VIES TE DA KA & Edited by Terri LANGAN

The Children’s Media Yearbook 2016 ••• Edited by Terri LANGAN & KATE DAVIES

The Children’s Media Yearbook is a publication of The Children’s Media Foundation

Director, Greg Childs Administrator, Jacqui Wells

The Children’s Media Foundation P.O. Box 56614 London W13 0XS [email protected]

First published 2016

© Terri Langan & Kate Davies for editorial material and selection © Individual authors and contributors for their contributions

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of The Children’s Media Foundation, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organisation. You must not circulate this book in any other binding or cover.

ISBN 978-0-9575518-6-2 (paperback) ISBN 978-0-9575518-7-9 (digital version)

Book and cover design by Jack Noel Edited by Terri Langan & ka te davies INTROduction 7 Anna Home Research further afield “You started it!” 10 A Land of 46 Online piracy – Opportunity – if you who’s really to blame? can start looking Charlotte Jones sideways Alex Chien Cross-generational 14 THE PRIX JEUNESSE 49 Peter Robinson FOUNDATION: EMPOWERING CHILDREN AND INSPIRING : 19 ADULTS WORLDWIDE creating female Alison Stewart characters in adventure Anna Potter diversity Women in animation 24 #ToyLikeMe 54 Lindsay Watson Rebecca Atkinson Mindfulness 26 DIVERSITY MEANS 58 and Children EVERYTHING Dr Barbie Clarke Nathan Bryon, Kara Smith and Gregory Boardman Experiential 32 marketing DIVERSITY – ARE 62 Amanda Gummer WE THERE YET? Angela Ferreira animating the 34 Holocaust Kath Shackleton Content, Distribution, 38 Discovery: The Royal Family David Kleeman Apps: the new 41 battleground for children’s TV Stuart Dredge The New Ed Tech 43 Frontier Justin Cooke making it happen The Value of Values 64 One Click, One Laugh: 95 in The Wild (North) How we Made our West Interactive Comedy Jon Hancock Trevor Klein Little Baby Bum 67 Shakespeare and 99 Derek Holder Preschool – who said that they don’t Animation UK 69 go together? Oli Hyatt Angela Young The Importance 72 of Being different Looking back Joshua Davidson 104 The story of 74 Frank Cottrell Boyce Lost Name David Cadji-Newby looking CBBC Official 76 Chart Show forward Steve Wynne Let’s start acting 106 like kids and have a anim8: 300 to 3 to 1 79 grown up conversation Siwan Jobbins Alice Webb The Recipe for 82 Digital‑First Success Juliet Tzabar Contributors 108 Will a better 86 understanding of children make all the difference? Lucy Gill Kid’s iPlayer 89 Claire Stocks “Never work with 93 children or animals” – W.C. Fields Ray Maguire

Children’s Media Yearbook 2016

INTROduction ANNA HOME

The Children’s Media Foundation: keeping the of state in his previous role children’s audience at the forefront of the debate as chair of the Culture Media around Charter review and the future of funding for and Sport Parliamentary Select kids’ content in the UK Committee, so he understands very well the failure of the This year, CMF’s activities On one hand, the need to commercial public service have been dominated by the “protect” the children’s budget broadcasters to commission long debate over the BBC at the BBC was floated. The anything of significance and Charter and how to respond Green Paper also included the collapse in spending on UK to the government’s proposals. a reference to “contestable children’s content anywhere A Green Paper was published funding” – money that might other than the BBC. in July 2015 and other be taken from the Licence However, these two Green documents have been published Fee and distributed to other Paper proposals caused concern. subsequently, including organizations to stimulate The idea that the government the Clementi report on the more content for children. Both would in some way “protect” governance of the BBC. of these proposals needed to a specific budget at the BBC The Green Paper, be considered in the context seemed to us far too much like unusually, contained two of a secretary of state (John direct interference in the work specific references to the Whittingdale MP) who is of the Corporation. Our basic children’s audience – essentially generally in favour of a smaller, position is that UK kids deserve officially accepting that there is more “public service” BBC that a well-funded BBC that can “market failure” as evidenced intervenes in the market far less, independently create children’s by reports from as far but for whom children’s content content it can wholeheartedly back as 2007 and proposing, is a cornerstone of BBC public stand behind rather than having in the briefest of terms, some service. CMF can claim some its hand forced by regulations solutions. success in lobbying the secretary or spending quotas.

7 Equally, the idea of conduct in-depth research and Sport, the BBC Trust, and “contestable funding” was into alternative methods of Goldsmiths University, which connected in the Green Paper financing a contestable fund staged an inquiry chaired by with what has become known (with no raid on the Licence Lord Puttnam. All our responses as the “top slicing” of the Fee). The research should can be found on the “Action” BBC’s budgets to redistribute also encompass how that pages of the CMF website. the money to other bodies, or fund might be organized And the consultations companies. This, it seems to and who might receive the continue. As write, we have us, does very little to alleviate funding – especially given just responded to another the real issue behind the the rapid changes in the way House of Lords consultation – market failure – that millions content is being distributed this time on and it’s of pounds of commissioning with all the new video- future. money have been diverted away on-demand players in the In the same period we met from children’s content because market such as YouTube and brokered more general the commercial PSBs are no Kids, , Sky Kids and meetings with many key people longer required by regulation to the proposed BBC iPlay and organizations: Tony Hall, provide children’s programmes. platform. the BBC Trust, MPs, opposition We need to find new money to CMF has stimulated public shadow ministers, senior civil bring the level of spend back to discussion of these issues. We servants at DCMS and other what it was ten years ago, not kicked off with the debate organizations with whom we move the existing pot around. we sponsored at last years share concerns. We have spoken So our response in the Children’s Media Conference at the Westminster Media various public consultations in July 2015. This featured Forum on several occasions and that have followed the Green Alice Webb, director of BBC on radio and TV. Paper has been clear: Children’s, in her first public In September we staged • No more cuts to the Licence outing, with culture minister another public debate in Fee Ed Vaizey and representatives London, this time with the • The BBC should itself from Ofcom, Animation UK ominous title “Staring into the commit to increasing and CMF. Media commentator Abyss”. The debate brought the children’s budget to Steve Hewlett chaired a lively, out the differences of opinion accommodate new content informative and entertaining between interested groups as to for under-served audiences session. the best way to achieve more such as the over-tens while In the autumn the funding for UK kids’ content. maintaining the range consultations flowed in There are those who support and quality of its existing quick succession: from top-slicing to achieve a fund and services DCMS, the House of Lords there are those who don’t – the • The government, having Communications Committee, CMF included. To find common accepted that there is the Parliamentary Select ground, the CMF arranged a market failure, should Committee on Culture Media meeting with Pact, the VLV and

8 Children’s Media Yearbook 2016

Animation UK. The outcome responses and in that period financed fund that stimulates was a joint statement on the the CMF will organize a major real competition and growth future of BBC Children’s, urging event in London – a meeting in content delivery for the the BBC to commit to invest at of the All Party Parliamentary audience. It isn’t easy for us to least 8% of its overall content Group on Children’s Media and keep up this level of activity. budget on children’s content, the Arts (to brief MPs and Peers We are a tiny organization with with a minimum spend of £100 on the issues) – followed by a part-time staff supported by million. debate at the Children’s Media a few terrific volunteers. Our More recently we Conference in Sheffield. campaigning and lobbying suggested, and took part in, This is possibly the most takes place in the context of our a round-table meeting with important issue to face the events programme, the All Party John Whittingdale to discuss entire children’s media industry Group, research initiatives, how children’s content fits in in the last ten years. The newsletters, press responses, our to the Charter renewal debate. outcomes will be swift and support of the yearbook and We ensured that the partners potentially far reaching. There our development policy in other in the joint statement were is every possibility that the areas, such as internet security represented, plus a number government’s agenda for the or the future of children’s and of independent producers. BBC may have adverse affects family film. All the relevant issues were on the quality and range of This year has really discussed, including the pros content that the audience are stretched the CMF, but we have and cons of contestable funding offered in the future. Equally, kept up. However, to continue and the CMF proposal of with vision and care for the – and be quite sure, there will a new alternative fund for consequences of their decisions, be a need for us to continue – content production. I wrote politicians could make changes we need to raise more funds to a letter to John Whittingdale that stimulate the UK children’s keep the organization afloat. after this meeting, reiterating content market in exciting Please consider whether you or our position. The letter can new ways. New money could your company could become be found on our website be provided for production, supporters. Details of how to do along with our general policy reflecting the new platforms this are available on the CMF statement. that are hungry for original and website, or from our fundraiser, This story is not finished innovative content. Esther Fox: fundraiser@ yet. As I write this in May The CMF has been, and thechildrensmediafoundation. 2016, we await the publication will continue to be, at the org. of the White Paper later this of the debate. We will press We believe that we can and month that will outline the on with our proposals for do make a difference. But we government’s conclusions an independent, well-funded can’t do it without your help. on the BBC following all the BBC that supports and even consultations. There will be expands its kids’ content, a brief window for further and a new independently

9 ReseaResearchrch

“You started it!” Online piracy – who’s really to blame? CHARLOTTE JONES

Can the next generation At the time I didn’t think that Thanks to the proliferation of consumers really be was OK, and I was worried her of social media and sharing considered different in dad would go to prison. But skip platforms, young people are their behaviour towards forward ten years to my time at used to accessing content free of free content, or are they university, and finding free (and charge and have come to expect simply continuing a illegal) content online was just it. Why would they pay for train already in motion? what we skint students did; it something they can find for free? I remember older family was normal. members proudly telling My own experience This leads us to me about the delicate art certainly mirrors research we’ve question: Have we of timing a tape to record conducted looking at piracy and created a generation the top 40 chart from the content sharing among 6–18 of “innate pirates”? radio, and taping films year olds. As young people And if so, what does from the TV onto VHS gain independence and begin to this mean for digital cassettes. Piracy clearly think in less black-and-white media brands? goes much further back terms, their opinions begin to If Gen Zs are innate pirates, than Gen Zs, who could change. If “everyone” is sharing does this make them a more very well argue, “You content and no one is explicitly challenging audience than started it!” telling them not to, surely it previous generations? can’t be wrong? Our research has identified When I was young, one of our For digital brands, a that when children first start neighbour’s children asked if we key challenge is delivering a exploring online content, a wanted any DVDs, as her dad proposition that is considered lot of their experiences are was selling them “on the cheap”. valuable enough to pay for. orchestrated and controlled

10 Children’s Media Yearbook 2016

by their parents, and they are effect on their moral compass. sessions with Gen Zs of varying also taught what is “OK” Young teens proactively share ages, it’s clear that by the time and “not OK” to do online at login details and specific links young people reach 16–18 school. The 6-8 year-old-age to content, and they also years of age, using pirate sites group are content and guided recommend websites and is normalized to the point – they usually only experience programmes to watch. Sharing where it’s routine; it’s not even content they’re guided towards, links to media content online seen as cool or edgy. Evidence accepting what they are offered appears to peak at this age; it shows that 16–18 year olds without questioning it. As tails off as young people become treat pirate sites the same way children get older (aged 9-11), independent online consumers as “official” sites (e.g. BBC they begin to stop taking their (aged 16–18), confident in their iPlayer) and that pirate sites are parents at their word and own abilities and knowledge. By often their first port of call as become curious developers of this time they have developed a “one-stop shop” for content. their own interests. Yet often a sense of self and, while their Gen Zs are adept at navigating they will still run things by their friends are still important, they past pop-ups and banners and parents or echo things they know their own minds and have don’t find the layout of pirate think their parents want to hear. become adept at finding and sites off-putting. They know It’s aged 12–14 that things really accessing content for themselves. the sites work, they know what change – these aided discoverers Sharing and use of pirate they want to watch and they have access to social media content has become normalized know what to click on to access at a much younger age than behaviour. it. Deprivation exercises, such any previous generation and Having conducted in-depth as blocking the route to their encounter a wider network of interviews, traditional focus favourite source of content, peer influencers, who have a real groups and Google hangout are overcome easily. Young

11 Research

people know that if their favourite pirate online doesn’t feel like stealing. There’s site disappeared they’d have other options. no obvious victim and it’s a lot more They’ve become skilled but passive pinchers. socially acceptable.”

“Lots of people are sharing “If I paid for media content that content and using pirate was available free online, people sites online, so it can’t would think it was weird.” be an issue, surely?” Young people have less money at their Key beliefs amongst young people that fingertips than older consumers and don’t underpin this nonchalant attitude to want to pay for things unless they have to. pirating are: One young person told us, “I’d rather buy • They are “consumers not posters” so something physical like clothes or make- they feel blameless and are therefore up than pay for music when I don’t need shameless in their use of pirate sites. to.” But another key reason why people “It wouldn’t be me who got into trouble. don’t pay for media content is that they It would be the person who put up the would be seen as “weird” if they did. They video in the first place.” would stand out. We tested a scenario about • They are “creators not compilers”. buying a CD or a DVD in-store, and it Apps like musical.ly and Video Star or quickly became apparent that young people sites like YouTube allow young people have no desire to do that when there are to share personal content with others cheaper, quicker and easier ways to access online. “If I’m willing to share, what’s content online such as via YouTube. Many wrong with consuming content others of them question why older generations have put up?” spend money unnecessarily on one-off • They shouldn’t have to police movie purchases. In a survey we conducted themselves. For young people, the among 16–24 year olds we found that 40% internet means independence, and they of have never bought a DVD and 49% have don’t think they should have to change never bought a CD, a percentage that is how they use it. “If content is there, probably only going to climb. it’s there to be consumed. It’s up to regulators to take it down.” “I’m not taking what isn’t • They won’t get caught. There are there to be taken.” no top-of-mind examples of people We asked Gen Zs to respond to a number receiving the same consequences for of hypothetical scenarios to test how they stealing content online as they would would respond when the opportunity to for stealing something “in real life”. participate in illegal activity was presented Therefore, availability bias leads them to them. Having told them that their to conclude that nothing bad will responses would remain anonymous, we happen to them. “Viewing pirate content asked if they would add food to their bag as

12 Children’s Media Yearbook 2016

they moved away from a self-scan till if they having to pay for it as they get older were hungry and couldn’t afford to pay for and they’ll continue to look for ways to it. Most firmly responded “no”. circumvent the system. However, our They are, however, opportunists, research has shown that for one brand particularly in the less tangible, less “real” in particular – Netflix – there could be digital world. Tell them that an online an opportunity to use this “naughty retailer has a glitch in their system that behaviour” to their advantage. Among means they can’t tell whether people have those who aren’t currently paying for returned an item or not and 65% say they Netflix, 68% would be willing to pay for it would take advantage of this. They don’t in the future. see this as stealing – they see this as smart. Has embracing log-in sharing by young Tell them about a new website that has lots people actually created a band of loyal of films on it that have yet to be released brand affiliates for Netflix? Has exposing and 72% would pay it a visit. Similarly, young people to their content enabled them 75% of those who don’t have access to to convert these viewers into fully fledged Netflix at home would “definitely” borrow adult consumers once their piracy phase a friend’s login details. is over? It’s certainly something for digital brands to consider; embracing piracy (or Embracing piracy and content- at least not clamping down on it) may sharing behaviour can have a actually help to engender long-term brand positive impact for a brand loyalty. Amazon recently launched a service Rather than passively waiting for called Amazon Video Direct to compete information to come to them, this is a with YouTube, a brand that has long been generation that wants to make things ahead of the curve in embracing the next happen. We asked 150 16–18 year olds generation’s desire to post and make money who they are inspired by, and “bloggers” from their own content. The Amazon was one of the top three responses. We model looks to hook consumers in with a also asked which brands they found most free online platform while exposing them inspirational and they listed a stream of to paid-for Amazon Prime content and social media brands. Why? Because these services. It will be interesting to see how brands ask young people to engage with the piracy story develops as brands start to them. take more control and seek to meet the next It is crucial for brands to build the generation on their own terms: “Yes, we right type of relationship with young people started it, but now we’re going to use it to during their transition from “children with our advantage.” pester power” to “grown‑up consumers”. The worry for brands is that this next generation of consumers is so used to getting content for free that they’ll resent

13 Research

Cross-generational entertainment Peter Robinson

In this age of on-demand, anywhere entertainment, Methodology children have choice. Yet, in over 12,000 responses This paper is sourced from three from kids who were asked about their favourite of Dubit’s research tools: entertainment, the top ten brands stand tall. This • Dubit Trends, a global could mean one of two things: tracker of 2–15 year olds’ 1. there is less choice than we perhaps believe and their parents’ media 2. That there is choice, but the top brands stand tall consumption, with at least because they do something special. one country per continent. We believe both are true. An online survey of over 12,000 2–15 year olds Seventy-five per cent of British • Brands that were loved by and 12,000 parents from children say it is hard to find parents or even grandparents February 2015 to April new content (diagram one). in their childhood, and then 2016 Despite the proliferation passed down to kids • Dubit PlayLab, a dedicated of devices and on-demand • Interacted with by both children-and-parent testing entertainment, the removal of adults and children facility for toys, digital and schedule actually makes it hard • Respected by adults, used by video for some children and parents children. • “Media-sorts”, a warm-up to find, trust and adopt new This paper presents our task conducted during in- content. research on how the greatest home immersions allowing The top brands (diagram children’s entertainment brands children to show us their two) don’t instantly look as should be appreciated across favourite toys, games, though they have much in generations, and how to achieve shows etc. common. But there is a pattern: that objective. We also quote other clever all of the brands are either: works that we love and that

14 Children’s Media Yearbook 2016

Diagram one: how often do kids get frustrated trying to find content?

Diagram two: top ten brands

15 Research offer a valid perspective. parents’ competence on present, and nearly always modern platforms, and peers linked to family time. Interactive become their main influence. entertainment But autonomy is managed Emotional scheduling During Jeff “Swampy” Marsh’s (diagram 4), as we found with According to the media sorts, (Phineas and Ferb) keynote one 12-year-old boy who sat emotion plays a huge part in at CMC in 2013, he spoke uncomfortably as his mum how children retain passion for about the importance of jokes admitted to us that he still a piece of entertainment. Social going over a child’s head and collected the Beano (which and emotional development reaching the parent. The parent sat discreetly in his trusted walk hand in hand and are laughs, the child asks why, place, under the bed). He was driven by modelling of those and they laugh together. It’s a autonomous, but his mum still closest to the child – parents, tried-and-trusted formula that knew everything. He knew that grandparents and other adult has forged some of the most she knew and, perhaps most carers. So it is hardly surprising iconic and long-lasting kids’ TV importantly, he didn’t mind. that children’s favoured shows. Around the same time, I Media sorts allow children entertainment brands – those encountered GiggleBug, run by to physically present their media with which they feel most CEO Anttu Harlin, which also universe to us. We are then emotionally connected – are promotes “infectious giggling”. able to discuss in detail how often multi-generational. These two brands – one already they consume their favourite When we ask children great and one hopefully on its brands. They lend a fascinating and parents the one thing they way – are both trying to “make insight into how a child chooses want more of, they say time people interact”. and organizes entertainment together. Sadly, family time I spend my life trying to across platforms. There are two comes at a high premium in spot patterns in piles of data; consistent trends that appear many households. A study how simple it would be if during this exercise, across all published by Hollywood Bowl there was only one metric that types of home: in March 2016 suggested that mattered: 1 There is a space in every families spend 38 minutes Objective One: Encourage child’s bedroom for gifts together each weekday, four child and parent interaction bought for them, or handed minutes longer than a study Objective Two: Make it down by grandparents and by Highland Springs found happen over and over. parents. It’s a treasured in 2015. This falls roughly The common perception and organized space, often in line with our own data. that children move away a bookshelf. In the UK, Entertainment accounts for from their parents as they it will include books by a sizeable proportion of that age is, in some respects, true. Roald Dahl, C.S. Lewis, and 38 minutes; regardless of the They become increasingly Jacqueline Wilson, among platform, it drives family time. autonomous in their decision- others. Here are two frequent situations making, many surpass their 2 Lego and Monopoly will be we have uncovered:

16 Children’s Media Yearbook 2016

Diagram four: children’s level of autonomy from their parents

0 feet 2 feet 4 feet 6 feet

4–5 years 6–8 years 9–10 years 11–13 years • Parents are at the • Parents inform • Family comfort • Competition centre interests blanket • Monitored • Parents introduce • Creativity and • Some social independence new activities play independence • Social conformity • Social play begins • Discovering • Mastering passions passions

• Some families use screens for games dominating social parents, despite bemusement bedtime stories. Regardless gameplay. at its graphics. of the platform, parents While there are many reasons and children are in the same Case studies why each product is multi- room and sharing “chill- As part of this study we spent generational, we have focused out” time, with only specific time looking at three of the top on one element unique to each brands allowed five brands among children. brand. • While smaller screens are, They all follow the set rules: Lego has been a staple of if anything, more isolating • Lego has been loved by every child’s development for 77 than a room-serving screen, many generations and years, but when sales dipped, it mobile media gets passed continues to be a platform evolved into a licensing machine around. Quite often, parents for play and development and became a dominant force. and siblings share smart across the ages The licenses themselves couldn’t devices, collaborating on • Candy Crush is played by have been more ideal. Each Minecraft or competing on children, parents (usually one (Star Wars, Indiana Jones, Angry Birds. mums) and grandparents Marvel, Harry Potter and DC) Fifty years ago, the same (usually grandmothers) has an almost identical superfan study would have seen books • Minecraft is loved by audience – Lego “geek dads” dominating bedtime and board children and respected by (and mums) and a fiercely

17 Research passionate young following. increases in complexity and But when we ask children who difficulty, but its randomness introduced them to any of the and the simplicity of play means above licenses and Lego, nearly that there is always progress three-quarters of the time it was and reward. And that appeals a parent or older relative. Lego’s to both young and old. Candy essence of imagination for all Crush is not exclusive: anyone ages has not changed, but the can play, so we often meet eight top5 tips for context in which that essence is year olds who have assisted cross‑generational delivered has adapted through their grandparents to overcome success its narrative to the modern a tricky level. That’s akin to audience. what Jeff “Swampy” Marsh set 1 Employ a really simple We often talk about essence out to do. mechanic that aligns with when nurturing a heritage or Minecraft has almost a human motivation, e.g new brand. In this age of cross- too many successful traits Candy Crush platform brands, rapid licensing to mention, but one quote 2 Extend your narrative and and increasing discovery from a dad stood out: “I feel core objective through networks, it is essential that guilty asking my son to stop complementary partnerships each add-on doesn’t just make playing; he’s in the middle of and licenses, e.g. Lego and money but sustains the core an accomplishment. I’d be mad The Gruffalo objective of the brand. if someone did that to me.” 3 Become a place that parents Candy Crush was not the How many parents would say trust will have positive first brand we considered as that about a TV screen? Parents benefits to their children, multi-generation entertainment. don’t have to like everything e.g. Minecraft For the last year, Candy Crush their children watch or play, but 4 Focus on a key metric for has scored well among 2–15 they should respect it. Minecraft success and measure only year olds. But, according to is one of the few apps, outside that – don’t become blinded King (the game’s creator), its of the preschool market (Toca by too much data, e.g. core audience is women aged Boca, Duck Duck Moose etc) Gigglebug 25–55. Rather than daydream, that parents truly trust to 5 Most importantly, design people today turn to their inspire their children. experiences that harness smartphones for distraction. relationships between Candy Crush provides that in a children and parents, even simple two-minute maintenance if it’s one tiny point of play or a substantial two-hour interaction, e.g. all of the Sunday afternoon session. above. It also provides quick wins and progress, a reward that any human brain likes. Candy Crush

18 Children’s Media Yearbook 2016

Thunderbirds are go: creating female characters in adventure animation anna potter

UK children’s plays a vital role in national cultural representation and community cohesion, entertaining and socializing its young viewers as they learn from the societal norms and values they see portrayed on screen. Children’s television also creates a sense of place for its audiences, reflecting familiar situations, accents and locations back to them. Conversely, television from other parts of the world, often made with high production values, can expand children’s horizons, teaching them about cultural differences and introducing a sense of a global community.

