TV Kids April Digital MIPTV 2021 Edition

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WWW.TVKIDS.COM

APRIL/DIGITAL MIPTV 2021 EDITION

Preschool Trends / Co-Pros in Flux / WildBrain’s Eric Ellenbogen / Jonathan M. Shiff

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CONTENTS

Awesome Amity

Ricardo Seguin Guise Publisher Anna Carugati Group Editorial Director Mansha Daswani Editor Kristin Brzoznowski Executive Editor Chelsea Regan Managing Editor David Diehl Production & Design Director Simon Weaver Online Director Dana Mattison Senior Sales & Marketing Manager Genovick Acevedo Sales & Marketing Coordinator Andrea Moreno Business Affairs Manager

Ricardo Seguin Guise President Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development TV Kids ©2021 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvkids.com

I have been inordinately lucky to be in a profession I thoroughly enjoy. I know many people who work to pay the bills or feel trapped in their jobs or struggle to figure out what they want to do. Yes, when I was a young girl, I wanted to be a ballerina. As a tween, I thought my calling was medicine and saving lives. Too bad the sight of blood or a needle piercing skin made me woozy.

Then a high school teacher praised my writing as having a strong voice. I was studying the muckrakers of the Progressive Era in the U.S. and I felt I had a mission— dig for the truth and report on it. First, though, I had to overcome extreme shyness and insecurity, but a girl can dream, right?

Dream I did and aided by curiosity, serendipity and a willingness to work hard, I made it as a journalist. I love interviewing and moderating panels. I’ve had the privilege of speaking with numerous CEOs and top executives, allowing me to peer into the weight and responsibility that come with occupying the C-suite.

But I especially revel in talking with creatives.

I particularly enjoy the creativity involved in making shows for children, which can be found not only in crafting intriguing stories, lovable characters and designing compelling animation but, increasingly, also in financing and deal-making. I got the chance to jump into the world of kids’ television during the TV Kids Festival, which ran from February 2 to 5 (if you missed any of it, it’s still available on-demand at TVKidsFestival.com). I learned what serves as inspiration, how shows come together, how productions resumed with animation teams working remotely or following Covid-19 safety protocols on set. But what was palpable and most enjoyable to experience was the sense of camaraderie among executives. Even though they often compete for financing, or slots on broadcast schedules, or space on streaming services, they showed respect for one another’s work and could joke together. Covid has united this fellowship of kids’ creators and executives even further as they have all been facing the same challenges. I’m excited that we will be holding another TV Kids Festival from June 7 to 10. Stay tuned for more details.

—Anna Carugati

GET DAILY NEWS ON KIDS’ PROGRAMMING

FEATURES

ALL ABOARD! Social and emotional learning, educational elements and an emphasis on diversity are all key trends on display in the preschool sector today.

TEAM SPIRIT Even though they take time, planning and precise alignment of interests, co-productions remain a viable way of bringing projects to the screen.

TOONED IN Yuliana Slashcheva, chairman of the board of SMF Studio and chairman of the board of the Russian Animated Film Association, talks about the studio’s rich history and modern animations.

INTERVIEWS Eric Ellenbogen WildBrain

Jonathan M. Shiff Jonathan M. Shiff Productions

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Donkey Hodie

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9 Story Distribution Donkey Hodie / Andy and the Band / Weird Waters 9 Story Distribution is highlighting numerous titles, including the preschool series Donkey Hodie, from Fred Rogers Productions; Andy and the Band, a music-driven comedy series that celebrates individuality; and Weird Waters, a brand-new show about a little fish on a big adventure. “Donkey Hodie is a series with universal appeal for children, with a focus on resilience and problemsolving for young viewers,” says Alix Wiseman, senior VP of distribution and acquisitions at 9 Story Media Group. “It is an imaginative series with a social-emotional curriculum that follows the adventures of Donkey Hodie and her pals as they empower preschoolers to dream big, persevere and discover that they are capable of overcoming obstacles on their own—laughing themselves silly along the way!”

“9 Story is committed to producing and distributing content that parents can feel good about.”

—Alix Wiseman

Big Lizard

Aardman Big Lizard / Pop Paper City / Sol From Beakus, Big Lizard is a bridge preschool series that Aardman is distributing. For the upper-preschool audience, LoveLove Films’ Pop Paper City is billed as a “view and do” CGI craft show with adventure. Both are packed with comedy. “Kids want to laugh wherever they are in the world, and both of these series deliver on this,” says Alison Taylor, director of distribution and business development at Aardman. Sol is a co-viewing film with a message about finding the light on the darkest night.

Taylor says that the company is looking to “find partners from all around the world to either edge a series closer to greenlight or to come on board with a fully funded show that will deliver a positive audience experience.”

“We have a diverse yet bespoke catalog of quality content at various stages of development and production to showcase.”

—Alison Taylor

ADK Emotions NY Beyblade Burst Surge / Beyblade Burst Rise / Beyblade Burst Turbo The animated Beyblade Burst series continues to bring its characters and storylines to life with a relatable theme of sports, competition and the excitement of battle. “These central motifs appeal to audiences all around the world,” says Shunichi Ogawa, CEO of ADK Emotions NY. Beyblade Burst is the story of a group of passionate Bladers who follow their dreams on an unforgettable journey to the top.

The franchise, which ADK Emotions NY has on offer, includes Beyblade Burst Surge, Beyblade Burst Rise and Beyblade Burst Turbo. “Our goal is to continue to boost awareness of our content,” Ogawa says. “We are in the process of placing Beyblade Burst season five with broadcasters globally at this time and will unveil season six later this year.”

Beyblade Burst Rise

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Beyond Rights The World According to Grandpa / Ace My Space Produced by Saffron Cherry TV for Channel 5’s Milkshake! in the U.K., The World According to Grandpa is a colorful new series on offer from Beyond Rights for 3- to 7-year-olds. It blends live action and animation to follow the adventures as Grandpa whisks one of his four grandchildren away in each episode. “The series is uniquely designed for local reversioning of the live-action elements, if preferred, so this will only serve to enhance its appeal to buyers,” says Connie Hodson, Beyond Rights’ head of partnerships and business development.

There’s a new season of Ace My Space, a Tailored Films production for RTÉ. In the series, YouTube stars Sean Treacy (aka Stellar Sean) and Mary-Claire Fitzpatrick (aka MC) lead a dedicated and creative design team through bedroom makeovers.

The World According to Grandpa

“The World According to Grandpa is a warm, witty and fantastic-looking series, and it is very funny, which really adds to the appeal.”

