Lucia Geraldine Scott, Producer at Red Monk Studio, spoke to ttvnews about the Italian producer evolves along with the industry’s changes, to create content that connects with today’s younger viewers and stands out in an overcrowded field.
Founded in 2017 with the goal of developing original IPs in animation and live-action, and later acquired by Superprod Group in 2020, Red Monk Studio has been in the content production industry for some time now, creating its own titles, as well as offering production services to clients around the world.
Through all of this experience, the Italian producer knows first-hand what it takes to make successful content for young viewers, as well as the need to adapt to new technologies and trends in order to always stay ahead of the curve with what audiences demand from their entertainment.
In the following interview with ttvnews, Lucia Geraldine Scott, producer at Red Monk Studio, explains the importance of creating content that not only entertains, but also conveys healthy values; how staying up to date with the cultural zeitgeist is mandatory to creating content that’s relevant for modern audiences; and the newest titles in their catalog for the international market.
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?
I admit that given the context we live in, I find it difficult to have a clear and defined view of the children’s content industry. Content has multiplied on a huge number of different platforms, making it almost impossible to have a complete overview. More and more often, in fact, we discover the existence of real cultural phenomena, such as viral products, influencers, games, which we had never heard of simply because they are not present in our usual channels – be they social, traditional media or digital platforms. This scenario requires us to remain constantly curious and ready to embrace what emerges outside the conventional circuits.
In order to remain competitive in a landscape increasingly dominated by non-traditional screens – such as those related to videogaming, social media and especially YouTube – I believe that we will increasingly move towards the integration of digital phenomena in the production of audiovisual content. This approach will inevitably lead to the creation of more inclusive products, able to overcome gender and social status barriers. This is, after all, the direction in which today’s world is moving, especially with regard to the new generations.
What are the main challenges of producing children’s content today? What do you look for when selecting projects for your catalog?
To me, a great challenge is the need for speed, both from the narrative point of view – where you have to be able to capture and keep the audience’s attention – and from a production point of view, where tight deadlines are often imposed by the need to contain costs.
But while running, you can’t forget your core. If you rush too much in telling a story, you run the risk of losing the meaning of it. Even the best technical performance can never compensate for the flaws of a weak script. And if you don’t respect the right timing in making a show, you risk compromising the human aspect of the work, which is just as valuable.
Like many, we look for stories that can entertain but also convey healthy values. With time, however, I have realized that a decisive element for the success of a project is the harmony within the working group. Synergies, sharing the same values and common goals are the basis from which the best things are born. And sharing a good dinner can also play its part!
What are the star titles in your current catalog for the international market?
We are producing Underdog and the Canine Defenders, co-produced with SuperProd for Rai and Gulli in France, and distributed by SuperRights; Piripenguins in co-production with Eaglet Films for BBC and Rai, which was premiered on Cbeebies on May 19th, distributed by Banijay. On top of this, we are in development with several projects including a feature film, a live action series and a pre-school series, whose titles cannot be disclosed yet.
Unlike previous generations, who accessed content only on linear television, having content available whenever and wherever they want is the norm for today’s children. How do you think the evolution of streaming has changed the business of distributing children’s content?
In today’s highly competitive content landscape, where menus feature hundreds of titles, it’s essential to stand out with distinctive elements that set your content apart from the rest. Unlike in the past, simply having a good show is no longer enough—visibility and uniqueness are key to being chosen.
From the perspective of a producer or distributor, especially when handling a series with strong potential for licensing and merchandising, it’s crucial to adopt a multi-platform strategy. Being present on various platforms at the same time not only maximizes exposure but also reinforces the brand across different audience segments, enhancing the overall value and appeal of the property.
In this sense, which platforms and territories do you currently work with? In which regions do you see the greatest potential for growth for your content?
Given the current market situation, particularly in the U.S., we have resumed working with European channels that have investment obligations.
How do you see the evolution of children’s content and younger audiences in the coming years?
Call me old-fashioned but I still believe that quality will always stand out and along with AI-generated contents, that will inevitably be more and more common, we will always have good stories.
