TV Kids February 2021

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FEBRUARY (TV KIDS FESTIVAL & PRE-KIDSCREEN SUMMIT) 2021 EDITION

Trends in Kids’ TV / TV Kids Pioneer Award: KiKA’s Sebastian Debertin / Kidoodle.TV’s Brenda Bisner Cyber Group’s Pierre Sissmann & Olivier Lelardoux / WildBrain Spark’s Jon Gisby / Genius Brands’ Jessica Brinder

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12 TV KIDS

CONTENTS

Quick Thinking

FEATURES

WHAT’S NEXT?

Leading distributors weigh in on the major trends at play in the kids’ business today.

As school closures began to hit countries in the first few months of 2020, networks and digital platforms hustled to ramp up their offerings to cater to kids stuck inside (and give beleaguered parents juggling work from home and home-schooling a bit of a break).

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

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

For distributors that had educational content on hand, it ended up being a very good year. Animation producers, too, made it out of 2020 on solid footing, with production able to continue relatively uninterrupted. Even some live-action content makers were able to thrive, rushing into production remotely-produced shows like YouTube’s Lockdown and Nickelodeon’s Group Chat. Indeed, 2020 showed the extent to which technology continues to transform the kids’ business.

This edition features insights from Cyber Group Studios’ Pierre Sissmann and Olivier Lelardoux on the innovative real-time animation technology they are using in shows such as Giganto Club.

Meanwhile, the kids’ streaming landscape intensified in 2020, creating windowing opportunities—and conundrums—for content owners with large libraries.

We hear from several distribution chiefs in the main feature in this edition, which explores the state of the kids’ business today. AVOD, in particular, is emerging as a crucial sector, as you’ll see in our interviews with Kidoodle.TV’s Brenda Bisner and WildBrain Spark’s Jon Gisby.

This edition also includes an insightful Q&A with KiKA’s Sebastian Debertin, who is being fêted with the inaugural TV Kids Pioneer Award at the TV Kids Festival, our four-day virtual event taking place at the beginning of February exploring trends in the business and highlighting the crucial role of international alliances in making content today. The German kids’ pubcaster adapted quickly to lockdowns, delivering quality educational content to its confined-at-home audiences.

We also hear from Jessica Brinder about how Genius Brands International is providing “content with a purpose” in these confusing times.

In this strange and challenging environment, parents, teachers and caregivers are surely breathing a sigh of relief that the content community is responding to meet the educational and emotional needs of young ones across the globe.

—Mansha Daswani

GET DAILY NEWS ON KIDS’ PROGRAMMING

THE GENIUS WAY

Jessica Brinder on how Genius Brands International is delivering content with a purpose.

GIGANTO FUN

Pierre Sissmann and Olivier Lelardoux reveal how Cyber Group Studios is pioneering the use of real-time animation technology.

FAMILY TIME

Jon Gisby shares how WildBrain Spark is driving gains in the kids’ AVOD business.

INTERVIEWS TV Kids Pioneer Award: Sebastian Debertin KiKA

Brenda Bisner Kidoodle.TV

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Weird Waters

9 Story Distribution Donkey Hodie / Andy and the Band / Weird Waters Leading 9 Story Distribution’s highlights is Donkey Hodie, a preschool series from Fred Rogers Productions. “It is an imaginative series with a social-emotional curriculum that follows the adventures of Donkey Hodie and her pals as they empower preschoolers to dream big, persevere and discover that they are capable of overcoming obstacles on their own— laughing themselves silly along the way,” says Alix Wiseman, senior VP of distribution and acquisitions at 9 Story Media Group. Andy and the Band is a live-action music-driven comedy series with a focus on individuality. “Kids 4 to 8 will connect with the program’s theme of staying true to yourself through the universal power of music and laughter,” says Wiseman. A CGI-animated series, Weird Waters follows three best fish friends on a freshwater adventure.

Boat Rocker Media

“Our plans for 2021 are to continue navigating this unprecedented time with our partners and clients in the most optimal way.”

—Alix Wiseman

Love Monster

Dino Ranch / Love Monster / The Strange Chores The Boat Rocker Media title Dino Ranch follows the Cassidy family on its adventures in a fantastical, “pre-westoric” setting in which dinosaurs still roam. “Packed with comedic, mischievous fun, it introduces preschoolers to problemsolving, the foundations of forging lifelong friendships, strengthening family and community bonds, and taking care of animals,” says Gia DeLaney, senior VP of global sales for kids and family at Boat Rocker Media. Based on the preschool books by Rachel Bright, Love Monster centers on the titular huggable hero who must navigate the challenges of his appearance. The second season of The Strange Chores follows two teenage aspiring warrior-heroes and a high-spirited ghost girl as they try to replace an aging monster-slayer by doing his supernatural chores.

Cisneros Media

“It’s been such a dynamic couple of years for us, and things show no signs of slowing down.”

—Gia DeLaney

AnimalFanPedia

AnimalFanPedia / MoNa and the Kriders / No Idea A live-action edutainment series, AnimalFanPedia takes kids and families on a journey into the animal kingdom to meet unique and fascinating animals. “Each episode will showcase fun and eco-facts with a dynamic and humorous twist,” says Ailing Zubizarreta, VP of content and creative services at Cisneros Media. MoNa and the Kriders is a mixed-media children’s show featuring a woman and three puppets living in a magical house. “Hanging out at MoNa’s place, kids will encounter the natural world’s wonders combined with unique stories, catchy songs and some of the quirkiest looking and fun-loving puppets,” says Zubizarreta.

A surreal animated comedy series, No Idea sees Andy, Leo and Mel explore all the potential and “made-up” careers in an effort to become famous on the internet.

“We will keep developing our pipeline for 2021-22 of animated preschool series and live action, and keep cementing alliances with strong players within the animation segment.”

—Ailing Zubizarreta

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Cloudco Entertainment Boy Girl Dog Cat Mouse Cheese / Holly Hobbie / Care Bears: Unlock the Magic The Cloudco Entertainment animated kids’ sitcom Boy Girl Dog Cat Mouse Cheese has launched to high ratings in the U.K., Germany, Italy and France, with production on season two underway. The third season of the live-action musicdriven series Holly Hobbie is set to commence shooting this spring, as Care Bears: Unlock the Magic continues to perform well in the U.S., the U.K., France and Latin America, according to Ian Lambur, executive VP of content strategy and co-productions. At Cloudco, “Mandate number one is that all content has to be original, entertaining and engaging for kids and families,” says Lambur. “In addition, wherever possible and appropriate—and for sure true of all our preschool and ‘transitional’ shows—we want to provide a sense of inclusion, learning and emotional development.”

“At Cloudco, we pride ourselves on producing a broad portfolio.”

Boy Girl Dog Cat Mouse Cheese

—Ian Lambur

Orange Moo Cow

Cyber Group Studios Droners / Orange Moo Cow / Gigantosaurus Cyber Group Studios is showcasing to the marketplace Droners, full of fun, excitement and meaningful messages. “In today’s society, more than ever, we need to bring kids this additional soul,” says Raphaelle Mathieu, the company’s senior VP of sales, acquisitions and new media. “We are thrilled to show the latest episodes to our clients, bringing even more emotion, fun and excitement to kids worldwide.” Orange Moo Cow marks Cyber Group’s first preschool series from Cyber Soyuz Junior, its joint label with Soyuzmultfilm. “This brandnew preschool label has been launched with Orange Moo Cow, and we are thrilled to bring the latest episodes to our clients.” Cyber Group is also presenting Gigantosaurus, bringing a bevy of dino adventures. A second season is already airing in the U.S. on Disney Junior.

“Orange Moo Cow is the very first preschool series from our joint label Cyber Soyuz Junior with the historic Russian state studio Soyuzmultfilm.”

—Raphaelle Mathieu

Distribution360 The Parker Andersons & Amelia Parker / All-Round Champion / AnimalFanPedia Distribution360 has a wide range of kids’ programming that covers preschool, school-age, tweens and teens, and now the company is moving into the rapidly growing family scripted space. The Parker Andersons and Amelia Parker are interconnected family sitcoms, set in the same world but told from two perspectives. “It’s our first scripted live-action project, and we are super excited to be launching it to the international market,” says Diane Rankin, senior VP of rights and executive producer. Also being presented, All-Round Champion is an inspirational, adrenaline-filled sports competition series that sees ten of the best teen athletes compete in a range of sports other than their own.