—Connie Hodson

CAKE Dodo / B.O.T. and the BEASTIES / Tish Tash On offer from CAKE, Dodo features a portrayal of everyday school life told through the heightened emotions of 11-year-old Joe Connolly, who is totally unprepared for the pitfalls of his first year at secondary school. “Dodo perfectly captures kids’ everyday experiences in school; trying to fit in, making new friends and first girlfriends are universal themes that will resonate with kids everywhere,” says Ed Galton, chief commercial officer and managing director of CAKE. B.O.T. and the BEASTIES is the latest series from Ragdoll Productions. It introduces preschoolers to the comic adventures and misadventures of a lovable robot called B.O.T. (Beastie Observation Transmitter). Also for the preschool set, Tish Tash follows a young bear called Tish, her bear family and her larger-than-life imaginary friend Tash.

Tish Tash

“We recently set up CAKE Productions to support CAKE’s substantial rise in development and production activities on shared and originated projects.”

—Ed Galton

Orange Moo Cow

Cyber Group Studios Droners / Orange Moo Cow / Bananimals Cyber Group Studios is bringing to MIPTV brand-new episodes of the animated series Droners, which follows Team Tikis as they strive to win the Whale Cup, the most extreme drone race of all time. The company is also showcasing Orange Moo Cow, the first title from its partnership with Soyuzmultfilm (SMF Studio) under the joint label Cyber Soyuz Junior. The comedy series Bananimals caps off the highlights. “Bananimals is an amazing comedy series set for co-viewing where parents and children will have fun together,” says Raphaelle Mathieu, senior VP of sales, acquisitions and new media at Cyber Group Studios. She adds, “These three titles are very different from each other, but we always make our best efforts to bring the best quality to kids and their parents worldwide.”

“Our goal is to bring the best content thanks to the involvement of amazing talent coming from all over the world.”

—Raphaelle Mathieu

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Preston & Brianna

FilmRise Preston & Brianna / Lilly’s Light: The Movie / The New Howdy Doody Show Among the programs on the FilmRise slate are Preston & Brianna, Lilly’s Light: The Movie and The New Howdy Doody Show. “Our programs offer universally appealing stories to preschool and Gen Z audiences around the world by highlighting the life lessons, games, experiences and topics they seek out no matter where they live,” says Danny Fisher, president and CEO. “Kids can watch YouTube sensations Preston and Brianna play the world’s most popular video games, sing along with the lighthouse gang in the musical Lilly’s Light: The Movie, where life is full of possibilities, or play along with Howdy Doody, the iconic puppet personality that transcends borders.” Fisher adds that FilmRise is the largest and fastest-growing independently owned provider of streaming content in the world.

“FilmRise has what kids around the world love.”

—Danny Fisher

KingstOOn April 21-25, 2021 The Caribbean’s leading creatives will come together with influencers in the global animation arena at this year’s KingstOOn Virtual. The event has a history of promoting Afrodescendant animated content, and this year will feature a panel discussion on the creation of Hair Love. The agenda has also been expanded to include a special focus on women in animation, Black animators and other advocates for diversity.

On the roster are a Black Women in the World of Animation panel and sessions such as Diversity in the Media Industry. “A recurring theme throughout the conference will be inclusivity, as we are also looking to promote content created in underrepresented regions such as the Caribbean and Jamaica in particular,” says Robert Reid, animation specialist at the office of the Prime Minister of Jamaica.

“Jamaica has a cultural vibe like no other, and the agenda will be infused with Jamaican personalities, culture and entertainment.”

—Robert Reid

Mattel Masters of the Universe / Thomas & Friends: All Engines Go / Barbie specials Mattel’s two new Masters of the Universe series, Masters of the Universe: Revelation and He-Man and the Masters of the Universe, will premiere this year. The first is a fandriven anime show that will pick up the storyline from the ’80s series. The second is an animated adventure series that will introduce a new audience to the franchise. The latest take on the classic Thomas & Friends franchise, Thomas & Friends: All Engines Go, will premiere this fall in vibrant, 2D animation. There is a pair of new Barbie specials as well: Barbie & Chelsea The Lost Birthday and Barbie Princess Adventure. “Our mandate is to engage consumers through timely and compelling episodic television content and television movies based on our iconic franchises,” says Fred Soulie, senior VP and general manager of Mattel Television.

“We have a treasure trove of brands that offers numerous opportunities to create great television.”

—Fred Soulie

Barbie & Chelsea The Lost Birthday

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Sardine in Outer Space

Mediatoon Distribution Little Furry / Kid Lucky / Sardine in Outer Space Mediatoon Distribution is spotlighting a new season of Little Furry, a non-dialogue series that tells the story of an endearing character exploring the universe of his imagination. Kid Lucky, a prequel to the Lucky Luke comic book series, sees Kid and his friends exploring the Wild West. “Whether it’s catching and riding a horse, following in the footsteps of a grizzly bear, sleeping under the stars or challenging Billy the Bad with a slingshot, adventure and laughter are always right around the corner,” says Jérôme Alby, managing director of Mediatoon Distribution. In Sardine in Outer Space, the titular heroine and her team of intrepid travelers explore the universe while locked in a never-ending battle against the supervillain Supermuscleman. “These three programs are full of universal values: friendship, courage and self-improvement,” says Alby.

“We are always keen to meet new producers and creators with whom we can build the evergreens of tomorrow.”

—Jérôme Alby

Mondo TV Group MeteoHeroes / Agent 203 / Annie & Carola Leading Mondo TV’s slate, MeteoHeroes’ theme centers on protecting the climate and the environment, featuring a diverse group of superpowered kids who can control weather phenomena. Agent 203, made for a generation of kids born into technology and a world increasingly run by AI, sees Zoe and her best friends save the planet from an evil alien kingpin and littering alien tourists. “The show itself is funny and adventurous, with clever solutions, lots of disguises, oldfashioned spy work and unexpected twists,” says Luana Perrero, head of content sales at Mondo TV. Annie & Carola features the social-skill-lacking Carola, who builds a robot clone called Annie to be her best friend, but she turns out to be her outgoing opposite. Sissi The Young Empress and Robot Trains are also among the titles on Mondo TV’s slate.

Annie & Carola

“New shows like Annie & Carola, Agent 203 and Hey Fuzzy Yellow are attracting strong broadcast interest.”