But what happens when some of the ensuring diversity in its own workforce also societal norms and values in children’s raises questions about its capacity to ensure television are unpalatable, or reinforce onscreen portrayals of diversity for the child tired stereotypes while eschewing diversity? audience. And how much responsibility does the In 2007 a worldwide study into gender children’s TV production industry have representations in children’s television to try to effect social change through the revealed some interesting statistics about television it produces and distributes? the genre in the UK, at a time when 68% of The industry’s acknowledged difficulty in it was home grown. The findings showed

19 Research

© ITV Studios Limited / Pukeko Pictures LP 2016 Pictures / Pukeko Limited © ITV Studios Limited. Group Entertainment ITC by series is owned in the original Thunderbirds™ All copyright A female technician in ITV’s reboot of Thunderbirds Are Go that despite women making up 51% of the home or at school, while male characters population, 63% of all onscreen characters were generally portrayed outside or at were male, voiceovers in children’s TV work. were generally provided by males, actors Although more recent data is hard to portraying female characters were more obtain, many working in the industry are often thin – indeed, 40% were very thin – striving for greater diversity in the children’s while males were more often overweight, television they make, including more 73% of all onscreen characters were balanced gender representations onscreen. Caucasian and a minuscule 1.2% had a ITV’s high profile reboot Thunderbirds Are disability. Go provides a useful lens through which Globally the situation was no better we can see how contemporary creative – on average, 68% of main onscreen teams are subverting stereotypes in action- characters in children’s television were male. adventure animation while managing the Where storylines were concerned, heroes in myriad demands of producing children’s children’s television also tended to be male. television for global markets. Female characters most often appeared at Part of the retro appeal of the original

20 Children’s Media Yearbook 2016

Thunderbirds series lies in the ways in be a mistake; alterations to the Tracy which it reflects 1960s social norms, despite Brothers line up were therefore vetoed at being set in 2065 with science fictional an early stage. As Hughes explains, “When narrative structures. Such norms include you look at those five characters in the plenty of smoking and drinking, a utopian series and their relationship to view of technology, having five men as their specific five vehicles, it’s a brilliantly the lead characters around whom most of created, worked-out series where those five the action revolves and the representation characters and vehicles really complement of the series’ two key female characters each other and create a perfect whole. So as an ultra-glamorous socialite and a that was the reason we retained the five grandmother. male leads – creatively they worked. And The 2015 Thunderbirds Are Go, a they’d spawned an amazing series and co-production between ITV Studios and brand that didn’t need fixing.” New Zealand’s Pukeko Pictures, targets In order to achieve more gender an audience of 6–12 year olds. Executive balance while retaining the five male leads, producer Estelle Hughes believes that for the creative team behind Thunderbirds are animation particularly, increased female Go adopted two strategies at the writing visibility is integral to more balanced stage. First, they reworked key female gender portrayals, suggesting, “It’s about characters from the original series. Second, seeing more female characters onscreen and they used each episode’s requirement seeing them doing jobs that are still being for new characters in need of rescue to given to male characters, such as pilots, incorporate more females, particularly in mechanics, drivers and crime fighters.” roles that would have been cast as male Girls tend to move away from action- in the first iteration of the show. Indeed, adventure animation at the age of around Hughes describes her starting point when eight or nine, and Hughes was aware that talking about the writing of a new episode creating compelling female characters that as “Why can’t that character be female?” would engage girls in the new series made For example Tin Tin, the daughter commercial sense. of ’s manservant in The revamping of the the original series and renamed Kayo original for in Thunderbirds Are Go, provided an contemporary audiences included the use excellent opportunity for redevelopment. of CGI animation and a cut in running According to Hughes, “Kayo was a time for the new episodes, from 44 to 22 fantastic character to start from scratch minutes, with a concomitant adjustment in with, as the original Tin Tin hadn’t really the pacing of storylines. Despite the need to stood the test of time.” Kayo is now head of improve female representation in the new security for International Rescue, a capable series, the creative team felt that changing and feisty young woman who wants to the gender of the five lead characters would be proactive by going out and preventing

21 Research

crimes and thereby reducing the need for to distribute non-stereotypical images and rescues. Her methods, which often include increase female characters’ visibility, in this breaking longstanding International Rescue case Emilia Clarke as an oilrig worker and rules, cause her and to clash Jenna Coleman as a geologist. repeatedly. Nonetheless when introducing new Kayo, who is deliberately dressed in female characters into rescue scenarios, a uniform of plain combat trousers and there was a risk that the narrative structure T-shirt with her hair pulled back in a would be based on active male characters pony tail, is also a non-combative martial rescuing passive females. As Hughes arts expert whose superior skills mean acknowledges, including more female she trains the Tracy brothers in physical roles while avoiding the trap of repeatedly and self-defence. She has her own vehicle, creating damsels in distress was a delicate Thunderbird Shadow (although this is for balance. The writers were, however, able stealth missions rather than rescues). Kayo’s to ensure that technological failures rather character has proved immensely popular than individual incompetence created the with boys and girls and, says Hughes, need for rescue. As a result, Hughes notes, “clearly demonstrates that you can have the rescued workers are nearly always strong female physical action characters and “bright, competent, capable, impressive boys will still completely relate to them.” professional people, so making those The introduction of new characters characters female is absolutely worthwhile that need rescuing due to technological and valuable.” disasters provided another means of Clearly, consumer products remain including females in non-traditional roles. a crucial component of contemporary Many of those being saved from disaster are animation production funding, and their operating, designing and testing equipment, success is vital to the sustainability of series thus the high numbers of mechanics, such as Thunderbirds Are Go. Historically, miners, machinery operators, scientists however, a division has existed between and pilots associated with the technology boys’ and girls’ toys, including in the ways gave the producers ample opportunities to in which they are marketed. Thunderbirds incorporate female characters into these Are Go has been able to subvert that norm non-traditional roles. to an extent, through the toys created by ITV Studios were also supportive of UK manufacturer Vivid and a further 75 Thunderbirds Are Go’s efforts to create global licensees of consumer products strong female characters and provided associated with the brand. sufficient resources to cast high-profile guest The range of toys accompanying the actors such as Jenna Coleman and Emilia reboot includes not only ’s Clarke in series two. As Hughes observes, iconic pink Rolls Royce but also new items the media attention this kind of casting such as a Kayo toy and vehicle, designed generated provided additional opportunities by Japanese visual artist Shoji Kawamori,

22 Children’s Media Yearbook 2016 Entertainment Group Limited. All copyright in the original Thunderbirds™ series is owned by ITC © ITV Studios Limited / Pukeko Pictures LP 2016

Kayo in Thunderbirds Are Go whose credits include the Transformers toy Despite her commitment to onscreen designs. As a result, in many toyshops the diversity, Hughes accepts that when merchandise is not confined to specific girls’ producing animation, the integrity of the or boys’ aisles but sit in a mixed range, storylines must be any producer’s priority. with Thunderbirds Are Go toys the second Particular stories or episodes will require highest selling new licensed toys in the UK particular characters, which will entail in 2015. individual judgement calls. But as she Any reboot of a cult classic is an says, when making those judgement calls ambitious undertaking. Nonetheless, regarding the inclusion of female characters Thunderbirds Are Go has been a in children’s television, “you absolutely commercial and critical success, with have a duty to work through the why generally very favourable reviews and not?” Hopefully the next batch of research consolidated viewing figures of three million into diversity and gender representation in for its UK launch. With the production children’s TV will provide more evidence of a third series recently announced and that the willingness of creative teams like a distribution deal in place with Amazon those working on Thunderbirds Are Go to Prime in the UK and US, ITV’s decision to challenge longstanding gender stereotypes is reboot one of Gerry and ’s paying off. best-loved series is clearly paying off. The ability of the creative team to include more balanced gender representations obviously resonated with contemporary audiences as well, contributing to the series’ success.

23 Research

Women in animation Lindsay Watson

Having gathered a number of statistics on behalf of Animated Women UK and as part of my own Masters research at Bournemouth University, I was shocked to discover a continued lack of consideration for the female audience within the animated TV market.

Animated Women UK found that women want to see power, expression, confidence, in Britain’s animation and VFX industries self‑acceptance and femininity in the female enter jobs at a lower levels than men, get characters they watch. Empowerment, paid less, get promoted less, hold fewer communication and uniqueness were also at lead technical/artistic roles, and leave the the top of the list, and they want to watch industry earlier than men, often without shows covering topics such as nature, maths having had children. and science. I believe this has a trickle-down effect Is this what they are getting? and explains in part why there are so few Unfortunately not. I compiled a list of 87 female animated characters on free TV. animated series featuring a cast with at least My MA research found that girls aged 6+ one female lead that are currently showing

24 Children’s Media Yearbook 2016

in English internationally. Results indicated: age, or that they haven’t responded well to • Most series are 2D animation in the past, but perhaps this is • They are split almost equally between because they haven’t had content developed all-female casts and those with just one specifically for them. female lead Academics, child experts and parents • They are mostly either dramas or all have views about what girls should comedy dramas, though a few are be watching, but its important for the comedies girls themselves to be given a voice. More • Most dialogue is recorded using research needs to be commissioned and American accents. more content tested to find out which Children also said they wanted to see formats appeal to them. characters that appear naturally human, Disney’s Frozen has shown how with realistic bodies and waist sizes. As an successful content featuring female leads industry we are letting them down, instead can be at the box office. It’s about time our providing them with images that could be industry tried harder to understand female harmful to their health. audiences. We need to let go of our fears, While some of the largest providers be brave and start innovating. Girls deserve of girls’ content – Disney and Mattel, what boys have had for generations – fun, for example – have moved in the right engaging shows promoting self-belief and direction, and online shops such as independence. A Mighty Girl have launched, selling specialized products that meet girls’ needs, more can still be done. Companies like Hasbro, PGS, Lagardere Active, POP, Teletoon, Cartoon Network, Studio 100 and Mondo have indicated they are interested in making changes in this area – but for now, girls are still being excluded. For example the UK’s CBBC website features eleven animated series with male leads, four with a mixed-gender cast and none with a female lead. Broadcasters may argue that girls start watching live-action shows at an earlier

25 Research

Mindfulness and Children Dr Barbie Clarke

“The Stress Reduction Program became my lifeline it but mindfulness is the process literally saved my life. One can find peace and calm in of learning to work with our the middle of chaos and confusion.” attention in a different way. Participant at the Mindfulness Stress Reduction Building resilience and coping Course, University of Massachusetts mechanisms is now recognized to be as important to children’s Those of us working one child can be brushed off learning as literacy and closely with children, either by another. Psychoanalysis has numeracy. In December 2014, therapeutically, as teachers or taught us that past experiences Nicky Morgan, secretary of as researchers, are keenly aware can profoundly affect the state for education, announced that children have different way in which we behave and that “character skills” would ways of responding to certain respond to certain situations. be introduced to the curriculum situations. What might be a Some children live with chaos with a multi-million pound push deeply stressful situation for and confusion in their lives to place England as a “global

26 Children’s Media Yearbook 2016

leader” in teaching character, to “bounce forward” from life’s Sir Anthony Seldon, former resilience and “grit” to pupils. challenges. A report carried out head of Wellington College and Schools and organizations by children’s support service vice chancellor of Buckingham that offer activities promoting Place to Be and the National University, has called for character in pupils will see Association of Head Teachers daily “stillness sessions” in programs expanded through a found that one in five children schools, saying a decline in new £3.5 million fund, designed will experience a mental health traditional religious assemblies to place character education on difficulty at least once during has left pupils with little space a par with academic learning their first 11 years, and many for reflection in the school for pupils across the country. adults with lifetime mental day . He argues that exams Teaching character skills may health issues can trace their become a problem when seem at odds with mindfulness, symptoms back to childhood. schools or parents put an but it’s not – many schools are A report released in March “excessive weight” on them. choosing to adopt mindfulness 2016 found that 55% of 338 “Psychologically healthy training to help children cope school leaders surveyed reported schools need not cost vast sums, with stress. a large rise in pupils with and much can be done by heads anxiety and stress. This is partly changing their approaches, Why has mindfulness because of children’s apparent which will change the entire been adopted? preoccupation with social atmosphere throughout the Concern about children’s media, but stress is also caused school.” mental health is now high. The by exams and the constant The UK may be leading World Health Organisation has testing of children from a young the world in its recognition of warned that mental ill health age. Almost 65% said they the effectiveness of mindfulness will be the biggest burden of struggled to get mental health and its recommendation for disease in developed countries services for their pupils. adoption. The UK mindfulness by 2030. The government has • 79% of heads saw an all-party parliamentary group announced that it is investing increase in self-harm or published its Mindful Nation £1.4 billion to transform mental suicidal thoughts among UK inquiry in October 2015. health support for children and students The group heard evidence young people in England, with • 40% reported a big rise in from leading scientists, a £3 million pilot scheme to cyber-bullying practitioners, commissioners trial “single points of contact • 53% of those who had of services and policymakers for schools to ensure support is referred a pupil to Child and and sought to “address joined up and quickly available Adolescent Mental Health mental health concerns when needed”. Services (CAMHS) rated in the areas of education, The theme of Children’s them poor or very poor health, the workplace and Mental Health Week this year • Overall, 80% of respondents the criminal justice system (8–14 February) was “building wanted to see CAMHS through the application of resilience” and teaching children expanded in their area. mindfulness interventions”.

27 Research

It made rigorous, cost-effective children’s stress is becoming Centre states: “Mindfulness is suggestions for developing apparent to pioneers in the awareness that arises when the potential of mindfulness. children’s media. In 2015, we pay attention, on purpose, There is sound evidence to back Michael Acton-Smith, founder in the present moment, non- up claims of the effectiveness of Mind Candy and creator of judgementally.” of mindfulness. Mindfulness Moshi Monsters, published the Her colleague from the MBSR, training has been shown to book and created the app Calm. Saki Santorelli, explains the reduce the risk of relapse of In launching the book and app notion of mindfulness thus: recurrent depression by one he explained the benefits he had “We’re living in the past or third. A 2013 meta-analysis gained from mindfulness and we’re living in the future, but of 209 studies concluded that the way in which he felt it could the past is gone and the future mindfulness-based training is an support children. has not happened. The now is effective treatment for a variety right here.” Mindfulness, he of psychological problems, What is mindfulness? explains, is “a way of being and is especially beneficial for Florence Meleo-Meyer from attentive to the present, to the reducing anxiety, depression, the Mindfulness-Based activity of being alive, and, and stress. Stress Reduction (MBSR) more importantly, participating The link between programme at the University in that act of being alive.” mindfulness and reducing of Massachusetts Medical The widespread adoption

The history of mindfulness While the teaching of mindfulness might benefit from meditation and yoga, tends to be secular, the principles come as their symptoms were often made from Buddhism, which for 2,500 years worse by high levels of anxiety and practised many of the techniques used stress. He and his like-minded colleagues by the mindfulness movement today. Its developed the eight-week Mindfulness- adoption began slowly in Europe and Based Stress Reduction (MBSR) North America in the late nineteenth programme, and, as scientists, evaluated century, with commitment from the its effects, producing a substantial peer- hippy movement in the 1960s and 1970s. reviewed body of research demonstrating A significant change came about in the that relieving stress and bringing about a late 1970s through the work of Professor reduction in anxiety could relive painful Jon Kabat-Zinn at the University of symptoms. The Stress Reduction Clinic Massachusetts Medical Centre. Kabat- has served as the model for mindfulness- Zinn had a PhD in molecular biology and based clinical intervention programs at was a committed Buddhist himself. He over 200 medical centres and clinics realized that his patients at the hospital nationwide and abroad.

28 Children’s Media Yearbook 2016

of mindfulness might have and less from each other. a range of public services”. come about through the sense In the Play Report, 23% of that our lives are moving too parents, 23% of 13–18 year How does it help quickly, that we are missing out olds and 17% of 7–12 year children? on important experiences. Saki olds admitted, “Sometimes I As a relatively simple Santorelli explains, “Sometimes only talk to my family at home intervention, mindfulness is we look back a decade later through text messaging or increasingly being adopted by and ask, ‘Where was I for my social media”. schools. A US study published children’s growing up?’.” in March 2016 found that Many of us might share this Evidence that mindfulness improves children’s sense that life is passing us by. mindfulness can heal brain functioning, which can In the recent Play Report (2015) Jon Kabat-Zinn’s research affect self-regulation and that FK&Y carried out on at Massachusetts has been facilitate academic success, behalf of IKEA in 12 countries influential in the mindfulness Another recent study with with nearly 16,000 parents and movement. His research younger children in South 13,000 children and young has “focused on mind/body Korea measured salivary cortisol people, 49% of parents said they interactions for healing, clinical levels before and after an eight- felt guilty about not spending applications of mindfulness week mindfulness programme enough time with their children, meditation training, the effects and found both relationships and 73% said they would like of MBSR on the brain, on the and behaviour were improved to spend more time with their immune system, and on healthy in school. Similar findings children. And their children had emotional expression while were found in a 2015 paper similar feelings. 51% of children under stress; on healing (skin- focused on children aged 9–11 said they felt their parents were clearing rates) in people with in , which also showed always in a rush, and the same psoriasis; on patients undergoing an improvement in social- number (51%) said they would bone-marrow transplantation; emotional development. A US like to spend more time with with prison inmates and staff; study published in 2015 found their parents. in multicultural settings; that 11 year olds with attention This sense of rush and and on stress in various deficit/hyperactivity disorder “busy-ness” is undoubtedly corporate settings and work (ADHD) displayed significant exacerbated through the use environments.” improvement in maths through of social media and what In the UK a coalition of a programme of mindfulness. psychoanalyst Sherry Turkle, academic institutions, Oxford, Interestingly, an early study Professor of the Social Studies Exeter and Bangor Universities, (published 2012) found that of Science and Technology at has created “The Mindfulness 8–12 year olds with ADHD the Massachusetts Institute of Initiative” to advocate for benefited from mindfulness Technology, describes in her “a better understanding of training when their parents also book Alone Together: why we mindfulness as a low-cost took part in parallel “mindful expect more from technology intervention and its potential in parenting” sessions.

29 Research

Mindful parenting is a help children’s behaviour The UK all-Parliamentary form of mindfulness training, and anxiety. report gives a good described by Jon Kabat-Zinn Fourteen-year-old description of the process as ‘‘paying attention to your Anaya Ali, a student at of mindfulness: child and your parenting in a the UCL Academy School particular way: intentionally, in London, sums up her Typically, mindfulness here and now, and non- experience of learning practice involves sitting judgmentally’’. Parents are mindfulness: with your feet planted on encouraged to be aware of “The main reason the floor and the spine the present moment with mindfulness means a lot upright. The eyes can be their child, avoiding negative to me now is that I have closed or rest a few feet in responses, paying attention to moments when I can become front while the hands are in their child non-judgmentally. stressed easily or over-think the lap or on the knees. The Daily meditation practice things. I go to my room, attention is gently brought allows parents to find space and sit there and remind myself to rest on the sensations brings a sense of calm to the what my teacher would say: of the body – the feet on family. ‘Focus on your breathing the floor, the pressure on and be aware of what is the seat and the air passing Mindfulness is happening now.’ Once I through the nostrils. As beneficial for children open my eyes, everything the thoughts continue, you Mindfulness, it seems, can seems to fix itself back into return again and again to positively alter a child’s outlook place somehow. I’ve been these physical sensations, on life. Evidence shows that given advice like, ‘Go and gently encouraging the it reduces stress and anxiety revise, it will clear your mind not to get caught up and can improve mental health mind’ or ‘Do some school in the thought processes outcomes as well as learning work’, but none of it works but to observe their outcomes. Many blogs and as well as mindfulness. It passage. The development websites are appearing that give gives people the chance to of curiosity, acceptance and tips on how to teach children to look at everything from compassion in the process stop and take breath. a different perspective, a of patiently bringing There is also growing better perspective.” the mind back is what evidence that mindful parenting differentiates mindfulness can benefit both parents and from simple attention children, allowing parents to training. This practice can disengage from emotionally be held for a few moments charged stimuli, reducing their as a breathing pause in the stress levels and enhancing their middle of a busy day, or for emotional availability towards half an hour in a quiet place their children, which in turn can first thing in the morning.

30 Children’s Media Yearbook 2016

What further research is being carried out?

Dr Mark Williams, Emeritus Professor of will involve nearly 6,000 students. The Clinical Psychology at the University of other parts of the study are a programme Oxford and director of the pioneering of experimental research to establish Oxford Mindfulness Centre until his whether and how mindfulness improves retirement in 2013, is leading the Myriad the mental resilience of teenagers, and study, funded by the Wellcome Trust. an evaluation of the most effective way The study, launched in 2015, focuses on to train teachers to deliver mindfulness 11–14 year-olds because this stage of classes to students. early adolescence is likely to be the age Richard Burnett, co-founder of the at which children begin to struggle with Mindfulness in Schools Project, helped mental health difficulties. The £6.4 million to devise .B, a mindfulness programme research programme will be carried out taught in secondary schools. Evaluation by teams at the University of Oxford, of the programme with a non- UCL (University College London) and the randomized feasabilty study included MRC Cognition and Brain Sciences Unit, a total of 522 young people aged 12–16 in collaboration with the University of in 12 schools that either participated in Exeter, over seven years. the Mindfulness in Schools Programme The first phase is recruiting teachers in (intervention) or took part in the usual secondary schools who will train in and school curriculum (control). The trial teach the mindfulness curriculum to provided evidence that among those students aged 11–14. This is important; taking part, stress was reduced and mindfulness cannot be taught by just wellbeing was enhanced. The trial is anyone. Training is essential, and part being followed by Paws B, which is of this training ensures that teacher aimed at 7–11-year-olds, as it is felt practitioners experience and practice there is less support for primary school mindfulness themselves. children. Katherine Weare, Emeritus Professor at the Universities of Exeter The three-part study includes the and Southampton and co-author of first large randomized control trial of the report, has also written about the mindfulness training compared with advantage for teachers to take part in “teaching as usual” in 76 schools, which mindfulness training.

31 Research

Experiential marketing Amanda Gummer

Everything has an equal and value of these events and digital companies opposite reaction – so said need to keep up if they want to benefit from Einstein! And we agree. With the opportunities on offer. increasing online marketing and Simply providing lots of screens for sales activity, there is also an children to play on won’t work at a family increase in demand for events event. One of the reasons parents take where children can see, touch and their kids to family festivals is to get them play with products before (or even away from screens and you don’t want without) buying them. to alienate the parents from the start. Deciding what will be on offer for families At Fundamentally Children, we have found is where your brand is so important. that parents and children very much like to By truly analyzing and understanding “try before they buy”. We haven’t just heard your brand values, messages and the this from the parents we speak to, we’ve play patterns children engage with when seen evidence of it with the growth of family interacting with your products, it becomes festivals and events such as 3foot People relatively easy to translate your digital Festival, Kidtropolis and Play Fair. Toy content into fun “real world” activities companies are beginning to recognize the that captivate children when they visit your

32 Children’s Media Yearbook 2016

Children and parents at the launch of Lil’ Ocean Explorers, a new range of toys from Little Tikes stand and increase engagement with your set up testing sessions at the event, you can products. learn a lot from seeing how children and The importance of providing parents react to your products. children with a balanced play diet is Another often missed and underrated being increasingly recognized by parents. opportunity is observing how parents Therefore, making sure your digital content respond to their children’s reactions to your has a life off the screen as well is crucial product. There’s little good in a preschooler for the acceptance and longevity of your being crazy about your product if that products and also provides a vehicle causes the parent to be concerned about an to reach out to children at live events, addiction to screen time. opening up a whole stream of marketing As children mature, parental approval opportunities for your brands. is less important, but having the opportunity As well as introducing new children to talk to parents at events about their and potential customers to your brand, concerns and aspirations for their children family events also create an opportunity is a cost-effective way of evaluating new for valuable consumer insight. It’s a perfect products and kicking the tyres on those that market research situation and whether you have already launched. simply observe, conduct a quick survey or

33 Research

animating the Holocaust Kath Shackleton

The Holocaust. Genocide. occupied Europe and the and emotions, tell stories for Child refugees. Not the process rebuilding of their lives which there are no images, easiest of topics for in the UK. portray hopes, fears, dreams, animation. A new studio. We worked with BBC aspirations and memories. It’s Our first series. Even Learning to produce the series. a really condensed form of more tricky! It was initially intended to be a communication and can put learning resource aimed at 14 across a lot of information in Fettle Animation is a 2D year olds studying the Holocaust a short amount of time, telling animation production company as part of the National difficult stories with wit and in Pennine Yorkshire. We were Curriculum in schools, but it sensitivity. given the task of making the soon grew into something far We created Children of the Holocaust relevant to today’s bigger than we could have ever Holocaust with Leeds-based young people, and we relished imagined. Clips are permanently charity The Holocaust Survivors taking on the challenge. online in the UK at www.. Friendship Association, whose Children of the Holocaust co.uk/programmes/p01zx5g7/ members are involved in is an animated series based on clips. widespread educational work. real-life stories. We animated Animation is a great We recorded several hours of six elderly holocaust survivors’ way of putting complex really moving interviews with memories of their dramatic subjects across onscreen. It six of their members and edited escape as children from Nazi- can show abstract thoughts them into short clips.

