Issuu

PREVIEW

October 2026

www.mipjunior.com

DISNEY KIDS & FAMILY

MIPJUNIOR HEADLINER

President Ayo Davis sets out new content strategy

Hasbro senior director Charmaine Fernandes

Animaj co-founder Gregory Dray

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WORLD PREMIERE SCREENING Migali, from Easy Peasy Entertainment and Bardaf! Productions

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MIPJUNIOR PREVIEW October 2026 www.mipjunior.com

DIRECTOR OF PUBLICATIONS Filippo Rean MANAGEMENT TEAM Director Central Marketing, Arts and Entertainment: Morgane Morice; Entertainment Division Director + MIPCOM CANNES Director: Lucy Smith; SVP Sales & Business Development: Robert Marking; Director UK Sales: Vanessa Van Santen Smith; Vice President of Sales: Louis Hilleson; Director of Sales EMEA APAC: Timothée Parent; Sales Director: Hicran Lefort; Marketing Director: Amanda Baird; Conference Director: Tania Dugaro EDITORIAL DEPARTMENT Editor in Chief: Julian Newby; Deputy Editor: Debbie Lincoln; Contributors: Andy Fry, Gary Smith, Max Leonard; Editorial Management: Boutique Media International Ltd.; Graphic Studio: studioA Design; Graphic Designers: Sunnie Newby, Harriet Palmer PRODUCTION & ADVERTISING DEPARTMENT Publishing Director: Martin Screpel; Publishing Manager: Amrane Lamiri; Printer: CREAMANIA, Fréjus (france). RX France, having its registered offices at 52 Quai de Dion Bouton 92800 Puteaux, France, registered with the Nanterre Trade and Companies register under n°410 219 364 - VAT number: FR92 410 219 364. Contents © 2026, ISSN 2104-2187, RX France Market.

Crayola Bringing colour to the Croisette

Migali, from Easy Peasy Entertainment and Bardaf! Productions

6 Animaj

Co-founder Gregory Dray on the new rules of entertainment

8 Disney Kids & Family

President Ayo Davis outlines strategy for future of kids’ entertainment

12 Beyond Preschool

Winning Gen Z: the changing rules of teen content engagement

14 State of the industry How to reach kids across platforms

17 How to build fandom

Glance focuses on viewing trends

15 The future of financing

18 AI in action

16 What comes after TV?

19 Pubcasters unite

Kids content faces a cash crunch

New tech: from Roblox to IvyBears

Product news Content for sale in Cannes All MIPJUNIOR print products are printed on paper from sustainably managed sources using printing processes that comply with the PEFC standard.

World Premiere Screening

Unlocking opportunities for animation

Pooling resources on kids content

MIPJUNIOR

Crayola invites you to

colour inside the lines

CRAYOLA Studios has created a fun mural installation for MIPCOM and MIPJUNIOR — a giant colouring board featuring some of Cannes and the Palais’ most recognisable landmarks, alongside characters from the Studio’s portfolio. Crayola is inviting MIPCOM delegates working across the creative industries to “take a little time out, have some fun and put their own artistic skills to the test, with the hope that they will share their contributions on social media”. The goal is to create “a stand-

out moment at MIPCOM that brings Crayola’s connection with creativity, colour and art to life”. The mural will be positioned outside the Palais on Parvis 7 towards the beach and everyone is invited to contribute. Crayola, the over 140-years-old school and creative arts supply company, most famous for its crayons, launched its media arm Crayola Studios back in 2023. Crayola is a wholly owned subsidiary of Hallmark Cards.

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Visit us at MIPCOM Stand R8.C18 © Happy Nest Entertainment, LLC © Scholastic Entertainment Inc. SCHOLASTIC & logos TM Scholastic Inc. All rights reserved. © and TM 9 Story Media Group Inc. All rights reserved.

MIPJUNIOR

The new rules

of kids’ entertainment Gregory Dray explores how technology, audience insight and new models are transforming kids’ content

MIPJUNIOR PREVIEW 2026

Gregory Dray

AI is a tool for artists, designed to amplify human ambition, never to replace it

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AT HIS MIP Headliner session at MIPJUNIOR, Animaj co-founder Gregory Dray is to set out how children’s entertainment companies must reinvent their production, distribution and monetisation models for a digital-first market. Dray’s keynote, Embracing A New World – Reinventing Legacy IP For The Digital Generation, examines how platform dominance, changing audience behaviour and new commercial models are reshaping the kids’ content business. Animaj describes itself as a next-generation kids and family media company, using technology and direct audience insights to develop and grow franchises. Its portfolio includes Pocoyo and Maya The Bee, while the company has raised more than $125m and counts Google and The Walt Disney Company among its shareholders. Dray said the fundamental difference between traditional and next-generation studios lies in how content is conceived and produced. Rather than developing long-form television and subsequently adapting it for other outlets, digital-first companies can build IP in multiple forms from the outset. “Next-gen studios design IP as a modular matrix: 10-minute YouTube episodes, 60-second shorts, soundtrack releases, live events and more are developed simultaneously,” he said. Direct access to audiences on open platforms also gives companies immediate information about changing viewing habits and “playground culture”. Animaj uses contextual audience intelligence to analyse creative variables throughout development and release, rather than relying solely on traditional greenlight cycles. Speaking to the MIPJUNIOR Preview, Dray argued that the wider industry still underestimates the importance of children’s content. Gen Alpha represents more than 20% of the global population, he said, while kids and family programming drives viewing, co-viewing, platform retention and long-term brand value. “What happens in kids’ media today defines where the broader entertainment industry goes tomorrow,” he said, pointing to children’s early

adoption of open platforms, algorithmic discovery and interactive environments. Animaj has expanded through acquisitions and partnerships, targeting what Dray calls “digital-native sleeping beauties”: properties that have established substantial organic audiences online but may be overlooked because they do not resemble conventional TV projects. “We look for proven audience demand, high re-watchability and strong emotional character affinity, regardless of format,” he said. Combining that engagement with production technology, distribution and advertising capabilities can, he argued, turn digital-first shows into global franchises more quickly and cost-effectively. Artificial intelligence will also feature prominently in Dray’s MIPJUNIOR address. Animaj uses AI in areas including motion retargeting, dubbing, asset generation and animation workflows, but he stressed that the company regards it as a means of supporting human creativity. “AI is a tool for artists, designed to amplify human ambition, never to replace it,” he said. “AI suggests and accelerates, but artists direct and decide.” Dray said technological efficiency should allow creative teams to spend more time on character, story and emotional resonance, while human oversight, secure production pipelines and compliance remain essential to maintaining families’ trust. However, his central message in Cannes will be commercial as much as technological. “Reach without monetisation is just a marketing tactic — it is not a business model,” he said. “Modern media companies must own their destiny by monetising directly where the audience lives and spends time.”

Embracing A New World – Reinventing Legacy IP For The Digital Generation Saturday, October 10, 12.15-12.45 Debussy Theatre

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52 x 12‘

100 x 5‘ © Media Valley – Belvision – RTBF – 2026

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52 x 11‘ 26 x 24‘

52 x 12‘ 10 x 28‘

MIPCOM RIVIERA 7 R7.K17 VISIT US

WHERE THE ENTERTAINMENT IS

distribution@studio100int.com | studio100international.com

04.09.26 13:37

MIPJUNIOR

Building the

next generation of favourites

Disney outlines its strategy for creating stories and characters for the future of kids’ entertainment

MIPJUNIOR PREVIEW 2026

Ayo Davis

Disney has been telling stories for young audiences for more than a century

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A SUNDAY session titled From First Favorites To Lasting Fandom: Disney’s Approach To Kids & Family Franchises, serves to outline the global content strategy across broadcast, digital and streaming for Disney Kids & Family, a presenting partner at MIPJUNIOR. “MIPJUNIOR brings together such an important global community of industry leaders and creators, so we’re excited to have a bigger presence this year and to spend time with the people shaping the future of kids and family entertainment,” Disney Kids & Family president Ayo Davis said. “Our session brings together leaders from across Disney Kids & Family to share some of the thinking that guides our work, to hopefully spark a broader discussion about what it takes to create stories and characters that connect with young audiences today, and that stay with them as they grow.” Davis added: “MIPJUNIOR also gives us a great opportunity to tell the broader story, bring together leaders from across our organisation, and connect with the global creative community. Disney has been telling stories for young audiences for more than a century, but we’re always thinking about what the next generation of Disney storytelling can look like.” Disney Kids & Family has a broad remit, to serve younger audiences across ages and stages — from preschoolers to kids and teens to the whole family — while staying focused on something that hasn’t changed in The Walt Disney Company’s last 100+ years: telling character stories with which audiences can form a real emotional connection. “We know kids grow and change incredibly quickly, and the ways they discover and engage with stories are always evolving,” Davis said. “Our job is to evolve with them — whether that means exploring new kinds of storytelling, formats and platforms, working with fresh creative voices,

finding unexpected ways into worlds they already love, or developing completely original stories and characters. Ultimately, we want to provide today’s kids with the types of stories and experiences that feel relevant to them now and can stay with them long after they first discover them.” Looking to the next 12-18 months, Davis is focused on delivering “distinctive, high-quality storytelling for kids and families”, while finding new ways to meet young audiences wherever they are. “We have a strong mix across preschool, animation, live action, movies and short form, spanning beloved IP and completely original ideas. One of the things that makes Disney so special is our ability to build connections that extend far beyond the screen and foster lifelong fandom. A great story can introduce audiences to new talent and music, inspire them to create and participate, and grow into experiences across the Disney ecosystem.” Davis added: “That gives us an incredible opportunity to meet fans in different ways and deepen those relationships over time — while always making sure a great story comes first. And of course, we will keep working with exceptional creative talent and distinctive voices to create stories, characters and worlds that can become the next generation of favourites.”

