in advance. “You need to be sure that the people you are working with are reliable and accountable, so reputation can matter a lot. You also need to think about any differences in process that might affect your production. To give a small example, we are working on a co-pro with a big U.S. partner. The time we’ve taken on the contract is probably two to three times what it would have been for an E.U. partner, so you need to be aware of how international practices can vary.”

Breakthrough Entertainment has access to production incentives designed to encourage work to take place in Canada. “But, accessing those wouldn’t be our first consideration when putting together a co-production,” says Joan Lambur, executive VP of family entertainment at Breakthrough. “We’re very talentdriven, so if we meet someone we want to work with, we start by building a team with them, then develop an idea organically that would work for both territories. Our view is that you really need to be sure about your partner if you’re going to spend the next three to four years working with them.”

BIG BREAKS Ira Levy, executive producer and partner at Breakthrough, says this was the approach the company took with My Big Big Friend, a preschool co-production with 2D Lab in Brazil.

“They were making a beautiful show, and we came in as a creative co-production partner. We co-developed the show and decided we would figure out the financing model afterwards.”

Shows that meet official co-production criteria can access Canada’s attractive incentives. This can be financially worthwhile, says Lambur, but producers need to think carefully about how this might impact the overall appeal of a project. “We’re making a live-action comedy, Max & Shred, for YTV and Nickelodeon. Maybe we could have done that as an official co-pro with the U.K. or Australia, but then we wouldn’t have been able to use our U.S. showrunner

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[George Doty IV]. We felt he was more important than making the production fit 100 percent within the treaty coproduction rules.”

Of course, it would be wrong to suggest that the creative and commercial aspects of co-pro can’t work in harmony, adds Levy. He cites the example of Rocket Monkeys, an animated series that started with a New York studio before coming to Breakthrough for development. The show has turned out to be a hit series for TELETOON in Canada and has also been picked up by Nickelodeon for use on its worldwide network, including in the U.S. Moving the production to Canada meant the show was creatively improved as well as able to take advantage of support from the Shaw Rocket Fund and from state-based incentives. “The studio we used was British Columbia–based Atomic Cartoons,” says Levy.

“They gave the show the right creative sensibility, but also opened up access to B.C.-based incentives.”

MAKING CONNECTIONS Olivier Dumont, the managing director of Entertainment One (eOne) Family, notes that it is often possible to marry content and commercial requirements. “Our priority is to create global brands, so that would always be at the forefront of our decision-making,” he says. “But, as a Canadian firm, we are well-placed to construct official co-productions. A good example is our 2D animation series Winston Steinburger & Sir Dudley Ding Dong. We placed it with TELETOON in Canada, but that wasn’t enough to cover the budget, so we did an official co-production with Australia, bringing in Sticky Pictures as studio and ABC3 as broadcaster.”

Underlining the diversity of co-pro models, however, Dumont points to another animation project that eOne Family is attached to, Zak Storm. “In this case, the show will be produced by Method Animation (France), Zagtoon (France) and SAMG (Korea), and broadcast on Gulli. Because of the existing structure, there was no need for us to be directly involved as a production partner or bring in a Canadian broadcaster to

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m4e aligned with Rainbow, among other partners, on the hit series Mia and me. make the production work. Our main involvement is as global distributor across platforms.”

Although eOne is not an active part of the creative process, its role as co-financer and brand manager means it does have a vested interest in the direction the project takes, says Dumont.

“On a project like this, our role is a bit like a broadcaster. We monitor every stage of the production, provide notes on scripts and give resources and market intelligence when we can.”

One key point worth noting about eOne, says Dumont, is, “We don’t own our own studio, so we are not caught in a position where we have to structure a project in a way that fuels our own production pipeline. That gives us a lot of flexibility when we are looking at the best way to develop a project.”

SHAPING THE SHOW This raises an important point, which is that the profile of a particular company can dictate the way a co-pro shapes up. The territory it is based in and the expertise it has at its disposal will inevitably influence the partners that ultimately become involved in the project. m4e in Germany started life in licensing and merchandising, but it has grown quickly into production in recent years thanks to the success of its flagship show Mia and me. “The funding situation is difficult in Germany,” says CEO Hans Ulrich Stoef, “with no incentives like those in France or Canada. So I’d say 80 to 90 percent of our projects are co-productions.”

As a general rule, Stoef will start by trying to attach a broadcaster to a project before building a co-production framework. In the case of Mia and me, for example, m4e secured the interest of ZDF and then brought in Rainbow as a partner. “We have known Rainbow for a long time, so that was a comfortable relationship for us, which involved them sharing distribution of the show and also producing liveaction sequences in Rome. RAI Italia also came on board.”

Echoing the situation at eOne, Stoef says the structure of a copro will often depend on a range of factors, such as “where the idea originated and the specialist areas of expertise of the part-

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ners involved.” In the case of CGI series Wissper, for example, the idea originated with Absolutely Cuckoo in the U.K. and was picked up by Channel 5’s preschool strand Milkshake! Other partners include Ireland’s Telegael, Indian animation studio Discreet Art Productions and Bastei Media, a division of German publisher Bastei Lübbe. “We don’t only go looking for partners in the TV business,” says Stoef. “Because of our background in licensing and merchandising, we have good relationships with publishers, toy companies, digital/interactive firms and sponsors, all of which want to get involved earlier than ever to make sure they are not missing the next big thing.”

The risk in bringing so many non-standard players to the table is, of course, that they will impose their own commercial agendas on the production. But Stoef says it is possible to get the balance right. “If you look at our shows, you’ll see we are not producing commercials for toys—we are producing highquality content. But if there is no toy system or play pattern in the show, then it becomes a big risk for the partners. One of our skills is introducing the right elements in a creative way.”

KEEPING AN OPEN MIND m4e’s open-minded approach to co-pros is echoed by Matteo Corradi, the CEO of Mondo TV. “In 2000, Mondo TV started co-producing with broadcasters like RAI and ZDF. But since 2008, the children’s market has changed and we are working with partners such as licensing and toy companies.”

Corradi estimates that around 90 percent of what the company does is co-productions. “This is partly because of the really high cost of high-quality animation. But it is also because the IP we develop is not our own—it belongs to partners who could be toy companies or book, comic or magazine publishers.”

In terms of forming partnerships, Corradi says that the process involves a lot of legwork. “There are many events around the globe where our executives present our business model and background. But we also find a lot of companies coming to us to discuss ways we might help them

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Breakthrough took advantage of Canadian tax incentives to help finance the series Rocket Monkeys.

realize their projects. If they have a valid property that our commercial team believes could sell, and there is enough time and budget to get it out to the market with the required quality, then we may move forward.”

TEAM SPIRIT Among the partnerships that Mondo TV has formed recently is an alliance with Abu Dhabi Media Company for the production of nine animated TV series across the next three years, based on the publishing properties Majed, Ammouna and Casslan. Mondo TV and Abu Dhabi Media will each contribute half of the minimum $28 million production budget. There’s also a deal with Blonde Pilot, a U.K.-based company that owns a merchandising-oriented property called Secret Wings.

Mondo’s co-pro alliances also take into account the opportunities that exist to control costs. In January 2015, the company signed a framework agreement with Taiwanese animation studio Nada Anime, which will provide designs for some Mondo TV series. Mondo figures that the threeyear deal will allow it to cut costs in this phase of production by 50 percent compared to prices charged in Europe for the same services.

While some companies warn about the risk of co-pro partners undermining each other during development and production, Corradi says that having a strong, trusted partner can be a blessing. “In this competitive market it’s always better to walk hand in hand with a solid partner, such as a well-established toy company that wants to promote a brand, not just a TV series.”

One interesting emerging force in the kids’ TV market is Technicolor, a French firm with a long track record of providing production services. In 2011, the company decided to branch out by setting up an animation development and production division. “Technicolor had built up experience in animation production by running a studio in Bangalore, India,” says Alison Warner, the company’s VP of IP sales, acquisitions and

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co-productions, “so the time was right to move toward origination and IP ownership.”

