Market Vision Quests: European Animation Execs Reflect on the State of the Industry & Fall Content Markets

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With fall TV events such as Cartoon Forum, MIPJunior and MIPCOM on the horizon, many producers are taking stock of the state of the children’s animation market. Animation Magazine reached out to a number of producers, distributors and marketers in Europe to get their perspective on the shape of the industry going into the fall markets.

Of course, some of their feelings can be gleaned from the work on display. Carlos Biern, content and media sales director of DeAPlaneta Kids & Family, touts a trio of projects. “We are very excited to show the third season and new digital content for our preschool brand, Milo, which has an amazing development and music-writing team,” Biern says. DeAPlaneta will also be showing the first episodes of recently announced co-productions Underdog (a superhero sitcom from DreamWorks and Superprod) and Karters (developed with Mediawan and Tomy).

Grainne McNamara — vice president of development (live action and animation) for BBC Studios Kids & Family — promises “a fresh slate of projects based on popular IP and a few that are original ideas,” teasing new partnerships with creators and brands as well as updates on projects like My Friend Maisy, co-produced with Trustbridge Entertainment and picked up by Sky. Also, new original IP: Rafi the Wishing Wizard, a magical realist preschool show following a family of modern-day wizards.

Searching for Unicorns

Some industry pros got straight to the point, with Emmanuèle Pétry, the producer and head of international at Dandelooo, saying that she and partner Jean-Baptiste Wery will be at Cartoon Forum with a different approach this year. “For the first time in many years, we’ll be attending the event with a slightly different approach — we’ll be attending with our ‘hands in our pockets.’ Our focus will be to attend the presentations and look for the best/standout series and specials in order to offer our international sales teams’ high-quality content and expertise. We will be not presenting a new project this time as we are immersed and working on the development and financing of My Great Great Great Family, an original comedy series for the 6-10 [demographic] created by Thomas Personeni — the project we pitched last year.”

Pétry breaks down some highlights from Dandelooo’s MIPJunior and MIPCOM lineup, including three new series now in production: Max and Bunny for Canal+ (26 x 5’, delivery December 2025), which explores the everyday world from a child’s perspective; Hold on Gaston! for TF1 (52 x 11’, delivery Q2 2027), about a unicorn whose colors change according to his emotions; and Season 2 of Billy the Cowboy Hamster for France TV (52 x 11’, expected 2026).

Miguel Aldasoro, international sales and co-production director at Ánima Kitchent, says the studio’s slate will include shows based on established and new IP that “have been tested and refined through our digital-first strategy.” Aldasoro mentions Cuquín (formerly Cleo & Cuquín), which will have new seasons for HBO Max and Cartoonito, as well as Tippi T-Rex, “which has just secured a major distribution and licensing deal in China.” Ánima Kitchent’s latest IP, Howly & Wooly, will also be making the rounds as it prepares for its first digital test. Aldasoro says the studio will be looking for partners to co-produce, distribute and license these brands globally.

“We will be very active at Cartoon Forum, with shows from our different studios and in co-production with other production talents,” says Julien Borde, president of Mediawan Kids & Family. Its offerings will be extensive: At Cartoon Forum, there will be the Sanrio character comedy series Chococat & Me (Somewhere Animation, 52 x 13’), action-adventure series Temtem (Marla Studios, Somewhere Animation; 26 x 26’); the hip-hop-focused Titus Little Prince of Rap (Submarine, Why Not Productions; 26 x 10’); and stop-motion comedy Prout (Wajnbrosse Productions, Method Animation; 52 x 7’).

At MIPJunior, Mediawan will premiere anime comedy series Ki&Hi in the Panda Kingdom (Method Animation, Drawsome Studio, Belvision; 52 x 13’), as well as the first episodes of Tuff Pom (Wildseed, Method Animation; 40 x 13’), an animated series for France TV and the BBC.

Prioritizing action-adventure for ages 6 to 10, Borde says Mediawan is beginning production on “a new original idea by Stephane Berry, creator of Totally Spies!” In addition, the company will have Artefacts – Thieves of Thieves (Somewhere Animation, 26 x 26’) for TF1 as well as Eldrador (Toon2Tango, Method Animation; 52 x 13’) and Jet the Vet, an original series from Alexander Bar (Method Animation, 52 x 11’).

“Anime is dominating the global market and capturing market share from traditional children’s animation. With YouTube and Roblox serving as primary destinations for many kids worldwide, this shift has led us to develop a new slate of digital-first content.”

— Julien Borde, President, Mediawan Kids & Family

Their preschool lineup features Maddie + Triggs (Turnip + Duck, 52 x 7’), ThinkerBen & Motor (Metaxilasis, Toon2Tango; 26 x 11’), Max&Bird (Tchack, Submarine; 78 x 7’), Pango (Method Animation, 78 x 7’) and a reboot of The Magic Roundabout (Wildseed, 52 x 13’). There are also second seasons of Idefix and the Indomitables, BarnKidz and The Three Musketeers. Borde caps off the list by hinting at a partnership with El Reino Infantil on the new IP Wadoo, which will premiere next year on YouTube.

