MULTIPLATFORM ANIMOTION MEDIA GROUP EXPANDS THE FIXIES UNIVERSE WITH FIXIE DITTIES Animotion Media Group is expanding ‘The Fixies’ universe with the global launch of ‘Fixie Ditties’, a new English-language studio album that broadens the franchise’s content strategy into music and multiplatform experiences. The album features 11 original songs aimed at children and is now available on platforms including Spotify, Apple Music and YouTube Music. The tracklist includes a new version of Ticky Tock, one of the franchise’s classic songs, alongside tracks inspired by science fiction and time travel concepts such as Time Machine, Teleporter and Chatbot. The new release adds to the music catalog developed around ‘The Fixies’, which previously included titles such as ‘Sing with the Fixies’ and ‘Fixie Beats’, further supporting Animotion’s strategy of extending the IP beyond its audiovisual content.
DISTRIBUTION
FAUNA ENTERTAINMENT’S BEN’S WORLD REACHES TV WITH GULLI PRODUCTION
DANDELOOO LAUNCHES NEW TEEN AND YOUNG ADULT ANIMATION DIVISION Emmy Award-winning French animation production and distribution company Dandelooo is expanding into the teen and young adult market with the launch of a dedicated division focused on audiences aged 12 and over. The new division will develop and represent creator-led projects built around distinctive storytelling, fresh comedy and strong narratives, expanding Dandelooo’s portfolio beyond its established preschool and children’s business. The division launches with two original animated comedies, ‘Apocalypse Mojito’ and ‘Armageddon Pizza’, both offering irreverent takes on themes including climate anxiety, technology, social collapse and survival. Dandelooo will present both titles to international buyers at Mipcom 2026.
SCREENINGS
Fauna Entertainment’s original musical series ‘Ben’s World’ is making its move to linear television following a new broadcast deal with Gulli Africa. ‘Ben’s World’ follows Ben, a five-year-old African American boy, as he navigates the everyday challenges and joys of growing up in the USA alongside his spirited little sister Aya and their parents. Set to the vibrant sounds of Afrobeat and R&B, the series explores friendship, family, emotions and identity through relatable musical storytelling, celebrating cultural identity, empathy and understanding while reflecting experiences that are both universal to childhood and specific to growing up as a young Black boy in America. Under the agreement, 50 x 2-minute episodes of ‘Ben’s World’ will begin airing soon across 45 countries in Africa, significantly expanding the international footprint of Fauna Entertainment’s digital-first property.
MIGALI TO MAKE WORLD PREMIERE AT MIPJUNIOR 2026 Easy Peasy Entertainment and Bardaf! Production will host the world premiere screening of ‘Migali’ at MIP Junior, inviting international buyers and children’s content executives to be among the first to discover the new 2D animated comedy series, distributed by Moon-Keys International Content. The screening will take place on Saturday, October 10, at 16:30 in the Debussy Theatre, with delegates getting an exclusive first look at a full episode of the 52×11’ series. A sparkling comedy bursting with humor,
energy and a thoroughly modern heroine, ‘Migali’ is aimed at kids aged 5–8 and is adapted from the best-selling comic series published by Auzou Éditions, which comprises nine volumes and has sold more than 150,000 copies. The series transports audiences to the joyful, colorful world of the Royal Academy, a prestigious school where princes and princesses from across the kingdoms come together. At the heart of it all is Migali, a young Spider Princess with one ambition: one day, she will be queen.
Kids&Teens Kids Report
WHO WILL PAY FOR THE NEXT KIDS’ HIT?
Children’s content continues to draw large audiences, but streaming commissions are shrinking. As public broadcasters take on a greater share of new projects and YouTube captures more viewing time, MipJunior 2026 will examine how the industry can finance its next generation of stories.
ttv Magazine / Kids&Teens
sions. Public broadcasters are shouldering much more of that work, even as young viewers spend an increasing amount of their time on YouTube. Each development affects the others, from the partners needed to finance a series to the platforms on which it might build an audience.
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In 2025, subscription streaming services accounted for just 13% of global scripted Children & Family commissions, according to Ampere Analysis; public broadcasters accounted for 47%. At Netflix, the genre’s share of all commissions fell from 9% in 2022–2023 to 4% in 2024–2025. The figures refer to new commissions, rather than total spending or the size of existing catalogs, but they leave little doubt about who is currently ordering much of the new scripted content in this category.
Bluey Animation
Kids content delivers substantial viewing, but streamers accounted for only 13% of scripted commissions in 2025
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he question running through MipJunior’s conference program this year is a familiar one for children’s producers: where will the money come from? Demand for Kids & Family programming remains considerable, yet subscription streamers account for a relatively small share of new commis-
At first glance, that retreat is difficult to reconcile with the viewing figures: Ampere estimates that Kids & Family generated 4.4 billion views on Netflix in the second half of 2025, making it the service’s second most-viewed genre after Crime & Thriller. The research firm also found that 35% of households with children consider shows and films their children want to watch an important reason to subscribe.
Nielsen’s US measurements provide a striking example of how long a children’s title can hold an audience: ‘Bluey’ accumulated 22.8 billion viewing minutes in the first half of 2026, ranking second among all streaming titles. Its performance cannot establish what a buyer would pay for an untested property, but it helps explain why Kids remains valuable in a catalog long after a show’s premiere. One reason for the disconnect, as Ampere points out, might be the growing importance of advertising-supported subscription tiers, where monetizing children’s content is complicated. Another is competition from YouTube. These factors help explain an industry-wide shift without necessarily accounting for every platform’s individual decisions. What producers encounter is a financing landscape in which a single streaming commission is less likely to provide the foundation for a new series. MipJunior has made that financing problem a prominent part of its 2026 program. Its “Funding the Next Generation of IP” strand will consider co-production, distribution, public support, broadcasters, brands, platforms and new investment models. The session “Who Pays for the Next Generation of Kids’ IP?” will examine financing and monetisation across several of those sources. Behind the program language lies a practical question: how does an industry with a demonstrably engaged audience assemble the money to create new content for it?
At Cannes, more than 20 public broadcasters will meet behind closed doors to discuss the future of children’s animation and opportunities to work together. Initiated by VRT and Yle, the October 11 gathering will include representatives from the BBC, ZDF, RTP, NRK, RTS, RTBF and RÚV, among others. Selected local animation projects still in
KPop: Demon Hunters Animation
development will be shared with the group, giving the conversation a possible route towards partnerships rather than limiting it to a discussion of common difficulties.