34 Children’s Media Yearbook 2016

A still from Children of the Holocaust Fettle Animation’s director, such as George Grosz, graphic us to scale up to the challenges Zane Whittingham, designed novels such as Art Speigelman’s of our first series. We all worked simple digital cut-out characters Maus, and 1940s political tirelessly and learnt such a to tell these stories, carefully cartoonists. This gave the lot from one another during researched from period project richness and a subtle the process of production. photographs. We then worked humour and brought a fresh Particularly successful were to find age-appropriate ways to approach to a subject that animator Ryan Jones, who now convey some of the brutality of people have encountered many works permanently at Fettle the Nazis to our young audience times before. Animation, and Oana Nechifor without directly showing the We worked with Creative and Laura Tattersfield, who full horror of what they did. Skillset and their wonderful are now successful freelancers. We found powerful imagery Trainee Finder programme, Executive producer Helen in the political propaganda of which gave us subsidised bright Brunsdon helped us to plan World War Two: giant, brutish young graduates to work on out our animation production soldier figures picking up our production. They worked pipeline. Music was composed helpless, tiny people; animals on animation, backgrounds and by The Composer Work’s Paul symbolizing human behaviours; as production assistants. Our Honey, who did an excellent wartime insignia used as tools trainees were excellent and the job conveying the light and and weaponry. Zane referenced Skillset support came at a perfect shade of the stories through German Expressionist artists time for our company, helping music and gave added drama to

35 Research

St Martin’s Children’s Award and two Yorkshire Awards. We were also nominated for a Children’s BAFTA, a British Animation Award and a BUFVC Learning Onscreen Award. We have really appreciated this recognition and the increased profile has been really helpful in building our company. We were also one of the first companies to claim a UK animation tax break on this project. Thanks to the BFI and HMRC and all those involved in campaigning for this – it has The team behind Children of the Holocaust © Olivia Brabbs Photography made a huge difference to us as our . Sound was by combining the animated shorts a small company and has given the Digital Audio Company’s and live-action interviews. This us the resources we needed to Dave Aston with online editing was broadcast on primetime get our work out there. from Phil Bedwell at The Other BBC Four on Holocaust We are now publishing Planet. Memorial Day in 2015 and has a book, Survivors of the We also worked with been subsequently broadcast Holocaust, with Hachette executive producer Liz in ten countries worldwide Children’s Books, a graphic Molyneux and self-shooting including Australia, South novel based on the artwork director Tim Baxter to make Korea, and Israel, thanks from the films. It’s so exciting short live-action interviews to our agent Sydney Neter from to see our work in a different with the survivors reflecting on SND Films in Amsterdam. medium, and for our survivors their lives today and why it is We’ve had to all get new to tell their stories to another still important to talk about the passports, as Children of the new audience. Holocaust. Holocaust has also appeared However, it’s making a We got a great response at ten festivals around the difference that matters most to from our first screenings of world – a full run from Chicago us. We feel we’ve helped our this work and realized how to Annecy. We’ve had lots of survivors tell their stories to the much interest there is around travel adventures! We’ve also wider world with power and the world in the subject of had to buy ourselves a trophy dignity and to draw parallels the Holocaust. We went on cabinet: we’ve won a Japan between their experiences and to create a TV documentary, Prize, the first ever Sandford the experiences of child refugees

36 Children’s Media Yearbook 2016

today. Young people can learn happened to her parents in the risen above their adversity. They so much by watching the films, concentration camps. have gone on to have families of not just about a difficult period their own and to achieve great of history but also about why Heinz academic success, stellar careers diversity and tolerance are so Aged 13, his schooling and and positive involvement in important today. social life in Germany is affected their communities. They are Here are the stories: by the rise of anti-Jewish laws. all still active and healthy well He gets caught up in the horrific into their 90s. They are warm, Ruth events of Kristallnacht, a violent funny and have very distinctive Aged five, she escapes over the pogrom. He escapes to England, personalities. They are generous mountains from East Germany only to be interned by the UK with their time and all have into Czechoslovakia. She is government as an “enemy enjoyed working with us on this saved by the courage of her alien”. project. They are our constant mother who travels perilously inspiration. across Europe, arriving in Arek We’d like to thank England at the very last moment Aged 14, he survives the squalid everyone who has been involved before war is declared. conditions, hunger and cruelty in this project – there are far too of Auschwitz-Birkenau, but many to list. They have shown Martin 81 members of his family and dedication above and beyond Aged eight, he is marched most of the Jewish population the usual call of duty. We’d like brutally from Germany to of his hometown in Poland are to pay particular tribute to our Poland in the middle of the murdered. Forgiving the Nazis commissioner on this project, night by the Nazis in the is impossible for him. the BBC’s Katy Jones, who died so called “Polkenation”. suddenly and unexpectedly last Escapes to England on the Suzanne year. Her energy and faith drove Kindertransport, only to Aged six when the Nazis enter us forward on this project. She experience the worst of the Blitz her parents flat. A neighbour is very much missed. in Coventry. rescues her and hides her under We are so proud of her kitchen table. Her idyllic the impact that this project Trude Parisian childhood is snatched continues to have. Thank you Aged nine, she witnesses Nazi away from her and she is taken again to everyone who has been tanks occupying her hometown to live in hiding and work on an part of our incredible journey! of Bratislava, Czechoslovakia. isolated rural farm. Neglected What an awesome year! She is taken by her aunt to and forgotten, she is not rescued England but is lonely and by the Red Cross until two struggles to settle there without years after the war. her mother and father. As an adult, she is still searching The survivors in these films are for the truth about what incredible people who all have

37 Research

Content, Distribution, Discovery: The Royal Family David Kleeman

It’s a truism that “content is king”, but content with tablets, everything is without well-targeted distribution leaves a lonely competition: kids are just a kingdom. So, perhaps distribution is queen? home button away from games, books, video, communication, Even if you have both content dominated and kids knew exploration, learning and more. and distribution, though, that some channels or blocks How tough is it now? young people need to know were programmed for them, Dubit research finds that more how and where to find your especially at logical times: early than 60% of kids are often or content in today’s anything, morning, afternoons before sometimes frustrated trying to anytime, anywhere media the news, the iconic Saturday find content they want. Maybe world. Otherwise, the king and morning slot. The competition they don’t know what they’re queen rule only themselves. was two or three other TV looking for; maybe they know So discovery is the ace that’s channels, picking up a book what they want but can’t find it requisite for a winning hand. or toy, or going outdoors. in the content maelstrom. Once upon a time, Today, especially as children There’s good news, though, discovery was simple. Television spend increasing media time if you’re lucky enough to get

38 Children’s Media Yearbook 2016

Cross platform: top 10 properties We are going to show you a selection of toys, games, apps, TV shows and books. For each one we’d like you to tell us how you enjoy them.

found and adopted. Kids engage 1. Don’t discount If you’re on YouTube, consider more deeply than ever with their the ongoing value releasing new content on a favourite characters, stories of live TV viewing consistent timetable that kids and brands. They’ll follow you Some may say that live can anticipate; if you’re on a across platforms, consume your viewing is passé, but heed streaming service without a content voraciously, and share the story of ABC for Kids ready vehicle for scheduling, it with others. (“Sharing” and in Australia, which pulled you might use marketing “recommendation” complete Curious George from its late messaging to suggest fitting the Royal Flush, to torture the afternoon schedule only to moments or moods for your metaphor.) endure a barrage of letters brand. Here, then, are five from parents, accompanied by thoughts on making content photos of crying children. Not 2. Be cautiously more discoverable and sharable. in the children’s realm, but the multi-platform 2015 Fear the Walking Dead Single-source distribution is premiere set same-night viewing becoming extremely rare; more records for a basic cable debut. common is an an anxious need

39 Research to be on too many platforms. at ages 8–10, the time when the avenues they use to The chart on the previous page divergence of personal interests fulfill those motivations shift demonstrates how kids interact really takes hold, when mastery with technology. Innovators with their favourite brands is a big motivator and unique and early adopters are still in a wide variety of digital knowledge a big source of pride, characterized as risk takers, and physical ways; however, and when many kids are getting but now they seek the next they also tend to associate a their own mobile devices. new thing in niche, online character or story most with communities rather than one or two platforms. 4. Don’t ignore the specialist magazines or from You can go broke trying tried and true local trailblazers. Among to be everywhere. Moreover, It’s tempting to use the newest the early majority, celebrity kids can sniff out a fraud and social networks to promote endorsement is still powerful, will reject content that’s put on discovery. For some audiences but young people’s trust and the wrong platform. Develop or at some points in a brand’s modelling has shifted from TV a world you can build broadly, lifecycle, that may be very and movie stars to YouTubers but start with “sweet spot” valuable. According to our and other digital influencers. authentic platforms for your tracker, however, kids and It’s like Game of Thrones audience and content. Drive tweens still share their “likes” out there for King Content. discovery in those few places, face-to-face at school or at As difficult as it is to ascend then use your relationship with play more often than digitally. to the throne, it’s equally hard the audience to introduce new Facebook makes its appearance to stay there. It takes patience, options. as a top sharing method among insight and some luck to draw 11–15 year olds, but live the Royal Flush – content, 3. Cherish your first fans personal sharing still ranks very distribution, discovery, sharing Dubit Trending finds that young highly. Coming at the question and recommendation. I hope people who consider themselves from the other direction, TV the five points above help you innovators or early adopters advertisements are still kids’ top play your cards right. share their favourite things on source for hearing about brands, This column appeared originally in Kidscreen. a daily basis at double (US) or with friends second and parents even triple (UK and Brazil) the (surprisingly, and not just overall population’s rate. While among toddlers) close behind. the “first in” are the hardest to attract, they’re also the fans that 5. Know what drives will determine your trajectory, your audience from flash-in-the-pan rise and The motivations that lead plummet to lasting long-tail young people to seek and stability. adopt new content and brands Sharing on a daily or have remained fairly constant weekly basis appears to peak over the past 20 years, but

40 Children’s Media Yearbook 2016

Apps: the new battleground for children’s TV Stuart Dredge

A year ago, there was 2015, and the number who app, Amazon is commissioning one children’s video app watch TV on mobile phones original children’s shows for its that really mattered: rose from 11% to 15% over the app, Disney has launched an YouTube. same period. app to stream its archive of TV Children don’t just use shows and films and Angry Birds From toy-unboxing channels mobile devices to watch videos, maker Rovio has launched a like Disney Car Toys to nursery- of course – they’re also playing standalone app for its ToonsTV rhyme channels like Little Baby games, using apps and, as they network of cartoons. Bum and Minecraft gamers like get older, using social networks There are already some Stampy, children were watching like Snapchat and Instagram. discernible trends in how millions of YouTube videos – Unsurprisingly, this boom these new children’s video often on tablets or smartphones in mobile viewing hasn’t gone apps work. For example, they belonging to their parents. unnoticed by the television are all designed to be used by More and more children industry. It has been a powerful children with minimal parental are accessing media via mobile incentive for the broadcasting involvement, with simple, clear devices (including tablets). world to place more focus on interfaces and an emphasis In November 2015, Ofcom apps. A year on, YouTube has on images, ensuring that even published research showing competition from the broadcast early readers can find their way that 53% of 3–4 year-olds and world in the form of BBC iPlayer around. 75% of 5–15 year-olds now use Kids and Sky Kids. Even before The apps are designed for tablets. the iPlayer Kids app launched, parental oversight, however. What’s more, the the BBC said that a third of Parents can download shows percentage of 5–15 year- show requests to its main for offline viewing – a key olds who watch television iPlayer app were for children’s feature, useful for long car, train programmes on a tablet rose shows. Meanwhile, Netflix has or plane journeys – and they from 20% in 2014 to 27% in a dedicated Kids Mode in its can create individual profiles for

41 Research each child, tailored by age, so children can access them after watching someone building kids can’t access inappropriate they’ve finished watching the a Minecraft castle for half an shows. relevant programme. For now, hour than by an episodic TV Business models vary. Hopster’s bigger rivals are firmly drama, they will vote with their iPlayer Kids is free, while focused on kids watching rather touchscreens. YouTube Kids is free and ad- than playing, but it’s possible In March 2015, 42 of supported – something that some of them will bring in more YouTube’s top 100 channels (by has caused controversy in the interactivity – or at least add views) were aimed at children. US, as the rules governing the features to recommend relevant Those 42 channels generated separation of ads and content children’s apps, which could be a 10.3 billion views that month that apply to broadcast TV do boost to their developers. alone, according to online- not apply to YouTube. Sky Kids The glut of children’s video industry site Tubefilter’s is free for Sky’s subscribers – an video apps also highlights a chart. Of those 42 top children’s incentive not to turn to another wider trend: the blurring of channels, only two belonged TV provider – while Netflix boundaries between what we to traditional brands – Disney Kids is part of the monthly think of as “shows” and what and Lego – while 20 were toy- subscription to that service. we might describe as “short- unboxing and review channels Meanwhile, DisneyLife form online videos”. run by YouTubers. YouTube is a costs £9.99 a month, Hopster The production values of world where a pre-school child £3.99 a month, and PlayKids a well-funded BBC or Netflix called Ryan who stars in weekly £2.99 a month. It’s not yet clear children’s show may seem a toy reviews can generate 645.2 how willing parents will be to world away from videos by million views a month, where pay a standalone subscription Minecraft gamers like Dan “The Little Baby Bum’s nursery rhyme for this kind of app. Diamond Minecart” Middleton, animations can get 492.4 million How might these apps vloggers like Zoe “Zoella” Sugg views, and where The Diamond evolve over the coming years? and nursery-rhyme channels Minecart’s Minecraft adventures The BBC has hinted at plans like Little Baby Bum. But the can get 337.4 million views. to open up iPlayer Kids to production values of videos The recent wave of other providers. While the from top YouTube creators are children’s video apps highlights initial focus is likely to be on rising, and some YouTubers are the fact that the competition for other broadcasters, it would be working within increasingly kids’ attention isn’t just between fascinating to see it integrate show-like formats – Stampy’s Sky, the BBC, Netflix and popular children’s channels educational science show YouTube. It’s between the shows from YouTube too. Wonder Quest, for example, and talent of the traditional British startup Hopster has which was part-funded by television world and the new been very inventive, including YouTube. There’s an argument digital stars and genres emerging simple educational games in its that children don’t care about online. service. Each game reinforces the production values, anyway: key themes of each show, and if they are more engaged by

42 Children’s Media Yearbook 2016

The New Ed Tech Frontier Justin Cooke

We all know that change is inevitable, but what are the key themes that are going to be driving innovation in ed tech?

We feel that there are a number of themes cardboard in VR is nothing new. Remember that we keep coming back to. Some of the View-Master, a cardboard disc with tiny them aren’t necessarily new (Virtual Reality transparencies that you placed in a plastic has been around for almost 80 years), but viewfinder? If you pushed the lever on as technology has evolved, so too has its the side, the View-Master would take you potential in the classroom. through a series of famous landmarks in 3D – almost as if you were there! Virtual reality But in recent years, technology has Let’s start with VR. If you haven’t played allowed us to explore videos in 3D. At with Google cardboard, you probably Sherston we’ve been looking at how we should. It’ll cost you a few quid and an can use the available technologies to iPhone to get started. But the idea of using create an engaging experience for young

43 Research

Big Clever Learning acquired Sherston in 2003

users. The technology that exists now is their insulin. But it’s now becoming clearer OK, but the emerging technology is going how IoT might be used in classrooms. to be better – much better. And as costs Pupils could control a physical object using come down, the potential to bring real- code, for example. That would be a great life experiences into the classroom and way for children to see the physical impact collaborate with others in a virtual world of the theories they have learned. We like is really exciting, particularly for education what the guys at Hackaball have been content producers like us. doing: their product encourages children to learn about computational thinking by Internet of Things writing code that makes a ball react to IoT, as it’s more commonly known, is external stimuli. any physical device that is connected to a network, allowing it to collect and exchange Syncing up data. If you have Sonos to manage your It’s only relatively recently that we’ve seen music, or Hive heating controls at home, technologies syncing up. It used to be that then you’ll be all over this, and we’ve all you had your computer at work and the read about cars that drive themselves. IoT documents you were working on sat there technology is used by medical professionals, on the server. If you had any software, too, to track whether people have taken such as Photoshop for design or Sage for

44 Children’s Media Yearbook 2016

accounting, it arrived as a CD-Rom and was it significantly easier to tailor learning so installed on a computer. Now, for better that pupils of all levels are challenged an or worse, our documents sit on the Cloud appropriate level. and can be pulled down via many different Providing educators with a wealth of devices, whether we’re sitting in the office high-quality content and a seamless way of or at the top of a mountain. You subscribe incorporating this into lessons should be to software and get automatic updates. at the heart of all educational technology Synching is important in the classroom propositions. because it enables schools to collaborate with each other and links the classroom to the home. At Sherston we’ve spent a lot of time this year thinking about how we can use this technology to make it easier to share children’s use of our products with their parents.

Assessment Measuring attainment and progress is vital for all schools but it can be challenging for teachers to show that their assessments of pupils are accurate. We think that technology will play an increasing role in this, as our products will be able to track a range of subtle interactions to build up a picture over time. A teacher probably wouldn’t be able to pick up on all of these interactions, given the number of children they are assessing and the limited amount of time they have to spend with each individual pupil. We will be able to provide teachers with evidence of their pupils’ progress – greater accuracy or speed in completing tasks, for example – and help them measure progress over time.

Personalized learning Personalized learning is nothing new, but it will continue to develop along with new technology. The right technology makes

45 Furtherfurt aherfield afield

A Land of Opportunity – if you can start looking sideways Alex Chien

China is a tricky subject – it’s easy to lose track of locally – and even then, the what’s going on in the kids’ market, particularly budget can be significantly when faced with overwhelming figures relating less than a western producer to population, online viewership, spending power, or broadcaster would be regional variations, the pace of change and so on. accustomed to. So I thought I’d share and break down some recent TV is still the preferred and data to help readers gain a better picture of what’s most accessible viewing medium happening and how their own activities might for kids, though viewing on integrate with the Chinese kid’s market in the future. mobiles is a growing trend All numbers are approximate as of year end, 2015. due to the high penetration of smartphones. When kids watch There are 170 million children There are over 300 TV content on smartphones, they’re under 12 in China, which channels in China, and more usually with their parents, equates to 23% of the total than 30 are kids’ channels. Of though they’re not necessarily population (1.37 billion). Out these 30+ kids’ channels, less co-viewing. PCs and tablets of that 170 million, 25% are than a fifth have the budget are the next most popular under two, 26% are aged 3–5, provision to acquire content ways to view. Key OTTs/IPTV/ and 49% are 6–12. and/or produce original content video streaming players are

46 Children’s Media Yearbook 2016

less strict environments to host success by eyeball count, but most buyers don’t mind non- acquired content, but again less so if you measure the exclusive deals. The golden the numbers are far from most impact on your bottom line. rule of L&M forming the lion’s international or regional offers This is because the price tag for share of anticipated income when it comes to kids’ content, content has nothing to do with also rings true here – if you with box office hits being the number of viewers, and a have the right partners and occasional exceptions. At the subscription revenue-split model strategy, merchandise will hit time of writing, Japanese anime is not yet the preferred practice the shelves as soon as a new IP OnePiece has 2.1 billion total in China. is introduced. series views, Dora the Explorer In terms of transferring China’s kids & family has 1.6 billion total views on rating/viewership success to media landscape is indeed a iQiYi and Peppa Pig has 2 monetary return, distribution land of opportunity – there’s billion total views on YouKu. alone will never get you there, still a huge appetite for Compared to the audience despite the increase of OTT quality content, and slowly figures you’re probably familiar platforms. China has never but surely, local producers are with, you might be thinking, been a goldmine when it getting better at creating it. “This is a goldmine!” And it comes to content acquisition Parents and kids’ consuming is a goldmine, if you measure budgets in the kids’ sector, and capabilities have also extended,

47 Further afield from purchasing policy”, this figure merchandise has the potential designed to sustain to rise. The biggest the “emotional expenditure is on connection” to a books (print and brand, to more digital combined), immersive lifestyle followed by food or extra-curricula and beverages, then offerings. There are toys. Education increasing numbers is the number- of ticketed indoor/ one draw for outdoor play areas parents and the and theme parks big publishers available, as well are well aware as creativity/DIY of this. Detailed tutorials; quality, research about contemporary family expenditure online content on education for matched by on- 0–6s and 7–18s has the-ground events; been published by tours; and an iResearch and is increasing amount available online. of subtle product I was recently placement and shop fronts that offer asked to advise on ways to transfer the activities mirroring the content spread via ratings success of a top-rated animal show social media. These marketing schemes on a FTA channel to financial success. My are all tried and tested in other markets – analysis pointed towards the development they are not new innovations. Watch this of printed content as the best way to do space – transactions may be on their way this, but an alternative approach would be to matching the viewing figures, but for to consider launching a zoo- or vet-themed the time being the Chinese are turning the summer camp catering to the ever-growing ancillary into the main event. number of middle class families who would Let’s look at some research conducted do anything to give their children a unique with a sample of 100,000 families across first-hand experience. If there were fluffy China in 2015, published on Baidu. More toys in the gift shop on the way out they than half of these families spent slightly would sell too, but toys aren’t the main area over 30% of their total annual budget on of growth in the current market. their (in most cases) only child. Thanks to the recently implemented “two-child

48 Children’s Media Yearbook 2016

THE PRIX JEUNESSE FOUNDATION: EMPOWERING CHILDREN AND INSPIRING ADULTS WORLDWIDE alison stewart

Prix Jeunesse means many things to many people around the world. Personally, the activity of this organization has opened my eyes, broadened my mind and given strength to my work. I would go so far as to say that Prix Jeunesse played a significant part in helping me get my current job in BBC Children’s! I’ll explain more later…

This introduction, from the Prix Jeunesse “Suitcases” and research partnerships. The website, explains the ethos of the Foundation’s main activity is its renowned organization: world television festival, Prix Jeunesse “The Prix Jeunesse Foundation is a International, which has taken place in world-embracing movement that supports Munich every two years since 1964. and showcases high-quality television for children and young people. The aim is to Research promote content that reflects children’s lives The Prix Jeunesse Foundation conducts its within their own countries and as part of own studies and also works in affiliation the wider world, thus enhancing their own with the International Central Institute for identity and instilling an understanding of Youth and Educational Television (IZI). In a other, diverse lives and cultures.” research project in 2014 they tracked gender Year round, Prix Jeunesse engages representation across 19,664 programmes producers, broadcasters, researchers, with 26,342 fictional characters from 24 educators and young people in hands-on countries. This was the largest analysis of workshops, in-depth screenings called children’s television ever undertaken.

