Director Central Marketing, Arts and Entertainment: Morgane Morice
Entertainment Division Director + MIPCOM CANNES Director: Lucy Smith; TV Division Sales Director: Brice Dieulot; SVP Sales & Business Development: Robert Marking; Director UK Sales: Vanessa Van Santen Smith; Vice President of Sales: Louis Hilleson, Director of Sales EMEA APAC, Timothée
YouTube for kids Miraculous hails the pulling power of
DEBUSSY THEATRE SUNDAY, OCTOBER 12, 11.15-11.45
Two MIPJUNIOR sessions will explore how YouTube and TV are enjoying an increasingly closer relationship, and reaching vast audiences as a result
IN THE session Better Together: The Winning Story Of YouTube & Top Animation IP, MIPJUNIOR delegates will get to hear the details and strategy behind the winning approach of a top animation IP teaming up with YouTube. Delegates will also see how this relationship proves that cross-distribution can drive unparalleled success for a beloved franchise.
Andy Yeatman, CEO of Miraculous Corp, and YouTube’s global head of youth partnerships Alexis Rice, will explain why the company chose YouTube for the Miraculous series Tales Of Ladybug And Cat Noir, and how this could be the way forward for kids’ programming more generally.
“At Miraculous Corp, our mission is to inspire future heroes
to change the world, and no platform has more future heroes on it than YouTube,” Yeatman said.
“It’s the world’s most-watched streaming service and the go-to destination for kids ages fiveto-11, which is also our core audience. For us, YouTube is more than just another outlet — it’s where kids already spend much of their screen time, shaping their tastes and discovering their favourite characters. That’s why YouTube has been central to our strategy since the debut of Miraculous 10 years ago.”
The company has developed a multi-layered YouTube strategy to maximise engagement and also monetisation. “By publishing full episodes and compilations, we’ve been able to increase
both watch time and the ad inventory. At the same time, we’ve scaled localisation by launching 15 new language-specific channels in the past year to expand our global footprint,” Yeatman added. “Livestreams now provide always-on, kid-friendly viewing experiences that boost algorithmic performance and drive TV-screen viewing, while YouTube Shorts serve as viral entry points, amplified across social platforms. Finally, original programming and brand collaborations continue to deepen fan engagement and open new commercial opportunities. This focus has driven over 100% year-overyear growth in watch time and positioned YouTube as one of our most powerful brand allies.”
For YouTube’s Rice: ”Miraculous has been a fantastic partner of ours for a long time, and we’re proud to support their high-quality show on our kids-appropriate products. This year, they’ve taken their commitment a step further by joining YouTube and other industry partners in the Youth Digital Wellbeing Initiative, showing their dedication to creating great, age-appropriate content for young people. What’s really exciting is their push to expand the Miraculous Ladybug universe with new characters and adventures in more places. This effort helps young viewers to find stories they can truly connect with, making the show even more special.”
And Yeatman sees the thriving relationship with YouTube only growing stronger: “Every series we produce has its own YouTube strategy, tailored to maximise reach, engagement, and monetisation. For example, in Q4 this year we’re launching a full season of Miraculous Chibi (52 x 3 mins). It will be premiering on YouTube alongside our broadcast partners like Disney and TF1. And on top of that we’re developing other digital-first series built specifically with YouTube audiences in mind. These projects give us the freedom to experiment with formats, lengths and release schedules. I’m happy to say that we’ll be announcing several of these new titles before the end of the year.”
Alexis Rice, YouTube
Andy Yeatman, Miraculous Corp
‘The fastest-rising creators in social media’
THE SESSION From YouTube To TV: How The Creator Economy Is Fueling Original IP for Kids, will explain how Wind Sun Sky Entertainment, in partnership with The McCartys, and Viral Nation, have created the digital universe Camp McCarty.
“The McCartys are one of the fastest-rising creators in the history of social media. Their massive growth is impressive, and their content truly stands out. They really own the spooky comedy vibe and brand online. We like to say that it’s Halloween at the McCartys’ house every day,” Wind Sun Sky’s CEO Catherine Winder said. “Their comedy videos have something for everyone. If you take a close look at their content, it’s incredibly well edited, produced and is done in a way that keeps viewers engaged, loyal, and coming back with recurring original characters, and hilarious storylines. It’s feel-good content that you can sit back and enjoy. Every episode is a non-stop ride and a blast to watch.
According to Kevin and Steph-
anie McCarty: ”We’re taking our brand — already 16 million subscribers strong on YouTube, with over 22 billion views — to the next level by building a universe around what our fans know and love. Together with Wind Sun Sky Entertainment and Viral Nation, we co-created Camp McCarty, an original animated IP inspired by our beloved characters and brought it to life through animation strategically launched across our socials. The response has been incredible, and this is only the beginning. We’re finding new, creative ways to grow our brand and connect with both our loyal fans and brand-new audiences.”
Paul Telner, Viral Nation head of programming said it is vital the media industry pays close attention to the creator economy: “Creators aren’t just influencers anymore. They’re content creators, showrunners and IP generators. For years, creators were kids in the corner filming vlogs. Now they’re media companies. They have the eyeballs, make the show, greenlight it and air it. There is real power in that.”
FROM YOUTUBE TO TV: HOW THE CREATOR ECONOMY IS FUELING ORIGINAL IP FOR KIDS DEBUSSY THEATRE
SUNDAY, OCTOBER 12, 16.15
At the same time, traditional media companies seem to be harnessing creator talent in a “more strategic and thoughtful” way, said Telner: “In the past, creator-led series had an ‘experimental’ feel, treated as risky ventures with uncertain outcomes. Now, streaming platforms are being deliberate about which creators they partner with, what value they bring to audiences and how to structure these collaborations for success.”
Paul Telner, Viral Nation
Stephanie McCarty
Catherine Winder, Wind Sun Sky Kevin McCarty
•
•
OPENING MIPJUNIOR KEYNOTE
DEBUSSY THEATRE SATURDAY, OCTOBER 11, 12.00-12.30
Toys’’R’’Us promises ‘Same magic, new method’
Kim Miller Olko, global CMO of Toys’’R’’Us and president Toys’’R’’Us Studios, the entertainment production arm of the global toy brand, will give this year’s Opening MIPJUNIOR Keynote
DURING her MIPJUNIOR opening keynote, Emmy Award winner Kim Miller Olko will draw on insights from her career and dive into the strategy behind the evolution of the iconic brand — from embracing AI, testing on social media, to initiatives that explore the intersection of mental health and play
Toys’’R’’Us has evolved considerably over the years, but Miller Olko said the brand retains the same DNA: “My favourite phrase is ‘Same magic, new method’. Toys’’R’’Us is a feeling — that’s what has always made it so special to every person who walked through the doors. Seeing a world filled with every toy you could imagine, and picking out something that sparks joy — whether through self-expression, spending time with friends, or imagining whole new worlds — that magic is still here.
“The global strength of the brand gives us the freedom to innovate, experiment, and create meaningful content from one of the most beloved and recognisable names in the world,” she said. “I see opportunities to bring Toys’’R’’Us to every screen in innovative ways. According to Miller Olko, the
Toys’’R’’Us brand “is about play and imagination, which naturally lends itself to storytelling. The real power is in bringing the story full circle — you see a character or toy on screen, then you experience it in real life, whether in an in-store activation or through a
‘You see a character or toy on screen, then you experience it in real life’
new toy version of that character. That connection between content and experience is where the magic happens.”
