TV Kids MIP Junior and MIPCOM 2019

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TVKIDS

WWW.TVKIDS.WS

OCTOBER 2019

MIPJUNIOR & MIPCOM EDITION

Financing / Commissioners / Gender-Neutral Shows / Asian Animation / Kids Trendsetters / Nickelodeon’s Brian Robbins / Arnold Schwarzenegger Genius Brands International Special Report / Steven Universe’s Rebecca Sugar / BLE Special Report / Cyber Group’s Pierre Sissmann / Studio 100’s Hans Bourlon Zodiak Kids’ Benoit di Sabatino / Mattel’s Christopher Keenan / The Rocketeer’s Nicole Dubuc / Kidoodle.TV’s Brenda Bisner

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CONTENTS

Long-Lasting Hits Have you heard the buzz about the upcoming reboot of Disney Channel’s Lizzie McGuire? If you’re not a millennial or the parent of one, then probably not. But the news that Hilary Duff is reprising her role has a lot of 20- and 30-somethings quite excited.

Ricardo Seguin Guise Publisher Anna Carugati Group Editorial Director Mansha Daswani Editor Kristin Brzoznowski Executive Editor Chelsea Regan Alison Skilton Associate Editors David Diehl Production & Design Director Phyllis Q. Busell Art 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 ©2019 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvkids.ws

I learned about it from my son, who loved the show when it aired from 2001 to 2004. Lizzie was a typical 13-year-old, navigating the challenges of middle school while dealing with her annoying younger brother and interfering mother.

Even if Lizzie didn’t openly say what she was thinking, the viewers always knew. An animated Lizzie alter-ego popped up to do the talking for her. The reboot, which will run on Disney+ next year, will see 30-year-old Lizzie living in Brooklyn, navigating millennial life. When my son excitedly told me that Lizzie was coming back, I asked him what appealed to him about the series. He said it was funny, even cheesy, but he loved that Lizzie was so genuine. Most important to him, “the show didn’t make you feel you had to be a certain way.” It offered another 13-year-old the comfort that he was OK the way he was.

Lizzie McGuire embodies several of the elements writers and producers strive to include in the shows they create. First, it had impact. The excitement over news of the reboot illustrates how much kids cared about the show when it aired.

Second, it has staying power. The viewers who enjoyed it then want to revisit it today. Third, long before empowering girls became a topic of conversation, Lizzie McGuire had a girl as the lead character.

We examine all these factors in this issue of TV Kids. We hear from buyers who want fun shows that will engage youngsters. We learn about the increasing importance of gender-neutral shows. Plus, distributors share their new financing formulas and the impact streaming services are having on business models.

Arnold Schwarzenegger, who knows a thing or two about characters with long-lasting resonance, tells us about his new role as Captain Courage in Stan Lee’s Superhero Kindergarten. Brian Robbins discusses his content strategies at Nickelodeon. Rebecca Sugar tells us about the Cartoon Network megahit Steven Universe. We also hear from a range of other production and distribution executives.

A recurring theme is the desire to offer programming that will have a beneficial influence on children, and that they will remember into their adult years.

—Anna Carugati

GET DAILY NEWS ON KIDS’ PROGRAMMING

FEATURES 78 MONEY MATTERS 88 SNIFFING OUT A HIT 98 FUN FOR ALL 108 TOONING IN TO ASIA 145 KIDS TRENDSETTERS

SPECIAL REPORTS 37 GENIUS BRANDS Interviews with Andy Heyward, Caroline Tyre and Lloyd Mintz.

109 BRAND LICENSING EUROPE Trends in the L&M business, plus an interview with Toon2Tango’s Hans Ulrich Stoef.

INTERVIEWS

130

Nickelodeon’s Brian Robbins

134

Arnold Schwarzenegger

136

Steven Universe’s Rebecca Sugar

138

Cyber Group’s Pierre Sissmann

140

Studio 100’s Hans Bourlon

142

Zodiak Kids’ Benoit di Sabatino

150

Mattel’s Christopher Keenan

154

The Rocketeer’s Nicole Dubuc

156

Kidoodle.TV’s Brenda Bisner

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SALES ENQUIRIES: SALES@SERIOUSLUNCH.CO.UK / WWW.SERIOUSLUNCH.CO.UK

52 X 11’ LONDON

© Copyright 2019 Pipkins Productions Limited.

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© 2018 Monkey TV Holdings Pty Ltd, Monkey New Zealand Limited, Screen Australia & Create NSW.

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2018-2019 Daytime Emmy® Nominee Outstanding Cinematography Outstanding Sound Mixing Outstanding Sound Editing for a Live Action Programme 2018-2019 Daytime Emmy® Winner Outstanding Costume Design/Styling

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Book Hungry Bears 36 TV KIDS

9 Story Distribution Clifford the Big Red Dog / Xavier Riddle and the Secret Museum / Book Hungry Bears 9 Story Distribution is presenting to the marketplace Clifford the Big Red Dog, a fresh take on Scholastic’s iconic book property. The design approach has been updated, and there’s more humor and a contemporary spin on the characters, according to Alix Wiseman, 9 Story’s senior VP of distribution and acquisitions. “Emily Elizabeth, for example, has been realized as a stronger and more independent character to inspire today’s girls. And for the first time, Clifford is given his own voice and speaks to Emily Elizabeth.” The company is also showcasing Xavier Riddle and the Secret Museum, which features the stories of important figures in history from the perspective of when they were kids, and Book Hungry Bears, a preschool series about a group of teddy bear friends immersed in books and storytelling.

“Book Hungry Bears is an uplifting preschool series that will instill an interest in reading in its viewers.”

—Alix Wiseman

Super Monsters

41 Entertainment Super Monsters / S.M.A.S.H! / The Wrestling Academy 41 Entertainment’s Super Monsters welcomes audiences to Pitchfork Pines Preschool, where the children of the world’s famous (and not-so-famous) monsters come to learn to be the best people, and the best monsters, they can be. The action in S.M.A.S.H! takes place at a one-of-a-kind sleepaway camp, where four superhero kids and their super-powered pups are in training. Another highlight is The Wrestling Academy, which targets kids 6 to 9. “Our goal is to continue to innovate, partner with proven and strong animation entities, produce only at a high level of quality and always retain global linear and nonlinear rights,” says Kiersten Halstead, VP of creative services, development and acquisitions. “We believe that this will continue to be a steady and proven formula.”

“The animation space is strong but highly competitive.”

—Kiersten Halstead

Allspark Transformers Cyberverse / Power Rangers Beast Morphers / My Little Pony Friendship Is Magic Allspark, a Hasbro company, has offerings for the marketplace that include Transformers Cyberverse, Power Rangers Beast Morphers and My Little Pony Friendship Is Magic. Launched in 2018, the animated Transformers Cyberverse series follows the ongoing battle between the Autobots and the Decepticons to find the Allspark. Hasbro introduced its own take on Power Rangers with Power Rangers Beast Morphers. This year, My Little Pony Friendship Is Magic celebrated its 200th episode.

A My Little Pony movie is set to hit the big screen in 2021.

“Our team at Allspark develops fresh and compelling content based on select IP for global audiences,” says Nina Scales, senior VP of global content distribution. “To that end, Hasbro has become a force to be reckoned with, creating a universe unto itself.”

“Hasbro’s mission is to use immersive, cross-platform storytelling to bring our beloved brands to life for kids, fans and families.”

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—Nina Scales

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Deadpool. And then what can we say about Arnold Schwarzenegger, another icon who Stan thought was a real superhero himself. He was a huge fan of Arnold’s. We are finalizing a deal now with a major global media company that will serve as a co-production partner.

TV KIDS: How do you approach building a company and a brand today, given all the changes that have taken place in the market?

HEYWARD: The landscape has extended so dramatically. It’s not just three or four networks over the air. It’s not only cable networks anymore. It’s a very broad landscape where you have every emerging technology that you could imagine. We’re trying to be very focused on how kids consume media. I have an 11-year-old, and I see how she does it.

With age compression, kids are growing up much faster than they were years ago. You have to be mindful of that.

You have to be mindful of the impact of cellphones, tablets, the emergence of 5G and the way kids are getting information and data and games and everything else. So it’s a

ANDY HEYWARD

By Mansha Daswani

O

ver the course of his prolific career, Andy Heyward has produced more than 5,000 episodes of children’s entertainment. Today, as chairman and CEO of Genius Brands International, he is shepherding a slate that includes Nick Jr.’s Rainbow Rangers, Netflix’s Llama Llama and the upcoming Stan Lee’s Superhero Kindergarten with Arnold Schwarzenegger.

He talks to TV Kids about the company’s focus on a select group of high-end, compelling properties, growth opportunities for the Genius Brands Network and delivering “Content with a Purpose.”

TV KIDS: How has the company grown in the last five years?

HEYWARD: We have Rainbow Rangers on Nickelodeon and Llama Llama on Netflix. Our own network, the Genius Brands Network, has a very broad footprint and is available in about 80 million U.S. television households on major platforms such as Comcast, Cox and Dish, and OTT channels that range from Amazon Fire and Prime to Roku.

Genius Brands is still a young company, but we’re growing rapidly. Our goal is not to have a catalog of 13,000 titles— it’s to have a select number of properties that are very successful. Rainbow Rangers and Llama Llama have been picked up for second seasons, they are doing well and they have robust licensing programs attached to them. Now we’re focused on our newest launch, Stan Lee’s Superhero Kindergarten. We have a team of champions behind the creative. Stan Lee was probably the greatest and most successful creator of all time, and this was likely his last creation. We’re working with Fabian Nicieza, who co-created

dynamic and continuously evolving landscape. But, having said all of that, it still comes back to having better characters and better stories than your competition. There are only so many first-tier writers in Hollywood. You have to get the best writers, the best character development, the best story.

That’s what will drive success; it doesn’t matter what the platform is. The platforms are always going to change; if you have the right stories and characters, they’ll live on whatever platforms are out there.

TV KIDS: And the focus remains on “Content with a Purpose”?

HEYWARD: Since the beginning, our mission has been to create content that has value. It must bring forth some enrichment. For example, while Stan Lee’s Superhero Kindergarten has plenty of action, adventure and comedy, it is also empowering and aspirational and delivers invaluable lessons, particularly about the importance of health, nutrition and exercise, which is key for Arnold.

TV KIDS: What’s the approach to finding that great storytelling talent?

HEYWARD: The first thing I ask them is, What do you read?

If they tell me they read the classics, and they understand conflict and crisis and jeopardy and stakes, I have an insight into how they’re going to be as a storyteller. If what they are reading is fluff with no real value, I’m not going to be as excited about them as writers. When I’m meeting with designers, I ask them to show me their character drawings— I want to see how they draw characters. I’m a fundamentalist in that way. Those things aren’t going to change.

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become an evergreen property. As we do the international rollout, we’ll see a real opportunity to grow the brand.

TV KIDS: I’ve heard that broadcasters are willing to share with OTT if it’s a particularly stand-out show.

TYRE: Some broadcasters are trying to lay the groundwork that they don’t want to share with Netflix, but in the bigger broadcast territories that have a significant impact on consumer products, we are finding success on windowing opportunities. Many broadcasters feel like it will still rate well either way. And having it on multiple platforms allows young children to have the opportunity to watch it when and where they want.

TV KIDS: Tell us about Stan Lee’s Superhero Kindergarten.

TYRE: There is a tremendous amount of buzz around the series. Stan Lee and Arnold Schwarzenegger are both

A

s senior VP of international distribution, Caroline Tyre is working to bring the company’s properties to free-to-air, pay-TV and digital platforms worldwide.

She is also, as head of Genius Brands Network, looking for additional acquisition and distribution opportunities for the Kid Genius Cartoon Channel and Baby Genius TV. TV KIDS: What are the rollout plans for Rainbow Rangers?

TYRE: Nick Jr. has recently greenlit season two of Rainbow Rangers for the U.S., which we’ll be delivering shortly.

Season one is launching on Nickelodeon and Noggin in Latin America, Cartoonito in Italy and in a number of other territories. Now we’re focusing on the key Western European markets, as well as everywhere else in the world.

The show is flashy and eye-catching, which is great for preschoolers, but it also has a great message in terms of diversity and girl empowerment. There are not many female-led superhero shows. We are delighted to have Mattel as our global master toy partner, and we have about 350 SKUs for Rainbow Rangers merchandise coming to retail over the next nine months, so the brand is really starting to rev up.

TV KIDS: What’s the approach to distributing Llama Llama?

TYRE: We launched season one of Llama Llama on Netflix earlier this year to rave reviews, and a second season will be premiering this November on Netflix. Internationally, we’re just taking season one out now, and we’ll be doing some second-window sales at MIPJunior. The series is available in 20 languages. It’s such a beautiful show that truly reflects the vision behind the best-selling book franchise created by Anna Dewdney. It addresses social and emotional issues for preschoolers such as first trips to school, first friends, frustrations and fears. We feel it has all of the elements to

legends in the industry and both have such a huge fan base.

Plus, there is very little out there in the preschool space that has a superhero feel that only Stan Lee could create. It delivers adventure, comedy, positive messaging and it’s gender-neutral, which is what people are looking for. The other part that we’ve had a great response to is each episode will feature an animated Stan Lee as a cameo. We’re working on a traditional model of broadcast but also have a robust digital strategy in development. We will be debuting the series to buyers for the first time at MIPJunior.

TV KIDS: What are the plans for Genius Brands Network?

TYRE: We’re in 80 million U.S. television households, which is about 70 percent of the market, and we’re looking to grow that substantially in the coming years, both in the U.S. and internationally. In addition to fueling the pipeline with Genius Brands’ original content, we’re looking to license content that ties in with our mission to provide “Content with a Purpose,” both for Baby Genius (kids 0 to 5 preschool) and Kid Genius (kids 6 to 11).

TV KIDS: Are you pursuing a linear channel launch internationally, or is it more of a digital play?

TYRE: We are looking to continue in the OTT space. We’re on set-top boxes, mobile, AVOD, SVOD, and that’s going to remain a core part of our strategy. We’ve revamped our YouTube initiatives by producing new content and launching new brand-specific channels. We currently have Baby Genius and Kid Genius channels available on YouTube and plan to actively grow those as part of the overall network. We’ve also just launched dedicated channel strategies for Rainbow Rangers and Llama Llama and will be focused on creating and delivering new content to keep the channels fresh for our fans.

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veteran of Disney Consumer Products and Hasbro, Lloyd Mintz is tasked with exposing Genius Brands’ curated portfolio of brands to licensees around the globe. The company’s senior VP and head of worldwide consumer products is in the midst of broad U.S. retail rollouts for Rainbow Rangers and Llama Llama, with international campaigns in the works.

TV KIDS: How are you positioning Rainbow Rangers at retail in the U.S.?

MINTZ: We are in phase one of rolling products out at retail.

We’ve started with our first phase of merchandise that will then grow through September and October. The initial items are books from Macmillan in multiple retailers, including Walmart, as well as the first bicycle from Dynacraft on Walmart.com, Target.com, Kohls.com and Amazon. Many of those sales are driven online because

they take up so much floor space. The goal is that the bike sells so well this holiday season—which is the biggest selling season for bikes—that actual floor space will be allocated for Rainbow Rangers next year.

We have T-shirts coming out from Bentex in October as a direct-to-consumer program. We also have a Halloween license with Jakks Pacific and costumes will be available at Walmart, Party City and HalloweenCostumes.com. And we have a direct-to-retail program with another set of costumes going to approximately 1,600 Spirit Halloween stores. These are our most immediate rollouts with plans in place to significantly expand in 2020. We have season two of the series coming to Nick Jr. and new content coming to our Rainbow Rangers YouTube channel. Based on consumer, retailer and licensee feedback, having our content online in more snack-size, portable segments so that kids can watch on the go is one of our most important brand awareness initiatives. We’re releasing original and repurposed content three times a week on YouTube. All of these content initiatives, paired with merchandise available at retail for the first time, should create even more momentum and enthusiasm for the property.

TV KIDS: What’s the international strategy for the property?

MINTZ: We’re in deep dialog with major broadcasters in every region and country in the world. Latin America is done and the series is airing on Nickelodeon Latin America. Italy is done with Rainbow Rangers airing on Cartoonito. Consequently, we’re talking to agencies in both territories. China is underway with broadcast and consumer products coming next year. My expectation is that much of the world will be covered by the end of this year for broadcast next year. Once we have a broadcast partner, then it makes sense to have those conversations with

agencies to begin developing a merchandise program.

We’ve been flooded with inquiries from all over the world for representation of the property. But in our estimation, it doesn’t make a lot of sense to have an agent before we have a media partner. We’re putting that step first, and we expect that as those broadcast partners are on board, the agencies for those respective territories will follow fairly quickly thereafter. That’s the plan.

TV KIDS: Where are you on the Llama Llama retail rollout?

MINTZ: Our Llama Llama rollout at retail has been ongoing. The initial product is out there, and we are in mass market, bookstores, specialty and the value channels.

We’re even in grocery with a cake decorating kit. And we’re online. For instance, we have a Halloween costume on Fun.com [sister site to HalloweenCostumes.com]. We have a lot of product that is either out or coming out in the coming 6 to 12 months. We have an ongoing Llama Llama DVD series from NCircle Entertainment with more DVD collections being released throughout the rest of this year and 2020. The initial wave of two DVDs released this year has done extremely well and we think it’s going to continue to build into next year.

TV KIDS: What are your plans for the Superhero Kindergarten L&M program?

MINTZ: We are in the early stages as the company just announced the development of the series, but there are certainly conversations happening now with global partners. In fact, at least once a week I get an unsolicited inquiry from a potential licensee who has heard or read about it or saw it at Licensing Expo. We’re not getting too far out ahead of it, but it’s ongoing, and I know there is an international audience for it.

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Ameba TV

Ameba Ameba TV Ameba TV is a streaming offering dedicated exclusively to children’s content, with apps available on a variety of devices.

“Ameba TV is available on all the top-tier streaming platforms and can get great placement for your properties,” says Tony Havelka, owner and CEO of the parent company Ameba. “We are always looking to acquire completed content suitable for audiences from 2 to 10 years old.” While Ameba TV is primarily an English-language service, “we will be looking to expand our non-English library this year,” he adds. This is the first year that Ameba TV is attending MIPCOM after having been accredited by the Canadian Audio-Visual Certification Office (CAVCO).

“We are looking to work with producers that are in need of a Canadian broadcaster to fulfill their CAVCO requirement to unlock CMF and venture funding,” Havelka says.

“If you want your content streamed in the U.S.A. and Canada, we can do it.”

—Tony Havelka

Animasia Studio Mighty Justice Go! / Chuck Chicken / Mighty Mechs: EnviroBots Mighty Justice Go!, on offer from Animasia Studio, is a brand-new action comedy that follows as the world’s worst villain, Bug Biker, decides to learn to be a superhero after he accidentally saves a child. Season two of Chuck Chicken sees the titular character come back stronger than ever, with more superpowers from his golden egg to take on Dr. Mingo and his henchmen Dee, Don and Dex. Mighty Mechs: EnviroBots, meanwhile, is a 3D-animated shortform series that aims to spread the message of caring for the environment to viewers ages 6 to 9. “Pairing good storytelling with our strong animation team in Malaysia, the outcome will definitely satisfy international buyers’ appetite for high-quality content,” says Edmund Chan, Animasia’s managing director.

Mighty Mechs: EnviroBots

“Our ultimate goal is to produce quality shows that can entertain international audiences and hopefully, in some ways, inspire them to do positive things.”

—Edmund Chan

Jenny

Attraction Distribution Jenny / Pat & Mat / Family Movies For MIPCOM, Attraction Distribution is promoting its children’s and family content under its newly minted “a+ kids” label. Highlights from the slate include Jenny, about a young girl whose life changes overnight when she is diagnosed with leukemia. A number of broadcasters are already on board, and the remake rights have been sold in Slovakia.

“One of our goals at MIPCOM is to find more remake producers, including for an English remake,” says Xiaojuan Zhou, president of Attraction Distribution and executive producer of Attraction Kids. The company’s catalog also has the slapstick comedy Pat & Mat, based on a beloved Czech animation brand, along with a collection of family movies.

There are about 150 family films in the portfolio, most of which are live action.

“The series Jenny is realistic and heartwarming.”

—Xiaojuan Zhou 10/19 WORLD SCREEN 185

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Australian Children’s Television Foundation The Inbestigators / Hardball / Little J & Big Cuz A Netflix Original, The Inbestigators is a live-action comedy about four children who form a detective agency and solve one mystery after another. Australian Children’s Television Foundation is offering the first two seasons for international sales, with broadcast available in August 2021. The company will be screening episodes of Hardball, a live-action series for 7- to 10-year-olds, at MIPJunior for the first time. “While traversing the highs and lows of pre-teen life, Hardball explores themes of family, multiculturalism and acceptance,” says Tim Hegarty, international sales manager. Buyers can also view episodes of the animated series Little J & Big Cuz, which follows the adventures of a couple of Indigenous Australian kids living in the outback with their Nanna and Old Dog.

The Inbestigators

“These stories deliver messages of inclusion, acceptance, friendship and togetherness with natural ease.”

—Tim Hegarty Wonder Woollies

Bejuba! Entertainment Chicken Big / Wonder Woollies / Wishfart Bejuba! Entertainment is looking to secure presales and coproduction partners for Chicken Big, Wonder Woollies and Flora of the Forest at the market. “Chicken Big is comedy, comedy, comedy,” says Tatiana Kober, Bejuba!’s president.

“Wonder Woollies is delightful,” she adds. “It’s targeted for preschoolers with an emphasis on both the older and the younger ones in this demographic.” With regard to its completed series, Bejuba! is building on the success of season one of Wishfart by closing the financing and starting preproduction on season two of the comedy, aimed at ages 6 and up. Kober also cites among her MIPCOM goals sales for the new preschool series Cutie Pugs, Lil Astronaut and I’m a Dino. “Like any great boutique, we’ve got lots of unique pieces of content,” says Kober.

“We’re working with strong creators the world over.”

—Tatiana Kober

Beyond Distribution Motown Magic / Dumbotz / Quimbo’s Quest Beyond Distribution is shining the spotlight on the animated series Motown Magic in Cannes. Commissioned by Netflix, the show centers on music, magic and the power of one’s imagination, following along as 8-year-old Ben uses a magical paintbrush to bring the street art decorating his city to life. “The series features new renditions of songs from the world’s most popular music catalog—Motown!” says Munia Kanna-Konsek, Beyond Distribution’s head of sales. Dumbotz, aimed at children aged 6 and over, depicts a world populated entirely by robots that sees the local mayor call upon the eponymous Dumbotz to save their world. A kid who doesn’t look like any other human or animal embarks on a journey to learn who and what he is in Quimbo’s Quest.

