The iconic Baby Shark remains the main driver of the company’s growth. However, Bebefinn has become the new focus of expansion.
By Luis Cabrera, from Cannes, France
During Mipcom 2025, Eun Ji Jung, Global Business Manager at The Pinkfong Company, spoke with ttvnews about the international strategy behind the Baby Shark phenomenon and how the company continues to strengthen its preschool universe with new franchises like Bebefinn.
“We started with an educational app to teach letters and colors, and when the YouTube wave arrived, we brought our content there. Since then, we’ve applied a 360-degree strategy: once we build brand awareness on screen, we expand it into the physical world with live shows, products, licensing, and brand-based experiences,” explained Jung.
That holistic vision has made Pinkfong one of the most recognized children’s brands in the world, with a presence across multiple platforms and localized content in 25 languages. “YouTube remains our starting point because it allows us to reach a global audience. But when we develop spin-offs, series, or movies, we adopt specific strategies by territory, working with local broadcasters and partners,” she added.
The iconic Baby Shark continues to be the company’s growth engine. Among its most successful formats are roleplay-based series such as Baby Shark Hospital Play and Baby Shark Dentist Play, where the character takes on everyday roles that spark imagination and learning in young children.
However, Bebefinn has now become the main focus of expansion. “We launched Bebefinn in 2022, first on YouTube, and its growth has been even faster than Baby Shark’s,” revealed Jung. The franchise already has three full seasons, two more in production, and spin-offs such as Bebefinn Dance Time and Bebefinn Play Time, available on Netflix, with whom they maintain an “excellent relationship.” The brand also includes a feature film released in Korea, the UK, and Ireland, with a sequel currently in development.
At the same time, The Pinkfong Company continues adapting content for TikTok, Instagram, and YouTube Shorts, broadening its reach among different generations of parents and children.
Regarding Latin America, Jung highlighted the region’s huge potential: “We have a large base of views and subscribers, but monetization remains a challenge. We’ve worked with Globo in Brazil and Televisa in Mexico, and we’re open to new partnerships to find the model that works best.”
With a global strategy based on creating 360° ecosystems that combine content, experiences, and licensing, The Pinkfong Company continues to strengthen its position as one of the most innovative producers in children’s entertainment—bringing its educational and positive message to new audiences around the world.