From First Favorites To Lasting Fandom: Disney’s Approach To Kids & Family Franchises Followed by a Disney Cocktail Lunch Sunday, October 11, 12.00-12.30 Debussy Theatre

ADVERTORIAL

From Great Creative

to Global Brands:

Blue Ant’s Kids, Family & YA Growth Strategy

For Blue Ant, this year’s MIPJUNIOR is the first major international market introducing its newly combined commercial strategy across kids, family, YA and animation. The joined-up division brings development, production, distribution and consumer products expertise together under one united strategy to build global brands.

Diane Rankin

“Kids, family & YA is a targeted growth genre for Blue Ant, and we’re investing in it for the future,” says Diane Rankin, EVP & General Manager, Content and Rights – Kids, Family & YA. “We know in this market that we have to take a curated approach and everything starts with great creative, which can be developed internally or come to us through partnerships.” The partnership of Nicola Andrews, VP Sales and Acquisitions and Vienna Downes, VP & General Manager, Consumer Products, is at the heart of the commercial strategy. Their priority is to identify what makes a property special, its path to market and how to make it stand out, and ultimately how Blue Ant can build a universe around it.

Nicola Andrews

Vienna Downes

BeddyByes from JAM Media is a great example. The calming preschool series commissioned by the BBC helps young children wind down, and that purpose gives the brand legs to grow beyond the screen as a parental tool. Blue Ant immediately saw the unique opportunities it offered for distribution across both linear and digital, and an extensive list of licensing categories. They brought Disney on board and are now building out consumer products that connect naturally to everyday routines, with Moose Toys as global master toy partner and a significant publishing deal about to close. Original content remains key to the growth strategy, with Blue Ant able to develop, finance and produce new IP and distribute internationally to build the global reach for a

brand. Being agile enabled the team to spot the distinctive creative vision in Tralala (52 x 7’), a whimsical preschool series from the creator of Kiri and Lou, that became a Canada/ New Zealand co-production between Blue Ant Studios and Stretchy, for CBC and Sky New Zealand. The series follows seven-yearold frog Tralala and her dad, Sid, as everyday family life turns into imaginative, music-filled adventures. Blue Ant is in the process of closing a significant partner who will join in a commissioning capacity. “The extraordinary musicality and heart of Tralala make it an absolute standout. The comedic warmth and original songs will resonate with young viewers and their parents all over the world,” says Nicola Andrews, VP, Sales and Acquisitions – Kids, Family & YA. “It’s a signature property for us, and we see a real opportunity to grow Tralala into a thriving global brand.” That tailored approach extends into Blue Ant’s growing YA slate. Launching on Netflix this month, Crew Girl is a great example of the team spotting a cultural moment, moving quickly and finding new ways to grow an original screen property into a broader brand. Produced by Blue Ant Studios, the 8– part YA series is set in the competitive world of high-school rowing. Seeing the growing appetite for sports-led YA stories, Blue Ant quickly looked for ways to take the brand beyond the screen. “With Crew Girl, we had an opportunity to flip the usual book-to-screen model and go screen-to-book,” says Vienna Downes, VP and General Manager, Consumer Products. “Hachette Children’s Group is publishing a novelisation this September, alongside publishing deals in North America and the UK. It’s a great example of how we can move quickly and create ways for audiences to connect with a brand beyond the series.”

Meet Migali,

MIPJUNIOR PREVIEW 2026

the spider princess

MIPJUNIOR

MIGALI is a 2D animated comedy for kids aged five to eight. It’s produced by Easy Peasy Entertainment and Bardaf! Productions, in co-production with TF1, RTBF, VRT and RTS, and distributed internationally by Moon-Keys International Content. Adapted from the bestselling books by Alexandre Arlène and Fabien Ockö Lambert and published by Auzou Publishing — with nine volumes and more than 150,000 copies sold — the series follows Migali, an enthusiastic young spider princess who is determined to become queen. Migali is something of a superhero: with her six arms that can throw threads and weave webs, she can walk a tightrope, water-ski on a unicorn and grab her schoolbag from a distance without any effort. The problem is that Migali cannot completely control her powers. A disaster is often just around the corner, and it will take time and a good apprenticeship for her to become an expert spider princess. At the prestigious Royal Academy, where princes and princesses from across the kingdoms come together, Migali’s curiosity, boundless energy and extraordinary web-spinning skills turn everyday school life into a series of hilarious adventures. Full of humour, friendship and energy, Migali brings a fresh and modern heroine to the screen, in a colourful universe where every day is an adventure. The stories began in comics before moving to book form, and Easy Peasy Entertainment CEO and producer Adélaïde Terme fell for the characters and stories before the books were first published. “When I read the first pages of Migali, I immediately had a crush on the unique world created by Alexandre and Fabien,” Terme said. “The comedy was powerful, subtle and universal — and the entire world so original and singular. It was obvious to me that this was something that must be seen.” Aware of the affection that young readers have for the stories and characters, Terme said the aim was to “keep the DNA of the book — the comedy, the characters and their specific personality — and the amazing arena: the Royal Academy.” She added: “Thanks to our talented team of authors, we have created stories adapted for screen but that maintain the feel of the original universe.” Terme said she believes that the humour in the books — that translates to the scripts — is “uni-

Easy Peasy’s Adélaïde Terme versal, with deep and evergreen values” and as such could reach wider audiences than the fiveto eight-year-olds that Easy Peasy is targeting. Alongside the humour is “a very sincere, generous and unperfect main female character that will bring everyone together. Migali is like us and that is also why we love her.” Migali is Easy Peasy’s first production, while Bardaf! has been in the business for many years: “Easy Peasy has an expertise in IP adaptation and the combination of our strengths has helped us to create a well-structured and polished series,” Terme said, adding: “The biggest challenge has been maintaining the identity of the IP, while making it relevant for an international audience.” Easy Peasy is continuing to work with Auzou Publishing — a leading French publisher of children’s stories — “focusing on its stories and heroes, published or soon-to-be, strong stories and modern characters that will talk to a new generation. Our goal is to create global IPs and make them evergreen.”

MIPJUNIOR PREVIEW 2026

From bestselling books to the small screen: Easy Peasy’s Migali gets a Cannes World Premiere Screening

MIPJUNIOR World Premiere Screening: Migali Saturday, October 10, 16.30-17.00 Debussy Theatre

MIPJUNIOR

Beyond preschool: winning Gen Z Industry leaders examine the changing rules of teen content engagement in a digital-first environment Hasbro’s Charmaine Fernandes

Our approach is to give a genuine nod to the legacy so existing fans feel that mutual admiration

