TV Kids October 2009

Global Brands Live-Action Shows Disney’s Anne Sweeney

MIP JUNIOR & MIPCOM EDITION

Hasbro’s Brian Goldner Selena Gomez Turner’s Stuart Snyder Five’s Nick Wilson Ragdoll’s Andrew Davenport www.tvkids.ws

THE MAGAZINE OF CHILDREN’S PROGRAMMING

OCTOBER 2009

10

TV KIDS

CONTENTS

Features 60 Taking Flight Leading executives shed light on their strategies for creating global hits in today’s economy.

72

72 True to Life Live-action shows targeting the tween set are still generating loyal fan bases across the globe.

Licensing Special Report Backing Up Brands Ricardo Seguin Guise

Publisher Anna Carugati

Against the backdrop of a cautious licensing and merchandising market, rightsowners are employing a variety of strategies to extend their brands into retail.

Editor Mansha Daswani

Executive Editor Kristin Brzoznowski

Managing Editor Lauren M. Uda

Production and Design Director Simon Weaver

Hasbro’s Brian Goldner The toy giant has created a content-production unit ahead of the launch of its joint-venture kids’ channel with Discovery.

French Animation Special Report

Online Director

Rising to the Top

Phyllis Q. Busell

France’s animation industry remains one of the most prolific in the world, with a busy production sector feeding local terrestrials, cable and satellite channels and the worldwide market.

Art Director Tatiana Rozza

Sales and Marketing Director

60

Kelly Quiroz

Sales and Marketing Manager Rae Matthew

Business Affairs Manager Cesar Suero

Sales and Marketing Assistant

Interviews

98

82 Disney’s Anne Sweeney The co-chair of Disney Media Networks and president of Disney/ABC Television Group talks about creating franchises.

84 Selena Gomez

94 Five’s Nick Wilson

The multitalented teenager is the star of Disney Channel’s Wizards of Waverly Place and Princess Protection Program.

A Q&A with Five’s director of children’s programming, who oversees the popular Milkshake! block.

90 Turner’s Stuart Snyder

98 Ragdoll’s Andrew Davenport

Turner Broadcasting’s president and COO of animation, young adults and kids’ media reflects on Cartoon Network’s successes.

Ragdoll Productions’ creative director discusses his latest creation, the CBeebies hit In the Night Garden.

Ricardo Seguin Guise

President Anna Carugati

Executive VP and Group Editorial Director Mansha Daswani

VP of Content Strategy TV Kids © 2009 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website:

www.tvkids.ws

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TV KIDS

4Kids Entertainment www.4kidstv.com

Highlights • Rocket Monkeys • Chaotic • Turtles Forever • Dinosaur King • Yu-Gi-Oh! 5Ds

Brian Lacey, 4Kids’ executive VP of international, is looking forward to a productive MIPCOM.“We fully expect to see a bounce in the acquisitions market as broadcasters who have been relatively inactive for the past six to nine months due to the global economic downturn now need to freshen up their schedules.”To fill that demand, 4Kids is bringing to market content that is “entertaining and promotable.” He cites a ninth season of the hit Yu-Gi-Oh! franchise, as well as the 81-minute special Turtles Forever, commemorating the 25th anniversary of Teenage Mutant Ninja Turtles. In addition, Lacey says, “newer content like Dinosaur King and Chaotic are building strong broadcast franchises around the world.

Finally, there is strong pressure to keep program schedules fresh with entirely new content—which explains why we expect Rocket Monkeys will be very attractive, as it captures both the boy and girl viewing demographic.”

Chaotic

“ Broadcasters who have been relatively inactive for the past six to nine months…now need to freshen up their schedules.

”

—Brian Lacey

9 Story Entertainment www.9story.com

Highlights • Survive This • Wibbly Pig • Almost Naked Animals • Bash Boyz • Futz!

Canada’s 9 Story Entertainment has secured a range of broadcast slots for its YTV live-action series Survive This, including in the U.S. with Cartoon Network. On the heels of those sales, the company heads to MIPCOM with a second season in the works. It will also be sharing with clients new episodes of its animated comedy Almost Naked Animals, based on the website of the same name.

“Our shows will appeal to buyers as they are returning series with a solid track record,” says Natalie Osborne, the executive VP of business development. Other highlights for Osborne include new episodes of the preschool property Wibbly Pig, plus the older-skewing action comedy Futz! “The economic situation has created really unique opportunities for independent producers, like us, to branch out to different genres like reality and comedy for kids, which we are doing,” Osborne notes.

Futz!

“ The economic situation has created really unique opportunities for independent producers, like us, to branch out to different genres like reality and comedy for kids.

”

—Natalie Osborne

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Wibbly Pig

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Amberwood Entertainment www.amberwoodanimation.com

Highlights • The Secret World of Benjamin Bear • RollBots • Rob the Robot

Amberwood Entertainment is highlighting a crop of new and returning brands in Cannes this market. The Secret World of Benjamin Bear is in its fourth season for Playhouse Disney Canada, complemented by a new online component. “It is a proven property that generates strong performance ratings,” says Jonathan Wiseman, Amberwood’s senior VP. The 26x30-minute YTV commission RollBots is slated to begin its rollout this fall.“The brand continues to be picked up worldwide by top-tier broadcasters, strong merchandising agents and world-renowned licensees in major product categories,” Wiseman states.

And the preschool series Rob the Robot is in pre-production for TV Ontario with Singapore’s One Animation. In addition, Wiseman says, “Amberwood has an aggressive development slate with fresh and unique properties for preschoolers, 6-to-11 viewers, and tweens. The concepts [each] have a natural online and merchandisable element that is key to the brand.”

“

le b The Secret World of Benjamin Bear

RollBots

“ Amberwood has an aggressive development slate with fresh and unique properties for preschoolers, 6-to-11 viewers and tweens.

”

—Jonathan Wiseman

Ankama www.ankama.com

Highlights • Wakfu • Dofus Pets

Ankama is a well-established digital-media company in France that has only recently entered the televisionproduction arena with its series Wakfu, commissioned by M6.The adventure story will pique the interest of kids’ channels worldwide, according to Jérôme Chatelain, Ankama’s international sales manager, because of its strong multiplatform potential. “The Wakfu TV series is at the center of, and is based within, a cross-media concept, including an online game, comic books and licensed product.” He continues:“The Wakfu universe is a sequel to our first online game, Dofus, which [attracted] more than 20 million players worldwide.”

Dofus Pets is another multiplatform property from Ankama.The series of 90-second shorts is inspired by the Dofus online game.Thinking cross-platform is crucial for content producers today, Chatelain says.“Kids are spending more and more time on the Internet.We have to create concepts where TV and online meet and create interactions for deepening the viewers’ experience.”

Wakfu

“ We have to create concepts where TV and online meet and create interactions for deepening the viewers’ experience.

”

—Jérôme Chatelain Dofus Pets

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Australian Children’s Television Foundation www.actf.com.au My Place

Highlights • • • •

Lockie Leonard My Place Deadly Mortified

At MIPCOM, the Australian Children’s Television Foundation’s (ACTF) international sales executives, Roberta Di Vito and Tim Hegarty,will be placing an emphasis on the second season of Lockie Leonard and the new series My Place, as well as returning fare like Mortified. Also available is a new bookbased animated show, Deadly. Di Vito and Hegarty say the slate exemplifies the standards set by the ACTF over the years.“The ACTF is a world-renowned producer of top-quality children’s programs, with sales to more than 100 territories. The titles mentioned above are all unique and highly entertaining—children around the world will identify with the characters and their experiences.”

“ The ACTF is a world-renowned producer of top-quality children’s programs, with sales to more than 100 territories.

”

—Roberta Di Vito and Tim Hegarty Mortified

BRB Internacional www.brb.es

Highlights

“You will find not

• The Secret Life of Suckers • Kambu • Canimal • Zookaboo • Khuda-Yana

At MIPCOM, BRB Internacional will be introducing new animated series from its studio,Screen 21.For Carlos Biern,the executive VP of co-productions and worldwide distribution, these shows deliver “not only the best CG production you can find in Europe but a really creative look and funny storytelling, as always provided by Screen 21.” Biern highlights Zookaboo, which is being produced in stereoscopic 3-D,and Canimal,in HD 3-D.“It extremely interesting to find a [place] for 3-D in the home instead of just in the theaters, especially when the property is conceived for 3-D.” Biern stresses the importance of multiplatform with BRB’s properties. “We have brands,” he says.

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only the best CG production you can find in Europe but a really creative look and funny storytelling, as always provided by Screen 21.

”

—Carlos Biern

Canimal

Breakthrough Entertainment www.breakthroughfilms.com

Highlights

“ In a fiercely competitive and some-

• Dino Dan • Fishtronaut • Think Big

Dino Dan, a half-hour show for the 4-to-11 set, tops Breakthrough Entertainment’s list of new kids’ programs. “In a fiercely competitive and somewhat cluttered kids’ market, buyers are looking for standout programming,” says Nat Abraham, the company’s head of distribution. “The uniqueness and freshness of Dino Dan’s visuals and story lines will fit that bill. Using very sophisticated CGI, there are 18 photorealistic dinosaurs that are integral to every episode of the series. Just based on the initial pilot, TV Ontario in Canada as well as Noggin in the U.S. prebought the series. Now it is launching for the rest of the world.”

Also taking top billing is the animated preschool show Fishtronaut and a second season of the TVO commission Think Big.

what cluttered kids’ market, buyers are looking for standout programming.The uniqueness and freshness of Dino Dan’s visuals and story lines will fit that bill.

”

—Nat Abraham

Dino Dan

CAKE www.cakeentertainment.com

Highlights • Angelo Rules • Hareport • Total Drama The Musical

“Angelo Rules

CAKE is continuing its successful partnership with France’s TeamTO with Angelo Rules, following the fruitful collaboration on Hareport. “Angelo Rules and Hareport are state-of-the-art European content CG animation, but with U.S. voice talent and script editing, which combine to create compelling comedy action series for 6- to 9-year-olds,” says Genevieve Dexter, a partner and the commercial director at CAKE. The company is also bringing to the market the latest in the Total Drama franchise. “Total Drama The Musical is the third in the series, giving us a total of 78 halfhours available with great international ratings information for buyers from the first two [seasons], especially from Cartoon Network in the U.S.,” Dexter notes.

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and Hareport are state-of-the-art European content CG animation, but with U.S. voice talent and script editing.

”

—Genevieve Dexter

Angelo Rules

CCI Entertainment www.ccientertainment.com

Highlights

“ CCI has a very

• Artzooka!

• Erky Perky • Turbo Dogs • The Time Compass • Project Green Generation

Artzooka! is a live-action/CGI blend from CCI Entertainment that is slated to air on CBC and Nickelodeon Germany. “This high-production-value original series can be done at an attractive cost,” says CEO Arnie Zipursky. CCI is also bringing to MIPCOM a third season of Erky Perky. In addition, Zipursky says,“We are developing the edutainment segment of our portfolio and are thrilled to be distributing The Time Compass. The mixed-media multiplatform format of the show makes it unique.

Overall, CCI has a very diverse offering at MIPCOM for the kids’, family and factual buyers, and is looking forward to a successful market.”

diverse offering at MIPCOM for the kids’, family and factual buyers, and is looking forward to a successful market.

”

—Arnie Zipursky Erky Perky

Classic Media www.classicmedia.tv

Highlights

“[We’re offering] high-

• Tinga Tinga Tales • Kung Fu Magoo • Shelldon • Lassie • Casper’s Scare School

quality, strong brands that do not just appeal to kids, but to the whole family.

”

Classic Media’s MIPCOM slate benefits from being filled with “high-quality, strong brands that do not just appeal to kids but to the whole family,” says Chloe van den Berg, the executive director of international distribution. “Tinga Tinga Tales provides big, bold stories about how all your favorite animals came to be,” she says of the show, due for a 2010 launch. “Kung Fu Magoo is a brandnew opportunity for this all-time classic hero to bring laughter to a whole new generation” in an 80-minute feature.“Shelldon will encourage children to understand a whole new world under the oceans; and Casper is without doubt the world’s friendliest ghost, that everyone wants to befriend.”

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—Chloe van den Berg

Tinga Tinga Tales

Cookie Jar Entertainment www.thecookiejarcompany.com

Highlights

“Cookie Jar is bringing

• Kung Fu Dino Posse • Doodlebops Rockin’ Road Show • Busytown Mysteries • Arthur • Metajets

Jean-Michel Ciszewski, Cookie Jar’s senior VP of television and home entertainment, is expecting the company’s shows to strike a chord with a range of broadcasters.“Cookie Jar is bringing a wide variety to MIPCOM that will appeal to buyers and viewers around the world. We have something for everyone.” There’s Kung Fu Dino Posse— which Ciszewski calls a “hilarious new comedy series”—Doodlebops Rockin’ Road Show, Busytown Mysteries, Metajets and a new season of Arthur. Cookie Jar will also be looking for co-production opportunities.

“We’ve found success working with companies all over the world, including in Korea, South Africa,Argentina and Germany.”

a wide variety to MIPCOM that will appeal to buyers and viewers around the world. We have something for everyone.

”

—Jean-Michel Ciszewski Metajets

Cyber Group Studios www.cybergroupstudios.com

Highlights • Animalia • Guess What?

• Ozie Boo!:Winter Adventures • Fish’N’Chips • Tales of Tatonka

Cyber Group Studios’ preschool hit Ozie Boo! has been licensed into some 160 countries. Cyber Group is now extending the franchise with Ozie Boo!: Winter Adventures. Other preschool titles include Guess What? and Tales of Tatonka, a new show about a pack of cubs that is being supervised by former BBC children’s executive Theresa Plummer. Skewing older is the comedy Fish’N’Chips. Rounding out the slate is Animalia.Whatever the production style and genre, Pierre Sissmann, chairman and CEO, says,“Our vision is to deliver high-quality entertainment for children, [and] to really focus on stories and on technology.”

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Fish’N’Chips

“

Our vision is to deliver high-quality entertainment for children, [and] to really focus on stories and on technology.

”

—Pierre Sissmann

special roll-out package for all platforms

Distributed by ZDF Enterprises Sales, Merchandising and Coproductions | Lise-Meitner-Str. 9 | 55129 Mainz | Germany programinfo@zdf.de | www.zdf-enterprises.de | Phone: +49 (0) 6131 - 991 281 | Fax: +49 (0) 6131 - 991 259

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DECODE Enterprises www.decode.tv

Highlights

“ We are excited

• dirtgirlworld • How To Be Indie • That’s So Weird • Grandpa in My Pocket • Animal Mechanicals

DECODE’s shows for MIPCOM are an equal balance of preschool and live-action tween fare. For younger ones there’s dirtgirlworld, which “will appeal to buyers with its outstanding storytelling, music and timely environmental theme,” says Josh Scherba, the senior VP of distribution. Also on the animated preschool end is Animal Mechanicals, while in live-action there’s Grandpa in My Pocket. Targeting tweens, meanwhile, is How to Be Indie and, rounding out Scherba’s highlights, That’s So Weird, a sketch-comedy show.“We are excited about debuting brand-new shows for buyers, as well as offering new episodes of more established series that continue to perform well.”

about debuting brand-new shows for buyers, as well as offering new episodes of more established series.

”

—Josh Scherba dirtgirlworld

DQ Entertainment International www.dqentertainment.com

Highlights • The Jungle Book • Lassie • Toomai:The Elephant Boy • Tara Duncan • Iron Man

DQ Entertainment has become a go-to partner for companies seeking co-producers in Asia. Its partnerships include Tara Duncan with MoonScoop and Lassie with Classic Media. DQ is also developing its own IP, and is highlighting The Jungle Book. The 3-D series, inspired by the Rudyard Kipling classic, has attracted ZDF, ZDF Enterprises,TF1 and MoonScoop, among others, as partners.

Another Kipling-based property is Toomai: The Elephant Boy. “All [our] properties are iconic brands which have made a huge impact on viewers for generations and have been welcomed by broadcasters, distributors and licensors with open arms,” says DQ’s chairman,Tapaas Chakravarti.