One of the first projects to come through was Atomic Puppet. “It was an original IP from Mark Drop and Jerry Leibowitz that had been around for a while but had not really gone in the right direction. We acquired the concept, then took it to Mercury Filmworks in Canada. We collaborated on the idea and managed to get TELETOON involved as a broadcast partner,” says Warner.

Disney XD then showed interest in taking an international window, says Warner, “but we still had a shortfall in funding. The thing that enabled us to greenlight production was when Gaumont Animation and Disney XD in France came in as partners, which enabled it to be an official France/Canada co-production. Subsequently, we presold the show to France Télévisions.”

PERFECT HARMONY Like her peers, Warner says that the deal-making dimension of a co-production is important, but it shouldn’t get in the way of the creative. “One thing we ensured was that there was enough time to write scripts that were genuinely funny. Broadcasters like Disney have very high expectations, so you really have to get it right. It helped that we did a lot of market research in advance, because that way we knew we had the right partners. That is vital for any co-production.”

Technicolor then followed up with another animation co-pro, The Deep. A CGI series based on an Australian graphic novel, the production was initiated in Australia— with A Stark Production—for two reasons. “First, that was where the creative originated, and second, we could take advantage of the tax credit system,” says Warner.

Within Australia, Technicolor managed to secure deals with both public broadcaster ABC and commercial channel Seven.

“We then did a presale deal with Super RTL and brought in Nerd Corps of Canada as a co-production partner. By sharing the

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Mondo’s extensive co-pro slate includes Sissi, The Young Empress.

production between A Stark and Nerd Corps, we were able to set the project up as an official Canada/Australia co-pro.”

One key consideration for Technicolor is making sure it comes out of any co-pro with enough exploitation rights to justify the effort. In this case, it had to give up Canada, Australia and New Zealand as part of the financial arrangements underpinning the deal. But, it is the exclusive distributor for other territories.

It’s important to keep in mind that not all co-production activity is driven by the commercial or creative agenda at private companies. There are also a number of key players that operate from a mission- or policy-based perspective.

“Our remit is to support and deliver Australian stories for an Australian audience in the first instance, with the international market a key part of the financing on most projects, and sometimes a partner in development,” says Bernadette O’Mahony, the head of development and production at the Australian Children’s Television Foundation (ACTF). “The projects the ACTF is involved in aim to have universal appeal and resonance, be entertaining and have something uniquely Australian about them.”

KIDS FROM OZ ACTF’s projects “are usually shot in Australia,” says O’Mahony, “and are more likely to be live action than animation due to the stories and local nature of the projects.

Many have had international presales, but few were official co-productions, mainly due to the fact that they have not needed to be financed that way and it is more difficult to split live-action work, unless there are a lot of visual effects or [significant] post-production work.”

Animation lends itself better to co-pro because it is easier to come up with a split work schedule. It is also easier to find partners for animation around the world. “With animation, Australians can produce with any territory,” O’Mahony says.

“With live action, [co-pros] tend to be with English-speaking territories such as the U.K. and Canada.”

In terms of the commercial-creative debate, O’Mahony is in line with her colleagues. “Co-production is a way to produce animation at a lower cost. But, there is no point making a

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co-production just for the finances. It has to make sense story-wise, and the partners have to have the same end product in mind.”

The U.S.-based non-profit organization Sesame Workshop has a similar ethos, says Terry Fitzpatrick, chief content and distribution officer. “For us, the ideal co-pro scenario is joint creative development. So, we need partners on the same page.”

A recent co-pro with CBeebies called The Furchester Hotel was a positive experience, Fitzpatrick says. “We’ve worked with the BBC many times over the years, so we knew they were the right partner to develop a project with.

They share our vision because of their public-broadcaster basis.”

The challenge at the outset was finding a concept that would work for both partners, says Fitzpatrick. “We wanted to do something for the U.K. based around Sesame Street, but it’s quite an American show. So we decided on the idea of Elmo having a cousin in the U.K. who runs a hotel. It felt like a very authentic way of keeping the Sesame Street qualities, but creating a show with British characters and a British location.”

CHECKING IN The BBC was keen for the show to be produced by its inhouse production team in Salford, U.K. Sesame Workshop was comfortable with this, “but it was important for us to stay close to the project. Furchester is a spin-off of the very established Sesame brand, so it had to adhere to core brand values. The way we ensured this was by embedding some seasoned Sesame personnel in the production.”

From Sesame Workshop’s perspective, one key goal was for The Furchester Hotel to generate revenues from international distribution that could be fed back into the Workshop’s mission. But, a lot of the organization’s co-pro activity has no obvious commercial angle. This is certainly the case with Sesame Street’s localization program, which has brought to life more than 30 local adaptations, including versions in the Middle East and South Africa.

Robert Knezevic, the senior VP at Sesame Street International, says, “There are 600 million kids in the world with very diverse sets of needs. Part of our job is to work with partners to create local versions of Sesame Street that can address those needs, whether they are educational in character, such as literacy, or more social, such as health issues. In the case of our South African version, Takalani Sesame, we introduced a character called Kami who is HIV positive. That was a way of tackling a very serious issue facing South African society.”

This kind of project requires a completely new approach to co-production, says Knezevic, because it deals with issues that go well beyond editorial decision-making.

“Often, you’ll be talking to government departments, U.S. foreign-aid authorities and educationalists, as well as local broadcasters. Before you even get into creating local characters, you have to identify what the need is and establish what resources are available.”

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Netflix has an expanding selection of kids’ content.

DEMANDING

KIDS T he rapid rollout of OTT and VOD platforms is transforming the international kids’ TV business—for the better. Just when it appeared as though the U.S. studios had established a stranglehold on the sector, a wave of new players has emerged as alternative commissioners and acquirers of kids’ content.

The best known of these new players are Netflix, Amazon and Hulu. But the OTT/VOD kids’ revolution extends much deeper than this, with services popping up on every continent. Proof of this is a series of recent deals

by Canada’s DHX Media, now the largest independent kids’ studio in the world.

“In the last few months we have licensed more than 5,000 half-hours of content to nine SVOD platforms in the U.S., Canada, Chile, France, Africa, Southeast Asia and Australia,” says Josh Scherba, the senior VP of distribution at DHX Media. “In addition to this, we recently formed a partnership with CNTV, the new-media broadcast division

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On-demand and streaming platforms have become major players in the kids' business. By Andy Fry

of Chinese public broadcaster CCTV, to launch a streaming service dedicated to our shows. That deal will see us provide at least 700 half-hours of kids’ content.”

One interesting aspect of the current explosion in the kids’ OTT/VOD sector, says Scherba, is the range of different players now active in the market. “Netflix and Amazon were among the first to establish themselves, but now we are seeing a real mix of competitors. There are platforms like shomi in Canada, which is a joint venture between Rogers Communications and Shaw Communications; TFou Max in France, a new service from TF1; Vidi in South Africa, which is owned by Times Media Group; and Hopster, a U.K.-based start-up. So, what we are seeing is a series of high-profile launches from established media players alongside a wide array of niche new entrants.”

In terms of what these new platforms are looking for, Scherba says it varies by platform. “As a general rule, they are looking to acquire licenses to existing content rather than to commission new shows. The main exceptions to

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need to be aware of as a studio. I think there is a growing realization among broadcasters that placing shows with digital platforms doesn’t necessarily cannibalize their viewing. It can help drive awareness and benefit everyone.”

She mentions the ongoing relationship between U.S. public broadcaster PBS and Netflix as an example. “We have shows like Wild Kratts and Daniel Tiger’s Neighborhood that are doing very well on PBS platforms. But now they are also available on Netflix through a deal done by PBS. That’s a good example of how platforms can coexist and be happy.”

9 Story currently has more than 1,800 half-hours of content and is looking to further expand the size of its catalogue. As it grows, Osborne expects digital to be a bigger focus. “We certainly see digital as a major strategic initiative for us in 2015. One thing that has held us back slightly is that our catalogue is quite young, which means a lot of our rights are still under license. As licenses start to expire, we’ll be well-positioned for digital.”

