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Kids

Everything about children’s content

Keep calm and carry on: the rise of slow TV

Fall 2026

Gregory Dray on franchises in the YouTube era

Timely arrival: creator-led ClockwiseTV

PLUS: BBC Studios Kids and Family | French animation’s exports decline | The new shows to catch at MipJunior

C21Kids | Fall 2025 | Issue #326

UPFRONT

CONTENTS

Stepping on the brake

hen the Australian government banned social media, including YouTube, for under-16s late last year, it kick-started a wave of similar bans and restrictions in other countries that could alter the path of kids’ content. Countries including Indonesia, Malaysia and Turkey have since instigated bans, while Canada, New Zealand and several European territories, including the UK, are soon to follow suit. Last summer, Facebook and Instagram owner Meta agreed to an US$18bn settlement with a coalition of states in the US that had argued its platforms were intentionally designed with addictive features to hook children. Child safety and exposure to harmful content on platforms like these are of mounting concern to the children’s industry and to parents, who are seeking alternative ways to provide child-appropriate programming to digital-native kids. On page 19 we hear from ClockwiseTV, a new platform that aims to do just that. Launching to the public next month, the platform curates creatorled, child-safe content in an app that automatically shuts down after a time limit set by parents. All videos are audited by a human team, which prioritises educational value. With the rise of social video platforms like YouTube, which allow anyone to upload content, comes an increase in low-quality, fast-paced, high-stimulation shows that the algorithm will continuously churn out so young viewers are stuck in a never-ending loop.

We investigate this on page 7, in a feature that explores potential demand for slower-paced, lowstimulation shows among buyers and parents seeking gentler programming, and whether this provides a renewed opportunity for rights-holders of classic IPs to revive their brands. While government discussions on banning or restricting social media for younger audiences continue worldwide, YouTube remains the number one platform for kids. But building a fanbase for new IP among the millions of videos available on the service is a nigh impossible task. On page 31, Animaj’s Gregory Dray explains why building franchises in the YouTube era requires more than audience reach. Dray will also be speaking on the subject in his keynote session at MipJunior. All this comes at a trying time for the traditional kids’ industry, and on page 17 we look at how France, one of the biggest exporters of animation worldwide, is experiencing a drop in international sales and how distributors are reacting. Elsewhere, we hear from BBC Studios Kids and Family about its MipJunior slate and the trends MD Cecilia Persson is seeing in the children’s space, including a demand for longer-form animation. And as usual, we showcase 21 new kids’ programmes for buyers to take a look at during the market. The kids’ industry crisis is far from over. But as governments, and parents, wake up to what’s going on, perhaps things are ﬁnally moving in the right direction. Karolina Kaminska

C21INVESTIGATES: Slow TV As kids migrate to online video, a wave of fast-paced, ‘sugar-rush’ content aimed at keeping kids hooked rather than helping them to develop has followed. Is demand for slower-paced and classic kids’ TV now growing?

DEVELOPMENT SLATE: BBC Studios BBC Studios Kids and Family is reacting to demand for longerform animation with new series Vanishing Point. Cecilia Persson discusses the trend, funding challenges and the company’s YouTube strategy.

COUNTRYFILE: France’s animation woes Mediatoon Distribution and Ellipse Animation’s Morgann Favennec told Unifrance’s Rendez-Vous event the sharp fall in exports of French animation has “wiped out” the past decade of growth.

CONTENT STRATEGIES: ClockwiseTV This new platform curates creator-led educational content in an app and allows parents to control screen time. CEO Leslie Morgan shares the company’s mission and expansion plans.

NEXT BIG THINGS: 21 on 21 C21’s selection of shows for buyers to screen at this year’s MipJunior, ranging from inventive educational series to a toon about wildlife conservation and a live-action show with a social media trio.

KIDSTALK: Gregory Day The Animaj co-founder warns building franchises in the YouTube era requires more than just audience reach.

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C21Kids | Fall 2026

C21INVESTIGATES: Slow TV

In the slow lane As children migrate to online video platforms, a wave of fast-paced, ‘sugar-rush’ content aimed at keeping kids hooked rather than helping them to develop has followed. C21 investigates whether demand is now rising for slower-paced, gentler programmes and classic kids’ TV. By Karolina Kaminska

n today’s digital world, children have access to more content than ever. But with that comes an increase in low-quality, fast-paced, high-stimulation shows that algorithms churn out continuously, keeping young viewers stuck in a never-ending loop. There is mounting evidence that today’s algorithmically optimised children’s content, engineered for retention rather than wellbeing, may be quietly undermining attention spans and emotional regulation during a critical developmental window. In Australia, parents Darcy Prendergast and Josie Mackerras decided to make their own series after finding their preschooler was “dysregulated” by the overstimulating content she was watching online. Pit Pats,, which launched recently on YouTube under its Made for Kids banner, is a low-stimulation mixedmedia series that aims to relax and centre children through gentle, calming episodes focused on mindfulness and nature. It was developed and produced through the Australian Children’s Television Foundation and Screen Australia’s Kids IP Incubator. “Pit Pats was created out of necessity, as we couldn’t really find suitable content for our sensitive little one. She’d be shot to the moon by fast edits, loud music and flashing colours, and then just be an overstimulated mess by the episode’s end. So we set out to create a slow TV show for kids, a point of difference to the sugar-rush content that’s become so prevalent in the online space,” Mackerras says. Prendergast adds: “The growing body of research is pretty worrying for us as parents. Constant sensory overload can impair executive functions and lower a child’s frustration tolerance.” In the US, Boston-based music educator and neurodivergent creator Kiersten Case has launched a Kickstarter campaign to fund the pilot episode of lowstimulation puppet series Lilypad Library. The show aims to support early literacy, social-emotional learning and communication skills in both neurodivergent and neurotypical children. The crowdfunding campaign far exceeded its target and attracted the attention of puppeteer, writer and director Noel MacNeal, who is attached to direct. MacNeal 

Aardman animation like Shaun the Sheep feeds demand for content with a hand-crafted feel. Below: Pit Pats and its creators Darcy Prendergast and Josie Mackerras

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C21INVESTIGATES: Slow TV

C21Kids | Fall 2026

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It’s not just the fast pace: non-stop noise, fast cuts, aggressive colour palettes and visual effects, and inconsequential plots driven by gags rather than proper narrative. All these elements contribute to overwhelming a child and gluing them in front of a screen. Massimo Fenati Eaglet Films

