The Spanish company officially unveiled Magic Lilly at a Mipcom cocktail reception, where it also showcased the first images from Milo’s third season. Speaking with ttv, Carlos Biern revealed that a second season and feature film for Magic Lilly are already in development and discussed the expansion of DeAPlaneta’s key brands.

*with reporting by Carolina Mussio and Ana Paula Carreira from Cannes, France.

DeAPlaneta Entertainment hosted a cocktail reception at its Mipcom 2026 stand on Monday, October 12, to officially introduce Magic Lilly, its new CGI animated series based on the well-known German publishing franchise Hexe Lilli. The event brought together international partners and industry professionals involved in the development and commercialization of the production.

“Yesterday, we presented for the first time what I believe is DeAPlaneta’s most anticipated property in recent years. It’s a globally recognized brand that has had a huge following since it began as a book series. It’s Magic Lilly, originally known as Lilly the Witch,” Carlos Biern, Content & Media Sales Director at DeAPlaneta Kids & Family, told ttv at the market.

“We’ve been working on this project for more than a year with major European broadcasters, who fell in love with the brand as soon as they saw the concept and became part of the project. We’ve also worked on the scripts with top American writers who have been involved in major franchises from Disney, Lucasfilm, Marvel and Paramount,” he added.

The new series will comprise 26 episodes of 22 minutes and follows Lilly, a young girl who must balance school life with the adventures and responsibilities of mastering her magical powers. Based on Knister’s books, the project involves RTVE, TV3, Rai and Super RTL.

“We’re extremely happy with the reception. We believe this is a brand that originated in Europe, will be produced in Europe and has been developed through international collaboration. More than a series, we’re creating a new franchise that can go very far. We’re already working on a second season and a feature film,” Biern revealed.

The new adaptation retains the franchise’s fantasy elements while updating its lead character to connect with a slightly older audience. “It’s a series with brilliant writing, plenty of humor and a strong emotional component. I think it has what animation series need today. Children as young as eight or nine are already starting to watch a lot of live-action fiction on streaming platforms, and we needed a series with a more mature character,” he explained.

“In the books, Lilly was a little girl traveling around the world with a dragon. Now we have a preteen dealing with everyday problems: social media, school, family, siblings and romance. She’s growing up and learning how to become an adult at the same time as she’s discovering how to use her magical powers,” he said.

“Who wouldn’t want to become invisible, stop time or speed it up? Or transform things into other objects? We’ve taken all those powers we would have loved to have as teenagers and put them into very funny situations. I think it’s an important evolution for the brand,” he added.

Biern also highlighted the initial response from buyers and the property’s potential beyond television.

“The market’s reaction, just from the first clips we’ve shown, has been impressive. I believe we’ll bring in new partners. We’re also working extensively on licensing to build a brand with a much broader life. We were involved from the beginning with a franchise as well known as Miraculous: Ladybug, and we believe Magic Lilly can eventually take up that mantle,” he said.

Milo Prepares Season Three and Expands Its World

Another highlight of DeAPlaneta’s Cannes presentation was the first footage from the third season of Milo, its preschool series coproduced with Fourth Wall. The new season, currently in production, will comprise 52 episodes of 11 minutes.

“We also presented the first images from Milo season three. Preschool projects require an enormous amount of development and time because there’s so much competition worldwide. Most broadcasters and platforms have their own preschool content, so getting a brand to work globally is really difficult,” Biern said.

Originally inspired by a British book, the franchise has received awards in the UK and secured international broadcaster agreements, including PBS in the United States.

“From the very beginning, we won awards in the UK. We won Best Preschool Series and were later nominated for Best International Series. It’s a coproduction with Milkshake!, and we’ve managed to bring it to broadcasters around the world, including PBS in the US, which is one of the hardest goals to achieve because of how carefully they select and develop their content,” he said.

“The series has been sold around the world and continues to be renewed. What’s most interesting is that in the third season we’ve introduced new characters, more dynamic storytelling, songs and plenty of music. And above all, we’re introducing Twilo, Milo’s little sister. She’s adorable, innocent and incredibly cute, and people are already falling in love with her,” he explained.

The expansion of Milo also includes apps, video games, music, audiobooks and new developments connected to Milotown, the setting for the characters’ adventures.

“We want the brand to grow dynamically and consistently, with all the digital content we needed to develop. We have apps, video games, lots of music and audiobooks, as well as activities that let parents and children spend time reading stories together,” Biern said.

“The theme of professions is something everyone can relate to. It’s no longer just about becoming a doctor, an astronaut, a footballer or an actor. There are jobs children might never even imagine, like creating video games, programming a television channel or becoming a meteorologist. We’re introducing many different professions connected to what children experience at school and at home,” he added.

