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TBI KIDS INSIDE THIS ISSUE
18 28
18THREE -STILL THE MAGIC NUMBER?
TBI takes a look at Nickelodeon,Disney Channel and Cartoon Network and outlines the challenges and opportunities for US television’s leading children’s channels
28 FORUM FOCUS:ANIMATED IN TOULOUSE
Jesse Whittock heads to France to report on the buzziest projects on show at the 2013 edition of Cartoon Forum
34 KIDS TV SERIOUSLY
Andy Fry reports on how broadcasters are approaching children’s factual content in the multichannel, multiplatform era
40 LAST WORD
Snapp Productions’ Ben Butterworth reveals his approach to MIPCOM
MONITOR 6 Dreamworks 8 Chapman 10 People 12 Eurodata 14 Buyer profile: Celine Chesnay, France Télévisions Buyer 16 Tricon 34 CONTENTS OCTOBER/NOVEMBER 2013
For the latest in TV programming news visit TBIVISION.COM TBI Kids October/November 2013 5 Kidsp06-07 Dreamworks OctNov13scJWscSC 23/9/13 19:04 Page 34
TBIKIDS DREAMWORKS DREAMWORKS INTO TV: In diversifying away from movies, DreamWorks has made two key acquisitions,the multimillion dollar deal for digital producer and channel manager AwesomenessTV and US$155 million acquisition of Classic Media.The founders of both talk to Stewart Clarke about becoming part of DreamWorks and how they will help the Studio conquer the digital world and the small screen
CLASSIC Engelman in 2000, before selling and rebuying DreamWorks Classics division. it in 2008. Last year’s US$155 million acquisition In June, there was an output deal with Super DreamWorks Classics offers something no of the company by DreamWorks marks the first RTL that stretched to 500 hours of content and other kids company can, says Eric Ellenbogen: time the business is not primarily backed by a titles included The Penguins of Madagascar the ability to provide studio level content that private equity firm and that, Ellenbogen says, through to Rocky and Bullwinkle and covered does not come from one of the big three studio- frees the creative shackles and means looking content from both the DreamWorks and owned kids firms. beyond getting the financials in order and Classic line-ups. While Cartoon Network, Disney and engineering a profitable exit. It is a sign of what’s to come and other output Nickelodeon dominate the kids TV space and are We wanted a thoughtful and strategic and volume deals are on the cards. There is also primarily concerned with servicing their own partner not just a financial backer and we more content to sell after DreamWorks acquired outlets, DreamWorks Classics can package wanted to have colleagues in the business, not the Chapman catalogue, giving it Fifi and the features including Shrek and Kung Fu Panda with just from the financial side, he says. We have Flowertots and others. classic kids series such as Rocky and Bullwinkle, financial requirements, but it is about a deep The idea is to be the largest single supplier of Lassie and Sabrina the Teenage Witch. It is also investment and is long term oriented. the highest quality content in kids shopping the original series that will come out of Ellenbogen and Engelman run the entertainment. We have the advantage of being DreamWorks’ production pact with Netflix. international television acitivities at DreamWorks, a major but not having a vertical channel that we Ellenbogen created Classic Media with John covering distribution from London and the new have to supply, says Ellenbogen.
AW ESOME H aving tied the k not with D reamW ork s after The second reason was meeting L u cas their whirlwind cou rtship, R obbins is now C ru ik shank , better k nown as Y ou Tu be teen Brian R obbins career has tak en a different look ing at local langu age versions of star Fred, and teeing u p a TV project with the trajector to that of man media e ecu tives. To A wesomeness and tak ing the brand, which is online sensation at Nick elodeon, Fred: The viewers of a certain age he is remembered as onl ju st over a ear old, international. M ovie (which was released theatricall in one of the stars of A BC sitcom H ead of the I started A wesomness for two reasons some territories). C lass after which he stepped behind the reall , R obbins sa s. I was watching m own R obbins sa s: I saw what this k id from camera, produ cing k ids shows for Nick elodeon k ids and how the had stopped watching Nebrask a cou ld do and that, along with and series inclu ding S mallville. traditional TV and how drawn the were to think ing abou t the behaviou r of teens and pre- Nick lik el didn t k now when it was work ing mobile devices and compu ters and how the teens, is when I first got the idea for with him on A ll That, a comed sk etch show, consu med what the wanted on these devices. A wesomenessTV. that a few ears later it wou ld be bu ing repack aged, cu tting edge digital content from R obbins. Bu t the k ids net has been doing ju st that, topping and tailing A wesomenessTV content for its network . It has ju st ordered more episodes of its A wesomenessTV series, R obbins tells TBI. M imick ing the su per fast growth of su ccessfu l digital firms, the sale of A wesomeness happened almost overnight. R obbins sa s he met D reamW ork s boss Jeffre Kat enberg for break fast on a Tu esda and had decided to do the deal b the IMO:AwesomenessTV s girl-skewed teen talk show afternoon of Frida the same week .