A key ally in Miller Olko’s plans is Toys’’R’’Us mascot Geoffrey The Giraffe “who’s a character with real equity and could easily live in animation, live action or digital-first spaces. Think about an animated series where Geoffrey takes kids into these magical toy worlds, or
Channing Dungey
holiday specials that become traditions for families, or even live-action formats like the one that is currently in development.”
Miller Olko said Geoffrey is “a star on TikTok, and social media is now a key channel to communicate with customers. We embrace new technology and formats because they make the business fun, generate news and signal to the public that we are the Toys’’R’’Us of 2025 — meeting them where they are, and where they want to be.”
In terms of her time in Cannes, Miller Olko said she will be looking for partnerships to support her ambitions: “We love to explore co-production opportunities where we collaborate with a production company — maybe one with a first-look deal at a distributor or studio and then work to bring the project to life.”
She will also participate in the inaugural MIPCOM BrandStorytelling Summit, curated by Rick Parkhill. “Brandstorytelling is unlike anything else. I first joined Rick’s Sundance event three years ago and met the team that co-produced Geoffrey’s World Tour, partners we are working with on a World Cup campaign, and later, met Native Foreign through him. I believe brands have ‘souls’ — their personalities and values. When you embrace that, you can create amazing content without ever being overtly commercial.”
Kim Miller Olko, Toys’’R’’Us
World Premiere Screening
Ki & Hi
MIPJUNIOR WORLD PREMIERE SCREENING
KI & HI: IN THE PANDA KINGDOM
PRESENTED BY MEDIAWAN
KIDS & FAMILY
DEBUSSY THEATRE
SATURDAY, OCTOBER 11, 16.00-16.45
Children’s anime comedy Ki & Hi: In The Panda Kingdom gets its World Premiere Screening at MIPJUNIOR
BASED on France’s all-time best-selling manga books from YouTuber Kevin Tran, the ground-breaking anime comedy series, Ki & Hi, tells the story of two brothers, 10-year-old Ki and six-year-old Hi, who fight, argue and plot constantly — but deepdown love each other. They inhabit a colourful world called the Panda Kingdom which mashes together real life and fantasy. The books have been adapted for the screen by Mediawan Kids & Family label Method Animation with Drawsome Studios and Belvision. Tran, who is a co-producer and showrunner, has been regularly updating the characters’ journey to screen to his six million followers, building up huge anticipation and an expectant fanbase for the show. The 52 x 11 mins series will debut on Canal+ in Q3 2025 and is distributed globally by Mediawan Kids & Family. It is unique because it has been “specially designed for children aged six and up”, Mediawan Kids & Family president Julien Borde said. “Although anime has become a worldwide phenomenon, most series are targeted at viewers over 10 or young adults. With Ki & Hi, we are filling that gap by creating the first truly authentic anime specifically made for young children. Ki & Hi offers children everywhere a caring and imaginative reflection of themselves, allowing them to see their own experiences in age-appropriate adventures.”
The decision to develop an anime series for children is creatively bold, and Borde expects it to be embraced by buyers. “There is no reason why young kids shouldn’t have access to an
‘There’s a lot of warmth and heart in Ki & Hi, which will make it globally appealing’
anime series that is suitable for them,” Borde said. “It is not violent and tells stories that can inspire children. I think our partners around the globe will really appreciate a show that addresses a white space in the market.”
While Ki & Hi is positioned as a crazy fast-paced comedy, Method Animation general manager and chief content officer Katell France said the brothers’ loyal relationship is also key to the show’s DNA. “Strong bonds between siblings is a universal theme. There’s a lot of warmth and heart in Ki & Hi, which will
make it globally appealing.”
France said it has been fascinating to work with Tran, who brings with him a huge in-built fanbase from the worlds of YouTube and Manga. “That has created a lot of anticipation ahead of the launch. We expect that it will also result in some valuable feedback that we will seek to implement as the production progresses.”
Belgian public broadcaster RTBF is a partner on the production and there have also been early sales into Italy and parts of Asia. Borde is confident that the show’s launch in Cannes will stimulate further interest: “We’re super enthusiastic about showcasing it at MIPJUNIOR and expect to generate a lot of buyer activity.”
Katell France
Julien Borde, Mediawan Kids & Family and Katell France, Method Animation
Kevin Tran, YouTuber
MIPJUNIOR Pitch seeks bold and original content
MIPJUNIOR PITCH
DEBUSSY THEATRE
SUNDAY, OCTOBER 12, 14.45-16.00
THIS year the MIPJUNIOR Pitch — targeting kids from six to 12 — is evolving to reflect the fast-changing kids programming landscape. This international competition is, as always, open to creators of bold and original content with the most potential for TV and/or digital and streaming platforms. The IPs presented to an assembled panel of commissioners can be completely new or originated from social media, gaming, books, e-books, podcasts or other sources, and finalists will have the opportunity to pitch in front of a panel of top commissioners and licensing experts at MIPJUNIOR.
One of those commissioners, Rick Clodfelter, executive director, Content Acquisitions and Partnerships, Disney Branded Television, offers insight into what he’s hoping to see and how it should be presented: “Original content themes which inspire and challenge today’s tweens and teens across all genres are essential in today’s market. And in terms of the presentation at the Pitch, I believe that a nuanced approach to storytelling with relatable and authentic characters is the way to approach this opportunity. As newly empowered consumers define their entertainment choices, there’s an opportunity
to tap into elevated themes with a sense of familiarity and nostalgia. It’s like comfort food at a buffet of many choices!”
Sarah Muller, senior head of commissioning 7+, BBC Children’s, is hoping to be surprised:
“I’m also hoping to see pitches that make me think differently, and I hope the companies pitching will embrace risk, because that is the real joy of an opportunity such as this. And today this is truer than ever because
‘I hope companies embrace risk, that is the real joy of an opportunity such as this’
we are currently in a very riskaverse environment where a lot of shows and their concepts are very samey. So it’s incumbent on us at the BBC and among the many independent producers out there to celebrate and encourage bravery.”
Muller also sees real value in a word that’s cropping up a lot these days in relation to pro -
gramming: “Experiential ideas are more important than ever,” she says. “But I relate that more to actual real-time activities such as going to the theatre or to a concert than to TV-watching. Connections to other forms of entertainment such as the Roblox and Minecraft off-shoots are always an interesting asset, but looking at our commissions, they are generally primarily about storytelling, and also about ideas that reach children in different ways. So I would advise anyone pitching to also think about how they are telling a story. When you boil it down to the basics, a lot of what we do is about characters and story because those are the things that generate the interest that means you keep your audience. And they also instill the passion and enthusiasm you need to develop a real and lasting relationship with them.”
Other members of the panel include: Qing Fan, Tencent Video; Maud Branly, Gulli–M6; and the moderator is Justine Bannister, Just B.
The MIPJUNIOR Pitch competition welcomes creators and producers seeking funding for both early-stage projects (zero to 25% financed) to those already in development (25 to 75% financed). By spotlighting new forms of storytelling and new entry points into kids’ content, the competition supports creativity and innovation across the entire ecosystem — from screen to play to platforms.