He also discussed the evolution of the show’s storytelling and the expansion of its universe.

“We’re doing a lot of work with Milotown, bringing the main characters closer to that world. We’re delighted with the response to the way the property is evolving. We want Milo to be a global preschool brand, but also a global digital brand,” he said.

During Mipcom, DeAPlaneta Entertainment also announced a partnership with Tiger Studio to relaunch Pucca internationally as the South Korean franchise marks its 20th anniversary.

The agreement introduces a new content and experiences strategy for the property. DeAPlaneta will handle international audiovisual and social media rights, excluding Asia, as well as consumer products rights across Europe, the Middle East and Africa (EMEA).

The collaboration will explore new opportunities across content, digital platforms, licensing and gaming, with additional initiatives expected to be announced in the coming months.

The Potential of Latin American Animation

Biern also discussed the region’s creative talent and the challenges facing children’s content production in Latin America.

“Latin America has a very interesting community when it comes to digital content and social media. We’ve regularly worked with partners in Mexico, Brazil and Chile. There are great designers and artists, and we’re identifying studios that provide services to companies such as Netflix, Amazon, Disney and Paramount,” he explained.

“It’s also very important to have spaces such as the Quirino Awards in Tenerife, where creators can come together, get to know one another and begin developing brands. Many of those brands start in the digital ecosystem, on YouTube, and I think there’s enormous potential there,” he added.

However, he said funding challenges and changing viewing habits continue to affect the development of new intellectual properties.

“Since we lost outlets such as Discovery, the landscape has become more complicated. Disney+ has tried to fill some of that space, and Warner is making efforts too, but unfortunately YouTube is now the main channel for many children’s audiences in Latin America. That’s positive in terms of fans and engagement, because it’s also free, but it’s very difficult to make a brand easily identifiable within YouTube’s algorithm,” he said.

“Public broadcasters are investing less and less, and we’re losing programming opportunities where we could develop bigger projects. At the same time, there are brands emerging in Argentina and Mexico with global potential. We don’t need to explain what El Reino Infantil has achieved,” he added.

The executive believes emerging digital environments can support the development of intellectual properties capable of reaching international markets.

“We have a very interesting community of creators, designers and directors. There are examples like Guillermo del Toro and Jorge Gutiérrez, who have shown what Mexican talent can achieve. I hope we continue to see new brands and new intellectual properties achieve major international success, even if they’re born on YouTube or through video games. I think those are very interesting opportunities,” Biern concluded.

La entrada Carlos Biern, DeAPlaneta: “With Magic Lilly, We’re Creating a New International Franchise” se publicó primero en TTV News.

The partnership, set to be presented at Mipcom, coincides with the brand’s 20th anniversary and includes plans to develop new content and business opportunities.

DeAPlaneta Entertainment and Tiger Studio have partnered to launch a new international chapter for Pucca, the South Korean-origin franchise celebrating its 20th anniversary. The collaboration will focus on a global relaunch strategy built around new content, digital platforms, consumer products and gaming, with the aim of strengthening the brand’s presence and reaching new audiences.

Under the agreement, DeAPlaneta Entertainment will manage Pucca’s audiovisual and social media rights internationally, excluding Asia, as well as its consumer products rights across Europe, the Middle East and Africa (EMEA). The company will leverage its expertise in intellectual property management and franchise development to explore new commercial opportunities across multiple sectors.

Originally created in South Korea, Pucca has built an international presence through its visual humor, distinctive character design and storytelling centered on relationships and a sense of community. Over the past two decades, the property has expanded from digital content into animated series, video games and licensed consumer products.

The franchise is currently available in more than 170 countries. Its official YouTube channels have surpassed two million subscribers and accumulated more than 1.2 billion views. It also has 400,000 followers on TikTok and 120,000 on Instagram.

“We are delighted to shape the brand’s future worldwide with a new creative team and the freshness that its global fandom is looking for. We are also very excited to start creating new content and make new generations fall in love with Pucca and Garu,” said Carlos Biern, Content & Media Sales Director at DeAPlaneta Kids & Family.

Meanwhile, Diego Ibáñez Belaustegui, Chief Brand Officer at DeAPlaneta Entertainment, highlighted the franchise’s visual identity and its ability to connect with different generations of digital consumers.

From Tiger Studio, co-founders Jimmy Park and Sam Chun pointed to DeAPlaneta Entertainment’s track record in expanding Asian brands internationally as one of the key factors behind the partnership.

