{"id":17183,"date":"2019-10-03T15:00:53","date_gmt":"2019-10-03T19:00:53","guid":{"rendered":"https:\/\/dev2.worldscreen.com\/tvkids\/worldscreen.com\/"},"modified":"2019-10-03T15:15:03","modified_gmt":"2019-10-03T19:15:03","slug":"fun-for-all","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvkids\/fun-for-all\/","title":{"rendered":"Fun for All"},"content":{"rendered":"

\"\"Chelsea Regan hears from leading producers and distributors about the best approaches to delivering gender-neutral shows.<\/em><\/p>\n

In 2019, it may seem surprising that developing truly gender-inclusive content\u2014engaging shows that appeal to and excite girls as much as boys\u2014continues to be a goal rather than a given. Programs geared primarily toward boys are still often passed off as gender-neutral, with mostly one-dimensional and secondary girl characters that serve as hooks to pull girls into the audience. According to a recent Hopster report into preschool programming, titled \u201cIs TV Making Your Child Prejudiced?\u201d over a third of the episodes in the 50 preschool shows examined perpetuated stereotypes. Boys fight. Girls are image-oriented. Boys are the protectors and the bearers of knowledge. Girls clean. Boys are powerful protagonists. Girls are undermined and objectified.<\/p>\n

It doesn\u2019t have to be this way, and shows like Guru Studio\u2019s True and the Rainbow Kingdom <\/em>are helping to pave the way forward. In the animated series, which is now in production on its fourth season, a girl is the protagonist, and a boy character, a cat named Bartleby, serves as that hook to reach across the gender divide. And even better, he\u2019s not one-dimensional. In addition to teaming up with True on her often-sidetracked missions to save the titular kingdom, he takes some time out to train with the Kittynati ninjas.<\/p>\n

\u201cBoys find an immediate entry point with [Bartleby] and even though the show isn\u2019t strictly about him, he provides a lot of humor and a foil to True,\u201d says Frank Falcone, Guru Studio\u2019s president and executive creative director, who describes the character as one with a lot of energy and ambition in a series that\u2019s about taking care of other people\u2014a nice change from shows about waging destruction that conventional wisdom dictates are more appealing to boys.<\/p>\n

During a focus group session, Falcone and the Guru team were ready and waiting for some unequivocally negative reviews from the \u201crough-and-tumble little boys\u201d they\u2019d lined up to watch a sample of True and the Rain<\/em>bow Kingdom<\/em>. And initially, it seemed as though their assumptions were bearing out; the first episode they screened received a lukewarm reaction. But, it did enough to get the assembled kids to agree to stay put for a second episode, which happened to center on Bartleby training to be a Kittynati. It proved to be the real litmus test for Guru.<\/p>\n

\u201cWhen that was over, we were like, Do you like the show? They were like, Yeah, this is a great show; we love this show,\u201d says Falcone of the welcome surprise that became a teachable moment for Guru. \u201cIf you queue up the right show, it can change your perception of whether you want to watch the rest of the series. Strategically programming episodes for gender can make a difference in whether they engage in the rest of the series because they won\u2019t be biased by one particular story.\u201d<\/p>\n

Tatiana Kober, president of Bejuba! Entertainment, says, \u201cIt used to be that the girl would be a more of a sidekick character for [a show] to be considered gender-neutral, and the boy had to be the lead. The research in the past was always backing up that gender-neutral series still had to have a boy lead and probably a boy best friend, and then a secondary girl.\u201d The tides did eventually start turning\u2014with a little push from like-minded execs. \u201cWe started sneaking more girls into [shows] because we got stronger as women and there\u2019s a lot of women in the industry, and the guys saw it, too.\u201d<\/p>\n

At GO-N Productions, which counts gender-neutral shows such as Simon<\/em> and Zip Zip<\/em> among the titles in its library, having women involved in the creation of a program is part of how the company ensures that girls feel represented and portrayed authentically on-screen. GO-N has had just as many women as men working on its productions at its Paris-based studio for the last few years. \u201cWe try to have parity among the characters, strong characters that are equally boys and girls,\u201d says Eric Garnet, co-founder and producer at GO-N. \u201cThe parity is very important to make sure you have gender-neutral shows. You should also have parity within your studios. I think that\u2019s one of the ways that the industry changes.\u201d Garnet adds that women animators are also key to more accurately drawing female characters and how they move.<\/p>\n

WINDS OF CHANGE<\/strong>
\nWould a character like True and the Rainbow Kingdom<\/em>\u2019s Bartleby have been enough to get your average boy to watch a girl-led series ten or even five years ago? Would Bejuba!\u2019s Wishfart<\/em> pass muster for the average 5- or 6-year-old? Or GO-N\u2019s Zip Zip <\/em>with preschoolers? Uncertain. But times have changed, kids have changed (or perhaps just the perception of their tastes) and thankfully, so has the kids\u2019 TV industry. Diversity is winning out.<\/p>\n

