YOUTUBE IS BEING USED MORE EACH DAY
Year-over-Year (YoY) Growth in YouTube Average Daily Minutes by Age Demographic Group, Global, 2024-2025
YouTube usage rose across viewers in all age groups from 2024 to 2025.
T he greatest increase in average daily minutes was the 55-64 demographic, which rose 11.1 minutes, from 70.3 in 2024 to 81.4 in 2025.
However, the 18-24 age group uses YouTube the most, averaging 111.0 minutes per day during 2025.
99.1
ACCORDING TO DIGITAL I’S “THE YOUTUBE ERA: 2025 IN REVIEW” REPORT, AVERAGE DAILY YOUTUBE VIEWING OVERTOOK NETFLIX GLOBALLY FOR THE FIRST TIME, WITH 99.1 MINUTES IN 2025.
20
YOUTUBE VIEWING TIME FOR VIDEOS OVER 20 MINUTES ROSE STEADILY FROM 63.6% TO 67.7%.
55-64
DEMOGRAPHIC POSTED THE LARGEST ABSOLUTE GAIN IN AVERAGE DAILY MINUTES.
Geographically, South Korea leads in total daily usage at 161.5 minutes per day, while France and Spain emerged as the fastest-growing markets, with yearon-year growth of 33.6% and 31.9% respectively. The data spans 18 countries across North America, Europe, Latin America and Asia-Pacific.
Animotion Media Group closed a new partnership with SKIDOS, the subscription-based educational platform designed to combine entertainment with curriculum-based learning experiences for children worldwide. Under the agreement, “The Fixies,” “Kikoriki,” “Tina & Tony,” and “Beardy Bodo” will be made available in English on the SKIDOS platform. The platform serves subscribers globally, with particularly strong audiences in the United States, Canada, the United Kingdom and Australia. ∙
The Walt Disney Company launched Main Street, its first company-wide inhouse creative agency, consolidating creative marketing talent from across the entertainment giant under a single organization. The agency is designed to serve as a central hub for creative marketing teams across the company’s businesses. Carrie Brzezinski-Hsu has been appointed Head of Creative Execution and will lead the new agency. ∙
International distributor Eccho Rights has acquired worldwide television and theatrical rights to two of Turkey’s most successful animated franchises, “King Shakir” (“Kral Şakir”) and “Super Team” (“Süper Bir Takım”), both produced by Grafi2000 Productions. The agreement represents a significant strategic expansion for Eccho Rights, extending its portfolio beyond live-action drama into high-performing animated content. Under the agreement, Eccho Rights secures worldwide television rights to both franchises, as well as theatrical rights to all four “King Shakir” films and the new “Super Team” feature. ∙
MIAM!
Marking a decade of independent animation, French media group MIAM! has launched MIAM! games, a new division dedicated to developing and producing premium video games for children and family audiences, leveraging the company’s flagship intellectual properties. The studio’s teams will be showcasing their upcoming developments at several industry events, including GameCamp, MIFA, and Gamescom. The new label will collaborate with veteran gaming professionals alongside the studio’s existing creative teams to build trusted, non-violent, and non-competitive “cozy” games. ∙
Mighty Picnic, creator and producer of the Emmy-nominated series “Lyla in the Loop”, has received the greenlight from PBS KIDS for a second season. Currently in production and scheduled to premiere in 2027, the second season will feature 24 half-hour episodes, a special centered on a Loops family reunion, and new digital games. Co-produced by Pipeline Studios, “Lyla in the Loop” aims to strengthen children’s critical and computational thinking skills while encouraging them to become creative and strategic problem-solvers. ∙
Three original Australian children’s series will soon be released on YouTube (Made for Kids) thanks to the Kids IP Incubator, an initiative by Screen Australia and the Australian Children’s Television Foundation (ACTF) aimed at developing Australian IP for children’s programs on digital platforms. In 2025, eight teams took part in the Incubator, receiving expert guidance and advice through in-person workshops and online masterclasses while developing their projects. After pitching to a panel of representatives from the ACTF, Screen Australia and international digital content strategist Nico Lockhart, three projects were selected to receive production funding. These three projects will launch their YouTube channels in the coming weeks. ∙
Spain’s Ánima Kitchent has finalized a new streaming partnership with Mercury Kids, a recently debuted subscription video-on-demand platform dedicated to premium family and children’s entertainment. Through this commercial agreement, the globally recognized preschool IP “Cleo & Cuquín” will join the Mercury Kids lineup in the United States. This expansion grants American households access to the property within a secure, curated, and ad-free streaming environment designed specifically for young viewers. The animated series will initially debut in the U.S. market via a soft launch on iOS and Android mobile devices, spanning both smartphones and tablets. ∙
MICKAËL MARIN, CITIA DIRECTOR, AND VÉRONIQUE ENCRENAZ , HEAD OF MIFA, DISCUSS THE 2026 EDITION OF THE WORLD'S MOST PRESTIGIOUS ANIMATION EVENT, HIGHLIGHTING THE LAUNCH OF MIFA AI AND MIFA INVEST, AS WELL AS THE VALUE OF COLLECTIVE RESILIENCE DURING INDUSTRIAL SHIFTS.
