The division expands its presence across YouTube, FAST, Amazon and other platforms through deals with Acamar Films, Beakus, TheSoul Group and Lighthouse Studios.

Banijay Kids & Family continues to expand its digital strategy through a new slate of distribution agreements and partnerships aimed at extending the reach of its content portfolio across YouTube, FAST, Amazon and other platforms worldwide.

Among the latest developments is a deal with Acamar Films that will see its new global public service and values channel Again! Again! feature a selection of Banijay Kids & Family’s preschool and educational content, including Mister Makerand Mumfie.

Meanwhile, Banijay Kids & Family has acquired YouTube (AVOD) and Amazon Prime (SVOD) rights to Beakus’ preschool series Olobob Top. The show’s existing YouTube channel will also join Banijay Kids & Family’s CMS network.

The company is also expanding its third-party content offering across its owned and operated YouTube network with titles from TheSoul Group, including DoodLand, Teen-Z, Baby Zoo and Learn Toons.

The digital strategy also extends to promoting the company’s properties beyond the screen. In this area, Banijay Kids & Family is leveraging its expertise to support promotional activity around Mister Maker live shows, driving audience engagement across its own IP and selected third-party brands.

The group is also expanding its digital activity beyond the kids and family segment. Lighthouse Studios’ animated series Murder by Gaslight has joined ZK Comedy Plus, Banijay’s adult animation hub on YouTube, on a non-exclusive basis.

The title joins the company’s growing adult offering, which also includes digital-first animation Ava & Digger, developed in collaboration with TheSoul Group, and the upcoming adult animated mockumentary Belzebubs.

“Our diverse and compelling digital network gives us an increasingly powerful way to connect great content with audiences around the world. These latest partnerships demonstrate the breadth of this strategy, from taking our own much-loved titles to new platforms to bringing strong third-party IP into our ecosystem,” said Dan Lewsey, SVP Digital & Social Media at Banijay Kids & Family.

La entrada Banijay Kids & Family Accelerates Digital Expansion with New Content Partnerships se publicó primero en TTV News.

The acclaimed animated franchise joins Cartoon Network’s programming slate from October 12, 2026.

PowerKids Entertainment has announced that Cartoon Network has acquired The Jungle Book animated series for the SAARC region, with the show scheduled to launch on the network from October 12, 2026.

The acquisition brings the complete series to Cartoon Network audiences across the SAARC region, extending the international distribution footprint of PowerKids Entertainment’s The Jungle Book, which has reached audiences across 165+ countries.

Sai Abishek, Head of Factual Entertainment, Lifestyle and Kids, South Asia, at Warner Bros. Discovery, said: “Cartoon Network has been home to iconic storytelling in the region for over three decades, and we are building on that legacy with greater ambition. PowerKids Entertainment’s The Jungle Book brings to life a story that has stayed with kids across generations, blending adventure, friendship and courage for families to enjoy together. This acquisition adds a culturally familiar classic to our portfolio of global and local favourites and reinforces Cartoon Network as a destination that gives every child a compelling reason to tune in every day”.

Manoj Mishra, CEO, PowerKids Entertainment, said: “We are delighted to see all four seasons of The Jungle Book acquired by Cartoon Network for the SAARC region. This is an important milestone for the franchise, and we look forward to seeing Mowgli’s journey reach audiences through Cartoon Network from 12 October.”

Since its launch, The Jungle Book has evolved into a global franchise for PowerKids Entertainment, with four successful seasons, television specials, a Christmas Special and The Jungle Book Safari, a 26 x 12-minute format combining the animated characters with real-life animal footage.

The franchise has reached audiences across 165+ countries and expanded beyond television into digital platforms, FAST, licensing, consumer products and experiential entertainment, including brand partnerships and character-led mall activations.

With its established international footprint and enduring characters, The Jungle Book continues to build its presence across markets and platforms.

The Jungle Book launches on Cartoon Network across the SAARC region from October 12, 2026.