Allen Bohbot, the founder and managing director of 41 Entertainment, has found that a program\u2019s cross-gender appeal comes down to treating boys and girls as equals, whether it\u2019s fronted by a boy or girl character. \u201cGirls aren\u2019t just going to watch because you put a girl in front of them; they\u2019re not going to buy that,\u201d says Bohbot, who believes that the industry is catching up to its young audience. \u201cI think now people have said, OK, it doesn\u2019t need to be all boys\u2014because we were archaic in our thinking\u2014it doesn\u2019t have to just be a girl lead. It has to be a show that tries to appeal to both boys and girls and treat them the same instead of what we were doing before, which was to treat them very differently. And that was us, the industry. That wasn\u2019t the kids.\u201d<\/p>\n

A common thread among those making and selling kids\u2019 content is the sense that the children are perhaps a more open-minded audience than they have been given credit for.<\/p>\n

\u201cStereotypes of any gender-specific stories or characters are no longer expected nor embraced by kids, if they ever were,\u201d says Claudia Scott-Hansen, senior VP of global distribution at The Jim Henson Company. \u201cI think that\u2019s more of an adult perception.\u201d What is<\/em> expected and embraced by kids these days, according to Scott-Hansen, is a bit of reality. \u201cYou have the best chance with all audience demos if you have well-developed, appealing\u2014but I like to say \u2018imperfect\u2019\u2014characters. If you have a strong, story-driven narrative, that\u2019s always a must. And ideally, you\u2019d have elements within the show that have surprises or elements to engage or inspire.\u201d<\/p>\n

Gender-neutral shows and the strategies used to hone them are products of an industry changing with the times. \u201cI think we\u2019ve all grown up,\u201d says Bohbot. \u201cI think all of us have just caught up with the reality of the world. Kids reflect, more than anybody else\u2014and people don\u2019t always recognize this\u2014society as it is. They\u2019re in front of it; they see it before we see it, as it may take older people more time to adjust.\u201d<\/p>\n

Bejuba!\u2019s Kober\u2014who says she was raised to believe that she could do anything, a belief she carried through to starting her own company\u2014thinks that a show\u2019s appeal to both boys and girls has to do not only with how characters are presented, but also with the positive external factor of an evolving culture. \u201cYou can have stronger girl characters and even lead [girl characters] if you position them properly. The boys will be [attracted] to it and they won\u2019t be thinking, Oh, this is a girls\u2019 show. They\u2019ll embrace it,\u201d says Kober, adding, \u201cI think people have changed; society has shifted.\u201d<\/p>\n

GENRE SWAP<\/strong>
\nWhile some execs in the kids\u2019 content business maintain that comedy is the genre that most appeals to both boys and girls, others are less certain. Why wouldn\u2019t action and adventure series also reach across gender lines? What about those that dive into science and nature, music or learning?<\/p>\n

Dinosaur Train<\/em>, an educational children\u2019s series from Henson that has paleontology and natural science at its core and is popular with both boys and girls, manages to do so because \u201cit\u2019s a bit of the unexpected,\u201d says Scott-Hansen. \u201cIt\u2019s a portrayal of this adoptive family, with all different kinds of kid characters and personalities and also physical abilities.\u201d<\/p>\n

Testing out the musical adventure series Do, Re & Mi<\/em>, Gaumont learned that while boys believed the character of Mi was a boy, girls thought the character was a girl. Taking a cue from the intended audience, the studio decided to commit to leaving Mi a gender-neutral character in the truest sense. \u201cWe don\u2019t have the other characters saying he or she,\u201d says Terry Kalagian, senior VP of creative development for animation and family at Gaumont. \u201cThe other characters, when they refer to Mi, they say Mi. We\u2019ve kept that. We\u2019ll see how it goes once it gets out there and launches, but all of the testing was very, very interesting to see that kids are looking for mirrors when they\u2019re watching a show. Here they have this character whose actual name is Mi and they saw themselves in that character.\u201d<\/p>\n

41 Entertainment has S.M.A.S.H!<\/em>, following superhero kids and their super-powered pets. \u201cThere\u2019s some science in there because there\u2019s technology and there\u2019s action and there\u2019s a lot of humor because, How does a 5-year-old become a superhero? They make a lot of mistakes along the way, and those mistakes are usually funny,\u201d says Bohbot of the series.<\/p>\n

Coming soon to Bejuba!\u2019s slate is a preschool show centered on a girl whom Kober calls \u201ca cross between an Indiana Jones and a Jane Goodall.\u201d Explaining the series\u2019 potential appeal to both boys and girls, she adds, \u201cWe might have her in purple, but we don\u2019t want to clothe the series in pink.\u201d<\/p>\n

PRETTY IN PINK<\/strong>
\nWith all the talk about shows with broad appeal across genders, the enduring place for shows that play to an audience that craves content with a bit more sparkles than forest-dwelling creepy crawlers could be lost in the conversation. That audience still exists and so should still be catered to. \u201cI think there\u2019s room for all of it and there should be. That\u2019s what inclusivity is all about,\u201d says Kober. \u201cSome girls like to be princesses; some girls like to play with trains. You want to connect to them all.\u201d<\/p>\n

