Sister companies Krakatoa, based in Spain, and Spiritum Entertainment, based in Argentina, are showcasing their new preschool property Bumpy, the Bear at Mipcom, following its acquisition by RTVE. Speaking with ttv, Víctor López discussed Plim Plim‘s international expansion across television, streaming platforms, music, licensing and live entertainment.
*with reporting by Carolina Mussio and Ana Paula Carreira from Cannes, France.
The continued expansion of Plim Plim and the international launch of Bumpy, the Bear are the main priorities for Krakatoa and Spiritum Entertainment at Mipcom 2026. The sister companies, operating in Spain and Argentina respectively, work together on the development and commercial expansion of children’s intellectual properties, combining audiovisual production, music, digital distribution and licensing.
“We’re at the Audiovisual From Spain stand at Mipcom, presenting all our upcoming projects, including the new Plim Plim series and new Bumpy content, which add to the growing content universe of Spiritum and Krakatoa,” said Cindy Fernández, Licensing Manager for Plim Plim and Bumpy across the group, speaking with ttv in Cannes.
“I think we’re simply reaping the rewards of what we’ve been building over so many years. Growth on YouTube doesn’t happen in a single year. It’s an evolutionary process. The company has been working consistently on YouTube for eight or nine years, regularly publishing music videos and investing in remarkable music production. We’re producing more than a hundred songs a year,” said Víctor M. López, CEO of Krakatoa and Chief Commercial Officer of Spiritum Entertainment.
“That, combined with the company’s strategic transformation and the repositioning of the Plim Plim brand, is helping us reach other media and markets. The Netflix agreement is very important, as is our presence on free-to-air television, such as TV Azteca, and having Bandai as our toy partner in Mexico and Spain. Bandai’s results in Mexico have been really strong.”
“This year, we’ve toured the United States with a theater production covering 13 cities and 16 performances. Last weekend, we had two shows in New Jersey, with 1,500 people at each performance, and both sold out. When a brand born in Argentina, a Latin American brand, reaches the US and achieves those results in theater, it tells you something about the brand’s strength and potential.”
“All this work, from YouTube content to television, streaming platforms, theater and licensing, is helping Plim Plim grow. We don’t want to remain exclusively in the digital space. We want to reach other windows and media, and that’s what we need to keep developing,” he added.
According to López, Plim Plim‘s ability to connect with audiences in different countries is closely tied to its musical identity. “One of the core values on which Plim Plim was created, thanks to the work of Guille (Pino) and the whole team, is that idea that might sound empty but is actually full of meaning: a ‘hero of the heart’,” López explained.
“We produce in English, Spanish and Portuguese from the outset. Those are our three main languages, and then we dub the content into others, including Italian, French and Indonesian. But the truth is that the values within the brand are what allow it to transcend borders and reach any part of the world.”
“Music is key. We listen to music from everywhere, and the international success of Latin music is enormous. I believe music is at the very heart of Plim Plim‘s DNA. Music is our starting point, the foundation of everything, and that also helps eliminate borders,” he added.
Bumpy, a New IP Developed Between Argentina and Spain
The companies are now introducing Bumpy, the Bear, a preschool property created by Spiritum Entertainment and coproduced with Krakatoa. The project has secured its first television agreement with RTVE, which acquired broadcast rights for Clan and its international channels. The initial offering includes 52 three-minute music videos and 52 40-second short-form pieces designed for digital platforms.
“Bumpy came from a very clear idea: we have enormous strength on YouTube and in the digital space, with extraordinary numbers. We needed a preschool property that would allow us to diversify and test whether Plim Plim could help launch a new brand,” López explained.
“We’ve built it in the same way: starting in the digital space and then moving into other windows. But this time, RTVE has been with us from the beginning. RTVE has already acquired Bumpy, and it’s expected to air early next year. We’re also talking to other broadcasters here in Cannes.”
“We’ve deliberately kept the format very short because we don’t want to give up the combination of the digital world with traditional media, including broadcasters and streaming platforms. “Perhaps the most distinctive element is that we’re turning classic stories into songs. We’ve turned Pinocchio into a song, as well as Goldilocks and the Three Bears and The Tortoise and the Hare. I think that’s the key feature we’re building on.”
“The DNA is the same: the music is made in Argentina by the Plim Plim team. We’re producing original music as well as new versions of Plim Plim songs. All the rest of the production is done in Spain, so this is a coproduction between Spiritum and Krakatoa. We’re sister companies, and we work together on all our projects. It’s a way of building on Plim Plim‘s enormous growth with an IP of our own and the flexibility to develop it however we want,” he said.
The International Potential of Latin American Animation
Both Plim Plim and Bumpy reflect a production model connecting creative and commercial operations in Argentina and Spain, with international distribution and licensing built into the development of the properties. “I’m speaking from a Spanish perspective: we tend to think that everything coming from the English-speaking world is better than what we produce ourselves. There’s no question that the United States and the UK have traditionally set the trends in entertainment,” López said. “But I think today we’ve demonstrated that talent can be found anywhere. Production capabilities are within reach of almost anyone, and stories that make an impact and connect with people around the world can be told from any corner of the globe.”
“Animation has historically been an icebreaker for the entertainment industry. We had to adapt before anyone else to the lack of major investment from broadcasters and platforms. We were among the first to move onto YouTube, and we started developing international coproductions when everyone else was still doing local coproductions.”
“I believe Latin American animation is transforming the way business is done in entertainment. The stories work, the storytelling works, and the capacity to produce relevant content is there. We just need to take advantage of it. You need courage on the one hand, and the luck for things to work on the other. But the talent is unquestionably there,” López concluded.
