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DISTRIBUTORS GUIDE 2014/2015


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KGUIDE_1014_TOC_Index 9/12/14 7:59 PM Page 1

Contents A Note from the Editor . . . . . . . . . . . . .8 Interviews . . . . . . . . . . . . . . . . . . . . . . .9 Distributors . . . . . . . . . . . . . . . . . . . . .33 Channels . . . . . . . . . . . . . . . . . . . . . . . .91 Event Calendar . . . . . . . . . . . . . . . . . .99 Publisher Ricardo Seguin Guise Editor Anna Carugati

Ricardo Seguin Guise President

Executive Editor Mansha Daswani Managing Editor and Editor, English-Language Guides Kristin Brzoznowski Production Director Victor L. Cuevas

Anna Carugati Executive VP and Group Editorial Director Mansha Daswani VP of Strategic Development and Associate Publisher

Associate Editor Joanna Padovano

Š 2014 WSN INC. 1123 Broadway, #1207 New York, NY 10010

Assistant Editor Joel Marino

Phone: (212) 924-7620

Online Director Simon Weaver

Fax: (212) 924-6940

Sales and Marketing Director Cesar Suero

Website: www.tvkids.ws

Sales and Marketing Coordinator Faustyna Hariasz

No part of this publication can be used, reprinted, copied or stored in any medium without the publisher’s authorization.

Business Affairs Manager Terry Acunzo

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KGUIDE_1014_ED_KGUIDE_1008_EDITORIAL 9/12/14 7:59 PM Page 1

A Note from the Editor Kristin Brzoznowski

There is a feeling of nostalgia that arises when scanning the upcoming crop of kids’ programs. Producers and broadcasters have been reinvigorating a number of beloved classics in an effort to create a whole new generation of adoring fans, and in the process are winning the approval of parents in a big way. The ’60s hit Thunderbirds is back, with Thunderbirds Are Go making its world premiere at MIP Junior this year. The iconic cartoon Danger Mouse, which originally premiered in 1981, is returning to screens in 2015. The Magic School Bus, a Saturday morning staple throughout the ’90s, is being redone for 2016. The Powerpuff Girls, a favorite from the late 1990s, is being rebooted as well. These shows and characters come with a sense of comfort in their familiarity, notably for a generation that is starting to have kids of their own. The sharing of nostalgic toys and TV shows between parent and child fosters a sense of togetherness. It’s no wonder, then, that Millennial women have been declared the most powerful segment in the U.S. toy industry, accounting for 26 percent of all American toy sales. In the first quarter of 2014, the NPD Group found that women ages 25 to 34 made up 75 percent of all Millennial toy buyers. Oftentimes, the toy-shopping process is a parent/child negotiation. While the parent has the purchasing clout, the child will ultimately decide what he or she wants to play with. More and more, children are embracing their power of choice. With OTT, VOD and other digital platforms, this new generation is choosing when and where they watch their favorite shows. The industry has had to shift accordingly. Nowadays, apps, websites, games and immersive virtual worlds are top of mind when developing a property. All of these toys and digital bells and whistles mean nothing, though, if there’s not a good story and beloved characters at the heart of the property. This edition of the TV Kids Distributors Guide features a slew of companies whose catalogues contain shows with the right ingredients to become long-lasting hits with parents and kids alike. 8


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INTERVIEWS


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Anne Sweeney

Co-Chair, Disney Media Networks President, Disney/ABC Television Group

TV KIDS: Tell us about some of the gains at the Disney bouquet of channels outside of the U.S. SWEENEY: We have tremendous pride in the growth of Disney Channel. It really has become the touchstone for our brand in homes around the world. It has introduced Disney to new markets; it is a terrific global brand ambassador, and today we have 108 Disney channels in 34 languages reaching more than 428 million homes in 166 different markets. When you add the extended reach of our partners around the world, meaning where we appear on broadcast, the Disney and the Marvel-branded kids’ TV content is now available in almost 1 billion homes. TV KIDS: Is there still growth opportunity for Disney Channel? SWEENEY: There still is. We launched our first free-to-air Disney Channel in Russia [more than] two years ago. It was the number one free-to-air channel for kids 4 to 12 for all of 2013. This is due in large part to our country manager, Marina Zhigalova-Ozkan. She launched a spectacular business for us that is resonating with children and families in Russia, and introducing not just a new generation but generations to the Disney brand. In January, we launched a new free-TV version of Disney Channel in Germany, which is Europe’s largest TV market. It topped Nickelodeon in the ratings its first weekend on the air, pretty amazing! And it came in number three among kids’ networks in Germany behind SUPER RTL (which as you know is the joint venture of Disney and the RTL Group) and the public broadcaster KiKA, but still ahead of Nickelodeon. TV KIDS: Is the choice to go free to air opportunistic? SWEENEY: Yes, it is purely opportunistic. We look at the options available to us and the decision is made based on what is best for the Disney brand. Then our team goes forward to see what is the best deal that can be made for the company. 10


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Robert Bakish

President & CEO Viacom International Media Networks

TV KIDS: What is giving Nickelodeon its competitive edge? BAKISH: Its success is due in large part to its significant and growing pipeline of both live-action and animated content, both of which travel well. SpongeBob SquarePants has been a hit everywhere in the world. Teenage Mutant Ninja Turtles, which the Nick crew has reinvented for today’s kids, is doing very well. The success of Nickelodeon starts with our shared global pipeline, which emanates from the U.S., and like other services, we supplement that. We’ve done formats like House of Anubis, which was a show originally created in the Netherlands. We then did a German version that did very well. Then, in partnership with Nickelodeon U.S., we did an English-language version, which was shot in the U.K. but had some U.S. talent in front of and behind the camera and it did well around the world. We supplement Nickelodeon with shared international programming as well as relevant local product like Olive the Ostrich in the U.K. or Camp Orange in Australia. Then we have events like the Kids’ Choice Awards that is the signature event. Globally, Nickelodeon is one of the most recognized and widely distributed multimedia brands for kids and families. And it’s not only the core Nick channel; we also have Nick Jr., and Nicktoons in the U.K., and that allows us to super-serve segments of the kids’ audience. TV KIDS: How are you also serving children on screens other than the TV set? BAKISH: [We have rolled] out a really cool Nick app. It’s not the first app we’ve done; we’ve done a bunch of franchise-specific apps, like a SpongeBob game and they all do very well in the iTunes and Android stores. But the Nick app—that umbrella brand app—has some very cool-looking features, like this big button in the middle of the screen that says “Do Not Touch,” and of course all kids touch! It’s fun to play with. 11


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Christina Miller

President & General Manager Cartoon Network, Boomerang & Adult Swim

TV KIDS: What do you see as the strengths of the Cartoon Network and Boomerang brands in this highly fragmented landscape? MILLER: Both of these brands have incredible equity and an audience with a strong affinity for the content they each offer. Cartoon Network’s strength is being the dominant funny place for boys. Boomerang has always been multigenerational and a destination for families to share content that is enjoyed by all ages together. For our business overall, both of these brands complement each other really well and together give us a wider audience across many demos. TV KIDS: Tell us about how your U.S. teams are working with the international Cartoon Network and Boomerang programming executives. MILLER: We are now working even more closely together on being strategically aligned with a single global point of view so that we can take every advantage of leveraging the scope and scale of these brands around the world. We are putting a strong global-franchise-management structure into place to support and partner across all territories so that we have continued growth with global hits like Adventure Time, The Amazing World of Gumball, Regular Show, Steven Universe and Clarence, as well as with future brands. TV KIDS: What do you see as the key factors needed to build a great TV show into a brand that kids can engage with through multiple consumer products? MILLER: Great storytelling. There has to be an immersive approach that combines strong storytelling, relatable characters and themes, along with innovative products and partnerships. Add a strategic and comprehensive franchisemanagement plan and with a little patience, you may just have all the right ingredients to have a sustainable global consumer-products program. 12


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Stephen Davis President Hasbro Studios

TV KIDS: When you set up the studio, did you see certain voids in the market that needed to be filled? DAVIS: We are in a fortunate position to have over 1,500 brands that are very well known to kids and families. We felt that we certainly had a leg up going into the market because of how beloved and well known our brands are. At the end of the day, though, it’s about great storytelling and great characters, so I was fortunate enough to build a studio with A-plus talent. We work with a lot of very well-regarded storytellers, our creative stewards, who we brought in to help us reimagine our brands for television and film. Certainly, relative to other kids’ storytelling in the marketplace, we have benefitted significantly from having these wonderful beloved brands. TV KIDS: Hasbro Studios brought together Hasbro’s entertainment and licensing divisions. How did that come about? DAVIS: So much of what we do in our brand-franchise strategy is telling stories, whether that is at retail or on the big screen or on the small screen. And so much of entertainment and licensing are really intertwined, so putting the groups together allows us to be sure that we are really fully integrated with respect to our content and our retail strategies. And frankly, that we are better partners to our licensees, and that they have the benefit of seeing the strength that storytelling has in their retail efforts. TV KIDS: Is there an appetite for shows that the whole family can watch together? DAVIS: Absolutely. It’s interesting when you look at the statistics: kids actually still do want to watch programming with their parents. Whether that’s on television or on digital, it indexes very high, which we have found to be a competitive advantage for our channel, Hub Network. When you look at shows, even Transformers, My Little Pony and Family Game Night, we get a big percentage of kids watching with an adult, and we are now replicating that kind of success globally. 13


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Dana Landry CEO DHX Media

TV KIDS: What are DHX’s key strengths and which areas would you like to focus more on? LANDRY: Our strength is content creation in the kids’ and family genre. We’ve attained this through leveraging the Canadian system and having access to subsidies. We’ve also built strength in global distribution on multiple platforms. We have relationships with linear television outlets in more than 300 different territories and with digital platforms. We’ve added some licensing strengths over the last few years through some of our recent acquisitions, starting with Wildbrain in 2009 and then the Cookie Jar business in 2012, and CPLG, which is a representation agency business. We have added a number of key drivers in the content world, brands such as Teletubbies and Degrassi. We believe these brands have tremendous long-term value and growing them organically is really where we will increase our attention in the near term. We have also recently added Family Channel, Disney XD and English- and French-language Disney Junior— four channels that give us additional great platforms to leverage our content. TV KIDS: What advantages does DHX derive from the Family Channel portfolio? LANDRY: For us as content creators in Canada, to be able to acquire a linear channel that has access to the great system that is Canada is a tremendous advantage for a number of reasons. This is a utility, an annuity-like revenue and cash-flow business. Family Channel’s customers are all blue-chip Canadian cable and telco companies, [with which it has] long-standing relationships, so it allows us to diversify the revenue and cash flow for DHX. Revenues from production tend to be irregular at times...but Family Channel gives us a stable base going forward. It allows us to leverage our existing brands and move them into production at an earlier stage than we would have had we been just a content company without a linear channel. 14


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Iginio Straffi Founder & CEO Rainbow

TV KIDS: How has Rainbow been able to thrive in the competitive children’s programming business? STRAFFI: For us, the key to success in such a competitive market is to keep our brands fresh and relevant, which is why we constantly develop new content to maintain fans’ interest. We devote a huge amount of time and resources to production. We regularly give fans something completely new, which not only has an energizing effect on a property from the consumers’ point of view, but also presents licensees with fresh opportunities for merchandising. Signing a licensing agreement with Rainbow allows licensees to take full advantage of the opportunities and the added value that a company like ours can offer. Partners who work with us have the ability to exploit the synergy between their brand and ours. The relationship with our licensees covers all areas, from communications to marketing to retail, as well as involvement during special events, and we also create events that are specifically tailored to individual partners. TV KIDS: In a highly consolidated business, what benefits do you derive from remaining an independent? STRAFFI: Our independence has allowed us to grow and evolve in the way we wanted and felt fit us best. We are a content company known all over the world and are unique in Italy as we are the only Italian production company able to implement every phase of the animation process, including the ability to produce stereoscopic 3D animation. This successful formula has allowed our TV series to be present in over 150 countries across the world. As an independent, we have also been able to deal with our own licensing requirements, which has led to huge success. We regularly hold a top position in the global licensor rankings, with record numbers spanning all sectors of the market: from toys and video games to back to school and stationery, food and drink, clothing and fashion accessories. 15


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Vince Commisso Co-Founding Partner, President & CEO 9 Story Entertainment