6 TBI Kids October/November 2013 For the latest in TV programming news visit TBIVISION.COM Kidsp06-07 Dreamworks OctNov13scJWscSC 23/9/13 19:04 Page 35
TBIKIDS DREAMWORKS CLASSIC AND AWESOME
The fact DreamWorks can fully fund content One copro underway is a reboot of Noddy – One key advantage also gives it flexibility and means the company which Classic acquired from Chorion – with we have is we can does not need to assemble a United Nations of Gaumont Animation. The 52x11mins CGI come to market with partners to moved ahead with a project. series is for French public broadcaster fully financed Independent producers depend on presales France Télévisions. projects,we re not and fractionalising their rights to raise the There is also a new season of George of the dependent on on money for production, Ellenbogen says. Jungle for Teletoon in Canada and, Ellenbogen regional presales or One key advantage we have is we can come tells TBI, there will be a new storyboard-driven coproduction to market with fully financed projects; we’re not version of shortsighted cartoon icon Mr Magoo. dependent on regional presales or coproduction The DreamWorks distribution division will although we can still avail ourselves of these. be selling Turbo: F.A.S.T. (pictured), a TV spin- with international partners about versions of off from the DreamWorks animated movie content from AwesomenessTV, the tween- being made for Netflix. It is the first show to be focused YouTube channel operator. announced following the 300-hour original Localising Awesomeness will be important programming deal between the studio and the Ellenbogen says: It has enormous potential streaming platform. and we’ll be talking to telecasters about the It also has the DreamWorks Dragons series creation of local Awesomeness content. for Cartoon Network, based on the How to Given its wildfire nature and the audience it Train Your Dragon franchise as well as the addresses, it has the potential to be replicated 26-strong movie catalogue, which has been in with local kids and talent and we would produce film theatres, but Ellenbogen says, is largely it locally with a partner. untouched through other forms of media. He adds: Digital content that drives linear Ellenbogen is keen to initiate discussions viewing is the Holy Grail for a broadcaster.
R obbins teamed with G oogle and Y ou Tu be however, an eas one to profit from, and as it prepared its partner channels initiative brands need to also e ist in other spaces. and A wesomeness now gets comparable or R obbins adds: The economics of ju st being We managed to better traffic than, for e ample, Nick . M ore on Y ou Tu be and su rviving from ad revenu es build a brand with than half of its views are via mobile devices. are ver difficu lt. W e managed to bu ild a brand YouTube and The cost of mak ing shows for A wesomeness with Y ou Tu be and monetise IP in other wa s monetise the IP in pales in comparison to those for a TV network ou tside of Y ou Tu be. other ways outside we don t have time for development bu t B wa of e ample, bo band M indless of the platform that is almost the point: the tweens watching Behaviou r came to tween attention on are not after a TV e perience. A wesomeness, which made and released The big lesson for u s has been that the M indless Behaviou r: A ll A rou nd the W orld among others. stu ff that feels more lik e TV is less popu lar. theatricall . R obbins sa s of the plan: W e 100% The highest q u alit scripted stu ff was not the It then went ou t on D VD before being have local langu age in ou r plans. W e re pu tting most popu lar. Y ou need a combination of shown on Nick elodeon. D reamW ork s will be it in motion now, look ing at which shows what s native to Y ou Tu be and what ou have selling it to broadcasters at M IP C OM . and when. on traditional TV. The plan now is to tak e A wesomeness to a Broadcasters cou ld be forgiven for not The A wesomeness fou nder talk s abou t a wider range of viewers. W e want to scale overl celebrating the A wesomeness and the prank sk etch in which someone pretends to A wesomeness ou nger and older, from cradle are u nlik el to cheer its ne t move, into the smash bo es of iP hone 5 s in front of people to college, R obbins sa s. international mark et. q u eu ing to get hold of the A pple handset. A BC Famil and The C W , that s cu rrentl ou r Bu t A wesomenessTV is not (intentionall ) The team thou ght of it one da and shot it demo, bu t we want to have preschool, k ids setting ou t to tak e on k ids and teen linear the ne t. It has almost si million Y ou Tu be hits. and teen viewers, he adds. channels, at least according to its fou nder, The price of failu re is no big deal, it won t The ne t stage is local-langu age versions who sa s its content is abou t filling little financiall break ou , R obbins sa s. of A wesomeness, which has big fan bases in spaces while on the school bu s or waiting in The Y ou Tu be channels model is not, the U K, Bra il and S panish-speak ing mark ets a movie q u eu e. TBI