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The Jungle Book

“All [our] properties are iconic brands which have made a huge impact on viewers for generations and have been welcomed by broadcasters.

”

—Tapaas Chakravarti

Evergreen Media www.evergreenentertainment.tv

Highlights • Shapes • TipTop • XOL • Crazy Cavemen

“ There is always room in the marketplace for a broad spread of original high-quality kids’ programming.

Following the success of the first season of Shapes, Evergreen Media will be talking to its clients about a second season. Evergreen is also working on XOL, an action comedy.

From Hungary’s Wyvern Images, meanwhile, comes the 3-D show TipTop, which, according to Evergreen’s sales executive, Katheryn Needham, is “aimed at very young kids—no dialogue, plenty of laughs and some educational touches.” Needham also highlights Crazy Cavemen, a dialoguefree 3-D series pilot commissioned by CBBC. “Evergreen believes that there is always room in the marketplace for a broad spread of original high-quality kids’ programming, and the titles we are bringing to MIPCOM reflect this,” Needham says.

”

—Katheryn Needham

TipTop

FitzRoy Media www.FitzRoyMedia.com Funny Face

Highlights • Funny Face • HeathCliff • Daktari Park

In the 1960s, Pillsbury in the U.S. launched a line of fruit-based animated characters to promote a new children’s drink mix. The characters went on to spawn a range of merchandise, and today are being brought back in a series of 25 minute-long interstitials for tween and teen viewers. Scoring sales on the show, Funny Face, is one of FitzRoy Media’s top priorities at MIPCOM. Another classic brand being refreshed by FitzRoy is HeathCliff, with an animated feature in the works. FitzRoy is also developing an animated TV series, Daktari Park, based on the live-action drama that aired on CBS in the late ’60s.“Funny Face, HeathCliff and Daktari Park are brands with legacy, maintaining years of equity and recognition built into them,” says CEO Hamp Hampton.

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“Funny Face, HeathCliff and Daktari Park are brands with legacy, maintaining years of equity and recognition built into them.

”

—Hamp Hampton

Gaumont-Alphanim www.gaumont-alphanim.com

Highlights • The Mysteries of Alfred Hedgehog • Mouss & Boubidi • Gawayn • Matt’s Monsters • Galactik Football

Under the ownership of the Gaumont Group, Alphanim is expanding its business beyond kids’ TV. One area has been animated features, with Eleanor’s Secret out this Christmas.“We want to reach kids with all types of entertainment—animation, live action,TV,cinema,”says Clément Calvet,the managing director. But TV series are what the company is best known for. It arrives at MIPCOM with The Mysteries of Alfred Hedgehog, a new season of Galactik Football, the comedy fillers Mouss & Boubidi, the comedy Gawayn and Matt’s Monsters. “We are doing cartoons, comedies for teens, motion capture [animation]—we try for every possible niche in the market.”

“ We want to reach kids with all types of entertainment— animation, live action, TV, cinema.

”

—Clément Calvet

Matt’s Monsters

Hasbro Studios www.hasbro.com

Highlights

“ Hasbro owns an

• Romper Room • My Little Pony • Transformers

Next year,the Discovery Kids network in the U.S. will be replaced with a new channel, operated as a joint venture with toy giant Hasbro. Ahead of the launch, Hasbro has set up Hasbro Studios to develop programming based on its huge stable of brands.“MIPCOM is the ideal venue to introduce Hasbro Studios to the international content community,” says Stephen Davis, the president of the new division. “Hasbro owns an amazing portfolio of beloved brands that have achieved sustained global recognition. Our move into television provides another powerful entertainment tent-pole for delivering great content through television, online and mobile platforms all over the world.” Brands being explored for adaptation include Romper Room, My Little Pony and Transformers.

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amazing portfolio of beloved brands that have achieved sustained global recognition.

”

—Stephen Davis

My Little Pony

HIT Entertainment www.hitentertainment.com

Highlights • Angelina Ballerina:The Next Steps • Thomas & Friends • Fireman Sam • Monkey See Monkey Do • Clay Play

HIT Entertainment has a variety of preschool fare to offer up. Alison Homewood, the executive VP of worldwide programming distribution, notes that the shows, led by new seasons of Angelina Ballerina: The Next Steps and Thomas & Friends,“all share a number of core values.They have entertaining stories, strong characters, rich worlds, high production values and great music, but at the same time, they all have a strong educational angle.” HIT is also offering Fireman Sam, Monkey See Monkey Do and Clay Play.

“With commission and production budgets cut across the market, the interest in acquisitions naturally grows, particularly across strong brands such as ours.”

“[Our shows] have entertaining stories, strong characters, rich worlds, high production values and great music.

”

—Alison Homewood Thomas & Friends

I.M.P.S. www.smurf.com

Highlights • The Smurfs • The Smurfs and the Magic Flute

I.M.P.S. is continuing to find interest in the classic animated series The Smurfs. The Belgian company is offering up 272 episodes about the pint-sized blue creatures, as well as the 1975 feature The Smurfs and the Magic Flute. “The Smurfs are [symbols] of respect, tolerance, wisdom, social life, dialogue, hope, optimism and faith in the future,” says William Auriol, the CEO of I.M.P.S. “The values that the Smurfs represent are universal and timeless, so they appeal to people from all over the world and to all generations.We are immensely proud of the performance of the cartoon series in terms of ratings, which are very high and justify the continued interest networks have in broadcasting our series.

Children, teens and adults from Europe, Africa, Asia, Latin America and the U.S. all love the little blue fellows!”

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The Smurfs

“ The values that the Smurfs represent are universal and timeless, so they appeal to people from all over the world and to all generations.

”

—William Auriol

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Inspidea www.inspidea.com

Highlights • Happy Together • Boo & Me • Mat Kacau

For the first time in its history, the Malaysian outfit Inspidea will be unveiling three new brands at MIPCOM. Happy Together is a teen-targeted “edgy comedy,” according to Andrew Ooi, the company’s managing director. Boo & Me is a new co-production with KidsCo that teaches kids about the environment. And Mat Kacau was developed for Malaysia’s leading kids’ channel, Astro Ceria. “Our new programs will appeal [to buyers] because they are hilarious, cute and bitesize!” Ooi says. These join a slate of returning shows, including the company’s flagship Mustang Mama franchise. “Combined with our catalogue titles, we have a range of products that are amazingly different in terms of target audience and humor. It’s the first time we are launching several products in the market all at once, so we are cautiously excited. Regardless of how the economy swings, the bottom line is kids always need kids’ programming.”

Boo & Me

“ Our new programs will appeal [to buyers]

”

because they are hilarious, cute and bite-size!

—Andrew Ooi

The Jim Henson Company www.henson.com

Highlights • Sid the Science Kid • Dinosaur Train • Fraggle Rock • The Hoobs • Pajanimals

Since reintroducing itself to the international market, The Jim Henson Company has reached numerous deals on Dinosaur Train and Sid the Science Kid.“Buyers are gravitating towards fresh new series that bring an edutainment value to the table,” says Sam Ewing, the head of international sales.

Tapping into a demand for properties that have “built-in brand equity,”Ewing is excited to reacquaint clients with the “Henson’s Family Classics” and “Fantasy” libraries, including the Fraggle Rock series and the feature film Labyrinth.Capping off the slate is a co-production with 4Kids Entertainment, Pajanimals.“Each of our new properties has unique creative qualities that feature ‘spot on’ characters that speak to our childhood sense of fun.The standards that were created by Jim Henson are still implemented today, and we have a solid reputation of delivering the highest quality of entertainment and educational values in our programming.”

Pajanimals

“ We have a solid reputation of delivering the highest quality of entertainment and educational values in our programming.

”

—Sam Ewing

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TV KIDS

Keefe Entertainment Group www.keefeentertainment.com

Highlights • Z~Force • Origami Warriors

With the backing of Ira Warren and the Animation Development Company, Keefe Entertainment Group, led by kids’ industry veteran Peter Keefe, is using a brand-new model for its Z~Force property. The show is based on the Chinese zodiac and allows kids to figure out what their “power animal” is, based on their year and month of birth. “For kids, becoming special, a part of a team with great personal empowerment, is a most splendid thing!” Keefe says. To introduce Z~Force, Keefe took out ad time on a host of U.S. kids networks in September. “We’re using commercial TV to drive children to our website,” where they can watch clips, play games, buy merchandise and immerse themselves further in the Z~Force world—and then tell their friends about it. “It’s about introducing the ‘happy idea virus,’” Keefe says. “The idea is to captivate [kids’] imagination, and once you do that, you can become part of their lives.” Keefe is also offering the 52x30-minute Origami Warriors.

Z~Force

“ The idea is to captivate [kids’] imagination, and once you do that, you can become part of their lives.

”

—Peter Keefe

Kiddinx Studios www.kiddinx.de/www.kiddinx-companies.com

Highlights • Bibi Blocksberg • Bibi & Tina • Bebidu • The Little King • Benjamin the Elephant

“ [Kiddinx’s] animation is of very high quality and it shares common family values.

”

—Andrea Bannert

A particular focus for Kiddinx Studios this MIPCOM is the new season of Bibi Blocksberg, with 39 episodes now available. “Children in more than 100 countries have already been carried away into Bibi’s magical, fun-filled world of delightfully exciting adventures,” says Andrea Bannert, Kiddinx’s director of television, about the show, which is focused on a teenage witch.The company is also offering season three of Bibi & Tina, which is currently in production. New to the slate is a show for toddlers, called Bebidu. Bannert also has high hopes for the reception to The Little King and expects to see continued momentum on Benjamin the Elephant, which has sold to more than 125 territories. “[Kiddinx’s] animation is of very high quality and it shares common family values,” says Bannert.“It appeals to a lot of broadcasters and their target groups.”

Bibi Blocksberg

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TV KIDS

Liberation Entertainment www.libent.com

Highlights • Wolverine and the X-Men • Speed Racer:The Next Generation • Speed Racer Classic • Brave • HTDT

Liberation Entertainment is heading to MIPCOM with a second season of Wolverine and the X-Men, as well as Speed Racer Classic and Speed Racer: The Next Generation. “The buyers with a big appetite for action-adventure animated programming are very welcoming of our premier branded product,” says Matt Cooperstein, the senior VP and general manager of worldwide television.The slate also features HTDT and Brave.“Liberation Entertainment is now one of the leading distributors of branded high-quality animation, both 2-D and 3-D, including CGI, Flash and cell.”

Speed Racer: The Next Generation

“ Liberation Entertainment is now one of the leading distributors of branded high-quality animation, both 2-D and 3-D, including CGI, Flash and cell.

”

—Matt Cooperstein

Ludorum www.ludorum.com

Highlights • Chuggington • Dennis and Gnasher • Marvo the Wonder Chicken

Chuggington has proven to be a success story for Ludorum.

“Having sold Chuggington into over 165 territories with Alist broadcasters, we will be launching series two and our exciting new…mini episodes with a view to extending our strong relationships with current broadcasters and looking at further new opportunities,” says COO Charlie Caminada.

He adds:“We are seeing a high demand for comedy-based adventure series in the older children’s target (particularly for boys), where humor must translate for a global audience appeal.We hope to see the ‘traditional meets contemporary’ series Dennis and Gnasher fit perfectly to this current trend.”

Dennis and Gnasher

“ Having sold Chuggington into over 165 territories with A-list broadcasters, we will be launching series two and our exciting new…mini episodes.

”

—Charlie Caminada

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MarVista Entertainment www.marvista.net

Highlights • • • • •

In Real Life Perennial Animated Collection Bunny Tales Chatterbox Cloud Trotters

MarVista Entertainment has been strengthening its position as a provider of content for kids and families. On the animated front, there’s a new series, Cloud Trotters; a special, Bunny Tales, featuring six fairytales; and a collection of movies from Perennial Pictures. In live action, meanwhile, Vanessa Goglio, the senior VP of worldwide sales, highlights In Real Life, a teen adventure-reality series, and Chatterbox, a teen TV movie.“We are very confident that this slate will satisfy our core clients and will attract new channels looking for diversity in programming.”

“ We are very confident that this slate will satisfy our core clients and will attract new channels looking for diversity in programming.

”

—Vanessa Goglio

Mirthworms on Stage from the Perennial Animated Collection

Mediatoon Distribution mid.mediatoon.com

Highlights

Contraptus

• Chumballs • Contraptus • The Garfield Show

Mediatoon’s Ellipsanime studio is producing Chumballs with Les Films de la Perrine and France 5. It is also at work on Contraptus, a 3-D animated series based on the comic book Leonard by Turk and de Groot that is slated to air on Canal J and Gulli in France. Both series take top billing for Mediatoon Distribution at MIPCOM, alongside The Garfield Show, from Dargaud, which has already sold to a host of territories. “Thanks to the originality of the catalogues from each producer (Dargaud, Dupuis, Ellipsanime, Storimages), Mediatoon is able to bring to the market a very wide choice and array of shows,” says Jérôme Alby, the company’s director of sales.

“ Thanks to the originality of the catalogues from each producer (Dargaud, Dupuis, Ellipsanime, Storimages), Mediatoon is able to bring to the market a very wide choice and array of shows.

”

—Jérôme Alby

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Mondo TV S.p.A. www.mondotv.it Angel’s Friends

Highlights

Farhat, Prince of the Desert

• Angel’s Friends • Virus Attack • Kim • Farhat, Prince of the Desert • Gladiators

One of Mondo TV S.p.A.’s newest properties is Angel’s Friends, a co-production with Play Entertainment and Mediaset. Based on the comic books by Simona Ferri, the show is aimed at kids 5 to 12 and tells of the adventures of a group of aspiring angels, sent to Earth to complete their training, where they encounter a group of almost-devils.

The show’s broadcast partners include Italia 1 and Telecinco.

Mondo is also pitching a new boy-targeted series, Virus Attack, slated for delivery in 2010. Other titles from Mondo TV include Kim, Farhat, Prince of the Desert and Gladiators.

Motion Pictures www.motionpic.com

Highlights • Van Dogh • Glumpers • LMN’s • Pumpkin Reports

Motion Pictures is attending MIPCOM with the view to completing the financing for Pumpkin Reports.The company is also looking to replicate the success it had with Boom & Reds with the preschool series Van Dogh. Another priority will be the 52x13-minute LMN’s, co-produced with RAI, TVE and TV3.Also on the roster is completing the financing on the slapstick comedy Glumpers.“We provide content for different target groups and genders and due to our wide experience, we provide a certain trust to our clients,” Tony Albert, the sales director, notes. “We expect to continue increasing our worldwide sales with the new content.”

“ We provide content for different target groups and genders and due to our wide experience, we provide a certain trust to our clients.

”

—Tony Albert Glumpers

COMING SOON… 1 x 46 MINUTES

For more information, please contact: Spellbound Entertainment Limited, 6 Primrose Mews, Sharpleshall Street, London NW1 8YW United Kingdom Tel: +44 20 7483 2172 Fax: +44 20 7483 2059 Email: info@spellbound.uk.com

The Koala Brothers © 2009 Spellbound Entertainment Limited & Famous Flying Films Limited

a ‘made for television’ musical adventure!

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Multimedia Development Corporation www.mscmalaysia.my

Highlights • ABC Monsters • Alamaya: Garden of Beautiful Creatures • Geng:The Adventure Begins • Saladin:TV Series

The Multimedia Development Corporation (MDeC) is working to expand Malaysia’s creative output. “The Malaysian government has identified the digital-content industry to be an area of high growth for its economy,” says Adam Ham, manager and entertainment and media specialist for business and market development.The organization’s initiatives include luring international companies to set up shop in Malaysia,as well as facilitating co-productions.These efforts have already been successful, with MDeC aligning with Al Jazeera Children’s Channel for Saladin:TV Series, set to be delivered in the third quarter.“The project employs a blend of local and international talent in the 3-D animation industry to construct a tale based on the early life of the Islamic leader,” according to Ham. Also on the slate is the series ABC Monsters and features such as Geng:The Adventure Begins.“We are expecting plenty of co-production deals and [sales of] Malaysian programming at MIPCOM,” Ham says.

