Sunday, February 16, 2020

Nickelodeon Staff to Take Part in Kidscreen Summit 2020

The children's entertainment and media news publication Kidscreen has announced the exciting news that Nickelodeon staff will be taking part in a raft of sessions at the Kidscreen Summit 2020 in February 2020! Additionally, Nickelodeon will also be hosting two panels at this years Kidscreen Summit!

Being held at the InterContinental Miami hotel in Miami, Florida between Monday, February 10 - Thursday, February 13, 2020, Kidscreen Summit is renowned as the kids entertainment industry’s most important annual event. In 2019, the conference welcomed more than 2,000 attendees from 50-plus countries. Top executives attend Kidscreen Summit to take advantage of the year’s best business networking, and to engage in critical dialogue on issues that affect the industry.

For more information about Kidscreen Summit 2020 and to register to attend, please visit #Kidscreen20

Kidscreen Summit 2020 Sessions Featuring Nickelodeon Staff:

30 Minutes with... Jules Borkent & Layla Lewis, Nickelodeon
Date: Monday, February 10, 2020
Time: 11:00 AM - 11:30 AM
Location: Gusman

A returning favorite at the Summit, our 30 Minutes with… sessions give you a chance to hear about the future plans and priorities of the kids industry’s major content investors first-hand, as well as participate in some Q&A and meet-and-greets. You are welcome to attend as many of these popular buyer briefing sessions as you can fit into your schedule! Space will be filled on a first-come, first-seated basis until we hit room capacity.


Jules Borkent
EVP Content and Network Strategy
Viacom International Media Network

Layla Lewis
SVP Global Acquisitions & Content Partnerships

Lunching with... Digital Media Experts
Date: Monday, February 10, 2020
Time: 12:45 PM - 2:00 PM
Location: Merrick

Spend some quality time with digital media experts who can give you advice and guidance on how to commercialize your kids IP in the digital space. You’ll have a chance to share a meal in a small group with one of the industry’s top execs specializing in streaming, websites, gaming apps, voice assistant tech and YouTube content for kids. This is designed as a networking opportunity, folks, so please save your pitch for a private meeting.

NOTE: Advance sign-up is required.


Jeremy Banks
Chief Executive

Brenda Bisner
Chief Content Officer

Francis Dahl
Director, International Game & App Production

David Glauber
Creative Lead, Dodo Kids
The Dodo

Karin Jue
Senior Director, PBS KIDS Video Streaming

Amy Kraft
Director of Development and Children's Programming

Jonathan Pan
Head of Product, Original Content

James Stephenson
EVP, Entertainment

Melanie Summers
Chief Brand Officer
Driver Studios

Groundwork for Growth: Setting New Creators Up to Succeed
Date: Monday, February 10, 2020
Time: 4:00 PM - 5:00 PM
Location: Sevilla

Advice is nice, but what up-and-comers really need in order to make it are concrete tools. The creative minds behind some of today’s top shows discuss the barriers they faced early in their careers, the resources and support they wish they’d had during those difficult years, and what exactly started them off on their path to success.


Kay Wilson Stallings
SVP Creative Development
Sesame Workshop


Keion Jackson
Screenwriter & Creator

Niki Lopez
Creator & Executive Producer

Chris Nee
President/Executive Producer/Creator
Laughing Wild/Netflix

Angela Santomero
Chief Creative Officer
9 Story Media Group
[Santomero is a co-creator of Nickelodeon's hit preschool series Blue's Clues, and is producing it's reboot, Blue's Clues & You!.]

Keeping Kid Influencers Safe
Date: Tuesday, February 11, 2020
Time: 12:00 PM - 12:45 PM
Location: Sevilla

An increasing number of kids content creators turn to under-18 influencers to draw in an audience, but the current laws and regulations aren't keeping pace to protect them. How are companies stepping up to fill in the gaps, and what do others need to know about working with these young creators in safe and healthy partnerships?


Alexandra Whyte
News & Social Media Editor


Paul Nunn
Chief Strategy Officer

Tatiana Rodriguez
SVP & Brand Head, Kids & Families
Nickelodeon Latin America

Debbie Sterling
CEO & Founder

David Williams
SVP & GM, Channels [Ryan's World, Ryan's Mystery Playdate]

Speed Pitching 2
Date: Wednesday, February 12, 2020
Time: 11:30 AM - 12:30 PM
Location: Merrick

Sit down one-on-one with top broadcasters and investors who have the power to greenlight your project. This highly effective networking format will feature eight-minute meetings again this year, giving you ample time to deliver the perfect pitch. NOTE: Advance sign-up required.


