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MEDIATOON FOCUSES ON EDITORIAL DIFFERENTIATION

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MIP JUNIOR 2026

STUDIO 100 INTERNATIONAL BETS ON CLEAR IDENTITY

WYNCOR ENTERS THE KIDS' CONTENT ARENA

#257 ∙ YEAR 26 ∙ OCTOBER 2026

90%

10.5

ACCORDING TO NETFLIX, YOUNGADULT SERIES AND FILMS HAVE GENERATED MORE THAN 10.5 BILLION GLOBAL VIEWS SINCE 2023, WITH “STRANGER THINGS” AND “DAMSEL” AS TOP PERFORMERS.

YA TITLES HAVE APPEARED IN NETFLIX GLOBAL TOP 10 MORE THAN 90% OF THE TIME IN 2026.

MORE THAN 20 DIFFERENT TITLES REACHED NETFLIX’S TOP 10 RANKING.

Netflix has launched a dedicated YA collection on its platform, bringing together established franchises including “To All the Boys I’ve Loved Before,” “The Kissing Booth,” “You Are So Not Invited to My Bat Mitzvah,” “Never Have I Ever,” “My Life With the Walter Boys,” and “XO, Kitty.”

BYD AND MEDIAWAN EXPAND “MIRACULOUS” PARTNERSHIP BYD and Mediawan expanded their strategic content partnership with “Miracle Power,” a new special episode of “Miraculous: Tales of Ladybug & Cat Noir”. Produced by Miraculous Corp, the joint venture between Mediawan and ZAG, the episode premiered worldwide on YouTube on September 28, extending the collaboration beyond the “Miraculous Chibi” format launched earlier this year. The new special places BYD and its premium new-energy vehicle brand DENZA directly within the Miraculous universe. ∙

WILDBRAIN EXPANDS “STRAWBERRY SHORTCAKE” FRANCHISE WildBrain is expanding its “Strawberry Shortcake” franchise across content, consumer products, and brand activations as the property heads toward its 50th anniversary in 2028. The company will launch a new CG-animated bitesized series, “Strawberry Shortcake’s Bake Shop”, on October 16 on the official Strawberry Shortcake YouTube channel on the WildBrain Network. The 26 x 3-minute episode season offers fans a first look at Strawberry and her Berry Bestiesin fresh CG designs inspired by their classic 1980s look. ∙

ZDF STUDIOS TAKES INTERNATIONAL CO-DISTRIBUTION ON “BE WITH ZEE”

ZDF Studios has acquired international co-distribution rights to “Be With Zee,” the new preschool series from Canada’s Vérité Films, produced with New Zealand partners Oddly Quiet and Media Tech Productions. Under the deal, Vérité International Distribution and ZDF Studios will jointly handle international sales, with Canada, Australia and New Zealand remaining co-production territories and ZDF Studios targeting Europe and selected global markets. The first season comprises 52 six-minute episodes, with a second 52-episode season already in development. ∙

COTTONWOOD MEDIA BECOMES FULLY INDEPENDENT AS IT EXPANDS INTO YA FRANCE TÉLÉVISIONS GREENLIGHTS SECOND SEASON OF “MYSTERY LANE” France Télévisions has ordered a second season of Hari’s CGI animated comedy-adventure series “Mystery Lane”. Aimed at kids aged 6+ and families, the title currently airs across 84 territories, with broadcast partners including ABC (Australia), BBC (UK), Rai (Italy), YLE (Finland), NRK (Norway), DR (Denmark), SVT (Sweden), TV Catalonia (Spain), Super RTL (Germany), RTBF (Belgium), RTS (Switzerland), Mediacorp (Singapore), Youku (China), Télé-Québec (Canada), and Primo TV (US). The new season continues the Londonset investigations of Clever and her brother Bro as they face returning antagonist Atlas. ∙

France-based kids and youth producer Cottonwood Media is entering a new phase as a fully independent production company after founder David Michel bought back Federation Studios’ entire stake in the business. Michel will continue to lead the company alongside partners Cécile Laurenson and Zoé Carrera Allaix. Cottonwood became a subsidiary of Federation Studios in 2015, with Michel also joining Pascal Breton and Lionel Uzan as co-founders of Federation. Under the new structure, Federation will remain the international distributor of Cottonwood’s existing catalog, while retaining a first-look right on distribution of future productions. ∙

RAINBOW GROUP NAMES NICOLA MACCANICO AS CEO OF COLORADO FILM Rainbow Group has appointed Nicola Maccanico as CEO of Colorado Film, marking a new phase for the Italian production company as the group looks to strengthen its position in the local and international audiovisual market. Maccanico brings extensive experience across film distribution, production and media management. He previously served as CEO of Cinecittà from 2021 to 2024, leading a period of development for Italy’s historic film studios. Earlier, he was CEO of Vision Distribution, while also holding the role of Executive Vice President, Programming, at Sky Italia.