49 Further afield

Their current research deals with how Prix Jeunesse International Festival. At children and young people between the ages the time of writing, three weeks before the of 6 and 19 perceive the current refugee event, approximately 600 attendees have situation. The aim of the project is to give registered. The theme of this year’s Festival producers and educators insight into how is “What it means to be me: Identity and to report on this issue, and how to foster in Children’s Television”. young viewers an understanding of diversity The largest part of the Festival and inclusion. Early research is showing comprises screenings of the finalist that children who watch children’s news programme entries, and participants vote content are much better informed, have less for ultimate winners. There are also panel fear and have more positive feelings towards sessions, short info sessions and “Beyond refugees than if they consume adult content TV” sessions for digital entries. Evening on the subject or learn about the situation delights include the annual soccer match and from adult conversation. the ever-popular Nordic Karaoke Night. The Festival screens fiction and Prix Jeunesse International non-fiction entries for the following age Every two years, delegates from more groups: Up to 6 years, 7–10 years and than 60 countries meet in Munich for the 11–15 years. Each category screening is

50 Children’s Media Yearbook 2016

followed by moderated discussion groups, that won at Prix Jeunesse in the preschool where delegates share their thoughts on category years ago – come back as a teen prevailing themes, outstanding entries and series, with the same clever approach to controversial content (and there’s always maths learnin, aged up for the generation some controversy!). It’s an opportunity to that grew up on the series! One other show hear from some of the programme makers that will undoubtedly be controversial is and to learn more from the delegates about Puberty, from NRK Super in Norway. It’s their countries, cultures and opinions more graphic than any sex education show on children’s media. These discussions I’ve seen before, but it’s also important and are in depth and passionate, and the successful in its straightforward and factual combined expertise of the children’s media content. professionals who take part makes them The 11–15 Non-Fiction category unmissable sessions. was heavily populated with tough, issue- The Festival culminates in a prestigious oriented entries. Self-discovery is a universal awards ceremony, where the category adolescent theme and the struggle of teens winners are announced. There are also to find themselves is always present at the awards for cross-media and short form festival. With the Prix Jeunesse 2016 theme entries, a UNICEF and a UNESCO prize and of “Identity,” however, combined with the Prix Jeunesse “Heart Prize” for the entry the world events of the past two years, we which has most touched the heart, which is saw a striking selection of stories around voted for by all Festival participants. migration and youth refugees.” This year I was one of 12 international “preselectors”. We met in January Preselector: Jan-Willem Bult, Netherlands and between us we watched over 450 (Fiction, 11–15 years) programmes in order to nominate the “We watched programmes ranging finalists in each category. A hard job, as from a fantasy comedy about Singapore we could only put through one in every school kids hunting ghosts to a realistic five entries. By the time you read this, the drama about the abuse of a British teen, Festival will have taken place, the categories from an Argentine story about integration judged and prizes awarded, so I can share a to a Japanese folktale featuring the big bad few comments from the preselectors’ reports wolf and the three little pigs on trial in a without prejudicing any results! courtroom. The screenings of the 11–15 Fiction Preselector: David Kleeman, USA (Non- category will make you laugh, shiver fiction, 11–15 years) and gasp in wonder. Maybe you’ll cry, “I’m excited by the entries from the and hopefully you’ll feel uncomfortable NHK/Japan because I love their creative sometimes, too. Prix Jeunesse International visual approach. In particular, though, it’s always celebrates diversity and introduces wonderful to see Pythagora Switch – a show you to unknown places, languages, cultures

51 Further afield

and moral values. It sometimes challenges Pet from Germany treats the subject of us and it always make us learn.” jealousy with humour and poignancy. Lily’s Driftwood Bay from Northern Preselector: Frederik Hansen, Denmark Ireland addresses the subject of death with (Non-Fiction, up to 6 years and 7–10 years): great sensitivity. And with The Piglet who “There were many strong, well-made wanted to be a Bird from Macedonia, it’s stories that relied on children to show and all in the title – it’s a search for identity and tell their reality. The programmes that stood acceptance. To sum up this category: the out were the ones that trusted and gave programmes are for little people, but the room for the children to be authentic … themes are big.” but also outstanding were the programmes that made us smile and laugh and which Prix Jeunesse Suitcase sincerely wanted to bring laughter and joy The Prix Jeunesse Suitcase is offered to adult to kids’ lives. professionals and children in the form of The theme of “pushing boundaries” screening and info sessions. The Suitcase was very present in the programmes we comes packed with the best and most screened, especially in the “Non-fiction, up innovative entries from each festival. Often it to 6 years” category. There are a number of is combined with a training programme on a programmes this year that will result in very specific subject (e.g. script writing). In 2014 heated discussions on what is and what isn’t the suitcase made 30 stops in 20 countries. appropriate content for pre-schoolers – but David Kleeman is a regular “unpacker” who could imagine a Prix Jeunesse without of the Suitcase and he will present a session those very important discussions?” with highlights from the 2016 Festival at CMC in July. Here he explains the process: Preselector: Alison Stewart (me!), UK “The Prix Jeunesse Suitcase is a great (Fiction up to 6 years and 7–10 years): creative refresher. In the course of a single “Our panel commented on the day, I can show over 20 programs or clips challenge of serving the 7–10 age group, from more than a dozen countries – a who want to be “grown up” and yet need “tasting menu” for those who can’t make it help coping with the more serious issues to the full “smorgasbord” in Munich. While that life can present. The theme of this I always include some of the winners, I’m year’s Festival is “Identity and Children’s usually more excited about showing entries TV” and this theme was explored best in that are unlike anything the audience is the entries where children made their own likely to have seen, or those that have tried decisions when faced with dilemmas. something bold. For each Suitcase, I try to Many of the animated entries in tap multiple emotions – to amuse, to touch, the “Fiction, up to 6 years” category to amaze, even to anger. are deceptively simple programmes that Being able to talk about the Suitcase deal with weighty subject matter. Trude’s programmes – to reach outside one’s own

52 Children’s Media Yearbook 2016

experience and discuss them from the perspective of another culture – is a great muscle to exercise. Almost always, after a Suitcase, participants say they’ve gone back to work energized to take creative risks.” And David’s word “energized” brings me back to my opening statement, that Prix Jeunesse helped me get my job! In 2010 I attended only my second Prix Jeunesse International (this year will be my fifth). Inspired by the screenings, invigorated by the discussions and hoarse after the Nordic Karaoke Night, I left the Festival a day early to attend an interview for my current role at the BBC. The Festival had reminded me why I work for the audience I have served for most of my career. Every programme I had watched in Munich, every conversation I had had there, all the insight I had gathered from the Festival’s global perspective gave me a feeling of such pride and confidence in what we do as children’s media providers that I almost danced through that interview. As a disclaimer, you aren’t guaranteed a wonderful new job if you attend Prix Jeunesse International! But you will be guaranteed an insightful, emotional and invigorating experience. Furthermore, the work done by the Foundation is as important and relevant now as it has ever been, at a time when appreciating difference and accepting diversity are critical skills that all our children need to learn. www.prixjeunesse.de

53 Diversitydiversity

#ToyLikeMe Rebecca Atkinson

Since my last child was born six years ago, something else has bred in our house: toys. We started off with a few rattles, and as the years progressed the plastic proliferated into an army of Playmobil, a soup of Lego, a sea of Sylvanians. Just after my daughter’s sixth birthday last year, I noticed something startlingly obvious about our toy box: not one plastic figure had a wheelchair, a hearing aid, a white cane or any kind of disability at all.

I have spent nearly 20 years working in TV lack of representation in the toy industry. production and print journalism (including I took to the internet to see if I could find at BBC Children’s) and have always been any disability representative toys. Google interested in the way these industries returned near empty searches, and what represent disabled people, but this was did exist was so boring and grey it spoke the first time I had noticed the startling nothing but negativity to children.

54 Children’s Media Yearbook 2016

Images from the #ToyLikeMe campaign As someone who had grown up wearing campaign to call on the global toy industry hearing aids, I remembered firsthand how it to start positively representing disability felt to be a child who never saw themselves and end the cultural marginalisation of 150 represented by the mainstream and what million disabled children worldwide. that can do to self esteem. I wanted to I plundered my kids’ toy boxes and change this for generations to come and starting making over toys to give them get global brands like Lego, Mattel and disabilities and asked other parents to Playmobil to include representations of do the same. Like a match to a firework disability in their products. factory, things went bang and within days The next morning I called on some our image of a Disney Tinker Bell doll fellow mothers, including former Ragdoll with a model cochlear implant had gone play consultant Karen Newell, who has viral with hundred of parents asking where a son with vision impairment. With their they could buy it, prompting global press help we launched the online #ToyLikeMe coverage.

55 Diversity

Images from the #ToyLikeMe campaign These parents were responding to people experiencing the same things as what I call “the ping of recognition”, a their children, things that will reassure deep sense of identification experienced by them their children will be OK and will be someone in a minority when you see your valued by mainstream society. By marrying experience reflected back at you in the characters like Tinker Bell with the cultural mainstream. It’s the same feeling minority experience of having a cochlear you might have if you were abroad in a implant, #ToyLikeMe creates shareable foreign country, where you don’t speak images which are propelled by that “ping the language and see a stranger from your of recognition”. home country after months of travelling “I showed my daughter your Tinker alone. You will most likely go up and Bell picture tonight,” wrote a follower. talk to them, ask them where they are “Her mouth dropped and she said, ‘This is from, look for common ground, perhaps me. This is so awesome!’” feel some form of instant affinity. This is #ToyLikeMe receives messages like this what many parents of disabled children every day. There is a potency in showing a do too – look around for commonality, child with a difference (whatever that might

56 Children’s Media Yearbook 2016

be) a mainstream character – really do have the power to like themselves. It’s hugely change lives by changing powerful and affirming for that perceptions. child to see themselves reflected For a disabled child, positively in the cultural growing up as the only kid in mainstream. your class or school to use a Since #ToyLikeMe was wheelchair or a hearing aid and established a year ago, we’ve never seeing anyone like you amassed over 35,000 followers in the world around you can in 45 countries, received support lead to a sense of isolation and from Julia Donaldson, author low self esteem. Seeing yourself of The Gruffalo, and comedy reflected by huge toy brands genius Stephen Merchant. like Playmobil and Lego shows We’ve enlisted Playmobil, that these brands value you and who become the first global believe that everyone should be toy brand to join our “toy included and celebrated, not box revolution” after more just able-bodied children. But than 50,000 people signed our #ToyLikeMe doesn’t advocate change.org petition calling on Stephen Merchant supporting that disabled toys are just for #ToyLikeMe the brand to produce characters disabled children. We strongly with disabilities like the ones believe that all children will we had created. The first in benefit from disability being their range is due out later this positively but incidentally year. included across all children’s In January 2016 Lego industries. If we can create a unveiled their first ever more inclusive landscape in the wheelchair-using mini-figure at media, then perhaps we can Nuremberg Toy Fair. The UK educate by stealth and change press attributed this product to attitudes in the real world too. #ToyLikeMe’s campaign and the story was carried by global press and met with jubilation, proving that sometimes the smallest things can make the biggest impact. The significance of this move by Lego should not be underestimated. Children’s industries – not just toys, but The modified Tinker Bell doll with a also books, TV, film and games cochlear implant

57 Diversity

DIVERSITY MEANS EVERYTHING Nathan BRyon, Kara Smith and Gregory Boardman

A producer’s view thrilling, but undoubtedly one of the biggest Having put heart and soul into the pleasures has been watching the production Rastamouse production, with all its become a beacon for new talent. Individuals positivity and warmth, it was upsetting have been inspired by the presence of for all of us involved to hear unfounded Rastamouse on screen to make contact with negative comments and even offensive us. remarks coming from individuals in Taking the time to talk to these new business, and in the retail and licensing voices and creatives from all kinds of sectors, when asked to consider something backgrounds has brought home to us just that was a little bit different. Seeing how alienating our industry can be. Given children’s reactions to the television show the size of our company, it’s impossible gives us an immense sense of satisfaction to employ or help everyone who has and witnessing the Rastamouse music and knocked on the office door, but by sharing storytelling work in primary schools is their details with other producers and

58 Children’s Media Yearbook 2016

broadcasters we’re able to make sure that that allows for real diversity. We ought to the first chat might be a steppingstone to move away from the emergent notion of other opportunities. I have long believed the media being a talent show, an incubator that creative conversations can sometimes of narcissism, and look seriously at the take years to come to fruition and a good socializing function of the things we make conversation is never wasted. Over the next and do. Books, television and digital few months, the Rastamouse legacy will media are increasingly powerful tools that give rise to a new children’s show that we contribute to our lifelong learning. We hope will become another beacon for talent may hope that our young audiences laugh with new and different stories to tell. Yet and learn from the fruits of our labours, no matter hard we try to ensure diversity but adults and parents need to think about onscreen and behind the camera, there is a what we can learn, too. Only then can we sense that it’s still not enough. make our business and our world a more Take a look around the world and inclusive place. If those of us working in there are plenty of sobering stories that children’s media take the lead, then maybe make it clear that diversity isn’t just an issue corporations, politicians and other people in for the media, though we need to take the power may also take notice. media’s impact on young minds seriously, both on a local and a global level. There’s A writer-director’s view no doubt that our business needs to take The importance of diversity is an issue the lead in ensuring that that existing roles that has remained ever-present in almost and new opportunities are open to all, no every industry. There are many social and matter where they hail from. However, if we commercial factors that contribute to the want real diversity, the whole system, from apprehension organizations feel when top to bottom, needs to embrace radical and approaching the subject. However, it is urgent change. To be truly diverse, we need especially galling that diversity remains to change how we work and change how an unresolved issue in the broadcasting we influence and encourage new talent – industry if but for the single reason that and we must re-educate ourselves. We need broadcasting is built on the platform of to change how each of us values knowledge; storytelling. The old adage “two heads are we need to change the knowledge that better than one” is standard in the industry we value; and then we need to completely because production is collaborative by overhaul the way we measure success. definition. So the idea of inclusion does It’s all too easy too slip into an exist – at least, up to the point of clarifying approach governed by consumer- and which “heads” will be called on for business-orientated goals, but our models representation. of business and our modes of living are the People often differentiate me from legacy of Western European thinking and others in my profession by calling me they fail to provide us with a perspective a “diverse” writer. On the one hand,

59 Diversity

this statement is true; I have lived and concept of inclusion be a bolt-on – it has to worked outside of the UK, my educational be fundamental, especially in an industry background includes a mix of the arts whose mandate is to guide, educate and and sciences and, of course, I am female. entertain future generations. But calling me this also suggests that I am included in spite of my background, not A view from the writer, actor because of it. & part-time professional afro Children’s broadcasting is a unique When I was invited to contribute to this space because the stories, characters piece I was so excited and ready to vent, and ideas aren’t anchored to social or rant and shout about the lack of diversity political fundamentals in the way that in front and behind the camera, but writing other subgenres are. So it stands to reason this article has been a struggle and certainly that there is greater scope to include more of a challenge than sitting in my PJs a diverse group of people behind the writing about pirates, unicorns and musical scenes and in front of the camera. To the caretakers. As I started to type I realized BBC’s credit, there has been a realization how big and intimidating the subject is. that there is a problem, and a flurry of Diversity to me means everything … I live in diversity campaigns and programs has a diverse environment, so it’s all I know! been launched. The disconnect, however, All races, sexes, abilities and social is that these programs focus the idea groups need to be represented, equally and of diversity only on race. While this is fairly, in the media, but what’s currently a positive step, the concept of diversity happening is insufficient and uninspiring. implies a multitude of representation that Growing up in England, a young goes beyond race to include gender, sexual black boy attending a predominantly orientation, language, culture, religious white primary school, I was one of the few and political beliefs, education, profession kids who did not have satellite or cable. and age. I asked my parents a million times before It seems to me that the focus on race our family got Sky when I was 18, and I as the token diversity perspective has been must have literally sat in front of the TV divisive among professionals who just want for a week when it arrived. So as a child, to be identified for their talent and ability the television I could watch was limited by (you know, like all the other writers who my circumstances – but more importantly, don’t have “diverse” as their status). The looking back at all the shows I watched, I producers I’ve worked with have done never saw any onscreen diversity. I didn’t just that, and it has been a truly amazing even know what “off-screen” diversity was, and fulfilling journey – but I know my but I imagine that wasn’t in a good place experience is an exception, not the norm. either. So what’s the way forward? Simply What’s so damaging is that, as a child, to lead with diversity. No longer can the you do not recognize the difference. If the

60 Children’s Media Yearbook 2016

white middle-class face is the norm, you Growing up, having that would have meant don’t think twice or question why no one so much. like you is onscreen. The situation is the Off-screen diversity is really easy. same in children’s literature. Check out The talent is there – they are waiting to be your local bookstore and look for a diverse invited in. I’ll say it again: THE TALENT IS children’s book cover. The situation is THERE! They have incredible stories to tell alarming. and share! Meet them for coffee! Employ I have an Afro and my hair has always them! Commission them! Let’s stop talking been different. Growing up, I couldn’t about diversity at special events and put our understand why I didn’t have the same money where our mouth is! Let’s take some hair as the young white kids in school, and risks. the other children couldn’t understand it If we commission and make the right either. Today I still meet adults who don’t content, shining beacons of content that understand my hair and just want to touch celebrate the real world, we can inspire and it. A warning to all readers: this is a big attract a whole new generation of talent no-no! My parents always explained my who will prove that diversity is easy. Just race and background to me, but I think as open the door and we can do the rest! a young black boy trying to formulate an identity, life would have been easier if I’d been exposed to diverse stories, different cultures and religions in a safe and – most importantly – fun way. What is so magical about children’s media is that it’s about fun and education, but by not addressing diversity we are missing a massive chunk of the education bit. Rastamouse motivated me to go and bang on a producer’s door and this in turn created an opportunity. As a result I have seen broadcasters making real efforts, but we need to try even harder. Animals, robots, made-up species and shapes are involved in all kinds of brilliant, amazing, inventive and exciting story content but this worries me because I just have to make sure that the five-year-old me, the six-year-old me, the seven-year-old me could now watch a show and see one character that looks a little like me … whatever the show is ultimately about!

61 Diversity

DIVERSITY – ARE WE THERE YET? angela ferreira

The answer is that we are on our 2015 Yearbook for the story about how way. Hopefully we won’t come that was made.) The women and girls who across a great big hill and end up appear on children’s television are presented sliding backwards twice as fast as as equal to men and boys – they climb, run we are moving forwards. and row, often breaking world records in the process. There’s no gender bias there Children’s TV has always featured – females on kids’ TV can take on any presenters and contributors who are challenge and win fair and square. diverse in terms of age, gender, race, accent, Recent adult dramas have also featured nationality, sexuality and disability. Drama more diverse casts and tackled tough and animation are both quite inclusive and themes, often involving young people. the industry applauded the groundbreaking The primetime BBC 1 drama series The A CBBC documentary I am Leo, which told Word is about a couple that struggles cope the story of a transgender child. (See the when their son is diagnosed with autism.

62 Children’s Media Yearbook 2016

Undercover, which focuses on a black report concludes that “the role children’s family and has many supporting black programmes have played in developing characters, features a teenager named Dan (BAME) talent appears to be at significant who is on the autistic spectrum. His lack of risk”. social awareness is crucial to the plot. And There is hope that the new Diamond* kids with Downs’ syndrome have featured monitoring project from the Creative on every UK soap, going right back to Diversity Network and the major Crossroads on ITV in 1983. broadcasters will provide clear statistics Of course we can always do more, and about on who makes TV and who is on do it more boldly, but kids’ TV is fairly TV and will comprehensively cover all healthy in terms of diversity. CBBC in aspects of diversity. We’ll find out whether particular seems very ambitious in choosing schemes like Extend, the BBC scheme content that reflects the diverse lives of aimed at attracting disabled candidates, children across the UK and beyond. But or the Paralympic coverage at Channel 4 in order to have truly diverse content we have succeeded in embedding staff into need a diverse workforce, and some groups, permanent media jobs. If not, we’ll be able particularly BAME (black and minority to ask why. ethnic) people, are underrepresented. All The Diamond monitoring project asks the major UK broadcasters have devised for perceived and actual information on initiatives to address this and to stop the gender, gender identity, ethnicity, age, sexual decline in the percentage of BAME people in orientation and disability, but not on class. the industry – in recent years there has been This is an area where “unconscious bias” is a drop of about 20% across the production perhaps the most prevalent, and efforts to workforce. address it such as removing names, schools A report released in late 2015 by and universities from application forms Directors UK was extremely damning about should be welcomed. children’s TV, noting that only 1.77% Fully representing the diversity of the of all episodes in all genres was directed British population should be an integral by a BAME director. The report found consideration for every production, and this “particularly alarming” as children’s the teams who make kids’ content should programmes are “a key entry point for the reflect our country’s diversity, too. Children directing workforce and where directors want to see their real lives reflected on get a first opportunity to develop skills that screen and they deserve honesty about the can be used in other genres.” Indeed, many world around them. I love Katie Morag and directors working as named documentary her adventures on CBeebies and find her directors or on the main studio shows isolated community fascinating, but Morag developed their core skills in children’s TV might want to leave one day – and she and have gone on to work successfully and shouldn’t get a shock when she does. consistently, some at international level. The *Diversity Analysis Monitoring Data

63 makingmaking it happen it happen

The Value of Values in The Wild (North) West Jon Hancock

Vegetarianism, the capacity to create legacies. collaborate with others, creating Rolls Royce and the I wonder: did the ironically things that outlived themselves. I Mackintosh – all have (and hysterically) named Rev really admire them for that. And been pioneered in the Cowherd think that his passion they all had seminal moments in fine city of Manchester. for meatless eating would rub Manchester – a place that’s close off on his congregation and to my heart. I’m fascinated by stories of how evolve into what it is today? As far as I’m concerned, things came into being. It’s why Did Mr Rolls foresee that his the 2015 Global Liveability I love being a content producer Midland Hotel meeting with Survey had it right when it – drawing together people Mr Royce would result in a named Manchester the best with their various expertises, car brand synonymous with British city to live in. There driving passionately towards luxury? Did Thomas Hancock will be more devolution of an end goal, then pulling over (no relation) ever dream that power to Manchester over the to look back and admire the his masticated rubber, together coming years (we get our first view together. I’m attracted by with Charles Mackintosh’s elected Mayor in 2017) and the the sense of becoming a team, a coats, would still be celebrated World Summit on Media for family even … and I love how, practically every day in these Children will be held in Salford when we’re working with the north-western parts where they at the end of next year – not to right people, we are greater than were first manufactured? mention our world-class sport, the sum of our parts and have These people all managed to arts and culture.