Acamar Films’ animated hit Bing

is best known for performing Bear in Bear in the Big Blue House and has also worked on Sesame Street and for The Jim Henson Company. One exec concerned about the effect of high-stimulation content on children is Massimo Fenati, CEO and chief creative officer of UK-based Eaglet Films, who notes that while fast-paced programming isn’t necessarily bad, there is a “clear overuse” of that tone in children’s shows today. “In the era of content streaming, where the algorithm reigns supreme, priority has been given to viewer retention, rather than to children’s emotional wellbeing,” says Fenati, whose slate of kids’ shows includes Froglets, a preschool puppetry series about three knitted frogs that has “a hand-crafted, tactile and low-stimulation look.” “There’s lots of behavioural research that links overstimulating shows to shorter attention spans and irritability once screens are turned off,” the exec continues. “And it’s not just the fast pace: non-stop noise, fast cuts, aggressive colour palettes and visual effects, and inconsequential plots driven by gags rather than proper narrative. All these elements contribute to overwhelming a child and gluing them in front of a screen, whereas a soft and gentle approach produces lower cortisol and better emotional regulation.” Fenati sees renewed demand for slower-paced programmes. “It looks like a real shift, rather than just a fad. There is now more awareness of the side effects of screen addiction and ‘doom scrolling,’” he says, noting that Google Trends shows a five-fold jump in worldwide searches for ‘low-stimulation shows for children’ since early 2023. Elsewhere on Eaglet Films’ slate is Quentin Blake’s Box of Treasures, a series of specials based on the illustrator’s books, which Fenati describes as “a rather old-fashioned, slow-paced, traditional 2D animation, created for gatheraround-the-fireplace family viewing.” Also in the UK, Genevieve Dexter, founder and CEO of UK distributor Serious Kids, says parents are not necessarily seeking slow-paced programming so much as content with a narrative to follow. “It depends on the genre,” she says. “If it’s a comedy programme, you want the gags and visuals coming at you fairly quickly.” Even so, Dexter says she has seen “surprising demand” in recent years for “very slow” programming focused on cognitive development for the youngest viewers. This demand emerged after hit YouTube show CoComelon burst onto the scene, and broadcasters, which had typically never acquired content for toddlers, suddenly started demanding programmes for that age bracket that could act as an alternative to CoComelon and its fastpaced, addictive nature. At the time, Serious Kids acquired Belgian pubcaster VRT’s live-action/animated series Tik Tak, which aims to stimulate toddlers’ cognitive development in a relaxed,

Episodes of 1960s classic Mister Rogers’ Neighborhood are on YouTube

simple way. “When we bought Tik Tak, we initially thought it would be a digital offering because at that time the widely held opinion was that children under three should not be watching television. But Tik Tak ended up being one of the bestselling shows we’ve ever acquired,” Dexter says. As for who is buying gentler children’s programmes, the exec adds: “I’m not seeing Netflix rushing to buy slowpaced programming, or Nickelodeon or Cartoon Network or any of the more commercial platforms. It’s usually Sky Kids or somebody who wants to make a point of difference in a crowded landscape.” UK channel Sky Kids did just that when it commissioned dialogue-free live-action/CG/stop-motion preschool series BooSnoo! in 2023. Coproduced by Visionality and Mackinnon & Saunders, the low-stimulation show encourages viewers to relax by following a red ball as it travels through colourful places, set to soft music with a calming tone. And although Dexter doesn’t see an appetite from Netflix for slow-paced shows, the streamer has just launched a “low-stimulation collection” of content, designed to make it easier for parents to find shows and films with slower pacing and softer visuals for smaller children. Series include Cartoon Saloon’s Puffin Rock, Glen Kleane Productions’ Trash Truck and Genius Brands’ Llama Llama. With most kids’ viewing time now spent on streaming platforms such as YouTube, Mikael Shields, CEO of Acamar Films, decided to launch Again Again!, a public service-focused YouTube channel dedicated to gentlerpaced content that supports healthy child development. “Five years ago, invariably the conversation with parents focused on total viewing hours. Now it is more often about the quality and pace of what is being viewed,” Shields says, noting a “definite” demand for slower-paced content. One of the problems with YouTube is a lack of prominence for public service children’s content, which can easily get lost among the millions of videos on the platform. But Again Again! aims to use the success of Acamar Films’ hit animated series Bing to bring viewers to the channel. The company already operates 67 channels globally dedicated to Bing, which often garner 1.3 million hours of viewing in a single day on YouTube alone, according to Shields. “Bing is the programming locomotive that helps to bring the algorithm and people to the channel. Our job is making sure that when they arrive, our programming builds trust and loyalty,” the exec says. When you think of ‘gentle’ kids’ content, one of the first things that comes to mind is stop-motion animation, with its tactile and soft look that’s created by hand. An expert in this field is UK animation studio Aardman, the company behind classic IP Wallace & Gromit, its spin-off series Shaun the Sheep and preschool show The Very Small Creatures, all of which are created with clay. 

