With commercial offices in Montreal and Madrid, Pink Parrot Media is building a diverse catalogue of children’s and family content with international appeal. From beloved well-established franchises, to new original productions, its portfolio reflects a strategy focused on distinctive storytelling, memorable characters, and properties that can grow across platforms and territories.
The children’s content market is vibrant and dynamic, but the way young audiences discover, watch and engage with stories has changed significantly. The rise of YouTube, streaming services and social media has fragmented viewing habits, while major platforms have become increasingly selective about commissioning original productions.
In this evolving landscape, experienced content producers and distributors like Pink Parrot Media can find in new opportunities, as buyers are placing greater emphasis on recognisable brands, proven track records and projects supported by a clear business strategy.
With commercial offices in Montreal and Madrid, Pink Parrot specialises in the international distribution of children’s and family content, including animated series, feature films and projects developed through different techniques and formats. The company’s approach combines a focus on quality storytelling, distinctive visual identities and memorable characters with an international sales perspective. Beyond distributing completed productions, it also seeks to establish relationships with independent producers and contribute to projects from their early stages.
The group’s varied catalogue reflects a strategy that brings together established brands and original properties with international potential, with titles such as Momonsters, now available in 104 countries; the CGI series Butterfly Academy, Emma & Thomas, House in My Head; and the stop-motion preschool series, Sissi & Caesar. Its film division is also expanding, with titles such as Unstable, scheduled for a theatrical release in 2027, and Bottanix, currently in completion.
In the following interview with ttvnews, Begoña Esteban Montero, Head of International TV Sales & Acquisitions at Pink Parrot Media, discusses the shifts reshaping the children’s market, the opportunities emerging across platforms and territories, and the projects driving the company’s future strategy.
How has the demand for children’s content changed in recent years, both on television and digital platforms? What trends do you consider most relevant today?
The demand for children’s content is still strong, but the market has changed a lot in recent years. The main change is in the way children watch and access content. YouTube, streaming platforms and social media have completely changed viewing habits, and audiences are now much more fragmented.
Interestingly, although children’s content continues to attract large audiences, we are seeing fewer original productions being commissioned by the major streaming platforms. Buyers are now much more careful about where they invest their money. This is giving public broadcasters and international co-productions a more important role in the market.
We are also seeing a stronger preference for established IPs and projects that already have an audience or some track record. For independent producers, finding financing and buyers for new properties is becoming increasingly difficult.
On the other hand, I think there is an interesting opportunity in the 6 to 10 age group, which has traditionally received less attention than preschool content.
What elements do you consider key when developing or acquiring a children’s show or film? What are international buyers looking for today?
I think the most important things are still a good story, attractive characters and a strong visual identity. A project needs to connect emotionally with its audience and have a clear concept.
From an international distribution point of view, it is also important that the content has universal appeal and can work in different territories and cultures, without relying too much on local references that may be difficult to adapt.
However, the market has changed. Buyers are increasingly looking for projects with a recognisable brand, an established track record or a universe that can build a long term relationship with the audience.
Production quality, budget, financing strategy and international sales potential are also very important. Today, having a good creative idea is not enough. You also need to show that there is a clear business strategy behind the project and that it can find its place in an increasingly competitive market.
How are new consumption habits (streaming, mobile, YouTube) impacting the way children’s content is produced and distributed?
New viewing habits are forcing producers and distributors to rethink the way children’s content is developed and marketed.
YouTube has become an important platform for discovering new characters, building audiences and keeping people interested in an IP. At the same time, mobile viewing is creating new opportunities for shorter content, especially vertical formats.
We are starting to see projects that consider different versions and formats for different platforms from the very beginning. This means thinking not only about the main series, but also about clips, songs, short episodes and content created specifically for social media.
In fact, more and more public broadcasters are asking producers to set aside part of the production budget for specific digital content. The idea is to reach children on the platforms they already use and then encourage them to watch the broadcasters’ linear TV channels as well.
I also find the growth of vertical content particularly interesting. It is no longer just about taking clips from existing episodes. Producers are starting to create content specifically for mobile viewing, which can introduce children to a series or an IP.
I think the key is to understand that every platform has its own language and that content needs to be adapted to each one, rather than simply using exactly the same material everywhere.
How important is brand building and franchises in children’s content today? Are you prioritising projects with multiplatform potential?
Building brands is probably one of the most important aspects of today’s children’s market.
Buyers are looking for IPs that can grow and develop over time. A series can be the starting point for a brand that includes films, consumer products, licensing, merchandising, publishing, games and many other opportunities.
This is particularly important today, as platforms are becoming more selective and want to reduce risks. An IP that is already recognised, has an existing audience or has a proven track record is often more attractive than a completely new concept.
At Pink Parrot Media, we pay a lot of attention to this potential. We are interested in projects that can grow across different platforms and territories, but I think it is important to find the right balance between building a franchise and creating good content. A brand needs to be built around characters and stories that children really connect with.
Momonsters is a good example of this strategy. It is now an international IP available in 104 countries and has continued to grow through new seasons and feature films. A lot of licensing and merchandising products have also been developed around the brand, as well as games and interactive content that can be included on broadcasters’ websites and apps. This allows the IP to reach children beyond the screen and creates more opportunities to connect with audiences and build the brand.
What are the main challenges currently facing the children’s industry (funding, discoverability, regulation, etc.) and where do you see the greatest opportunities for growth?
One of the biggest challenges today is financing. Production costs remain high, while broadcasters and platforms have reduced their investments in acquisitions and, in many cases, in original commissions as well.
This means producers have to look for more complex financing models, bringing together different territories, partners, broadcasters, public funds and international co producers. Co productions remain an important way to get quality projects made.