For the latest in TV programming news visit TBIVISION.COM TBI Kids October/November 2013 7 Kidsp08-09 Chapman OctNov13scJWjw 23/9/13 18:59 Page 8
M ONITOR KEITH CHAPMAN
Bob the Builder creator Keith Chapman is back on the kids TV scene with new Nickelodeon series Pa Patrol. He tells Jesse Whittock about his latest projects,the importance of a US partner and why his former firm, Chapman Entertainment, went under last year BOB CREATOR STARTS BUILDING
’m back now doing what I did with Bob when I sold it to HIT, this support can be the difference between sinking or swimming, says says Keith Chapman of his latest series Paw Patrol. His new Chapman, who is a Brit with a lot of experience of working with venture, Keith Chapman Productions, is working on the show US partners. with Spin Master Entertainment and Nickelodeon. Chapman It’s becoming more and more expensive to produce a show, and then has been developing on his latest slate of ideas since his there can be pressure to find another 4 million (US$6.4 million) for Iformer company, Chapman Entertainment, went into administration at another fifty two episode if you’re successful. The BBC might only put in the end of last year and Paw Patrol is the first fruit of 700,000, so where’s the rest of the money coming from? Unless your that creative burst. toys and books are selling, you’ve got to have a buzz around it or investors The Chapman Entertainment business model was for Chapman (and give up. That’s where the American machine comes in. former business partners Greg Lynn and Andrew Haydon) to finance its Emphasising the power of that machine, Nick launched a video poster shows in order to own the IP, whereas Paw Patrol is put together in the same way as Bob the Builder. The model for that show saw the rights sold to HIT Entertainment in exchange for a cut of the copyright, a deal Unless your toys or that was he says hugely beneficial to us both . This time, Spin Master has bought the IP, and licensed TV and ancillary rights to Nick’s books are selling, you ve stablemate Viacom International Media Networks. got to have a buzz around The animated CGI preschooler Paw Patrol follows six heroic rescue a show or investors give dogs led by a tech-savvy young boy that work together to solve problems up.That s where the in their community, Adventure Bay. American machine I’ve known the Spinmaster guys for a long time and have wanted to work with them – it was just the case of finding the right project, says comes in. Chapman of the show’s genesis. I knew they were looking for a boys action show so I pitched Paw Patrol. They loved it and they’re so innovative there [that they thought they could make it work]. They’ve got for the show in Times Square over the summer and created a partnership a great relationship with Cyma [Zarghami, Nickelodeon president] and with the American Society for the Prevention of Cruelty to Animals. It’s the team at Nick, delivered an amazing pitch in New York and got great to have that muscle behind it. To have a global hit you’ve somehow the commission. got to have America involved. In the future territories such as China will The series is boys action but has potential to connect with girls as well. become more important too, Chapman notes, but for now, the US is key. Canadian production house Guru Studios, where the animation was The model at Chapman Entertainment was totally different , says created, has paid real attention to detail, making the dogs look fantastic , Chapman. We owned the IP and would have done well if those brands and that design creates co-viewing potential, says Chapman. had gone on, but we overstepped the mark, overstretched on production, The show launched on Nick in the US on August 12 and has scored got into trouble and went in administration in the back end of 2012, well, outperforming another dog-themed series, its lead-in Bubble he recalls. Guppies, and taking more than two million viewers in its daytime 12pm Chapman Entertainment series including Fifi and the Flowertots grew slot. It launched in Canada on TVO on September goes out on into strong brands without a Big Three US broadcaster attached, but international Nick networks this autumn. ultimately the numbers didn’t add up. DreamWorks Classics bought the Viacom International Media Networks is debuting the show at brands at auction this summer, but Chapman is looking forward. MIPCOM, where it will be a key preschool priority. For an indie producer, We made 325 episodes of top quality animation representing 25