TV KIDS: What has been the strategy for growing the catalogue? COMMISSO: The strategy is driven by [first looking at what] we produce organically and [then how to] add to that. That drives our thought process in regards to how we supplement the catalogue. And we supplement it in two ways. One, we buy, we look for catalogues that in bulk have that same quality level that we do—we felt very strongly about that in regards to CCI Kids’ library. Two, we look for individual shows that we feel are of that same [quality level]. It’s a selective process. If someone came along and said, Here’s 3,000 halfhours, we would certainly look at that. But we would have to be comfortable that the tone and the quality of that catalogue contains a certain amount of titles that we feel could match what we’ve already got going. TV KIDS: Is 9 Story extending its brands into the digital space? COMMISSO: These days, there are many opportunities— because we live in a digital world—to create ancillary content that really helps engage the audience with the actual IP of the show. So, it’s rare that we’ll do a 6 to 11 comedy that doesn’t have an app associated with it. Our three 6 to 11 comedies that we’ve entered the marketplace with, Almost Naked Animals, Camp Lakebottom and Numb Chucks, all will have apps at some point in time. TV KIDS: What types of series are buyers requesting nowadays? COMMISSO: For preschool programming, the show has to be really special. It has to be something that breaks through the massive amount of preschool product that’s being produced. Daniel Tiger’s Neighbourhood, for example, is a special show. For kids 6 to 11, buyers are still looking for comedy, comedy, comedy. That demographic wants to sit back and be entertained, so broadcasters really want shows that are funny. 16


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Hans Bourlon Co-Founder & CEO Studio 100

TV KIDS: How are Studio 100’s various business lines performing? BOURLON: From our perspective, the leisure industry—like theater shows, musicals and theme parks—is a rather old-fashioned business, but in our company, it does currently create the most growth. You do need to invest heavily in theme parks to make them really top notch, but once you have achieved this, it is a really strong and growing business. In the media industry, a lot of activities nowadays are not easy. With TV shows, it is much more difficult to build a brand’s popularity because you have a lot of global broadcasters. This makes us even happier that we acquired the catalogue of EM.Entertainment because it’s so well known and parents are keen to share it with their children today. If you want to make something popular nowadays and you start from a blank page, it takes a lot of effort and a lot of time. If you have some nostalgic IP and you can give it new life, it’s much easier. TV KIDS: How is Studio 100 meeting the challenges of today’s ultra-competitive marketplace? BOURLON: A lot has changed in the last three years. Young children have a totally different way of consuming media than the generations before them. Children want to watch when they want to, on the device they want to, at the moment they have time to. This will be the media consumption of the future. We are now working on a new state-of-the-art kids’ media platform where kids learn by having fun and being creative. Imagine a world where children can play games, resolve quests, watch movies, listen to music, read books and interact with each other—an all-in-one 3D platform bringing all kids’ media together. We continuously try to be very innovative in the ways we reach children in this competitive and fastmoving industry. 17


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Elie Dekel President Saban Brands

TV KIDS: Tell me about the creation of the new global content distribution unit. DEKEL: Saban Brands was formed four and a half years ago with the purpose of assembling a portfolio of consumer properties and growing them through marketing and content and ultimately consumer products. This has been a fast-growing business with the support of Haim Saban and Saban Capital Group. We’ve been fortunate to assemble a great portfolio of brands. As we have been very active over the past few years in bringing Power Rangers, the television show, back to a prominent position in the kids’ landscape, we have seen the opportunity to bring content to multiple new platforms, and we have seen that the business model we applied is very effective in supporting those properties. So we have been aggressively increasing our pipeline of content—that’s content in development as well as content that we are in various stages of acquiring. Commensurate with the increasing pipeline, we see the importance of having first-party relationships with broadcasters, with content providers and platforms of all types. Up until now we have been partnered with MarVista Entertainment as a distributor on Power Rangers and Digimon and Julius Jr. [MarVista] has played an integral role in helping us deliver our content to viewers worldwide. As we are growing our pipeline, and we are growing our company, we feel it’s the right time to establish a new global distribution unit. TV KIDS: In this current landscape, how important is it to have consumer products, digital and content distribution all housed together under Saban Brands? DEKEL: Saban Brands is unique in that while we’re launching a distribution unit, the company is very much one team. We operate holistically and in a very integrated fashion. By having Fred [Soulie] lead the growth of this part of the business, we see that it actually adds more capability to the entire organization. That close integration is even more important than ever before, and organically our company operates that way. 18


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Marjorie Cohn Head of Television DreamWorks Animation

TV KIDS: How is DreamWorks Animation positioned to follow children wherever they go and offer them what they want to watch? COHN: With adult programming, there’s such a glut of great programs, you can’t get around to watching it all. And you can choose when you want to watch it. Kids already do that with their entertainment, but when it comes to on-demand content through platforms like Netflix, they have much less variety and choice right now, which needs to change. I think one of the advantages of the on-demand model is that you don’t live and die by the ratings. You can take your time to build a series and develop it in a way that allows it to grow, and also give your audience the time to find it. We feel that we have an advantage, because of the DreamWorks brand. We’re not simply doing “trendy” cartoons, per se; we’re making the sort of imaginative, story-driven, visually appealing animation that DreamWorks is known for and bringing it to TV. TV KIDS: Is children’s programming one of the growth areas for over-the-top services? COHN: If you look at what’s available right now in online services, most of it is second-run. As these digital TV companies grow, they want to put a stake in the ground for originals. Netflix has done that very successfully with its drama series, and now there’s a huge need for super-high-quality, original entertainment that appeals to kids and families. TV KIDS: How are you working to introduce the properties in the Classic Media library to today’s young audiences? COHN: There is a lot in the Classic Media library that we feel will resonate as deeply with today’s audience as the original shows did when they first appeared. We will refresh and modernize some of them, but the characters and core attributes still feel modern and relevant. 19


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Kay Benbow Controller CBeebies

TV KIDS: What genres are you looking to do more of? BENBOW: Within CBeebies we have the younger end, the 2-to-4s, and then we’re trying to make sure the 4-to6s are well served with slightly more [mature and] challenging content. Each year I have to make sure there’s enough for the younger end of the audience and enough for the older end. [I’m interested in more] drama. Comedy remains really important. It’s always about distinctive and stand-out animation, the best we can get, balanced against really strong live-action shows. TV KIDS: How are you catering to your audience on the CBeebies website and other platforms? BENBOW: In the autumn of last year we launched the CBeebies app. It’s free and it encompasses a certain number of brands. It’s been phenomenally popular. It shows how much the brand, and the titles we have within the CBeebies portfolio, are loved. We have [also launched] another app that [is] slightly more story-based. We’re working hard to make [our website] fully responsive, i.e., making sure you can access everything on your iPad or your mobile device of choice. We have CBeebies Radio that you can access through the website. We have a daily podcast, which is bespoke content. TV KIDS: What have you learned from how preschoolers are accessing content on the iPlayer? BENBOW: People go to the iPlayer to find what they want, when they want it. We’ve also found that some of our short-form content does really well on the iPlayer. We have a show called Woolly and Tig, which answers questions for children, and parents find that really useful. There’s this way of accessing content now that perhaps wasn’t there a few years ago, so I hope it’s a great support for people, particularly parents, and it means children can see their favorite content when they want to. 20


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Russell Hicks

President of Content Development & Production Nickelodeon Group

TV KIDS: What do kids expect from Nickelodeon today? HICKS: The Millennials are now out of our age range and there’s a whole new generation, the post-Millennials, coming to Nickelodeon. We’ve done a lot of research to find out exactly what they expect from us, and we’ve learned that they come to Nickelodeon to laugh and see funny and exciting shows with great characters and great stories. In this digital age, kids can access content everywhere. They want to see it on their time, whether it’s on their iPads, online or on their television. That’s why we’ve created the Nick app and we’ve redesigned Nick.com to be completely in tune with this generation. TV KIDS: You’ve had strong ratings gains over the last year or so. How are you structuring your development slate to build on those increases? HICKS: We’re constantly looking for new talent. There are a lot of people entering the workforce who grew up on Nick, who know us at our core and now want to create for us. Some of them may need some guidance and nurturing, so we created a mentorship program where new talent is paired up with some of our proven hit-makers. We have various training programs like our writer and artist fellowship, and create a lot of shortform content for our app, so they have a place to play and hone their craft before we place them on a show. TV KIDS: How do you work with your programming colleagues across the globe? HICKS: We have a strong partnership with our international teams that continues to grow. That’s where the global shorts program originated, which has brought a lot of new talent in house. They also introduced us to new serial-style formats such as House of Anubis, and most recently our Nick Latin American team brought us Every Witch Way, a [teen] telenovela we greenlit for a third season. 21


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Rick Glankler

Executive VP & General Manager FremantleMedia Kids & Family Entertainment

TV KIDS: What has been driving the gains at FremantleMedia Kids & Family Entertainment over the last few years? GLANKLER: When FremantleMedia Kids & Family Entertainment was first set up in 2009, its key aim was to establish a distinctive portfolio of high-quality content with strong international appeal. As such, our primary focus was in acquisition, production and TV distribution. We’ve quickly proven ourselves to be a dynamic independent producer, licensor and distributor of engaging, entertaining and groundbreaking content in the sector. We have successfully placed our shows on all the major networks around the world, where they have enjoyed great ratings. Having placed our shows on the best broadcast platforms, the next step in our strategy is to build our key brands into global franchises with multiple consumer touchpoints. We’re already starting to see success here, too. TV KIDS: What has been the strategy for growing this segment of the business? GLANKLER: Great storytelling runs through everything that FremantleMedia does, whether that is our entertainment shows or our scripted output. The same is true of our kids’ properties. We have around 16 titles that offer a broad and distinctive portfolio covering content for all ages. Building a franchise doesn’t happen overnight; it takes time and effort, and we have to ensure that we concentrate our resources on a few key brands in order to create maximum cut-through and impact. We have indeed carefully and consciously managed our portfolio so that it remains large enough to offer audiences the widest possible choice while still being small enough for us to be able to focus our energies on it. This will remain our strategy going forward. 22


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Jenny Buckland

CEO Australian Children’s Television Foundation (ACTF) TV KIDS: How is ACTF positioned in the children’s market? BUCKLAND: The particular void that we like to fill is live-action children’s drama. Obviously it goes in cycles, but there’s a huge amount of animation that gets produced. Animation is readily financed via co-productions between countries. It’s less distinctive to a particular country, and that’s what makes it so easy to finance and why there’s so much of it. But we find—certainly in Australia and we think in other places—that kids have a real passion for drama and for actors on-screen [portraying] characters that they can love. We’ve also been involved recently in a number of factual series for kids. It’s material that’s a little bit different and perhaps a little bit more challenging than the stuff that is designed to go out there and be sold with a whole lot of merchandise in 160 countries. I think kids have a passion for factual content and for learning about the world. TV KIDS: Are you finding that traditional broadcasters are reducing their slots for children? BUCKLAND: We still do get on the big networks from time to time, but more and more they are putting their children’s material onto their digital channels. It is certainly becoming the case, we think, that digital channels are specializing. But then it’s less obvious to the viewer now that that’s not the main channel. I think kids really look for destinations where they know they’ll find kids’ programs rather than having their shows sandwiched in between adult shows. The other thing we’re finding is how important the catch-up rights are. We find in Australia with ABC that many children might watch a show on their iview player [ABC’s catch-up service] after it’s aired. It may be that they’re watching it again because they loved it, but it’s often because they didn’t see it whenever it was on air. They just go there and find it and watch it when they want. And that’s clearly the way it’s all moving. 23


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Olivier Dumont Managing Director Entertainment One Family

TV KIDS: What has been the strategy for licensing and merchandising connected to Peppa Pig? DUMONT: Our overall strategy for the brand has always been carefully managed growth that responds to consumer demand built through strong TV ratings rather than oversaturating the market too quickly with merchandise before the show has had time to attract a dedicated fan base through broadcast. Key to this strategy is securing and then working closely with leading preschool broadcasters in each country and convincing them to air the episodes back-to-back in regularly scheduled blocks. This is crucial to growing fan bases as the episodes are only 5-minutes long. With broadcast in place, we then work with either our own local office or carefully selected licensing agents. We find that retail exclusives are a good way of launching the property at retail. Exclusive relationships such as these ensure full support at launch, building both confidence and momentum in the property and thereby encouraging other retailers to commit in depth with a proven property. Toys, publishing, DVD and apparel will always be the driving categories in which we look to launch the brand at retail, and in several European countries we’ve seen that digital, live events and FMCG [fast-moving consumer goods] follow more quickly after this than they would have done in the U.K. TV KIDS: What do you look for in licensing and merchandising partners? DUMONT: Our approach has always been to create licensing programs that are relevant to the individual territory. To that end, we seek local licensees that have expert knowledge of their home market. It’s far more time intensive than appointing a limited number of multi-territory or global partners; however, the benefits of appointing partners who understand the nuances of their market in terms of retailers, consumers and the broadcast platforms are clear for all to see. 24