BOAT ROCKER STUDIOS GREENLIGHTS THE SECOND SEASON OF “DINO RANCH: ISLAND EXPLORERS” Boat Rocker Studios has greenlit a second season of its hit animated series, “Dino Ranch: Island Explorers,” with CBC, Radio-Canada, and Warner Bros. Discovery as broadcast partners. In addition to renewing “Dino Ranch: Island Explorers,” Warner Bros. Discovery’s Cartoonito has also acquired seasons one and two of the original series, “Dino Ranch.” The show was created by Industrial Brothers co-founder Matthew Fernandes and produced by Boat Rocker Studios and Industrial Brothers. Boat Rocker manages global franchise development, including content distribution and brand management. ∙

OPINION

“ZENÓN'S FARM”: THE LEAP TO THE BIG SCREEN

KY PUMA

n 2026, El Reino Infantil is celebrating its 15th anniversary with families. Over the years, the brand has grown to become a global E phenomenon thanks to OB BY R songs and characters that have accompanied several generations of children. In 2011, “Zenón's Farm” premiered on YouTube, marking our official launch on the digital platform. Today, we’re excited to announce a new milestone in our company’s history: El Reino Infantil is coming to the big screen with “Zenón's Farm: The Movie.” This ambitious film project is based on one of the Spanish-language children’s franchises with the widest global reach. The feature film is currently in preproduction and is scheduled to premiere in theaters in 2028. This initiative marks a new benchmark in the evolution of a franchise that began in the digital realm and has since transcended the screen to become a children’s entertainment brand with an international presence. The film, which will feature a visual revamp of the characters and an exceptional musical score, aims to offer millions of children their first movie theater experience. “Zenón's Farm: The Movie” will explore Bartolito’s origins and the journey that made him one of the most beloved characters. Since 2019, El Reino Infantil has become the world’s #1 Spanish-language children’s content ecosystem on YouTube, a position we maintain to this day, with more than 240 million global subscribers across a network of over 50 channels, featuring content available in 11 languages. El Reino Infantil is also available on FAST and CTV platforms (Roku, Samsung TV, LG, TCL, and Pluto TV), as well as on premium streaming platforms such as Netflix, HBO Max, Amazon Prime Video, RTVE, DIRECTV, Tivify, and Flow. We are currently working hard across our three business units: Content 4

Creation for streaming platforms, Licensing, and Theater & Live Experiences. In addition to the film, we have other updates regarding content production: we continue to make progress on our agreement with Mediawan Kids & Family, both for the production of “Wadoo” and for the distribution of “The Little Prince & Friends” in the region. Additionally, together with Cake Entertainment, we are developing the series “Pili Pilota.” As for the Licensing business unit, the company has implemented more than 90 agreements in 15 countries, with more than 900 products developed and 2,2 million units sold. Beyond our agreements with various licensees, we have decided to explore a complementary path: producing our own products. It’s quite a challenge, but we see it as a logical step that will allow us to continue expanding this area, which is in such high demand. Through our Theater & Live Experiences business unit, we have produced official shows in more than 20 countries, totaling more than 750 performances and selling more than 1,5 million tickets. In Argentina, one of the world's most challenging theater markets, we’ve been presenting plays on the Buenos Aires circuit for a decade. In 2026, we once again topped the box office during the winter break for the sixth consecutive year. As we look back on these past 15 years, we are proud of what we have achieved so far, and far from resting on our laurels, we continue to work to bring new and innovative content to global audiences, in step with the new challenges of our times. True to our core values, and mindful of the responsibility that comes with supporting parents, educators, and children through content that combines entertainment and education, we understand the contribution we make in areas such as psychomotor stimulation, early literacy, and strengthening children’s family and social bonds; issues of immense value to all of us who are part of the great family that is El Reino Infantil.

INTERVIEW

“WE FOCUS ON PROPERTIES THAT HAVE A CLEAR IDENTITY AND STRONG CHARACTERS”  Fabrice Laventure-Darival

FABRICE LAVENTURE-DARIVAL, SALES EXECUTIVE AT STUDIO 100 INTERNATIONAL, DESCRIBES THE COMPANY’S MAIN BET FOR MIP JUNIOR AND MIPCOM, “CHILL OUT, ZEUS!” AND THE NEW TRENDS IN THE ANIMATION BUSINESS.

tudio 100 International will have a key launch at Mip Junior and Mipcom: “Chill Out, Zeus!”. The German company will also showcase “Living Wild,” “Mortina,” “Louca,” and “Vegesaurs.” To understand the scope and global appeal of that slate, Señal News chatted with Fabrice LaventureDarival, Sales Executive at Studio 100 International. How would you define the global potential of your content slate? “What connects all of these shows is a combination of strong characters and universal themes such as friendship, belonging, confidence and resilience – these are things kids everywhere can relate to. ‘Chill Out, Zeus!’ has the enormous recognition of Greek mythology behind it, but it presents it in a contemporary, comedic way. ‘Mortina’ has a very distinctive visual identity and a wonderfully universal theme around being different and finding where you belong. ‘Louca’ uses football as a gateway into stories about friendship and self-confidence, which are themes that work far beyond sport. ‘Living Wild’ has a wonderfully simple concept: 6

