TV Kids February (TV Kids Festival) 2022 Edition

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FEBRUARY (TV KIDS FESTIVAL) 2022 EDITION

Kids’ Media Trends / M6 Group’s Philippe Bony / Mattel Television’s Frederic Soulie NBCUniversal’s Chloe Van den Berg / Kidoodle.TV’s Brenda Bisner / Cyber Group Studios’ Innovative Edge

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14 TV KIDS

CONTENTS

Playing for Keeps

FEATURES

STAR GAZING Several leading content sales executives share their perspectives on what’s in store for the kids’ business in 2022.

Like so many other businesses amid Covid-19, World Screen expanded into many new areas over the last two years. But the gains in our already dominant coverage of the kids’ industry may be the thing we’re most proud of.

Ricardo Seguin Guise Publisher Anna Carugati Group Editorial Director Mansha Daswani Editor Kristin Brzoznowski Executive Editor Chelsea Regan Managing Editor Jamie Stalcup Associate 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 ©2022 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvkids.com

We moved into the virtual events business, with the 2022 edition of the TV Kids Festival taking place this month and a TV Kids Summer Festival planned for June.

We produced a raft of our super-popular in-demand reports. We launched the inaugural TV Kids Screenings Festival ahead of MIPCOM and MIPJunior last year, highlighting some of the most compelling new IP on the market today. And there is an awful lot of it, as the growing SVOD landscape, booming AVOD opportunities and continued investments from pubcasters have powered new narrative techniques and an increased focus on diversity and inclusion.

We checked in with several distributors in this edition of TV Kids to hear their perspectives on the prospects for the children’s media business this year. We also spotlight the recipient of this winter’s TV Kids Pioneer Award, M6 Group’s Philippe Bony, on how he is managing the French media company’s portfolio of linear and digital platforms aimed at kids and families. Also in this edition, Frederic Soulie updates us on all the latest developments at Mattel Television, Chloe Van den Berg outlines the strengths of the kids and family entertainment slate at NBCUniversal Global Distribution, and Cyber Group Studios’ Raphaëlle Mathieu reveals what’s next for the company’s expansion plans. We also hear from Brenda Bisner about what’s driving the usage gains at the AVOD platform Kidoodle.TV. What are we keeping our eye on in 2022, outside of when Covid-19 lets us get back to life as usual? Ongoing opportunities in the metaverse are expected to be critical following a range of developments last year, including the digital entertainment and media platform Azerion welcoming WildBrain’s Teletubbies into the online Habbo and Hotel Hideaway games. Producers are also exploring the use of Epic Games’ Unreal Engine technology, with Digital Dimension Entertainment Group and Cyber Group Studios among those receiving Epic MegaGrants.

Don’t forget to stay up-to-date with everything happening in the kids’ media business on our recently rebranded website, TVKids.com.

—Mansha Daswani

GET DAILY NEWS ON KIDS’ PROGRAMMING

TOON TIME Cyber Group Studios’ Raphaëlle Mathieu on what’s next for the company’s always-ambitious undertakings.

INTERVIEWS TV Kids Pioneer Award: Philippe Bony M6 Group

Frederic Soulie Mattel Television

Chloe Van den Berg NBCUniversal Global Distribution

Brenda Bisner Kidoodle.TV

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Interstellar Ella

Aardman The Very Small Creatures / Interstellar Ella / Lloyd of the Flies The Aardman highlight The Very Small Creatures, a brandnew stop-frame series for toddlers, launched successfully on Sky Kids in the U.K. late last year. This year will see the launch of Interstellar Ella, produced by Fabrique Fantastique and Apartment 11. The CGI preschool series was commissioned by VRT Ketnet, Knowledge Kids, Société Radio-Canada, TFO and TVOkids. Aardman also has plans to launch Lloyd of the Flies, its first in-house CGI-produced comedy series for kids ages 7 to 9. “Humor and comedy play a strong part in each of these titles, and we’ve yet to find a buyer who doesn’t appreciate being made to laugh,” says Alison Taylor, director of distribution at Aardman. “The storytelling in each of the programs is incredibly strong, with fantastic and identifiable characters in each.”

“Buyers can always trust Aardman to produce and distribute quality shows.”

—Alison Taylor

Boat Rocker Studios Dino Ranch / Love Monster / The Next Step Boat Rocker Studios’ catalog features Dino Ranch, a preschool series that “portrays the excitement of the great outdoors and is a thrilling combination of dinosaurs and ranchers—topics adored by children around the world,” says Gia DeLaney, senior VP of global sales for kids and family. A second season with new characters, locations and more adventures is slated for this year. Season two of Love Monster, which aims to help children understand and accept their emotions, introduces a new character voiced by Emmy-winning actor Rosamund Pike and sees the return of George Takei’s character, Elder Panda. The tween dance series The Next Step follows the adventures of A-Troupe, combining dynamic dance routines with the daily ups and downs of its characters. “Tweens can be inspired by its aspirational messages,” DeLaney says.

Cyber Group Studios

Love Monster

“All of these shows tap into universal themes that are instantly relatable wherever kids may be watching.”

—Gia DeLaney

Nefertine on the Nile

Nefertine on the Nile / Squared Zebra / 50/50 Heroes Nefertine on the Nile, co-produced with Italy’s Graphilm Entertainment in collaboration with Rai Ragazzi, leads Cyber Group Studios’ highlights. The Egypt-set series sees its heroine help her friends when they’re in trouble. Produced under the French and Russian joint label Cyber Soyuz Junior, Squared Zebra invites kids to discover the world’s beauty and learn it’s okay to be different. The comedy series 50/50 Heroes, which has France Télévisions and Disney Channel (Germany, Eastern Europe) on board as commissioning partners, has presold to ITV in the U.K. “They all are, in their special way, feel-good series,” says Raphaëlle Mathieu, senior VP of sales, acquisitions and new media. “But they are still very different from each other, which enables us to reach different targets and time slots.”

“In 2022, we really want to see much more of our clients in person.”