La entrada Cartoon Network Acquires PowerKids’ The Jungle Book for SAARC Region se publicó primero en TTV News.

The slate is led by Irish/Portuguese time-bending adventure The Girl Who Fell Through Time.

Beta’s boutique label Beta Kids & YA brings the newly acquired Irish/Portuguese time-bending adventure The Girl Who Fell Through Time (8×25’) to this year’s MIPJunior.

The series explores identity, belonging, and friendship through the eyes of a girl caught between past and present. Other highlights include the moving football series Chameleon (28×12’) and the thrilling series Somebody’s Lying (49×15’).

The Girl Who Fell Through Time is Beta Kids & YA’s first Irish Gaelic-language production, with Eamonn Norris and Bruno Oliveira (Payback) serving as directors. The series follows a 17th-century Portuguese girl who appears in modern-day Ireland, where she makes three teenage friends. Together, they help her navigate the unfamiliar modern world and figure out a way to get her back home. The series, set to premiere in 2027, is produced by Tailored Films in co-production with BeActive Media & Éiru Films for TG4, NOS, ICA, Screen Ireland & Coimisiún na Méan, and stars Michelle Ní Fátharta, Jeaic Breathnach, Roisín Murphy, Jeaic Ó Scanláin, João Jesus (Cats Don’t Have Vertigo) and Carolina Carvalho (Bem Bom).

Chameleon tells the story of four football talents who share one dream and tackle issues of class, race, and inequality. Directed by Tonje Voreland and Ingvild Nielsen, Chameleon is an NRK production that was nominated as Best Children’s and Youth Program at the 2026 Gullruten Award. The series, starring Lucas Lopes Patey, Daniel Matteo Kielland, Philip Strand Ottersen, and Ylva Røsten-Haga, shows the complexities of friendship, the pain of exclusion, and the universal desire to fit in, experiences shared by teenagers everywhere.

It has the emotional intensity of Skam and the burning suspense of Riverdale: Award winning Somebody’s Lying (NRK) is a YA thriller series and a character-driven mystery told through young eyes. Directed by Miriam Sunde and Eirin Nilssen Vikøren, Somebody’s Lying won the International Youth Jury (11-15) Award at the 2026 Prix Jeunesse. The cast includes Andrea Tveit-Schjerven, Heine Røsten-Haga, Edwige Simakala, Matias Hagerup Kacelnik, Camilla San Miguel Bjørneng, Robin Levent Akay and Anette Hoff (Home for Christmas).

Other highlights of the Beta Kids & YA line-up include:

Between the Beats (26×3’) is a micro drama that shows what happens when K-pop meets ROMEO & JULIET. The music-driven coming-of-age vertical drama, directed by Tatjana Wenig, follows an aspiring ballerina torn between her parents’ expectations, a forbidden first love, and the future she longs to create for herself. The series stars Gio Yoo, Alexander Schmidt, Lisa Junick and Kotti Yun. (Saxonia Media Filmproduktionsgesellschaft GmbH / Radio Bremen / Saarländischer Rundfunk (ARD))

Just Call Me Frida (1x2h’) follows Samuel, who after being declared cured, steps back into life but is freaked out by the fear of losing it again. When he meets Frida, a young apprentice of Death, they are off to a rough start. But soon they teach each other the value and joy of living. The film is directed by Oscar-nominated director Katja Benrath (Watu Wote: All of Us, Rocca Changes the World), starring Arian Wegener (Sisi), Kelani Rose, Golo Euler (The Grand Budapest Hotel), and Lucie Heinze (Professor T). (Neos Film/ Tellux Film/Mideu Films/ IT Media/ Gretchenfilm/ Tellux 1-13/ Medienproduktion/ SWR/ BR/ MDR/ Beta Film/ Katholisches Kirchenwerk/ D Facto Motion/ Guesswho FX/ Magic Media Production)