For a children’s property, YouTube can provide access to viewers across territories, evidence of what engages them and a source of digital revenue. None of those benefits guarantees that the platform will cover the costs that a broadcaster or streamer might traditionally have committed to production. Audience growth and production finance remain distinct challenges, linked by questions about rights, advertising income, distribution partners and the time required to build a following.
Elsewhere in the MipJunior program, roundtables on co-production and financing will address public funds, broadcaster initiatives, rights, distribution and international partnerships. Those are the details on which a shared commitment to support animation ultimately depends. A broadcaster’s contribution can begin well before it acquires a finished program: involvement in development, an initial financial commitment and access to a local audience can all help an original property move forward. Yet the growing number of producers seeking such partners may put pressure on institutions with limited resources. WHERE THE AUDIENCE HAS GONE. Any financing discussion must also account for YouTube’s place in children’s viewing. In the United Kingdom, children aged 4–15 watched an average of seven hours and seven minutes of YouTube per week in 2025, according to Ofcom, an 8% increase on the previous year. Their viewing across video-sharing platforms, including TikTok and Twitch, reached eight hours and 45 minutes weekly and represented the largest share of video consumption at home. Average viewing of live broadcast television among the same age group fell to two hours and 32 minutes a week. The figures pertain only to the UK, but show the scale of the change in one closely measured market.
At MipJunior, YouTube will headline “Beyond Preschool: Making Great Content for the Gen Z & Teen Audience,” examining how digital-native phenomena and established brands reach older young audiences. “What Comes After TV?” will turn to creator-led properties, gaming worlds and forms of entertainment shaped by how young people discover and participate in content. Both sessions suggest a wider remit for a market historically associated with television: projects may now arrive with an audience built elsewhere, or with a plan to find one across several platforms. The connections between funding and viewing are becoming harder to separate. A series backed by several public broadcasters still needs to reach children whose habits extend well beyond those channels. A property that first attracts an audience on YouTube, meanwhile, may need outside investment to develop into a larger production. Neither path provides a universal model: the balance of finance, rights, distribution and risk will differ from project to project.
More than 20 public broadcasters will meet at MipJunior to explore how they can support new children’s animation
ttv Magazine / Kids&Teens
THE WEIGHT ON PUBLIC BROADCASTERS. Public broadcasters’ 47% share of scripted Children & Family commissions makes their role particularly consequential when global streamers order less. It also brings their constraints into focus. Public channels have mandates and audiences to serve in their own markets; their budgets cannot necessarily absorb every project seeking a replacement for streaming finance. For international producers, the issue is how those commitments can be combined across territories without compromising a project’s creative or commercial prospects.
CoComelon: The Movie Animation
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Kids&Teens PowerKids Entertainment Akira & Mowgli – The Jungle Book Adventures Animation series
Little Mowgli Animation series
By Luis Cabrera lcabrera@todotv.tv @luis_cabreram
With new projects expanding The Jungle Book universe and a slate built around international co-production, PowerKids Entertainment brings to the market stories that can travel across territories, platforms and consumer products.
MOWGLI’S WORLD KEEPS GROWING
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owerKids Entertainment is strengthening its international slate with a mix of established brands and new properties designed from the outset to travel globally, while leaning on co-production partnerships and franchise-building opportunities.
One of its key projects is ‘Akira & Mowgli – The Jungle Book Adventures’, which introduces a new female lead into the familiar Jungle Book universe. According to Manoj Mishra, CEO & Managing Director of PowerKids Entertainment, ‘Akira & Mowgli’ brings “a fearless, curious and contemporary energy to Mowgli’s story,” creating a new dynamic within the jungle.
ttv Magazine / Kids&Teens
The series is being developed through an international collaboration that includes beIN Media Group, DeAPlaneta Entertainment, Telegael, Twelve P Animation, 22D Music and Wall Peep Animation. “Our ambition is to make the series a globally travelling kids’ adventure,” Mishra said.
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PowerKids is also extending the brand toward younger viewers with ‘Little Mowgli’, a preschool prequel centred on the character at three years old. The project is intended to broaden the franchise across age groups while capitalising on Mowgli’s intergenerational recognition. Beyond The Jungle Book, the company is developing ‘Young Achievers – Raider’s Quest’ with Sony Pictures Networks India, with Telegael and Nexus TV as co-producers. While artificial intelligence provides a contemporary backdrop for the adventure, Mishra stressed that the creative priority re-
mains elsewhere. “For us, AI is the backdrop, not the lesson. The story has to come first,” he said.
Another established property in the slate is ‘Dragonero – Tales of Paladins’, developed with Sergio Bonelli Editore and RAI Kids. With its second season now out, PowerKids sees potential beyond audiences already familiar with the original comic, relying on fantasy, adventure, humour and friendship as accessible entry points for new viewers. The company is also working to build ‘The Blue Boy Chronicles’ as a broader global franchise. Developed with creator Swati Bhisé and Cayenne Pepper Productions, the
Manoj Mishra, CEO & Managing Director of PowerKids Entertainment “Our ambition is to make ‘Akira & Mowgli – The Jungle Book Adventures’ a globally travelling kids’ adventure” project has PowerKids as co-producer and global distribution and licensing partner. The strategy spans television, streaming, licensing and consumer products, while retaining the story’s Indian identity. At the centre is Krishna, presented as a young hero dealing with friendship, identity, responsibility and adventure, with the series conceived as the storytelling foundation for future extensions. “Our strategy is to build the property for global audiences without taking away what makes the story distinctly Indian,” Mishra explained. Rather than softening those cultural elements, the company wants them to become part of the project’s international appeal. Mishra said the company is increasingly focused on IP that can move “across screens, territories and consumer touchpoints,” supported by international co-production, strategic partnerships and stories with enough depth to evolve beyond a single series. Young Achievers – Raider’s Quest Animation series
Kids&Teens Spiritum Entertainment
FIFTEEN YEARS OF BIG CONNECTIONS WITH LITTLE VIEWERS By Carolina Mussio cmussio@todotv.tv @carolinamussio
ttv Magazine / Kids&Teens
Characters, songs and stories in kids’ content can become part of their everyday lives and stay with them as they grow, something Spiritum Entertainment places at the heart of its creative philosophy, as it celebrates fifteen years of ‘Plim Plim’ connecting with families worldwide, and introduces new exciting properties like ‘Bumpy, the Bear’.