—Raphaëlle Mathieu

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Alma’s Way

Fred Rogers Productions Daniel Tiger’s Neighborhood / Donkey Hodie / Alma’s Way Fred Rogers Productions’ slate includes two spin-offs of the classic Mr. Rogers’ Neighborhood: Daniel Tiger’s Neighborhood and Donkey Hodie. The animated series Daniel Tiger’s Neighborhood models social-emotional strategies for young children. The puppet show Donkey Hodie, launched in 2021, empowers preschoolers to dream big and overcome obstacles. Also launched in 2021, Alma’s Way, created by Sonia Manzano of Sesame Street fame, centers on a proud, confident Puerto Rican girl and her family living in the Bronx. “Each series has a unique hook, such as singing helpful little songs with Daniel Tiger, persevering with the super exuberant Donkey Hodie and learning to think through dilemmas with Alma Rivera,” says Ellen Doherty, chief creative officer.

“Shows produced by Fred Rogers Productions always have kids’ interests and needs at their heart.”

—Ellen Doherty

Gaumont Stillwater / Do, Re & Mi / Bionic Max Stillwater, a mindfulness show for preschoolers from Gaumont, launched to critical acclaim last year, earning a Daytime Emmy and a Peabody. “We hope it brings tools into kids’ (and parents’) lives that help them cope as they experience life’s little disappointments without losing sight of the greater joys,” says Terry Kalagian, executive VP of creative content for the U.S. Also a preschool series, Do, Re & Mi stars Kristen Bell, Jackie Tohn and Luke Youngblood. A new set of episodes recently launched, and there are two holiday specials. The buddy comedy Bionic Max launched in France and “continues to find new homes across other markets around the world,” Kalagian says. Gaumont will also be launching Samurai Rabbit: The Usagi Chronicles, based on Stan Sakai’s Usagi Yojimbo comics, this year on Netflix.

Do, Re & Mi

“Gaumont, as always, will continue its commitment to develop and produce relevant, engaging stories.”

—Terry Kalagian

GoldBee The Game Catchers / The Muscleteers / Hoodie GoldBee’s highlight The Game Catchers, which has earned high ratings on Rai Yoyo, sees a team of five friends go on an interstellar journey to explore other planets, with the aim of playing and collecting playground games. “This series brings attention back to playground games, promoting an active lifestyle,” says Christophe Goldberger, managing director of GoldBee. For children ages 6 to 9, The Muscleteers provides “a great mix of intrigue and fun,” Goldberger says, as a group of swashbuckling rodents set out to defend their peers and save the day. The live-action series Hoodie, now going into its third season, tells the story of Pieter and his friends, who all secretly become crime fighters using their parkour skills. The series has “current themes relevant to today’s youth,” Goldberger notes.

The Game Catchers

“We continue to offer our partners a diverse slate of high-end kids’ and family programs and movies.”

—Christophe Goldberger

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True and the Rainbow Kingdom

Guru Studio Big Blue / Pikwik Pack / True and the Rainbow Kingdom Guru Studio’s new comedy adventure Big Blue, created by Gyimah Gariba, who was on Forbes magazine’s list of Young African Creatives Rebranding Africa, follows sibling underwater adventurers who lead a submarine crew with a magical fairy stowaway named Bacon Berry. The series aims to redefine what family means and show that caring for each other is the most important thing of all. The preschool program Pikwik Pack centers on themes of working together and sharing joy with those in our communities, “which is really resonating with families,” says Jonathan Abraham, VP of sales and business development. True and the Rainbow Kingdom encourages “children to be mindful, courageous and respectful of all living things,” Abraham says.

“Guru’s roster of original content is continuing to travel worldwide.”

—Jonathan Abraham

Mystery Lane

Hari International Mystery Lane / The Weasy Family / Grizzy & the Lemmings World Tour The Hari International highlight Mystery Lane centers on a brother-and-sister hamster duo who investigate unusual cases in London. The series features “seemingly unfathomable enigmas and revelations that leave you flabbergasted,” says Adeline Tormo, head of sales. Also on Hari International’s slate, The Weasy Family features a teenage weasel burglar who finds himself catapulted into the role of father when he ends up sitting on a large egg that hatches two ducklings. “We like to think that this is the first benevolent slapstick cartoon ever, where no one wants to harm anyone, even when the situation gets out of hand,” Tormo says. The second season of Grizzy & the Lemmings World Tour sees the characters journey back to Canada while making stops in Africa, Asia, Europe, Antarctica and Oceania.

“We are really excited to reveal the first episode of the ambitious series Mystery Lane.”

—Adeline Tormo

Headspinner Productions Denis and Me / Happy House of Frightenstein / My Shadow is Pink The animated series Denis and Me on Headspinner Productions’ slate “is just pure cartoony fun,” says Michelle Melanson, president. “It’s relatable yet truly original at the same time.” Happy House of Frightenstein follows four little monsters and their serpent caregiver as they laugh, play and grow in their castle. In development with author and illustrator Scott Stuart and Sticky Pictures, the preschool series My Shadow is Pink features the themes of expression and acceptance. “My Shadow is Pink has a message that the world needs right now,” Melanson says. “It’s a ‘free to be me’ message that we are proud to be bringing to the world.” Also on Headspinner Productions’ slate are Gardenkeeper Gus, a brand-new preschool podcast for Spotify Kids, and several live-action series currently in late-stage development.

Denis and Me

“We are very proud of what we brought to the market in 2021 and continue to in 2022.”

—Michelle Melanson

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22 TV KIDS

Kidoodle.TV Safe Streaming The AVOD service Kidoodle.TV serves kids under 12 in over 160 countries, with no barrier to entry, so that families everywhere can enjoy its Safe Streaming promise. It houses more than 30,000 episodes, all handpicked and human-vetted, and has a weekly release schedule that debuts 10 to 20 new shows. “Our offering is robust, well organized and evolves as quickly as the attention span of a child,” says Brenda Bisner, chief content officer. The focus is on “needle-moving brands,” she adds, and making sure that Kidoodle.TV is a differentiated offering that kids embrace and parents trust. Gaming content has been a strong addition to the roster, and adding more podcasts and music-based streams is a priority.

“The AVOD space has been growing significantly, and Kidoodle.TV has a major role to play in that happening.”