As part of this new chapter, both companies are preparing new content and initiatives to strengthen Pucca’s digital presence and create additional touchpoints with its fan base. The first announcements are expected in the coming months, with Mipcom serving as the partnership’s first international showcase for potential partners and industry professionals.

La entrada DeAPlaneta Entertainment and Tiger Studio Relaunch Pucca with New Global Strategy se publicó primero en TTV News.

In the following interview with ttvnews, Carlos Biern, Content & Media Sales Director, shares details about the group’s production process to generate a catalogue of renowned brands, long-lasting IPs and content that resonates with audiences all over the world.

One of the most prominent producers and distributors of the children’s genre, not only in Europe but internationally, DeAPlaneta Kids & Family has earned this recognition thanks to its global approach to each production it embarks on.

When it comes to content, the group always looks for “innovative and universal brands that resonate with global audiences, combining local talent with an international vision,” with teams that “operate locally with a global vision, focused on building strong and lasting brands,” explains Carlos Biern, Content & Media Sales Director of DeAPlaneta Kids & Family.

In the following interview with ttvnews, the executive talks about the company’s current content catalog, which is made up of “intellectual properties with the potential to remain relevant for years” and “characters and stories that connect deeply with audiences.”

What is your current view on the children’s content industry? What do you think will be the main trends in terms of genres and productions for 2025?

The digital and interactive environment at a global level has become the indispensable way to connect with audiences. The objective is to generate relevant and adapted content for users wherever they are, transcending the limits of the traditional television medium and encompassing the multiple platforms they consume today.

What are the main challenges of producing children’s content today? What do you look for when selecting projects for your catalogue?

The European market, although it has experienced a reduction in investment by leading countries such as France and the United Kingdom, continues to be a growing audience. Strategic alliances with partners from other regions, such as APAC, have become a key way to develop new franchises. In addition, the growing time that new audiences spend daily interacting, generating content and, in many cases, becoming an active part of it, stands out.

We maintain a high level of activity, with investments in approximately 10 projects per year that cover all targets and genres. When we participate in a project, we do so convinced that this intellectual property has the potential to remain relevant for more than 10 years, growing and reinventing itself continuously. Our teams operate locally with a global vision, focused on building strong and lasting brands.

What are the star titles in your current catalogue for the international market?

We have a catalogue designed to capture the interest of international clients from any region. Its diversity allows us to cover practically all targets within children and youth audiences.

The global growth of our brands in the challenging preschool segment, such as Milo y Karters, which have successfully reached key markets such as North America and Asia, positions us as franchise creators with solid long-term potential.

We are especially excited about the next steps of already established franchises such as Miraculous/Ladybug and our new intellectual property aimed at the same audience, Magic Lilly, scheduled for launch in 2026. This project has the long-term trust of our international partners, who supported both brands from their conception as ideas.

In the area of classics, we are celebrating the 50th anniversary of Maya, along with the launch of new content for series such as Bernard, which have been very successful on digital platforms and will reinforce our family proposal.

On the other hand, our gaming segment continues to grow, promoting brands that, from the interactive environment, are arriving strongly to establish themselves and evolve in the long term.

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?

Productions that succeed in the digital realm do not always achieve the same success on streaming or television platforms globally. Each IP and audience requires specific content, adapted to their needs and consumption habits. Therefore, it is essential to work with specialized teams from the conceptual phase, approaching the development of linear, interactive and product content in a strategic and differentiated way.

It is in this comprehensive and specialized approach where our company makes a difference, ensuring that each project is optimized to achieve success on its platform and target audience.

In this sense, with which platforms and territories do you currently work? In which regions do you think there is the greatest potential for growth of your content?

I would dare to say that there is no region in which we are not actively working, from Spain to Brazil, via Australia, China and Canada. We are convinced that the ties between Asia – with key markets such as China, Korea and especially Japan – and Europe will be essential to generate great successes in the next decade, consolidating strategic collaborations and taking advantage of the potential of both regions.

How do you see the evolution of children’s content and younger audiences in the coming years?

The key remains to create characters and stories that connect deeply with audiences, inviting them to spend hours and hours each day enjoying them, generation after generation.

The accelerated advance of new digital tools for content creation is completely transforming the ecosystem of children’s and youth productions, opening up unprecedented opportunities to innovate and reach new audiences in more immersive and personalized ways.

At DeAPlaneta Entertainment, our local offices in Spain, Italy, France, Germany and Eastern Europe continue to be dynamic hubs, staying in constant contact with new generations of creators. Our focus is on developing innovative and universal brands that resonate with global audiences, combining local talent with an international vision.

La entrada DeAPlaneta Kids & Family: local productions with a global vision se publicó primero en TTV News.