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Eric Coleman Senior VP of Original Series Disney Television Animation

TV KIDS: What has been the strategy behind Disney’s animated originals? COLEMAN: The strategy has been to focus on great talent. Even before we talk about concepts, we talk about who we want to be in business with. We’ve really made it a priority to attract the best talent in town, and have worked with a combination of animation veterans like Dan Povenmire and Jeff “Swampy” Marsh, the co-creators of Phineas and Ferb, and Craig McCracken, the creator of Wander Over Yonder—who all have deep résumés— and also with rising new stars like Alex Hirsch, the creator of Gravity Falls. We have found that by doing that, it creates a wonderful blend of different experience levels and different viewpoints. Within the studio, that has helped us build up a nice community, where all of these folks are inspiring each other. TV KIDS: What are the core values you look for in new animated series? COLEMAN: We look for shows that feel warm, positive and optimistic, but also that feel fresh and funny and original. That originality can come from the concepts, but it can also come from the execution. It might be a familiar concept, but is produced in a way that feels surprising. Gravity Falls is an excellent example of that. The one-liner of the show in and of itself is not groundbreaking, but in the hands of Alex Hirsch, the creator, he has such a specific voice and point of view and sensibility, the show feels very authentic and fresh. It pops from the crowd. There are so many choices for kids, whether it’s on TV or on the Internet, so we look for things that will break through the noise. A key characteristic in anything that we do is also going to be quality. We want to produce shows that feel worthy of the amazing Disney animation legacy. So, in addition to the concept of the show, we really look for great art direction, great character design and great music, and all of these other components that are not immediately recognizable but that cumulatively make them feel like they are top-level shows coming from top talent. 25


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Frank Dietz

Head of Acquisitions & Co-Productions SUPER RTL

TV KIDS: What has been the strategy behind your recent acquisitions? DIETZ: We had to adjust our strategy a little bit, because our shareholder Disney decided to open its own free-TV channel in Germany. Therefore, we lost about 30 percent of our daytime inventory. We had to come up with a plan to fill the gap that their programs left. We ramped up our in-house productions; we did a lot of development deals. [Even] before we learned the news about Disney coming to Germany, we developed a lot of shows that actually performed really successfully, and we went into second and third seasons with some shows that we had started developing in 2010 to 2011. Plus, at the same time Disney announced its plans, we found a new partner with DreamWorks Animation. They are bringing series to life from their movie franchises, and that for us is a key element for our future strategy and for our program sourcing. On top of that, we teamed up with Warner Bros. and bought some of their classic productions like Tom and Jerry and Scooby-Doo. All that makes a nice bouquet of really precious brands and properties. TV KIDS: How are you keeping SUPER RTL competitive in the German market? DIETZ: We are lucky enough to have the kind of connections in the marketplace where we are involved in discussions early on. We have very short decision-making processes; if we like the show, we go for it! We’re pretty speedy when it comes to going for a show and making sure it’s presented the way it should be. The cake is not getting bigger, so the new players that are coming in have to adapt to the market. They have to understand the children, and they have to understand the advertising clients. There are a lot of obstacles to overcome, but I’m very confident that with the portfolio of contacts we have, we will have a place (and a good place!) in the market. 26


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Giles Ridge Executive Producer Thunderbirds Are Go

TV KIDS: How did the Thunderbirds reboot come about? RIDGE: ITV is fortunate enough to own a number of iconic TV and film libraries. [Contained] in the ITC library—from Lew Grade’s original company, ITC Entertainment—is much of Gerry and Sylvia Anderson’s work from the ’60s and ’70s. That includes all the wonderful Supermarionation series through the ’60s that started with Supercar and Fireball XL5— which were both black and white—and then moved to color with Stingray and Captain Scarlet and Joe 90. In the middle of that set of shows came Thunderbirds in 1965. Thunderbirds is very much the jewel in the crown of those properties. Given that the brand celebrates its 50th anniversary next year, it felt right that we return to the wonderful collection of work and give Thunderbirds a go in the market. We were very mindful of not wanting to mess too much with the original. It’s lasted 50 years because it is very special. TV KIDS: Tell us about the look that’s been created for the new series. RIDGE: When we started looking for a partner, we were very clear about not wanting to repeat the same visual look and feel that is contained in so much action adventure today. We wanted to move away from that very clean, digital CGI look and create a visual aesthetic for the new series that broke new ground for kids, and offered them something different and exciting and tangible. That’s what made us think about this mixed-media approach that we’ve gone with. The craft and characters are in wonderful contemporary CGI. We have set them against a background of liveaction miniatures and models. We wanted a co-producer who shared our passion and love for the series, and who had a track record and reputation in building wonderful models. That’s why we ended up in New Zealand with Pukeko Pictures and Weta Workshop, the company founded by Richard Taylor and Peter Jackson that has been responsible for the wonderful effects on The Lord of the Rings and The Hobbit and King Kong. 27


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JG Quintel Creator Regular Show

TV KIDS: Tell us about the origins of Regular Show. QUINTEL: It evolved from a few of my student shorts. I was attending [California Institute of the Arts] and I’d done two short films that had a few of the characters from Regular Show, like Pops, Mordecai and Benson. I was working at Cartoon Network and The Cartoonstitute started up as a shorts program looking to escape the traditional development pattern that most studios use. They said, “Pitch a storyboard and if we like it we’ll make it into a pilot.” They wanted to make a pilot with no bible and almost no notes. So I pitched Regular Show and lucky for me they liked it. TV KIDS: Do you think the show would be what it is today had you gone through a more traditional development process? QUINTEL: I really don’t think so. When I first pitched the concept to ask if I could do a storyboard, I was worried that if I explained it—it’s a blue jay and a raccoon and a gumball machine—they would have thought, “This is crazy.” I showed them a picture of Mordecai, Rigby and Pops running, just on one Post-it. I said, “Trust me, I think I can make this really funny, but I don’t think explaining it is going to help, I need to show you an episode [played out on storyboards.]” If I had had to make a bible first and explain it all, I think it would have been noted to death. TV KIDS: What kind of creative environment have you found at Cartoon Network? QUINTEL: They give us a lot of creative freedom. There are not a lot of heavy-handed notes. We really only deal with a few executives at a time. As far as our process for coming up with episodes, we have traditional writers, but our show is not scriptdriven. There are no scripts with dialogue. It’s a storyboarddriven show. We write very short premises that explain what’s going to happen in the episode. And then we let our storyboard artists write all the dialogue and draw the storyboards. Then we can decide how to change the writing as we go. 28


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Steve Borst

Co-Creator & Executive Producer Breadwinners

TV KIDS: How did the Breadwinners series come about? BORST: Gary [Di Raffaele, co-creator] and I met in 2010, when I was working on MAD, produced by Warner Bros. Animation. I was a writer on the show; Gary was an animator/director. He approached me one day and asked if I wanted to do something together. We worked on ideas and pitches for several months. From that, the beginning of Breadwinners started with [Gary’s] sketch. TV KIDS: Why do you think it has struck a cord with audiences? BORST: It all starts with the characters, and these characters have a lot of heart, they’re likable, they’re cute, they’re fun. We have a combination of comedy and heart. It starts with character-driven comedy, so you really look at the world through the point of view of your characters, and you make your characters very relatable for kids. Everything goes from there. We definitely have a wacky, zany, light-hearted sensibility, and we try to infuse that in the show. Also, our characters are very optimistic. That’s a big thing that resonates with kids; it resonates with us and we’re basically just big kids! We’re keeping our characters very optimistic and the humor very light and fun, then sprinkling in some poop jokes. TV KIDS: How has the relationship been with Nickelodeon? BORST: We’re really excited to be working with Nickelodeon, because it feels like an exciting time to be there. It feels like a renaissance of animation is going on there; Sanjay and Craig is on and there are new shows like Bad Seeds and Pig Goat Banana Cricket. It feels like a really strong, creator-driven environment there. We’ve been given a tremendous amount of creative freedom to create the show that we want to create. We’ve been fortunate that our sensibility and style is in line with Nickelodeon, so it’s been super supportive. 29


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Phil Davies

Co-Founder, Astley Baker Davies Co-Creator, Peppa Pig

TV KIDS: As an independent, how were you able to come up with the financing for Peppa Pig, and how did it land on Channel 5 and Nick Jr.? DAVIES: I went to see all the U.K. broadcasters in 2001, and at that time I was really keen for us to maintain our independence, so that was a really important part of the decision-making process. We were also lucky that at that time Contender Entertainment Group (now Entertainment One) was looking to invest in a new project. So all the pieces of the jigsaw puzzle just seemed to fit together perfectly at that time. We still had quite a large budget shortfall, which [myself and the other Astley Baker Davies co-founders] covered. It was a very difficult time, and Neville [Astley, co-founder] reminded me [recently] that there was one day in the early production where it almost all fell to pieces. It was a hand-to-mouth existence for the first year! TV KIDS: What are the biggest changes you’ve seen in the British animation business, both since you started the company and just within the last decade since Peppa premiered? DAVIES: For me it’s great to see that many children’s animation productions are thinking more carefully about the voices they use. Since the ’80s I’d been using kids’ voices on various projects, and now it seems that everyone is using “real” children’s voices— which is brilliant! Also in the early ’80s I was lucky enough to work with some of the pioneers of computer animation. In the past 10 or 20 years I feel that the whole business of using computers in a production environment has really come of age. In the early days animators needed computer skills to do even the most basic animation, but now pretty much all of the young animation talent has experience in some sort of computer software. Editing is also another big area that has evolved. Of course film more or less disappeared in the ’90s, and now it seems tape is on its way out as well. It’s very worrying to think about the durability of digital data. Will those digits still be able to be read in a hundred years’ time in the way we can still see film? 30


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Janice Karman

President & Co-Owner, Bagdasarian Productions Creator, Alvinnn!!! and the Chipmunks TV KIDS: What led you to bring the Alvin and the Chipmunks property back to TV? KARMAN: In the movies you can only tell one story, and I’m interested in telling a lot of stories, and especially stories that are personal and that kids can identify with. From the ’80s we were able to tell some of those stories, and the stories that we did tell, that were personal, just received loads of fan mail, and that meant so much to us. So now we get to write dozens of shows, most all with a character journey, and that to me is really fun and really exciting. So that’s a thing that motivates us. Doing a series is a lot of work, and if you’re not going to get something out of it, or if you don’t feel that your audience is going to get something out of it, why do it? TV KIDS: Are you updating the stories for a new generation? KARMAN: I think that families experience much of the same throughout time. Either [a child is] having difficulty with their parent or their parent is having difficulty with them, or they’re having difficulty with their sibling, or they’re feeling left out, or they want to be in the cool group, or whatever those situations are, those are universal. So we’ve updated the look, and we’ve updated the jargon, the vernacular, basically, and we’ve enlisted our kids as well, our 20-year-old kids who are now writing with us, which we never thought would happen. TV KIDS: Do you feel that the brand has benefitted from keeping it as a family business? KARMAN: We really love these [characters], and one of the great things about working with our kids as well is they really love them. We didn’t think they’d want to work with us, but they love these guys and they know that at the end of the day they have to be appealing. It’s personal to us. 31


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Henry Winkler Author, Producer & Actor Hank Zipzer

TV KIDS: When did you first get involved in children’s programming? WINKLER: Ten years ago Hank Zipzer was born. We have now written 26 novels. Four of them are part of the Ghost Buddy strand from Scholastic. Those are different; they are about bullying. Hank Zipzer came about because I am learning-challenged, so we thought we would make a comedy about a kid who just couldn’t figure out why he couldn’t figure things out, no matter what they were. I couldn’t find a publisher in England. [Eventually] Walker Books said yes, we’ll publish your novels. For seven years I have toured throughout the United Kingdom and I have visited now maybe 250 schools. I had never been able to sell Hank Zipzer in America as a TV show even though it was so cinematic. My partner Lin [Oliver] and I both came from television. Hank was a funny television show to us. We couldn’t sell it, went everywhere. And then Walker Books said, “We’re going to start a television-production division and our very first production is going to be Hank Zipzer.” So last September, I flew to England. I got to play one of the characters, Mr. Rock, and [the producers] put together this incredible cast of young people and adults. We made 13 episodes that started airing on CBBC in January. TV KIDS: What message do you want to give children through the books and the TV series? WINKLER: Here it is, what Hank knows: his glass is half full, he just spills it everywhere. And the fact of the matter is that, yes, attending school is required by law, but every child is so powerful that they will find a niche. They will find their greatness, whatever it is, and that is what they need to give to the world. We don’t all have to be the greatest students on the planet in order to be functioning, fabulous human beings. 32