The U.K.-based Hopster delivers preschool content on multiple devices for a monthly fee.

that are Netflix and Amazon, which have started ordering WAITING GAME original shows. In terms of the structure of the deal, we typIn some ways, Osborne believes this slight delay will work ically expect a cash advance in return for non-exclusive to the company’s advantage. “There’s such a proliferation of rights. Cash, as opposed to a revenue share, is one way for new players, it’s not always easy to know who is here to stay us to test the credibility of a platform.” and who will be gone in 6 to 12 months. So there is someIt is possible to do exclusive deals on shows, says Scherba— thing to be said for coming to the market when it is a bit for example, Netflix in the U.S. just signed on to become the more mature.” exclusive U.S. home for DHX’s Inspector Gadget reboot.

In terms of how to tell who the good long-term bets are, “But that’s very much a case-by-case discussion that depends she says, “You look at how they are capitalized, how they on factors such as price and the pre-existing rights situation market themselves and what content deals they have with broadcasters,” Scherba says. “One of the really interesting already done. Knowing you are in good company is always things about OTT and VOD is that platforms can very quickly a kind of reassurance.” track which shows are performing strongly. We have had situations where platforms come to us and ask if they can shift a show from nonexclusive to exclusive because it’s working so well for them.”

DHX is in a strong position to take advantage of OTT/VOD because of its large programming catalogue, built up through a series of corporate acquisition deals. But some companies are approaching the sector with a little more caution.

“The changes in the market are great news for the creative community and audiences, because they mean more outlets for content,” says Natalie Osborne, the managing director of 9 Story Media Group. “But, it’s still a wild, wild West. The challenge for a company like ours is to ensure that our dig ital ambitions can coexist with the broadcaster arrangements that drive our core business.”

In Osborne’s experience, “Some broadcasters are more open to content living on digital platforms than others—so that’s something we Netflix and CANALPLAY are among the digital platforms to have licensed Mediatoon’s SamSam.

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9 Story sold its hit animated series Almost Naked Animals to Hulu in the U.S.

One company that has done well in the digital era is Mediatoon Distribution, which controls one of the largest animation catalogues in France. “We have seen digital revenues grow from around 3 percent of our total in 2008 to 25 percent now,” says Jérôme Alby, the managing director of Mediatoon Distribution. “In France alone we are dealing with around six VOD platforms on a regular basis, and we are starting to see similar levels of competition in other key markets.”

BALANCED APPROACH On the issue of balancing traditional broadcasters with digital platforms, Alby says it is a question of dialogue and diplomacy. “The two groups can coexist pretty well. But, you have to actively manage your windows. If one of your broadcasters is making a lot of use of a show, then that is probably not the time to put that show up on a digital platform, even if you have the rights to do so. But if the broadcaster is resting the show, then maybe [making it available digitally is] a way of bringing brand awareness to the franchise. You also need to think about the size of the digital platform. If it is quite small, the broadcaster will probably not mind as much as if it is one of the much bigger players.”

In terms of the deals that Mediatoon makes, Alby says, “The digital platforms pay pretty well, but rarely at the same level as broadcasters. Generally, you’re looking to do a volume deal with them to make it worthwhile. You have to remember that there is a lot of upfront investment involved in doing a digital deal, so you have to sell them enough to make it worthwhile.”

In Alby’s experience, “more and more platforms are asking for exclusives. We have not yet gone that route, but what we tend to do is make sure our key franchises aren’t out there on more than three or four platforms. That way they don’t get too overexposed, and it helps build a relationship with platforms.”

Alby has seen strong demand for preschool shows as well as classic properties, “which we call ‘oldies but goodies.’

They definitely create a buzz and we have had people ask if there are any plans to produce new episodes around some of our key franchises. I think there is a growing sense

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that success on an OTT/VOD platform can start to revive interest among broadcasters.”

DHX’s Scherba echoes this point, saying that preschool show Caillou is attracting interest among French broadcasters after a successful relaunch via the French ondemand space.

Alby has no doubt that we are witnessing a genuine growth market, rather than a temporary bubble. “I can imagine that some platforms won’t survive, but I believe that the overall market for digital revenues, covering all areas, could go as high as 50 to 60 percent of our revenues in the next few years. As time passes, more and more people are being attracted to these services.”

ONLINE ORIGINALS Content origination and exclusivity do exist within the OTT/VOD space, but the high costs of going down either of these paths means that they tend to be the preserve of the bigger, better-resourced players. Netflix, for example, flexed its muscles when it did a deal for more than 300 hours of new TV content from DreamWorks Animation. Deals of this kind have marked a shift in Netflix’s strategy, moving away from the high-volume acquisition deals it did in its early years toward a more selective approach. At time of writing, for example, it had just unveiled deals for a number of new kids’ titles, including FremantleMedia Kids & Family Entertainment’s Danger Mouse. Due to launch in spring 2016, the show will premiere in North America, Latin America, the Nordics, Benelux and Japan, with all other Netflix territories launching it at a later date. In the case of the DHX Inspector Gadget deal referenced previously, the show premiered exclusively in the U.S. in March and will roll out across Netflix services in Latin America, the U.K., Ireland, Benelux, France and the Nordics after the initial TV broadcast in these countries.

Other titles joining the Netflix fold include Some Assembly Required, Bottersnikes & Gumbles and SUPER 4. The platform also recently picked up Rabbids Invasion for its French service from France Télévisions Distribution. An interesting point to note about this series is that it previously aired on France TV as well as on Nickelodeon around the world. In

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Amazon’s Fire HD Kids Edition tablet comes pre-loaded with one year of free access to FreeTime Unlimited, a curated selection of content.

other words, it’s a good example of how distributors can accommodate free TV, pay TV and SVOD windows.

One of the most interesting recent Netflix pick-ups was Guru Studio’s preschool show Justin Time. Initially, Netflix acquired the first two seasons of the show as a standard acquisition. But after it rated well among audiences, the platform decided to order a new series, Justin Time: The New Adventures, which will debut in 2016. The message here is that standout acquisitions can result in a big win for content owners.

AMAZONIAN STRENGTH

pilot test is a fully produced, broadcast-quality episode that goes up on Amazon for 30 days. We watch how our customers watch the pilot and listen to their feedback. We look at the metrics, make decisions based on our customers’ responses, and then greenlight pilots to series. In certain instances, we make revisions based on customer feedback, so [viewers] are really tailoring the shows.”

Amazon also acquires in key markets. It has, for example, just done a U.K.-based deal with FremantleMedia Kids & Family Entertainment for more than 68 hours of programming.

One of Amazon’s most innovative forays into acquisitions came in 2014, when it formed a partnership with Mattelowned HIT Entertainment around the preschool property

Amazon is the other main player in the OTT/VOD space to have prioritized kids’ content origination. “Amazon’s customer database has a concentration of kids and families,” says Tara Sorensen, the head of kids’ programming at Amazon Studios. “[When management was] looking for a strategy for Amazon Studios, they identified certain demographics to target and kids was one of them. When I joined the company, we talked about starting with preschool, because I knew that kids would be growing up with the service and that we were going to be a little bit more heavily reliant on moms finding it first as Amazon Prime customers.

So we put preschool programming up first and then we expanded to 6-to-11.”

Amazon’s approach to date has involved the creation of pilots that are then used to gauge audience interest. Explaining the process, Sorensen says, “The Splash Entertainment’s Kabillion VOD platform in the U.S. features a slate that includes Chloe’s Closet.

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Fireman Sam. Under the terms of the arrangement, Amazon customers are able to watch episodes of the show and then buy show-related merchandise such as e-books, toys and lunch boxes from the same online hub. The two partners called the deal a pioneering new “brand-distribution model, pairing the entire offerings of a globally loved children’s property with a global retail platform.”

THE UPSTARTS While Netflix and Amazon are leading the global charge, a number of country-specific services have started to gain traction around the world. In the U.K., for example, preschool app Hopster has built up a loyal fan base with a mix of video and game-based content that is available for a monthly fee.

“What we were aiming for is a very distinctive experience where video and interactivity combine in a safe, stimulating environment,” says Hopster’s founder and CEO, Nick Walters. “When parents sign up with Hopster, they know there will be no ads and that everything has been approved with a child-friendly U rating. I think the knowledge that this is a secure viewing environment is one of the most attractive things about Hopster.”