“ We are expecting plenty of co-production deals and [sales of] Malaysian programming at MIPCOM.

”

—Adam Ham Geng: The Adventure Begins

Nerd Corps Entertainment www.nerdcorps.com

Highlights • Storm Hawks • League of Super Evil • Endangered Species • A for Awesome

Nerd Corps Entertainment arrives at MIPCOM with a go-ahead for the second season of 13 episodes of League of Super Evil, and a total of 52 episodes of its hit series Storm Hawks. The company is also presenting a development slate that includes the comedies Endangered Species and A for Awesome. “These shows tap into broadcasters’ need for comedy and action programming that is character-driven,” says Ken Faier, Nerd Corps’ president.“Nerd Corps properties are proven performers and have delivered highquality animation, writing, comedy and action.”

In addition to its linear television programming, Nerd Corps is continuing to expand its digital-media slate.

Another focus for the company, Faier says, is taking on third-party titles for distribution.He’ll be on the lookout for projects at MIPCOM, as well as potential co-production opportunities “that we feel fit our sensibilities.” The company is also expanding into live-action content.

League of Super Evil

“ These shows tap into broadcasters’ need for comedy and action programming that is character-driven.

”

—Ken Faier

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Parthenon Entertainment www.parthenonentertainment.com

Highlights • City of Friends • Castle Farm • Aquateam • Dex Hamilton: Fire & Ice

MIPCOM attendees can expect to see characters from Parthenon Entertainment’s City of Friends in Cannes.“Don’t be surprised if you bump into Max the monkey,Ted the turtle and Elphie the elephant strolling along the Croisette,” says Marie Chappelow, the commercial director for children’s brands.The show is a production of Norway’s Creacon and tops Parthenon’s kids’ slate. “We already have very strong relationships with a number of key Welsh producers and are pleased to represent Creacon,” she notes. “It’s not only important but refreshing to present content from a mix of territories as they can offer a range of bold and original ideas.” Also in animated fare are the preschool show Castle Farm and the special Dex Hamilton: Fire & Ice. And tapping into what Chappelow sees as a rising demand for factual programming aimed at the 8-to-12 set, Parthenon is presenting Aquateam, an “adventure series focusing on real children and real emotion rather than on presenters or characters.”

Castle Farm

“ It’s not only important but refreshing to present content from a mix of territories as they can offer a range of bold and original ideas.

”

—Marie Chappelow

Portfolio Entertainment www.portfolioentertainment.com

Highlights • The Cat in the Hat Knows a Lot About That!

• HOOD

Dr. Seuss’s iconic The Cat in the Hat is being developed into an animated TV series for the first time, with PBS KIDS in the U.S. and Treehouse Canada slated to air the show in fall 2010. The Cat in the Hat Knows a Lot About That! is being distributed worldwide

by Portfolio Entertainment, which is co-producing it with Collingwood O’Hare, in association with Dr. Seuss Enterprises and Random House Children’s Entertainment. Launching at MIPCOM for presales, the show features the award-winning actor Martin Short as the voice of The Cat. Portfolio’s kids’ slate also includes the older-skewing HOOD, an animated tween comedyadventure in development with TELETOON.“Putting an all-new spin on the superhero genre, HOOD is appealing because it’s an original, cross-platform show that follows the exploits of a secret global organization of exceptional teens who don super-charged hoodies to defend the Earth from all manner of weirdness and danger,” says Jon Rutherford, the director of sales and acquisitions.

“ Putting an all-new spin on the superhero genre, HOOD is appealing because it’s an original, cross-platform show.

”

—Jon Rutherford HOOD 224

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Rainbow S.p.A. www.rbw.it

Highlights • PopPixie • Winx Club • Huntik: Secrets & Seekers • Monster Allergy

The trailer and pilot episode for the new 52x13-minute series PopPixie, the latest production from Rainbow S.p.A., will be available for the first time at MIPCOM. “We are confident the new TV show will be very popular with children around the world thanks to its perfect mix of humor and magical adventures,” says CEO Iginio Straffi. Rolling out the series is one of Straffi’s goals for MIPCOM, but the company has a number of other titles to offer.There’s a fourth season of the hit Winx Club.“We would like to secure its broadcast in the few territories left unsold,” Straffi says.“Additionally, we plan to increase our penetration in emerging Asian markets, especially China, and South American markets.” Rainbow also has second seasons of Huntik: Secrets & Seekers and Monster Allergy.“All of these titles have engaging story lines with a strong dose of comedy, exciting action and thrilling adventure targeting mainly kids from 6 to 12.”

PopPixie

“ All of these titles have engaging story lines with a strong dose of comedy, exciting action and thrilling adventure targeting mainly kids from 6 to 12.

”

—Iginio Straffi

Scholastic Media www.scholastic.com

Highlights • The Wedding Planner’s Daughter • Goddesses • Chicken Socks • Fuzz & Sparkle • WordGirl

Well known for animated hits like WordGirl, Scholastic Media is stepping up its live-action activities this year with a slate that includes The Wedding Planner’s Daughter and Goddesses. It also has new animation, such as Chicken Socks, Fuzz & Sparkle and Dragoonies.“We see each of these new edutainment properties filling a need in the marketplace,” says Deborah Forte, the president of Scholastic Media,“each distinct with its own unique world, adventures and characters.” Forte adds:“This year’s slate is a strong representation of the Scholastic Media promise to deliver to global audiences quality entertainment for children and families.This portfolio also shows off the depth and scope of our work, delivering something for every target audience.” Forte notes that the company is also expanding in the multiplatform arena. “Scholastic Media takes a 360-degree approach to brand building that reaches kids wherever they are.”

WordGirl

“ This year’s slate is a strong representation of the Scholastic Media promise to deliver to global audiences quality entertainment for children and families.

”

—Deborah Forte 226

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Shaftesbury Films www.shaftesbury.ca

Highlights • Vacation with Derek • Overruled!

• Connor Undercover

Following the international success of Life with Derek, Shaftesbury Films will be exhibiting at MIPCOM the brand-new movie from the live-action tween franchise.

Vacation with Derek sees the original cast returning for the 90-minute special, and also introduces the winner of So You Think You Can Dance Canada. Joining Vacation with Derek on the slate are the returning live-action offerings Overruled! and Connor Undercover. “The shows we’re bringing to MIPCOM reinforce Shaftesbury’s commitment to great storytelling,” says Shane Kinnear, the VP of sales, marketing and digital media. “Working with Canada’s Family Channel, we’ve been lucky enough to produce high-quality shows that resonate with our audience.” The company is also producing a range of digital content. “Kids continue to impress producers with their savvy engagement of stories, characters, and plot.They’re dynamic and, because of the Internet, are responding to us immediately, evoking regular dialogue with creators.”

Overruled!

“ The shows we’re bringing to MIPCOM reinforce Shaftesbury’s commitment to great storytelling.

”

—Shane Kinnear

Skywriter Media & Entertainment Group www.skywritermedia.com

Highlights • • • • •

Elliott & Lucy Chuckles ‘N’ Knuckles Discbots OBTV Maryhen & Her Chicks

“ We’re financing, developing, producing, acquiring and distributing a broad range of children’s and family entertainment for the global broadcast marketplace.

”

After many years at Breakthrough Animation, Kevin Gillis has set up Skywriter Media & Entertainment Group with Mike McLaughlin and Michael Iscove. “We’re financing, developing, producing, acquiring and distributing a broad range of children’s and family entertainment for the global broadcast marketplace,” says Gillis, the new company’s copresident. “What really differentiates us is that we have developed some unique financing models. We’re working with advertising groups to offer relationships back to broadcasters that will help get the programs financed.” Skywriter is also developing ties with producers.“We’re here to nurture the creative process—to make sure that that whole arc, from concept to development to fulfillment, is achieved.”

Skywriter has appointed Paula McLaren to head up distribution. Top properties include Elliott & Lucy, Chuckles ‘N’ Knuckles, Discbots and OBTV (Our Basement TV).

—Kevin Gillis

Chuckles ‘N’ Knuckles

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TV KIDS

Studio100 Media www.studio100media.com

Highlights • • • • •

Maya the Bee Enyo Zigby Zeke’s Pad Kerwhizz

A number of classic properties have been reinvented recently, to great success. Studio100 Media is excited to be putting a new spin on its well-established German brands Maya the Bee, Vicky the Viking and Heidi.“Our classics are very popular and have been watched by three generations,” says Patrick Elmendorff, the managing director.“We believe that the new modernized and revived classics will continue to be watched now and by future generations and appeal to buyers.” Elmendorff also sees strong international potential for the preschool quiz show Kerwhizz and other animated fare like Zeke’s Pad and Zigby.“We intend to offer programming that has international appeal and fits various age groups.

Studio100 Media now has an extensive library of new and existing programming which we will be offering to buyers, and we expect to sell our key properties into an increasing number of European markets and internationally.”

“ Studio100 Media now has an extensive library of new and existing programming which we will be offering to buyers, and we expect to sell our key properties into an increasing number of European markets and internationally.

”

—Patrick Elmendorff

Kerwhizz

Telescreen www.telescreen.nl

Highlights • Rudolf • Toad Rules • Frog & Friends

Produced by Germany’s JEP Animation, the 52x3minute Rudolf is a new slapstick comedy series about a determined door-to-door salesman.The show, currently in production, is being distributed by Telescreen, which is also presenting the development project Toad Rules at MIPCOM. Telescreen is teaming with Caboom in Ireland for Toad Rules, about a toad that is trying to protect his swamp. Rounding out the catalogue of new shows is Frog & Friends, a 26x7-minute series based on the books by Max Velthuijs.“We aim to keep our leading position in the development of kids’ entertainment properties and to [make sure they] reach their greatest potential all over the world,” says Sjoerd Raemakers, the director of commercial affairs. “Being part of the German m4e Group since December 2008, we form a complete brand-management and media organization with a 360-degree approach, offering full-service to our clients.”

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Frog & Friends

“ We aim to keep our leading position in the development of kids’ entertainment properties and [make sure they] reach their greatest potential all over the world.

”

—Sjoerd Raemakers

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TV-Loonland www.loonland.com

Highlights

Leon

• WordWorld • My Life Me • Little Princess • Leon • My Little Pony Twinkle Wish Adventure

TV-Loonland recently scooped up select international rights to the preschool series WordWorld, a 74x11-show that has been very successful for PBS in the U.S.Another well-established brand on the TV-Loonland slate is My Little Pony, with a new 44-minute special available, Twinkle Wish Adventure. Filling a demand for animated tween programming, meanwhile, is My Life Me, “which will fit perfectly between a kids’ afternoon animation block and live-action dramas for older kids,” says Justine Bannister, the head of international distribution and acquisitions. Bannister also points to more requests for comedy, which she’ll be filling with series like Leon and Raymond.The shows on the slate, she says,“are of the very highest quality in terms of animation and storytelling and totally unique…each of them stands out from the crowd in their target age group.”

Raymond

“ [These shows] are of the very highest quality in terms of animation and storytelling and totally unique…each of them stands out from the crowd in their target age group.

”

—Justine Bannister

VGI Entertainment www.vgientertainment.com

Highlights • • • •

Everything’s Rosie Fred Basset Blanche Ebb & Flo

VGI Entertaining is bringing its first-ever in-house production to MIPCOM, Everything’s Rosie. A completed episode of the CGI preschool series will be available for buyers to screen. In total,VGI will have 52 11-minute episodes to offer, following the CBeebies commission for a spring 2010 premiere. “Visually, Everything’s Rosie is fresh and vibrant and the storytelling by Dave Ingham takes the audience on an exciting and adventurous journey of discovery with Rosie and her colorful group of friends,” says Vickie Corner,VGI’s managing director.

“The completed episode is everything we wanted it to be and more and we are hoping the buyers will be as thrilled as we are.” Beyond placing Everything’s Rosie across the globe,VGI’s goals for MIPCOM also include presenting Fred Basset.“In addition, we are looking to invest in new children’s series that have something innovative and exciting to offer the children’s market,” Corner says.

Everything’s Rosie

“Everything’s Rosie is fresh and vibrant and the storytelling by Dave Ingham takes the audience on an exciting and adventurous journey of discovery.

”

—Vickie Corner

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Your Family Entertainment www.yf-e.com

Highlights

Oscar the Balloonist

• Oscar the Balloonist • Dragon Hunters • Air Bud • Enid Blyton Adventure Series & Secret Series • Fix & Foxi

With more than 3,500 half-hours of content in its library, Your Family Entertainment is emphasizing its ability to deliver to the international market shows that are “entertaining, non-violent and educational,” according to Christina Brenner, the head of sales and marketing.“Our expert-driven research makes us acquire and produce fresh, educational and non-violent entertaining programs that parents trust and kids enjoy,” she says. Beyond its returning series such as Dragon Hunters and Fix & Foxi, YFE is offering the HD animation Oscar the Balloonist.

Introducing the show to the broadcast community is one of Brenner’s goals for MIPCOM. Plus, “We want to expand our customer base in emerging markets such as Central Europe, China, India, South America and the Middle East.Telecoms and VOD platforms and also independent DVD labels are of interest.”

“ Our expert-driven research makes us acquire and produce fresh, educational and non-violent entertaining programs that parents trust and kids enjoy.

”

—Christina Brenner

Zinkia www.zinkia.com

Highlights • Mola Noguru • Pocoyo • Pocoyo World

“ Zinkia’s programs appeal because they are created with extensive multiplatform potential.

Zinkia’s co-production with ITV Studios Global Entertainment, Pocoyo, has sold into more than 100 territories. Expanding the brand, Zinkia is now launching Pocoyo World,“a virtual universe where kids and parents can share a wealth of experiences and adventures with their favorite characters,” says Maria Doolan, the managing director of brand and business development. “The new online community, launching in October, offers a host of educational activities, games, music, dance and episodes, all with the simple objective: learning through laughter.”

Doolan stresses that “Zinkia’s programs appeal because they are created with extensive multiplatform potential; as proven with Pocoyo, Zinkia creates global brands, not just TV programs.” Zinkia also comes to the market with a new brand, Mola Noguru, a preschool comedy adventure series.“This colorful animated adventure series shows kids, in a fun and fresh way, about fundamental values such as sharing, caring and thinking things through.”

”

—Maria Doolan

Mola Noguru

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P A N O R A M A

By Anna Carugati

In Awe of the Creative Process My father was an artist and an illustrator, so I recall from a very young age seeing tubes of tempera and rainbows of shades on the palette where he mixed his hues, smelling pungent oil paints and turpentine, even sneaking in on his meetings with art directors and peeking at storyboards.

I was fascinated with the process of illustrating a book or an article, the stages in making a painting, the steps in bringing a storyboard to life—inspiration, brainstorm, sketch, drawing, color rendition—to me it was nothing short of magic.

And my father’s studio always held a special fascination for me.

Because of what I experienced as a child, I have always had the utmost respect and awe for creative people. I especially enjoy interviewing writers, producers and creators of shows. So many of them have a view of the world and of people that is different from ordinary folk. Be it a heightened sensitivity or an enlarged empathy, it’s as if these creatives can physically touch emotions such as joy, fear and sadness and see them in 3-D form in order to better render them in paintings, stories, songs,TV shows or films.

I was in for a particular treat recently when I interviewed Andrew Davenport. He co-created Teletubbies and then created and wrote In the Night Garden. He offered touching recollections of sharing nursery rhymes, bedtime stories and cuddles with his grandmother when he was a little boy—experiences that greatly influenced In the Night Garden.

Much of the charm and appeal of the show, which is made for preschoolers, comes from silly rhymes and words. Davenport, who trained as a speech therapist, explained to me that once little children start to grasp and master words and language concepts, they then love to turn them around and upside down, which is why they especially love cows jumping over the moon, bananas in pajamas, monkeys jumping on beds and old ladies living in shoes.