Sarah Muller, BBC
Sarah Muller
Rick Clodfelter, Disney Branded Television
KICKING OFF LONDON’S BIGGEST CONTENT WEEK.
Finding success in the digital arena
WHETHER you are an industry veteran or just starting your IP journey, this in-depth conversation looking at success stories in the new landscape, will discuss how creators are building IP and audience, as well as changing the way the kids industry is funded and monetised.
Moderator of the session Case Studies Of Success In The Digital Arena, global children’s media content & strategy specialist, Adina Tartak Pitt, said: “I’m very excited to moderate this panel as I feel it’s so timely. As a global kids industry, we are witnessing the reframing of our business. Some are managing declines while others are trying to fund, build and deploy new brands. There is no ‘one size fits all’ model and we will be discussing some best practices that have led people to success.”
For Darran Garnham CEO and co-founder, Toikido, it’s important to think about building an ecosystem, not an episode: “Think franchise from day-one. Think about building worlds, narratives, back stories, extensions, cultures, movements, looks, sounds… Think wide and far to increase your discoverability, think touchpoints and commercial streams,” he said. “At Toikido, every IP starts with a full 360 approach, going as far as thinking how will this IP look and work in a theme park. Take Piñata Smashlings — a world of 100-plus individual characters — it wasn’t just an an-
‘The future is trans-media. Successful IP is no longer confined to one format or platform’
imated series, it was collectible toys with unique rarity tiers, a Roblox game, a music album — music is key! Characters in costume visiting schools — all evolving and gaining fan feedback from day one.” He added: “I would advise you to map your ecosystem before your first frame. Show funders how five-year-olds will collect it, how eight-year-olds will battle with it, how 10-year-olds will trade it digitally. and how Mums and Dads could buy into it.”
Patrik Wilkens, vice-president of business development at TheSoul Publishing, agreed: “The future is trans-media. Successful IP is no longer confined to one format or platform. We see concepts thrive when they migrate and adapt: long-form on YouTube supported by Shorts, amplified across Insta-
CASE STUDIES OF SUCCESS IN THE DIGITAL ARENA VERRIÈRE GRAND AUDITORIUM
SATURDAY, OCTOBER 11, 10.15-10.45
gram and TikTok, then extended into OTT distribution, live experiences and gaming. Done right, this multiplies reach and builds resilience. For an IP owner, it’s not about one revenue stream. Or even one brand.”
Walled gardens are coming down. “Look for collaboration opportunities where possible and realise that traditional ‘concept pitches’ rarely get traction anymore,” Wilkens said. “Commissioners and investors want proof. My advice: start small, build a minimum viable product (MVP), and show that your story works in practice.” He added: “Even a short pilot or a few test episodes on social media can demonstrate audience appeal.” The session will also feature Ailing Zubizarreta from Kaizen Pop.
Hover your device camera over the visitor badge QR code.
Log in
With your name and exhibitor hub access code.
Follow your leads on each device
The company admin can download the global leads report at anytime.
Open the end of show email
Access your lead report via a direct link, you can download an excel file with all the details. The link is also available in the Lead Manager App welcome email and the exhibitor hub.
MEASURING MAGIC KIDS’ HITS & TRENDS
DEBUSSY THEATRE SATURDAY, OCTOBER 11, 09.45-10.15
‘What really makes a great
story today is how it’s told’
KIDS ARE passionate about stories — and the way they engage with content continues to evolve.
In Measuring Magic: Kids’ Hits & Trends audience research firm Glance’s senior research analyst Romy Nicolas will be using data to unpack the reasons behind the success of standout children’s series and multi-platform strategies. Blending insight and inspiration, this session reveals the numbers behind the hits and the creative shifts shaping the future of kids’ content.
A strong story is essential: “It has to capture children’s imagination and hold their attention,” Nicolas said. “But what really makes a great series today is how it’s told. Kids connect deeply with relatable characters and universal themes — friendship, family, adventure, humour, music — that resonate
across generations. In the session, we’ll highlight KPop Demon Hunters on Netflix with its strong femaleleads and its storytelling based on KPop, which is popular among youngsters. The show has been an instant international hit.”
Equally important is accessibility. “Children’s viewing habits are changing fast, and the most successful shows meet them wherever they are. For instance, in the UK, the daily screen time for children aged four to 15 is almost equally divided between broadcasters, SVOD platforms and video-sharing platforms such as YouTube. Multi-platform strategies are therefore key to reaching the widest possible audience.”
The current crop of hit shows includes classics such as Bluey, Paw Patrol, The Loud House and Miraculous Ladybug, alongside
Peppa Pig and Pokémon. “Then there are Gabby’s Dollhouse and Unicorn Academy proving that shows launched on streaming platforms can later thrive on traditional TV,” Nicolas added.
“On YouTube, titles like Bluey, Peppa Pig, Grizzy & the Lemmings and Masha & the Bear regularly feature among the top-viewed channels,” she said.
“While we’ve seen fewer entirely new titles break through recently, some fresh series have made a strong impression in 2025. These include Wonderblocks, Blue Zoo’s latest expansion of its ‘blocks-universe’; Pixar’s Win r Lose on SVOD; the absurd comedy Do Not Watch This Show which performed well in Australia; and Kid Cow Boy, Nickelodeon’s first original series created specifically for YouTube.
KPop Demon Hunters.
Photo: Sony Pictures Animation
Romy Nicolas, Glance
Define your future in The New Content Economy
Conferences and Events 2025
-
- 14:30
How Gen A/Z are redefining media
IN THE session Knowing The Digital Youth: How Gen A/Z Are Redefining Media, Identity, And Trust, behavioural scientist and Mindscope founder Lea Karam explores how Gen A and Gen Z are reshaping media through new expectations, behaviours and touchpoints — drawing on proprietary research and platform insights. At the heart of these changing expectations is a need for palpability: “As our lives become increasingly digital and dematerialised, people crave experiences that feel tangible, collective and memorable. It’s part of what we call ‘the rise of the experience economy’ — where attention is scarce, and what cuts through is not just another screen-based interaction, but moments beyond that screen that move people emotionally, culturally, socially and in immersive ways,” Karam said. “Experiential is a behavioural shift: audiences want to go beyond the phone, beyond the feed, into something they can feel and share in physical ways — or even ‘phygital’ ways, a mix of digital and physical. It’s all in the law of polarity — where too much of something creates the opposite.” At root, experiential content is immersive of senses, participatory and culturally intelligent. It’s not just about what you watch, but how it makes you actively act and feel in that moment — and after it. “The most powerful examples combine storytelling with interaction: think about how BBC’s preschool content builds immersive worlds that extend
into games, music and live events. What defines it isn’t a genre, but the way it invites audiences in — especially Gen Alpha and Gen Z — to step inside, be active with the content shared, connect with their senses, intellectually and emotionally, and make the story
‘People crave experiences that feel tangible, collective and memorable’
Lea Karam
part of their own development.”
Also taking part in the session, Patricia Hidalgo, director of Children’s & Education at the BBC, said that it’s crucial to be where your audience is: “At BBC Children’s & Education, our approach to experiential is to meet audiences wherever they are — online, in schools, or at live events — reflecting their world in a responsible and engaging way,” she said. For younger children and parents, our expert-led CBeebies Parenting content supports early development, while apps, games and YouTube-first content bring learning to life. Live highlights include our CBeebies House Party Live shows, Prom and Panto — blending education with entertainment.”