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Damián Soriano, VP of Content at Spiritum Entertainment “There is something very special about creating for children. What we make can become a song a child sings every day, or a memory they carry throughout their life” Plim Plim Preschool Animation
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ore than entertainment, shows and characters are something kids form special connections with and turn to as they grow. Thus, kids’ content creators have a special mission within the industry, one that must be taken on with responsibility and passion.
“There is something very special about creating for children,” summarized Damián Soriano, VP of Content at Spiritum Entertainment. “What we make can become a song a child sings every day, or a memory they carry throughout their life. It can help families nurture positive values and habits that last a lifetime. For those of us who develop content, that possibility is both a tremendous motivation and a tremendous responsibility.” A HERO OF KINDNESS. The star of Spiritum’s catalog, ‘Plim Plim’ has been a part of families’ daily lives for fifteen years, now standing as an established global brand, with more than 47.9 million subscribers, and content available in ten languages across 17 countries.
“’Plim Plim’ offers something very valuable: content that children enjoy and families can trust,” the executive explained. “Music, humour and the characters introduce themes such as friendship, empathy and everyday habits in a very natural way. These are experiences any child can relate to, wherever they grow up.” And ‘Plim Plim’s presence extends well beyond the TV screen, making its potential for growth and new connections with young viewers truly endless. “We see considerable potential in building on the relationship families already have with Plim Plim through new experiences,” Soriano noted. “When a character becomes part of a child’s everyday life, there are opportunities to extend that relationship through toys, books, games, interactive experiences and live shows. Each category offers a different way to connect with ‘Plim Plim’s world.” “The challenge is to develop products and experiences that feel authentic within that world. A book can start a family conversation; a toy can inspire play; a show can turn a familiar song into a shared memory,” he added.
Bumpy, the Bear Preschool Animation
guese, a structure that serves two complementary purposes: “The music videos give us room to develop the songs and the situations that introduce the characters, while the shorter versions offer briefer encounters with the same world. Having both formats allows us to bring consistency and variety to the release schedule, which matters when a property is beginning to build its audience.” “The three languages reflect our international ambitions from the start,” shared Soriano. “For a music-led property, adaptation means paying close attention to meaning, metre, sound, humour and performance. A song needs to feel natural to the child listening to it, whichever version they hear. For us, the identity lies in the characters’ personalities, their relationships, the tone, and the visual and musical approach. Those elements must remain recognisable, while
“’Bumpy, the Bear’ takes a digital-first approach, designed from the outset around how new generations discover, engage with and enjoy content” Heading into Mipcom, Spiritum is looking for partners “who share that long-term vision and can help us build the brand locally.” “Our aim is not simply to enter more territories, but to develop thriving ecosystems around Plim Plim, where content, products and experiences reinforce one another and nurture the relationship families already have with the characters.” “We continue to expand ‘Plim Plim’s world globally, releasing three new animated episodes and songs each week, extending our channels into more languages, now ten — Spanish, Portuguese, English, French, Italian, German, Russian, Indonesian, Hindi and Turkish—, and progressing with production of the series. That breadth allows us to develop offerings for different platforms and programming needs,” he added.
‘Bumpy, the Bear’ takes a digital-first approach, designed from the outset around how new generations discover, engage with and enjoy content. It combines music, humour and storytelling through a group
“Music plays a central role as a universal language and one of the main gateways into Bumpy’s world. Short-form content allows us to introduce characters, songs and stories in an engaging way, encourage repeat viewing and build a relationship with the audience that can later extend into longer narrative formats,” he explained. “But digital-first means more than a distribution strategy. Bumpy was conceived as a brand that could grow across different platforms and points of contact with children and their families. The project has international ambitions from the outset, with an ecosystem encompassing digital content and television, followed in time by licensing, consumer products and live experiences.” “Our aim is for each platform to strengthen the others and for Bumpy to build a global community from the very beginning, always keeping one simple idea at its heart: children have the right to play, learn and have fun as they discover the world,” he added. ‘Bumpy, the Bear’s’ initial production comprises 52 music videos and 52 short-form versions in Spanish, English and Portu-
the language is adapted sensitively for each audience.” THE ROAD AHEAD. Today, more than 90% of Spiritum’s business comes from outside Argentina. That growth extends across an ecosystem encompassing content, music, live shows, licensing, apps and books. “I believe this success is rooted in a distinctive combination of experiences that connect with children and support them as they grow, alongside positive values that build trust with families. That connection allows us to transcend languages, cultures and screens,” the executive said. With this mindset, the future is full of opportunities for the Argentine group. “Spiritum is keen to keep exploring the relationship between content and participation: how a story or song can encourage children to play, move, learn or share a moment away from the screen. This is a particularly exciting area for Spiritum. In that spirit, our theatre tour will visit the United States for the first time in October, with 16 performances across 11 cities, and we are already planning our first steps into Europe in 2027.” “For the remainder of the year, our priorities are to support Bumpy’s international rollout, broaden Plim Plim’s distribution opportunities and develop partnerships that support the continued growth of both properties. We want every agreement to help build audiences and long-term value,” he concluded.
ttv Magazine / Kids&Teens
BUMPY JOINS THE FAMILY. This year, Spiritum has expanded its portfolio with new launches such as ‘Bumpy, the Bear’, a preschool property developed with Krakatoa and with the participation of RTVE. “This marks an important step for Spiritum: drawing on our experience to create new brands with their own distinctive identities and international ambitions from the outset,” the executive said.
of characters with very different personalities, who learn through play, curiosity and their own experiences. That combination allows Spiritum to explore values and learning in a very natural way, always through entertainment.
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Kids&Teens Triskelion Productions
TRISKELION ENTERS A NEW CYCLE OF GROWTH
The group is stepping up its global expansion strategy, strengthening its Cycle Kids platform through new acquisitions, partnerships and co-productions, while exploring new opportunities in animation and narrative content. also in negotiations with two other distributors,” Ric Acevedo, president and executive producer of Triskelion Productions, revealed to ttv. “In total we are looking at about 20 new shows.”