And those rhymes from childhood stick with us all our lives. Don’t you remember your favorites?

Just a day after talking to Davenport, I attended a drama performance at my daughter’s summer camp entitled Upon a Once a Time: Mixed Up Fairy Tales. I didn’t get it at first, then it hit me—they had turned around the beloved storytelling phrase,“Once Upon a Time.”

The skit was “Homer and the Three Little Donuts,” a contemporary take on the classic fairy tale “The Three Little Pigs” that the children had written themselves.The donuts had left the town of Sugarville and moved to Springfield.The

first donut built a house of sugar sprinkles and, of course, Homer ate the house and the donut.The second built a house of jelly and, well, Homer ate that one, too.The third was a health-conscious donut who built himself a house made of broccoli.Yup, you guessed it, Homer didn’t touch it or the donut.

We all know that fairy tales have stood the test of time.

Printed versions of “The Three Little Pigs” date back to the 1840s, but it is thought to be much older than that. Fairy tales were the properties of yesteryear and over time they spawned coloring and activity books, movies, games—all the extensions that are expected of a property today.The Homer the children were referring to is from The Simpsons, a modern classic brand, one that has become so pervasive that all children are familiar with it, even though the series was originally intended for an adult prime-time audience.

The children cleverly mixed classic and modern characters, and included all the elements that make for a successful children’s TV show—humor, a little naughtiness, even a touch of irreverence.

The best brands for children today tap into a special vein of creativity that not only gives birth to engaging stories and exciting characters that children can relate to, but characters who can live on a multiplicity of platforms.While most popular properties originate from a book or from the TV screen, increasingly they start online as a short or a game.

The online game is an essential component, sometimes offered as a massively multiplayer game for older kids. But even the littlest ones—who can just handle a mouse and point and click without having to read—can have fun online: coloring, taking care of pets, designing fashion outfits, finding treasures or fighting enemies.

All the merchandising connected to a property represents a very important added dimension to favorite shows:They allow children to engage with beloved characters beyond the TV screen. They let that special bond take on a new life, through a doll, a vehicle, a book, a toy or a game.

This all starts with the creative process, the one through which a writer or creator is able to touch something magical that resonates with children, something akin to the alchemy I used to sense when I stepped into my father’s studio.

It’s as if these creatives can physically touch emotions such as joy, fear and sadness and see them in 3-D form in order to better render them in...

TV shows or films.

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Taking

Flight Rainbow’s Winx Club.

Leading distributors shed light on the strategies needed to create a global hit today.

By Bill Dunlap For players in the global children’s television business, these are challenging times. Despite the recession, the decline in advertising expenditures, and new-media platforms and devices all competing with the TV set for youngsters’ attention, it’s still possible to launch new product—possible, but challenging.

“It’s much more difficult today, for a number of reasons,” says Brian Lacey, the executive VP for international at 4Kids Entertainment.“Can you roll out a program in the big markets around the world in a six- to nine-month period of time? Yeah, you can, but the likelihood is you may find your content on a pay-satellite service that in key territories may only reach 10 or 15 percent of the marketplace.You’re not able to drive video games, trading-card games, promotion licensing, publishing.There’s not enough heat there.”

The keys to getting around the challenges in today’s kids’ business is ensuring that a property’s quality is high, the concept is unique and the business deal is creative.

Going into MIPCOM, distributors with new children’s programs say the process for developing and launching them hasn’t changed drastically—securing a key co-production partner or two, a few presales in important territories, followed by a broader rollout—but they point out that a lot more is riding on the attractiveness of the program itself.

It sounds a bit trite and it’s next to impossible to quantify, but most in the business agree, story is king and quality will still sell.

“That’s still critically important,” says Chloe Van den Berg, the executive director of international distribution at Classic 238

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Media. “If it’s not a story that is going to capture children’s imagination, you can put all the money and marketing behind it, and it won’t resonate with children.What is important nowadays is something that has a unique selling point, something that stands out.When you’re talking with broadcasters, their budgets have been cut back considerably.They’re looking for fewer, but better quality, shows.The key territories are very much looking to acquire one or two incredibly special shows rather than three or four also-rans.”

Meeting her criteria,Van den Berg suggests, is Classic’s newest property, Tinga Tinga Tales, a preschool series based on African folk tales and visually inspired by an African art form created in the 1960s by Eduardo Tingatinga of Mozambique.

“It’s a unique, original idea,” she says.“Claudia Lloyd, the executive producer, worked for Comic Relief and spent a lot of time in Africa. She came across this unique art form with very striking African designs. Claudia learned about all these beautiful African folk tales—why the giraffe has a long neck, why the hippo has no hair. She thought about combining this stylistic art style with these African tales. If you’re looking for what works today, it’s something like that.”

The show is in production now at a studio that Lloyd, the head of animation and children’s at London-based Tiger Aspect Productions, has set up in Nairobi, Kenya.

CBeebies in the U.K. and Disney Playhouse in the U.S. are in for a spring 2010 launch, and Van den Berg hints that some other presales are done, but announcements are being held off until MIPCOM. Classic Media has largely funded the show itself,Van den Berg says.“Every deal is completely different these days. Finding co-production money or money to fund production is terribly difficult. Every production has its own unique way of being financed today,” she says.

Instead of the usual co-production partner, say a broadcaster or distributor, for its latest series, Huntik: Secrets & Seekers, Rainbow S.p.A. in Italy teamed with Upper Deck, a tradingcard company based in Amsterdam.

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Hasbro Studios

ROLL

SCENE

TAKE

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Mr. P. Head

CAMERA

Mrs. P. Head

DATE

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The power of imagination. © 2009 Hasbro. All Rights Reserved.

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The big push: CAKE has a worldwide hit on its hands with Total Drama Island, which was followed by Total Drama Action.

“Huntik is now in its second season,” says Rainbow’s CEO, Iginio Straffi. “Upper Deck has been on board since the beginning. I think besides the usual co-production, we have to come up with other ways to produce entertainment. It’s what the Japanese have been doing for many years with shows like Yu-Gi-Oh!” With its popular Winx Club program, now gearing up for a fifth season, Rainbow has taken multiplatform exploitation to a new level.The fourth season launched in April, making a total of 104 half-hour episodes. In addition, one theatrical has been released, with another on the way.There have also been two live musical shows, fashion-themed dolls, comic books, home video, video games, an MMORPG game and more than 600 global licensees.

“We have to be creative and try to put shows on multiple platforms,” Straffi says.“The money is not there from just broadcasters. Even if you sell to ten countries you’re still in deficit.”

For now, Rainbow is riding out the economic storm.“We are probably still financially strong enough to maintain our pipeline of production,” Straffi says.“We hope that in the next year or so there will be an improvement. Five years from now if the situation remains this bad I don’t know what the story will be.Thanks to Winx Club we continue to be the number one property in many countries.”

RAISING THE BAR

“There’s no room for anything that’s less than great,” says Olivier Dumont, the managing director of TV-Loonland.

“In the past, if you had something [mediocre] you wouldn’t sell it everywhere, but you would do some sales.Today it’s either great and it sells everywhere, or it’s medium and it sells almost nowhere.The market is so saturated with shows that only the best make it.”

This year TV-Loonland is putting most of its production budget into new seasons of its existing series Little Princess and Raymond, according to Dumont. It’s not impossible to launch a new show, he says, but the company’s returning brands are doing well,“so doing more episodes of them is a safer bet.”

Dumont also notes that TV-Loonland has received few coproduction opportunities “that we felt as strongly [about] as renewing those shows for new seasons.”

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Dumont looks for strong concepts that can support multiplatform development and he favors digital animation.

“All the properties we have picked up for development recently have a strong backbone in terms of content that can work on more than just TV,” he says.“In order to have interesting website components which are strong extensions of the overall brand and not just a gimmick, we need to ensure that the shows and properties we work on are content-heavy, which means having a strong theme or background so that the website becomes a way to explore that theme or background that is not necessarily dealt with in the series itself.

For instance, our series My Life Me will have a very rich website on the theme of manga drawings.”

Last year, TV-Loonland invested in My Life Me, produced by the Canadian-based CarpeDiem Film & TV and backed by TELETOON Canada and the French broadcasters France 2 and Canal J. TV-Loonland will handle all international distribution rights in all media, including licensing and merchandise.

“To make the properties easier to finance, we tend to favor Flash-based 2-D animation or CGI/3-D animation, as these techniques allow for a great deal of animation to be done in countries which have subsidies attached, such as France and Canada. We were able to finance My Life Me heavily out of France and Canada, leaving a very small gap to fill,” Dumont says.

At MIPCOM, TV-Loonland is launching the international rollout of WordWorld, a preschool series funded by public sources in the U.S. According to Dumont, “That show is already quite established. It airs on PBS in the U.S. We’re just distributing it internationally.”

ONLY THE BEST

Edward Galton, the managing director of distribution at CAKE, echoes Dumont’s perspective on focusing on the best of what’s out there. “Whatever we take on, we have to be 100-percent committed that we can move it in multiple territories around the world,” he says. “We want to make sure the shows are well scripted and entertaining.They have to be funny, entertaining and tell a story.They need to have an original look and feel.”

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Cheerful return: Cookie Jar is co-producing the fifth season of its perennial preschool franchise Caillou with Clockwork Zoo in South Africa for premiere in the fall of 2010.

At the same time, Galton says, CAKE has to enhance the product with a full package of on-air and off-air content. “Are we supplying them with additional marketing support? Are we creating extra shorts?

Is there an interactive website? Are there web games? Is there mobile content, merchandising, licensing? They want to see it all from the beginning. It’s not that easy to do.”

CAKE’s recent successes include Total Drama Island and Total Drama Action, high-concept animations from Canada’s Fresh TV based on reality shows like Survivor.

Galton says the traditional co-production-presales-full-rollout model is more difficult now. “What’s changed is that you used to be able to rely a lot more on your home territory for financing. Broadcasters have definitely been affected by the economy.They aren’t putting up the kind of money they used to.The phones are not ringing right now.The process of doing deals has become painfully slow.We’re not dramatically changing our business plan. But I think we’re being more aggressive.

We have to think of different ways we can get to our broadcasters.We have to convince them that we have shows that are going to work on their networks. Ultimately, they want to buy shows that work, shows that resonate with their audiences.”

But Galton sees perilous times ahead:“You’re starting to see reports of companies having financial problems. Production is taking longer, and that’s having an impact across the board. People are afraid, and they don’t want to take risks.The wave of failures hasn’t started, but I think it’s going to happen.The market was due for a correction anyway.We need greater support from our broadcast partners out there, and we’re not getting it.”

LOOKING EAST

4Kids has had great international success with the Japanese show Yu-Gi-Oh! and it is again looking to Japan for its latest project, Dinosaur King.

“From a creative standpoint, it has to have the potential to be appealing across a number of territories,” says Lacey.“One thing about Japanese content that enables it to cross cultural boundaries is it doesn’t take place in any specific time or location. Creatively you look for content that will move across boundaries.”

Lacey notes that some Japanese and Korean productions can cover the bulk of their production costs out of local-market broadcast deals.

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“Many Japanese shows go into production with a deficit, but it’s small, manageable.We worked closely with Sega and Sunrise Productions out of Japan on Dinosaur King,” he says.“We acquired the rights and we’ve done very well with the series.We’ve sold it in over 100 countries for broadcast. It’s an excellent example of how both sides sat down and we had good, frank discussions on the reality of the marketplace.We advised them not to expect big license fees out of the U.S. or big guarantees out of the rest of the world. We managed expectations and reduced the upfront costs for everybody, and in exchange they agreed to allow us to distribute the series.We’re participating on a sharedrevenue basis and it’s turned out to be a very good deal for all sides.”

READING ROOM

Cookie Jar Entertainment has often turned to shows based on books to help get them sold internationally, most notably its various kids’ programs based on the Richard Scarry characters, including Huckle Cat. Ann Austen, the senior VP of development and TV/video sales, says Cookie Jar likes book-based properties, but isn’t limited to them.“We keep a balanced portfolio.We know there are certain aspects that will help sales efforts, like having a marquee property. But you weigh so many different factors. Is it a great story, a great character, a consumerproduct bonanza? Is it just really funny?”

Two of Cookie Jar’s most recent projects are based on books: Ella the Elephant and Peter Pepper’s Pet Spectacular. “We developed Ella with a Canadian partner, and we’re looking for presales,” Austen says. Peter Pepper has been greenlit for production this year as a joint venture with Clockwork Zoo in South Africa, the first Canadian-South African animation co-production where the work will not be subcontracted outside of either country.

“Even a less well-known book property is still helpful in that it’s a book that is tangible— you can read it, see the character, get a sense of the world.Anything you have that can help illustrate what the show is about is going to be helpful,”Austen says.

Still, the show has to have the right concept behind it, she continues.“It all starts with the idea.

Somebody brings in an idea for a great show.You have to be flexible to get something off the ground because all the rules have changed. You have to keep trying a variety of different ways.

Being a Canadian-based company, we always start in Canada. On [Busytown Mysteries] we found a Canadian Card counting: 4Kids has found success with several Japanese productions, including Yu-Gi-Oh! partner in the CBC,

and that gave us a certain level of financial commitment. But we still needed a few other presale partners on board. Cookie Jar has a strict policy that we don’t go into production until we’re 80-percent financed. So we found a couple more territories and then we were off and running. We bring our broadcast partners in at multiple steps along the way.We talk to them about ideas we’re considering developing, about early development, when we’ve got a partner or two on board, and once we’re financed we show them the progress.”

LEARNING CURVE

Alison Homewood, the executive VP of worldwide programming distribution at HIT Entertainment, has begun reaching out to broadcasters in the development process to get the kind of insights that independents have a hard time learning.

“You’re working more in a vacuum as an indie,” she says.“We had a brainstorming [session] with participation from two broadcast creative people, one from Canada and one from the U.K., to talk about one of our shows that is in a quite advanced stage of development.We paid for one of them to fly across to do it.That was something we did to get that editorial feedback and input at an early stage. If we have two broadcasters that are already involved in an informal way, completely noncommittal, it would be a good experience. It’s the first time we’ve done that. We considered it a worthwhile investment to have that involvement, and we’re very pleased with what we got out of it.”

Everywhere, negotiations are more difficult and complex, Homewood adds.“There is more attention on getting back-end shares where they can, more money back in.They want to benefit from a success in the toy or publishing or home-video market. Broadcasters are starting up their own commercial arms to handle those rights.With Super RTL in Germany, we have a terrific relationship with Thomas & Friends and Bob the Builder where their agency handles all the other rights for us.

In France, we’ve moved to a similar model with France 5 where FTD [France Télévisions Distribution] is looking after the merchandising and home-entertainment rights as well.We did the same thing with Mediaset for Thomas.”

But, Homewood says, it all comes down to what’s on the screen.

“Good shows rise to the surface,” she says.“Broadcasters are looking for what they’ve always looked for, an appealing story line, strong characters.A defined world is important, and an emotional attachment for the children.Those elements mean the episodes can run and run without getting stale.”

The in crowd: TV-Loonland expects strong interest in the new series My Life Me, which will be backed up by a heavy web presence.

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By David Wood In the kids’ television-production market, live action is the place to be.Young ones can’t seem to get enough of it, and children’s content buyers will once again be putting liveaction series at the top of their shopping lists at MIPCOM. “There’s lots of demand and a real dearth of live action available,” says Cathy Payne, the chief executive of Endemol Worldwide Distribution, home to the Southern Star and Endemol finished-program catalogues.

It’s an observation backed up by Debbie MacDonald, Nickelodeon UK’s VP and programming director. “For the last seven to eight years, live action has been what everybody is after and it will be key to all kids’ channels way into the future,” she predicts.

One reason behind the expanding demand for the genre is the general social trend of children growing out of tailormade animation at an earlier age than they used to. Payne observes, “By the age of 4 or 5, children are beginning to turn their backs on animation and are looking for content that is more engaging.”