Kim Berglund
Executive Director, Development
Disney Junior

Maud Branly
Children Acquisitions Director & International TV Channels Children Programming Director
M6 - Metropole Télévision

Luiz Filipe Figueira
Head of Programming & Content Strategy
Globo/Gloob & Gloobinho

Tommy Gillespie
Director, Children's Programming

Or Handelsman
Senior Manager, International Acquisitions

Arne Lohmann
Vice President ZDFE Junior

Sarah Muller
Head of Acquisitions & Independent Animation
BBC Children's

Drew Mullin
Executive in Charge of Production
CBC Kids

Irene Pothecary Huse
Acquisitions Executive
NRK, Norwegian Broadcasting Corporation/ NRK Super

Cocktails with... Nickelodeon
Date: Wednesday, February 12, 2020
Time: 4:00 PM - 5:00 PM
Location: Dupont

Chat over drinks with leading kids broadcasters in this lively format that aims to loosen up the networking vibe and help you make deeper connections at channels that buy kids programming. This is designed as a networking opportunity, folks, so please save your pitch for a private meeting. Space will be filled on a first-come, first-served basis until we hit room capacity.


Or Handelsman
Senior Manager, International Acquisitions

Layla Lewis
SVP Global Acquisitions & Content Partnerships

Tatiana Rodriguez
SVP & Brand Head, Kids & Families
Nickelodeon Latin America

Nickelodeon Speakers at Kidscreen Summit 2020:

Francis Dahl, Director, International Game & App Production, Nickelodeon

Francis Dahl is the Director of International Game and App Production at Nickelodeon, ViacomCBS Networks International (VCNI; formally Viacom International Media Networks (VIMN)). He has executive produced several game titles for global Nickelodeon and Nick Jr. IP including SpongeBob SquarePants, PAW Patrol, Dora the Explorer, and Nella the Princess Knight. In his role he focuses on all aspects of game development for global audiences, from ideation through to production, scalability, localization, and release. Prior to VIMN, Francis produced video content of band performances for Fox 5 and international syndication.

Or Handelsman, Senior Manager, International Acquisitions, Nickelodeon

Or Handelsman is Senior Manager of International Acquisitions for Nickelodeon at ViacomCBS International Media Networks, a role he assumed in February 2019. In his role, Handelsman is responsible for sourcing, negotiating and managing content acquisitions for Nickelodeon channels on an international and pan-regional basis. Working closely with the programming heads in international markets, Handelsman coordinates deals for Nickelodeon's channels around the globe. Handelsman joined Nickelodeon in 2014 and held various roles within the company, predominantly responsible for local and pan-regional acquisitions for Nickelodeon channels across EMEA. Prior to Nickelodeon, Handelsman worked in international distribution of arthouse, European and independent films. He held sales and business affairs roles at international film distribution outfits Dreamcatchers, and Six Sales Entertainment.

Layla Lewis, SVP Global Acquisitions & Content Partnerships, Nickelodeon

Layla Lewis is Senior Vice President of Global Acquisitions and Content Partnerships for Nickelodeon. In her role, which she assumed in October 2017 and based in New York, Lewis manages and implements the strategy for all acquisitions for Nickelodeon's 100+ locally programmed channels both domestically and internationally, as well as cultivates partnerships with content distributors and creators from around the globe. Responsible for negotiating, sourcing and managing content acquisitions for Nickelodeon channels globally, she is also integral in the greenlighting process of new Nickelodeon programming and partnership content, both domestic and internationally.

Lewis rejoined Nickelodeon in 2013 as Vice President of Global Content Acquisition. Prior to that she held content acquisitions roles at both Turner Broadcasting in Hong Kong and Nickelodeon UK.

Niki Lopez, Creator & Executive Producer, Nickelodeon

Niki López is the creator and executive producer of Nick JR.’s Santiago of the Seas, an action-adventure bridge series that follows eight-year-old Santiago Montes, a brave and kind-hearted pirate, as he embarks on daring adventures in a fantastical Caribbean world. López was born and raised in San Juan, Puerto Rico. She attended Ringling College of Art and Design in Sarasota, FL to earn a BFA in Illustration. Her animation career began as a Nicktern for Nickelodeon Animation Studios, where she got hired shortly after as a production assistant on Kung Fu Panda: Legends of Awesomeness and then as a color designer on The Fairly OddParents, Harvey Beaks, and Glitch Techs. In 2018, she was selected as one of Variety’s 10 Animators to Watch.