8 TBI Kids October/November 2013 For the latest in TV programming news visit TBIVISION.COM Kidsp08-09 Chapman OctNov13scJWjw 23/9/13 18:59 Page 9
M ONITOR KEITH CHAPMAN
Pa Patrol has started strongly on Nick
million of production in Britain through British studios; those shows questions. Chapman is developing the 52x11mins stop-frame show with will always be around – Fifi, for example, has never moved from its another Manchester studio, Phil Chalk’s Factory Transmedia. primetime slot, not once. But I’ve moved on and it’s all about the Chapman is also working on a puppet series he describes as Fawlty exciting new projects now. Towers meets The Muppets , along with Northern Ireland’s South Camp Yeti is another of these new concepts. Co-developed with Sixteen Television. That project brings Chapman and his former Manchester’s Studio Liddell, the 52x11mins series is set in a world director of production and development at Chapman Entertainment Chapman describes as an original new world that would be the most Emily Whinnet back together, as she joined South Sixteen as head of exciting place in the world for a child to go to comprising rollercoasters, development earlier this year. river rapids and tree top walkways. It follows three fun-loving young yetis I met [South Sixteen owner] Colin Williams and got on well with that spend their days playing and taking part in outdoor activities. him, Chapman says of the unnamed show’s conception. We’ve got a Preschoolers are lacking a bit of confidence these days so we wanted similar a similar advertising mindset. Chapman worked in the to build a show that include fulfilment and that allows them to express advertising industry after leaving an earlier role as a product designer at themselves with a bit of freedom, says Chapman. The brief was to Jim Henson International before getting Bob away, while Williams ran create a show that has Pixar quality CG fur on a children’s TV budget. a creative agency before launching South Sixteen in 2008. That was the challenge and we’ve managed it. A major coproduction Taking a commercial approach to a children’s TV show is now vital to partner has been secured for further development and the plan is for it the funding model, says Chapman, a view mirrored by his former to hit TV screens toward the end of 2015. Chapman cohort Lynn, who launched his new series, Airside Andy, at Chapman has nothing but praise for the new UK animation tax credit MIPTV in April. scheme, which will likely help the project. The industry has almost Done properly, L&M should not compromise the creativity of a climbed Everest to get them, and we’ll use them for Yeti. Quite a few show, says Chapman. The toy industry employs thousands of companies have benefited already [from the scheme]; it helps the talented and creative people and the process they go through is just as industry and creates jobs for animation students coming out creative as [creating and making] the show itself. If kids buy a toy, it of university. enhances the relationship with the characters they see on screen. With Another project is Marzi Mars, a series following a Martian boy and a company like Viacom attached, the machine will move your project his friends that come to Earth to explore and find answers to their into different areas. TBI
For the latest in TV programming news visit TBIVISION.COM TBI Kids October/November 2013 9 Kidsp10 People Monitor OctNov13scJW 23/9/13 16:52 Page 34
M ONITOR PEOPLE ON THE MOVE TBI takes a look at the latest comings and goings in the international kids television business and reports on who s moving where
DAVID LEVINE has relocated from the US to London to take the role of VP,programming, production and strategic development at Disney Channels EMEA. The new role gives Levine oversight of content at all of Disney s kids channels in the EMEA region.
The ABC has poached Deidre Brennan from BBC Worldwide and she will be controller of kids TV at the Australian pubcaster. She is rejoining the broadcaster, having worked in its kids programming department for six years to 2007.She will replace Tim Brooke-Hunt who, after a six-year tenure, resigned from the role earlier this year to launch his own indie.
The Foundation has appointed GWEN HUGHES as its new boss after co-founder Vanessa Hill announced her departure from the Zodiak Media-owned kids producer. Hill is leaving to join Jacabo, the company formed by The Foundation s co-founder, Ged Allen, after he left the Zodiak company last year. Hughes has been elevated from head of production to managing director.