“For older children, we’re innovating on platforms like YouTube and Roblox, including BBC Bitesize’s first educational Roblox game, Planet Planners, linked to learning geography. We also bring entertainment into classrooms with curriculum-aligned content like Horrible Science, and support career choices through nationwide BBC Bitesize school tours. Experiential for us means connecting authentically with our audience, as well as staying true to our mission, to educate and entertain.”
Also taking part in the session are: Chris Williams, pocket.watch; and Gregory Dray, Animaj.
KNOWING THE DIGITAL YOUTH: HOW GEN A/Z ARE REDEFINING MEDIA, IDENTITY, AND TRUST DEBUSSY THEATRE SATURDAY, OCTOBER 11, 11.00-11.45
Lea Karam, Mindscope
Patricia Hidalgo, BBC
MIPJUNIOR thanks its 2025 sponsors
STORYTELLING BEYOND BORDERS
‘Ecosystem IP management is fundamental to survival’
STORYTELLING BEYOND BORDERS: CREATING IPS THAT TRAVEL
DEBUSSY THEATRE
SUNDAY, OCTOBER 12, 10:30-11.00
IN AN AGE where attention is often earned via internet algorithms as opposed to ‘on-air’, MIPJUNIOR delegates are invited to attend a session which explores the transformational pivot from traditional distribution to truly multi-platform storytelling.
Storytelling Beyond Borders: Creating IPs That Travel, will explore how successful creators think about YouTube, TikTok, Roblox, streaming, merchandise and live events from day one — and not after the fact. The pace of change means that studios and creators alike are learning in real time what it takes to make IP stand out
within a sea of content.
Jo Redfern, founder, Futrhood Media, said: “The kids content landscape has never been more borderless or fragmented. Today, successful IPs don’t necessarily start on the TV; they can be born on Roblox or YouTube and can grow into stories that travel fluidly across formats, platforms and geographies. See Italian Brainrot, for example.”
Redfern said attendees should expect a fast-moving discussion full of practical insights on how to build IPs that connect, scale and stick.
“The session will explore how creators can build modern franchises for the social-first generation, and how ecosystem IP management is fundamental to survival.”
The panel will explore how creatives find the right balance between digital-native, responsive creation, and the narrative depth brought by studios and broad-
Protecting kids online: the smart choice
IT’S NOT always a comfortable reality, but children live in a digital world — navigating social platforms, watching algorithm-driven content and interacting with media that wasn’t made for them. In Designing With Purpose: Kids, Screens & The Elephant In The Room, experts will explore ways for creators and platforms to prioritise age-appropriate design, emotional wellbeing, safety, inclusion and ethical monetisation.
Amanda Gummer, founder FUNdamentally Children, is taking part. She said: “We can’t shield
Jo Redfern, Futrhood Media
cast. “A key takeaway for attendees is that in a world of fluid audiences and endless choice, success comes from creating kids IP that can exist, entertain and maintain relevance everywhere your audience exists. We’ll talk about traditional franchises that have embraced new strategies,
Sadaf Cohen Muncy, HappyNest
Entertainment
we’ll talk about viral hits like Skibidi Toilet, and we’ll talk to industry experts on how they are proving that their ecosystem-led IPs are succeeding.”
Also on the panel is Sadaf Cohen Muncy, senior vice-president, head of development and production, HappyNest Entertainment. Backed by Stampede Ventures and UTA, HappyNest is an indie company that helps artists and creators launch kids and family animated projects.
Another contributor to the session will be Nicholas Cabana, Claynosaurz.
children from the digital world, but we can shape it to be safer, more inclusive and more enriching. This session is about giving creators a roadmap to design with purpose, so engagement is never at the expense of children’s wellbeing.”
At a time when regulators around the world are wrestling with how to control children’s consumption of social media, Gummer said one of the key problems she has observed is that “children are navigating spaces designed for adults, driven by algorithms and com-
DESIGNING WITH PURPOSE: KIDS, SCREENS & THE ELEPHANT IN THE ROOM VERRIÈRE GRAND AUDITORIUM
SATURDAY, OCTOBER 11, 15.00-15.30
mercial pressures they can’t fully understand. That’s where the biggest risks lie, and it’s our job as an industry to bridge that gap.”
Even small production teams can make a big difference: “by designing with age-appropriateness, transparency and wellbeing in mind. Protecting kids online isn’t just the ethical choice, it’s the smart commercial one too.”
Amanda Gummer, FUNdamentally Children
MIPJUNIOR ROUNDTABLES
‘Straight answers’ from the MIPJUNIOR roundtables
A major new initiative at MIPJUNIOR 2025 is the introduction of discussion-based roundtables, aimed at helping producers and creatives to explore practical co-production and monetisation pathways across key territories and with global players
IN ITS inaugural year, the roundtable programme will be built around two sessions — one on co-production and financing (Saturday, October 11, 08.45) and one on monetisation and diversification (Sunday, October 12, 08.45). Each will have eight or nine tables with top executives on hand to provide insights to delegates who sign up.
The co-production session has been curated by Just B’s Justine Bannister, while the monetisation event has been put together by Sarah Baynes, founder of The Creative Garden.
Bannister said: “The roundtables give participants access to co-production expertise in a small-group setting. No pitching, just straight answers on how to co-produce, who the key players are, how to approach investors, and what it really takes to get to ‘yes’.”
Bannister said each of her tables will be hosted by two experts, providing both producer and investor (broadcaster/network/funding body/distributor) perspectives. “The format is deliberately small-group and interactive: 40 minutes of guided discussion, and a one-minute wrap-up from each host so the whole room benefits.”
According to Bannister, the co-production tables will be structured along territorial lines, with groups centred on Australia, Canada, Ireland, France, the UK, as well as three Global Players tables. Participants include Cecilia Persson (BBC Studios), Marie McCann (CBC Kids), Suzanne Kelly (RTÉ), Grainne Brunsdon (Screen Australia), Aurélie Wack (WarnerBrosDiscovery EMEA) and Orion Ross (Disney EMEA). She said the format is valuable
Aurélie Wack, WarnerBrosDiscovery
Marie McCann, CBC Kids
Cecilia Persson, BBC Studios
Suzanne Kelly, RTÉ
Grainne Brunsdon, Screen Australia
Orion Ross, Disney EMEA
Justine Bannister, Just B
for delegates because “it’s a rare chance to sit with decision-makers and experts in a focused setting. Participants will range from emerging voices to experienced producers, making for dynamic exchanges.”
On Sunday, the monetisation and diversification session will kick off with strategic insights from Ian Douthwaite, president of Dubit. According to Sarah Baynes, her
‘It is a rare chance to sit with decisionmakers and experts in a focused setting’
with commercial strategy. Table leaders include Avril Blondelot, head of diversification, Auzou Editions; Chris M Williams, CEO, pocket.watch (US); Delphine Dumont, chief commercial officer, Banijay Kids & Family; and Gregory Dray, co-founder, Animaj.
Kate Smith, executive vice-president, audience engagement, WildBrain is leading a table on the topic of Viability: How To Diversify A Project From The Outset. She wants delegates to go home knowing that “developing monetisation strategies early can ensure your IP stays flexible and relevant amid changing audience demands. Delegates should leave with a clear understanding that diversification is no longer optional, it’s essential.”
series of roundtables will explore how to unlock the full value of content in a fragmented, multi-platform world — with experts sharing innovative monetisation approaches and examples of digital extensions.