—Luana Perrero

NBCUniversal Global Distribution The Mighty Ones / Cinderella: After Ever After / The Secret Life of the Zoo DreamWorks’ The Mighty Ones, sold by NBCUniversal Global Distribution, features the adventures of a gang of tiny creatures: a pebble, a strawberry, a twig and a leaf. The kids and family slate also includes Cinderella: After Ever After from actor, comedian and international best-selling author David Walliams. “For years, kids around the globe have been utterly entertained by Walliams’ gleefully mischievous and wickedly funny humor, and this latest TV special is no exception,” says Chloé van den Berg, senior VP, head of kids and family entertainment at NBCUniversal Global Distribution. The Secret Life of the Zoo is an observational documentary that follows life at Britain’s most popular zoo.

“Children’s love of animals is universal, and this is fantastic family co-viewing,” says van den Berg.

The Mighty Ones

“DreamWorks’ The Mighty Ones is hilariously funny but in such a multi-layered way that it transcends age demographics and makes for fantastic viewing for the entire family.”

—Chloé van den Berg

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Odin’s Eye Entertainment The Beachbuds / Adventures of Kim & Kay / Daisy Quokka: World’s Scariest Animal A comedy-adventure series for kids 5 to 9, The Beachbuds leads the Odin’s Eye Entertainment slate. The 52x11-minute series is from Indonesia’s JToon Studios and Canada’s Syon Media. The catalog also features Adventures of Kim & Kay, a pitch-ready series for kids 6 to 12 from Stratostorm. “The strength of both properties is the characters themselves, who are wonderfully wacky and endearing,” says Michael Favelle, founder and CEO of Odin’s Eye. The Daisy Quokka: World’s Scariest Animal animated feature is part of the portfolio as well. Favelle adds, “As a company, Odin’s Eye Entertainment has been focused on features since 2006 and, on a personal level, it’s great for me to be able to return to my roots. We look forward to discussing our completed acquisitions as well as our projects in development.”

The Beachbuds

“With both Odin’s Eye Entertainment and Odin’s Eye Animation, we are excited to introduce ourselves to TV and streaming execs during MIPTV this year.”

—Michael Favelle

Princess Sam Entertainment Group Tara Duncan and the Spellbinders Princess Sam Entertainment Group (PSEG) is proud to present its first IP: Tara Duncan and the Spellbinders. The CGI animated series, targeted to boys and girls age 6 and up, is based on the best-selling book saga Tara Duncan, written by Sophie Audouin-Mamikonian and sold in over 27 countries. “The format of the series, the strength and diversity of the characters, the very rich and unique universe, the values—all of this constitutes the series’ DNA of friendship, teamwork and magic,” says Sonia de Moura, chief marketing officer at PSEG. “The series meets all international expectations with its editorial; the mixing of fantasy, humor and adventures; and its colorful and magical universe. To those who dream of heroes, dragons, elves and magic, please enter Otherworld, an urban fantasy universe where everything is possible—this is Tara Duncan.”

Tara Duncan and the Spellbinders

“The ambition of the group is to become one of the leaders in Europe within the next few years.”

—Sonia de Moura

Serious Lunch Tulipop / Tik Tak / Operation Ouch!

At MIPTV, Serious Lunch will showcase the new Tulipop TV series, which features fairytales that speak directly to the preschool market. “With the high production and storytelling quality, we have no doubt that the series will be a hit around the globe,” says Leila Ouledcheikh, director of global sales at Serious Lunch. Tik Tak features an exciting universe meant to stimulate the cognitive development of toddlers. The comedy/adventure series Welcome to Earth is about tiny aliens who explore and compete to find the perfect headquarters from which to rule the Earth. Also in Serious Lunch’s catalog is Operation Ouch!, for which there are talks of a tenth season. “Despite the challenges from last year, the production team opened up to new interesting formats and bonus clips,” says Ouledcheikh.

Operation Ouch!

“The popularity of Operation Ouch! continues to be underpinned by the outstanding content.”

—Leila Ouledcheikh

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The Unlisted

Sinking Ship Entertainment Alma’s Way / The Demon Headmaster / The Unlisted Centering on a young girl who can pause the world around her, Sinking Ship Entertainment’s Alma’s Way gives a view into her fast-paced city life while teaching kids how to go about making the right decisions. Based on Gillian Cross’s book series, The Demon Headmaster is part science fiction and part psychological thriller. In The Unlisted, twins Dru and Kal and a group of underground vigilante kids fight against a secret society’s efforts to control children. “Sinking Ship Entertainment has garnered a reputation for high-quality content that features diverse stories, characters and voices; the three shows we are featuring at MIPTV 2021 fit within our Sinking Ship DNA,” says Mehmet Gunduz, manager of sales for LatAm and CEEMA. “These series all contain universal themes that will appeal to a multitude of buyers worldwide.”

“Every year at MIPTV, we connect with new buyers who value diverse, commercially friendly educational kids’ content, and we expect MIPTV 2021 to continue that tradition.”

—Mehmet Gunduz

Studio 100 Media FriendZSpace / SeaBelievers / 100% Wolf—Legend of the Moonstone The Studio 100 Media highlight FriendZSpace is about three best friends on a mission to locate planets, find alien kids, introduce themselves and make friends. Each animated episode of the eco-tainment series SeaBelievers leads with an adventure. “Whether in the sea or onshore, the positive SeaBelievers characters problem-solve and take action around key environmental issues,” says Dorian Bühr, head of global distribution. In 100% Wolf—Legend of the Moonstone, an heir to a proud line of werewolves “warfs” into a poodle on his 13th birthday. “We think it is important, especially now, to bring forward and offer exceptional productions like SeaBelievers, FriendZSpace and 100% Wolf—Legend of the Moonstone, which represent great entertainment that conveys important and positive messages,” says Bühr.

100% Wolf—Legend of the Moonstone

“Our mission in the kids’ entertainment world is to bring brands to life that are content-driven and entertain kids and families—on every platform and wherever they are.”

—Dorian Bühr

TeamTO Jade Armor / Winter Is Here! / Tiny Island Jade Armor, an action-comedy series on TeamTO’s slate, follows martial arts-loving Lan Jun, who must learn the secrets of her family’s magical suit of armor and navigate teenage life.

“Every kid, wherever they are from, goes through an I-wantto-be-a-superhero phase, and that fantasy is what Jade Armor delivers,” says Corinne Kouper, co-founder and senior VP of development and production. TeamTO is also bringing to the market three animated Winter Is Here! holiday specials. They are based on the children’s books The Winter I Met the Fox, Penguin’s Ice Time and Snowy and the Snowman. In Tiny Island, small island Tiny travels the world with companions Rocco and Dee Dee. “Tiny Island is a different kind of helpful hero who also appeals to younger kids and their need to find solutions to problems and help others,” says Kouper.