The State of Play

DeAPlaneta’s Biern is optimistic about where the market is heading. “There are some very interesting new opportunities emerging in the anime and kidult space, many of which come from the interactive and digital sector,” he says, adding that those trends will remain.

“BBC Studios is committed to being open about where and how we’re using AI. We promise transparency with audiences and training staff how to use these tools.”

— Grainne McNamara, VP of Development, BBC Studios Kids & Family 

Meanwhile, Borde of Mediawan acknowledges a slowdown in children’s content orders in the U.S. and the effects of the “AI revolution” but also says the market seems to be in better shape after the 2025 Annecy Festival. Borde also suggests that commissioners [broadcasting or streaming ordering and buying animated shows] are leaning more toward bridge content and big kids’ programming. Borde says some of these changes stem from the popularity of different mediums and industries, such as anime and its constant success on streaming. He continues, “Anime is dominating the global market and capturing market share from traditional children’s animation. With YouTube and Roblox serving as primary destinations for many kids worldwide, this shift has led us to develop a new slate of digital-first content.”

McNamara, from BBC Studios Kids & Family, also points to the influence of anime, noting not just its immense viewership but how “the style has really taken hold of the animation industry.” She says the company’s slate reflects this popularity, including the in-development, anime-inspired Children Vs Battle SuperStars [working title], a 22 x 22’ martial arts tournament series made as part of a first-look deal with Blink Industries.

Aldasoro of Ánima Kitchent thinks it’s a highly competitive but opportunity-rich market, citing growing demand for content that can adapt well to different regions, cultures and platforms. “That’s why maintaining a digital-first approach is essential for us,” he says, “testing both short- and long-form formats to validate IPs before making larger production commitments.” Aldasoro also sees a trend in preschool segments, with IPs developing movies alongside their series. “This gives a competitive edge, as a movie helps expand brand value and reach new audiences,” he says.

Agreeing that it’s still a highly competitive market, Pétry of Dandelooo says there is “an overload of children’s content.” She underlines the power of artistry even in a turbulent market that is committed to safe choices. “The trend seems to focus more than ever on established brands and turning old IPs into new series by tapping into the nostalgia of young parents. Call us crazy (or naïve), but we continue to believe in the power of original storytelling, creating new concepts and new characters because there are such wonderful artists out there who deserve to let their talent bloom!”

As is happening in many industries, the prevalence of AI is throwing more uncertainty into the mix. Many of those interviewed showed wariness about adopting such technology. Biern notes the importance of tech in expanding a brand and is interested in how some AI tools can add to production and distribution but also adds that “we are less excited about generative AI.”

“We’re keeping an eye on innovations that could enhance the creative process and production quality. But we are extremely concerned about the situation and threat AI brings to employment and absolutely wish to preserve the talent pool.”

— Emmanuèle Pétry, producer and head of international at Dandelooo

On the same subject, Borde says, “When properly utilized, with full respect for artists and copyrights, generative AI can address one of the key challenges facing our industry by fluidifying production pipelines. It can also enable us to create more interactive and customized content.” Borde sees animation as “tech-savvy” enough to withstand the effects of generative AI, while adding that he “understand[s] the fears and concerns raised.” He says that “animation has survived and benefit from many technological revolutions, and animation professionals are among the best positioned in the entertainment industry to navigate such a transformation.”

Others are more apprehensive about AI. Aldasoro also makes the distinction between AI tools and generative AI, calling the former “an essential part of our workflows, especially for data analysis.” He adds, “On the creative side, we see the potential of AI-assisted production, but we approach it with caution considering both legal aspects and the need to maintain our brand’s quality, originality and consistency.”

Meanwhile, McNamara says, “BBC Studios is committed to being open about where and how we’re using AI,” promising transparency with audiences and training staff how to use these tools.

Pétry of Dandelooo draws a line. While noting that, like others in the industry, she is keeping an eye on AI tools and thinking about “innovations that could enhance the creative process and production quality,” she speaks firmly against generative AI. “We are extremely concerned about the situation and threat it brings to employment and absolutely wish to preserve the talent pool,” Pétry says, emphasizing its existential threat to artists. “The main issue, which I don’t think has yet been tackled, and [is] far from being resolved, is the legal aspect of this evolution,” she adds. “Until there is full transparency and regulation, we will not consider AI exploitation in our own productions.”

Although the market adapts to innovation, what future is there for such changes without the consideration and protection of artists? When considering how the industry will address this, Pétry says integrity is going to be key: “It is in the tough times that you see which companies keep humanistic values and take the high road.”

The MIPJunior market takes place at the Palais des Festivals in Cannes, France, on Oct. 11 and 12, followed by MIPCOM from Oct. 13-16. For more info, visit mipjunior.com & mipcom.com.