Meanwhile, AnimalFanPedia is a fun-filled series that takes kids and families on a journey into the animal kingdom.

“All-Round Champion will soon have 33 hours completed, across three seasons, which gives buyers meaningful volume for their schedules.”

—Diane Rankin

All-Round Champion

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Treehouse Detectives

eOne Family Brands My Little Pony: Pony Life / Ricky Zoom / Treehouse Detectives Returning for a second season in 2021, the eOne Family Brands highlight My Little Pony: Pony Life explores the funny side of friendship as it follows the adventures of the famous ponies. “There is already a great deal of excitement about the series, so we expect really big things around the globe,” says Monica Candiani, executive VP of content sales for eOne Family Brands. Also on offer is Ricky Zoom, which follows an everyday kid who happens to be a rescue bike.

“The engines are already revving up for what promises to be an exciting second season with new hyper-speed adventures around Wheelford,” says Candiani. Treehouse Detectives sees bear sibling amateur sleuths Toby and Teri try to solve mysteries in Acorn Springs with their animal friends Rumy, Millie, Jay and Bean.

“eOne will continue to offer the very best content from our newly combined portfolio of world-class brands and rich IP that spans multiple ages, demographics and genres across the kids’ market.”

—Monica Candiani

Bionic Max

Gaumont Bionic Max / Royal Family / Pol the Pirate Mouse Gaumont is showcasing the comedy Bionic Max, which centers on a malfunctioning bionic guinea pig and his goldfish buddy as they escape from their lab into the streets of an urban jungle. “It brings a lot of energy and fun to appeal to the 6-to-12 demo,” says Karen Vermeulen, senior VP, creative executive for animation and family in Europe.

The animated series Royal Family, aimed at kids ages 6 to 10, combines comedy with heart. Made for the upperpreschool demographic in partnership with Submarine, Pol the Pirate Mouse sees Pol don a pirate patch after she develops a lazy eye, determined to discover more treasure in the world. “All of our new series are visually arresting, high-quality animation that immediately appeal to and hold the attention of an audience,” says Vermeulen.

“We have invested lovingly into the characters and stories we are telling to ensure we are exciting the audience.”

—Karen Vermeulen

Genius Brands International Stan Lee’s Superhero Kindergarten / Shaq’s Garage / KC! Pop Quiz Genius Brands International’s Kartoon Channel! has new programming premieres coming up, including Stan Lee’s Superhero Kindergarten, Shaq’s Garage and KC! Pop Quiz.

“Each one brings something a little different to audiences, but they all speak to today’s kids and families,” says Jon Ollwerther, general manager of Kartoon Channel! and executive VP of business development at Genius Brands International. “Our goal is to hold a mirror up to our audience so that kids see onscreen what they see in themselves and are inspired by our characters and shows to learn and grow.” In the coming year, the plan is to acquire a multitude of different genres, both long- and short-form content from all over the globe, “ensuring that Kartoon Channel! kids see themselves reflected in Kartoon Channel! shows,” Ollwerther adds.

“Kartoon Channel! is a family entertainment destination that delivers enduring moments of humor, adventure and discovery.”

—Jon Ollwerther

Kartoon Channel! app

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Pikwik Pack

Guru Studio Big Blue / Pikwik Pack / True and the Rainbow Kingdom Big Blue is a new 2D comedy-adventure series for kids of all ages from Guru Studio. “The series highlights the importance of discovering and caring for our environment, and how by working together we can make our world a better place,” says Jonathan Abraham, VP of sales and business development.

Since the premiere of Pikwik Pack at MIPJunior, Guru has seen “incredible interest from international broadcasters,” Abraham notes. “Everyone loves the show’s energy and colorful designs. Now we’re hearing from the broadcast and licensing worlds that it’s the perfect time for a show about working together to deliver joy to our communities.” True and the Rainbow Kingdom has already built a global following with its timely message of empowering children to be mindful, courageous and respectful of all living things.

“Guru’s roster of exciting new originals continues to grow.”

—Jonathan Abraham

Denis and Me

Headspinner Productions Denis and Me / Happy House of Frightenstein / Cabin 51 The animated series Denis and Me, from Headspinner Productions, is inspired by the life and videos of YouTuber Denis Kopotun. “Denis is a successful YouTuber/influencer with over 8 million followers and 1 billion views,” says Michelle Melanson, president of Headspinner Productions.

“He is beloved by kids all over the world.” Production will be starting on 20 more episodes of Denis and Me with WildBrain on board as the distributor of the series and delivery by the third quarter of 2021, and Headspinner will be working toward a longer-format series for 2022. Further highlights include Happy House of Frightenstein, an animated upperpreschool series based on the original characters from Hilarious House of Frightenstein created 50 years ago starring Vincent Price, and the live-action mystery series Cabin 51.

“The first shorts of Denis and Me garnered over a million views each in their first week of play.”

—Michelle Melanson

IMPS/Lafig The Smurfs (New) / The Smurfs (Classic) / The Smurfs and the Magic Flute In the new The Smurfs series that IMPS has on offer, Peyo’s beloved characters are returning to TV screens for a 3D version of the classic animation. “Using pure Smurf DNA from the comic books, this new series aimed at girls and boys is pushing the charm and absurdity of the original to greater heights, fitting in perfectly with today’s faster-paced times,” says Nele De Wilde, head of sales, production and business development for audiovisual and music at IMPS/Lafig. Also in IMPS’s catalog is the original The Smurfs series developed by Hanna-Barbera in the ’80s, with dubbings available in more than 40 languages. The feature film The Smurfs and the Magic Flute, which has undergone UHD restoration, is based on the original Johan and Peewit comic books by Peyo.

“The Smurfs is a worldwide renowned evergreen brand, loved by generations of kids all around the world.”

—Nele De Wilde

The Smurfs and the Magic Flute

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Clangers

Jetpack Distribution Mighty Little Bheem / Clangers / Master Moley Jetpack Distribution has in its catalog the Netflix series Mighty Little Bheem, about a lovable, curious and relatable toddler. “More than 27 million households streamed the series in 2019, making it one of the bestperforming preschool shows worldwide,” says Dominic Gardiner, Jetpack Distribution’s CEO. Master Moley, a passion project based on original stories the creator invented to read to his children, has heart, humor and an A-list cast. Clangers follows the inclusive and quirky characters as they find themselves in amusing predicaments. “It’s great for preschoolers as they are also problem-solvers, usually discovering that the help of others is the solution,” says Gardiner. “This is a show that really delights young viewers.”

“We will continue to work with creators, producers and platforms to blast the best kids’ shows across the planet.”

—Dominic Gardiner

Kidoodle.TV Safe Streaming Continuing to provide children and families a haven for Safe Streaming, Kidoodle.TV has been ramping up its programming offer. “Our goal is to continue expanding our content library with titles that align with our Safe Streaming values,” says Brenda Bisner, chief content officer. “Specifically, we’re always on the lookout for quality content that focuses on education, mindfulness, physical activity and pure entertainment. We have a target reach of hundreds of millions of connected devices, providing additional opportunities for content providers with no barrier to entry for families and children we serve globally.” Kidoodle.TV has continued to garner strong growth as a result of its activities designed to support content providers and brands and ensure a maximum value proposition for parents.

Mattel

“We’re committed to our important work in leading the Safe Streaming movement through our first-class channel, and we continue to work to strengthen our offering for families worldwide.”

—Brenda Bisner

Thomas & Friends

Masters of the Universe / Thomas & Friends / Barbie This year, Mattel has a number of new shows and specials premiering based on globally well-known franchises. This includes two new Masters of the Universe series. The first is Masters of the Universe: Revelation, a fan-driven anime show that will pick up the storyline from where the TV series from the ’80s left off. The second series is He-Man and the Masters of the Universe, an animated adventure series that will introduce a new audience to the franchise.

There will be new episodic content tied to the Thomas & Friends franchise. “The show will be animated in 2D and will introduce a new creative construct that’s comedic and playful,” says Frederic Soulie, senior VP and general manager of Mattel Television. Also, two new Barbie movies are set to launch this year.

“Mattel is the owner of one of the strongest catalogs of children’s and family entertainment franchises in the world.”