Bibi Blocksberg – Witches Unite! (1x2h) is a live-action family feature, directed by Gregor Schnitzler (School of Magical Animals). The film stars Nala, Rosalie Thomass, Heike Makatsch (Love Actually) and Friedrich Mücke (Ballon). Bibi, the teenage witch, and her friends crash the grand International Witches’ Gathering. But when Bibi’s magic spirals out of control, she must fix the mess before a strict headmistress seizes power and silences young witches forever. KINOZEIT praised the film as “Family cinema with heart”. (Wiedemann & Berg Film/Kiddinx Studios/EPO-Film)

With The School of Magical Animals 4 (100’) the beloved franchise returns after its predecessors already grossed over $64.5 million at the German box office alone. Nominated for Best Visual Effects at the German Film Awards 2026, it is directed by Maggie Peren (The Forger) and Bernhard Jasper. Ida’s friend Miriam stays at the Winterstein School for three months, but a secret threatens to tear them apart. And what’s worse: The school is up for sale, and the entire magical community is at stake! Will an upcoming school challenge be the saving grace? (Kordes & Kordes Film Süd/Leonine Studios/Lightburst Pictures)

Pumuckl’s Big Mix Up (90’, NEUESUPER) is the first feature film stemming from the hit series Pumuckl’s New Adventures: It’s summertime, and the adventures never stop! But when Pumuckl and Master Eder have a great misunderstanding, their friendship is put to the test. Helmed by Marcus H. Rosenmüller, the feature film stars Florian Brückner, Ilse Neubauer and Gisela Schneeberger.

La entrada Beta Kids & YA Unveils Magical Lineup for MIP Junior se publicó primero en TTV News.

Both series are produced by veteran production company Baleuko and distributed by Gookapi.

In a landmark collaboration bridging European creative education and Chinese EdTech innovation, two celebrated Spanish animated series — Liz’s Creative Workshop (El Taller Creativo de Liz) and Mithy the explorer (Mithy el explorador) — have been selected to anchor the STEAM Lab zone of the newly launched TAL International Tablet in China.

This partnership, was possible through Brilliant Animation and it marks a significant milestone for Spanish educational content on the global stage, bringing Spain’s distinctive approach to science, art, and hands-on learning to families across international markets.

Both series are produced by veteran production company Baleuko and distributed by Gookapi.

Not Just Learning English — Learning Through English

The TAL International Tablet is designed around a powerful pedagogical shift: moving from “learning the language” to “using the language as a tool.”

While its Cambridge English system helps children master English as a subject (Learn to use English), the STEAM Lab zone takes a revolutionary leap forward: children use English to explore Science, Technology, Engineering, Art, and Mathematics (Use English to learn).

In this immersive environment, English ceases to be the destination and becomes the vehicle. Rather than memorizing isolated vocabulary, children watch, listen, think, and solve real-world problems entirely in English. It is precisely this “thinking in English” approach that demands premium international content — -and the Spanish production studio has delivered exactly that.

Why These Two Spanish Titles?

The inclusion of Liz’s Creative Workshop and Mithy the explorer is no coincidence. Together, they cover the full spectrum of the STEAM framework while embodying the spirit of inquiry and creativity that defines world-class early education.

Liz’s Creative Workshop — Where Art Meets Engineering

Led by the imaginative Liz, each episode transforms everyday materials into extraordinary inventions, blending artistic vision with engineering logic. Children don’t just follow instructions — they are invited to experiment, fail, iterate, and create. The series champions the mindset that problems are opportunities for design, making it a perfect vehicle for teaching practical problem-solving in English.

– STEAM Focus: Art (A) + Engineering (E) + Mathematics (M)
– Core Skills: Design thinking, hands-on creation, spatial reasoning, creative problem-solving
– Pedagogical Value: Demonstrates that creativity is not separate from logic — it is the foundation of innovation

Mithy The Explorer — Science as a Great Adventure

Young adventurer Mithy journeys through jungles, oceans, and beyond, modeling scientific observation, forming hypotheses, and uncovering how the natural world works. The show nurtures relentless curiosity and demonstrates that science is not a classroom subject but a way of exploring the unknown — a philosophy that resonates deeply with TAL’s mission to cultivate “global thinkers” rather than “test takers.”