Marblemedia s kids content sales unit Distribution360 has recruited Caroline Tyre as director, business development. She joins from Canadian broadcaster Teletoon, where she was director of programming. Her previous experience includes stints at CBC and Decode.
Canada-based producer and distributor 9 Story Entertainment has hired JENNIFER ANSLEY as VP,marketing and communications. In the newly-created role, Ansley will oversee promotion and marketing of all of 9 Story s properties, which include Wild Kratts and Almost Naked Animals. Prior to joining 9 Story,Ansley was VP of marketing for Phase 4 Films.
Canada-based producer and distributor Shaftesbury has brought on Joanna Webb for the newly-created role of senior VP,content strategy. She will work across Shaftesbury s divisions, including kids, factual and digital.Webb has worked in programming at CTV and Corus. At Shaftesbury she will report directly to CEO Christina Jennings.
Canada-based indie producer Mercury Filmworks has hired MARIANNE CULBERT as VP, production. She joins from Nelvana and will run Mercury s animation studio, replacing Bryan Popowich and reporting to Clint Eland. Mercury is currently making animated series Chamelia with Technicolor.
US kids service Sprout has recruited Jennifer Giddens as VP,marketing. She will oversee consumer and trade marketing at Sprout, working in conjunction with Sprout co-owner NBCUniversal. She joins after a decade at Turner.
Canadian animation house Guru Studio has hired its first director of sales, from Spanish toon producer Vodka Capital.IAN LAMBUR previously worked in international distribution for Jell Jamm prodco Vodka and will now head sales for Guru, reporting into VP Mary Bredin.
10 TBI Kids October/November 2013 For the latest in TV programming news visit TBIVISION.COM PREVIEW © 2013 Flying Bark Productions Pty Ltd, Telegael Teoranta, © 2013 Flying Bark Productions Pty Ltd, Telegael Australia LLP & Screen Discreet Art Productions AT MIPCOM 2013 R29.01
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Kidsp11 Studio100 OctNov13.indd 1 11/09/2013 09:52 Kidsp12 Eurodata OctNov13JWsc 23/9/13 19:02 Page 12
M ONITOR EURODATA TRANSMEDIA BY NUMBERS
Children s love of great TV content shows no signs of abating but young audiences are becoming increasingly agnostic when it comes to the screen they use to find it, resulting in the line between app, game, toy and TV show blurring. Mediametrie and Eurodata TV media consultant Claire Mitchell looks at the numbers these crossovers are generating
s apps cross over onto the Apple and Android devices and allows on iTunes one week before its debut on traditional television set, parents to create profiles for kids and they can Disney XD. Far from eating into its broadcasters and producers collect rewards for progressing in a range of subsequent broadcast audience, the strategy are looking to multiply the games themed around key shows on the boosted interest in the series, which delivered contact with their audiences Aby following them into the online space. Examples of this happening include the Annoying Orange brand, which has racked up more than a billion views on YouTube since its launch in 2009. The short TV episodes were subsequently snapped up by broadcasters around the world keen to benefit from the IP’s existing fans, and the decision has generally proved a good one. In the US, where The High Fructose Adventures of Annoying Orange is aired on Cartoon Network, its best performing episode over the month of August 2013 gathered 733,300 kids aged 2-11, winning a 6.3% market share. Another classic app, Angry Birds, has also Anno ing Orange won a 6.3% share in the US in August made a splash on international TV as Angry Birds Toons, gathering 273,000 viewers aged 4-to-14 for its best performing episode over digital kids channel. an audience of 262,400 children for its August on Gulli in France, equating to a At launch there were four games, based on premiere among children 2-to-11, and a market share of 20.6%. The Octonauts, Alphablocks, Mr Tumble market share of 11.9% among boys 9-11. On MTV3 in Finland and Super RTL in and Tree Fu Tom with plans to launch new Crossovers between TV and web are still in Germany the title also attracted market games based on the Sarah and Duck and their early stages but this is clearly an area shares of over 30% among children for its Tiny Tumble properties. They have, CBeebies which both sides are committed to strongest performances. said, been developed to build number, word, expanding. Although most of the biggest Meanwhile, kids’ net Boing in Spain has drawing and movement skills among children’s TV properties of the moment are reason to congratulate itself on the preschool viewers. still the product of a traditional route to acquisition of web series Barbie: Life in the CBeebies first ever online commission, Tee market, an increasing number of major Dreamhouse, which ranked among their top & Mo, launched this summer, and during brands from the app and web area have three broadcasts in March, April and May their first week of airing, the one-minute established themselves successfully on the of this year. teaser episodes aired on the CBeebies channel TV screen. Children, meanwhile, already While apps move into the TV space, gathered on average 42,700 children in the 4- expect to access their favourite content across traditional broadcasters are taking steps to to-6 demo, winning a 32.4% market share. a variety of platforms, while broadcasters and follow their existing audience online, with Broadcasters and OTT players, rather than producers are more than happy to oblige. TBI web games, extra episodes and other content competing, are in fact looking for ways to designed to feed children’s appetites across work together to make the maximum S ou rces: E u rodata TV W orldwide / Nielsen all screens. number of contacts with the viewer. A u dience M easu rement (U S ) / M diam trie In the UK, for example, the BBC has In the US the pilot episode of the animated (France) / BA R B (U K) / A G F G fK (G erman ) / created a CBeebies Playtime app. It works on series Camp Lakebottom was made available Kantar M edia (S pain) / Finnpanel (Finland)