64 Children’s Media Yearbook 2016

Despite the rain, I fell in children’s and family content: production experience. love with Manchester when Three Arrows Media. The first Parting from the BBC I moved here six years ago. of its kind in the North West – mothership – a place I am truly It was a privilege to be one well, this century! grateful and fiercely proud of the first BBC movers from I do so with my friend to have worked – has been London to the North West in – and now business partner challenging. One of the first 2010, producing the first series – David Hallam. We initially pieces of work David and I did of Mr Bloom’s Nursery from connected because of a mutual when we were considering a joint the BBC’s old base in Oxford friend and our shared Christian venture was to discuss and define Road a whole year before faith (more on that later), but our values: not just what type MediaCityUK was opened. we also joined forces because of content we wanted to create, So it is with an enormous our skillsets complement one but WHY we wanted to create amount of pride and excitement another. David has a proven it. What was important to us and that I now step out from track record of winning what did we want to stand for? the BBC into the northern commissions across a wide Something simply clicked – it just powerhouse to plant a flag variety of genres, target age felt right – when we agreed on in the Manchester sand (or groups and broadcasters all what our values were. should that be mud?), forming over the world, which dovetails I have been inspired by the a new production company with my (I’m chuffed to talks I’ve seen online by Simon specializing in live action say) BAFTA award-winning Sinek. He has been described as

65 making it happen an unshakable optimist (and he question them; then to use them David and Jonathan. But we looks uncannily like Leonard as a basis for connecting and also use the story to motivate us from The Big Bang Theory), creating with others. I believe and root us in what we believe: and I would heartily encourage this is the way we will most that the children’s media you to watch one or two of productively navigate through industry is of major importance. his TEDTalks on YouTube. He this new digital landscape, this What goes into young minds talks about the importance of new Wild West. has big implications. We starting with WHY, in business For Three Arrows, our want to create content that as much as in any other area values are “Creativity, Integrity, has meaning and value – that of life. A connection at this Excellence, Collaboration, entertains and enriches – deep level can create bonds of Boldness and Fun.” We know launching it out into the field, trust, lasting relationships and that we share these with where we hope children will incredible productivity and many of you in our industry find it and take it home. success. and therefore look forward We would also love to “All organizations start to nurturing the working think that our partnership with WHY, but only relationships we have and could somehow outlive us. the great ones keep establishing new ones, serving Our Manchester legacy may their WHY clear year other people’s missions as well not reach the heights of after year. Those who forget WHY they were as our own. vegetarianism, Rolls Royce or founded show up to the So what’s the story behind the Mackintosh, but nothing race every day to outdo Three Arrows? In a lesser- ventured, nothing gained! Life someone else instead known passage of the Bible, is short and can only be lived of to outdo themselves. two guys – really good friends once, and so we step out with The pursuit, for those – have a decision to make no regrets, for adventures who lose sight of WHY about which direction to take. unknown, trusting in the value they are running the race, is for the medal or The decision is of national of values. to beat someone else.” importance and requires them “People don’t buy what Simon Sinek, Start with to communicate in code with you do, they buy why Why: How Great Leaders one another. you do it. And what you Inspire Everyone to Take do simply proves what Their plan is that one of Action you believe.” them will fire three arrows into Simon Sinek, Start with As someone new to a field, and the other one will Why: How Great Leaders business ownership in the know, from where they have Inspire Everyone to Take industry, I don’t pretend been aimed, where he should go. Action to speak from a place of A small boy is sent to collect the Twitter: @3ArrowsMedia knowledge or experience. But arrows and carry them home. Website: www.threearrowsmedia.com I want to humbly encourage The first reason this story us all to establish our values jumped out at us is because the (if we haven’t already), and to two guys, like us, are called

66 Children’s Media Yearbook 2016

Little Baby Bum derek holder

When my wife and I launched Little Baby Bum, we Looking back I think it was our had fairly modest ambitions. We didn’t for one minute realistic, relatively modest targets think we’d be the number one educational channel in that allowed us to breathe and the world after just four-and-a-half years – or ever, for not put pressure ourselves to that matter. We set our sights much lower. We were achieve too much too quickly. complete animation novices when we started, and We gave ourselves time to learn we aimed to get approximately 100,000 views per what we were doing, and we saw video per year. It was simple mathematics based on our mistakes as opportunities to probable CPMs and the fact that pretty awful nursery learn – we didn’t let them hold rhyme videos were attracting ten million views or us back. more. We figured that if we were to make better- When we launched Little quality videos and SEO them correctly we’d stand a Baby Bum, my wife was a full chance of replicating those numbers. time mum to our little girl

67 making it happen

(whose nickname was “Little Baby Bum” we decided that we could go full time and when she was just two weeks old) and I was put a hundred per cent of our energy into working full time at a telecoms company. the channel. Our child would be starting We built our YouTube channel in our nursery, too, which would really help. It evenings and weekends. Our output was was another six months before we were slow. Very slow. There was a gap of four actually able to go full-time, due to work months between our first and second videos commitments, but from day one we started and we weren’t massively pleased with the producing one video per week. We soon final results. But we did learn a lot from the were able to increase this to two videos per process of making and uploading videos week and have recently increased this again, and from there we were able to develop to three. and refine our project workflow. Over the My advice for anyone setting out on a following year we produced one video similar journey is to make sure you create every six to eight weeks, which was all we from the heart and don’t make what I could handle in our limited time. But we would call “cynical” content. Don’t think got a glimpse of what was possible and we about merchandising possibilities when realized just how big a YouTube channel you’re creating children’s programming. If could get. In order to bulk out our online you concentrate on creating a programme presence we took our existing videos and children will love, there’s every possibility created instrumental (or karaoke) versions that you’ll be able to move into licensing of them, and made mini-compilations with and merchandising, which is our next around five or six videos in each. We also venture. In 2016, Little Baby Bum toys and chose songs with variations in the lyrics – books will be released in partnership with “Itsy Bitsy Spider” and “Incy Wincy Spider” quality licensees and 2017 promises more featured the same video but different audio toys and books as well as magazines, DVDs, tracks, and we made both a zee and a zed clothes and so on. It’s a truly remarkable version of “ABC”. time for Little Baby Bum and we’re loving After the first month our channel had the ride. We adore receiving messages from 17,000 views. By month four this had gone parents who have seen how the videos help up to approximately 400,000. I remember their children develop. What a lovely way these numbers very well – we were excited to make a living – spreading joy to children because it proved our calculations had all around the world while allowing their been correct. We knew that if we had 100 parents to have ten minutes peace, usually videos we’d be able to make a proper go to have a shower or do some housework! of it. As time went by we reinvested our AdSense revenues into making more videos and uploading them more often. This in turn increased the revenues coming in, and so on. After two years of organic growth,

68 Children’s Media Yearbook 2016

Animation UK Oli Hyatt

“I’m only an elected official here, I can’t make decisions all by myself!”

First, ten points if you know the film that quote is I thank Blue-Zoo (Adam from. Second, I’m sure you’re wondering what I’m Shaw and Tom Box) for going on about, as usual – many of you have received allowing me huge chunks of a barrage of long, badly worded emails, requests time to support Animation for data and quotes and strange messages from UK when I should have Animation UK that must at times have seemed like an been growing our animation inner monologue on my various concerns about the business. I’m sorry to those I’ve animation industry. upset, offended, argued with, debated with and (in one case) I thank you all for humouring you into parting with money for stolen coats from in the name me while I taped ducks to reports and speaking out in the of Animation UK and children’s hockey sticks, invited myself to press when you really shouldn’t TV. I’m also sorry that many your constituencies so I could have, and the numerous other of you didn’t get the plaudits throw myself at your MPs and things I have asked you to do. you deserved for your part in persuaded you to ship delicate Fortunately the mass-march the campaign for tax credits – I animation sets to the House of of costumed characters on feel embarrassed and humbled Lords. I apologize for cajoling Parliament never happened. that I have seemingly become

69 making it happen

the poster boy (or silly mascot) for our joint There’s still a lot of work to do to get enterprise. Anyway, I digress… this right – there needs to be much due Those of you who are now ten points diligence and a formal process for setting richer know that the quote at the start of up the membership structure. We need to this piece is from The Nightmare Before find the right person to drive this forward Christmas. “I’m only an elected official in the long term and to set up the board or here, I can’t make decisions all by myself!” committee. We need to agree goals and set It’s a statement that, flipped on its head, out a shared vision for what achievement unpicks the current issue with Animation will look like. UK. I’m not an elected official, and in the In the short term, we will need to main I have been making decisions all by address issues around training – the myself, albeit with much feedback from the government is moving money away industry. I’ve loved every minute of it, and from old training structures and into I have, with your support, managed to get apprenticeships, which we don’t currently us a seat at the table. We now have a voice have in our industry. There are other and, thanks in part to the tax credits, we pressing political issues, with the Charter still have an industry. I’m constantly thrilled renewal rumbling on, that will effect us all and inspired by the flair and determination one way or another over the next ten years, with which you run your businesses and the and new issues that have arisen from the tax creativity of the work you produce. credits and changing EIS rules. We need a But for some time I’ve felt that there report that properly calculates the value of is more work to do than I alone can cope our skills – I have spoken to the BFI about with – more than any organization run on jointly funding this, and the conversation favours and passion can cope with. What needs to be picked up. In the short term this we need now is a well-funded, well-run would be a more viable way of tracking our professional organization that can use our industry than the government’s SIC and SIC passion and creativity and the UK’s unique codes, which can only be changed every few reputation and position in the world market years. to move our industry to the next level. But as well as pressing problems, Since I first announced this move there are pressing political opportunities. from “club” to “industry body” at the For instance, George Stanley is to become CMC event in March, I’ve received near- our first well-informed DCMS policy unanimous support from all of you, and advisor. He wants to immerse himself in many of you have signed up and fed into our industry over the summer, so please what could become a mandate. I feel welcome him to your studios. hugely positive that we can achieve great The aim is to get a comprehensive things. We have commitment from over 50 understanding of how the animation companies and enough funds to turn this industry in the UK works so this can be dream into a reality. best represented to ministers – how are

70 Children’s Media Yearbook 2016

projects planned, scoped, funded, produced currently more opportunities for animators and sold; what are the usual routes into the and visualization artist than ever before in industry and how is it taught; what are the the UK. crossovers with other industries like film That doesn’t mean we won’t continue and VG; who are the big and small players to work with others – we are the beating in the UK? heart of so many of the screen industries, Many of you are looking at cultural and we will work with PACT, CMF, CMC, funding to reignite our proud heritage in BFI, Screen Association, IPA, UKTI, UKIE short films and, in turn, bring through the and many more. But more power and next generation of film makers. Lots of money will give us more influence. We’ll you want to see us out en masse at events, be able to shift the agenda to include presenting a united, friendly face and letting animation and be of authority on the world know about our great industry. matters that affect us. This will mean becoming a trade partner, However, we need to be realistic. and we will look into doing that as soon as A portion of the first year’s fees will be possible so that we can access the support spent on getting this initiative up and others currently enjoy, such as TAP grants. running, and it will take time. There is a As an industry, we have been hanging chance we could work more closely with onto the coattails of other organizations another body to save on admin costs, but for too long. For the very small minority we would need to make sure that this that think this is just another organization wouldn’t dilute our message. and that we have enough of those already I fully intend to continue to engage (The People’s Front of Judea, The Judea with the organization on a long-term basis, People’s Front), ask yourselves this: who is and in many ways I expect my workload for really putting us first? Who is prioritizing Animation UK to increase in the short term. our needs? Who really helped us when I will stand to become an elected official in our industry was slipping away? No one. whatever form the organization takes, so if Everyone turned us away, and some even I’ve annoyed you or stolen items of clothing tried to stop us. We helped ourselves, and I from you, feel free to join just to vote me believe that as we move forwards, this is the out! I very much hope this is the end of the strongest and most powerful thing we can beginning and that we’ll be able to move continue to do. forward in a positive way! The results speak for themselves. While no real numbers have been gathered (because we don’t technically exist), anecdotal evidence tells us we have doubled in scale in the UK and have grown by 600% in London. While TV commissioning remains challenging, I believe there are

71 making it happen The Importance of Being Different

Joshua Davidson

Hello! I’m the Night Zookeeper. Welcome to my zoo. major problem with digital Well, it’s not exactly my zoo – it belongs to all the games today. Too many of them children who have created a magical animal to come simply give children a limited and live here. We have all manner of strange beasts, range of preset options, which from spying giraffes that can turn invisible, to a purple means that handing a child octocow that can make any flavor of milk that you an iPad is like handing them can imagine! I wonder – could you invent a unique a keyboard that can only play animal to come and live in my zoo? preloaded songs. This is not a great recipe for creativity, and *Removes hat* children to invent their own it certainly doesn’t make full Hello again everyone. I’m unique animals. It has been use of the incredible technology sorry about that. I slipped into an incredible experience – a available to us today. school assembly mode for a journey into the imaginations Night Zookeeper, by minute. I’m Joshua Davidson, of hundreds of thousands of contrast, allows children’s CEO of Night Zookeeper, a children from across the world. imaginations room to breathe, children’s company that has I set up Night Zookeeper so that they can create and spent the last four years asking because I believe there is a invent as wildly as they would

72 Children’s Media Yearbook 2016

on a piece of paper. The Night Zookeeper we are doing question “Could you invent a everything we can to try to unique animal to come and live challenge this and to reduce in my zoo?” invites children to the impact of the desire for express themselves. conformity in schools. But the Sadly, some children entire children’s industry needs struggle to fully embrace to work together to affect real this opportunity. A common and writing platform for change. Therefore I want to end misunderstanding is that children of all ages that actively with a rallying cry. these children just don’t have teaches creativity. In 2016, let’s set a better the capacity to be creative. We have failed a lot example to children – let’s try However, scientifically speaking along the way. Our Night to be as different from each this simply isn’t true. Creativity Zookeeper apps were loved other as possible. Let’s reject is a skill that can be mastered. but never made any money. the safe path and take risks But some children – and some Our first incarnation of the and push boundaries. Let’s try adults, too – avoid creative nightzookeeper.com website was listening to our own hearts and thinking because they fear being too “educational” to be a true embracing the unquantifiable different, and because they’re consumer proposition, and it rather than just studying the afraid of failing. Society allows arrived at a time when website successes of others. Let’s learn these fears to fester and we see subscriptions were fast going as much as possible about the them manifest in children on a out of fashion with parents. business of inspiring the next daily basis. It breaks my heart. We learned from our failures, generation. Most importantly, I set up Night Zookeeper however, and we embraced let’s not stigmatize those who with my co-founder Paul Night Zookeeper’s destiny to try something new and fail. Hutson, a former primary become educational software. Instead, let’s celebrate them for school teacher who has This year we have sold their bravery and embrace what travelled the world delivering Night Zookeeper software they’ve learned. lectures on the importance licenses to schools across the Children aren’t born of teaching creativity in the world, launched a virtual reality with self-doubt – it is learned classroom. In his role as head app so that children can see their behaviour. As an industry that of literacy at the highest paying drawings come to life in a virtual serves up children’s stories – the fee school in Abu Dhabi, he world, and published a physical ultimate vehicle for education – recognized the limitations of storybook. However, we are far we can teach kids to believe in teaching today and he saw the from finished. We are still failing their own ideas again, to take potential of Night Zookeeper and learning all the time. risks, and to have fun with their to change things. Together The temptation to be intelligence. That is what our with a team of designers and the same as everyone else is story is about. What will yours developers, we started to build incredibly powerful and deeply be? nightzookeeper.com, a drawing ingrained in our society. At

73 making it happen

The story of Lost My Name David Cadji-Newby

Once upon a time (in 2012), a little girl was given a personalized book for her birthday. It wasn’t a very good book. In fact, it was a rather bad book. But still, it made her father think. Made him think, Hmmmm. There’s an opportunity here.

Asi (that’s the dad) got in touch with a adventure to find it. Each letter of their couple of friends. One, Tal, was a digital name relates to a story, and helps them get producer. The other was David, a comedy their name back. So if, for example, the writer. The plan that they hatched was child’s name is Andrew, they’d go on an to make a personalized book – a better adventure to meet an Aardvark, a Narwhal, one than had ever been made before. a Dragon, a Robot, an Elephant and a A personalized book that didn’t just copy Wizard. Each character gives Andrew the and paste a child’s name into a pre-existing first letter of their name. A, N, D, R, E, W – story. No, one that used a child’s name to hey presto, he’s found his name. form the narrative of the story, so that no Now, this wasn’t very easy because, two names made the same book. A perfect annoyingly, there are twenty-six letters in combination of storytelling and technology. the alphabet. Not only that, but lots of The concept of the book was that names have more than one of the same a child loses their name and goes on an letter in them. And every single letter needed

74 Children’s Media Yearbook 2016

its own story. And, of course, every story Our original mission was to make a needed illustrating. million bedtimes more magical with our We worked on the book in our spare book. We used to say it as a joke, only half- time. Evenings. Weekends. Any time we believing it was possible. A million? It’s a could find. Which meant we had to have huge number, unimaginable. But in 2015, understanding families and plenty of we did it. We hit a million (and became the discipline. We found Pedro, our amazing UK’s bestselling children’s picture book). Portuguese illustrator. And slowly, Lost And we know, from the thousands and My Name started to take shape. We made thousands of emails that we get from our a prototype book, for Andrew, with stories customers, that our book really does seem and illustrations, and showed it to people. magical to the children. We know that we’re The people told us that it was good and that doing a good thing. And that makes us they’d absolutely, definitely, no question happy, too. buy one. It’s hard. Of course it is. We have Then came the real challenges. Finding employees and we need to pay them and a print house that could print the books on keep them cheerful. We have investment, demand. Building the website and the back so now we have targets. We need to launch end. Doing the marketing. Fulfilling orders. new books (we’ve already launched our We launched in April 2013 and sold a few second title, The Incredible Intergalactic books. Then Christmas came, and orders Journey Home, based on a child’s address). came in thick and fast. We weren’t ready. We need to get into new markets (we’ve We really, really, really weren’t. It was already translated into ten languages). We madness. We went from 40 orders a month need to keep innovating, and scaling, and to 40 a day. A hundred a day! Scaling was surprising and delighting children around a colossal task. We had a bestseller on the world. But as missions go, creating our hands and we’d never planned for it. magical bedtimes is a rather splendid one, We weren’t complaining, no, but we were we think. running around like the proverbial blue you-know-what. Next came Dragons’ Den, where we got a record-breaking deal from Piers Linney. More investment came in and we grew. We’re “full-stack”, which means that we do more or less everything in-house (apart from the actual printing). We write and illustrate the books. We write the software for the site. We do all our own customer service, marketing and PR. It takes a lot of people.

75 making it happen

CBBC Official Chart Show steve wynne

It’s fair to say the “Hit Parade” runs through my blood nurtures their skills. Our VT – I religiously taped the pop charts every Sunday from directors Michael J. Ferns and the age of nine, presented a Top 40 show on Hospital Fergus Thom hadn’t made a Radio Clatterbridge, and went on to produce ITV’s frame of TV in their lives, but CD:UK. So when CBBC approached Pretzel to pitch they came back from self- for a new music chart show, it was the most exciting shooting and directing 300 thing anyone could have asked me to do. pupils at a school for a Taylor Swift lip-dub having edited For the best part of a year, there even me, king of the discounted a roughcut on their laptops had been high-level discussions biscuit, weep into my instant on the train. Our production between CBBC and Radio 1 coffee. What I didn’t reckon manager Millie Lloyd, who about how to bring the Official on was the new generation of hadn’t seen a call sheet until Chart Show to TV. Keen to talent who think nothing of she started with us, gave us strike the perfect tone, CBBC being able to shoot, edit, write, a masterclass in how to get commissioner Hugh Lawton direct and make the tea – and anyone to do anything by being and controller Cheryl Taylor can do them all brilliantly. polite, all while choreographing, asked us to put together a Pretzel has a scheme researching and location pilot – on a budget that made that brings in first-timers and managing the show. Oh, and

76 Children’s Media Yearbook 2016

she also presents our vlog. And reared on 30 minutes of Top moments that have had tens of Myke Dunn stepped up from Of The Pops each Thursday. thousands of views – and make listening to Blink 182 in his Rather than just counting down the chart alive and relevant for recording studio to become our the chart, we wanted to make 2016. sound engineer (and associate the show a true appointment-to- The idea was always to producer). Not only was he able view – something that would be broadcast the show from the to create and produce tracks talked about in the playground Radio 1 studios, home of the and record on location, he also on Monday mornings. DJs that inspired me to get stepped into Nick Grimshaw’s Now you can see into the industry. To say I was studio and mixed the live show. performances anytime, beside myself about this is an There’s a severe drought of anywhere – from wobbly gig understatement. Radio 1 has music shows on TV, and almost footage to multimillion-dollar come a long way since the days nothing for our audience. We promo videos – so we wanted of my heroes Bruno Brookes were determined to create to create exclusive content that and Mark Goodier. It now has something unique and fresh lived on, away from the show, a visualization team led by the that would play to viewers who that could be consumed and ever-willing Joe Harland. As consume content in a totally shared whenever and wherever. the instigator of hours of video different way from audiences We created some standout content, from the Live Lounge

77 making it happen to Greg James’ and pace of a live infamous David show. There is Attenborough and nothing like it. Adele moment, We’ve filmed Joe was the reason in schools, homes we were able to and shopping set foot on the malls up and eighth floor of down the country New Broadcasting with flashmobs, House. acapellas, lip-dubs All we had and cameos (you’ll to do was take a have to watch radio show and to find out who turn it into a 30-minute live Our first TX was almost appears). extravaganza for telly – every a total write-off. Our VTs had Our booker Luis Pulido week. It quickly became a codec that the system hated; got Jason Derulo to interview apparent that with a team of I had to key open one of the himself, we’ve fed Fifth four, who were already filming talkback keys with one hand Harmony cold scotch eggs, and producing the VTs, we and use the other for vision given piggyback rides through might be a little stretched. So mixing or running VTs; our Radio 1’s offices and asked we pulled in a few favours, guest was half an hour late; and everyone to sing their name for took a few shortcuts and, with we didn’t have enough mics. as long as possible. our presenter Cel Spellman, we At 18:21, nine minutes Frankly, I’m amazed we’ve delivered our pilot and waited before going on air, we were got away with it, because the to hear the result. informed that our bars and tone show shouldn’t work. It’s Cut to early 2015 when were both illegal, and then the produced by a team who have CBBC ordered an initial 26 entire disc-based VT system never worked in TV before, on episodes, then extended it to 66 crashed. I wanted to have a a couple of laptops and loaded (!) and we realized this was truly little cry into my BBC instant onto a PC with a memory stick. going to be a labour of love. coffee. But it does work. That’s We had two short days of Somehow, we rebooted, testament to the real change rehearsal before embarking on told TX to take it or leave it, that has happened in the 20 the live run, so we had a fair and bounced onto air with the years since I started working in bit to work out. It was a proper CBBC Official Chart Show, TV. learning curve for us all. bang on time. The vision gallery at Radio Even though I’d worked on 1 only seats two, so I moonlight hours of live TV at SM:TV and as studio director, vision mixer at the Disney Channel, I had and VT op. forgotten the sheer adrenaline

78 Children’s Media Yearbook 2016

300 to 3 to 1 siwan jobbins

300 to 3 to 1. No, these aren’t the odds on Eddie BBC Worldwide, said: “BBC the Eagle attempting a ski jump at the 2018 Winter Worldwide’s mission is to take Olympics, but the number of projects at each stage of the best of British creativity CBBC & BBC Worldwide’s animation scheme, ANIM8. to the rest of the world. Our ambition is to find creatives Back in October 2015, ANIM8: an open call offering and concepts to mirror the CBBC, in partnership with UK creatives the chance to pitch success of titles like Sarah & BBC Worldwide, announced for funded development. Both Duck and Hey Duggee, but the launch of the channel’s partners had been looking for this time we’re on the look first animation pilot scheme, an opportunity to work together out for character driven, to develop a comedy fast-paced comedy which will series with genuine appeal to older kids.” This global appeal new, exciting partnership and when an offered UK innovators the opportunity opportunity to work alongside arose to bid for CBBC and CBBC Worldwide’s an internal BBC creative teams to develop their fund, we seized it. projects for the domestic and International market. What is ANIM8? What were we As Henrietta looking for? Hurford- Compelling character-driven Jones, director content, which was funny, of children’s, energetic, unpredictable,

79 making it happen upbeat, and which had a unique Taylor, controller of CBBC, take on contemporary life. The Sarah Muller, CBBC’s creative scheme was looking to push director, scripted, animation visual boundaries and was and co-productions, Henrietta open to all animation styles and Hurford-Jones, director of techniques, including mixed children’s, BBC Worldwide media. As Sarah Muller, creative and Nathan Waddington, director, scripted, animation head of children’s, scripted at and co-productions for BBC BBC Worldwide. Projects were Children’s noted, “Launching judged against criteria such as the ANIM8 pilot scheme was originality, international appeal, Mystery Soup an ambition realized for CBBC. premise, world and characters, the adventures of Hen, Olive It is an exciting time and a key and – first and foremost – and B as they find themselves step in our continued objective comedic appeal. Following plunged into mystery at a of nurturing home-grown this rigorous process, our 300 handsome school for dedicated animation talent and producing entries became eight. These boys and girls. original, innovative animated diverse and engaging properties Hannah Jacobs is an series that resonate with the were given a small development award-winning director and CBBC audience.” budget and following a short animator from London. development period were re- Past clients include Vogue, Who was eligible submitted and judged again. The Washington Post and to participate? Our eight then became three. Harvard University. Victoria We welcomed content from our Manifold is a fiction writer fantastic production companies Who are the final three? from County Durham. She has and studios, but we were aware We are delighted that our been published by The White that many of the UK’s talented final three include several new Review, The tNY Press and creatives are not tied to them, names as well as established Squawkback, among others. so we were keen to see projects individuals, reflecting our Peeled Prawn and Shaved from individuals such as writers, aspiration to tap into the wealth Sheep is an exciting new series animators, storyboard artists of talented people who work following the adventures of a and animators. We’re delighted within the UK’s creative sector. genius sheep and his shell-less to say that they applied in Mystery Soup is a surreal friend. With the help of his droves. comedy about three plucky Prawn Powered Super Shell 13-year-old girls investigating Suit, Prawn and Sheep battle What was the process? their weird new boarding school Mr Big and his gang of super The submissions process closed and the bizarre goings on there. villains whilst juggling work, on 22 January 2016. Entries Created by writer Victoria home and finding love with the were assessed by the ANIM8 Manifold and director Hannah mysterious Lucia Langostina. team, which included Cheryl Jacobs, Mystery Soup follows With a distinctive comic-book

80 Children’s Media Yearbook 2016

and encounter naughty kids the world over! Ryder, Sandy and techno elf Irwin must all work together, despite being completely different to one another, truly making them all Poles Apart! Poles Apart is created by Alex Collier, a Viz comic cartoonist who has recently Peeled Prawn and Shaved Sheep Poles Apart written on Mr Bean: The visual style and clever snappy action-packed character Animated Series, and even more dialogue, it’s the summer comedy, following the recently, the Danger Mouse blockbuster superhero series adventures of Ryder, a Comic. with a twist. Peeled Prawn haphazard elf banished from and Shaved Sheep is created by Santa’s grotto to live in the What next? Vince James, Karina Stanford- South Pole with Santa’s brother, For the final stage, following Smith, Simon Godfrey and Sandy Claus. Ryder’s job some additional development Kaine Patel. is to deal with the massive, time, the three projects (now Karina Stanford-Smith never-ending Naughty List, complete with scripts, visuals is an experienced animation and a bible) will be pitched to producer and has produced our team. The lucky winner will such shows as Tickety Toc work alongside the CBBC and and Florries Dragons. Vincent BBC Worldwide creative teams James has directed animated to develop their project through shows for CBBC, ITV and to a pilot. To paraphrase those Dreamworks TV. scions of UK pop, the Spice Simon Godfrey’s Girls (with our tongues firmly in involvement in TV has spanned our cheeks), three will become production, development, one. Watch this space… design and promotion for Good luck, guys! clients such as Amazon Prime and The Jim Henson Company. Kaine Patel owns Snipple Animation, which services such productions as Dora the Explorer and Bunnicular. Anarchic and Antarctic, Poles Apart is an animated,

81 making it happen

The Recipe for Digital‑First Success Juliet Tzabar

Back in 1994, I was working in one of my first jobs digital debut of content in media. I was a temporary PA to Heather Holden- becoming more and more Brown, then a cookery book publisher at BBC commonplace. Worldwide. I would come into work and find a pile Returning to 1994, my of dictation tapes on my desk and I would spend temporary contract in the world my days playing the tapes back, typing out letters of publishing came to an end to the BBC’s leading cookery talent – chefs and and I returned to my freelance television producers. I remember starting numerous work as an art director for letters with the words “Dear Baz,” referring to Peter television. It was another six Bazalgette, now a TV veteran. In those days he was years before my interest in producing Ready Steady Cook and soon after became media convergence would be credited as the man who invented the celebrity chef. piqued by the internet and It was clear then that Peter worked in television, I would adopt a digital-first while Heather, my boss, worked in book publishing. mindset for my own career, Media production was platform first. You worked in finding work as a digital television, radio or print and you created content producer, funnily enough on for that platform, using established production another Bazalgette production, methodologies, developed over years. Big Brother. I now run Plug-in Media, a Today, media production exists television, radio and print, are digital-first production company in a very different landscape. no longer the primary platforms that doesn’t define itself by the Digital delivery demands that of consumption. Digital media platform it delivers to. We are we must adopt a platform- has muscled in, be it via online, not a TV production company, neutral mindset, developing social media or app delivery, an app developer, a games and creating content that and content is now increasingly company or an animation can be delivered in multiple created according to a digital studio, although we make all formats. Legacy media, such as first methodology, with the of those things – we are simply

82 Children’s Media Yearbook 2016

a production company making content in a new(ish) digital landscape. However, indulge me now as I return to that formative experience in cookery book publishing (I’ve always thought of it as my alternative career) and consider some of the analogies that cookery offers us, as I share Plug-in Media’s recipe for what a digital-first development and production methodology involves.