– STEAM Focus: Science (S) + Technology (T) + Nature & Environment
– Core Skills: Inquiry-based learning, observation, hypothesis testing, ecological awareness
– Pedagogical Value: Proves that the best scientists are fearless explorers who ask better questions

Together, Liz and Mithy offer a complete educational ecosystem: one teaches children to build solutions; the other teaches them to discover questions worth solving.

A Shared Vision for the AI Era

“The real dividing line in the AI age is not whether a child can translate a sentence, but whether they can use English as a tool to explore scientific principl.es, analyze engineering challenges, and understand the wider world. AI can translate words, but it cannot replace a child who thinks, questions, and creates in English. That is why we built STEAM Lab, and that is why we chose these exceptional Spanish productions,” said TAL International Tablet Product Marketing Team.

For Baleuko and Gookapi, Liz’s Creative Workshop and Mithy the explorer, the collaboration represents powerful validation of Spain’s capacity to produce educational IP with global resonance. As families across international markets open the TAL International Tablet, Spanish storytelling, design sensibility, and pedagogical values are now shaping the next generation of bilingual, cross-disciplinary learners.

La entrada Liz’s Creative Workshop and Mithy the explorer Join TAL International Tablet in China se publicó primero en TTV News.

Rock and roll, reggaeton and Latin-flavoured adventures: Las Cabritas take the leap towards global distribution with Siesta Entertainment.

Las Cabritas are getting ready to make the world dance! With rock and roll, reggaeton and other Latin rhythms, Rockolandia Las Cabritas is preparing to reach new screens and win over children and families worldwide with Siesta Entertainment.

The Puerto Rican musical preschool series, winner of four Suncoast Emmy Awards, will bring its songs, humour and energy to Mipcom in search of new television, streaming and digital distribution partners.

With a YouTube Silver Play Button, more than 170 million cumulative views on YouTube alone, 234,000 subscribers on the channel and a community of over 250,000 followers across platforms, Rockolandia arrives at the market with an established audience.

The Hispanic market -the United States, Puerto Rico, Latin America and Spain- will be the starting point for this international adventure. From there, Siesta will support Rockolandia’s expansion into markets around the world.

Aimed at children aged 4 to 6, the series follows seven little goats who sing, dance and use their wits and teamwork to foil the clumsy Big Bad Wolf’s plans. Their self-contained adventures blend humour and music with stories about family, friendship and self-confidence.

The first season offers 10 eleven-minute episodes in Spanish, with two original songs per episode. Plans for the coming months include moving forward with the development of a second season of 26 eleven-minute episodes.

Siesta will bring Rockolandia Las Cabritas to international buyers at MIPCOM through its distribution agreement with Dakiti Productions, the Puerto Rican company that created and owns the property. KaizenPop, a shareholder in Dakiti, co-manages the brand alongside Cristina Carrión and co-produces Season 2, helping shape its creative development, production and financing, with Ailing Zubizarreta as co-showrunner.

“Being Latino is having a moment and Rockolandia Las Cabritas has a distinctive identity that we want to share with the world. Its music, humour and Puerto Rican roots won us over. At Siesta, we are committed to bringing that energy to children and families beyond all borders,” says Natalia Hebel, Chief Sales Officer at Siesta Entertainment.

“Rock’O’Landia was created by my family in the 1980s for a Puerto Rican audience. I am incredibly proud to have revived Rockolandia for the new global generations. With Siesta at our side, the magic of Rockolandia will have the opportunity to reach children around the world, via its enchantment and cultural authenticity.” says Cristina Carrión, co-creator and showrunner of Rockolandia Las Cabritas and CEO of Dakiti Productions.

