{"id":13363,"date":"2017-10-27T11:39:51","date_gmt":"2017-10-27T15:39:51","guid":{"rendered":"http:\/\/worldscreen.com\/tvkids\/view-mipjunior-mipcom\/"},"modified":"2017-10-30T09:48:03","modified_gmt":"2017-10-30T13:48:03","slug":"the-view-from-mipjunior-mipcom","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvkids\/the-view-from-mipjunior-mipcom\/","title":{"rendered":"The View from MIPJunior & MIPCOM"},"content":{"rendered":"

TV Kids examines the children’s programming news to come out of this year’s MIPJunior and MIPCOM.<\/em><\/p>\n

MIPJunior hosted a record-breaking number of buyers this year, with 660 on hand to screen new kids\u2019 shows from across the globe. The event, held at the JW Marriott the weekend before MIPCOM, welcomed a total of 1,600 delegates, all grappling with kids\u2019 rapidly transforming media consumption habits.<\/p>\n

Strategies for reaching kids wherever they are were discussed extensively at the View from the Top panel during MIPJunior, moderated by Anna Carugati, the group editorial director at World Screen<\/em>, and featuring ABC TV\u2019s Michael Carrington, Turner\u2019s Patricia Hidalgo, SUPER RTL\u2019s Janine Weigold and Gloob\u2019s Paula Taborda dos Guaranys<\/a><\/strong>. At the end of the session, they were each presented a World Screen Kids Trendsetter Award honoring their contributions to the children\u2019s programming business.<\/p>\n

\u201cWe have to be [serving them] in all ways,\u201d said Weigold, the head of children\u2019s content at SUPER RTL. That\u2019s not easy, she said, as \u201ctheir habits change quite quickly.\u201d But being multiplatform also opens up a world of potential. \u201cIn marketing, we used to kick off big campaigns and roll them out for three months. Now you have to adapt and be quick and maybe smarter. It enriches the industry and the engagement with the children. We try to be everywhere.\u201d<\/p>\n

Gloob, according to Taborda dos Guaranys, the head of content and programming, is producing different stories for different platforms, creating spin-off shows for digital devices. \u201cWe want stories that are character-driven,\u201d she said of her programming remit. \u201cWe need to engage the children.\u201d<\/p>\n

\u201cKids are consuming not just the video content, they\u2019re consuming games and apps,\u201d Hidalgo, chief content and creative officer for EMEA and international kids strategy at Turner, noted. \u201cWhatever IP you\u2019re trying to grow, you must make sure you have that bespoke content for specific [platforms]. As you\u2019re creating the series, you should be thinking about how it looks on different platforms.\u201d<\/p>\n

\u201cTelevision is still very important to children,\u201d added Carrington, the head of children\u2019s and education at Australia\u2019s ABC, \u201calthough it may just be on in the background these days. The majority of our audience still watches television, but there\u2019s no doubt that they are moving to a video-on-demand scenario. We have free VOD, apps for our channels, our websites and partnerships with YouTube. We\u2019re trying to be everywhere that children are. We\u2019re creating stories and episodes that will migrate seamlessly between the platforms. We\u2019re genre-driven, not platform-driven.\u201d<\/p>\n

As they embrace new platforms, broadcasters are also acutely aware of the impact OTT services such as YouTube and Netflix are having in their markets. Netflix, for example, has seen \u201ca huge uptake,\u201d in Australia, Carrington said. \u201cWe\u2019re driving the audience with original [Australian] production,\u201d he noted, adding that ABC is also collaborating with Netflix.<\/p>\n

Hidalgo said that the effect of the streamers has been good and bad. \u201cDisruption is good; it makes you rethink what you\u2019re doing. It means there\u2019s more money out there for the industry. And there are more platforms to have our content exposed.\u201d On the other hand, however, \u201cthey are competitors. They are competing for the limited time kids have.\u201d<\/p>\n

Weigold said that SUPER RTL is working hard to \u201ccelebrate free TV,\u201d having \u201cmore live moments where kids want to tune in and talk about it the next day in school.\u201d<\/p>\n

\u201cWe\u2019re in their face all the time,\u201d Carrington said. \u201cAnd they can interact with us on a daily basis. They just send us stuff. We\u2019re almost live in their lives.\u201d<\/p>\n

\u201cWe\u2019re going to see that same kind of connection in the nonlinear space,\u201d Hidalgo added. \u201cShelves and shelves of videos is not going to be enough.\u201d<\/p>\n

Speaking of nonlinear players, it was a packed house on Sunday for the keynote by Andy Yeatman, director of global kids\u2019 content at Netflix<\/a><\/strong>. \u201cOur goal is to be the service kids all around the world can\u2019t do without, and that parents trust. We want kids of all ages to love Netflix, different interests, tastes, preferences. We\u2019re also cognizant that at the end of the day, it\u2019s the parents who sign up for Netflix, who pay the monthly fee. It\u2019s really important that parents feel good about the role that Netflix is playing in their kids\u2019 lives.\u201d<\/p>\n

Yeatman offered up data on kids\u2019 viewing on Netflix. He said the platform is able to generate increasingly large audiences, while linear viewership continues to decline. In the year to date, four kids\u2019 shows have been watched by over 15 million households, 17 shows by over 10 million, 87 shows by over 5 million households and over 200 shows by at least 2 million households. These trends give Netflix the confidence to invest more in kids\u2019 content, especially originals. \u201cThis year we\u2019ll have 37 shows across preschool, animation and live action.\u201d<\/p>\n