By Carolina Mussio cmussio@todotv.tv @carolinamussio
These partnerships and deals are something Triskelion actively seeks, remaining open to all types of opportunities that would allow it to join forces with other players and grow, both its distribution and production businesses.
Ric Acevedo, President and Executive Producer of Triskelion Productions “We look for partners interested in co-productions, as well as sharing content with our platform”
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s an increasingly important player in the kids’ content industry, Triskelion Productions has continued to bolster its offering through original productions and co-productions, as well as strategic alliances to expand the presence of its platform, Cycle Kids.
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Most recently, the group has announced partnerships with companies such as The Jim Henson Company and DeAPlaneta, through which it has added evergreen content like ‘David the Gnome’ or ‘Willy Fog’, as well as the acquisition of popular titles such as ‘Turbozaurs’, from Tale Wind Animation; or ‘Monchhichi’, ‘Baby Einstein’ and ‘Tullipop’, from Kaito Entertainment. Far from resting on its laurels, Triskelion continues to pursue further alliances, with new deals already on the horizon. “We are getting ready to sign with MPE and we are Tullipop Animated Series
“We look for partners interested in co-productions, as well as sharing content with our platform,” the executive said. “We are currently working on a script for a feature-length animated film. In addition, we are looking to move more prominently into the narrative space.” Despite its ups and downs, the executive believes the kids’ entertainment industry is still alive and well: “I think the kids’ space is as good as ever. I do see a trend toward the 11-minute shows as opposed to the 24-minute shows. I guess habits just change with the times. 24-minute shows are still a big part of the equation but there’s more room and a
stronger trend for shorter content given the popularity and market share of what we see on platforms like YouTube,” he explained. As for the remainder of 2026, the executive said his main goals for the company are “to continue to grow and expand”, focusing on markets like Mipcom, “and hoping to expand to markets in Croatia, London, Canada and Asia, among others. International markets are a major source of top-quality content,” he concluded.
Kids&Teens DeAPlaneta Entertainment
BRANDS BUILT TO GROW
Milo Preschool Series
By Luis Cabrera lcabrera@todotv.tv @luis_cabreram
With ‘Milo’ as a clear example of its strategy to turn content into long-term franchises, DeAPlaneta Entertainment brings new seasons, new IPs and a reinforced focus on expanding its properties internationally.
Carlos Biern, Content & Media Sales Director at DeAPlaneta Entertainment
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“[With ‘Milo’] we have managed to take a single book, turn it into a preschool series and build it into an internationally recognized property present in more than 170 countries”
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eAPlaneta Entertainment is entering a new stage of growth, with international expansion and the development of long-term franchises at the center of its strategy. “We are at a particularly important moment for the company, with an increasingly clear commitment to the creation, co-production and long-term development of properties with genuine international potential,” said Carlos Biern, Content & Media Sales Director at DeAPlaneta Entertainment. “Our goal is no longer simply to produce and distribute quality content, but to build brands capable of growing across different
territories, platforms and windows,” he added. “One of our priorities is to expand the international presence of our IPs, strengthening relationships with broadcasters and platforms and looking for partners that share a long-term vision.” ‘Milo’ is perhaps the clearest example of that strategy. The preschool property is already present in more than 170 countries, while a third season of 52 new episodes is currently in production. “In a very short time, we have managed to take a single book, turn it into a preschool series and build it into an internationally recognized property present in more than 170 countries and supported by leading broadcasters and partners in numerous markets,” Biern said. “It is a dream start that allows us to say we have a new franchise.” The new season will introduce new professions, a stronger musical component, more visual humor and Twilo, Milo’s little sister. DeAPlaneta currently has 78 eleven-minute episodes available. The expansion of ‘Milo’ also goes far beyond television. “Today, a kids’ franchise cannot depend solely on a TV series,” Biern said. “Audiovisual content remains at the heart of many of our properties, but from there we look to create an ecosystem of complementary content and experiences: audio, music, digital content, publishing, gaming, toys and live experiences, among others.”
“It is not simply about being present on more platforms, but about finding formats that make sense for each IP and genuinely strengthen the relationship between audiences and the characters,” he explained. At Mipcom, another major focus will be ‘Magic Lilly’, a new CGI animated series inspired by the ‘Hexe Lilli’ book franchise created by Knister. The 26 x 22-minute production is set to premiere in late 2027 and already has Super RTL, RAI Kids, RTVE, 3Cat and VRT on board as partners. The company’s new generation of IPs also includes ‘Karters’, combining racing, adventure, humor and teamwork; ‘Underdog’, a reimagining of the classic canine superhero property; and ‘Cloudy & Stormy’, a preschool comedy currently in production with 52 seven-minute episodes. For Biern, the kids’ content market is becoming increasingly challenging. “It is a much more fragmented and competitive market than it was a few years ago,” he said. “Simply having a good series is no longer enough. Having a living, dynamic brand that can endure over time is the main goal.” “Milo is proving that this journey is possible,” Biern concluded, “and our ambition is to apply that same vision to the new generation of properties we are developing.”
Kids&Teens The Wiggles
WIGGLY FUN ON MULTIPLE PLATFORMS By Carolina Mussio cmussio@todotv.tv @carolinamussio
From songs and live shows, to TV series, animation, digital content, and more, The Wiggles continue to expand the ways kids can experience their world, and are now headed to Mipcom to showcase their latest productions, including the new season of ‘Ready, Steady, Wiggle!’, and the return of ‘Dorothy the Dinosaur’ in a new live-action series, ahead of her animated debut in 2028.
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ttv Magazine / Kids&Teens
or over thirty years, since the band was formed in 1991, The Wiggles have toured the world, entertaining children through wonderful songs and engaging live performances. And over the years, they’ve extended their connection to kids through unique content and experiences.