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C21INVESTIGATES : Slow TV

Chief creative director Sarah Cox says there is “growing appetite for content that feels handmade, thoughtful and responsibly crafted,” but notes that filmmaking of this quality is challenging because of the time and cost it takes to produce. “Children’s public broadcasters are currently under intense budget pressure and face competition from online platforms, so they cannot always support producers financially in the way they once could. But the need is clear, dating back to the 1950s and 1970s respectively, the firm and I believe broadcasters recognise it and are doing what continues to produce new content for modern audiences. Like Cox, Dexter and Gardiner, WildBrain’s chief they can, in difficult circumstances, to back producers who content officer Stephanie Betts believes the debate is less want to make meaningful content for children,” she says. Noting that “fast pace in animated content doesn’t about pace and more about programmes that are created necessarily mean poor quality,” Cox adds that Aardman with intention, quality and an understanding of children’s tries to “balance intense moments with light-hearted needs. “I don’t think parents are asking for slower content; I think they’re asking for better content. Faced with more comedy or softer and calmer moments of reflection.” She says: “We want audiences to notice the light texture choices than ever, families are gravitating towards brands and detail of our miniature worlds. So much love, care and and stories they trust. The goal isn’t to compete with fastattention goes into making it and we know that bonds with paced content by being slower. It’s to create content that is engaging, meaningful and memorable enough to earn a audiences in an infectious, emotional way.” Dominic Gardiner, MD of distribution at Cake, points child’s attention for the right reasons,” she says. So is there an opportunity for rights-holders of classic out that fast-paced kids’ content is nothing new, instead criticising shortform, algorithm-driven platforms for kids’ TV brands to revive their legacy shows? Could they be repositioned as premium, wellness-oriented alternatives? rewarding engagement and retention. Mattel Television is still licensing stop-motion IP “Lower barriers to entry have created a huge increase in creator-led content, often without the editorial Pingu globally, while Hasbro is going YouTube-first oversight traditionally provided by broadcasters and child with its upcoming animated reboot of My Little Pony. StudioCanal’s Paddington development specialists,” he and Miffy have also says. L uce & the R ock had series reboots in “I don’t think there’s the past few years, and renewed demand [for slowThe Wombles recently paced content] because I launched two YouTube don’t think the demand ever channels and signed a deal went away. The continued with The Blair Partnership success of brands like to develop new content. Peppa Pig and Bluey proves UK pubcaster BBC that audiences still value thoughtful storytelling, strong characters and emotional Children’s and Education is also currently inviting producers to pitch a reboot of preschool series Play School, authenticity.” Cake is currently distributing La Cabane and Thuristar’s which first aired in 1964. Fenati, Doherty, Betts and Shields all see an opportunity 2D animated preschool series Luce & the Rock, which Gardiner says is loved by many buyers because it is “calm for classic IP, with Shields noting that “the very qualities and charming by design.” Another gentle series on Cake’s that made it feel old-fashioned are the ones now in short slate is Kiri & Lou, a stop-motion show from New Zealand supply.” Dexter, meanwhile, has identified demand for that focuses on empathy and feelings, and is set in a forest classic specials, prompting Serious Kids to increase its of cut-out paper with creatures made of clay. Back in the US, Ellen Doherty, chief creative officer of acquisitions in the space, including UK broadcaster Fred Rogers Productions, says parents have specifically Channel 4’s upcoming hand-drawn animated Christmas praised the non-profit organisation’s animated series special Mog’s Bad Thing, produced by Lupus Films and Daniel Tiger’s Neighborhood and Through the Woods for based on Judith Kerr’s series of picture books. Another classic IP on Serious Kids’ slate is Ronja their slower pace, low-stimulation qualities and lack of the Robber’s Daughter, the epic animated series from loud noises, songs and flashing colours. The public service-focused prodco also recently Studio Ghibli, adapted from Astrid Lindgren’s fantasy launched episodes of its late-1960s classic live-action book. Dexter points out it has recently been acquired by series Mister Rogers’ Neighborhood on YouTube. Although broadcasters, including Italy’s Rai, that had rejected it for it is early days, Doherty says the move has proved being “too slow” but are now seeking that kind of content. Gardiner and Cox, however, warn that older brands successful so far, with positive feedback from parents who should be revived only if they are still relatable to children appreciate the show’s slow pace. Canadian kids’ specialist WildBrain has a variety of today. Gardiner concludes: “Rebooting a show simply classic slower-paced IPs on its slate, including Strawberry because it was slower paced feels like the wrong reason Shortcake, Teletubbies, Rosie & Jim and Snoopy. With to revisit a property. The strength of the characters and Snoopy and Strawberry Shortcake in particular, brands stories should always come first.”

C21Kids | Fall 2026

Ab ov e left: W ildBrain has a v ariety of classic slower-paced I Ps including Snoopy. Ab ov e: L iv e-action/ animated series T ik T ak

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Five years ago, invariably the conversation with parents focused on total viewing hours. Now it is more often about the quality and pace of what is being viewed. Mikael Shields Acamar Films

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DEVELOPMENT SLATE: BBC Studios Kids and Family

C21Kids | Fall 2026

BC Studios Kids and Family is heading to MipJunior with its first ever animate series or the eight pl s a ien e, Vanishing Point. he series, pro e or an ran e l visions, ontrasts ith the min te ormat more ommonly se or animate series to ay, an omes in response to a eman the ompany has i entifie among i s or longer orm ontent es ri e y e ilia ersson as “Stranger Things meets The Goonies,” Vanishing Point is a ome y a tion animation that ollo s a gro p o o r in isitive teenagers hose orl is t rne psi e o n hen their to n is overr n y or inary loo ing every ay o e ts in se ith i arre, npre i ta le po ers e re a to the min te ormat, hi h gre p ith, ersson says his sort o longer ormat allo s or eeper storytelling, higher sta es an more in epth no le ge o the hara ters, hi h o r insights s ggest the a ien e is a ter at the moment ersson points to a reass ring res rgen e in inema visits, hi h she notes have ret rne to pre ovi levels an sho s that a ien es are rea y or longer storytelling an gran er a vent res he a s enty t o min tes o episo e length in animation has een ite rare re ently an Vanishing Point is ans ering that nee in the mar et opro e ith ran e s at h e t e ia an relan s avaleer ro tions, the sho also serves as an e ample o ho the ompany is orging international partnerships to p t together the in reasingly el sive pie es o the n ing p le hro gh at h e t e ia, the series as a le to get finan ing rom ren h n ing agen y the entre

In toon with the times BBC Studios Kids and Family is reacting to demand for longer-form animation with new series Vanishing Point. Cecilia Persson discusses the trend, funding challenges and the company’s YouTube strategy. By Karolina Kaminska ational in ma et e l mage nim e, hile avaleer ro tions provi e a ess to reen relan he i s in stry has al ays een very e i le an ooperative in ﬁn ing sol tions to n ing mo els, ersson says or s at t ios, e re asi ally an en to en siness that or s in all the i erent areas an to hpoints or a ien es rom evelopment to istri tion to hannels to ons mer pro ts to gaming to events an so on o that means e an partner in many i erent ays, or ith so many i erent pro ers an reators, an ﬁn i erent ays

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n ing the ontent e li e to ring to a ien es s ell as e ploring i erent so r es o ﬁnan ing, the ompany is evolving its pro tion an istri tion strategy to ens re its slate o programmes rea hes hil ren on hi hever plat orms they re spen ing time on. or ea h o its sho s, the ompany pro es an illary ontent that is espo e to the i erent plat orms an o ses on ertain aspe ts, s h as spe iﬁ themes or hara ters his is very m h han in han 

This his sort of longer format allows for deeper storytelling, higher stakes and more in-depth knowledge of the characters, which our insights suggest the audience is after at the moment. Cecilia Persson