“Live-action drama is very popular with school-aged kids,” agrees Jenny Buckland, the CEO of the Australian Children’s Television Foundation (ACTF). “Animation is extremely competitive and unless a show really stands out or develops a following because there are loads and loads of episodes, children, especially girls, grow out of it after a while.”

AN ACQUIRED TASTE Shaftesbury’s Vacation with Derek.

Edward Galton, the managing director of distribution at the London-based kids’ entertainment specialist CAKE, echoes this sentiment: “In the U.S., which takes a lead in live action, the trend was that kids were walking away from animation at a younger age and turning

to the prime-time drama series, which weren’t necessarily aimed at them. That was how they got the taste for live action in the first place.”

Galton continues,“The smarter players out there—Disney, for example—concluded that the best strategy was supplying kids with programming designed specifically for them.

The result was the creation of shows such as Hannah Montana and High School Musical, classic examples of live-action shows which have a huge reputation nowadays for working well with kids.”

Comedies such as Disney’s groundbreaking series Hannah Montana and Nickelodeon’s iCarly demonstrate the key features of children’s live-action shows that have appeal among tween girls.They have strong, highly aspirational female lead characters with lives that are extraordinary in some way. In the case of Hannah Montana, Miley Cyrus stars as a girl who lives a double life as an average teenager by day and a famous pop singer by night, whereas in Nick’s iCarly, Miranda Cosgrove plays a girl with her own popular web TV show. So successful are these series that Disney and Nickelodeon produce at least two new live-action tween-focused sitcoms a year.

“Disney certainly has a formula—typically producing shows with a female lead that are grounded in a reality children or tweens recognize, but which crucially contain a strong aspirational quality,” says Josh Scherba, the senior VP of distribution at DECODE Enterprises.

“It’s the typical teenager’s world, only better,” notes Nickelodeon’s MacDonald. “I hate to talk about Disney shows, but take a look at Wizards of Waverly Place and Hannah Montana. Who doesn’t want to be a rock star, or part of a magic family, or [know] a genie who can grant them wishes whenever they want, as in the case of our own children’s live-action series Genie in the House?”

True to

Life Live-action shows targeting the tween set are still generating loyal fan bases for kids’ networks worldwide.

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three series, they are all set in the great outdoors, on the coast. They are very warm series, with wonderful families and characters, and most important of all, they are funny.

They are based in real life, but they tap into the fantasy world that all children have in their imagination. Unlike adult dramas, where children and youth are quite often portrayed as ‘trouble,’ in live-action children’s dramas, children are the heroes—the problem-solvers and adventurers—and that’s empowering. I think that’s why their appeal has been universal.”

Hans Bourlon, a cofounder and joint managing director of the Benelux kids’ producer Studio 100, stresses that the best shows adhere to some familiar dramatic basics.

“In my opinion, it’s all about recognizable, timeless characters and good scenarios.Young people have to be able to identify with characters and recognize their emotional conflicts.

“Looking at what other people make is never a good idea,” Bourlon continues.“Neither is market research about what people want. It all starts with a hunch of what is interesting for young people today. I would recommend not trying to make a carbon copy of Hannah Montana.”

TALENT SCOUTS

Surf’s up: One of the top-selling kids’ shows in Endemol Worldwide Distribution’s portfolio is the live-action tween series Blue Water High.

RAISING THE BAR

Another key feature of the best kids’ live action is the chemistry between the on-screen talent.“What separates the successful from the less successful—certainly in live-action

Southern Star Entertainment’s Australian live-action series Blue Water High follows the lives of a young group of students at a high-performance surf academy where several lucky 16-year-olds are selected for a 12-month-long program. Several factors have helped Southern Star turn the show into a highly successful export: It’s set on a beach, it has much in common with the shopping-center-focused California lifestyle that a lot of young girls find really cool, and at $250,000 per half hour, it can offer the international market high production values.

Not all kids’ live action has to exude a Californian zeitgeist in order to succeed, but the most successful series share common qualities. They all tend to focus on key areas around which the drama is developed, declares Frank Saperstein, E1 Television’s senior VP of children’s and animated content. “They focus on worlds which are important for kids—family, where they get support, and school, where friends come from. The most successful shows have a third pillar: an extraordinary feature that makes the lead stand out.”

Saperstein adds, “These days, kids are a lot smarter and want more than a show which offers them a couple of attractive characters and a laugh track. Successful live action is all about getting smart, strong writing that doesn’t talk down to kids and deals with issues that are real in their lives, while at the same time providing them with entertainment.They want characters that are relatable—not plastic cookie-cutter views of what adults think they should be.”

The ACTF has offered several successful live-action series to the international market over the past 20 years, the most famous of which is Round the Twist. “We are also distributing Mortified and Lockie Leonard at the moment, and they have proved hugely successful, too, having sold into more than 100 countries,” says Buckland. “If you look at those

Ready for action: The Benelux-based producer Studio 100 has built up a live-action kids’ library with titles such as Mega Mindy.

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Kids at work: The Australian Children’s Television Foundation (ACTF) is heading to MIPCOM with a variety of live-action series, including the new offering My Place.

comedy—is the quality of scripting and acting,” says DECODE’s Scherba. “Getting the chemistry right starts with writing, but the casting is all important. If you can get a group working together in an ensemble, hopefully a bit of magic will emerge to enhance the comedy.”

Chemistry played a big part in the success of Life with Derek, Family Channel’s Daphne Ballon-scripted Canadian comedy in which Casey has to relocate from Toronto to live with stepbrother Derek following the marriage of their divorcee parents.

Shane Kinnear, the VP of sales, marketing and digital media for Toronto-based Shaftesbury Films, which distributes the show, stresses the chemistry in the series is unusually good because of the way it was shot on location in Newfoundland. “All the kids and families moved to the same townhouse complex in the same building as a way of bringing the show in on budget. They had dinner together often and lived as a family and got to know each other really well, which you can see in the show.” Shaftesbury is following up Life with Derek with the original movie Vacation with Derek.

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boy-centric live-action genre, E1’s Saperstein maintains. “Right now it’s no secret that the cry is out for more boy-centric properties after years of girl-centric shows. Kids’ live action has been dominated by female-skewing shows because originally it was thought to be girls that were principally trending away from animation earlier than boys.”

OUT WITH THE BOYS

Now broadcasters are finding that too much girl-skewing live action could be turning boys off TV. That’s one reason that February saw the launch of Disney XD, a new channel aimed specifically at 6- to 14-year-old boys.

The channel launched with the original liveaction offering Aaron Stone, which has since been renewed for a second season after a strong debut.

As Nickelodeon’s MacDonald points out, “boys are a difficult audience to reach. They are interested in live-action comedy when they are 7 or 8 but once they reach the age of 9 or 10 they are gone. It’s not cool anymore, and they are off to the PlayStation, the Internet and shows such as Futurama, The Simpsons and, in the U.K. at least, Top Gear.”

One answer may be to lure them back with fantasy-based live-action concepts—shows such

Living large: Nickelodeon has been one of the pioneers of live-action tween series with a string of hits to its credit, most recently True Jackson, VP.

as Doctor Who, which has become a huge international program brand for BBC Worldwide.

“I’d like to see more shows coming up that are both fun and fantasy-driven,” says CAKE’s Galton. “Broadcasters are still underlining [the idea] that comedy is very important, but if you look at the success of the Harry Potter movie franchise, it’s clear that kids still get excited about fantasy.There’s an opportunity for more fantasy-based kids’ live action.”

One of CAKE’s latest projects at MIPCOM will be the new series Cartoon Gene from Canada’s GalaKids, the producer of The Worst Witch. Cartoon Gene will follow the life of a teenage boy with human and cartoon DNA. The show promises a combination of live action and CG animation.

such as Family Channel or TELETOON, it becomes eligible for tax breaks and “soft money” subsidies from organizations such as the Canadian Television Fund, provided that most of the show’s production is carried out in a Canadian province by a Canadian producer. That, says CAKE’s Galton—who aims to complete the financing on Cartoon Gene this fall—leaves just 30 percent to 35 percent of the budget to be picked up through international presales.

With the Canadian funding mechanisms, the show needs to be worth at least C$80,000

THE NUMBERS GAME

One reason that so many kids’ live-action producers and distributors, such as Shaftesbury, DECODE and E1, are based in Canada is that it’s a good place to do business, thanks to the availability of a generous combination of tax breaks and television fund subsidies. A production can obtain up to 70 percent of its financing from Canadian sources. Typically, once a show has backing and a license fee from a local children’s channel 256

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Wild at heart: DECODE is a prolific producer of live-action tween fare, rolling out hits like Naturally, Sadie.

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Getting snappy: One of the top kids’ series from E1 this MIPCOM is Majority Rules, a tween show for TELETOON in Canada.

per episode to qualify for a handout from the Canadian Television Fund, which could put in as much as double that amount. Similar tax breaks and subsidies exist in sections of Australia and France, making both of those countries popular destinations for producing live-action children’s shows as well.

“Australian producers are able to access a tax offset and they are also able to apply to Screen Australia for investment in their production,” explains ACTF’s Buckland. “The combination of tax offset and subsidy, together with local license fee, means that they can access well over 50 percent of the production budget in Australia. Productions that are official co-productions with other countries, under a co-production treaty— we have co-production treaties with Canada, France, the U.K. and many other places—are treated as Australian productions for the purposes of the Screen Australia subsidy and tax offset.”

Because of intricate co-production treaty requirements, live-action drama is more difficult to co-produce than animation. “More often live-action drama is made as an ‘unofficial co-production’ or straight presale,” continues Buckland, “where an international broadcaster and/or distributor or production company is involved and has a level of creative input commensurate with their financial contribution.”

OUT OF THE BOX

With Disney Channel and Nickelodeon airing so many live-action hits, they have naturally shaped the genre to their own tastes and needs. “We found it hard to push a series called Radio Free Roscoe—about a group of kids who set up a pirate radio station at their school—because it was more drama than 258

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comedy and didn’t fit easily into the Nick or the Disney box,” recalls DECODE’s Scherba.

One show that appears to be stepping successfully out of the box is Majority Rules, a new live-action/animation series from E1 for TELETOON that is looking for a U.S. home.

“Majority Rules tries to spin the aspirational idea that you can do anything if you put your mind to it in a more socially responsible way,” explains Saperstein.“Instead of becoming a rock star or the most glamorous girl in school, our lead character, Becky Richards, is elected town mayor at the age of 15 and goes about tackling adult problems from a teen perspective.”

Shaftesbury’s Kinnear notes that another developing trend in kids’ live action is the need to capitalize on the digital potential of content.“We have to remember that we are increasingly dealing with a very technologically savvy audience,so a 30-minute live-action sitcom needs to deliver in online, mobile and in print media. It’s not just about a 30-minute show and that’s the end of it.

These days you have to figure out how to take the characters and stories and repurpose them.”

Taking digital seriously provides its own rewards, says Kinnear.“We established a much more direct relationship with our audience on Life with Derek.Viewers provided us with 6,000 entirely reedited episodes we didn’t ask for.

They reedited their favorite episodes with their own music, mixing the stories up and telling it from their point of view.”

It helped Shaftesbury find out more about what the audience liked and disliked, which fed into the show’s development. “On Life with Derek, it has already informed how we create material for online. We discovered that our viewers’ favorite character was the youngest, who provides the show with a lot of light relief.We decided to use her more in the online world.”

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Nurturing Talent at Disney

Anne Sweeney Disney Channel’s series continue to resonate with kids, from newer shows like JONAS and Sonny with a Chance to the longer-running hits Hannah Montana and Wizards of Waverly Place. These live-action shows, so popular with the tween set, are complemented by the hilarious silliness of animated titles like Phineas and Ferb, as well as a string of original movies.

Anne Sweeney, co-chair of Disney Media Networks and president of Disney/ABC Television Group, talks to T V K i d s about creating stars and franchises.

By Anna Carugati

TV KIDS: The number of stars that keep coming up through the Disney Channel ranks is impressive: from Miley Cyrus and the Jonas brothers to Selena Gomez and Demi Lovato. All of them sing and act and dance—they are “triple threats,” as the jargon goes. Is it by design that you have such multitalented stars or is it a coincidence?

SWEENEY: It’s two things. Great credit goes to a woman named Judy Taylor, who is head of casting for Disney Channel. She does have a phenomenal eye, as do Gary Marsh [the president of entertainment at Disney Channels Worldwide] and Rich Ross [the president of Disney Channels Worldwide]. Together, they are my triple threat! But we also have a company that has terrific resources, and when we start talking to kids about a role in a television series or a movie, finding out that they play an instrument, or they write or sing, prompts the next conversation, which is with Hollywood Records or with our film studio.This is where Rich Ross has been phenomenal. He has been the person who has literally walked everyone across the lot, across the yard, down the street, to make sure that every division was aware of the great talent that was coming through our door. As a result, you can see Miley Cyrus, Selena Gomez, Demi Lovato, the Jonas brothers, Corbin Bleu, Zac Efron and Vanessa Hudgens, and the list just goes on and on. It’s having the mentality of really getting to know your talent, getting to know what their hopes and dreams and desires are and then being able to facilitate a relationship with other divisions, that has served everyone well.

TV KIDS: Would you take one of the Disney Channel franchises and explain how you have taken it across platforms to serve kids in as many ways as possible?

SWEENEY: The one that comes to mind is Phineas and Ferb. It’s an animated series and we are seeing amazing resonance with kids that has started to translate into a very successful consumer-products program.

We have strong viewing for Phineas and Ferb, not just on Disney Channel, but on Disney XD as well—which used to be Toon Disney and was rebranded on February 13.We’re seeing strong viewing on Disneychannel.com and Disneyxd.com. It’s also a show that has moved extremely well across our VOD platforms, iTunes, mobile phones, and it’s one of the key games that is driving unique visitors to the Disney.com site.

TV KIDS: When you are creating a franchise, do you think of the inter-

national audience as well?

SWEENEY: Oh, absolutely.When you run a global business, you have to

think globally, and the international marketplace has been a part of every conversation and every plan for every project from the beginning. For example, Latin America was one of the strongest markets for High School 260

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TV KIDS

Measuring up: Disney Channel’s latest crop of tween live-action comedies includes Sonny with a Chance, recently renewed for a second season.

Musical (HSM ), and EMEA [Europe, the Middle East and Africa] has continued to grow the Hannah Montana and the HSM businesses throughout the year. For the London premiere of Camp Rock, we had the rollout plans that really set the stage for the rest of the world and for the way we treated franchises like this going forward. And we maximize not only our channels but also the free-TV windows that are available to us.

participate in the outreach messages. It debuted on Disney Channel and XD and Radio Disney and Disney.com.

“Reg and pledge” (register and pledge) is the slogan, and kids get to vote on how The Walt Disney Company will parse out $1 million in donations and what causes we’re going to invest in, covering our four key areas: climate, water, waste and habitat. And “Send It On” is the anthem, which is off the charts on iTunes—the downloads have been absolutely phenomenal.

TV KIDS: How successful has the rebranding of Disney XD been?

SWEENEY: So far very successful.What has been so smart

about XD is that it was conceived of as a multiplatform brand.And while it showcases a great mix of live-action and animated programming, it is hyper-targeting boys. It really focused in on their quest for discovery, accomplishment, adventure, as well as sports and humor. Phineas and Ferb fits very easily into [the brand]; so does Zeke and Luther, and then movies, everything from Charlie and the Chocolate Factory to The Adventures of Sharkboy and Lavagirl. And the ratings have really validated the strategy. July was the most-watched month ever in the network’s history, and that includes all of the years that it was Toon Disney.

TV KIDS: Tell me about the Friends for Change initiative.

SWEENEY: That is a wonderful Walt Disney Company

initiative. It’s a multiplatform environmental initiative that really helps kids help the planet. Twenty-nine of our stars

“The international marketplace has been a part of every conversation and every plan for every project from the beginning.”