MIPJUNIOR PREVIEW 2026

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YouTube’s Alexis Rice

Mediawan Kids & Family’s Nicolas Fisch

YOUTUBE, Hasbro and Mediawan Kids & Family will examine how producers and rights owners can reach teenage and Gen-Z audiences in the MIPJUNIOR headliner session Beyond Preschool: Making Great Content For The Gen Z & Teen Audience. While preschool dominates much of the children’s content conversation, the session will focus on how creators and established entertainment companies are building fandom, developing IP and making programming for older viewers on YouTube. Alexis Rice, YouTube’s global youth partnerships lead and moderator of the session, said teens use the social-video platform for entertainment, learning, music, gaming, podcasts and sport. She argued that traditional media companies should pay closer attention to the people making that content. “Traditional media can learn from and partner with the creators who are becoming the new stars and studios,” she said. “The era of dismissing this content as simply UGC is long over. These are shows, built by creators at the centre of the teen-entertainment experience.” Mediawan Kids & Family producer Nicolas Fisch, a digital-first and AI content expert, said the influence of gaming is growing and extends beyond the creators themselves. “Teen and Gen-Z audiences expect to engage with a universe, not just watch a story,” he said. “Gaming has shaped an appetite for rich lore, hidden details, mystery and worlds that continue beyond the screen.” Mediawan is applying that approach to Pocket Champs, a French mobile game developed by Madbox with 72 million players worldwide. It is developing four 13-minute specials, supported by YouTube Shorts and complementary formats, to expand the game’s world beyond its original platform. The launch will let Mediawan test characters and storylines, gauge appetite for a deeper mythology and identify territories where the content resonates before approaching broadcasters

and streamers. “YouTube is the natural platform to bring fans of the game towards new storytelling content and turn an established player community into ambassadors for the IP,” Fisch said. Hasbro faces a different task: introducing long-established brands to new viewers while keeping their existing fans engaged. Charmaine Fernandes, its senior director of global digital distribution and programming, said the company tries to acknowledge a brand’s history without making prior knowledge a condition of entry. “Our approach is to give a genuine nod to the legacy so existing fans feel that mutual admiration, while telling stories that feel relatable to a newer audience,” she said. YouTube-first series Transformers Cyberworld is one example: its Easter eggs give long-standing fans material to discuss, while the story also welcomes viewers encountering the franchise for the first time. “Fans are more forgiving if you change the look of a brand, less so if you change the rules of belonging,” she said. YouTube has also moved up Hasbro’s distribution priorities. “Over the years it’s become one of the core pillars of our distribution strategy, and for some titles it’s moved from a second or third window to being our first,” Fernandes said. Rice added that reaching young audiences brings responsibilities alongside creative opportunities. YouTube offers age-appropriate experiences, default protections for under-18s and parental controls. “We play a hugely important part in young people’s lives — and we don’t take that responsibility lightly,” she said. “The safety and wellbeing of young people is at the heart of everything we do.

Beyond Preschool: Making Great Content for the Gen Z & Teen Audience Sunday, October 11, 11.15-11.45 Debussy Theatre

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Conferences and Events 2026 Programme as of 23 September 2026

Saturday 10 October 08:45 - 09:30 Debussy Lounge

MIPJUNIOR Welcome Coffee

09:30 - 09:50 Debussy Theatre Market Intel

Kids Content Trends Watch: A year-end Market Snapshot Presented by Ampere Analysis

09:50 - 10:10 Debussy Theatre Market Intel

Sunday 11 October

08:45 - 09:45 Verrière Grand Auditorium

Roundtables Co-Production & Financing Pre-registration Required Welcome Coffee served from 08:30

Roundtables Monetisation & Diversification 09:30 - 09:50 Debussy Theatre Market Intel

09:45 - 10:45 Matchmaking Lounge

Speed Matchmaking Session TV Projects in Development Pre-registration Required

Beyond Attention: Building Fandom in the Meaning Economy Presented by Kids Industries

09:50 - 10:10 Debussy Theatre Market Intel

Next-Gen Viewing: Trends Shaping Children’s Content

Pre-registration Required Welcome Coffee served from 08:30

09:45 - 10:45 Matchmaking Lounge

Speed Matchmaking Session TV Projects in Development Pre-registration Required

Games: Gen Alpha’s “Third Space” Presented by Dubit

Presented by Glance

10:30 - 11:15 Debussy Theatre

10:30 - 11:00 Debussy Theatre

State of the Kids & Teens Industry: Competing for the Next Generation’s Attention

From TV to UGC: How Kids IPs are Building Fandom Beyond The Screen 11:15 - 11:45 Debussy Theatre MIP Headliner YouTube - Beyond Preschool:

Making Great Content for the Gen Z & Teen Audience

11:30 - 12:00 Debussy Theatre

IVYBEARS – From Shelf to Screen: Reversing The Kid’s IP Flywheel

11:00 - 13:00

Kids Pubcasters join Animation Forces Closed-door event / By invitation only

12:00 - 12:30 Debussy Theatre 12:15 - 12:45 Debussy Theatre

ANIMAJ - Embracing a New World: Reinventing Legacy IP for the Digital Generation

MIP Headliner

From First Favorites to Lasting Fandom: Disney’s Approach to Kids & Family Franchises Followed by a Disney Cocktail Lunch Verrière Grand Auditorium

14:15 - 14:45 Debussy Theatre

15:00 - 15:30 Debussy Theatre

15:00 - 16:15 Debussy Theatre

AI in Action: From Augmented Studios to AI-Native Companies

Who Pays for the Next Generation of Kids’ IP?

The New Kids YouTube Playbook: Platform Changes Decoded

MIPJUNIOR Pitch Tweens / Teens

15:45 - 16:15 Debussy Theatre

What comes After TV?

16:30 - 17:00 Debussy Theatre

MIPJUNIOR World Premiere Screening MIGALI

Presented by Easy Peasy Entertainment and Bardaf! Productions

17:00 - 18:30 Verrière Grand Auditorium

MIPJUNIOR Happy Hour Hosted by YouTube

16:30 - 17:00 Debussy Theatre

Generation Roblox: The Intersection of Entertainment, Commerce & Community Presented by Twin Atlas

17:15 - 17:45 Debussy Theatre

MIP Headliner

ESHAP - The Kids Content Business in The Affinity Economy by Evan Shapiro

MIPJUNIOR SCREENING LIBRARY OPEN FROM 08:30 TO 19:00 ON SATURDAY AND SUNDAY IN GRAND AUDI BALCONY (PALAIS 3) FOR BUYERS ONLY MIPJUNIOR Programme Partners

How to reach kids YouTube’s Amy Singer

across

platforms Industry leaders debate how brands can capture attention and build lasting fandom

MIPJUNIOR PREVIEW 2026

Spawnpoint Media’s Mads Brown

Cottonwood Media’s David Michel

Media consultant Emily Horgan

State Of The Kids & Teens Industry: Competing For The Next Generation’s Attention Saturday, October 10, 10.30-11.15 Debussy Theatre

A LINE-UP spanning public service broadcasting, production, YouTube and creator-led content will tackle one of the biggest questions facing the kids and teens industry at MIPJUNIOR: how do you earn young audiences’ attention when their choices extend far beyond television? The 45-minute State Of The Kids & Teens Industry session, moderated by media consultant Emily Horgan, will bring Patricia Hidalgo of the BBC together with Cottonwood Media CEO David Michel; YouTube global head of responsibility partnerships, Amy Singer; Spawnpoint Media chief operating officer Mads Brown; and pocket.watch CEO Chris Williams. Taking place in the Debussy Theatre on Saturday, October 10, it will also draw on market insights from Ampere Analysis and Glance to examine how broadcasters, producers and creator businesses are adapting to changing habits. For Horgan, the common challenge is discovery. “It’s not enough for TV shows to be produced, the context in which they’re found and discovered is equally important,” she said. For Hidalgo, reaching children across platforms is core to the BBC’s response. “We’re making our brands and content available wherever children spend their time, across BBC platforms, YouTube and Roblox,” she said. “We’re investing in digital-first content, working with creators, and taking our brands beyond the screen through games and live experiences in museums and theatres.” She also pointed to BBC Bitesize curriculum resources and trusted news and media-literacy tools for older children. The goal, she argued, is a relationship that develops as children grow. “Trust, relevance and consistency matter more than winning attention in any single moment.” Education key to YouTube’s output too: “It’s not just a place where they go for passive entertainment — it’s a place to explore, learn and grow. Whether

pocket.watch’s Chris Williams

The BBC’s Patricia Hidalgo

learning to tie a tie, getting help with an algebra formula or delving into a new hobby, young audiences know they will find what they need on their own terms,” Amy Singer said, adding: “In Europe, we see 74% of teens using YouTube to learn something new for school, and the vast majority of parents agreeing that YouTube provides quality content for their child’s learning and entertainment,” Brown sees a lesson for established media in the feedback loop between creators and their audiences. “Creators have perfected the ability to build and own long-lasting relationships directly with their audiences by applying an iterative approach to content creation that’s only possible with immediate data at their fingertips and agile production pipelines,” she said. “They let kids dictate what they want to watch as their tastes and viewing habits evolve, rather than adopting traditional kids’ media’s ‘build it and they will come’ model.” Michel said Cottonwood is adding more hooks to its stories. But he also makes the case for longer narratives amid competition from short-form viewing. “We’re competing against very short-format, low-attention-span content. Some of it good, some of it not so much,” he said. “Our choice is to keep writing and producing narrative content in a longer half-hour or hour format.” Michel adds that broadcasters such as ZDF, the BBC and France TV continue to be “exceptional partners” because they take a long-term approach to brand building. Streaming can deliver a huge audience quickly, he says, but transforming that reach into lasting fandom requires additional long-term presence across YouTube, broadcast windows and licensing. Williams argues that creator relationships can provide the starting point for sustainable franchises. “The properties that last are the ones that understand what fans fell in love with in the first place, and then build outward into new stories, formats, platforms, products and experiences,” he said. That doesn’t rule out finding new ways to distribute creators’ existing libraries. As moderator, Horgan wants the panel to confront differing ideas of quality. “To some this means high-end production values, to others it represents characters and stories young people connect with regardless of the cost-per-minute to produce,” she said.