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41 Entertainment ADDRESS: 500 W. Putnam Ave., 4/Fl., Greenwich, CT 06830, U.S.A. TELEPHONE: (1-203) 717-1120 WEBSITE: www.41e.tv MANAGING DIRECTOR: Allen Bohbot SALES & MARKETING MANAGER: Kiersten Morsanutto CONTACT: kiersten.morsanutto@41ent.com PROGRAMS: Kong—King of the Apes: 1x80 min. & 12x22 min., HD/CGI/3D animation, action/adventure, 5-10; PAC-MAN and the Ghostly Adventures: 52x22 min., HD/CGI/3D animation, comedy, 5-10; Pac’s Scary Halloween: 1x44 min., HD/CGI/3D animation, comedy, 5-10; Santa Pac’s Merry Berry Day: 1x44 min., HD/CGI/3D animation, comedy, 5-10; Blake: Double Identity: 26x22 min., HD/CGI/3D animation, action/comedy, 6-11. “41 Entertainment focuses on worldwide animation development, production, distribution, licensing and merchandising. Operating globally in the creation and distribution of children’s original proprietary characters and intellectual properties, we invest in each production and own all rights, including Kong—King of the Apes and worldwide rights to iconic established properties such as PACMAN and the Ghostly Adventures. Not only do we secure the best exposure through our network of major broadcasters and distributors worldwide, we also look for the best licensing and merchandising partners for our brands though an in-house licensing and merchandising division. Managed by experienced individuals with extensive knowledge in animation production, distribution, sales, marketing, legal and business affairs, copyright and trademark protection, 41 Entertainment believes that market success is not based on quantity of projects, but rather in the careful exploitation of a few high-quality intellectual-property projects for global consumption.” —Allen Bohbot, Managing Director

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Kong—King of the Apes: The future looks bright for San Francisco’s Alcatraz Island since its transformation into the most impressive natural-history and marine preserve on the planet. But when the star attraction suddenly goes ape and Kong becomes public enemy number one, the villain that framed him is free to unleash an army of gigantic robotic dinosaurs on the unsuspecting world. Ironically, Kong is the only force formidable enough to stop these super-powered dinosaurs and the evil genius manipulating them. There are three young humans who know the truth and are willing to risk their lives to help Kong evade capture, while he battles to save humankind. PAC-MAN and the Ghostly Adventures: The show follows the daily events of Pac as he saves PacWorld. Together with his friends Cyli and Spiral, Pac and his buds face the issues of being teenagers, while also protecting PacWorld from a ghostly army led by the evil Betrayus. PacWorlders do not want Betrayus and his ghostly minions returning from the Netherworld and wreaking havoc. So, President Spheros teaches Pac and his pals the legend prophesizing a round yellow PacWorlder rescuing the planet. Pac, the only round yellow citizen, is the man for the job. Pac’s Scary Halloween: Pac, Spiral and Cyli go to a special Halloween dinner at the haunted Transylpacia castle. Little did they know, the host Dr. Pacenstein and his sidekick ghost Eeghost have a few tricks up their sleeves, including Dr. Pacenstein swapping bodies with Pac. Fortunately, Dr. Pacenstein’s neighbor, Count Pacula, helps Spiral and Cyli as they try to hunt down Dr. Pacenstein in Pac’s body, while trying to keep Pac safe from Betrayus and Dr. Buttocks, who want to destroy him. Santa Pac’s Merry Berry Day: Since Berry Day is one of the happiest days of the year for PacWorlders, Betrayus launches a plan to get rid of it by capturing Santa Pac and his Round Deer, and to possess the gifts and decorations. All Pac wants for Berry Day is to see his parents, Sunny and Zac, and is overjoyed when they arrive. But, his parents tell him they want to see the tree of life in the secret location, which is forbidden. Are these Pac’s real parents or are they a trick from Betrayus and Dr. Slimestein? Blake: Double Identity: This animated TV series follows the adventures of action-hero twins Justin and Tatiana (friends call her “T”) Blake, and their two friends who have been recruited by an international government organization. Armed with the latest gadgets, super intelligence and the skills to match, they combat the greatest threats the world has ever seen. 37


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9 Story Entertainment ADDRESS: 23 Fraser Ave., Toronto, ON M6K 1Y7, Canada TELEPHONE: (1-416) 530-9900 WEBSITE: 9story.com PRESIDENT & CEO: Vince Commisso MANAGING DIRECTOR: Natalie Osborne CONTACT: distribution@9story.com PROGRAMS: Peg + Cat: 80x12 min., 2D animation, preschool, 2-5; Numb Chucks: 52x11 min., 2D animation, comedy, 6-11; Nerds and Monsters: 40x11 min., 2D animation, comedy, 6-11; Get Ace: 52x11 min., 2D animation, comedy, 6-11; Camp Lakebottom: 52x11 min., 2D animation, comedy, 6-11; Guess How Much I Love You: 52x11 min., 2D animation, preschool, 2-5; Daniel Tiger’s Neighbourhood: 80x11 min., 2D animation, preschool, 2-5; Wild Kratts: 92x22 min., 2D animation, adventure/comedy, 4-9; Extreme Babysitting: 35x22 min., live action, reality/prank, 8+ & family; Almost Naked Animals: 104x11 min., 2D animation, comedy, 6-11. “9 Story Entertainment is one of the industry’s leading creators, producers and distributors of award-winning animated and live-action content for young audiences around the world. With one of North America’s largest animation studios based in Toronto, 9 Story has over 220 creative and production staff, and has produced over 900 half-hours of quality children’s and family programming, seen on some of the most respected children’s channels around the world across multiple platforms. The company’s distribution arm represents a growing catalogue, which includes several beloved brands such as Arthur, Wibbly Pig, Harriet the Spy: Blog Wars, Wild Kratts and Almost Naked Animals, in addition to exciting new series such as Numb Chucks, Camp Lakebottom, Cache Craze, Daniel Tiger’s Neighbourhood and Nerds and Monsters. Last year, the company acquired CCI Kids, the family content division of CCI Entertainment, increasing 9 Story’s portfolio to over 1,600 half-hours of content with popular shows such as Guess How Much I Love You, Joe & Jack, Artzooka! and Extreme Babysitting.” —Natalie Osborne, Managing Director

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Animasia Studio ADDRESS: No. 2 & 4, Jalan Sri Jati 2, Taman Sri Jati, 58200 Kuala Lumpur, Malaysia TELEPHONE: (603) 7784-6987 WEBSITE: www.animasia-studio.com MANAGING DIRECTOR: Edmund Chan MARKETING MANAGER: Joanne Lee CONTACT: edmund@animasia-studio.com PROGRAMS: ABC Monsters: 26x22 min., HD/2D animation, adventure/comedy/edutainment, 3-6; Chuck Chicken: 52x11 min., HD/2D animation, adventure/comedy, 7-11; Harry & Bunny Show: 78x7 min., HD/2D animation, non-dialogue/ slapstick comedy, 7-11; Supa Strikas: 39x22 min., HD/2D animation, comedy/sports/action, 7-11; Balla Bowl: 2x70 min., HD/2D animation, sports/action, 7-12; Fairytales of the Orient: 26x22 min., 2D animation, folklore, 4-12; Bola Kampung Extreme: 13x22 min., HD/2D animation, sports/action/ comedy, 4-15; Bola Kampung the Movie: 1x95 min., 3D stereoscopic, sports/action/comedy, 4-15; Bola Kampung: 65x22 min., 2D animation, sports/action/comedy, 4-12; Kung Fook College: 52x11 min., HD/2D animation, sports/action/ comedy, 7-11.

“Animasia Studio, being one of the leading studios in Asia, will be attending both MIP Junior and MIPCOM with the objective of introducing its latest content such as Chuck Chicken, Harry & Bunny Show and Kung Fook College. These great concepts have strong story lines and unique character designs, and are targeted for kids ages 7 to 11. We would like to meet and [have discussions] with potential buyers, distributors and investors to explore co-production opportunities with Animasia. On the other hand, we are also a trusted work-for-hire studio that delivers high-quality animation services; therefore, if there are producers out there looking for good studios to support their show, please do consider Animasia as your preferred partner in Asia.” —Edmund Chan, Managing Director

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Atlantyca Entertainment ADDRESS: Via Leopardi, 8, 20123 Milan, Italy TELEPHONE: (39-02) 430-0101 WEBSITE: www.atlantyca.com DISTRIBUTION MANAGER: Pedro Citaristi CONTACT: pedrocitaristi@atlantyca.it PROGRAMS: Bat Pat: 52x11 min., HD/2D animation, 6+; Geronimo Stilton: 78x23 min., HD/2D animation, 6+; Dive Olly Dive: 104x11 min., 3D/CGI animation, preschool; The Fixies: 104x6 min., 3D/CGI animation, 4-9; Taka & Maka: 40x1 min., 3D/CGI animation; Dive Olly Dive and the Pirate Treasure: 1x80 min., 3D/CGI animation. “A transmedia entertainment company, we maintain production and distribution, licensing, publishing and foreign-rights sales divisions. Atlantyca is the co-producer of two completed seasons of Geronimo Stilton, the animated series featuring the adventures of the most famous mouse journalist. The company is producing the third season of the popular animated series; seasons one and two have been sold in more than 100 countries around the world. New on our production slate is Bat Pat. Atlantyca’s production and distribution arm has partnered with Imira Entertainment, along with new broadcast and participation partners Rai Fiction (Italy), GD Animation Fund and RTVE (Spain), to commence production on the comedy adventure featuring Bat Pat. Atlantyca’s additional properties for broadcast sales include Russia’s number one animated series The Fixies (for Europe, Malaysia, Singapore and Korea) and Dive Olly Dive (Italy only) seasons one and two. New to our distribution library is Taka & Maka. The series is produced by Tik Tak Production, Techtonik and Giant Wheel Animation, with Atlantyca holding distribution rights for all of Europe, North America and Latin America. The series relates the adventures and misfortunes of Taka and Maka, two crazy geckos who live in the same house. Atlantyca IP Agency, the newest division added to the company, was established to actively focus on the sales of Atlantyca’s extensive catalogue of children’s publishing properties available for brand development for multimedia entertainment platforms. ” —Pedro Citaristi, Distribution Manager

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Australian Children’s Television Foundation ADDRESS: 145 Smith St., 3/Fl., Fitzroy, Victoria 3065, Australia TELEPHONE: (61-3) 9200-5500 WEBSITE: www.actf.com.au CEO: Jenny Buckland INTERNATIONAL SALES MANAGER: Roberta Di Vito CONTACT: roberta.divito@actf.com.au PROGRAMS: Hoopla Doopla: 52x12 min., live action, preschool, 2-5; Wacky World Beaters: 20x24 min., live action, comedy/ factual, 8-14; The Flamin’ Thongs: 26x12 min., 2D animation, comedy, 6-12; Bushwhacked!: 26x24 min., live action, adventure/ documentary, 8-14; My:24: 13x24 min./26x12 min., live action, documentary, 8-14; Handball Heroes: 20x5 min., live action, interstitial/documentary, 6-12; WAC—World Animal Championships: 52x24 min., live action, wildlife/ documentary, 8-14; Worst Year of My Life, Again!: 13x24 min., live action, comedy, 8-14; You’re Skitting Me: 26x24 min., live action, sketch comedy, 10-15.