Hopster has around 1,000 episodes under license at present, with titles including Thomas & Friends, Bob the Builder, Ben & Holly’s Little Kingdom, 64 Zoo Lane and Max & Ruby. It recently clinched a deal with DreamWorks Animation that will bring classic preschool titles such as Postman Pat, Rupert Bear and Noddy in Toyland to the service. Walters says most of the content is licensed on a non-exclusive basis. “We had The Gruffalo exclusively for a period in 2014, which was useful from a promotional

point of view. But for the most part we seek to differentiate from rivals with the experience we provide.”

Walters says the company has learned a number of key things since its 2013 launch. “The first is that you really need to actively manage the service and your relationship with subscribers. Word of mouth is important in winning new customers, so we look for ways to encourage that, and we’re always thinking of new ways to bring content to the surface.

One thing that has really helped was our decision to focus on preschool, because it means we don’t dilute the proposition and we get a deeper understanding of what kids want.”

The family-friendly VOD service Toon Goggles has been working closely with consumer-electronics manufacturers so the service can be built directly into kids’ devices. Most recently, it did a deal to be preinstalled on VOXX Electronic Corporation’s Audiovox- and Advent-branded custom headrest systems, providing entertainment for kids on car trips. The Toon Goggles app is also built into Seiki and VIZIO connectedTV sets. “Our mission is to give children and parents options for what they can view and where they can view it,” says Stephen L. Hodge, the managing director of Toon Goggles.

WHAT’S NEXT? In terms of kids’ OTT/VOD trends going forward, a couple of issues stand out. First, it’s noticeable that some kids’ content originated for SVOD platforms is making its way into traditional TV schedules (echoing a trend already evident with drama). As such, content owners can carve out windows around their Netflix and Amazon commitments— though this flexibility may diminish as these platforms extend their global footprints.

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The other emerging trend is the growing importance of AVOD (advertising-supported VOD). “The market has tended to focus on SVOD services,” says DHX’s Scherba, “but some markets, like China, place more emphasis on AVOD. And there’s also YouTube, which can generate significant revenues for content owners.”

Scherba says that the key with YouTube is to use it in a way that doesn’t conflict with existing commitments. “We have a Teletubbies channel where we place around 100 to 150 clips, the occasional full episode and regular content updates, in multiple languages. It’s a way of maintaining brand awareness while also offering content that is appealing to the target audience. It’s done in a way that wouldn’t prevent us from licensing the show to broadcasters.”

DUAL MODEL One company that has established an unusual position in the market is Splash Entertainment, which is both a kids’ content creator and the owner of a U.S.-based VOD platform called Kabillion.

Explaining Kabillion, Splash co-CEO Nicolas Atlan says, “The main part of the business is two parallel AVOD services for boys and girls (Kabillion and Kabillion Girls Rule) that are available in 51 million cable homes in the U.S. These services offer a mix of our own shows and third-party content like Power Rangers, Sonic X and Strawberry Shortcake. A key point about the AVOD services is that we don’t offer series in their entirety. So, content owners can use Kabillion to promote their shows, then go on to do deals for full series with SVOD platforms.”

One example of this is a deal Splash has just done with Cyber Group Studios, says Atlan. “We will be showing some

episodes of Ozie Boo! and Mademoiselle Zazie on Kabillion.

Then we will also be representing the digital rights of these shows in the U.S., looking to do additional deals for them with SVOD platforms.”

AN APP A DAY In addition to the AVOD service, Splash has a Kabillion YouTube channel and just launched an SVOD app for iOS and Android devices. “The difference with the app is that it is aimed at preschoolers,” says Atlan. “Preschool is an area where parents are looking for safe, ad-free destinations for their children. At the moment, we are mainly using our own content, such as Chloe’s Closet and Dive Olly Dive, but we will look to add third-party shows.”

Outside the U.S., Splash is in a similar position to its rivals, looking to do deals with a mix of traditional and digital platforms. “It’s clear that the new digital platforms have created a new opportunity for companies with back catalogue. But the big issue for kids’ producers is still how to build a brand that can be successful in licensing and merchandising. To do that, I think you still need to have your show on linear TV. So, our approach is very much to work with both groups.”

Playing both fields—linear and digital OTT—is the strategy of choice for many in the kids’ business. As the industry continues to evolve, one factor remains immutable: children are platform agnostic; they just want fun stories with lovable characters. Because of this, distributors and producers are eager to place their shows on whatever outlet will ensure the best exposure for their properties and reach the largest audience.

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FremantleMedia Kids & Family Entertainment’s Danger Mouse.

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A host of beloved children’s properties from the past are being rebooted for a new generation of audiences. By David Wood rom Thunderbirds Are Go, Danger Mouse and The Powerpuff Girls to The Magic School Bus 360°, Teletubbies, Teenage Mutant Ninja Turtles and Clangers, the list of classic properties that have been given a makeover for a new generation of kids goes on.

But what lies behind the seemingly inexhaustible enthusiasm for reboots today? Ask a range of children’s programming experts about the reasons behind the perennial appeal of classics, and the answer is loud and clear.

Traditional broadcasters, dedicated kids’ channels and the new generation of OTT platforms such as Netflix and Amazon, which are increasingly important commissioners of kids’ content, all look upon classics more favorably.

A fact of life in kids’ programming is that there is no shortage of clutter. As Rick Glankler, the executive VP and general manager of FremantleMedia Kids & Family Entertainment (FMKFE), points out, in an increasingly crowded multiplatform world, brands that have had great storytelling success in the past are able to break through all that clutter.

“You are simply more likely to tune in or click on a classic,” Glankler says. “And success breeds success. When you see a reboot like the feature film Paddington, people just get more excited about what else is out there.”

That was certainly the case with Danger Mouse, which FMKFE is bringing back this year as a 52x11-minute animated series from Boulder Media. “With Danger Mouse, I was blown away by the level and depth of positive consumer reaction to us bringing the show back, which is very reassuring,” Glankler says.

F

BRAND AWARE One of the benefits of a classic brand is that it is “a known quantity, which can get the discussion with broadcasters started more quickly than unknown characters and brands,” observes Leslye Schaefer, the senior VP of consumer products and marketing at Scholastic Media.

Scholastic is planning a reboot of the ’90s science education series The Magic School Bus for Netflix in 2016.

Josh Scherba, the senior VP of distribution at DHX Media, which has new Inspector Gadget and Teletubbies series on the books, agrees. “The big thing is you get instant interest from broadcasters. They know that we live in an increasingly

fragmented world, and having branded content with some sort of built-in recognition for an audience definitely has more value than something created from scratch.”

And it’s not just the commissioners who prefer a familiar format to a new property. Parents and grandparents do, too. “When choosing a suitable children’s program, parents favor the trustworthy brand with its familiar content,” says Patrick Elmendorff, CEO of Studio 100 Media. The company has updated three veteran German brands: Maya the Bee, Vic the Viking and Heidi.

“Nostalgia is a big factor in classic children’s properties,” notes Elie Dekel, the president of Saban Brands, home to the enduring Power Rangers franchise. “Parents naturally want to share their own love for and experiences with a brand with their children. This is especially true with brands that parents grew up loving and of which they have fond memories.

“When looking at classic children’s properties, we look for brands that have, or had, a strong fan base, appeal to several generations and have a global appeal,” explains Dekel. “The Power Rangers series is a perfect example. It has tremendous familiarity, has achieved worldwide success over the past 21 years, consistently performs well on television and other platforms—as well as at retail—and appeals to multiple generations of fans.”

Every two years, Saban reimagines Power Rangers with a new theme to introduce the series to a new audience. Its latest incarnation is a dinosaur-themed season, Power Rangers Dino Charge, based on the logic that dinosaur story lines have historically been the strongest for the Power Rangers series, from Mighty Morphin to Dino Thunder.

Last year, Saban announced another reboot in Popples, a 26x30-minute spin-off of an ’80s kids’ cartoon and successful toy franchise. The series has been commissioned by Netflix and is set to roll out later this year.

BRIDGING THE GAP For anyone in the business of rebooting a classic brand, the hope is that parents who grew up with a certain show or toy will remember it and will want to recreate those same memories with their children.