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BU ER PROFILE FRANCE TÉLÉVISIONS
BUYER PROFILE: Celine Chesnay, France Télévisions France T l visions is France s leading children s TV broadcaster, supplying 3,800 hours of animated content to the territory s children across 6 to 10-skewing France 3 and for France 4,which will next year partially rebrand as a young adult network, and education-skewed channel France 5.C line Chesnay is the public broadcaster s preschool animation manager
What is the kids TV set up at France year in recent memory. Why do you and Mofy is Italian too. The Spanish market has Télévisions? think this is? really collapsed. France Télévisions’ children’s organisation is It could be the result of the financial crisis, but one unit for all our youth channels under it is true that it’s the first year we don’t have What is competition like in French Pierre Siracusa and Tiphanie de Raguenel. I many there. Normally we back about four or preschool television? work as a coproduction manager underneath five, but this year it’s fewer. There are also The key competition is for the audience but them, mainly in preschool for France 5. many more UK producers creating shows, because we invest so much money in this My colleague, Jean-Baptiste Lamotte, looks maybe that has something to do with it. space, there’s isn’t a lot of competition. TF1 is after France 3, which skews slightly older and investing less than in the past so all the targets 6-10s. We run about 3,800 hours of Which territories do you look to for producers come to us first. Disney can pro- children’s content per year overall. good storytelling? duce on its own but with smaller budgets. We look to the UK for programmes like HIT Are you looking for more international Entertainment’s Angelina Ballerina or Fireman What types of genres are you collaboration? Sam as one source. We also have a few pro- commissioning for? I’ve been attending events such as the grammes from PBS in the US – Sid the Science For preschool I want educational Children’s Media Conference in Sheffield and Kid for example, as we’re closer to the UK and US programmes, and look for comedy adventure going to more industry conferences to see than to European territories such as Germany in for the older children of France 3. Things like what’s being developed. I want a wider point of terms of story. There’s not much production in Le Lapins Cretins (Rabbids Invasion, view of what’s going on in the international Italy but we are coproducing Geronimo Stilton pictured), based on the video game, really animation sector. reflect that target demographic. Millimages’ Mouk is really on brand in preschool for Will there be more opportunity for France 5. international partners to work with France Télévisions in the future? How important are digital platforms in There have been a few collaborations – we did terms of sourcing content? 64 Zoo Lane and What’s the Big Idea?with Rabbids came from a partnership with Ubisoft. CBeebies, and we also work with Disney – but We don’t normally find stuff online for pre- the ideas often come from French school but for older-skewing content, we will producers. You need to go down the French look there. We do have successful apps and a production route to qualify for the tax credit, dedicated kids site, Zouzous.fr, which has which makes it more difficult for international catch-up TV, games and much more very soon. producers to come here. Mainly, we buy from the UK; from CBeebies, Disney and What makes a good pitch? sometimes Nick for preschool. We’ve also Tell a story. Describing characters is fine but coproduced Mouk with Disney Jr.. For older it’s all a bit the same: a little boy or a little girl. demographics, we’ve also got Molusco for A good concept should be able to be explained France 3 and Disney. in three to five lines. There are good story- tellers in the UK but internationally I find it a There were fewer French projects at this bit weak. A lot of companies focus on charac- year’s Cartoon Forum than any other ters and design and the story suffers. TBI
14 TBI Kids October/November 2013 For the latest in TV programming news visit TBIVISION.COM p15 DHX Media OctNov13.indd 1 12/09/2013 10:05 Kidsp16 Tricon+deals OctNov13JWsc 23/9/13 14:30 Page 30
M ONITOR TRICON FILMS & TELEVISION
TRICON MAKES KIDS MOVE DEALS ROUND-UP Toronto and LA-based producer and distributor Tricon has been DHX Media has acq u ired Teletu bbies and In the Night involved with a handful of kids shows, but has now launched a dedicated G arden owner Ragdoll kids and family division, which will get its first major outing at MIPCOM Worldwide for 17 .4 million (U S $ 27 .5 million). The deal, closed with R agdoll W orldwide owners BBC Worldwide and a grou p fronted b R agdoll compan fou nder A nne W ood, will hand D H X 12 series, inclu ding 36 5 episodes of Teletu bbies, 5 2 episodes of Teletu bbies E ver where and 100 episodes of In the Night G arden.
