World Screen February (EFM & London Screenings) 2023

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February (London Screenings & EFM) 2023

WWW.WORLDSCREEN.COM

THE MAGAZINE OF INTERNATIONAL MEDIA

Banijay Rights’ Cathy Payne / Eccho Rights’ Fredrik af Malmborg / TV Real Screenings Festival Behind the Scenes of ZDF Studios’ Boundless & Global Screen’s Hostage

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CONTENTS

FEBRUARY 2023 WORLD VIEW By Mansha Daswani.

UPFRONTS Spotlighting new content on the market.

BANIJAY RIGHTS’ CATHY PAYNE The CEO of the distribution powerhouse on risk-aversion and co-production trends.

BEHIND THE SCENES OF BOUNDLESS Watch a conversation with Miguel Menéndez de Zubillaga and Simon West about the epic period drama.

INSIDE HOSTAGE This video interview features the Scandi drama’s director, Karin Fahlén, and star Jonas Karlsson.

GETTING REAL The latest edition of the TV Real Screenings Festival spotlights new factual series and specials from across the globe.

ECCHO RIGHTS’ FREDRIK AF MALMBORG The company’s CEO discusses its transformative deal with Night Train Media.

TRENDING ON The most-viewed clips on our video portals for the last 30 days.

Publisher Ricardo Seguin Guise Editor-in-Chief Mansha Daswani Editor-at-Large Anna Carugati Executive Editor Kristin Brzoznowski Associate Editor Jamie Stalcup Editor, Spanish-Language Publications Elizabeth Bowen-Tombari Production & Design Director David Diehl

WHAT’S NEXT? Several leading content sales executives share their perspectives on what’s in store for the kids’ business in 2023.

POP CHANNELS’ FRANCESCA NEWINGTON The director of the successful portfolio of kids’ platforms in the U.K. talks about her programming strategy.

THE JIM HENSON COMPANY’S BRIAN HENSON The company’s chairman on what’s driving the success of the Henson Digital Puppetry Studio.

KIDOODLE.TV’S BRENDA BISNER As chief content officer at the platform, Bisner is pioneering new models in the AVOD and FAST space.

ADVENTURE AWAITS A look behind the scenes of Zodiak Kids & Family Productions UK’s Silverpoint, a live-action sci-fi drama for tweens.

Online Director Simon Weaver Sales & Marketing Director Dana Mattison Sales & Marketing Coordinator Genovick Acevedo Business Affairs Manager Andrea Moreno

Ricardo Seguin Guise President Anna Carugati Executive VP

PROGRAM LISTINGS Highlights from several distributors.

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Mansha Daswani Associate Publisher & VP of Strategic Development

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WORLD VIEW

BY MANSHA DASWANI

Rising to the Challenge Amid restructures and layoffs, strategy shifts and U-turns and a recession that may or may not be happening—depending on where you are and who you ask—2023 is shaping up to be a year of confusion and uncertainty.

As the streaming wars change course, the media business appears to be at a new inflection point after years of rampant, arguably excessive spending on an abundance of content. Fewer, better, more considered appears to be the way forward for platforms for now, which means producers and distributors are also having to deploy new strategies to make sure they are lean and agile enough to change with the tides.

Here at World Screen, we’ll continue to serve as a north star of sorts, delivering the intelligence you need to make the smart decisions required as we all navigate this evolving landscape. But there are changes afoot here too. Anna Carugati, who hired me 21 years ago this month, is stepping back from the day-to-day activities in the organization to become editor-at-large, while I step into the role of editor-in-chief. It’s not a promotion I take lightly, given the tremendous respect I have for her; Ricardo Guise, our president and publisher; and my brilliant team, which includes our executive editor (and my frequent partner in crime), Kristin Brzoznowski, who I simply could not do my job without; and our associate editor, Jamie Stalcup, who rose to the challenge of helping us put together a MIPCOM edition last year and has proven her dedication and fast-learning skills ever since. There aren’t as many women of color in leadership roles across this business as I would like, but I am truly honored to be among them.

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UPFRONTS

Banijay Rights This Town / The Sixth Commandment / Lara vs. Escobar From Steven Knight, This Town tells the story of an extended family and four young people drawn into the world of ska and two-tone music. The Sixth Commandment centers on one of the most complex and confounding criminal cases in recent memory. Meanwhile, Lara vs. Escobar delves into the investigation of the 1984 Pablo Escobarbacked murder of Colombia’s Minister of Justice Rodrigo Lara. These titles are “all connected by riveting narratives that will appeal to a wide global audience,” says Claire Jago, executive VP of sales and acquisitions for EMEA at Banijay Rights.

Lara vs. Escobar

Global Screen

“Our mission is to deliver a stand-out London TV Screenings event to buyers at BAFTA on March 1.”

—Claire Jago

Melchior

Dome 16 / RIP Henry / Melchior Set in Norway sometime in the future, Dome 16 follows teenagers Anton and Emma, who were never supposed to meet and certainly not fall in love. But when they do, they must turn their worlds upside down to be together. Another drama from the Global Screen slate, RIP Henry follows a surgeon whose plans to leave behind his small-town hospital are interrupted by a desperate battle to survive. Finally, Melchior is a medieval crime thriller about a Tallinn pharmacist who has to uncover the secret behind a wave of murders that threatens to wreck the entire Christian world.

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Stand-Up Warrior

Nicely Entertainment Dance of the Heart / A Perfect Christmas Pairing / Bad Connection Nicely Entertainment’s slate features film titles across genres such as romance, Christmas and thriller. Dance of the Heart follows a dissatisfied financial executive who secretly starts taking hula lessons and rediscovers her passion for life. A Perfect Christmas Pairing sees chef Grace learn to appreciate her family’s holiday traditions after colliding with a travel writer. “We believe our slate of romance and Christmas movies is the perfect combination for a great viewing experience,” says Vanessa Shapiro, CEO. Also on offer is the thriller/horror film Bad Connection.

Dance of the Heart

“Nicely is focused on bringing feel-good movies to our buyers around the world.”

—Vanessa Shapiro

The Swarm

ZDF Studios The Swarm / Dear Vivi / Heirs of the Night Based on Frank Schätzing’s bestseller, the ZDF Studios highlight The Swarm tells the story of an intelligent life force that takes over Earth’s ocean creatures and causes global unrest. Dear Vivi uncovers the mystery behind the murder of a wife and mother by her husband. “As family secrets gradually come to light in this modern, glossy drama, viewers are kept on their toes,” says Dr. Markus Schäfer, president and CEO. In Heirs of the Night, the heirs of several vampire clans must unite against Dracula or risk becoming extinct.

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“The Swarm is a gripping, visually powerful, topical and globally relevant series.”

—Dr. Markus Schäfer

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here is a general trend toward cautious commissioning among linear broadcasters and SVOD services as they cope with inflation and increased production costs. There is still a place for premium shows, as Cathy Payne, Banijay Rights’ CEO, explains, but commissioners and buyers are looking for a balance of highend and affordable series. Payne talks to World Screen about consolidation in the industry, evolving financing models and the continued need for innovation and creativity.

Cathy Payne Banijay Rights

By Anna Carugati

WS: I’ve heard that there is more aversion to risk among broadcasters and platforms.

PAYNE: We are operating at a time when all large platforms are reviewing the economics of their operations, and the cost of original content is right at the center of those discussions: What is affordable and sustainable? We have all seen the recent announcements from large studios and platforms and the need to double down on their financials. Reversals of season pickups or cancellations of development [projects] have been widely reported. Does this mean broadcasters are more risk-averse? No doubt, with more focused spend. Having initial feedback on their SVOD launches, tough decisions have had to be made. Putting that aside, all platforms and broadcasters 14 WORLD SCREEN 2/23

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need content that delivers; it is a question of how they run their commissioning process and what is handled globally or locally.

WS: How have risk avoidance and caution impacted commissions?

PAYNE: The days of commissioning shows just to have volume are gone—it was never sustainable. While we will always see the highend, premium and expensive original signature pieces, the rest of the slate needs to reflect a more affordable price point. How we produce at these price points will require innovation.

“The days of commissioning shows just to have volume are gone—it was never sustainable.”

WS: In the non-scripted space, is it harder to produce an original idea than a reboot?

PAYNE: There’s been a bit of beating the drum regarding “too many” older formats being recommissioned or that [rebooting] a show is an “easy decision.” But in reality, making these sorts of choices is a far more complex process. Keeping a format alive and seeing it recommissioned needs creative reinvention. We know this from working so intensely on big brands, having creative reviews and looking at what worked here and what worked there, the new endeavors that someone might be doing in this country, sharing that knowledge and benchmarking it against what the tone of the audience is at present. In essence, if 2/23 WORLD SCREEN 15

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you’ve got a non-scripted idea that is scalable and is developed well, there are lots of opportunities for it. The good thing about the non-scripted genre is that it can bring a very focused local tone for a broadcaster and their audience.

Broadcasters and platforms are looking for something with history and awareness, but that format still has to be adapted to work in the current time. If you look at most of the relaunched programs that work, they’ve been given a new lease creatively— they have innovated. Of course, this doesn’t come at the risk of new original ideas, and I see broadcasters and platforms seeking a mixed portfolio. Everyone is always looking for that next big thing, and you can never discount where that may come from.

WS: You mentioned that premium shows are much more difficult to finance. I imagine having a partner is becoming indispensable.

PAYNE: At the premium price point, some domestic commissions cannot proceed without an international partner being secured up front. As a distributor, the increased pressure on providing deficit finance is obvious, and what they can risk is a reflection of where they believe the program will be licensed. Nevertheless, all distributors will have those anomalies where they may step up at a higher level of risk. For us, Rogue Heroes is Banijay Rights has sold Rogue Heroes across the globe. a good example.

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Banijay Rights holds select distribution rights on Riches, an ITV and Prime Video co-pro.

WS: What types of shows continue to perform well?

PAYNE: In scripted, broadcasters and platforms still want those big premium series, but they also want those returning, middleof-the-road pieces, good crime stories, relationship shows and thrillers. There is always a constant demand for what I call the “super domestic” rather than “premium.”

WS: Where do FAST and AVOD fit into your distribution sequence?

PAYNE: Both provide new avenues for exploiting libraries and catalog, which makes up most of these channels. Banijay currently runs 21 unique FAST feeds that are syndicated more than 80 times globally, and all of these operate on a revenue-share basis—so AVOD and FAST are part of the distribution life cycle of all content.

Our best-performing titles across AVOD and FAST are those that had an initial strong performance and, therefore, already have audience recognition. As AVOD and FAST develop and more is learned, there will be a greater focus on editorial and less on volume for the sake of volume.

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Behind the Scenes of

Boundless

DF Studios’ Boundless—Magellan’s and Elcano’s Journey to the Edge of Earth, following the epic adventure of the first circumnavigation of the globe led by Ferdinand Magellan and Juan Sebastián Elcano, finally made its way to screens after nearly two decades in development.

Miguel Menéndez de Zubillaga, producer of the series, says he first came up with the idea in 2003. He spent his summers near Elcano’s birthplace, where everyone knows how amazing the story is. “I was surprised that nobody had ever told it before in fiction,” he says.

Simon West signed on as director in 2016. He was intrigued by telling a true story, especially one with a comprehensive written record. “There was a chronicler on

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the ship, an Italian, who wrote down every single thing that happened,” West says. He was, thankfully, one of the 18 sailors who survived. “You can read a day-to-day account of everything that happened for three years on these ships.”

Boundless was originally developed as a feature film, but Prime Video came on board, and it was converted into a limited

“There is a cliffhanger almost every scene.” —Simon West

series. Due to the nature of the story, which features elements of starvation, dangerous weather, mutiny and death, dividing it up into episodes was not difficult for West. “There is a cliffhanger almost every scene,” he says. “I found I could actually end a scene in many different places because there were so many cliffhangers that it divided itself up quite naturally.”

Boundless was also originally written in English, but Prime Video provided the funding to produce the series in Spanish. Menéndez de Zubillaga notes that just a few years prior, he had to produce Loving Pablo, a story about Pablo Escobar, in English. “It’s unbelievable, but the market was not ready [in 2017],” he says.

“Now, the market is ready to produce things in a foreign language.”

Telling the story of this historic voyage in a limited series format in Spanish was the best way to do it, West and Menéndez de Zubillaga agree. “We are so happy with the result,” the latter says.

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Inside Hostage he Swedish thriller Hostage, a sequel to Stockholm Requiem, sees the return of detective Fredrika Bergman and Alex Recht. When the hijacking of a passenger aircraft leads to the arrest of a Syrian academic, the investigators work hard at figuring out the truth, while others actively try to cover it up.

“I was very fond of a few of the characters, Alex and Fredrika,” says director Karin Fahlén on the decision to bring the series back. “I [was] happy to reinvent them but in a different setting.”

Jonas Karlsson returns as Recht, a former investigator who stopped after “being torn down by his work from so many years seeing so much trouble in the streets,” he says. At the

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start of Hostage, the former detective is “at an all-time low,” debating whether or not he should begin investigative work again.

The choice is made for Recht when he is pulled into the hijacking case. To make matters more complicated for him, it turns out his son is the plane’s co-pilot. Not only does he have to

“We focused on trying to challenge people’s preconceptions of what a terrorist act can be.” —Karin Fahlén “work as an investigator again, [but] he has his son up in the air and is emotionally invested in it,” Karlsson notes.