“If parents were fans when they were kids—loved the entertainment, collected the merchandise and wore the

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tant to remember that simply bringing something back doesn’t guarantee success in itself.

Surrounded by the hype and column inches that the reinvention of classic kids’ brands can generate, it’s easy to forget the reality that a new audience doesn’t read the press and doesn’t have any nostalgia-driven desire to tune in.

“While preschool parents might have an affinity for these brands, which is a definite advantage, remember that the property has to connect with today’s kids or it won’t work,” says DHX’s Scherba.

Hasbro’s Arnesen stresses, “Our job is to make sure we reimagine the right property, making it relevant and telling great new stories around that property in fresh, interesting and compelling ways that entertain a new generation of kids and their parents across all platforms, from TV to digital, publishing, licensing and merchandising.” Simple.

RECIPE FOR A REBOOT

CITV greenlit a second season of ITVS GE’s Thunderbirds Are Go well before season one premiered this spring.

The successful reimagining of a classic kids’ property usually begins with a complete overhaul of the look, typically with the use of cutting-edge CGI animation technology, and then a thorough rewrite.

“Preserve the basic story line and the core values of the series, but where possible, tell new stories,” says Studio 100’s Elmendorff. “The episodes should become a little shorter and be told in a more modern way—for example, by introducing slapstick humor.”

Reboots usually mean speeding up the pacing so that the episodes conform to the 11-minute format favored by distributors. The other benefit of a rewrite is that it gives the new version an opportunity to iron out any cultural, racial or gender stereotyping in the original show that feels out of step with the contemporary zeitgeist.

As FMKFE’s Glankler underlines, successful reboots are all about finding the right balance. “You need to keep the ‘secret sauce,’ but not do a literal reboot. We knew that the original Danger Mouse scripts wouldn’t work. If we simply re-animated the original [25-minute] scripts, then it would be more likely that our reimagining would fail.”

The ubiquity of the 11-minute format has been driven by the expectations of today’s kids, who are much more used to short-form content, partly because of the increasing amount of online video they watch. Plus, it is easy to put two

T-shirt—they are going to react favorably to a new version of an IP they loved and engaged with,” says Finn Arnesen, the senior VP of global distribution and development at Hasbro Studios.

If anybody is more enthusiastic about new versions of familiar formats than parents, it’s the companies who license the properties for toys, games, clothes and video, adds Steve Green, the executive VP of kids’ content and distribution at ITV Studios Global Entertainment (ITVS GE).

“Let’s face it, everything is bought for kids by parents or grandparents—so the fact that they actually like a property is great news for product licensing,” Green says.

And if product licensors like a known entity, they really like a known entity that is supported by quality data such as recent records of toy sales. Green argues that the more recent the data, the more useful it is. “There’s a good and bad side to classics: the good side is that you have a case study and brand awareness; the bad is that if a brand is really old, the value of that brand awareness is unknown. What you really want are up-to-date figures on toy sales.”

For ITVS GE’s Thunderbirds Are Go, a reboot of Gerry Anderson’s iconic Thunderbirds brand, toys and video games have been continuously re-licensed over the last 10 to 15 years. “That really helps because retail buyers and licensing partners remember it,” Green adds. “It makes it much easier for them to reevaluate the brand.”

But while classic reboots have a huge range of advantages over new kids’ properties, it’s impor- DHX Media’s Inspector Gadget reboot is headed to Boomerang across EMEA, Latin America and Asia.

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My Little Pony: Friendship Is Magic is a recent iteration of Hasbro Studios’ My Little Pony franchise.

episodes together to form a commercial half-hour, an option many broadcasters like.

With DHX’s new version of Inspector Gadget, Scherba underlines that the key was to pick up the pacing of the show so that it could sit alongside contemporary properties on broadcasters’ schedules.

“There was no need to reinvent the character dynamic between Uncle Gadget and Penny and Brain—a comedic trifecta of comedy that is as relevant today as it was 25 years ago,” says Scherba. “But when you look at the old Inspector Gadget from the early ’80s, it’s astounding how long the stories take to evolve. We changed the format from 22 minutes to 11 minutes, which has helped make the story tighter and keeps it moving along.”

DHX is also currently making 60 new episodes of Teletubbies with producer Darrall Macqueen, with Scherba admitting that although the original series still gets a lot of traffic on YouTube, it is no longer bright and shiny enough to sit comfortably on a kids’ broadcaster’s schedule.

Penelope’s role is also enhanced, so it won’t be all about guys saving the day— the new version will feature a lot of female heroism.”

Hasbro Studios has followed the successful reimagining of its My Little Pony property with an updating of the Transformers franchise. The latest iteration, Transformers: Robots in Disguise, premiered worldwide in the first quarter of this year.

“We took the time and paid careful attention to our audiences around the world, and we reimagined our new Transformers universe with a more lighthearted touch,” Arnesen says. “We did away with some of the darker and more serious elements of Transformers: Prime and made Transformers: Robots in Disguise more accessible to our core audience of kids ages 4 to 7 and their parents.”

According to Arnesen, reimagining a classic property is a complex business and needs much more commitment and thought than a quick tweak. “The key questions that need to be asked are, Where is the show being targeted? What is the demographic for the property? Why is this property worth updating and reimagining for a new generation?”

SHINY AND NEW One way DHX is bringing the new Teletubbies up to date is by shooting it in 4K Ultra High Definition (UHD). “Although we won’t deliver the program in 4K, by shooting it in a highresolution format we have that option further down the line, which means that it is future-proofed as a kids’ property for another 25 years,” explains Scherba.

CGI and scripting were central to ITV Studios’ reimagining of Thunderbirds, which is being given a complete visual overhaul with CGI characters and live-action backgrounds

by Pukeko Pictures in collaboration with Weta Workshop, the outfit in New Zealand known for its work on the Lord of the Rings films.

In addition to updating the look, ITV Studios is changing the format—the running time of the original 50-minute shows has been reduced to 30 minutes. In addition, the 21st-century update called for a more contemporary treatment of gender.

“All classic brands were written at a time when what was considered politically correct was different,” ITVS GE’s Green says. “So while we have retained the Tracy brothers, we now have a new female character as head of security, Kayo. Lady

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The ‘80s brand Popples is being brought back by Saban Brands.

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Using market knowledge to time the reintroduction of a well-known kids’ property to maximum effect is another way of improving the chances of a successful classic reboot. ITVS GE’s Green, who knows a thing or two about polishing classics, having worked at Chorion on properties from the Enid Blyton and Agatha Christie estates, points out that Thunderbirds Are Go will be trying to bring audiences something they don’t see much of these days. “I think there is very little in kids’ animated TV that offers adrenaline-fueled adventure and rescue, so in my mind that’s why it’s a good time for Thunderbirds to come back.”

AHEAD OF THE CURVE Hasbro’s Arnesen agrees that the appeal of novelty shouldn’t be underestimated. “Broadcasters are naturally looking for ratings, increased ad sales and a return on investment, but they are also looking for innovation and something new to market. If you can add these two things to a classic property, it’s going to be more appealing.”

DHX’s Scherba reveals that one of the reasons for bringing back Teletubbies was that it would address a perceived preschool programming shortfall: the lack of age-specific programming aimed at kids in the the earliest part of preschool.

Most networks, with the exception of CBeebies and possibly ABC Australia, tend to age-up preschool content to capture 4- to 6-year-olds, says Scherba. “The result has been a major gap in age-appropriate content for 2-year-olds,” he reasons.

One way a reboot brings something unique to a familiar brand is through multiplatform extensions that can take advantage of digital platforms that didn’t exist at the time of the previous iteration. The online development of a brand has

become a much more important part of its reincarnation, as the expectations of young audiences have grown in step with the digital, online world.

As Scherba points out, the original Teletubbies still generates 40 million to 50 million views a month on YouTube, underlining the fact that 2-year-olds have become much more significant consumers of online content.

“It’s no longer just about TV—you have to reach your audience on multiple platforms,” adds ITVS GE’s Green.

“We are investing a lot in a branded online home for Thunderbirds Are Go, which is crucial because it allows not just consumers, but other partners as well, to find out more about the brand. The online destination can be an important link for broadcasters, publishers, toy manufacturers or theme parks—anybody can link to this branded online home, which should be platform agnostic.”