Jade Armor

“We use MIPTV to connect with our established longterm partners and friends and to meet with creative talent to help support the constant growth of our two studios.”

—Corinne Kouper

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Winsing Animation Undersea Journey / GOGOBUS / Team S.T.E.A.M.!

Winsing Animation’s Undersea Journey is designed to popularize scientific knowledge of the undersea environment, with characters that search for various marine creatures and record their ecological materials. A series for preschoolers, GOGOBUS centers on Gordon, a school bus that can transform into different vehicle shapes. Team S.T.E.A.M.! sees a tight-knit team of kids who genuinely like each other enjoy solving problems and sharing knowledge with one another. “Young people all around the globe will enjoy seeing themselves reflected in our diverse group of characters and cultural backgrounds,” says Ben Gu, the CEO of Winsing Animation. “Young viewers will come away from our exciting episodes with an appreciation for school subjects before encountering them in classrooms.”

Xilam Animation

“We are expanding the company horizontally and geographically, and we’re looking for partners from all over the world to cater more to huge regional markets.”

—Ben Gu

Pfffirates

Oggy Oggy / Tangranimals / Pfffirates Oggy Oggy, the new preschool spin-off to Xilam Animation’s Oggy and the Cockroaches franchise, is a CGanimated non-dialogue series that sees a young Oggy living in a fantasy world inhabited by a community of cats. “The series already comes with built-in awareness and crossgenerational appeal, as well as having a strong international legacy behind it,” says Morgann Favennec, executive VP of distribution. The comedy-adventure series Tangranimals follows young Geo as he explores Tangra planet and its geometrical landscapes along with the Tangranimals, creatures that can link together like Tangram pieces and create all sorts of vehicles, creatures and objects. In the Calypso Island-set Pfffirates, three crew members are taught Pfffiracy by the legendary Captain Lamar.

“We’re busy continuing the expansion of our international footprint— whether that’s by building upon our long-lasting relationships with linear broadcasters or growing our partnerships in the digital world.”

—Morgann Favennec

ZDF Enterprises Zoom—The White Dolphin / Pan Tau / Space Nova Leading ZDF Enterprises’ kids’ content slate, Zoom—The White Dolphin tells the story of Yann, a teenager who heads off on exciting adventures with a mysterious and remarkably intelligent white dolphin. “Comedy and humor are central to the series, expressed through a host of colorful characters,” says Peter Lang, VP of ZDFE.junior. Pan Tau, a reinvention of the much-loved children’s classic, sees the dapper character supply help with a smile and his magical bowler cap. The animated series Space Nova follows the Aussie space-exploring Nova family. “Space and understanding Earth’s place in the universe is one of the major topics of the series, and through this, connects kids with authentic engagement in STEM,” says Lang.

Pan Tau

“ZDF Enterprises’ junior department has been able to boost its production slate with a handful of new high-class commissions in live action and animation.”

—Peter Lang

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ALL

Mattel Television’s Thomas & Friends: All Engines Go.

Leading distributors tell Mansha Daswani about the latest developments in the always in-demand preschool space.

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E

arlier this year, WarnerMedia announced plans for the U.S. introduction of Cartoonito. The new preschool programming block for Cartoon Network and HBO Max is, per Tom Ascheim, president of Warner Bros. Global Kids, Young Adults and Classics, the company’s “biggest commitment to preschool programming in 100 years.”

Cartoon Network and HBO Max making a big bet on preschool heralds the arrival of another buyer and commissioner in an already über-competitive space. That, combined with the increased need for high-quality, enriching content for young ones confined at home amid the coronavirus pandemic, has upped the stakes in the preschool business as a whole.

So what does it take to cut through the clutter? “Diverse, recognizable and relatable characters; strong role models and positive values that resonate with both kids and parents are constant pillars in the preschool space,” observes Chloé van den Berg, the senior VP, head of kids and family entertainment at NBCUniversal Global Distribution.

Christopher Keenan, the senior VP of content development and production and executive producer at Mattel Television, also stresses the importance of relatability and highlights the role of aspirational characters. “When children are able to identify with these stories and want to spend time with the characters—whether they’re heroes, friends or just make them laugh (ideally, all three)—they are much more likely to place a show at the top of their list of favorites. And, if they can continue the engagement with these characters by playing out their stories when not watching the show, a series truly stands out.”

FROM THE HEART Emmanuèle Pétry Sirvin, partner and head of international at Dandelooo, says she frequently hears requests for wellknown, established brands in the preschool space. Still, her company is more interested in focusing on the brands of tomorrow—with an emphasis on titles that viewers develop an emotional connection with. “For example, programs that touch your heart, talk about emotions and have characters who are not just heroes but are human and have

NBCUniversal Global Distribution is showcasing DreamWorks Animation’s Gabby’s Dollhouse.

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Dandelooo’s Pompon Little Bear presold into a raft of European markets.

weaknesses and flaws. We aspire to have relatable characters and shows that deal with ‘real’ daily issues. And humor, of course, that’s important too!”

Picture books have been a major source of inspiration at Dandelooo, Pétry Sirvin adds. “Most of our programs at Dandelooo are book-based because we are lucky in France, like the U.K., to have an extremely wide range of children’s literature talent fostered through many large, medium and small publishing houses, ready to take risks and tell different stories. The books pre-exist the series but also accompany the development through international extension and continue to grow after broadcast.”

Nathalie Pinguet, the deputy managing director of sales and acquisitions at Superights, stresses the importance of strong characters, especially those that allow children to “identify themselves with the heroes of the story.” She also references the use of kids’ voices “for the program to be more authentic.”

Beyond storytelling and character development, Lionel Marty, managing director at APC Kids, addresses the need to build a robust 360-degree campaign “to build awareness in the long term.” He also notes the critical nature of delivering broad exposure for shows “so they can engage with increasingly fragmented audiences. Additionally, as we’ve seen with the success of Kid-E-Cats, clear brand values are needed to guide every aspect of the licensing program from the series and product lines, right through to the brand’s marketing activity.”

Having a piece of known IP is certainly a leg up when cutting through a competitive landscape, and on that front, NBCUniversal Global Distribution is well served.

“Parents have to ‘approve’ the programming and whatever channel or platform the program is on, but kids also need to be entertained and want to keep coming back

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APC is rolling out the new series DinoCity.

for more,” says van den Berg.