three completely unprepared city pets are suddenly stranded in the wilderness, with absolutely no idea how to survive. Underneath all the chaos and slapstick, there’s a warm story about friendship and learning to work together. ‘Vegesaurs’ is now in its fifth season, and we're seeing real momentum around the brand, including the toy launch in Australia this year, with further European markets following in 2027. At Studio 100 International, we focus on properties that have a clear identity, strong characters, and tap into emotions and experiences that children everywhere recognize, and we believe this slate delivers both.” How has the comedy-adventure genre evolved in the animation business? “Comedy-adventure remains one of the strongest genres in kids' animation, but audiences today expect more than humor and action. They want memorable characters, meaningful relationships, and worlds they can keep coming back to. From our perspective at Studio 100 International, successful comedyadventure series are no longer built around standalone episodes alone. Broadcasters, streaming platforms and licensing partners are increasingly looking for properties that can grow into

long-term brands. The strongest projects are those that can engage audiences worldwide and create opportunities across multiple platforms, from television and digital distribution to consumer products and live experiences.” What are the main demands that the 6-12 target audience has today for a new story? “The 6-12 audience is probably the most content-savvy generation we have ever had. They consume stories across television, streaming platforms, YouTube, gaming environments, and social media, often seamlessly moving between them within the same day. As a result, this audience wants stories that are fast-paced, highly entertaining, and instantly relatable. They connect with authentic characters and stories that balance humor, adventure and emotion. We also see growing demand for rich story worlds that keep audiences engaged beyond a single episode.” How do the new shows dialogue with social digital platforms “Digital platforms have become an essential part of how audiences discover and engage with content. For us, that means developing brands that can connect with fans across multiple touchpoints while staying true to their core storytelling. Strong content remains the foundation. Digital platforms are most effective when they amplify characters and stories that audiences already love.” By Diego Alfagemez

INTERVIEW

“PRODUCING ANIMATION MEANS TAKING RISKS” FRÉDÉRIC GENTET, HEAD OF SALES AT MEDIATOON DISTRIBUTION, REFLECTS ON NAVIGATING INDUSTRY HEADWINDS BY FOCUSING ON EDITORIAL DIFFERENTIATION AND LEGACY BRAND REFRESHES SUCH AS “TROTRO & ZAZA” AND “THE MARSUPILAMIS.”

 Frédéric Gentet

ediatoon Distribution is navigating an evolving market by focusing on editorial differentiation and legacy brand refreshes. Leading the distributor's slate is “Trotro & Zaza,” a French-Italian co-production with France Télévisions and Rai Kids, a new production of “Trotro,” a brand that has sold over 4.2 million books and generated more than 1.2 billion views across YouTube. Returning to the screen 22 years after the original “Trotro” series, the new adaptation explores the dynamics of everyday childhood through the lens of siblinghood. “We follow the design and editorial style of the original series, but this time ‘Trotro’ is facing a new challenge: becoming a big brother, which means sharing his parents' affections and his toys,” said Frédéric Gentet, Head of Sales at Mediatoon Distribution. The comeback has delivered strong initial stats in France ahead of its Italian launch on Rai Kids. “France Télévisions began broadcasting in April, and the series has already reached 13 million replay views, which is huge,” Gentet noted. “It stands

as the biggest launch on Okoo since its creation, proving that a new generation is connecting with the IP, which is incredibly positive. After this record-breaking performance, France Télévisions has already commissioned a second season and a slate of 78 new episodes that will further explore the emotional bond between the siblings,” he added. Mediatoon is also in discussions with theatrical distributors for a 2027 "first screening" compilation release for young audiences, alongside international broadcast negotiations. In addition to “Trotro & Zaza,” Mediatoon Distribution is driving the global rollout of “The Marsupilamis” alongside Nickelodeon and a growing network of local broadcast partners. "’The Marsupilamis’ continues to demonstrate the universal appeal of the brand across a wide range of markets," said Gentet. "The very strong performances we are seeing, particularly in the UK, Spain, Italy and Poland, reflect the enduring affection for this iconic European property. More milestones in this IP’s international expansion will be announced soon,” he added. MARKET STRATEGY Addressing the broader economic pressures facing the French and international animation sectors, Gentet highlighted the need to avoid short-term trends because

of long production cycles. “We must listen to the market, but right now nobody can predict where it’s going because it’s evolving so fast,” the executive explained. “The real challenge is not chasing trends. Animation production takes three to five years, so by the time you finish, you are already late,” he stated. Instead, Gentet pointed to offering elevated, distinct concepts like “Belfort & Lupin.” “The key is to offer singular productions to the market. Nowadays, producing animation means taking risks. Our group knows how to deal with it, and our editorial approach must reflect that by bringing unseen works to viewers. It’s easy to say and hard to produce, but that’s an interesting challenge,” Gentet affirmed. Reflecting on the MédiaParticipations’ audiovisual hub current year and looking ahead, Gentet described 2026 as positive, bolstered by multi-network support across France Télévisions, TF1, and M6. Upcoming projects include “Animal Jack” (TF1), a new season order of “Living With Dad” for 2027 (M6), and the return of Yakari from 2027 on, first as a feature film, then as a TV series. “Our group collaborates with various partners in Europe across multiple genres, making this year very positive. Next year will be more challenging as we have fewer deliveries lined up. We will also rely on our back catalog, trusting that our classic titles will help us navigate the wider industry crisis,” Gentet concluded. By Romina Rodríguez