As GO-N\u2019s Garnet puts it, \u201cGirls have the right to like pink and princesses. As producers or creators or even broadcasters, we don\u2019t have the right to impose on that.\u201d<\/p>\n

Gaumont\u2019s Kalagian credits the rise of tough female characters hitting the big screen in such films as The<\/em> Hunger Games<\/em> and Divergent<\/em> as part of the reason why kids are more open to seeing such characters take the lead on the small screen. She also believes there\u2019s still plenty of room for princesses. \u201cI would never bet against Sofia the First <\/em>or Ele<\/em>na of Avalor<\/em>. [These shows] have taken that kind of concept and put a contemporary point of view on it. They\u2019ve been able to take that fantasy of being a princess and then actually put it into a modern-day context,\u201d says Kalagian, adding, \u201cIt\u2019s more about redefining what pink means so that it\u2019s more like real life.\u201d<\/p>\n

As broadcasters are focused on engaging the largest swath of eyeballs with top-tier gender-neutral content, \u201cpink\u201d programs might be increasingly more likely to find a home on a streaming service. \u201cIt is easier for a girls\u2019 show to find a home on an SVOD platform rather than on a network,\u201d says Cristiana Buzzelli, senior VP of content and licensing at Rainbow, the company behind 44 Cats<\/em>. \u201cBroadcasters are more attentive to stay away from stereotypes and are looking for more balanced characters who can represent a wider audience. A show can be girls-oriented, this is fine, but it would be important to represent girls with a more \u2018inclusive\u2019 approach.\u201d<\/p>\n

With streaming platforms, a show\u2019s ability to capture a broad audience isn\u2019t as much of a requirement. The programs don\u2019t need to pull in both boys and girls, they don\u2019t need to attract both younger and older kids and they don\u2019t need to be particularly tolerable to parents, as watching via such platforms is more often than not an individual experience that can be tailored to tots\u2019 particular tastes.<\/p>\n

\u201cWhen you\u2019re looking at personalized viewing services like VODs and YouTube, you don\u2019t need to [appeal to everyone] because people don\u2019t sit around to watch YouTube; they tend to watch YouTube on personal devices,\u201d says Guru\u2019s Falcone, who thinks that VODs can change the game in terms of all genders finding and engaging with all kinds of shows.\u00a0\u201cI don\u2019t think that anyone would shy away from having a super sparkly pink show for personalized viewing. As we see personal viewing propagating around the world, you\u2019re going to get the opportunity to expose kids to shows they might feel embarrassed about watching and then talking about on the playground,\u201d Falcone explains. \u201cBut if they\u2019re watching it on their own, no one knows what they\u2019re watching. You\u2019re able to make choices that aren\u2019t as peer-influenced.\u201d<\/p>\n

Creating kids\u2019 shows that bridge genders\u2014to stand alongside those geared more toward girls or boys\u2014is difficult. Creating shows that will keep their attention as they age is even harder. When asked about what age boys specifically turn towards gaming, the majority of the kids\u2019 content execs surveyed for this article observed it was around 8, and that trying to bring them back to TV made for children would be a lost cause.<\/p>\n

\u201cEvery year it changes; by the time you publish this, it will be younger and younger,\u201d says Falcone, who deadpanned that the age kids are lost for good is 6, before settling on 8. \u201cI think that everyone is feeling the pinch of TV moving into preschool, because kids\u2019 TV seems to have lost the appeal to older kids.\u201d<\/p>\n

GAME TIME<\/strong>
\nHenson\u2019s Scott-Hansen\u2014a mother of four who often uses her kids and their friends as a sample group to study in her own living room\u2014sees evidence of this firsthand. \u201cI\u2019ve been noticing the shift earlier, and I think my youngest ones started going on YouTube and Minecraft much more readily when they were about 6,\u201d she says. \u201c[Gaming] is addictive in a way that TV isn\u2019t, or at least it\u2019s not yet. It seems to be appealing to boys earlier than girls, but I think that by 8 or 9, they all seem to be mesmerized by it.\u201d<\/p>\n

GO-N\u2019s Garnet also sees boys moving to gaming, though he sees girls moving away from kids\u2019 TV even younger, favoring outdoor activities and reading.<\/p>\n

Kids, like their older adult peers, just want quality content, whether an adventure series led by a determined girl or a comedy centered on a boy with a robust sense of humor, targeting preschoolers or those in the bridge demo. They want to be entertained. They want a good story. They want to see themselves reflected on the screen.<\/p>\n

\u201cIt comes down to telling interesting stories and telling stories that relate to their lives,\u201d says 41 Entertainment\u2019s Bohbot. \u201cI think you\u2019ll see animation not only be gender-neutral and ethnicity-neutral but even physically neutral, whether they have an ailment or a disability, that\u2019s OK. They can still contribute and perform and be cool. That whole trend line is where the industry is going. And it\u2019s just a reflection of society and us catching up with it.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Chelsea Regan hears from leading producers and distributors about the best approaches to delivering gender-neutral shows. In 2019, it may seem surprising that developing truly gender-inclusive content\u2014engaging shows that appeal to and excite girls as much as boys\u2014continues to be a goal rather than a given. 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