he Annecy International Animation Film Festival will again transform the picturesque lakeside town into the global capital of animation. Running concurrently, the MIFA market stands as the sector's unmissable event, providing a crucial platform for professionals to network, trade, and discover the future of the genre. This year, the festival operates under a unique atmosphere, one of rapid technological transformation and economic recalibration. Without a specific country of honor, the organizers have chosen to focus on the structural thematics that will define the next decade of animation production: the ethical integration of Artificial Intelligence and the urgent need for diversified private investment.
A primary highlight for this edition is the launch of two major initiatives designed to anticipate industry
Véronique Encrenaz, Head of MIFA shifts. The first is MIFA AI, an exclusive program led by the European think tank AI4Animation. This initiative is not merely
a series of talks but a three-year strategic project. Véronique Encrenaz, Head of MIFA, explained the vision behind it. "Our goal is to gather professionals for private, focused discussions that allow for a free exchange of ideas regarding the challenges and advantages of AI. We are looking at everything from artistic aesthetics and technology to legal regulations. By the end of this three-year cycle, we intend to produce a 'white book' that will serve as a structural guide for the industry," she said.
Complementing that technological focus is MIFA Invest, a full-day activity on Monday dedicated to bridging the gap between animation studios and the financial world. Recognizing that traditional funding models are under pressure, MIFA Invest invites animation and investment stakeholders to workshops and networking sessions. The program is designed to help studios and start-ups acquire practical tools to structure their projects, making them more attractive to external investors who may not yet fully understand the unique characteristics and risks of the animation sector.
Beyond these new programs, MIFA’s 2026 edition introduces the “European Animation Summit,” a permanent fixture designed to strengthen collaboration within the continent. Additionally, the physical market
space has evolved with the creation of the Cross IP area. Located on the first floor, this space reflects the growing synergy between animation, video games, books, and webtoons. "Cross IP is something we've always supported, but it is becoming so significant that it requires its own dedicated area for one-on-one sessions and networking between publishing and gaming companies," Encrenaz stated.
Latin America remains a formidable force at MIFA, maintaining a strong presence despite political and economic hurdles in countries such as Brazil and Mexico. Mickaël Marin, Director at CITIA, noted with pride the region's evolving quality of output. "The level of production coming out of Latin America is consistently improving. We are seeing a higher standard of work year after year, and it is a privilege to host such a significant delegation," he expressed.
The 2026 selection showcases a rich tapestry of Latin American talent across multiple categories. In the graduation competition, Mexico is represented by Antonia Sofía Silva Alvarado's “El canto del jaguar”, while Chile brings “Reinas de la pampa” by Millaray Isella Arriagada. The Short Film competition features “Canción de noche” by Karla Castañeda (Mexico) and “Lagoa do Abandono” by Diego Maia (Brazil). The "Perspectives" category further highlights the region's depth with works like “La Mujer Boa” from Peru and “Tres gatos parias” from Colombia. To support this growth, MIFA has deepened its collaborations with regional entities like La Liga de la Animación Iberoamericana, Pixelatl, Ventana Sur, and the Quirino Awards. A highlight of this partnership is the La Liga Award, which will be granted to one of the Latin American projects selected for the MIFA Pitches,
"THE LEVEL OF PRODUCTION COMING OUT OF LATIN AMERICA IS CONSISTENTLY IMPROVING. WE ARE SEEING A HIGHER STANDARD OF WORK YEAR AFTER YEAR, AND IT IS A PRIVILEGE TO HOST SUCH A SIGNIFICANT DELEGATION"
allowing the winner to travel to major industry events across the region. "We accompany these creators regularly. We have projects from Peru, Chile, Mexico, and Colombia all pushing the boundaries of the medium this year," Encrenaz added.
