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MarVista is distributing new Christmas movie Northpole: Open For Christmas content can be found. “Discoverability is another major challenge for producers,” he says. “When we have a new programme in the market, whether that be on network TV, SVOD or YouTube, it’s becoming increasingly difficult for people to find it.” This, he adds, is also true of the company’s YouTube channel, Jim Henson Family TV. As a result, there is what Goldsmith describes as a “concerted company-wide effort to ensure that every time we touch a consumer, whether that be via a network show, consumer products or social media, we look to direct them to platforms to watch our shows.” But while there is no doubt that the newly evolved, and evolving, landscape presents challenges, it is equally certain that it also presents opportunities. Fernando Szew, CEO of MarVista, acknowledges that “change causes friction”. He adds:
“Now, everybody wants as many rights as they can get — usually without paying for them” Richard Goldsmith
“As old business models break down, it creates winners and losers. However, one thing that doesn’t change is that capital investment in kids’ programming remains risky and most, although not all, kids’ properties still rely heavily on licensing to be profitable.” For Andy Berman, senior vice-president of global distribution sales at Genius Brands, there is currently a renaissance in kids’ animation — and he has no doubt that this is attributable to the proliferation of digital platforms.
Berman is something of an evangelist for the recently emerged platforms. “Digital platforms seem to have rejuvenated the business and the money they pay helps cover production budgets,” he says. “They definitely offer a lot more opportunities than traditional broadcasters. This is especially true of the ‘content with a purpose’ we produce, such as Thomas Edison’s Secret Lab, which introduces kids to the basics of science, but in an extremely entertaining way.” This is in stark contrast to the views of Henson’s Goldsmith, who is adamant that “network television remains the biggest single generator of both revenue and exposure” for kids’ content. “In fact, it has far greater reach now than it ever had, as audiences can watch what they want, where and when they want to watch, through multiple devices.” However, Goldsmith lauds the ability of the likes of Netflix, Amazon and Hulu to generate
preview magazine I September 2015 I www.mipjunior.com