S pain-based distribu tor Imira Entertainment has tak en international rights to S panish pu bcaster TV E s k ids programming. The deal gives Imira TVE titles The L u nnis, A sha and C lu b P i icato. The distribu tor will start shopping the show s to international bu ers at M IP C OM .
9 Story Enterprises has pick ed u p international rights to animated comed series anada’s Tricon Films & Television has we don’t want ten animated properties for the same H au nted Tales for W ick ed Kids launched a new kids and family age group at the same time. He adds: As we grow ou tside Bra il where it is on division following the acquisition of our catalogue and slate we will grow the team. Cartoon Network and has Kavaleer Productions’ new animated The company’s first acquisition is the 26x7mins established itself as the most- series Wildernuts. Wildernuts from Ireland’s Kavaleer, which was watched show for 4 -to-11s. It is CTricon Kids & Family will focus on selling both produced in association with the Irish Film Board, produ ced b Bra il s Glaz acquired content and Tricon-produced projects. broadcaster RTÉ Junior and the Broadcasting Entertainment and follows P epe, We produce [talent show] The Next Star for YTV Authority of Ireland’s Sound & Vision fund. a 12- ear old bo who helps ou t and are developing an animated show with Mercury The ecology-themed preschool show follows the at his grandmother s magic Filmworks called Go Away Unicorn!, but when I crew of a magical flying ship that travels to different potion emporiu m. joined three and a half years ago the idea was that at islands to discover local creatures and study nature. some point we would expand the kids business, says Wildernuts’ charming way of exploring the DQ Entertainment has shopped Tricon’s Jon Rutherford, senior VP, distribution and wonders of the world will engage children everywhere The Ju ngle Book animated business development. and is a perfect fit for our new division, series to U S H ispanic net Tricon came close to buying Kevin Gillis’ Canadian said Rutherford. U nivision. The U S broadcaster producer Skywriter a couple of years ago and when Tricon Kids & Family will debut the series at will show the toon series, in that did not come together hired its sales exec Ashley MIPJunior and MIPCOM alongside JiggiJump, a S panish, in its P lanetaU k ids Rite, whose responsibilities include looking at 25x5mins musical adventure series designed to get programming block . The acquiring and developing kids and family properties. preschoolers moving. E nglish-langu age version of the Rutherford is also familiar with the kids landscape Looking ahead, Rutherford says Tricon is looking at show has alread been licensed having been at Portfolio (Cat in the Hat Knows a Lot different ways to scale up its kids business. There are to A ma on's Instant streaming About That) prior to Tricon. a lot of opportunities we’re looking, which could be service in the U S and D VD He says his company can offer producers a bespoke catalogues or bigger entities, he says. We’re in early rental service Redbox. service: We’re not going to compete with ourselves; stage negotiations on a number of scenarios. TBI
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TBI KIDS THE BIG THREE
With an array of new distribution platforms emerging and new children s channels growing audience shares in the US and beyond, Jesse Whittock and Stewart Clarke investigate to what extent Nickelodeon, Disney Channel and Cartoon Network still dominate the kids TV market and what challenges lie ahead for the Big Three THREE -STILL THE MAGIC NUMBER?
