A clear vision of the evolution of content for kids and teens, featuring trends that reflect shifting consumption habits and the preferences of new generations, shaped the agenda for the second day of MIPJunior, which concluded its latest edition as a lead-in to Mipcom 2026.

*with reporting by Carolina Mussio and Ana Paula Carreira from Cannes, France.

This Sunday, at a Palais des Festivals that’s already buzzing with the anticipation of Mipcom as final preparations and stands were being set up across various floors and halls, MIPJunior wrapped up its second and final day. The evolution of audiences and new consumption habits defined the agenda for the day’s conferences and panels.

Major players bookended the second day’s conference schedule: YouTube kicked things off with Alexis Rice, Global Head of Youth Partnerships, discussing the importance of appealing to teens and Gen Z to build brands and fandoms; meanwhile, Dhar Mann Studios, represented by founder Dhar Mann and CEO Sean Atkins, closed the day with a panel exploring how an audience-centric creative business can build intellectual property around deeply engaged global communities.

Speaking of entertainment giants, the day’s main event came from Disney, featuring a presentation followed by a luncheon for attendees. At the Debussy Theatre, the Kids & Family team offered a look at the group’s evolving strategy and its adaptation to changes in children’s consumption habits. “There has been a lot of disruption in the kids’ space. Children watch everything, everywhere,” explained Ayo Davis, President of Disney Kids & Family. “We had to change our strategy, rethink how we tell stories and connect with audiences through new formats, and consider how our content appears across different screens and platforms. Change is the new normal.”

The MIPJunior Pitch also took place at the Debussy Theatre, where five creators presented their projects to a panel of industry professionals, and Murphy’s Manor, from China’s Fantawild Animation, emerged as the winner.

Distributors Showcase New Titles in Cannes

New content and the search for partnerships were common themes among MIPJunior 2026 attendees, who arrived in Cannes to present their latest titles and establish connections with international partners for both distribution and co-production.

This was the primary goal for Vikas Kumar, CEO of India’s Digitoonz, who came to the event to present Tiny Terrors, a new CGI series consisting of 52 11-minute episodes, and to seek international partners for it. “We are here to present Tiny Terrors, our first animated IP. We are looking for co-production partners and investors for the project, which is already in the script development stage,” Kumar explained to ttvnews.

Also from India, Prayan Animation arrived at MIPJunior with eight intellectual properties at various stages of development, aiming to find new co-production partners, investors, and broadcasters. “We are looking for 2D animation service work, but also partners for the production of our own IPs, as well as good projects to acquire and financing opportunities,” explained Vinayan V, CEO and co-founder of Prayan Animation, to ttvnews.

After a long journey from Australia and as The Wiggles celebrates its 35th anniversary, Luke Field, General Manager of Commercial for The Wiggles, arrived to present the new live-action Dorothy the Dinosaur series, which will pave the way for an animated production scheduled for 2028, alongside Ready, Steady, Wiggle!, while seeking new alliances with international partners.

“This year, we are here to present our latest projects, such as Into the Mortal World, one of our feature films, which was selected by the Annecy Festival,” noted Sophie Lau, Head of International Business at China’s Winsing Animation. “We are also showcasing new AI-generated content, in addition to productions for preschoolers, boys’ action, and teen audiences.”

The Palais closed its doors this Sunday, marking the end of this edition of MIPJunior, but it will reopen on Monday, with a revamped market floor ready to welcome Mipcom Cannes 2026, while the buzz is already building tonight with presentations and welcome cocktails hosted by industry players such as Global Agency, Banijay Entertainment, and Globo.

La entrada MIPJunior Wraps Another Edition Taking the Pulse of Children’s Entertainment se publicó primero en TTV News.

On the second day of MIPJunior, the Disney Kids & Family team explained how the company is adapting its strategy to changing viewing habits among children, combining beloved characters, multiple formats, digital creators, and franchises designed to accompany young audiences from preschool through adolescence.

*with reporting by Carolina Mussio and Ana Paula Carreira from Cannes, France

In a kids’ entertainment landscape marked by increasingly fragmented audiences and evolving viewing habits, Disney Kids & Family is adapting its strategy to meet children wherever they are, with content designed for different ages, formats, and platforms.

