MIPJUNIOR brings together in Cannes the most influential buyers, commissioners, producers, development executives and distributors from the global kids TV industry. The first of two Media Mastermind Keynotes was from Miraculous Corp’s Andy Yeatman.
‘You cannot launch a major franchise on just one platform’
Andy Yeatman, CEO USA and global operations of Miraculous Corp, used his MIPJUNIOR keynote to tell delegates they need a multi-platform strategy if they are to have any chance of building a major kids’ franchise.
Yeatman, who is overseeing the expansion of the hugely successful kids & family brand Miraculous, said: “Fundamentally, I believe you cannot launch a major franchise on just one platform, even Netflix. You don’t have to be on every single platform, but you have to have a presence on digital platforms like YouTube and TikTok as well as more premium platforms like a Disney Channel and/or Disney+.”
Miraculous Corp was unveiled earlier this year by leading European independent production and distribution powerhouse Mediawan and ZAG, the innovative animation studio behind Miraculous. The MIPJUNIOR Keynote marked the first speaking appearance for Yeatman since his appointment in June, having previously served as head of Moonbug USA, and having founded and led Netflix’s kids’ content.
During the session, Yeatman recapped the brand’s 10-year journey so far – and gave delegates some insights into the rollout plan for the next few years. “Everyone at the company is focused on the same mission, which is to elevate the global presence of the Miraculous brand and amplify its influence worldwide,” he said.
With Barbie ‘we created a cultural moment’
Mattel is looking to boost the amount of scripted live action productions on its books, according to Josh Silverman, executive vice-president and chief franchise officer.
Silverman delivered the news on Sunday at his MIPJUNIOR Keynote titled Beyond The Toy Box: Shaping The Future of Play.
“We haven’t really moved heavily into scripted live action content and it is not an area we’ve developed historically and it’s now going to be,” Silverman said, teasing that there would be more news to come this week. The children’s brand company marks its 80th year in business next year with plans for new premium live-action shows for non-preschool audiences, new prequels and sequels.
Mattel made history with its blockbuster smash movie Barbie last year. Now it’s applying lessons learned to supercharge its stellar collection of children’s brands.
“The film really was a cultural moment and Greta Gerwig is one of the greatest creators in the world. The learning is about working with the best creatives who have a real connection to the material and [to]trust them and collaborate with them. If you do that you end up with wonderful finished product.”
The company has 13 series and specials in production and 35 more in development.
Glance takes closer look at content trends
Three main trends are emerging from this year’s biggest new shows in the kids space, according to research firm Glance.
The most popular breakout successes of 2024 are: nurturing children’s awareness of the environment and society; exploring heritage to help kids understand their roots; and reinventing classic IP with new spins.
Glance’s client and research director Candice Alessandra kicked off MIPJUNIOR’s Saturday programme with a presentation drawing on her company’s latest Kids TV Report.
Shows that are nurturing children’s awareness of causes and human rights include German show Earth Game.
Animals loomed large in shows like Hunddagiset (Dog Daycare) from Sweden, Audrey’s Shelter from France and Vida The Vet from Canada.
British show Yukee adds music into the mix, with Alessandra praising its ethos that “it’s often the little everyday challenges that spark creativity”.
Shows that encourage children to debate societal issues include Dutch series Groep 8 Aan De Macht (Group 8 In Power) and ones that involve characters exploring their heritage include Brazilian drama Luz, which follows a young girl who has been adopted discovering her roots.
Alessandra picked out Avatar: The Last Airbender as one of the most successfully-revived brands this year, with its live-action show on Netflix.
How kids TV can improve wellbeing
The phrase ‘happiness recession’ may sound negative, but FUNdamentally Children CEO Dr Amanda Gummer thinks the trend may be a positive opportunity for kids content creators.
Children are facing an array of wellbeing challenges since the Covid-19 pandemic, but that is spurring a change in the TV shows and content that their parents are seeking out.
“Before the pandemic, parents were most likely to say that the careers and academic success of their children was their number one priority. Since the pandemic it has been their wellbeing,” Gummer said.