—Frederic Soulie

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Mondo TV MeteoHeroes / Agent 203 / Annie & Carola Aimed at 4- to 7-year-olds, MeteoHeroes is a Mondo TV coproduction with the Italian weather forecasting group Meteo Expert—Icona Meteo that aims to inspire and inform a new generation about the importance of protecting the environment. “MeteoHeroes addresses in a fun and entertaining way subjects like climate change, ecology, global warming, oceans and air pollution, biodiversity and respect for nature through the amazing adventures of six superpowered children,” says Luana Perrero, head of content sales at Mondo TV. Agent 203 spotlights Zoe and her best friends on an intergalactic team that keeps the planet safe from an evil alien kingpin and littering alien tourists. In Annie & Carola, the social-skill-lacking Carola builds a robot clone called Annie to be her best friend.

Agent 203

“Mondo TV is looking forward to a strong performance from all of our shows in the key spring period and beyond.”

—Luana Perrero

NBCUniversal Global Distribution Jurassic World: Camp Cretaceous / Gabby’s Dollhouse / The Mighty Ones The Jurassic World: Camp Cretaceous series, on offer from NBCUniversal Global Distribution, features the signature high-stakes thrills, awe-inspiring dinosaurs and epic worldbuilding from the film franchise but opens it up for kids and families alike. “This is a true event series that families can gather around and watch together, which has been demonstrated in the incredible launch performance globally,” says Chloe van den Berg, senior VP, head of kids and family entertainment at NBCUniversal Global Distribution. Gabby’s Dollhouse marks DreamWorks’ first live-action/animated hybrid series for younger audiences, taking viewers into a “cat-tastic” world inside a magical dollhouse. The Mighty Ones is a 2D comedy that “feels reminiscent of Saturday morning cartoon classics,” says van den Berg.

The Mighty Ones

“These three titles represent the incredible breadth of storytelling and animation styles from DreamWorks Animation.”

—Chloe van den Berg

Sinking Ship Entertainment Odd Squad / Endlings / Alma’s Way An international hit, the Sinking Ship Entertainment highlight Odd Squad features a mix of comedy and math.

Now in its third season, its scope has expanded with agents who travel the world. The second season of Endlings features the themes of conservation and species loss, adding to the global conversation about the endangered world. There’s also Alma’s Way, a new series for PBS KIDS produced by Fred Rogers Productions. “We have recently picked up a new series out of the U.K. that will be available to buyers,” adds Marilyn Kynaston, head of sales and distribution for Western Europe at Sinking Ship. The company also has episodes of Dino Dina, and the tween series The Unlisted and Lockdown are available for second-window linear sales.

Alma’s Way

“Alma’s Way will appeal to international audiences because it highlights the universal theme of problem-solving for preschoolers.”

—Marilyn Kynaston

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WildBrain

The Brilliant World of Tom Gates

The Brilliant World of Tom Gates / Chip and Potato / Dorg Van Dango Based on the best-selling book series from Liz Pichon, The Brilliant World of Tom Gates features the graphic style of the books and boasts humor, authentic storytelling, games and songs. “The series is packed with comic creativity and fun projects to help keep kids entertained while sheltering at home, with Pichon herself making appearances in the ‘draw it’ section of the show,” says Caroline Tyre, VP of global sales and rights strategy at WildBrain. Dorg Van Dango, coproduced with Cartoon Saloon, centers on the eponymous hero and his secret best friends: a unicorn, an alien, a witch and a ghost, escapees from Area 52. For preschoolers, Chip and Potato sees 4-year-old pug Chip start kindergarten with her friend Potato—a mouse that everyone thinks is a toy— hidden in her pocket.

“As 2021 begins, we remain committed to understanding and delivering what kids and families want and what our partners need.”

—Caroline Tyre

Winsing Animation Team S.T.E.A.M.! / Diary of Dinosaurs / GG Bond: Undersea Wonders Team S.T.E.A.M.! has been specifically designed to appeal to a worldwide audience, according to Ben Gu, CEO of Winsing Animation. “Young people all around the globe will enjoy seeing themselves reflected in our diverse group of characters and cultural backgrounds,” he adds. The kid characters in the show overcome problems using the STEM curriculum of science, technology, engineering and math, with athletics and the arts thrown in for good measure. Also from Winsing, Diary of Dinosaurs is an adventure feature film. The character GG Bond stars in a new series, Undersea Wonders, leading an underwater exploration. GG Bond: Dino Diary, meanwhile, sees the character and his fellows traveling back to ancient times to save injured or in-danger dinosaurs.

ZDF Enterprises

GG Bond: Undersea Wonders

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

—Ben Gu

Space Nova

Zoom—The White Dolphin / Pan Tau / Space Nova Following on the success of season one of ZDF Enterprises’ Zoom—The White Dolphin, season two of the series has seen record-breaking ratings with its premiere on TF1 in France. Based on the animated cult series created in 1971, season two follows the adventures of 15-year-old Yann and a mysterious white dolphin called Zoom. “Environmental awareness, comedy and humor are central to the series, expressed through creative stories,” says Arne Lohmann, VP of ZDFE.junior at ZDF Enterprises. The live-action series Pan Tau tells the story of an extraterrestrial hero who has magical abilities and always initiates fantastical moments that make the impossible possible. Space Nova is a modern animated series set in space about a family of astronauts in the year 2162.

“Despite the challenges of the COVID-19 pandemic, we have been able to boost our production slate with a handful of new highclass commissions in live action and animation.”

—Arne Lohmann

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ZDF Enterprises’ Pan Tau.

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TV KIDS

What’s Mansha Daswani checks in with leading distributors about the major trends reshaping the kids’ content business today.

F

or newcomer producers and distributors with great kids’ IP, 2020 was tough. And not for lack of market demand. Indeed, as schools shuttered and playdates were canceled amid the COVID-19 pandemic, broadcasters and streamers alike were very much in need of content to keep young ones occupied. But without physical markets, the business of buying and selling shows was made a little bit more complicated—for upstarts and well-established names alike.

“The biggest impact of COVID-19 has been the lack of faceto-face meetings,” observes Dominic Gardiner, the CEO of Jetpack Distribution. “And the bumping into people. Never before were we able to put a value on a chance meeting in a bar or being sat next to someone at dinner you’d never met before. You now realize how important those are. Otherwise, you’re in a bit of an echo chamber. You only hear yourself.

The physical pitching through Zoom is very one-way. And at the end of 25 minutes it’s, Thanks very much, I’ve got to run.

It’s ironic that we probably have less time than when you’ve got someone in front of you at MIPCOM, where you have an opportunity to really engage. We miss that.”

There have been some silver linings, though, notes Diane Rankin, the senior VP of rights and executive producer at Distribution360. “Video calls with clients have helped to strengthen relationships. Buyers have made themselves readily

available, and with the bulk of us working from home, we’ve been sharing more of our at-home selves and getting small insights into each other’s daily lives—all of which helps us get to know each other better. Also, with changes to everyone’s travel schedules, we’ve had more time to be involved in the development process with producers, actively helping to shape new programs and to more closely support and nurture those projects for international exposure.”

ZDF Enterprises maintained its busy commissioning activity, notes Arne Lohmann, the VP of ZDFE.junior, with a current lineup that includes Grisù with Toon2Tango and Mondo TV France and the live-action adaptation Alea Aquarius. “In the first quarter of this year, we will be busy getting these commissions into production,” he says.

Commissions also continued apace at eOne Family Brands, which had to contend with both the pandemic and integrating with its new owner, Hasbro. “Because our titles are in animation, production hasn’t slowed down either,” says Monica Candiani, the company’s executive VP of content sales.

9 Story Media Group was also able to maintain its output, says Alix Wiseman, the senior VP of distribution and acquisitions. “Production-wise, we’ve seen some challenges with certain processes such as edits and voice records, but overall, we have been very lucky to be able to continue doing business in a safe way thanks to our superb crews, all of whom

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Jetpack Distribution recently added Green Gold Animation’s Netflix original Mighty Little Bheem to its slate.

have gone above and beyond even while working from home,” she says.

Guru Studio acted quickly to get its production staff up and running from home, says Jonathan Abraham, VP of sales and business development. “We’ve also been fortunate to have an amazing property like True and the Rainbow Kingdom that has 19 foreign-language dubs already in-house. Broadcasters see how well the show is performing in major markets like the U.S., U.K. and Canada, and international buyers are buying it and placing it in valuable slots vacated by programs hit by COVID-19 production issues.”