Dumbotz

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“These series all feature high production values and embrace international themes with really eye-catching animation and lovable characters.”

—Munia Kanna-Konsek

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© 2018 MOUSE PRINTS PRESS B.V V. ALL RIGHTS RESERVED. TREASURE TREKKERS AND ALL RELATED TITLES, LOGOS AND CHARACTERS ARE TRADEMARKS O OF MOUSE PRINTS PRESS B.V.

SEE US AT MIPCOM M R7.D18

Inspired by the awardd win nning book series Maurice’s Valises by acclaimed author and photographer J.S. Friiedman.

Oscar-nominee Director Thierry Marchand (Oktapodi) Executive Producer Agust Ingason (formerly LazyTown Entertainment) Multi-award winning writing team led

by Andy Yerkes Music by award-winning Hollywood movie composer Atli Orv O arsson

www.treasuretrekk kers.co

cakeentertainment.com

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BLAST Inc. BLADER / Jumbo Monster GOMERA / Maison de Castle Leading BLAST Inc.’s kids’ content slate is BLADER, a liveaction show aimed at the 3- to 16-year-old set that features a robot hero and a new enemy character for every episode.

“Japan’s top creative minds assembled for the show,” says Junya Okabe, BLAST Inc.’s CEO, who adds that the show easily transitions into toy merchandising and that there are pre-developed products ready to be delivered to the company’s partners. The series can also be localized for various markets with subtitles and dubbing. Additional titles on the company’s slate include the comedy Jumbo Monster GOMERA, which centers on the titular character’s trip to the human world as he tries to train to become a fullfledged monster, and Maison de Castle, a series centering on the lives of five girls sharing the same apartment.

BLADER

“Reaching new heights in the live-action hero genre, our goal is to go beyond Power Rangers.”

—Junya Okabe

CAKE Mush-Mush & the Mushables / Treasure Trekkers / Legend Quest Produced by La Cabane and Thuristar (My Knight and Me) in co-production with CAKE, Mush-Mush & the Mushables follows the adventures of the Mushable community of pocket-sized guardians of the forest. Ed Galton, CAKE’s managing director and chief commercial officer, highlights the show’s “charming characters and warmhearted and joyful stories.” Three heroic mouse-sized adventurers tasked with protecting priceless artifacts are at the center of Treasure Trekkers. The Netflix Original Legend Quest follows 12-year-old Leo and an intrepid crew of ghosts as they travel across the globe on a magical ship to defend the world against evil forces. The fantasy/adventure series is inspired by Mexican folklore and is currently available in 18 languages.

Cartoon Network

Treasure Trekkers

“Treasure Trekkers is an adventure series with universal themes of empathy and kindness at its heart.”

—Ed Galton

Apple & Onion

Infinity Train / Apple & Onion / Summer Camp Island Cartoon Network is highlighting Infinity Train, a series about a coding prodigy on a mysterious train, at MIPCOM. “Its U.S. premiere was highly anticipated by the 5 millionplus fans of the original YouTube short, and its serialized storytelling lends well to on-demand viewing,” says Humphrey Black, VP of media distribution at Turner EMEA. Also on Cartoon Network’s slate is Apple & Onion, a warm buddy comedy packed with fun, relatable characters and universal themes. “Music is also a big element of the show that really connects with today’s kid audience,” says Black. Meanwhile, Summer Camp Island, an imaginative series from the British artist Julia Pott that was introduced at MIPJunior last year, is set in a summer camp where nothing is quite as it seems.

“Cartoon Network has such a strong identity, and we are continuing to invest in creator-driven content that embodies those authentic brand values.”

—Humphrey Black 188 WORLD SCREEN 10/19

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Cisneros Media DinoItAll / Wowzu! / AnimalFanPedia A hybrid live-action and animated series designed for Generation Alpha, the Cisneros Media highlight DinoItAll dives into a unique and fantastical universe of dinosaurs. The liveaction series Wowzu! sees children react to wild and wacky animal behaviors through challenges, memes, dance-offs, lipsyncing and more in each episode. AnimalFanPedia is an entertaining and educational wildlife program that Cisneros Media is taking to MIPCOM. The company will also be spotlighting Dino Bites, a franchise for preschoolers with 60 one-minute episodes featuring dinosaur adventures. Referring to Cisneros Media’s kids’ content production unit, Ailing Zubizarreta, the company’s VP of creative services, says, “Mobius.Lab Kids is focusing on topics and formats that have become a fascination with the Generation Alpha audience.”

“There is a growing opportunity within the digital-native Generation Alpha, who are looking for content created using digital cues and textures.”

—Ailing Zubizarreta

Cyber Group Studios Tom Sawyer / Bananimals / Purple Turtle Cyber Group Studios is launching Tom Sawyer, a modern take on Mark Twain’s masterpiece that follows the adventures of Tom and his best friend Huck. “This is a story about freedom, happiness and growing up that I trust will deeply resonate with kids,” says Raphaelle Mathieu, senior VP of sales, acquisitions and new media for Cyber Group Studios. Bananimals is a new kids’ comedy series in which hero Gordon the bull cures the village people with the help of seven-day-old chick twins. Purple Turtle is an earlypreschool series with which Cyber Group wants to “reach the hearts of very young kids with great sweetness and make them understand that kindness to others and to yourself is paramount,” says Mathieu. “This series comes with great publishing potential, with books having sold worldwide.”

Purple Turtle

Daewon Media Armored Saurus / GON An innovative live-action series for the 7- to 12-year-old set, Daewon Media’s Armored Saurus tells the story of a boy named Jin who pilots a weaponized T-Rex and teams up with the Armored Saurus squad to defend Earth from invading fully-mechanized extraterrestrial dinosaurs. Currently in post-production, the series is set for delivery early next year. “A toy expert who used to be a CEO of Sega Toys and his team have been involved in this project, and we are in discussions with a worldwide toy distributor,” says Marie Hwang, Daewon Media’s head of sales and acquisitions.

From Daewon’s library, GON is available worldwide following on successful pickups from Netflix, DreamWorks Asia, TV Tokyo, EBS in Korea, Cartoon Network Asia, TVB in Hong Kong, YoYo TV in Taiwan and more.

“We are looking to foster new relationships with clients from emerging markets at MIPCOM.”

—Marie Hwang

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GON

“Our aim is to create a very diversified and complementary offer for our clients to take to all kids worldwide.”

—Raphaelle Mathieu

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Dandelooo Stinky Dog / Shooom’s Odyssey / Hungry Bear Tales Stinky Dog, based on the Colas Gutman book collection illustrated by Marc Boutavant, is a slapstick series from Dandelooo’s catalog that features the smelly pup and his best friend Flatty Cat. The comedic duo lives in a trash can and battles it out with the hypocrites and thieves, Stinky Dog’s clumsiness a weapon unto itself. A preschool special about a baby owl, Shooom’s Odyssey follows the titular creature as she seeks out an unsuspecting mother figure after a storm throws her from her nest. Hungry Bear Tales centers on an ursine pair whose affinity for sweet treats gets them into trouble. “We believe in new creative visions and book-based successes that will touch children’s hearts and which we hope will become tomorrow’s great brands,” says Emmanuèle Pétry Sirvin, a partner at Dandelooo.

Hungry Bear Tales

“Based on our vast and many years of experience, we understand broadcasters’ needs.”

—Emmanuèle Pétry Sirvin

DHX Media Malory Towers / Springboard / Chip & Potato DHX Media has become WildBrain and is at the market exhibiting Malory Towers, based on Enid Blyton’s book series of the same name. The live-action show follows 12-year-old Darrell Rivers at her all-girls’ boarding school in the 1940s on the cliffs of the Cornish coast. Gymnast Jenny Cortez is at the center of Springboard, which sees her strive to make her athletic dreams come true as she navigates school in the new town where her family has opened up its own gymnastics club. “There are considerable appetite and demand from broadcasters for distinctive tween live-action, and both shows underscore our commitment to the genre,” says Josh Scherba, president. The 2D-animated preschool series Chip & Potato trails the kindergarten adventures of the titular 4-year-old pug and her secret mouse pal who everyone believes is a spud.

Malory Towers

“We are ready to hit the ground running with a strong, diverse slate of fresh new content and a new CEO, Eric Ellenbogen, at the helm.”

—Josh Scherba

DQ Entertainment Toadlly Awesome / The Psammy Show / The Jungle Book Young viewers can follow the adventures of a racecardriving, skydiving, yodeling and extreme mini-golfing hyperactive toad and his two best friends, Mole and Ratty, in Toadlly Awesome. Aimed at kids 6 to 9, the show is a lead offering from DQ Entertainment. The company is also presenting The Psammy Show, centered on five children who unearth and befriend a magical sand fairy who grants them one free wish every day, and three seasons of The Jungle Book, following the jungle adventures of Mowgli.

“Our shows are based on iconic classics that have been revived, keeping their charm but making them more contemporary,” says Tapaas Chakravarti, CEO and managing director. “These shows engage and entertain not only children but the entire family.”

The Psammy Show

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“With state-of-the-art facilities, utilizing the latest production technologies, we deliver high-end animation with a lean production pipeline.”

—Tapaas Chakravarti

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Almost Never

Dynamic Television Almost Never Seasons one and two of Almost Never, a live-action series about a boy band called The Wonderland, are on Dynamic Television’s kids’ content slate at MIPCOM. “Not since The Monkees has a scripted television series launched a boy band from the small screen into the mainstream,” says Dan March, managing partner at Dynamic Television. Almost Never follows as The Wonderland is defeated in the finale of a popular talent-competition show to Girls Here First, losing out on a record deal, instant fame and their manager Sasha Small. Can they prove Sasha wrong and deliver a hit and earn success on their own? “The band uses its exploding fan base on social media to drive audiences to the show, proving a unique marketing platform to reach kids where they are most active,” says March.

“Our program strategy is quality over quantity, and with Almost Never, we believe we have the number one liveaction kids’ series in the world.”

—Dan March

Entertainment One Family & Brands Ricky Zoom / Peppa Pig / PJ Masks Launching in multiple international markets this fall, the animated preschool series Ricky Zoom leads the Entertainment One (eOne) Family & Brands slate. The show follows the titular little red rescue bike who shares his experiences with his pals Loop, Scootio and DJ, racing around the sports track, testing out new stunts at the park and zooming into adventures. “The aspiration and excitement of the action scenes are balanced with the relatability of the experiences the characters go through, which makes Ricky Zoom an entirely unique and compelling proposition in the preschool market,” says Monica Candiani, executive VP of content sales for eOne Family & Brands. Fresh content in production for PJ Masks and Peppa Pig will also be available at the market.

Peppa Pig

“Our awardwinning portfolio brings audiences high-caliber entertainment that they’ll want to watch again and again.”

—Monica Candiani

Topo Gigio

For Fun Distribution Topo Gigio Topo Gigio is the first title to be represented by For Fun Distribution, a company founded by Francesco Mozzetti, a veteran of Italy’s Mediaset. Launching in Cannes, Topo Gigio follows a mouse who lives in a house with humans and sets out on carefree and irresistible adventures alongside his best friend Zoe, Bike Bob and his country cohorts Mole, Pigeon, Bunny Twins, Turtle and Toad—otherwise known as the GTeam. “Heartfelt stories, kid-identifiable characters and the lovable Topo Gigio ensure that this series will provide wonderful memories for children worldwide,” says Mozzetti, managing director. “We’re delighted to introduce this series during MIPCOM, which, as usual, will also be an important venue to move on with further steps on other projects.”

“For Fun Distribution wants to become a point of reference for companies looking for business partners, particularly for the European market.”

—Francesco Mozzetti 194 WORLD SCREEN 10/19

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Bionic Max

Gaumont Animation & Family Touch the Earth / The Royal Family / Bionic Max Touch the Earth, on offer from Gaumont Animation & Family at MIPCOM, is based on the New York Times bestselling book series by Julian Lennon and Bart Davis and follows a group of kids as they travel around the world helping local children solve problems. Also based on a popular book series, The Royal Family is a comedy that follows a modern-day royal clan eager to explore everyday life. Meanwhile, Bionic Max is a buddy comedy that follows Max, the first bionic guinea pig born in a laboratory, and Jean-Claude, a social outcast at the lab. “Bionic Max is highenergy, slapstick fun, and kids will escape into the chaotic madness, laugh out loud and do what kids should do–have fun!” says Laura Laas, VP of international TV sales at Gaumont Animation & Family.

“Gaumont has a long legacy of creating the widest range of engaging and fun content for families and kids of all ages.”

—Laura Laas

Genius Brands International Stan Lee’s Superhero Kindergarten / Rainbow Rangers / Llama Llama Arnold Schwarzenegger stars in and produces Stan Lee’s Superhero Kindergarten, a new animated action-adventure comedy series that Genius Brands International is representing. The title, created by the late Stan Lee with Fabian Nicieza (Deadpool co-creator) on writing duties, features superhero-driven stories that touch upon the importance of health, exercise, nutrition and anti-bullying.

“The series also offers a great co-viewing opportunity with parents and kids,” says Caroline Tyre, senior VP of international distribution at Genius Brands International and head of Genius Brands Network. The sophomore seasons of Rainbow Rangers and Llama Llama round out Genius Brands International’s catalog, with the latter show also offering Halloween and New Year’s Eve specials.

Rainbow Rangers

“One of the great elements about Rainbow Rangers is the positive messaging and empowerment it delivers with a huge amount of diversity with the characters.”

—Caroline Tyre

Tib & Tumtum

GO-N International Simon / Zip Zip / Tib & Tumtum Leading GO-N International’s MIPCOM slate, Simon is in its third season of following a little rabbit who abounds with the energy of childhood. Also on offer is the second season of Zip Zip, which features Washington the fox, Sam the wild boar and his boar piglet sister Eugenie, and Suzie the blackbird. Another title that GO-N International is bringing to the market is Tib & Tumtum, a new comedy and adventure series that centers on the friendship between a boy and a dinosaur. The shows “introduce kids to a creative animation universe by telling engaging and fun stories with distinctive art directions,” says Eric Garnet, GO-N International co-founder. “Our productions have been broadcast around the globe in many territories, covering diverse themes and targeting audiences from preschoolers to kids—always being met with great enthusiasm.”

“We are always searching for opportunities to broaden our international visibility and to reach spectators with our stories all around the world.”

—Eric Garnet 196 WORLD SCREEN 10/19

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The Bureau of Magical Things

GoldBee Heirs of the Night / Becca’s Bunch / The Bureau of Magical Things Heirs of the Night, ZDF Enterprises’ new vampire saga that has been selected for a MIPJunior World Premiere TV Screening, follows a group of young vampires who need to join forces and become stronger than ever in order to survive. “With strong co-viewing potential, and a definite family appeal, it is a metaphor of Europe’s unification,” says Christophe Goldberger, managing director of GoldBee, which represents the series in select markets. Becca’s Bunch celebrates friendship and shows kids the value of aiming high, having fun and teamwork, with an inclusive outlook and accessible humor. The Bureau of Magical Things, from the creator of H2O: Just Add Water, is a tween/teen light drama that combines magic, mystery and mythology, while promoting such real-world concepts as individuality, diversity and acceptance.

“Our programs are created for A-list partners by outstanding producers with a fantastic track record.”

—Christophe Goldberger

Green Gold Animation Mighty Little Bheem / Jungle Trouble / Chhota Bheem Kung Fu Dhamaka Greenlit for a third season by Netflix, Green Gold Animation’s Mighty Little Bheem follows the adventures of the titular toddler. “The first two seasons of Mighty Little Bheem have already been extremely well received across the U.S., Mexico, Brazil and other territories,” says Rajiv Chilaka, founder and CEO of Green Gold Animation. The company will also be showcasing at MIPCOM Jungle Trouble, which centers on a crew of jungle animals as they try to save their home. The show offers “a fun and lighthearted take on a universal dilemma of progress versus cost,” says Chilaka. “We believe the universality of the concept will appeal to kids globally.”

The 3D series Chhota Bheem Kung Fu Dhamaka brings back the favorite character as he and his friends embark on a highstakes journey across China.

“We will be showcasing our brand-new shows during the market and will be looking forward to meeting potential partners to explore co-production opportunities.”

Jungle Trouble

—Rajiv Chilaka

Big Blue

Guru Studio Pikwik Pack / True and the Rainbow Kingdom / Big Blue Suki the hedgehog, Axel the raccoon, Tibor the hippo and Hazel the cat deliver magical packages filled with love to their town’s citizens in Guru Studio’s Pikwik Pack, which has broadcast support from Disney Junior, Hulu in the U.S. and Treehouse in Canada. “Preschoolers are going to fall in love with Pikwik Pack’s charming characters and stories packed with huge laughs, inspiring adventures and big beating hearts,” says Jonathan Abraham, VP of sales and business development at Guru. Big Blue, a new 2D-animated series on the company’s slate, follows sibling underwater adventurers Lettie and Lemo, who lead a submarine crew with a magical ocean fairy named Bacon Berry to explore and protect an ocean-covered planet.

Guru’s flagship preschool series, True and the Rainbow Kingdom, is returning to MIPCOM with a new season.

“Big Blue is currently in production, and we are now ready to find the right home for this highaction, comedy-driven show.”

—Jonathan Abraham 198 WORLD SCREEN 10/19

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Hoho Rights Shane the Chef / The Overcoat / Little Luke and Lucy Planting the seeds for healthy eating, Hoho Rights’ Shane the Chef encourages children to develop a better understanding of food and an interest in cooking. “The series is already performing very well on Channel 5’s Milkshake! in the U.K. with real, positive social media engagement,” says Helen Howells, joint managing director of Hoho Rights. An adaptation of a classic Russian folktale, The Overcoat is an animated short film that tells a timeless story that deals with the desire to belong and to be loved. “It’s funny, moving and utterly original, the perfect festive treat for families to enjoy together at Christmas,” says Howells. Hoho Rights will also be spotlighting at MIPCOM the new CG-animated series Little Luke and Lucy, based on the Petite Bob et Bobette books.

“Our main goal at MIPCOM is to continue to distribute the high-quality programming that we have in our catalog and increase awareness of these titles.”

Shane the Chef

—Helen Howells

ITV Studios Global Entertainment Robozuna / Thunderbirds Are Go ITV Studios Global Entertainment’s kids’ content slate includes the new animated series Robozuna, which launched on CITV in the U.K. to strong ratings. “Robozuna is a brand-new proposition that hasn’t aired on [free-to-air] TV aside from in the U.K., and it’s ready to go with 40 episodes available,” says Steve Green, executive VP of kids content and distribution. There are 78 episodes now available for the adventure hit Thunderbirds Are Go, with rights offered in multiple territories worldwide. “Thunderbirds Are Go has a heritage in several markets due to its connection to the original Thunderbirds series,” Green says. “Aside from that, the series has been made to an incredibly high and exacting standard, and it has proven extremely popular in multiple territories already.”

“We want to raise the profile of our kids’ properties and series to showcase the original and unique IP that we are extremely proud of.”

Robozuna

—Steve Green

Jetpack Distribution Emmy & Gooroo / Dennis & Gnasher Unleashed / Rainbow Butterfly Unicorn Kitty Winner at the MIPJunior International Pitch event, the Jetpack Distribution highlight Emmy & Gooroo is an animated preschool series set in a magical forest that features the timeless themes of friendship and teamwork.

Rainbow Butterfly Unicorn Kitty is an animated mash-up that has at its center Felicity—part rainbow, part butterfly, part unicorn and 100 percent kitty. The show follows along as Felicity heads off on adventures with her friends, using her newfound magical and majestic powers along the way.

Jetpack is also bringing to MIPCOM the second season of Dennis & Gnasher Unleashed. “It’s very much a global hit,” says Dominic Gardiner, CEO of Jetpack Distribution.

“There’s so much fun and mischief in the show, it’s easy to see why!”

Emmy & Gooroo

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“The preschool animation show Emmy & Gooroo is set in a magical forest, something hugely exciting and appealing for young children globally.”

—Dominic Gardiner

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Dinosaur Train

The Jim Henson Company friendZspace / Dinosaur Train / Word Party Available for the first time at MIPJunior from HIP (Henson Independent Properties), the CG-animated series friendZspace (working title) is a character-driven comedy about three funloving Earth kids who jet off into a supercluster of stars and hop from planet to planet on a mission to make friends all across the universe. “It’s a comedy about discovering common ground—even if it eludes us at first—and embracing each other’s differences,” says Claudia Scott-Hansen, The Jim Henson Company’s senior VP of global distribution. Now on its fifth season, the Emmy-nominated Dinosaur Train recently celebrated its 100th episode. Rounding out the highlights, Word Party is an early-preschool series that features four baby animals who invite the young viewers to help teach them new words and learn these new words themselves as well.

“The Jim Henson Company’s distribution team is skilled, experienced and wellconnected worldwide.”

—Claudia Scott-Hansen

Kidoodle.TV Safe Streaming Currently available in over 140 countries, Kidoodle.TV, owned

by A Parent Media Co., is a family-focused Safe Streaming channel that is committed to ensuring children have a safe alternative to stream their favorite television shows. Kidoodle.TV is looking for fresh, quality content that has a proven track record of performing well on YouTube and/or networks and is aiming to continue conversations for co-partnership opportunities.

Brenda Bisner, the company’s senior VP of content and business development, says, “The focus of 2020 is with co-partnerships for original content, and we’re well underway, as we continue to look for ways to meet the needs of digitally-native children and harness the shaping of ‘experience’ brands that are not only native to the platform, but to the time we are living in, and most importantly, for a global kids’ audience.”

“We are excited to continue growing our compelling content offering while letting kids from around the world watch their favorite shows all within our Safe Streaming environment.”

—Brenda Bisner

Konami Cross Media NY Yu-Gi-Oh! VRAINS Konami Cross Media NY will have new episodes available in Cannes of Yu-Gi-Oh! VRAINS, the sixth Yu-Gi-Oh! anime series and the fifth main spin-off series in the franchise. In addition to having deals on Netflix, Crunchyroll and Hulu, the company plans to continue the rollout of the series on local streaming services throughout Europe. Following its recent rebrand and as the anime genre is enjoying an increase in popularity in the current age of streaming services, Konami Cross Media NY plans to close new deals to further digitalize the content and brand. In addition to highlighting the Yu-Gi-Oh! franchise at the market, the company is looking to meet with potential partners to further develop such iconic Konami gaming IP as Contra, Bomberman and Frogger.

Yu-Gi-Oh! VRAINS

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Lacey Entertainment

Kiva Can Do!