Programming for a global audience, Netflix currently has kids\u2019 content from 49 countries, with almost half of the catalog produced outside of the U.S.<\/p>\n

On the formula for what can work on Netflix globally, Yeatman identified some key traits a show should have. \u201cContent that is highly visual, action, physical comedy. An easily understandable hook. It\u2019s really important that the image that represents your show is distinct and clearly gets across what the show is about. Fantasy works well, universal themes such as family and friendship. Globally recognizable IP is always a step up. And a unique, specific point of view.\u201d<\/p>\n

Discussing how producers can get content onto Netflix, Yeatman identified three routes. The first is global original commissions, where Netflix has creative control. \u201cIt has to be top IP in a local market. Or a format that is proven to travel well. We want to work with the top studios and creators in those markets to create something that feels distinct from what\u2019s on TV in the market. And we\u2019re looking for programming that fills gaps in our slate.\u201d The second route is co-productions, where Netflix will help complete the financing and take global rights outside of the home market, where it has a second window. \u201cThe level of creative input depends on when we come in and the level of financing.\u201d Yeatman noted that the majority of kids\u2019 content on Netflix is and will continue to be second-window acquisitions.<\/p>\n

He then sat down for a Q&A with World Screen<\/em>\u2019s Carugati. Asked about the biggest mindset change producers used to creating content for linear have to make, Yeatman responded, \u201cIt\u2019s getting outside of thinking a show has to be 52 11-minute episodes or has to conform to a specific brand identity. We want a distinct, specific creative vision. And we don\u2019t do pilots, so we want to hear what the vision is for the season.\u201d<\/p>\n

Another highlight at MIPJunior was the World Premiere Screening of Thomas & Friends: Big World! Big Adventures! <\/em>Mattel Creations’ Christopher Keenan gave TV Kids<\/em> some insight<\/a> <\/strong>into what’s in store for the new iteration of the classic brand. \u201cI\u2019m hoping that anyone who sees this new iteration of\u00a0Thomas & Friends: Big World! Big Adventures!<\/em>\u00a0will see that what we\u2019ve done is retain a lot of the core storytelling elements that made Thomas a staple in children\u2019s entertainment for years,\u201d Keenan, senior VP and executive producer at Mattel Creations, said. \u201cThey\u2019ll also see that we\u2019ve modernized it just enough so that the pacing is a little more in tune with what kids are seeing in other programs today. As well as upping the ante in terms of humor, we\u2019re doing a lot more physical and visual humor than we\u2019ve ever done before. And probably most importantly, we\u2019re really embracing this idea of Thomas and his Steam Team being global citizens. We feel really strongly that it\u2019s time for Thomas to start addressing some of the issues that our young audiences are already getting exposed to.\u201d<\/p>\n

As MIPJunior came to a close, Reed MIDEM released details on the top 30 most-screened shows<\/a><\/strong>, which included Magic Adventures: The Crystal of Dark<\/em> from Korea\u2019s Hong Dang Moo, 44 Cats<\/em> from Italy\u2019s Rainbow and Alice & Lewis<\/em> from France\u2019s Blue Spirit Productions.<\/p>\n

Further proof of how global the kids\u2019 content business is came Monday with the announcement of the nominees for the International Emmy Kids Awards<\/a><\/strong>, set to return to MIPTV in April. The contenders hail from 16 countries. \u201cThe Academy is proud to be the preeminent platform for showcasing and recognizing the remarkable wealth and geographic spread of quality kids\u2019 programming produced around the world,\u201d said Bruce L. Paisner, the president and CEO of the International Academy of Television Arts & Sciences. \u201cWe congratulate the nominees for their outstanding talent and for setting the high standard we all expect for children\u2019s content.\u201d<\/p>\n

For kids\u2019 TV delegates at MIPCOM, the week was marked by plenty of OTT news, including a new Chinese SVOD platform<\/a><\/strong> and Nickelodeon\u2019s announcement that it would finally arrive in Japan\u2014as an OTT and mobile linear channel<\/a><\/strong>. The program-sales news, meanwhile, was across the board, with distributors finding brisk business on free and pay TV, linear and streaming. Zodiak Kids announced deals for Kody Kapow<\/strong><\/a><\/em> and aligned with China\u2019s Fantawild on Tiger Team<\/em><\/a><\/strong>. Jetpack found homes for several shows, including The Sisters<\/a><\/em><\/strong> and Kitty is Not a Cat<\/a><\/em><\/strong>. Superights landed a Chinese deal for the preschool hit Puffin Rock<\/a><\/strong>.<\/em> Nickelodeon took international rights to<\/a><\/strong> the Korean slapstick comedy Zelly Go<\/em> from Imira Entertainment, while Turner International is set to deliver the Asia-Pacific commission Monster Beach<\/em><\/a><\/strong> to it feeds in the region, EMEA and Latin America in 2019. Rai Italy signed on to Scream Street<\/em><\/a> <\/strong>in a deal with Atlantyca Entertainment. WDR mediagroup found homes in Asia, the U.S. and Mexico for its long-running hit Maus<\/em><\/a><\/strong>, and Beyond Productions unveiled a pact with SUPER RTL for a new science-based show<\/a><\/strong>.<\/p>\n

Catch up on all these stories and more on TVKids.ws<\/a><\/strong>.<\/p>\n","protected":false},"excerpt":{"rendered":"

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