MIPJUNIOR

Kids’ content faces

a cash crunch

Industry experts focus on future of financing kids content

THE MIPJUNIOR conference Who Pays For The Next Generation Of Kids’ IP? arrives at a moment when the traditional funding model for children’s content is under pressure. With commissioning becoming more challenging and audiences fragmented across broadcast, streaming, social and digital platforms, producers are being forced to rethink not just where the money comes from, but how projects can demonstrate value before they are fully financed. During the conference, a panel of industry experts will examine the emerging financing landscape, from international co-production and private investment to digital-first audience building and the closer relationship between financing and distribution. Serious Kids founder and CEO Genevieve Dexter identifies one significant change in the sector. “We have seen an increase in venture-capital funding for series, especially those destined for Milkshake and Sky Kids,” she said. Internationally, meanwhile, she sees multi-party partnerships becoming increasingly important. “If there is no venture capital then a three-way co-production seems to be the norm rather than the exception.” Dexter also points to changing opportunities across Europe. “Italy is a powerhouse at the moment, while increased tax credits for films in the UK have attracted a lot of great projects.” For Madgic Distribution and Zephyr Animation managing director and co-founder Lionel Marty, financing and distribution can no longer be considered separate strategies. “The link between the financing strategy for a children’s series and its distribution strategy has grown significantly stronger and never been more critical,” he said. Marty argues that successful projects need “agility, constant dialogue and the ability to adapt distribution plans as the financing landscape evolves”. In a risk-averse market, he said projects combining “creative distinctiveness with clear commercial viability” are best placed to attract partners, particularly if they have the potential to extend across platforms, formats and territories. TeamFalco co-founder and managing director

Nico Lockhart believes producers may need to rethink the scale of projects themselves. “Depending on the show format, I would be looking at rebuilding series concepts with an MVP model in mind, closer to video-game and mobile-app development,” he said. That means asking what is “the smallest version of the show, with the lowest production scope to express your idea and build audiences”, before rebuilding the finance plan around it. Lockhart said the market has moved from “simply financing a show with a big swing to building IP businesses and full multi-revenue stream models.” It also requires producers to understand platforms. Lockhart argues that some digital-first launches are effectively “mini-linear”, because producers are placing content on YouTube without adapting sufficiently to its mechanics. “Your product has to be your marketing,” he said. “Your episodic story has to build that momentum, which means crafting stories differently and packaging them appropriately.” Digital-native thinking is similarly central to Claynosaurz co-founder Nicholas Cabana’s approach. “Classic distribution rules or tracks don’t make sense,” he said. “The kids are consuming in non-linear ways and discovery happens everywhere — across many formats.” Cabana argues that creators no longer need to wait for a fully financed series before testing an idea. “You can release characters, short-form stories, gaming experiences, prototypes and behind-the-scenes material early, then learn directly from how audiences respond,” he said. Claynosaurz has used that approach to build an audience of more than one million followers while developing its larger franchise, alongside collectibles, products and experiences. For Cabana, such activity generates revenue but also provides “evidence of attention, affinity and demand before the largest investments are made.” Rather than financing a show, finding an audience and then extending into products, he sees “content, community, experiences and commerce” developing together. “The brands best positioned to endure,” Cabana said, “will combine the reach and responsive-

Clockwise from top left: Flip Side Media’s John Reynolds, Serious Kids’ Genevieve Dexter, Claynosaurz’ Nicholas Cabana, Lionel Marty of Madgic Distribution and Zephyr Animation, and TeamFalco’s Nico Lockhart

ness of digital platforms with the depth of traditional storytelling.” The panel also includes John Reynolds, an international children’s and family media executive with more than 30 years’ experience building, financing and taking IP to market. Today, through Flip Side Media, John works with producers, studios and rights owners on financing, co-production, distribution, licensing and growth strategies, alongside selected executive producer roles.

Who Pays For The Next Generation Of Kids’ IP? Saturday, October 10, 15:00 - 15:30 Debussy Theatre 15

MIPJUNIOR

MIPJUNIOR PREVIEW 2026

What comes after TV? How the next generation is shaping kids content THE FUTURE of kids entertainment is not just more TV shows, it’s stories that expand and live in many places, each with its unique space in the lives of kids and teens. The What Comes After TV? session brings together pioneers in creator-native franchises, immersive game worlds, vertical stories and storytelling ecosystems that fit how current young audiences discover and experience stories. The next generation is changing what content is and does. From Roblox games and creator-led IP to vertical drama and interactive stories, new hits are emerging from gaming, social media and fandoms. “To that end, here is what I intend to bring to the panel,” said 8 Lions Entertainment’s head of anime and young adult entertainment, Jerôme Mazandarani. “I’ll be drawing on work across fan-edit platforms, Roblox-native IP licensing, and original ani-

8 Lions Entertainment’s Jerôme Mazandarani

What Comes After TV Saturday, October 10, 15.45-16.15 Debussy Theatre

A different route to content and character ONE OF the clearest signs of the TV industry’s ongoing transformation is the arrival of companies from outside traditional and digital media. IvyBears, a consumer wellness brand, is using children’s entertainment as the foundation of a long-term franchise strategy. Its approach raises a bigger ques-

IvyBears: from consumer brand to content

me — and anime-inspired content — funded through fan communities, to argue that “after TV” isn’t really about platforms at all. It is about authorship shifting toward audiences. I often describe this audience more as an army of executive producers rather than passive viewer/consumers. I’ll look at how fan-driven remix and creator communities are becoming legitimate discovery and validation engines for IP owners, not just fringe activity to police; how game worlds like Roblox are functioning as franchise incubators rather than licensing afterthoughts; and how Japanese studios and rights-holders are experimenting with fan-funded and fan-informed production models as a hedge against traditional broadcast economics. My throughline is that the winners won’t be the best TV shows. They’ll be the IP that lets fans become co-authors.”

tion for the industry: will tomorrow’s kids’ IP increasingly originate outside the entertainment business? Ivybears founder and CEO Dr. Kaan Haylaz, offers a glimpse of what we can expect at the From Shelf To Screen: Reversing The Kid’s IP Flywheel session. “The presentation will look at how we are building a new kind of kids IP pipeline by reversing the traditional entertainment model,” Haylaz said. “Rather than creating content first and spending years trying to build consumer awareness, we started with IvyBears as an established international consumer brand, present across over 60 countries and over 42,000 retail points, and then expanded that foundation into original characters, animation and entertainment.” This, along with affiliate company Malta-based Moontrail Animation Studios. Haylaz will also be touching on what he refers to as ‘the reverse flywheel’: “The pipeline works like this: consumer brand to characters, to content, to audience, to licensing and

franchise expansion. That is an approach that has since developed into three entertainment properties targeting different age groups and needs: IvyBears, action and adventure; Dr. Muppy, science and discovery; and Banana Rainbow, preschool learning and music,” Haylaz said. “A key part of the discussion will be the speed at which audiences can now be built independently. IvyBears grew from zero to 6.5 million YouTube subscribers and 63 million views in just 114 days — without distribution through the YouTube Kids app. And finally, I’ll touch on how we see content, consumer products, broadcasters, toys, licensing and retail, working together as one, continuously reinforcing franchise ecosystem.”

From Shelf To Screen: Reversing The Kid’s IP Flywheel Saturday, October 10, 11.30-12.00 Debussy Theatre

MIPJUNIOR

Social, video are key to building fandom

Glance’s Romy Nicolas

Younger children still spend most of their viewing time on the TV set

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FROM preschool to high school, young viewers remain deeply engaged with storytelling, but their viewing habits change. In the MIPJUNIOR session Next-Gen Viewing: Trends Shaping Children’s Content, Glance international research manager Romy Nicolas will use audience data to show how kids consume content, explore the metrics behind success, the strategies driving multiplatform hits and the creative movements shaping the future of kids’ content. “We have been looking closely at how children’s screen time is evolving, and one of the clearest shifts is not simply how much they watch, but how they watch,” Nicolas said. “In the UK, overall viewing time has softened in recent years, especially for broadcasters, while SVOD has been more stable and video-sharing platforms have shown greater resilience. We see a similar pattern in the Netherlands (NMO), where video-sharing platforms take on a growing role as children move from childhood into the teenage years.” Nicolas said that what really stands out is the change in behaviour as children grow older. “Younger children still spend most of their viewing time on the TV set. But as they move into the tween and teen years, viewing becomes more mobile and more fragmented. Smartphones play a much bigger role, and content discovery is increasingly shaped by platforms beyond the TV set,” she said. What this means for the industry is that kids’ content strategies can no longer be built around a single screen or a single distribution model. “Producers need to think about how stories, characters and brands can live across several environments, while still adapting to the specific habits and expectations of each age group.” Overall, the data points in the same direction: young viewers are moving more fluidly between TV, streaming, YouTube and social platforms. “Multiplatform strategies are now essential. The challenge is not only to be present where children are watching, but also to understand how the role of each platform changes with age,” she said. “For younger children, TV and SVOD remain important discovery and co-viewing environments. For older children and teenagers, video-sharing and social platforms become cen-