LINGERING EFFECTS COVID-19 has left its mark on the kids’ sector, with the effects of the pandemic set to continue throughout this year, even as the vaccine rollout progresses across the globe.

“We know ratings on linear services enjoyed a welcome boost, but the pandemic has also taken a toll on their budgets,” with channels seeing declines in ad revenues, 9 Story’s Wiseman explains. “We are anticipating a [sustained] demand for content as lockdowns and school closures continue into 2021, but we will likely feel the sting of some of those deflated budgets.”

The strong performance of educational content in 2020 had Gardiner and his team identifying shows from the Jetpack catalog that could meet that need. Going forward, the company will also be looking for that element in the new series it is considering taking on. “We’re looking at: What do kids learn from this? Even if it’s not just a purely educational series but nourishes kids’ minds.”

Distribution360 benefited from broadcasters and platforms rushing to acquire shows with educational values, striking deals on properties such as mathXplosion and preschool titles like Super Simple Songs. It’s a similar story for ZDF Enterprises, with Lohmann referencing interest in its new Space Nova series. “Space and understanding Earth’s place in the universe is one of the major topics of the series, [which] connects kids with an authentic engagement in STEM.” Candiani reports that eOne responded to the market’s needs by creating videos from its Peppa Pig and PJ Masks brands promoting a message about the importance of good

hygiene amid the pandemic. The interest in educational content has waned somewhat, Candiani says. “We are back to ‘normal’ requests for entertainment kids’ shows.”

According to Rankin, the pandemic also enhanced the interest in content that can be co-viewed by multiple members of a family. “With families spending more time together at home, alongside navigating a fair bit of doom and gloom, there is increased demand for uplifting programming that parents and kids can discover and enjoy together.”

Cécilia Rossignol, executive VP of international sales and development at Gaumont, concurs, noting, “We saw the need for families to have access to educational and entertaining content they could view together, as well as fulfilling the need for ‘feel-good’ content that allows for brief reprieves from the confines of our four walls.”

STREAMING SURGE By far, the most significant sustained impact from the pandemic comes from the accelerated streaming wars—and what that means for the linear channels business.

“We knew that when Disney launched Disney+, they would, over time, migrate from having multiple pay-TV channels in lots of territories—all with their own unique spin on what the brand is and how to maintain audiences,” explains Gardiner at Jetpack. “We could sell a piece of content to Disney in one country and Nickelodeon in another, maybe Cartoon Network in another. The first thing that set alarm bells off was Disney closing the channel in the U.K. over the summer, a matter of months after launching Disney+. [Everyone is] trying to guess the longevity of the linear pay business.

How long will they keep both the streaming and linear going at the same time?”

The streaming wars have also created new opportunities, Gardiner continues. “The opportunity on SVOD is there and it’s growing, particularly with HBO Max in the U.S. Suddenly you have WarnerMedia moving into preschool, which is something Turner had not done for 10 to 15 years. An opportunity opened up in live action as well. ViacomCBS seems to be taking an approach where they want to produce a lot of series for their own platforms, but they want to produce for other platforms too. That changes the way you pitch to them.

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In the past, when you pitched to Nickelodeon, you had to know what their brand values were, what they were trying to achieve with their audience. It’s going to be interesting to see if they’re open to broader ideas, new formats, new producers.”

Gaumont’s Rossignol points out that the competitive digital landscape also means greater opportunities for creators to experiment with different ideas. “With so many new players in the market yielding an unprecedented amount of content, programmers are in a good position to take more risks.”

Candiani and her team at eOne Family Brands were quick to respond to the needs of key European broadcasters amid the pandemic seeking increased digital rights for premium brands such as Peppa Pig. “With more platforms, we have more opportunities to place content and to generate revenues,” she notes. “In addition, the trend is to license nonexclusively, and this is also different from the business with broadcasters, which mainly require exclusivity. Again, streaming provides more opportunities for revenues and more opportunities to increase awareness for those shows that also have a licensing program attached.”

Of course, meeting the demands of the evolving marketplace also requires a shift in mindset. Rankin at Distribution360 cites the numerous factors a seller needs to consider when crafting a rollout strategy for a piece of content. “Is it a series that will be sold to one buyer (i.e., a global platform) in the first instance with secondary windows after a holdback? Will those secondary windows still be there after the holdback? Is it a title where we can negotiate shared windows? And so on. There are a lot more questions to ask and more potential computations to make. Non-exclusive is more prevalent with some of the more niche VOD services, while exclusivity remains paramount with the bigger players. Managing windows and extending the sales life of our programs continues to be key to our business but is now looked at through different critical analytics with futureproofing in mind.”

ZDFE.junior’s Lohmann adds, “The market is getting more and more fragmented, and every client has different needs and technical specifications. It is more a question of optimizing the production and delivery of all items and implementing a smooth, digitized process that suits all different clients as well as our own internal structure.”

29

Amid lockdowns, Distribution360 saw strong demand for preschool fare such as Super Simple Songs.

FREE FOR ALL AVOD, in particular, picked up pace in 2020, and it’s an area many distributors are looking to focus on this year. “There are so many new AVOD platforms springing up, particularly in the U.S.,” says Gardiner at Jetpack. “In 2020, we worked with five different AVOD platforms. It’s going to become an important pillar in our business. I always used to say AVOD was part of the long tail. Your YouTube exploitation for many properties was after your pay and free. I think they’re all compressing. There’s now an opportunity where AVOD can stand alone on some properties. We’ve seen that through YouTube brands that have been successful, whether it’s Pinkfong or CoComelon. It’s an interesting dynamic in the kids’ business that a series can be born on YouTube, exist on YouTube and now take the leap into retail. We’re making sure that our skill set is strong and that we’re managing our properties on AVOD as well as we can. We’re one of the top distributors in the world for kids. We want to make sure we can successfully do AVOD as well as sell to free and pay and SVOD.”

Guru Studio is distributing the Netflix original True and the Rainbow Kingdom to networks worldwide.

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back to everyone randomly giving out hugs, so learning a new roadmap for human interaction will be something that we as content professionals will need to provide to kids.”

Jetpack’s Gardiner references diversity as being a key element in all development going forward.

“Some broadcasters made significant statements to say they had to see diversity on-screen. That’s an interesting challenge for us going forward to make sure we’re doing our due diligence on that and that when we speak to producers, we’re providing that feedback, so they recognize that it’s not just a nice to have; it’s an essential component.”

BACK TO NORMAL? One of 9 Story’s new offerings is the music-driven comedy series Andy and the Band.

With ad-supported linear channels facing a COVID-19-related revenue crunch, financial pressures on pubcasters and the emergence of AVOD services desperate to ramp up their offerings, there is an open question of whether there will be increased content sharing across traditional and digital services.

“Overall, more buyers seem open to having the conversation, and as expected, some are more flexible than others,” says Rankin at Distribution360. “Also, some content is more suited to shared windows—repeatable, episodic, non-arced programs work well as their watch patterns are very different to an arced storyline. Most younger kids’ content works well non-exclusively as it can’t really be over-exposed. With a liveaction family scripted series, we’d look at managing the platform/broadcaster and the exposure differently, to nurture a fan base and support a show for potential future seasons.”

“We’re finding that while streamers’ licenses tend to be commensurate with the value of exclusivity, for linear channels, especially public broadcasters, there isn’t always additional budget to pay for additional rights or high levels of exclusivity,” says Wiseman at 9 Story. “We are seeing new trends where some OTT services are more open to sharing windows with linear channels, but it’s clear that it’s more challenging for traditional platforms right now as they pitch themselves against potent streaming services. As such, they are increasingly reluctant to share rights with streamers.”

Abraham says that Guru is always “looking at smart solutions to provide traditional broadcast players with the VOD rights and windows they need. Broadcasters these days have their own OTT platforms, catch-up services and social pages.

Guru is finding success by working with our broadcast partners to leverage as many of those outlets as possible, while also reserving as many VOD windows as possible in order to grow our brands around the world.”

GROWING PAINS Beyond the ever-increasing VOD landscape, there are many other market shifts that creators and distributors alike will be keeping an eye on in 2021. “It will be interesting to see if kids have screen fatigue and if that impacts how they consume content,” Rankin says. “With kids having spent prolonged periods at home, I’d anticipate we’ll also see more actionbased, outdoor content, subtly promoting an active lifestyle.