Another major challenge is discoverability. There is so much content available today that making a series stand out is becoming increasingly difficult. Having a good production is no longer enough to guarantee that audiences will find it.
When it comes to production costs, I think artificial intelligence could play an important role in making production processes more efficient. We are already seeing tools that can automate certain technical and repetitive tasks, speed up storyboarding, improve images, help with post production and make some stages of animation faster. All this can help reduce production time and certain costs, as well as make better use of resources and, in some cases, reduce energy consumption.
However, I think it is important to distinguish between using AI as a tool to improve and speed up production processes and using it directly in the creative process, such as developing stories, characters or visual designs.
At the moment, many broadcasters and platforms are still quite cautious about projects where AI has played a significant role in the creative development. One of the main reasons is that there are still many questions about copyright, ownership of AI generated content and legal responsibility. Regulations are still evolving, and buyers are starting to establish their own policies and requirements regarding the use of AI.
I think we are still going through a period of transition. The industry is open to exploring AI as a production tool, but there is much more resistance when it comes to replacing human creativity in the development of stories, characters and original worlds. Personally, I believe AI should help us produce more efficiently, but there should be a clear line when it comes to creativity and the identity of an IP. These should remain in the hands of their creators.
When it comes to growth opportunities, I think we need to pay much more attention to YouTube and social media. These platforms should not be seen only as promotional tools, but also as a way to build audiences, give visibility to new IPs and keep brands alive between seasons. Short videos, songs, character clips, mini episodes and vertical content offer new ways to reach children and families and support the distribution of traditional series.
I also see an opportunity to develop specific digital content strategies with public broadcasters, setting aside part of production budgets for content created for their online channels and social media. This can help them attract new digital audiences and encourage children to watch their linear channels and other platforms as well.
Finally, international co productions and IPs with multiplatform potential continue to offer great opportunities. Companies that can combine creativity, flexible financing and an international and digital strategy from the early stages of a project will have a clear advantage.
What types of stories or formats do you think will shape the future of children’s content in the coming years?
I believe the future will still be about good stories and characters that can create an emotional connection with children.
We will probably see more investment in IPs with strong worlds, recognisable characters and the potential to develop across different formats and platforms.
I also think there is room for more variety in terms of genres and target audiences. The preschool market is very competitive, while the 6 to 10 age group offers interesting opportunities for more developed stories, adventures, comedy and content with stronger narrative continuity.
In terms of formats, I think traditional series and animated family films will continue to coexist with shorter content, micro content and vertical formats created specifically for mobile viewing.
I don’t think the future is simply about producing more content or making it cheaper. It is about creating content with a clear identity that can stand out and really connect with its audience.
How would you describe the identity of your children’s catalogue today? What types of content or genres best represent the company?
Pink Parrot Media is a Canadian distributor specialising in children’s and family content, with a strong international focus and commercial offices in Montreal and Madrid. Our catalogue includes animated series, family films and projects using different techniques and styles, including CGI, 2D, stop motion and live action.
We like working with projects that have their own visual identity, memorable characters and good storytelling. We look for quality content that can connect with international audiences and has real distribution potential in different territories.
We have a particular interest in high quality animation, both feature films and TV series, but we are also interested in original projects that bring something different to the market.
As well as distributing finished content, we like building relationships with independent producers and getting involved in projects at an early stage. We can bring our experience in international distribution, sales strategy, positioning and financing opportunities.
I think our identity is really about combining quality, a variety of projects and a strong international focus.
What children’s projects do you currently have in development or production that reflect where you want to take your strategy in the coming years?
Our current catalogue reflects quite well the direction we want to take as a company. We are interested in a variety of projects, combining established IPs with new and original properties. We are always looking for attractive characters, quality animation and stories with international potential.
One of our main titles is Momonsters, a Spanish IP that we distribute internationally and which is now available in 104 countries. With three seasons and a universe that continues to grow through its feature films, it is a great example of how a series can develop into an international brand.
We are also very excited about Butterfly Academy, a CGI series of 26 episodes aimed at children aged 6 to 10, based on the world of the feature film Butterfly Tale. It represents our interest in developing content for a slightly older audience, a segment that we believe offers interesting opportunities in today’s market.
Another title worth mentioning is Emma & Thomas, a Danish animated series and feature film based on a successful book property. The books have been published in many countries. We believe that having an established publishing background is a real advantage, as the project already has a strong literary universe and the potential to connect with international audiences.
We also have House in My Head in production, which is a very special project for us. Based on a book, it deals with attention deficit and hyperactivity disorder in a fun and entertaining way.
We want children who experience these difficulties to recognise themselves in the characters and stories, while also helping other children understand them better. We also see an opportunity to work with broadcasters, specialised organisations and associations to give more visibility and support to children and families dealing with these challenges.
Finally, Sissi & Caesar is a preschool stop motion series with outstanding animation quality and lovely character design. Through simple and accessible stories, it introduces young children to nature, ecology and respect for the environment. It is a series that really wins you over.
Our activities are not limited to TV series. We also have an important film division dedicated to animated feature films and family movies.
One of the titles we would like to highlight is Unstable, a CGI animated feature film that is scheduled for a theatrical release in 2027. Viva Pictures will handle its theatrical distribution in the United States, where it is expected to open in more than 3,000 theatres.
In addition to the US, the film has achieved strong international sales, with pre sales in more than 20 territories. This shows the potential of family stories with attractive characters and a strong comedy and adventure element.
Another CGI feature film that we are currently completing is Bottanix. It is a family adventure combining fantasy, nature and relationships between generations. The project has already secured pre sales in several territories, showing the international interest it is generating.
Overall, our strategy is to continue building a diverse catalogue, both in television and film, combining internationally recognised IPs with original projects that have something meaningful to offer. We want to work with producers who have a clear creative vision and projects that can connect with children and families around the world.