DISTRIBUTION

LEVERAGING FRANCHISE POWER AND DIGITAL ECOSYSTEMS

Safaa Benazzouz

AS THE GLOBAL LANDSCAPE FOR FRENCH ANIMATION SHIFTS, XILAM ANIMATION IS ANCHORING ITS COMMERCIAL STRATEGY ON A BALANCED MODEL OF PROVEN FRANCHISE EXTENSIONS, EARLY-STAGE 360-DEGREE DIGITAL ROLLOUTS, AND MULTI-WINDOW DISTRIBUTION.

s the global animation industry faces tightening market conditions and shifting buyer demands, Xilam Animation is pursuing a strategy that balances fresh creative output with the security of established global franchises. Heading into Mipcom after the Unifrance Rendez-Vous in Le Havre, the French studio is leveraging its extensive digital reach, boasting over 130 million subscribers across YouTube and social media platforms, along with 20 million daily YouTube views, to drive audience engagement and de-risk new developments. “Our strategy now is to have new seasons or spinoffs from our existing franchises and have strong characterdriven comedies to balance and respond to the market's demand,” stated Safaa Benazzouz, EVP of Distribution at Xilam Animation. The company’s primary focus for the fall market is "Chickies," a CG-animated bridge-preschool series (ages 4–7) set for full delivery in 2027. Pre-sold to France Télévisions, Radio-Canada, and SVT Sweden, the dialogue-driven comedy serves as a spin-off to the short-form hit "Where’s Chicky?", which has built a massive global footprint on YouTube with 9 billion cumulative views, 12 million channel subscribers, and distribution across SVOD, AVOD, and linear platforms in multiple territories. “The original series counts 7 billion views on YouTube, and we have a lot of VOD and free TV partners 10

as well,” Benazzouz explained regarding the brand’s evolution. “We took that first concept and wanted to make it into characterdriven stories with seven-minute episodes and adding dialogue as well. We will have the first episode ready for Mipcom,” she added. Alongside new IP, Xilam is leaning heavily into its flagship slapstick comedy properties. The studio recently greenlit seasons five and six of "Zig & Sharko," commissioned by longstanding French broadcast partner Gulli for delivery in 2027 and 2028. Both seasons have also been presold to JioStar in India and Warner Bros. Discovery Italy. The non-dialogue comedy celebrates over 15 years on air and remains Xilam’s top-performing digital IP, generating 23 billion views and 39 million YouTube subscribers. Additionally, the landmark ninth season of “Oggy and the Cockroaches” has been presold to Warner Bros. Discovery EMEA and APAC. Directed by Julien Daubas and Lucas Pinatel, the show’s ninth season cements its status as one of the longest-running French animated series. It returns to the core elements that made the series a global success, led by the inventive and explosive rivalry between Oggy and the cockroaches. Commissioned by returning broadcaster France Télévisions, the new season is slated for delivery between Q3 2027 and Q2 2028, to celebrate the franchise’s 30th anniversary in 2028. “Oggy and the Cockroaches”

is available in over 190 territories and has a digital fanbase spanning 32 million YouTube subscribers and 18 billion views, plus 22 million subscribers across Facebook, TikTok, Instagram and Snap. LEGACY CONTENT To counter falling library sales and shifting VOD licensing values across the broader animation ecosystem, Xilam relies on a dualtrack strategy combining legacy linear partners with direct-toconsumer digital monetization. “We are trying to reach a good balance between our traditional partners, our VOD partners, and the revenues from our digital exploitation, as we have a team dedicated to YouTube and social media at Xilam,” Benazzouz noted. This digital-first approach extends directly into the production pipeline for new series like "Piggy Builders" (commissioned by France TV, ZDF, and the BBC) and "Submarine Jim" (sold to France TV, Super RTL, BBC, Warner, and ABC Australia). For both titles, Xilam produces specialized shortform content alongside the main series to build brand awareness before launch. “For both shows we produced accompanying shorts to introduce the characters, the vehicles, and iconic places of the series,” Benazzouz said. “We use them on social media and YouTube, and deliver them to broadcasters so they can use and translate them for their websites and platforms. For new series, we need to do this extra work to make the IP stand out and secure a future for subsequent seasons,” she said. On the consumer products front, early digital building is already yielding off-screen results, with "Piggy Builders" launching its first publishing line in France just one year after its screen debut. By Romina Rodríguez

INTERVIEW

THE ART OF RESPECTING YOUNG AUDIENCES WITH STANDOUT STORYTELLING  Francesco Manfio

FRANCESCO MANFIO, CEO OF GRUPPO ALCUNI, DISCUSSES THE CONSTANT APPEAL OF THE STUDIO'S FLAGSHIP FRANCHISES, ITS LATEST INTERNATIONAL PRODUCTIONS, AND ITS STRATEGIC GOALS FOR MIP JUNIOR AND MIPCOM.