“Something huge is happening. The global pop culture of today is multilingual, polycultural and international at its very core” says Ailing Zubizarreta, Cofounder and Chief Creative Officer at KaizenPop, and co-showrunner for the second season of the IP. “Las Cabritas have a Latin heart with a global vision made to order with what the audiences of today yearn for”.

With Mipcom as their next stage, Rockolandia Las Cabritas and Siesta Entertainment are preparing to open new doors for a series that brings together music, humour and Latin heart. Their goal is clear: to get more and more children and families moving to the beat of Las Cabritas.

La entrada Siesta Entertainment to Distribute Rockolandia with Mipcom as First Stage se publicó primero en TTV News.

The new release adds to the music catalog developed around The Fixies, which previously included titles such as Sing with the Fixies and Fixie Beats.

Animotion Media Group is expanding The Fixies universe with the global launch of Fixie Ditties, a new English-language studio album that broadens the franchise’s content strategy into music and multiplatform experiences.

The album features 11 original songs aimed at children and is now available on platforms including Spotify, Apple Music and YouTube Music. The tracklist includes a new version of Ticky Tock, one of the franchise’s classic songs, alongside tracks inspired by science fiction and time travel concepts such as Time Machine, Teleporter and Chatbot.

The new release adds to the music catalog developed around The Fixies, which previously included titles such as Sing with the Fixies and Fixie Beats, further supporting Animotion’s strategy of extending the IP beyond its audiovisual content.

Built around the adventures of tiny creatures who live inside everyday machines and devices, The Fixies combines entertainment with educational content focused on science, technology and how devices work. According to Animotion, the franchise has 22 million subscribers across its social media channels and YouTube, as well as 16 billion YouTube views throughout its 15-year history.

“The launch of Fixie Ditties is an important milestone for The Fixies. Building on the success of our previous music releases, this new album gives young fans a high-energy soundtrack that expands the world of The Fixies while staying true to the classic songs that helped build the franchise,” said Oleg Troyanovsky, Head of Music at Animotion Media Group.

With the release, Animotion is also strengthening its position in the children’s content business and its strategy of exploiting IP across multiple platforms. The company is planning further international expansions, interactive content and upcoming music releases connected to its properties.

Animotion Media Group is an international production and distribution company headquartered in the United Arab Emirates, specializing in content for children, teens and families. The company also operates as a music label, distributor and licensing partner, with a catalog comprising more than 1,500 episodes and over 1,300 audio assets. Its portfolio includes brands such as The Fixies, BabyRiki and Finnick, with a presence across MENA, Asia, Europe and the Americas.

La entrada Animotion Media Group Expands The Fixies Universe with Fixie Ditties se publicó primero en TTV News.

THE CATALOG

1. The Gruffalo (1×26′)

Animation based on the classic children’s picture book written by Julia Donaldson and illustrated by Axel Scheffler, telling the magical tale of a mouse who takes a walk through the woods in search of a nut. Encountering three predators who all wish to eat him – a fox, an owl and a snake – the plucky mouse has to use his wits to survive. He announces that he is meeting a monster with terrible features, a ‘gruffalo’.

More information can be found here

2. The Baddies (1×30′)

The Baddies is about the worst Baddies in the world – a troll and a ghost and a witch, who love nothing more than being bad and boasting about it. When a girl with a blue spotty hanky moves into a cottage nearby, the Baddies quarrel about all the nasty tricks they want to play on her. Then a mouse sets a challenge for the Baddies to see who can steal the hanky. Soon they learn that they may have met their match in the little girl. Packed with mischief, humour and heart, this fun adventure is a celebration of courage, kindness and the power of standing up to bullies.

More information can be found here

3. Room on the Broom (1×25′)

Animated film based on the wonderful children’s picture book written by Julia Donaldson and illustrated by Axel Scheffler. A kind witch invites a surprising collection of animals to join her on her broom, much to the frustration of her cat. The gang ultimately saves the witch from a fearsome dragon, and in gratitude she rewards them with a magnificent new broom which has room for everyone.