Tatiana Rodriguez, SVP & Brand Head, Kids & Families, Nickelodeon Latin America

Tatiana Rodríguez is Senior Vice President and Brand Head, Kids & Families, Nickelodeon Latin America. In this role, Rodriguez leads the content and programming strategies, partnerships, acquisitions, and media planning for the flagship network in the region, as well as for preschool network Nick Jr., across linear television, digital, branded apps and video-on-demand channels, among other platforms. She also works with Nickelodeon’s global channels to support worldwide programming and content strategy. Rodriguez reports into JC Acosta, President of ViacomCBS Networks Americas.

During her tenure at Nickelodeon Latin America, Rodríguez has been instrumental in crafting, spearheading and executing original productions employing pan-regional strategies for the Kids’ Choice Awards franchise, Nickelodeon Latin America’s Day of Play initiative, as well as for hit daily scripted formats.

A 20-year veteran, Rodríguez joined Nickelodeon in 1996 as a Programming and Acquisitions Manager and since then held various roles within the organization. Before working at the network, she served as Director of Panda Club, a children’s channel in Spain.

Born in Venezuela, Rodríguez holds a Bachelor of Science Degree in Communications from Universidad Católica Andrés Bello in Caracas, Venezuela.

Angela Santomero, Chief Creative Officer, 9 Story Media Group

Angela Santomero has been changing the way children watch television for over fifteen years. She is a Founding Partner and Chief Creative Officer of Out of the Blue Enterprises LLC, overseeing the creative development and research of all the company's projects, with a mission and vision to bring educational entertainment to a whole new level. Her innovative approach to children's television derives from her extensive background in developmental psychology, instructional technology and education. Angela is the lead creator, executive producer and head writer for Nick Jr.'s landmark preschool show Blue's Clues. Currently, Angela is the Creator, Executive Producer and Head Writer of the emmy-nominated and #1 ranked show, Super Why, which helps build preschool literacy skills through fractured fairytales and interactive games. Angela's vast accomplishments include leading the production and development of numerous Emmy nominated episodes for Blue's Clues, Super Why! & Daniel Tiger's Neighborhood; a full-length feature called Blue's Big Musical Movie; educational Blue's Clues CD-Roms and twenty+ books for Simon & Schuster. In addition, she wrote two Blue's Clues theatrical productions, which played at Radio City Music Hall in New York City as well as venues across the nation. Angela is a prestigious Peabody Award Winner for Outstanding Children's Programming and a Gold and Silver Parents Choice Awards recipient. She has received a Master's degree in Child Developmental Psychology from Columbia University's Teachers College where she was the recipient of the 1990 Early Career Award. Angela acquired her B.A from The Catholic University of America. Angela presently hosts PBS' The Parent Show at Her personal blog,, approaches parenting from her vantage point as a childrens' media creator.

From Prensario Internacional:

Kidscreen 2020: el foco es en los niños, no en las plataformas

La segunda jornada de Kidscreen Summit continúa hoy, 11 de febrero en el Intercontinental con una significativa participación internacional y ritmo de negocios. El buen momento del sector se comprueba con importante volumen de reuniones en todas las áreas del hotel, más allá de que algunos participantes insisten con la idea de que hay menos gente este año por el coronavirus.

Es cierto que la delegación de China, al igual que otras asiáticas que venían regularmente, cancelaron su visita; y es esperable que algunos otros también lo hayan hecho por precaución. Pero en términos generales los grandes tomadores de decisión están en Miami.

‘El foco debe estar puesto en los niños no en las plataformas. Debemos volver a pensar en ellos a la hora de producir y programar, y no tanto en los vehículos que distribuirán ese contenido’, resaltó Marie McCann, senior director, CBS Kids (Canadá) en un panel con otros pubcasters como BBC, ABC (Australia), NRK (Noruega) y PBS (USA).

‘Lo más importante para un generador de contenidos es que estos se encuentren con la audiencia sin importar la plataforma. Nuestras pantallas conviven, convergen y sinergizan. Hoy es importante estar en todos lados, y la promoción juega un rol central’, fue otro de los conceptos en ese panel.