“Children from all over the world enjoy watching Australian shows. We distribute over 400 hours of Australia’s best children’s programming, including live action, factual, animated series and preschool programs, to a global audience of preschoolers through to teenagers. Kids love adventure, laughter and general wackiness, so whether it’s traveling with Australia’s two zaniest hosts on a global discovery tour of wacky competitions in our new comedy adventure series Wacky World Beaters or energy, color and laughs galore in the preschool series Hoopla Doopla or following the disasterprone plans of the dysfunctional Thong family in the animated comedy series The Flamin’ Thongs, broadcasters from around the globe will find content here that offers kids of all ages a fabulous viewing experience. The ACTF continually raises the stakes in children’s media production, driving higher standards of creativity and innovation.” —Jenny Buckland, CEO

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Bejuba! Entertainment ADDRESS: 100 Laguna Pkwy., Unit 4, Lagoon City, ON L9K1B9, Canada TELEPHONE: (1-647) 990-4773 WEBSITE: www.bejuba.com PRESIDENT: Tatiana Kober VP, PROGRAMS: Sandrine Pechels de Saint Sardos PROGRAMS: Ruff-Ruff, Tweet & Dave: 52x11 min., CGI, preschool; Bubble Bath Bay: 52x11 min., CGI, preschool; Origanimals: 52x11 min., CGI, preschool; Buzz Bumble: 52x11 min., 2D animation, comedy, 6-12; Jar Dwellers: 52x11 min. & 26x1 min., 2D animation, comedy/adventure, 6-12; Jack: 78x11 min., CGI, adventure, 5-9; Peleda: 10x2 min. & 6 hr. video games, 3D animation, adventure, 6-12; Big Block Sing Song: 69x2 min., 2D animation, songs, preschool; Stella and Sam: 52x11 min. & 4x11 min. holiday specials, 2D animation, preschool; The Hive: Season 2, 69x7 min. & 3x22 min., CGI, preschool. “Bejuba! Entertainment is a leading boutique executiveproduction and distribution company that brings top-quality children’s and family entertainment to the global marketplace. The catalogue is filled with over 600 half-hours of award-winning content. Bejuba! specializes in distribution, rights management, co-productions, financing (closing-gap financing), third-party acquisitions, licensing and merchandising. The company maintains a growing catalogue of award-winning children’s and family-oriented animated and live-action programs. Titles include Stella and Sam, The Hive, Big Block Sing Song, Jar Dwellers, Buzz Bumble, RuffRuff, Tweet & Dave, Bubble Bath Bay and Origanimals. Bejuba! Entertainment has offices in Canada and the U.S.” —Corporate Communications

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Beyond Distribution ADDRESS: 41/42 Berners St., London W1T 3NB, U.K. TELEPHONE: (44-207) 323-3444 WEBSITE: www.beyonddistribution.com GENERAL MANAGER: Michael Murphy HEAD, SALES: Munia Kanna-Konsek HEAD, ACQUISITIONS: Yvonne Body PROGRAMS: Wild But True: 13x30 min., HD/live action, tween; Junior Vets: Season 2, 10x30 min., HD/live action, tween; Pipsqueaks: Season 2, 85x30 min., HD/live action, preschool; Hero Squad: 10x30 min., HD/live action, tween; Absolute Genius with Dick & Dom: 20x30 min., HD/live action, tween; History Hunters: 26x30 min., HD/live action, 6-10; Totally Rubbish: 10x30 min., HD/live action, tween; Get Squiggling Letters: 26x7 min., HD/animation, preschool; Toybox: 290x30 min., live action, preschool; Steam Punks: 40x30 min., HD/live action, tween. “Beyond Distribution is a boutique children’s distributor, taking on a select number of new properties each year. It is important for our children’s programming to have core values and be fun, without being overtly educational. At MIPCOM 2014, we are launching Wild But True, a really exciting new series with 10-year-old naturalist Robert Irwin, son of [the late] Steve Irwin. Robert and his co-presenter, 13-year-old science geek Isabel Yamaguchi, take an adventure-filled journey around the world, seeing how nature and wildlife have influenced our everyday lives. We will have a second season of Junior Vets, the CBBC series that gives ordinary kids the chance to undergo vet training and work with the pros. Another 85 episodes of the interactive preschool series Pipsqueaks sees the total rise to 130, perfect for new channel launches and schedule gaps.” —Yvonne Body, Head, Acquisitions

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CAKE ADDRESS: 76 Charlotte St., 5/Fl., London W1T 4QS, U.K. TELEPHONE: (44-207) 307-3230 WEBSITE: www.cakeentertainment.com CEO & CREATIVE DIRECTOR: Tom van Waveren CHIEF COMMERCIAL OFFICER & MANAGING DIRECTOR: Edward Galton CONTACT: info@cakeentertainment.com PROGRAMS: So Awkward: 13x26 min., live action, comedy, 8-12; Under Wraps: 1x45 min., 3D animation, Halloween special, 6-12; Frozen in Time: 1x45 min., 3D animation, Christmas special, 6-12; Toby’s Travelling Circus: 78x7 min., animation, adventure, preschool; Clay Kids: 52x22 min., claymation, comedy, 8-12; The Sparticle Mystery: 36x30 min., live action, adventure, 6-11; Trunk Train: 52x11 min., 2D animation, 6-11; Poppy Cat: 104x11 min., 2D animation, preschool; Wanda and the Alien: 52x10 min., 2D animation, preschool.

“CAKE is one of the world’s leading kids’ and family entertainment distributors. Since 2002, the London-based company has worked with animation and live-action producers from around the world to develop, coproduce, commercially position and manage their IP propositions for the international market. We handle everything from traditional television rights to digital, online and ancillary commercial rights. CAKE also prides itself on being a well-established meeting place for a growing family of globally recognized producers. The company looks after a diverse and distinctive range of animated and live-action programming, from the critically acclaimed TV parody series Total Drama and cartoon caper Oscar’s Oasis to the laugh-out-loud Incredible Crew. Other titles include the out-of-this-world Space Racers, liveaction adventure The Sparticle Mystery and the happy-golucky Ella Bella Bingo.” —Edward Galton, Chief Commercial Officer & Managing Director

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Cyber Group Studios ADDRESS: 44 B quai de Jemmapes, 75010 Paris, France TELEPHONE: (33-1) 5556-3232 WEBSITE: www.cybergroupstudios.com CEO & PRESIDENT: Pierre Sissmann VP, SALES, ACQUISITIONS & NEW MEDIA: Carole Brin CONTACTS: Carole Brin, cbrin@cybergroupstudios.com; Asta Valancauskaite, astav@cybergroupstudios.com PROGRAMS: Zou: 104x11 min., HD/CGI/animation, 3-6; Mini Ninjas: 52x11 min., HD/CGI/animation, action, 6-12; Zorro the Chronicles: 26x22 min., HD/CGI/animation, adventure, 6-12; Mia: 39x11 min., HD/CGI/animation, 2-6; Mademoiselle Zazie: 78x7 min., HD/CGI/animation, adventure, 5-8; Adam’s Bakery: 52x13 min., HD/CGI/animation, adventure, 4-8; Pom Pom and Friends: 78x7 min., HD/CGI/animation, 2-5; Tales of Tatonka: 52x13 min., HD/CGI/animation/live footage, educational/ adventure/documentary, 4-8; Balloopo: 52x11 min., HD/CGI/ animation, adventure, 3-6; The Long Long Holiday: 10x26 min./ 5x50 min., HD/CGI/animation, adventure, 6-12.

“Cyber Group Studios is a multi-awarded independent French producer and distributor, specialized in top-quality kids’ programming with strong international appeal. Cyber Group Studios distributes through its international network its own series as well as carefully selected third-party series, including International Emmy Award winners. The company’s distribution is focusing on the international market and has programs on air on the biggest terrestrial channels worldwide, as well as on the major kids-dedicated networks. Cyber Group Studios’ mission is to bring to children and families around the world the best-quality entertainment experience, thanks to the company’s pool of international top creative talent, its breakthrough technology enabling it to bring theatrical animation quality to TV, new digital platforms and its distribution organization giving access to top broadcasters worldwide. Cyber Group Studios seeks partnership opportunities (coproductions, distribution) with other producers around the world who share its values.” —Carole Brin, VP, Sales, Acquisitions & New Media

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DHX Media ADDRESS: Queens Quay Terminal, 207 Queens Quay W., Suite 550, Toronto, ON M5J 1A7, Canada WEBSITE: www.dhxmedia.com CEO: Dana Landry PRESIDENT & COO: Steven DeNure SENIOR VP, DISTRIBUTION: Josh Scherba CONTACT: sales@dhxmedia.com PROGRAMS: Inspector Gadget: 52x11 min., 3D animation, 6-11; Looped: 52x11 min., 2D animation, 8-12; Messy Goes to Okido: 52x11 min., 3D animation, preschool; Dr. Dimensionpants: 52x11 min., 2D animation, 6-11; Topsy and Tim: 60x11 min., live action, preschool; Grandpa in My Pocket: 52x11 min., live action, preschool; Hank Zipzer: 26x22 min., live action, 6-11; Rastamouse: 104x11 min., live action, preschool; Space Ranger Roger: 52x11 min., 3D animation, preschool; The Gaming Show: 10x30 min., live action, 8-12. “DHX Media’s strength lies in our ability to create new content and to leverage our worldrenowned library of children’s brands across the fully integrated platform we have assembled with production, global distribution, merchandising and licensing, and broadcast. DHX is recognized globally for such brands as Yo Gabba Gabba!, Caillou, Teletubbies, In the Night Garden, Inspector Gadget, Johnny Test and the multiaward-winning Degrassi franchise. We market and distribute our library of more than 10,000 episodes of entertainment programming worldwide, and license our owned properties through our dedicated consumer-products business. With the acquisition of Family Channel, Disney Junior and Disney XD this summer, and the creation of a new business unit called DHX Television, we entered a new and exciting period for the company. We look forward to increased organic growth, while maintaining an eye on acquisitions, as we continue to build leading brands worldwide.” —Steven DeNure, President & COO

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Distribution360 ADDRESS: 74 Fraser Ave., Suite 100, Toronto, ON M6K 3E1, Canada TELEPHONE: (1-416) 646-2711 WEBSITE: distribution360.com MANAGING PARTNER: Mark Bishop MANAGING PARTNER: Matt Hornburg DIRECTOR, INTERNATIONAL SALES & ACQUISITIONS: Kirsten Hurd CONTACT: kirsten@distribution360.com PROGRAMS: Alphabet Stories: 26x1.30 min., mixed-media animation, preschool, 2-6; YOUniverse: 26x2.15 min., mixedmedia animation, preschool, 2-6; Planet Echo: 52x30 min., live action, documentary, kids & family; Hi Opie!: 13x30 min. & 39x7 min., live action, preschool/puppetry, 2-6; Japanizi: Going, Going, Gong!: 40x30 min., live action, game show/comedy, kids & family; Splatalot: 52x30 min., live action, game show/ comedy, kids & family; Bruno and the Banana Bunch: 26x11 min. & 50x1 min., animation, preschool, 2-6; Tigga & Togga: 26x3 min., animation, preschool, 2-6; Atomic Betty: 78x30 min. & 156x11 min. & 1x60 min., animation, action/comedy, 6-12; This is Scarlett and Isaiah: 52x6 min. & 13x30 min., live action, preschool, 2-6. “Distribution360 (D360), a marblemedia company, is a forward-thinking company whose mandate is the full monetization of television and interactive content. Since its inception in 2010, D360 has built an internationally renowned catalogue of kids’ and youth properties by connecting with thirdparty producers. Our library continues to grow with content that is educational, imaginative and can be enjoyed universally. D360 will present the Victory Arts series Alphabet Stories and YOUniverse, which are educational, mixed-media animation shorts, introducing preschoolers to the alphabet and space exploration, [respectively]. Planet Echo is an extraordinary planetary adventure, celebrating the positive initiatives being taken to make our planet a healthy place, which will inspire families around the world to nurture our home. The company continues to actively pursue sales opportunities for its diverse kids’ and youth catalogue [with] multiple platforms, including the growing digital space.” —Kirsten Hurd, Director, International Sales & Acquisitions

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Foothill Entertainment ADDRESS: 1129 State St., Suite 3, Santa Barbara, CA 93101, U.S.A. TELEPHONE: (1-805) 965-4488 WEBSITE: www.foothillentertainment.com PRESIDENT: Jo Kavanagh-Payne DIRECTOR, SALES & DEVELOPMENT: Elizabeth Stephens CONTACT: estephens@foothillentertainment.com PROGRAMS: Rollie & Friends: 52x11 min., 3D/CGI animation, action/comedy, 3-6; Eddy & the Bear: 26x11 min. & 1x30 min., 2D animation, preschool, 4-7; Boy & the Dinosaur: 52x11 min., 3D/CGI animation, comedy, 3-6; Funny Face: 30x2 min., 2D animation/live action, comedy/learning, 2-5; Gunk Aliens: 52x11 min., 2D animation, comedy/action, 6-11; Spike Team: 53x26 min., 2D animation, action/sports/comedy, 8-12; Sealed Section: 20x3 min., live action, comedy/self-help, 10-13; The Assistants: 13x26 min., live action, comedy, teen; The Cut: 40x26 min./200x5 min., live action, comedy/drama, teen; Young Dracula: 66x26 min., live action, comedy/drama, teen & family. “Celebrating our 15th anniversary at MIPCOM, Foothill Entertainment specializes in codeveloping and distributing a diverse portfolio of children’s and family entertainment with global appeal. With our U.K. affiliate, Foothill Europe, in its third successful year, we continue to expand our international footprint by developing and distributing high-quality titles in the U.S., U.K. and worldwide. We also continue to represent Content Media’s children’s catalogue, which contains over 1,500 episodes of high-quality programming for children of all ages, including international hits such as Young Dracula and The Cut. Also, Foothill Europe has acted as executive producers on the development of great Europeanbased properties, including the exciting and comedic preschool series Rollie & Friends from the U.K.’s 1461 Limited, as well as the hilarious Gunk Aliens and the action-packed Spike Team season three, all currently in production. Foothill is actively seeking presale commitments for these properties that have great international appeal. With a wide range of completed series from producers across the globe, for family, preschool, children, tweens and teens, Foothill Entertainment represents content that is sure to appeal to the ever-changing tastes of children and families everywhere.” —Jo Kavanagh-Payne, President

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FremantleMedia Kids & Family Entertainment ADDRESS: 1 Stephen St., London W1T 1AL, U.K. TELEPHONE: (44-20) 7691-6000 WEBSITE: www.fremantlemedia.com EXECUTIVE VP & GENERAL MANAGER: Rick Glankler VP, DISTRIBUTION & SALES: Joss Duffield VP, KIDS & FAMILY ENTERTAINMENT, ASIA: Henry Or CONTACT: joss.duffield@fremantlemedia.com PROGRAMS: Kate & Mim-Mim: 52x11 min./26x22 min., CGI animation, preschool, 2-5; Tree Fu Tom: Season 1, 26x30 min./ Season 2, 26x30 min., CGI animation, preschool/action/ adventure, 2-5; Ella the Elephant: 26x22 min./52x11 min., CGI animation, preschool, 2-5; Strange Hill High: Season 1, 13x30 min./Season 2, 13x30 min., hypervynorama [puppetry], comedy, 6-11; Danger Mouse: 52x11 min./26x22 min., CGI animation, comedy/action/adventure, 6-11; Max Steel: Season 1, 26x30 min./Season 2, 26x30 min., CGI animation, action/adventure, boys 6-11; Bunks: 1x90 min., live action, comedy, 9+; Grojband: 26x30 min., 2D animation, comedy, 6-11; Wizards vs Aliens: Season 1, 12x30 min./Season 2, 14x30 min./Season 3, 2D animation, comedy, 6-11; Team Toon: 26x30 min., live action/ animation, comedy/adventure, 6-11.