Centering the series on a hijacking was something Fahlén initially struggled with. “I had great doubts about telling a story about acts of terrorism because of what the world looks like,” she says. “We had to find a way to do that so it felt OK and that we [weren’t pouring] fuel on the fires that are going on around the world. We focused on trying to challenge people’s preconceptions of what a terrorist act can be.”

“In this case, there are other reasons behind it,” she notes. “Not religious or political; it’s more an act of revenge. It’s [about] a young girl trying to put things right for her boyfriend.” Though her plans go awry, “she’s got the best intentions,” Fahlén says. “She just wants to reveal a secret that has been buried by different people in power.”

The Global Screen-distributed series is currently airing on C More and will make its TV4 debut later in February.

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Off the Fence’s Truthseekers

GETTING REAL

The latest edition of the TV Real Screenings Festival showcases fantastic new and returning properties from across the factual landscape, including wildlife, true crime, factual entertainment and lifestyle.

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cience and knowledge content is a key pillar in the ZDF Studios unscripted portfolio, with the company spotlighting three titles in this area in the TV Real Screenings Festival. Naked—Sex and Gender, produced by Spiegel TV and Primitive Entertainment in association with Crave/Bell Media, ZDF/ARTE and ZDF Studios, explores how views of gender have evolved over the years. “In this groundbreaking series, we gain a balanced and nuanced view of how 22 WORLD SCREEN 2/23

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sex and gender influence every stage of life, from birth and childhood through puberty, starting a family and into old age,” says Ralf Rückauer, VP Unscripted. The company is also touting a second season of Ancient Engineering, an Off ZDF Studios’ Naked—Sex and Gender the Fence production for Curiosity Stream, in which each stand-alone episode showcases an engineering milestone, such as the construction of the Colosseum.

Rückauer also highlights the three-part climate change title Surviving Hothouse Earth, which delivers “a fascinating insight into the scientific Autentic’s Once Upon a Time in Tsavo research being undertaken to help mankind find a solution.” On the history doc front, ZDF Studios is offering the six-part War Gamers, which premiered on Curiosity Stream.

Off the Fence is also promoting several history titles, including the 12part series Truthseekers. “We all know there’s a never-ending appetite for mysteries,” says Stefanie Fischer, managing director of sales. “For buyers looking for new answers and angles to stories such as the pyramids and the Bermuda triangle, this is the series to watch.” Fischer also highlights the four-part History’s Ultimate Influencers, noting: “Our buyers are always looking for new ways to explore history and people. This series looks at the biggest names of our past, from a modern lens, making icons such as Nelson Mandela and Marilyn Monroe more relatable to today than 2/23 WORLD SCREEN 23

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ever before.” The fivepart Giants, meanwhile, is a new nature/wildlife series fronted by biologist and conservationist Dan O’Neill. “Dan is one of the best on-screen talents we’ve seen for a long time,” Fischer says. “He brings ZDF Studios’ Ancient Engineering energy, fun and authenticity to this packed series full of incredible CGI and the biggest animals to live on Earth today.”

Autentic Distribution recently took on sales for the Terra Mater Studios catalog, including the two-part Once Upon a Time in Tsavo. “Terra Mater Studios is known for comAll3Media’s The Secret World of Incels pelling blue-chip wildlife documentaries and this title is a perfect example,” says Mirjam Strasser, head of sales and acquisitions, calling it a “visually and emotionally captivating story about remarkable relationships in the wild.” The varied Autentic lineup also includes the history doc Berlin 1933—Diary of a Metropolis and the 12-part factual-entertainment series GRIP. “Speedy, high-resolution cameras record what is invisible to the naked eye and edgy, contemporary music turns this car magazine into top-quality visual entertainment,” Strasser says.

All3Media International is also showcasing a diverse slate in the TV Real Screenings Festival, encompassing true crime, lifestyle and more.

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access to the men behind the keyboards,” says Rachel Job, senior VP of non-scripted content, of filmmaker Ben Zand’s investigation into the world of the involuntarily celibate.

There’s also the four-part Rise of the Billionaires, about Jeff Off the Fence’s Giants Bezos, Elon Musk, Mark Zuckerberg, Sergey Brin and Larry Page. The Kardashians: Billion Dollar Dynasty, meanwhile, is a two-parter “told with impressive journalistic rigor, featuring incredible archive footage and new insights from high-profile contributors,” says Job. The Autentic’s GRIP Optomen documentary “offers an illuminating and refreshingly unbiased take on the Kardashians’ journey to unparalleled fame and influence.” On the lifestyle front, Job highlights Gordon Ramsay’s Future Food Stars and the ninth season of Escape to the Chateau.

Rounding out the TV Real Screenings Festival highlights is the fourpart The People vs the Klan, about Beulah Mae Donald, who took on the Ku Klux Klan after the brutal murder and lynching of her son. “This series will have you on the edge of your seat,” says Loren Baxter, head of acquisitions at Off the Fence. “Expertly produced and extremely timely, we revisit the unjust murder of Michael Donald and a mother’s relentless appeal for justice.”

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Fredrik af Malmborg

Eccho Rights ast summer, Herbert L. Kloiber’s Night Train Media (NTM) acquired Eccho Rights from CJ ENM. Speaking at the time of the transaction, Kloiber, now chairman of Eccho Rights, noted, “Eccho’s key business areas are complementary and synergetic with NTM’s. Combining our strengths could not come at a better time when even worldwide streamers are increasingly licensing content in selected territories.” Fredrik af Malmborg, who co-founded Eccho Rights and today serves as its CEO, shares with World Screen the strategic rationale behind the deal and offers up his thoughts on trends in scripted today.

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By Mansha Daswani

WS: Tell us about the Night Train Media deal.

AF MALMBORG: We wanted to build a drama slate and investment business based in Western Europe, the U.K. and Turkey.

CJ ENM was very much into making investments based on Korean IP. We went to look for a new owner and found Night Train Media. They are backed by Serafin, a major investment company. We will build new models in media investment and distribution and rights development in Europe and Turkey. We are very much in line with their strategic thinking.

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At some point, I thought that all projects would go to global deals with the platforms, but I see a very strong trend in the other direction. We are investing much more in development financing right now with producers. Instead of going the commissioning route, we are going the acquisition route. So we sell it as an acquisition to the platforms regionally and manage the rights from the start.

WS: What factors do you have to consider when determining if you should do a global deal first?

“We are investing much more in development financing right now with producers.”

AF MALMBORG: If we see something we like at the development stage, we make a deal with the producer. We invest in development and go out and find presale or co-production partners, instead of the producer going to one platform and asking for development money. You retain your rights longer, and you invest more. Doing that will give you a stronger development slate and a much better negotiation position with the different buyers. Selling windows to broadcasters and streamers at perhaps shorter terms [can be more lucrative]. After the first round, there are more and more deals; you can sell to multiple platforms with shorter windows. If it’s a success, you retain the rights and make much more money. But, of course, it’s more cash-intensive in the 2/23 WORLD SCREEN 27

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Eccho Rights’ slate of U.K. drama includes Granite Harbour from LA Productions for BBC One.

development stage. That’s where we come in. We are investing more and supporting producers. We still think that the IP should be majority owned by the producers. The rights should not be left with a platform or a broadcaster who has a lot of other issues. Our message to producers is, give your best products to us. We will work together; we may sell it to a platform in the end in a global deal, but then we charge a packaging fee. A global deal has advantages—you get reach and recognition and may get a good deal. As a producer, it’s important not to go with one platform too early because you have no room for negotiations later.

WS: What new opportunities are you finding with Turkish drama around the world?

AF MALMBORG: MENA is coming back strongly. Latin America is strong. Spain is increasing. And Eastern Europe is still strong. We want to make more deals in Africa. Many of our clients are traditional linear broadcasters, but there are more platforms, and we have a big direct-to-consumer team doing YouTube, Facebook and Dailymotion. We have the full episodes, and we’re investing in more dubs and language assets. We invest in maybe five or six dubs 28 WORLD SCREEN 2/23

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from the start and make a lot of short clips together with the long form. We have a big team doing that in Istanbul. Also, [there are opportunities with] regional AVODs and FAST channels. Turkish dramas are long-running and made for advertising exposure.

WS: What are your priorities for Eccho Rights in the next year?

AF MALMBORG: Eccho Rights will continue as a separate entity within the Night Train Media group. They will still work with producers who have distribution attached, and Eccho will be there for independents. We will be the drama distribution team. I think we’re going to do more big international development projects in English to continue what we do in the U.K. We’re going to strengthen our development and our slate from the Nordics. The Turkish slate is going strong. We’ll invest more in development in Turkey and grow our direct-to-consumer team, which is very strong.

Eccho Rights has clinched several deals on the new Channel 5 drama Desperate Measures.

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WWW.TVKIDS.COM

FEBRUARY (TV KIDS FESTIVAL & PRE-KIDSCREEN SUMMIT) 2023 EDITION

2023 Trends to Watch / POP Channels’ Francesca Newington / The Jim Henson Company’s Brian Henson Kidoodle.TV’s Brenda Bisner / Behind the Scenes of Silverpoint

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A Special Thanks to A GOLD SPONSORS

SILVER SPONSORS

BRONZE SPONSORS

Sessions available on-deman

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o All Our Sponsors GOLD STREAMING SPONSOR

emand at TVKidsFestival.com

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16 TV KIDS

CONTENTS

Growing Pains

FEATURES

WHAT’S NEXT? Several leading content sales executives share their perspectives on what’s in store for the kids’ business in 2023.

Like every other area of the media business, the kids’ content sector heads into 2023 with a fair bit of trepidation about what’s to come.

Ricardo Seguin Guise Publisher Mansha Daswani Editor-in-Chief Anna Carugati Editor-at-Large Kristin Brzoznowski Executive Editor Jamie Stalcup Associate Editor David Diehl Production & Design Director Simon Weaver Online Director Dana Mattison Sales & Marketing Director 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 ©2023 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvkids.com

Amid strategy shifts, economic concerns, the ongoing conflict in Europe and course corrections at the platforms as they prepare for the next era in the streaming wars, everything is in flux.

But as was evident as the kids’ business convened in person in Cannes in October for MIPJunior’s official return to the JW Marriott and virtually for our own fantastic festivals last year, the people making, financing and selling children’s content are infinitely adept at navigating the challenges the sector is facing.

That was the defining theme of my feature story in this edition on the trends that kids’ distributors are keeping their eye on as they look to thrive in what is set to be a challenging year. M&A is likely to continue as companies chase IP, scale and talent. The AVOD/FAST space is awash with opportunities—and some significant hurdles. Having a well-crafted windowing strategy is paramount. Everyone still wants known IP—with loads of books, games, comics and movies spawning new shows—as well as breakout new ideas they’re invested in enough to take a risk on. (But getting a commissioner to take a risk right now is no easy feat.) Having a metaverse/gaming/interactive strategy is crucial for building brands, as are live events.

Diversity and real inclusion should not be an afterthought. And most importantly, premium quality storytelling will always rise to the top.

We heard similar refrains in our Q&As with TV Kids Pioneer Award recipient Francesca Newington, who is looking for compelling properties for Narrative Entertainment’s POP Channels in the U.K.; Brian Henson at The Jim Henson Company, which is driving innovation across its multimedia slate; and Kidoodle.TV’s Brenda Bisner, who is pioneering new models in AVOD and FAST while remaining committed to keeping kids safe online. We see the importance of high production values and inclusive storytelling in the success of Zodiak Kids & Family Productions UK’s Silverpoint, which is spotlighted in this edition. And you’ll see the dedication and passion that children’s media executives have for this segment of the business in our latest TV Kids Festival, featuring almost 40 speakers from across the sector and around the world. Enjoy the show!

—Mansha Daswani

ADVENTURE AWAITS A look behind the scenes of Zodiak Kids & Family Productions UK’s Silverpoint, a live-action sci-fi drama for tweens.

INTERVIEWS TV Kids Pioneer Award: Francesca Newington POP Channels

Brian Henson The Jim Henson Company

Brenda Bisner Kidoodle.TV

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Aardman Big Lizard / Quentin Blake’s Box of Treasures / Lí Ban A brand-new preschool series from Beakus and Je Suis Bien Content/Watch Next Media, Big Lizard is among the latest offerings from Aardman, commissioned by the BBC and France Télévisions. “It’s a beautiful project about friendship, curiosity, exploration and celebrating differences,” says Robin Gladman, head of acquisitions at Aardman. Also in the company’s catalog, Quentin Blake’s Box of Treasures is a BBC commission from Eagle Eye Drama. The collection of six animated specials is based on Blake’s best-selling books.

Lí Ban from Paper Owl Films, meanwhile, comes from an untapped world of forgotten stories from Celtic folklore. “Lí Ban is a superb protagonist and role model, and kids everywhere will be excited by her story in this fantasyadventure, anime-style series,” says Gladman.

Quentin Blake’s Box of Treasures

“We pride ourselves on being the very best at building animated brands worldwide.”

