Jonathan Abraham on Reaching Kids in a Challenged & Fragmented Market

Lion Forge Entertainment has been dedicated to telling diverse stories in an authentic way for the past seven years, with a portfolio that includes Chicka Chicka Boom Boom, Bugtron, The Wingfeather Saga and, of course, the successful mythological series Iyanu. Jonathan Abraham, director of global media sales at Lion Forge, tells TV Kids about the challenges the kids’ industry is facing right now and how the company is navigating those with carefully crafted distribution and licensing strategies for its IPs.

TV KIDS: What factors contributed to the challenges the kids’ content business is facing today?
ABRAHAM: Constricted content budgets are unquestionably the single biggest factor contributing to the challenges the kids’ content business faces not just today, but really over the last four years. Reduced content spending has forced everyone—producers, distributors and commissioners alike—to rethink how projects are developed, financed and brought to market. As an industry, we’ve had to become increasingly creative and disciplined to make the economics of kids’ content work, particularly in an environment where production costs have risen while license fees have not kept pace.

Consolidation is another major contributor. As media companies merge and restructure, the number of active buyers has continued to shrink. Fewer buyers mean fewer greenlights, more internal competition for programming slots and longer decision-making cycles.

Advertising revenue declines have further compounded these issues, especially in the kids’ space. Regulatory restrictions around advertising to children in many territories limit monetization, and advertisers are allocating less spend to traditional linear broadcasters as kids’ viewership continues to fragment and migrate to digital platforms that do not require advertisers. This reduction in ad revenue directly impacts commissioning budgets and puts additional pressure on content economics across the board.

TV KIDS: What does a project need to get past buyers’ and commissioners’ risk aversion?
ABRAHAM: Buyers today are looking for projects that are far more “baked” than in the past. This means strong creative materials, a clear production plan, and, critically, a defined path to greenlight. Projects that come with partial financing already in place immediately stand out, as they significantly reduce risk for commissioning partners.

At Lion Forge Entertainment, we’ve leaned into this approach by co-financing productions alongside our broadcast partners whenever possible. This structure gives commissioners confidence that once they commit, the project will move directly into production rather than stalling due to financing gaps. Unfortunately, too many promising projects never get off the ground simply because the full financing cannot be secured in time.

Known IP also continues to play a major role in buyers’ decision-making. Historical performance data provides comfort in an uncertain market, which is why sequels, spin-offs and reboots of successful franchises often face less resistance. That said, there is still a strong desire for originality, and I do hope and expect to see buyers gradually re-embrace original IP as market confidence continues to rebuild.

TV KIDS: What distribution strategies can help a property reach children today?
ABRAHAM: In today’s environment, there is really only one viable distribution strategy: everything, everywhere. Kids’ audiences are platform-agnostic, so content must be as well. A successful strategy now requires a coordinated presence across linear television, SVOD, AVOD and, most importantly, YouTube.

YouTube has become a foundational discovery and engagement platform for kids globally, and it must be treated as a core component of any distribution plan, not an afterthought. If a property has enough volume and consistency to support a FAST channel, that should absolutely be explored as well, as FAST continues to grow as a complementary distribution and monetization model.

Beyond traditional video platforms, gaming and interactive spaces are increasingly critical. Roblox continues to dominate with kids aged 8-plus, and building an immersive Roblox experience around an IP can significantly extend engagement, awareness and brand loyalty. Today’s distribution strategy is no longer just about episodes, it’s about ecosystems.

TV KIDS: With such a fragmented market, what are some strategies to build a marketing and licensing campaign?
ABRAHAM: In a fragmented market, focus and consistency are key. Rather than trying to be everywhere at once, successful campaigns identify a primary platform or region where momentum can be built first, then expand outward strategically. Marketing and distribution must be tightly aligned, ensuring that wherever kids discover the content, there is a clear and consistent brand message.

Licensing strategies need to be more targeted and data-driven than ever before. Partners want proof of engagement, not just awareness, so digital metrics from YouTube views to gaming interactions are increasingly important in supporting consumer products conversations. Starting with fewer, stronger licensing partners and building credibility through performance often yields better long-term results than broad, unfocused rollouts.

TV KIDS: Despite the headwinds still facing the industry, do you see opportunities for growth in the next 12 months?
ABRAHAM: Absolutely. The industry is very much in a period of change and evolution, and while things may not return to what they once were, they are beginning to feel more stable. We’re segueing into a new normal, and it will ultimately be clearer and more predictable than what we’ve experienced over the past few years.

The industry has spent significant time recalibrating and adjusting to new budgets, new platforms and new audience behaviors. We’re now starting to see more decisions being made again, both in terms of new commissions and the acquisition of finished content. For a period, many buyers focused almost exclusively on renewing expiring licenses rather than taking on new shows. That hesitation is easing, and with it comes renewed opportunity for strong, well-positioned kids’ content to find homes and succeed.