According to Baynes, a comprehensive array of table topics range from diversifying and growing brands in new markets through to aligning creativity
Smith’s role at WildBrain is “all about how we connect beloved family brands with audiences around the world to develop fans forever. So I want delegates to think beyond what’s expected and explore what’s possible with their rights, so they can unlock new revenue streams while reaching new audiences and fans.”
She is looking forward to embracing the roundtable format, which she said is “great for an open dialogue, where speakers and attendees are both active participants. A roundtable allows for an informal and honest conversation, where everyone can benefit from sharing and hearing the different perspectives.”
Justine Bannister
Delphine Dumont, Banijay Kids & Family
Avril Blondelot, Auzou Editions
Gregory Dray, Animaj
Chris M Williams, pocket.watch
Kate Smith, WildBrain
Sarah Baynes, The Creative Garden
Learn how gaming tech can enhance content creation
IN THE Fast, Fresh, Unreal: Real-Time Kids Animation Is Here session, Rob Di Figlia, business development director at Epic Games, will be offering crucial insight into how the platform is driving and enabling both studios and startup creators, and the many ways in which Unreal Engine is driving a shift in how kids animation is produced, delivered and monetised.
“With real-time tools like Unreal Engine, content creators can iterate faster, make changes on the fly and even build assets that serve multiple formats — series, games, interactive and location-based experiences. That opens up entirely new monetisation paths beyond the broadcast window,” Di Figlia said.
“On top of that, real-time production eliminates costly and time-consuming rendering steps while allowing teams to see final pixels during layout and animation. That means fewer surprises in post, fewer do-overs and significantly leaner teams that can still hit the highest visual bar.” In development for over two decades, Unreal Engine is a
powerful game engine developed by Epic Games and used for video-game design. It provides developers with a tools and technologies for creating interactive 3D graphics and immersive virtual experiences.
‘We’re seeing more producers and directors lean into the benefits of game technology’
The engine provides the tools and workflows to create “top-ofthe-line games with impressive and realistic graphics”. Applied in the creation of globally successful titles including Fortnite, Rocket League and Gears Of War,
FAST, FRESH, UNREAL: REAL-TIME KIDS ANIMATION IS HERE
DEBUSSY THEATRE
SATURDAY, OCTOBER 11, 14.15-14.45
it has gained a reputation as an important set of tools for game development.
And it has applications beyond video-game design, supporting developers in creating architectural visualisations, simulations, virtual-reality experiences, music videos and animated films.
“We’re seeing more producers and directors lean into the benefits of game technology during production for things like location scouting in virtual reality, use of virtual cameras during shot production, multi-user sessions with artists and directors working simultaneously in a scene, and live dailies where they can manipulate cameras and lighting in real-time and get instant feedback,” Di Figlia said. This MIPJUNIOR session explores in-depth how real-time technology is helping studios cut costs, speed up production and unlock new formats, from interactive series to trans-media IP. This session is where you get to learn how game-engine workflows are shaping the future of content creation and business strategy in kids’ TV.
Rob Di Figlia, Epic Games
Focusing on the convergence of the attention, experience and creator economies
KIDS CONTENT Rebooted: When Mainstream Meets Creators, is a dynamic MIPJUNIOR session that will explore how three economies, namely ‘attention’, ‘experience’ and ‘creator’ are converging and reshaping how young audiences engage with content – whether it’s coming from traditional studios or the work of the new generation of creators –and how mainstream media can adapt and thrive in this new landscape. The session offers “a unique blend of market data, trend analysis and actionable insights”. Delegates will gain a clear understanding of the clear distinctions between traditional production pipelines and the now lucrative creator world – for example, the fast-growing number of Roblox builders and YouTubers who are crafting IPs and revenue streams.
MIPJunior delegates will hear how “today’s evolving kids’ media landscape means mainstream media companies continue to face unprecedented disruption – not just from the streamer and changing viewing habits, but also from an entirely new ecosystem of content creation and consumption delivered socially”. According to panelist Tim Westcott, practice lead, digital content and channels at London-based consultancy Omdia, broadcasters have understood that the
children’s audience is becoming harder to reach, even if most have launched video-on-demand services with some success. “We’re seeing many launching new series on YouTube at the same time as their own platforms. There are some good public service initia-
‘We’re seeing many broadcasters launching new series on YouTube at the same time as their own platforms’
KIDS CONTENT
REBOOTED: WHEN MAINSTREAM MEETS CREATORS PRESENTED BY THE INSIGHTS FAMILY & OMDIA DEBUSSY THEATRE SUNDAY, OCTOBER 12, 09.45-10.15
ny the Insights Family. Woodgate said the “attention economy” where kids are concerned, is defined by the period of time they have left when you remove necessary elements of their day that include sleep, education, recreation and time spent with friends. “That leaves a block of time of about six or seven hours a day which is the time that producers and platforms have to gain their attention.”
tives like KiKA’s Team Timster, a multi-platform concept teaching media literacy, and the BBC posting its Bitesize educational content on YouTube,” he said. ”For producers, YouTube is still quite challenging, mainly because the lack of upfront funding demands a total change of business model. As a platform, it’s also very hit-driven: we hear a lot about the successes,
not so much about the videos that disappear without trace among the 20 million that YouTube says are uploaded every day.”
The session also features Adam Woodgate, vice-president, research solutions at Manchester, England-based research compa-
What’s happening now, however, is that traditional production companies are “competing with their own audiences, who are now able to take nice videos, edit them, add sounds and effects and upload them to video platforms,” Woodgate said. “All of an sudden we’re in a world where we are making our own content. So the idea of the session is to help legacy media to embrace this new world, and to place content where the audience is.”
The session will explore “a decade of commissioning trends, spotlight successful collaborations and provide a roadmap for how traditional media can tap into these new creative forces”. And the organisers stress that content creators, producers and media executives “looking to stay relevant, evolve their strategy, and unlock entirely new revenue streams” should be there, “where the future of kids’ media is being rewritten”.
Adam Woodgate, The Insights Family
Tim Westcott
Tim Westcott, Omdia
The only video portal for the kids’ media industry.
Product News
Here we highlight some of the content brought to MIPJUNIOR by people and companies from around the world
BBC STUDIOS
RAFI The Wishing Wizard is a new animated sitcom from BBC Studios Kids & Family. Seven-year-old Rafi is a determined young wizard learning to use her wishing wand — but she can only make one wish a day and it always runs out, usually when she least expects it. Rafi’s wishes transform ordinary moments into extraordinary ones even though she realises that the real magic in life is her family, friends and community. The series is produced by BBC Studios Kids & Family Productions and will air on CBeebies in the UK in early 2026. The company is also showcasing pre-school series My Friend Maisy (52 x 5 mins), an adaptation based on Lucy Cousins’ books, with stories that slip between the real and the surreal, like a child’s imagination.