Investment in digital needs to be significant these days in order to have an impact, Green continues. “Potentially, you could go 100 percent digital, but where there is a broadcast TV show at least 20 percent of the budget should be nonlinear. Investment has to be meaningful, otherwise it will just get lost.”

For Scholastic’s Schaefer, the important thing is to make brands “available to viewers on additional platforms and in formats they can access whenever and wherever they want.”

Hasbro’s Arnesen concludes, “Overall, you have to have an idea of what the entertainment, the merchandise and the long tail of digital on all platform formats looks like. You have to be clear about the overall package and why it’s different and compelling to a new audience—while being mindful that everything starts with character and story.”

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at 20 TV KIDS: Super RTL is celebrating a big birthday this year!

SCHMIT: We have three big birthdays. The first one is, I joined the company 20 years ago in March. The second is, I have been CEO of this company for 15 years. And the third is 20 years of Super RTL.

TV KIDS: What impact did the channel have on the German TV landscape?

SCHMIT: Prior to our launch, kids’ programming was basically restricted to a couple of hours in the Saturday and Sunday morning slots of the big channels. There was no dedicated children’s channel in Germany before [we launched]. Shortly after we launched, the public channel KiKA entered the market, followed by Nickelodeon for the first time; then they left and came back again. For the last two years there have been a couple of small kids’ channels launched in the German market: ProSiebenSat.1’s MAXX and RiC from Your Family Entertainment. And finally, Disney Channel launched in January 2014.

CLAUDE SCHMIT

By Mansha Daswani

There have been tremendous changes in the German media business since 1995, but Super RTL has retained a special place in the lives of kids and their families. Back then, it was the first children’s channel in Germany, creating a place where young ones could find entertainment made just for them. The market has since become much more crowded, and there are plenty of new places for kids to go to for their entertainment needs. Nevertheless, Super RTL— a 50-50 joint venture between Europe’s leading broadcasting entity, RTL Group, and The Walt Disney Company—is still the most dominant commercial kids’ broadcaster in Germany. It has also kept its ratings well ahead of its international competitors, Nickelodeon and Disney Channel. For CEO Claude Schmit, much of Super RTL’s success can be attributed to its clear market positioning and branding: the TOGGO blocks and platforms cater to the 6-to-13 set, while TOGGOLINO is aimed at preschoolers. Nighttime on Super RTL, meanwhile, targets parents, particularly women, with imported dramas and comedies.

Schmit was part of the team that launched Super RTL in 1995 and has been at the helm of the company as CEO for the last 15 years. As he looks back on two decades of Super RTL, Schmit is candid about the challenges that exist for the channel in Germany’s crowded children’s entertainment business. Nevertheless, he remains confident that Super RTL’s distinctive mix of imports and originals, its presence on mobile platforms and its strong relationships with advertisers will serve it well as it continues to cater to kids’ audiences in the future.

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TV KIDS: How has the brand evolved since its launch?

SCHMIT: When we started there was only Super RTL. Later, in 2000/2001, we launched our kids’ brands TOGGO and TOGGOLINO. We wanted to make it clear from the consumer’s perspective that TOGGO and TOGGOLINO stand for children’s entertainment and Super RTL stands for family entertainment. We have always said we want to rely on programming that is appropriate for our audience. Right from the very first day we followed that strategy: we are not confined to kids only, but we always deliver programs that are parent approved. That is very important for us. Parents are our secondary target group and they have to approve what their kids are viewing.

TV KIDS: Tell me about the impact of the launch of Disney Channel in Germany.

SCHMIT: Disney is still a shareholder at 50 percent. It has never been easier to deal with Disney as a financial investor, because we do not have any lengthy, fruitless, annoying discussions regarding the size of the mouse ears shown on the screen. [Laughs] Fortunately, now we’re only talking about what our numbers look like.

It’s a Chinese wall [between us and Disney Channel]— we’re reporting now to people who are more in the ESPN area. We had to replace 30 percent of our programming. Since we had a very good network of potential licensors on the content side through our activities in the international market, we were very rapidly able to replace the Disney content with other programs. We had a threefold strategy that we still follow. The first one was, continue cherry-picking. We have the luxury

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For its TOGGO block, Super RTL has acquired a host of international shows, among them 9 Story’s Wild Kratts.

of being able to buy from the international market exactly the type of programming we need for a specific time slot in our grid. It’s important that we do not have to buy everything just to have something. Also, we have been spending much more money on development deals internationally. We are now in a position to secure the rights to upcoming TV shows. We have between five and ten production deals per year. If we see that the product coming out is good, then we take it. If we don’t like the product, we don’t have to take it. These development deals are very important as well.

The second strategic pillar is our deals with other large studios. DreamWorks Animation is the best example. We have a volume deal with Warner Bros. We are looking into other possibilities in the international market.

The third part would be to tremendously increase our inhouse productions. The aim is to have one or two shows in access prime time every day that are produced in-house.

Access prime time is the most important slot every day, and here we focus on live-action scientific magazines produced in-house. Woozle Goozle is an example.

TV KIDS: And there are no incentives in Germany for animation production.

SCHMIT: None. That’s one of the reasons we’re in close contact and do a lot of deals with France and Canada. They have very large animationproduction industries, which we don’t have in Germany.

TV KIDS: How have your ratings and ad revenues held up since the launch of Disney Channel?

SCHMIT: We lost some market share, which is not really surprising. Disney is a fantastic brand and a very known brand. Disney enjoys a very high acceptance from parents, which Nickelodeon does not. Secondly, and even more relevant, the 30 percent of the Disney shows that were broadcast on Super RTL moved to another channel— they didn’t disappear from the market. They are more or less in the same time slot, which is an even bigger incentive for kids to follow their favorite shows from Super RTL to Disney. The interesting thing is, we did not lose as much as we expected. In 2014 we ended at a 19.7-percent market share in kids, which is lower than the year before.

The next competitor is KiKA, which had 19.7 percent as well. KiKA was the eternal

In-house productions such as Woozle Goozle are becoming increasingly important for Super RTL.

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Super RTL has an output deal with DreamWorks Animation that covers such titles as Dragons: Riders of Berk.

second for 15 years in the German market. Now they have succeeded in becoming a market leader, not because of their own strengths but because of the strengths of one of our shareholders, which is an interesting story! We and KiKA are in the 20-percent league; then you have on the 10-percent level Nickelodeon and Disney Channel. We still have more or less been able to double the reach of Nickelodeon and of the Disney Channel. We are not expecting [to increase our] market share over the next 12 months. Our ambition has to be to reach the level we achieved in 2014.

We are still by far the largest commercial player in Germany. We closed the year with gross advertising sales of €269 million ($290 million), about 5 percent less compared to the year before, which is not dramatic. Nickelodeon had about €115 million ($124 million) and Disney Channel €137 million ($148 million). So, also on the turnover side, we have double the number of each competitor and we are stronger than the other two combined. That is terrific. In our budget, we had foreseen a two-digit [reduction] as far as gross advertising revenues are concerned.

TV KIDS: Have you been adjusting your grid to appeal to a broader range of demos?

SCHMIT: We have a feeling that Super RTL is not the most popular channel among the 10- to

13-year-olds; at that age they are starting to watch RTL or RTL II. For us it’s important to focus on our younger target and still try to find programs that are accepted and known by their parents. That’s why the DreamWorks deal is important. And the Warner Bros. deal, especially the well-known characters Tom and Jerry and Scooby-Doo. [Warner Bros. is] a brand name known by all the parents, and the parents have no big objections to their kids watching those shows on Super RTL. Educational magazine shows in Germany are very important, because there is a strong public channel that focuses on these types of programs. We have to be in that line of business as well, not only because we want to have shows that are appreciated by all kids, but also

Super RTL did a deal with CAKE in the U.K. for the German rights to Angelo Rules.

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because we have to gain the approval of their parents, and there’s nothing better than good old German-produced, in-house educational magazines that fit the expectations of the parents of our target group.