The animation industry is currently navigating a challenging landscape marked by shifting distribution models and economic instability. When asked for advice to companies struggling to find a clear path forward, MIFA directors emphasize the power of the collective. Véronique Encrenaz remains optimistic about the community's resilience. "These transformations are arriving for everyone, but we must remember that we are all in the same boat. We will find the solutions together. It is essential to dedicate time, whether physically or online, to the discussions and workshops where these problems are addressed collectively," she highlighted.
Mickaël Marin, CITIA
Director
Mickaël Marin added that the big picture seen at Annecy serves as a reminder of the industry's power. "What happens here in June is a clear reflection of how important animation has become within the wider cinema industry. It is incredibly diverse and powerful," he said. His core advice is to lean into the network of events, both small and large. "Maintaining these networks is the solution to staying strong. Each country should not work in isolation; industry stability comes when we support one another and find partners through these shared spaces. If there is strength in every country, the entire global ecosystem thrives," added Encrenaz.
To ensure this network remains accessible, MIFA has reintroduced the 100% Online Accreditation for 2026. This allows professionals who cannot travel to participate in the MIFA week through replays, the exclusive Video Library, and remote networking tools, ensuring that the global animation community remains connected regardless of geographical or financial constraints.
By Romina Rodríguez
T
CAROLINE TYRE , SR. DIRECTOR, DISTRIBUTION,
AT SPIN
MASTER, DESCRIBES
THE GLOBAL POTENTIAL OF THE "VIDA THE VET” SECOND SEASON AND EXPLAINS WHY "UNICORN ACADEMY" HAS BEEN LICENSED TO MAJOR CLIENTS THROUGHOUT LATIN AMERICA.
he continued global demand for Spin Master’s "Vida the Vet” reflects the strength of premium preschool storytelling that travels successfully across cultures and platforms. Señal News spoke with Caroline Tyre, Sr. Director, Distribution, at Spin Master, to understand the company’s global expansion strategy and the value of its business in the Americas.
How would you describe the global potential of the second season of "Vida the Vet”?
and SRC (Canada), RTÉ (Ireland), Cartoon Network ANZ, HOP! (Israel), and Jim Jam CEE. To further build brand affinity, we have also launched music streams tied to the series and will be rolling out additional songs as we continue to expand across Latin America.”
"Unicorn Academy" has been a massive hit for Spin Master. What are the expectations around the show's second season?
“We dropped a new batch of content, ‘Unicorn Academy: Secrets Revealed’ on Netflix last March. The episodes raise the stakes across the board, with bigger emotions, elevated storytelling, and a world that feels more alive (and dangerous) than ever. It’s everything fans of the series love, just leveled up.”
The first season of "Unicorn Academy" has been licensed to major clients throughout Latin America. What is the value of these deals for Spin Master?
“Latin America is a very important region for Spin Master, and the success of ‘Unicorn Academy’ there
“Following the successful international launch of season two, ‘Vida the Vet’ continues to resonate with broadcasters and streaming platforms around the world. Commissioned by BBC UK and Treehouse Canada, the second season has rolled out globally and is now available across Latin America, which is a key growth market for us as we continue to explore additional partnerships in the region. In addition, ‘Ask Vida’ shorts accompanying the series are available in Spanish across Latin America, further supporting accessibility and audience engagement. The series has already built a global momentum and is currently available at Netflix, Frisbee (Italy), France TV, CLAN (Spain), DR (Denmark), YLE (Finland), Dreamia (Portugal), SVT (Sweden), ABC (Australia), Treehouse
reinforces the global resonance of the property. We are proud to be partnering with leading broadcasters and platforms across the region, including Warner Brothers Latin America, SBT in Brazil, TV Azteca in Mexico, and Edye Latin America. The success of ‘Unicorn Academy’ in Latin America extends beyond traditional licensing. Music has been a significant driver of audience engagement, with total streams surpassing three million to date. Our Latin pop version of ‘Follow Your Heart’ was featured on Apple’s Kids Party playlist, while our YouTube presence continues to grow rapidly, with over 49 million views on our Latin American channel and more than 11 million views on our recently launched Brazilian Portuguese channel.”