ruppo Alcuni is celebrating the 25th anniversary of its iconic animated series "Pet Pals" while continuing to expand its global portfolio through new coproductions, high-profile broadcast partnerships, and cross-media innovation. In an exclusive dialogue with Señal News, Francesco Manfio, CEO, reflects on the core creative philosophy that has sustained the studio's success across generations and outlines the company's longterm strategic vision. "Pet Pals" is celebrating its 25th anniversary. What is the secret behind its long-lasting success? “The secret behind ‘Pet Pals’ lies in our core philosophy: treating young audiences with deep respect while delivering high-quality storytelling. Over two decades, the franchise has consistently adapted its visual language to match modern viewing habits. A perfect example of this evolution is our brand-new series ‘Pet Pals Return,’ co-produced with Rai Kids. This series captures ‘Pet Pals’ generational value, allowing early2000s fans to share these beloved characters with their own children today. To foster this connection, we kept the core identity intact and refreshed the aesthetics with a dynamic 2D style. To celebrate this remarkable 25-year journey, we are hosting a historical exhibit with 12

the Treviso Comic Book Festival at the Benetton Foundation's Palazzo Bomben from September 26 to November 1. The exhibit goes behind the scenes to showcase the franchise’s evolution, from initial creative concepts to spinoffs like ‘Mini Pet Pals’ and ‘MiniDinos,’ featuring original sketches and rare artwork.” You are currently launching the English version of “The Black Diamond Race”. What key elements make this project stand out for the international market? “’The Black Diamond Race’ is an action-packed adventure featuring strong tween appeal and premium production value. Set in an era of classic car racing, the story focuses on suspense, teamwork, and a compelling teenage girl lead. A major commercial strength is its robust European framework: a large-scale co-production involving Rai Kids, Motion Pictures, Broadvision Perspectives, and Spain's RTVE, which successfully debuted on Clan. We are thrilled “The Black Diamond Race"

to offer international buyers an exclusive first look at the English version at Mipcom, featuring a narrative hook calibrated for modern global broadcasters.” What intellectual properties are you prioritizing for production or global distribution? “Gruppo Alcuni is currently in pre-production with the sequel ‘Pet Pals in Dragon Land,’ and we are expanding our globally acclaimed preschool brands, ‘Mini Pet Pals,’ and ‘MiniDinos.’ These properties are trusted staples for international broadcasters. Furthermore, ahead of its RAI debut, ‘The Black Diamond Race’ is already being developed into an expandable universe with narrative extensions. Our production pipeline balances action and humor, ensuring fresh content for different target audiences and strong merchandising potential for our partners.” What are your main goals and expectations for Mip Junior and Mipcom? “Our primary objective is to strengthen our global distribution network and secure new strategic partnerships. With ‘Pet Pals Return’ performing exceptionally well domestically, we are actively looking to lock in international broadcast slots and digital streaming deals. Simultaneously, we are capitalizing on the proven success of ‘The Black Diamond Race’ on Spain’s Clan to pitch the series to major buyers seeking high-quality, high-stakes European action-adventure content.” By Romina Rodríguez

INTERVIEW

“PRESCHOOL ANIMATION HAS INCREASINGLY EVOLVED” ALISON TAYLOR, DIRECTOR OF LICENSING AND DISTRIBUTION AT AARDMAN, HIGHLIGHTS THE GLOBAL POTENTIAL OF "LET'S GO TIMMY!" AND EXPLAINS HOW THE PRESCHOOL SERIES GENRE HAS EVOLVED IN RECENT YEARS.

resh from another year of creating and distributing family entertainment, Aardman will showcase returning series and brand-new content with both existing and prospective partners at Mipcom. To understand the strategy behind the new content slate, Señal News spoke with Alison Taylor, Director of Licensing and Distribution at Aardman. How would you define the global potential of "Let's Go Timmy!"? “The global potential is incredibly exciting. Timmy already benefits from strong international awareness through Shaun the Sheep and Timmy Time, giving it a fantastic foundation to build on. With broadcasters and platforms continuing to value established, trusted IP, we believe the series has all the ingredients to resonate strongly in the global preschool market. It’s a natural companion to Shaun the Sheep, with a clear "Let's Go Timmy!"

identity and audience of its own, and we’re excited to introduce Timmy to a new generation of preschoolers.” How has the preschool series genre evolved in the animation business? “Preschool animation has increasingly evolved from creating shows to creating shows that can become brands. While strong storytelling remains key, there’s now much greater emphasis on distinctive characters, humor, and worlds that build a lasting relationship with young audiences. That emotional connection is incredibly important for brandbuilding; when children really love a character, they want to engage with them beyond the show itself across digital platforms, publishing, consumer products, and live experiences. The challenge is to create a show distinctive enough to stand out in a crowded market, but rich enough to sustain. The most exciting preschool IP can become part of children’s everyday lives, rather than simply a show they watch.” How does the presence of CBeebies, NRK, and SVT help "Let's Go Timmy!" to expand globally? “The involvement of CBeebies, NRK, and SVT sends a strong message of confidence to the international market. These are highly respected children’s platforms, trusted by parents and children alike, so their commitment provides an important seal of quality and gives other buyers and audiences confidence in the series. They are also longstanding partners of Aardman. CBeebies has played a particularly important role, providing editorial guidance on the series and helping