In prime time we target 14 to 59. We focus mostly on heads of households, mothers, so it’s more female skewed, and within that part we try to focus on younger mothers.

TV KIDS: How have you adapted to kids’ increasing demands for multiplatform content?

SCHMIT: We made some structural adjustments. Carsten Göttel is our programming director and he is now responsible for our linear content as well as our nonlinear content. That’s one structural change we made. We also have been mobilizing all of our online platforms, meaning [making them] accessible via mobile devices.

I do believe that the classic laptop era is totally over. Everybody is using tablets, smartphones, etc., so we had to make sure our offer is tablet compatible, mobile compatible, smartphone compatible, etc.

We relaunched our main online platform, Toggo.de, a few months ago. About 20 percent of our traffic is already generated via mobile.

We saw a very steep increase in ratings mainly due to that new mobile-device compatibility. We are going to relaunch TOGGOLINO CLUB, a prepaid club for preschoolers, and we will mobilize it as well. In this business, mobile applications and mobile compatibility are very important. Obviously, we also observe the “Netflixes” of this world. Is that [subscription on-demand] market suitable for Super RTL? Maybe. I’m not convinced yet that the business model is going to be a very strong, compelling argument for us. I still think, for the foreseeable future, most of our money will be made in advertising revenues, either online or via linear television. Obviously [SVOD] is a new form of direct contact with the customer, generating money outside of the classic advertising revenue stream. That is something we will look into.

TV KIDS: What are your key priorities in the next year or two?

SCHMIT: Mobilization [of our online platforms]. In two years I think nothing is going to change, but I think the foundations are going to be laid for the changes to come in the next four years. What we still have not seen is a big shift in advertising revenues from linear to nonlinear. That does not mean that we have not seen a shift in consumption from linear to nonlinear.

We’re going to see that shift continuing over the next two to three years. After that we might see a change in advertising revenue flow as well.

TV KIDS: What about non-advertising revenues?

SCHMIT: They are going to increase, but let’s be realistic: unless the VOD subscription revenues go through the roof—which even Netflix has not proven yet—I’m convinced it’s not going to replace 100 percent the advertising revenues we gather from linear. If the advertising money is going to move to nonlinear, we have to be present there, and if advertising money is totally disappearing and we have to replace that with subscription money, then obviously we have to be present in the subscription business as well.

We are very strong in the merchandising area as well. We have our deal with DreamWorks Animation; we are their agency for Germany, Switzerland and Austria, which is huge. It’s not only for TV series, but also feature films. That’s an interesting business, but it’s not going to replace our advertising business. [Licensing and merchandising revenues have] been 10 to 15 percent of our turnover. We might be able to increase that a little bit, but still, it’s not going to be 50, 60, 70 percent of our business.

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CAROLINE COCHAUX LAGARDÈRE The pay-TV market in France was still in its infancy when Canal J arrived on the scene in 1985.

The first dedicated children’s channel in the country reached just 300 subscribing homes at launch. Over the years, as a wave of competitors, homegrown and international, rolled out in France’s thriving cable and satellite landscape, Canal J maintained its leadership by firmly focusing on delivering fun, irreverent content for children between the ages of 8 and 12. Its parent company, Lagardère Active, also set out to corner the youth-and-family market with a bouquet of additional niche services. First came TiJi, in 2000, with a remit to entertain French preschoolers. Five years later, Lagardère Active saw the booming potential of the DTT landscape, unveiling Gulli, a free-to-air channel delivering content for kids and families. Today, as Canal J turns 30, TiJi 15 and Gulli 10, the channels are serving France’s youngsters with topnotch imports from the international market as well as local co-productions. As Caroline Cochaux, the executive director of broadcast and TV programs for France and international at Lagardère Active, tells TV Kids, all three brands have also remained relevant by tracking the changing consumption habits of their audiences. Both the pay-TV services Canal J and TiJi, and the DTT offering Gulli, are finding new ways to speak to French youngsters, whatever platform they may be using. As three of the channels she oversees celebrate milestone birthdays, Cochaux tells TV Kids about her strategy for maintaining their relevance in the decades ahead.

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Commissions from French companies, such as Cyber Group’s Mia for TiJi, play a key role in Lagardère Active’s programming strategy.

TV KIDS: Canal J turns 30 this year. How has the channel evolved over the last three decades?

COCHAUX: As the first youth channel in France, Canal J has had a very important impact upon families, upon everyone’s collective memory. The children of the ’80s, who are parents today, loved Canal J because it was the first time that a network was 100 percent devoted to them. The channel evolved with the TV industry in France. At first, the American networks—Cartoon Network, Boomerang, Disney Channel—did not exist except as blocks on traditional free TV, but with the arrival of satellite TV, they launched as full channels. At that time, Canal J was for children [of all ages, but with more channels in the market] each one had to find its own target. Canal J was able to compete with the arrival of the American channels by targeting children between 8 and 12, 8 and 14. Our [brand values] are silly, funny, loony. We’re always a little bit subversive, but in a good way. Canal J is absolutely dedicated to children between 8 and 13. This is the age when you become your own master. You get a little bit of distance from your parents. You discover that you have your own personality and that you can do things by yourself. You can do things you were not allowed to do before. This is also the time when you go from primary school to junior high or secondary school. This is a very big moment in children’s lives: at a certain point you are no longer just someone’s child, you are an individual. Canal J is in this in-between period.

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TV KIDS: Does Canal J have a fairly even boy/girl split?

COCHAUX: It was 60-40 boys to girls, now it’s 55-45. We’ve found that girls very much like the boyish spirit [of the channel]. There is a kind of freedom in what the boys imagine they can do. So we do have more girls than before. But still, it’s more of a boys’ channel than a girls’ channel in terms of the audience.

TV KIDS: Tell us about the strengths of the Canal J schedule.

COCHAUX: On all the other channels for children, it’s cartoons or stories that are about adventures. In a way, Canal J is a step ahead of this. [Our viewers] think like big boys and big girls.

This year we have launched a few animated series, like SheZow, Sprout a craqué son slip (Zack & Deuce) and Grojband [that reflect our brand]. We also have Linkers and Sonic Boom. So it’s a mix of video games, a sassy [perspective], humor, and being a bit of a Jackass kid—of course, without danger! When the character Zack speaks to his bottom all day long, there’s something so surreal about the idea. When the kid in SheZow has to be transformed into a girl to be a superhero, that is so funny. There are no kids who would imagine that being transformed into a girl would make them a superhero. We twist their minds in a way; we’re having fun with them.

TV KIDS: How important are French productions for you?

Are there quotas you need to fill?

COCHAUX: As Canal J is a pay channel, we don’t have the same quotas as we have on Gulli, which is a DTT channel.

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COCHAUX: It can happen. We can prebuy or we can co-produce. If French investments are made in a series, that makes it French, and for the quotas [on Gulli] that’s important. It’s not as important for Canal J. Co-productions are important for the global activities of Lagardère’s three youth and family channels. We will produce with anyone if the show is interesting and we think it will be liked by our viewers. For example, Sonic Boom was co-produced with many countries—I think there were five countries involved in the show.

TV KIDS: How important are acquired series for you?

COCHAUX: We love manga. We have Yu-Gi-Oh! ZEXAL and Les Chevaliers du Zodiaque (Saint Seiya Omega). Canal J is going to be the first channel to screen Sailor Moon Crystal in France.

We do have many wonderful brands. And we’re still working every day, not only on the funny and sassy and Jackass-y brands, but also on brands that will appeal to older viewers. We do have adults watching our channels for the manga they loved when they were younger.

Canal J airs a slew of anime series, among them Yu-Gi-Oh!

There are 30 [local productions] in total on Canal J, TiJi and Gulli. With Canal J we are engaged in about ten animated series. The idea of co-producing series is important for us because they are followed step by step by our editorial team. They can adjust the way [characters] talk, the way they react, the interaction with the children, all the way through the animation. This is really important to us. Our audience starts watching at age 8 and they finish at 12 or 13 and go off to some other channels—during this time, they are growing up and changing. We co-produce with Gulli most of the time, or with some other free-TV channels.