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Band of brothers: With a thriving music career, sold-out concerts and now a hit series, called JONAS, the Jonas brothers are a key part of the Disney teen-talent stable.

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A Little Bit of Magic

Selena Gomez

By Anna Carugati A rising star at Disney Channel, the 17-year-old Selena Gomez started performing at a very young age. Today, her series Wizards of Waverly Place, about an “ordinary” Manhattan family of wizards who juggle running a sandwich shop while raising squabbling teens, is one of the most popular series among tween viewers.

The movie Princess Protection Program, which she co-starred in with Demi Lovato, another Disney Channel fresh face, scored record ratings. In the movie Another Cinderella Story, a remake of the classic fairy tale, Gomez demonstrated that not only can she sing and act, she dances, too—quite well. And the recent U.S. premiere of Wizards of Waverly Place The Movie attracted 11.4 million viewers, making it the number one entertainment telecast of 2009 among kids 6-11 and tweens 9-14 and the number one cable telecast among all viewers.

From what colleagues and Disney Channel executives say, Gomez’s talent is surpassed by her generosity of spirit and down-to-earth nature. She took time out from her hectic schedule of shooting a weekly series while promoting a CD to talk to TV Kids.

TV KIDS: When did you start becoming interested in performing? Did acting or dancing or singing come first?

GOMEZ: I always say it’s in my DNA. I definitely have been singing since I was able to and followed it by acting when I was very young.

TV KIDS: When were you discovered and what

was your big break in the business?

GOMEZ: I was age 7 and I got a role on Barney and Friends, taping in my hometown of Dallas, Texas.

TV KIDS: What makes Wizards of Waverly Place so

successful and appealing to kids in several different countries?

GOMEZ: I really love that the show is very familyoriented and the stories are relatable. I don’t think we have a “secret,” but the magic of our show is being able to make both parents and kids laugh.

People like it, no matter where they live. What kid doesn’t wish that they could do magic, become invisible or rewind time? But at the same time, the characters are so relatable as everyday teenagers. My character, Alex, has an older brother and a younger brother, and they’re all different ages and trying to be normal kids going to school, and dealing with family issues.We just toss in a little bit of magic, and it makes it a little bit more fun.

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“I really love that [Wizards] is very familyoriented and the stories are relatable...The magic of our show is being able to make both parents and kids laugh. People like it, no matter where they live.”

she’s just a girl who needs a best friend to be there for her to help her through things. Meeting Rosie changes her as they become friends. She finds out who she really is and it’s neat, towards the end of the movie it’s like she becomes a princess as well.

TV KIDS: Tell us about some of the differ-

TV KIDS: What were some of the creative challenges you faced filming Another Cinderella Story?

GOMEZ: The challenge was one I hope I face with every project and that’s to make my character unique and interesting. I also got to work with a wonderful, talented actor and singer, Drew Seeley, and he’s a great friend.

TV KIDS: Tell us about the movie Princess Protection Program,

what appealed to you about the project?

ent challenges—and fun parts—between acting in a series and acting in a movie.

GOMEZ: Shooting two movies in Puerto Rico, Princess Protection Program and Wizards of Waverly Place, was fun. It was kind of like going on a vacation and working at the same time. For the Wizards of Waverly Place movie, we were right on the beach, and we got to go to the rain forest and the cast all went salsa dancing one night. For Princess Protection Program, it was like my family and my best friend’s family all going on vacation together. But it’s always nice to come “home,” to the crew on the Wizards of Waverly Place series set in Hollywood where I am working now. They’re like a second family to me.

TV KIDS: What creative environment have you found at Disney Channel?

GOMEZ: After I kept auditioning and waiting and then was cast in two pilots, I knew Disney Channel believed in me.

They’ve listened to me and presented me with more opportunities to play different characters, to work on series, movies

GOMEZ: Princess Protection

Program is about a young princess whose country is about to be taken over and, in order for her to get away from all the bad guys there, she has to go into this undercover princess protection program.

She has to cut her hair; she’s given a secret identity and she has to come live with my character and her dad.

And my character, Carter, and the princess, Rosie [played by Demi Lovato], kind of butt heads a lot and they don’t agree on stuff. But I think the movie mainly is about just finding who you are and finding what friendship means and what it is to have someone by your side.

I liked the character I play because she puts on this front that she’s a confident girl and she doesn’t need anyone by her side, but deep down inside

Royal trouble: Rising teen stars (and good friends) Demi Lovato and Selena Gomez starred in Princess Protection Program, a TV movie that delivered record ratings this year.

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A bewitching mix: The Wizards of Waverly Place The Movie (far right) scored more than 11 million viewers in its U.S. run this August, following the success of the TV series.

and special projects and to sing on the series and in Princess movie soundtracks. It really has become a launch pad for other aspects of my career, including my solo debut album, Kiss & Tell, which came out September 29 on Hollywood Records!

TV KIDS: Who have been your role models or mentors— whether actors, performers or friends and relatives?

GOMEZ: My mom is my role model because she’s smart, creative, supportive and treats all people with respect. On the Wizards set, [co-stars] David [Henrie] and Jake [Austin] are like my brothers.We fight, we get on each other’s nerves, and it’s normal. I look up to them, and I ask advice from them, and they are very protective of me, like brothers would be. I’ve gotten really close to my cast, and Jennifer [Stone] has become my best friend and Maria [Canals-Barrera] and David [DeLuise], the parents on the series, they’re like my second parents.We are all so close, and I’m so thankful for that and know it translates on screen.

TV KIDS: What advice do you have for a young girl who would like to become a performer, and in particular a “triple threat”— talented in three areas: acting, singing and dancing—as you are?

GOMEZ: I say go for it, follow your dreams and most of all, be prepared to always work at improving your skills and challenging yourself to do better—that’s the ultimate reward, growth and fulfillment as an artist and the ability to make people laugh or touch their hearts with your work, no matter how old you are or what you choose to do in life.

TV KIDS: I’m sure you have had to make some sacrifices while you perfected your talents, maybe not spending as much time with friends or in other activities.Where do you get your drive and how do you stay focused on your goals?

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GOMEZ: I do miss my family in Texas and spending time

with friends, but I also love my craft and the feedback I get from my fans helps keep me focused on delivering new projects and reaching my goals. I also know it’s important to balance and make good use of free time and days off, and sometimes that means just lazing around the house with my dogs!

TV KIDS: You have become a role model for many young girls.What values and what image do you want associated with the Selena Gomez the public sees?

GOMEZ: It’s very flattering to be considered a role model but I truly just set out each day to do my best and if I am sending a message to young girls, I hope they know it’s,“Be yourself, be proud and treat others like you want to be treated.”

TV KIDS: What new projects are you working on?

GOMEZ: I am very excited about my first album, Kiss & Tell,

performing with my band,The Scene, and next year, going on a concert tour.

TV KIDS: What do you enjoy most about your work?

GOMEZ: The days when we tape episodes of Wizards and

the audience comes are my favorite days, just because it brings us so much more energy, and it makes us so much more excited. For me it’s like, if I make a kid laugh in the audience, I can sit there and go, I just made them laugh by saying something, or doing something, and it’s really a good opportunity for our cast to kind of thank the fans individually for watching the show. So we kind of introduce ourselves to the entire audience, and we’ll let them know that we’re very glad that we have them in our lives.

Because, obviously, the show wouldn’t be here if it wasn’t for them.

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By Anna Carugati

In today’s crowded multichannel landscape, Cartoon Network is a beacon for boys, with a schedule known for fun, often irreverent, action-packed animation. As Stuart Snyder, the president and COO of the animation, young adults and kids media group at Turner Broadcasting, explains, Cartoon Network is moving from strength to strength—expanding into live action, reaching out to girl viewers, building new brands and keeping classics like Scooby-Doo alive and well.

storytelling and of course Scooby himself, who is lovable and cute, that really have made Scooby-Doo an amazing evergreen character and property.Working with our partners at Warner Bros., we have been able to offer the television series and a number of made-for-DVD specials over the years both on Boomerang and on Cartoon Network.And the great newest incarnation is Scooby-Doo! The Mystery Begins, which is our live-action CG movie that premiered last month.

TV KIDS: It’s hard to believe—Scooby-Doo is 40 years old!

TV KIDS: What prompted the decision to get into live-

How has Cartoon Network kept the franchise fresh?

SNYDER: Scooby is absolutely multigenerational.What has kept the franchise fresh, frankly, is Scooby himself and these great characters, who have lived and prospered for decades.

It is a show that offers comedy, a little bit of a fear factor and a little bit of mystery. It’s the combination of the engaging

Where the Boys Are

Turner’s Stuart Snyder

action programming?

SNYDER: What prompted the decision are kids today.We’ve

done extensive research at the network.We really focus our content for boys—although we don’t look to alienate girls, we look to embrace them—and we do a lot of engaged research with boys.We really feel we have the pulse on what’s going on with boys. Through those dialogues and that research, it was confirmed that boys really want to see more of themselves on our network.They are watching all television, not just one genre. Our core identity will always be the best animation you can find anywhere. Our audience is saying they love animation, but they also love watching live action. So our challenge is to give them live action that fits our brand—that means we are looking to embody the humor, the outrageousness, the boy-oriented stuff that boys relate to.We want to make real TV for real kids.

So as we continue to maintain a heavy commitment to animation, we are moving into the live-action genre and we started with reality programming.We got some great traction with two new shows. Dude,What Would Happen is really doing well with the boy [market] and the girl market—the girl audience is growing every week.And the other show that is popping is called Destroy Build Destroy.

Then we have two live-action pilots that we will be reviewing in the next two months.The first one is Unnatural History, produced in association with Warner Horizon Television, and the second is Tower Prep, executive-produced and written by Paul Dini.

TV KIDS: What new animation series have you greenlit

recently?

SNYDER: In 2009-2010, our programming announcements

represent the largest, most diverse development slate in our history. On the animation front, we greenlit 164 new halfhour episodes of new and returning shows.

There are three new action-animated series: Ben 10: Evolution, as the Ben 10 franchise continues to be extremely popular; Generator Rex, from Man of Action, the creators of Ben 10; and Sym-Bionic Titan, from creator Genndy Tartakovsky (Dexter’s Laboratory, Samurai Jack).

Next we have the comedies Adventure Time with Finn and Jake, commissioned from Pendleton Ward, Stoked from CAKE and the second in the Total Drama franchise, Total Drama Action. It follows Cartoon Network’s number one show of 2008, Total Drama Island, also from CAKE. We have a lot of returning shows: Flapjack, Batman: The Brave & The Bold, of course we have Star Wars:The Clone Wars, which has been extremely well received—in fact, last year it was ranked number one on all of television with boys 6 to 11.

The premiere of Star Wars was the most watched premiere in our history.

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CartoonNetwork.com we have something called Game Creator, where kids are able to create their own games and publish them on the website.We had a Game Creator for Ben 10, we had one for Batman: The Brave & the Bold, and kids created more than 5 million games on them.We will be creating a Game Creator for Star Wars:The Clone Wars later this year.We launched FusionFall last year, which is Cartoon Network’s MMOG [Massively Multiplayer Online Game]. Games are a very important consideration for us.

TV KIDS: Are kids also streaming video online?

SNYDER: Yes, our video section had almost 104

million video plays in the second quarter of 2009, and that was up 39 percent compared to the same period a year ago.

Total Drama Island and Total Drama Action offer great examples of how kids not only enjoyed our shows on-air but continued the experience online.These are the first-ever animated reality shows and kids enjoy getting more information about the characters and their story lines online, even to the extent that we blew up the site when we premiered Total Drama Island a year ago, but we fixed that really fast!

TV KIDS: Which Cartoon Network properties

What’s new ScoobyDoo?: The much-loved canine turned 40 this year with the live-action Cartoon Network special Scooby-Doo! The Mystery Begins.

TV KIDS: How are the development teams in the U.S and

in Europe working together?

SNYDER: The U.S. team and the international team collab-

orate on a regular basis.We work together, we communicate, we share projects, we look for projects together when we attend conventions, which we attend on a worldwide basis.

We are doing more and more together than ever before. An example would be Bakugan, which is an animated show we did with Nelvana and Spin Master. Star Wars:The Clone Wars was also a worldwide collaboration.

TV KIDS: Are games the main drivers on the website? How are kids using CartoonNetwork.com?

SNYDER: Games are very strategic not only to our website but frankly to our overall business and are a very popular dimension of CartoonNetwork.com. Our games have generated billions of game plays on an annual basis.To give you an idea of how important games are to us, if you go to 270

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are generating the best merchandising and licensing revenues?

SNYDER: Our biggest brand is Ben 10.We’ve had the original show, spin-offs, one extremely popular live-action movie, Ben 10: Race Against Time, which was the highest-rated event on our network back in the fall of 2007.This fall Ben 10: Alien Swarm, the new live-action movie, will premiere and we will have another new series based on Ben 10 coming up later on.

Ben 10 is our biggest, most popular brand for boys. It’s had four years of double-digit growth. It is a top five brand in multiple territories around the world and in 2008, in fact, it was the number one selling toy brand in the U.K., Spain, Southeast Asia, Australia and South Africa, just to name a few. Bandai America sold more than 22 million action figures and 9 million Omnitrix watches worldwide. Ben 10 was also the bestselling video game franchise and the most successful kids’ DVD franchise in our history of originals.We’ve launched more than 175 new products with another 225 slated for 2010.

The other property I would highlight is Bakugan.We partnered with Spin Master and Nelvana to serve as the exclusive agent for Bakugan. In 2009 LIMA named it “Overall Best Licensed Program of the Year” and “Best TV, Film & Entertainment-Hards Goods Licensee of the Year,” and we’ve signed more than 40 deals with blue-chip partners like Colgate, McDonald’s, Random House and Scholastic, just to name a few, but Bakugan truly has become a toy phenomenon. It’s a top boys’ property in the toy category.

Generator Rex and Sym-Bionic Titan are the two shows that we are very much targeting as the next big properties in terms of action figures.

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our viewers’ needs, we can run competitions, we can read their e-mails.We can do birthday requests as well as promote and host our programs.

And the final thing, and probably the most important, is that we would claim to have far and away the strongest lineup of preschool programs in the U.K. TV KIDS: Do acquisitions play an important role in

your schedule?

WILSON: Yes, they do. Our two main new series

this year have both been acquisitions. One is Chiro, from Korea, and the other one is The WotWots!, from Pukeko Pictures (made at Weta Workshop) and the ABC in Australia.

Entertaining Tots

TV KIDS: And when acquiring programs, do you look for good strong stories that are appropriate for your age group?

WILSON: Yes, indeed.We look for programs that will reach the benchmark that has been set by our top five or six programs.When you look at what we have in our portfolio, from Peppa Pig through to Mr. Men, with Little Princess, Fifi and the Flowertots and Noddy, there is a really strong quality hurdle that programs have to leap before we will consider them as either acquisitions or as co-productions.

Five’s Nick Wilson Offering the best shows, from animated series featuring lovable characters in endearing story lines to documentaries about children in real-life situations, the Milkshake! block on Five has won the hearts of preschoolers across the U.K. Nick Wilson, the director of children’s programming at Five, talks about the content and the target audience he loves so much.

By Anna Carugati

TV KIDS: What does Milkshake! aim to offer young viewers?

WILSON: I suppose the big word I always use is “stories.”

Milkshake! is a breakfast-time block from 6 a.m. to 9:30 a.m. every morning.What we offer is strong in storytelling and it’s digestible in its size. Most of our programs are somewhere between five minutes and a quarter of an hour long. We always understand that our audience is moving around a lot in the morning.What we try to do is offer the best portfolio of stories of any broadcaster in the U.K. TV KIDS: The competitive landscape in the British children’s

market is intense.What has given you a competitive edge over many of the other channels serving the same age group?

WILSON: I think there are three things.The first one is the time slot that we’ve got.We really only have the BBC to compete with at that time in the morning.When Milkshake! launched, we were on our own in preschool programming at breakfast time, so we got a head start on CBeebies and everyone else.And we’ve managed to maintain that kind of advantage.