tral for discovery, engagement and fandom. Producers therefore need to design ecosystems that work across long-form, short-form and social, while keeping the core IP recognisable.” According to Nicolas, one clear pattern emerging from these shifts in children’s viewing habits is the continued success of content inspired by social-media trends, formats and creators. “Platforms are increasingly partnering with digital-native talent, bringing their audiences and storytelling codes into more traditional distribution environments,” she said. “For example, Salish & Jordan Matter — which follows a daughter-and-dad duo — performed well on Netflix in several countries. Disney is also developing Lala IRL, a scripted series inspired by TikTok creator Lala Sadii’s real-life social-media rise, and has partnered with TikTok to allow users to create content using clips from Disney content.” Another key pattern is the ability of children’s content to benefit from major international events, especially sporting events, Nicolas said. “With the FIFA World Cup creating strong co-viewing opportunities, several broadcasters have invested in football-related content. Examples include Dragon Striker on Disney; and Hacker Ruff’s Guide To The World Cup, a short-form series on CBBC.” Well-established IP also remains powerful. Captain Tsubasa — an animation about an 11-year-old who dreams of becoming the world’s best football player — for instance, “performed strongly over January– June 2026 on Boing in Italy and on Netflix in Spain”. Meanwhile, animals remain a very strong. “After dogs, cats appear to be gaining momentum, with examples such as Flower & Flour performing well in Australia,” Nicolas said. “The biggest opportunities over the next few years will likely come from the combination of proven themes with new visual languages, platform-native formats and characters that can travel easily across markets and screens.”

MIPJUNIOR PREVIEW 2026

But as habits are changing the really young ones still prefer TV

Next-Gen Viewing: Trends Shaping Children’s Content Saturday, October 10, 09.50-10.10 Debussy Theatre 17

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MIPJUNIOR PREVIEW 2026

Session asks if AI can take the time and cost out of animation JOHN ATTANASIO, a speaker at MIPJUNIOR’s AI in Action: From Augmented Studios To AI-Native Companies session, is the CEO & co-founder of Toonstar. He spent his early career at DreamWorks and Warner Bros., where it became clear that animation’s costs and timelines meant too few creators ever got a chance to launch projects. He left to build something different: “Toonstar is a digital-first animation studio designed to empower more storytellers to launch projects,” he said. “It is also built for today’s audiences who are consuming more content online than ever and are hungry for original stories and new voices.” At MIPJUNIOR, Attanasio is showing what Toonstar’s AI-native production actually looks like in practice: “The details may surprise you. Writers, artists and creators are 100% of the source material at Toonstar. AI enters only after the art and story exist, through small, specific production engines that create efficiencies at different stages of the animation process. Nothing replaces the artist: human creativity is at the core of what we do. The goal is to remove the barriers that have historically kept great storytellers out of

animation, and let the work speak for itself.” Toonstar sits at the intersection of the creator economy and Hollywood’s franchise-building infrastructure. “Our Ink & Pixel production technology produces high-quality animation at a fraction of the traditional time and cost, allowing creators and partners to move at the speed of culture and respond to audiences in near real time. At Toonstar, we believe that an animation renaissance is on the horizon, driven by new production and distribution technologies that will unlock opportunities for a new generation of storytellers and IP,” he added. Alongside Attanasio, Blue Spirit CEO Olivier Lelardoux is focusing on the macro shift reshaping the animation industry: ”As raw AI models become commoditised, market value is moving away from the technology itself toward proprietary data, protected IP and artist-driven workflows,” he said. “John and I will also be analysing why the ‘model wars’ are ending and how studios must adapt to changing business models by mastering model-agnostic infrastructure, cost efficiency and carbon footprint tracking.”

Toonstar’s John Attanasio

Blue Spirit’s Olivier Lelardoux The pair will also be presenting case studies showing how to deploy AI across different production methods.

AI In Action Saturday, October 10, 14.15-14.45 Debussy Theatre

Roblox: a next-generation meeting point

Twin Atlas’ Jonathan Millar

Twin Atlas’ Andrew Bereza

THE MIPJUNIOR session Generation Roblox: The Intersection Of Entertainment, Commerce & Community explores how stories, characters and franchises are becoming living worlds that audiences can enter, share and help shape. It will also examine how en-

tertainment brands are building fan communities and creating new opportunities across monetisation, consumer products, commerce and immersive storytelling. “Brands that establish a meaningful presence here can remain part of their audiences’ lives long after a traditional release window ends, while those that do not show up risk being absent from one of the most important places where young audiences discover and participate in entertainment,” head of merchandising and business strategy at Twin Atlas, Jonathan Millar, said. “Roblox is one of the world’s most influential entertainment ecosystems, reaching more than 150 million people every day across 200+ countries. For kids and teens, it is one of the safest places online to play, explore, create, and express themselves. For entertainment companies, it is no longer an emerging

platform to watch — it is where the next generation of audiences already spends its time.” Twin Atlas’ director of business development Andrew Bereza adds: “Roblox has become one of the most important places for entertainment and gaming brands to reach and engage the next generation of fans — not simply through advertising, but through games, experiences, virtual goods and communities that players actively choose to spend time in. Twin Atlas works with some of the world’s leading brands and IP owners to bring their properties into Roblox through original games, integrations, licensing and virtual commerce.”

Generation Roblox Sunday, October 11, 16.30-17.00 Debussy Theatre

MIPJUNIOR

Pubcasters unite to back animation Public broadcasters come together at MIPJUNIOR for a discussion addressing the challenges and opportunities facing kids’ animation, with a focus on collaboration

Pubcasters also attending the closeddoor event include: BBC – UK NHK – Japan NPO – Netherlands NRK – Norway RTBF – Belgium RTE – Ireland RTP – Portugal RTS – Switzerland RUV – Iceland TVO – Canada ZDF – Germany

Working together increases our capacity to take creative risks and support unique stories

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Vicky Schroderus above all, happy young people. In line with the remit of public service broadcasting in general, we all share more or less the same approach to this.” Schroderus added: “Working together also increases our capacity to take creative risks and support unique stories that might struggle to get off the ground otherwise.” Both agree that the event will stimulate production among the broadcasters: “Every broadcaster has multiple projects at various stages of development, but this session is a chance to highlight the ones we are truly passionate about progressing,” Schroderus said. “Some projects may need partners; others may be looking for pre-buy opportunities. Since we often share programming needs and values, sharing these projects can reveal surprising synergies and open up avenues for collaboration.” For Klai: “Exploring these opportunities begins with keeping each other informed about interesting, promising high-quality projects that may have slipped under the radar — projects where the information may not have reached us, or may have reached us but only certain broadcasters.” She added: “By reaching out to a broad audience of public broadcasters across the globe, there are certainly still opportunities to be discovered, and co-productions or pre-sales to be considered, thereby enabling a project to gain an international presence after all.”

MIPJUNIOR PREVIEW 2026

YLE Children’s Programs’ Vicky Schroderus

sive an audience as possible, with a particular focus on children in vulnerable situations. We want to be a partner in children’s development and make a significant contribution to their development by helping them, together with all our other partners, to grow into self-reliant, tolerant, empathetic and,

‘

VRT Ketnet’s Telidja Klai

MANY in the animation industry are reporting tough times. As the media landscape changes, the behaviour of animation’s target audience changes too. But animation is beloved equally by its consumers — the kids — and its creators. So it’s not going away. Which is why public broadcasters VRT Ketnet of Belgium and YLE of Finland have teamed with MIPJUNIOR to organise a closed-door session during which kids’ public broadcasters will have the opportunity to present a chosen animation co-production project. The intention is for kids’ pubcasters from around the world to explore each other’s projects, encourage collaboration and focus on ways in which to support the animation industry. Driving the event are two key figures from the European public broadcasting sector: Telidja Klai, content manager at Belgium’s VRT Ketnet, the Flemish public children’s TV channel; and Vicky Schroderus, head of co-productions and acquisitions at YLE Children’s Programs, the children’s broadcasting arm of Finnish public broadcaster YLE. And the aim of the event: ‘To seize the opportunities to support our animation industry.’ “The biggest challenge we are facing is financing. With fewer financiers active in the market, there are simply fewer shows being made,” Schroderus said. “This makes it even more important for us to join forces behind the projects we want to greenlight. Partnerships allow us to view content from different perspectives and pool resources, which is essential in the current climate.” Klai said that changing audience behaviour is also playing a role: “The media landscape is changing rapidly, and the media behaviour of our target audience — children — has changed even more rapidly over the past decade. It is no easy feat to hold one’s ground in this jungle of change.” Public broadcasters, meanwhile, are in a special position to be able to address these issues. “Public service broadcasters often share the same objectives, reaching their specific target audience with rich, high-quality content driven by values and with specific developmental goals,” Klai said. “Each of us aims to reach as broad and comprehen-

