María Bonaria Fois, president of the group’s new offices in Spain, spoke with ttvnews about the challenges and objectives behind the expansion, which seeks to strengthen Digitoonz’s presence in Europe and Latam; and shared her expert vision of the children’s international content market.
In October 2024, Digitoonz Media & Entertainment, the leading global animation studio based in India and offices in the US, announced the opening of its new European headquarters in Madrid, Spain.
The new office is chaired by Maria Bonaria Fois, who with more than 25 years of experience in the children’s content industry, is in charge of leading the strategic expansion and positioning Digitoonz as a key player in the global animation industry, maintaining its commitment to producing high-quality content and meeting the highest industry standards.
In the following interview with ttvnews, the renowned executive shares her current vision of the children’s content production industry, and her mission from the new headquarters of Digitoonz, which seeks to consolidate its presence in Europe and strengthen the link with Latam, in addition to building a solid distribution catalog, combining its own productions with finished content from third parties.
What is your current vision of the children’s content industry? What do you think will be the main trends in terms of genres and productions for 2025?
The children’s content industry is undergoing a rapid transformation, driven by digitalization and evolving consumption habits of new generations. Today, children grow up in a predominantly digital environment, where on-demand platforms have taken over traditional television. Unlike the homogeneous offering of linear TV schedules, streaming services allow for greater content personalization, creating a more diverse ecosystem tailored to each viewer’s individual interests.
New technologies are also redefining the way children interact with stories. More immersive and interactive formats, from augmented reality to gamified experiences, are transforming passive consumption into a participatory experience where the audience not only watches but actively engages with the narrative.
Additionally, trends point towards diversity, representation, and a focus on topics such as emotional health and well-being. Live-action remakes and auteur animation are also on the rise, while video games continue to consolidate as a key entertainment platform. For IP creators, this represents a paradigm shift: it is no longer enough to develop a series or a movie; it is essential to think in transmedia strategies that expand stories across multiple formats and platforms. Whether through video games, digital experiences, or phygital products, the key lies in building narrative universes that connect with children where they truly engage.
What are the main challenges in producing children’s content today? What do you look for when selecting projects for your catalog?
The production of children’s content faces significant challenges, especially in terms of financing and competitiveness. The industry’s slowdown has led platforms and TV networks to prioritize established intellectual properties, making it difficult for new IPs to break through. In this context, differentiation is key, and one of the most effective strategies is transmedia diversification. Developing narrative universes that expand across multiple platforms—from gaming to digital content on YouTube or phygital experiences—not only strengthens an IP’s positioning but also broadens its monetization opportunities and appeal to buyers and investors.
At Digitoonz, we are in a phase of expansion. With the opening of our Madrid office in late 2024, we are strengthening our presence in Europe and reinforcing ties with Latin America. Our goal is to build a solid distribution catalog, combining our own productions with third-party finished content.
When selecting projects, we seek IPs with a 360-degree strategy, designed to expand across different formats and maximize their reach. We also prioritize content that fits within public broadcasters’ schedules and adds value to children’s and youth entertainment. We are interested in both series and feature films, in animation and live-action, covering preschool to young adult and family-oriented audiences.
What are the standout titles in your current catalog for the international market?
One of our most ambitious projects is YugiBao, a multi-format IP developed in collaboration with Spanish animation studio Morgana Studios. This project brings together all the elements sought after by both the industry and the audience: an immersive narrative and message, a unique visual identity, and a wide transmedia approach that enables global expansion.
Our roadmap includes a phased rollout to reach different key audiences. Initially, the focus will be on video games, with immersive experiences on platforms like Roblox and gaming consoles, targeting a preteen audience. Later, YugiBao’s universe will expand with the launch of an animated series aimed at younger viewers, deepening the story and characters while connecting with children and families. This will be supported by a range of licensed products, from collectible toys and trading cards to publishing and branded merchandise, creating a complete experience for the fan community.
The IP originated two years ago in Web3, with an exclusive NFT collection featuring 1,600 3D characters designed by Morgana Studios. Set in a future where YugiBaos have evolved into self-aware beings, these small characters protect their soft, steaming bodies with MechBaos—robotic armor that shields them from environmental dangers. Each YugiBao has its own personality and backstory, creating a diverse and engaging universe where audiences can immerse themselves, identify with characters, and actively participate. With YugiBao, we are not just developing a brand but building a narrative ecosystem that connects with audiences across multiple formats and platforms.
Unlike previous generations, who accessed content solely through linear television, today’s children expect content to be available anytime, anywhere. How do you think the evolution of streaming has changed the children’s content distribution business?
The rise of streaming has completely transformed children’s content distribution, redefining not only how kids access stories but also what they expect from them. The ability to watch content on demand has significantly reduced linear TV audiences, shifting consumption to digital platforms where personalization, interactivity, and instant access are fundamental.
This shift has forced creators and distributors to rethink their strategies, ensuring their productions are available across multiple platforms and formats to reach audiences where they truly are. Moreover, children’s entertainment is no longer just passive: the integration of interactive experiences, gamification, and connections with digital communities have become key factors in attracting and retaining an audience that seeks more dynamic and participatory experiences.
In this new ecosystem, success lies in offering versatile content designed to expand beyond a single screen and connect with the evolving consumption habits of new generations.
In this context, which platforms and territories are you currently working with? In which regions do you see the greatest growth potential for your content?
Our approach is global, with a strategy that allows us to adapt to the needs of each territory and platform. Currently, we work with a wide range of international partners, including public and private broadcasters as well as leading streaming platforms in the industry. We aim for our catalog’s content to fit into different distribution windows, allowing us to reach diverse audiences with high-quality productions.
Geographically, we place a strong focus on Europe, Latin America, and Spanish-speaking territories in the United States, where there is high demand for content and where we maintain strong relationships with industry players, from traditional broadcasters to global streamers. We intend to continue strengthening our presence on these platforms.
In terms of growth potential, we see great opportunities in regions such as Asia and the Middle East, where interest in animation continues to rise and digital platforms are constantly expanding. Additionally, Africa is emerging as a market with significant development potential, especially in mobile content consumption.
How do you see the evolution of children’s content and younger audiences in the coming years?
Children’s content will continue to evolve toward more interactive and personalized experiences. The integration of emerging technologies such as artificial intelligence will allow children to become active creators. Additionally, education is shifting toward digital platforms, with children actively seeking interactive educational materials beyond the traditional classroom. Platforms like YouTube have transitioned from being purely entertainment-based to becoming key learning tools. Brands that empower children—supporting their well-being, autonomy, and imagination—will be best positioned to create value in this constantly changing landscape. We believe the future of children’s and youth content lies in the diversification of formats and channels, and we are committed to exploring new opportunities to expand our stories internationally.