Regular Sho has been a hit for Cartoon Network
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TBI KIDS THE BIG THREE
n some ways, there’s never been a better period for Nickelodeon, Disney Channel and Cartoon Network to maximise returns from If it s iPhone, iPad, Android their unrivalled positions in the children’s entertainment market. or online, kids want to Their brands are circulated round the world across hundreds, experience our content so maybe thousands, of platforms and licensing and merchandising we have to find the right opportunitiesI are abundant despite the effects of the global recession. business model. So why does it seem to insiders that these giants are sometimes a Sean Cocchia, senior VP, million miles apart from the rest of the industry in not only revenue terms business operations, and but also in their strategy and vision? The challenge to create an ecosystem general manager, Disney that allows everyone a fair share is growing and the role of the channels is Channels Worldwide evolving in tandem with wider industry developments. We’ve been thinking about our USP really carefully recently, looking at Cartoon and reminding ourselves of its core values, says Pete Flamman, local content strategy as another key reason for its growth. senior VP and COO of Cartoon Network parent Turner Broadcasting Cocchia says new Disney Princess series Sofia the First, which launched System in EMEA, and managing director of its kids business. We’ve been in the US last year and internationally in 2013, has been blowing us away around for a long time and asked are we clear about what Cartoon is and in terms of ratings and consumer product impact, while Teen Beach what its strengths are?’ . Movie has become its second largest original TV movie of all time. In the US, Cartoon Network is the third largest kids channel, averaging Internationally, Disney Channel Latin America and Disney Channel around the one million mark per day. Nickelodeon and Disney Channel EMEA-coproduced telenovela Violetta a good example of how the Mouse interchangeably lead the pack with audiences of between 1.5 million-1.9 House adapts its approach. Those businesses looked at their schedules million each day, though much has been made of former market leader and figured out where the opportunities were. In the US, we don’t have Nick’s fortunes because of perceived audience share losses to OTT platforms a long tradition of telenovela but that works in Latin America and in and concerns of over-reliance on mega-hit SpongeBob SquarePants. most of the European territories and so they co-funded the project, Nickelodeon is certainly perceived [by analysts] as being weaker than it Cocchia explains. was a few years ago, says Naveen Sarma, senior director of corporate Cartoon Network, which has diversified into live action programming, ratings, media and entertainment at US financial services company has a trio of big hits on its hands that have become coviewing staples for Standard & Poor’s. One producer, who asked to remain unnamed, adds: the boys-skewed net. The Amazing World of Gumball, from Cartoon Nick is in very troubled waters. Networks Development Studio Europe, is heading into its third season; The ratings in the US have been great in the past six months and while Adventure Time and Regular Show draw in family audiences they’re doing well, counters Viacom International Media Networks’ COO Pierluigi Gazzolo, citing recent growth that has seen it snatch back first place from Disney on some days (it lost the spot for the first time in 17 years in March 2012). And from an international perspective, it has been incredible. Nick is a smart and funny channel for all demographics from preschool to teen. That feeling from the trade and consumers of how unique it is has not ceased. We’re seeing growth everywhere. He points to strong rating new US series Sanjay & Craig, which is about a funny Indian-American boy and his talking snake best friend; and Sam and Cat, which brings together the leads of iCarly and Victorious, two big Nick series that have ended in the past 12 months. Nick is certainly still a massive revenue maker for Viacom and a key part of Viacom’s channels portfolio both in the US and internationally. Despite the audience ratings declines, Nick still generates more than its share of advertising dollars relative to ratings versus Cartoon and Disney, says Sarma. But it is true Disney Channels Worldwide has experienced a boom in the popularity of its channels bouquet, as its senior VP, business operations and general manager Sean Cocchia points out. You can easily say that over the past 24 to 36 months that the Disney Channels portfolio has seen the growth we wanted it to see. Take the Disney Channel itself: the performance in the US this summer has been extraordinary. We were number one in 2 to 11s, 6 to 11s, 9 to 14s and total viewers for the month of July. Disney Channels has been doing well and part of that is because of Nick s TMNT had a major marketing push and has performed well Nickelodeon’s missteps, says Sarma. He also points to Disney’s bespoke
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TBI KIDS THE BIG THREE