In the following interview with ttvnews, Hugo Brochard, International Sales Manager at Superights, explains how a strong commitment to finding diverse, high-quality content, with unique stories and strong characters, has allowed their catalog to connect with young viewers all over the world.
Through engaging stories, lovable characters and high-quality animation, Superights has been able to travel all around the world with its catalog of kids’ content, staying true to their mission of providing titles that can connect with young viewers across different territories and demographics.
The company works with multiple broadcasting and production partners, offering a catalog that spans multiple genres and formats, and can be suitable for all types of platforms and services.
“When selecting a new project, we are always trying to see its international appeal to reach as many children as possible throughout the world”, summarized Hugo Brochard, International Sales Manager at Superights, who spoke to ttvnews about his outlook on the kids’ content industry, the many new titles in the company’s current offer, and how Superights is preparing for the future by staying on top of the main trends in content consumption.
What do you look for when selecting projects for your catalog?
One of Superights’ goals is to diversify its line-up to be able to work with all types of broadcasters (majors, linear broadcasters, platforms etc). When selecting a new project, we are always trying to see its international appeal to reach as many children as possible throughout the world. Some key evaluation aspects include engaging stories, endearing characters, animation style, story arcs and lot more.
What are the star titles in your current catalog for the international market?
We do have a large catalogue totaling more than 1 000 half hours of content. A few hits in our catalogue include:
Pat the Dog (141×7’+4×26’+10×1’30), broadcasted in more than 200 territories throughout the world.
Nate is Late (156×13’), the series has been broadcasted on every continent. A brand new season (52 new episode) is freshly available.
Tara Duncan (52×13’) broadcasted on prestigious broadcasters all around the world (Disney, Globo, RTVE, C+ Poland etc.)
Iconic Hello Kitty with Hello Kitty: Super Style! (52×13’) which is a huge success worldwide.
Miffy (78×7’), currently in production, which will be fully produced by first trimester 2026, is another really promising title of our line-up.
We really care about all the IPs in our catalogue and make sure every producer we work with gets the same attention and support. Among the latest additions to our catalogue, we’re excited to include Harrison and Me (52×13’) from Superprod -a fun, eco-conscious comedy- and Silly Sundays (78×7’) from Cartoon Saloon, a charming series that celebrates family life and weekend adventures.
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?
Streaming has radically transformed the way children consume content and animated series. Unlike linear television, which requires children to tune in at a specific time, streaming platforms allow on-demand viewing; anytime, anywhere. This flexibility increases engagement, as children can watch, rewatch, or binge their favorite shows, strengthening their emotional connection with their favorite characters.
Moreover, streaming enables a show to become a global phenomenon much faster than before. Platforms with international reach, like Netflix or YouTube, offer almost immediate exposure to wide audiences. Distributors also benefit from real-time feedback through data like views or watch time.
Thanks to algorithms, platforms provide personalized recommendations, offering content that matches each child’s age, preferences, and viewing habits. This personalization helps maintaining viewer interest and encourages the discovery of new shows, even from different cultures.
In addition, streaming platforms have opened the door to new types of content. Edutainment series have grown significantly, especially since the Covid-19 pandemic, which increased demand for learning-at-home alternatives. Another example is animation for teens and even adults, that have been democratized partly thanks to platforms during the past years.
How do you see the evolution of children’s content and younger audiences in the coming years?
Children content is certainly at a turning point currently. According to me, to attract the younger generations in the coming years, animated content will have to be interactive and immersive, adaptable and declinable (platforms, social media such as TikTok, L&M opportunities etc.), inclusive and mindful as these are recurrent important themes nowadays.