On the development side, kids’ content will need to show kids how we express emotions and build relationships in a more distanced world. I don’t anticipate that we are going

ZDFE.junior’s Lohmann wonders what kids will want to watch post-pandemic. “Will it be pure escapism with engaging fantasy worlds? Or do we need to commission further educational programming and real-life scenarios? Perhaps a mixture of both, like in our series Zoom—The White Dolphin. Its season two has recently premiered with record-breaking ratings on TF1. This strongly indicates that this is the kind of programming that young viewers are looking for nowadays.”

Guru’s Abraham predicts a “huge increase in short, streamable content as extensions for emerging brands on YouTube and ad-supported and subscriber-based OTT platforms,” and, like Gardiner, anticipates diversity to be a critical factor in new commissioning decisions.

Rossignol at Gaumont sees interactive content becoming a key part of the industry, alongside a “desire for stories that enrich, educate and offer kids a journey into adventure.

Children, given the pandemic, are living a very different reality these days—optimism, inclusion and the need to embrace joy are themes to be fostered as we look to our immediate future.”

Candiani at eOne has her eyes on the impact of the digital surge on the linear channels business and is keeping in mind what viewers will want to see whenever “normal” returns. “We can probably expect a decline in commissioning in the future for those who don’t have a strong digital offering. It takes up to two years to develop a show and another two to produce if it is in animation. Pandemic-specific content would hopefully be completely obsolete by the time it gets released, so we are not taking this into account in what we choose to develop or produce. However, it will no doubt have an impact on certain sensitivities around subject matters like sickness and medical assistance, which we are staying on top of.”

She is also optimistic about what the new legislation in France surrounding local content quotas on linear and digital platforms means for the industry. “This will provide a strong influx of investment in original programming out of France, and we do quite a bit in this territory, so this is positive news to look forward to in 2021; we need it right now!”

Wiseman at 9 Story stresses the importance of the industry working together to get past the hurdles presented by COVID-19. “Our approach will be to ride the storm alongside our clients and peers, working collaboratively and thoughtfully so that we can honor our long-standing partnerships in an optimal way. While this unprecedented global event has stranded us all physically, I’m finding the common experience we share is turning out to be one of the most unifying.”

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TV KIDS PIONEER AWARD

Sebastian Debertin KiKA TV KIDS: How would you describe the overall health and state of the kids’ programming business at present?

DEBERTIN: The kids’ production and programming landscape did suffer under the COVID-19 crisis, but compared to other industries, we all adapted quite fast to this challenging situation. This is probably because all kids’ media businesses are, or have already been, in the process of adapting to the “new” digital world and have learned their lesson about change management.

Therefore, most of them were also more or less in a good position to adapt to the heavy challenges of today’s pandemic times.

By Kristin Brzoznowski

S

ebastian Debertin has been with KiKA from the very beginning as one of the executives who, in November 1996, helped create and establish the joint public children’s channel of ARD and ZDF in Germany. He spent 23 years as the head of fiction, acquisitions and co-productions at the public broadcaster, having created, produced and acquired a slew of hit brands along the way. Now serving as the head of international content acquisitions, within the programming and management department, Debertin has been hard at work seeking out and identifying new projects and programs. He is responsible for all international acquisitions and co-productions for fiction, as well as for nonfiction and preschool programs, among other areas. Debertin has been a driving force of KiKA’s success—and there is certainly much success to celebrate. For his contributions to the global kids’ programming landscape, Debertin is being honored with the TV Kids Pioneer Award as part of the inaugural TV Kids Festival. Debertin tells TV Kids about the strategies that are guiding KiKA today.

TV KIDS: How did KiKA adapt to meet the needs of kids spending more time at home amid the corona virus pandemic?

DEBERTIN: The pandemic is a huge challenge for everybody, but especially for kids. Being isolated at home is difficult for them, perhaps even more than for adults.

So, kids and parents alike are looking for support in these special times. Being trapped at home, families need educational as well as relaxing and entertaining programs more than ever.

At KiKA, we quickly adapted to this new situation in order to show our kids’ and family audiences that they are not alone in this crisis. We immediately created an appropriate campaign called #togetherathome (German: #Gemeinsamzuhause). As part of the #togetherathome campaign, we offered additional programming, with a strong focus on education.

For example, to ensure that the youngest viewers don’t get bored every day at home, there are a lot of interactive offerings by KiKANiNCHEN, our preschool brand. KiKANiNCHEN presents lots of action, play and arts-and-crafts ideas for children between 3 and 6 years of age on linear TV. And on the online portal kikaninchen.de, a large variety of possibilities to play and interact is offered, plus possibilities for painting and coloring pictures, crafting tips, games and various hands-on activities await curious explorers, offering many opportunities beyond pure media consumption.

These are intended to encourage children to creatively shape their environment.

And of course, all-time favorite KiKA programs like Guess How Much I Love You, Chloe’s Closet and Die Sendung mit dem Elefanten (WDR) offer ideas for a great time at home. Toddlers and their parents can make a large number of animals from KiKA’s arts-andcrafts show ENE MENE BU and, for example, set up their own zoo at home.

In the months to come, KiKA will continue to provide the best and most successful program offers for those who do not attend kindergarten, daycare or school. The new campaign for 2021 is named #ZeitFür… (in English: #TimeFor…), and we will add a certain issue here every

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KiKA is a key partner on IMPS’s new The Smurfs reboot.

week, starting with #TimeFor…history/#ZeitFür…geschichte.

In #TimeFor…history, children can enjoy watching episodes of the history format Triff... (Meet…), a coproduction from KiKA and ARD affiliates WDR and HR. In this format, kids will, for example, be meeting important female characters from all times in history.

Also for the first time, KiKA is showing the informative online-only program CheX! Die Checker Web-Show, produced by ARD’s BR-Bayerischer Rundfunk from Munich. Informative and entertaining shorts about all kinds of knowledge can be found here. Shorts about history and science are provided by Marco Polo— Shorties!, taken from adventures of the animated series about the young Marco Polo, produced by ARD’s MDR. And since January 11, all this and much

Cloudco Entertainment’s Care Bears is part of the stable of top brands on KiKA.

more special programming has been available on all KiKA platforms during the lockdown.

On all our platforms, whether kikaninchen.de for the youngest, kika.de for our core target group, our streaming app KiKA-Player or the KiKANiNCHEN app, KiKA’s most beloved characters, hosts and programs like popular knowledge magazines, documentaries for kids and quiz formats, games, tips and a lot more can be found.

At KiKA, we know about kids’ needs in these unusual times. As a result, KiKA even provides children with support on sensitive subjects like family conflicts through KUMMERKASTEN (KiKA’s agony aunt offering). Program elements for those kids who need a helping hand are available on kika-kummerkasten.de.

We at KiKA are taking kids seriously; that is what they need and deserve. No wonder KiKA received lots of positive feedback from kids and parents alike over the many years of its existence and also for the current coronavirus-time campaigns and our adapted programming. To get such positive feedback was fantastic and rewarding. As research has shown over the years, in the eyes of the kids, KiKA is a bit like an older sister or older brother—someone to relate to. Kids come to us, giving not only broad feedback or asking questions; they also approach us when they are facing problems. And, of course, when approached with serious problems, we channel these to professionals and [teachers] who then can help the kids. Nothing is more important to KiKA than our kids’ audience, as the kids trust in us.

TV KIDS: How do you see the role of public broadcasting in addressing kids’ educational and entertainment needs during times like these?

DEBERTIN: KiKA, as well as our parent companies ARD and ZDF, always ensures to offer a balanced mix of educational and entertaining content for kids of all ages. We want to help kids while they are growing up, offering them broad and varied programming. It is also very important, I think, to give them valuable insights into how the media works, especially in unsettled times like we are facing today. With our media magazine Timster and our CHECKER magazine show, we want to help kids understand the intricate media landscape better.

In general, we want to help them navigate their way in a world that is becoming more complex every day.

KiKA’s focus over the last 24 years was—and also in the future always will be—on relevant issues, such as climate change, the environment and the importance of diversity and representation. We are fighting against clichés and stereotypes and offering our kids’ audience positive values.

As we all know, kids and their parents are going through difficult times in Germany and everywhere in the world, and I am happy that KiKA, as part of the German public-media services, is able to best support

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Airing on KiKA, Belle and Sebastian from Gaumont is based on a popular series from the 1960s.

kids and their families in these challenging times.