Topo Gigio / Kiva Can Do! / Dinosaur King Lacey Entertainment is introducing the animated series Topo Gigio, which draws upon the history and appeal of the classic eponymous mouse character, to English-language markets at MIPCOM. For young children, Kiva Can Do! is a Nick Jr. series that follows the adventures of a little girl with a wild imagination, her best friend Saul and her dog Angus, who she built out of shoeboxes and paper towel rolls. “With 25 different language versions available, great storytelling, a fresh animation style and proven appeal, we believe that Kiva Can Do! will enjoy newfound audiences on free TV, as well as SVOD/AVOD platforms around the world,” says Brian Lacey, the company’s president. Meanwhile, Lacey describes the classic adventure series Dinosaur King as “Pokémon meets Jurassic Park.”

“We work with creators and producers around the world to develop content that has the potential to break through in a highly competitive environment worldwide.”

—Brian Lacey

Next Level

MarVista Entertainment Next Level / Back of the Net / The Lies I Tell Myself Billed as a cross between High School Musical and Mean Girls, the MarVista Entertainment title Next Level is a dancebased musical comedy-drama starring such Gen Z talent as Chloé Lukasiak (Dance Moms), Lauren Orlando (Total Eclipse), Emily Skinner (Andi Mack) and Hayden Summerall (Chicken Girls). “It’s a great story appealing to all ages with a lot of fun, current music and amazing performances that will travel well around the globe,” says Deena Stern, MarVista Entertainment’s head of marketing, communications and acquisitions. Back of the Net, another kids’ and family feature, captures the enthusiasm among girls for world-class soccer. Dealing with social conflict and the challenges that come with dating as a teen, The Lies I Tell Myself centers on a girl trying to balance dating two boys at the same time.

“We find that young adult content appeals to a broad demographic, from younger kids who find it aspirational to families who enjoy the co-viewing opportunity.”

—Deena Stern

Mattel Barbie Vlogger / Enchantimals Tales of Everwilde / Thomas & Friends Mattel is presenting at MIPCOM the 23rd season of Thomas & Friends, which sees the classic tank engine visiting Italy and Brazil on his trips around the world.

Barbie Vlogger, meanwhile, sees the classic character and her friends share information about their lives and favorite things, and Enchantimals Tales of Everwilde— both seasons of which are available—follows as the titular characters and their animal best friends explore the fantastical land of Wonderworld. Frederic Soulie, Mattel’s senior VP of content distribution and business development, says that right now is an “exciting time” to be in the kids’ content industry, “where strong, global, well-known brands and franchises are more than ever in high demand.”

“As an IP owner, content producer and distributor, it is an exciting time to be in the industry.”

—Frederic Soulie Barbie Vlogger

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Tom and Lili

Mediatoon Distribution Sardine in Outer Space / Tom and Lili Mediatoon Distribution is bringing a pair of animated series commissioned by Canal+ to MIPCOM. Sardine in Outer Space follows the titular character and her crew in their fight against the villain Supermuscleman and his evil sidekick Dr. Krok. The show was adapted from a book series with over 1,500 pages of kids’ adventures. “The use of bright colors and short format allow young children to enter into the world of space travel,” says Jérôme Alby, Mediatoon Distribution’s managing director. Tom and Lili is also based on a series of books, and it tells the story of the eponymous characters who live in their family restaurant. “Although we frequently look to the future to discover new trends, our two featured programs this year reflect the re-creation of previously wellknown brands in publishing,” says Alby.

“With over 3,000 hours’ worth of programs in our current catalog, we cater to a range of targets, from preschool to teens and all the ages in between.”

—Jérôme Alby

MeteoHeroes

Mondo TV Group House of Talent / MeteoHeroes / Robot Trains Launched in September, Mondo TV Group’s first web series, House of Talent, is headlining the company’s slate at MIPCOM. The 260-episode teen-skewing show follows as a crew of influencers, who have a combined half a billion monthly impressions, live together in the real world. The show “has already inspired two novels (with more to come) and multi-venue fan meet and greets that have attracted over 80,000 fans since the beginning of 2019,” says Luana Perrero, Mondo’s head of content sales. Also on offer from Mondo are MeteoHeroes, which features a group of pollutionfighting kids, and Robot Trains, an animated series for the 3-to-5 set. “We’ve got a lot of exciting properties to talk about of course, but these three certainly underline the diverse appeal of the Mondo offering,” says Perrero.

“Audiences want to interact on multiple platforms and fully experience content from different angles.”

—Luana Perrero

Insectibles

One Animation Oddbods / Insectibles / Rob the Robot One Animation is presenting its flagship property Oddbods at MIPCOM. Broadcast in over 180 countries, the non-dialogue comedy follows the adventures of seven different, fun and funny friends who celebrate individuality and acceptance.

Insectibles follows as Zak and his grandfather are accidentally exposed to Gramps’ Shrinkinator and befriend genetically modified insects in pint-sized adventures. One Animation is also bringing to the market Rob the Robot, which showcases the titular intergalactic character and incorporates a developmentally appropriate curriculum for preschoolers based on in-depth educational research. The slapstick comedy Antiks, aimed at kids ages 3 to 7, rounds out the slate, following two ant siblings, Joey and Boo, as their insatiable curiosity leads them on wild adventures.

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Created by Christian Faber © 2019 Goodman Rock

Created by Damjan Mitrevski © 2019 Toon2Tango | Mondo TV | Vhouse animation

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M booth

MIPCO Visit us @ Toon2Tango

+49 171 3511436

info@toon2tango.com

P-1 M2 P-1 N1 /

toon2tango.com

(Mondo)

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Pink Parrot Media Snowsnaps Pink Parrot Media is bringing the animated series Snowsnaps, a brand extension of the globally distributed movie Snowtime!, to MIPCOM. Available as a series of 52 5-minute episodes or 26 11-minute episodes and targeted at kids 5 to 8, Snowsnaps stars Violet, Tomas, Sami and Kiki, the first-graders from the movie who love to play outside on a cold winter’s day. “The amazing CGI texture and look will appeal to international buyers that are attracted to the comedy and adventure genre that kids crave to watch anytime and anywhere,” says Sandrine Pechels de Saint Sardos, Pink Parrot’s media executive.

“I am sure MIPCOM will open the doors to buyers and global streamers that are eager to embrace the series for its value and quality.”

“Snowsnaps is a series of shorts that can be programmed everywhere on traditional and/or nonlinear platforms.”

—Sandrine Pechels de Saint Sardos

Planeta Junior Gormiti / Power Players / Squish Power Players, which Planeta Junior is presenting at MIPCOM, premiered last month on Cartoon Network. “It is very technically innovative, as its animation style integrates images of the real world with animated characters,” says África Vázquez, Planeta Junior’s international media sales director. The company is also working on the third season of Gormiti, an animated series that follows a group of kids who have the fate of the magical land of Gorm in their hands. Meanwhile, Squish is the story of three best friends who happen to be amoebas. “It is very easy to watch but also has great lessons, as the characters, even though they are amoebas, face the same everyday problems at school as any kid in any country would,” says Vázquez.

Squish

—África Vázquez

Ryan’s Mystery Playdate

pocket.watch Ryan’s Mystery Playdate / HobbyKids Adventures / Bigby pocket.watch is a new studio serving Generation Alpha that is digital-first. “We are showing how there is a bridge from the digital-first world to the traditional linear and SVOD worlds,” says Stone Newman, chief revenue officer. “Our first success here is with Ryan, where we introduced the global consumerproducts brand Ryan’s World, making it the fastest-growing new preschool brand in the market.” The show Ryan’s Mystery Playdate features the YouTube phenomenon, known from Ryan ToysReview. “The show as is or the format easily translate across all borders and give buyers the opportunity to participate in the success of YouTube content with something built for broadcast,” Newman says. Further highlights include HobbyKids Adventures, inspired by the YouTube creator channel HobbyKidsTV, and Bigby.

“We are working very closely with our partners at all levels to invest in new co-productions that will increase our catalog.”

“The fast evolution with digital-first brands dominating the kids’ business is here; partner with pocket.watch to make that transition easy, exciting, fun and successful.”

—Stone Newman 208 WORLD SCREEN 10/19

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Portfolio Entertainment Hero Elementary / The Cat in the Hat Knows a Lot About That! / Addison Portfolio Entertainment is showcasing the newest addition to its catalog, Hero Elementary, which features an autistic lead character. “Cartoons have always been a fantastic medium for introducing important social issues to young audiences in a manner they can relate to, and we’re proud to have the opportunity to share this with kids around the world,” says Donnie MacIntyre, Portfolio Entertainment’s VP of sales and business development. Starring one of children’s literature’s most enduring characters, The Cat in the Hat Knows a Lot About That! whisks kids away to many exotic locales—anywhere from an African jungle to outer space—to learn all about science and natural history. Addison, meanwhile, stars a young female inventor and her inquisitive pals as they work together to help their neighbors and solve mysteries in their community.

The Cat in the Hat Knows a Lot About That!

“We’re coming to MIPCOM this year with a robust slate of live-action and animated content for children of all ages that we can’t wait to share with the market.”

—Donnie MacIntyre

Primeworks Distribution Ejen Ali the Movie / Adiwiraku 2 / Saladin Leading Primeworks Distribution’s slate is Ejen Ali the Movie, the company’s first animated film, and “it is something we feel will resonate with an international audience for its sense of adventure,” says Lyn Nasihin, general manager. Adiwiraku 2, meanwhile, is the inspiring true story of a teacher who leads his team to win a gold medal for cricket at the 2017 Southeast Asian Games.

Primeworks Distribution is also highlighting Saladin, a series inspired by the life of the titular medieval statesman and warrior that chronicles a fictional period in his life as a young adventurer. “It boasts a rare combination of action and adventure with values and teachings that earned the title an International Emmy nomination under the children and young people category back in 2011,” says Nasihin.

“Our constant efforts to not only expand our business initiatives but also strive to promote Malaysian content internationally has led us to represent an interesting mix of new Malaysian content partners this MIPCOM.”

Ejen Ali the Movie

—Lyn Nasihin

Rainbow 44 Cats / Pinocchio / 2 Happy Farmers The second season of Rainbow’s preschool show 44 Cats continues to follow the adventures of four kittens who make up a musical group called The Buffycats. Also on Rainbow’s slate is Pinocchio, a brand-new CGI restyle of the world-famous Italian classic by Carlo Collodi, featuring a modern setting as the background. Also for the preschool set is the new series 2 Happy Farmers, which features educational themes such as the importance of contact with nature, playing outside, loving animals and helping each other. “At a time when no show for preschoolers introduces the wonderful world of farming to the young audience, we believe this show will turn out to be a great success,” says Andrea Graciotti, Rainbow’s head of sales, TV series, movies and co-productions.

44 Cats

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“We are working to increase our international business network, establishing partnerships with new media players while reinforcing our cooperation and friendship with current partners across the globe.”

—Andrea Graciotti

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Monty & Co

Serious Lunch Tik Tak / Monty & Co / The New Legends of Monkey Serious Lunch is set to announce the U.K. broadcaster for Monty & Co, a puppet sitcom series with episodes arranged as “mini-dramas,” at MIPCOM. Meanwhile, Tik Tak, the company’s non-dialogue series for toddlers, aims to have a calming effect on anyone who watches it and helps kids’ learning skills. “We were interested in distributing a series with strong cognitive development at its core,” said Leila Ouledcheikh, Serious Lunch’s director of global sales. Rounding out the slate highlights is Daytime Emmy winner The New Legends of Monkey, inspired by a 16th-century Chinese epic novel. “The appeal of this show for the younger and older audiences alike is escapism—a world of landscapes and structures that captures their imagination and transports them to a place that feels ancient but somehow timeless,” says Ouledcheikh.

“The puppets in Monty & Co are great quality, and the songs in each episode are fun.”

—Leila Ouledcheikh

Hilda

Silvergate Media The Octonauts / Hilda / Peter Rabbit Leading Silvergate Media’s MIPCOM slate is The Octonauts, an animated preschool series that follows a team of adventurers who explore new worlds, rescue sea creatures and protect the ocean. Also on the bill is Hilda, a 2D-animated series that follows the adventures of a fearless blue-haired girl as she travels from her home in a magical wilderness full of elves and giants to a bustling city, where she meets new friends and mysterious creatures. Silvergate has also developed the classic Peter Rabbit character into a new CGIanimated series aimed at the preschool set. “The publishing background has a global reach, so the animated series builds on a world that audiences are likely to be familiar with but updates the stories for a modern audience,” says Ron Allen, Silvergate’s executive VP of commercial.

“We’re delighted to be presenting Silvergate’s biggest production slate to date.”

—Ron Allen

Heidi

Studio 100 Media 100% Wolf—Legend of the Moonstone / Heidi / Tip the Mouse Based on the book 100% Wolf, Studio 100 Media’s new production 100% Wolf—Legend of the Moonstone tells the story of Freddy Lupin, heir to a proud family line of werewolves, who was in shock when on his 13th birthday, his first “warfing” goes awry, turning him into a poodle rather than a ferocious monster. “In addition to the series, the movie that we are producing will continue the book’s coming-of-age themes of embracing yourself, finding your place in the world and standing up for what you believe in,” says Dorian Bühr, Studio 100 Media’s head of global distribution. All three seasons of Tip the Mouse will also be on offer. “The preschool CGI series is based on a huge publishing success with over 11 million books sold worldwide and a ten-year brand presence,” says Bühr. There are 26 brand-new episodes of the Heidi CGI series as well.

“Now with four animation studios, the Studio 100 Group is creating a substantial output of series over the coming years.”

—Dorian Bühr 212 WORLD SCREEN 10/19

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Beyblade Burst

SUNRIGHTS Beyblade Burst SUNRIGHTS is offering at MIPCOM Beyblade Burst, the first season of which introduces viewers to Valt Aoi and his group of passionate Blader friends. Season two, Beyblade Burst Evolution, sees Valt travel to Spain after being scouted by a prestigious Spanish Bey club. In Beyblade Burst Turbo, the series’ third chapter, viewers meet Aiger Akabane, a wild child who tries to take Valt’s world champion title. Lastly, Beyblade Burst Rise, the fourth and newest installment of the ongoing adventure, follows new protagonist Dante Koryu and his partner Ace Dragon as they set off for Japan, the birthplace of Beyblade. “The series has strong themes of friendship and adventure and values such as hard work, competition, good sportsmanship and never giving up on your dream,” says Natasha Gross, SUNRIGHTS’ TV sales and licensing director.

“SUNRIGHTS has cultivated Beyblade Burst’s presence across major broadcast channels, digital streaming platforms and popular social media.”

—Natasha Gross

Zibilla

Superights That’s Joey! / Maelys’ Mysteries / Zibilla Superights is premiering the first episode of the animated comedy series That’s Joey! at MIPJunior. Based on the books by Thierry Coppée, the series follows the titular youngster as he racks up mischief and concocts zany schemes. Maelys’ Mysteries, which follows the escapades of the eponymous girl, is also based on a book series and premiering at MIPJunior. Meanwhile, from Nadasdy Films comes Zibilla, the story of a little zebra in a world where her differences make her stronger. “These three new programs cover all genders and ages, from preschoolers’ to kids’ comedy, adventures and edutainment, with two common values: friendship and kindness,” says Nathalie Pinguet, deputy managing director of sales and acquisitions at Superights.

“Superights will present many new shows this year.”

—Nathalie Pinguet

Tasty Tales of The Food Truckers

T&B Media Global Tasty Tales of The Food Truckers / FriendZspace Tasty Tales of The Food Truckers, an adventure-comedy series that follows a trio of animal pals who travel the world in their souped-up and sentient food truck to find rare ingredients to whip up exotic dishes and meet new friends, leads the MIPCOM slate of T&B Media Global.

Another adventure comedy that the company is bringing to the market is FriendZspace, a CG-animated series about human kids who explore the universe to make fast friends with alien children. Jwanwat Ahriyavraromp, founder and CEO of T&B Media Global, says that the company “seeks to bring unique and joyful entertainment to audiences worldwide by nurturing a culture of creativity and passion for excellence in all the storytellers it invests in.”

“T&B aspires to be a key player in the generation of happiness for the world.”

—Jwanwat Ahriyavraromp 214 WORLD SCREEN 10/19

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Agent 203

Toon2Tango Agent 203 / Hey Fuzzy Yellow / C.S.Eye Agent 203, the first of two animated properties leading Toon2Tango’s MIPCOM slate, is a coming-of-age adventure that features a strong female lead who is on a quest to save the galaxy and find her mother. The second animated offering is Hey Fuzzy Yellow, a preschool show that presents an unconventional curriculum designed to mirror the parenting values of millennials. “The revolutionary show leaves the beaten trail to take young preschool kids on a journey of laughter, education and emotion all in one show,” says Hans Ulrich Stoef, Toon2Tango’s CEO. Meanwhile, the company’s first liveaction series, C.S.Eye, tells the story of Sam, the daughter of a veterinarian who is on a mission to find out the stories behind the animals that her mother treats.

“We have the opportunity to start fresh and want to do that with amazing shows that have something extra.”

—Hans Ulrich Stoef

TV Asahi Doraemon / Shin chan / Super Shiro Two of TV Asahi’s flagship shows, Doraemon and Shin chan, have long legacies of fans and success in Japan already, with hundreds of episodes and theatrical movies produced every year. The company also has the new slapstick comedy Super Shiro, inspired by the Shin chan franchise. On the Sunday of MIPJunior, TV Asahi is hosting a breakfast session and world premiere for Super Shiro.

“While we are expecting interest from the existing Shin chan fans and partners, the show also has the very rare combination of being in the vein of Tom & Jerry and its type of action,” says Takahiro Kishimoto, head of animation in the international business department of TV Asahi. The show is directed by Masaaki Yuasa, known for his work on the Netflix series Devilman Crybaby.

Super Shiro

“Various broadcasters and platforms have already shown great interest in Super Shiro since we announced the show earlier this year.”

—Takahiro Kishimoto

Cry Babies

Zodiak Kids Percy’s Tiger Tales / Babyatrice / Cry Babies Targeting the preschool set, the Zodiak Kids series Percy’s Tiger Tales aims to show young ones that with a bit of imagination and a little help, they can overcome any difficulty. “This gorgeous show will appeal to buyers looking for a program about friendship, costume characters and positive messages,” says Delphine Dumont, senior VP of sales, acquisitions and co-production at Zodiak Kids. Further highlights from the catalog include Babyatrice, aimed at a family audience, and Cry Babies, meant for the upperpreschool demographic. For teens, there’s Flatmates, a comedic drama set in the buzzing metropolitan area of Manchester. Dumont highlights the “diverse characters and universal storytelling” as reasons she believes it will strike a chord with a broad audience.

“Cry Babies has already proven to be a huge success on YouTube and on all the platforms that have launched it.”

—Delphine Dumont 216 WORLD SCREEN 10/19

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9 Story’s Charlie's Colorforms City.

Matrimonii imputat cathed Best & Bester.

Mansha Daswani talks to leading producers and distributors about how funding models are evolving.

I

f you’re an independent producer of children’s content, there is a good chance you spend a lot of time filling out paperwork. There are tax incentives to take advantage of and funds to apply for. And this is not new—kids’ content producers have long been adept at cobbling together financing from multiple sources, an effort that has intensified as both commercial and public-broadcast channels cope with budget pressures.

Meanwhile, the government-backed funding systems in many prolific kids’ markets are not offering up as much as they used to.

“In Canada, some of the funding is gone because of the changes to the regulatory system,” says Vince Commisso, cofounding partner, president and CEO of 9 Story Media Group.

“And the cost of content has gone way up! But there are many more buyers coming onto the scene, too.”

As for those new buyers, some—notably Netflix—are spending lots of money to fund shows, but that has its own set of implications for your back-end returns.

“The biggest change in the business has been the new financing from the streaming services,” observes Josh Scherba, the president of WildBrain (formerly DHX Media).

“We’ve been active with Netflix and Hulu and we’ve recently

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Mediatoon Distribution is working with the French studio Toon Factory on Sardine in Outer Space.

announced our partnership with Apple on Peanuts content.

The streamers offer different models, though, as the rights that are taken are more extensive, with the request generally being for global rights. However, the good news is that they are funding healthier budgets than we’ve ever seen in kids’ content. So they are an effective way to get shows funded but, as a result, there are fewer rights left on the table.”

IF IT AIN’T BROKE…

reflective of how the outfit generally does business. “That’s a commission by Canal+ in France,” says Emmanuèle Pétry Sirvin, partner at the company with Jean Baptiste Wéry.

“They finance 25 percent of the budget, another 25 percent is from the CNC, another quarter from local subsidies and tax credits and the last quarter is presales and sales. That is working. It’s not always easy because it is a lot of deals and contracts. That’s the traditional French model.”

Jérôme Alby, managing director at Mediatoon Distribution, also stresses the importance of the French funding system.

“We’re French, we’re Belgian and we’re European, so we’re still quite lucky to be able to get between 20 and 40 percent in subsidies,” he explains. “That can be from the state (France, Belgium) or the region, sometimes from cities. We’re still favoring, for the time being, a model in which we have one or two key commissioning channels. Let’s say one free TV and one pay, linear or nonlinear partner. That makes it easier for us to carve out the exclusivities and better optimize the windowing, to make sure we recoup our overall investment.”

Genevieve Dexter has a unique insight into funding models as CEO of both the Eye Present animation studio and the independent distribution outfit Serious Lunch. “If it’s

More on that later. First and foremost is the fact that the traditional models that have sustained kids’ producers for years do still work.

“The traditional routes are still there, including directly through being commissioned,” says Dominic Gardiner, the CEO of independent distributor Jetpack Distribution. “When you’re talking about a full 52x11-minute high-end animation that will go worldwide, financing takes a number of partners to join forces, have a common need and be able to work well together. Those routes have been well-trodden over the last 30, 40 years. There’s a lot of government intervention that is making that a little easier, whether it’s the more traditional markets like France and Canada, and now you have Singapore, Ireland and the U.K. It’s still very difficult, but everybody is trying to work together to get series made.”

Ed Galton, managing director and chief commercial officer at CAKE, notes that “tax-friendly territories,” such as the U.K., Canada, Ireland and Australia, tend to be a good starting point for landing your commissioning broadcaster, followed by doing a round of presales. “Whatever gap is left over, you would either gap-finance in return for an equity position as a minimum guarantee or find a facility that is willing to gap-finance. We’ve done that in the past by working with EIS [Enterprise Investment Scheme] companies out of the U.K. that were willing to gap-finance a small portion, say 15 percent. Or through somebody’s private-equity position as well.”