BBC Studios Kids and Family

DEVELOPMENT SLATE: BBC Studios Kids and Family

with our broadcast partners in the different markets, content that we work alongside them with and that also exists on their YouTube channels. And it’s something we will continue to do,” Persson says. “It’s about broadening the world and making sure our audiences can connect with the storytelling and characters they love wherever they are.” In addition to BBC Studios Kids and Family-operated YouTube channels for brands such as Bluey, Hey Duggee and My Friend Maisy, sister department BBC Studios Digital Brands operates kids-focused commercial YouTube channel Bopple Junior. The channel features content from the label’s slate, and its own original shows. New to and created spe iﬁ ally or opple nior is The Rewinderz (10x4’), a music-led family format hosted by children’s educator MC Grammar, alongside dancer Starr Kiely and comedian Watson D irs hﬁel The series follows a time-travelling crew on adventures through Ancient Greece, Ancient Rome, the Ice Age, the Golden Age of Pirates and more. Combining original pop music, dance, games and storytelling, it is designed to encourage children aged 4-8 and their families to move, participate and learn together. The talent brings a combined social reach of more than nine million followers. The series is also supported by BBC Learning Hub in the US to help extend it into classrooms, afterschool clubs and home learning environments. Returning to BBC Studios Kids and Family’s MipJunior slate, this year the company is taking live-action comedymystery series Anisha – Accidental Detective (10x28’), described as “a bingeable whodunnit series for audiences aged seven-plus.” Set in Manchester and based on the award-winning eight-book series

by Serena Patel, the programme follows a 10-year-old girl whose life is pen e hen her a ntie s ﬁan disappears a few days before their big British-Indian wedding. Anisha must use her super sleuthing skills to uncover what’s happened to her uncle and get him to the wedding on time. Executive produced by actress Archie Panjabi (The Good Wife, Blindspot, Departure), who also guest stars in the series, it was commissioned by BBC Children’s and Education. Another new series is Go Jetters Go! (20x7’), a spin-off from animated series Go Jetters. Produced for CBeebies, the show is set in Singapore and follows a cadet who is guided by the characters from the original series on her global quest to become a Go Jetter. To do this, she must travel a ross ontinents to ﬁn l es that will lead her to the Go Jetters Cup. It is supported by the Infocomm Media Development Authority of Singapore

C21Kids | Fall 2026

and is part of its initiative to support international IP that can be meaningfully localised. On its returning series slate, BBC Studios Kids and Family will be taking the second season of preschool animation My Friend Maisy to MipJunior. Produced for Sky Kids in the UK, the company recently sold the series to Nick Jr in the US and is in the process of securing several sales across Europe, according to Persson. Also among the returning series is season two of liveaction drama Crookhaven, which is produced for CBBC. Since the ﬁrst season s e t at ip nior last year, the series has been sold into more than 40 countries globally. Another recent sales success for BBC Studios Kids and Family is Zog, an animated series adaptation from Magic Light Pictures of Julia onal son an el he er s pi t re book of the same name. It premiered on CBeebies earlier this year and has sold into more than 30 countries. Additionally, Persson highlights the success of preschool hit Hey Duggee and its spin-off series Hey Duggee’s Squirrel Club, which she says is doing “incredibly well” since its launch last year. “We’ve sold it across all of Europe with our existing partners like ran e l visions, artoonito in taly and Clan in Spain. It’s a show that keeps connecting with audiences,” Persson says, adding that it provides fans of the original series a “different connection point” to the brand.

Top left: S pin- off series H ey D uggee’s S q uirrel C lub. Abov e: Z og is based on Julia Donaldson and Axel Scheffler’s picture book . L eft: L iv e- action drama C rook hav en from C BBC

COUNTRYFILE: France’s animation woes

C21Kids | Fall 2026

Miraculous W orld T okyo Stellar F orce

France’s lost decade W

hile French distributors were braced for a correction in this year’s export figures, the scale of the slump was stark when it was confirmed by the Centre National du Cinéma et de l’Image Animée (CNC) and Unifrance at the latter’s Rendez-Vous in Le Havre in September. International sales of French audiovisual programmes dipped to €164.2m (US$141.3m) in 2025, down 21.6% on 2024 and the lowest total in a decade, according to a report from the CNC and Unifrance. It marks a sharp reversal from 2024, when sales reached a record €209.6m. The decline was across the board. Fiction, still the strongest export genre, dropped 27% year-on-year to €54.9m. Animation fared worse, down 30.3% to €32.2m – its lowest level since 2009. Documentary proved the most resilient, slipping just 2.7% to €43.1m. Speaking on a distributors’ panel at the market, Morgann Favennec, deputy MD of Mediatoon Distribution and VP of international finance at Ellipse Animation, two divisions of the entertainment group Média-Participations, put it bluntly: “The market is back to roughly 2015 levels, wiping out 10 years of growth.” A declining TV advertising market, budget cuts at public broadcasters worldwide, fewer commissions and a broader retreat towards domestic content amid economic and geopolitical uncertainty are all being blamed for what is being described as a crisis that everyone saw coming. Animation’s decline is showing some signs of bottoming out,

Mediatoon Distribution and Ellipse Animation’s Morgann Favennec spoke recently at Unifrance’s Rendez-Vous event about the sharp drop in exports of French animation, which she said has “wiped out” the past 10 years of growth. By Louise Bateman

according to Favennec, but from a much-reduced base. “The decline is stabilising – that’s a good thing,” she said, although she also pointed to what she calls “the brutality of the decline,” including in presales, which she said reflects a crisis of confidence among buyers. Ten years ago, she said, she would talk about distributors juggling release windows; today, that is no longer possible. “It’s become fine needlework, and it takes more and more time,” she said. Presales across all genres were down 49.2% versus the decade average, and foreign prefinancing stood at €118.4m against a 10-year average of €136.9m – a gap that directly affects what gets made. Favennec framed the problem as one of timing as much as volume. “Development, financing and production timelines are extremely long,” she explained. “I’m very glad to see [Mediawan and Zag’s animated franchise] Miraculous continuing to travel extremely well and represent France around the world. We’re talking about titles created some years ago now. What matters today is financing tomorrow’s hits, and we see the difficulty in financing original creations.” The risk, she warned, is that the

industry consolidates around proven brands – new seasons of existing franchises – at the expense of original IP. “We obviously need to keep consolidating the strong existing brands with new seasons, which is a good first step, but we also need to finance tomorrow’s hits,” Favennec said. “Unfortunately, we won’t see that success by 2026, or even 2027.” One emerging opportunity she did note, however, is adult-skewing animation, a genre in which French producers are still building capability. Faced with these pressures, Favennec and the other distributors on the panel agreed on a similar strategic response: tighter integration between producers and distributors, and a push to build broader coalitions with broadcasters. Favennec wears the dual hat of producer and distributor – a model becoming less a competitive advantage than a survival requirement. “I embody that producer-distributor pairing myself, which has become a necessary condition,” she said. There is, the exec noted, more candour in the room than there used to be: “There’s never been so much straight talk between producers, distributors and TV channels,

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The market is back to roughly 2015 levels, wiping out 10 years of growth. Morgann Favennec Média-Participations

especially around French content obligations. Some don’t hesitate to tell us they’re struggling to find projects, or that they’ve found them but they don’t go into production.” That candour may be the most useful thing this year’s crisis has produced so far. Whether it translates into what’s needed to finance the next generation of French export hits, across animation, fiction and documentary, remains the central question for 2026 and beyond.

