In the following interview with ttvnews, Begoña Esteban Montero, Director of International TV Sales and Acquisitions, reviews the latest additions to the distributor’s catalog, which comprise a content offering that seeks to provide added value and connect with audiences around the world.
Specializing in the distribution of animated and live-action content for kids and families, Pink Parrot enjoys a privileged position in the international audiovisual industry, with several years of experience in the business and a unique female perspective that knows firsthand the importance and influence of quality entertainment in the family.
Because nowadays, television content needs to do more than just entertain; it is a platform to educate, impart values, and connect with audiences who want to feel represented and interact with stories beyond the screen.
“Content will no longer be just something you watch: it will be something you interact with, share, and experience,” summarized Begoña Esteban Montero, Director of International TV Sales and Acquisitions at Pink Parrot Media. “Parents are no longer just looking for entertainment, but for offerings that provide something more,” she added.
In the following interview with ttvnews, the executive details the importance of offering content that can expand through universes and narratives that can become brands; the added value of having content that can educate and support socio-emotional development; and the latest additions to its catalog for the international market.
What is your current view of the children’s content industry? What do you believe will be the main trends in terms of genres and productions for 2025?
The children’s audiovisual industry has been undergoing a profound transformation for some time now, driven by changes in consumption habits, audience fragmentation, and the pressure to maximize the return on each production.
Streaming platforms have introduced a new logic: it’s no longer just about broadcasting content, but about building sustainable narrative universes where each title can expand, retain viewers, and become a brand. At the same time, linear channels -especially public broadcasters in Europe- persist with cultural, educational, and emotionally significant offerings, though they face increasing challenges in capturing the attention of today’s young viewers, who are increasingly digital, mobile, and autonomous.
Major platforms have proven particularly adept at minimizing risk by acquiring and adapting already-established IPs. Instead of developing entirely new content, they bet on properties born on YouTube or TikTok, which already have millions of followers. This allows them to secure an initial loyal audience and justify the investment. They also develop transmedia-oriented products, designed not just to be watched, but also played, discussed, and shared. This approach turns children’s content into a broader and more flexible experience, but also a more utilitarian one: content that doesn’t guarantee virality or engagement is rarely produced.
Others, meanwhile, have chosen to reinforce their franchises through a strategy of “stretching the universe,” maximizing the return of their historic brands. The production of second, third, and even fourth seasons of titles is multiplying. This expansion of narrative worlds follows a logic of profitability: productions are increasingly expensive, and amortizing a single title requires it to be more than just content, it must be a property exportable to products, events, and new versions.
In contrast, European public broadcasters continue to invest in programming with strong cultural, educational, and representative values. Although they lose part of the more digital audience, they retain the trust of families and remain essential for certain age groups, especially preschool audiences. Their content often addresses social issues with sensitivity -such as inclusion, coexistence, or the environment- in accessible formats adapted to local contexts.
A common trend across platforms and traditional channels is the growth of live-action teen fiction, which is expanding as traditional animation becomes more costly and less profitable with audiences seeking immediate identification. These series, more emotional and realistic, address contemporary issues such as friendship, identity, mental health, or the environment with a respectful and relatable approach. While animation hasn’t disappeared, it is evolving into more sophisticated and thematically ambitious formats, often co-produced at the European level.
What are the main challenges in producing children’s content today? What do you look for when selecting projects for your catalog?
Looking ahead to 2025, I believe certain genres will solidify: contemporary fantasy, light science fiction, emotionally and representatively focused content (neurodivergence, migration, family diversity), and narratives that combine educational and playful elements. Narrative universes will also grow across platforms, social networks, and physical experiences (games, events, products). Content will no longer be just something to watch —it will be something to interact with, share, and live.
What are the flagship titles of your current international catalog?
We’ve just added two fully completed animated series ready for broadcast:
My Brother the Monster (26 x 11’): This series shines brightly in today’s animation landscape for children aged 6 to 8. Its standout feature is its ability to balance visual and physical comedy with authentic and nuanced emotional storytelling, something very few series achieve in this age segment.