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PRODUCT NEWS

Companies from all over the world bring their content to the international market at MIPJUNIOR. The following pages showcase a selection of the wide range of programming available for all audiences across all screens

4 MIPJUNIOR PREVIEW 2026

1. Coccole Sonore (DNA 2. Walter’s Christmas (Madgic Distribution) 3. Joseph’s Machines (Volt Factor) 4. The Black Diamond Race (Gruppo Alcuni) 5. Max And Bird (Mediawan Kids & Family) 6. Alea Aquarius (ZDF Studios)

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25/09/2026 16:34

Pocoyo (Animaj)

ANIMAJ

RAI COM FOLLOWING the success of Nefertine’s adventures in the first season, Rai Com has acquired the distribution rights and will bring the second season of Nefertine On The Nile (52 x 11 mins) to MIPCOM, bringing to life the world of ancient Egypt with more colour, music and engaging stories tailored for a young audience. The series tells the exciting adventures of Nefertine, an eight-year-old girl endowed with endless curiosity and great courage, who lives in ancient Egypt and is the daughter of the Pharaoh’s scribe. She has a unique ability for that time — she can read and write. Therefore, she aspires to become the first scribe-reporter in the history of Egypt. To exercise this talent, Nefertine records all the events in her papyrus diary. Let’s Go Timmy! (Aardman)

ONE LIFE STUDIOS TOPPING the MIPCOM slate for India’s One Life Studios is Raaya – The Great Indian Tales (18 × 11 mins), which explores what happens if every great story begins with a question. In this animated series, nine-year-old Raaya embarks on extraordinary adventures with her witty Uncle Al and Veda, a brilliant AI companion who bridges ancient wisdom with modern science. Inspired by India’s 5,000-year storytelling tradition, the series follows a seasonal story arc that begins with the biggest question of all: How did the universe begin? From there, one question leads to another. What are planets, and why do they seem to have personalities? Are temple bells really doorbells for the gods? Every answer unlocks another layer of exploration.

MIPJUNIOR PREVIEW 2026

Nefertine On The Nile (Rai Com)

PARIS-based Animaj brings a new season of Pocoyo to MIPCOM. Aimed at ages three to five, the sixth season enters a new imaginative chapter as it introduces two new aspects to Pocoyo’s world. The Fun House, built by the gang themselves, is a place where every room transforms and reconfigures to inspire endless creative play; and Vamoosh is Pocoyo’s new all-terrain vehicle with a spaceship mode, taking the gang to new worlds and bigger adventures. This season follows the relationship between Pocoyo and Bea as it evolves into a relatable sibling dynamic. Meanwhile, a light-hearted antagonist narrative is developing, featuring the comic adventures of Lord Ni and the Three Alien Stooges.

AARDMAN LET’S Go Timmy! (30 x 5 mins) is a brand-new preschool series from Aardman, combining stop-motion and 2D animation, and commissioned by CBeebies in the UK ahead of its launch in 2027. A Shaun The Sheep spin-off series set in the world of Mossy Bottom, each episode follows Bitzer as he takes Timmy and his best friends safely to school each morning, with the fun and slapstick humour you would expect from an Aardman show. MIPCOM materials include animatics, animation tests and a series bible.

Raaya – The Great Indian Tales (One Life Studios)

Tiny Mad Tractors (DNA)

ULTRA MEDIA & ENTERTAINMENT ULTRA Media & Entertainment brings a library of 3,500+ films and 17,500+ television episodes to Cannes. Its kids’ programming catalogue for MIPCOM is headed up by animated feature It’s Magic. The film follows the story of a lazy panda who enters a hidden world and is then mistaken for the hero of an ancient prophecy.

MIPJUNIOR PREVIEW 2026

DNA AFTER the success of animation series Coccole Sonore, Italy’s DNA introduces a trio of original preschool properties in Cannes. Leading the slate is Tiny Mad Tractors (26 x 8 mins), a CGI comedy-adventure series about a team of energetic little tractors discovering the world around them through curiosity, teamwork and friendship. The project includes digital ecosystem development, extending the brand’s connection with young audiences across platforms, languages and territories. Whiky & His Friends (52 x 7 mins) introduces preschoolers to a playful universe where lovable characters explore emotions, relationships and new experiences through gentle and relatable stories. A third season is currently in development. Completing the line-up is Happy Jammies, a music-driven 3D series that transforms everyday routines into magical moments, combining songs, creativity and comforting adventures to celebrate.

Adventures Of Akira & Mowgli (PowerKidz Entertainment)

POWERKIDS ENTERTAINMENT ADVENTURES Of Akira & Mowgli, from Singapore-based PowerKids Entertainment, reimagines Rudyard Kipling’s timeless classic story for a new generation. Set in the lush Seeonee jungle, the 52 x 11-minute animated series follows the antics of Mowgli — the ‘man cub’ raised by wolves — and Akira, a fearless young girl from a neighbouring village whose unexpected arrival in the jungle immediately puts her in the sights of the notorious Shere Khan. Guided by Baloo, Bagheera and a fun cast of jungle companions, the duo embarks on thrilling adventures, outwits formidable foes, uncovers long-forgotten secrets and discovers the true meaning of friendship, courage and harmony with nature. The series is co-produced by beIN Media Group, DeAPlaneta Entertainment, Telegael, TwelveP Animation, 22D Music and Wall Peeps Animation. The series is currently in production and scheduled for completion in the third quarter of 2026. 24

It’s Magic (Ultra Media & Entertainment)

GRUPPO ALCUNI CELEBRATING 25 years, the Pet Pals characters — Holly, Diva, Pio, Top Hat, Nameless and Moby — are making a comeback in Pet Pals Return (26 x 13 mins), a brand-new 2D animated series co-produced by Italy’s Gruppo Alcuni and Rai Kids, aimed at kids aged four to seven. After hit spin-offs, including Mini Pet Pals and Mini Dinos, the original gang is back in the spotlight at MIPCOM. When unicorn princess Aurora seeks their help, the heroes embark on an epic quest to save Faraway Land from the evil Crow Witch, who aspires to steal the magic of every dragon, fairy, mermaid and centaur in the enchanted kingdom. Backed by sneaky Spy Leaves and wannabe goons, their arch-enemy is stirring up trouble. The series is slated for early 2027. Gruppo Alcuni also unveils the English dub of The Black Diamond Race (9 x 45 mins), a CGI adventure series set against the backdrop of the Roaring Twenties in Europe and India. Rani is a fearless young Maharaja’s daughter who dreams of defying social norms to become a race-car champion. Aimed at pre-teens and families, the series mixes mystery, breathtaking road races and epic chases across spectacular landscapes, with a charismatic heroine, humour and heart. Pet Pals Return (Gruppo Alcuni)

KOREA’s Pixtrend highlights its new project at MIPCOM, a black-comedy/action 2D animation, the 108-episode Virus-N. Aimed at 12-year-olds, the story imagines that viruses once ruled Earth, but with the rise of humanity the viruses lost their influence and humanity became the conquerors. Unable to tolerate it any longer, the old viruses trained elite viruses to wipe out half of humanity. One hundred viruses were selected and subjected to rigorous training to learn to use humans as hosts. Smallpox, the Black Death, the flu... countless legendary viruses emerged from the school. However, humans kidnapped the viruses and created a vaccine, raising tensions once again. Meanwhile, heretics who reject the school system emerge. Perhaps they could become the viruses’ ray of hope?

Virus-N (Pixtrend)

MEDIAWAN KIDS & FAMILY MEDIAWAN Kids & Family returns to Cannes with a growing catalogue, including: Witch Detectives (26 x 26 mins/3D/CGI), about three trainee witches, Maya, Millie and Max. When Maya’s parents leave for a round-theworld trip, her clueless Uncle Markus is left in charge of the house and the family’s once-famous W Detective Agency; Karters (52 x 1 mins/3D/CGI), a preschool series in which four kids zoom around in crazy karts, encountering dangerous battles and adventures as they attempt to rescue magical unipets and save the realm; Astro Boy Reboot (26 x 26 mins/3D/CGI), based on one of the best-selling manga series ever, which became a TV hit back in 1963. The superhero is back with new storylines, including hot-button issues — the impact of the internet and social media and damage caused to the environment; the seventh season of Miraculous, and shortform spin-off Miraculous Chibi; preschool animation Max And Bird (52 x 7 mins/2D); the second season of preschool musical comedy Maddie + Triggs; Little Charlie (26 x 7 mins/2D); Showtime (52 x 11 mins/2D); the second season of Monster Loving Maniacs (52 x 12 mins/2D); and Duck & Frog (50 x 7 mins/2D).