 Alison Taylor

us ensure the show connects with today’s preschool audience. In a crowded preschool market, partners of this caliber can open doors, build buyer confidence, and provide a strong springboard for growing ‘Let’s Go Timmy!’ into a truly international brand.” What are the new features of the second season of "Lí Ban"? “This season expands the world of Lí Ban, taking our heroes on an ambitious new quest as Lí Ban and Con search for the druid Mídenn, their last remaining connection to their former lives. Audiences can expect new fantastical heroes, legendary villains, bigger challenges, and even more extraordinary adventures, all inspired by the rich Celtic stories passed down through generations. It’s a season that broadens the mythology and world of Lí Ban while keeping the magic, adventure, and distinctive Celtic identity at the heart of the series.” What are the main demands that the 7-9 target audience has today for a new story? “The key is delivering great storytelling using relatable characters, storytelling with excitement, and, importantly, plenty of humor. Children in this age group are increasingly sophisticated viewers, so they want stories that surprise and challenge them, but they also want to have fun. Comedy is a hugely important part of that, creating an immediate connection with characters and bringing lightness even as the adventure and jeopardy build.” By Diego Alfagemez

INTERVIEW

“WITH ‘THE TRIPLETS,’ WE NEVER WANTED TO MAKE A SIMPLE REMAKE”  Iván Agenjo

IVÁN AGENJO, CEO OF PEEKABOO, DESCRIBES THE REBOOT OF "THE TRIPLETS," ITS EXPECTATIONS FOR ITS FIRST GLOBAL LAUNCH AT MIPCOM, AND SHIFTING TRENDS AMONG 5-8 AUDIENCES.

hile Peekaboo approaches Mip Junior and MIPCOM with animated series projects like “Little Heroes,” “BFFS!” and “WAW Resort," the Spanish company will have a particular launch for the global market: the final episodes of “The Triplets,” the adaptation of the classical Catalan IP created by Roser Capdevila, which comes back as a new reboot series for a new generation. Señal News spoke with Iván Agenjo, CEO of Peekaboo, to go deep on the global potential of the new show. How would you describe the reboot of "The Triplets"? “With “The Triplets,' we never wanted to make a simple remake. The challenge has been creating something genuinely new while keeping the emotional connection with the beloved characters: the three sisters and the Bored Witch. Actually, one of the project’s biggest challenges has been translating Roser Capdevila’s iconic artwork into a contemporary visual style. Rather than revisiting the original formula, the series is a contemporary reimagining for today’s children, preserving the spirit that made the property a success 30 years ago, when it was broadcast in more than 160 countries.” 16

What are the expectations around its first global launch at Mipcom? “We are taking to the market for the first time finished episodes for screening. Our goal is to draw the attention of buyers and commissioners towards the brand, which has proven to be a successful IP. We are also looking for partners who can not only acquire rights for the first season but also get involved in the second season, which is partially financed and expected to be greenlit in 2027.” What does it mean for Peekaboo to have the support of broadcasters like Clan, RAI, and RTP for this project? “Being backed by four public broadcasters in three countries shows a solid base for quality and international growth. It's no coincidence that they're in the core territories where brand memory is strongest, helping us stay consistent with its DNA. Moreover, these broadcasters are not just commissioners but partners, so they are key to building a licensing and merchandising plan even before the series is released. We have closed deals with two different publishers in Spain: a board game deal, and we're in conversations for a video game too.”

How does this show approach what the 5-8 audiences are looking for today? “This time, the journey of the three girls does not focus just on fairy tales whenever the Bored Witch decides to intervene in their lives. It spans a broader range of stories, myths, legends, and literary worlds. Themes such as teamwork, diversity, inclusion, and emotional intelligence are woven naturally into the series, without being didactic. Above all, we want the series to be fun and adventurous and to spark kids' imaginations at a time in their lives when family and belonging are still big topics. Additionally, we have a new, fresh graphic style that pays homage to the classic one but is adapted to today’s taste and narrative rhythms.” What will be the next steps for "The Triplets" distribution strategy? “Having secured the Southern European territories through the commissioning of public broadcasters, our first objective is to approach those territories where there is still a strong brand memory. This includes France, Germany, Eastern Europe, Brazil and Latin America. We are especially interested in Spanish and Portuguese-speaking territories, as our publishing plans include them for 2027. We want to identify the correct partners to reach our audience, mostly kids' broadcasters and VOD platforms, where upperpreschool consumption is still strong, without forgetting the new media operators.” By Diego Alfagemez

INTERVIEW

 Manaf Hassan

NON-DIALOGUE ZEPTOLAB HIT "OM NOM" TURNS 15 THIS YEAR, AND MANAF HASSAN, EXECUTIVE PRODUCER, EXPLAINS HOW THE FRANCHISE STAYS RELEVANT IN TODAY'S CROWDED KIDS' CONTENT LANDSCAPE.

elebrating its 15th anniversary, ZeptoLab's iconic non-dialogue franchise "Om Nom" continues to expand its global footprint across screen entertainment and digital platforms. Originally a gaming phenomenon, the IP has become a cross-media ecosystem with billions of views across its shortform animation channels, games, and recent platform integrations such as the Minecraft Marketplace and Roblox. In conversation with Señal News, Manaf Hassan, Executive Producer at ZeptoLab, breaks down the creative dynamics of silent storytelling, the balance between short-form reach and long-term brand loyalty, and how the studio approaches crossmedium expansion for modern young audiences. What are the main creative challenges and advantages of storytelling with a non-speaking character like Om Nom? “The silence is the best decision we never really planned. Om Nom doesn't talk, so he doesn't have an accent, a translation, a joke that only lands in one country. A kid in Lisbon and a kid in Jakarta watch the same episode and get the same thing out of it. That's rare, and it's a big part 18