This is where ‘mental, emotional and social health’ (MESH) comes in: a group of eight pillars of resilience skills that children can learn, helped by them being incorporated into TV shows and other content. The pillars are problem-solving, perseverance, conflict resolution, adaptation, self-regulation, communication, self-advocacy and cognitive skills.
“This isn’t about encouraging two-year-olds to be little princesses and little emperors who rule the roost. It’s about helping them to realise that their voice matters,” she said.
“Climate change, conflict, pandemics: there’s a lot for these kids to deal with. What we need to do right from an early age is to help them develop those key resiliences.”
New take on The Three Musketeers
The MIP JUNIOR World Premiere in the Marriott’s Grand Theatre presented a blockbuster, pan-European co-production of one of the classics of French literature – a freshly imagined, all-female version of Alexandre Dumas’ classic tale The Three Musketeers.
The 52 x 11 mins series for six- to 10-year-olds is being distributed by Mediawan Kids & Family. “Our mission is to build IPs that become kids’ favourites across the world,” said company president Julien Borde. “We believe that in every classic IP there is a way to make a great series.”
“The idea was to turn the four heroes of the classic book into ‘she-roes’,” said Katell France, chief content officer at Paris-based Method Animation. “This brought modernity, a twist, and made the series appealing to kids today.”
Method’s production partner was Italy’s Palomar, which has also just made a version of Dumas’ The Count Of Monte Cristo.
“Alongside fun, comedy and adventure, the values contained in the story, like friendship and inclusion, are important to remember in these tough times,” said Marco Grifoni, the company’s chief financial officer.
ZDF and ZDF Studio were also involved, alongside France Télévisions and Rai Ragazzi.
Kids’ commissioners share strategies
The MIPJUNIOR In Conversation With Commissioners session presented vital insights into the acquisition strategies of Alibaba-Youku and Warner Bros. Discovery.
Alibaba-Youku, a leading streaming platform in China, has more than 200 million household subscribers and 10,000 programmes online.
“For this market, we’re focused on seven-plus content for boys and girls,” Yuanchang Sun, director of the company’s international co-production & IP investment (kids), said.
Sun highlighted shows such as Zelly Go and France-China co-production Lupin’s Tales as having been successful acquisitions. “For our original shows we don’t only want good content but also a good property for merchandising in our territory,” she said.
At Warner Bros. Discovery, whose Cartoon Network and younger sibling Cartoonito reach into 226 million houses in over 20 languages, the emphasis is on finding fast-paced comedy-first properties to complement its slate of original programming from its three studios. “We’re looking for stories that feel modern and authentic that will also resonate with our EMEA kids and we’re looking for longevity,” Zia Sands, director content acquisitions, partnerships and co-productions kids and family EMEA, said.
In terms of focus, Sun said her audiences are increasingly valuing content with a local flavour, so co-productions with Chinese companies might be a route forward.
Sinking Ship taps into kids’ mobile doc
Sinking Ship Entertainment, in partnership with non-profit group Global Citizen, was at MIPJUNIOR to discuss Media Stamped, a documentary series designed to help kids aged 9-11 forge a more healthy relationship with their mobile phones.
Saturday’s session Outsmart Your Phone was led by the show’s creator and host Nicole Stamp, who acknowledged that she used to be on her mobile far more than was good for her: “I tried to cut down, and it was really hard. Eventually I researched what was giving my screens this powerful hold on me and realised there are biochemical reasons why we are addicted to our screens,” she said.
This is the subject of Media Stamped’s first episode, which looks at how scrolling releases dopamine. The result is what scientists describe as a fixation with intermittent rewards.
“Social media sites leverage intermittent rewards to keep us hooked on our screens,” said Stamp.
The series also discusses themes such as filters and media literacy with its target audience.
“I did 50 hours of interviews with kids nine to 16,” said Stamp. “They astounded me with incredibly funny, insightful commentary, a lot of which is present in the show.”
Edited by Sarah Kovandzich for the MIPCOM DAILY NEWS TEAM on OCTOBER 20, 2024
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