I like co-producing with Gulli, where we can push a brand even though it’s not very famous. That’s what we did, for example, with SheZow and Sprout. When we saw that the [first episodes] didn’t have the impact [on Canal J] that we wanted, I pushed them by way of Gulli. Showing them on Gulli and telling the children they could see all of the episodes on Canal J gave the series a tremendous push.

That’s the way we want to work, with our assets mutually benefiting each other. If we push a brand, we will do it with all the tools we have at our disposal.

TV KIDS: And you’re also co-producing with companies outside of France?

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TV KIDS: How do the three channels complement each other?

COCHAUX: The difference between the three channels is the age of the audience. TiJi is for 3 to 6 or 7, Gulli is for 4 to 10 and families, Canal J is for 8 to 12, 8 to 14. The other difference is that Gulli, as a DTT channel, is really the most famous one in France because it’s free, and because it will take children from before they know how to read to the time they will leave to go to junior high or secondary school. So almost the entire childhood of a kid can be spent with Gulli.

The three brands exist as part of kids’ lives. The small ones from 3 to 7, when they watch TiJi, they absolutely know Tijinou and Tijibelle, the two mascots of the channel. They love them. They know what they will find on the channel. Their parents know, too. They know they will find something totally suitable for their kids’ age.

The kids will learn how to build things, how to cook and there will be stories—all the little things parents do with their children, the kids can also do on TiJi. Children, whatever their ages are, can watch Gulli at any time of the day and they will never find any unsuitable content. The other night we were the top-rated DTT channel for kids 4 to 10, but also among children 4 to 14, and we were the top-rated DTT channel among mothers of children under 15. So the mothers will follow

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TV KIDS: How have you followed your audiences onto all the other devices and screens they are engaging with today?

COCHAUX: Sonic is a good example. As the animated series was released in France on Canal J, the video game was released at the same time. We are also developing apps for Canal J, TiJi and Gulli.

This year we’re improving the websites. [We have Gulli Replay online], which in the month of January had 17 million views. At Canal J and TiJi, we don’t put all of our series on the site, we don’t put all the content in the apps, as we are pay channels. But we are very efficient in replays on CANALSAT on demand.

FremantleMedia Kids & Family Entertainment’s Grojband has been a strong performer for Canal J.

their children to Gulli. That is interesting, and not only for the advertising business, which is quite positive for us. It’s very important to know that the mothers have an eye on what their children are watching, and they also want to spend moments together. It’s not TV as a big babysitter. It’s a way for the parents to be a part of their children’s lives and to share some programs together with them.

So the pay and DTT channels are complementary, and they allow us to cross-promote programs.

TV KIDS: What types of programming are you looking for across the three channels?

COCHAUX: There’s something we invented in France that was quite audacious: prime time for children. In France the rules have changed for education. On Wednesdays, kids under 12 usually had no school. But this year, the education law has changed, and all children have to go to school on Wednesdays. So the ability they had to watch TV on Tuesday nights is gone. We found we had fewer children in front of the TV on Tuesday nights. So

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Lagardère Active often uses the DTT platform Gulli as a launchpad for new series, as it did with DHX’s SheZow.

we decided to have kids’ prime time at 6:30 p.m. or 7 p.m. on Gulli every Tuesday. We need some special movies for this block. We are looking very much for animated specials. Sometimes we do co-produce them. We invest €100,000 ($108,000) every year in one animated movie. We are really looking to acquire 70- to 80minute animated specials—TV movies and feature films.

We are open to everything and every age target.

After doing it on Gulli, we decided to do this children’s prime-time idea on Canal J, every night. So Monday to Friday there’s kids’ prime time at 7 p.m. on Canal J. We have to find movies to air every night. We need to buy them.

That’s what we’re looking for at the moment.

TV KIDS: How are you finding the animated-specials market so far? Is it difficult to source this kind of product?

COCHAUX: Our head of acquisitions is looking everywhere! We meet everyone all over the world. There are so many amazing animated movies or mixed animation and live-action movies out there. Many countries are making them. The other day I watched a live-action and animated movie that was Chinese. I loved it! When I arrived back at the office I said to the acquisition team, Find it, I want this movie! We’re not closing the door to anyone.

The fact that our group is so involved in kids’ channels allows us to be creative. We have many channels, many screens, and also we are developing our brands in Russia and in Africa. We’re open to any kind of cartoon, any kind of animated series, and we have the expertise to take those brands and make them big.

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TV KIDS: Are there certain curriculum requirements that you include in your shows?

KANTER: We think about the learning for each one of our shows—what valuable takeaway the characters and stories can offer kids, with lessons that parents will notice and appreciate.

We have curriculum advisors on staff, as part of Disney Junior’s ongoing team, but for each individual series we will hire specific curriculum experts. For instance, for Miles from Tomorrowland we have a team of experts in space and technology and astronomy. They work with our writers and directors to help shape the stories so that they do have true learning value and a curriculum. We also tend to focus a lot on social and emotional skills, because they are so important for kids this age. I think most parents, and certainly most educators, agree that developing life skills and social skills that allow kids to be active learners, to be competent and resilient, are so important at this age, perhaps even more important than learning how to count to ten and spell your name. You really have to start with the basics, which is making a child see the benefits of being a competent learner. So we spend a lot of time talking to our experts and weaving those kinds of messages into the story lines.

NANCY KANTER DISNEY JUNIOR

By Anna Carugati

Adventures in space and travel to other galaxies have always fascinated adults, so why shouldn’t children also share this passion? That is exactly the reasoning behind Miles from Tomorrowland, which recently premiered on Disney Junior. Miles from Tomorrowland exemplifies the kind of show that blends entertainment and learning that has been so successful on Disney Junior. Nancy Kanter, the executive VP of original programming and general manager of Disney Junior Worldwide, talks to TV Kids about the channel’s success.

TV KIDS: What’s been contributing to Disney Junior’s success?

KANTER: We launched about three years ago and the success has been pretty dramatic, as we are the number one preschool network now. We are ahead of our competition in a lot of areas, and we’re thrilled. What has contributed to the success is that we’ve really put our focus on our stories and our characters. We have focused on really rich storytelling with stories that matter to kids, that offer strong emotional connections and takeaway in terms of messages that are very relevant to their lives. Clearly, it’s all wrapped up in Disney characters that you fall in love with, stories you want to hear over and over again, music that really moves you. We try to reflect in Disney Junior all of the attributes that older children and adults attach to a Disney experience, whether it’s in a theme park or in a movie. We have been able to find a way to translate that on television and in other media for our young kids.

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TV KIDS: How are you making your content available to children on more that just the TV screen?

KANTER: It’s clear there are many ways to watch these days. We have a mobile platform, WATCH Disney Junior, which allows cable subscribers to authenticate and access our programming, both the live stream and library content. We are also creating materials that will premiere exclusively on that mobile platform before they hit the linear broadcast network.

We’ve done that with Sheriff Callie’s Wild West, for which we had a series of shorts before the series launched on television. We’ve done that again with Miles. We’ve used that platform because we know that so many kids do watch that way— it’s portable, so they can watch wherever and whenever. For us, it’s a great opportunity to reach an audience in a way that we didn’t have before these platforms started to proliferate.

Given the change in behavior of how and where kids watch, we want to make sure that we are there and that they have access to our content and to different types of content. We want to offer episodes that are more interactive versions of regular episodes, [as we’ve done with] Mickey Mouse Clubhouse and Doc McStuffins, among other key series. This gives kids the opportunity to actually interact in a touch-screen way. We build that activity into the content. It’s a whole new world when you are thinking of creating content now.

TV KIDS: What are you learning about how the littlest viewers are watching shows? How are they using the non-TV screens?

KANTER: We see children using them in droves! Anecdotally, we see that there is not a time when you are sitting in an airport or restaurant that you don’t see a little kid on a tablet or an iPhone looking at something or playing with something. We know that is becoming a dominant way that kids are accessing content and programming. So we are examining how to be sure that we have enough content to give them, and that we give them the right things in the right places on the right platforms, because they are not all one and the same. I don’t think it’s just about taking your TV episode and putting it on another platform. You want to give them something different and a slightly different experience. Clearly, digital is here to stay and it’s growing, so it’s part of our planning.

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