—Brenda Bisner

Konami Cross Media NY Yu-Gi-Oh! SEVENS / Yu-Gi-Oh! VRAINS / Yu-Gi-Oh! Duel Monsters The latest Yu-Gi-Oh! series, the Konami Cross Media NY highlight Yu-Gi-Oh! SEVENS, features all-new characters and introduces Rush Duels to the Yu-Gi-Oh! universe. “We continue to grow the Yu-Gi-Oh! audience across streaming and broadcast alike, and we are excited for the launch of the latest series in the franchise,” says Kristen Gray, president of Konami Cross Media NY. The third and final season of Yu-Gi-Oh! VRAINS and the popular Yu-Gi-Oh! Duel Monsters series are also on offer from the company.

“Yu-Gi-Oh! ranks among the top 25 highest-grossing media franchises in the industry,” says Gray. “With anime content continuing to drive viewership on streaming services worldwide, it makes sense for buyers to want to work with a known entity that can deliver an audience.”

Yu-Gi-Oh! Duel Monsters

“We are looking to uncover further opportunities in 2022 to engage our gaming fans through different entertainment mediums.”

—Kristen Gray

Mattel Return of Monster High / Deepa & Anoop / Thomas & Friends: All Engines Go At Mattel Television, there are currently 20 shows and specials in production and more than 25 projects in development.

Highlights include the return of Monster High. “We are proudly bringing back our iconic franchise about the children of famous monsters and creatures with a new animated series and liveaction TV-movie musical based on Monster High, the franchise built on the inclusive message of belonging,” says Frederic Soulie, senior VP and general manager of Mattel Television.

Meanwhile, Deepa & Anoop is a new preschool series that follows the adventures of 7-year-old Deepa at her Indian family’s bed-and-breakfast. There’s also a new season of the updated Thomas & Friends series, produced in 2D animation.

The show maintains “Thomas’s core brand ethos, which is all about the importance of friendship,” says Soulie.

Deepa & Anoop

“Each of our brands is built on a core purpose.”

—Frederic Soulie

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NBCUniversal Global Distribution Dragons: The Nine Realms / Take Note / Gabby’s Dollhouse Dragons: The Nine Realms, part of the NBCUniversal Global Distribution slate, is the next chapter in the beloved franchise from DreamWorks Animation. It “has the same adventure and heart as the How to Train Your Dragon films that fans know and love,” says Chloe Van den Berg, senior VP, head of kids and family entertainment at NBCUniversal Global Distribution. Take Note, a Peacock and Sky co-production, has “cross-generational appeal and manages to deftly balance heart with high-stakes Hollywood competition,” Van den Berg says. DreamWorks Animation’s mixed-media series Gabby’s Dollhouse has already proven to be a success, according to Van den Berg, who adds: “With music, friendship and an incredible ensemble cast of cat characters, preschoolers everywhere are falling in love with Gabby and friends.”

“Our upcoming slate and product offering have never been more varied.”

—Chloe Van den Berg

Nelvana

Take Note

Builder Brothers Dream Factory

Super Wish / Builder Brothers Dream Factory / The Dog & Pony Show In Nelvana’s Super Wish, Jesse Cameron accidentally wishes for his birthday party to disappear, leading him and his friends to journey through The Happy Land of Birthdays to reverse his wish and get back home. “The series is the perfect ageappropriate introduction to fantasy for the older-skewing preschool demographic,” says Pam Westman, president of Nelvana. Based on the real-life Property Brothers Drew and Jonathan Scott, Builder Brothers Dream Factory centers on transformation, innovation and resilience. The Dog & Pony Show follows two best friends who leave the fantastical world of Rainbow Fjörd to explore UniCity. “The series’ animation is set against cinematic backdrops, allowing graphic characters to live in realism, helping to bridge the two worlds of younger to older kid demographics,” says Westman.

Studio 100 Media

“Our 2022 plans include the development and production of even more creatordriven series and expansion into other formats and styles of content.”

—Pam Westman

Game Keepers

FriendZSpace / SeaBelievers / Game Keepers The Studio 100 Media highlight FriendZSpace follows best friends and deep-space friend-makers Alice, Leo and Kim and the half-puppy and half-high-tech Swiss army knife BotDog. “FriendZSpace is all about kids and kid culture— alien and human; it’s about embracing our differences and getting into exciting trouble in the process,” says Dorian Bühr, head of global distribution at Studio 100 Media. An ecotainment series, SeaBelievers leads its young viewers on an adventure to save the ocean alongside Amelia and the titular team of underwater superheroes. The live-action series Game Keepers sees teenagers Mats and Sari chosen to play in an action-packed competition for which they must enter an unknown digital gaming world, play a game and defeat the mysterious GameMaster.

“The demand for good entertainment and making people laugh is more prevalent and needed now than ever, and we aim to continue to deliver.”

—Dorian Bühr

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Jade Armor

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TeamTO Jade Armor / Angelo Rules / Presto! School of Magic An action-adventure comedy, TeamTO’s Jade Armor is centered on a teenage heroine with martial arts skills.

Speaking of the comedy series Angelo Rules, Corinne Kouper, senior VP of production and development and cofounder of TeamTO, says, “Broadcasters will be really pleased to have a first-ever Christmas special and another season featuring some really great villains from a brand-new rival school.” Presto! School of Magic is an animated series about real magic that can inspire and teach aspiring young magicians. A new purpose-built, state-of-the-art studio in Paris is also in the works at TeamTO. “Our new workplace will be one of the most environmentally friendly, sustainable studios in the world, implementing a great number of energy-saving protocols across the board,” says Kouper.

“There are several exciting, big project announcements coming up— stay tuned for those!”

—Corinne Kouper

WildBrain Degrassi / Ruby and the Well / Princess Mirror-Belle A brand-new version of WildBrain’s award-winning youth franchise Degrassi has been commissioned by WarnerMedia Kids & Family for HBO Max. The reboot, “while staying true to the fundamental honesty, humanity and integrity of the brand, promises fans a journey into exciting new territory, both creatively and dramatically,” says Caroline Tyre, VP of global sales and rights strategy. Ruby and the Well, a cinematic liveaction series set to launch on Family Channel in Canada this year, highlights the importance of helping one another. “We know there is a real demand for thoughtful live action that captivates imaginations for this age group, and Ruby and the Well certainly fits this category.” Princess Mirror-Belle, the first-ever live-action adaptation of the best-selling books by Julia Donaldson, recently made its debut on the BBC in the U.K.