The second thing is, the tone of our presentation is very distinctive. It’s non-patronizing. It’s very straightforward and based around an extremely talented set of presenters. We always have live continuity, which means we can respond to 272

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TV KIDS: Tell me about the website. How does that support the linear channel?

WILSON: Essentially the website is built around our Milkshake! content, because we do produce quite a lot in-house now, along with pages relating to our leading characters.

Because our audience is preschool, there is a limit to how much they use a site. So everything is based on point and click.You don’t have to be literate to work your way around our website.

If a parent puts a child on our website and leaves them to point and click, something interesting will happen. But being a broadcaster and television-based, we are very strong on video content.

TV KIDS: What has been the reaction of parents and caregivers to the site?

WILSON: Very enthusiastic. It’s very popular. It’s the most popular part of Five’s overall website.We are hoping to do a major revamp of it later this year, which will have more to do with the design than the content—we find the content works very well.We’ve made three series so far for both online and linear broadcast: Milkshake! Music Box, which is about nursery rhymes; Milkshake! Bop Box, which was “get up and dance”; and Milkshake! Animal Alphabet, which, as you can guess, is about animals relating to the alphabet. All are made as short video content, between one and three minutes in length.

TV KIDS: The U.K.’s children’s market has been through

quite a bit of turmoil.What is your assessment of it?

WILSON: We’ve all been hit by the economic downturn,

particularly advertiser-funded broadcasters. Ad revenues, as you are aware, are down across the board, and that includes ad revenues around children’s programs. Milkshake! is still, as a block within the Five schedule, profitable, and that secures 10/09

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our animation production is coproduced, simply because to get the kind of quality that our audience has become used to, we need to share the burden of the investment.

Sunny set: Milkshake! Music Box is one of three series Five recently produced for broadcast both on-air and online.

its future for the short and medium term.We’ve had to cut our investment budget this year and we’ll be cutting it next year, but I have every reason to be optimistic that it will be back up to previous levels by 2011.This is probably an ambition that other broadcasters have as well, but I think we would have our heads in the sand if we pretended everything was absolutely perfect and rosy in the world, because it isn’t at the moment, but it is a question of fastening your seat belts, hanging on and coming out the other side.

TV KIDS: What reputation does Milkshake! have within the independent production community in the U.K.? You must be quite popular because you still commission programs!

WILSON: I think we are quite popular for that very reason.

We have continued to commission and we’ve actually worked very hard this year, particularly with our live-action producers, to keep the smaller companies afloat.We’ve done a couple of commissions where, as much as we needed the programs, we actually did them in preference perhaps to more international co-productions, to keep some of our smaller, very loyal independents afloat in a difficult time. I think that has given a warm glow to us in certain sectors of the independent production community. Also we have tried very hard with our regular suppliers, like Chapman Entertainment and Chorion, to keep something going in their direction, as well.

TV KIDS: How much of what you commission is done as co-productions?

WILSON: In terms of animation, nearly all of it.We’ll do one or two lower-cost animations that we fully fund, but most of 274

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TV KIDS: What are a few upcoming shows that you are excited about?

WILSON: We’ve got a new series from Calon TV called Igam Ogam, which is a co-production with S4C. It is a model animation comedy about a young cave girl called Igam Ogam.We have a new 2-D animation called Castle Farm, which will come up next year as well, and is based on designs by a Northern Irish artist called Corrina Askin. It’s being made by Impossible TV and it’s not hugely expensive, so we are fully funding it.

And we’ve got some live action coming into the schedule this autumn. It’s currently in post-production. It’s an observational documentary series called Family, which follows five different preschoolers and their families—it’s quite a long series, 50x7 minutes.We have previously produced documentary series for preschoolers: Big School, about starting school, Play!, an observational doc on children in unstructured play, and that left us with Family to complete the picture.

TV KIDS: You don’t even collect a license fee and you offer quite a bit of public-service programming.

WILSON: The thing about preschoolers is they are like a virgin audience, and it’s really important whether you are a commercial broadcaster or a public-service broadcaster that you give them a rich schedule that is not all animation. It becomes a habit; children like to watch other children and they like stories, and if you can do real documentary stories about other children, they actually rate very well.

TV KIDS: And they are little sponges at that age, aren’t they?

WILSON: They are little sponges.The response we got to the

series Big School was so heartwarming. Parents said,We’re really pleased you did this. Our children are no longer frightened to go to school, because they’ve seen what it is like and they thought it looked fun.

TV KIDS: What kind of feedback do you get from the little ones?

WILSON: We get pictures and e-mails, but the best feed-

back we’ve had is for our summer live theater tour. I saw it five or six times because it had all our presenters in it.And it really brings a lump to your throat because the little ones get so excited when they see the presenters and the characters on stage. You just think, Wow, we must be doing something right!

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As a former speech therapist with a passion for theater, Andrew Davenport has always been fascinated with language, drawing and the use of comedy as a universal tool for communicating. He focused on these elements when creating and writing innovative shows for Ragdoll Productions—where he is creative director—that have become huge hits on the BBC and around the world: first Teletubbies for the youngest viewers (co-created with Anne Wood, Ragdoll’s founder), and more recently In the Night Garden, for preschoolers. Commissioned by CBeebies, the series has so far been sold by BBC Worldwide in more than 30 countries and has 60-plus licensees signed globally, with a DVD that has already sold a million units. Davenport is currently working on the multiplatform program Tronji, in which children aged 6 to 8 must solve problems to save Tronji World.

By Anna Carugati

TV KIDS: What provided the idea for In the Night Garden?

DAVENPORT: I wanted to make a show that was about the

imaginative space we share with children.The whole idea came out of personal experience: spending time as a very young child with my grandmother, who was really very imaginative.

I was very lucky in that respect. At bedtime, she would take time telling me stories that she made up, often as she went along, as well as the more traditional nursery rhymes. One

Music and Rhymes

Ragdoll’s Andrew Davenport

rhyme in particular was called “Walking Around the Garden,” which appears in the beginning of In the Night Garden. It involves circling your finger around your child’s palm in a little rhyme.The memories of those times have really stayed with me, and left a great impression—and as is often the case with childhood memories, the atmosphere of them is stronger than the detail.What I take from those distant memories more than anything is a feeling of security and warmth and fun—and most importantly, of being loved. And I think that came out of the fact that here was an adult taking the time to be silly and share little nonsense rhymes and to create a little world of imaginative stories. I think this means a lot more to children than we often appreciate. I was very keen that In the Night Garden should create and hold onto this atmosphere.

As a child, I also had a nursery rhyme book that I was very fond of. I loved the pictures and the world they engendered. I loved the fact that these eccentric little characters had their own little rhymes that encapsulated who they were, and that they lived in this funny nursery-rhyme community and were all very happy and free to express their own absurdist eccentricities!

Out of these memories, I could see beginning to emerge something that would contrast very nicely with Teletubbies— a sort of a silly nursery-rhyme community—a comical but very closely bonded and diverse community of absurd characters.That was really the starting point of the idea. It was to emerge from a bedtime-story context, not to make it a bedtime show, but in order to create an atmosphere—it’s a metaphor children understand.

TV KIDS: Words, music and rhymes have a distinct purpose

in the show, don’t they?

DAVENPORT: They do, very much so, and that reflects the culture of the child.The target age group of In the Night Garden is slightly older than that of Teletubbies. At this age, children have learned enough about the world, and have built up enough language, to really take pleasure in turning everything upside down.This is, of course, where the classic nursery rhyme comes in. It uses all the fun elements of language, rhythm and rhyme and sense reversals, and gets them all around the wrong way, describing events that are often impossible, like cows jumping over the moon or old ladies living in shoes. It’s exactly what children at this age enjoy. It’s a uniquely human thing: children go very quickly from trying to grasp exactly how the world is and then go on to thoroughly enjoy imagining how the world might be if it was turned on its head.That was the starting point for In the Night Garden. The characters all have their own rhymes that describe, either in words or through a string of nonsense, who they are and what they do. Children quickly learn the rhymes, which then become an important point of contact with the character and the narrative.

TV KIDS: When you use the term “uniquely human,” do you

believe this is an element that has made the show so successful in so many territories?

DAVENPORT: Probably! The advantage of working with a preschool audience is that if you can manage to get a show right, it tends to work universally because all children in their preschool years are more or less interested in the same things,and they grow up by the same fundamental series of processes.The reason In the Night Garden works in so many territories is because the culture of childhood is a unique and universal culture in itself.

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TV KIDS: Producers of programming

Hat trick: Ragdoll’s newest series for the BBC is Tronji, which was conceived as a multiplatform property.

for older children often tell me that after a child has been in school all day, the last thing he or she wants to watch on TV is something educational. How do you feel about that?

DAVENPORT: I think that is slightly underestimating children’s ability to take what they’ve learned, and to enjoy applying it to new situations. And it is slightly underestimating the power of good television to support and refer to educational content without necessarily making it a painful process.

Tronji is very much about making a narrative out of new forms of expression that the child is learning about at Lush in plush: A tremendous hit for CBeebies, In the Night Garden has also become school: mathematical workings, dia- one of the biggest kids’ licensing properties in the U.K. grams, scientific concepts and language. Not only incorporating them, but making those the TV KIDS: As a creator, do you keep eventual merchandising constituents of the narrative, so that through the story chil- possibilities in mind when you are creating a character or dren are actively using these new ways of conveying inforwriting the story lines to a show? mation that they are learning at school.

DAVENPORT: Of course you know that if the show is sucIt is all about taking children’s current culture and setting it cessful, the characters are probably going to end up as physical within a playful context. Children can detect that this is a silly or merchandise on a shelf. But you don’t consider that in terms of playful, comical environment they are entering, whether it’s In their design.The initial job is to create a character that will comthe Night Garden for younger children or Tronji for slightly older municate itself visually.And for me it always starts from creating the character as a drawing.You start with the essence of the children.They feel much more confident to approach difficult ideas in this context.With younger children, for instance, it’s a character, but you know that it is going to be a living, breathing, full-bodied thing on the television screen, and you know it is well-established fact that new language emerges in playful situations first.This is part of the function of play. So Tronji creates probably going to manifest as a costume and contain a human a playful, absurd and ridiculous world and navigates it using performer.As the character evolves from your drawing into a costume character—that’s one set of compromises and changes these new scientific and mathematical forms of expression. that take place. I always sit very firmly on the costume-design TV KIDS: Because children are such multitaskers these days, process, to make sure the appeal of that character is not in any is it necessary for a show to have an accompanying game they way endangered by the transformation from the drawings, and can play online or on their Nintendo DS? that the essence of the character is preserved throughout. Of DAVENPORT: Tronji was initially a response to a BBC call course, after that, should the program be successful, you are to create properties and brands for which no single platform doing the same process with merchandising.The aim is exactly was dominant. Tronji was always conceived as something that the same: to adapt that character to whatever form it’s going to would be a greater whole, rather than beholden to an indi- be appearing in, whether it’s a plush or whatever. But the vidual platform. Different platforms have different strengths. process is always the same: the character develops out of a drawThe television platform is a very good conveyor of narraing and then it is a series of adaptations to the context. But you tive—showing the way the participating children can use have to sit very firmly on every stage to make sure that the thing their skills actively and collaboratively to create a satisfactory that made you respond to the character in the first instance is resolution. A gaming platform has a completely different set preserved all the way through. of strengths, communicating a different interpretation of the context, TV KIDS: Is there any part of the creative process that you exploring the scale and complexity enjoy most? of the Tronji World.

DAVENPORT: The whole creative process is intrinsically enjoyable, because it’s about starting the day without something and ending the day with something.There is particular pleasure in drawing out potential, whether it’s of a character, or of the team that you are working with. It’s an intensely creative setup, and there are obviously great stresses and multiple impossible deadlines, but at the end of the day, it feels like a privilege to be doing this kind of work. Because we all support each other, and we are all concerned with the same thing—starting with nothing, and ending up with something extraordinary, complex, funny, meaningful and, of course, enjoyable.What could be better than that!

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CHANNEL PROFILE Astro Ceria COUNTRY: Malaysia LAUNCH DATE: August 31, 2006 OWNERSHIP: Astro All Asia Networks DISTRIBUTION: Distributed on Astro, reaching 2.76 million subscribers DESCRIPTION: The Malaysian channel targets kids aged 4 to 14 with a mix of locally produced titles and acquired hits.

SENIOR MANAGEMENT: Executive Director, Astro Entertainment: Zainir Aminullah VP, Astro Entertainment: Kartik Chintamani General Manager, Astro Ceria, Astro Warna: Naresh Ramnath Channel Manager, Astro Ceria: Azlin Reza Azmi WEBSITE: www.astro.com.my/astroceria

PROGRAMMING STRATEGY: With its tagline “Untuk Kita

popular in the kids’ channel’s game show Gerak Geri Gasing.While Azmi says that there is nothing specific on her wish list right now, she notes, “We’re always on the lookout for good programming. If there’s good content that comes our way and if it suits our brand values, then we will definitely be interested to have a look at it.”

Aje!” (Only For Us!), the Bahasa Malaysian-language Astro Ceria aims to be “a place where Malaysian kids have fun all UPCOMING HIGHLIGHTS: New shows include the the time,” according to Azlin Reza Azmi, the channel manager. acquisitions Sid the Science Kid, Tensai Bakabon and Ozie “It offers kids 24 hours of localized world-class animation and Boo!, among others. In terms of local content, Azmi is great local live-action programming. It provides a platform excited for the launch of the new commission Belalang, to inspire kids and express their point of view. Our core brand as well as new seasons of Geng Bas Sekolah and Hikayat values are fun, friendship and family.”

Putera Shazlan.

Ceria kicks its day off with acquired shows for preschoolers, stripped throughout the week during the morning schedule.

Thereafter, “the channel showcases laughter and action animation throughout the day, which is well consumed by both the younger and older kids,” Azmi says. “Fridays to Sundays are a checkerboard of our local productions and family-based acquired titles.”

Top-rating shows include the locally produced titles Tom Tom Bak, Geng Bas Sekolah and Hikayat Putera Shazlan and the acquired shows Hagemaru and Digimon from Japan and Roary the Racing Car and Jim Jam and Sunny from the U.K. Astro Ceria has commissioned an epic adventure drama, BelalangAnakanda Nujum Di Raja, based on legendary Malaysian folk tales, seen through the eyes 10-year-old Belalang. It has also commissioned the local outfit Inspidea to coproduce an animated series featur- A real prankster: Astro Ceria’s hilariously irritating Mat Kacau character is getting his own series, ing Mat Kacau, a character made courtesy of a co-production with Inspidea.

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CHANNEL PROFILE appropriate Arabic preschool programs specifically designed to preschoolers aged 3 to 6, the need for Baraem was [clear].”

About 85 percent of Baraem’s schedule is acquired, Bouneb says, “cautiously selected from international production houses matching the channel’s editorial policy and broadcast guidelines.” Acquisitions include BBC Worldwide’s Charlie and Lola, National Geographic Television International’s Mama Mirabelle and DECODE Enterprises’ Animal Mechanicals.

The remaining 15 percent of the grid is rounded out by original productions, such as the 200x3-minute Nan and Lili, an interactive series for preschoolers that involves simple games that encourage them to learn, and the 52x15minute Baaas, a live-action series that promotes family relations and green themes.

“A typical Baraem day starts with an active tone celebrating the sunrise,” says Bouneb on the channel’s 17-hour scheduling strategy. “The level of mental and physical actions increases mid-morning to fit the kids’ energy boost. In the early afternoon the young viewers are offered rich and diverse educational content introducing them to Arabic letters, numbers, colors, shapes, etc.The channel’s rhythm slows down as bedtime approaches in an attempt to help mothers prepare their youngsters to sleep.”

Bouneb stresses that Baraem, like JCC, is a “public mission edutainment channel…independent of advertising income, [which] gives the institution total charge of its editorial and broadcast mission and quality production.