1. Assemble the best ingredients be, we immerse ourselves in the the limitations of whichever While platforms proliferate, core ingredients of story, setting platform they ended up on. the appetite for great content and character. What we’re remains consistent and the best aiming for is a deeply conceived 2. Consider your products emerge from the best- DNA that we know will ensure consumer quality ingredients. Think of the a product’s authenticity on You may have gathered the best early stages of digital content whichever platform it ends ingredients, but there’s another development as an opportunity up. Our mantra has become decision to make before you to browse the best market “You can’t retrofit story and decide on which dish to make: produce! The tomatoes are piled character” – you need to make who are you cooking for? Some high; artisanal goat cheeses sure they’re built in from the chefs are so certain that their are stacked on boards; and sea start. balance of seasoning is perfect bream are laid on ice, fresh In the case of our own that they refuse to provide salt from the nets that morning. You IP, Tee and Mo, our core and pepper on their restaurant don’t know what dish you’re ingredients were simple: a new tables, but this stance takes going to make yet – but you’re mum, her three-year-old son, the confidence of the auteur, happy to immerse yourself in their relationship and their and in an environment without the sights, sounds and smells of jungle home. We worked really limitless funds, some regard the market atmosphere and take hard to develop these characters for needs of the consumer is your time touching, sniffing and and their world before we advisable. This applies to the tasting the produce. knew what product we were creation of children’s content Similarly, before we decide pitching. We knew that if they in particular, because of the what the end product of a were drawn with depth and diversity of the audience. Just digital-first development will authenticity they would survive as you’d create a different dish

83 making it happen for a vegetarian realized we also than you would needed a lean-back for someone with piece of content. a nut allergy, so We developed your output will be the “Who Did different depending the Footprints?” on whether it’s story for CBeebies created for pre- Storytime and the schoolers, 6–10 brand’s short-form, year olds, or teens animated lullaby – and we all know “Go to Sleep” to that kids can be the answer that need. pickiest of eaters! to, in the post-appointment- Same ingredients, different These demographic to-view world you also need dishes, different cooking boundaries are not new to think about the mindset methods. to media production, but they bring with them to those And you need to respect viewing them with a digital- screens. You may have decided different cooking methods. first mindset will lead to a at the market that the verdant One of the most common further consideration that watercress, fresh duck eggs, assumptions about digital-first will profoundly impact your earthy mushrooms and springy production methodologies is production process: access. sourdough were the very best that if you make something A platform-neutral mindset produce on offer, but is this a once, it will fit everywhere. This accepts that your audience dish for a weekend breakfast, is the mindset of those who will have access to a number a quick lunch or a starter for a are desperately trying to justify of different media devices: a celebratory dinner party? the cost of producing multiple TV, a computer, a tablet, a In creating Tee and Mo transmedia products by assuming console, a mobile phone, an we conceived of a brand that the cross-pollination of MP3 player etc. You will need featuring a parent and child assets will lead to efficiencies in to understand the nuances of that directly reflects the nuances the longer term. It rarely works your demographic to appreciate of that relationship back to like that, especially when you’re how access to these different the audience. Our first Tee and combining HD broadcast assets platforms might be impacted by Mo dishes were web games with the plethora of different cognitive development, social that parents and children could technical platforms. Making both class and gender. play together. We intentionally dishes simultaneously may result created something that was in efficiencies of time and money, 3. Preparing your dishes about co-play and shared but it could also force you into Beyond considering which screen time for a sit-forward making decisions you weren’t combination of devices and moment in a parent and child’s ready to make and, in the worse screens your audience has access day. With this in place, we case scenario, you might have to

84 Children’s Media Yearbook 2016

pop out to the shops to buy more what you’ve made before you led Plug-in Media to become a eggs to start the cake again! place it in front of the judges. three-Michelin-Star restaurant Your tester will be flattered that (er, sorry, I mean production 4. Taste and season, you listened to them and will company). The truth is, we’re easy on the salt be eagerly anticipating the next still working on it. There isn’t The hard work is nearly over. course. yet a three-month waiting list You’ve made your dish and Returning to our IP, Tee and for tables but we do serve many it’s almost ready to serve. Mo, our ten web games on the happy customers every day. Hopefully the quality of your CBeebies website delivered the We know that they’re enjoying original ingredients shines first public outing of our monkey the dishes we create. We’re through and you haven’t been duo (although they’d also been continuing to refine those dishes tempted to add Worcester tested on a friendly neighbour and we’re also inventing new Sauce, a carrot, some bacon or two beforehand). In less time ones. We’ve been investing and a few chocolate chips in an than it takes many kids’ IPs to in our kitchen equipment (a attempt to give it more flavour. emerge with a bible and a pilot, talented and diversely skilled The aim is to work quickly and we had a finished product in twenty-first century production confidently, delivering what front of an audience and were team) and we’re always striving software product developers using that product to shape the to select the best-quality define as a Minimum Viable brand going forward. We had ingredients, allowing them Product (MVP). quantitative data that told us the space to be the stars of the If you’re heading for the how many people had played the dishes. Masterchef final, your MVP games and we had qualitative We’ve also had some good won’t be the final version of data that told us what they liked reviews – the respect of our your dish but the first one about them and what we should peers has come in the form you put in front of a customer change. We had also managed of BAFTA and Prix Jeunesse (perhaps a forgiving husband, to create a self-fulfilling appetite nominations for Tee and niece or neighbour). for more content, which has Mo (does that count as one The first taste is an since led us to create the app, Michelin Star?). We’re trying important one, and in this e-story, animated shorts and the not be swayed by fashionable brave new world of digital‑first album of songs, all of which are ingredients or fads for the latest production, it’s OK to get it (a available today. Furthermore, cooking techniques (is VR the little bit) wrong. Ideally your we’ve been able to use this data new sous-vide?). We hope that willing taster will enjoy the to justify investment in a 50x7- these slow-food principles will dish, but they might have a min TV series. lead to long-term commercial couple of suggestions to make: a success, but for now the proof bit less chilli next time, an extra 5. Sit back and enjoy remains in the half-eaten teaspoon of sugar wouldn’t go I’d like to finish my first transmedia pudding! amiss. These suggestions are cookery book with a summary going to help you to improve on revealing how this process has

85 making it happen

Will a better understanding of children make all the difference? Lucy Gill

I spend the majority of app, wonderful graphics, an with an app, it really does need my time working with experienced team and a strong to be fun. Are you sure you people developing marketing plan. Surely you’re know what kids find funny? children’s media, sorted? Sadly not. There is one You can add playful graphics particularly apps both set of stakeholders that is often and silly animations and hope big and small, and they overlooked or consulted only as for the best, but I’ve tested always want to know if an afterthought – children. enough apps to know you really there’s a secret recipe for Whether you’re developing need to check your app with success. Of course there an app for children or adults, children to be sure of success. are never any guarantees, anyone who has been in this Often I find it’s not the overt, but there are several game a while will tell you laugh-out-loud features that factors that, if ignored, that user experience (UX) is make a children’s app a hit – at are highly likely to lead to important. But for children’s least not beyond the first five failure. media, the issues around UX are minutes. It’s the subtle, playful vastly more complex than for ways the app engages children For the purposes of this products aimed at adults. and the features that help them article, I’ll take it for granted gain confidence or motivate that you’ve got a great basic The fun factor them to have another go. concept and feature set for your If you want children to engage Let’s take an app I know

86 Children’s Media Yearbook 2016

well as an example: the new Learning and is crucial to success. There are Happy Studio app from development huge cross-cultural challenges McDonalds, which I’ve been I’m always keen to find ways to consider too, particularly for involved with since the concept to incorporate learning and international apps. For an app phase. You’ll find plenty of development into media for to be useful in developing a skill, “fun” features – children find children, even if it isn’t the it needs to hit that sweet spot it hilarious when they tickle core purpose of the product. between challenging and totally Happy and get him to stick out After all, there is a reason impossible. his tongue – but, according to gamification is taking over the our testing, the part that really world – what better way to learn UX for children gets the most attention is the than by having fun? But if you I still often see classic mistakes Inventor game. Children are don’t understand children, it is when I’m reviewing apps for the clearly motivated to succeed, almost impossible to pitch the Good App Guide – preschooler often through much trial and educational dimension at the apps requiring the child to read, error. Subtleties like the app’s right level. Children change so for example – but often the UX ability to make failing fun (the fast, particularly in their early challenges are much subtler. We car breaks apart as it falls into years, and a firm grounding in know children like to learn and the ravine, for example) make the skills children are typically discover things for themselves all the difference. developing at your target age rather than having to sit

87 making it happen through first-play development. Plan tutorials, and yet if a fun family day – a the gameplay isn’t great way to get intuitive they will children involved quickly brand an in the development app “stupid” and process. never play it again. • Get children When producing involved early an app for children, Don’t wait until it’s so important you’ve got a to remember that finished prototype it needs to be as – start testing at simple as possible the concept or both for them to find or initiate a chance to switch off. storyboarding stage. Look play and to understand how to When you take all the for competitors or similar play. The gamplay should be factors above into account, it’s apps to learn from, too. challenging, not in the UX. User clear that you have to involve • Test little and often testing is the only way to really children in the development Don’t try to answer every be sure you’ve got this right. process to ensure that your question during one round Toca Boca is a brand that really app will be successful. What’s of user testing. Plan regular, puts the emphasis on UX, with more, testing apps with children focused testing stages and very good results. can make teams much more get someone independent to innovative – they’ll have the facilitate the sessions and Avoid addictive features chance to trial new ideas with analyze the results. One critical factor for success, the app’s intended audience • Include a children’s as far as I’m concerned, is rather than just playing it safe. ambassador making sure that an app isn’t This really doesn’t have to be Assign someone to genuinely addictive. Of course wildly expensive, nor should attend key meetings as we want our products to be it delay your schedules – I’ve the voice of the children. successful, but it’s important not turned around results within Involving children in your to go too far. Excessive screen a few hours to extraordinarily development process really time is a real and growing tight budgets. My tips are: can make all the difference. problem for children, and as • Upskill your team players in this industry it’s vital Ensure your team has a that we don’t intentionally good basic understanding of make this worse. By all means children. Hold seminars and make apps fun and engaging, encourage team members but try to build in natural to share their knowledge of “end” points that give children different ages and stages of

88 Children’s Media Yearbook 2016

Kid’s iPlayer Claire Stocks

It’s 1977. Star Wars has just hit the silver screen. Kids expect choice and control. Parents too, are actively I’m alone in my bedroom. The family black-and- looking for services that offer white portable TV is mine for once, for a few them, especially services they hours. It doesn’t feel particularly “portable” as I can trust and configure. This lug it up the stairs. It’s tuned – albeit in a grainy, has led to the proliferation in flickering snowstorm – toThe New Adventures of the last decade of child-specific Batman. I sharpen the white noise back into a picture, services, including, in the last poking the makeshift coat-hanger aerial with my foot. 18 months, Video I feel a million dollars. For the first time in my life, I (VOD) services, and that’s why have total control of what’s “on the box”. There are we launched BBC iPlayer Kids three channels to choose from, showing a couple of in April 2016. hours of children’s TV per day. 2016 was a significant year for media consumption among Today, our kids have an and most of those hours are kids in the UK. The definitive unbelievable amount of choice – made in the UK. Kids also have Childwise report, which tracks there are 32 dedicated children’s unbelievable control. On the the behaviour of children channels in the UK. The BBC right devices, those shows can aged 5–16, stated that – for alone shows 26 hours a day be paused, watched again, saved the first time – the numbers across CBBC and CBeebies, for later. of hours children spent online

89 making it happen outstripped hours kids’ time online spent watching includes watching TV. On average, on-demand TV children spent three via touchscreen hours online and devices. It also only 2.1 hours includes YouTube watching TV – which is now the (though this varies number one reason hugely by age). kids aged 7–16 go Does that show online. And a third the demise of TV – or could it “Divergence” might have of children who use Youtube are point to its future? been more apt. We now think watching TV titles. Which of It’s 1987. Rick Astley has about audiences’ differing us can categorically define what just hit the pop charts. experiences via laptops, phones, we watch as “online video” or Little does he know how tablets, e-readers, wearables, “TV”? kids of the future will react as game consoles, virtual reality There is no easy answer. he rick-rolls his way into their headsets … the list will only get Our own panel data lives through the internet. longer. And it still includes the shows that around 35–40% The growth of video big screen in the corner of the of 0–12 year olds watch TV recorders was meant to kill off room! online. They also watch video cinema (as well as the radio The forecasters forgot one clips, play music and games, star). But as we moved to thing: human nature, which use social media and do digitally served, on-demand TV drives us to want the best thing homework, depending on the and film viewing in the home, for the specific activity we are age of the child. So the lines cinema enjoyed a renaissance performing. This is why we are massively blurring between and some video-rental have myriad different types of TV and online. We’re not even chains went bust. Changing chair in our houses and why sure what TV means anymore. consumption sparked by digital washer/dryers never took off! Traditionally it meant the revolution isn’t always a case of So I view the data from content you watched and the “either/or”. Often, it’s a case of Childwise as three hours plus screen you watched it on. Now “and”. 2.1 hours. It’s a different it can mean both, or either, or It’s 1997. Teletubbies has equation – it’s “and”, not “or”. neither. just hit TV screens. Eh-oh. Even Childwise concede And while the overall The BBC has also launched the delineation between “TV” volume of TV viewing on TV its website. Within a few and “online video” is a grey sets is declining, one thing we years, the buzzword will be area – they told us they leave do know is that the televisual “convergence” – the idea is that the question of which is which content we make is still very there will be one device to rule up to kids own interpretation. much in demand. Our children’s them all. It’s safe to say that much of content reaches over 40% of

90 Children’s Media Yearbook 2016

0–12 year olds in the UK every week. But the way our content is being consumed is changing, and that’s why we’re changing too. Future iPlayer Kids features It’s 2007. BBC iPlayer has just hit the We’ve added the ability to resume a part- web. watched episode where you left off and And in less than a decade, the service given kids easier-to-reach recommendations has fundamentally changed the viewing at the end of an episode. habits of all BBC audiences – especially Next we’re looking at episodes autoplaying kids. Available on more than 10,000 devices one after another – but we want to find out and packed with iPlayer exclusives as well more from the parents and kids who use the as linear broadcasting, the service is still app to help shape that feature. evolving in line with the demands and expectations of our audience. For example, One of the things we’re really glad we built iPlayer consumption is responsible for 45% in for launch is the ability to download of CBBC show The Dumping Ground’s content – many kids are instantly excited seven-day ratings – note that’s just the seven about being able to take their favourite days immediately after broadcast. It’s our shows with them, whether they’re going on responsibility to ensure that kids are served holiday or a long journey or even if they just with the content they want, when they want want to take the tablet to that corner of the it, where they want it. house where the Wi-Fi signal’s a bit flakey. But where do they want it? TV sets Downloads can be kept for up to 30 days are still the preferred screens for viewing. after broadcast and there is no limit to the Childwise data shows that 62% of volume of shows kids can download, only kids prefer to watch TV on TV. But the the space on the device (the app itself is proportion that prefer to watch TV on around 25mb). alternative devices is growing – it’s now one in three, with tablets especially popular. We also wanted to provide accessibility When asked which device they “could not options as we take this very seriously when live without”, the majority of 5–16s cited making products for kids, so there is the their phone, followed by tablets (17%), TV option to view signed or audio-described (16%) then games consoles (14%). content. While on-demand viewing of children’s What next? We have a few ideas, but this content is rocketing, 63% of our audience app is all about fulfilling our audience’s need are still viewing our content live. For some for control, so we’ll let them answer that shows, like Newsround, that number leaps question. to 92%. And while TV is still the screen of choice for live content, when it comes to on-demand, we know that the majority

91 making it happen of iPlayer viewing is done via homepage. A recent survey by Ok, I’ve not got a time mobiles and tablets – 53% of Sky found kids watch their machine. Yet. But we’ll be back requests were via a tablet and favourite episodes more than 50 at CMC in 2017 to tell you mobile and 28% of requests times a year. how our audience is using the were via a TV. So at every turn, But although kids want app and how we’ve responded the picture is more complex control and choice, we know to our viewers’ demands. than a simple shift away from kids they also relish shared We’re starting to add select TV. It’s about a proliferation of family viewing. They often short-form episodes alongside choice and control. the ones asking parents to our channel titles. In our first Which is why we put down their devices to week in app stores, one of the launched BBC iPlayer Kids. In spend time doing traditional standout pieces of content was the last three years, requests real-world activities, and it’s a beautiful short film about in BBC iPlayer for children’s encouraging to see that reading being a child in China, from content has tripled. In 2015, books and playing outside are Newsround. And in the future there were just shy of three still popular activities (one in we want iPlayer Kids to become billion programme requests via three kids still read every day). a home for the best content iPlayer. A third of those were for This is why our app is only a from across the BBC – we children’s content. On-demand small part of the way we’re know kids get huge value from contributions for CBBC and responding to the changing right across our portfolio. The CBeebies content are the highest landscape. It’s also why we most-watched BBC linear TV of all BBC channels. Around don’t just rely on feeds and for 6–12 year olds are shows a fifth of all viewing of CBBC algorithms in BBC iPlayer like Eastenders, Dr Who, TV content is now via iPlayer, Kids – we also actively curate The Great British Bake Off, whereas the average across all our content. A skilled team of Casualty and BBC News. So BBC channels is just 3%. experts tailors it both in terms we’re looking at how we can You’ll see individual of time of day and age. During curate popular shows that are children’s episodes remaining the week, our audience likes right for kids of different ages, high in iPlayer charts for shorter clips in the morning on-demand – what they want, months; we are now scheduling and longer programming in the where they want it, when they our CBBC TV channel to evening. For children aged 1–4, want it. ensure popular shows appear we show only CBeebies content; For nine-year-old me in in iPlayer for long periods. for children aged 5–7, we show 1977, that would have meant Our peers at Swedish public a mixture of age-appropriate delight in an endless feast of service broadcaster SVT grew content from both CBeebies and The Six Million Dollar Man use of their VOD mobile CBBC; and children aged 8-9+ – but I doubt, sadly, the more and tablet app threefold by a are shown just CBBC content. edgy Starsky & Hutch. Some simple change to the navigation It’s 2017. We’ve learnt things never change. which put users’ last-watched even more about our audience, shows front and centre on the through BBC iPlayer Kids.