Princess Mirror-Belle

“For 2022, we’ll continue adapting and responding to the rapid changes we’ve seen in how kids and families consume content.”

—Caroline Tyre

Shorty and the Legend of the Enchanted Reef

ZDF Enterprises Shorty and the Legend of the Enchanted Reef / Scream Street / School of Roars Among the kids’ titles that ZDF Enterprises (ZDFE) is representing in the international market, Shorty and the Legend of the Enchanted Reef is an animated film about the titular clumsy but energetic reef fish, his clever sister Indigo and a daring sawfish named Jake. Now in its second season, Scream Street, based on the book series by Tommy Donbavand, follows a regular teenager with a werewolf gene. “A recurring narrative is the importance of being who you are, but the themes and messages are delivered with plenty of humor, wit and some kick-ass moves, too,” says Peter Lang, VP ZDFE.junior. The preschool series School of Roars explores a child’s first year at school through mini monsters and their teacher Miss Grizzlesniff, who delivers lessons on math, music and more.

“We have lots of terrific programs to choose from, catering to preschoolers through to 6- to 10year-olds.”

—Peter Lang

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Studio 100 Media’s FriendZSpace.

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TV KIDS

STAR GAZING Several leading distributors share with Mansha Daswani their thoughts on what 2022 holds for the global kids’ content business.

T

he British kids’ content industry was dealt a significant blow last month when the Department for Digital, Culture, Media & Sport said it was pulling the plug on the Young Audiences Content Fund following a three-year pilot program. The fund had helped support 144 development projects and 55 brand-new productions.

“These have considerably enhanced the public-service offering of CITV, Channel 5’s Milkshake!, Channel 4, S4C and others,” said Anna Home, chair of the Children’s Media Foundation. “Now we face a definite decrease in the number and range of programs being made for young people in the U.K. We could very quickly be back where we started three years ago, with the BBC as the only body commissioning content for children. And in fact, it’s worse, as the BBC is facing government-imposed budget cuts of its own over the next few years, too.” Indeed, the BBC learned last month that its license fee would be frozen for the next two years.

As pubcasters and commercial linear channels look to new funding models to survive in this environment, the streamers continue to exert their influence on the industry. The streaming wars kicking into high gear last year, and continuing into 2022, is the industry development that most impacted distributors’ businesses last year.

“Everyone can agree that the rollout of Disney+ and other streamers across several international regions changed the dynamics of the children’s TV industry in 2021,” says Cécilia Rossignol, executive VP of international sales and development at Gaumont France.

For Martin Krieger, CEO at Studio 100 Media, the trend that had the most significant impact on his business last year was the fast growth in the AVOD space, “with more and more players emerging and global players like ViacomCBS/Pluto TV and Comcast/Xumo being part of it,” he says. “FAST channels were not a significant part of our business in 2021, as we were testing the waters. For 2022, we will actively be pursuing an ambitious strategy to push and expand our activities in this area.”

Christophe Goldberger, managing director of indie distributor GoldBee, also has his eye on AVOD developments, projecting some consolidation in that space this year “as the business matures and revenues increase—but not all of them will survive in a very competitive environment,” he observes.

The overall growth of the streaming business, he notes, “has had a significant impact on our business, as we have seen a growing appetite for our renowned IPs,” on both the liveaction and animated sides of the company’s catalog.

FLIPPING THE SCRIPT However, while the opportunities created by the streamers have been immense, they are not without their complications.

“With financing for new kids’ shows largely coming from digital streamers, the challenge of retaining secondwindow and licensing and merchandising rights continues to have an impact on independent studios,” observes Jonathan Abraham, the VP of sales and business development at Guru Studio. “Studios like ours that continue to develop incredible new IP are having to get more creative with how financing gets pulled together.”

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GoldBee’s slate includes The Muscleteers, which it sells in select territories for ZDF Enterprises.

Guru Studio has begun rolling out its new kids’ comedy Big Blue.

Gaumont’s lineup includes the beloved Belle and Sebastian animated series.

Indeed, funding models continue to evolve as the marketplace adapts to a raft of new players. “We are seeing fewer prebuys from linear channels as they contemplate shifting to a VOD-first strategy, which naturally locks up territory VOD rights,” Abraham continues. “It’s a paradigm shift as broadcasters change their business model. In the end, we’ll have to do what we do best in the animation community and think creatively to build out new financing models from a broader range of potential funding partners.”

In terms of content trends, meanwhile, Gaumont’s Rossignol highlights the enduring demand for “big franchise brands,” especially among streaming platforms. “These established brands that strongly resonate across the kids’ and family demo contribute to the elevation of the individual streamer’s brand, playing a major role in their ability to deliver upon their customer value propositions. Never was this more evident than during the period of successive lockdowns around the world, when we saw families, in record numbers, come together to enjoy the co-viewing experience while in the safety and comfort of their own homes. As we continue to navigate our way through what we hope will be the end of this challenging time, this trend continues, and therefore, the search for the right intellectual property is on!”

Goldberger cites a growing demand for “positive and joyful kids’ programs,” especially since the onset of the pandemic. “We have received a very positive response to our newly launched preschool IP The Game Catchers, which promotes games, friendship and an active lifestyle with adventures full of laughter.”

At Studio 100, as demand from platforms surges, the company will be looking to expand its content output, Krieger reports. This includes a second season of the 100% Wolf franchise after the first batch of episodes sold to almost 100 countries, including Australia (ABC), Germany (Super RTL), France (Gulli), the U.S. (IMDb TV) and China (Tencent). It is also gearing up to roll out FriendZSpace, which wraps production this year, and Vegesaurs, a key pillar in the company’s efforts to expand its licensing and merchandising business.

“We own a strong portfolio of IPs and have recently added high-value third-party licenses to it,” Krieger says. “This will push our L&M business even further in 2022.”