At Dandelooo in France, the model used to finance the International Emmy Award–winning Treehouse Stories is Dandelooo is co-producing Stinky Dog with fellow French studio Folivari.

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Apple has commissioned WildBrain to produce new content based on the Peanuts franchise for its upcoming streaming service.

animation, then everything goes through Eye Present, and we structure it as a co-pro, where we jointly invest in the development to get it to market. And if it’s live-action or a project that just needs distribution and a minimum guarantee, then it goes through Serious Lunch,” Dexter explains. “I’ve done lots of different models, which tend to be based on the strength of the property in different territories.”

On Best & Bester, for example, co-produced with Gigglebug Entertainment in Finland, “We are targeting worldwide pay-TV networks first, and then we will put into play a co-pro with Italy to get it over the line, together with our tax credits.” On Flix, meanwhile, which is better suited to public broadcasters, Dexter says, “We are tapping into Irish funding from broadcast [RTÉ], Screen Ireland and BAI [Broadcast Authority of Ireland] through our co-producer Aria Ungerer at Pictor Productions in Cork. We have also applied for Creative Europe MEDIA funding. All of these funds want to support classic European properties.”

Dexter relates that a different model was used for the first two seasons of Messy Goes to Okido, financed via a “specialpurpose vehicle that raised EIS funding, a BBC license fee and DHX investment. For season three, we’re looking to swap out the private-venture capital with a Chinese co-production because we want to bring in some new partners who can bring value to the brand. The series has recently been picked up by CCTV and Mango TV, in addition to Tencent, Youku, iQiyi and all the other VOD platforms.”

BETTER TOGETHER Co-production remains an essential tool, delivering both financial and creative benefits to a property. At Dandelooo, Pétry Sirvin mentions Billy the Cowboy Hamster, where “70 percent is financed out of France and 30 percent from a Belgian co-production and a German presale.”

A new approach at Dandelooo, Pétry Sirvin says, is coproducing with Eastern Europe. “It started with distribution— we found a few programs from Latvia and the Czech Republic that we are selling into France. Now we’re looking at developing a feature film with Latvia. The nice thing is Creative Europe MEDIA supports them a lot. MEDIA [funding] is difficult to get. It’s a long application process and it’s a lot of work, especially on the distribution side, but when you get it, it comes on top of the local subsidies.

In France, we’re capped to 50 percent of public money.

MEDIA [funding] comes on top.”

Pétry Sirvin adds, “The thing about the co-production model is we cannot give away more than 30 percent. We have to spend 70 percent in the French territory; otherwise, we lose the tax credit. That is an equilibrium you have to find.”

THE RIGHT MIX “Financing means finding a compromise to meet all financers’ needs as far as the editorial part is concerned,” adds Francesco Mozzetti, managing director of For Fun Distribution, the recently formed distribution division of the Italian animation production outfit For Fun Media.

“Sometimes you can accept this, sometimes [you can’t] because you risk jeopardizing the deep values the property is based on.”

On the company’s brand-new Topo Gigio, Mozzetti notes, “We have decided to rely less on third-party contributions and keep the full control of a property we believe in. Thus, we presold some rights to cover 30 percent of the budget and took the risk for the rest.”

Topo Gigio is based on a well-known brand. Brian Lacey, the president of Lacey Entertainment, which is working with For Fun on the Topo Gigio rollout, notes that a property’s origins must be considered when determining a financing plan.

“It is important to differentiate content that is fresh and original and content that has already established equity values. A model that we have enjoyed with considerable success is content that brings at least one or two markets with participating broadcast platforms. Typically, this might represent anywhere from 50 to 85 percent of a production budget. The balance is raised through a variety of methods. Third-party investors might include partners with complementary activities, such as publishing, gaming, etc.”

As to the role played by potential L&M revenues in determining financing plans, there is no clear consensus.

“That is the $6 million question,” says Jetpack’s Gardiner.

“When you’re trying to finance a series, if you’re thinking, we’ve got half the money, we’ll get the other half from licensing and merchandising—that’s a big target to try to reach.

People do take that gamble. If the licensing does pay off, and you’ve produced the show at a reasonable budget and you’ve got good distribution, yes, licensing is still extremely profitable. But it’s a small number of shows that get to that level.”

Galton says that CAKE generally doesn’t factor L&M revenues in financing models. “I’m a firm believer that there is

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For Fun is introducing the brand-new Topo Gigio this MIPCOM.

value in the IP you’re creating and the production itself. I think we lost our way in the early 2000s when that model shifted and the toy companies and some of the big entities that had valuable IP felt that television was only a platform and their main source of revenue would be the L&M marketplace. I think we’re bringing it back to some level of normalcy. The emergence of the SVOD universe has put value back into the creation of IP. There are very few IPs that make money in licensing and merchandising. When anyone comes to me and says, We’re going to make all this money on licensing and merchandising as part of the business plan, I treat it cautiously.”

Dandelooo’s Pétry Sirvin agrees, stating, “Nobody can count on merch revenue to make your company big and profitable. You could, but then you’re going downstream on the quality of what you’re doing. You’re just turning things into backpacks and shoes, and that’s not what we want to do.”

Lacey is also of the opinion that generally, you can’t “project meaningful or reasonably accurate estimates for ancillary revenues. It is simply too difficult in most cases to access production funds in advance on projected ancillary revenues, with a notable exception being content that is already well established.”

WildBrain’s Scherba observes that the extent to which L&M revenues factor into financing plans depends in part on your commissioning platform. “If you’re going door-to-door and you’re going to take less money to fund the content, you better have a commercial strategy for how you’re going to make that money back, and that has to be from your consumer-products group.”

RIGHTS AWARE Scherba references one of the biggest questions producers and distributors are facing today as global streamers up the ante on content budgets but ask for a lot in return: How do you decide whether to go with a worldwide deal or a countryby-country approach?

“It starts with identifying what your creative aspirations are for the show and what the right budget level is accordingly,” Scherba says. “From there, it’s working through the math—what is the world worth in a market-to-market strategy? We have a pretty good sense of what those numbers are.

The layer we throw on top is our international sales team

weighing in on whether they think those deals are achievable in each market. You put all of those together and you have a projection. You weigh that versus your budget, and you take an informed view.”

At Mediatoon, the approach has generally been to “maximize visibility and revenue,” says Alby. “We are open to discussions in which someone can buy out the rights of a show.

However, the model we’ve favored is one in which we’re sure to keep a very fair part of the rights and also the copyright. This way, after a period of one, two, three or four years, we can start monetizing the rights on a very large scale.”

Opting for a global first window on a streaming platform “can greatly eliminate a number of important revenue streams for producers over a long period of time, most notably exploitation on other broadcast platforms as well as full exploitation of ancillary rights,” Lacey adds.

“In general, we are not ready to live with just the executive producer’s fee—which is basically what you are left with in deals with the SVOD platforms,” says For Fun’s Mozzetti.

Jetpack’s Gardiner likens doing a global exclusive deal with a platform to “selling your house—you don’t get it back! You hand over the keys and that’s it, you move on to the next one. There are some [projects] in which you don’t want to do that. You might have an idea that you think, this is the pension, it’s the one that will be paying me forever.”

CAN WE SHARE? Even if all rights aren’t taken at the outset, it can be a challenge to distribute a show that has a streamer attached.

“Linear broadcasters are now reliant on on-demand activity to keep their relevance, especially in the kids’ space,” CAKE’s Galton says. “We have lots of rights restrictions when we’re working with Netflix and some of the other platforms. That makes it much more complicated.”

Gardiner references Jetpack’s experience on Kazoops!, an Australian preschool series. “The structure of the financing [came together] before there were a lot of wholly owned series on Netflix. It was a BBC, ABC Australia and Netflix coproduction. The rights were coming back [after the Netflix window]. We made lots of sales. But there were certain sales we thought we would get but didn’t because of the Netflix factor.”

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CAKE is co-producing Mush-Mush & the Mushables with La Cabane and Thuristar, with Boomerang on board as a partner.

Linear channels, Gardiner continues, care much more about on-demand than they used to. Pétry Sirvin at Dandelooo adds that some broadcasters are not just asking for a holdback on SVOD—they want all rights, precluding a run on a dedicated on-demand platform. “My big effort with the team is to try to decrease that. I’m saying, [holdbacks of] 24 months, maybe 18, and please let us do some SVOD deals once you’ve exploited the free-TV window at first. It’s a struggle for each property. Little by little, we’re getting there.”

RISK AND REWARD Jetpack’s Gardiner also sees attitudes changing slightly. “Even some of the big players, who can afford to pay for it all if they wish, recognize that a bit of risk-sharing and collaboration enables everyone to get what they want.”

9 Story’s Commisso reflects a similar view, stating, “There are lots of models where the SVODs are saying, We’re going to pay you a majority of the budget and we want some potential exclusivity for SVOD, but you can have other rights. And we monetize those other rights after that and then it’s a question of what your deficit is or if you de-risk during production.”

The significant investments by SVODs are also creating opportunities for distributors to represent properties that benefited from OTT involvement, as Serious Lunch is doing with The New Legends of Monkey from See-Saw Films. Netflix was among the partners on the show, “but their holdbacks against broadcast and home video are up, so we are taking it to market as a second-window proposition,” Dexter says. “We are hoping that the extremely high quality will outweigh the limitations on VOD rights. In this case, buyers can enjoy VOD rights but with a limit on the number of episodes at any one time.

Where a property is really strong, then you can get over some of these barriers.”

With all the shifts taking place in the market, the role of the distributor has also had to evolve.

“The trend I see, given the fact that you have to have different revenue streams and you have to be a real expert when

you exploit, is distributors are coming aboard much sooner now,” says Mediatoon’s Alby.

“A few years back, the distributor was just a middleman, the broker. Today and tomorrow, he has this growing role. There are fewer government incentives, fewer subsidies.

Technical expenses are climbing. Windowing is becoming tougher. And the distributor is sometimes becoming a very big investor and almost a co-producer, and at the same time, an IP manager.”

Jetpack’s Gardiner says that his company is working with producers “right across the spectrum. For some, the financing is already done, it’s not an issue. Others have private funding. We also work with people who need presales to close gaps. And we help marry broadcasters with producers and finesse the deal with editorial and give feedback and expertise if required.”

At CAKE, the strategy has been to position itself as both “a distribution business and a production business,” says Galton. “We can benefit from being producers, but then we can also benefit from placing content on platforms—linear, digital, wherever—when the opportunity arises. While others may feel exposed, we feel very positive about where we are and our position in today’s marketplace.”

Commisso at 9 Story is feeling equally bullish. “The demand for content, especially kids’ content, is only going to continue to rise. Will the funding from territories like Canada continue to support that demand while it is going up? I think the answer will be yes because there is a net benefit to doing it.”

BREXIT FEARS The question of when, and how, the U.K. will leave the EU has left some uncertainty for British animation producers.

“That’s a black cloud on the horizon,” Gardiner says. “Two years ago, people were a bit more panicky than they are today. Everybody has one eye on it. Is the storm going to arrive or pass us by? But you can’t change what you’re doing.

You have to keep doing it until the storm happens, and then people will start taking whatever actions are necessary.”

Dexter at Serious Lunch is not worried about Brexit’s impact on her distribution business. She has heard rumblings about what Brexit means for the U.K.’s co-productions with territories like France. The biggest issue she sees is access to Creative Europe MEDIA funding. “I’m hoping there will be some compensatory things happening in the U.K.,” Dexter says. “At the moment, we’re allowed a 20 percent tax credit, which was ratified by the EU. If we exit the EU without any regulations, then it is within the government’s power to increase that tax credit.

There’s new funding from the BFI for short-form animation and then we have the Young Audiences Content Fund (YACF), which is for both development and production. So we have some new types of funds here that everybody is adapting their development slates to tap into.”

Adapting is the keyword, Dexter notes. “The kids’ business has always been at the forefront of imaginative fundraising because we haven’t had the luxury of anybody fully funding our programs for a very long time—although Netflix is now doing so. I’m sure we will adapt and prosper.”

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Sniffing Out a Hit Leading commissioners and buyers tell David Wood about how their content needs are evolving.

A

few years ago, a straw poll of commissioners and buyers about the growth of SVOD competition in the kids’ TV market would have elicited feelings of uncertainty and existential angst. Today, despite the turmoil created by streaming services, many now concede that the impact of deeppocketed OTT players has been beneficial.

Undeniably, it has made the kids’ marketplace a very healthy one for producers, insists Frank Dietz, Super RTL’s deputy program director and head of acquisitions and co-productions.

“If you had asked me about the economic state of the market two years ago, I would have said there was a drought. But now there is a lot of choice, and we are not having trouble finding shows,” he points out. “I see the market as a very dynamic place now. The impact of Netflix, Amazon, Apple and Disney+ has definitely made it a producers’ market.”

Sarah Muller, the head of independent animation and acquisitions at BBC Children’s, has no doubt about the impact of streaming services: “There is a more vibrant

production environment with many more ambitious ideas making it off the drawing board. More competition and choice are always good!”

DEMANDING TIMES Now that the SVOD market is more mature, there is also growing confidence among established players, who can now see how they might use their trusted brands to carve out a niche for themselves in the on-demand space.

“New competitors, along with new technologies and programs, have a strong impact on user behavior,” says Astrid Plenk, managing and program director of the German public-service channel KiKA. “With increasing frequency, families want to access content independent of time and location. It is for this reason that we have extended our own portfolio with the introduction of the KiKAPlayer, thus establishing a new distribution channel.”

David Levine, the VP of kids’ programming for Europe and Africa at The Walt Disney Company, argues, “It’s a really exciting time to be part of this industry. There is an increased level of demand spurring development in new areas, which has been extremely positive for the industry as a whole. As a 10/19 WORLD SCREEN 229

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comedy 101 Dalmatian Street, a reboot of classic Disney characters Chip ‘n’ Dale by Xilam and Monsters at Work from Dwarf Animation—as clear signs of a reinvigorated marketplace.

Plus, there are Disney’s existing European collaborations on shows such as Penny on M.A.R.S. (season three is now in production with 3Zero2), Miraculous: Tales of Ladybug & Cat Noir (Zagtoon and Method Animation), PJ Masks from Entertainment One Family & Brands and Cyber Group Studios’ Gigantosaurus.

“It’s amazing to see what can happen when we include different voices behind the camera and on-screen,” continues Levine. “It would be great to see this become a constant, to ensure the days of being pitched something that is a pastiche or tokenistic are truly behind us. We should be able to elevate everyone’s storytelling.”

WISH LISTS Super RTL’s lineup of acquisitions includes Entertainment One’s Ricky Zoom.

result, we have seen welcome growth with new and diverse voices joining the industry, a change we are excited to see and incorporate into our projects, too.”

Levine signals that Disney’s greatest need is for animation that works for an audience of kids between the ages of 7 and 11. He is also focusing on the opportunities that Disney+ brings for expanding kids’ content. “The creative opportunities this will bring to our teams and partners are second to none,” says Levine. He points to a host of European collaborations for Disney+—including the animated

With the abundance of content being produced today, what are leading programmers looking for?

At CBBC, comedy is very high up on the most-wanted list, says Muller. “Comedy, always comedy—not just for the 6-plus audience, but also for the preschool audience, who like to laugh too. Live action that tells different stories from an alternative viewpoint around the world is of interest. We are also looking for content for 12- to 16-year-olds, which certainly includes challenging animation for an older audience and drama that pushes the boundaries.”

Diversity is critical when it comes to desired content from the networks, something that Super RTL’s Dietz

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another, it must have an element of relatability, or it needs to be aspirational.”

He cites DreamWorks’ Spirit Riding Free as a show that has a unique selling point and a touch of charm that’s relevant to today’s audience.

Plenk from KiKA singles out concepts that feature strong female characters as being in demand, as well as animation aimed at the 6-to-11 elementary school audience.

Current co-productions include Tib & Tumtum from French toon house GO-N Productions, Mystery Museum from Hahn Film and a CGI TV comeback for The Smurfs.

SPIRIT OF COLLABORATION

Silvergate Media produces The Octonauts for CBeebies in the U.K.

picks up on. For example, shows that reflect the variation in family structures evident in society today.

“We don’t look for the lookalike shows or hybrid projects that link two ideas that the market has already seen,” Dietz explains. “We are looking for original content with strong storytelling and characters and a narrative that is suitable for our audience. Ten years ago, we still did commercial half-hours. Now that’s divided into 2x11 minutes, plus we also have forms that are only 7 minutes. But whatever the format, we believe that there must be a connection between the kids and the characters—in one way or

For KiKA and other kids’ broadcasters, co-productions are key. “As an ex-producer, co-production has always been incredibly important to me, and I am very aware of the potential benefits,” says BBC Children’s Muller. “Co-pros are taken much more seriously now, with an understanding that you can dream bigger through the co-pro route.

For the right type of storytelling—fantasy, magic—the sky is the limit, and the kids’ sector is set up well to capitalize.”

To get an idea of the current co-pro focus at Boomerang, look no further than Taffy, observes Cecilia Persson, the VP of programming and content strategy for Turner EMEA kids and international acquisitions and co-productions.

“We developed and co-produced it with Cyber Group Studios, and the show is tailor-made for the channel and completely embodies the values and sensibilities of Boomerang,” says Persson. “That’s why we’re keen to get on board early and work collaboratively with production

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perhaps because of the broader scope of his networks, Gulli, Canal J and TiJi, which he says reach children from 3 to 12 years of age and their caregivers.

“We are curious about all proposals and ask only to be surprised,” Figue says. “We are looking for series that adhere to the values of our channels: good humor, tolerance and open-mindedness. Comedy is the most unifying genre on our stations, but adventure and action also play a major role. This year we will be paying particular attention to upper preschool.”

WINDOW WATCHING Portfolio’s The Cat in the Hat Knows a Lot About That! has sold widely, including to KiKA in Germany.

partners, whether it’s for a co-production or prebuy.”

This enables the content to be tailored appropriately for the Boomerang audience—a core demo of 4- to 7-yearolds—satisfying their appetite for pure slapstick comedy and entertainment with a strong visual emphasis.

In terms of most-desired content, Persson adds, “One of our current focuses for Boomerang is on the younger entry point—content that has the same genetics as our popular ‘squash and stretch’ animation, but with a softer touch.”

This is best epitomized by the CGI-animated adventure series Mush-Mush & the Mushables, developed by France’s La Cabane Productions, Belgium’s Thuristar and international kids’ entertainment specialist CAKE. Julien Figue is the deputy managing director for the youth segment at M6 Group, which recently acquired much of Lagardère’s TV division. He is less prescriptive,

In an era of rapid expansion of OTT services in the kids’ space, everybody agrees that the negotiation of rights has become a much bigger, more complex and significant process.

The marketplace is now characterized by a lot more co-operation and rights sharing, and most parties are open to negotiation.

“We generally take the first pay window but are open to being flexible on this if the opportunity is strong enough,” says Disney’s Levine.

In recent years, the development of digital services such as catch-up and SVOD has changed the way the market works, says Figue.

“For instance, the digital rights of a property are now increasingly subject to discussion and negotiation. With Gulli, we have our own digital platform and systematically ask for rights for all screens.”

Figue acknowledges that the rise of these new players in the market represents “a major challenge for us in the development of our services.” He adds, “We have learned to work with

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them. For example, our DreamWorks series (the Dragons franchise, Spirit and Trolls) have a first SVOD window on Netflix before arriving exclusively to linear on Gulli and Canal J. These series remain very high performers on our channels despite this first window. That is clear evidence of how players cooperate to get the best content on their networks.”

Figue continues, “We can also note that for our prebuying properties, we systematically have exclusivity of 12 months versus all platforms, including Netflix and Amazon.”

STANDING STRONG While there is much emphasis on the impact of on-demand services, linear is still a popular way for kids to consume content and share it with their families in many markets around the world. “Linear still has a bright future,” insists Figue.

“Gulli is more than a channel. It’s a reference brand for parents and their children and has a duty to offer them an ultra-secure and intuitive space. We have reworked our entire SVOD offer, GulliMax, to offer nearly 4,000 videos (including complete series, new episodes and exclusive content) in a space where inappropriate content can never be made available to a child. Indeed, all the highlights and recommendations are edited and worked on every day by our teams. This is what makes GulliMax different from the VOD giants such as YouTube.”

Also holding its own against the SVOD onslaught is Super RTL, which still commands a 22-plus-percent share of 3- to 13-year-olds compared to KiKA, Disney and Nickelodeon.

“We have stayed healthy because we know our audience and make certain that a wide range of relevant

content is made available to them,” Dietz reports. “We are on every platform where kids want to watch...plus we reach them through TOGGO Tour and live events. That’s pretty much our mission. The overall presentation of the channel makes it desirable to watch, and what also differentiates us from Nick and Disney is our freedom of choice. We are not a U.S. content pipeline—we choose and select what we want.”

RIGHT OF WAY With Super RTL’s subscription streaming platform, Kividoo, now established, the whole business of rights negotiation has become more complex and involves many more people, admits Dietz.

“If we invest a considerable amount of money and help build up an IP in the marketplace, we don’t like to have a secondary window exploited by an SVOD platform. If we reach a larger audience, we don’t want to share with a third party. We would like to keep it exclusive, but it would depend; every deal is different. The result is there is not a classic formula or blueprint for launching shows now. It depends on the strategy of our partners regarding consumer products, for instance.”

Established kids’ networks across Europe do have some advantages over the OTT services like Netflix and Amazon, from brand loyalty and parental approval to a considerable amount of experience in effective presentation and marketing.

“Let’s face it: kids have to find Netflix shows to watch them, which is not always the easiest task,” says Dietz. “One minute it’s out there on their premium rank of shows, then two days later it’s much harder to find.”

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Eye Present & Gigglebug’s Best & Bester.

Chelsea Regan hears from leading producers and distributors about the best approaches to delivering gender-neutral shows.

I

n 2019, it may seem surprising that developing truly gender-inclusive content—engaging shows that appeal to and excite girls as much as boys—continues to be a goal rather than a given. Programs geared primarily toward boys are still often passed off as genderneutral, with mostly one-dimensional and secondary girl characters that serve as hooks to pull girls into the audience. According to a recent Hopster report into preschool programming, titled “Is TV Making Your Child Prejudiced?” over a third of the episodes in the

Rainbow’s 44 Cats.

50 preschool shows examined perpetuated stereotypes. Boys fight. Girls are image-oriented. Boys are the protectors and the bearers of knowledge. Girls clean. Boys are powerful protagonists. Girls are undermined and objectified.