—Robin Gladman

Boat Rocker Dino Ranch / Trulli Tales / The Next Step Leading Boat Rocker’s slate, Dino Ranch has sold to more than 170 territories. Its “Wild West setting and appealing dinosaur characters have led to the overwhelming success,” says Gia DeLaney, senior VP of global sales for kids and family. Trulli Tales sees its characters deal with the everyday problems faced by children of the same age, but in a magical setting, where magic wands are cooking utensils, recipes reveal feelings, a drop of oil can bring a talking book to life and more. In season eight of the hit dance series The Next Step, the “appealing teenaged characters learn that the only way they’re going to make it to the dramatic final dance competition is to put their differences aside and find a way to work together,” DeLaney says.

Cyber Group Studios

The Next Step

“As the home for creative visionaries, Boat Rocker’s purpose is to tell stories and build iconic brands across all genres and mediums.”

—Gia DeLaney

Nefertine on the Nile

Droners / Zak Jinks / Nefertine on the Nile Cyber Group Studios is bringing to Kidscreen Summit the first episodes of Droners’ second season. The adventure comedy sees its girl leads and their teammates take part in a drone race competition and brings eco-awareness to its viewers.

Also on offer with a second season, Zak Jinks, an adaptation of a comic strip, continues to deliver “pure comedy, following the mischievous daily life and adventures of schoolboy Zak and his group of friends,” says Raphaëlle Mathieu, executive VP. Nefertine on the Nile, meanwhile, follows the adventures of Nefertine, the 8-year-old daughter of a scribe in ancient Egypt. She constantly records her adventures, such as investigating mysterious mummies and discovering the secrets of the sphinx, in her diary with the hope of eventually being the first female scribe.

“With these three shows, we have a wide diversity of content, enabling us to talk to children all around the world.”

—Raphaëlle Mathieu

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Guru Studio Big Blue / 123 Number Squad! / True and the Rainbow Kingdom Guru Studio’s Big Blue, created by Ghanaian-Canadian artist Gyimah Gariba, shows young children what it means to be part of a family and places emphasis on how caring for the planet and each other is important. 123 Number Squad! sees a rescue team use numbers, counting and shapes to help the citizens of Numberville. “This unique series offers fast and funny adventures for preschoolers, where they’ll learn and laugh as they go,” says Corey Caplan, senior director of international sales. True and the Rainbow Kingdom demonstrates how to be mindful, courageous and respectful.

“True is everything you would want in a hero,” Caplan says.

“She doesn’t wield a sword or wave a wand; instead, it’s her kindness and compassion that make her aspirational for boys and girls all over the world.”

123 Number Squad!

“Our focus continues to be creating, developing and producing characterdriven shows that captivate and inspire kids and families.”

—Corey Caplan

HappyKids happykids.tv The unique selling point for the HappyKids platform is twofold, explains David Di Lorenzo, senior VP of kids and family at parent company Future Today. “On the one hand, HappyKids is one of the largest ad-supported kids’ streaming services and is available across multiple CTV platforms—from streaming devices to OEMs and MVPDs. Also, as a developer publisher, beyond our hub channel HappyKids, we operate a network of channels (apps) with several key partners, including LEGO, Moonbug Entertainment, Pinkfong and others.” The platform reaches families with kids from 0 to 12 and features a range of early-learning content, preschool programming, gaming and movies. “Our multiplatform distribution provides our partners access to a large-scale audience,” Di Lorenzo says.

“We currently work with hundreds of partners from around the globe and are always looking for something new.”

—David Di Lorenzo

Gizmo Girls

The Jim Henson Company All-of-a-Kind Family / Gizmo Girls / Wowsabout An adaptation of the classic book series, The Jim Henson Company’s All-of-a-Kind Family follows a hardworking Jewish family with five sisters: Ella, Henny, Sarah, Charlotte and Gerti. The girls must navigate the wonders and trials of being first-generation immigrants in Manhattan in 1911. “At the heart of the series is an emphasis on love, family, tradition and what an incredibly fun time it was to be a kid,” says Halle Stanford, president of television. Gizmo Girls, an animated preschool series, features superheroes who solve their town’s challenges with real tools. The live-action preschool puppet series Wowsabout sees a guitar-playing hedgehog and a treeloving pig experience all the wonders of the natural world.

“Wowsabout is about connecting children to the magnificence and awe on planet Earth,” Stanford says.

“Our secret sauce, the ‘Henson way,’ is creating characters and shows with humor, heart and hope.”

—Halle Stanford

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Kidoodle.TV Safe Streaming With a catalog of more than 40,000 episodes—and counting—Kidoodle.TV has a rich offering of content that’s been vetted for Safe Streaming. “Parents are looking for alternatives that are not just safe but also something that is free, with no barrier to entry,” says Brenda Bisner, chief content officer. “With a recession and the cost-of-living squeeze, it’s another really great thing we can do to ensure that not only families can afford it but that their kids can be safe while doing it.” Bisner also highlights the AVOD platform’s award-winning user experience. “If you go to Kidoodle.TV, the navigation is right for children. We consistently test. We’re a tech company at heart, and everything for us is built so that it is safe and there’s a reason behind it.”

“We’ve always been positioned in a way that sets us up as a trusted destination.”

—Brenda Bisner

Sinking Ship Entertainment Beyond Black Beauty / Phoenix Rise / Alma’s Way Beyond Black Beauty leads Sinking Ship Entertainment’s slate. Inspired by the classic novel, it follows an equestrian with hopes of someday making it to the Olympics. Her journey is upset when her mother moves them from their posh life in Belgium to her childhood home in Baltimore.

Phoenix Rise centers on six students who form an unbreakable bond as they navigate school life and find their place in the world. Alma’s Way sees 6-year-old Alma, a Bronx-born Puerto Rican girl living in the city, treat the viewer as her confidant. These shows “embody universal themes we know are in demand right now in kids’ content: family, identity, community and self-exploration,” says Kate Sanagan, head of sales and distribution. “These themes are not specific to one territory.”

Alma’s Way

“It’s a big year with some big launches for Sinking Ship’s distribution department.”

—Kate Sanagan

Studio 100 Media Vegesaurs / 100% Wolf / FriendZSpace The Studio 100 Media highlight Vegesaurs travels back to a prehistoric era populated by juicy and crunchy creatures such as the Tricarrotops and Pea-Rexes, providing “a fresh and unique take on the dinosaur genre with characters you can only find in this show,” says Dorian Bühr, head of global distribution. 100% Wolf, following a pink poodle who should have been a werewolf, “underlines that heroes come in many forms, displaying diversity by strength in being different and having self-confidence by choosing your own path,” Bühr says. FriendZSpace sees three human kids go on deep-space missions to find alien kids and make friends. “A signature element in the series is that every alien kid wants to be friends in the end, but getting there will rarely be easy,” Bühr notes.

100% Wolf

“We are kicking off the new year with three very different series, attracting various target groups with a common theme of strong stories and values and, of course, lots of entertainment.”

—Dorian Bühr

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The Wee Littles

Toon2Tango Agent 203 / Monster Loving Maniacs / The Wee Littles Toon2Tango’s highlight Agent 203 centers on a young girl who discovers that her father was a secret agent tasked with protecting the planet against alien invasions. When she is approached by his former partner, she decides to continue his work and find out what happened to him.

Monster Loving Maniacs follows three kids who are being trained as monster hunters by their tough grandfather, but they would rather find a way to save the monsters. It “is great fun, with lots of excitement and humor, as well as bigger themes like families, relationships and coping with our fears, all delivered with wit, energy and stylish, skilled animation,” says Ulli Stoef, CEO and producer at Toon2Tango. The preschool show The Wee Littles focuses on a family of very small creatures.

“Since we launched over three years ago, we have been able to develop, produce and distribute high-quality shows for all demographics.”

—Ulli Stoef

ZDF Studios Grisù / #LikeMe / Heirs of the Night ZDF Studios is spotlighting Grisù, centered on a little dragon who dreams of being a firefighter. Though all positions are filled at the fire station, he is able to help out as needed, whether as a cook, florist, pilot or sailor. In #LikeMe, a young girl’s life in a remote village is thrown into upheaval when her mother is diagnosed with cancer and they must move to the city to be closer to the hospital. Heirs of the Night sees the heirs of the five remaining vampire clans of Europe unite to beat Dracula and avoid extinction. “Their different backgrounds and the fact that each of them has special qualities and powers makes this series a very timely production and teaches children the meaning of diversity,” says Katharina Pietzsch, Director Junior.

Heirs of the Night

“We want to send a positive message, educate kids and put things in context, but also empower children and give them a voice.”

—Katharina Pietzsch

Zodiak Kids & Family Distribution Corpse Talk / Topo Gigio / Silverpoint Produced by Tiger Aspect Kids & Family, Corpse Talk tops Zodiak Kids & Family Distribution’s slate. It introduces its audience to key historical figures such as Josephine Baker and Leonardo Da Vinci through a chat show hosted by Adam, voiced by YouTuber Joe Sugg. Topo Gigio, a reimagining of the mouse originally created by Italian artist Maria Perego, follows the adventures of the first mouse to live among humans as he finds enjoyment in all that they do. The live-action sci-fi series Silverpoint centers on four kids who stumble across an unexpected alien artifact while at summer camp. “The show incorporates beautifully crafted storytelling and a gripping mystery, which are keeping audiences hooked,” says Julia Rowlands, senior VP of sales, co-productions and acquisitions at Zodiak Kids & Family Distribution.

Topo Gigio

“Across animation and live action, we offer shows that delight and entertain kids and families all around the world.”

—Julia Rowlands

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26 TV KIDS

Aardman’s Happy the Hoglet.

WHAT’S

NEXT?

Mansha Daswani checks in with several distributors about the trends they expect will shape the kids’ media business throughout 2023.

T

he kids’ business took some tough hits in 2022, beginning at the start of the year when the U.K.’s Department for Digital, Culture, Media & Sport said it would be discontinuing the Young Audiences Content Fund. The confusion around HBO Max’s kids’ and family strategy that would begin later in the year, starting with Tom Ascheim’s exit from Warner Bros.

Discovery and continuing with a slew of projects being canceled or put on hold, did not make life easier for producers and distributors. Inflation, slowing SVOD gains and a weakening ad market put pressure on budgets, making financing ever more complex. And with a fast-moving AVOD/FAST channel landscape, windowing became much more challenging.

“Last year, the consolidation of studios and buyers of kids’ content greatly impacted the global kids’ business,” reports Karen K. Miller, president and CEO of Cyber Group Studios USA. “Series in all stages of development and production were canceled or put on hold and have started flooding the marketplace in search of new partners.”

“The latter half of 2022 saw some turmoil in the industry, and as a result, programming needs have shifted considerably for some of the large streamers and linear channels,” adds Alix Wiseman, senior VP of distribution and acquisitions at 9 Story Media Group.

“Overall, 2022 was not an easy year for our industry, and we saw a number of major shifts and changes,” agrees Katharina

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28 TV KIDS

Karma’s World is a global Netflix original from 9 Story.

Pietzsch, director in ZDF Studios’ junior department, referring to content being shifted increasingly to digital-only environments, editorial policy changes, budget cuts, a squeeze on available talent and rising costs.

“The streaming market is still evolving, with some subscriber numbers not hitting the huge growth levels of previous years,” observes Delphine Dumont, chief commercial officer at Banijay Kids & Family.

DIGITAL-FIRST Indeed, keeping an eye on the fast-moving developments in the streaming space was paramount throughout 2022.

“Toward the tail end of 2022, there was a renewed energy and focus on emerging digital platforms—particularly in the U.S.—which has created many new opportunities in distribution and in financing new IP and content strategy on existing brands,” says Alison Taylor, director of distribution at Aardman.

“The rise of YouTube-first brands on global OTT services has led to an incredible shift in how we see the value of windows and formats of content,” notes Corey Caplan, senior director of international sales at Guru Studio. “The continued move toward direct-to-consumer streaming services in the SVOD and AVOD/FAST space is changing how broadcasters, distributors, producers and all rights holders think about windowing, brandbuilding and co-production partnerships.”

Taylor is of a similar perspective: “As ever, we have to be as nimble as possible when it comes to getting a show financed and keep the conversations moving in an ever-changing media landscape. On the one hand, more investors are out there now, with new platforms paying enhanced fees for exclusive rights in certain territories. However, with a number of key platforms undergoing mergers/re-strategizing, financing a new show can be more complex—especially on a new IP. On kids’ TV series, we have to seriously consider coproductions with other territories to develop and finance content, with the U.K. government deciding to stop the Young Audiences Content Fund and the U.K. tax credit becoming increasingly uncompetitive versus other territories.”

The increasingly challenging environment for getting a show off the ground financially was a recurring theme among the distributors surveyed here.

“More fragmentation means lower budgets, and it ultimately makes it harder to finance a show,” says Wiseman at 9 Story.

“You have to continue to deliver high-quality content and not compromise while being realistic about the financing. As ever, it’s all about carving out and protecting as many rights as possible while taking on board the levels of exclusivity that big investors require and expect. It means increasingly that for shows over a certain budget, the only way to finance them and retain ownership of the IP is through presales.”

Caplan believes that this year will require producers to be “as creative as possible” in cobbling together budgets. “Bringing in investment from as many partners as possible will be crucial to help fill the gap from a more fragmented funding environment.”

Dumont agrees, noting: “The market is constantly changing, and each region works differently, so we must be agile and adaptable in order to deliver funding models that work for us and our partners.”