92 Children’s Media Yearbook 2016

“Never work with children or animals” – W.C. Fields Ray Maguire

I ignored W. C. Fields’ advice during my brief few marketing budgets. On the years in theatre (I was on the technical side, not a plus side, although you take all luvvie) and during my games career (kids played a the risks, you get to make the significant part in making PlayStation a household decisions that will shape your name). So what are the challenges of working in journey going forward without an environment that is centred around children, being distracted by endless especially when you’re a new high-tech start up? reporting that never seems to add value to the outcome. Working in a huge, well-known open for you with little or For me, the decision to take company has many benefits: no resistance the plunge into the world of • Infrastructure – there are • Networking – especially start-ups was based on the experts in every facet of the valuable when working in fundamental belief that my co- business at your fingertips different territories. founder Andy and I could add • Funding – pre-defined Start-ups are a completely value to the education system budgets allow you to different kettle of fish. No by introducing new technology concentrate on the job in longer can you rely on in the form of a Cloud-based hand well-funded research and video platform. • Brand recognition – doors development and decent Education is the third

93 making it happen largest spend in the UK, at truth is that the education less tech-savvy teachers need almost £90 Billion, but teacher sector is struggling to attract more support. costs account for the vast new teachers. More teachers Schools have had to adapt majority of this, at around are leaving than entering the to an “always on” world and 76%. The remaining 24% profession and inevitably the initial reaction was to ban covers everything else. The the gulf is widening. The mobile devices in schools rather budget for new tech in schools reasons for this are multi- then implement strategies is in single digits. From a route- faceted, ranging from pay and to use the new technologies to-market point of view, the conditions to stress and lack of whilst preventing disruption. majority of schools make their support. Safeguarding has always been own decisions on the budget How can technology help a priority for schools and the priorities. There is a small busy teachers? Anything that rise of social media continues but growing shared-services saves time and reduces stress to pose problems. Teachers provision, as the number of has to be a good thing. Couple are increasingly becoming Multi-Academy Trusts has that with a platform that lets attacked through social media increased in recent years, pupils express themselves in a by pupils’ parents, with or but the majority of decisions medium that inspires them and without justification. Ever are still made in-house. A hopefully you’ll have a product evolving technology demands head teacher’s job can be a that ticks most of the boxes. It an evolving technology strategy rewarding but lonely one, makes perfect sense that exam to produce the best results for as they have to balance the boards are introducing video the school and defend against demands of the staff as well assessment. Qualitative and attack and disruption. as the pupils and parents. It’s quantitative outcomes will be Used creatively, technology therefore vital that any new measured without the stress of a can bring subjects to life and tech service offers a solution to traditional exam scenario. make learning more accessible. all the stakeholders involved The use of tech in schools There’s nothing better than in decision-making processes. is very varied. The majority walking into an outstanding In a commercial environment, use tech to great effect, but school and seeing first hand if you can demonstrate that we still come across schools how a good teacher can nurture the implementation of new with cupboards full of unused the talent of the pupils in their tech will lead to a return on tablets, bought with very best care. If our platform can help investment, then funding can of intentions but without them achieve even better results, be raised and paid back over establishing the implementation then I’ll consider the journey time. Unfortunately for schools, and pedagogy first. The from big business to start-up a budgets are fixed and any majority of pupils have grown major achievement. investment is at the detriment of up with access to the internet spend in another areas. and numerous devices, and they But what about the are able adapt almost seamlessly teachers themselves? The brutal to new software solutions. But

94 Children’s Media Yearbook 2016

One Click, One Laugh: How we Made our Interactive Comedy Trevor Klein

Secret Life of Boys begins with 11-year-old Ginger secret, all the while trying to was commissioned as Boxwell flying from Australia protect their own. an interactive comedy to the UK to spend the summer At the time, CBBC’s Cheryl before anyone quite with four cousins she’s never Taylor didn’t have any more knew exactly what that met before, understandably room for regular sitcoms, meant. The subsequent nervous about how she’ll but she did need some digital figuring-it-out took the manage in a foreign country content, so in a heartbeat better part of two years with a new family. What she the affectionately acronymed until, finally, everything doesn’t realize is that Matt (17), SLoB became an “interactive just “clicked”. Robbie (13), Ethan (12) and comedy”, though at the time Chris (7) are just as nervous nobody quite knew what that Writer/creator Anthony Q. about it as she is. The boys soon meant. Farrell (The American Office, discover that Ginger is hiding What we ended up with The Thundermans) first wrote something. And it’s BIG. The was a new kind of comedy and pitched Secret Life of Boys game is afoot and they work drama for the touchscreen as a regular sitcom. The story tirelessly to uncover Ginger’s generation. SLoB is made up of

95 making it happen

25 x 5’ interactive move to the UK, episodes and 50 x 1’ with speculation unlockable secrets, running wild in the all combined in a CBBC comments. playful hub which launched online How we last November. The made it programme was Our executive then repackaged producer Steven and broadcast as Andrew set the 5 x 22’ traditional tone clearly from episodes for CBBC the start: the and ABC3 Australia. As an additional layer, digital delivery was not a players can also collect bolt-on or afterthought – it How it works “secrets”. Within each was integral, and the heart of The critical question that interactive episode, there are the commission. This meant needed to be answered was, two glowing objects – they we needed to create a whole could we legitimately claim might be a phone, a knitted new development, production, that adding interactivity would hat, a discarded football shirt, post and delivery process that enhance the sitcom genre? If the anything. When the eagle-eyed blended the best of traditional answer was no, why do it? If player clicks on them, they TV and traditional software the answer was yes, then how? unlock secrets to watch later. development. “One click, one laugh” was These secrets are delivered Zodiak Multiplatform our mantra, and our interacting intimately to camera, revealing (hat tips to Ben Freeman and players were rewarded with hidden insights into a character Joe Dickinson) had spent a lot unexpected punchlines, and the wider story. (Spoiler of time evaluating different ridiculous replays of the alert: alpha-brother Matt is interactive video platforms. action, surreal adventures and a secret knitter and confident They wanted to find something surprising new perspectives. joker Robbie is afraid of the that would work equally well As you watch the interactive dark.) across mobile, tablet and episodes on your tablet, phone If you manage to collect desktop, and that was powerful or desktop you’ll see playful enough secrets, you get to enough to be customized to buttons pop into view. Nobody’s unlock Ginger’s Big Secret – a create linking videos. The forced to click and the episode huge story surprise that rewards clear winner was WIREWAX continues without pause for you for your dedication. who, at the time, were the only those who choose not to. But Throughout the series, both company who’d found a way for those who do interact (and characters and audience are to circumvent Apple’s technical it’s almost everybody), clicking united in trying to discover the restrictions to bring interactive unlocks hidden gags. real reason behind Ginger’s video to the iPhone browser.

96 Children’s Media Yearbook 2016

With interactive material WIREWAX we and patiently had our technical wrote and rewrote platform, and we many, many drafts already had our as we all learnt characters and together. We had storyline, so the last input and feedback thing to crack was throughout the our format. process from We were both broadcast keenly aware and digital Image credit: Helen Sloan that 22 minutes commissioners at of linear video is a very, very time brainstorming and sharing CBBC and ABC3 Australia, as tried-and-tested format for examples of digital “stuff” that well as from our audience. We comedy drama, so it was no we found funny: websites, apps, went into schools to test our small responsibility to break it games and videos. work-in-progress episodes with apart. We took great care from We ran frequent test mixed groups of 6–12s. Not the start to avoid making our shoots – we filmed scenes in only did we get their ideas and interactive show a poor cousin offices around Zodiak Kids HQ, feedback on our UX, design to a traditional sitcom, instead drafting in runners (and each and digital creative process, but working to invent a new, just- other) as stand-in actors. This also on our jokes. This was a as-satisfying digital-first format embarrassing footage was then new experience for Anthony – that enhances the form. turned interactive and we could there aren’t many sitcoms that We started with a basic quickly see whether or not our go through a rigorous user- insight: children like to have ideas were working. As we grew testing process(!), and we have more of what they enjoy. We more confident, so did our test the feedback to thank for the tried to empower them to shoots. Producer/director Beryl amount of physical comedy in get just that each time they Richards organized one in her our show. clicked (“I liked that joke – I home, and children from a local Creatively, we arrived at would like more jokes similar theatre group gave much more some very fixed ideas about to that joke please”). We also convincing performances than how the interactivity should knew that our audience are we had. Indeed, one of the test work: it’s not a “choose your fascinated by secrets – having actors impressed everyone so own adventure” branching them, sharing them, discovering much that he went on to play narrative, but a “dive into the them – and realized that giving youngest brother Chris in the adventure” where players get our characters personal secrets series. more of the gags they like. would enhance our comedy, When writing the show, Everyone gets the same crafted, world and story. To figure out Anthony created a new scripting satisfying story. the detail, we spent a lot of grammar that included the extra There’s no download

97 making it happen or app required – everything edited, delivered and complied (on several occasions by twice streams to your device from between Zodiak Kids Studios, as much) and frequently your browser. There’s no forced WIREWAX, CBBC and charting on iPlayer. interaction. It’s all optional ABC3. One giant colour-coded We know that children are and positively reinforced (with spreadsheet later and we had still watching a lot of television, either more jokes or more a breakdown of what was but we also know that they’re secrets). There’s no punishment happening where for each day increasingly doing so on smaller, for not interacting or gates that over four months. I’m told more personal, smarter devices. require interaction before you that when it was printed out What we’ve proved with Secret can move on. at CBBC HQ it took up 12 Life of Boys is that there is a We had a fairly ambitious A3 pages. (There were a lot of space for new TV formats that amount to film each day (about spreadsheets in this production.) make the most of what these 7–8 minutes), so these guiding Logistically, none of devices can offer – not replacing principles stood us in a good this could have worked at linear TV, but complementing stead when we started shooting all without the full support it, and empowering children on location in Northern and trust of our excellent to choose whether or not they Ireland. While our crew was commissioners at CBBC and want to interact. And it turns used to normal location drama, ABC3 Australia (both broadcast out, when given the option, everyone adapted quickly to and interactive). There was a most do. the quirks of our production. lot of heavy lifting to be done www.bbc.co.uk/cbbc/games/secret-life- of-boys-game For instance, many of our internally at both broadcasters (Best enjoyed on a modern tablet with shots needed to be held for an to let us deliver to their speedy wifi.) unnaturally long time, to allow platforms, and a seemingly for an on-screen button to be endless stream of videos, designs added later in WIREWAX. Art and builds to feed back on. We department and costume had to were lucky to have them. be briefed on continuity – what The reception from our happens if a character makes audience, both online and on a mess during an interactive TV, was heartening. We had scene, which not all players huge engagement with our will see, but that same scene interactive episodes – much continues on afterwards? higher than expected – and We had a similarly streams of positive comments ambitious amount to edit. from passionate fans on the With 111(!) different video CBBC and ABC3 websites. deliverables we worked closely The repackaged linear TV with Platform Post Production omnibus episodes were equally to set up a process that would successful, beating their slot enable us to get everything average on CBBC every week

98 Children’s Media Yearbook 2016

Shakespeare and Preschool – who said that they don’t go together? Angela Young

When the BBC started excitedly discussing how to celebrate Shakespeare’s 400th anniversary, there was an assumption that CBeebies couldn’t be involved. Kay Benbow, controller of CBeebies, took this as a challenge and started thinking about just how CBeebies could be part of the celebrations. Theatre adaptations of classic stories are very much part of the CBeebies landscape – past productions have included A Christmas Carol, Peter Pan and Alice in Wonderland. The partnership with Northern Ballet has expanded the audience’s appreciation for storytelling in different forms, and stories are completely at the heart of all the channel content.

Shakespeare was a brilliant storyteller – so little one wouldn’t laugh at Bottom’s name? why couldn’t we tell one of his stories in a How much more would they laugh if he was CBeebies way? played by Justin Fletcher? The programme Alison Stewart, head of CBeebies was taken forward by the CBeebies production, felt that there was one obvious development team and executive producer story to tell – full of fairies, and with Tony Reed before I started working on the a name every pre-schooler would love. A production in October 2015. Midsummer Night’s Dream would be the So where to start? perfect introduction to Shakespeare. Which

99 making it happen

The approach the Robot in Justin’s House. He had all the What would make this Shakespeare CBeebies experience but, out of silver paint, production different, unique to CBeebies he wouldn’t have pre-existing audience and memorable to the pre-school audience? character expectations. With online material It had to be the approach. We would have to introduce Shakespeare, we could expand to help the audience understand what was the impact of the programme with facts happening onstage and what the dialogue and figures to intrigue young minds as this meant, and give reminders at useful historical figure was introduced. moments of what was happening in the story. With Cook and Line (established The story characters from CBeebies’ Swashbuckle) to How many of you remember A Midsummer ask the questions, we were half way there Night’s Dream from school? What do you – but who would answer them? There was remember of the story? From the outset it only one person for the job – Shakespeare was important to find the key elements to himself! drive the story through, simplifying the plot Going through the cast of CBeebies while retaining as many crucial moments as talent, one person sprang to mind to play possible so that children would remember Shakespeare: Steven Kynman, aka Robert them in the future. I set about creating a

100 Children’s Media Yearbook 2016

grid with the original action in each act and and carers – so pronunciation, rhythm and scene, then pared it down to essential story interaction had to be correct. Developing elements to form the first story running a relationship with the RSC gave us order. somewhere to find advice and support as At times it felt like I was back sitting well as the right people to work with the my Highers (yes, I’m Scottish), working team. my way through various editions of the We held rehearsals at the RSC’s play including those with education notes. new building, The Other Place, and RSC I wanted to make sure I wasn’t missing practitioner Nia Lynn was performance anything that Shakespeare had intended director, providing a huge amount of through changes in language, rhythm, support and inspiration to the CBeebies characterization and setting. A trip to talent who felt challenged by taking on see Henry V at the Barbican renewed my Shakespeare. But with Athenians, Young enthusiasm for Shakespeare, and also Athenians, Mechanicals, Fairies and Young ignited a crucial set idea. Fairies, 25 actors were required, and the Finally, when I thought I had really regular CBeebies cast had to be expanded. grasped the play, I set about putting Advice from the RSC head of casting was together a programme proposal for Ali crucial in getting the right balance across and Kay. I recently re-read the proposal the roles. and I was delighted to see that the finished programme is very much true to the original Location idea and structure. The proposal combined What kind of theatre did Shakespeare Shakespeare, Cook and Line’s backstage write his plays for, and what would make action with the onstage production, this production different for our audience? showing how integrated the concept had The search was countrywide. We didn’t to be. The proposal included quotes from just need to find the perfect theatre – we the original text to demonstrate that we needed to find somewhere to introduce live would use Shakespeare’s dialogue wherever theatre to children who wouldn’t usually possible, and also demonstrated how our have that experience. The immediacy of the backstage team could help explain what performance was vital – a proscenium arch a play is and what the various theatrical theatre felt too distant. A trip to Liverpool elements were. Additionally it briefed and the Everyman Theatre with its thrust the music elements that would be key to stage solved the “where”. It also sparked keeping the audience engaged. lots more ideas. We were recommended a lighting designer and a set designer who Partnerships had worked extensively at the Everyman. A first impression of Shakespeare has to Neither had any television experience but be right. We knew the programme would they were willing to learn – they came to influence so many children and their parents see other productions and were ready to ask

101 making it happen

Barrie Bignold took on the challenge, creating a song that combined Elizabethan motifs with a modern approach and the original text. This approach worked so well that it was used for Puck’s song too. However Bottom’s song had slightly more complex and less suitable lyrics, so we decided to use this as a moment of fun for the audience – a song where they could laugh along with Bottom, Cook and Line. Three original songs, sung by our Shakespeare, highlighted important action moments – setting up the play, changing scenes and helping to questions. A costume design lecturer from recap and resolve the story in a simple and LIPA brought a great, young team on board, effective way. Finally, the Bergomask dance giving local talent a chance to develop as combined Elizabethan dance with text that well as diversifying our crew base. little ones around the country are now singing. These songs, combined with music Music beds written to picture during the quick Every Shakespeare play ends with a song turnaround post-production period, kept and dance but music is also integral to the the audience engaged without distracting overall performance. A Midsummer Night’s from the play. Dream has three songs within its action – “Puck’s Introduction”, “The Fairy Lullaby” Text and “Bottom’s Song”. Could these songs The decision to keep as much original work for our audience? language as possible was definitely one of BBC Learning working with the biggest challenges. I worked closely with British Libraries had established a great writer Clare Duffy on the abridgement, opportunity for the CBeebies version of identifying sections that would work easily “The Fairy Lullaby” to be distributed for the audience as prose, phrases which during National Shakespeare Week, a would need explanation, words which month prior to our transmission. The would need to be replaced with alternatives, one stipulation was that the original and importantly finding the soliloquies Shakespeare text had to be used. Composer that could stay at the heart of the play and

102 Children’s Media Yearbook 2016

hold the attention of the impressionable Russell, TV director, kept on top of all the audience. Initial cautiousness about the action and managed to ensure every single concept and word “love” disappeared after moment was captured with ISO recordings, discussing the play with groups of children including valuable audience shots to show and hearing their versions of the story. the rapt attention of those in the theatre. The first scenes featuring the Mechanicals Of course there are too many people worked, with some editing for length, to mention, and so many elements that without changing the text – and during can’t be described here – colour coding rehearsals it became clear that the delivery the young Athenian couples, the theatre’s and action in these sections would make fantastic flying and trap facilities, working them comprehensible without the need for in a sustainable friendly theatre, filming explanation, which would have interrupted interactive content, creating on-brand story the flow. versions for the CBeebies Storytime App It really was a balancing act between and for CBeebies Radio, the trials of finding the play and the backstage action, but the right people to engage with our aims for finding ways to make things memorable was the roles of Titania and Oberon, the great fun too. “Athenians” is an awkward word, team atmosphere and smiling faces in the but “Athinynnians” is a great comedy theatre all week… word – Cook and Line’s misunderstanding But the main thing that I have taken of quite a few words definitely kept the away is that being brave and completely tone age appropriate and light hearted. The believing in something is so important. audience’s engagement with the text is one It really has been one of the best TV of the greatest joys – it doesn’t put them off. experiences I have had, and has resulted in Instead they are intrigued and spellbound amazing audience feedback. So I’ll leave you by the rhythm and delivery. with just one comment: “My youngest daughter (four next The wider team week) has watched A Midsummer Engaging the right team was key for Night’s Dream about 15 times since it was on last weekend. This the production – from the production morning she had a friend over – management team that kept everything on also four – and they were taking track, to the technical team who rose to it in turns to be King Oberon and every challenge. The Everyman Theatre Queen Titania. It’s an absolute was perfect for the performance but was triumph – thank you so much! It’s definitely a challenging TV recording space. so good even I enjoy it (life-long Shakespeare-phobe!).” With a single camera recording onstage while rehearsals went on offstage, every minute of the theatre and actors’ time was taken up with multi-camera recording in the lead up to the live performances. Ian

103 ReseaLoorchking back

every rule.” Phil called it his first watercooler moment – like watching or Game Jackanory of Thrones. I felt very much the same about Kenneth Williams Frank Cottrell BoyCe reading The Land of Green Ginger. Joan Aiken and Helen Cresswell were the Russell T. When I said I was going down, and its sequels, and other Davies and Steven Moffat of to the Jackanory birthday works by the same writer. But Jackanory. party, my friends howled promoting and directing our Jackanory helped create their jealousy and reading was the least of its good a shared culture for us – swooned their nostalgia. effects. Far, far more important something that was not being was that Jackanory made shoved down our throats by Lynda Buckley Archer said, reading a shared experience. giant brands or merchandising “School often made me anxious. We often talk about reading as – hence all the swoons of Snuggling up with Marmite on though it is a solitary, isolating nostalgia and these vivid toast and Jackanory made me activity. But for most of history, memories. I would never have feel safe and happy.” Nicola and certainly in my experience, known The House That Sailed Davies said just hearing the stories have been things we Away, for instance, or Agaton theme tune made was enough to share - around the fire, at the Saxe or The Minnow on the make her purr. bedside, on the “story mat” at Say, without Jackanory. I Of course, Jackanory wasn’t the end of the day in primary hope it will be remembered always cosy. The unease I felt school and definitely on for actively commissioning when listening to Charlotte Jackanory. some truly wonderful work – I Sometimes or the first Greene Joolze Tudor remembers think I’m right in saying that Knowe book put me right off children charging around the Mortimer the Raven was made my Marmite. Finding Miss playground yelling, “Neverrr. especially for Jackanory. And Slighcarp in the slot I associated More!” after hearing Bernard then there’s the sublime Lizzie with that magical woollen Cribbins’ hilarious rendition Dripping, who stepped into the muffler of a voice – Bernard of Joan Aiken’s Arabel’s world on Jackanory Playhouse. Cribbins – was like finding Raven. Phil Earle said that Rik And of course the artwork. I’m a cluster of scorpions in my Mayall’s rendition of George’s pretty sure my first encounter lunchbox. As for Tom Baker’s Marvellous Medicine seemed with Quentin Blake was on crazed, intense reading of The to burst out of the television. Jackanory and that I learnt to Iron Giant … I still shudder Next day at school, everyone appreciate the different voices now. was talking about it. “None of of illustrators from watching Loving a book on Jackanory us could believe what we’d just the show. meant I would hunt the original seen,” he told me. “It broke I learnt so much from

104 Children’s Media Yearbook 2016

Jackanory, and I’m not the delight me that I can recognize or reading, but for when I’m only one. Brian Minchin, the not just words and their troubled or bored or feeling producer of Doctor Who, meaning but the actual identity lost. wrote me a long, lyrical email of the speaker. Even if they’re Another person who about how that Tom Baker nothing but an ex-chancellor of reacted to my question about rendition of The Iron Giant the exchequer. Jackanory was Michael Rosen, had influenced him. “Looking How much more amazing who said he had been booked to at it now,” he said, “what and delightful to have these appear on it but the show was grips me is the utter belief voices in my memory bank: cancelled. that production had in the Bernard Cribbins, Kenneth I was recently at a importance of the story it was Williams, Joanna Lumley, fundraising event for the Reader telling. There are no layers of Bernard Holley and Liz Organisation, which believes in irony or nods and winks. This Crowther. And – someone the power of reading aloud. Its is a full-on and committed whose voice I haven’t heard volunteers read big, ambitious attempt to bring Ted Hughes to since then but who I imitate books, not just in schools, life on a tiny budget but with when I read his stories, whose but in prisons, in drug rehab complete conviction … I’m only cadences are part of that centres, in hospitals, to people realizing it now, but it must intimate storytelling moment who struggle. One of the prison have affected me, because that between me and my children – reading groups did Henry V. ingeniously created world and John Grant, who read Littlenose Afterwards, one of the prisoners that commitment is something the Hunter. who had attended the readings I’m trying to recreate now every Nostalgia is often regarded said something that went straight day at work!” as a trivial emotion. But the to the heart of how Jackanory That’s a great legacy, but I complex magic of these voices affected me. This man was in for think there was something more pulls us back to a moment when violent crimes, and the story of profound going on too. One our minds were fresh. They how Prince Hal rejected his old of the unconsidered marvels of bless the present with the beauty friends and began again really human complexity is our ability of our past. They bring back to struck a chord with him. He said to recognize voices. When I us the openhearted enthusiasm that listening to someone else switch on the Today programme and willingness to listen that we read – knowing he was not going halfway through an item, I had as children. The rhythms to be asked for any “input” or often know who’s speaking, and cadences we heard while “insight” – was “the first time I even if it’s someone who has cuddled up with the Marmite had ever felt alert without feeling been out of the public ear for continue to reverberate in our stressed”, the only time he’d felt years and who didn’t mean work and in our play. fully switched on without the that much to me anyway. This Jackanory laid down in threat of violence. That’s what morning for instance it was – of my heart as well as my mind a human voices can do. all people – Norman Lamont. fund of stories that I can draw Thank you Jackanory. It never ceases to amaze and on now, not just for writing Come back soon.

105 Resealoorchking forward

Let’s start acting like kids and have a grown up conversation Alice Webb

Across the globe, it is in equal we are experiencing the most audience-led measure the most exciting and the revolution so far. A fundamental shift in scariest time to be a child – a mix the traditional relationship between content of emotions that all of us working producer and audience has totally changed in children’s media can empathise expectations of what the media sector is with, as we are working through there to do and what it is able to achieve. a time of unprecedented change, We are no longer simply broadcasting taking place at an unprecedented to our audience; we are in a conversation rate, within a constantly fluctuating with them. media landscape. Audience In the children’s media sector we have behaviours now seem to shift reacted to this change more quickly and, I on an almost weekly basis, and think, more effectively than any other area of the sheer scope and quantity of the media, but the journey is far from over. content flooding the marketplace Over the past year, we at BBC is impossible to stay on top of. Children’s have started to try and do things differently with this in mind – we Of course, the rate of change varies greatly recognize that a rapidly changing world around the world, and children in different is not something to fear, but is in fact countries have different experiences. hugely liberating. Through a new project, However, it’s fair to expect the trends that which has the working title “iPlay”, we many of us are seeing to spread around the are looking at how to engage and interact globe in due course. with our audiences on a more personal level The media industry has always than ever before. The iPlayer Kids app that embraced change and hasn’t been afraid was launched in April of this year is an to restructure itself over the past few important step towards this. decades, but it does seem that this time Some have been quick to claim

106 Children’s Media Yearbook 2016

that more choice somehow reduces the is much bigger than that. This is a global importance of BBC content for young gathering, led by the World Summit on people, but we believe the exact opposite Media for Children Foundation, which to be true – that our responsibility to these has been helping to facilitate joined-up audiences is greater than ever before. Never conversations across our sector since 1995. has our role as a producer of world-class The BBC is lending its name and backing content, crucial resources and laughter been to the 2017 summit as we recognize what a more important. crucial milestone it could be in shaping our The Reithian ideals, “Inform, educate business over the coming years. and entertain”, feel as fresh in today’s At the first Foundation event over digital world as they did in the world of 20 years ago, a TV charter was proposed the wireless all those years ago. I think you and adopted, setting out principles for can now add “inspire” and “enable” to how global broadcasters should manage that list of ideals as well, as digital gives their relationship with young audiences. us the opportunity to create platforms Subsequent summits have updated and and methods for like-minded kids to come extended this work, and we will continue to together in safe spaces. do so in 2017. We aim to create a digital- It is in everybody’s interest that our first charter with agreed protocols for sector remains as relevant as possible to operating as an industry in a digital space. the lives of young people across the globe, I would love to welcome as many whether we achieve that by working of you as possible to join us, both in together differently, creating content Manchester next December and in the differently, legislating differently or ensuring conversation going forward as we shape freedom and safety for young audiences and develop the summit itself and create in ways we have never thought of before. legacy projects that will live beyond That’s why I chose to support the bid for it. To make sure we continue to serve the Children’s Global Media Summit 2017 our audiences and stay as relevant and in Manchester, and to accept the role of meaningful as possible, we need a grown- chair when the bid was successful. up conversation about what it will mean to The summit is an opportunity for us operate in children’s media in the coming to have a conversation defined by impacts decade. I hope the Children’s Global and opportunities rather than genres and Media Summit can be the start of that platforms. The aim is to assemble the conversation, and if you want to be there best thinking from content producers, so your voice is heard, or you would like policymakers and platform providers your company’s CEO to be among the together in the same place, with the needs leaders present, do get involved. You can and wants of young audiences around the find updates at www.cgms17.com. world as the main topic of discussion. Crucially, this is not a BBC event – it

107 contributorscontributors

Rebecca Atkinson Gregory Boardman Nathan Bryon Rebecca Atkinson is a freelance A co-founder and director at The Nathan Bryon is a 24-year-old journalist and creative disability Rastamouse Company, Greg is a (soon to be 25-year-old) actor, consultant for kids’ industries. She creative producer, musician and writer and Afro enthusiast. He has has experience in TV production, writer who worked with the show’s written for CBeebies, Rastamouse print journalism, online content creators to develop Rastamouse and Swashbuckle and is currently and scriptwriting. Rebecca has a into a multi-award-winning working on a new live-action specialist knowledge and interest television series. In addition to his children’s show as well as starring in the media representation of extensive experience developing in hit ITV comedy Benidorm as disability. Rebecca worked for 11 scripts and new projects for Joey Ellis. years at the BBC as an assistant television, Greg has also played producer on a range of factual and an integral role expanding the children’s programmes and later Rastamouse experience into music, produced and wrote for soap, teen radio, live programming and and music websites for BBC Online. The Rocksteady Reggae School Rebecca has contributed articles education project. He is currently and comment for publications producing a brand-new live-action including , Vogue and series that will launch in 2017 Marie Claire and has written three and is also researching the role of screenplays for Film 4 and a play music in education at the Institute David Cadji-Newby for Soho Theatre, London. In 2015, of Education in London. David used to work in the Rebecca co-founded the online big and rather scary world of #toylikeme campaign calling for advertising, writing ads, and then positive disability representation in the surprisingly cut-throat world of toys. She is available for creative TV comedy, writing sketches and consultation for toy brands, sitcoms. He is a founder of Lost My TV production companies and Name and finds that writing books advertisers looking to include for children is altogether more positive representations of pleasant and rewarding. disability. Previous clients include Playmobil, Orchard Toys and Lucie London.