Although the way we work and the channels we use today are different than in the past, the role of publicmedia services has not changed. Especially in these difficult and complicated times, public-media services are more important than ever, offering strong support to kids and their families, with the highest quality.

TV KIDS: Looking at the programming lineup, what are you currently seeking in regard to acquisitions?

DEBERTIN: What did not change over the last 24 years of KiKA is that we are looking for content of high quality only, premieres preferred.

What’s new is that besides searching for fiction, I now also look for nonfiction programming internationally for KiKA. While we produce most of our nonfiction programming in Germany, we, even more, want to emphasize the need to understand the world’s

KiKA caters to bridge audiences with properties such as Fireman Sam from WildBrain.

diversity in these times. Therefore, I am now also looking for both fiction and nonfiction kids’ programming internationally for our channel and our various platforms.

In general, I look for docs and factual titles that cover issues in kids’ lives. Of course, it must be relevant for the different target groups and enhance their positive view of the world as well as give them [direction] and deliver strong positive values.

When it comes to fiction, we are currently looking for animated full-length feature films and animated specials for bank holidays, Easter time, Christmas, etc., with a length of up to 30 minutes and age-wise starting with 5-year-olds, 6 to 10s and up to the oldest kids, ages 10 to 13. Family co-viewing on top is an advantage, but only if kids are the focus of the storytelling.

Also, live-action feature films for a kids’ and family audience are on top of the list. Here, depending on the story and characters, it starts with a target of 5-plus to 8-year-olds, 6 to 10 or up to 10 to 13.

We have a strong slate for our youngest viewers who love watching shows on KiKANiNCHEN. But we are always looking for additional strong animated series for preschoolers that can add up to great brands like Chloe’s Closet, Super Wings, Lily’s Driftwood Bay, Conni, Ben & Holly’s Little Kingdom and Coconut, the Little Dragon.

For the so-called bridge audience, kids aged 4 to 7, we actively search for strong new additions to go along with successful series like Fireman Sam. Last but not least, we’re looking for series dedicated to the 6-to-9-plus demo and interesting live-action series for girls and boys 10- to 13-years-old.

We always love to go on new paths, so we have tried to produce or acquire liveaction series for preschoolers. There are

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The KiKA content lineup includes Cyber Group Studios’ Tom Sawyer.

some great new live-action shows out there, and we definitely have an eye on these.

TV KIDS: Are you flexible with program lengths and formats?

DEBERTIN: I have a simple recipe for success—only two basic ingredients are needed. You need to come up with the perfect length for letting your characters shine and for telling your stories. Plus, brands need many, many episodes to be built. Therefore, with the right ingredients, allowing the potential for broad and strong storytelling over many seasons, success will come easily.

TV KIDS: What qualities are you looking for in a show in order for it to sit alongside the channel’s original programming and its current slate?

DEBERTIN: From my point of view, a high-quality kids’ show should: Glue the kids to the screen with convincing

KiKA’s preschool offering features eOne Family Brands’ Ben & Holly ’s Little Kingdom.

characters and great storytelling while offering strong educational elements like positive values and diversity; allow engagement and interaction; and, last but not least, it needs to deliver lots of great entertainment and fun!

Indeed, entertainment is the core vehicle needed to transport the other elements seamlessly. Kids should love to watch a show and later, while playing, use and apply what they have learned together with their siblings or friends. More than ever, co-watchability is a plus because parents want to enjoy such programming with their kids and later have a chance to communicate with them about the show’s content and its characters.

TV KIDS: How much of the schedule is original content? What are some of the initiatives underway concerning original series?

DEBERTIN: The majority of our programming and other offerings are produced in Germany to ensure that they are relevant to the kids and their lives. But, of course, as our kids today are living in a more global world than ever, we want to offer them programs that show them ways they can engage in relevant issues and themes in their concrete surroundings without forgetting the bigger context. Together with the nine affiliates of ARD and strong partner ZDF, we produce such programs, fiction and nonfiction, mainly here in Germany, to really reflect the kids’ world around them.

As for so-called originals, it is funny to see that for a few years now, some people have been celebrating their productions as “originals.” ARD and ZDF as well as KiKA are producing the majority of the programming themselves. But we never thought we would need to give that a special name and call them “originals,” as it was and still is so natural for us to invent, create and initiate the production of new original programming for our audience. So, as a result, around 75 percent to 80 percent of our programming is originals. You could say public

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KiKA acquired the live-action series Odd Squad from Sinking Ship Entertainment.

TV, public-media services, invented originals—but more than 50 years ago!

TV KIDS: What’s the strategy for co-productions?

DEBERTIN: Co-productions are absolutely an important backbone for KiKA’s programming, whether German or international. They allow us, on the one hand, to produce shows that perfectly cover the channel’s and all our platforms’ profiles as well as our various audiences’ demands. We do a good number of co-pros currently, in Germany and internationally. With the German company Hahn Film (Mia and me), we do a co-pro called Mystery

Museum, which is an adventure-comedy series that combines time travel and adventure with a historical curriculum, fictional and historical characters and comedy fun.

A great example of an international copro is the new Smurfs series, in production with IMPS, Peyo Productions, Mediatoon, RTBF and TF1. The Smurfs is a fantastic brand, and we co-developed the new concept together with the international team to adapt it perfectly to today’s needs. It looks fantastic, and the writing and storytelling are superb! The new Smurfs will premiere in Germany in 2022, celebrating KiKA’s 25th birthday. Another recent copro is Dog Loves Books with Komixx Entertainment, the BBC and ABC Australia.

ODO is with Sixteen South, Letko from Poland and RTÉ, S4C, SVT and Milkshake!

ODO promises to become a lovely and successful show.

TV KIDS: What are some of the key negotiations and considerations nowadays when it comes to rights?

DEBERTIN: Although we have no concrete quota in Germany, content from Europe becomes even more important today. Media legislation has been amended, and, as a result, we need and want to ensure that we can also put newly acquired shows on linear as well as online. We currently can only do that when these licensed programs come from Europe. We also want to be able to meet our audience’s changing ways of consuming media in the

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is also of the essence to reach our audience on as many platforms as possible.

Thanks to the great job of the colleagues at ZDF, ARD and KiKA, we have built many great brands that our audience loves and enjoys following on linear TV, online or via our KiKA apps. And that is also what we will need to strengthen in the future, as it is so important.

Original local series like CheX! Die Checker Web-Show are hugely important to the KiKA schedule.

future; therefore, we always look for shows that we can license from Europe or commission or co-produce in Germany, Europe or worldwide first.

TV KIDS: What changes do you foresee in your programming strategy in the year ahead?

DEBERTIN: We all know that the media industry as a whole is still going through an intensive shift, for sure. KiKA has always excelled at great storytelling that our audience loves and can relate to. That is our core; it’s in our DNA. Especially today, with all the many different media offerings aimed at kids, it is more essential than ever to build program brands that are relevant to our audience. It

TV KIDS: With all the competition in the kids’ landscape today, how is KiKA maintaining its positioning?

DEBERTIN: KiKA’s success has been and will continue to be based on its fantastic and well-balanced mix of thoroughly curated local and international educational and entertaining programming that’s always close to its audiences. Because of the current crisis, the consumption of media has gone up globally, and Germany is no exception. While German parents closely follow their kids’ media consumption and limit it, kids have used the time of lockdown to watch a bit more online and via linear; our ratings followed that trend. In July, KiKA was the market leader for 3- to 13-year-olds from 6 a.m. to 9 p.m.; the linear channel achieved 16 percent, number one in the marketplace. Among preschoolers, KiKA reached a total of 26.1 percent market share in the daypart from 6 a.m. to 10:15 a.m. Also, KiKA ranks first among 3- to 5-year-olds with a market share of 35.8 percent. It’s no wonder that KiKA’s programming still is some of the most-watched in all German-speaking territories.

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TV KIDS: How has Kidoodle.TV grown and evolved since its inception?

BISNER: Since Kidoodle.TV’s inception, the focus has been on digital safety for families. We’re committed to leading the Safe Streaming movement through our firstclass service, and we continue to work to strengthen our offering for families worldwide. While Safe Streaming is fundamentally at the core of who we are and what we do, our AVOD/SVOD hybrid model ensures greater accessibility to families across the world, which now includes over 12 million monthly active users (MAUs) in over 160 countries and territories. As families continue to find Kidoodle.TV increasingly useful and relevant in their lives, we are seeing skyrocketing usage of the service, and in fact, MAUs grew 3,200 percent last year alone.