“As the market becomes more fragmented and buyers tighten up on their spending, we have all had to be resourceful with production costs,” says Miller at Cyber Group Studios.

“We do this alongside the sales teams, which continue to open up more international markets and explore new platform opportunities.”

Miller adds, “Kids’ distribution, and to a certain extent financing, has been slowed for many independent producers and distributors. On the other hand, orders for original programming are rising. For example, last year, we announced our first original project with Disney (in partnership with La Chouette Cie). In Europe, more specifically, the SMA law is making it compulsory for streamers to invest in European content. This should have a positive effect in 2023 on the content financed and/or acquired by these streamers.”

The key, ZDF Studios’ Pietzsch says, is finding the right partners on a project. “As well as the financials, the rights taken by each partner need to be aligned as well as the editorial line—it is essential that all partners share the same creative vision for the project. We have seen some well-established and successful partnerships change or end, but we have also seen some great new models come into being. With increased production budgets on the one hand and budget cuts and restrictions on the other, there continues to be a great demand for working together and sharing costs.”

Pietzsch continues: “Some global partners can carve out or hold back in certain territories and on rights if the overall model makes sense to them. At the same time, partners from ‘smaller’

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30 TV KIDS

ZDF Studios is a coproduction partner and distributor of the Grisù reboot from Mondo TV Studios and Toon2Tango.

territories and with limited acquisition budgets are increasingly interested in coming on board a project early to secure content that would otherwise end up in a multi-territory deal and just not be available to them at a later stage. We see public-service broadcasters in Europe working together to co-fund projects.

Having said this, there will still be full commissions on certain major brands and programs as exclusivity is a major USP—but these might be even harder to get the green light for and, as we already saw in 2022, more volatile.”

Another trend that continues to impact the kids’ production and distribution sector is a need for known IP that will be able to cut through the clutter.

BRAND RECOGNITION “Existing brands have always been desirable, of course, but there appeared to be a renewed focus in this area, with many platforms and channels seemingly more risk-averse to new IP,” says Aardman’s Taylor on one of the critical shifts she witnessed in 2022. “That being said, we successfully launched several new series in 2022, including Interstellar Ella, Pop Paper City and Happy the Hoglet. So as long as the content is of a high standard, with inclusive and relatable characters alongside compelling stories, all opportunities certainly remain high.”

Cyber Group’s Miller agrees, adding, “Known IP continues to be in high demand, as does anime and gaming content. As always, great storytelling is at the forefront of all Cyber Group

Guru Studio’s Pikwik Pack is available on Hulu in the U.S. and Treehouse in Canada.

Studios does, which helps ensure that the content we produce is picked up worldwide.”

Banijay’s Dumont also cites the wealth of opportunities in the market, regardless of the interest in brands with existing awareness.

“From a surge in demand for content to attract four-quad and young adult audiences to a rise in animation IP, the landscape is broad. In the last year, we added two new labels to the company, Kindle Entertainment and Movimenti Production, further strengthening our market position.”

For the remainder of this year, Dumont says she and her team will be focused on “protecting our IP and supercharging our brands.”

Similarly, Aardman’s Taylor is prioritizing “financing and distributing subsequent seasons and spin-offs of existing series, helping to support the brands’ global exposure and audience engagement across multiple channels and platforms.

Regarding the further rise in digital platforms, especially AVOD and FAST channels, we’re being more strategic in terms of the rights we’re licensing, increasing our focus on the windowing of content to enable us to reach even more audiences globally.

Licensing content to traditional channels and platforms remains key to any distribution strategy. Still, it’s [crucial] that we are also licensing content to all platforms where kids are viewing content in order to build a brand. If the brand grows due to this, then every channel, network and platform that is part of the brand’s exposure will be in a winning position.”

9 Story’s Wiseman also points to the importance of effective windowing strategies, noting: “We continue to take stock of how to monetize our catalog across both the AVOD and FAST channel realms and build on that moving forward. 9 Story has a vast library of over 4,400 half-hours, and these avenues have provided new opportunities for some of our evergreen content. We are also taking a closer look at some of the established IPs we have on our roster to meet the evolving needs of the market. This means listening to the needs of our clients and looking at our slate through that lens. For example, we’re hearing that some commissioners are moving away from curriculum-based content in favor of comedies and lighter entertainment for preschoolers in the wake of the pandemic.”

One shift in the market that Guru’s Caplan is eyeing is innovation in short-form content. “There’s an opportunity now for producers to test the waters by producing shorter formats as the starting point for new IP before attempting to fully finance it as a long-form series,” he says. “There’s also more opportunity now for distributors to leverage their catalogs not only with linear partners but with new AVOD platforms and FAST channels to maximize the potential for reach and revenue.”

On the heels of much M&A at Banijay in 2022, Dumont says there is the opportunity for more as the company looks to align with premium content creators across the globe. “We are always looking for new talent and IP that will complement our existing portfolio, and M&A is a strong way to scale up our offering,” she explains. “Investment in brands and commercial growth is also a key area of focus, and we are keen to maximize expansion opportunities for our IP.”

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Cyber Group Studios is tapping into its global network for Alex Player, with both Graphilm in Italy and Scrawl Animation in Singapore working on the show for France Télévisions and Rai.

ZDF Studios’ Pietzsch stresses the need for flexibility. “Some partnerships might not work like in the past, and some negotiations may become more difficult than they were before.

Established business models will be challenged and might change, but there are also great new opportunities. So thinking outside the box will be our key premise for 2023.”

More specifically, building on ZDF Studios’ live-action slate is a priority, Pietzsch explains. “Live-action series for the tween and teen audience have been a major contributor to our success to date, and we are looking to invest even more into content for these audiences.”

Live action is also a focus at 9 Story, Wiseman observes.

“9 Story launched its live-action division in 2019, led by Gráinne McNamara. Our new series A Kind of Spark will premiere in the U.S. and the U.K. in the spring and is based on the book by award-winning neurodivergent author Elle McNicoll.”

At Aardman, Taylor says there’s a new focus on investing in content specifically for digital services, “so we can license content to additional platforms, offering the audience a different viewing experience to the content they may find on more traditional platforms, for the same brand. This is taking the form of financing spin-offs, creating bespoke content through a dedicated digital and social production team at Aardman and acquiring content that would suit AVOD and FAST channels specifically. With the growth of the digital space, we’ve also recently hired a head of digital and strategic development, Laura Taylor-Williams. A further growth opportunity is focused on expanding our acquisitions business, headed by Robin Gladman.”

Digital-only opportunities are also key at 9 Story, Wiseman explains. “We are doubling down on our strategy with respect to how we manage our YouTube business, which features 96 channels, 100-plus managed brands and has reached over 12 billion views.”

She adds, “We’ve been pursuing ways to innovate from a technical perspective. We recently did our first test with a new games engine pipeline, with the idea that this would eventually live alongside our traditional pipelines.”

FAST TIMES The continued growth in FAST channels will further “change the way the industry thinks about ‘linear’ television and discoverability for new and library kids’ brands,” says Caplan at Guru Studio. “We also expect to start seeing more YouTubefirst properties and brands making their way off the platform and into the hands of traditional broadcasters looking for premium versions of the characters kids already love. Broadcasters might begin experimenting with commissioning shorter, non-traditional formats, certainly as kids spend more time on

phones, laptops and tablets.” In addition, Caplan observes, “the rise of Roblox, Fortnite and the metaverse as new arenas to grow engagement for kids has become a world for brand building.”

With the continued demand for premium content, there is a shortage of onand offscreen talent, Banijay’s Dumont notes. “As a group, Banijay Kids & Family is fortunate to have scale, which means we have immense in-house talent and, where needed, can collaborate on projects. We also have an incredibly strong animation output, which mitigates some of the shortages more apparent in live action due to its adaptability to enable us to work with global talent remotely.”

Miller at Cyber Group Studios also cites the benefits of scale, noting, “We are well positioned with our studio acquisitions— A Productions in Bristol, Scrawl Animation in Singapore and Graphilm Entertainment in Rome—as well as our real-time animation studio in Roubaix. Our goal is to help those talented production companies create global series. The first results are very encouraging, as evidenced by the recent commission from the BBC for Digital Girl from A Productions in the U.K. and from Rai for Alex Player at Graphilm in Italy. On Alex Player, commissioned by France Télévisions, we are using our real-time animation pipeline to optimize production and, ultimately, the global quality of this breakthrough content with the support of our amazing Scrawl team.”

CONTENT SHIFTS As for changes in what kids want and need in their entertainment, Taylor observes, “We are keeping an active eye on audio and music trends, by way of enhancing brand engagement, but also as specific content strands. What’s key is keeping on top of where the audience consumes content and the type of content they’re engaging with the most. Data analysis is key to this and is something that we’re constantly reviewing when it comes to development ideas and acquiring new content.”

Pietzsch at ZDF Studios says there is a pressing demand for shows that aid young ones in making sense of the world around them. “Although Covid is finally mostly under control in large parts of the world, there is a war in Ukraine, the highest inflation in decades, an energy crisis and natural disasters caused by climate change, to name a few. On top of the ‘normal’ problems children face as part of their growing up, there’s a lot to take in. It’s important to help kids understand and deal with these issues. Ideally, our programs will show children that they are not alone with their worries and fears, that other kids are facing the same problems and that there are ways to deal with them or maybe even make a change. With all the bad news, we want to send a positive message, educate kids and put things in context, but also empower children and give them a voice. In this respect, I believe that fantastical or magical themes will continue to be a trend, helping kids ‘escape’ from the harsh realities of their daily lives or the bad news of the day, giving them opportunities to dream, imagine, travel, go on adventures or explore—even if just virtually and only for a little while.”

Ultimately, Cyber Group Studios’ Miller notes, “While the global economy and kids’ content business are still in flux, we are optimistic that great storytelling will always prevail.”

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TV KIDS PIONEER AWARD

Francesca Newington boy-skewed. POP Max takes the content that previously aired on POP. We have a mixture of well-known franchises and new content across all three channels.

The past year has been a really tough year for the kids’ market in general, and that does include the free-to-air channels. However, POP has retained its number one position in the commercial kids’ market [in the U.K.], which we are delighted with. POP Max has bucked the downward trend and had an amazing second half of the year in 2022.

Tiny Pop was the top commercial channel for kids aged 4 to 6 across 2021-22, but it is now falling back down in line with the kids’ market, which is to be expected.

Although it was a challenging year, and the market is tough right now, the important thing to remember is that linear TV is still the most preferred way for parents to find kids’ content. It’s such an important tool for them to have that easy, free, fully complied and guaranteed safe route, put together by kids’ content specialists. Also, sometimes there’s just too much choice out there and people want to be fed a curated feed—we’re there for that too.

But we don’t just have linear over-the-air channels. We’ve launched a FAST channel called POP Kids that’s available on Samsung TV Plus, and we’re rolling it out across other platforms this year. We also have the POP Player, which is our AVOD app. It’s just so important to diversify our brands and be accessible in as many places as possible.

By Kristin Brzoznowski

A

s the director of POP Channels at Narrative Entertainment in the U.K., Francesca Newington is working across the POP, Tiny Pop and POP Max linear channels, the digital AVOD service POP Player and the newly launched POP Kids FAST channel. She is looking after a programming mix that is anchored in marquee franchises and features shows with the vibrancy and energy needed to really “pop” within today’s competitive landscape. Newington is being recognized with the TV Kids Pioneer Award for her role in bringing top-tier programming to the POP channels and platforms and keeping those brands in pole position.

TV KIDS: Tell us about the positioning and performance of the POP channels in the U.K. NEWINGTON: POP and Tiny Pop are available on national Freeview as well as Sky and Freesat and on Virgin Media.

POP is for boys and girls, and its current average age is 8.

Tiny Pop is aimed at upper preschool, and its current average age is 6. POP Max is for 6 to 8s, but it’s more

TV KIDS: What’s guiding the editorial strategy across the three linear services?

NEWINGTON: We have to have our big franchises as headliners to entice kids first and foremost. Those include Pokémon, Miraculous: Tales of Ladybug & Cat Noir, LEGO Friends, Barbie and PJ Masks. Those are pillars that support the rest. And in those gaps, we then schedule content with a similar tone and themes that we think are likely to resonate with our POP channels, which are funny and full of energy. Those lesser-known titles can then find their audience via the franchises that brought [viewers] into the channels in the first place. A good example of that would be Kung Fu Sock, which launched on POP in summer ’22, and that launched close to ALVINNN!!! and the Chipmunks because we found them to be very different propositions but thematically similar and with the same kind of energy.

We do also have to be heavy with stacking our content during holiday periods. It’s how kids consume content now—voraciously—and it minimizes dropout. So, we like to have movies and specials during holiday periods as well.

They’re always a big draw and they rate well.

There are also pockets where we can cultivate new fans.

So, for example, we’ve introduced a live-action block that features series such as Annedroids and The InBESTigators, as well as a new show that we commissioned called Swipe It with Joe Tasker. Those have launched really well, and they are bolstered by the more well-known brands.

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Cyber Group Studios’ Gigantosaurus airs on Tiny Pop.

We want to increase the digital feel of our channels so that we can broaden our reach and entice back viewers who may have left the kids’ TV space altogether. We also want to increase interactivity with our viewers—talk to them, feature them and include them within our channels as much as possible.