“This can easily be achieved if the programming exudes positivity, depicts the importance of friendship and has the right mix of characters. The success of DreamWorks Animation’s new animated kids’ series Madagascar: A Little Wild is a perfect example of this, with the characters already known from the hit film franchise, which is a big draw for parents. All of the songs and dance routines are highly repeatable and easy for preschoolers to learn because they were created and performed by professional choreographers and kid dancers to ensure that we were getting it just right for the preschool audience. Similarly, thanks to the success and popularity of the Dragons films, coupled with the truly relatable brother-sister relationship depicted in the show, the animated series Dragons Rescue Riders: Heroes of the Sky has garnered kudos from parents and kids alike. (Having a hilarious burping dragon in the show doesn’t hurt either!)”

Mattel, too, has a treasure trove of well-established brands, among them the beloved Thomas, soon to appear in the 2D-animated Thomas & Friends: All Engines Go. “This show brings an entirely new creative approach to Thomas series content, which first premiered 1984,” Keenan says. “With new art direction, more physical comedy and a greater range of character expressiveness, this fast and colorful show is crafted to appeal to contemporary audiences’ sensibilities while, of course, maintaining Thomas content’s core ethos: the great importance of friendship.”

Of course, you don’t need a 75-year-old brand like Thomas to find success in the preschool business today. APC Kids’ Marty points to the success of Kid-E-Cats.

Originated in Russia, the series has traveled to 150-plus markets courtesy of Nick Jr. and has landed on 30-plus free-to-air broadcasters, with more than 70 consumer-product licensees. “In 2021, we will keep taking steps to consolidate the brand, with the fourth season greenlit and the toy range being launched in new key markets, including Italy, Spain and Poland,” he adds.

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Superights has a significant slate of preschool titles, across live action and animation—2D and CGI—and with varying formats, from 2-minute episodes up to standard half-hours. “We try to cover all genres with boys and girls,” Pinguet says, listing key highlights such as Anna & Friends, Clay Time, Koumi’s Animated Picture Book, Percy’s Tiger Tales and Bo Bear.

Dandelooo is also showcasing a broad array, led by Billy the Cowboy Hamster, a new season of The Treehouse Stories, Pompon Little Bear, Shooom’s Odyssey, Petit, Cubs and Kosmix. Pétry Sirvin emphasizes the importance of diversity in the company’s approach.

SOMETHING FOR EVERYONE “There is a continued increase in demand for strong female/girl lead characters and, most of all, there’s an urge for diversity,” Pétry Sirvin says. “As the company continues to grow and develop, we have given ourselves a parity and party rule— to have in equal amounts as many female characters as there are male characters.

Also, we want to express to kids that there are different kinds of families, made up of different dynamics. In Billy the Cowboy Hamster, Billy is raised by a single parent, his dad. It is also very important for us, as it is for the broadcasters, to represent diversity. In The Treehouse Stories, we had to organize four castings to find the perfect quota of kids from different backgrounds.”

Another key trend that has developed in the preschool business is a focus on “soft learning,” NBCUniversal’s van den Berg says. “We see this ‘lean into’ social-emotional learning demonstrated in DreamWorks’ Gabby’s Dollhouse.

This show’s unbelievable global success reinforces how much parents and their preschoolers need this additional support right now. We’re also seeing more mindfulness and activity-based shows, which, again, is a sign of the times we’re living through.”

Mattel’s Keenan expresses a similar view, stating: “One of the most common, current trends in preschool programming is a movement toward content that helps with kids’ social and emotional development, introducing themes such as navigating emotions, dealing with disappointment and resolving conflicts.”

At Superights, meanwhile, Pinguet says she’s witnessed an increased demand for educational programs as well as “do-it-yourself” series such as the company’s own Clay Time and Koumi’s Animated Picture Book.

The Covid-19 pandemic has turbo-boosted the interest in “edutainment,” a phrase that, pre-coronavirus, was rarely a selling point when pitching to commercial broadcasters. “Every week we receive requests for edutainment shows because ‘traditional’ broadcasters, VOD platforms, DVD players, etc., want to supply meaningful programs to parents and kids during lockdowns and home-schooling,” says

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Pétry Sirvin. “Currently, ‘entertaining’ shows are simply not enough.”

Keenan adds, “As families spent more time at home in 2020, parents and caregivers sought out programming that delivered meaningful and substantive content without compromising on the entertainment value. To that end, we saw significant consumer excitement for our Thomas & Friends early learning and birthday-themed content on YouTube, as well as our series content on other platforms.”

PLUGGED IN With kids homebound, they were also spending way more time on their devices, continuing a shift that has been happening in the business for years. As such, digital extensions—from audiobooks to games—are more critical than ever.

“Preschoolers want to interact with their favorite characters in different ways,” Keenan adds. “That’s why we take a franchise approach to content, ensuring we extend these brands and enable children to interact with their favorite characters in as many ways as possible, including the television show, toys, books, shortform content, games and more. Thomas & Friends is a great example of this. Last year, we celebrated Thomas’s 75th anniversary and we launched new content across many platforms, including four made-for-YouTube series, a Thomas & Friends Storytime podcast, a partnership with the wellness app Calm and more.”

Being everywhere kids are also means an increasingly sophisticated approach to slicing and dicing the rights to a show. And AVOD has become an especially compelling opportunity. “We have a strong AVOD presence, with billions of views on our official YouTube channels,” Marty at APC Kids says of the Kid-E-Cats brand. “With 24 mobile apps accounting for more than 39 million downloads, this mobile rollout has become a very interesting path to explore in terms of brand awareness.”

Ultimately, though, it all starts with a strong story and compelling characters that preschoolers will fall in love with. “If a program becomes a viral hit, there is a natural expansion to all other exploitation,” says Pétry Sirvin at Dandelooo, “but in our view, it should not be the objective.”

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Anna & Friends is one of the new highlights from Superights.

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Mondo TV and Toon2Tango’s Agent 203.

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TEAM Even though they take time, planning and precise alignment of interests, co-productions remain a viable way of bringing projects to the screen. By Anna Carugati

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nventiveness and innovation are traits most often associated with crafting storylines or designing animated characters. However, they are increasingly necessary for the financing and dealmaking side of the kids’ content industry. In navigating the evolution of the sector, producers have had to become creative in the business models they structure and the partnerships they form.

Despite all the change, one factor has remained constant—children want entertainment, even more so during the pandemic when so many have not been in school or participating in extracurricular activities. And kids demand engaging stories and high production values, and these come with a high price tag.