TV KIDS: What does Safe Streaming mean to you in today’s competitive environment?

BISNER: As leaders of the Safe Streaming movement, we take enormous pride that we are not the only ones talking about a very serious subject when it comes to keeping kids safe in a place that was not designed for them.

Safe Streaming is a commitment we have to providing a safe, accessible and top-quality experience for families around the world. In addition to delivering a dynamic user experience and great content offering, we believe that allowing parents to curate their children’s experience in a safe environment is incredibly important for viewers today.

Brenda Bisner

Kidoodle.TV

By Kristin Brzoznowski

ith a continued mission and mantra to provide Safe Streaming for kids and families around the world, Kidoodle.TV has carved out a unique position for itself in the ultra-crowded streaming landscape. Its AVOD model means there’s no barrier to entry, and the platform touts its rigorous vetting strategy for programming—led by humans, not algorithms—to deliver safe, accessible and top-quality content that’s both entertaining and educational for kids and that parents can feel good about their children watching. It’s no wonder, then, that Kidoodle.TV has seen its usage skyrocket in the last year. Brenda Bisner, the platform’s chief content officer, tells TV Kids about the gains Kidoodle.TV has made and what’s to come.

W

TV KIDS: With kids spending more time at home amid the coronavirus pandemic, how is Kidoodle.TV serving their needs for content that is both entertaining and educational?

BISNER: In 2020, we conducted our first annual research study, It Takes a (Digital) Village, and found that standard recommendations for screen time conflict with the needs of the modern parent, especially in the context of COVID-19. Recreational screen time (63 percent of respondents) and educational screen time (61 percent of respondents) were nearly tied for the most common way parents use screens in their home. As digital content consumption replaces other in-person methods of learning, interaction and activity, digital platforms need to better understand how they fit within the home and provide extra utility where it’s needed. Aside from continuing to expand across connected environments to deliver service to families across digital spaces, we’ve continued efforts to expand our content library and provide families with choice in the shows they want their kids to experience. Integrating shows that supplement traditional education and learning activities is an important part of our strategy, and 2021 will see the addition of shows that meet that demand.

TV KIDS: Tell us about the Kidoodle.TV content slate; how many hours does it currently cover, and are you looking to increase this amount in the year or two ahead?

BISNER: With the pandemic disrupting lives around the world in 2020, we rapidly increased our library to add content that families needed within a trusted destination. We currently offer over 25,000 episodes of content

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and are proud of the meaningful partnerships that come with it. As the world continues to shift, we will continue to focus on gathering the world’s greatest brands to ensure a relevant and quality experience on the service.

TV KIDS: What’s been guiding your overall acquisition strategy?

BISNER: Our strategy has always been to provide a safe alternative to other services in the industry, as we serve as a proper channel with very fair, non-exclusive deal terms. We regularly review a massive amount of new content for suitability and close multiple deals per week in order to ensure a full content pipeline going into the service at all times. It’s not only important to serve millions of children within a safe environment, but it’s also important that we continue to distribute the great content that kids and their families expect. Our relationship with every single brand owner is important to us as we welcome them to the Kidoodle.TV family. Taking time and care to understand the needs of the brands we work with and how we can support each other really makes a difference. We aim to have some of the most meaningful relationships in the AVOD space.

TV KIDS: What are you currently on the lookout for, and what would you like to see more of in the marketplace?

BISNER: Our goal is to continue expanding our content library with titles that align with our Safe Streaming values.

Specifically, we’re always on the lookout for quality content that focuses on education, mindfulness, physical activity and pure entertainment. We have a target reach of hundreds of millions of connected devices, providing additional opportunities for content providers.

Kidoodle.TV continues to exhibit strong growth as a result of its activities designed to support content providers and brands and ensure a maximum value proposition for parents.

If you have a show that is completed, you are welcome to reach out to Kidoodle.TV. All received submissions will be answered in due course. We are always interested in reviewing great, well-known brands that have a proven track record, as well as emerging brands and brands born out of YouTube with a strong following. Serving children under 12 in over 160 countries and territories allows us to be broad in our offering while developing partnerships that complement the effort. We are 90 percent AVOD-driven and offer a non-exclusive deal structure at a competitive CPM rate, serving as a new revenue corridor to brand owners.

TV KIDS: What does Kidoodle.TV offer to producers and distributors that make it such a great partner?

BISNER: Brands that come to Kidoodle.TV deserve great care. We feel it is important to create lasting and meaningful relationships with our content providers and advertisers, and we engage in efforts associated with keeping all of our brands safe. Creating an effective

relationship involves an alignment of values and goals.

It’s also important that our partners care about Safe Streaming, as it has proven to be incredibly important to all parties. As a brand owner, there is no better feeling than placing your show in a safe and trusted place while making an additional revenue stream.

TV KIDS: Tell us about how Kidoodle.TV is leading the way in advertising.

BISNER: Advertisers and marketers across all verticals must figure out how to reach their audiences in a world increasingly focused on protecting data and in a world where brand safety and reputation are increasingly at stake. Kidoodle.TV has been ahead of the curve on privacy and contextual targeting under COPPA rules, as well as keeping inappropriate content off the service. Thanks to our proprietary Creative Review process, all content is vetted, providing the industry with a safe solution for brands. Advertisers can also leverage child-directed services like ours to reach highly engaged families.

TV KIDS: Kidoodle.TV has also moved into originals.

What does the future hold in this space?

BISNER: We will be sharing news on the Kidoodle.TV originals front soon—stand by! As we look ahead, it’s change that’s important, and we are lucky to be in a situation to adapt to evolving family needs.

TV KIDS: As you look out at 2021, what’s your focus for Kidoodle.TV in the next 8 to 12 months?

BISNER: We look forward to continuing the work we do to keep kids safe while streaming globally and supporting the content providers and brands that form an important part of the Kidoodle.TV family. Additionally, we will be focusing on new ways to evaluate the content needs of families as the world progresses through this significant period of change. We have no doubt that we will be shaking the industry up this year.

Kidoodle.TV now serves more than 12 million monthly active users in 160-plus countries.

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THE GENIUS WAY Stan Lee’s Superhero Kindergarten.

Genius Brands International is focused on delivering “content with a purpose.” By Kristin Brzoznowski

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enius Brands International has always taken pride in being a nimble, adaptable and creative company, and the COVID-19 pandemic has shown just how valuable those assets are in the kids’ content landscape. “We were able to adjust very rapidly to the changing environment with barely skipping a beat,” says Jessica Brinder, VP of international distribution at Genius Brands International.

The company has continued its deliveries of Rainbow Rangers to broadcast and platform partners worldwide.

Additionally, Genius Brands is gearing up this year for the distribution of its new animated series Stan Lee’s Superhero Kindergarten, starring Arnold Schwarzenegger, which is currently in production and scheduled to premiere on its digital Kartoon Channel! network in the U.S., which reaches more than 100 million households.

Additionally, in an effort to reach young children to help them understand the pandemic, Genius Brands created a series of PSAs in partnership with Jennifer Garner (Llama Llama) and Warren Buffett (Secret Millionaires Club) that were made available to partners and broadcasters around the world for free. The company also produced an inspiring special episode of Rainbow Rangers starring Pierce Brosnan that was written to help young children better understand the pandemic and what they can do to keep their communities safe.

The last year has seen season-two premieres for two of Genius Brands’ flagship series: Llama Llama premiered globally on Netflix, and Rainbow Rangers debuted on Nick Jr. in the U.S. Rainbow Rangers has also sold internationally to a roster of media partners around the world.

Stan Lee’s Superhero Kindergarten is in production, with the first episode to be completed in March and the series ready to launch shortly thereafter on Kartoon Channel! in the U.S. “We will work with partners in key territories outside of the U.S. on rights for the series,” says Brinder.

The company is also in development on the new series Shaq’s Garage, starring and executive produced by basketball legend Shaquille O’Neal, with an eye to premiere the series in early 2022. There’s also the first Kartoon Channel! original series coming down the pipeline, KC! Pop Quiz, which is in active development under the supervision of David Neuman, Kartoon Channel!’s chief creative officer and former president of Walt Disney Television.