The proposition of Baraem and Al Jazeera Children’s Channel stems from the full vision of Her Highness Sheikha Mozah Bint Nasser Al-Missned, the chairperson of Qatar Foundation for Education, Science and Community Development, and marks her clear commitment to achieve a conscientious media environment for the Arab youth and child.”

Reaching out: Nan and Lili is among the original productions on Baraem.

PROGRAMMING STRATEGY: For four years, Al Jazeera Children’s Channel ( JCC) has been serving Arabic-language kids with a host of edutainment fare, the majority of it produced in-house. Seeing a gap in the market, JCC expanded its activities this year with the rollout of Baraem, the first dedicated preschool channel for the Arab world.“The lack of a free-to-view pan-Arabic preschool channel has been evident for so long,” says Mahmoud Bouneb, who heads up both JCC and Baraem. “With the absence of age-

Baraem TV COUNTRY: Qatar LAUNCH DATE: January 16, 2009 OWNERSHIP: Qatar Foundation for Education, Science and Community Development DISTRIBUTION: Baraem broadcasts as a free-to-air channel off Arabsat, Nilesat and Hotbird, reaching across the Middle East and Europe.

DESCRIPTION: Funded by the Qatar Foundation for Education, Science and Community Development and operated by Al Jazeera Children's Channel, Baraem is an Arabic-language preschool service, targeted at kids aged 3 to 6.

SENIOR MANAGEMENT: Executive General Manager, Al Jazeera Children’s Channel: Mahmoud Bouneb WEBSITE: Baraem.tv

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UPCOMING HIGHLIGHTS: Baraem is building recognition by emphasizing the values of its content.“The channel builds its brand around proper television content protecting young viewers from improper content undermining the established moral, family and social ethics of the Arab child,” Bouneb says. “We provide new experience to the child’s development skills through novelty and high-quality production.The channel has the viewer’s best interest at the heart of everything it does.…Baraem not only stimulates creativity and cultural excellence around the child but the whole Arab family.”

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CHANNEL PROFILE Time to watch: Ben 10: Alien Force is one of the original series on Cartoon Network Latin America.

PROGRAMMING STRATEGY: The original programming on Cartoon Network in Latin America helps set the channel apart from many of its competitors in the region.“The main thing that differentiates us is the original content that we make, own and develop throughout the region,” says Barry Koch, the senior VP and general manager.“It truly is a differentiator.If you look at Cartoon Network, we’re known for Ben 10, we’re known for The Powerpuff Girls. Ben 10 right now is so hot as a property, as a brand, as a show in the region.”

Cartoon Network boasts a total of 27 original series, including Dexter’s Laboratory, Cow & Chicken, Foster’s Home for Imaginary Friends, Hi Hi Puffy AmiYumi and Chowder.

“A secondary differentiator for the channel in the region is the tonality and the attitude and the packaging and the DNA of the channel and the brand,” Koch says.

A defining aspect of the Cartoon Network schedule is comedy, but there’s still a lot of action on grid as well. Movies, both live action and animated, also feature.Warner Bros. is a big programming source for the network, but Cartoon also works with the other major Hollywood studios for movie deals. Further programming comes from international animation players like Cookie Jar and Toei Animation, as well as smaller boutique outfits. “We do acquire and will acquire from anyone and anywhere where there’s great programming,” Koch TERRITORIES: The channel airs in 43 countries in Latin America and the notes. Some of the channel’s highest-rating Caribbean, excluding Puerto Rico. acquisitions are Being Ian and Total Drama LAUNCH DATE: April 30, 1993 Island. Cartoon Network seeks to be a defining media brand for kids 4 to 11 OWNERSHIP: Turner Broadcasting System across multiple platforms, so it often makes use of new media to reach out to its viewDISTRIBUTION: 28 million households ers. “We do a lot of special promotions DESCRIPTION: For kids and teens across Latin America, Cartoon Network touts with codes utilizing the website and the an array of high-profile original programs, mixed in with animated and live-action channel,” says Koch. “People who are watching the channel and getting codes are acquisitions from the Hollywood studios and third-party distributors. able to do certain things in games or obtain SENIOR MANAGEMENT: premium content on the website.”

Cartoon Network Latin America

Senior VP & General Manager: Barry Koch Senior Director, Operations: Fran Slimmon Senior Director, Content: Pablo Zuccarino

UPCOMING HIGHLIGHTS: In Novem-

ber, Cartoon Network is launching Ben 10: Alien Swarm, which is the second liveaction feature film from Cartoon Network, as a global premiere.

WEBSITE: CartoonNetworkLA.com

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CHANNEL PROFILE CBeebies TERRITORIES: Asia, Australia, India, U.S. Hispanic, Latin America, Poland, South Africa LAUNCH DATE: May 1, 2007 (in India) OWNERSHIP: BBC Worldwide Channels DISTRIBUTION: 10.4 million homes outside of the U.K. DESCRIPTION: A safe, interactive viewing environment inspiring preschoolers to “learn through play.”

SENIOR MANAGEMENT: Managing Director, BBC Worldwide Channels: Darren Childs Senior VP, Programming and TV Channels, BBC Worldwide Channels: David Weiland VP, Acquisitions, BBC Worldwide Channels: Bun Scrase-Dickins VP, Programming, Australia, BBC Worldwide Channels: Brendan Dahill VP, Programming, Latin America, BBC Worldwide Channels: Dan Salerno VP, Programming, EMEA, BBC Worldwide Channels: John Taite VP, Programming, Asia, BBC Worldwide Channels: Ryan Shiotani WEBSITE: CBeebies.com PROGRAMMING STRATEGY: The schedule of each inter-

national channel is tailored to its individual market, with a mix of live action and animation, using local presenters that children can relate to. Common to each schedule, though, is the way it’s structured to reflect a child’s daily routine. Early mornings are all about bright, colorful, short programming to get children up and about, targeting 2- to 4-year-olds.Afternoons skew up to the 4-to-6 set, and evenings feature a bedtime/story-time hour to end the day.

“The international CBeebies channel currently acquires 100 percent of its content either from the BBC or other independent producers and distributors,” Animal friends: Studio100’s Zigby airs on CBeebies explains David Weiland, the senior VP of programin Poland, South Africa, Asia and Latin America. ming and TV channels at BBC Worldwide Channels. “We buy a mixture of preschool children’s programming, from animation to live action and hybrids of the two. Most come from the sales-anddistribution division of BBC Worldwide, with distributors such as RDF Kids,DECODE and Studio100 supplying the rest.”

Persistently strong performers across all the channels include In the Night Garden, 3rd & Bird, Balamory, Big & Small and Pinky Dinky Doo. “The channel’s programs are developed and produced with preschool and early-learning specialists and aim to stimulate a child’s interest in a diverse range of subjects through animation, storytelling, make and do, music and movement, science, natural history and puzzle programs,” says Weiland.

UPCOMING HIGHLIGHTS: Zigby from Studio100 is heading to CBeebies channels in Poland, South Africa, Asia and Latin America. Everything’s Rosie from VGI Entertainment will be airing across Africa, Australia, Asia, Latin America and Poland.

Waybuloo, meanwhile, debuts in pan-Asia, Poland and Africa.

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PROPERTY PROFILE Fun with Claude ORIGIN: The series is based on the books by award-winning illustrator David Wojtowycz. The Claude titles were first published in 2000 and have since sold in the U.K., Australia, New Zealand, the U.S., Korea and Japan.

DISTRIBUTOR: ZDF Enterprises

tants.We settle on Claude’s house and finally Claude, as the narrator begins to tell the audience, “One of the things Claude noticed about his new home was …”

Each episode sees Claude exploring something with “new eyes,” triggered by an animal, a job, an object, an event or nature. Part narrated, part character-spoken, Claude will often talk directly to the camera and the audience at home, making the relationship between him and the children more intimate.

TV SALES: ZDF Enterprises has sold the series to ABC in

PRODUCERS: Fun with Claude is a co-production of Red and Blue Productions, Dot To Dot Productions, ZDF, ZDF Enterprises, S4C and Playhouse Disney U.K. EXECUTIVE PRODUCERS: Marion Edwards and Jo Killingley COMMISSIONING BROADCASTER: ZDF in Germany

Australia,YLE in Finland, RAI in Italy, NRK in Norway, Canal+ Poland,TV3 in Spain and Sweden’s SVT. MAJOR TOY LICENSEES: ZDF Enterprises will introduce

the new style guide for Fun with Claude at MIPCOM in order to acquire toy licensees for pan-European territories. Key categories include plush, electronics, jigsaws and memory games.

OTHER PRODUCTS: Apparel for toddlers, books and DVDs.

TV SHOW: Fun with Claude consists of 52 10-minute

Bedding and video games at a later stage.

episodes, produced in 2-D animation.

DESCRIPTION: The series sweeps young viewers into the

enchanting and colorful world of a cute, cuddly and lively little polar bear who, like many children today, has moved to a new home. Fun with Claude takes a quirky and comical look at an exciting new world. It celebrates differences and encourages audiences to take a closer look at the things around them, introducing the knowledge and skills, understanding and emotions that children need to make the most of everyday life.

Each 10-minute episode has a gentle and humorous story line driven by our intrepid young polar bear, Claude. At the start of the episode we see a bird’s-eye view of Bearhampton, zooming in on some comical antics of its bear inhabi-

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STRATEGY FOR ROLLOUT: The show premiered on Playhouse Disney in the U.K. in the first quarter and quickly became a top performer. It already ranks among the top three shows on Playhouse U.K. S4C began airing the series in the second quarter of this year, and further international rollout is slated for 2010. In Germany it will air on ZDF and KI.KA, and other national premieres will follow on Australia’s ABC, Spain’s TV3, Norway’s NRK, Sweden’s SVT, Finland’s YLE and Poland’s Canal+.

“The next step of our distribution strategy will target the U.S., Italy and France,” says Christian Massmann, the head of sales at ZDF Enterprises.“Negotiations with a major Italian terrestrial broadcaster are under way. Also of strategic importance are Latin America and Eastern Europe. In the European and Latin American markets, our focus is naturally on the large terrestrial broadcasters, as well as on the pay-TV channels. In the U.S., the most promising candidates are the two major children’s networks Disney and Nickelodeon, as well as PBS. In the wake of the huge success of Fun with Claude on Playhouse U.K., ZDF Enterprises is hoping for a follow-up multinational deal with Disney.”

Next up, Massmann continues, will be Asia, in particular Japan. Also a priority is firming up home-entertainment deals.“In all countries, ZDF Enterprises is closely coordinating its activities with TV broadcasters, homevideo and licensing partners, as well as with the publishers of the Claude books.”

ZDF Enterprises is also launching a consumer site for the property, offering games and other elements. “The microsite will be licensed to broadcasters worldwide as part of the TV deal with the aim of increasing the success of the series,” Massmann says.“Such an all-encompassing all-media strategy is absolutely [necessary] today, especially in the children’s program market.”

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PROPERTY PROFILE DESCRIPTION: When an explosive event shatters the lives of

Wolverine and the X-Men ORIGIN: The series is based on the original X-Men comic books from Marvel.

DISTRIBUTOR: Liberation Entertainment, excluding the U.S. CREATOR: Marvel Animation EXECUTIVE PRODUCER: Eric Rollman COMMISSIONING BROADCASTER: Nicktoons Network in the U.S. TV SHOW: Wolverine and the X-Men consists of 26 halfhour episodes in season one, which aired on Nicktoons Network in the U.S. this year. A second season of another 26x30-minute episodes is currently in production by Marvel Animation.

the X-Men and takes away their mentor, the beaten heroes walk away from it all. But then they’re given a rare glimpse into the future, and see a world in utter ruin, ruled by giant destructive robots.A world that spiraled out of control because the X-Men had given up.So now the most legendary of all X-Men takes the lead: Wolverine. Reuniting these broken heroes, Wolverine embarks on the ultimate mission—to prevent the world’s destruction.To rescue us from ourselves.To save the future.

TV SALES: Liberation Entertainment has licensed the first season of Wolverine and the X-Men to CBBC in the U.K., TELETOON in Canada, Disney Channel Latin America, Record TV in Brazil, Cartoon Network France, Raisat in Italy,TV Azteca in Mexico, Russia’s CTC,ABC Australia and Cartoon Network Asia, among others.

MAJOR TOY LICENSEES: Hasbro is the master toy

licensee for Wolverine and the X-Men. Its product slate includes action figures for the show’s characters.

OTHER PRODUCTS: Other lead categories include clothing, bags and accessories, toys, games, hats, belts, party goods, footwear, backpacks, food and beverage, back-toschool, sporting goods, health and beauty, underwear and more.

STRATEGY FOR ROLLOUT: Fol-

lowing the theatrical release of Twentieth Century Fox’s X-Men Origins:Wolverine feature this year with Hugh Jackman, Liberation Entertainment will be looking to sign up additional broadcast partners for the animated series Wolverine and the X-Men, capitalizing on the worldwide awareness of the comic-book based franchise.

“The buyers with a big appetite for action-adventure animated programming are very welcoming of our premier branded product such as Wolverine,” says Matt Cooperstein, the senior VP and general manager of worldwide television at Liberation Entertainment. “When it comes to adventure animated series, it is important to distribute properties with characters that the consumers have awareness of from movies, comic books and successful TV cartoon series.The richness and the quality of the scripts, characters and highquality animation, whether classic cell or CGI or Flash, are critical to [the success of] series with kids and families.”

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2010 fifa world cup south africa tm mascot

26 x 30 minutes

MIPCOM 2009 stand stan No 05.19

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PROPERTY PROFILE OTHER PRODUCTS: A collection of books based on the

Shapes ORIGIN: An original idea by Lingun Sung of Peach Blossom Media in Singapore. The inspiration came when he was playing with an ancient Chinese puzzle called tangrams with his 4-year-old daughter. He thought it would be a great idea to bring this to life with animation.

DISTRIBUTOR: Evergreen Entertainment CREATOR: Peach Blossom Media EXECUTIVE PRODUCERS: Lingun Sung and Karen Tang MAIN BROADCASTER: The series was financed by producer Peach Blossom Media in co-production with the Media Development Authority of Singapore.

TV SHOW: Shapes consists 39 7-minute episodes produced in Flash and available in high definition.The second season is now in production for delivery at the end of 2010.

DESCRIPTION: Each episode is based on a fable from countries

around the world.The fables are adapted so that all the characters in the series are animals,not humans,but each episode has a message that is relevant to kids anywhere in the world. All the episodes are topped and tailed by the same character,Badger.The series has a unique visual style with every character made up of different shapes, which come together to form that character.

first season is currently in the works. DVDs will be distributed by InnoForm and will roll out soon in Singapore, Malaysia and Indonesia. Educational video games are also being developed.

STRATEGY FOR ROLLOUT: “We are delighted with the sales of the first season,” says Steve Walsh, the managing director of Evergreen Entertainment.“Deals have been [recently] concluded in Indonesia, India, Slovenia and Ukraine, with several other countries close to signing and we expect a really good response from buyers at MIP Junior.”

Walsh says he is “really pleased” that Evergreen signed on to represent the property from Peach Blossom, with which it is working on several other projects. “Peach Blossom’s got a great bunch of people working for them and I think their enthusiasm can be seen in this very upbeat production.”

On the strength of the Shapes brand, Peach Blossom’s Sung adds: “This is the kind of show that both parents and kids love to watch. So we hope to get it on air in as many territories as possible first.Then we will follow with books and all kinds of merchandising.The toys we make will be fun, but useful, as we don’t want to neglect the educational values behind the series.”

TV SALES: Somos TV in the U.S.,Al Jazeera Children’s Chan-

nel, IRIB in Iran,TV3 in Spain,TV Slovenia,TVN in Indonesia and Malyatko TV in the Ukraine.The show has also sold into India, and a number of other territories are in negotiation.

MAJOR TOY LICENSEES: Evergreen is in talks with licensees to develop a line of toys that are entertaining while at the same time aiding early childhood development.

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