CONTENT STRATEGIES: ClockwiseTV

C21Kids | Fall 2026

Perfect timing A new platform for kids, ClockwiseTV, is curating creator-led educational content in an app that allows parents to control screen time. CEO Leslie Morgan shares the company’s strategy, mission and expansion plans. By Karolina Kaminska

ec ently launc hed k ids’ c ontent app Cloc k wiseT V is aiming to put f amilies b ac k in c ontrol of what c hildren are watc hing, in a world where c ontent c onsumption is inc reasingly b eing driv en b y the algorithm of soc ial media and v ideo platf orms. T he sub sc ription- b ased app, whic h has launc hed in b eta in the U S and is sc heduled f or general release in midN ov emb er, c urates educ ational and sc ienc e, tec hnology, engineering, arts and mathematic s ( ST E A M) - f oc used v ideos f rom online c reators, giv ing them a home on a k id- saf e platf orm that doesn’ t prioritise watc h time. A ll c ontent is rev iewed b y a human team f or q uality, age- appropriateness and educ ational v alue, b ut what mak es the platf orm partic ularly uniq ue is that v iewing is b ound b y timed sessions. A imed at eight- to 1 2 - year- olds, Cloc k wiseT V work s b y allowing parents and guardians to determine a session length with their k ids. I t then surf ac es ontent that ﬁts, itho t a s, a toplay or an inﬁnite ee W hen time is up, the session ends and the app c loses. L eslie Morgan, Cloc k wiseT V ’ s CE O , says she and f ounder H ank G reen, who is a Y ouT ub er, j oined f orc es out of f rustration f or the nev er- ending stream of c ontent their c hildren are f ed on other platf orms. “T here are c ertain platf orms that are all ab out watc h time. T hey want to k eep c hildren on f or as long as humanly possib le. Y ou’ v e got these platf orms that are k eeping k ids

on, an the i s eep saying st ant ﬁve more min tes W e hav e this prob lem as parents and we’ re trying to solv e that, ” Morgan says. “W e also saw there was a pretty b ig gap in the mark et f or k ids aged eight to 1 2 . T here’ s a lot of under- sev en presc hool c ontent and c ontent f or ov er- 1 3 s, so as parents of nine- year- olds, we wanted a plac e with c ontent f or our k ids with no ads, no rab b it holes and where we c ould hav e a limit where they would stop.” Cruc ially, Cloc k wiseT V doesn’ t inc lude hyper- shortf orm c ontent that is under two minutes in length, in order to avoi inﬁnite s rolling itionally, the la o a toplay allows c hildren to c hoose what they watc h, within the timef rame of the session length. “L et’ s say you’ v e got 3 0 minutes; you watc h a v ideo that’ s 2 0 minutes long and f rom there you get a nex t set of v ideos

“

Our goal here is not to necessarily capture kids’ attention. There are a lot of places doing that. Our goal is to provide a safety net, a trusted space for parents and also to start to communicate with kids about device time. Leslie Morgan

f or the time that’ s lef t. But you get to c hoose. W e want to giv e the k ids agenc y; we’ re not here saying ‘ we’ re c hoosing f or you.’ Y ou get to c hoose ev ery time, ” Morgan says. Cloc k wiseT V ’ s launc h is aptly timed, giv en the glob al b ac k lash against soc ial media platf orms that has led to b ans f or c hildren and teenagers f rom ac c essing them in multiple c ountries. L ed b y A ustralia, c ountries inc luding I ndonesia, Malaysia and T urk ey hav e instigated b ans, with sev eral E uropean territories, the U K, Canada and N ew Z ealand soon to f ollow suit. I t also c omes shortly af ter Fac eb ook and I nstagram owner Meta agreed to an U S$ 1 8 b n settlement with a c oalition of states and territories in the U S, whic h had 

CONTENT STRATEGIES: ClockwiseTV

F rom top: C reators featured on C lockwiseT V include Mark V ins of Brav e W ilderness, N erdforge and E v an & K atelyn

C lockwiseT V founder H ank G reen

argued that those platforms were intentionally designed with addictive features to hook children. “Here in the US, a lot of states are starting to restrict devices in schools. They’re going back to pen and paper because they want to make sure they’re limiting certain things with screen time,” Morgan says. “I have a lot of friends who are educators, and they’ve had a really to gh time fin ing highly rate content for the classroom. They’re feeling like the only thing they have is YouTube, but unless you have Premium, you’re getting a lot of advertisements. We’ve had emails from educators who are starting to use our platform, and they’re really excited about the content that’s there.” Some of the creators featured on ClockwiseTV include Complexly, MinutePhysics, Odd Animal Specimens, Evan & Katelyn, Brave Wilderness, Nerdforge and founder Hank Green, whose YouTube channel is dedicated to science content. Morgan says the platform is establishing partnerships with creators who want to create content for kids in the 8-12 emo t on t fin it finan ially via le “For them to create content for an eight- to 12-year-old, they wouldn’t be able to recoup those costs, and so they are very excited and really passionate about the fact they get to be on a platform that is catering to this age demographic,” she says. “Our aim is to target those creators who have great content but probably wouldn’t be seen by this age demographic. We have a team of humans – a lot of parents as well – who are loo ing or the i eal ontent that fits o r ran ethos. We have really deep relationships in the STEAM and educational creator side of things.” The focus on online creators taps into an increasing interest in this type of content among young viewers growing up in the digital world. But as most of this programming stems from social media and social video platforms that