More information can be found here

MEET THE TEAM AT MIPCOM

Muriel Thomas – International Distribution Director – contact

Hannah Jones – Senior Distribution Manager – contact

Suite: XXXX

COMPANY INFORMATION

Name: Magic Light Pictures

Address: 41-42 Foley Street, 4th Floor, London, W1W 7TS, United Kingdom

Phone number: +44 (0)20 7631 1800

E-Mail: office@magiclightpictures.com

Website: https://www.magiclightpictures.com/

La entrada 🧸 MAGIC LIGHT PICTURES 🎬 se publicó primero en TTV News.

Tony Albert, CEO of Motion Pictures, explains how the company is adapting its strategy to a constantly evolving children’s market, with projects designed to travel internationally and expand onto new platforms. He also previews upcoming productions, including El Niño Electrón and the company’s first animated feature films.

The children’s content industry is undergoing a transformation driven by audiences shifting toward streaming, YouTube, and other digital environments, while international buyers are adopting a more selective approach to new productions.

For production companies, the challenge is no longer just about developing great stories; it is also about finding financing, distribution, and monetization models that allow those stories to reach their audience.

In this landscape, experienced production companies like Spain’s Motion Pictures understand firsthand the importance of offering recognizable properties with franchise potential and multiplatform strategies.

In the following interview with ttvnews, Tony Albert, CEO of Motion Pictures, discusses the identity of the company’s catalog, its commitment to stories that naturally integrate values, and projects reflecting its future strategy, such as El Niño Electrón, a series aimed at families with children who have ADHD, and the development of its first animated feature films.

He also analyzes market evolution and the criteria currently guiding the development and acquisition of children’s content, as well as the impact of new consumption habits, the importance of strong IPs, and the opportunities offered by international co-productions and digital platforms.

How has the demand for children’s content changed in recent years, across both television and digital platforms? Which trends do you consider most relevant today?

Demand for children’s content remains strong, but the market has changed profoundly. Audiences have largely shifted from linear television to streaming platforms, YouTube, and other forms of digital consumption, while buyers today are much more selective and have reduced their investment in new productions. Currently, platforms primarily seek content that carries lower risk and offers significant international potential: recognizable IP, established brands, and projects with franchise potential. At the same time, YouTube has become a crucial outlet for discovering and consuming children’s content, particularly through short-form formats, clips, and content tailored to modern consumption habits.

Key trends include audience fragmentation, the coexistence of long-form and short-form formats, the growth of YouTube and digital content, the importance of family-oriented content or “co-viewing,” and the pursuit of properties capable of generating business beyond the series itself—through licensing, video games, and other extensions.

In short, the current challenge is not a lack of audience, but rather the increased difficulty of financing, discovering, and monetizing new productions in a far more competitive and fragmented market.

What elements do you consider key when developing or acquiring a children’s series or film? What are international buyers looking for today?

When developing or acquiring a children’s series or film, we consider it essential to have a clear, distinctive concept, engaging characters, and a narrative capable of connecting with the audience. We also highly value international potential -meaning the ability to travel well across different markets and cultures- as well as the potential to develop into an IP beyond the screen.

Today, international buyers are specifically looking for projects with a very clear, easily communicable concept, a strong visual identity, and a defined target age and audience. There is also a preference for established properties or projects with some existing traction, as this reduces investment risk.

Furthermore, it is increasingly important for content to be adaptable to a multi-platform ecosystem, including streaming, YouTube, social media, video games, and licensing. Ultimately, the goal is no longer just a good series or film, but a property with audience potential, international reach, and the capacity to become a long-term brand.

How are new consumption habits (streaming, mobile, YouTube) impacting the way children’s content is produced and distributed?

New consumption habits are forcing a rethink of both the production and distribution of children’s content. Today, children consume content across multiple devices and platforms -especially streaming, YouTube, and mobile- so a series can no longer be conceived solely for a traditional television window.