It doesn’t have to be this way, and shows like Guru Studio’s True and the Rainbow Kingdom are helping to pave the way forward. In the animated series, which is now in production on its fourth season, a girl is the protagonist, and a boy character, a cat named Bartleby, serves as that hook to reach across the gender divide. And even better, he’s not one-dimensional. In addition to teaming up

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Tatiana Kober, president of Bejuba! Entertainment, says, “It used to be that the girl would be a more of a sidekick character for [a show] to be considered gender-neutral, and the boy had to be the lead. The research in the past was always backing up that gender-neutral series still had to have a boy lead and probably a boy best friend, and then a secondary girl.” The tides did eventually start turning—with a little push from like-minded execs. “We started sneaking more girls into [shows] because we got stronger as women and there’s a lot of women in the industry, and the guys saw it, too.”

At GO-N Productions, which counts gender-neutral shows such as Simon and Zip Zip among the titles in its library, having women involved in the creation of a program is part of how the company ensures that girls feel represented and portrayed authentically on-screen. GO-N has had just as many women as men working on its productions at its Paris-based studio for the last few years.

“We try to have parity among the characters, strong characters that are equally boys and girls,” says Eric Garnet, cofounder and producer at GO-N. “The parity is very important to make sure you have gender-neutral shows. You should also have parity within your studios. I think that’s one of the ways that the industry changes.” Garnet adds that women animators are also key to more accurately drawing female characters and how they move.

WINDS OF CHANGE

41 Entertainment’s S.M.A.S.H! features a mix of boy and girl superheroes in training.

with True on her often-sidetracked missions to save the titular kingdom, he takes some time out to train with the Kittynati ninjas.

“Boys find an immediate entry point with [Bartleby] and even though the show isn’t strictly about him, he provides a lot of humor and a foil to True,” says Frank Falcone, Guru Studio’s president and executive creative director, who describes the character as one with a lot of energy and ambition in a series that’s about taking care of other people—a nice change from shows about waging destruction that conventional wisdom dictates are more appealing to boys.

During a focus group session, Falcone and the Guru team were ready and waiting for some unequivocally negative reviews from the “rough-and-tumble little boys” they’d lined up to watch a sample of True and the Rainbow Kingdom. And initially, it seemed as though their assumptions were bearing out; the first episode they screened received a lukewarm reaction. But, it did enough to get the assembled kids to agree to stay put for a second episode, which happened to center on Bartleby training to be a Kittynati. It proved to be the real litmus test for Guru.

“When that was over, we were like, Do you like the show? They were like, Yeah, this is a great show; we love this show,” says Falcone of the welcome surprise that became a teachable moment for Guru. “If you queue up the right show, it can change your perception of whether you want to watch the rest of the series. Strategically programming episodes for gender can make a difference in whether they engage in the rest of the series because they won’t be biased by one particular story.”

Would a character like True and the Rainbow Kingdom’s Bartleby have been enough to get your average boy to watch a girl-led series ten or even five years ago?

Would Bejuba!’s Wishfart pass muster for the average 5- or 6-year-old? Or GO-N’s Zip Zip with preschoolers?

Uncertain. But times have changed, kids have changed (or perhaps just the perception of their tastes) and thankfully, so has the kids’ TV industry. Diversity is winning out.

GO-N represents the gender-neutral comedy Zip Zip.

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elements within the show that have surprises or elements to engage or inspire.”

Gender-neutral shows and the strategies used to hone them are products of an industry changing with the times. “I think we’ve all grown up,” says Bohbot. “I think all of us have just caught up with the reality of the world.

Kids reflect, more than anybody else—and people don’t always recognize this—society as it is. They’re in front of it; they see it before we see it, as it may take older people more time to adjust.”

Bejuba!’s Kober—who says she was raised to believe that she could do anything, a belief she carried through to starting her own company— thinks that a show’s appeal to both boys and girls has to do not only with how characters are presented, but also with the positive external factor of an evolving culture. “You can have stronger girl characters and even lead [girl characters] if you position them properly. The boys will be [attracted] to it and they won’t be thinking, Oh, this is a girls’ show. They’ll embrace it,” says Kober, adding, “I think people have changed; society has shifted.”

GENRE SWAP

Henson Independent Properties, a division of The Jim Henson Company, represents friendZspace.

Allen Bohbot, the founder and managing director of 41 Entertainment, has found that a program’s crossgender appeal comes down to treating boys and girls as equals, whether it’s fronted by a boy or girl character. “Girls aren’t just going to watch because you put a girl in front of them; they’re not going to buy that,” says Bohbot, who believes that the industry is catching up to its young audience. “I think now people have said, OK, it doesn’t need to be all boys— because we were archaic in our thinking—it doesn’t have to just be a girl lead. It has to be a show that tries to appeal to both boys and girls and treat them the same instead of what we were doing before, which was to treat them very differently.

And that was us, the industry. That wasn’t the kids.”

WISE ONES A common thread among those making and selling kids’ content is the sense that the children are perhaps a more openminded audience than they have been given credit for.

“Stereotypes of any gender-specific stories or characters are no longer expected nor embraced by kids, if they ever were,” says Claudia Scott-Hansen, senior VP of global distribution at The Jim Henson Company. “I think that’s more of an adult perception.” What is expected and embraced by kids these days, according to Scott-Hansen, is a bit of reality. “You have the best chance with all audience demos if you have well-developed, appealing—but I like to say ‘imperfect’—characters. If you have a strong, story-driven narrative, that’s always a must. And ideally, you’d have

While some execs in the kids’ content business maintain that comedy is the genre that most appeals to both boys and girls, others are less certain. Why wouldn’t action and adventure series also reach across gender lines? What about those that dive into science and nature, music or learning?

Dinosaur Train, an educational children’s series from Henson that has paleontology and natural science at its core and is popular with both boys and girls, manages to do so because “it’s a bit of the unexpected,” says ScottHansen. “It’s a portrayal of this adoptive family, with all different kinds of kid characters and personalities and also physical abilities.”

Testing out the musical adventure series Do, Re & Mi, Gaumont learned that while boys believed the character of Mi was a boy, girls thought the character was a girl. Taking a cue from the intended audience, the studio decided to commit to leaving Mi a gender-neutral character in the truest sense. “We don’t have the other characters saying he or she,” says Terry Kalagian, senior VP of creative development for animation and family at Gaumont. “The other characters, when they refer to Mi, they say Mi. We’ve kept that. We’ll see how it goes once it gets out there and launches, but all of the testing was very, very interesting to see that kids are looking for mirrors when they’re watching a show. Here they have this character whose actual name is Mi and they saw themselves in that character.”

41 Entertainment has S.M.A.S.H!, following superhero kids and their super-powered pets. “There’s some science in there because there’s technology and there’s action and there’s a lot of humor because, How does a 5-year-old become a superhero? They make a lot of mistakes along the way, and those mistakes are usually funny,” says Bohbot of the series.

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Touch the Earth from Gaumont is based on Julian Lennon and Bart Davis’s eco-themed children’s books.

Coming soon to Bejuba!’s slate is a preschool show centered on a girl whom Kober calls “a cross between an Indiana Jones and a Jane Goodall.” Explaining the series’ potential appeal to both boys and girls, she adds, “We might have her in purple, but we don’t want to clothe the series in pink.”

PRETTY IN PINK With all the talk about shows with broad appeal across genders, the enduring place for shows that play to an audience that craves content with a bit more sparkles than forestdwelling creepy crawlers could be lost in the conversation.

That audience still exists and so should still be catered to.

“I think there’s room for all of it and there should be. That’s what inclusivity is all about,” says Kober. “Some girls like to be princesses; some girls like to play with trains. You want to connect to them all.”

As GO-N’s Garnet puts it, “Girls have the right to like pink and princesses.

As producers or creators or even broadcasters, we don’t have the right to impose on that.”

Gaumont’s Kalagian credits the rise of tough female characters hitting the big screen in such films as The Hunger Games and Divergent as part of the reason why kids are more open to seeing such characters take the lead on the small screen. She also believes there’s still plenty of room for princesses. “I would never bet against Sofia the First or Elena of Avalor. [These shows] have taken that kind of concept and put a contemporary point of view on it. They’ve been able to take that fantasy of being a princess and then actually put it into a modern-day context,” says Kalagian, adding, “It’s more about redefining what pink means so that it’s more like real life.”

As broadcasters are focused on engaging the largest swath of eyeballs with top-tier gender-neutral content, “pink” programs might be increasingly more likely to find a home on a streaming service. “It is easier for a girls’ show to find a home on an SVOD platform rather than on a network,” says Cristiana Buzzelli, senior VP of content and licensing at Rainbow, the company behind 44 Cats. “Broadcasters are more attentive to stay away from stereotypes and are looking for more balanced characters who can represent a wider audience. A show can be girls-oriented, this is fine, but it would be important to represent girls with a more ‘inclusive’ approach.”

Teamwork is a major theme of Guru Studio’s Pikwik Pack, which will have its world premiere screening this MIPJunior.

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Jungle Jack’s World of Wonders is represented

by Bejuba!

Entertainment.

With streaming platforms, a show’s ability to capture a broad audience isn’t as much of a requirement. The programs don’t need to pull in both boys and girls, they don’t need to attract both younger and older kids and they don’t need to be particularly tolerable to parents, as watching via such platforms is more often than not an individual experience that can be tailored to tots’ particular tastes.

“When you’re looking at personalized viewing services like VODs and YouTube, you don’t need to [appeal to everyone] because people don’t sit around to watch YouTube; they tend to watch YouTube on personal devices,” says Guru’s Falcone, who thinks that VODs can change the game in terms of all genders finding and engaging with all kinds of shows. “I don’t think that anyone would shy away from having a super sparkly pink show for personalized viewing. As we see personal viewing propagating around the world, you’re going to get the opportunity to expose kids to shows they might feel embarrassed about watching and then talking about on the playground,” Falcone explains. “But if they’re watching it on their own, no one knows what they’re watching. You’re able to make choices that aren’t as peer-influenced.”

AGING UP Creating kids’ shows that bridge genders—to stand alongside those geared more toward girls or boys—is difficult.

Creating shows that will keep their attention as they age is even harder. When asked about what age boys specifically turn towards gaming, the majority of the kids’ content execs surveyed for this article observed it was around 8, and that trying to bring them back to TV made for children would be a lost cause.

“Every year it changes; by the time you publish this, it will be younger and younger,” says Falcone, who deadpanned that the age kids are lost for good is 6, before settling on 8. “I think that everyone is feeling the pinch of TV moving into preschool, because kids’ TV seems to have lost the appeal to older kids.”

GAME TIME Henson’s Scott-Hansen—a mother of four who often uses her kids and their friends as a sample group to study in her own living room—sees evidence of this firsthand. “I’ve been noticing the shift earlier, and I think my youngest ones started going on YouTube and Minecraft much more readily when they were about 6,” she says. “[Gaming] is addictive in a way that TV isn’t, or at least it’s not yet. It seems to be appealing to boys earlier than girls, but I think that by 8 or 9, they all seem to be mesmerized by it.”

GO-N’s Garnet also sees boys moving to gaming, though he sees girls moving away from kids’ TV even younger, favoring outdoor activities and reading.

Kids, like their older adult peers, just want quality content, whether an adventure series led by a determined girl or a comedy centered on a boy with a robust sense of humor, targeting preschoolers or those in the bridge demo.

They want to be entertained. They want a good story. They want to see themselves reflected on the screen.

“It comes down to telling interesting stories and telling stories that relate to their lives,” says 41 Entertainment’s Bohbot. “I think you’ll see animation not only be genderneutral and ethnicity-neutral but even physically neutral, whether they have an ailment or a disability, that’s OK. They can still contribute and perform and be cool. That whole trend line is where the industry is going. And it’s just a reflection of society and us catching up with it.”

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Tooning

in to

ASIA

Asian animation houses are eager to co-develop content and bring their homegrown concepts to the global market.

By Mansha Daswani

W

hen Kyoto Animation’s studio in Japan was hit with an arson attack this summer, resulting in more than 30 deaths, international condemnation was swift, and fans of the outfit rushed to lend their support. Within two weeks, a GoFundMe campaign launched by Sentai Filmworks, a company that has represented many Kyoto productions, had raised almost $2.4 million to help the studio recover.

“In a world where nearly anything, including Japanese anime, can be reduced to a commodity, Kyoto Animation’s productions are distinguishable as some of the world’s most heartfelt, soulful and beautifully crafted works,” the GoFundMe campaign stated.

The level of the outpouring of support speaks to the special place Japanese anime holds in the global animation market.

But, as Takahiro Kishimoto, the head of animation in the international business department of TV Asahi, reports, anime for kids does not do as well in Western markets as it used to.

“The demand for Japanese animation has always been high in the international arena, but the hot markets have shifted,” Kishimoto says. “In the case of TV Asahi, a lot of our business occurred in Europe and North America in the 2000s, but our main market has gone east to Asia in the last ten years. Before that, the American market was the biggest market for us in terms of deal

Green Gold’s Mighty Little Bheem.

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CONTENTS

Toy Time As a child of the ’80s, I spent many a Saturday morning plopped in front of the TV set with a bowl of sugary cereal, taking in the latest cartoons.

Ricardo Seguin Guise Publisher Anna Carugati Group Editorial Director Mansha Daswani Editor Kristin Brzoznowski Executive Editor Chelsea Regan Alison Skilton Associate Editors David Diehl Production & Design Director Phyllis Q. Busell Art 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 ©2019 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvkids.ws

From Inspector Gadget to She-Ra: Princess of Power, My Little Pony to The Magic School Bus, it’s safe to say that I have a healthy dose of nostalgia when I look back to the shows of my childhood that have since made a comeback for a new generation. It was while watching these blocks of back-to-back animated series as a kid that I’d learn about the newest toys I’d be begging my parents for moments later or adding to my birthday or Christmas wish list. Watching flashy TV commercials for the next must-have doll, plush or miniature plastic figure was one of two ways I could discover what new playthings were out there. The other was by perusing the aisles of the toy store.

For kids today, neither of these is likely to be their primary point of toy discovery. Children’s viewing habits are much like their adult counterparts, with ondemand programming now a regular part of their media diets. The concept of a commercial break is somewhat foreign to them (as is the idea of having to wait to watch their favorite show at a specific time).

With the collapse of Toys “R” Us and brick-and-mortar stores, in general, feeling the squeeze from the online market, the days of spotting new toys while being wheeled through the aisles of a mass retailer are also rather distant.

Nowadays, brand owners and retailers are getting creative in the ways they work together to bring awareness to licensed products. Platforms, too, are figuring out how best to handle the issue of advertising with regard to kids—some not so successfully. Earlier this month, YouTube was slapped with a whopping $170 million fine for allegedly violating children’s privacy laws, facing allegations that the popular video site was collecting personal information from children without parental consent and using the data to target ads to kids.

TV Kids examines the current state of the licensing and merchandising industry in this issue, with a feature that explores the ways IP owners are navigating these new waters. We also hear from Ulli Stoef, who has had a long career in brand building and recently launched a new production and distribution operation. He weighs in on his approach to building 360degree properties.

—Kristin Brzoznowski

FEATURE 8 OUT OF THE BOX Changes in consumer viewing habits are forcing those in the L&M industry to adapt and overcome.

INTERVIEW

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Toon2Tango’s Hans Ulrich Stoef The m4e veteran discusses the plans for his new company, which will center on building 360-degree properties and developing strong ties with leading creatives.

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One Animation’s Oddbods.

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OUT OF THE BOX

Changes in consumer viewing habits are forcing those in the licensing-and-merchandising industry to adapt and overcome.

By Alison Skilton

W

hen the bastion of American toy sales, Toys “R” Us, vanished from the U.S. retail landscape last year, the kids’ licensing-and-merchandising business braced for the worst. Clamoring against Disney to score precious shelf space was challenging enough. Now there was even less available. And just as ecommerce has put the squeeze on brick-and-mortar retailers, the rise in on-demand viewing has upended all the traditional models for building a viable kids’ brand.

These days, rather than daily appointment viewing, it’s far more likely that a child is binge-watching a show that they’ve chosen from a curated selection on a streamer. And with changes in viewing habits come the inevitable shifts in the ways consumers interact with the products associated with their favorite shows and movies.

MOVING FASTER “The key is to innovate, to work hard and also to adapt to changing viewing and buying habits as well as new marketing channels,” says Valentina La Macchia, Mondo TV’s licensing director. In response to these changes, Mondo— which manages the kids’ animated property MeteoHeroes as well as the non-broadcast IP Feisty Pets, among others— has thrown its hat in the digital space, representing a web series, House of Talent, for the first time. The show follows as a crew of 20 influencers, who have a combined half a billion monthly impressions, come together in the real world to live together. It has over 260 10-minute episodes that 8- to 14-year-olds can watch, engage and even interact

with. “And they can do this on any web-enabled device, because, let’s face it, that’s what they’re used to: entertainment on the move is a teen and tween lifestyle choice and we mean to reflect that,” La Macchia says.

Rob Spindley, senior VP of commercial development for the U.S. and EMEA at One Animation, the Singapore-based content producer behind the Oddbods property—which has amassed over 10 billion views on YouTube—agrees that L&M schemes need to shift drastically to meet consumers’ needs.

“Traditionally, buyers were primarily focused on looking at the free-to-air broadcast figures—that was the key focal point of the retail and licensing sector,” he says. “If you had a prime broadcast slot, that’s where the buying decisions were generated from. Brand support as consumers transition to alternative platforms to view content has created a big disturbance to that previous methodology. A strong online presence is now also key.”

He continues, “We’re seeing brand emergence and decline moving faster than it ever moved previously.

YouTube and digital channels can elevate brands from zero to hero and back again in a heartbeat, as kids have consumed everything they want to consume and they’ve moved on to the next thing.”

Spindley points to the “playground chatter” afforded to shows in the past, which saw kids watching an episode of a show each week and then talking to their friends at school about it, creating a slow buzz and feeding a longterm appetite for the show. In today’s viewing world, Spindley observes, “Children can sit down and they can

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Genius Brands International is working on the brand plans for Llama Llama, a Netflix original.

just watch an entire series [in one sitting]—which is great for the brand for that very short period of time, but the consumer then is moving on to something new.”

For this reason and many others, it’s harder now than ever to get onto retailers’ shelves. Jennifer Coleman, VP of licensing and marketing at Konami Cross Media NY, which manages the Yu-Gi-Oh! brand, points to Fortnite as a prime example of how much money and time it takes for new and untested IP to reach shelves. It took years for a game that has become a cultural phenomenon to get into stores. “In order to secure that shelf space, you have to show that you’ve got that proven audience in there,” she says. “You have to show that you have the eyeballs, show that you have the engagement. And once you can prove that, it’s much easier to get on the shelf. So it’s a substantial investment in marketing, content development and production.

There are high barriers to entry.”

Mondo TV’s La Macchia agrees with Coleman: “Licensees prefer to wait for identifiable demand—that’s not ideal for a broadcast business that thrives on new ideas.”

PAIRING OLD AND NEW

Thankfully, Coleman says, Konami’s Yu-Gi-Oh! property, as well as its classic gaming IPs Frogger, Bomberman and Contra, have the brand recognition that gives them that foot in the door. Konami’s legacy brands stand somewhat immune to the fickleness of consumer interest, delivering much-needed stability, Coleman says.

Genius Brands International is in a similar situation when it comes to its known IP, says Lloyd Mintz, senior VP and head of worldwide consumer products. Of Llama Llama, a Netflix original, Mintz says, “We have one advantage that most of the other shows that might suffer from bingewatching don’t have, which is we also have a ten-year-oldplus best-selling book series. There are over 25 million books in print. There are about half a dozen new titles every year, including a featured hardcover title. Those usually shoot to the top of the best-seller list. Because they are hardcover, they get a lot of attention. I think with some shows, people do binge-watch and then move on. But

when you’re a book series, you do benefit because you’re part of the bedtime reading routine. You get into that rotation of books that constantly get read. That’s one thing that helps us compared to others who may not have that publishing heritage.”

Coleman says that Konami is expanding its online Yu-Gi-Oh! store and working more with streaming platforms. “That’s been one way for us to try to make sure our content is still finding its way into the hands of our fans and continuing to keep that audience engagement,” she says.

Mintz outlines a similar strategy that Genius is taking by focusing on the online market. “We just started a Llama Llama YouTube channel,” he says. “We’re not only reacting to the market, but we’re picking up on best practices from other properties that have gone before us and what’s worked for them and what hasn’t. We know that YouTube helps elevate that engagement.”

Mintz adds that it is crucial to time L&M rollouts carefully to allow the brand to build recognition in the market.

“We’ve seen too many properties that have been in too much of a rush to get product out there. I don’t know if anybody can point to one that has followed that strategy and been successful. If people don’t really know and ultimately love the property, then the product is not going to sell.”

EXPERIENCING CHANGE So how do companies get their products on shelves in a world where e-commerce reigns supreme? “How do you keep [customers] coming in the doors when you can’t beat the Amazon price? What else can you offer?” Konami’s Coleman asks.

Experiential retail might be the answer. It’s a space that the L&M sector has begun to look toward as the future of what will keep buyers leaving their houses to spend money on products that they could likely purchase online, often for less. “To get products to retail is still a must—but getting consumers to retail is no longer about just putting product on shelves,” says La Macchia. “It’s about ensuring a memorable in-store experience for their consumers. Given the strong competition from e-commerce, it’s very important

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to be able to add value to the shopping experience, with events, meet-and-greets and the chance for kids to interact with their favorite characters.”

For the YooHoo brand, based on the Aurora World plush toys and now encompassing the preschool series YooHoo to the Rescue, Mondo TV has secured a customized shopping area in various Mondadori locations across Italy.

“We’re also planning four in-store events in the megastores, featuring YooHoo costume characters along with an engaging format to get kids and families to experience a unique interaction with the brand,” she says. There are also Feisty Pets-themed shopping mall events across Italy.

KEEPING UP Unique buying experiences come in many shapes and sizes. “A prime example might be a birthday cake, for instance,” says One Animation’s Spindley. Using an app, a consumer can scan the packaging, “and the Oddbods emerge on-screen and ‘Happy Birthday’ plays. Added-value interactions like this provide additional layers and deeper brand engagement to the consumer experience.”

“Look at the Trolls experience that DreamWorks has built in New York,” Konami’s Coleman offers. “You’re not just going in there to purchase—though of course monetization is going to be a part of it. It’s more about interacting with the brand so that you’re getting a 360-degree experience—from green-screen opportunities to characters there to a play space. That seems to be a direction that retail is headed in, and I think that even in Toys “R” Us announcing that they were going to be coming back, they mentioned some experiential retail opportunities.”