C21Kids | Fall 2026

were originally intended for adult viewing, ClockwiseTV ’s goal is to house content from these creators in a child-safe space. o e, spe ifi ally, ontin es to ee all kinds of content to you. I’ve personally experienced that with my own child, as has Hank. So we are creating something where you still feel like you can have your kids watch their favourite YouTube creators, but in a safer, more trusted space,” Morgan says. Acknowledging the tough climate in the kids’ industry, beset by funding troubles an the i fi lty o is overa ility ami the plethora of content on platforms like YouTube, Morgan says she sees this as “a positive challenge” in a time when a platform like ClockwiseTV “is needed.” “We’re very fortunate that our founder is also a creator, and as he’s speaking to his audience about this, he’s getting thousands of comments about the fact they’re really excited to see [ the app] . A lot of folks beyond the US are coming to us and saying they want to become a subscriber,” the exec adds. While currently only available in the US, ClockwiseTV is targeting expansion into other territories next year. In early 2027, it will also look at launching on connected TV s. At present, the app is available on iPad and Android tablets, but will soon roll out to mobile devices. “Right now, we are starting here in the US. We’re obviously based here and we see a tremendous need here. From there, based on where we know we have an audience base and where people are asking us to roll out, we have those plans for 2027,” Morgan says. More content will be added to the app when it is released to the general public in a few weeks’ time, while a monthly subscription will be offered, in addition to the current annual plan. Although very early days, Morgan says there is potential in the future to expand the content offering to under-eights and over-12s, and possibly even adults. “There are a lot of adults who have reached out to Hank to say, ‘ I want an app like this for me. I want something that controls my time and doesn’t have me bingeing and doomscrolling through content.’ So as we grow and evolve, we will certainly continue to think about what makes sense for this product,” the exec says. In the meantime, ClockwiseTV will continue focusing on its core 8-12 audience and mission to help parents navigate screen time with their kids. “Our goal here is not to necessarily capture kids’ attention. There are a lot of places doing that. Our goal is to provide a safety net, a trusted space for parents and also to start to communicate with kids about device time,” Morgan says. “The great thing about our app is it shuts off. There is no five more min tes t s one an it s over, an then yo move on. It’s about providing the family with a safe platform to be on.”

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C21Kids | Fall 2026

NEXT BIG THINGS: 21 on 21

Top picks at Cannes C21 highlights 21 new shows for buyers to consider at this year’s MipJunior, ranging from inventive education series to a toon about wildlife conservation and a live-action show featuring a social media trio. By Karolina Kaminska

Strawberry Shortcake’s Bake Shop (26x3’)

Olga (52x11’) P roduce rs: A partment 1 1 , Fab riq ue Fantastiq ue D istrib utor: Miam! D istrib ution T hey say: “O lga is not only a great story with relatab le ch aract ers, b ut also a b ig b rand with glob al potential. E ve ry ch ild in the world ca n reco gnise part of themselve s in O lga, who at 1 0 , pref ers the co mpany of animals to humans. W e look f orward to b ringing O lga’ s adve ntures to v iewers eve rywhere.” W e say: Based on E lise G rave l’ s graphic nove ls of the same name, O lga is a 2 D animated series f or 6 - 9 s ab out a b udding zo ologist who emb arks on a s ientiﬁ mission to st y a strange, stin y c reature ob sessed with people. W hat starts as an e periment may t rn into her ﬁrst real attempt at f riendship. CBC/ R adio Canada, Canadian network T FO , Belgium’ s V R T and N P O in the N etherlands are attach ed as b roadca sters.

P roduc er and distrib utor: W ildBrain T hey say: “Strawb erry Shortc ak e has a uniq ue ab ility to c onnec t with audienc es ac ross generations, and Strawberry Shortcake’s Bake Shop b uilds on that enduring legac y with a f ormat perf ec tly suited f or today’ s k ids and f amilies. T his b ite- siz ed series serv es up timeless themes of f riendship, k indness and c ommunity through engaging new adv entures.” W e say: Based on the c lassic Strawberry Shortcake I P , this CG animated series f ollows the ic onic c harac ter and her f riends in her new c oz y neighb ourhood b ak ery. I t is aimed at girls aged 4 - 8 .

Stevie & the Sacred Animals (52x11’) P roduce rs: E agle V ision, Sinki ng Ship E ntertainment D istrib utor: Sinki ng Ship E ntertainment T hey say: “Kids today are growing up in such a f ast- movi ng world, and Stevi e of f ers a gentle reminder of the importance of co nnect ing with nature, with co mmunity and with one another. T hrough Stevi e’ s j ourney, we think ch ildren will b e enco uraged to b e cu rious ab out the world around them and to see themselve s as part of something much b igger.” W e say: Stevie & the Sacred Anim als is a hyb rid 2 D animated/ live - act ion presch ool series ab out an I ndigenous girl who move s f rom the ci ty to her First N ation co mmunity. A s she emb arks on a j ourney of disco ve ry, she learns ab out her deep co nnect ion to Mother E arth and all livi ng things. Canada’ s CBC, A P T N , Knowledge N etwork, T elus and T FO are on b oard.

Project Rube (26x11’) P roduce r: Sphere Media D istrib utor: G oldBee T hey say: “P roj ect Rube is exa ct ly the ki nd of hands- on, cu riosity- drive n co ntent that gets ki ds exci ted ab out ST E M without eve r f eeling like a lesson. W e’ re thrilled to b ring this inve ntive , f unny and genuinely educa tional series to b roadca sters and platf orms around the world.” W e say: Commissioned b y Canada’ s T V O ki ds, P roj ect Rube is a live - act ion f act ual series hosted b y make r and Y ouT ub e personality Morley Kert, who leads a team of young inve ntors as they design and b uild mach ines to co mplete simple, eve ryday tasks. T he series enco urages ch ildren to emb race cr eativi ty, persistence and the va lue of f ailure.

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NEXT BIG THINGS: 21 on 21

C21Kids | Fall 2026

Atta Slam (26x22’)

Tin (26x22’)

Producers: Submarine Animation, Igloo Studio Distributor: Mediawan Kids and Family They say: “Atta Slam is a thrilling action series for tweens, combining the energy of anime with the excitement of sport. Blending underground competition, resistance and friendship, the series has all the ingredients to resonate with its audience.” We say: Catering for a rising demand for anime, Atta Slam is an anime-style series that follows a teen who joins a futuristic underground pingpong league where he discovers he has been recruited for a deadly game of resistance against the corporation that destroyed his family.

Producers: Dikidigital, Kinopoisk Distributor: TwelveP Animation They say: “Tin is a visually striking strong coming-of-age story. It’s set in a unique fantasy universe and dystopian setting with a dynamic action-driven storyline that emphasises the value of personality. Tin feels particularly relevant today; in a world where young people are constantly surrounded by expectations to be perfect, our story celebrates the courage to be different and true to yourself. We are very proud of this bold, animated series and excited to bring Tin to international audiences.” We say: This animated cyberpunk adventure series for teens is about a girl who refuses to change who she is while living in a city where everyone else strives to become the ‘ ideal.’ After discovering a mysterious power awakened by the scar on her face, Tin learns that only she can save the city from catastrophe.

The Baddies (1x30’)

Ranger Buddies (26x11’) Producer and distributor: Cake They say: “Ranger Buddies follows two young explorers dedicated to helping their community and caring for the incredible animals that call it home. Through action-packed stories that blend adventure, comedy and discovery, Ranger Buddies celebrates teamwork, kindness and environmental care, showing young audiences how small, positive actions can drive big change for people, wildlife and the planet.” We say: Targeting four- to six-year-olds, Ranger Buddies is an animated series exec produced with Mandai X in Singapore, based on the latter’s initiative of the same name that aims to nurture children into citize ns who champion conservation and sustainability.