We’re working on simple things as well, such as clearer signposting, continuity and messaging. We’ve been introducing a new tone of voice in our on-air branding, which is a continuing project, and that includes introducing new presenters, which we’ll see more of as the year goes on. We [have brought on] a wonderful presenter for Tiny Pop. She’s full of energy and charisma. We’d like to feature her a lot more in 2023, providing that human connection to our younger viewers, which is really important and something that has been missing in the past on Tiny Pop. That connection and appeal to parents are very important to us, and we want to maintain the quality of the output and keep that positive parental response going and that desire to co-view.

TV KIDS: What do you keep top of mind when buying across the channels?

NEWINGTON: To start with, anything that pops; anything with that vibration to it, that energy, and anything that’s funny—it keeps them hooked in. Franchises are very important for us. Anything that already has built-in recognition and nostalgia that appeals to parents for co-viewing.

We ask ourselves, Would you sit and watch that with your child? Also, we always look for content that has diversity embedded within it. It’s so important to reflect our audience within our content. There’s so much more out there now that fulfills that criteria and in many different and authentic ways. That’s positive to see, and it’s always front of mind for us when shortlisting content.

As for rights, we’re looking for content that can be used across all our platforms without limitations. With formats, we’re after all sorts. Alongside the usual 11 or 22 minutes, it could be short-form snackable content or longer-form movies, specials, anything for the holiday periods, and anything that could be used across all platforms is quite key for us.

TV KIDS: What are you looking for now regarding acquisitions across the brands?

NEWINGTON: Right now, we’re on the lookout for comedy, in particular, for all the channels. It’s really hard actually to find comedy in the upper-preschool space. We did a recent audit on Tiny Pop and found we really didn’t have anything that was an out-and-out comedy, fully laughout-loud funny, on the channel. That was quite alarming to see. I feel that there’s a real lack of comedy for younger kids out there. So that’s what we’re after for Tiny Pop, but also for POP and POP Max. POP Max has really found its niche with slapstick comedy. So, when we’re buying for POP, we also have to bear in mind if it is going to translate across to POP Max. TV KIDS: What’s driving the move into co-productions and commissions?

NEWINGTON: It’s about survival at the end of the day. We recognize that if we’re going to be able to continue diversifying and growing our brands and to give access to all areas that they desire, we are going to have to have some ownership over the content in our catalogs so that we can do what we need to do with it. It’s that simple, really. It’s about survival and growth. We’ve already commissioned Swipe It with Joe Tasker, which is a live-action series. It’s current, involves challenges, reviews and interaction with kids, and it references our POP shows as well. We want to continue with more seasons of that. Also, we are looking for opportunities to become fully involved in the financing of new productions. The floor is wide open on this one still. It’s likely, though, that we may start with live-action formats due to the shorter production time. It’s an evolving project, so stay tuned.

TV KIDS: What have you learned about how and what kids are watching on the POP Player and the strengths of the AVOD model?

NEWINGTON: Originally, the POP Player only existed as a mobile app, and then at the end of 2020, it was rolled out across Freeview Play, YouView and Freesat. Since then, it’s had really amazing growth, triple-figure growth. So, going

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True and the Rainbow Kingdom, from Guru Studio, is among the key brands for Tiny Pop.

forward, we have a busy year of new platform rollouts and feature developments to grow users and drive engagement. Viewing habits on the POP Player don’t actually correlate with the viewing habits on linear. The most popular shows are the ones with the most episodes available, quite simply. The ones that have newly launched on air and are still finding their audience, on the POP Player are instant hits. That’s not surprising because all our messaging points to the POP Player, and VOD is often how kids find their content in the first place.

On the whole, we do get a really positive response about the player. The main issue is the volume of content that we can offer. This is what we’re working on now. It’s about fulfilling that need, and this feeds back to our rights issues for acquisitions. We need to provide kids with an option to binge-watch, which is what they expect. So, we are looking at what else we can do in the content space and to find those

The live-action offerings on the POP channel include Annedroids from Sinking Ship Entertainment.

rights. That could mean gradually changing up what we offer on air, or we diverge and provide unique content to the POP Player where we know we have the full rights that are available, but it’s not something that we would put up on the linear channel.

This is something we’re giving a lot of consideration to this year. It is an opportunity to offer up something unique to the platform, and it also gives us more freedom to step outside of those rigid parameters of target demo and format as well. It gives us more flexibility with what we take. We can still retain the same messaging and tone of voice across all our platforms to keep them linked, but we’d like to offer something unique on each service.

Another thing to note is that the player isn’t just about watching content. You can also enter competitions. We have a POP Artpad tool as well, which is part of the mechanics of a lot of our competition entries. [Kids] can do a design on the Artpad, and the winning designs could go on to be seen on air. Also, we’ve just launched a birthday feature on the app for Tiny Pop, where you can upload your child’s photo and their date of birth and see them in a special birthday song on the channel on their birthday.

TV KIDS: What led to the launch of the POP Kids FAST channel?

NEWINGTON: The fact that it’s free ad-supported streaming TV, we generally have those rights available to us already within our contracts. We also have programming and scheduling teams in place, which means it’s quite an easy choice to make. It’s an opportunity for us. If it goes well, we might launch more. We’re looking at rolling out on other platforms, too. At the moment, it’s too early to say whether or not it’s the future for us, but having the performance data we get from the platforms is very useful.

We’ll be able to make a decision on where to go next once we have a better understanding of the performance, the opportunities that are there for us and the value we think that it can add to the portfolio.

TV KIDS: Is there a strategy around using YouTube?

NEWINGTON: This is the year when we really want to focus on YouTube seriously. So, using it as a platform for discovery, but also for more than that. We’re currently assessing all our rights situations. We’ll then be focusing on growing our subscribers and providing lots more unique content that isn’t available on our other platforms. Until recently, we had not dedicated enough time to looking after YouTube. We didn’t have the resources, but now we do; we have a team in the U.S. who are working on a large-scale YouTube strategy across both our kids’ and our movie and entertainment brands. We also have a YouTube content lead in-house who is working closely with us to complement what we have on air, in the VOD space and in the kids’ space in general. We have big plans for growth across YouTube for this year.

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There’s a lot of autonomy, and you can be very reactive to new opportunities. It’s interesting every day; I work with every single department—from finance to legal to marketing, digital and creative—so the remit is very broad. There’s just so much scope for the POP brands still; there’s more that they can still achieve.

There are a number of shows from DreamWorks Animation on the POP channels, including Trolls: The Beat Goes On!

TV KIDS: Since you’re buying across multiple platforms, talk to us about exclusivity and your view on this regarding rights.

NEWINGTON: We’re taking exclusive rights wherever we can, and we’re covering that broader usage across VOD. But on the shows that we love that are already elsewhere, we are now seriously considering different ways to approach things so that we can maximize our offerings on all platforms. Linear is important, but it’s not the only thing now.

We take it on a case-by-case basis. Does it merit being a standout series on linear only or not? Should it be replaced by something that we would have to work hard at promoting and building up but would give us the breadth of rights we need now?

TV KIDS: What types of ancillary rights and content do you look for to give multiple touchpoints to a POP property?

NEWINGTON: We ask for any short-form content, digital games, character vlogs, outtakes—anything additional. We also ask for bespoke content such as continuity links, which could introduce a series, or character intros or even shoutouts to viewers or participation in the stunts that we put on air. For example, we did Tiny Pop Big Quiz, where we had Cookie Monster and True from True and the Rainbow Kingdom asking all the questions. It was really nice to have them featured in other ways than just in a show on the channel. We like to have exclusive money-can’t-buy prizes like original artwork, or if it’s a live-action show, then maybe a piece of the set or a prop—anything that can help with engagement across all our platforms.

TV KIDS: You had been with the POP channels in 2006 and saw them through to their sale to Sony Pictures Television, then rejoined the channels at Narrative Entertainment in 2021. What drew you back to working with these brands?

NEWINGTON: Firstly, I already knew them so well. That was a very good, positive thing and an easy decision, really. Also, as a group, they’re very entrepreneurial, take risks and dare to do things differently, which is exciting. No matter what ownership they’ve been under, that has always been the same. As an individual, you can have a big influence as well.

TV KIDS: Having worked on the production side of the business as well, what advice do you have for producers working in the kids’ industry today about the types of content channels want to program, kids want to watch and parents want their children to watch?

NEWINGTON: You have to ask yourself a series of questions about the content you’re making to help sound it out: Who’s it aimed at? Do you fully know and understand the audience that you’re trying to reach? That’s the first point. Is it a concept that’s fresh and unique or is it an idea that’s been around a long time and is being rehashed, meaning it’s less likely to stand out? Is it diverse? Is it representative of its audience? Is it produced to a good enough standard? Is it visually interesting or different to make it stand out? Does it have repeatability? That’s quite key for us. Would it work globally? (If you’re looking to sell it everywhere.) That would come down to the quality of the scripting, too, and the structure of the story. Does it feel genuinely authentic? With anything educational, it needs to be treated carefully so as not to come across as preachy; kids won’t stand for it. If you want parents to be watching with their children, then you put yourself in their shoes and ask if you would sit and watch it. Is it compelling enough? Can you see your child enjoying it with you?

TV KIDS: In a time when kids have so many options for how to watch content—and how to spend their time in general— how are you keeping the POP channels competitive?

NEWINGTON: It’s a really tough and competitive market, packed with amazing channels—and not just channels anymore. We’re so lucky to have all this variety in the U.K., and we’re simply using our knowledge of what kids are attracted to and providing them with the funny stuff, the franchises, the variety and the quality they would expect.

We’re doing that as best we can, and we’re trying to remain current and emulate the trends that kids are tapping into in the digital world so we can stay in touch with them and be a part of their conversation. I think that’s the most challenging thing and is what we’re really working hard on doing right now.

TV KIDS: What are you most excited about, within your role at POP and in the wider kids’ content industry, as you look ahead?

NEWINGTON: It’s an ever-changing landscape. I attended my first Cartoon Forum in 2022, and it was amazing to see the breadth and imagination in the content coming down the pipeline—I was quite blown away. Kids these days are so lucky to have so much available to them. It’s such a buzzing industry. When I took some time out in 2017, I found I was really missing it, and I had a big desire to come back. The opportunities for what comes next in the kids’ space are huge and wide open, and I’m sure that the landscape will have changed drastically again by the end of this year. So, there’s never a dull moment.

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TV KIDS: What have been some of the milestones?

HENSON: The Henson Digital Puppetry Studio is performed, real-time captured animation. We started investing in it in the mid-’90s, and the first milestone came when computers became faster and cost-effective, allowing us to develop digital puppetry in a meaningful way. We quickly saw the fun of integrating motion capture, so we started using performer pairs—one performer for the motion capture of the character’s body and the other for performing the character’s voice and face.

Today, we have a full, multi-camera, real-time studio where the result is 3D animation. All the performers, the director, the crew and the client can see what the animation looks like as we’re producing it.

TV KIDS: What does the art of digital puppetry deliver for a program that’s unique to its form?

HENSON: Animation that is performer-driven is a live performance being rendered as CG animation. That creates a unique type of performance because unexpected things can happen—much like on a live-action set.

Brian Henson The Jim Henson Company

By Kristin Brzoznowski

W

hether it’s puppets, animatronic creatures or real-time animation, Jim Henson’s Creature Shop brings characters to life that are full of personality and expression. The shop continues to innovate its groundbreaking technology, the Henson Digital Puppetry Studio, which allows performers to puppeteer and voice beautifully rendered CG characters in real time. Brian Henson, producer, director, writer, puppeteer and chairman of the board at The Jim Henson Company, takes TV Kids inside the pioneering studio.

TV KIDS: Tell us about the ethos at the heart of Jim Henson’s Creature Shop.

HENSON: We’re entertainers at heart, so it’s part of the soul of Jim Henson’s Creature Shop to create characters—not special effects—that can deliver nuanced performances for our shows and our thirdparty clients’ productions.

TV KIDS: What role does innovation play?

HENSON: We often begin a production with a challenge that we have no idea exactly how we’re going to deliver, but we’re confident we can figure it out. And that’s where innovation comes in. We are always solving problems that no one’s ever solved. And we’re searching for the innovation that will solve that problem in a way that’s better than falling back on old techniques.

For example, our series Dinosaurs was so complicated because of the animatronics and long shooting hours for the performers. We realized if we could build a digital character and perform it like an animatronic character, it would be easier on the performers and allow us to create our unique approach to animation, the Henson Digital Puppetry Studio.

There’s a feeling of spontaneity that gives a realness to the characters. It doesn’t have the precision of keyframe animation. Instead, it has a looseness that’s more organic and, in our minds, a more delightful way to create and perform a character.

TV KIDS: How does it differ from other approaches to performed animation or motion capture?

HENSON: We are producing the final animation much more efficiently. We develop characters in their environments in advance, and then we’re in production—doing everything in that one production step just like you would in live action and jumping over all of the intermediate steps and extra work of traditional keyframe animation. While other motion-capture animation systems are creating characters and later deciding how to shoot it, we remove all that extra work and capture it all in real time—the movement, the lighting, the props, everything.

There’s a great efficiency in that.

TV KIDS: What are some of the latest innovations?