Pierre Sissmann, the chairman and CEO of Cyber Group Studios, explains that his company prefers to produce on its own when possible. “Because we are a French studio and we are supported by the French government and have subsidies and tax credits, the best model for us is to create something that is 100-percent original. You want to retain a maximum amount of rights and creative ideas and be a master of your own destiny. That is not

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Cyber Group is one of three production partners on Droners, alongside La Chouette Compagnie and Supamonks Studio.

always possible, so sometimes you co-produce because you need to or because someone is coming to you.

“Having said this,” he continues, “the preferred way of coproduction is always to do it with one entity. This has evolved because, over the years, the market has been evolving.

We have found that we can coproduce with three entities. For instance, Tom Sawyer was a Franco-German-Italian co-pro.

Nefertine on the Nile was France and Italy and it even has other territories in it. We are executive producers, but we are [one of] three partners in France on Droners. So new models appear all the time. It is more difficult because you have to align more interests. The math and the model are more complicated.”

Despite the complexities and the labor-intensive nature of jointly financing and producing, for many years, a popular co-production formula has been two commissioning broadcasters combined with funding possibilities and presales to close the gap.

REINVENTING A CLASSIC “The classic model as described has proven its worth,” says Martin Krieger, the CEO of Studio 100 Media. “Naturally, it varies in terms of the weighting of the individual financing aspects, but it is still there as a basis for financing via broadcasters, funding, tax incentives and presales. The players involved vary, too, looking at streamers and other commissioning partners, but the known financing sources remain the same. We are constantly monitoring the possibilities and want to use the best possible constellations for our productions and co-productions.”

“I’m still really keen on the old-school model because I like to own the intellectual property and also to keep the distribution rights,” says Genevieve Dexter, the founder and CEO of Serious Lunch and CEO of Eye Present. “If you go with a VOD model, there’s not a lot left after that contract. So, I’m still keen on the two-broadcaster international co-production, but I’m finding that there are more co-producers required

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Flying Bark Productions, Studio 100 and T&B Media Global partnered on FriendZSpace.

now to try to make the cake fit.

You used to be able to do it with two countries, and increasingly, you’re doing it with three.”

Cyber Group’s Sissmann stresses the critical importance of ensuring all partners are on the same page before starting production: “The most important thing is to not only think about your interests but also about the interests of others.

[You can] eliminate disagreements in the middle of production if you align interests in the beginning. That can make things go faster and time is of the essence when you co-produce. Each delay costs money, and each delay ultimately upsets your final client.”

Knowing at the outset what all the components of a project could be make completing the co-production less complicated. “The traditional model does still seem to be the leading option, even if there are more ways to finance the

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Boat Rocker has several co-pros with the BBC, including The Next Step.

production of a show these days,” says Matteo Corradi, the president and CEO of Mondo TV Group.

“However, it is not just a matter of how you finance your show. Your choice also depends on what expectations you have of your IP. If you need to support consumerproduct programs, broadcasters and big chains still play a primary role. That’s why independent producers need to take what you might call an opportunistic approach. They must try to be flexible to benefit from the different chances available in the market. In fact, creativity may not just be part of developing content but can also play a role in implementing business strategies!”

Identifying the core attributes of a property helps producers find partners and the right home for a show. As Jon Rutherford, the president of Boat Rocker Studios, Kids & Family and Rights, says: “It goes back to what we as companies, as brand builders, are prepared to do to support a brand. Traditionally, it was always great to

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Eye Present, Gigglebug Entertainment and Nelvana are partnering on Best & Bester, which has been prebought by Nickelodeon International.

be on a very prominent linear broadcaster that had the eyeballs and the visibility.

The reality is the money is just not spread around the same way it once was.”

With often bigger spending power than linear channels, streaming services have offered producers new opportunities and spawned a series of dilemmas for production partners.

“Working with streamers is more of a realistic way of getting shows sold than ever before,” says Rutherford. “So it does put the emphasis back on us as a company. If we want to build a brand or franchise around this, what are we doing to support that? How are we adding more eyeballs around the streaming visibility, whether it’s through strategic negotiation around second windows, additional publicity and promotion or brand-activation events? It’s the always-on approach to digital and YouTube and other elements that you can bring in. It’s costly; it’s time, it’s resources, it’s money, it’s people.”

As Mondo TV’s Corradi explains, streaming services “have huge budgets, but these will come with the demand for holdbacks. In many cases, there is a shifted window for consumer-product revenues that starts only with freeto-air broadcasting.

“Of course, we believe platforms are good for spin-offs and subsequent seasons of a show as they allow kids to binge-watch as much as they like,” Corradi continues. “However, in our experience, the first boost on the consumer-

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product side comes from the multiple reruns on free-to-air channels. Platforms are learning to release the shows at a more gradual pace as it is not worth their while to burn through shows too quickly. Thus, we are now seeing releases of seasons made up of small batches of episodes at a time.”

Frank Falcone, the president and executive creative director of Guru Studio, notes, “If we feel a show has legs and several seasons under it, we sort of keep it away from the streamers because we’re looking for better models. It takes longer. You can potentially miss your opportunity if it takes too long to put the financing together. So you are always weighing the risks of putting it all in with a VOD and getting your commission going sooner and getting into production. You have to respond based on your needs and the needs of the show.”

WINDS OF CHANGE “I remember when Nick UK used to put up 25 percent of your budget just for the U.K. Now you’re looking at that across multiple territories,” says Serious Lunch’s Dexter. “We have to work harder and harder to find the revenue for each coproduction. I can understand the temptation if an SVOD channel says, ‘I want to fully fund your show.’”

Falcone argues that streamers’ propensity for renewing shows season by season, instead of making a long-term commitment, is not a way to build a brand. “Your kids’ audience ages up quickly and, if you don’t get more content in front of them, you lose your opportunity. It’s always challenging to work in a model that gives you a lot of money up front and then waits a long time before they give you more.”

Despite the effort involved in getting a co-production up and running, many are being done and in several different ways. At Studio 100, a recent co-pro is FriendZSpace, with Flying Bark Productions, its studio in Australia, together with T&B Media Global in Thailand. Worldwide distribution is handled by Studio 100 Media. “We are currently looking for further partners to come on board to close the gap,” Krieger says.

Studio 100 has animation studios based in different countries, and as Krieger explains: “We can use the various country models for our productions and allocate the productions accordingly. Here, too, new options are always opening. For example, we are currently active in co-productions with partners in the Canary Islands and recently, attractive new tax refund models have also opened in Italy.”