Coincidió con ellos Tatiana Rodríguez, SVP de Nickelodeon Latin America, quien agregó: ‘El encendido general ha caído un 10% aproximadamente en América Latina, pero la TV sigue siendo el motor principal para el lanzamiento de producto y un actor clave en el mix de medios. Lanzamos nuevas plataformas como TrendyByNick con siete verticales, y se vienen más en breve’, apuntó.

La crisis de YouTube Kids sigue dando que hablar. Algunos productores globales han perdido una fuente de ingreso estimada en USD 30.000-40.000 mensuales. Sin embargo, el AVOD más grande del mundo anunció al mismo tiempo un fondo de USD 100 millones para ayudar a los productores a generar contenido ‘reflexivo y original’. Según un documento revelado por Kidscreen, busca contenido que muestre el ‘espíritu de YouTube’ para niños de 3 a 8 años.

‘Es tiempo de buscar nuevos modelos de negocio, basados en la asociatividad. Es cada vez más complejo llegar solos a los grandes OTTs, por tanto es necesario ir con proyectos sólidos, bien trabajados’, describió Carlos Biern, presidente de animación del grupo Toonz (India).

Latinoamérica es un buen caso con La Liga de la Animación (Premios Quirino, Animation! INCAA y Pixelatl), de la que ya ha surgido Dos Pajaritos de Palermo Estudio (Uruguay) y Can Can Club (Argentina) presentados en MIFA-Annecy y Pixelatl, o Los Amigos, el nuevo estudio conjunto anunciado por Red Animation (Perú), PunkRobot (Chile) y Hype (Brasil) que generará y producirá en 2D y CGI en tiempo real en los tres países. El primer proyecto es la serie preescolar Guitar & Drum para Disney Latin America.

¿Tendencias? El terror es un género que está ganando terreno entre los niños. ‘Entre lo 6 y 9 años un 10% de ellos está interesado en historias de terror; entre los 10 y los 13, un 40%; y en niños de más de 13 años, un 80%. En la mayoría de los casos el género es introducido por los padres’, apuntó Monica Dreger, VP, Head of Global Consumer Insights, Mattel.

Se ven en Kidscreen nuevos proyectos animados que combinan técnicas clásicas con modernas. Es el caso de la animación 3D en tiempo real: se trabaja en 3D con técnicas de Unity o Unreal, que provienen de la industria del videojuego. Así surgió la primera serie de este tipo en Francia: Edmond & Lucy (53x011) de Miam! Animation (Francia), que abrirá el 2 de marzo un estudio de 80m2 con 20 empleados en el corazón de París para comenzar a producirla. Se espera que la serie estrene en France Télévisions en 1Q 2022.

Los polos tradicionales se fortalecen, y otros nuevos aparecen. Se nota una fuerte presencia de Canadá y Corea (con los dos principales spots en el Meeting Point A), pero también de Brasil y Japón. Se siguen potenciando Costa Rica y El Caribe con Jamaica y Trinidad y Tobago, y aparecen nuevos fondos de financiamiento en España, donde se está discutiendo el incremento de las ayudas nacionales y regionales esperando anunciarlas finalmente este año, y Malasia, que confirmó el Digital Content Ecosystem Policy (DCEP) para el que destinará USD 5 millones en 2020 con foco en capacitación, desarrollo, marketing y promoción.


From Kidscreen:

Everything you missed at Kidscreen Summit

Three big themes emerged from this year's event in Miami: What’s going on with streaming, what is the future of franchises, and how to foster talent?

All anyone could talk about at this year’s Kidscreen Summit were three things: What’s going to happen with streaming this year? What is the future of franchises? And who is going to make the next best show/how can we make them come work for us?

Panelists and attendees grappled with these topics throughout the event, and while no one really knows the answers, if anyone was going to be able to figure it out, it would be the movers and shakers who showed up to the InterContinental in Miami this past week. Now as the event draws to a close, this is what we’ve heard them saying.

What does streaming look like in 2020?

With Disney+ and Apple TV+ both launching late last year, and HBO Max and NBCUniversal’s Peacock on the way in 2020, streaming is not only a big conversation, it’s the conversation. Others are also throwing their hat into the ring as CBS All Access started picking up kids content for the first time, Viacom’s Pluto TV continued to expand across territories and BBC iPlayer is expanding its window to keep content longer.