HENSON: Most recently, we’ve been able to work with Epic Games to integrate their Unreal Engine into the real-time rendering of our whole system. Now, when we’re in production, our imagery is at full resolution, so we can incorporate real-time lighting, and the director of photography can adjust lighting in real time, and a finished (or nearly finished) animated product is coming off the floor. Since it’s CG, we can still make adjustments in postproduction if we want to, which is terrific.

We’re getting the best of both worlds: the spontaneous performance of puppetry with the endless possibilities of CG animation.

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tvkIDSSCREENINGS.COM The only video portal for the kids’ media industry.

Our Playground is Getting Bigger

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keeping kids safe—COPPA, GDPR-K—and we take that very seriously as an organization.

We are a leading AVOD channel, and Safe Streaming has created a movement. Now we’re all talking about kids being safe—something that we have always stood strong in our values about, just like we’ve always stood strong with co-viewing. We’ve grown in ways that have been beneficial not only for children but also creators and brand owners.

TV KIDS: How is content curated on Kidoodle.TV? BISNER: Our catalog is over 40,000 episodes—and it grows every single day. We feel very fortunate that we get to work with so many great content owners and bring hit shows like SpongeBob SquarePants, PAW Patrol, Ryan’s World and Kids Diana Show to our audience. We are in a relationship when we make those deals because we want to be able to engage with what’s going on with the brand. It’s never been about slapping it up on the channel and hoping for the best.

Brenda Bisner Kidoodle.TV

By Kristin Brzoznowski

vailable in over 160 countries and territories on thousands of connected devices, Kidoodle.TV provides peace of mind for parents that their kids are Safe Streaming—a term the company coined and continues to stand behind. Every show on the AVOD service is vetted by people (not algorithms) who are committed to the Safe Streaming experience, and that’s also what the platform is looking for in the partners it works with. Brenda Bisner, chief content officer, tells TV Kids about opportunities in the kids’ AVOD space and plans to continue building out the Kidoodle.TV offer.

A

TV KIDS: What opportunities did Kidoodle.TV see early on in the AVOD market for kids’ programming?

BISNER: A Parent Media Co. (APMC) birthed Kidoodle.TV back in 2012, which was a very different time. It was with the idea that APMC would have many babies and Kidoodle.TV would be one of those babies.

The thought process behind that was we believe, as a company, that kids deserve to have a safe place to watch content online. At that time, we saw a migration [of viewing] to areas that were not safe for kids, just fundamentally because of how they were made. Back in 2012, AVOD was an untapped market with limited attention in terms of the architecture of how those platforms were going to cater to children. So, we coined Safe Streaming, which are words that we own. We are a Safe Streaming channel for kids under 12, and we adhere to the highest letters of the law when it comes to

We’re making sure that it’s positioned correctly—from a visual standpoint to a content-selection standpoint.

How long is the content? What’s the completion rate?

Are we giving the audience what they’re looking for?

TV KIDS: How often is content refreshed?

BISNER: We’re launching anywhere between 10 to 20 new shows a week, depending on what those brands are. We just started launching movies, which is exciting for us. We look forward to our launch days because we’re working with our partners not just on deals to deliver but, of course, on social cross-promotion. We love brands with a social strategy. It is important to us, and we ask a lot about that because we want to make sure that people know what’s on Kidoodle.TV. Then, once we go live, our partners get access to our back-end analytics portal, called “Backstage,” which provides transparent access to content performance and a variety of other reporting tools. It’s the daily heartbeat, so our partners can actively participate. The transparency and honesty, the quality of revenue that’s coming in, are something we really put a lot of effort behind.

Backstage was built for our partners. We’re the only AVOD channel to have something like this (outside of another large AVOD channel).

TV KIDS: What are the latest developments with original programming?

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BISNER: Originals are so much fun. We just launched a show called What’s the Word? It is in Spanish and French.

The fun part is that we are actively producing and launching interactive content on our AVOD channel, and this is something you’ll hear a lot more about. “Interactive” is a word that’s circulating in the business (just like the word “FAST” is). With interactive, we see that the completion rate and viewership are a lot higher. Viewers are not just passively watching the content. As we work to acquire content that is completed, we want to be able to bring our interactive components and other ideas to the table that can further advance the engagement of the audience with the content that they’re seeing.

TV KIDS: What’s guiding the acquisition strategy, and what’s on your wish list?

BISNER: Everything! Number one: partnership is the name of the game. We want partners that care about what we’re doing. We want partners that have seen Kidoodle.TV, that know what Kidoodle.TV is, that know what they’re engaging in—deals are relationships. It’s about the children, and it’s about Safe Streaming and how seriously we take that— and we want that commitment from our partners.

Completed content is a top priority. We do not gap finance; we do not co-produce. We’re not going to come to the table and save the day on some old-school businessstructure models we’ve seen in the past. We’re looking for content that you have ready to go and that has a proven audience around it. It is also important that there is a social media strategy. There’s a lot out there in the marketplace; a lot of channels, a lot of content. How are you going to get to the front? That thought process really benefits our brand owners when they have [a social or promotional strategy], especially if they’ve got their content in other places. The packaging of that content—what makes it different? If it’s everywhere for free, why should people care about that?

From a brand-owner perspective, I’m always encouraging partners to look at what they have, how they can package it and what their visuals are to engage the audience.

We look for non-exclusive AVOD rights, and we have a 30-day-out clause (or what I call a break-up clause), if that’s necessary. It’s not something that we exercise a lot because our partners are always happy with us. Come to the table with a clear package of what it is and how much of the world is available because we do seek worldwide [rights], though we can geo-block within reason.

One of the special things for us is we know that our sweet spot is about nine to ten minutes in length. Shorts are something that we don’t see a lot of completion rate on, oddly enough, and the longer content does better; it keeps the audience more engaged.

TV KIDS: In looking at the massive industry shifts and the impact on creators, how can Kidoodle.TV disrupt the status quo?

BISNER: It’s very difficult out there for creators right now. The industry is undoubtedly in a major shift. We are listening to that and embracing creators in the way they need right now. Creators are struggling, and it’s something we have to talk about.

We’re very much a place for content to launch. We’re in a position where we have a large audience, we’re a

channel that people are coming to, and we do good in the world. We’re looking to work with creators in a lot of different ways this year because not only do we believe in them, we think that they’re incredibly important. It’s a special talent to create content for kids and do wonderful things to entertain [them].

What a gift they all have! So, we’re looking at the marketplace. We’re showing up. We’re listening. We know that we are a new revenue stream for a lot of people, and we’re constantly keeping our focus on what’s next and what more we can do as an organization. We know it’s difficult out there for creators, and we know it’s necessary to find solutions.

TV KIDS: Tell us about the social impact work and philanthropy Kidoodle.TV is involved in.

BISNER: We are so grateful that we’ve been able to grow to a position where we can now do more than just offer Safe Streaming. Last year we cleared lists from teachers and classrooms so kids could have the supplies that they needed. We planted over 101,000 trees, which is great for our environment. We fed a lot of families. There are a lot of people suffering and making decisions around heat or food or gas—those are difficult decisions that we are looking to help with.

As an organization, that’s important for all of us. A philanthropic tie-in to any brand is also inspiring and powerful and sets it apart. If there’s something about that brand that’s going to do more than just entertain but also give back and do good in the world for kids, that is the ideal.

Kidoodle.TV has a catalog of more than 40,000 episodes and is available in 160-plus countries and territories.

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Silverpoint

ADVENTURE AWAITS Behind the scenes of Zodiak Kids & Family Productions UK’s Silverpoint.

By Kristin Brzoznowski

T

he sci-fi adventure series Silverpoint follows a group of kids at camp who stumble on something buried in the woods that sends their lives spiraling out of control. The story originated from an idea by Steven Andrew and writer Lee Walters, and their collaboration resulted in an original live-action sci-fi drama about the mysterious disappearance of four children and the quest to discover what happened to them. “It’s a compelling and richly textured story that is unlike anything else currently in the tween space,” says Cheryl Taylor, creative director at Zodiak Kids & Family Productions UK. Zodiak Kids & Family Productions UK’s partners on the project include BBC Children’s and ZDF/ZDF Studios, as well as Hulu and Northern Ireland Screen. “Our partners all have a genuine commitment to original and imaginative live-action drama series that offer something different to a young audience,” Taylor says. “We shoot Silverpoint in Northern Ireland, and it’s invaluable to have local expertise, knowledge and support.”

The show has been referred to as a U.K. cousin to Stranger Things, a comparison that Taylor is proud to accept. “There’s no doubt that interest in sci-fi has had a boost from the huge success enjoyed by the fictional inhabitants of Hawkins, Indiana! Silverpoint skews a little younger with its storytelling, but there are common themes around the compelling characters, the power of friendship, courage, curiosity and otherworldly adventures.”

Season one was well-received and was nominated for best scripted and best writer at the BAFTA Children & Young People Awards 2022. “Silverpoint is very different from other shows for 6 to 14s, and audiences loved the complex sci-fi mystery at the heart of the action,” Taylor says. “As well as the personal journeys our four misfit characters go on, they ultimately come

together as a family of friends. Their resulting loyalty is beautifully played out and was a strong draw for audiences.”

She also highlights that Walters’ writing is “full of remarkable twists and turns, and the many cliffhangers have kept audiences, including older family members, hooked.”

Walters expanded the cast in season two, with the four protagonists sharing the spotlight (as well as several new physical and cerebral challenges) with a group of fellow adventurers.

“The narrative of season one was embellished with the unleashing of gigantic robots and wayward dinosaurs, and the second season delivers equally thrilling visual effects and encounters with magical creatures,” says Taylor. “Just at the moment when our protagonists, Team Dragonfly, think they’re going to find answers to the crucial questions posed by the first season, they’re presented with an even more complex mystery—one that bestows great responsibility on their young shoulders and makes their search for the truth ever more pressing.”

The draw of the series is universal, Taylor says, as “all kids love intrigue and adventure, and science fiction offers some of the biggest mysteries of all—alien encounters are a tantalizing prospect! At the same time, our protagonists are dealing with individual issues that reflect the personal challenges that many kids experience. For young people to find themselves authentically reflected (and brought to life by a supremely talented cast of young actors) in such an exciting and unique sci-fi arena is a genuine thrill.”

Seasons one and two are accompanied by the online Silverpoint: The Game, offering fans an immersive playalong experience of the complexities and various challenges faced in the show. There is also a community on the show’s dedicated social channels and YouTube.

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IN THIS EDITION 3 9 Story Distribution International 4 Aardman 5 Boat Rocker Media 6 Global Screen Guru Studio 7 The Jim Henson Company

9 STORY DISTRIBUTION INTERNATIONAL

O (353-1) 872-1608 m distribution@9story.com m www.9story.com

PROGRAM HIGHLIGHTS A Kind of Spark (8-12 live-action, 10x24 min.) Past and present interweave as Addie, an autistic girl, embarks on a journey filled with friendship, sisterhood, mystery, magic and the drama of growing up.

Lu and the Bally Bunch (2-5 animation, 75x7 min., 1x22 min.) Exploring everyday life in preschool, looks at what happens when six centers of the universe must learn to coexist.

8 NBCUniversal Global Distribution Nicely Entertainment 9 pocket.watch 10 Sesame Workshop 11 Studio 100 Media 12 Toon2Tango 13 ZDF Studios 14 Zodiak Kids & Family Distribution

Rosie’s Rules

Rosie’s Rules (3-5 animation, 80x11 min., 20x1 min.) Follows the adventures of Rosie Fuentes, an inquisitive and hilarious 5-year-old girl, as she learns about the wow-mazing world beyond her family walls.

Karma’s World (6-9 animation, 40x11 min., 1x22 min.) Karma Grant is an aspiring musical artist and rapper who learns about the power of her words while helping others around her.

Andy and the Band (4-8 live-action, 15x14 min., 1x30 min.) Meet Andy and the Odd Socks: the THE LEADING ONLINE DAILY NEWS SERVICE FOR THE INTERNATIONAL MEDIA INDUSTRY. For a free subscription, visit subscriptions.ws

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TV LISTINGS

world’s best band (according to their moms), starring Andy, Rio, Moxy, Blu and Cousin Mac. Atom Town (3-6 animation, 26x5 min.) Discover the magic of the universe with the Atoms of Atom Town, a community of characters based on the elements of the periodic table.

Circle Square (4-6 animation, 40x7 min.) Vanessa the Dragon is always ready to help her neighbors with everyday dilemmas, and sometimes she needs their help too.

Clifford the Big Red Dog (2-5 animation, 78x11 min., 20x1.5 min.) Join Emily Elizabeth and her big red dog, Clifford, as they explore their island home and go on big new adventures.

Daniel Tiger (2-5 animation, S6: 36x11 min., 1x40 min.) This animated preschool series features Daniel, a shy but brave 4-year-old tiger who lives in the Neighborhood of Make Believe.

Donkey Hodie (3-5 animation, 78x11 min.) Donkey Hodie lives in the land of Someplace Else—clouds can talk, pandas are purple and Donkey spends her days pursuing her ambitions with gusto.

AARDMAN

O (44-117) 984-8485 m alison.taylor@aardman.com m www.aardman.com PROGRAM HIGHLIGHTS Interstellar Ella (CGI adventure/wonder, 52x11 min.) In the year 3021, on a faraway space station, Ella and her friends set out on interstellar adventures and discover the wonders of the universe.