At the heart of the story is the relationship between Petunia, a determined and generous girl, and Mombou, a charmingly anxious creature from another planet. From their first meeting in Petunia’s backyard, a dynamic is established that goes beyond a simple comedic duo: it’s a deep emotional bond, with friendship, mutual care, and empathy at the core of each adventure.
One of the show’s great strengths is how it transforms everyday conflicts into universal stories, always handled with humor and tenderness. For example, in the episode “My Way,” Mombou wants to do things his own way, seeking independence, but ends up unintentionally hurting Petunia, the person he loves most. The episode addresses not just the natural desire for autonomy, but also the emotional consequences it can have on those around us. The message is conveyed without moralizing, through emotional learning and identification, something very valuable for children.
The show doesn’t just entertain, it also offers emotional support to its audience, helping them put words -and laughter- to their emotions.
It also has a modern, inclusive tone, free from stereotypes, with a strong, sensitive, and protective female lead. It’s a story of brotherly love without blood ties, celebrating difference and emotional adoption as part of the family.
In short, this series stands out from other animated proposals for ages 6–8 thanks to its emotional authenticity, intelligent humor, overwhelming tenderness, and its ability to teach without preaching. It’s a comedy with heart, and that’s what makes it special.
Go Fish+ (26 x 11’): A 3D animated series ideal for children aged 6 to 8. Full of humor, adventure, and lovable characters, the story follows Alex, a brave but inexperienced parrotfish who must lead the underwater city of New Coralton. Together with his group of unique and funny friends, they face daily challenges that mix action, friendship, and leadership lessons, all in a colorful, dynamic setting.
The 3D animation brings a vibrant ocean world to life, full of visual details that capture children’s imaginations. Beyond entertainment, the series has an eco-friendly and educational focus, exploring themes like cooperation, empathy, and marine environmental care. “Go Fish!” is perfect for laughing, learning, and diving into a world as fantastic as it is real.
Go Fish+ is based on a film distributed by Lionsgate in more than 120 countries.
Additionally, we’re proud to confirm we’ve started production on Butterfly Academy in collaboration with TFO, CBC Radio Canada, and RTBF.
Unlike previous generations who accessed content only via linear TV, today’s children expect content whenever and wherever they want. How do you think streaming has changed the business of distributing children’s content?
Streaming has profoundly changed how children’s content is distributed. Unlike past generations reliant on linear TV, today’s kids are used to accessing their favorite shows whenever and wherever they want. This shift has led to hybrid distribution strategies: for example, many networks premiere the first episodes of a children’s series on streaming platforms (like Netflix, YouTube, or their own apps) to build interest, and then continue airing them on linear TV.
Distribution has also become more democratic, giving space to independent productions that reach global audiences. Content now expands into transmedia experiences: series that become video games, educational apps, or interactive products. In short, streaming hasn’t just changed how children’s content is distributed, it’s changed how it’s discovered, enjoyed, and experienced.
In this context, which platforms and territories are you currently working with? In which regions do you see the most growth potential for your content?
We work across many territories and with many local and global platforms. We trust in platforms that are created with care and that thoughtfully curate their content. For example, much of our content is available on apps in Latin America and the United States, which are growing significantly and have carved out their space, now competing with the big players.
How do you see the evolution of children’s content and younger audiences in the coming years?
I believe that in the coming years, children’s content will become more interactive and personalized. Kids won’t just want to watch series, they’ll want to play with them, choose their endings, or even create their own characters. Stories will need to live in multiple formats: videos, video games, apps, and augmented reality.
In my view, there will be growing demand for content with values: educational, inclusive, sustainable, and that support emotional development.
Parents no longer just seek entertainment, but offerings that provide something more. And while streaming will remain strong, we’ll see more hybrid strategies where a digital premiere is used to attract audiences to TV or live events. The future of children’s content will be increasingly connected, creative, and designed for an audience that no longer settles for just watching.