“On Grisù, we are working with a popular model: one commissioning broadcaster (ZDF Enterprises) and presales to another national leading broadcaster to close the gap,” says Mondo TV’s Corradi. “Also, thanks to our partnership with Toon2Tango, we have other different projects, like Agent 203, for which we are building a similar ‘traditional’ strategy. We’ve mostly worked with this model, which we believe

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grants shows greater longevity and helps build the consumer-products strategy, even when broadcaster budgets are shrinking as they try to finance more shows and producers. Agent 203 and Hey Fuzzy Yellow are among the first results of our partnership with Toon2Tango, the kids’ and family entertainment venture headed up by longtime television and movie industry experts Ulli Stoef and Jo Daris. It’s a partnership that promises to bring many more innovative new shows to multiple platforms and expand our reach in the international market.”

MIX OF MODELS

Guru Studio secured Playmates Toys as an early partner on Pikwik Pack.

However, Corradi continues, “in the recent past, we’ve worked with other models. For instance, for VOD platforms, we’ve been keeping the VOD as a second window and rolling out the consumer-products strategy in the countries we handle directly and funding the shows just among co-producers without any particular prebuy or commissioning broadcaster on board. This is relevant for MeteoHeroes, a show where the editorial input from the co-producer—a weather forecasting center—was so strong that we did not feel allowing additional co-production on board would be worthwhile. In other cases, we have been able to fund the whole show by ourselves.”

“It’s really important to keep your business model wide and diversified,” says Dexter at Serious Lunch. “We talk about diversity on-screen; we need diversity in our businesses. If last year has taught us anything, it’s that we really have no idea what’s going to happen.”

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Eric Ellenbogen

WildBrain n 2019, when Eric Ellenbogen became CEO and vice chair of DHX Media—since rebranded as WildBrain—he brought with him more than three decades of experience in running entertainment companies, including Marvel Enterprises, Classic Media (which he cofounded) and DreamWorks Animation. He saw significant potential in WildBrain’s roster of classic brands such as Teletubbies, Strawberry Shortcake and Peanuts—which Ellenbogen calls the jewel in the crown—and its AVOD network. He tells TV Kids about the necessity of remaining nimble in a continually evolving media environment while focusing on creativity and reinventing legacy properties for new audiences.

By Anna Carugati

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TV KIDS: What must a media company do to remain responsive to changes in the media landscape?

ELLENBOGEN: It is about being nimble. The one thing that has not changed in the media landscape is that great shows are watched by a lot of people. With an incredible focus on creating great content and recognized IP, it doesn’t matter whether it is a holographic projection on the moon or a GAF View-Master; it’s just about great content. That said, we’ve obviously leaned into AVOD. We think it is very much the future. We’ve become obsessed with data analytics. It isn’t just about being a content creator and distributor and a center of creative excellence—now you’ve got to know the numbers. Because of our Spark division, we have become much more sophisticated about how we serve up content and we understand so much more about our audience. There isn’t the disintermediation that there always has been, where we would have to depend on our telecast partners to learn anything that was going on with our rating numbers. Now we are speaking directly to the audience.

TV KIDS: Tell us about WildBrain Spark.

ELLENBOGEN: We arguably are the number one or number two AVOD destination for kids. Something like one in three kids visits WildBrain Spark. We are a globally COPPA-compliant network. Safety first has been critical and the curation aspect has been essential to our ethos as a company.

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WildBrain’s extensive deal with Apple TV+ for Peanuts content includes the series Snoopy in Space.

There was a significant change with YouTube at the beginning of 2020 with its “made for kids” [policies]. No longer were the participants able to have any social media interaction with one another. And importantly, no more data was collected directly on individual viewers. That was an interesting change.

We are also in the traditional cable-TV business with four channels in Canada. Ad sales are now more closely aligned to how we would sell cable TV, which is a contextual advertising sale. It’s something we understand well and already had built an ad-sales organization to serve that particular requirement. That’s what has changed in the AVOD space for us, and it is evolving. We are now building a very robust ad-sales team and are helping to educate advertisers on how to reach this audience. What many don’t recognize is that it is a co-viewing audience. Particularly with our emphasis on preschool, we are reaching caretakers and parents. That has evolved the opportunity for advertisers in our business.

TV KIDS: Given the media landscape today, with so many linear and nonlinear platforms, how do you and your teams give your brands the best exposure and monetization possible?

ELLENBOGEN: Exposing the content, both new production and library, on as many platforms as possible is the way to go. We’re blessed to have Deirdre Brennan [executive VP of content partnerships] leading our distribution efforts. There is an emphasis now on multiple platforms and AVOD distribution. [For example] one of our premier shows had been sought after by one of the platforms on an exclusive basis. We thought it to be not so attractive and eschewed a ready deal and instead syndicated the content across rev-share deals in AVOD. I think we did better in one year than what had been on offer for something like a three- or fouryear deal. A lot of it is understanding the content. One of the things that we love about working with platforms like Samsung, Comcast Xfinity and others is the availability of data. We get numbers back. We know who’s watching our shows, which informs our development process and our distribution strategy.

TV KIDS: Will linear channels remain important players in the kids’ business in years to come?

ELLENBOGEN: I don’t have a crystal ball on that. Linear viewing is declining, and it’s been in decline for a decade. That said, many of the linear telecasters are smartly diversifying

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into on-demand viewing. I think it’s about offering a suite of opportunities to viewers and ways of delivering the content wherever the audience is, whenever they are watching and curating that content as well. In that respect, linear still plays a significant role. Perhaps more so outside the U.S. than in the U.S. They remain an important foundation for our business and our relationships, and we’re in a number of co-production deals with linear telecasters globally. That said, we love the SVOD platforms, largely because they have funded incredible content. The level of quality now across the board is exceptional. One of the exciting things for me is the amount of great international content that has found its way to global audiences.

TV KIDS: What are the most significant challenges and opportunities you see for WildBrain in the next 12 to 24 months?

“It isn’t just about being a content creator and distributor—now you’ve got to know the numbers.”

ELLENBOGEN: On a proprietary basis, it’s about reigniting so many of the beloved brands that we’re the fortunate stewards of. When you have a piece of library content that has succeeded over the decades, there is something that the audience responded to—whether it’s about values or delightful characters or relationships. That gives you an enormous head start. Often the reinvention process, while preserving the DNA of what made something work, has so many possibilities. The other priority is the AVOD business and continuing to build our WildBrain Spark network and the advertising side of that business, which drives the entire network. It is an incredible brand megaphone. We view it as driving not only views and advertising revenue but also consumer products, [and helping us] better understand audience tastes and patterns. It’s a two-way communications channel for us that I have to say informs a lot of our efforts.

It also allows us to do a great deal of experimentation. It gives our studio in Vancouver an incredible canvas to experiment with new IP.