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And now, after a successful and extensive tour across the UK, North America, and Australia & New Zealand, The Wiggles are headed to France for a new edition of Mipcom, to showcase what’s next in the content space. “This year alone we have released twenty studio albums, four content specials, as well as debuted the latest ‘Ready, Steady, Wiggle!’ series,” said Luke Field, General Manager of Commercial for The Wiggles. “We’re looking forward to continuing conversations with our international partners around the broader Wiggles content slate, our music and our live business, and looking at new opportunities to bring The Wiggles
to even more families around the world,” he added. The new ‘Ready, Steady, Wiggle!’ series opens the group’s catalog for the market, which also features a new, exciting project: “One of our biggest priorities this year is introducing buyers to our brand-new ‘Dorothy the Dinosaur’ live-action series, our first live-action Dorothy series since 2010”, the executive revealed. “Dorothy is such a beloved character, and we’re thrilled to be bringing her back in a brand-new format and opening up her world to audiences in a fresh way.” The series follows Dorothy in her own world and introduces audiences to new characters Pedal & Poppy, while also featuring familiar favorites such as Wags the Dog, Henry the Octopus and Shirley Shawn the Unicorn. “It’s a 30 x 5-minute series and provides a great launching pad for our upcoming ‘Dorothy the Dinosaur’ animated series, which is planned for 2028”, he explained, and added: “I’ve been at The Wiggles for more than 18 years, and I can honestly say I’ve never been more excited about a Wiggles project!” The animated series is being developed with Sinking Ship Entertainment “and the work we’ve seen so far is incredibly exciting”, he Ready, Steady, Wiggle! Live-Action Series
Luke Field, General Manager of Commercial for The Wiggles “One of our biggest priorities this year is introducing buyers to our brand-new ‘Dorothy the Dinosaur’ live-action series, our first live-action Dorothy series since 2010” noted. “I’ve seen some of the early Dorothy designs and they are fantastic. The Sinking Ship team have done an incredible job of capturing everything audiences love about the live-action Dorothy while transforming her beautifully into an animated world.” Anthony Field, the original Blue Wiggle, has written multiple songs for the animation. “I’m really excited to see this Dorothy animation introduce her to audiences who may be discovering The Wiggles for the first time. It’s a format with enormous international potential, and we see it as an important part of The Wiggles’ future,” he anticipated. These new productions are great examples of how the brand continues to grow, evolve, and adapt to kids’ new demands and consumption habits. “The new ‘Dorothy the Dinosaur’ live-action series has 5-minute episodes, which are short, focused and easy to discover. But collectively the series allows us to build Dorothy’s world and introduce audiences to her characters and stories”, he explained. “We’re creating content that works in shorter formats and can deliver something engaging very quickly, but we’re also very conscious that there is still a place for longer-form viewing and deeper storytelling like our TV series. We also think about how a piece of content can work beyond the episode itself through music, YouTube, social content, live performance and other digital experiences.” “Ultimately, the way children consume content continues to evolve, so we need to evolve with them. But the fundamentals of The Wiggles haven’t changed: great songs, engaging characters, storytelling, movement and content that families can enjoy together,” he concluded.
Kids&Teens El Reino Infantil
TURNING DIGITAL SCALE INTO A 360° IP BUSINESS By Luis Cabrera lcabrera@todotv.tv @luis_cabreram
ttv Magazine / Kids&Teens
Fifteen years after its launch, El Reino Infantil is entering a new phase of expansion, leveraging its massive YouTube reach across Connected TV, gaming, education, licensing, live entertainment and an increasingly ambitious presence in the physical world.
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Felipe De Stefani, CEO of El Reino Infantil
Ylka Tapia, Partnership Manager & Executive Producer
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l Reino Infantil recently celebrated its 15th anniversary with numbers that illustrate the scale reached by a company born on YouTube in 2011: more than 240 million subscribers across its network, 180 billion historical views and over 9 billion views during the first half of 2026 alone. Its content is currently available in 11 languages, while the company has expanded beyond digital video into FAST, CTV, streaming, live entertainment and consumer products.
“What El Reino Infantil has done with properties such as ‘La Granja de Zenón’ is admirable, because it represents 15 years of leadership,” said Felipe De Stefani, CEO of El Reino Infantil. “Today we are in an era where it is more important than ever to be naturally recognized and valued. When there is so much supply, achieving that is extremely difficult. We say we are living in the era of the outliers of the outliers. And we have that.” That recognition is now allowing the company to extend its business in the opposite direction to much of the media industry: after building massive digital reach, El Reino Infantil is increasingly moving into the physical world. “We are developing businesses related to monetization, distribution and the physical world as well: live shows, consumer products, FAST channels and even cable channels,” De Stefani explained. “Digital is increasingly the showcase where everything is exposed, while the physical world is where the interaction with the IP takes place. That is where we are expanding.” For Ylka Tapia, Partnership Manager & Executive Producer at El Reino Infantil, that evolution has also changed the way the traditional entertainment industry sees the company. “At first, at the more traditional entertainment and animation industry events, our presence was a little surprising,” she recalled. “We kept showing our results, our projects, what we do and how we do it. Partners that initially wondered, ‘Who are
these people?’ now come to us saying, ‘Let’s talk, tell me more, I’d like to participate.’” Part of that shift is linked to one of El Reino Infantil’s strongest assets: the ability to validate content digitally before asking platforms or broadcasters to commit to it. “Today it is almost impossible to achieve a sale without previous digital validation,” De Stefani said. “A platform buying something wants to know that it is going to work and where it came from.” That validation is becoming part of the value the company can bring not only to its own properties, but also to projects developed with third parties. “Being good is not enough,” De Stefani said. “First you have to get distribution, and then everything else.”
Pili Pilota Kids Animation
Bartolito Kids Animation
“Digital is increasingly the showcase where everything is exposed, while the physical world is where the interaction with the IP takes place” “YouTube has taken the centre of the home,” he said, linking that shift to the company’s broader positioning around entertainment, learning and development. For El Reino Infantil, that logic works in two directions. On the one hand, the company is extending some of its strongest existing brands into standalone properties. ‘Bartolito’, one of the best-known characters from ‘La Granja de Zenón’, has already been developed as an independent IP. On the other hand, the same digital scale is becoming a distribution asset for third-party IP. El Reino Infantil has been expanding this side of the business through its multi-channel network, managing YouTube channels and integrating external properties into its ecosystem to help them reach wider family audiences. One of the most recent examples is ‘The Little Prince and Friends’, produced by Mediawan Kids & Family. Under an agreement
announced at Annecy, the series joined El Reino Infantil’s network for the US and Latin America, excluding Brazil, in both Spanish and English. “A property can have all the potential in the world, but without distribution it cannot become a hit,” De Stefani said. “What we have is an established distribution network on platforms like YouTube, and building that kind of scale from scratch is practically impossible.” CTV, EDUCATION AND GAMING. El Reino Infantil is also seeing its digital audience increasingly migrate to the television screen. According to De Stefani, around 65% of its content consumption currently comes through Connected TV, particularly relevant for a preschool audience whose parents often prefer TVs to mobile devices.