What are the business expansion goals for a new edition of MIFA?
“MIFA remains one of the most important global events for building relationships, identifying new opportunities, and understanding where the industry is heading both creatively and commercially. This year, our focus is on expanding strategic partnerships across traditional broadcasters, streaming platforms, and digital partners, while further strengthening Spin Master’s presence in key international and emerging markets. Alongside content and distribution conversations, we are also prioritizing opportunities that support our broader franchise ecosystem, including consumer products and licensing partnerships that can extend brand engagement beyond the screen. MIFA provides an important platform to align content strategy with CP opportunities early, ensuring a cohesive approach to brand growth across multiple touchpoints. We are also actively engaging in discussions around evolving business models and new distribution opportunities that reflect the rapidly changing media landscape.”
By Diego Alfagemez
IN 2026, THE ANNECY INTERNATIONAL ANIMATION FILM FESTIVAL WILL FEATURE FOUR CATALAN PRODUCTIONS SELECTED FOR THE FESTIVAL, SEVEN PROJECTS AT THE MIFA MARKET SPACE, AND A DELEGATION OF 38 COMPANIES.
For some years now, Catalan cinema has been leaving an important mark on Europe. Fiction, animation, and documentary audiovisual productions play a very important role at festivals around the world, receiving international awards and premieres on screens worldwide. The recognition of critics and international audiences is unanimous, and the prestige of Catalan professionals reflects a very powerful industry, with undeniable talent and an enormous level of quality training.
number of festivals that place the country on the international map.
In 2026, C atalan Films, the internationalization brand of the Catalan audiovisual industry, will once again be present
In 2025, the Department of Culture, through the ICEC, dedicated nearly €60 million to the audiovisual sector, a record figure. The audiovisual sector continues to be one of the Government's axes in this legislature, and it is a priority to promote it as a strategic sector. The subsidy lines managed by the ICEC cover the entire audiovisual value chain, with items destined, for example, to development and co-production.
This support has helped to make visible and consolidate some of the values for which the Catalan audiovisual industry stands out: the talent of professionals, the existence of internationally recognised training centres, the work and commitment of a powerful audiovisual industry, which draws from a long tradition and generates an enormous variety of productions, and the richness of a very large
at Annecy with a stand available to all selected Catalan companies and productions at Annecy-MIFA. The Catalan companies attending are: 3000percent, 3Cat, Alhena Production, Animac Lleida, Apocalipsis Producciones, Associació Cultural Modiband, Audioprojects, B-Water Animation Studios, Catwalk Animation, Cornelius Films, Damita Joe, DeAPlaneta, Donkey Films, Goldbee, Horizontal Films, Ikiru Films, Imagic TV, IVI Productions, Kever Films, La Ballesta, Liquid Rock Entertainment, Mago Production,
Malva Pictures, Mil Monos Cine, Mr. Miyagi Films, Noon Films, Oceanika, Ouo Time, Peekaboo, PROA –PROAnimats, Rita & Luca Films, Siesta Entertainment, Sitges Film Festival, Studio Kimchi, Tomavision Studio, Vanova, WKND, Ypsilon Films.
This year, the feature film “Winnipeg, Seeds of Hope” (La Ballesta, El Otro Film, Dibulitoon Studio, Malabar Producciones) by Beñat Beitia and Elio Quiroga will compete in Contrechamp Official Feature Film Selection. The film follows Víctor and his daughter Júlia, who, after fleeing Franco-occupied Barcelona, try to board the Winnipeg, the ship chartered by Neruda and the Quakers of Paris to bring Republican refugees to Valparaíso, Chile. The film is a co-production with Chile and Argentina.