Mitten & Shoe

Lloyd of the Flies (CGI comedy, 52x11 min.) It is estimated that there are some ten quintillion insects alive at any one time. This series is about one of them: Lloyd.

Pop Paper City (3D/mixed media view-and-do, 52x11 min.) Preschool series focuses on creating adventures together, encouraging “doing as well as viewing” through lovable characters and adventures.

The Very Small Creatures (Stop-frame comedy & discovery, 41x3 min.) Five curious friends have lots of fun exploring a child’s playroom. Through play and discovery, they learn about themselves, each other and the world around them.

Happy the Hoglet (2D comedy, 26x7 min., 26x1 min.) Through fun and humor in a world of quirky characters, this show inspires preschoolers with the inner strength that comes from tackling big feelings and growing positive ones.

Mitten & Shoe (CGI comedy, 52x7 min.) Best friends Mitten and Shoe live in the playground, where each day brings play and all sorts of new friends.

Numberblocks (CGI educational, 120x5 min., 1x20 min., 3x10 min.) Math brand uses humor, music, delightful characters and engaging storylines to show children how numbers really work.

Big Lizard (CGI comedy/adventure/science, 52x7 min.) Imagine having a whole alien planet to explore

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with your new best friend, who happens to be a fun-loving big lizard.

Shaun the Sheep (Stop-frame comedy, 170x7 min., 2x30 min., 15x1 min., 21x1 min.) Aardman’s family favorite TV series of 170 episodes is recognized the world over for its slapstick humor, distinctive look and strong, quirky characters and enjoyed across multiple media platforms.

Colourblocks (CGI educational, 30x5 min.) Full of fun, comic, musical adventures, a series all about unlocking the imagination and creative brain to explore the world in a new, colorful way.

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Robyn Hood (Drama, 8x60 min.) Robyn Loxley and her masked hip-hop band, The Hood, are known for their inventive videos. When Robyn finds herself fighting for her home and her family against local property developer John Prince and the Sheriff, Robyn and her band decide to fight back.

BOAT ROCKER MEDIA

Dino Ranch

PROGRAM HIGHLIGHTS Dino Ranch (2-5 3D comedy/adventure, S2: 52x11 min., 1x22 min.) Follows the action-packed adventures of the Cassidy family as they tackle life in a fantastical, “pre-westoric” setting where dinosaurs still roam.

The Next Step (TNS) (Teen/tween live-action, S8: 27x30 min.) Follows the lives of a group of dancers at The Next Step Dance Studio as they attempt to win regional, national and international dance championships.

The Strange Chores (6-11 2D adventure/comedy, S3: 26x11 min.) Two teenage wannabe warrior heroes and a super high-spirited ghost girl master the skills they need to replace the world’s greatest (and oldest) monster hunter by doing his strange, supernatural chores.

Slip (Comedy, 7x30 min.) Mae has been living with Elijah for 13 years. When Mae has a one-night stand with Eric, she wakes up in a parallel universe in which she and Eric are now married, and all traces of her life with Elijah have been wiped from existence.

Daniel Spellbound (6-11 CGI action/adventure, S1: 10x30 min., S2: 10x30 min.) Daniel Spellbound sells rare goods to sorcerers and wizards. When he discovers a strange ingredient, Daniel catches the attention of dangerous alchemists and must test his skills on an adventure around the globe.

The Green Veil (Drama, 8x30 min.) An anthology series on oppression in America. The first season finds us on the backside of WWII, where we intertwine the story of a self-loathing Latinx FBI agent, a female fighter pilot turned housewife and a Native American family.

The Truth About My Murder (Crime/investigation, 11x60 min.) From a state-of-the-art laboratory, with groundbreaking technology that uses digitally scanned

O (1-416) 591-0065 m sales@boatrocker.com m www.boatrocker.com

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TV LISTINGS

sample bodies, forensic pathologist Dr. Richard Shepherd investigates a series of intriguing murders.

Listing Large (Home reno., 10x30 min.) Follows Odeen Eccleston and Lamont Wiltshire as they build a real estate empire while juggling parenthood, friendship and love.

Cross Country Cake Off (Food/competition, 10x60 min.) Celebrates the unbridled creativity of some of the best cake-makers and showcases the incredible stories of heart and humor that inspire them.

GLOBAL SCREEN

O (49-89) 244-1295-500 m info@globalscreen.de m www.globalscreen.de PROGRAM HIGHLIGHTS Dome 16 (Drama, 10x20 min.) Norway, sometime in the future. Anton and Emma are both 16 and live in different climate zones. They were never supposed to fall in love. But when they do, they must turn both of their worlds upside down to be together.

Before leaving, Henry discovers he has a serious problem. He embarks on a desperate battle to survive.

Melchior (Medieval crime, 3x90 min./6x45 min.)

A Tallinn pharmacist has to uncover the secret behind a terrible wave of murders that threatens to wreck the entire Christian world.

Pretty Face (Comedy, 6x45 min.) When her boyfriend signs her up for a fat camp, Gigi reluctantly accepts the challenge. Instead of losing weight, Gigi ultimately gets rid of the unhealthiest thing in her life: her toxic relationship.

GURU STUDIO

O (1-416) 599-4878 m sales@gurustudio.com m gurustudio.com

PROGRAM HIGHLIGHTS 123 Number Squad! (Preschool 3D, 104x11 min.) Paula, Billy and Tim use their love of numbers and counting to become a fast-response rescue team, helping solve problems faced by the citizens of Numberville.

Big Blue (5-9 2D comedy, 52x11 min.) Siblings Lettie and Lemo lead their quirky submarine crew to solve the ocean’s mysteries and find the origins of a new magical recruit named Bacon Berry.

True and the Rainbow Kingdom (Preschool 3D, Dome 16 30x22 min., 5x22 min., 1x44 min.) True, our bright RIP Henry (Drama, 8x45 min.) Henry is too good a and fearless heroine, and her hilarious best friend, surgeon for the small-town hospital he ended up Bartleby the cat, come to the rescue of Rainbow in. Luckily, he’ll be moving to a renowned hospital. City’s whimsical citizens.

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123 Number Squad!

Pikwik Pack (Preschool 2D, 52x11 min.) Follows Suki the hedgehog and her team of adorable animals as they deliver magical packages to the kind citizens of Pikwik.

Justin Time (Preschool 2D, 74x11 min. & 2x22 min.) Justin’s imagination catapults him into largerthan-life adventures set in different points in history.

THE JIM HENSON COMPANY

O (1-323) 802-1500 m business.inquiries@henson.com m www.henson.com

PROGRAM HIGHLIGHTS Word Party (Preschool, S1: 26x11 min., S2: 14x11 min., S3: 20x11 min.) Invites young viewers to learn new words along with our four adorable baby animals as they go through their day.

Splash & Bubbles (Preschool, 80x11 min.) Join Splash, Bubbles and all their friends as they explore the world’s oceans and celebrate its amazing species and habitats.

Julie’s Greenroom (4-7, 13x30 min.) Join our young thespians as they explore the magic of the theater under the tutelage of the iconic Julie Andrews and her special guest stars.

Dinosaur Train (Preschool, S1: 80x11 min., S2: 52x11 min., S3: 26x11 min., S4: 20x11 min., S5: 22x11 min.) Buddy the T-Rex and his adoptive family travel through the Mesozoic era on the magical Dinosaur Train, meeting all different types of fascinating dinosaurs.

Doozers (Preschool, S1: 52x11 min., S2: 20x11 min.) Join the Pod Squad as they design, create and innovate to put their ideas into action. STEAM teamwork at its preschool-level best.

Sid the Science Kid (Preschool, S1: 40x30 min., S2: 26x30 min., Shorts: 26x3 min.) The award-winning series featuring Sid and his friends as they tackle questions about their world and celebrate science.

Dot. (Preschool, S1: 52x11 min., S2: 26x11 min.)

Dot is an exuberant, tech-savvy girl who embarks on escapades with her friends, using technology to satisfy her thirst for adventure.

Sid the Science Kid

Pajanimals (Preschool, 52x11 min.) These four cuddly musical puppets go on amazing imaginary journeys of discovery and always make it home for a cozy bedtime.

Elias: Rescue Team Adventures (Preschool, 52x11 min.) From Henson Independent Properties, friendly rescue boat Elias and his pals patrol their home waters and always save the day.

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TV LISTINGS

NBCUNIVERSAL GLOBAL DISTRIBUTION

O (1-818) 777-1300 m www.nbcuniversal.com

PROGRAM HIGHLIGHTS Abominable and the Invisible City (Animation/adventure/comedy, 20x30 min.) Everest, Yi, Peng and Jin go on incredible adventures throughout China and beyond and discover a magical world around them filled with extraordinary creatures.

Dragons: The Nine Realms (Animation/ action/adventure, 52x30 min.) In the modern world, Tom Kullerson and his friends explore an immense fissure and discover a hidden world where dragons exist.

Dragons: The Nine Realms

The Boss Baby: Back in the Crib (Animation/comedy, 28x30 min. & 1x60 min.)

Boss Baby is back and working with his niece Tina to increase baby love while keeping a new group of archnemeses from destroying Baby Corp.

Gabby’s Dollhouse (Animation/live-action, 60x30 min.) Join Gabby in her fantastical animated world full of adventure and adorable cat friends.

Dodger (Live-action/comedy/drama, 10x60 min. & 3x60 min.) Set before the events of Oliver Twist, following the hair-raising adventures of the Artful Dodger, Fagin and his gang.

The Makery (Live-action/crafting, 25x15 min.) A bold and humorous make-and-do show packed with creative ideas. It educates through play, inspiring children to explore their imagination and creativity.

Team Zenko Go (Animation/action, 22x30 min.)

Team Zenko Go is a secret squad of four kids who have a special set of skills that allow them to do good deeds for people in their hometown of Harmony Harbor.

Jurassic World: Camp Cretaceous (Animation/ action/adventure, 49x30 min.) Set against the events of Jurassic World, six teenagers’ once-in-alifetime camp experience on Isla Nublar is threatened as dinosaurs wreak havoc across the island.

The Croods: Family Tree (Animation/ comedy/adventure, 52x30 min.) The ever-evolving story of the Croods and the Bettermans as they learn to live together on the most idyllic farm in NICELY ENTERTAINMENT O (1-323) 682-8029 prehistory. m info@nicelytv.com Kung Fu Panda: The Dragon Knight m www.nicelytv.com (Animation/comedy/action/adventure, 41x30 min. & 1x60 min.) When the fate of the world is at stake, PROGRAM HIGHLIGHTS Po must partner with a no-nonsense English Knight The Christmas Checklist (Holiday romance, and embark on a quest for redemption and justice. 4x60 min./2x90 min.) A grieving daughter discovers

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a red envelope from her mom with a final request: complete a 12-item checklist before Christmas— the last being, “find love.”

Dance of the Heart (Romance, 1x90 min.) A successful but dissatisfied financial executive discovers the missing passion in her life when she starts taking secret hula lessons while on assignment in Hawaii.

A Perfect Christmas Pairing (Holiday romance, 1x90 min.) While hiding out at her family’s winery following a bad review, chef Grace collides with a travel writer who helps her appreciate her family’s Christmas traditions.

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Beyond the Reef (Doc., 1x90 min. 8K/IMAX) Shuang Hu takes audiences to explore the spectacular landscape of Far North Queensland, worldrenowned for the Great Barrier Reef and its precious ecosystems.

A Royal in Paradise (Romance, 1x90 min.) A pop fiction writer takes a post-breakup vacation and falls for one of her fans—only to find out that he’s actually a prince.

Dive Club (YA adventure/family, 12x22 min.) On the surface, they’re regular teenagers navigating life, friendship and romance, but under the water, these skilled divers enter a whole new world of adventure.

A Tiny Home Christmas (Holiday romance, 1x90 min.) To save her family’s contracting business, Blair teams up with her ex-boyfriend to build a tiny home project, rekindling old sparks in time for Christmas.

Dance of the Heart

POCKET.WATCH

The Art of Christmas (Holiday romance, 1x90 min.) After her gallery exhibition goes up in flames, Liv accepts a teaching job to make ends meet.

There she connects with a fellow teacher as they team up to plan a Christmas concert.

Love by Design (Romance, 1x90 min.) When Brooke makes her 30th birthday wish on the vision board she made as a hopeful teen, her wishes start coming true—from launching a business to meeting the man of her dreams.

Bad Connection (Action/horror, 1x90 min.) When a young waitress purchases a stolen cell phone, she soon finds herself on the run from a madman hunter hellbent on getting it back.

PROGRAM HIGHLIGHTS Ryan’s Mystery Playdate (Live-action, 90x22 min.)

In the top-rated, Emmy-nominated series, kid video superstar Ryan, along with his parents and animated friends, work together to identify a mystery guest.

Toys and Colors Kaleidoscope City (Liveaction/CGI, 10x22 min.) Starring global sensation Toys and Colors, a magical world where kids learn to see the world through new perspectives.

Elemon (Anime, 30x11 min. & 15x22 min.) A kid scientist creates amazing new life forms using his

GET GLOBAL MEDIA NEWS IN SPANISH

O (1-424) 298-8234 m content@pocket.watch m pocket.watch

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secret home lab, and teams with video star Ryan to learn science and save their city.

Love, Diana (Animation/live-action, 13x22 min.)