For plenty of panelists, finding numbers in the streamers remains a challenge, though plenty are trying to find new ways of getting those coveted data insights. Anna Moorefield, the VP of global distribution sales at the Jim Henson Company talked about the virtues of Amazon Prime Direct in KSS’s Hacking the SVOD panel. Jim Henson began uploading its back catalogue on the user-generated platform specifically because it was able to provide deeper digital data than other platforms. “We get a revenue report every month, which includes a customer engagement ranking in specific territories, mostly their key storefronts. It tells you how your content is performing relative to other content that is uploaded onto Amazon Prime Video Direct,” says Moorefield. In turn, the Muppet makers are able to use that information when they approach new markets or begin efforts to revitalize older programming.

And while there may be a disconnect between the for-profit streamers and the public broadcasters, the Redefining Pubcasting in an OTT Universe panel made it clear that the pair have to find a way to work together moving forward. The streamers are where the kids are, and since pubcasting is created in the public interest, “the most important thing as the public broadcaster is to get the content in front of the kids and we know they watch every day at all times of the day on different platforms,” said CBC Kids’ senior director Marie McCann.

What is the future of franchises?

And with all of those platforms, a lot of producers (and the platforms themselves) are banking on big name franchises to stand-out among a deluge of content. (This includes, but is not limited to, Netflix’s Chronicles of Narnia original series, Nickelodeon Star Trek for an aged-down audiences and Apple TV+ kick-off with Snoopy in Space, Sesame Workshop and Ghostwriter reboot). But will well-worn titles draw in audiences? Or will shiny new toys look better?

Perhaps it’s moot: In the panel, What Keeps You Up at Night, president of eOne family & brands Olivier Dumont said the who isn’t as relevant, as the how many. Working with a single platform or broadcaster and creating a strong partnership is the best way to build a brand. This deeper partnership provides producers an opportunity to roll with the punches as the landscape changes. “If it’s a true partnership then you can succeed together and you can find the good solution for everyone,” says Dumont.

Yet, a single partner or platform approach may cause issues down the line as today’s streamers and broadcasters are asking for more rights than ever, and it’s causing issues when certain rights are under-utilized. CAKE’s Ed Galton recommended that producers try to work in renegotiating opportunities in early stages contracts so that producers can ensure no aspect of their shows’ rights are being neglected so that franchises can continue to be built upon.

On the broadcaster side, Cartoon Network’s VP of content acquisitions and co-productions Adina Pitt agreed that broadcasters are asking for more rights but that’s because—at her network at least—they’re actively looking to built deep franchises. Yet this approach has an associated cost, and it means broadcasters are picking up less, but investing more into what they do pick up, she says. As she, and other broadcasters see it, if they’re going to be in a partnership for a long time, the network needs some assurance.

And, for a bit of countering opinion, in the Franchise Debate: Are Kids Sick of the Same old IPs? (pictured), Sixteen South’s creative director Colin Williams reminded broadcasters and distributors that plenty of IPs have the opportunity to become franchises…but they need the support of broadcasters to do so. Frequency and promotion are needed, and sometimes, not provided for new ideas, at least in the eyes of producers. This “discoverability” conundrum was echoed across a few panels, and there’s real concern among producers that kids simply don’t know how to find the shows that are being made. “It’s not enough to make a good show,” Matthew Berkowitz, CCO at Atomic Cartoon reminded audiences in the Hacking the SVOD panel. “People need to know how to find it.” And with this shift toward streaming, no one has quite cracked that code yet.

Who are the next generation of creators and how do we foster their growth?

Ultimately, no new franchise can be built without building up the next generation of creators. That topic kept coming up again and again, particularly at the Groundwork for Growth: Setting New Creators Up to Succeed panel.

As there is often a disconnect between the writing and animation side in the industry, creator and executive producer at Nickelodeon, Niki Lopez, recommended pairing artists with writers earlier in their careers so they can better understand the industry holistically. EP and creator at Laughing Wild, Chris Nee, said it’s easy to be intimidated by the business side of the industry when you’re a creative and just starting out, so it’s important to educate and empower yourself so you can be your own advocate. Ask for advice, and ask plenty of questions, she said. But, on her other planel, Showrunners: Not Just for Grown-Ups Anymore, she reminded procuders and creators in the room that it is the responsibility of the top talent to foster good, welcoming environments. Leaders should be going out for meals, throwing parties and celebrating the people they work with. We live in a world where the screen can be the center of a person’s universe, but we still need a community to be our best work selves.

That’s it for Kidscreen Summit 2020! We’ll see you all next year back in Miami next year.


From Prensario Internacional:

Kidscreen 2020: sinergizar en la convergencia

En un clima de buenas expectativas de futuro para la mayoría de los asistentes, Kidscreen Summit finalizó con éxito e impresiones muy positivas. La primera de ellas tiene que ver con el balance costo-calidad, y la segunda con el acceso a las tendencias globales.