For Abraham at Guru, the priority this year will be “pursuing projects that are best suited to leverage our strengths as a production, distribution and brand-building entertainment company,” he says. “We’re looking at a wide variety of projects from potential partners [seeking] help with anything from early-stage development, production, distribution or financing. We’re also actively looking at some interesting partnership opportunities on new IP with emerging players in the toy and L&M space.”

The key, Abraham adds, remains in “adapting to the changing landscape and keeping your finger on the pulse.”

Gaumont’s Rossignol also offers up a big-picture take on navigating the complexities of the business this year. “In 2022, decision-makers and the industry as a whole have an opportunity to take a breath and consider the purpose content holds for young viewers and parents in addition to the question of: What do they want to watch and why? It is this back-to-basics approach that will guide us as we forge a new path forward, applying all we have learned over the last two years—it is about thinking differently as we push the creative process to new heights.”

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TV KIDS PIONEER AWARD

Philippe Bony everyone can broadcast whatever they want all over the world. The landscape has changed a lot, but we are still in the same business at the end of the day. It’s always about selecting, acquiring and producing the best content and finding the right moment and the right way to market the content to the public.

By Anna Carugati

P

hilippe Bony has been working in the media industry in France for his entire career, starting with the linear channel Paris Première and later for the satellite platform TPS. He joined the M6 Group in 2005 and today serves as general manager in charge of thematic channels and president of the successful kids’ and family channel Gulli.

At the TV Kids Festival, Bony is being awarded the TV Kids Pioneer Award for his contributions to the children’s programming industry. He talks to TV Kids about reaching children and families on linear and nonlinear platforms and supporting the French animation industry.

TV KIDS: The media landscape in France has changed a lot since you started in the business. How much more competition is there?

BONY: We have come from scarcity to a tremendous abundance of opportunities [to offer programming]. Now

TV KIDS: Are linear channels still an important destination for children and families?

BONY: It was already important five or ten years ago to invest in nonlinear distribution. Now, it’s crucial, especially when you are working for kids. We think the combination of linear and nonlinear viewing is still a good [way] to reach children and families. In France, kids’ consumption is more and more [moving] to nonlinear, [even if] sometimes the nonlinear services [are viewed on the traditional] TV set. And when it comes to co-viewing with brothers and sisters or parents, it’s still on the television and linear programs most of the time. We see that the combination of the two is the best way to reach the whole family. It also gives children the opportunity to choose whatever they want at any moment of the day.

On nonlinear, we have developed our catch-up service, Gulli Replay, and we are trying to enhance the volume of programs available on this service. We are also trying to provide some other services, for example, gaming, which is also available on our platform. We have also developed an SVOD platform called GulliMax, which provides about 5,000 videos every month. We have reached about 3 million subscribers in France. Gulli Replay and GulliMax are dedicated specifically to children. Our competitors in the streaming business are international platforms, which are general-entertainment [offerings], whether it is Netflix or Disney+ or any other.

They have very strong programs dedicated to children, but globally, they are general-entertainment platforms.

With GulliMax and Gulli Replay, you know that all the programs will be only for children, and there is no program that is not appropriate for children. We think we have to develop a different experience for children on linear TV. Television provides the opportunity to broadcast new animation shows, which, of course, we do, but, in addition to that, we have a lot of entertainment shows, game shows, a lot of things that we can produce. It’s also a way to accompany the children throughout the day before they go to school and when they come back.

At the end of 2021, we launched a daily show, Gu’Live, to help children participate with the channel with interactive game shows. It’s important to continue to have this interaction with the children. That’s the strength of our linear TV [channels] compared to what we can provide on our nonlinear platforms, which is more [about watching] your best heroes and your best animation shows whenever you want.

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Cyber Group Studios’ Mini Ninjas is currently airing on Canal J.

TV KIDS: Besides providing fun and entertainment, what responsibility have you felt toward children and families during these past two challenging years?

BONY: This period has been very challenging for everyone, but it was also an opportunity to focus more precisely on what was most important. I think it was the same for companies. At our channels, we have tried to rethink the meaning of our messages, enhance the strong values that we want to share [through] our programs, and strengthen our social commitments. I think it’s working quite well, especially on our linear channels, [in part] because we have a generation that is very committed. [This was not] the case in the past, but now we think all the children are very committed to many topics: the planet, animals and the way they behave. It’s very easy to interact with them on social networks—we have developed ours, which are very important to share our views with them—and

Polly Pocket, from the Mattel Television slate, is broadcast on free TV on Gulli and pay TV on Tiji.

through programs on our channels. This is a committed generation, and it’s a chance for us and [our] duty to try to create the world they want to live in in the future. And they are ready for that. It’s a big moment to share that with families and children. In 2021, we were nominated as the favorite channel by families in France. That was the fourth year in a row that we got this nomination, so I think we have succeeded in helping families cope during this period and helping children find a new way to interact with programs and TV. TV KIDS: How have Gulli and the other brands in your portfolio been helping the French animation market?

That’s also a significant commitment you have taken on.

BONY: Yes, you are right. It’s a commitment. It has been very difficult for some of the producers. Everyone has had to rethink how to produce and develop new programs. Our first decision was to maintain our investments, do whatever it takes and help producers during this period. In France, we [are lucky to] have many producers and a great ecosystem. We have sustained this system. [Across] all our channels, we have transmitted something like 30,000 hours of French animation all around the world. We are the number one broadcaster of French animation around the world, and we are proud of that. We have about 20 different French animation shows either in active development or in production.

TV KIDS: You mentioned you provide a global outlet for French animation. Looking beyond France, what growth opportunities do you see for the international channels in your portfolio?

BONY: The international channels are really important for us and French animation. We are quite successful in different parts of the world, especially in Africa. We have an agreement with Canal+ for the distribution of Gulli Africa in about 25 countries. The channel is very successful there. During this pandemic, UNESCO has selected us to be part of a global coalition for education, especially in Africa. We have done a lot of promotions to tell families that children need to go back to school

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the best of French animation. We try to [create an offer] for each specific region with French animation and local productions.

TV KIDS: What have been the biggest surprises and the most satisfying experiences throughout your career?