“FremantleMedia Kids & Family Entertainment (FMKFE) is a worldwide leader in family entertainment and one of the most dynamic independent producers, licensors and distributors of engaging and groundbreaking content in the sector. The division works in collaboration with best-in-class partners to build global franchises that connect with children and families across multiple platforms and touchpoints. FMKFE’s broad and distinctive brand portfolio includes the preschool action animation series Tree Fu Tom, the breakout comedy Strange Hill High, the animated musical comedy Grojband and the aspirational new girls’ preschool series Kate & Mim-Mim. It also owns the rights to a rich archive of children’s classics, including Danger Mouse, Rainbow and Duckula, containing over 3,000 hours of programming. FMKFE is part of FremantleMedia, one of the leading creators, producers and distributors of TV entertainment brands in the world.” —Rick Glankler, Executive VP & General Manager

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GO-N International ADDRESS: 23 Rue D’aumale, 75009 Paris, France TELEPHONE: (33-1) 4874-8700 WEBSITE: www.go-n.fr CO-FOUNDER & PRODUCER: Anne de Galard CO-FOUNDER & PRODUCER: Eric Garnet CONTACT: eric.garnet@go-n.fr PROGRAMS: Zip Zip: 52x13 min., 2D digital animation, comedy, 6-10; Lou: 52x13 min., 2D animation, sitcom, girls 6-10; Commander Clark: 50x13 min. & 24x1 min., 2D digital animation, comedy, 5-8. “GO-N Productions is an international animation production and distribution company, fully dedicated to the creation of high-quality animation for kids and the exploitation of its own properties across all media platforms. Since its inception ten years ago, GO-N Productions has nurtured a world-class pool of creative directors and graphic designers within its own studio and has the [ability] to offer inhouse preproduction for all properties in development. GO-N Productions has developed an extensive network of international contacts and the capacity to partner, coproduce, develop and produce with the most reputable companies worldwide. GO-N Productions has established a solid track record for excellence within the animation business and collaborated with prestigious partners such as France Télévisions, TF1 in France, M6 in France, Lagardère France, Disney Channel in France, the BBC, SUPER RTL in Germany and Cartoon Network.” —Corporate Communications

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Hasbro Studios ADDRESS: 4 The Square, Stockley Park, Uxbridge, Middlesex UB11 1ET, U.K. TELEPHONE: (44-208) 744-6224 WEBSITE: www.hasbrostudios.com SENIOR VP, GLOBAL DISTRIBUTION & DEVELOPMENT: Finn Arnesen VP, INTERNATIONAL DISTRIBUTION: Nina Scales CONTACT: internationalsales@hasbro.com PROGRAMS: Transformers Robots in Disguise: 78x22 min., animation, boys 6-10; Transformers Prime: 65x22 min., animation, boys 6-12; Transformers Rescue Bots: 52x22 min., animation, boys 4-9; Littlest Pet Shop: 78x22 min., animation, girls 6-11; My Little Pony Friendship is Magic: 117x22 min., animation, girls 4-7; My Little Pony Equestria Girls: 2x72 min., animation, girls 6-12; Pound Puppies: 65x22 min., animation, 4-9; The Adventures of Chuck and Friends: 78x11 min./39x22 min., animation, boys 3-5; Kaijudo: 26x22 min., animation, boys 6-12; G.I. Joe Renegades: 26x22 min., animation, boys 6-12.

“Hasbro Studios is the Los Angeles-based entertainment division of Hasbro. The studio is responsible for entertainment brand-driven storytelling for the company across television, film, commercial productions and short-form. It develops, produces and distributes TV shows based on Hasbro’s worldclass brands, including Transformers, My Little Pony, Littlest Pet Shop and Family Game Night. Many of these shows air on the Hub Network, a U.S. television network for kids and their families, which is a joint venture between Hasbro and Discovery Communications. Hasbro Studios’ shows can also be seen on networks in more than 180 territories globally. Since its formation in 2009, the studio has received seven Daytime Emmy wins and 16 nominations. On the film side, the studio is developing and producing a number of features based on Hasbro’s brands, including Transformers: Age of Extinction (Paramount), G.I. Joe 3 (Paramount) and Candy Land (Sony). The studio team also oversees the production of commercials that feature Hasbro’s brands, as well as the production of short-form content that can be seen on all of the major digital and social-media platforms globally.” —Corporate Communications

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ITV Studios Global Entertainment ADDRESS: The London Television Centre, Upper Ground, London SE1 9LT, U.K. TELEPHONE: (44-20) 7157-3000 WEBSITE: www.itvstudios.com MANAGING DIRECTOR: Maria Kyriacou EXECUTIVE VP, DISTRIBUTION, EMEA & GLOBAL DIGITAL PARTNERS: Dan Gopal EXECUTIVE VP, DISTRIBUTION, THE AMERICAS: Greg Johnson EXECUTIVE VP, DISTRIBUTION, ASIA PACIFIC: Augustus Dulgaro EXECUTIVE VP, KIDS’ CONTENT & DISTRIBUTION: Steve Green PROGRAM: Thunderbirds Are Go: 26x30 min., CGI animation/ live-action model sets, action/adventure, 5-11.

“We will be holding the world premiere screening at MIP Junior for Thunderbirds Are Go, a reinvention of the classic series that will premiere on ITV and CITV in the U.K. in spring 2015. There is already so much anticipation for the show since we started to unveil its development and production earlier this year, both with commercial partners and fans of the original 1960s show. While the series will respect all the incredible values of the original in terms of characters, story line and having its heart in family and heroism, it will have an entirely modern look and feel that will appeal to our audience of digitally engaged kids worldwide.” —Dan Gopal, Executive VP, Distribution, EMEA & Global Digital Partners

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Thunderbirds Are Go: ITV Studios and New Zealand-based Pukeko Pictures, in collaboration with the world-famous Weta Workshop, are co-producing Thunderbirds Are Go, a reinvention of the classic Thunderbirds series 50 years on from its TV debut. Thunderbirds Are Go is a major new children’s series that will debut on ITV and CITV in the U.K. in spring 2015. Showcasing Pukeko Pictures’ and Weta Workshop’s groundbreaking creative and technical excellence, it is produced using a unique mix of CGI animation and live-action model sets. Featuring the world’s most famous family of heroes, International Rescue, Thunderbirds Are Go will again see the five Tracy brothers piloting their incredible vehicles [to make] impossible rescues across the globe. The talented cast is led by Rosamund Pike (The World’s End, Gone Girl) as Lady Penelope and David Graham (Thunderbirds 1965) reprising his role as chauffeur and international rescue agent Parker.

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m4e/Telescreen ADDRESS: Hoge Naarderweg 42, 1217 AG Hilversum, Netherlands TELEPHONE: (31-35) 6299-999 WEBSITES: www.m4e.de; www.telescreen.nl CEO, M4E: Hans Ulrich Stoef GENERAL MANAGER, TELESCREEN: Sjoerd Raemakers CONTACT: sjoerd@telescreen.nl PROGRAMS: Mia and me: 52x23 min., live action/3D animation, fantasy/adventure, girls 6-12; Tip the Mouse: 52x7 min., 3D animation, comedy, 3-6; Wissper: 52x7 min., 3D animation, comedy/drama, girls 4-6; Miffy and friends: 52x7 min., 3D animation, comedy, 3-6; Atchoo!: 52x11 min., 2D animation, comedy, 6-9; Conni: 26x11.5 min., animation, adventure/ comedy, 3-6; Pixi and the Magic Wall: 27x12 min., animation, adventure/edutainment, 5-8 & family; The Cramp Twins: 104x24 min., animation, comedy, 8-12; Frog & Friends: 26x7 min., 2D animation, adventure/comedy, 4-7; Rudolf: 52x3 min., 2D animation, comedy, all ages. “Telescreen belongs to the m4e Group, which is an international brand-management and media company for children’s and family entertainment content. m4e is a leader in the creation, production, distribution and marketing of animated and live-action programming. Its library of nearly 2,200 episodes features some of the most recognizable brands such as Mia and me, Lizzie McGuire, Miffy, Rainbow Fish, Conni and Tip the Mouse. With our knowledge in animation production, we concentrate on the creation and development of high-quality animation series. Our main objective is the development of series that can be successfully exploited in all media forms all over the world. Furthermore, we act as the international distribution arm for TV and home-entertainment rights within m4e’s organization. Apart from [our] own productions, we represent a wide range of international producers and broadcasters, selling and distributing high-quality programs to all major TV channels in the world.” —Sjoerd Raemakers, General Manager, Telescreen

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Mediatoon Distribution ADDRESS: 15/27 Rue Moussorgski, 75018 Paris, France TELEPHONE: (33-1) 5326-3100 WEBSITE: www.mediatoon.com DEPUTY GENERAL MANAGER: Jérôme Alby SENIOR SALES MANAGER: Jessica Delahaie CONTACT: info@mediatoon.com PROGRAMS: The Garfield Show: 210x11 min., CGI animation, comedy/adventure, kids; Yakari: 104x13 min., 2D animation, adventure/edutainment, young kids; The Darwinners: 80x3 min., 2D animation, adventure/entertainment, teen & family; Ava Riko Téo: 65x7 min. & 39x7 min., paper-cut animation, comedy/adventure, preschool; The Crumpets: 52x13 min., 2D animation, comedy, kids & family; SamSam: 52x7 min. & 39x8 min., 3D animation, comedy/adventure, preschool; Code Lyoko: 97x26 min., 2D/CGI animation, action/ adventure, kids; Kinky & Cosy: 100x3 min., flash animation, comedy, teen; Little Spirou: 78x7 min., 2D animation, comedy, kids; Linkers: 26x26 min., CGI animation, action/adventure, kids. “Mediatoon Distribution sells high-quality animated series worldwide, available on all media platforms: TV, DVD, VOD, mobile, IPTV. Our rich and varied library boasts 2,000 hours of programming, including such popular series as Garfield, Tintin, Lucky Luke, Cedric, Spirou, Babar, The Magic Roundabout and Yakari, produced by Media Participations’ animation studios Dargaud Media, Ellipsanime, Dupuis Audiovisuel, Belvision, Storimages and Les Cartooneurs Associés. Always in search of new content, our catalogue is also enhanced by acquisitions from independent European studios such as 4.21, Haut & Court, Bayard and Les Films du Triangle, as well as from Asian producers of high-quality manga successes such as Keroro, Fairy Tail and Naruto. In 2014, Mediatoon purchased Moonscoop, developing [our] impressive catalogue with such hit shows as The Fantastic Four, Tootuff and Code Lyoko. These additions help to cement our position as one of the leading animation distributors in Europe.” —Jérôme Alby, Deputy General Manager