A pesar de que el fee de ingreso es alto (unos USD 1900), la presencia de ejecutivos de primera línea lo convierte en un evento central para la industria. ‘A fin de cuentas, termina siendo muy redituable para todos nosotros estar aquí’, coincidieron algunos participantes.

Productores y distribuidores tienen aquí la posibilidad de reunirse con estos jugadores, entre los que están los grandes grupos de medios, plataformas digitales, coproductores, inversores. Y del lado comprador, es un buen momento del año para analizar proyectos en etapas iniciales, pero también para cerrar acuerdos que vienen en negociación.

Kidscreen Summit permite vislumbrar de antemano las tendencias globales, que se irán desarrollando a lo largo de 2020. Y es además un buen evento para fabricantes de juguetes, empresas de licensing, servicios tecnológicos, marcas y anunciantes, además de productores musicales. Todos convergen en armonía: se necesitan los unos a los otros.

Se ha notado en esta edición una baja en la participación estimada en un 10% frente al año pasado. Las razones son varias: por un lado el miedo al coronavirus (con la cancelación de la participación de la delegación de China); y por otro las fusiones y compras en la industria que reducen el número de ejecutivos en los mercados internacionales.

Más allá de la merma en la participación, ésta no afectó el encuentro ni mucho menos el volumen de negocios. Todos los sectores del Intercontinental han sido tomados por ejecutivos. El ritmo fue vibrante con movimiento constante de una a otra área del hotel.

Por otro lado se reactivaron los rumores de que el evento pueda mudarse de ciudad el año próximo, aunque participantes regulares señalaron que es una temática que se repite cada año. Sonaron ciudades como Nueva York, descartada inicialmente por las bajas temperaturas y malas experiencias anteriores, y Los Ángeles, aunque la mayoría cree que Miami es la que cubre mejor las expectativas.

Como se ha venido destacando en este mismo espacio, hay un fuerte foco en contenido preescolar, tanto de los grandes como pequeños creadores. Muchos de ellos están ya monetizando el contenido en YouTube y en Miami buscaron ir al siguiente paso: Perro Chocolo es un fenómeno online con 2 billones de views en el canal de YouTube, donde tiene 4 millones de suscriptores. Es un éxito en México, el US Hispano, Perú y Chile, y ya tenemos canciones y juguetes. Queremos desarrollar ahora la serie preescolar de televisión’, explicaron Patricio Gamonal, productor ejecutivo de Atiempo (Chile).

Los cambios en la industria han roto la linealidad de los negocios: un IP exitoso en TV derivaba en una serie de negocios ancilares. Pero ahora también es al revés: una producción que surge en una plataforma digital, busca ir a la TV para cerrar el círculo. Es un buen resumen que lejos de la desaparición, estamos frente a una retroalimentación cada vez más necesaria de medios.

¿Qué buscaron los players en Kidscreen? Daniela Vieira, Netflix Latin America: ‘Proyectos originales de animación en América Latina’. Guillermo Sierra, HITN (USA): ‘Contenido interactivo para nuestra app Edye’. Sophie Sandoval, Televisa (México): ‘IPs que permitan una explotación 360, sinergizando con nuestro equipo de licencias’. Tatiana Rodríguez, Nickelodeon: ‘Formatos scripted en todos los géneros’. Pedro Mota Carmo, Dreamia (Portugal): ‘Contenido preescolar para Canal Panda y kids/teens para Biggs’. Suhas Kadav, Cosmos (Singapur): ‘Alianzas de coproducción en las Américas’.

Con el lanzamiento confirmado en marzo para América Latina, Pluto TV está robusteciendo su oferta de contenido infanto-juvenil. Eduardo Arias busca contenidos para paquetizar en futuras señales que lanzará en la región luego de marzo.

Al igual que en la industria de series, hay en la animación un fortalecimiento de los AVODs con más ofertas para la audiencia. ‘Vemos una gran necesidad de contenidos por parte de las plataformas, una audiencia más ávida que nunca y dinero fresco de la publicidad. Es cuestión de ponernos de acuerdo, es un buen momento de la industria’, completó un importante productor europeo.


More Nick: 2020 on Nickelodeon | New Shows, Specials, Events, Movies, Episodes, and More | Nick Upfront 2020!

Originally published: Tuesday, January 21, 2020.
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