“SHORT-FORM WORKS BECAUSE IT MATCHES HOW PEOPLE ACTUALLY WATCH NOW” of why the character travels the way it does. But it's harder than it looks, not easier. You can't cheat with a line of dialogue. Every single feeling has to come through timing, through a face, through how something moves. We're constantly asking ourselves one question: what's the smallest gesture that reads instantly, with zero explanation. Om Nom's ‘personality’ is really just his kindness and his curiosity, over and over, in different situations. Protect that, and everything else can change around it.” What are the biggest benefits and limitations of short-form content when building a global franchise? “Short-form works because it matches how people actually watch now. And it's real, not theoretical: our main English-language channel alone pulls tens of millions of views a month, and the other language channels add even more millions on top of that, bringing the total to billions of views. That's an enormous, constantly renewing, and exponentially growing audience. The catch is depth. It's much easier to make someone laugh for ninety seconds than to make them care about a story for fifteen episodes. Short-form is fantastic at reach; loyalty is a different thing entirely, and you have to design for it deliberately, which we do.” How do your gaming and animation teams collaborate when developing an IP?

“We don't really run these as two teams with a handoff between them; that's a recipe for the game feeling like one thing and the show feeling like another. Everyone works off the same bible for who ‘Om Nom’ is and how his world behaves. A character introduced in the show appears in the game. Recently we put "Cut the Rope" into Minecraft Marketplace and soon a Roblox experience. That's a good example of the same character logic moving into a completely new space. We treat it as one continuous thing, not animation over here and games over there.” As Om Nom celebrates 15 years, how do you keep the character fresh for new audiences while staying true to its roots? “The character doesn't change; the world around him does. His curiosity, his kindness, his little bit of mischief are fixed, untouchable. Everything else has to keep moving, or he stops feeling like something a kid discovers for the first time. The last couple of years have been a lot of that: new distribution deals bringing the show to broadcasters we weren't on before, across Europe, North America, and the Middle East, with new platform integrations. None of that is about reinventing Om Nom; it's about putting the same guy in front of a new kid who's never seen him before. My test for any new idea is simple: does this still feel like something he'd do, before you've explained a single thing about why.” By Romina Rodríguez

INTERVIEW

A 360-DEGREE UPPER PRESCHOOL STRATEGY  Erick Rouille

FORMED THROUGH A JOINT VENTURE BETWEEN TOY AND MEDIA COMPANY WYNCOR AND ANIMATION PRODUCER OUIDO! PRODUCTIONS, AND LED BY ERICK ROUILLE, WYNCOR CONTENT DISTRIBUTION ENTERS THE MARKET WITH TWO UPPER-PRESCHOOL PROPERTIES BACKED BY STRONG BROADCAST SUPPORT AND GLOBAL LICENSING POTENTIAL.

yncor Content Distribution has officially launched as a new joint venture created to bridge the gap between toy development, animation production, and global commercial strategy. The company brings together Julian Zag, Founder of toy firm Wyncor, alongside Sandrine Nguyen and Boris Herzog of OuiDo! Productions, the studio behind "Alvinnn!!! and The Chipmunks" and "Monchichi," and Erick Rouille, former Mediawan Kids and Family executive. The structure was built to give media buyers a unified commercial vision, pairing highend production capabilities with built-in consumer product lines from the development phase. “We have a team of people who are recognized in the industry,

and coming with properties that are strong content with strong commercial potential behind is one of the solutions of the market,” stated Erick Rouille, VP of Global Distribution at Wyncor Content Distribution. The distributor’s debut slate features two 52x11' upperpreschool animated series. The first IP, "Babs!", is an original project designed as an ecoentertainment brand. French commercial network TF1 has officially signed on as the main commissioner for the series, bringing the project close to closing its financing plan ahead of expected production before the end of the year. In addition to traditional licensing avenues like plush, apparel, and playsets engineered by Wyncor, "Babs!" incorporates a global promotional alliance with environmental organization Wild Immersion. Backed by the United Nations Environment Program and the Jane Goodall Institute, the partnership will bring the character to over 90 theme parks and wildlife locations worldwide through interactive art, educational tools, and VR content, even before the series premiere. The second title, "Kwaaks!", originates directly from Wyncor's established global plush line. The slapstick comedy series follows five human heroes who

are accidentally transformed into ducks after a ray from the villainous Metamorph strikes them. Operating as Sun City's secret protectors, the team relies on visual humor, transformations, and team spirit to defend their city. Wyncor Content Distribution has developed the property for global broadcast standards, with plans to close financing following Mipcom and enter production in the first half of 2027. “When I speak to broadcasters, I'm bringing two original IPs with strong commercial potential, able to generate potential revenues from advertising, but also from commercial deals on both TV series,” Rouille said. “On ‘Babs!’, we already have a commissioner, which is TF1. On ‘Kwaaks!’, we are also developing a new animation series based on the existing brand,” explained Rouille regarding the status of both slates. “All the programs that we are going to develop in licensing and merchandising will include plush, apparel, play sets, and all the toys and games around them,” he added. Following initial buyer introductions at MIFA and Unifrance Le Havre, Wyncor Content Distribution is heading to Mipcom with a dedicated stand to finalize financing partners across both properties. “The first feedback was extremely positive because we were coming with a clear proposal. At Mipcom, we will discuss the financing plan with all our clients. I believe that, in the end, content is always king. You need to start from there to create a long-term brand,” Rouille ended. By Romina Rodríguez

