In the following interview with ttvnews, Anna Pokorska, Sales Manager at CAKE Distribution, shares what’s new in the company’s catalog of kids’ content for the international market, and talks about the importance of offering titles that can connect with audiences worldwide.
In an industry dealing with tighter budgets, and producers and platforms who seek to minimize risks as much as possible, it’s important to find a partner who’s able to provide high-quality, innovative content, adapted to today’s modern audiences.
That’s where a distributor like CAKE comes in, with years of experience in the kids’ content business and a keen eye for successful productions. Through out-of-the-box thinking, the group has been able to put together a catalog of titles that feel fresh and original, and have broad international appeal.
CAKE currently offers a diverse lineup of exciting new shows, which cater to a wide range of audiences, with highlights like live-action series Armorsaurs; Korean adventure series Bubblegem; and Talking Tom Heroes: Suddenly Super, which brings an exciting superhero twist to the beloved Talking Tom brand.
In the following interview with ttvnews, Anna Pokorska, Sales Manager, CAKE Distribution, talks about the challenges of producing and distributing content in today’s changing landscape, the company’s lineup of successful titles for the international market, and her predictions for the future of kids entertainment.
What is your current outlook on the kids’ content industry? What do you believe will be the main trends in terms of genres and productions for 2025?
Content creation is on the brink of a major transformation. With the arrival of AI, the way we produce content is set to evolve dramatically. AI will enhance efficiency across every facet of our industry – helping us to work more effectively, not just in relation to animation and production, but in all aspects of our business from streamlining workflows to reducing budgets and shortening timelines; enabling us to deliver high quality content faster and more efficiently.
What are the main challenges of producing kids’ content today? What do you look for when it comes to selecting projects for your catalog?
The biggest challenge in content creation today is securing financing. With a decline in advertising aimed directly at kids, market consolidation and a more risk-averse landscape, getting shows made requires more patience, deeper collaboration and more out-of-the-box thinking. The key lies in finding stories that feel fresh and original, yet have broad international appeal—stories that can resonate across cultures and travel widely.
On the production side, the ongoing challenge has been building a sustainable pipeline that can deliver high-quality content without stretching timelines or inflating budgets. Striking that balance between creative ambition and production efficiency remains one of the toughest challenges facing the industry.
Which are the star titles from your current catalog for the international market?
We’re thrilled to offer a diverse lineup of exciting new shows that cater to a wide range of audiences. Armorsaurs (two seasons of 13 x 22’) produced by MGA with Korean studio Daewon Media, is a high-octane, action-packed live action/VFX series where armored dinosaurs with mechanical powers and their trained pilots battle extraterrestrial invaders set on destroying Earth.
Hit Korean adventure series Bubblegem (52 x 11’) produced by Campfire Aniworks for EBS and Tencent Video follows the magical adventures of Princess Purple, a curious young mermaid who, is on a quest to retrieve the powerful Bubblegems from the human world before they fall into the hands of an evil sea witch.
Talking Tom Heroes: Suddenly Super (52 x 11’), produced by Outfit7, brings an exciting superhero twist to the beloved Talking Tom brand in an all-new adventure-filled story for preschool audiences with themes of self-discovery, humour and friendship.
Unlike older generations, who accessed content solely on linear TV, having content available whenever-wherever they want is the norm for kids today. How do you think the streaming evolution has changed the business of how kids’ content is distributed?
The streaming revolution has definitely opened up a world of new business opportunities. Where we once negotiated a single deal per territory, we now have the flexibility to license a show across multiple platforms – broadcasters, streamers, SVODs etc and play with windows, exclusivity, rights, and more. The dramatic expansion in content distribution means we now have countless ways to get our shows in front of audiences.
In this regard, which platforms and territories do you currently work with? Which regions do you believe have the biggest potential for your content to grow in?
I handle Eastern Europe, Benelux, Italy, Greece, Israel, and Turkey. Every territory is different. What works in Hungary may be completely different to what resonates in Italy or the Netherlands. These differences often come down to cultural capital, audience preferences, and broader regional trends—it’s always a unique mix.
When it comes to platforms, we work with both global and local platforms to ensure each show is given the maximum possible visibility. That way, there’s a real chance that the children who love our brands, will find them more easily.
How do you see kids’ content and younger audiences evolving in the coming years?
We’re likely to see more and more amateur content emerging from social networks. This presents an opportunity for us to engage with the growing “creator economy”. By finding fresh, tested ideas from social platforms, we can build on them to create larger-scale, higher quality productions for traditional platforms.
Additionally, we expect to see a rise in hybrid formats that blend live action and animation in innovative ways alongside an overall improvement in animation quality as technology advances and creators continue to push boundaries.