MIPJUNIOR PREVIEW 2026

PIXTREND

Witch Detectives (Mediawan Kids & Family)

Vanishing Point (BBC Studios)

BBC STUDIOS A MIPCOM focus from its kids slate for BBC Studios is Vanishing Point (26 x 22 mins), made by BBC Studios Kids & Family Productions for BBC Children’s and Education and France Télévisions. The bold new comedy-action animation follows a group of four inquisitive teenagers — Ivy, Cole, Splash and Zefi — whose world is turned upside down when their town is overrun with ordinary-looking everyday objects infused with bizarre, unpredictable powers. In the face of such a baffling situation, the new friends must set aside their differences and team up to protect Vanishing Point from forces that could tear it apart forever.

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MADGIC DISTRIBUTION

BOAT ROCKER STUDIOS HARLO (52 x 11 mins) is a brand-new 2D animated preschool series from Boat Rocker Studios and Industrial Brothers, which follows a cautious five-and-a-half-yearold bunny who navigates everyday adventures with his single dad and best friends, Tula and Maple. Now in production, the series will debut on CBC in Canada in 2027. For the tween age group, Boat Rocker presents The Next Step: Cheer (20 x 30 mins), which has just been greenlit for a second season by CBBC/iPlayer. A spin-off of the long-running The Next Step franchise, Cheer takes audiences inside the world of competitive cheerleading. When the Comets’ legendary coach leaves for a rival cheer team, The Next Step’s Kenzie (Emmerly Tinglin) steps in to take her place. But with so many of the Comets’ star athletes leaving with their coach, Kenzie must fill the team’s roster and recruit enough new talent to build a winning squad from scratch.

fully his magical abilities. Alongside his wolf-shifting friend Tala, he must face a mysterious new figure hunting the magical creatures of the Endless Forest, forcing Walter to overcome doubts about his true purpose.

STUDIO ANIMAL Princess Hurricane (Studio Animal)

MIPJUNIOR PREVIEW 2026

PARIS-based Madgic Distribution is launching new seasons of its live-action series High Hoops and Walter’s Christmas in Cannes. The third season of High Hoops (10 x 30 mins) is a live-action comedy produced by Can Can Productions for CBBC in the UK. Seasons 1 and 2 have already proven popular internationally, with the show airing in France on Canal+, ARD/KiKa in Germany, ABC Australia and TVO in Canada. Season 3 of High Hoops sees Aoife and the Vipers unexpectedly promoted to the Elite League, throwing Midvale’s favourite basketball team into a whole new world of fierce rivals, intense competition and sudden fame. Aoife is determined to prove the Vipers belong at the top. The second 24-episode season of Walter’s Christmas is a Danish-language fantasy live-action series produced by Cosmo Film for TV2 Denmark. The second season returns to the family at the Egebjerggård farm as they prepare for their traditional Christmas market. Walter, now established as the ‘Keeper of the Forest’, struggles to master

High Hoops (Madgic Distribution)

Harlo (Boat Rocker Studios)

WHEN a legendary troublemaker wakes up as a princess — and a kind-hearted girl suddenly dreams of becoming the toughest in school — worlds seem to have been flipped by a mysterious curse. The only way back is a true love’s kiss. But do they even want to go back? As they face chaotic battles, tangled emotions and secrets from their past lives, they begin to question who they really are and what they truly want. In a world where curses, kisses and high-school drama collide, the best kind of transformation might be the one they never expected. Princess Hurricane (26 x 11 mins) is brought to Cannes by Korean producer Studio Animal.

Magic Lilly (DeAPlaneta Entertainment)

MIPJUNIOR PREVIEW 2026

DEAPLANETA ENTERTAINMENT IN THE coming months, Spain’s DeAPlaneta Entertainment is completing its new titles, including Karters, Underdog, Bernard and Magic Lilly, the animated sequel to the publishing phenomenon Hexe Lilly. The series follows a young witch as she navigates the challenges of balancing her magical adventures with the everyday life of an ordinary girl. Its first season will comprise 26 x 22 mins and has already secured several broadcast partners: Super RTL (Germany), Rai Kids (Italy), VRT (Belgium), Clan RTVE (Spain) and 3Cat (Catalonia). The third season of Milo (52 x 11 mins) is also set to premiere in 2027, with the kitten and his friends continuing to explore the amazing world of vocations. The series will feature new characters and original music.

ZDF STUDIOS The Baddies (Magic Light Pictures)

MAGIC LIGHT PICTURES MAGIC Light Pictures’ latest adaptation from the best-selling picture books by Julia Donaldson and Axel Scheffler, The Baddies (1 x 30 mins), is about a troll, a ghost and a witch who love nothing more than being bad and boasting about it. When a girl with a blue spotty hanky moves into a cottage nearby, the Baddies quarrel about all the nasty tricks they want to play on her. Then a mouse sets a challenge for the Baddies to see who can steal the hanky. Soon they learn that they may have met their match in the little girl. Packed with mischief, humour and heart, this adventure is a celebration of courage, kindness and the power of standing up to bullies. Brought to the international market by the UK’s Magic Light Pictures, the film features a star voice cast, with Rob Brydon voicing Ghost, Alison Steadman as Witch, Hammed Animashaun as Troll, Robyn Cara as Girl and Francesca Mills as Mouse, alongside Sheridan Smith as the Narrator.

FROM the live-action kids’ slate from ZDF Studios comes: Alea Aqarius (26 x 26 mins), set in a magical civilisation where a teenage couple of merpeople work to save the water world from pollution; The Lady Grace Mysteries (23 × 24 mins), set in the court of Queen Elizabeth I, follows a clever teenage girl who secretly works as a spy for the Queen; and, 20 years after their screen debut, H2O – Just Add Water (78 × 26 mins/3 × 90 mins), about teenage mermaids. From the animation genre comes: 20 Dance Street (26 x 26 mins), about Maya, who joins the Paris Opera Ballet School and, with the help of Bilal, a talented and witty dancer, discovers her own extraordinary abilities; H2O – Mermaid Adventures (26 x 26 mins); and Sam And Julia (78 x 7 mins), in which Julia the mouse moves into The Mouse Mansion and meets a new friend, Sam.

20 Dance Street (ZDF Studios)

Tin (TwelveP Animation)

CHICKIES (78 x 7 mins), aimed at four- to seven-year-olds, follows Chicky, Bekky and Poyo, three curious and cheerful chicks who have had enough of being cooped up. Any chance they get, they slip away to explore the world outside the henhouse. Objects, animals, flowers, scents… everything around the henhouse and on the farm is like a magnet attracting them. Venturing into the world becomes a true adventure, with the chicks’ naivety inevitably leading to hilarity and a series of disasters. Chickies is a spin-off from Xilam short-form, non-dialogue comedy Where’s Chicky? produced by Cube Creative. Xilam has already secured a presale with France Télévisions to bring this fresh version of the characters to the screen. The first episodes are available to be seen in Cannes, with full delivery due in 2027. Chickies (Xilam Animation)

TWELVEP ANIMATION ABU DHABI-based TwelveP Animation is debuting new teen show Tin at MIPCOM. The animated cyberpunk adventure series (26 x 22 mins) is aimed at 12- to 14-year-olds and is produced by Dikidigital and Kinopoisk with TwelveP Animation handling international distribution. In the City of Tomorrow, everyone strives to become the ideal, except Tin, an ordinary teenage girl who refuses to change who she is. After discovering a mysterious power awakened by the scar on her face, Tin learns that only she can save the city from catastrophe. MIPJUNIOR PREVIEW 2026

XILAM ANIMATION

CAKE SET IN the vibrant island world of Mandaria, Ranger Buddies (26 x 11 mins) follows best friends Min and Al, two young wildlife rangers dedicated to helping their community and caring for the incredible animals that call it home. Whether something needs fixing, a problem needs solving or a neighbour needs a helping hand, every mission is an opportunity to work together with their animal friends to make Mandaria an even better place. Through action-packed stories that blend adventure, comedy and wildlife discovery, Ranger Buddies celebrates teamwork, kindness and environmental care, showing young audiences how small, positive actions can drive big change for wildlife and the planet. Produced by Cake, this series is inspired by Singapore’s Mandai Wildlife Group’s successful real-world Ranger Buddies global citizenship programme, an educational ecosystem and in-park experience that aims to empower kids to care for wildlife and create a better future for the planet. Currently in production, the series, aimed at four- to six-year-olds, launches at MIPCOM. Ranger Buddies (Cake)