The company works with psychologists and educational specialists during content development and is advancing educational initiatives linked to schools in Miami and Latin America, while also exploring a greater role in toy production and interactive experiences. “The child sees it as entertainment, but we see it as a service to parents,” De Stefani explained. Gaming is another growing area, ranging from educational experiences within its own apps to an expanding strategy on Roblox. “We no longer believe in a single-platform or single-IP proposition,” De Stefani said. “Our scale is not only audience scale. It is also scale in the number of businesses, the diversity of IP, targets and activities: shows, toys, immersive experiences, music, FAST and cable channels. That is the play.”
“With ‘Wadoo’ we combine all the expertise we have in digital narratives, formats and understanding audiences with Mediawan’s expertise as a franchise creator”
NEW IPS WITH GLOBAL PARTNERS franchise creator.” Tapia said the partnership is designed to bring together “a more classical, conventional world with a digital one,” with
both companies contributing closely to the development process. The company is also developing ‘Pili Pilota’ with Cake Entertainment. The preschool property follows Pili, a girl who dreams of becoming a pilot like her mother. “We are creating a very global product for a mass audience,” Tapia said. “It’s very educational, very aligned with our values and very toyetic.” For Tapia, both projects reflect a broader strategy of combining El Reino Infantil’s digital expertise with the experience of established international partners to create IP designed from the outset to travel.
ttv Magazine / Kids&Teens
El Reino Infantil is also expanding its development slate through alliances with established international companies. One of the most advanced projects is ‘Wadoo’, developed with Mediawan Kids & Family. According to Tapia, the project combines El Reino Infantil’s experience in digital storytelling and audience behaviour with Mediawan’s track record in animation and franchise building. “What we’ve done is create a kind of hybrid product,” Tapia explained. “We combine all the expertise we have in digital narratives, formats and understanding audiences —knowing how to read their language and speak it— with Mediawan’s expertise as a
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Kids&Teens Motion Pictures The Black Diamond Race Animation
By Carolina Mussio cmussio@todotv.tv @carolinamussio
Tony Albert, CEO of Motion Pictures, highlights the importance of creating titles that connect with audiences, and reviews the recent evolution of the Spanish production company, which has adapted its strategy to maximize its content’s reach by combining production, distribution, localization, and new alliances.
Tony Albert, CEO of Motion Pictures “The way forward involves creating content with a very clear identity, recognizable characters, and the ability to travel across different platforms and territories”
A WIDER VIEW WITH A FOCUS ON GOOD STORIES
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ttv Magazine / Kids&Teens
ombining production and international distribution across a broad animation portfolio, Motion Pictures’ current slate includes Tale Wind Animation’s ‘Turbozaurs’, which it distributes internationally, alongside ‘The Black Diamond Race’, a recent co-production with Gruppo Alcuni for RTVE and RAI.
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“The first half of the year has been positive. We are following a similar trend to last year,” said Tony Albert, CEO of Motion Pictures. “Over the last 20 years, we have produced around 15 animated series with diverse concepts that can coexist on any channel or platform worldwide.” Currently, the Spanish production company is developing a highly innovative and distinctive project titled ‘Electron Boy’, featuring a protagonist with ADHD. “We aren’t aware of any other animated series that tackles this subject matter from this perspective, and we believe it could be particularly interesting for European public broadcasters,” the executive explained. “With ‘Electron Boy’, we want to offer a positive, inclusive outlook that allows children with ADHD to feel represented while helping other viewers better understand and appreciate this reality.”
BEYOND PRODUCTION. In addition to its work as a production company, Motion Pictures carries out other activities in Spain, all related to the audiovisual sector. “For instance, we have our own dubbing studio —run with other partners— and we provide services to a large number of clients,” the CEO noted. “We also have a film and television distribution arm in Spain, with a catalog of over 300 titles that we distribute to Spanish TV channels and platforms,” he added. “And late last year, we launched another business line with a German partner, creating a new company dedicated exclusively to distributing anime content across Europe. You could say we manage a portfolio of businesses that keeps us very busy,” he summarized. NEW TRENDS, NEW PATHS. This dual role as both producers and distributors gives Motion Pictures a unique perspective for maximizing the potential of every piece of content.
“The way forward involves creating content with a very clear identity, recognizable characters, and the ability to travel across different platforms and territories,” the executive stated. “The content needs to be appealing enough for children, yet also offer produc-
tion values and elements that inspire trust among parents.” “As producers and distributors, we try not to think solely about selling a series to a broadcaster, but rather about how to maximize the lifespan and reach of each piece of content. From the very beginning, we analyze the potential audience, the platforms where it might succeed, the territories involved, and the exploitation models that make sense in each market,” he explained. “We are also committed to combining our experience in television and traditional distribution with new windows and exploitation models,” the CEO said, adding: “And another fundamental element, in my opinion, is localization. High-quality dubbing, a territory-specific strategy, and a deep understanding of local operators can make a big difference.” “Therefore, our strategy isn’t about trying to be everywhere at once; it’s about finding the right audience for each project and building the best possible path for every title,” the executive stated. “Our goal is to remain an independent, flexible company capable of adapting to a constantly changing market, without ever losing sight of what matters most: telling good stories,” he concluded.
Listings Mipcom 2026
Kids&Teens
Milo
Bartolito
The Gruffalo
The Black Diamond Race
DEAPLANETA ENTERTAINMENT
EL REINO INFANTIL
MAGIC LIGHT PICTURES
MOTION PICTURES
Av. Diagonal, 662-664 08034 Barcelona, Spain +34 93 492 88 73 info@deaplaneta.com www.deaplanetaentertainment.com Stand: R7.D19
San José 1277 Buenos Aires, Argentina partners.elreinoinfantil.com
TOP EXECUTIVE Ylka Tapia, Head of Growth Partnerships and Producer
TOP EXECUTIVE
41-42 Foley Street, 4th Floor London, W1W 7TS, United Kingdom +44 (0)20 7631 1800 office@magiclightpictures.com www.magiclightpictures.com
EXECUTIVE
Hannah Jones, Senior Distribution Manager
MAGIC LILLY (Animation, 26 x 22’) Inspired by KNISTER’s beloved Hexe Lilli book franchise, Magic Lilly follows Lilly as she balances high school life with epic magical battles. With the help of Hector, her loyal little dragon, and Yori, a Japanese exchange student who knows her secret, Lilly must defeat the powerful Miles and rescue her mentor Odella.
ttv Magazine / Kids&Teens
CLOUDY & STORMY (Preschool Comedy, 52 x 7’)
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A warm and playful preschool comedy about two very different sisters. Optimistic Cloudy rushes into every adventure with a smile and no plan, while protective Stormy is always ready to keep her safe. Through their funny and heartfelt adventures, children discover the value of curiosity, resilience and sisterly support.