FRENCH animation producer and distributor Dandelooo brings pre-school series PongPong Dino (52 x 7 mins) to MIPJUNIOR and MIPCOM CANNES. Created and produced by Korea’s Dream Factory Studio, the CGI series aimed at three- to five-year-olds, encourages children to develop an interest in a wide variety of foods, promotes an open-minded approach to eating and encourages them to explore the world of food using their five senses and creative mindsets. Five kids — Momo, Titi, Po, Tutu and Kaka — immerse themselves in a world where they swim in giant watermelons, hula hoop with onions, jump on bouncy cherries, use juicy lemons as water balloons, jet ski with avocados and jump rope with stretchy cheese. Dandelooo also offers the second season of pre-school series Billy The Cowboy Hamster (48 x 11 mins + 2 x 22 mins specials).
STUDIO 100 INTERNATIONAL
BELGIUM-based Studio 100 International unveils CGI comedy animation Louca (26 x 24 mins) in Cannes. Produced by Media Valley and Belvision and with TF1 as commissioning broadcaster, Louca is aimed at six- to 11-year-olds and is based on comic books by Bruno Dequier. The series blends slapstick comedy with action as Louca faces the regular challenges of teenage life. Then one day, everything changes when he meets Nathan, who is confident, athletic, good at football and full of charm. However, Louca is the only one who can see him. Nathan becomes Louca’s secret coach — pushing him to take risks, aim higher and fight for the things that matter.
ANIMA KITCHENT
SPANISH animation company Anima Kitchent is in Cannes showcasing its latest series Howly & Wooly (52 x 7 mins). The 2D slapstick series for pre-schoolers delivers non-dialogue family-friendly humour and strikes the balance between laughout-loud chaos and captivating storytelling. Howly is a wild, untamed wolf with a big heart and Wooly is a calm, thoughtful sheep who likes gadgets, though most of them poorly made. Wooly’s tinkering with gadgets often leads to chaos but true friendship wins the day.
Louca (Studio 100 International)
Rafi The Wishing Wizard (BBC Studios)
Howly & Wooly (Anima Kitchent)
DANDELOOO
PonPong Dino (Dandelooo)
ABC COMMERCIAL
ABC COMMERCIAL introduces a spin-off show featuring a friend of The Wiggles, Tree Of Wisdom (18 x 5 mins), comprising forest dance parties and catchy songs. The Australian distributor also brings: Dance With Tom (5 x 5 mins), introducing young viewers to traditional First Nations dances inspired by the land, animals and elements; The Wiggles country special Wiggle Up, Giddy Up! (1 x 60 mins); the second season of Fizzy & Suds (26 x 11 mins), where two bubbly siblings go on curiosity-driven adventures, exploring everything from planets and tractors to noodles and frogs; and Gardening Australia Junior (20 x 15 mins), which returns for its third season.
KIDSME
PART of Italy’s De Agostini Group, KidsMe, returns to Cannes with a new selection of animation and live-action titles. A live-action highlight is New School, a popular Italian sitcom now in its third season, and Crazy Baby Playground, a cheerful pre-school series set in a colourful daycare centre. In animation, the line-up includes Brave Bunnies, a pre-school adventure following two curious bunny siblings as they explore the world and make new friends, and Isadora Moon, a little girl who is half-vampire and half-fairy, whose story is based on the bestselling books by Harriet Muncaster.
CAKE
LONDON-based Cake introduces Pablo: Next Level (40 x 11 mins) at MIPJUNIOR. Pablo has joined a new school and is navigating this strange new world one drama at a time, with a little ‘help’ from his animal-book friends. Through art and creativity Pablo makes sense of the things that feel impossible to untangle. Rooted in the voices of autistic comedians, Pablo authentically reflects the autistic experience while celebrating the unique ways different minds can enrich the world. Now reimagined for older kids, this series invites audiences into Pablo’s perspective, a reminder that seeing things differently isn’t just valuable, it’s extraordinary. The series is produced by Paper Owl Films, co-produced with Crayola Studios, exec-produced and internationally distributed by Cake and commissioned by BBC Children’s and Education and RTÉjr, with development and production funding from Coimisiún na Meán and Northern Ireland Screen.
Pablo; Next Level (Cake)
GREEN INK ANIMATION
ITALY’s animation producer and distributor Green Ink Animation is at MIPJUNIOR and MIPCOM CANNES with pre-school series Mini Pet Pals & Mini Dinos (26 x 6 mins), co-produced by Gruppo Alcuni and Rai Kids. The 2D series, targeting three- to five-year-olds, features the meet-ups between the Mini Pet Pals and eight tiny dinosaurs, led by Smilla, an endearing yet plucky saber-toothed tiger. The two groups of friends discover together how diversity can be an advantage with the stories promoting friendship, co-operation, respect and inclusion.
New School (KidsMe)
Mini Pet Pals & Mini Dinos (Green Ink Animation)
Tree Of Wisdom (ABC Commercial)
STUDIO TF1
THE BORROWERS (52 x 11 mins) is an adventure series about courage and curiosity – and friendship between tiny people and humans. Hidden in humans’ walls and floors live the Borrowers, tiny people who secretly borrow what we won’t miss. 11-year-old Arrietty Clock, just two inches tall, breaks the golden rule by befriending Tom, her human neighbour’s grandson. Together with her Borrower community and Tom’s help, she explores the vast world of ‘Zumans’ from climbing kitchen counters to dodging vacuum cleaners. The first-ever CGI adaptation of Mary Norton’s novels has already been picked up by TF1 (France), ARD/KiKA/ SWR (Germany), RTBF (Belgium), RTS (Switzerland), SVT (Sweden), DR (Denmark)and YLE (Finland).
MADGIC DISTRIBUTION
FRENCH youth-oriented company Madgic Distribution is at MIPJUNIOR with a new animated series, Emerald (18 x 11 mins + 1 x 22 mins), produced by UK independent Kelebek Media for Sky Kids. Emerald is from a book series by Harriet Muncaster, aimed four- to seven-year-olds. Emerald’s life changes from being a regular mermaid to becoming a princess when her mum marries the Sea King. Emerald is a companion series to Kelebek Media’s 2D animated series Isadora Moon (48 x 11 mins + 2 x 22 mins), which is also based on Muncaster’s work. Isadora is half fairy, half vampire, with adventures in the human world as well as with her magical family and friends. Madgic Distribution holds worldwide distribution rights for the series, excluding the UK and Italy. The company also launches the second season of Jade Armor (26 x 22 mins), about a mythical superhero. Now it is Lan Jun’s turn to be Jade Armor, with the help of her friends and the mystical Beasticons. Another highlight is new live-action series Showkids (6 x 26 mins), set in an after-school drama class and seen through the eyes of nerdy but imaginative Sam, a 12-year-old boy.
VISIONALITY
VISIONALITY, creator of BooSnoo! for Sky Kids, is launching its 30-minute Christmas family film at MIPJUNIOR, and later at MIPCOM. Bunny, a mixed-media film (live action with 3D, CG and 2D animation), is a journey through the beautiful British countryside on a crisp Christmas Eve. It follows the adventures of a beloved toy Bunny that belongs to a young deaf girl who, after a shopping trip, is being ignored by her hearing — and very noisy — family. When her toy is dropped getting out of the car, it seems like another disaster. But the bunny comes to life and explores the peaceful environment. The bold and uplifting orchestral Christmas symphony is visible on screen and animated throughout the film. Bunny uses minimal words, immersive sounds and visualised foley, and is deaf and sensory focused, while being accessible to all viewers.