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PGS Entertainment ADDRESS: 6 Rue Galilee, 75116 Paris, France TELEPHONE: (33-1) 8364-3463 WEBSITE: www.pgsentertainment.com PRESIDENT: Philippe Soutter PRESIDENT, PGS HK: Guillaume Soutter CONTACT: Hugo Baran, hbaran@pgsentertainment.com PROGRAMS: ALVINNN!!! and the Chipmunks: 104x11 min., HD/ CGI animation, comedy, kids & family; The Jungle Bunch: To the Rescue!: 104x11 min. & TV movie & shorts, HD/CGI animation, comedy, kids & family; Super 4: 52x11 min., HD/CGI/native 3D animation, action/adventure, 4-8; The Little Prince: 78x30 min./ 39 mini movies, HD/CGI/native 3D animation, adventure, kids & family; Alpha and Omega: 4x45 min., CGI animation, comedy/adventure, kids & family; The Dungeon of Naheulbeuk: 52x7 min., HD/CGI animation, action/adventure, kids & teen; Miraculous LadyBug: 26x30 min., HD/CGI/native 3D animation, action/adventure, 6-12; Robin Hood: Mischief in Sherwood: 52x11 min., HD/CGI/native 3D animation, action/adventure, 6-10. “PGS Entertainment is an award-winning international brand-management company focused on kids’ and family content and targeting the entertainment fields of broadcast, home entertainment, digital, licensing and merchandising. Since its inception in 2008, PGS has been a partner to leading IP owners, providing strategic international media distribution for properties such as The Little Prince; Iron Man; Super 4, the Playmobil series; The Jungle Bunch; LadyBug; and ALVINNN!!! and the Chipmunks. Today, PGS is one of the largest providers of animated media content to leading broadcasters and partners around the world.” —Philippe Soutter, President

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Saban Brands ADDRESS: 10100 Santa Monica Blvd., Suite 500, Los Angeles, CA 90067, U.S.A. TELEPHONE: (1-310) 557-5230 WEBSITE: www.sabanbrands.com PRESIDENT: Elie Dekel SENIOR VP, GLOBAL DISTRIBUTION: Frederic Soulie CONTACT: fsoulie@sabanbrands.com PROGRAMS: Power Rangers Dino Charge: 22x22 min., boys’ action, 6-11; Julius Jr.: Season 2, 52x11 min., animation, preschool, 2-5; Digimon Fusion: Season 2, 24x22 min., anime, boys’ action, 6-11; Popples: 52x11 min., CGI/3D animation, comedy, 6-8; TBD/untitled Cirque du Soleil Média project: 52x11 min., mixed media, preschool, 3-6; Emojiville: animation, comedy, kids.

“Saban Brands was thrilled to announce a partnership with Cirque du Soleil Média to produce an all-new preschool series currently in development, which will be inspired by the magical world of Cirque du Soleil. One of the newest additions to Saban Brands is Emojiville, a multiplatform kids’ property that follows three young emojis and their hilarious antics, premiering as a web series this fall. Saban’s iconic Power Rangers franchise is returning for its 22nd season with Power Rangers Dino Charge, launching in 2015 and guaranteed to deliver thrilling new dino-charged action and adventure. Hit preschool series Julius Jr. has seen continued success since its premiere in 2013 and was recently renewed for a second season to launch this fall. Powerful anime icon Digimon Fusion has also seen widespread international growth and was recently picked up for a second season. Slated to launch in 2015, Saban’s reimagined Popples series is inspired by the loveable characters from the iconic 1980s plush phenomenon.” —Frederic Soulie, Senior VP, Global Distribution

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Sesame Workshop ADDRESS: 1900 Broadway, New York, NY 10023, U.S.A. TELEPHONE: (1-212) 595-3456 WEBSITE: www.sesameworkshop.org CEO & PRESIDENT: Jeffrey Dunn CHIEF CONTENT & DISTRIBUTION OFFICER: Terry Fitzpatrick SENIOR VP, WORLDWIDE MEDIA DISTRIBUTION: Scott Chambers VP, INTERNATIONAL MEDIA DISTRIBUTION: Renee Mascara CONTACT: Philip Toscano, philip.toscano@sesame.org PROGRAMS: The Furchester Hotel: 52x11 min., 2D animation/live action, educational, kids; Cookie’s Crumby Pictures: 13x5 min., 2D animation/live action, educational, kids; Elmo: The Musical: 15x11 min., 2D animation/live action, educational, kids; Super Grover 2.0: 17x6 min., 2D animation/live action, educational, kids; Abby’s Flying Fairy School: 26x9 min., 2D animation/live action, educational, kids; Super Healthy Monsters: 26x5 min., 2D animation/live action, educational, kids; Sesame Street: 26x30-60 min., 2D animation/live action, educational, kids.

“Sesame Workshop is the nonprofit educational organization behind Sesame Street, which reaches 156 million children across more than 150 countries. The Workshop’s mission is to use the educational power of media to help children everywhere grow smarter, stronger and kinder. Delivered through a variety of platforms, including television programs, digital experiences, books and community engagement, its researchbased programs are tailored to the needs of the communities and countries they serve.” —Corporate Communications

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Shaftesbury/Smokebomb ADDRESS: 163 Queen St. E., Suite 100, Toronto, ON M5A 1S1, Canada TELEPHONE: (1-416) 363-1411 WEBSITE: www.shaftesbury.ca VP, KIDS & FAMILY: Ryan St. Peters CONTACT: sales@shaftesbury.ca PROGRAMS: The Moblees: 30x11 min., live action, preschool, 3-6; Unlikely Heroes: 8x5 min., live action, comedy, kids & tween; Totally Amp’d: 10x6 min., live action, musical comedy, kids & tween; Life with Derek: 70x30 min., live action, comedy, kids & tween; Vacation with Derek: 1x90 min., live action, kids & tween; Connor Undercover: 39x30 min., live action, adventure, kids; Overruled!: 39x30 min., live action, comedy, tween; Baxter: 13x30 min., live action, comedy, tween.

“This market, we’re building on our strong track record of producing the highest quality programming for kids by launching our first property for preschoolers, The Moblees. It’s a musical adventure series filled with engaging characters, memorable music and fun moves, all designed to get kids up and moving. The series also incorporates a ‘MOVEMENT Movement,’ which aims to inspire healthy change in the way children aged 3 to 6 and their families move through their daily lives. Launching on CBC this December, we look forward to offering the The Moblees to broadcasters outside of Canada.” —Ryan St. Peters, VP, Kids & Family

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Studio 100 Media ADDRESS: Sapporobogen 6-8, 80637 Munich, Germany TELEPHONE: (49-89) 960-8550 WEBSITE: www.studio100media.com MANAGING DIRECTOR: Patrick Elmendorff HEAD, GLOBAL DISTRIBUTION: Martin Krieger CONTACT: Cristina Lück, cristina.lueck@studio100media.com PROGRAMS: The Wonderful Adventures of Nils: 52x13 min., CGI/ 2D elements, 6-11; Heidi: 39x22 min., CGI/3D animation, 5-8; Tashi: 52x11 min., CGI/2D elements, 6-11; K3: 52x13 min., 2D animation, 6-8; Ghost Rockers: 52x12 min., live action, 8-14; Vic the Viking: 78x12 min., CGI/3D animation, 5-8; Trains: Season 1, 46x5 min./Season 2, 46x5 min., CGI/3D animation, 3-7; Knietzsche: 26x3 min., 2D animation, 5-12; Hotel 13: Season 1, 120x12 min./Season 2, 1x50 min. & 56x12 min., live action, 8-14; Maya the Bee: 78x12 min., CGI/3D animation, 4-7. “Studio 100 Media is an international production and distribution company within the children’s and family entertainment sector. Based in Munich, Germany, the company is a 100percent subsidiary of Belgian firm Studio 100. The company develops and acquires new content, engages in co-production and cofinancing activities, and is also responsible for the international distribution of its own and third-party rights. With the new film division under the banner Studio 100 Film, a 100-percent subsidiary of Studio 100 Media, the company has stepped into worldwide cinematic film sales. Studio 100 Media’s business model is the perfect vertical and horizontal integration of its IP. In marketing its license rights, the company pursues a global strategy within sectors ranging from licensing and merchandising, TV sales, home entertainment, games and interactive right through to theatrical movies, stage shows and theme parks.” —Patrick Elmendorff, Managing Director

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Sullivan Entertainment ADDRESS: 110 Davenport Rd., Toronto, ON M5R 3R3, Canada TELEPHONE: (1-416) 921-7177 WEBSITE: www.sullivanmovies.com CEO: Kevin Sullivan PRESIDENT & EXECUTIVE PRODUCER: Trudy Grant MANAGER, SALES & ACQUISITIONS: Sharon Lee CONTACT: inquire@sullivan-ent.com PROGRAMS: Ronaldinho Gaucho’s Team: 52x12 min., HD/ animation, sports/educational; Super Rupert: 13x30 min., animation/live action, comedy; By Way of the Stars: 6x60 min./ 2x120 min., HD/live action, drama; Anne: Animated Series: 26x30 min., animation, educational; Gina D’s: 44x30 min., live action/animation, educational, preschool; Rupert Patterson Wants to Be a Superhero: 1x76 min., animation/live action, comedy; Anne: Journey to Green Gables Animated Movie: 1x72 min., HD/animation, educational; Lantern Hill: 1x111 min., HD/live action, drama; Looking for Miracles: 1x106 min., HD/live action, drama; The Wild Pony: 1x90 min., HD/live action, drama.

“Three-time Emmy Award- and Peabody Awardwinning Sullivan Entertainment is an international media production and distribution company. With a wide inventory of high-quality kids’ and family programming, including animation, live-action series and family movies, the company has become renowned for providing audiences around the world with compelling and beautifully crafted productions that have become classics in their own right. The company’s Toronto studio and backlot retain the largest standing period sets of its kind in Canada and has hosted other studios such as Disney, MGM and Viacom. Sullivan Entertainment has won numerous international awards for its work, including the Emmy Award for outstanding children’s program, the George Foster Peabody Award for outstanding contribution to broadcasting, as well as the Prix Jeunesse, Cable Ace Awards and Gemini Awards.” —Kevin Sullivan, CEO

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Toon Goggles ADDRESS: 20251 Ventura Blvd., Suite B, Woodland Hills, CA 91364, U.S.A. TELEPHONE: (1-818) 206-1212 WEBSITE: www.toongoggles.com MANAGING DIRECTOR: Stephen L. Hodge “Recognized by Qualcomm as the world’s first mobile streaming 4K service, Toon Goggles is a parent-friendly on-demand entertainment network for kids. Also featuring games and a radio service of over 8 million songs, Toon Goggles is available on all platforms, including iOS, Android and Windows 8. Toon Goggles is also preloaded on Panasonic, Samsung, Seiki, Vizio, Sharp and Sony [devices], giving us premium visibility and making us the number one opportunity for advertisers looking to reach families of children on digital devices. In addition to this, we are promoted on set-top boxes, including Roku, Google TV devices and Western Digital, as well as preloaded on the most popular children’s tablets, and continue to expand by working with Arris on our own digital cable TV channel. Toon Goggles continues to evolve and grow its digital real estate in the ever-shifting VOD landscape.” —Stephen L. Hodge, Managing Director

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Tricon Kids & Family ADDRESS: 786 King St. W., Toronto, ON M5V 1N6, Canada; 602 Hampton Dr., Venice, CA 90291, U.S.A. TELEPHONE: (1-416) 341-9926; (1-310) 450-0101 WEBSITE: www.triconfilms.com EXECUTIVE VP, KIDS, FAMILY & ANIMATION: Frank Saperstein EXECUTIVE VP, DISTRIBUTION & BUSINESS DEVELOPMENT: Jon Rutherford DIRECTOR, DEVELOPMENT & INTERNATIONAL SALES: Ashley Rite CONTACTS: franks@triconfilms.com; jon@triconfilms.com; ashley@triconfilms.com PROGRAMS: Wildernuts: 52x7 min., 2D animation, preschool; Mission: 4Count: 8x30 min., live action, reality, tween; Shutterbugs: 52x11 min., 2D animation, preschool; JiggiJump: 25x5 min., live action/2D animation, preschool; The Next Star: 80x60 min., live action, reality, tween; YTV Summer Beach Bash: 1x60 min., live action, reality, tween; Zoo Clues: 52x30 min., live action, trivia, family; EA Sports Game Time: 26x30 min., live action, sports, tween; Get Outta Town: 13x30 min., live action, adventure, family; Christmas Dreams: 1x60 min., live action, comedy, family.