108 Children’s Media Yearbook 2016

research has looked at early Museum. Wired magazine listed adolescents’ use of digital media. him in its top 100 and in 2013 She taught postgraduate students he was inducted into the British at the faculty for five years. She is Digital Hall of Fame. a trained child therapist and has worked with young offenders and in secondary schools in Tower Hamlets. A fellow of the Market Alex Chien Research Society (MRS), Barbie Alex Chien is a consultant regularly writes articles and gives specializing in brand and creative papers at international conferences, management, based in Beijing. and has appeared on TV and radio, Her clients include Disney China, commenting on youth research. Media Group, CCTV Frank Cottrell Boyce Animation, Beijing Design Frank Cottrell Boyce started his Week, the Swire Group and the career as a staff writer on Brookside, Ullens Centre for Contemporary set in Frank’s native Merseyside. Arts. Before setting up her own His career has been peppered consultancy, she was head of brand/ with awards – highlights include general manager/VP of creative and the Academy-Award nominated content with Nickelodeon from Hilary and Jackie, and his six 2004–2012, posted in Shanghai, collaborations with acclaimed Singapore, London and Beijing. Justin Cooke director Michael Winterbottom, Prior to that, she worked as Justin studied drama at the including 24 Hour Party People executive producer and producer/ University of Manchester, majoring and A Cock and Bull Story. His first director at Disney and MTV in in quasi-theatrical leisure and book for children Millions (2003) Asia. [email protected] computers as theatre. After won the CILIP Carnegie medal and graduating, he worked for the was turned into a movie directed BBC, Universal Music and United by Danny Boyle. Framed, Frank’s News and Media before co- second novel, was nominated for founding the global digital agency the Carnegie Medal, the Whitbread Fortune Cookie, which he sold to Award and the Guardian Prize WPP in 2012. He was the chair and his third, Cosmic, was short of the British Interactive Media listed for the Guardian Prize and Association from 2009–2013. He the inaugural Roald Dahl Funny is now chairman of Big Clever Prize. Chitty Chitty Bang Bang Dr Barbie Clarke Learning, a private-equity backed Flies Again, released in 2011, was Barbie is the founder of children’s business focused on acquiring, also shortlisted for the Roald Dahl research agency Family Kids & developing and building the next Funny Prize. Danny Boyle asked Youth and was formerly a director generation of digital education Frank to be part of the creative at GfKNOP. Barbie completed brands, a venture partner at team for the Opening Ceremony of her PhD in child and adolescent VC Northzone, a non-executive the London 2012 Olympics. Frank psychosocial development at the director of FutureLearn and on worked on the project for two years University of Cambridge, Faculty the digital advisory board of 10 as the official scriptwriter. When of Education, where her published Downing Street and The British the ceremony was broadcast to an

109 contributors estimated global audience of one Isle of Wight Festival. Angela has billion people, it was met with an also produced events for private overwhelmingly positive reaction, clients in New York, Switzerland, its place in history assured by its Belgium and across the UK and has bonkers, enthusiastic and incredibly regularly worked with politicians, British sensibility. international government civil servants and NGOs. Angela has wide experience Stuart Dredge across media, including appearing Stuart Dredge is a UK-based as a host and pundit on live radio journalist who writes for The and TV, and she has spoken about Guardian, , The Week gender stereotyping and diversity Jr and Music Ally. He also runs in children’s TV on various panels. the Apps Playground website and She was also part of the working YouTube channel. group that successfully campaigned to have a commitment to diversity Joshua Davidson enshrined in the BBC Charter. Joshua Davidson is the co-founder Angela teaches at The National and managing director of Wonky Film & Television School and sits Star Ltd. creators of the magical on their TV Advisory Board, and Night Zookeeper website. Night she is on the Diversity Committee Zookeeper inspires children to for the Royal Television Society write, draw and be creative online. and the Executive Committee of Joshua is a passionate public The Children’s Media Foundation. speaker on games, education She is also a governor at The BRIT and creativity. He has spoken at Angela Ferreira School. many international conferences Angela’s background is in television including MipJunior, Apps production. She trained at CBBC World, FutureBook, Children’s before leaving the BBC as an Media Conference, London Book executive producer and joining Fair and the Arab Publishing Channel 4 as a commissioner. Conference. Additionally, he is She is now a freelance producer, regularly interviewed across news consultant and trainer. During her stations such as the BBC for his time at BBC Children’s, Angela views on education, creativity and worked across the entire spectrum innovations in technology. of programmes including Saturday morning live shows and she Lucy Gill directed Bodger and Badger and Lucy is a user-experience specialist . Her subsequent roles and an expert in children’s apps and have included working as series digital toys. She spent ten years as a producer on the weekly trendsetting principal researcher at leading UX show The O Zone for BBC Music agency Serco ExperienceLab before and Entertainment, and high profile joining Fundamentally Children as live-event TV such as Glastonbury, a director, creating the Good App The MOBO Awards, Big Brother, Guide and establishing their user- Notting Hill Carnival Live and The testing services. Lucy now works

110 Children’s Media Yearbook 2016 as an independent consultant/ years before combining that with researcher supporting companies the Good Toy Guide and the Good in the development and marketing App Guide to create Fundamentally of children’s apps, from start-ups Children, the UK’s leading source of to large multinationals. She also expert, independent advice on child remains an active associate for development and play, supporting Fundamentally Children. children’s industries with research, During her career, Lucy has insight and endorsement. worked to support product Derek Holder development for companies David is very much a newcomer to including McDonalds, BBC, BSkyB, the animation industry – he was , Channel 4, O2, involved in IT and telecoms for 20 T-Mobile, Lovefilm and the British years and spent the last four years Council. running a small telecoms company, where he learned valuable SEO skills. He is now approaching his fifth year running the Little Baby Jon Hancock Bum YouTube channel, and he and his team have grown it to become A BAFTA-winning series producer, the number one educational Jon spent 15 years at BBC channel in the world. The next five Children’s, working across all years will see them broadening their genres and on iconic shows such horizons and launching multiple as Blue Peter, Short Change and products, ranging from magazine Dr Amanda Gummer Sportsround. For CBeebies, he and books to toys and clothes. Amanda has over 20 years’ created and produced hit in-house experience working with children shows including Mr Bloom’s and families. Widely considered the Nursery and Swashbuckle and go-to expert on play, toys and child has also produced the last three development, Amanda combines top-rated CBeebies Christmas her theoretical knowledge with a productions. Now co-founder refreshingly pragmatic approach of Three Arrows Media, a to family life that resonates both Manchester-based production with parents and professionals. house specializing in live-action Her book Play was published in children’s content, Jon is passionate May 2015 and has already been about entertaining, engaging and Anna Home, O.B.E. translated into two different enriching audiences worldwide. Anna is chair of the CMF Board languages. Amanda is regularly in and a founding patron of the the media and continues to take organization. Anna joined BBC an active role in research. She radio in 1960 and started in is often involved in government children’s television in 1964 where policy around children’s issues she worked as a researcher, then and is a member of two All Party director, producer and executive Parliamentary Groups. producer, latterly specialising Amanda ran the research in children’s drama. She started consultancy FUNdamentals for ten Grange Hill, the controversial

111 contributors school series. From 1981–86 she Ostrich and Digby Dragon and worked at the ITV company TVS Alphablocks and Tree Fu Tom for where she was deputy director of CBeebies. programmes. In 1986 she returned His work for Animation UK sees to the BBC as head of children’s him split his time between meetings programmes responsible for all at Westminster on the Creative children’s output. She revived the Sector Advisory Group and the Sunday teatime classic dramas Creative Skillset committee, and and one of her last decisions selling in the tax break overseas Charlotte Jones before retiring was to commission with the help of Film London, the Charlotte Jones is senior research Teletubbies. After retiring from the BFI and UKTI. executive at Optimisa Research. BBC, Anna was chief executive of During her time at Optimisa the Children’s Film & Television she has been involved in a wide Foundation until it merged into variety of market research projects CMF in 2012. and media projects, from more Anna has won many awards explorative pieces looking at including a BAFTA lifetime needs and future direction to more achievement award. She was the tactical product/concept testing first chair of the BAFTA Children’s and immersive meet-the-audience Committee, has chaired both the sessions. She has an interest EBU Children’s and Youth Working Siwan Jobbins in media and communications Group and the Prix Jeunesse research and research with young Siwan Jobbins is an experienced International Advisory Board. Anna people, particularly their media animation and mixed-media was the chair of the Save Kids’ TV use and behaviour online, concept producer. While at , she was Campaign Executive Committee understanding and awareness, executive producer on the stop- and the Showcomotion Children’s needs/wants and attribution. She frame series Fireman Sam and Media Conference. She now chairs has worked on many projects, Hana’s Helpline. More recently, she the board of the Children’s Media from mega-workshops to bedroom developed and brokered Abadas, Conference, and is a board member hangouts, speaking to 5–21 year the first co-production between of Screen South. olds and the people involved in S4C, RTÉ and Cbeebies. She has their lives, such as parents, siblings developed and produced several and carers. She is a member of the pre-school series for S4C and Market Research Society. works regularly for BBC Bitesize, including developing and producing content to support KS3 history and the GCSE Welsh curriculum. Siwan has worked on several in-house CBBC projects including producing the online portal, My Toons. She Oli Hyatt is currently project manager on Oli Hyatt has been creative director ANIM8 and works as one of the at Blue-Zoo Animation for 15 producers on series two of Danger years, as well as being the chair of Mouse. David Kleeman Animation UK. Hits from Blue- Strategist, analyst, author, speaker Zoo include Nick Jr’s Olive the and connector — for over a quarter

112 Children’s Media Yearbook 2016 of a century, David Kleeman has to going freelance, Trevor was sales for Europe. Sony Computer led the children’s media industry head of development for digital Entertainment was formed in 1994 in exploring big questions about at Somethin’ Else, pitching and and Ray became managing director the future of children’s play, making award-winning apps, of SCE(UK) to manage the launch learning and media use. Kleeman games and interactive stories for of PlayStation. Ultimately, as is currently senior vice president of brands, broadcasters, museums and senior vice president and managing global trends for Dubit, a strategy/ publishers. He has also worked at director, Ray oversaw the sales research consultancy and digital the BBC producing cross-platform and marketing activities for UK, studio based in Leeds. He began projects for 12–16s. Ireland, Nordic and Benelux. this work as long-time president of During the 18 years of running the American Center for Children the PlayStation business through and Media. the launches of PS2 and PS3 and Kleeman serves on the countless groundbreaking games, Television Academy Board of Ray instigated many education Governors, is advisory board chair outreach programs, and it was to the international children’s this that prompted him to become TV festival Prix Jeunesse and a a founding partner in Digital board member of the National Learning Delivery. DLD strives

Association for Media Literacy to demystify the use of video Ray Maguire Education. He was a 2013 senior in schools with its cloud based Ray has 30 years’ experience as fellow of the Fred Rogers Center SchoolVID platform. Ray serves on a digital technology professional, and 2014 Pioneer Award recipient Power To The Pixel advisory board, and his diverse career has had from Kids@Play Interactive. the CMC advisory board and the a significant impact on digital BAFTA Games Committee (which technology in the arts, games he chaired from 2008 to 2012). industry, and now education. He originally trained as an avionics engineer at British Airways and first applied his engineering and electronics skills to his love of film and theatre – he formed Fast Forward Video Productions, which ran the groundbreaking video Trevor Klein installations on the West End Trevor is a freelance digital musical Chess in the mid‑80s, one strategist and producer. He works of the first theatre productions Dr Anna Potter with creative companies to devise to incorporate multimedia into a Dr Anna Potter is a Discovery and deliver great digital projects stage show using video walls. Ray Early Career Research Award for children and young people. then entered the burgeoning games (DECRA) fellow and senior lecturer Last year, he was the interactive industry at Virgin Mastertronic in screen and media studies at the producer for comedy drama and with the formation of SEGA University of the Sunshine Coast Secret Life of Boys at Zodiak UK, he helped introduce the Mega in Australia. She is currently Kids Studios and before that he Drive and the world of Sonic the working on a three-year grant- produced the BAFTA-nominated Hedgehog to UK gamers. Ray funded project examining the educational coding game The joined Sony Electronic Publishing effects of media globalization on Doctor and the Dalek. Prior Limited in 1993 as director of the production and distribution

113 contributors of children’s television. Her book Creativity, Culture and Commerce: Producing Australian Children’s Television with Public Value was published in 2015. Prior to moving to Australia and becoming an academic, Anna worked for BSkyB in the UK. Kath Shackleton Kara Smith Kath Shackleton is producer Kara Smith is a Bermudian/British of Fettle Animation, a multi- screenwriter and filmmaker living award winning 2D Studio based in London. Since graduating from in Marsden, near Huddersfield Westminster University’s MA in West Yorkshire. She runs her Screenwriting Program, her work company with partner Zane has garnered several international Whittingham, an animator with awards, including a nomination over 25 years’ experience. They for the International Emmy Peter Peter Robinson produce character animation for Ustinov Award, Best International Screenplay at Rhode Island Peter is an experienced consultant, broadcast, web and digital devices. International Film Festival, Best specializing in new technology, Their animated documentary series Screenplay at Miami International kids’ entertainment, heritage kid Children of the Holocaust, made Sci Fi Film Festival, Grand Prize brands, education and ethical with BBC Learning, won the Japan winner of Hollywood Screenplay marketing to kids. Wherever Prize Special Jury Prize, the first Contest and Park Avenue winner of possible, he screws all those things Sandford St Martin’s Children’s New York Screenplay Contest. Kara together. In his role at Dubit he Awards, two RTS Yorkshire has written for Rastamouse, Spot has developed a firm knowledge of Awards and was nominated for a Bots and Show Me Show Me and young people, their attitudes and Children’s BAFTA. is currently working on a new behaviour, particularly focusing They have worked twice on the live-action children’s show. Her on their media consumption and Children’s ITV’s BAFTA and directorial debut, short film Blotter, how that is evolving. Peter is a Kidscreen Award-winning Share a screened at the 2015 Cannes regular speaker at research and Story project and have produced International Film Festival and was kids’ entertainment conferences on Shakespeare in Shorts for BBC selected for the 2015 Reykjavik topics such as emerging technology, Learning, which condenses six International Film Festival Talent social media, video consumption, Shakespeare plays into three-minute Lab. In March 2016, Kara’s debut entertainment brand strategy rap-inspired pop songs. feature documentary The Berkeley and children’s media habits more They also create a range of Project premiered at the Bermuda broadly. shortform content for BBC, CITV, museums, music producers, International Film Festival. businesses and charities. www.fettleanimation.com

114 Children’s Media Yearbook 2016

team and platforms. Claire worked the BAFTA-winning Big and Small in a variety of roles within BBC and Zingzillas. More recently, Juliet Sport, including planning and has been overseeing the company’s delivering the digital coverage of move into original IP development. the London Olympics, leading the streaming and red button team and launching Get Inspired, the BBC’s participation initiative. A Alison Stewart graduate of University’s Alison has worked in children’s politics and international relations media production for most of her department and the University of career, first at the BBC and later Central Lancashire’s postgraduate as a freelance producer, director, journalism centre, Claire began her career in regional newspapers scriptwriter and lyricist. She later Lindsay Watson returned to the BBC as executive – initially at the North West Daily Lindsay Watson is a children’s producer in CBeebies Production, Mail in Barrow-in-Furness and animation producer based in and moved to her current position then the Daily Post and Echo in London. She got her first “proper six years ago. CBeebies is the BBC’s Liverpool. She joined the BBC in job” at kids TV distributor Cake pre-school channel, making mixed 1999 to move into digital content. Entertainment in 2008. In 2010 she genre content for children from moved to Cameron Mackintosh 0–6 years. Alison leads a team that as head of digital, working on creates, develops and produces TV, Les Miserábles and Phantom online, mobile and radio content of the Opera. In 2012 Lindsay for the channel, both for the UK worked as animation consultant audience and for the international for The International VFX Hub in market via co-productions. Bournemouth. In 2013 she launched Animated Women UK, a volunteer organization with five key aims: Juliet Tzabar mentoring, networking, showcasing, Juliet is managing director at recruitment and education (www. Plug-in Media and has worked in animatedwomenuk.com). digital media for over 12 years. Lindsay obtained a masters Following an early career in the art in professional media practice, department of television dramas, focused on animation management, Juliet moved into digital media in from Bournemouth University in Claire Stocks 2000, where she has specialized in 2015. While studying, she was Claire Stocks is head of interactive delivering interactive projects with Toon Boom’s head of UK business at BBC Children’s, where she runs a broadcast tie-in for children and development and sales. the digital editorial team and leads their families. Juliet joined Plug-in Lindsay founded CANUK the strategic development of digital Media in 2007 and has overseen Productions in 2013, a private services and experiences for kids. the company’s growth and success, consultancy firm dealing specifically She joined in January 2015 from establishing it as one of the UK’s with Canadian/British co- BBC Sport where she was digital leading digital agencies. She takes production of animated children’s development editor, one of the an executive producer role on many TV series (www.canukproductions. senior figures running the Interactive of the company’s projects, including com).

115 contributors

is dad to three monkeys, likes to write letters of complaint and collects radio jingles.

Alice Webb Steve Wynne Alice took up her role as director Steve Wynne is an award-winning of BBC Children’s in March 2015 creative with over 20 years of after a decade at the BBC. Alice production experience in content is responsible for the creative and television for broadcasters Angela Young and strategic direction of the and networks across the globe. He Angela is passionate about BBC’s children’s services and is produced ITV’s RTS & BAFTA- storytelling and engaging young responsible for the UK’s two most winning series SMTV:Live and audiences with music and the popular networks for youngest CD:UK and Disney Channel’s performing arts. As a multi-camera audiences, CBeebies and CBBC. In BAFTA-winning Disney Channel director, Angela has many years her former role as chief operating Kids Awards before joining Warner of experience working in both officer (COO) of BBC England, Brothers International Television BBC Music and Arts and BBC Alice was responsible for overseeing as director of production in 2005, Children’s. all aspects of technology, people, where he was responsible for the As a producer, Angela has been workspace, migration and ways development anf production of responsible for the CBeebies and of working across the BBC sites in all WB television formats created Northern Ballet collaborations, Salford, Bristol and . outside the US. In 2007, Steve creating Easter events with Before joining the BBC Alice was set up Rival Media, producing television, interactive and radio at PA Consulting Group for five primetime factual, features, content. Her first 40-minute special years where she worked with entertainment and children’s series for CBeebies, Ugly Duckling, won organizations including Orange, for UK, US and international the Children’s BAFTA for best The Cabinet Office, and networks. Hit shows included pre-school live action. As well as Deutsche Bank. Alice is a Trustee Rooftop Rainforest (Sky 1), Don’t creating one-off specials such as of the Greater Manchester Art Tell The Bride (Discovery Networks the CBeebies Prom, Angela was the Centre (Home) and is a member of International), The Shrinks (RTE) series producer for series nine of the Greater Manchester Business and Mission Beach (BBC2). After Something Special and Old Jack’s Leadership Council. taking Rival to a multimillion- Boat spin-off series Rockpool Tales. pound business from a standing start, Steve launched Pretzel TV in 2013. Pretzel TV received a BAFTA nomination for Independent Production Company of the Year in 2015. The company is currently working on 40+ episodes of the CBBC Official Chart Show (CBBC), Animals Like Us (Cartoon Network) and a new entertainment series soon to be announced. Steve

116 The Children’s Media Yearbook 2016 ••• Edited by Terri LANGAN & KATE DAVIES , CBE y enny Henr Sir L all over the house, “There’s a black person on TV!” and a black “There’s all over the house, no matter what they were doing. everyone had to watch, Whenever a black person appeared on TV, we would shout we would person appeared on TV, Whenever a black I’ve spent some of the happiest moments of my life watching I’ve spent some of the happiest moments watching kids TV last week – she’s 24. She really likes Pingu. watching kids TV last week – she’s give them the widest possible range of opportunities to do so. parted his hair on the other side, it made no difference to him. the other side, it made no difference parted his hair on All joking aside, all children should have access to the best our that it is fully diverse and representative. The children of today shed roof. And apart from imagining that David Attenborough from imagining that David Attenborough shed roof. And apart will shape our world and I’m pleased that the CMF is helping to inch screen and you had It had a 16‑inch screen telly. had a black-and-white to watch it from an inch away. My dad had to balance the aerial to balance the My dad had it from an inch away. to watch their world reflected realistically back at them when they tune in. their world reflected realistically back The Children’s Media Foundation is at the and The Children’s industry can offer, days. He had to watch everything through a mirror we put on the everything through a mirror we days. He had to watch forefront of fighting for the best in children’s content and ensuring forefront of fighting for the best in children’s living in Douglas Road, next to the park, we Road, next little and living in Douglas When I was until you have to take out a restraining order against them. On my until you have to take out a restraining on his knee while he was standing on the roof of the house. Happy he was standing on the roof of the house. on his knee while at children, who seem to consume media voraciously and with true at children, who seem to consume media pause, and then a voice then said, “OOOOOOOKAAAAAAAAY!” discernment. Children are curious and playful, and they want to see discernment. Children are curious and children’s television programmes with my daughter. She only started She only started television programmes with my daughter. children’s Now, of course, there are hundreds of channels – lots of them aimed of course, there are hundreds of channels Now, any lawful impediment to this marriage, please speak now,” there was a please speak now,” any lawful impediment to this marriage, wedding day, when the vicar said, “If there is anyone here that knows of when the vicar said, “If there is wedding day, loyalty of the fanbase extraordinary. When children like you on TV, they When children like you on TV, loyalty of the fanbase extraordinary. When I was on Tiswas and became a children’s TV superstar, I found the TV superstar, and became a children’s When I was on Tiswas are incredibly enthusiastic and scream your catchphrase at you repeatedly, your catchphrase at you repeatedly, are incredibly enthusiastic and scream