Toni Albert, Sales Director Paloma Taborda, Sales Executive and Producer
TOP EXECUTIVE Oscar Albert, CEO
Muriel Thomas, International Distribution Director
BARTOLITO (Kids Animation)
Milo returns with even more energy, imagination and fun. Together with Lofty, Lark and new arrival Twilo, Milo explores a different profession in each adventure, inspiring children’s curiosity and desire to play. Catchy songs, visual gags and a faster pace make the stories even more surprising and relatable for preschool audiences.
EXECUTIVES
TOP EXECUTIVE
Carlos Biern, Content and Media Sales Director
MILO (Preschool Animation, 78 x 11’)
Reina Victòria, 8 08021 Barcelona, Spain +34 932 002 500 www.motionpic.com Stand: R7.H9A
Bartolito begins his first year at ‘Granjacademia’, a school where music and video games come together. Along the way, he discovers hidden talents, makes lifelong friends and learns that the greatest adventure of all is growing up. WADOO (3D Animation, Music) Wadoo is a warm and colorful preschool series built around curiosity, friendship and teamwork. Through playful adventures and music, its characters discover the world around them while learning how to face everyday challenges together. ZENON’S FARM (Preschool) Set in the countryside, ‘Zenon’s Farm’ celebrates rural life, animals and care for the environment through music, stories and familiar characters. The property combines music videos, series and edutainment content designed for preschool audiences and families. BOOGIE BUGS (Preschool) A cheerful musical property in which a group of lively little bugs invites children to sing, dance and take part in playful activities. Its songs and choreography encourage movement, coordination and active participation.
THE GRUFFALO (Kids & Family, 1 x 26’)
THE BLACK DIAMOND RACE (9 x 45’)
Based on the classic picture book by Julia Donaldson and Axel Scheffler, the story follows a clever little mouse who must outwit a fox, an owl and a snake by inventing a terrifying monster called the Gruffalo.
India, 1929. Seventeen-year-old Rani Singh dreams of becoming a racing driver when she is drawn into a mysterious competition involving four diamonds with magical powers. Racing alongside an international group of contenders, she must reach the finish line before criminal mastermind Mister K can use the diamonds to rule the world.
THE BADDIES (Kids & Family, 1 x 30’) A troll, a ghost and a witch pride themselves on being the worst baddies around, until a little girl proves more than a match for their nasty tricks. A mischievous adventure about courage, kindness and standing up to bullies. ROOM ON THE BROOM (Kids & Family, 1 x 25’) A kind witch welcomes an unlikely group of animals onto her broom. When they ultimately save her from a fearsome dragon, she rewards them with a magnificent new broom with room for everyone. THE SCARECROWS’ WEDDING (Kids & Family, 1 x 30’) Betty O’Barley and Harry O’Hay are planning the perfect wedding, but their plans go awry when Harry leaves the farm and smoothtalking Reginald Rake steps in. A warm story about love, loyalty and what truly matters.
TURBOZAURS (156 x 7’) Peter and Katie have six transforming dinosaurs as pets, opening the door to a world of unexpected adventures. Whether retrieving a ball, searching for treasure or exploring the forest from above, the Turbozaurs always have the perfect skill or machine for the job. MYA GO (156 x 5’30”) Adventurous preschooler Mya approaches every experience with endless enthusiasm and a positive attitude. Together with her family and her dog, she explores the world around her and discovers that even difficult situations can become opportunities for fun, learning and adventure.
3.486.843 total average annual reach across all our digital media platforms
Adventures Of Akira & Mowgli
Plim Plim: The Kindness Hero
Chill Out, Zeus!
Ready, Steady, Wiggle!
POWERKIDS ENTERTAINMENT
SPIRITUM ENTERTAINMENT
STUDIO 100 INTERNATIONAL
THE WIGGLES
350 Orchard Road, #21-08/10 Shaw House Singapore 238868 +91 73967 74066 info@powerkidsentertainment.com www.powerkids.net
Cerrito 1070, 2nd Floor, Office 48 C1010AAV, Buenos Aires, Argentina info@spiritum.tv spiritum.tv
Neumarkter Str. 18-20 81673 Munich, Germany +49 89 960855-0 distribution@studio100int.com www.studio100international.com Stand: R7.K17
EXECUTIVES
Swastik Sekar Patra, Head of Global Operations and Licensing & Distribution Desmond Aram, Director of Licensing and Gaming
TOP EXECUTIVE Manoj Mishra, CEO & MD
EXECUTIVES
Cindy Fernández, International Licensing & Consumer Products Manager, Krakatoa Damián Soriano, VP of Content, Spiritum Entertainment
TOP EXECUTIVE
Víctor M. López, Chief Commercial Officer, Spiritum Entertainment & CEO, Krakatoa
EXECUTIVES
Fabrice Laventure-Darival, Sales Manager, Studio 100 International Tanja Aichberger-Schaetzle, Senior Sales Executive, Studio 100 International Richard Rowe, Executive Producer, Studio 100 International Laura Langhammer, Head of Studio Isar Animation
TOP EXECUTIVE Martin Krieger, CEO
PLIM PLIM: THE KINDNESS HERO ADVENTURES OF AKIRA & MOWGLI (Action, 52 x 11’) The timeless world of ‘The Jungle Book’ expands with Akira, a girl from a nearby village who accidentally enters the Seonee jungle and crosses paths with Mowgli. After they escape Shere Khan together, the tiger becomes determined to hunt both man-cubs, bringing double trouble to Baloo, Bagheera and their friends. LITTLE MOWGLI (Fun, 52 x 7.5’) A prequel to ‘The Jungle Book’ following threeyear-old Mowgli as he discovers the Seonee jungle for the first time. Curious, optimistic and endlessly adventurous, little Mowgli approaches every new experience with enthusiasm, often creating chaos for himself and the classic jungle characters around him. YOUNG ACHIEVERS ACADEMY (Action, 26 x 22’)
BUMPY, THE BEAR (2D Animation, 52 x 3’ + 52 x 1’ edits) A digital-first, music-led preschool property co-produced by Krakatoa and Spiritum Entertainment, with the participation of RTVE. Bumpy and his friends put what they learn at school into practice through play, exploration and discovery, in a multiplatform brand designed for children ages 1–4.