“The Tricon Kids & Family division continues to grow with strategic global partnerships and alliances, featuring both acquired and [inhouse] produced content. Tricon’s strong track record producing quality youth programming continues with the award-winning kids’ format The Next Star, now in its seventh hit season, and the exciting new reality series Mission: 4Count, which takes viewers behind the scenes to follow the hot new pop band discovered and managed by media mogul Nick Cannon. New animated programs include the preschool series Shutterbugs, produced by Amberwood Entertainment and Big Jump Productions, as well as season two of Kavaleer Productions’ Wildernuts. We look forward to announcing exciting new projects and collaborations over the course of the next few months!” —Jon Rutherford, Executive VP, Distribution & Business Development

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CHANNELS


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ABC4Kids REACH: Australia LAUNCH DATE: May 2011 OWNERSHIP: Australian Broadcasting Corporation HEAD, CHILDREN’S TELEVISION, ABC TV: Deirdre Brennan WEBSITE: www.abc.net.au/abcforkids DESCRIPTION: ABC4Kids is an Australian preschool service that broadcasts daily from 5 a.m. to 7 p.m. on free to air, and is a companion to ABC3, which is for school-aged kids. PROGRAMMING STRATEGY: The Australian Broadcasting Corporation (ABC) recently expanded its commitment to children’s programming. As part of the changes, the ABC4Kids preschool programming service now begins airing at 5 a.m., with bedtime messages that start at 5:30 p.m. Older kids (ages 4 to 6) get wider programming from 6 p.m. to 7 p.m. There were also changes made to the programming schedule of its ABC3 sister channel. Deirdre Brennan, ABC TV’s head of children’s television, says that the revitalized schedules for ABC4Kids and ABC3 are part of an effort to deliver “the most appropriate programs for [kids] at the times that best suit them, as well as their families.” On ABC4Kids, programs such as Waybuloo, Pingu and The Koala Brothers start the day for early-rising preschoolers. The flagship program Play School airs four times every weekday (6 a.m., 9:30 a.m., 12:30 p.m. and 3:30 p.m.) and twice on the weekends (9:30 a.m. and 3:30 p.m.). Giggle and Hoot, which is hosted by the best friends Jimmy Giggle and Hoot the Owl, starts at 7:30 a.m. each morning. It features musical video clips, coming in between preschool shows such as Ben & Holly’s Little Kingdom, Peppa Pig, Charlie and Lola and others. For the older end of the preschool demographic, there are such shows as Peter Rabbit, Guess How Much I Love You and Grandpa in My Pocket that air later in the day. The lion’s share of the programming on ABC4Kids is acquired content, which represents around 80 percent of the grid. The remaining 20 percent is commissioned or produced in-house. Also, around 25 percent of ABC4Kids’ content is Australian. 92


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Baraem TV REACH: All Arabic countries & parts of Europe LAUNCH DATE: January 2009 OWNERSHIP: JCC ACTING EXECUTIVE GENERAL MANAGER & CHANNEL DIRECTOR, JCC: Saad Saleh Al-Hudaifi WEBSITE: www.baraem.tv DESCRIPTION: Baraem TV is the first Arabic-language channel for children between the ages of 3 and 6 years old with programs specifically tailored to them. PROGRAMMING STRATEGY: A pan-Arab media organization, JCC is dedicated to providing Arab children with high-quality, innovative programs and content across multiple platforms. This includes two TV channels: JeemTV, which is primarily for children between 7 and 12 years old, and Baraem TV, catering to the younger, preschool-aged audience. Baraem broadcasts 17 hours daily, and is free to view on Arabsat, Nilesat and Hotbird, reaching all Arab countries and some parts of Europe. “Baraem’s unique programming is carefully designed to bring together preschoolers and mothers during their daily routines, offering rich and inspiring content that helps develop children’s social skills and intuition,” says Saad Saleh Al-Hudaifi, the acting executive general manager and channel director at JCC. A typical Baraem day begins with an active tone, celebrating the sunrise. The level of mental and physical actions increase mid-morning, to provide children with an energy boost. In the early afternoon, young viewers are offered more educational content, which introduces them to Arabic letters, numbers, colors and shapes. The channel’s rhythm slows down as bedtime approaches, in an effort to help mothers prepare their youngsters for sleep. In terms of programming, JCC has a licensing deal with Disney for a slate of kids’ and family content. This followed on a previous programming agreement with BBC Worldwide. JCC has also developed its own programming internally. This includes Anbar, a game show hosted by a puppet, and Fafa, a preschool property that has been airing since 2005, teaching kids about the basics: colors, shapes and numbers. 94


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Cartoon Network Latin America REACH: Latin America LAUNCH DATE: April 1993 OWNERSHIP: Turner Broadcasting System Latin America/ Time Warner VP & CHANNEL MANAGER, CARTOON NETWORK & TOONCAST LATIN AMERICA: Pablo Zuccarino WEBSITE: www.cartoonnetworkla.com DESCRIPTION: Cartoon Network Latin America, a 24-hour payTV channel, is broadcast to almost 56 million households in Spanish, Portuguese and English. PROGRAMMING STRATEGY: Cartoon Network Latin America recently unveiled its new visual identity, aligned with the network’s global look. The refreshed appearance is also aligned with the network’s new generation of shows and helps convey the message that the Cartoon Network experience is now funnier, offers more characters and is available in more places. This year, Cartoon Network Latin America launched three new original series from Cartoon Network Studios. Uncle Grandpa joined fan favorites Adventure Time, Regular Show and The Amazing World of Gumball in the prime-time comedy lineup in February. In April, the network launched Steven Universe, followed by Clarence in August. The network has also developed original content in Latin America, with titles such as the live-action comedy show La CQ, a co-production with Televisa Internacional in Mexico. There are also new episodes of the animated series Monica’s Gang, produced in Brazil with Mauricio de Sousa Produções. Later in the year, Cartoon Network Latin America will be launching Cartoon Network GO, its TV Everywhere offering, for the region. Cartoon Network GO will provide users with access to live streaming, as well as video clips and games, across multiple devices. “A fresh look, new programming and a truly multiplatform strategy show our audience that we are constantly evolving to deliver the innovative experience they expect,” says Pablo Zuccarino, the VP and channel manager of Cartoon Network Latin America. “This is a great year for us, and we have more surprises in store that will make the Cartoon Network experience even better.” 95


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CBBC REACH: U.K. LAUNCH DATE: February 2002 OWNERSHIP: BBC CONTROLLER: Cheryl Taylor WEBSITE: www.bbc.co.uk/cbbc DESCRIPTION: The CBBC channel is a BBC television service aimed at 6- to 12-year-olds. PROGRAMMING STRATEGY: The BBC operates the children’s channels CBBC and CBeebies. CBBC targets children ages 6 to 12, while CBeebies is for kids 6 and under. The two channels recently co-commissioned their first series together, Katie Morag. Cheryl Taylor, the controller of CBBC, says some episodes will be aired exclusively on CBBC to cater to older children. “The exclusive episodes on CBBC will allow us to develop more multifaceted story lines for the older CBBC audience,” Taylor said in announcing the co-commission. This is one of several drama series that the channel offers for its viewers. Further drama highlights include The Dumping Ground, which is a sequel to the kids’ dramas The Story of Tracy Beaker and Tracy Beaker Returns. There’s also Millie Inbetween, a recent drama commission. Live action is a big part of the channel’s programming roster. This includes 4 O’Clock Club, The Next Step, Wolfblood and Junior MasterChef. CBBC is also home to the live-action series Blue Peter, which is considered to be the longest-running children’s TV show in the world. A wealth of animated content has come to the channel through its partnership with FremantleMedia Kids & Family Entertainment. This includes Tree Fu Tom, Wizards vs Aliens and Strange Hill High, which have all been re-commissioned. FremantleMedia Kids & Family Entertainment and CBBC are now working together on Danger Mouse, a reboot of the classic 1980s animation series. The remake is due to air in 2015. “Danger Mouse is the last word in delightfully eccentric heroics and with [sidekick] Penfold at his side, the much-loved duo will win over a whole new generation of fans,” says Taylor, who commissioned the show. 96


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CITV REACH: U.K. LAUNCH DATE: January 1983 (block); March 2006 (channel) OWNERSHIP: ITV plc. HEAD, PROGRAMMING: Jamila Metran WEBSITE: www.itv.com/citv DESCRIPTION: CITV (Children’s ITV) is a British kids’ channel that targets boys and girls 6 to 11. PROGRAMMING STRATEGY: CITV is operated by the U.K.’s leading commercial broadcaster, ITV. It broadcasts as its own standalone channel from 6 a.m. to 6 p.m., and also runs as a weekend slot on the main ITV channel. Weekday mornings from 6 a.m. to 9:25 a.m., CITV schedules boys’ action/adventure animation such as Pokémon, Disney and Marvel programs and Matt Hatter Chronicles. “This genre works exceptionally well for us before school,” says Jamila Metran, the head of programming for CITV. On weekend mornings from 6 a.m. to 9:25 a.m., programs go out on ITV and are simulcast on CITV. This morning block is used to showcase original series and the more gender-neutral titles. During the day, while kids are at school, CITV gives viewers the chance to catch up on the previous afternoon’s output. After school, from 3 p.m. to 6 p.m., the channel features comedy, entertainment and drama titles such as Mr Bean: Animated Series, Fort Boyard: Ultimate Challenge and Deadtime Stories. There is about a 60/40 split between acquired and original programming. Recent acquisitions for the channel include Dino Dan: Trek’s Adventures, Super 4, House of Anubis and more episodes of The Aquabats! Super Show! In terms of originals, there’s Scrambled!, which is a weekend morning show, as well as the long-running game show Fort Boyard: Ultimate Challenge, which has five seasons with CITV. “I’m looking for titles to fill 2016,” says Metran. “At this year’s [MIPCOM], I’m looking forward to seeing what’s on offer in terms of scripted live action, for comedy, sitcoms and dramas. Also, [I’m looking for] strong, character-led comedy animation for our after-school slots.” 97


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KiKA REACH: Germany LAUNCH DATE: October 1995 OWNERSHIP: ARD & ZDF HEAD, ACQUISITIONS, CO-PRODUCTION & FICTION: Sebastian Debertin WEBSITE: www.kika.de DESCRIPTION: The German kids’ channel is a joint venture of the national public television stations ARD and ZDF. PROGRAMMING STRATEGY: Starting at 6 a.m. and running until 9 p.m., KiKA delivers a mix of live-action and animated programming. The channel targets children 3 to 13, with a particularly strong reach in the preschool segment. KiKA competes in the German marketplace with SUPER RTL, Nickelodeon and the newly launched free-to-air Disney Channel, among others. “Despite new competition, we are the daily market leader in kids’ prime time and the number one channel for the youngest [viewers],” says Sebastian Debertin, KiKA’s head of acquisitions, co-production and fiction. The channel is scheduled from 6 a.m. to 11 a.m. with preschool content. This includes KiKANiNCHEN, which is a KiKA original. From 11 a.m. until 2 p.m., the channel showcases after-school programming suitable for preteens. There is news, daily documentaries and live-action programs from 2 p.m. to 4 p.m. From 4 p.m. to 7:30 p.m., prime-time children’s shows are offered, among them Maya the Bee. In the evening, from 7:30 p.m. onward, the schedule features movies, news and magazine shows/events. The original KRIMI.DE is part of the late-day programming. The network is home to animated shows such as Guess How Much I Love You, Fireman Sam and Geronimo Stilton. Live action also remains popular with a segment of KiKA’s viewers. “Real life does not go out of fashion, as we can see from our audiences, especially when it comes to the 8-plus age group,” explains Debertin. Among the live-action shows that are airing on the channel are Mako Mermaids, Dance Academy, Sadie J, The Story of Tracy Beaker and Tracy Beaker Returns. Debertin says that he is looking for more high-quality live-action series targeted at 6- to 9-year-olds. 98


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Event Calendar DISCOP AFRICA November 5-7 Johannesburg, South Africa AMERICAN FILM MARKET November 5-12 Santa Monica, CA, U.S.A. INTERNATIONAL EMMY WORLD TELEVISION FESTIVAL November 22-23 New York, NY, U.S.A. ASIA TV FORUM December 9-12 Marina Bay Sands, Singapore ATF ANIMATION LAB December 10-12 Marina Bay Sands, Singapore NATPE MIAMI January 20-22, 2015 Miami Beach, FL, U.S.A. INTERNATIONAL EMMY KIDS AWARDS February 2015 New York, NY, U.S.A. TOY FAIR February 14-17, 2015 New York, NY, U.S.A. DISCOP ISTANBUL February 24-26, 2015 Istanbul, Turkey MIPTV April 13-16, 2015 Cannes, France LICENSING EXPO June 9-11, 2015 Las Vegas, NV, U.S.A.

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TV Kids Distributors Guide 2014  
TV Kids Distributors Guide 2014  

Profiles of top children's programming distributors.