BONY: With regard to animation programs, it’s the fact that I had the wonderful chance to produce two CGI animation feature films adapted from the famous comic book Asterix. Asterix is an iconic hero, and when I was a kid, I used to read the comic books, and I couldn’t have imagined at the time that I would be able to work very closely with the author, René Goscinny. It’s been a dream come true.

Gaumont’s Bionic Max is part of the Gulli lineup.

after the pandemic, especially girls. Africa is still a growing market. We are also very developed in some other parts of the world. One year ago, we launched a channel in Brazil. We are also present in the Middle East with Gulli Bil Arabi. We are present in Russia and all the countries around Russia with two channels, Gulli Girl and Tiji. We have around 20 million subscribers in these different territories, and we still have expansion there. In early 2022, we will launch a new channel in Kazakhstan, Tiji, in the Kazakh language. We still have some growth. It is also an opportunity for us to share

TV KIDS: Do you still enjoy working in this field?

BONY: It is very challenging to produce for kids. Kids are changing faster and faster.

What is fascinating is that now when you are launching a new show and start the first sentence on a white page, you know that you are working for the next generation. You need to anticipate their behaviors, tastes and interests, which are changing so quickly. You know [it will be] several years before you can broadcast the show and that a lot of things will have changed. It’s interesting to try to anticipate that. You need to be lucky because you never know which way the world will go. So it is really exciting to work for children and help them discover this new world.

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SOULIE: Thomas & Friends: All Engines Go premiered last fall on Cartoon Network and is now available on Netflix in the U.S. and with linear broadcast and streaming partners globally. The new series introduces an entirely new look and feel to Thomas & Friends content and features new art direction, more physical comedy and a greater range of character expressiveness. It is crafted to appeal to contemporary audiences’ sensibilities while maintaining Thomas’s core brand ethos about the importance of friendship.

Cartoon Network saw strong performances across various regions, as did Milkshake! in the U.K. The series was also number one in its slot in Canada on Treehouse TV. We also debuted Thomas & Friends: Race for the Sodor Cup on Cartoon Network and with additional global distribution plans to be announced. The action-packed adventure introduces new characters, a collection of new songs and plenty of train-racing fun. We are already at work producing new seasons and specials.

Frederic Soulie Mattel Television

By Kristin Brzoznowski

ith venerable brands such as Barbie, Thomas & Friends, Polly Pocket, Fireman Sam and Bob the Builder, there is a true trove for Mattel Television to mine from. The television production division of Mattel has been bringing these beloved, well-known properties to the screen in TV series and specials, telling new stories and introducing fresh characters along the way. It is also delivering brand-new, original IP and building out its slate beyond animation into broader live-action offerings. Frederic Soulie, senior VP and general manager of Mattel Television, tells TV Kids about the latest developments.

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TV KIDS: What’s the strategy for mining Mattel’s vast IP portfolio for characters and franchises ripe for episodic programming and TV specials?

SOULIE: At Mattel Television, we believe the best stories have universal themes that transcend generations and languages. Our various franchises are each built on a strong purpose, which creates universal appeal. We also make sure that our storytelling is visually dynamic.

Barbie inspires the limitless potential in every child.

Masters of the Universe encourages each of us to become the best version of ourselves. Thomas & Friends is all about the importance of friendship. These broader brand purposes are threaded throughout each piece of content we create.

TV KIDS: How have audiences embraced the new-look Thomas series in 2D animation?

TV KIDS: What are the latest developments in the Barbie programming franchise?

SOULIE: In 2021, we premiered two Barbie specials on Netflix: Barbie & Chelsea: The Lost Birthday and Barbie: Big City, Big Dreams, both of which debuted in the top ten.

Both specials also debuted on broadcast internationally.

We have barely scratched the surface of the stories the Barbie brand can tell, and we have a variety of scripted and unscripted Barbie projects in production and development.

We look forward to sharing the upcoming Barbie content with some all-new and returning faces in 2022.

TV KIDS: What is the approach for producing outside of known IP? SOULIE: Mattel Television is focused on engaging audiences through timely and compelling episodic content and TV movies. Mattel’s purpose across all our franchises is to empower the next generation to explore the wonder of childhood and reach their full potential. As part of that commitment, we continue to find ways to represent the diverse world we live in through the content we create. It is a priority for us to tell diverse stories authentically, making sure to include subject-matter experts through all areas of production, in order to design content that reflects the world around us.

TV KIDS: Is live action going to be more of a focus as you look ahead?

SOULIE: At Mattel, we have a treasure trove of brands that offers numerous opportunities to create great television across both live action and animation. Live action is definitely a priority for our overall television slate. We are also developing a robust unscripted slate, including a game show based on Pictionary that was recently picked up for a full season on all FOX-owned stations.

TV KIDS: What else is coming down the pipeline?

SOULIE: We have an all-new animated series and liveaction television-movie musical based on Monster High with our partners at Nickelodeon. We also will debut new seasons of Polly Pocket and Fireman Sam on linear TV and streaming platforms around the world, and Deepa & Anoop, a new preschool series and the first piece of Mattel Television content based on all-new IP.

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time ever, expertly weaving the adventure and heart at the core of How to Train Your Dragon with the modern-day hopes and dreams of a diverse teenage cast. In Madagascar: A Little Wild, we’ve aged the four dynamos from the films down to their younger selves and opened up the big world of New York City for them to explore and chase their even bigger dreams. The series is effortlessly inclusive through its representation of deaf characters, as well as meaningful LGBTQ+ storylines, sharing messages of acceptance and positivity throughout.

Peacock is also breaking new ground with its original kids’ programming. Featuring a foot-tapping, handclapping, sing-along world of music, dance and play, Babble Bop! is a one-of-a-kind musical jamboree, bringing a new take on classic nursery rhymes for the preschool set. The series uses motion capture in the animation to get the characters dancing and moving like real kids.

Take Note is a scripted dramedy/musical talent show that is truly different from anything we’ve ever seen before.

The series showcases a loving family that sticks together and a young boy who gets to live out his dreams, showing audiences that dreams can come true.