SPIRITUM ENTERTAINMENT Bumpy, The Bear (Spiritum ANIMATION Entertainment Animation)) ARGENTINA’s Spiritum Entertainment, the company behind the Spanish-language preschool series Plim Plim, in co-production with Spanish animation studio Krakatoa, is launching Bumpy, The Bear to the international market in Cannes. The new preschool property is produced with the participation of Televisión Española (RTVE). The series is a musical comedy designed for short-form, digital-first viewing, initially comprised of 52 x three-minute music videos, complemented by 52 x 40-second shorts created specifically for social-media platforms. The content places memorable music and strong character recognition at its heart, while creating a foundation for the property to grow across television, consumer products, licensing, live experiences and additional platforms. 29

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17-20 NOVEMBER 2026 MOON PALACE, CANCUN, MEXICO More information www.mipcancun.com

Cabeon Evolution (Dream Factory Studio)

DREAM FACTORY STUDIO KOREAN animation company Dream Factory Studio will introduce Cabeon Evolution (26 x 11 mins), its new 3D action-adventure series, at MIPCOM. Building on the world of the previous Cabeon series, while introducing upgraded character designs, storytelling and visual quality, Cabeon Evolution takes the franchise into a more competitive adventure. Set on the mysterious Dream Island, Wooju and his friends enter a survival league where they hunt for increasingly powerful Dark Cabeons, form alliances and face unexpected rivalries on their journey to become the last champion standing. The project is in production and scheduled for completion in the second quarter of 2027. At MIPCOM, Dream Factory Studio is seeking international partners for co-production, gap financing, distribution, broadcasting and licensing, as it prepares Cabeon Evolution for its next stage of global expansion. Cabeon Evolution will also be presented as part of the MIPCOM pitching showcase.

IMAGE IN PRE-SCHOOL series Coco Boo (52 x 5 mins) features playful, egg-shaped characters that emerge each day in the heart of Coco Valley to face fun and fantastical challenges, solving problems through music, creativity and teamwork. Produced by Montreal-based Image In, the show is presented in Cannes by Bejuba! and was commissioned by four Canadian broadcasters; Radio-Canada, TVO, TFO and Knowledge. Image In is also showcasing Océane (13 x 26 mins), a coming-ofage series for tweens. The series follows a young singer living in Gaspésie, Canada, who decides to seize her chance and cross the Atlantic to conquer Paris. Océane is currently in production, with music and the music industry at its heart.

PVP MEDIA and Jonas & Co bring Let’s Go Froggy! (39 x 7 mins) to MIPCOM. The pre-school CGI-animated series is based on the bestselling Froggy book series by Jonathan London and Frank Remkiewicz, with animation by Blue Spirit Productions. Froggy lives in a vibrant small town on the edge of the pond, where every day is a new adventure waiting to happen. Funny, big-hearted and endlessly enthusiastic, he tackles the ups and downs of childhood alongside his family and friends, with humour and music leading the way. Each episode blends comedy and original songs while exploring themes of kindness, community and resilience in a light-hearted way.

MIPJUNIOR PREVIEW 2026

PVP MEDIA

Let’s Go Froggy! (PVP Media)

Coco Boo (Image In)

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GAUMONT

GREEN INK ANIMATION ITALY’s Green Ink Animation premieres MiniDinos (26 x 6 mins) at MIPCOM, a Mini Pet Pals spin-off co-produced with Gruppo Alcuni and Rai Kids. The pre-school series features eight tiny dinosaurs defending their valley from the Wackysaur bullies. Enter Diluviana, a wise baobab tree granting Bump and friends animal superpowers to outsmart the intruders — armed with a chameleon’s camouflage, ants’ teamwork, an owl’s night vision, or a cheetah’s speed. Building on its prequel Mini Pet Pals & Mini Dinos — where characters learned that diversity is an enrichment — this new series continues promoting healthy values like friendship and team effort, with a focus on learning.

Heidi (Gaumont)

SERIOUS KIDS TASTE Buddies (52 x 7 mins), a coproduction from Pikkukala, Dibulitoon Studio and Ink and Light Films, in collaboration with RTVE, 3Cat, RTE Jr and YLE, is brought to Cannes by distributor Serious Kids. Leo is a six-year-old boy who spends quality time in the kitchen with Mum and Dad, who are expecting a little girl very soon, and his lovely grandmother. As a family with a diverse food culture, their motto is to ‘Eat the Rainbow’ and Leo does just that. Leo also has five little Taste Buddies in his kitchen — Sweet Suzy, Salty Sam, Sour Sarah, Umami Umi and Bitter Betty — great friends who work together to find new taste combos for Leo from around the world. They embark on food-finding adventures to help Leo complete his rainbow on the fridge at home. Another title showcased is Mog’s Bad Thing (1 x 24 mins), Lupus Films’ latest hand-drawn animated adaptation of Judith Kerr’s picture books. Mog’s Bad Thing sees the return of the lovable family cat whose warm-hearted and funny adventures have delighted generations of readers.

MIPJUNIOR PREVIEW 2026

MiniDinos (Green Ink Animation)

HEIDI (6 x 45 mins) is a live-action family adventure series that revisits one of the world’s most beloved literary icons. Based on Johanna Spyri’s timeless classic novel, the series follows 12-year-old Heidi as she takes her first steps towards adolescence. A big-hearted, courageous and sometimes impulsive girl, Heidi embarks on new adventures between the magnificent Swiss Alps and Frankfurt, discovering friendship, responsibility and unexpected emotions. Blending adventure, humour and heartfelt storytelling, the series explores universal themes of family bonds, community spirit, personal freedom and growing up. One of the world’s most enduring literary properties, Heidi has inspired more than 15 film and series adaptations and continues to resonate across generations. The launch of the series coincides with the 200th anniversary of Johanna Spyri’s birth. Produced by DCM Switzerland and Gaumont, the series will premiere on RTL (Germany) and SRF (Switzerland) in 2027.

Taste Buddies (Serious Kids)

Nish (Kassiwi Media)

PRESTIGO CANADA’s Prestigo brings two new live-action series to Cannes. In Sequoia’s Rainbow Tree (44 x 7 mins), Sequoia, with the help of her Rainbow Tree and neighbourhood kids, discovers the connections between different aspects of nature. Mystery Lake Camping (10 x 22 mins) follows campground owner Martin’s disappearance, after which his 14-year-old niece, Alex, suspects foul play. She leads a diverse group of teens to uncover a dark conspiracy involving genetically modified animals and addictive beauty products. Both are available internationally.

MIPJUNIOR PREVIEW 2026

KASSIWI MEDIA A MYSTERIOUS disappearance, first love and deep friendships intertwine against a backdrop of breathtaking landscapes of First Nation communities in Canada in Nish, a live-action youth fiction series adapted from Isabelle Picard’s novel Nish: Le Nord Et Le Sud. The story takes place primarily within the Innu community of Matimekush, located 510 km north of Sept-Îles, as well as in Wendake, near Quebec City. Through the lives of 13-year-old twins Éloïse and Léon, and the bonds that tie them to the communities, the series highlights the vital importance of family to First Nations peoples. Isabelle Picard, a renowned Wendat ethnologist and writer from Wendake, is dedicated to raising awareness about the realities of Quebec’s First Nations.

Sequoia’s Rainbow Tree (Prestigo)

VOLT FACTOR VOLT Factor, the recently launched platform built to scale creator IP into global consumer brands, is at MIPCOM for the first time with a strong focus on creator-led intellectual property and innovative content formats designed to meet the evolving needs of global content buyers. The company is actively collaborating with streamers to license library content and develop original programming that can launch as flexible short-form series (100 x 3 mins or 52 x 11 mins) and be repackaged into 8-, 11-, 22-, 44- or 60-minute formats for distribution across multiple platforms and territories. Volt Factor is showcasing a portfolio of digital-first creators who have built passionate fan communities worldwide, including Triple Charm, WhatsUpMoms, Josephs Machines and Dr. Plants. Dr. Plants (Volt Factor)

MEDIA IM MIMI & Kiki, in development, is a non-dialogue preschool series starring Mimi, the cheerful little frog from the Sunny Bunnies series, and Kiki, her cat friend. Together, they discover that even ordinary everyday objects can inspire extraordinary adventures, and that they can solve tricky problems and learn lessons along the way. A pilot is available. Media IM also brings two seasons of Zola And Friends (26 x 11 mins), about a young white rhino living her best life at Camp Serengeti with her friends. Mimi & Kiki (Media IM)

TV. FILM. BOOKS. GAMING. A New TWO-DAY CONFERENCE SPORT. MUSIC. CREATORS. PODCASTS. BRANDS. 053_MIP TALKS_PV_COM

16-17 MARCH 2027 LONDON BOOK FAIR EXCEL LONDON, UK

TV. FILM. BOOKS. GAMING. SPORT. MUSIC. CREATORS. PODCASTS. BRANDS. FROM IP TO FANDOM. FROM FANDOM TO GLOBAL BUSINESS.

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