As part of the non-competitive section Annecy Presents, “Monster Mia” (Arx Anima Animation Studio Gmbh, Arxlight Pictures, Ikiru Films, Peng! Boom! Tschak! - Films) by Verena Fels has been selected.
An Austrian, German, and Spanish co-production of family animation and horror fantasy that follows Mia, a rebellious girl who is sent to the mysterious Rotwood academy after being expelled from school, and discovers that all her classmates are monsters, while trying to fit in and stop a plan that endangers humans.
The short film “Because Today is Saturday” (Animais AVPL, La Clairière Ouest, Studio Kimchi) by Alice Eça Guimarães will be presented in the Perspectives section. It is a co-production between Catalonia, Portugal, and France that portrays a woman who tries to find time for herself while domestic and family demands constantly interrupt her day. The short film won the Best Animated Film award at the PÖFF Shorts in Tallinn.
Finally, in Midnight Shorts, the section dedicated to the darkest, most disturbing, and experimental pieces of animation, “Hunger” (Orlok Films, Mil Monos Cine, Kabiria Films) by Imanol Ortiz López will be presented. Mònica García, General Director of the Foundation of Sitges Film Festival, will be the official jury in the feature film section.
“Impossible!”
Moreover, seven Catalan projects have been selected at MIFA in four different sections. This year, at MIFA Pitches, in the Feature Films category, “The Factory Beyond the Hill” (Noon Films, LPB Content) by Lucas Abrahão and Ricardo Kump will be presented. The section brings together some of the most promising animation projects in development on the international scene, offering creators the opportunity to present them to professionals, coproducers, and industry agents.
In this same section, but in the TV Series & Specials category, two more titles have been selected: “Escazú Souls” (Forward, Polygonal Factory, Cubho
IN 2025, THE DEPARTMENT OF CULTURE, THROUGH THE ICEC, DEDICATED NEARLY €60 MILLION TO THE AUDIOVISUAL SECTOR, A RECORD FIGURE.
Audiovisual, Leste) by Nicholas Hooper H., and “Impossible!” (Studio Kimchi, Cosmo Giantwheel) by Bruno Simões. On the other hand, through MIFA's collaboration with ICEX and ICAA, three Catalan projects will be presented
within the Women in Animation from Spain Pitches industry section. Firstly, “A Dangerous Journey” (Noon Films, Avec ou Sans Vous) by Lucija Stojevic, Carla Melo, Laura Ginès and Iulia Voitova. The project was already selected last year at MIFA at the Ibermedia NEXT Pitch. The projects “The Journey” (WKND, Dos Soles Media, Nu Boyana Film Studios) by Júlia Francino and the short film “Who Killed Cock Robin” (Frog Animation, Alhena Production) by Romina Martí have also been selected. Finally, “Insectarium” (Inicia Films, Pimienta Films) by Sofía Carrillo, has been selected to participate in the Annecy Festival Residency: Exclusive First Look, an international program promoted by the festival dedicated to the
usJourney ” development of animated feature films. This residency offers creative support, mentoring, and a workspace so that the selected projects can delve into their visual and narrative universe for several months.
By Diego Alfagemez
GENNARINO ROMANO, INTERNATIONAL SALES & HEAD OF ACQUISITIONS AT DANDELOOO, DISCUSSES THE COMPANY’S COMMITMENT TO HIGH-QUALITY PRESCHOOL CONTENT AND ITS 360-DEGREE STRATEGY FOR SURVIVING A COMPLICATED INDUSTRY.
During the latest edition of Content Europe, Gennarino Romano, International Sales & Head of Acquisitions at Dandelooo, shared insights into the company’s robust production slate and the creative philosophy that drives the French studio. Despite a challenging global market, the company continues to find success by staying true to its core mission: delivering high-quality edutainment for young audiences.
One of the main highlights of the current season is "Max & Bunny," a co-production with Canal+ adapted from the books by Astrid Desbordes and Pauline Martin. Nominated for this year’s Annecy Festival, the series marks the company's return to 100% preschool content. "The idea was to create a 100% preschool series with a soft tone, focusing on everyday life, friendship, and self-awareness. It’s about understanding yourself and each other, driven by curiosity and the joy of exploring the big world around us," Romano explained.