Peacock and Sky Kids’ co-production The Makery is a live-action and CGI combination series, which gives it a very different feel. Each themed episode shows the host taking viewers on a baking and creative adventure—whether it be scribbling in a sketchpad or cooking up tasty treats in the

Chloe Van den Berg NBCUniversal Global Distribution T

By Kristin Brzoznowski

he kids and family slate from NBCUniversal Global Distribution features a bevy of brands, including those based on iconic DreamWorks IP. From Dragons to Madagascar, Trolls to Jurassic World, core film franchises have been given new life through animated series that are resonating with kids across the globe. Alongside this known IP, there are fresh, original properties creating legions of fans all their own, Gabby’s Dollhouse among them. Chloe Van den Berg, senior VP, head of kids and family entertainment at NBCUniversal Global Distribution, shares insights about the boundary-pushing animation and storytelling found at the heart of these properties and more.

TV KIDS: How has NBCUniversal’s kids and family programming pushed boundaries?

VAN DEN BERG: DreamWorks is consistently pushing boundaries in animation and storytelling with its breadth of style and constant innovation of its original content and core franchises. The immensely popular Gabby’s Dollhouse is taking the world by storm with its magical and adorable world of cat characters, and its live-action/animated hybrid style is a first for the studio. Kids are loving Gabby in both forms, and we can’t wait to share more of her cat-tastic adventures with audiences around the world.

In regard to core franchises, Dragons and Madagascar come to mind. In Dragons: The Nine Realms, DreamWorks has catapulted the franchise into modern times for the first

kitchen—that educates children through play and inspires them to explore their imagination and creativity.

TV KIDS: What are some of the new TV properties that continue to build from DreamWorks film franchises?

VAN DEN BERG: Dragons: The Nine Realms is new for 6- to 11-year-olds and co-viewing, and Dragons Rescue Riders: Heroes of the Sky is for preschoolers. [There are also] The Croods: Family Tree; Madagascar: A Little Wild, which has been really successful for us; and, of course, TrollsTopia, following on from Trolls World Tour.

TV KIDS: Tell us about some of the original IP. VAN DEN BERG: Gabby’s Dollhouse was a phenomenal success and a global brand for NBCUniversal; it was treated with as much love and focus as, say, Jurassic World: Camp Cretaceous, which was a global brand based on known IP.

TV KIDS: What do you look for in a broadcast or streaming home for one of your beloved properties?

VAN DEN BERG: Partnership. We want to work with our partners to make sure we’re supporting them [to] drive awareness of the shows to help deliver ratings for their platforms.

When our beloved franchises stay with our long-standing partners, this is incredibly important to us—and to our partners. Kids know where to find the shows, and we know what our partners need to support them.

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Brenda Bisner Kidoodle.TV BISNER: The AVOD space has been growing significantly, and Kidoodle.TV has a major role to play in that happening. As we look at the AVOD landscape, there is a focus on differentiation, value-add and, of course, partnerships that are supportive. The focus for us is to keep growing and supporting families and their children globally while elevating our relevance in the AVOD space with our partnerships and brands.

TV KIDS: What are some of the factors you see driving the growth of AVOD? BISNER: The objective from all companies is to get their content distributed more broadly in the AVOD space, which makes the convincing of granting those rights easier. Our reputation has been wildly celebrated as we have been, and remain, a new revenue stream for companies. The driving factors always start with our intuitive product, which we are proud to offer, matched with excellent content and discoverability—all areas we are focused on as we look to cater to families’ needs in the screen-time world we live in.

TV KIDS: How has Kidoodle.TV grown and evolved with the needs of kids over the last few years?

BISNER: In the last two years, we have seen incredible growth of our audience and that we are a trusted place for families. Covid-19 had a lot to do with that; however, so did cord-cutting. Parents aren’t living in the dark when it comes to the dangers children face while online streaming. It takes a second for something to go wrong, and streaming is no different. Our Safe Streaming mission combats that concern. We know parents want their kids to have access easily and be safe, and those reasons will continue to be guided by the principle that every child deserves to have a safe place to watch content.

By Kristin Brzoznowski

he creators of the Safe Streaming movement for kids, Kidoodle.TV is a tech company that has been on the map since 2012 and has paved the way in the AVOD space as a leader. Its programming is handpicked and human-vetted and does not rely on computer algorithms. Kidoodle.TV is focused on needle-moving brands that kids love and advertising partners want to be associated with. Brenda Bisner, chief content officer at Kidoodle.TV, talks to TV Kids about the strengths of the AVOD model and what’s ahead for the platform.

T

TV KIDS: With the proliferation of AVOD platforms for kids over the last couple of years, how is Kidoodle.TV positioned to stand out in the marketplace?

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

BISNER: Every day, there is reinforcement in the press about the dangers that children face online, further elevating the need for the important work we do to keep kids Safe Streaming. It has been said time and time again: When you cross the street, you hold your child’s hand, which is exactly what we do. Our human-driven approach is something we work hard on for a reason.

TV KIDS: Tell me about the Kidoodle.TV content slate.

BISNER: With pride, we are offering today over 30,000 episodes of content. We have a weekly release schedule that debuts 10 to 20 new shows. Our offering is robust, well organized and evolves as quickly as the attention span of a child. We work to ensure that not just the top brands are on Kidoodle.TV, but also that favorites from all over are accessible. We are actively closing many deals a week, which will remain focused on needlemoving brands.

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TV KIDS: What’s guiding the current acquisition strategy?

BISNER: When we look at any brand, we are looking at the content plus who the partner is. We do a lot of the heavy lifting, and we expect our partners to also contribute to that success. It’s important that any company and brand in the AVOD space has a social media strategy that can be tapped into and delivered in a meaningful way to today’s busy parents. Big brands will have the most success because they are known. The fun comes when we find a new gem that thrives and sits competitively with the major brands. We are not a niche channel; we serve kids under 12 in over 160 countries, so we are always looking at a lot. Last year, our gaming offering grew over 500 percent, and this year, we will be ramping that area up even more.

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

BISNER: Diversity in content is grossly underserved in general. Viral content that shows real kids from many parts of the world is something that is exciting for us to watch and gather for our audience. Gaming content is also a strong sector for us; anything from Roblox to Minecraft gamers continues to thrive as kids grow stronger in those communities. We are currently rolling out some more major brands and will continue that process throughout the year. In addition, movies are something we plan to increase as we look to marketing moments and events to drive viewership.