TOP EXECUTIVE
Luke Field, General Manager of Commercial
READY, STEADY, WIGGLE! (Educational, 156+ x 11’) The Wiggles bring together music, dance, storytelling and playful problem-solving in a preschool series featuring Anthony, Simon, Lachy, Tsehay, John, Lucia, Caterina and Evie alongside beloved characters including Dorothy the Dinosaur, Wags the Dog, Henry the Octopus and Captain Feathersword. Each episode encourages children to sing, move, learn and explore through songs, games and lively adventures.
CHILL OUT, ZEUS! (CGI, 52 x 12’)
DOROTHY THE DINOSAUR (Live Action, in production, 30 x 5’)
When Zeus, ruler of Mount Olympus, falls into one of his legendary bad moods, chaos shakes the heavens and sometimes Earth itself. Luckily, his quick-witted teenage children Aphrodite, Athena, Heracles and Hermes know how to distract him with adventures, mythological tales and plenty of divine mischief.
Dorothy steps into her own world in a new live-action series introducing Pedal and Poppy alongside familiar Wiggly friends including Wags the Dog, Henry the Octopus and Shirley Shawn the Unicorn. Through music, friendship and playful adventures, Dorothy invites young audiences to discover a colorful world built around familiar characters and new faces.
LOUCA (CGI, Comedy, 26 x 24’) Clumsy teenager Louca’s life changes when he meets Nathan, a confident and athletic ghost only he can see. Nathan secretly coaches him on the football field and beyond, helping Louca discover courage, confidence and the determination to play his own game. LIVING WILD (2D Comedy, 52 x 11’) Three pampered city pets with absolutely no survival skills find themselves stranded in the wilderness. Tiny Head, Ird and Chopper must rely on trial and error, ridiculous ideas and their growing friendship as they try to find their way home.
60.956 average monthly reach in LinkedIn
ttv Magazine / Kids&Teens
As rogue AI technologies threaten the world, the Young Achievers Academy trains a new generation of highly skilled youngsters to join RAIDERS, an international emergency-response force. The students must master cutting-edge technology and prepare to confront dangers conventional authorities may not be equipped to handle.
Plim Plim is a heartwarming 2D animated series for toddlers and preschoolers blending adventure, music and valuable life lessons. Through magical journeys with his friends, Plim Plim encourages kindness, confidence, empathy and emotional development while helping children discover their inner strength.
PO Box 7873 Baulkham Hills NSW 2153, Australia info@thewiggles.com.au www.thewiggles.com
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COMMISSIONS FRANCE TÉLÉVISIONS ORDERS SEASON 2 OF TROTRO & ZAZA French pubcaster France Télévisions has ordered a second season of animated short-form preschool series ‘Trotro & Zaza’. Launched in April, ‘Trotro & Zaza’ quickly established itself as a major success across both digital and linear, gathering more than 13 million views and becoming a record-breaking launch on Okoo. The first season of ‘Trotro & Zaza’ is a 2D animated series for preschoolers, directed by Celine Papazian, produced by Ellipse Animation and Studio Campedelli, both part of the MédiaParticipations group. The series is based on the work of Bénédicte Guettier, published by Gallimard Jeunesse. Distribution is handled by Mediatoon Distribution, also part of Média-Participations group.
DISTRIBUTION
XILAM LANDS INTERNATIONAL PRESALES FOR ANIMATED CATALOG
FORMATS
STILL STANDING KIDS DEBUTS NEW SEASON IN CHILE
ttv Magazine / Kids&Teens
Chile’s TVN continues to boost family entertainment with the return of ‘Ahora Caigo Kids’ to its Friday afternoon lineup. Hosted by Daniel Fuenzalida, the local edition of ‘Still Standing’ sees children putting their knowledge, mental agility, and nerves of steel to the test in trivia duels where a timely answer can save them from taking the plunge. The children’s version of the show features contestants aged 10 to 13 competing in a contest where the prize isn’t money. Just like in the first season, participants can accumulate prizes and experiences tailored to them through these duels. However, the contestant who conquers the final game stands to win not only their accumulated prizes but also a grand prize: an iPhone 17. Even if they reach that stage but fail to answer all ten questions, they won’t leave empty-handed, as they will receive a laptop as a participation prize.
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Academy Award-nominated French animation studio Xilam Animation has inked a wave of presales for the latest content from its line-up of iconic comedy franchises. The landmark ninth season of ‘Oggy and the Cockroaches’ has been presold to Warner Bros. Discovery EMEA and APAC; the upcoming fifth and sixth seasons of ‘Zig & Sharko’ to JioStar India Private Limited and Warner Bros. Discovery Italy; and ‘Chickies’, the new spin-off to the hit series ‘Where’s Chicky?’, is heading to Radio Canada and SVT Sweden. Xilam will be attending Mipcom with the first two completed episodes of the Chickies series, which will complete delivery in 2027.
DISTRIBUTION
WINSING BRINGS LATEST ANIMATION LINEUP TO MIPCOM
Chinese kids and family entertainment company Winsing Animation will showcase its latest animation lineup at Mipcom, presenting new feature films, television series and original IP developments as the company continues to explore international distribution and strategic partnership opportunities. Winsing will present
Annecy-selected ‘Into the Mortal World’, non-dialogue slapstick ‘Mongo’, new ‘GG Bond Racing’ film and series, flagship preschool IP ‘Gogobus: Mars Trip’ series, newly launched AIGC animation project ‘GG Bond: Lost Era’, and other global-ready original IPs. The lineup reflects Winsing’s continued expansion across multiple formats, including theatrical animation,
television series, short-form content, preschool entertainment and emerging production technologies.