ZONE3
MONTREAL-based Zone3 returns to MIPJUNIOR with the third season of its educational factual live-action series Adventure In The World Of Worlds (144 x 26 min). Designed for four- to sevenyear-olds, the series follows siblings Anaïs and Raph as they receive playful missions to discover animals and plants from around the world. Guided by their globetrotting Uncle Dimitri and surrounded by a colourful cast of supporting characters — including Blox the robot, their cat, Romane the charismatic bike courier, an eccentric theatre-loving neighbour, among others — they enter the magical World of Worlds, a spectacular environment. Each episode blends action, humour and learning as the duo completes each mission.
Bunny (Visionality)
The Borrowers (Studio TF1)
Emerald (Madgic Distribution)
Adventure In The World Of Worlds (Zone3)
BETA KIDS & YA
GERMANY’s Beta Kids & YA is bringing a feel-good series based on an original classic to MIPJUNIOR — Astrid Lindgren’s Seacrow Island (6 x 27 mins), produced by SF Studios in co-production with SVT and Astrid Lindgren AB. Other priorities include: Håkan Hurricane (3 x 120 mins), produced by Unlimited Stories in co-production with Nordisk Film, Film I Väst, and SVT, a family adventure in the spirit of Home Alone; Stable-ish (6 x 30 mins), Rat Pack Filmproduktion GmbH for ARD Degeto/ARD Mediathek, which offers an empathetic exploration of teenage mental health; Shadow Leaks (6 x 60 mins), produced by Dreamtool Entertainment for ARD Degeto Film, funk, and HR, with funding from Medienboard Berlin-Brandenburg, a series adaptation of a best-selling YA novel delivering an original take on Gen Z’s digital reality; and Rebound (20 x 8-15 mins), produced by Fenomen Studios for platform Null47, which takes an emotional rollercoaster of love, heartbreak and self-discovery.
HG DISTRIBUTION
ON THE MIPJUNIOR slate from Canada’s HG Distribution are: pre-school series Ubi Beeb (26 x 7.5 mins), set in a vibrant world on wheels, in which five-year-old Ubi and his turbo sidekick Beeb zoom into fun and curious adventures; From Head To Toe (10 x 10 mins), a fast-paced, edutainment animated series, in which two quirky skeletons, Pablito and Daphne, guide kids through the wonders of the human body; and the second season of Lotus And Cali (24 x 5 mins), in which each episode invites kids to explore a unique universe inspired by a different literary genre.
ROME-based Light & Color Studio brings Il Viaggio Di Marco Polo to the international market at MIPJUNIOR. The seven-episode Italian-language 3D series is an ancient story told by young people from different countries, where the ancient and the modern intertwine.
PVP DISTRIBUTION
PVP DISTRIBUTION is attending MIPJUNIOR with slate of youth content in both animation and live action. Launching in Cannes is Woolly Woolly (52 x 11 mins/26 x 22 mins), a brand-new pre-school animated series produced by Normaal Animation and PVP Media. Inspired by the universe of Mochi Mochi Land created by artist Anna Hrachovec, Woolly Woolly follows five knitted gnomes who live in an enchanted forest. Each whimsical adventure is framed through the imaginative play of two children. Another priority is Let’s Go Froggy!, in development with Jonas & Co, a pre-school CGI animation series based on the popular Froggy book series.
Woolley (PVP Distribution)
Il Viaggio Di Marco Polo (Light & Color Studio)
Ubi Beeb (HG Distribution)
Woolly
Seacrow Island (Beta Kids)
RAINBOW
A CGI version of Rainbow’s successful Winx Club franchise, Winx Club: The Magic Is Back (26 x 22 mins), is brought to MIPJUNIOR by Rainbow. This new fantasy/adventure series is seen through the eyes of Bloom, a 16- year-old suburban teen, who discovers she’s a fairy with magical powers. After enrolling in a fairy school in a far-off dimension to learn how to control her magic, Bloom makes new friends while uncovering the secrets of her mysterious and exciting past. But she soon discovers there are enemies who want to steal her powers and rule the universe.
KO DISTRIBUTION
KO DISTRIBUTION and Echo Media have chosen MIPJUNIOR to present the first completed episodes (two episodes and trailer) of new animated series Toopy And Binoo – Fabulous Adventures, a 2D-animated pre-school series produced by Echo Media and Huminah Animation. Licensed by CBC, Radio-Canada, TFO and Toon-Vision, the 54 x 7-mins comedy series is due for delivery soon. Based on books by Dominique Jolin featuring Toopy, the enthusiastic and clumsy mouse and Binoo the playful, clever cat, the stories include fantastic voyages soaring through space to bouncy castles made of clouds, meeting friends along the way.
MEDIAWAN KIDS & FAMILY
ARTEFACTS – Thieves Of Thieves (26 x 22 mins), blends mystery, action, humour and mythology, and follows siblings Charlie (14) and Jet (13), teenage guardians of powerful ancient artefacts scattered across the world. Along with Piper, a mysterious she-wolf with surprising powers, they must protect these objects — key to Earth’s balance — from quirky villains who want to seize them for world domination. Other highlights from France’s Mediawan Kids & Family include: Ki&Hi In The Panda Kingdom (52 x 13 mins), following two brothers who constantly clash, compete and ultimately support each other; The sixth season of Miraculous – Tales Of Ladybug & Cat Noir (26 x 22 mins), in which Marinette and Adrien face even greater challenges as Ladybug and Cat Noir, while their bond is tested by new villains; Witch Detectives (26 x 26 mins), following, three bold, inseparable best friends and trainee witches; non-dialogue 2D series Duck & Frog (50 x 7 mins); and Maddie + Triggs (52 x 7 mins), a heartwarming 2D pre-school series.
ANIMAJ
ANIMAJ is at MIPJUNIOR — and onwards at MIPCOM — with a line-up that includes an iconic brand, the pre-school series Pocoyo. With the arrival of Pocoyo’s little sister Bea, the brand is entering a new phase. Production on the sixth season has started and is set for a 2026 release, while a new digital-first season is already rolling out. Pocoyo, and more flagship properties set to be announced soon continue to build the Animaj portfolio.
Artefacts – Thieves Of Thieves (Mediawan Kids & Family)
Winx Club: The Magic Is Back (Rainbow)
Pocoyo (Animaj)
Toopy And Binoo (KO Distribution)
MAGIC LIGHT PICTURES
LONDON-based Magic Light Pictures’ latest adaptation from the picture books of Julia Donaldson and Axel Scheffler, The Scarecrows’ Wedding (1 x 30 mins) is an enchanting story about Betty O’Barley and Harry O’Hay. When Harry insists on leaving the farm to collect one last thing for their big wedding day, a smooth-talking scarecrow named Reginald Rake swoops in, and chaos ensues. The animated special features an all-star voice cast including Rob Brydon, Jessie Buckley and Domhnall Gleeson, with Sophie Okonedo as the narrator.
SHOWLAB
ITALIAN producer and distributor, Showlab is bringing Slippets (52 x 7 mins) to MIPJUNIOR, a series set in the fantastic village of Slippetown where everything is shaped like little slippers. The stop-motion series, targeting twoto five-year-olds, features soft and cozy characters in stories that emphasise the acceptance of everyone, whatever size, shape and colour. Another Showlab property in the production pipeline is Will Moogley: Ghost Agency. (26 x 11 mins). Will lives alone in a gothic apartment on the top floor of an old building. He is an orphan adopted by Uncle Alvin who has passed away, but who returns as a ghost to help Will to run the agency — and only kids can manage ghost agencies as they are more receptive to ghosts.