In addition to this new launch, Dandelooo continues to expand its successful IPs. "Billy the Cowboy Hamster," based on Catharina Valckx’s books, is currently in
production for its second season with France Télévisions. The series has already seen international success with sales in Germany, Italy, the UK, Central and Eastern Europe, and the US. Similarly, "Pompon Little Bear" is now in its third season, while "Hold on Gaston!" shows Gaston as he learns how to handle his emotions and often gets into big trouble with his friends. The comedy series is currently in production.
For older kids and families, Dandelooo is launching "Under the Sofa," a character-driven series about a group of lost objects living under the sofa. Part sitcom, part adventure, the series features imperfect characters in imperfect harmony, trying to survive in the big world of a family apartment. Moreover, “Pol The Pirate Mouse” tells the story of Pol and his crew setting sail on exciting adventures, discovering unexpected treasures along the way.
Romano acknowledges that the kids' content industry is facing a complex period, yet he remains optimistic about Dandelooo's position. “The industry is currently navigating a demanding landscape, but we must remain positive. At Dandelooo, we are fortunate to have multiple projects in active production and development. We believe our focus on high-quality content for broadcasters allows us to deliver programs that truly provide value to children,” he noted.
A key part of staying competitive is implementing a 360-degree strategy. According to the
executive, modern distribution is no longer limited to linear or VOD. “Developing a comprehensive strategy is more important than ever. But while expanding across platforms and building brand presence, we must not lose sight of the children and the stories we want to tell. At the heart of every successful brand is a strong story that remains the key to creating meaningful connections and lasting impact,” Romano emphasized. Despite the rapid evolution of technology and platforms, Romano believes the heart of children's entertainment remains constant. When asked about the difficulty of reaching modern kids, his perspective was clear. “A great story will always remain at the heart of what we do. That belief has guided us since the very beginning of Dandelooo. Even as the industry, platforms, and viewing habits continue to evolve, our focus stays the same: creating meaningful stories and messages that truly connect with children across generations,” he stated. Dandelooo will continue its international journey this year with a strong presence at major industry events, including Annecy MIFA, APD, Le Havre, and the upcoming Mip Junior and Mipcom.
By Romina Rodríguez
KARINE RUBIN, DIRECTOR OF SALES FOR EMEA AT SINKING SHIP ENTERTAINMENT, ANALYZES THE DISCONNECTION BETWEEN BROADCASTERS AND OLDER CHILDREN AND HOW THE COMPANY IS ADDRESSING THAT DEMAND WITH PREMIUM LIVE-ACTION AND CGI HYBRID SHOWS.
Sinking Ship Entertainment continues to solidify its dual identity as both a producer and distributor, specializing in high-end live-action content that stands out creatively in a market often saturated with preschool animation. According to Karine Rubin, Director of Sales for EMEA, the company’s core mission is to build long-term relationships through multi-seasonal franchises that deliver both commercial appeal and a meaningful impact on families.
One of the most significant challenges the industry faces is the perceived "disconnection" between broadcasters and children over the age of six. "Broadcasters went for a lot of preschool because preschool is still working, but we feel there's a need coming now because the 6-9 segment was left a little aside," Rubin explained. While there is a trend suggesting older kids are moving away from traditional TV, Sinking Ship sees a major opportunity to fill this gap.
To address that need, the
company is promoting premium dramas like "Phoenix Rise", a bold coming-of-age series for viewers aged 10+ that follows six students navigating the trials of school life. On the comedy side, the hit franchise "Odd Squad" continues to bridge the 4-8 and 6-9 demographics. The series, which recently launched its fifth season as "Odd Squad UK" on the BBC, uses math and unpredictable gadgetry to solve strange problems, maintaining its status as a cornerstone of the company’s distribution slate.
On the production front, Sinking Ship is advancing several ambitious projects. The company is currently working on the financing for "Spaceships", a new live-action/ CGI hybrid created by JJ Johnson in collaboration with the Planetary Society. Additionally, the studio is preparing its second feature film, "The First Dinosaur", a spin-off of the massive "Dino" franchise, which includes "Dino Dan," "Dino Trek," "Dino Dana," and "Dino Dex,” scheduled to release next fall.