Mondo TV has also dipped into the world of immersive retail, launching a new AR app for its animated property Robot Trains that allows kids to interact with the characters from the show in real time. “Retailers, too, have the opportunity to demonstrate the innovative immersive technology in-store, encouraging kids to scan products or use an exclusive graphic marker to activate special content and become part of the Robot Trains world,” La Macchia says. “This adds value to the retail experience.”

For anime and gaming IPs, Konami’s Coleman says many experiential retail opportunities center around good old-fashioned human interaction. “In addition to normal brick-and-mortar, there are a lot of [fan conventions] and the expos, so those are a growing opportunity for us,” she notes. Pointing to retailer FYE’s pop-up shop at this year’s San Diego Comic-Con, she says that customers are “going in to interact with whatever that brand or that IP is that’s surrounding that pop-up shop opportunity. Even the retailers are catching on to that and realizing that these are different opportunities where they can certainly monetize and capture new audiences and revenues.”

For brands to stay competitive, they have to undertake multifaceted L&M schemes, ensuring their products are

offered across every category and in every space that consumers might look. One Animation’s Spindley says the company always aims to launch campaigns that “engage our entire ecosystem. All of the messaging we produce is aligned and cohesive, delivering a consistent message across multiple touchpoints and media for maximum consumer recognition.”

Giulia Bertè, licensing and brand manager at the Italian production-and-distribution group Showlab, agrees, saying that launching a brand requires a comprehensive approach to its licensing and merchandising. “We always try to create a project that involves all the commercial elements,” Bertè says. “We want to build a brand in all aspects. So when we start to work on a project, we always think about how many commercial spheres can be involved. We don’t want to just offer a new property to the market; we want to make it a big, big project.”

Adapting to fast-changing consumer buying and viewing habits, exploring innovative partnerships and keeping an eye toward the experiential retail space are key to brand relevancy in today’s market. “There will be many L&M opportunities that will see the business grow now and in the future,” La Macchia says. “What matters is to be ready for them.”

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Mondo TV has launched a new AR app for its Robot Trains property.

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between 2 percent and 6 percent back-end participation, they get paid for the development work and that is it. Here we’ve developed a different system; we’re incentivizing them much better. They develop shows and we will take full responsibility for the management, the financing and the executive production. The creator who had the idea and is the creative mind behind it will have higher participation. It’s what we call fair equity positions.

On the other side, since it’s a new company and we have less of an infrastructure than before with Studio 100 and m4e, we will quite often share distribution with a coproduction partner. We’ll do this in a much broader way than we ever did before. To give you an example, we are developing eight shows over four years for Mondo TV. Hopefully, we’ll bring four to six into production. We are benefiting from Mondo’s existing distribution capabilities and their strengths in certain territories. For other territories, we’ll try to secure the co-production needs and the distribution needs with third parties, and we’ll only take a handful of distribution territories ourselves. For the licensing, we control the brand, undertake brand management and work with the distribution arms of our partners.

TV KIDS: What’s more challenging about setting up a new content company today compared to the early days of m4e? And what are you enjoying more?

HANS ULRICH STOEF

TOON2TANGO

By Mansha Daswani

H

ans Ulrich Stoef has had a long career in building brands. The former Universal Studios and EM.TV executive founded his own rights-management company, m4e, in 2003 and subsequently built it into a powerhouse kids’ and family content outfit with brands such as Mia and me. Stoef moved to Studio 100 after that company picked up a majority stake in m4e. This year, he embarked on a new journey, setting up the worldwide production-anddistribution operation Toon2Tango. Stoef tells TV Kids about the new company’s plans.

TV KIDS: What was the thinking behind the creation of Toon2Tango? How are you positioning the company in the kids’ landscape today?

STOEF: The positioning has two sides. I’m still doing what I’ve always done, which is developing and producing kids’ and family entertainment shows and films to create 360degree IP. We also offer our expertise to third-party creators. We’ve found that, quite often, producers have fantastic IP, but at the end of the day, they are given

STOEF: Consumer licensing is more difficult. Distribution via linear broadcasting is melting down because of the digital opportunities today, and digital is not catching up in delivering the number of eyeballs you need to break a new brand. I have a strong network after many years in the business and deals with prominent companies worldwide. That makes it easier. Even though we are a new company, we’ve been able to go into big deals with companies like Mondo immediately, and broadcasters have asked us if we could do something together on the development, distribution and production sides. That’s what I enjoy—without the heavy lifting of infrastructure and costs. We know it’s a challenging and ambitious market, but we have enough time and experience to put that into balance for our own projects and thirdparty creators as well.

TV KIDS: What qualities do you look for in third-party projects?

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STOEF: I can’t tell you a specific genre because we look at everything. We try to stay away from all the mass-market stuff out there, and there is plenty of it!

We’re trying to be boutique with creative and new shows. [At m4e] Mia and me was a new concept because it was hybrid and nobody in those days wanted to do a hybrid. We’re looking for those kinds of shows.

Third-party creators could have great ideas that maybe don’t fit the market for certain reasons and therefore won’t become commercial successes. We work with them on creating something that is unique but has the opportunity to generate significant amounts of money.

Toon2Tango’s initial slate includes the preschool series Hey Fuzzy Yellow.

TV KIDS: You know the L&M business very well. It’s under pressure right now with the challenges at retail. What are some of the strategies needed to succeed in this space?

STOEF: Many of the traditional retailers in Europe are closing down or buying less inventory; that’s the reality. But if you have a strong brand, a consumer will find it on Amazon, wherever. The play patterns are still the same—I don’t see many new interactive toys coming to the market that succeed, to be honest. In retail, it’s the B-to-C marketing that matters. What we’re talking about is eyeballs, and thus, consumer demand.

TV KIDS: Are you seeing financing models change as distribution models shift?

STOEF: They are not what they were 15 to 20 years ago.

There was tons of money in the market, and everybody

was going into gap financing. That’s not the case anymore. Instead, people are looking for government money, tax credits, subsidies and whatever is possible.

Even upfront distribution guarantees are pretty tough to manage right now. Part of the problem is that there are too many mediocre shows from small distributors or producers who have no idea what they are doing, and they are still getting partially financed by regional or country subsidies. That is going to change. If producers have no real business model behind them, it’s over, and they won’t get the money anymore. In the future, creative talent will have to work even closer with companies like us; otherwise, their shows will not be produced.

TV KIDS: Are you looking at opportunities to adapt existing IP such as books and comics or focusing on new ideas?

STOEF: It could be book adaptations, it could be game adaptations or it could be comic adaptations, whatever we like. We have no intention to produce five to six shows a year. That’s not what we want to do.

TV KIDS: What message do you want to send to creatives about Toon2Tango?

STOEF: We want to encourage them to contact us when they have a great project and they don’t know how to get it to the next stage. They should speak to us. We’re happy to talk, give them some of our suggestions of what we would do. If we like the show, we can find a way to work with each other in a fair way.

That’s very important. We don’t want a me-too product to an existing show or the 110th genderneutral comedy property. That’s simply not us!

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value. Now, India has replaced the U.S. and will most likely be [our largest market] for another ten years at least.

In the meantime, Southeast Asian countries such as Vietnam and Thailand are showing rapid growth.

We have seen very strong demand from broadcasters and platforms in this region in the last few years.”

Kishimoto is hopeful the tide will swing back with TV Asahi’s latest animated property, Super Shiro, which is premiering at MIPJunior. From Tokyo studio Science SARU, which is led by Annecy Cristal Award winner Masaaki Yuasa, the series is inspired by TV Asahi’s megahit Shin chan franchise. “From the outset, we decided to produce Super Shiro with an eye for the global market,” Kishimoto says. “Various broadcasters and platforms have already shown great interest in the show, including Turner, where we have closed a deal for AsiaPac. The series is expected to launch in early 2020 on their kids’ channels, after the domestic launch of the show in October 2019 on AbemaTV and Video Pass, our digital platform partners.”

GLOBAL VIEW Indian animation studio Green Gold Animation is also eager to develop IP with the worldwide market in mind, especially on the heels of the success of Mighty Little Bheem. The Netflix original series is based on Green Gold’s Chhota Bheem franchise, which has been a massive success in the subcontinent and other parts of Asia.

“Mighty Little Bheem has surpassed our expectations with its performance in the U.S.,” says Rajiv Chilaka, founder and CEO of Green Gold. “We’ve seen extremely flattering numbers from uncharted markets such as Latin America, North America and parts of Europe.”

The process of turning an Indian-originated IP into a global hit came with “unique challenges,” Chilaka says.

“Cultural context is a double-edged sword. Bheem, a phenomenon in Asia, has always been rooted in our culture; the Indian culture. Thus, the dilemma for us while creating Mighty Little Bheem for the world was whether to celebrate the cultural signifiers or downplay them. We decided that to stay true to the character, we had to celebrate them. We realized many in the audience wouldn’t know what a ladoo [an Indian dessert] is, but we understood it could be a learning opportunity for kids. After the release, we have had many parents from different parts of the world reach out and inquire about the recipe for the ladoo!”

Chilaka continues: “Mighty Little Bheem is inherently Indian but relatable to every child worldwide. One major lesson was the importance of social context as well. For instance, one episode was tweaked so that the children were fighting over a ball of yarn instead of a big piece of cake. The concern was the message it would send to children in countries where obesity is a problem.”

DQ Entertainment is also a firm fixture in India’s extensive animation industry. “With state-of-the-art facilities, utilizing latest production technologies, we deliver high-end animation with a lean production pipeline,” says Tapaas Chakravarti, CEO and managing director of DQ Entertainment. “We have provided animation services for over 160 globally recognized shows with all the major broadcasters and international production houses.”

While the Indian animation industry has long been sustained by service work for producers in the West, local players are moving to develop their own IP. “We were one of the very first animation studios in India that led the shift to the creation of indigenous IPs,” Chilaka explains. “We pride ourselves on our original content and endeavor to keep creating shows that resonate with the evolving audience. In the last few years, we have ventured into co-productions and service partnerships on a local and global scale, as we realize it provides us with an immense learning opportunity. As of today, we stand at a 70-30 split for the originals/work for hire, with both growing at a healthy rate.”

At Animasia Studio in Malaysia, meanwhile, the work-forhire to original IP creation ratio is about 50-50, according to Raye Lee, the company’s executive director.

MALAYSIAN GAINS Malaysia’s burgeoning animation sector has been helped along by a range of local government-backed efforts, including FINAS’s Film in Malaysia Incentive and MDEC’s MAC 3 co-production fund.

“Entities like MDEC in Malaysia look at the entire ecosystem of an IP, from funding to creating market access,” adds Lyn Nasihin, the general manager of Primeworks Distribution, part of local media giant Media Prima. “Our original IP Ejen Ali has benefited from both a grant from MDEC as well as links to potential buyers and partners.”

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Animasia Studio arrives at MIPCOM with a second season of Chuck Chicken.

The show hails from fellow Malay outfit WAU Animation and has been received well thus far, Nasihin says. As such, Primeworks is expanding its efforts in the animationdistribution space. “After our entrance to the animation IP circuit with Ejen Ali, we began to notice our buyers’ demands for animated titles. We have since partnered with several animation IP owners as their distribution representative in international markets. We carry titles like Cingkus Blues, Alif & Sofia, Fridgies, Soccer Bugs, Knowsy Nina, Ninja Cat, Saladin, 7 Satria and many more. We have also most recently brought on board the South Korean IP Bo & To’s Family as part of our catalog.”

GOING OVER THE TOP For many of the region’s animation distributors, digital platforms have emerged as significant revenue contributors.

“Digital/OTT platforms are giving us additional licensing opportunities,” says TV Asahi’s Kishimoto. “Furthermore, it is also very exciting for us to see a lot of potential to develop, create and produce new shows together with these platforms through co-production, co-commissioning and whatever models that make sense for both parties.”

Animasia’s Lee adds, “We licensed some of our original content to Netflix, Amazon, Hulu and iflix [among others].

With some proven success for our original content and production capabilities, we are also readying ourselves to welcome bigger-budget original content contracts for SVOD platforms.”

International collaboration is top of mind for Asian animation producers and distributors, through a range of models.

“We at TV Asahi have been actively looking for new international projects and collaborations over the last few years and are continuing to do so,” Kishimoto says.

“For Ninja Hattori, Shin-Ei Animation, our wholly owned animation studio, has been working with different production partners all over the world and the latest season is being produced in collaboration with studios in India and Korea.”

In fact, Ninja Hattori “was the very first project that TV Asahi produced for the international market—not for our own broadcast—and to date, we have produced five seasons and another 26 episodes (season six) will launch in India and other markets in 2020,” Kishimoto adds.

TV Asahi also collaborated with partners in the Philippines and Singapore on the YA anime Barangay 143. That endeavor proved to be a learning experience for all involved, Kishimoto says: “To be honest, the creative collaboration at the initial stage was not as smooth as was expected due to the differences in working methods between Japan and the Philippines. For example, while production has gone to digital in the Philippines, the majority of Japanese artists are still sticking to the traditional hand-drawn animation style using paper and pencils. Such differences in production, together with the language barrier, created some difficulties, which have been overcome. We have all learned a lot from this project, and I strongly believe that Barangay 143 has set a benchmark for future collaborations between Japanese studios and studios overseas.”

For Animasia, one route to expanding its international business has been the creation of an office in Los Angeles focusing on preproduction services and serving as a “bridge for the Eastern and Western worlds,” Lee says. “With our partnerships in North America, Southeast Asia, South Asia and China, we can bring potential international projects from the West to the East and vice versa, as representatives or through co-pros.”

Primeworks is also exploring co-pro opportunities, Nasihin notes. “We are open to co-producing, co-financing and representing IPs with global partners, keeping in mind that the IP should resonate with the regional audience and that it should be in line with Asian values. We currently represent Mourinho and the Special Ones as well as Gombby, which are from Portugal. We are also in talks with India, China, Korea, Thailand and Russia to develop original ideas.”

Green Gold’s Chilaka says that his company is “actively looking for opportunities to collaborate with international partners and create global shows. To this end, we have established our Los Angeles operation, which is aimed at creating IPs for the global audience. Currently, we are in a partnership with TV Asahi and its animation production arm Shin-Ei

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Primeworks Distribution represents a number of Malaysian series, including Ejen Ali.

Animation by re-creating Ninja Hattori episodes in 2D HD. Also in the pipeline is a 3D-animated feature film, Escape to India, a co-production with Mundoloco Animation Studios in Argentina.”

On what’s ahead for the company, Chilaka states, “Our journey has just begun, and we are hungry as ever to create content that resonates with the global audience. With Mighty Little Bheem, we have showcased our studio’s capabilities to produce world-class shows. We have opened ourselves to newer territories, increased and bettered our capacity and are aiming for more. The next couple of years will be focused on strengthening our original IPs as well as servicing and partnering with international studios.”

UNIVERSAL ANIME While TV Asahi’s Kishimoto is eager to explore more international collaboration opportunities, he knows that original, iconic Japanese creations still have immense value in the global market. “Doraemon and Shin chan, two of the most-loved kids’ animation shows in Japan, have been exploited all over the world and have generated substantial revenues. Produced primarily for domestic broadcast on our own channel, both shows have given us a strong foothold in the international market.”

Indeed, Doraemon has demonstrated its staying power, marking its 40th anniversary this year. “With hundreds of episodes plus theatrical movies produced almost every year for the last four decades, we are extremely proud and delighted to see the longevity of Doraemon continuing and being loved by kids all over the world,” Kishimoto says.

Kishimoto is also excited about the prospects of seeing more anime-style shows originating from outside of Japan.

“In India, for example, Doraemon and Shin chan have been on air every day for the last 15 years—this has made millions of Indian kids very familiar with Japanese animation. Now as teenagers or college students, they have started looking for their own shows with local stories and characters but in the Japanese anime style that they have grown up with. That is exactly the same scenario as in the Philippines with Barangay 143.”

He also hopes that Japanese animators can learn a few tricks from their international counterparts: “I believe that the more Japanese animators collaborate with partners abroad, the more they will learn not only about the different styles, techniques and ways of producing animation but also about what makes [Japanese animation] special.”

Scrambled is part of the slate being offered by India’s DQ Entertainment.

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n October of last year, Bob Bakish, the president and CEO of Viacom, tapped Brian Robbins to lead Nickelodeon at a challenging time for kids’ channels. “I have asked Brian to drive the innovation and transformation that will ensure the brand remains the dominant force with young audiences,” Bakish said in announcing Robbins’ appointment. Robbins had already been part of the Viacom family, having run Paramount Players, and was familiar with meeting the needs of young audiences on digital after founding Awesomeness. Robbins has significantly ramped up Nick’s content slate since becoming president, unveiling new IP, adding a slate of unscripted shows and developing a smattering of reboots, including All That, which he originally produced for Nickelodeon in the 1990s. Robbins speaks to TV Kids about his strategy

By Mansha Daswani for keeping young ones tuned into Nickelodeon and Nick Jr. TV KIDS: It’s been a year since you were tapped to lead Nickelodeon. What did you identify as key strengths of the brand at the time, and what areas did you feel you wanted to work on?

ROBBINS: It’s been a fast and fun year. The reason I came here—and I had a very nice job before this at Paramount running a movie division—was looking at the landscape and realizing what a powerful brand Nickelodeon is in kids’ and families’ lives. I looked at all the assets that we have: one of the largest animation studios in the world, multiple linear networks, a pretty large digital footprint, consumer products and live entertainment. There’s so much strength in the brand and so much great history and so much IP at the company. Ultimately that’s what drew me here. The truth was, in the last several years before I got here, clearly led by the digital disruption to linear television, the brand lost its way a little bit. There was definitely a lack of IP in the pipeline and talent in the pipeline. And talent in front of and behind the camera. So that’s what I focused on right away.

TV KIDS: What are some of the major lessons you brought from your time as a producer and running Awesomeness and Paramount Players?

ROBBINS: Only make good shows! [Laughs] And, honestly, before I got to Paramount, I was never an executive. I always was a producer and director and ran my own business. Even Awesomeness was a startup in my own company. I’ve always been an entrepreneur and a builder. I think I’ve carried that same attitude here to Nickelodeon. When you’re an entrepreneur, you have to go fast. And you have to build. And you have to be bold.

You have to make decisions and own them and not be afraid. So that’s how I approached it.

TV KIDS: The channel has quite a few reboots and spin-offs in the works. What factors do you take into consideration when bringing back a beloved brand like All That?

ROBBINS: We definitely have a handful of reboots and spin-offs in the works. It’s actually a small percentage of our overall slate. That said, people talk about the reboots and spin-offs because it’s known IP and that’s kind of why we’re doing it. Bringing back All That seemed like a nobrainer to me. Obviously, it was my show and I have so much love for it. But All That was such an important part of the history of Nickelodeon because it brought so much talent to the air. It led to Kenan & Kel and The Amanda Show. Then The Amanda Show led to Drake & Josh, it led to iCarly and so on and so on. If you look at that family tree, it’s pretty impressive. When I got here, there weren’t a lot of live-action hits. Henry Danger was kind of it. We didn’t have a whole lot of on-air talent to work with. So [the new All That] was a great way to bring in a bunch of new talent and diverse talent and jumpstart the show. I also knew that All That reached a diverse audience, which was an audience that we needed to reach, especially in the world we live in today. Coincidentally, the show did another thing for us: it brought back the older girl audience to the network. So it’s done three really great things for us. Actually four, because it’s getting good ratings!

TV KIDS: Tell us about how Kamp Koral came about, and what the plans are for the SpongeBob universe.

ROBBINS: Literally my second or third day here, I was asked to go to a SpongeBob season 12 or 13 pickup meeting. I asked a lot of questions. What I realized is that we’ve made a lot of shows over many, many years, but the shows basically stayed the same. We had all these great characters in the world of SpongeBob, but we never

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played into what he did on YouTube. We were able to migrate a large portion of that audience that watches him on YouTube, that wasn’t watching linear television, to watch his show here. So we’ll continue to be opportunistic about people and ideas like that.

TV KIDS: What role do acquisitions play in the Nickelodeon and Nick Jr. lineups?

ROBBINS: Acquisitions are still an important part of filling out the schedule. And more than just filling out the schedule. We had LEGO City Adventures on this summer and we have LEGO Jurassic World running now. That’s a great partnership with LEGO. Ricky Zoom, which just premiered, is another acquisition for us. So we have a handful, and we’re always on the lookout for more.

Premiering this November on Nick Jr., Blue’s Clues & You! is a reboot of the beloved preschool series.

individually explored their origin stories or their histories or put them in their own environments. So we decided to put a room together and really look at what the SpongeBob universe looks like. And out of that came the Kamp Koral idea and actually a couple of other ideas. Kamp Koral is the first show. It will be a limited summer series. I just saw amazing animation tests and conceptual art that blew us all away. It’s basically about how Patrick and SpongeBob met in summer camp when they were kids. It’s not SpongeBob babies, so to speak, but it is in CG, and they’re younger and cuter. Sandy is really cute in it. She has braces. It’s really fun and it looks different but still feels like SpongeBob. I couldn’t be more excited about it.

TV KIDS: What other shows are you working on now that you’re particularly excited about?

ROBBINS: First of all, we have the relaunch of Blue’s Clues in November, which looks amazing. And then we’re launching a show I’m really excited about, called America’s Most Musical Family. It’s a music competition but through our lens. So you have to be either a brother and sister or a whole family. So you’d have to be The Jackson 5 or Donny and Marie. I’ve got to say; it just kills it. It’s so good, and it’s so exciting. I’m also excited about our all-new version of the hit U.K. game show The Crystal Maze, which is going to bring that family competition craze to the U.S. The show features a team of family members who work together to take on a range of physical and mental challenges through escape room-style gameplay. It will definitely bring a whole new type of action and storytelling to Nick.

TV KIDS: And you have The Casagrandes, a spinoff of The Loud House, coming up.

ROBBINS: I can’t take credit for that. It was happening before I got here. But I must say I’m super proud of the show. First of all, it’s the first animated show starring a multigenerational Mexican-American family. And it couldn’t be a better time to have that show. Besides that, it is hilarious. It’s so well written and the characters are so good. And I can’t wait to share it with the world. I think the show is terrific.

TV KIDS: How are you discovering and incubating new talent?

ROBBINS: All That was a big step for us in bringing new talent on the air. One of the first shows we greenlit when I got here that’s been a big hit for us is Ryan’s Mystery Playdate. We took one of the biggest stars on YouTube and were able to develop a television format in longer form that

Ryan’s Mystery Playdate from pocket.watch is based on the hit Ryan ToysReview YouTube channel.