TV KIDS: What’s on the planner with regard to original programming?

BISNER: We have had a lot of fun with originals and rolled out three additional ones in Q4 last year. It’s an important part of our strategy and a great way for new creators to make an impact and create.

Supporting the talent making content is something we care about, and Kidoodle.TV’s values are something the community is excited about. We will continue to deliver unique content in new ways, as the production models have drastically changed since the emergence of the AVOD space in general. We are committed to growing in this area and changing the way content gets made.

TV KIDS: What does Kidoodle.TV offer to producers and distributors that makes it a great partner for brands?

BISNER: We always say, “Welcome to the Kidoodle.TV family,” when we engage with a new partner, and we mean it. We work very hard to be accessible to our partners so we can contribute to the success of content and the mission of Safe Streaming globally for kids and families. We have a very competitive business model, matched with extraordinary reach and a quality experience. The team is dedicated to this important work, and that shows in all areas of the business, including advertising. Last year we also rolled out a back-end analytics portal, making us the first in the AVOD space [to do so], and our partners love it. The goal was to have a transparent view on performance so not only could decisions on support be made in real time, but our partners could participate.

TV KIDS: Podcasts have been a new area for Kidoodle.TV. What other formats and types of content does Kidoodle.TV want to bring to kids outside of traditional episodic programming?

BISNER: The audio experience is a no-brainer when it comes to the screen-time fatigue we all feel. Studying the podcast space has continuously pointed to it being a strong trend, and we were one of the first to roll that out. Adding more podcasts is a focus, as is more musicbased streams. We have found that when we have a user, they make Kidoodle.TV part of their life. Music and podcasts support that growth.

TV KIDS: How are you working to grow the reach of the platform so that it can be enjoyed by as many kids as possible around the world?

BISNER: Connected TVs, along with iOS and Android, have always been our point of entry for families and will continue to be a major focus of expansion, as well as other new areas. Looking at the AVOD space in general, there are a lot of choices, and we will continue to work on new ways to break through the clutter and evolve as fast as the space is.

TV KIDS: Is localizing for international markets going to increase in focus as well?

BISNER: We know that families’ first language may not be English, and we know that we have families in over 160 countries enjoying the service. We will be adding more language content and strategic marketing to support those languages in key markets.

The Kidoodle.TV AVOD platform serves kids under 12 in more than 160 countries around the world.

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TOON TIME Squared Zebra

Raphaëlle Mathieu on what’s next for Cyber Group Studios’ always-ambitious undertakings.

By Chelsea Regan

C

yber Group Studios’ central aim is to deliver content to as many kids in as many markets across the globe as possible. Over the years, the company has been steadily growing its reach in keeping with that mission. “We launched the company producing and distributing preschool CGI with Ozie Boo and Zou,” says Raphaëlle Mathieu, senior VP of sales, acquisitions and new media.

“Then we went into bridge with Tales of Tatonka and jumped into the kids’ area thanks to Zorro the Chronicles.

We headed into 2D thanks to Mirette Investigates and to 2D cartoon thanks to Taffy, a Boomerang original series co-developed and co-produced with Turner International; and, of course, we reached another level thanks to the adaptation of Gigantosaurus, our hit series.”

Keen to work with independent producers to distribute their productions—and to co-produce with them when it makes sense—Cyber Group has partnered with Media Valley for Ernest & Rebecca, commissioned by TF1 and ZDF; and La Chouette Compagnie and Supamonks Studio, with which the company coproduced Droners, commissioned by TF1 in France and WDR in Germany.

“We look for partners with passion and projects that are complementary to our own in-house productions and

development,” explains Mathieu, pointing to a partnership with Graphilm Entertainment in Italy that led to the coproduction of the animated Nefertine on the Nile series for Rai. “We are also very happy to have structured a strategic partnership with the Russian studio Soyuzmultfilm and to have launched the joint label Cyber Soyuz Junior, starting with two wonderful series: Orange Moo Cow and Squared Zebra.”

As part of its strategy to connect to kids around the world, Cyber Group Studios has explored new genres and animation techniques, including cartoon. “This is a very specific genre in which we had a strong will to work but literally no experience,” says Mathieu. “We worked with the talented director Ahmed Guerrouache and are so happy with the result that we are now developing another original series with him.”

Book adaptations have been particularly successful for Cyber Group. Gigantosaurus, based on the book by Jonny Duddle, has been translated into 29 languages and is available in 194 territories. Last fall, it was awarded the 2021 Export Award for animation by UniFrance. “When we adapt a book, there is a lot of creative work involved to bring the series to life,” says Mathieu. “Very often, one single book must be adapted into a total of 52 episodes of 11 minutes each. We believe that the storytelling will naturally bring its own style. The development team attached to the project will work very hard to make sure we adopt the right storytelling for each story and genre.”

To reach older children, Cyber Group is looking to delve into the anime style of animation that has proven popular with the demographic. “That is quite a challenge and definitely our next one,” says Mathieu. “We trust as well that older kids tend to watch more serialized content that the streamers offer more easily than [traditional] broadcasters. Therefore, we are developing huge brands with Final Fantasy IX, for example, and original series we will soon be at liberty to discuss.”

Currently in internal development, Cyber Group is working to make Final Fantasy IX “the best show that will conquer the original fans and will bring a new generation of kids on these original adventures. Pierre Belaïsch [senior VP of creative development] and his team are working very hard to bring us in the coming months cutting-edge new programs in directions you are not used to finding at Cyber Group Studios!”

Top of mind for Cyber Group Studios as it looks to the year ahead are the following priorities, according to Mathieu: “Keep on being multi-local. Keep on looking for talent everywhere.

“When we adapt a book, there is a lot of creative work involved to bring the series to life.”

—Raphaëlle Mathieu Work even more with the talent we are already working with.

Remain humble and open-minded. Test and try to learn and create in all areas. Keep talking to the heart of kids and families. Never forget that we have a strong responsibility to kids and their families. Never forget that we are so lucky to work in our industry.”

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