“We will be identifying new properties to develop under our Stan Lee Universe banner,” Brinder adds. “We are constantly on the lookout to acquire key titles for distribution that are in line with our company ethos for global distribution and for our domestic Kartoon Channel! platform.”

She notes that the strategy for maximizing all available windows on a given property shifts depending on the IP. “For us, it isn’t a one-size-fits-all model. Our distribution strategy is really dependent on the property, which we tailor to each series and partner. We are fortunate to be in a position to self-distribute through Kartoon Channel!, given its wide footprint in the U.S. across multiple AVOD and OTT platforms, and are thrilled that we will be premiering Stan Lee’s Superhero Kindergarten on it in the spring. Given that Kartoon Channel! allows us to now own the windowing structure in the U.S., our IP pipeline will have different distribution strategies depending on the series and market opportunities.”

As children and families are consuming more content than ever before, Brinder sees tremendous opportunity for content creators to “meet the appetite for new and engaging value-driven content, and we are doing just that: delivering ‘content with a purpose’ that tells relevant stories for today’s children continues to be our core value.”

The company is also rapidly expanding its digital presence

“We were able to adjust very rapidly to the changing environment.”

—Jessica Brinder via Kartoon Channel! and Kartoon Classroom!, as well as maximizing its windowing structuring. “We are constantly strategizing the balance of global broadcasters, regional broadcasters and streamers per property—all of which offer myriad opportunities, as well as some challenges,” she adds.

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GIGANTO FUN

Giganto Club.

Cyber Group Studios is pioneering the use of real-time animation technology. By Kristin Brzoznowski

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ince opening its doors 15 years ago, Cyber Group Studios has relentlessly pursued new technology that could enhance and enrich storytelling and the overall entertainment experience. “Technological innovation is in the DNA of the company,” says Pierre Sissmann, chairman and CEO. “If you can improve the image, you can immerse your viewers into the stories even better.”

Its use of CG in the preschool series Ozie Boo! was innovative for its time. Zou was among the first shows in the preschool genre to animate the movement of CG grass and fur on an affordable budget. Mini Ninjas mixed 2D and CG and used a scale that could adapt lighting, compositing and the like. For Zorro The Chronicles, the company developed a tool that enabled 100 different animated characters to be featured in the same image without replication. Continuing on its path of innovation, Cyber Group Studios has moved into real-time animation. This new technology accelerates the production process and enables a mutualization of linear series’ animated content across social media, video games and digital games and the production of artwork for toys and other consumer products.

The inspiration to venture into this new territory came following season one of Gigantosaurus, which was accompanied by a video game and ancillary products based on the IP. “When I started to see all the different kinds of content that

we were producing based on the series, I began to think about how we could utilize the pipeline between all of the product and media around Gigantosaurus,” says Olivier Lelardoux, senior VP of studio and associate producer at Cyber Group Studios.

The team began to study the work of Epic Games and its Unreal Engine technology, as well as motion capture. “There are two aspects of real-time animation: motion capture for the animation and the game engines for the 3D real-time rendering, compositing and special effects,” Lelardoux explains.

“We started developing both sides of the global real-time animation pipeline.”

The first result was amazing, Lelardoux says. “We realized that it’s very easy to improve the quality and level of detail in our animation. We also learned that we can produce so much faster through the motion-capture systems and the real-time compositing/special effects/rendering engines. As a creator, it’s amazing to utilize all of these aspects, making sure that there’s a real consistency between all of the platforms you can work with. We’re able to produce very good-quality content for digital platforms and social networks. Also, we are optimizing the budget for traditional series.”

The first series from Cyber Group Studios to make use of this new technology is Giganto Club, an original digital show for YouTube inspired by Gigantosaurus. It allows its dino characters to discuss events that link back to the original show, along with host games, musical segments and more. The series can be live-streamed and can link to Instagram or TikTok to talk directly to kids.

“Because we are using real-time animation, we can not only produce this as a one-off, but we can also produce targeted and individualized versions,” says Sissmann. “If it’s on the air in a given country, we can communicate immediately with the kids in that country, adding a realtime sequence into the show itself. It’s built in two different ways: as a stand-alone comedy program that you can watch, and as a companion to the Gigantosaurus series that kids can participate in.”

Real-time animation is “faster, cheaper and much better quality,” he adds. It also allows the audience to interact with the content in real time and can be localized in any language.

Cyber Group Studios is currently building a large studio in the north of France to support these efforts and will use this real-time animation technology with new IP going forward.

“If you can improve the image, you can immerse your viewers into the stories even better.”

—Pierre Sissmann “We’re passionate about what we’re doing,” says Sissmann.

“We think about how to use technology to tell stories in a better way. We have to follow that trend; anything that helps us immerse viewers even more into our stories is something we should be looking for. We’ve been doing this since the beginning of Cyber Group Studios.”

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FAMILY TIME

WildBrain Spark is a driving force within the burgeoning kids’ AVOD landscape. By Chelsea Regan

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ildBrain Spark, a premium AVOD network aimed at kids and their families, offers a curated selection of titles in a brand-safe environment. The digital media company boasts a commanding presence on YouTube and YouTube Kids, where it has more than 200 million subscribers and over 160,000 videos under management across more than 800 kids’ channels. In addition to rolling out its own projects, WildBrain Spark partners with IP owners looking to connect with global audiences through original content, YouTube and consumer products.

“Kids and families increasingly expect their content to be accessible across multiple platforms and devices via the quick touch of a button,” says Jon Gisby, executive VP and managing director of WildBrain Spark. “The role of AVOD has evolved as a result, and it’s now a common denominator for content that is on linear and SVOD, by offering audiences an engaging catalog, promotional clips and complementary content to support and enhance their viewing.”

Amid the COVID-19 pandemic, viewing habits have shifted.

“Connected TVs [have] quickly outpaced all other types of devices as the primary way to watch video content,” says Gisby. WildBrain Spark’s recent report with nScreen Media found a 41 percent year-over-year increase of WildBrain Spark content watched on connected TVs.

“Kids are watching premium AVOD programming from us in the same way that they used to watch broadcast channels—for long viewing sessions on a big screen,” Gisby adds.

“Furthermore, the co-viewing trend on connected TVs has been accelerated by the pandemic.”

WildBrain Spark’s international network “generates billions of views per month and reaches one in three kids globally on YouTube every 90 days,” according to Gisby. Using its expertise and data science, the company creates, distributes and monetizes content for kids and families via digital platforms. It can build audiences and revenue for IP owners’ existing content and create new digital-first IP while capitalizing on consumer-product synergies, particularly through its sister company WildBrain CPLG. WildBrain Spark’s advertising sales team provides access to its reserved network and ad solutions on YouTube for brands and agencies.

“YouTube is the largest provider of AVOD content and is now deeply embedded in consumer viewing habits,” explains Gisby. “Having an effective AVOD strategy means ‘always-on’ visibility for brands, and it opens up a world of viewing that can build and sustain audiences, keep fans engaged with catalog content or provide a cost-effective way to reinvent classic IP. AVOD is also an ideal ‘on-ramp’ for new IP and creative talent as it enables iterative content development, which is informed by viewer feedback and data.”

The discovery that YouTube enables is vital, with brand advertisers finding it challenging to reach kids and families amid audience fragmentation and the decline of linear ratings.

“Our research shows that nine in ten U.S. parents say free, ad-supported platforms are an important video source for their children, and despite the significant rise in subscription services last year—such as Netflix or Disney+—AVOD services continue to rapidly grow,” Gisby says. “Brand owners are turning to networks like WildBrain Spark for premium, brandsafe content and extensive audience reach, as well as being drawn to the co-viewing audiences.”

As WildBrain Spark rolls out new content in 2021, it also aims to leverage the deep data insights from its network to ensure that its offering is what its audience wants. Using this strategic approach, it has seen the growth of the Ellie Sparkles channels, which attracted an average of 42 million views monthly from September to November 2020, with a majority U.S. audience.

“Having an effective AVOD strategy means ‘always-on’ visibility for brands.”

—Jon Gisby WildBrain Spark also has a new series of Tiddlytubbies in 3D animation launching and is set to further develop the “pencilmation” series Boy & Dragon.

“It’s shaping up to be a busy year for us, with exciting new content projects and collaborations in the pipeline,” says Gisby.

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