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Arnold Schwarzenegger

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Bodybuilder. Movie star. Governor. And now, animated preschool teacher in Stan Lee’s Superhero Kindergarten. From Genius Brands International and created by the late, great comics icon, Superhero Kindergarten features the voice and likeness of Arnold Schwarzenegger as Captain Courage, guiding powerful tots as they develop their own superpowers and learn lessons about camaraderie, kindness and protecting the environment. Schwarzenegger talks to TV Kids about the new series.

By Mansha Daswani TV KIDS: How did Stan Lee’s Superhero Kindergarten come about? Where did the idea come from?

SCHWARZENEGGER: I think it started a long time ago, when we were talking about doing something together. This must be five, six, seven years ago. [Stan Lee] asked me, What is your ultimate dream, what would you like to do? He would always ask really out-there questions! I said, I always wanted to do sequels to Kindergarten Cop and Twins. He said, Kindergarten Cop, why is that? I said, I always enjoyed not only doing movies for kids but working with kids. He would stare into emptiness, thinking, like he saw something that we didn’t see.

He said, Let me get back to you on that. Then he’d call us back and say, I have an idea. He also told Andy Heyward [chairman and CEO of Genius Brands International]. He had an idea of [me] playing a superhero who is retired and now teaching toddlers and young kids who have superpowers how not to abuse those superpowers and instead channel them into something positive. That’s where my job comes in as the kindergarten teacher, teaching those kids lessons about discipline, environmental issues, bullying, being inclusive, setting goals and doing something good for the world and the community. They are unruly kids. They have tremendous powers. I’m supposed to bring order to the whole thing. This is how he explained it to us, and I said, That’s brilliant! It puts a whole other spin on Kindergarten Cop that makes it refreshing and new. They were interested in doing it as an animated kids’ show. I’ve never really done anything specifically for a young audience.

This gave me a good chance to do that. I’m looking forward to doing the voiceover for it and participating in the storytelling.

TV KIDS: How did you work with the creative team on the look of your animated self, Captain Courage?

SCHWARZENEGGER: They have brilliant animators. There’s not much to correct there. The only thing to discuss is the clothes he will wear, the look he should have, the haircut. You show them certain things from Kindergarten Cop that show the frustration in the face so they can draw that well. And I let them know the way I see it. But there’s not much I can influence because they are really, really good.

TV KIDS: What was it like working with Stan Lee? SCHWARZENEGGER: He was a very special and talented man. I don’t think any of us understood how those images came about in his head. He just saw things very clearly and could describe them very clearly. He was just a genius. He lived in all these different worlds. He could put himself into that world and talk as if he was there, and you would be just blown away by the stories he came up with. And the characters he created— that’s what I always liked about him. That’s why we were drawn to each other. Whatever I do, I want it to be as popular in South Africa as it is in Switzerland or Australia or China or the Middle East. Things like bodybuilding—no country says, We’re not into bodybuilding. It’s a universal thing. It’s not for the rich or the poor; it’s for everybody. It’s the same with environmental issues. It’s universal. Everything in my movies was universal. The Terminator posters were used for inspiration, no matter where you were. That is what is so appealing about Stan’s stuff. His characters are admired in every country. They aren’t characters you admired in the ’60s and not in the ’70s.

You admired them in the ’70s and now in 2019.

TV KIDS: Tell us more about the key messages in the show.

SCHWARZENEGGER: The anti-bullying message, the environmental message, the importance of exercise and nutrition, be inclusive, don’t be prejudiced, respect everyone no matter their gender, everyone is equal. The key thing is not to make it a message TV show. Because as soon as people detect that, it rubs them the wrong way. With Saturday Night Fever, no one pushed the idea that it was to promote dancing. It was just a great story with sexy people and they were extraordinary dancers and you just wanted to watch them because they were really good. After the movie came out, thousands of discotheques were built all over the world. Even in my own little home village where I grew up with 800 people, they started having a discotheque. That’s the kind of influence that movies or TV shows can have, without really preaching. That’s the key thing here. Make this an entertaining show, but at the same time, let messages come through that are very inspirational to young kids as they watch those young heroes.

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stories we would write together. I wanted to make a pastiche of all the things we loved when we were kids, but then have Steven be the core of it. Steven, as a character, is also based a bit on the childhood of Ian Jones-Quartey, my co-executive producer when we started the show. So [it’s partly] his experience, and then my experience as a nonbinary bisexual kid, mixed with the support I used to get from my brother, who was also my best friend.

TV KIDS: Fans have a deep emotional connection to the show. Is that ever overwhelming for you?

SUGAR: [That connection] is something that I understand.

When I was younger, I felt the strength that animated characters gave me in my day-to-day life. When I was in college, I read Roland Barthes’ book A Lover’s Discourse: Fragments. It talked about the idea of the image repertoire.

It said that in a love relationship, you aren’t necessarily able to completely fall in love with a person, because you can’t know every part of them. What you fall in love with is this repertoire of images that you share. As a big fan of comics and cartoons, I was struck by that. It made me realize that I shared an image repertoire with the creators of my favorite comics and cartoons. That’s what those pieces of media are. I try to approach cartoons as the image repertoire. This is something I’m going to be sharing with my audience, and I know it could have that weight. I

Rebecca Sugar

Steven Universe

By Mansha Daswani

F

rom featuring the first same-sex wedding in a children’s animated program to focusing on emotional, rather than physical, strength and intelligence, Steven Universe has been widely hailed for breaking barriers in kids’ content. The Cartoon Network original, created by Rebecca Sugar, has won an Emmy, a GLAAD Media Award and a Peabody, and in addition to earning near-universal critical praise, it is also a certified hit. Five seasons in, the show spawned a TV movie this summer and is at the heart of a massive franchise that includes games, books, merchandise and more. Sugar, who landed her own show after perfecting her chops as a storyboard artist and writer on Adventure Time, tells TV Kids about the inspiration for Steven Universe.

TV KIDS: Where did the idea for Steven Universe come from?

SUGAR: The show is based on my younger brother, Steven.

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completely understand when people feel connected to me because we’ve shared these images.

TV KIDS: The music in Steven Universe: The Movie was phenomenal. I know you write all the songs. How did you craft the soundtrack?

SUGAR: One of the most exciting things about working on the movie is that I made sure that the composers were involved at the very beginning of the story process. That is not something I always get to do.

When we had our first big writers meeting and I pitched the general idea of the movie, the composers were there, the string players were there, the storyboarders who also write music with me were there.

We were discussing the sound of Spinel [the main antagonist in the movie] and the flow of the different styles of music while it was still an outline. [The music] was deeply in the foundation of the story. I was writing the music as I was writing the story, and they are inextricably linked.

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TV KIDS: When did you start working on the movie?

SUGAR: The idea goes back to 2015. I was asked if I would be interested in writing a TV movie musical of Steven. My answer was yes, immediately. I knew if we were going to do this, it could not just be popped into the story we were telling [in the series]. The story we were telling was too crucial. It would have to be something we conceptualized to make sense in relation to the story we were telling as a TV show. I’m also a strong believer in writing about the truth of what’s going on with us as a team. So as we were approaching the finish line of the story we had originally written [for the series], I wanted to write about how that felt. That is so much of what the movie is about.

TV KIDS: Tell me about your journey from being part of the Adventure Time team to running your own show.

SUGAR: What was so amazing about working on Adventure Time is that the storyboard artists were given a lot of freedom to write very personal stories into the show. Pen [Ward, Adventure Time’s creator] really encouraged that. I had come from the world of independent comics. I had believed that I would get a day job in animation but that my really personal work would be something I did privately, in underground comics. Until I got to Adventure Time, I couldn’t have begun to imagine that I could tell a deeply personal story in this commercial of a medium. So when I got to pitch my own show, I wanted to make sure that I built in that level of freedom for my writers and storyboard artists and a level of collaboration where we were all bringing personal stories to the table and discussing whether or not what we were doing was honest and authentic. And I wanted to keep the tradition of storyboard-driven shows.

On Adventure Time, the storyboard artists were also writing all the dialog. We would get structure, acts, an outline, but the artists were doing the writing, which is a very traditional way to make a piece of animation. That’s how they were doing it in the 1930s and 1940s. In the golden age of animation, artists were doing the writing. As television became the source of traditional animation, people switched to

scripts. Adventure Time was being created in a very traditional way. And as an animation history fanatic, that was incredible to me. I couldn’t believe that we were making art in such a traditional way. So I made sure Steven Universe is a storyboard-driven show and that all of us as artists have a huge amount of control over the writing. The storytelling will always intrinsically be very visual, which is absolutely crucial for an animated show.

TV KIDS: It’s a show, a movie, games and more. How involved are you with the broader franchise?

SUGAR: I try to be involved in as much as I can. I am very involved with the children’s storybooks; I write them myself. I stay very involved with the games that come from Grumpyface Studios. Anything that I can direct, I do.

TV KIDS: That sounds like an insane amount of work!

SUGAR: It’s a lot of nights and weekends. But what I love about the ancillary projects is that we get to express the show through different mediums. There are things we can only do in the games, ways we can show the dynamic between all the characters using the language of games.

For example, the first game, Attack the Light, is an RPG [role-playing game], which makes perfect sense for the series. [In the game] Steven is only defense and his power level is much lower than everybody else’s on his team.

These are things we know about the characters, and we get to express them in the game. And then that changes over the course of the game. So as the characters develop, that development is reflected in the game language, which I find very exciting. And then in books like The Answer and a new one we have coming out, The Tale of Steven, we get to do things with the format and the composition of a book, and also what it means to be holding a book and reading it. It’s a way to tell stories we’ve told on the show but explain them through a book. That’s exciting to me. I love being very involved with these ancillary projects because there are ways to explain our premise that are so specific to those different mediums.

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Steven Universe: The Movie aired on Cartoon Network this summer.

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and organizing the marketing of our series in the U.S., such as Gigantosaurus, which Richard has been very busy doing. We’ve been working with agents to secure many licensing deals in the U.S., such as apparel, bedding and publishing. We are ready for a big launch of the toys starting this fall. So we’ve been using the U.S. office, and Richard has been instrumental in this, to develop our brands and sell our series in the U.S. Second, we’ve looked to establish a development slate targeted more to North America and global, interfacing with the French office. So our series become more global. For instance, Ira is working with Pierre Belaïsch [senior VP, creative development consultant, and former head of Lagardère Active], who is based in France, in developing a number of shows.

TV KIDS: Tell us about the U.S. development slate.

SISSMANN: We have Monster in My Pocket, which is a reboot. We are co-producing it with Joe Morrison, the creator of Monster in My Pocket. Joe was at Mattel for a long time. We’re doing a massive CGI reboot, digitally connected. We’ll have a big trailer at MIPCOM. The other thing we’ve been doing with Ira is developing James and the Ever Afters. It’s what we see as our next big preschool series after Gigantosaurus, which has rated

Pierre Sissmann

Cyber Group

By Mansha Daswani

T

he last few years have seen significant growth for Cyber Group Studios. Headquartered in Paris and led by Pierre Sissmann as chairman and CEO, the company set up a U.S. outpost to drive its North American business, scored a global deal with Boomerang for the original series Taffy, created a megahit in Gigantosaurus, airing on Disney Junior in the U.S., and opened a new studio in Lille. The company has also pioneered new alliances, especially in the digital media space, as it looks to expand its business worldwide. Sissmann tells TV Kids about the gains made so far and what’s still to come.

TV KIDS: How has the opening of a U.S. office benefited your business?

SISSMANN: We opened Cyber Group Studios in L.A. a couple of years ago. Richard Goldsmith is our CEO there. He takes care of our business in North America, plus China, Australia and New Zealand. Ira Singerman, who was at Mattel, Universal Pictures and Spin Master, is our VP of development. So far, we have used our office for two main purposes. One is to sell, obviously, 278 WORLD SCREEN 10/19

number one in the U.S. in its first three months on Disney Channel and Disney Junior. And it has spread around the world. James and the Ever Afters is being co-produced with Arnie Zipursky of CCI Entertainment. It is a series where James and his group of friends, a bunch of misfits—there’s an elf, a fairy, a little monster who doesn’t freak anybody out—want to make everyone happy in the world. It is a fantasy, comedy-driven bridge series. I think it’s a great series because it’s very optimistic. It is beautifully designed and the bible author is Kate Barris. We’ll have a fabulous trailer at MIPCOM. TV KIDS: What led to the creation of the new studio in Lille?

SISSMANN: In Paris, we do mostly CG animation. And in Lille, we’ve established a new studio where we’re doing 2D. So in Lille, we’ve been doing part of Taffy.

We’ve moved massively into 2D. As you know, we were preschool, then preschool kids, mostly CGI. Opening this studio in Lille is a very important point

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because it enables us to address all sides of creativity.

Some things are better in 2D, other things better in CGI, some are better with a mix of 2D and CG. The only thing we’re not doing so far is stop-motion.

Maybe that will happen one day. But I want to break all the technological barriers so we can address any kind of creative issues. It’s not about, I’m doing this in 2D, this in CGI. It should be, I’m doing what is best for the series, for the vision of the creator.

We are in production on six series and in development on anywhere between five and ten series. There’s Droners, which we are co-producing with Supamonks Studio and La Chouette Compagnie for TF1. Tom Sawyer is coming for ARD and Rai; it’s a mixed CGI 2D series we are coproducing with Groupe PVP in Canada. Nefertine is a great preschool show set in ancient Egypt, co-produced with the Italian studio Graphilm. We are also finishing Sadie Sparks for Disney Channel. We are soon going into production on Goal Force, a new show for Disney EMEA that we are coproducing with La Chouette. It’s about soccer, set in a world of fantasy. And then we are in development of James and the Ever Afters and Monster in My Pocket with MEG Toys and a few others.

TV KIDS: How are you increasing Cyber Group’s presence in the rest of the world?

SISSMANN: We’re doing a couple of things. One of my objectives was to give a global imprint to Cyber Group Studios for a couple of reasons. One is to reach a public that has different needs on a worldwide basis. Of course, there’s the global [shows]. But we also want to cater more to huge regional markets. Last year we signed a partnership with Soyuzmultfilm Studio in Russia. It is the stateowned studio. We are co-producing up to four series with them. Three are at a very advanced stage. Hopefully, the first two will be released next year. We had a Russian

team in our offices with our development team, and we send our collaborators to Russia regularly. It started about a year, year and a half ago and now it’s on an ongoing basis. Hopefully, [those shows] will cater to the Russian market but even more on a worldwide basis. What we bring is an international perspective on how to write and of course a robust distribution network, which is being handled by Raphaelle Mathieu, senior VP of sales, acquisitions and new media.

At the beginning of this year, we also signed an agreement with YoBoHo, one of the world’s biggest MCNs, based in Mumbai. They do 1.5 billion monthly views. We are developing two dedicated YouTube series with YoBoHo. So when you look at what has happened over the last two years, we’ve started to extend our reach. First in the U.S., which was very important, and now we are expanding to China, where we are going to open two new offices. We are already in Russia and we’re working with India. This is my vision of catering to and addressing the needs of kids and families around the world. If you look at India, for instance, it’s a huge market. There are a billion Indian citizens. You need to give them what they’re familiar with.

Same with Russia, same with China. That’s been a big move for Cyber Group Studios.

Last year I decided to get back into the movie business.

It’s where I started; it’s what I was doing at Disney with The Hunchback of Notre Dame or Tarzan, for instance.

We are now in preproduction of Gigantosaurus the Movie. We have Michael J. Wilson, the creator of Ice Age, leading the scripts. We’re looking at a 2022 release. We have two others on the backburner.

So we’re expanding the company horizontally and geographically. It’s amazing to be in a meeting with our French development staff, our U.S. colleagues and now our Russian, Chinese or Canadian partners because you address cultural issues.

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Cyber Group Studios has a co-production deal with Russia’s Soyuzmultfilm Studio that includes Digital Girl.

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Hans Bourlon entrepreneurial step we took on the heels of that acquisition to establish a new studio. So [the acquisition] brought two studios together, allowed us to have a good synergy of people and activities and gave us some extra brands that are performing very well.

TV KIDS: How are you positioning your animation production facilities?

BOURLON: We have Studio 100 Animation in Paris, Little Airplane Productions in New York, Flying Bark Productions in Sydney and Studio Isar Animation in Munich. That’s a lot of studios, and making them work together is not easy, but we’ve tried to let them be as entrepreneurial as possible.

They can come up with their own ideas and cultural influences, and we’ve appointed Barbara Stephen, the CEO of Flying Bark in Sydney, to be the lead for the content of all those studios as CEO of content.

By Mansha Daswani

W

TV KIDS: What’s the approach to crafting the ideal development pipeline across the company so that you have enough new ideas in the works while maintaining a steady production output?

BOURLON: Little Airplane in New York is focused on the development and production of new projects for small children and toddlers, which is a very specific activity.

Flying Bark in Sydney is doing lots of service work for the U.S. at the moment. We are developing new ideas and also creating remakes of our well-known characters, like Maya the Bee, Heidi, Vic the Viking and so on. At Studio Isar Animation in Munich, we are doing CGI, modeling, shading, lighting, compositing and rendering, mostly for our own feature-film activities. We also do service work for third parties and co-productions. There’s a lot of activity in this segment. We do 2D, 3D, CGI. We can handle every technique.

TV KIDS: Now that the m4e integration is complete, what benefits are you deriving from that acquisition?

BOURLON: For the expansion of our group in the international field, it was important to have that majority stake in m4e. They had some strong brands, like Mia and me, Wissper and Tip the Mouse—and a vast back catalog. We were able to integrate this company into our activities and bring the best talent together. That’s a critical issue, as this acquisition was the basis [for the creation of] Studio Isar Animation, which we founded in Munich. It was an

TV KIDS: What have been some of the latest developments in your theme-parks business?

BOURLON: We are very active in the leisure business and this makes our group unique, as we are producing theater shows and theme parks. We started in 1999 with the acquisition of an old theme park on the Belgian coast.

Now we have seven parks, all created on the basis of our television characters. Last year we opened one in Poland. Maya the Bee is the most important IP driving the leisure business. We also have an open-air theme park in Germany, one in the Netherlands and several in Belgium. We are developing some new water parks; we are building one, planning two more and also considering two new parks in Poland. We are planning to invest something like €250 million in theme parks.

For a media group, when the value of certain things is changing because of digitalization, the leisure business as a counterpart is very stable. You cannot

ith theme parks across Europe, animation studios, an international-distribution business, channels and an L&M arm, Studio 100 has carved out a unique position in the global kids’-and-family sector. Headquartered in Belgium, Studio 100 is home to such classic brands as Maya the Bee, Heidi and Vic the Viking and, following its investment in Germany’s m4e, properties like Mia and me and Wissper. Its theme parks and touring theatrical shows have remained a stable, lucrative source of revenues amid changes in the content-distribution business. Hans Bourlon, co-founder and CEO of Studio 100, tells TV Kids about the 360-degree strategy at the heart of the company’s operations.

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Studio 100 digitalize attendance to a theme park. For an entrepreneur, it’s vital to have this as an added value for your group.

TV KIDS: What’s your overall perspective on the licensingand-merchandising market?

BOURLON: There are a lot of changes happening. Having strong brands is a key factor for success. But there are a lot of struggles in retail. Some big groups are overwhelming the market. We’re trying to position ourselves in this. We have some home territories where we think we are very strong—Belgium, the Netherlands, Germany. In Belgium, we have lots of live-action characters that are only known in our language area, the Flemish-speaking part of Belgium and the Netherlands, and we have international characters like Maya, Vic, Heidi and some new ones to come. We have lots of licensees and merchandising that we create ourselves, so we are very active in this area. But, of course, there’s a question mark about the future. We will invest in and create lots of products and be very entrepreneurial in this sector, but we know it won’t be easy.

TV KIDS: What impact are the OTTs having on your business?

BOURLON: We know that 20 years ago, there was a huge problem in the audio industry—because of technical innovation that economy almost disappeared in a very short time. We think that in the industry of moving images, this won’t be the case.

Thanks to Netflix, people are, for the moment, used to paying for subscriptions so they can have some specific content at home.

They will have to make choices in the coming years [as more platforms launch]. There will be a lot of competition. But when you’re on the side of creating content, there are lots of opportunities at the moment, too. There’s SVOD, AVOD, lots of OTT possibilities for content. And we think there’s [value] in that. We have several deals with national broadcasters for regular linear TV. We have deals with Netflix, and we are very positive concerning this. We’re also very active on YouTube. As long as you’re on the content side, I think you’re safe.

cooking channel in Belgium and the Netherlands [called njam!]. In Germany, we have Junior TV for children distributed via the Sky platform, and we have a deal with beIN Media Group in the MENA region [for] beJunior.

TV KIDS: What are your major growth priorities for the company in the year ahead?

BOURLON: There are lots of them! We are building some parks and we’ll also open some. In Belgium, we are very active in the musicals sector and have a musical show that is technologically innovative. It’s reached almost 650,000 people with a turnover of over €35 million for our group, and we will do more of these musicals in the coming years. We also hope to expand this activity beyond our language area. We have some new titles that we are working on in terms of animation, which we will communicate soon. There’s some service work in Sydney that is very promising, and there are some new things in the pipeline.

As an independent group, we have the opportunity and possibility to flourish and grow in the coming years because of the mixture of media and leisure activities.

That’s the key for us.

TV KIDS: How are your TV channels faring?

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Studio 100 operates several theme parks featuring rides based on its iconic brands, including Plopsaland De Panne in Belgium.

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By Mansha Daswani

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argeted at that elusive demo between older tweens and younger teens, Zodiak Kids’ Flatmates for BBC iPlayer speaks to how the company is tapping into new opportunities to serve audiences across the youth spectrum. Benoit di Sabatino, a veteran of the children’s programming business, has served as CEO of the Banijay Group-owned production-anddistribution company for the last year. He speaks to TV Kids about how he is positioning Zodiak Kids and building on its strengths in live-action and animated fare.

business development, and we share the strategic decisions and investments.

Understandably, the other appeal was Zodiak Kids itself. Of course, I knew this company as a key player in the kids’ business and was familiar with its large catalog (the result of the Marathon Media, Télé Images Productions and The Foundation merger), comprising over 3,000 30-minute episodes and brands such as Totally Spies!, LoliRock, Joe All Alone and Spy School. In addition, I knew Delphine Dumont [senior VP of sales, acquisitions and co-production] and was aware of the strengths of the team worldwide. These are the reasons I decided to come back to the kids’ business with Banijay.

TV KIDS: What key strengths did you see at the division, and in what areas did you feel changes were needed?