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SMF Studio’s Rockoons.

Tooned In Yuliana Slashcheva, chairman of the board of SMF Studio and chairman of the board of the Russian Animated Film Association, talks about the studio’s rich history and modern animations. By Kristin Brzoznowski

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his year, the oldest Russian animation studio, Soyuzmultfilm (SMF Studio), is celebrating its 85th anniversary. The studio has released about 1,500 animated movies, which have become embedded in the history of Russian culture and have been recognized internationally.

“Our mission today is to unite different generations that grew up or are growing up

watching SMF’s films, different animation techniques and technologies, commercial companies and state offices, within the country and in different Russian-speaking countries of the former Soviet Union,” says Yuliana Slashcheva, chairman of the board of SMF Studio and chairman of the board of the Russian Animated Film Association.

“That is why the studio is developing in many areas and is open for cooperation with both national and foreign studios and production companies. We have vast experience, traditions and creative potential that we started to successfully realize thanks to bringing in strategic investors and partners from all over the world.”

SMF Studio is one of the few studios working in all existing animation techniques, Slashcheva explains. “We are preserving puppet animation, clay animation, handdrawn animation and various kinds of cutouts. These techniques were developed in our studio, and it’s important to us to preserve and develop them in the modern world.”

Slashcheva says there’s a special creative environment that has formed in the studio from the synergy of these various styles. “Two years ago, SMF Studio got a new status: it became a technology park, which means that we, as a major company, unite several more companies under our roof. Each of them is special and contributes to the creative atmosphere.”

SMF Studio is involved in content distribution for its vast portfolio consisting of

the Golden Collection and new IP. Its films have been sold across more than 50 countries for broadcast or streaming. The company has series, full animated features and short films for different age groups. This year, SMF Studio is presenting its new animated series for Meow Magic and I’ll Get You! Holidays, a reboot of the popular Soviet animated films. The latter is made in a non-dialogue comedy genre. Another new animated series from SMF Studio is Rockoons, a preschool show filled with music.

Read more about SMF Studio here.

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J

onathan M. Shiff has devoted most of his career to creating live-action programming for tween and teenage viewers. His passion for the ocean has led to shows centered on mermaids, as in H2O: Just Add Water and Mako Mermaids. An equal love of the fantastical inspired his latest series, The Bureau of Magical Things. He talks to TV Kids about his creative and storytelling process, the challenges of shooting within Covid-19 safety protocols and crafting epic tales that appeal to global audiences.

TV KIDS: Why have you felt it is important to provide quality live-action programming for tweens and teens?

SHIFF: The programming I do tends to be about stories I’m passionate about and engaged with. I often think the 12-year-old Jonathan might have

Jonathan M. Shiff

By Anna Carugati

got the bug and started this process! I relate very much to that preteen age when I had a vivid imagination and was full of stories or engaged with going to the movies. From the outset, I think it’s an age of engagement. You’re on the verge of being an adult; your expectations are with you. Tweens and teens are two different audiences, obviously, so for live-action, tweens engage because it’s aspirational. We can reach down to 7-, 8-, 9-year-olds. [They’re thinking], I’m going to be a teenager soon. What’s it like when I have an argument with one of my girlfriends or the group dynamic or whatever? What’s it like to face real danger? Because there are real dangers in life as we see all around us today. Teens are watching because they are hopefully engaged in the story, but also because they sometimes relate to the cast. I often think that a lot of the kids watching, particularly the teens, are siblings [and are] co-viewing because it’s kind of cool to watch superhero teenagers battling things.

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TV KIDS: Where have you derived inspiration for the shows you’ve created?

SHIFF: At the outset, it has to come from within. If you don’t have a connection with your story, it’s very hard to expect the audience to go [on] that journey.

You’ve got to have a personal connection with the story to make it real, make it valid, and bring your passion to it. There are so many influences. You look at what’s going on with the world we’re in. I look for inspiration in genre, in what sort of show I’d like to make: would it be a period show, would it be a contemporary show, would it be a sci-fi show? Fantasy plays a huge part in what I do. I love the world of just letting go and being fantastic a little bit.

You just can’t open a book and learn storytelling. The more I’ve learned over the years, the less I think I know. You just have to go with the story and allow it to evolve. Sometimes, you get one piece of the jigsaw, but you can’t just put it on a table and make the rest of the jigsaw work as a straight pattern. Stories evolve and change. I often think that the jigsaw is in the air around me, and I’ve got to build it, but it keeps moving. The piece that I got the first time might now be behind me and not in front of me. You’ve got to have the ability to let the story take you somewhere, even though it isn’t what you originally intended. But you sometimes get a fragment of a character, you sometimes get inspiration from an emotion, you sometimes have a deep resonance for the plot, but later realize we need to find the story, not just the plot. So it’s very organic and a little bit scary at times.

TV KIDS: Why do you think viewers in so many countries relate to the stories you tell? Do you think about the international audience when you’re creating, or is your focus on telling the best story possible?

SHIFF: It’s both. You must tell the best story possible, not only in terms of the craft skills of storytelling.

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The Bureau of Magical Things is sold by ZDF Enterprises.

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Nobody wants spoilers or too much exposition. But you also want to be able to be true to that little first piece of the jigsaw that popped into the air in front of you, and you grabbed on to it and thought, There’s a story here.

Whatever culture you’re in, whatever country you’re in—there are nearly 200 countries that watch our stories—you want to be able to reach out to the humanity of the story, the universal picture of the story. At the same time, you’re dealing with high production values, high budgets. You’re going to need an international audience to bring the story to life. It is very difficult to tell a story for just a handful of people. I was schooled in Australia and England, my mom lived in Florida for many years, so I have

“Whatever culture you’re in, whatever country you’re in, you want to be able to reach out to the humanity of the story, the universal picture of the story.” traveled a lot. I was in Europe a lot, so I tend to be very comfortable in that milieu. I figured we’re going to need a global audience, but also, I want to tell a story that’s epic in scale. So epic that it doesn’t matter where you live; you’ll just jump in and want to be part of it.

TV KIDS: Do you have other projects you’re working on?

SHIFF: I still have in my heart a deep affection for the mermaids. Whether it’s H2O, whether it’s Mako, whether it’s some sort of hybrid, I still want to get back in the water and underwater. It’s a special realm to me—the water and the ocean—so I think there might be something like [that bubbling away]. I also did a project back in the early ’90s on Disney U.S., Ocean Girl, a super, super hit for me, and we did four seasons. I don’t want to give too much away, but the technology exists now to revisit that in an exciting and epic new way.

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