Producer and distributor: Magic Light Pictures They say: “The Baddies is about the worst Baddies in the world – a troll and a ghost and a witch - who love nothing more than being bad and boasting about it. When a girl moves into a cottage nearby, the Baddies quarrel about all the nasty tricks they want to play on her. Soon they learn they may have met their match.” e say ollo ing on rom animate ﬁlms in l ing The Gruffalo, Zog and The Scarecrows’ Wedding, The Baddies is the latest Christmas special for UK pubcaster the BBC to be adapted by Magic ight i t res rom lia onal son an el he er s pi t re oo s his story is a ele ration o courage, kindness and the power of standing up to bullies.

Froggie (52x11’) Producers: Monello Productions (part of Banijay Kids and Family) and Pikkukala Distributor: Banijay Kids and Family They say: “From the moment you meet Froggie, you’re swept up by her energy, enthusiasm and unwavering belief that anything is possible. Combined with the wonderful friendship between the three main hara ters, the series elivers a n, eel goo e perien e, ﬁlle ith h mo r, heart an the kind of positivity audiences are currently looking for.” We say: Produced for Groupe M6 in France and RTV E in Spain, Froggie follows an 11-year-old whose life changes when her parents move the family from the city to a tiny village in the countryside where nothing ever changes. Froggie soon realises she may be exactly what the village needs.

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NEXT BIG THINGS: 21 on 21

C21Kids | Fall 2026

Triple Charm (100x3’/52x11’) Chickies (78x7’) Producer: Cube Creative (part of Xilam Animation) Distributor: Xilam Animation They say: “The world of Where’s Chicky? has brought viewers joy, education and humour for over 10 years, and it’s one of our most popular s a ross oth tra itional roa ast an igital channels. For us, it’s a natural step forward to expand the universe with Chickies and bring a longer-form, dialogue-driven series to global audiences, and we’re sure both new and existing fans will be highly entertained by the fresh and extended adventures of our cute and mischievous characters.” We say: Aimed at 4-7s, Chickies is a spin-off from shortform non-dialogue comedy series Where’s Chicky? . The new CG series, pre-bought by France Télévisions, is longer in episode length and contains dialogue, allowing fans to engage with the characters in a new way.

Producer and distributor: Volt Factor They say: “The sister trio has built a huge multiplatform following, with more than 14 billion views and 27 million followers a ross o e, i o an nstagram, thro gh amily friendly comedy, music, challenges and relatable sibling storytelling.” We say: Triple Charm is a US-based social media group made up of three sisters. Volt Factor aims to develop their content eyon so ial into a roa er entertainment ran hise, in l ing e i le short orm ormats that an e repackaged into 8’, 11’, 22’, 44’ or 60’ programming for different platforms and territories. Volt Factor will also present a series of 20’ packaged episodes at MipJunior.

Taste Buddies (52x7’)

Millie Fleur (52x11’)

ro ers i ala, i litoon t io, n an Light Films Distributor: Serious Kids They say: “Teaching children to eat well is all about helping them to enjoy their food. Taste Buddies focuses on giving children the tools to ‘play with their food’ in the best possible way. And in the process, have fun and enjoy eating better.” We say: Commissioned by 3Cat in Catalonia, pain s , relan s r an in Finland, this preschool series follows a little boy ho em ar s on oo ﬁn ing a vent res ith the help of his friends, the Taste Buddies, so he can follow his family’s motto to ‘eat the rainbow’ and develop a diverse food palate.

Producer: Brown Bag Films istri tor tory istri tion nternational They say: “Welcome to a world where glowin-the dark mushrooms wander the garden on tiny feet, the plants have teeth and a spookysweet little girl called Millie le r ﬁn s ea ty in the peculiar. Millie Fleur is a champion of individuality and curiosity, and her delight for the unexpected makes her a distinctive character for contemporary preschool audiences. The series offers a fresh and visually distinctive take on a world that has already captivated millions of readers.” We say: Based on Christy Mandin’s book series, published by 9 Story’s parent company Scholastic, Millie Fleur is a 2D animated, slightly spooky preschool comedy that encourages kids to be true to themselves and embrace what makes them wonderfully weird.

Calypso (52x11’) Bumpy, the Bear (52x3’/52x1’) Producers: Spiritum Entertainment, Krakatoa Distributor: Spiritum Entertainment They say: “At the heart of Bum py, the Bear are two fundamental principles we believe are essential to childhood: the right to play and the right to education. This new property brings these two ideas together through music, humour and storytelling, creating content designed to entertain children while contributing positively to their learning and development.” We say: Produced with the participation of Spain’s RTVE, this preschool series is designed for short orm, igital ﬁrst vie ing an initially la n he on o e t omprises m si vi eos an shorts reate spe iﬁ ally or so ial me ia plat orms he plan is or the to gro a ross television, consumer products, licensing, live experiences and additional platforms.

Producer and distributor: Millimages They say: “Set in a vibrant island world, Calypso’s memorable characters and universal themes are sure to strike a chord as Calypso navigates her unique everyday challenges with imagination and humour.” We say: This 2D animated fantasy-comedy series for older kids follows a teenage girl whose dreams – and nightmares – magically come to life, causing quite a bit of trouble.

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24-26 Novembe Brussels (

Belg

ium

)

FINDING TOGETHER THE BEST GROWTH MODELS FOR AND WITH ANIMATION

THE GLOBAL ACCELERATOR FOR KIDS AND FAMILY CONTENT.

10 -11 October Palais des Festivals, Cannes. More information www.mipjunior.com

NEXT BIG THINGS: 21 on 21

C21Kids | Fall 2026

Chill Out, Zeus! (52x12’)

Harlo (52x11’) Producers: Boat Rocker Studios, I ndustrial Brothers Distributor: Boat Rocker Studios They say: “Built around comedy, community and heart, the series explores relatable childhood experiences while offering important life lessons in a fun and authentic way.” We say: Harlo is a 2D animated preschool series that ollo s a a tio s ﬁve an a hal year ol bunny as he navigates everyday adventures with his single dad and best friends. The series, due for delivery in 2027, has received guidance from the Centre for Addiction and Mental H ealth in Canada on the themes around navigating anxiety.