DI SABATINO: I was impressed by the live-action production team based in London under the responsibility of Gwen Hughes [COO, Zodiak Kids Studios] and Steven Andrew [creative director, U.K.] and by their multi-award-winning productions. Subsequently, beyond the returning productions, I allocated a budget to develop new live-action series for the international market. On joining, I discovered Zodiak Kids was running 27 YouTube channels under the guidance of Natalie Walmsley, Ian France and Dan Lewsey in London. These included the high performing ZeeKay Junior for a preschool audience, Mister Maker and LoliRock. Seeing the potential in this space, I asked [Zodiak Kids Studios] France COO Ludovic Taron to define a strategy to develop our digital department. I also reinforced the distribution department by providing significant means to invest in new mandates. And with Gary Milne, head of content development, we decided to build a new animation production lineup by relaunching a selection of existing developments, launching new ones and deploying a co-production plan.

TV KIDS: What most appealed to you about joining Zodiak Kids?

DI SABATINO: I had a few discussions with Stéphane Courbit [Banijay Group’s chairman] and Marco Bassetti [CEO] before joining Zodiak Kids about Banijay’s philosophy.

Specifically, the entrepreneurial spirit and the day-to-day relationship between the subsidiaries’ managing directors and the group’s top management. I had been running my own company for the past 25 years, so it was crucial for me to make sure I could bring my experience to the group, while [also] representing their vision. Their personalities and their experience convinced me the collaboration would be a success, and since my appointment, the partnership has worked seamlessly. I lead on the editorial and 282 WORLD SCREEN 10/19

TV KIDS: What’s driving the production division?

DI SABATINO: From an editorial point of view, we are developing in-house series for all broadcasters and platforms and are also striking collaboration opportunities with co-producers. It’s important to believe in and invest in ideas developed by others. It’s also a way for Zodiak Kids to open its creative landscape and develop long-term relationships with co-producers. Additionally, we look to build strong brand extensions for all of our titles (games, shorts, contests) and support them with dedicated promotional drives on social media.

Our goal is to produce four to six live-action series for the international and domestic markets, and two to four new animated series a year, while endeavoring to retain a high level of rights and worldwide distribution throughout our financing process.

TV KIDS: How do you see the commissioning landscape in the markets in which Zodiak Kids is active?

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DI SABATINO: It has undoubtedly changed with the emergence of new global platforms, and these businesses are not playing in the same landscape as the traditional broadcasters. They are investing more money in more expensive shows. Away from advertising and audience constraints, [the SVODs] can explore new types of creation. In fact, they are acting as editorial R&D companies with huge means. It’s a fantastic opportunity for producers, but on the other hand, the producer takes the risk of losing a significant share of their rights. From this point of view, the new digital landscape is mainly a cultural revolution bringing new financial capabilities rather than representing a new business model. At the same time, broadcasters still need new shows. And since they are managing the program’s exposure, they can support producers in building an audience success. [And the producers] retain the majority of the rights. At the end of the day, the commissioning landscape for producers today [presents] new financial and editorial opportunities but with more complex rules.

TV KIDS: What is driving the distribution division?

DI SABATINO: Distribution remains key and is performing very well at Zodiak Kids. Not so long ago, distribution was about selling a show in a territory by organizing broadcast windows to find the best exposure for the series. Today, distribution is about managing holdbacks and conflicting strategies between global competitors.

Global platforms are asking for exclusive SVOD rights worldwide because it’s in their DNA. They will ask too for a holdback against linear and pay TV to protect their business model. To them, all territories are considered equal, even those where the platforms are not yet wellestablished. Elsewhere, broadcasters are also asking for exclusive rights and holdbacks on free VOD and SVOD. It means that in the short term, players are mainly fighting to avoid the show going to competitors as opposed to giving the show the best exposure to build a potential success.

Last September, Zodiak Kids signed an exclusive deal to distribute 17 kids’ series produced by Amazon Studios. The experience has been great and has shown there is a second market for series released on SVOD platforms. There is definitely room to increase exposure and a property’s economic valuation. It has become apparent that there is room for all players to cross-promote their properties and work with expert distribution teams to fully exploit their brands.

TV KIDS: How are you navigating the ever-changing L&M business?

DI SABATINO: I decided to close the in-house CP [consumer-products] department. I have always thought that for a production/distribution company, L&M is not necessarily a strategy but an opportunity.

Not everything is eligible for CP. Also, you can produce series with no CP potential that are successful. My feeling is that you cannot create a CP property from scratch because you cannot guarantee success. As a producer, you are working hard to put together the best elements for the series (concept, authors, showrunner, director, executive producer). Quality is a matter of work; success is a matter of luck. Success is not duplicable, while overheads are. This is why I decided to work with a network of agents to learn from them and their direct experiences in the market.

TV KIDS: Are there new storytelling techniques or technologies that you’re most excited about using?

DI SABATINO: With the U.K. live-action team, we are developing new interactive content such as Secret Life of Boys, for which we got a BAFTA Children’s Award. As children watch the interactive episodes, playful buttons pop up for them to press. These offer unexpected punchlines, ridiculous action replays and surprising new perspectives. But for those who choose not to [interact], the episode continues without pause. This is a program with broadcast TV scale and quality but led by the interactive elements. In addition, we plan to create dedicated content for YouTube and social media for all the shows we develop.

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The award-winning Secret Life of Boys was commissioned

by CBBC in the U.K. and ABC ME in Australia.

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TR E N D S E T T E RS

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t’s no small challenge to come up with an idea for a children’s program that will stand out from all the competition and capture the hearts and imaginations of the youngest viewers.

If lucky enough to have an original, engaging idea, it’s yet a greater challenge to execute it properly. Today’s savvy youngsters expect the highest production values, the funniest jokes, the most engaging stories and endearing or hilarious characters.

Of course, once a designer, writer or producer has come up with a winning story with relatable characters, the goal is to get the show financed and seen by as wide an audience as possible. This calls for a rare breed of executives: individuals with a deep understanding of and appreciation for the creative process, if not creators themselves, who also have well-honed business know-how.

In acknowledgment of this vital segment of the television industry, World Screen, in partnership with MIPJunior, is holding its fifth annual Kids Trendsetter Awards to honor four individuals who have made significant contributions to the children’s television business.

The honorees are executive producers, creators and entrepreneurs who have brought to life award-winning hits that have traveled around the globe: Iginio Straffi, Marc du Pontavice, Bronagh O’Hanlon and Rajiv Chilaka.

These four television professionals will take part in the Creators’ Superpanel, on Saturday, October 12, from 10:10 a.m. to 10:50 a.m. in the Grand Theatre of the JW Marriott. World Screen’s group editorial director, Anna Carugati, will moderate a lively discussion that will focus on generating ideas for shows and executing them for today’s media-savvy children.

“We’ve been thrilled with our partnership with Reed MIDEM over the last five years to honor creative professionals who are tasked with producing programming for the most impressionable and vulnerable of audiences—children,” says Ricardo Guise, the president and publisher of World Screen. “Given the responsibility children’s content creators hold, we are excited to present another edition of the Kids Trendsetter Awards. These creators have the difficult task of producing entertaining shows while serving the developmental needs of children. We look forward to celebrating their unique creativity with this award.”

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KIDS TRENDSETTERS IGINIO STRAFFI Like many children, Iginio Straffi loved comics and cartoons as a youngster. He turned that love into a business when he established Rainbow in 1995. He has since created and directed some of the animation studio’s most successful series, including Winx Club. Featuring a group of teenage girls with magical powers, Winx Club premiered in 2004 and has been sold to 150 countries. Netflix has commissioned a live-action version of the series.

Straffi has expanded Rainbow into an entertainment group. He acquired the Vancouver-based animation studio Bardel Entertainment in 2015. Two years later, he bought Italy’s Iven Group, which included Colorado Film. This studio has allowed Rainbow to branch out beyond children’s animation into liveaction films and TV series for families and adults. Rainbow now produces for all ages, from the preschool animated series 44 Cats to the Spanish-language teen-skewing telenovela Club 57.

MARC DU PONTAVICE Marc du Pontavice started his career at the famous French studio Gaumont. He oversaw the production of several series, including Highlander, before creating Gaumont Multimédia in 1995. He later bought its assets and founded Xilam Animation in 1999. Today, Xilam owns a catalog of more than 2,000 episodes of animated series that have aired in 190-plus countries on TV networks and digital platforms, including YouTube, with more than 600 million monthly views. Xilam’s slate boasts the global hit Oggy and the Cockroaches; The Daltons, about four prisoners hilariously trying to break out of jail; Paprika, the company’s first preschool show; and the brand-new Lucy Lost, an adaptation of Michael Morpurgo’s novel Listen to the Moon. Du Pontavice has also produced a dozen feature-length films, including Gainsbourg: A Heroic Life and J’ai perdu mon corps (I Lost My Body).

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KIDS TRENDSETTERS BRONAGH O’HANLON With a diploma in animation and a degree in interactive multimedia, Bronagh O’Hanlon began working as a painter at Brown Bag Films in Dublin in 2002. She then advanced to commercial director and art director where she directed commercials for several clients. In 2007, she created, wrote and directed the animated series Teenology for the Irish state broadcaster RTÉ.

Two years later, she designed the lead characters for the Disney Junior series Doc McStuffins and segued into art director for Doc McStuffins and Henry Hugglemonster. Recently, she created and directed Sadie Sparks, a comedy that blends 2D and CG animation. In the series, Sadie finds an ancient magician’s hat and its tenant, a grumpy old magical rabbit, Gilbert. Under his guidance, Sadie becomes a wizard-in-training, often using magic to get out of typical teenage problems. O’Hanlon is currently working on a new music-based animated series.

RAJIV CHILAKA Although he had a master’s degree in computer science, Rajiv Chilaka left a computer software job to study at Academy of Art University in San Francisco. His dream was to create the Disney of India. He founded Green Gold Animation in 2001 and created numerous shows, including Bongo, Vikram Betal, Krishna and the super hit Chhota Bheem, about a young boy and his friends who keep the kingdom of Dholakpur safe. Bheem’s adventures have garnered such a huge following that Chilaka has directed three theatrical movies about him. The popularity of Bheem, as well as characters from other series, has allowed Chilaka to expand Green Gold beyond 2D and 3D animation. The company’s other businesses include licensing and merchandising—there are thousands of products connected to Bheem. Green Gold has sold its content around the world.

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We heard from kids that they wanted to hear more from Thomas, and we are continuing to focus on Thomas himself with any narration done in the first person. Kids also shared that they wanted to see Thomas travel more, and we’re delivering on that. Thomas and friends travel extensively this year and our theme for the season is “Digs & Discoveries,” which showcases traditional train activity as well as construction. Two new female characters are introduced this year as well, Darcy and Brenda, both of whom are construction vehicles.

TV KIDS: Tell us about Mattel’s Barbie content.

KEENAN: Like the content for Thomas, the content for Barbie is ever-evolving. When I joined Mattel, there was a long tradition of direct-to-consumer, long-form movies or specials, with Barbie “cast” as a fantasy character (such as a fairy, a rock star, a ballerina, a superhero, etc.) and there was very little content that showcased Barbie as herself. Since then, we’ve launched Barbie Dreamhouse Adventures, an animated series that focuses on Barbie’s life in Malibu at home with her sisters and parents and at high school with her friends, as well as Barbie Vlogger, in which this same character vlogs online about current events, female role models and issues that girls and young women face every day. The response from viewers has been amazing.

Christopher Keenan Mattel

By Mansha Daswani

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homas & Friends has been a staple of preschoolers’ TV schedules around the world since the 1980s. The animated adventures of a blue tank engine received a major revamp in 2017, in time for the 22nd season. Christopher Keenan, senior VP and executive producer of content development and production at Mattel, tells TV Kids about what’s next for Thomas as the veteran brand heads into its 23rd season.

TV KIDS: What lessons were learned from incorporating the UN’s Sustainable Development Goals, faster-paced stories and more girl characters into Thomas & Friends?

KEENAN: With each new content iteration, Thomas & Friends has continued to evolve on many fronts. Working with the UN and their Sustainable Development Goals was an opportunity that the creative team embraced wholeheartedly, and we were able to tell relatable stories in season 22 that brought these goals to life for our target audience. The effort continues in our branded, short-form content. The introduction of six well-rounded, prominent female characters has also been at the forefront of these most recent seasons, and we couldn’t be more pleased with how well they’ve been received by boys and girls alike. And, of course, shifting to a shorter format has prompted a much quicker pace when it comes to storytelling.

TV KIDS: What can you tell us about season 23?

KEENAN: As with season 22, season 23 makes the most of all the insights we gathered before launching the reboot.

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TV KIDS: What are some of the keys to successfully bringing the essential qualities of a toy brand to television?

KEENAN: While all the traditional rules apply (creating an engaging world, building strong characters, crafting relatable stories, bringing it all to life with a compelling execution), there is the added agenda of showcasing a play pattern—whether it’s role-playing or nurturing or construction or so on—so that the experience can extend to toy play when the screen is turned off. Kids love to tell their own stories with characters they meet on the screen, and toys give them the tools to do this. The more successful we are with organically embedding the character and story-driven content with elements of play, the more engaged kids are, whether playing with their favorite toys or watching their favorite programs.

TV KIDS: What new forms of storytelling excite you most in the kids’ landscape today?

KEENAN: As the platform landscape has splintered and expanded, so have the opportunities for bringing characters and stories to life in unexpected ways. Seeing a resurgence in 2D animation and stop-motion is as exciting to me as all the technical advances in CG. I’m also thrilled to see new creators bringing their ideas to life through inexpensive means and getting their work seen widely and quickly online. The doors have been opened to a whole new community of talented storytellers—and we need as many of those new voices as possible.

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Nicole Dubuc T TV KIDS: How did you come to be involved with The Rocketeer?

DUBUC: I was lucky enough that Disney reached out to me. I was super busy at the time, so I was going into the meeting like, I can’t take on anything else. And then the executive just slid the Rocketeer comic book across the table to me and I was like, Oh, you got me. I love it so much. So I got involved and I worked on developing it for a couple of years.

And here we are.

By Chelsea Regan

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icole Dubuc began her career in the entertainment industry in front of the camera. Best known for playing middle daughter Robin Cooper MacGillis in the sitcom Major Dad, Dubuc also held roles on such popular TV programs of the ’80s as Our House and ALF. Her first gig on the other side of the business was as an apprentice writer for Disney Channel’s Kim Possible. She went on to work on Miles from Tomorrowland and Transformers Rescue Bots, among many other shows. The latest from the seven-time Emmy nominee is The Rocketeer, an animated series inspired by the comics penned by Dave Stevens and the subsequent feature film. The Disney Junior show follows a young girl named Kit who learns that she is destined to be the next Rocketeer superhero, equipped with a rocket pack that enables her to fly.

Leading the series’ voice cast is Billy Campbell, who played the Rocketeer in the 1991 Disney film, as Kit’s dad, while Kathy Najimy (Hocus Pocus) voices her mother. Kit is voiced by Kitana Turnbull (A Series of Unfortunate Events). Dubuc speaks to TV Kids about how The Rocketeer honors its inspiration while finding inventive ways to connect to its young audience.

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TV KIDS: The comic book and movie were quite a bit different from the series for Disney Junior. Can you talk a bit about the changes that were made?

DUBUC: One of the biggest thoughts we had going into this was to make this awesome world accessible to preschoolers.

As part of that, our main character is Kit Secord, and she’s related to Cliff [Secord, the comic’s protagonist]. So she’s not so much replacing him as taking up the mantle. What we liked about the small-town community is that there are elements of it in the film that we kind of leaned into—so, the Bulldog Cafe, the rural elements of the airfield. We thought that might be kind of a cool thing to work in for a preschool show because having a smaller cast of characters in this town, where everyone knows each other, feels like something that kids are very familiar with. It makes it like something they could master. But we haven’t forgotten some of the stuff we all like about the comic or the movie, so we worked that into the design style a bit. My art director, Max, came up with this idea called “steampop.” So there’s a little bit of the steampunk element; it’s like steampunk meets preschool. We’ve got a lot of repurposed airplane parts that kind of make up the world around the show, and really leaning into the idea that this is a town with aviation history. It’s even called Hughesville, which is a reference to Howard Hughes. It’s got a lot of Easter eggs from the original stuff too because as I mentioned, we’re all fans first.

TV KIDS: How did you decide to make this iteration of Rocketeer a girl? And do you think this series, with its strong girl lead, will appeal to boys as well?

DUBUC: I thought it was kind of a neat way to continue the story and say, Look, everyone and anyone can be a hero.

Girls love to fly too. We even had one of our directors study to be a pilot and she said she was one of the few females in the class. It’s kind of neat to be able to say, Well, girls do this too. I absolutely [think the show will appeal to boys]. Kit is just a really fun character. I feel like she’s somebody that everyone would want to be friends with and fly in the sky with. She has a best friend named Tesh, who is a boy and they’re a great kind of contrast. Kit is like, I am going to do whatever it takes to get this done! And Tesh is like, Yeah, but there might be a shortcut! There’s a good kind of balance to that. Tesh is a really fun character. We also have Butch the bulldog in there. Who doesn’t love a bulldog?

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The Rocketeer TV KIDS: Billy Campbell, who played Cliff in The Rocketeer movie, is involved in the series. How did that come about?

DUBUC: We were lucky enough that he said yes when we asked him to play Kit’s dad. It was a great moment for me.

I’m like, I will try not to fangirl out every time we record this!

He plays Kit’s dad Dave, who is named after Dave Stevens, of course, so it’s a neat homage. And it’s been so cool having the original Rocketeer kind of guiding the new Rocketeer in a way on this project.

TV KIDS: Every episode of the series is going to have a new original song. Did you always plan on having music be a big part of the series?

DUBUC: We kind of ended up falling into that, but it’s been really great because it gives you these neat backdrops to have these beautiful flying sequences. Sometimes that might be backed away from in preschool because there’s not a lot of talking necessarily during it, but there’s all of this action. Being able to speak to what the characters are feeling through song during the action has been a really good fit for the show.

TV KIDS: What are some messages you hope the young viewers take away from the series and the character of Kit? DUBUC: I think one of the great things is it’s a really empowering show. It gives you the idea that anybody can be a hero if they believe in their heart that they’re ready to rise to the

challenge. And so, with Kit putting on the rocket pack, she gets this chance to create a positive impact on the world by helping out whenever she can. There’s that pro-social message of helping others, making new friends, stopping the bad guys. For a preschooler, I think it’s really empowering.

TV KIDS: You were part of bringing a same-sex couple to My Little Pony Friendship Is Magic. Can you tell me a bit about how that came about? And do you think we’ll be seeing more of a push for diversity in kids’ TV? DUBUC: Michael Vogel and I had written [that storyline for] the My Little Pony chapter books. Hasbro gave us the chance to get those characters into the show. That was really cool to bring them to life. I can’t speak to the whole oeuvre of animation, but I think it’s very important to have representation, to have people be who they are on-screen and I believe in a message of love.

TV KIDS: What else do you want people to know about The Rocketeer?

DUBUC: The Rocketeer is such a beautiful show. We’re working with this amazing animation company called ICON [Creative Studio] up in Vancouver and just like every time I look at a new episode I’m like, Wow, this is pretty. And some of the flying stuff I think is really going to be engaging for kids. I’m super excited for everyone to see it.

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Inspired by the comic book and subsequent feature film, The Rocketeer arrives on Disney Junior this fall.

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experience they want inside a guarantee of safety, which doesn’t exist anywhere else today at the scale Kidoodle.TV has. The coming months will reveal partnership announcements expanding Kidoodle.TV’s brand and customer base, as well as the release of new platform technologies and features that help creators manage and monetize their content on Kidoodle.TV. And, of course, we are undertaking our own version of originals that utilize the bilateral communication nature of the Kidoodle.TV platform.

Brenda Bisner

Kidoodle.TV

By Kristin Brzoznowski

ositioned as a safe alternative to YouTube, Kidoodle.TV reaches children in 140-plus countries with a curated selection of more than 13,000 episodes from all around the globe. Available across multiple devices, Kidoodle.TV has trademarked “Safe Streaming” as part of its mission to showcase age-appropriate content that kids love and that parents and caregivers can trust. In a COPPA-compliant ecosystem made for children, every piece of content, including adverts, is handpicked and approved by humans, not algorithms. For content providers, Kidoodle.TV represents a way to monetize their AVOD rights. Brenda Bisner, senior VP of content and business development at Kidoodle.TV, talks to TV Kids about the platform’s unique positioning in the streaming landscape and the types of content she’s looking to add to its already robust slate.

P

TV KIDS: How is Kidoodle.TV uniquely positioned in the streaming landscape?

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TV KIDS: What types of content can be found on the service?

BISNER: With over 13,000 episodes and growing on a daily basis, we are proud to have great partnerships that bring additional revenues to the best content providers in the business on a platform that is safe for children.

Some of our great partners include 9 Story Media Group, Blue Ant Media, Moonbug Entertainment, Gaumont, Endemol Shine Group, Xilam, YoBoHo New Media, Media I.M., Millimages, Outfit7, WowWee, Driver Digital Studios, Spin Master Entertainment, Monster Entertainment, Nelvana and Foothill Entertainment.

The latest additions to the Kidoodle.TV family include content from Splash Entertainment, Serious Lunch, One Animation, Jetpack Distribution, Kidtagious Entertainment and MeMeMe Inc., as well as several others.

We look forward to announcing many more additions as we continue to secure more of the content out there for kids in our Safe Streaming environment.

TV KIDS: What type of content will Kidoodle.TV be looking for at MIPCOM? BISNER: Kidoodle.TV will continue to look for strong, quality content that has a proven track record of performing well on YouTube and/or traditional broadcast networks. The focus for the rest of 2019 and into 2020 around co-partnership opportunities for original content is well underway. We will continue to look at ways to meet the needs of digitally-native children and harness the shaping of “experience” brands that are not only native to the platform, but to the time we are living in, and most importantly for a global kids’ audience. In addition to that, we will be looking to align with partners who value safety for children.

TV KIDS: What is Kidoodle.TV’s strategy for shaping the future of “Safe Streaming” for kids around the globe?

BISNER: Safe Streaming was one of those meant-to-be moments for us and represents a lot of hard work to ensure that Kidoodle.TV is a safe alternative and a legitimate revenue opportunity for content providers and creators. The latest FTC fine to YouTube is a clear indicator that the market has now made meaningful change by enforcing COPPA laws, and people are becoming very aware of the dangers open platforms present to children. In that light, we are shaping the future of streaming for kids by offering to help creators monetize in as many markets they wish to be in, work with advertisers to find consistent brand-safe value, and, of course, carry the relevant content and experiences kids traditionally look for. Shaping this is a very exciting endeavor, and Safe Streaming is something we plan to expand to help establish healthy streaming habits for kids all over the world.

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