The slate also includes "Flower and Flower", a co-production with Australia’s Cheeky Little, and the
newly greenlit preschool series "Stevie and the Sacred Animals." Co-produced with Manitoba’s Eagle Vision and commissioned by CBC and APTN, the 2D-animated and live-action mix follows a six-yearold Anishinaabe girl, integrating indigenous culture and language lessons into a heartfelt visual world set for a 2027 premiere.
For Sinking Ship, supporting brands outside the traditional broadcast window is essential for growth. While live-action poses unique merchandising challenges compared to animation, the company focuses on digital expansion. "The more you see a brand outside of only the broadcast, the more it will help the brand grow," Rubin noted. For instance, the strategy for "Spaceships" includes creating specific content for planetariums, while "Odd Squad" relies heavily on online games and additional marketing materials to engage its audience.
Regarding the role of digital platforms, Rubin maintains a balanced perspective on the partnership with YouTube. While acknowledging the platform's importance for supporting material, she emphasizes the enduring value of traditional partners. "We still believe in the broadcasters as the main place where parents trust that the kids will have good content. For us, that is very precious; YouTube comes in as a support," the executive concluded.
By Romina Rodríguez
GINA
COSTELLOE , HEAD OF CONTENT DISTRIBUTION, EMEA AT MOONBUG, EXPLAINS THE "YOUTUBEFIRST" PHILOSOPHY THAT HAS ENABLED THE COMPANY TO OVERCOME THE OBSTACLES ANIMATION FACES TODAY.
Moonbug’s roadmap for the short future is marked by the expansion of its most successful universes. One of the main highlights is the launch of "Emmie’s Wonder Wardrobe," a spin-off of the hit series "Little Angel.” This new production ages up Emmie's character to target a slightly older demographic (3–5-year-olds) and focuses on imaginative play and selfexpression through original pop music. According to Gina Costelloe, Head of Content Distribution, EMEA, at Moonbug. "The show evolves beyond traditional nursery rhymes to using catchy pop songs and vibrant storytelling to celebrate the creativity and individuality of kids today," she said.
The company is also building significant momentum for the "CoComelon" movie, slated for release in February 2027. While
"WE NEED TO BE ON EVERY PLATFORM WHERE KIDS AND FAMILIES ARE"
details remain behind closed doors, Costelloe describes it as a "brand-new adventure" unlike anything audiences have seen before. Despite the franchise’s long history, "CoComelon" continues to deliver massive viewing figures across global platforms like Netflix and YouTube, solidifying its position as one of the most recognized preschool brands in the world. Similarly, "Blippi" will lead 2026 with the "Year of Vehicles,” a theme designed to provide an easy entry point for both audiences and platform partners.
While many animation companies are currently facing multiple challenges, Moonbug maintains a distinct advantage. "For us, it's a slightly different story because we're YouTube-first, and we've been that way since the beginning. We have a completely different strategy to most companies out there; they are trying to catch up with what we've already been doing for a while," explained Costelloe. This strategy is built on being non-exclusive and ubiquitous. "We need to be on every platform where kids and families are. We also need to create content
that represents the moment people are watching, whether that's short-form on a phone during a car journey or co-viewing in the living room," she added. The "YouTubefirst" approach, which the company pioneered in 2020, is now being adopted by major traditional broadcasters worldwide.
For Moonbug, a successful IP must have a strong YouTube audience base as a foundation, which then triggers a comprehensive 360-degree strategy. That includes massive success on music platforms like Spotify, consumer product licensing, and an increasingly important live events division, such as the "Blippi Live Tour." "Wherever kids and families are, that's where we need to be," Costelloe emphasizes, highlighting that the goal is to provide different experiences for every possible moment.
Looking ahead, and after its participation in Content Europe and NEM, the company aims to deepen its penetration in key territories. While Moonbug has long-standing partnerships across EMEA, it is focused on expanding further into Southern Europe, particularly Spain and France. With the Children's Media Conference (CMC), where Moonbug is a sponsor, and MIPCOM on the horizon, the company is set to continue its expansion by following the audience wherever they consume content.
By Romina Rodríguez