This influences formats, leading to a mix of traditional episodes, short-form content, clips, and “shorts,” as well as how launch and promotional strategies are designed. It is also increasingly important to consider a multi-platform strategy from the outset, adapting content to different windows and consumption methods.

Additionally, YouTube has become a crucial tool not only for distribution but also for discovery and audience building. Ultimately, the goal is for a property to be present wherever the audience is, using a flexible strategy that combines content, promotion, and monetization across different platforms.

How important is brand and franchise building in children’s content today? Are you prioritizing projects with multi-platform potential?

Today, brand and franchise building is fundamental in children’s content. Buyers are increasingly seeking projects that do not rely solely on the broadcast of a series or film, but rather can foster a lasting relationship with the audience and expand into various areas.

Multiplatform potential is, therefore, a crucial factor. A strong property should have the capacity to thrive across streaming, television, YouTube, social media, video games, licensing, and merchandise.

Not every project needs to become a major franchise, but we particularly value those featuring recognizable characters, a distinct universe, and the ability to connect with audiences beyond a single distribution channel. In an increasingly competitive market, building a solid brand also helps generate greater visibility, foster audience loyalty, and create new revenue streams.

What are the main challenges currently facing the children’s content industry (financing, discoverability, regulation, etc.), and where do you see the greatest opportunities for growth?

The main challenges facing the children’s industry in Spain today are the financing of new productions, reduced investment from major platforms, and the increasing difficulty of achieving visibility -or “discoverability”- in a content-saturated market.

There is also greater fragmentation of audiences and distribution windows, forcing producers to seek more complex financing models that combine broadcasters, platforms, international co-productions, public funding, and new digital exploitation avenues. Added to this is the need to adapt to an increasingly demanding regulatory framework and the specific requirements regarding the protection of child audiences.

However, there are also significant opportunities. Spain boasts great creative and technical talent, solid production capabilities, and growing international experience, alongside an attractive landscape of national and regional tax incentives and grants. This makes us an appealing international partner; we see particular opportunities in international co-productions, the development of IP with global potential, and the use of YouTube, digital platforms, and new formats as tools to reach audiences directly.

The major challenge lies in ensuring that content is not only produced but also secures financing, visibility, and a suitable international distribution strategy.

What types of stories or formats do you believe will shape the future of children’s content in the coming years?

We don’t have a crystal ball to predict exactly which formats will be most successful in the future. Channels will continue to bet on established IP, but we believe there will be growth in content capable of appealing to broader audiences—ranging from family co-viewing to animation aimed at teens and adults. Ultimately, the children’s content of the future will be more flexible, interactive, and multi-platform, yet the essential elements will remain the same: great stories, memorable characters, and a strong emotional connection with the audience.

How would you describe the identity of your children’s catalog today? What types of content or genres do you feel best represent the company?

As a Spanish production company, we find ourselves somewhat compelled to produce primarily for public broadcasters, as they are the only ones willing to back our content. Consequently, we mostly produce series that champion values such as friendship, camaraderie, respect, tolerance, inclusion, diversity, equality, hard work, and personal growth. However, the key is to avoid making it feel like a moral or educational lesson; these values must be naturally woven into the stories, characters, and conflicts.

What children’s projects do you currently have in development or production that reflect the direction you want to take your strategy in the coming years?

We are currently developing El Niño Electron (The Electron Boy), a fascinating project aimed at families with children who have ADHD, children who struggle to maintain attention and are hyperactive or impulsive. Our major challenge is to portray these symptoms as a unique superpower that allows them to channel their energy toward incredible goals, leveraging other strengths such as imagination, creativity, talent, and boundless energy. The concept is a series of twenty-six 5-minute episodes, and I believe it aligns perfectly with the type of content international public broadcasters are seeking.

Another challenge we would like to tackle is our first animated feature film; we have been producing animated series for over 20 years, and the time has come to produce a feature. We are currently evaluating two feature film projects, though they are still in the very early stages of development.

La entrada Motion Pictures Bets on IPs with Reach Beyond the Screen se publicó primero en TTV News.