Real-life vlog superstar siblings Diana and Roma take you on a magical adventure where imagination rules and anything is possible.

Ryan’s World Specials (Live-action/animation, 193x22 min.) Kid video superstar Ryan, along with his family and animated friends, play games, make crafts, learn science and go on adventures.

Toys and Colors Ultimate Mishmash

Toys and Colors Ultimate Mishmash (Liveaction, 90x22 min.) YouTube’s number one kids ensemble, Toys and Colors learn life skills, letters, numbers and more through musical and pretend play adventures.

Kids Diana Show Ultimate Mishmash (Liveaction, 45x22 min.) Join family vlog superstar Diana, aka the Princess of Play, and her brother Roma on their hilarious pretend play adventures.

LankyBox Ultimate Mishmash (Liveaction/gameplay, 60x22 min.) YouTube’s number one gamers, LankyBox is Justin and Adam, two best friends who love playing Roblox and making funny videos with sidekicks Foxy, Boxy and Rocky.

Onyx Family Ultimate Mishmash (Live-action, 45x22 min.) Best known for their silly and spooky

adventures, follow YouTube’s most popular AfricanAmerican family creators as they sing, try fun challenges and investigate mysterious occurrences.

Onyx Monster Mysteries (Animation, 8x22 min.) The Onyx family comes to cartoon life in epic adventures to save the most endangered species of all: monsters.

SESAME WORKSHOP

O (1-212) 875-6887 m celia.musikant@sesame.org m www.sesameworkshop.org PROGRAM HIGHLIGHTS Sesame Street (Children/family, S53: 35x26 min.)

Everyone’s favorite monsters are back. Catch Elmo, Abby and Cookie Monster as the team takes on playful problem-solving by exploring how you learn.

Sesame Street Mecha Builders (Children/family, 52x11 min./26x22 min.) See our beloved friends like you’ve never seen them before: as CGI-animated robo superheroes-in-training. The Mecha Builders problem-solve out-of-this-world situations.

Elmo & Tango Mysterious Mysteries (Children/family, 20x5 min.) Elmo and Tango’s furry friendship blossoms in this new animated series.

The pair follow clues to help their Sesame Street besties solve their biggest mysteries.

Furry Friends Forever: Elmo Gets a Puppy (Children/family, 1x26 min.) Elmo and Grover discover a sweet, stray puppy—whom they name Tango— and embark on an adventure throughout the neighborhood with their Sesame Street friends.

Sesame Street The Nutcracker (Children/family, 1x26 min.) The holidays are here at Sesame Street

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as Elmo and Tango star in this fur-tastic reimagining of the classic Christmas tale.

Cookie Monster’s Foodie Truck (Children/family, 65x5 min.) Cookie Monster’s Foodie Truck continues to deliver the freshest food and content in this beloved series.

baby Pea-Rexes on adventures that lean into relatable themes for upper preschoolers.

FriendZSpace (Comedy/adventure, 52x11 min.) A new animated comedy about three human kids committed to making friends with alien kids all across the supercluster of stars—and sharing cool selfies.

SeaBelievers (CGI ecotainment, 52x11 min.) Whether in the sea or on shore, the positive characters, with their distinct seaweed hair, seashell nose, sea-colored eyes and webbed hands and feet, problem-solve and take action around key environmental issues.

100% Wolf (CGI comedy/adventure, S1-2: 52x22 min.) A poodle with a pink mane in a world Sesame Street of werewolves, Freddy wants to prove that despite Elmo’s World (Children/family, 82x5 min.) Wel- his appearance, he still has the heart of a werewolf. come to Elmo’s wonderful world, a place full of wonder, joy and learning. Elmo uses his imagination to transform his bedroom into “Elmo’s World.”

The Not-Too-Late Show with Elmo: Game Edition (Children/family, S1: 13x15 min., S2: 16x15 min.) Elmo teams up with Cookie Monster and their Sesame Street friends to play games with some of the biggest stars in movies, TV and music.

Vegesaurs

STUDIO 100 MEDIA

O (49-89) 960855-0 m distribution@studio100media.com m www.studio100group.com PROGRAM HIGHLIGHTS Vegesaurs (CGI comedy/adventure, S1-2: 40x5 min.)

An era dominated by the juiciest and crunchiest creatures ever to rule the planet: the mighty Vegesaurs. Each episode follows Ginger, the young Tricarrotops and the

Mia and me (Fantasy/adventure, S1-4: 104x23 min.) The fantastic adventures of Mia and her friends in the magic land of Centopia, where they must protect unicorns from villains of all kinds.

Game Keepers (Live-action, S1-2: 20x25 min.) Mats and Sari have to enter an unknown digital gaming world and defeat the mysterious GameMaster.

Heidi (CGI adventure, S1-2: 65x22 min.) Heidi is a happy and communicative orphan girl. She lives with her grandfather in the scenic idyll of the Swiss Alps.

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Tip the Mouse (CGI preschool comedy, S1-3: 104x7 min.) The stories about the little mouse Tip appeal to the youngest kids, since Tip must go through all the adventures that each child faces while walking the path to growing up.

Wissper (CGI preschool adventure/comedy, S1-2: 104x7 min.) Wissper is a curious little girl who can talk to animals. She was born with this magical ability and now has a loving connection to all creatures.

Maya the Bee (CGI preschool adventure, S1-2: 130x13 min.) A young bee named Maya has left her hive to discover the beauty and mysteries of nature.

As she explores the meadow where she lives, she meets other insects, plays to her heart’s content and shares her joy with her friends.

TOON2TANGO

O (49-89) 2080-471-0 m info@toon2tango.com m www.toon2tango.com PROGRAM HIGHLIGHTS Monster Loving Maniacs (2D comedy/adventure, 52x11 min.) Three siblings go into training with their grandfather to become Monster Hunters—but they want to get to know the monsters rather than hunt them. (Presented by Belvision, Ja Film, Ginger Pictures, Toon2Tango & Mondo TV) Agent 203 (CGI adventure/comedy, 26x22 min.)

Zoe is Agent 203, on a quest to save the universe and find her father while also coping with everyday teenage social and emotional issues. (Presented by Cosmos Maya, Toon2Tango & Mondo TV)

Monster Loving Maniacs

The Wee Littles (Simulated stop-motion comedy/adventure, 46x5 min.) A tiny family of four, living in the forest, handle their compact size with their own unique and inventive flair. (Presented by Magpie 6 Media, Toon2Tango & Mondo TV) Hey Fuzzy Yellow (2D/live-action edutainment/ emotainment, 52x11 min.) A curriculum-designed show to equip children with 21st-century skills, with an approach that mirrors the parenting values of millennials. (Presented by Jungle Fruit, Hotel Hungaria, Treehouse Republic & Toon2Tango) Shadowcat (Animated comedy/adventure, 52x11 min.) When Samantha moves to small-town Melinka, she finds herself part of an extraordinary series of events.

We Be Monsters (CGI comedy, 52x11 min.) What if humans and monsters lived side by side, hand in claw? Follow the adventures of Jeffy becoming the best of both worlds. (Presented by Dan Clark Productions & Toon2Tango) Showtime (2D comedy, 52x11 min.) Introducing Luana, a theatrical 6-year-old girl who proves that any problem can be solved—if you’re willing to get your jazz hands dirty.

Bek and the Bunnies (CGI comedy, 52x11 min.) A 7-year-old girl has no friends living nearby—so she

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TV LISTINGS 13

invents some: the most adorable, fun-loving robot bunny friends you could ask for. (Presented by Baboon Animation & Toon2Tango) Lily of Fawonia (Live-action/CGI comedy/ adventure, 26x22 min.) Are fairy tales just fantasy? Not for 15-year-old Lily, whose adventures start when she finds out that she is part of a real-life fairy tale.

ZDF STUDIOS

O (49) 6131-9910 m info@zdf-studios.com m www.zdf-studios.com PROGRAM HIGHLIGHTS Naked—Sex and Gender (Science/knowledge, 6x50 min./1x90 min. UHD) Finds out how our view of gender has shaped humanity and what is known about sex and gender today.

Törtle

Truth and Lies (History/bio., 6x50 min.) Reveals from an international perspective how our understanding of history was shaped by the use of lies.

Dear Vivi (Crime/suspense, 7x45 min.) An emotional family drama and thriller combo that uncovers the mystery behind the murder of a wife and mother.

Heirs of the Night (Live-action, 26x26 min.) In 1889, the children of the five remaining European vampire clans come together to join forces and learn from each other, as each child has powers unique to their clan. They’ll have to unite to survive, as Dracula plans to destroy them all.

The Swarm (Crime/suspense, 8x45 min.) Based on Frank Schätzing’s international bestseller of the same title, a thrilling series from Emmy-winning showrunner Frank Doelger.

Clean Sweep (Crime/suspense, 6x52 min.) Charlene McKenna stars in the lead role as Shelly Mohan, a housewife, mother of three, married to a Garda detective, who kills her former partner in crime when he threatens to expose her dark past.

Boundless—Magellan’s and Elcano’s Journey to the Edge of the Earth (Crime/suspense, 6x45 min.) Directed by Simon West, features a stellar cast, including Rodrigo Santoro and Álvaro Morte.

The event series features high production values shot in magnificent locales, including the Dominican Republic, Basque Country, Madrid and Seville.

Surviving Hothouse Earth (Science/knowledge, 3x50 min.) Investigates our planet’s distant past to understand its present and unravel our future.

Each episode covers a separate topic: oceans, land and civilization.

Grisù (Animation, 52x12 min.) Grisù is a little dragon who dreams of becoming a firefighter.

Törtle (Animation, 26x24 min.) Törtle, a tortoise who grew up in a pet shop, gets caught up in the culture clash between humans and animals in Muddlemere, a tranquil little town right on Muddle Lake, but always emerges as the unexpected hero.

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TV LISTINGS

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PROGRAM HIGHLIGHTS Topo Gigio (Preschool, 78x11 min.) The daily adventures of a cute little mouse living in the world of humans: Topo Gigio.

Corpse Talk (6+ animation, 13x7 min. & 1x15 min.) The show that brings the dead famous to life.

Host Adam is digging up history in the comedy-led chat show Corpse Talk.

Topo Gigio

Mumfie (Preschool, 78x7 min.) A comedy series based on Magic Adventures of Mumfie created by Britt Allcroft (Thomas the Tank Engine), featuring the optimistic young elephant Mumfie and his best friends Pinkey and Jelly Bean.

Silverpoint (10+ live-action, 26x22 min.) At Silverpoint adventure camp, four friends stumble

upon something buried in the woods, something impossible, sending their lives and the world around them spiraling out of control.

The Unstoppable Yellow Yeti (6+ animation, 50x11 min. & 11x2 min.) Small-town life above the Arctic Circle snowballs out of control when an enormous, outrageous and unstoppable Yellow Yeti arrives in town and befriends two 12-year-old kids.

The A List (Teen live-action, 21x30 min.) Mia arrives at an idyllic summer camp expecting to be Queen Bee, but the “holiday of a lifetime” turns into a twisted nightmare.

Super Agent Jon Le Bon (6+ animation, 80x7 min. & 49x1.5 min.) On an Earth constantly threatened by diabolical plots orchestrated by terrible supervillains, a super-duper-secret agent stands head and shoulders above the rest: Agent Jon Le Bon. Aliens Love Underpants (Preschool, 12x2 min. & 2x24 min.) Based on the award-winning, muchloved children’s publishing phenomenon. Our five favorite underpants-loving aliens star in a series of silly, catchy songs about their other great loves.

When I Was Your Age (6+ animation, 52x11 min.) Ever wanted to know what your parents were like at your age? For Paul, it’s no longer a mystery.

Street Football (6+ animation, 104x26 min.)

Entries for the qualifiers for the next street soccer world cup have opened in Port-Marie, and the 10year-old Little Dragon dreams of taking part.

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Trending On The most-viewed clips on our video portals in the last month.

Storytime with Ms. Booksy A magical and whimsical storyteller jumps into classic fairy tales, bringing the stories and characters to life with her own unique twist. Distributor: Monster Entertainment

Dear Vivi An emotional family drama and thriller combo that uncovers the mystery behind the shocking murder of a wife and mother in seven suspenseful episodes. Distributor: ZDF Studios

Rise of the Billionaires Explores the origins of Jeff Bezos, Elon Musk, Mark Zuckerberg, Sergey Brin and Larry Page. Distributor: All3Media International

The Polos Driven by their insatiable curiosity, a quirky group of friends take off on epic road trips to experience the wonders of our natural world. Distributor: Bejuba! Entertainment

The Nap Time Show An interactive episodic preschool series using imaginative play to develop a healthier relationship between children and rest.

Distributor: Boone Productions 96 WORLD SCREEN 2/23

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Book your Exclusive Showcase in

WORLDSCREENINGS

For a full list of benefits and examples of previous Exclusive Showcases, please visit WorldScreenings.ws.

World Screen has totally redesigned its flagship video portal, WorldScreenings.com, offering a slew of improvements and a sleek new look. In addition, we have unveiled four new targeted screenings destinations:

• TVKidsScreenings.com • TVDramaScreenings.com • TVRealScreenings.com • TVFormatsScreenings.com For more information, please contact Ricardo Guise (rguise@worldscreen.com) or Dana Mattison (dmattison@worldscreen.com)