Weather Hunters (38x30’/1x60’) Producers: WeatherH unters I nc, Silver Creek Falls Entertainment Distributor: PBS Distribution They say: “Weather wiz and force of nature, Lily H unter, and her family explore and report on everything from rain, snow, dew, thunder, lightning, ice and fog to more extreme weather. Creator Al Roker is thrilled to share his passion for weather with a new generation, including his granddaughter, Sky, who reminds him every day of the importance of leaving a better planet for our kids.” We say: Aimed at four- to eightyear-olds, Weather Hunters is a hybrid 2D and 3D animated series and one-hour special created by American weatherman and Today host Al Roker. Commissioning broadcaster PBS Kids premiered the series last year. The animation is provided by slan o isﬁts

Producer: Die Film Distributor: Studio 100 I nternational They say: “Chill out, Zeus! offers a fresh, fun, family-focused take on Greek mythology combining “ heroes, villains and epic adventures with relatable teenage characters, humour and timeless storytelling. Blending fast-paced entertainment with subtle educational value, the series introduces a ien es to the myths an lt ral in en es that ontin e to shape the mo ern orl We say: I nspired by the book by Frank Schwieger, this CG animated series is coproduced with ARD in Germany and CO Z AI E in Spain. I t is aimed at 6-12s and follows the adventures Z eus’s children go on to restore the balance when their father is in a bad mood.

Vanishing Point (26x22’) Producer: BBC Studios Kids and Family Productions Distributor: BBC Studios Kids and Family They say: “V anishing P oint is a fresh, bold and totally cool new comedy-action animation that follows a group of four inquisitive teenagers whose world is turned upside-down when their town is overrun by ordinary-looking everyday objects infused with biza rre, unpredictable powers.” We say: Created by Tom Gran and Martin Woolley for kids aged eight-plus, V anishing P oint is coproduced with France’s Watch N ext Media and I reland’s Kavaleer Productions for BBC Children’s and Education and France Télévisions. The 22-minute episo e length leans into a eman the pro ers have i entiﬁe or longer orm animation

Vet Academy (52x13’) Producers: Superprod, Red Monk Studio Distributor: Superights They say: “V et Academ y uniquely blends veterinary care with thrilling superhero action, in a visually rich and diverse setting. I t also features meaningful, engaging themes, keeping children thoroughly entertained with action and suspense while naturally fostering important values like empathy, team or , sel onﬁ en e an a passion or onservation We say: Produced for France’s TF1 and I taly’s Rai Kids, V et Academ y is a 3D animated series for kids aged six-plus about a team of young veterinarians in training who rescue and treat animals. Blending action with comedy, the team embarks on high-stakes missions such as rescuing a puma caught in a trap or a baby whale exposed to toxic chemicals.

Murphy’s Manor (52x13’) Producers: Fantawild, China Bridge Content Distributor: China Bridge Content They say: “Spirits from folklore in disguise, called ‘yao,’ try to navigate modern life in a beautiful mountain town. With the manor door acting as a magical portal which turns the yao into human form when they exit, they attempt to go undercover with hilarious results. Bursting with great comedy, fantastical characters and stunning visuals, Murphy’s Manor pla es amily, rien s an omm nity ﬁrmly at its heart.” We say: Aimed at six- to 12-year-olds, this CG animated fantasy comedy series is a modern chronicle of oriental myths. The plot centres on a boy who inherits a mysterious mansion inhabited by magical, mystical creatures who teach him about life and friendship.

KIDSTALK: Gregory Dray

Reach is not a business model T

he family entertainment business is too With kids and family often treated as a walled-off corner of content making the media industry, when it is actually the up 15% of YouTube industry’s leading indicator. viewing but under 2% Children adopt new habits early, so the pressures facing kids’ media are not isolated of its ad revenue, Animaj problems. The shifts reshaping the wider co-founder Gregory Dray industry – the decline of linear TV, algorithmic warns building franchises in discovery, fragmented attention and the the YouTube era requires more ominan e o o e rea he hil ren first What happens in kids’ media today previews than audience reach. where the industry is heading tomorrow. Gen Alpha does not distinguish between a animation’s technical tax: repetitive work that TV series, a YouTube episode, a song, a game consumes creative time. Responsible AI requires authorised assets or a shortform video. They simply follow the and data, clear ownership, artists in creative characters and worlds they love. The answer is not to abandon legacy IP, control and human validation, removing friction or reproduce old production and distribution and freeing up talent for imagination and craft. models on new platforms, but to preserve Audiences fall in love with characters, stories the emotional core that made a brand endure and the people behind them, not technology. fi ien y, one right, rees the artist rather while rebuilding everything else around how than replacing them. audiences behave now. Creative reinvention alone will not make That means starting with viewing behaviour rather than format. A preschooler discovering the sector sustainable. For years, platforms a character through a vertical video is in such as YouTube were treated as promotional a different context from a family watching windows – places to build awareness for premium TV. Both can belong to the same content that generated revenue elsewhere ith vie s file n er franchise, but cannot be conceived, produced or Gen Alpha does not marketing. But reach is measured the same way. distinguish between a marketing tactic, not a business model. Kids and Agility must shape how a TV series, a YouTube family content accounts for companies organise, episode, a song, a game over 15% of all YouTube produce and make consumption, yet the decisions, not remain a or a shortform video. vertical is estimated to mindset. They simply follow the attract less than 2% of At Animaj, P ocoyo has characters and worlds the platform’s reported shown what this reinvention they love. ad revenue. Attention has looks like. The character’s moved faster than the curiosity, humour and visual identity remain fundamental, while around that economics supporting it, and if kids’ content core we are building an ecosystem spanning cannot be monetised where audiences now premium episodes, YouTube, music, social- watch, the industry’s ability to keep investing first ontent an live e perien es esigne or in quality will weaken, if not disappear. This is why Animaj and Hasbro created participation and cultural relevance. he same a ien e first prin iples apply Lumee, a brand-safe advertising offering built to original IP. With O zzy Fox – an Animaj and around contextual intelligence and privacy for Disney series created by Jennifer Oxley and trusted family audiences – one response to developed by Guillermo García Carsi – we a wider challenge. Platforms, rights holders began with how preschool audiences discover and advertisers must form new alliances that stories today. Episodes were designed for a re e t here attention lives hile maintaining the protections children deserve. o e first la n h, ollo e y isney The future of children’s media will be built and Disney Junior, with music, shortform content and audience feedback built in from by understanding audiences more deeply, the outset. Digital distribution was not added protecting the essence of great brands, creating after production; it shaped the creative and natively for different viewing behaviours and building sustainable economics around them. operating model from the start. Technology can help, but only if its role is Solve these challenges thoughtfully, and clear. We use AI to support storytellers, not we will not simply preserve the franchises replace them – proprietary tools can accelerate audiences love, we will give them the chance tasks such as motion retargeting and reduce to matter to another generation.

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C21Kids | Fall 2026

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