Slippets (Showlab)
ZDF STUDIOS
THE LADY Grace Mysteries (10 x 24 mins) is based on the children’s detective novels first published in 2004. The series, brought to MIPJUNIOR by ZDF Studios, is produced by Cottonwood Media and Coolabi Group, in co-production with ZDF Studios, commissioned by BBC Children’s and Education (for BBC iPlayer and CBBC) and ZDF, with a pre-sale to France Télévisions. Federation Kids & Family and ZDF Studios manage global distribution. Set in the court of Queen Elizabeth I of England, the story follows Lady Grace Cavendish, a clever teenager who secretly works as a spy for the Queen. Alongside her loyal friends Ellie and Masou, she tackles dangerous mysteries while dealing with the everyday challenges of growing up. Other titles from ZDF Studios include: Dinomite And Lucy (39 x 11 mins), set in a quirky Stone Age town where teenage dinosaur inventor Dinomite and his wild human friend Lucy tackle everyday chaos; live-action series Hoodie (156 x 11 mins), about a boy with a passion for justice and a secret talent for parkour; junior animation Klincus (26 x 22 mins); and live-action series Magic Moves Kids (8 x 23 mins), featuring a magic camp designed for children with mobility problems.
DEAPLANETA ENTERTAINMENT
MILO, along with his friends Lofty and Lark, explore the wide variety of jobs around the world in the animated pre-school series brought to MIPJUNIOR by DeaPlaneta Entertainment. The series has now aired in more than 170 countries across four continents. In the third quarter of 2024 it debuted in the US on public broadcaster PBS Kids, and its third season is already in production, with a planned premiere date of 2026. DeAPlaneta Entertainment recently expanded the brand with short-format series, Milo’s Creations and Milo’s Bookreads.
The Lady Grace Mysteries (ZDF Studios)
Milo (DeaPlaneta Entertainment)
The Scarecrows’ Wedding (Magic Light Pictures)
XILAM ANIMATION
SUBMARINE Jim (52 x 11 mins), aimed at six- to nine-year-olds, follows a young dolphin named Jim. Tasked with steering the world’s first-ever submarine on wheels, Jim leads a motley crew of underwater friends on a whirlwind journey across land and sea. Their water-filled tube has left the ocean to seek out an unlikely destination, the pristine waters of Fishland. Along the way, as they set off on their mission and navigate plenty of twists, Jim will be torn between his responsibilities as captain and fun times with his best friends. Submarine Jim is brought to Cannes by France’s Xilam Animation.
WILDBRAIN
TORONTO-based WildBrain is showcasing CG-animated pre-school series L’il Stompers (65 x 5 mins/26 x 11 mins) in Cannes, having picked up global rights, excluding Canada. L’il Stompers is an edutainment series that follows a group of little dinosaur friends who love playing games and exploring the world around them. The series is produced by IOM Media Ventures in consultation with educational expert Cheryl Gotthelf, who ensured the series aligns with pre-school developmental goals and incorporates effective social-emotional learning strategies.
FRANCE TV DISTRIBUTION
HPG IS currently developing 11 series, features, specials and digital content based on the extensive book catalogue of New York Times best-selling author and illustrator Mo Willems. In Cannes it is highlighting new series Edwina & Reggie, which is based on the book Edwina the Dinosaur Who Didn’t Know That She Was Extinct. Other titles include The Elephant & Piggie Show, The Pigeon Show: Starring The Pigeon and The Knuffles.
THE SECOND season of Super Caribou (52 x 11 mins) is brought to MIPJUNIOR by France tv distribution, once again featuring Windy-Mount, a seemingly quiet town where superhero Jeremy the caribou protects its quirky residents through funny and heart-warming adventures. Further titles include: Newcomer Summer Sparks (10 x 26 mins), aimed at kids and tweens, and set in Camp Mermont, where a group of teens navigate friendships, secrets and everyday challenges during a summer full of growth and excitement; and pre-school series Moods (52 x 7 mins), in which 12 characters embodying children’s emotions — from anger to shyness — helping young viewers understand and manage their feelings with empathy and fun.
SUPERIGHTS
SUPERPROD Animation unveils its new animated project Underdog (52 x 11 mins) at MIPJUNIOR, a reboot of the classic 1960s American cartoon. Developed and produced by Superprod Animation with Milan-based Red Monk Studio, in partnership with DeAPlaneta, the series is currently in production with Gulli and M6 in France and RAI in Italy. Underdog stars a superhero fit for young children, a delightfully goofy dog, taking on mischievous, hilarious villains. International distribution is handled by Superights, the distribution arm of Superprod Group. DeAPlaneta Entertainment manages media rights for Spain, Portugal and Central & Eastern Europe, along with worldwide licensing and merchandising rights (excluding the US and French- and Italian-speaking territories).
Underdog (Superights)
Moods (France tv distribution)
Submarine Jim (Xilam Animation)
A line-up of Mo Willems’ characters (HPC)
L’il Stompers (WildBrain)
JILIN ANIMATION INSTITUTE (JAI)
NEW FROM China’s JAI is Square Animal City, about a high-tech cube from an Earthling extraterrestrial probe that accidentally landed on Square Planet. The animal inhabitants of Square Planet find it and through this magical technological cube learned all about humanity’s latest advanced technologies and diverse social lifestyles. They unanimously decide to imitate and build their own Square Animal City.
BOAT ROCKER
SPIN-OFF of the Dino Ranch series, Dino Ranch: Island Explorers (52 x 11 mins), sees the Cassidy clan trade their cowboy hats for explorer hats and head off to the mysterious and exotic Dino Island. Home to Uncle Jack Cassidy and teeming with new dinosaur species, humongous insects and prehistoric amphibians, Dino Island offers the intrepid group a chance to explore its dino-filled jungle, active volcano and the previously undiscovered world under the water. Packed with peril, adventure and fun, the series introduces concepts of problem-solving, family, community and friendship, as well as taking care of animals.
AARDMAN
AARDMAN returns to MIPJUNIOR to showcase its own IP portfolio and third-party productions. Shaun The Sheep is now seen across 170 territories worldwide, and Series 7 (20 x 7 mins) returns with classic Shaun and the Flock stories. The Adventures Of Robin Robin (52 x 7 mins) is a CG-animated pre-school concept based on Robin Robin, Aardman’s 2021 film for Nexflix. The series follows the family life of a curious little bird, her four mouse siblings and their single dad. The third series of Very Small Creatures (20 x 3 mins) follows Pink, Green, Yellow, Blue and Orange in the playroom. Wonderblocks (30 x 5 mins) is a fun, character-driven show that teaches preschool kids computational thinking, produced by BBC Children’s Education, Alphablocks and Blue Zoo Animation Studio.
PBS DISTRIBUTION
CREATED by weatherman and host from the Today programme Al Roker, animation series Weather Hunters (40 x 30 mins) is brought to MIPJUNIOR by PBS Distribution. Weather wiz and force of nature, Lily Hunter — and her family — explore and report on everything from rain, snow, dew, thunder, lightning, ice and fog to more extreme weather, including hurricanes. Weather Hunters aims to inspire five- to eight-year-old kids to explore the incredible world of weather and investigate its role in their lives.