PHOTOGALLERY

Andrea Parra, Gennarino Romano & Emmanuele Petry (Dandeloo)

Julien Borde (MEDIAWAN)

MIFA 2026 AGrAF Award · Lucid Dream

María Bonaria Fois & Vikas Kumar (Digitoonz Media)

Sébastien Dumont, Nicolas Tytgat, Olivier Nomen & Nicolas Verhoeven (PEYO)

Fahim Niaz, Mike Clifton & Victor Paredes (Moho Animation)

Leonora Hume, Marco Balsamo & Tara Sibel (Teamto Animation)

Tom Pelerin & Romain Czysz (Fake It Studio)

Tim Boomsma, Gustavo Branger (Global Music Branding)

Gabriel Milagres (Mediatoon) & Cristina Angelucci (Brands Media)

Sibin Lu (Hangzhou Younuo), Pauline Loferon (Moustache Prod.) & Yue Xiang (Hangzhou Younuo)

Stuart Messinger (Aardman)

Liz Clarke (The Kitchen)

Valerie Taylor (Press) & Rachel Hassall (Banijay Kids & Family)

Gregor Dashuber (Lumatic)

INTERVIEW

"OUR AMBITION IS TO BUILD UNIVERSES THAT CAN LAST, EVOLVE, AND REACH GLOBAL AUDIENCES"  Sépideh Shirazi

SÉPIDEH SHIRAZI, HEAD OF SALES AT ANKAMA ANIMATIONS, DETAILS THE COMPANY'S CROSS-MEDIA VISION, FLEXIBLE YOUTUBE RELEASE MODELS, AND KEY PROPERTIES INCLUDING "WAKFU," “WELSH & SHEDAR,” AND "EWILAN'S QUEST."

elebrating 25 years in the entertainment industry, French studio Ankama Animations is opening a new chapter defined by multiplatform storytelling, global distribution partnerships, and hybrid production setups. Having grown from a gaming pioneer into a powerhouse across animation, publishing, webtoons, and consumer products, the group continues to unify its various creative verticals. "From the very beginning, Ankama has had this particular ability to create universes that can live across different media," noted Sépideh Shirazi, Head of Sales at Ankama Animations. "Today, our ambition is really to strengthen the bridges between all these different media. We want our games to feed our animation, our animation to enrich our games, and every new piece of content to encourage audiences to discover the other dimensions of our universes," she noted. Central to this ecosystem is the "Krosmoz" IP, housing hit properties like "Dofus" and "Wakfu." The team is actively developing the fifth and final animated chapter of "Wakfu," fueled by a Kickstarter campaign that generated nearly €3 million. At the same time, narrative links are deepening between digital titles and screen content. For instance, 22

the Bellaphones, a new character class being developed across several Ankama games, including "Dofus," "Dofus Touch," and "Wakfu," will likewise step into the spotlight within the upcoming series "Welsh & Shedar." "Welsh & Shedar" also highlights a new cross-border workflow through a co-production effort alongside Japan's Studio Massket, blending Japanese technical artistry with Ankama's core storytelling heritage. In terms of market reach, Ankama relies on flexible windowing, balancing linear television, streaming services, and digital video hubs. "We approach distribution title by title and territory by territory," Shirazi pointed out. "For some projects, launching directly on YouTube allows us to build a closer relationship with our audience. YouTube becomes another entry point into our universes," she added. Ankama’s partnership with Andarta Pictures is another key part of this development. Produced by Andarta Pictures, "Ewilan's Quest," adapted from Pierre Bottero's celebrated fantasy novels, has delivered strong broadcast results. In March 2026, France Télévisions reported 660,000 video views for the series, calling it Okoo’s strongest launch for a program aimed at viewers aged

eight and above since the service began. Its first four episodes also reached 900,000 viewers on France 4. The series has secured broadcast slots on RTBF (Belgium), RTS (Switzerland), TFO (Canada) and RAI (Italy), with launches scheduled on VRT. Across international territories, Latin America is a strategically important region for Ankama, with a long-standing and highly engaged gaming community, particularly around “Dofus.” "We have 25 years of history, with very strong franchises such as ‘Dofus’ and ‘Wakfu,’ but we don't want to simply rely on what has already worked," Shirazi said. "We want to keep experimenting with new ways of producing, like our collaboration with Japan, and experimenting with new distribution models, particularly YouTube. Our ambition is really to build universes that can last, evolve, and reach audiences all over the world," she concluded. By Romina Rodríguez