That was one of the main messages of From First Favorites to Lasting Fandom: Disney’s Approach to Kids & Family, a session held on Sunday, during the second day of MIPJunior, at the Verrière Grand Auditorium Lounge. The session featured Emily Horgan alongside Ayo Davis, Alyssa Sapire, Charlie Andrews, Zack Olin, and Gino Guzzardo from Disney Kids & Family. Following the panel, Disney hosted a cocktail lunch for attendees at the same venue.

“There has been a lot of disruption in the kids’ space. Children watch everything and anything,” said Ayo Davis, president of Disney Kids & Family. “We had to change our strategy, take another look at how we tell stories and connect with audiences through new formats, and consider how our content appears across screens and platforms.”

For Davis, the ability to evolve will remain essential. “We had to change and evolve to ensure our stories connect with our audiences. Change is the new normal,” she summarized.

One of the pillars of this strategy is building relationships with audiences from an early age and developing properties that can grow alongside them. In the preschool segment, Alyssa Sapire highlighted SuperKitties as an example of a franchise Disney is developing with a long-term vision.

“We are always looking for new stories and storytellers based on what we know about preschoolers and where they are developmentally,” she explained. “SuperKitties is a great example. It is growing into a franchise, and we are in it for the long game, with specials, shorts, long-form series, toys, and other extensions.”

That journey continues as children grow older. Charlie Andrews explained that the goal is to accompany the same generation from its earliest viewing experiences into more sophisticated live-action programming, drawing on both new stories and familiar IP.

“We are obsessed with generations,” he said. “My job is to bring them into live action five years later, with familiar IP they already love, but adapted to their new age. It starts when they are little and grows with them.”

For the 6-to-12 demographic, Zack Olin emphasized the importance of listening to audiences rather than trying to anticipate their interests from an adult perspective. “That is when kids begin defining their own interests,” he explained. “We cannot simply deliver what we think they want. It is about listening to them. With compelling stories, we can reach the hearts of kids and their families.”

The strategy also has a strong multigenerational dimension. Andrews particularly highlighted the value of DCOMs (Disney Channel Original Movies), a brand that allows Disney to reach new audiences while tapping into the nostalgia of viewers who grew up with those productions.

“DCOMs are one of our favorite things. They have music, fantasy, friendship, everything you want as a kid and also as an adult,” Andrews said. “Kids see the characters they love, while teenagers and adults experience that nostalgia for the characters they grew up with.”

Short-form content is another key element of the strategy. Gino Guzzardo recalled that shorts have been part of Disney’s DNA since the days of Walt Disney and Mickey Mouse, while noting that they now serve a specific role in today’s multiplatform ecosystem.

As an example, he pointed to Locker Diaries, approximately three-minute installments produced in runs of six to 12 episodes. The format offers audiences a quick entry point into the worlds of Disney franchises, bringing them closer to familiar characters through short stories, comedy, and musical numbers.

Disney is also incorporating digital creators into its strategy. Davis emphasized the importance of partnering with talent who bring an authentic connection with their communities while remaining aligned with the company’s values and storytelling.

She cited Dhar Mann and Nastya as examples, while Sapire revealed that Disney is developing a new project with Nastya, whose emphasis on creative play is particularly relevant to preschool audiences.

Despite all these changes in formats, platforms, and consumption habits, Davis concluded the session by emphasizing that the heart of Disney’s strategy remains unchanged.

“We are building for the next generation. Our core audience is kids,” she said. “Change is constant, but great characters are constant, too. We will continue bringing great characters to life.”

La entrada Disney Focuses on Building Fandoms That Grow With Its Audiences se publicó primero en TTV News.

The Indian 2D animation studio arrived at MIPJunior with eight intellectual properties in development and plans to establish new production and distribution partnerships. Among its projects is Shelly and Friends, a preschool animated series combining underwater adventures with environmental awareness.

*with reporting by Carolina Mussio and Ana Paula Carreira from Cannes, France.

Prayan Animation Studio is expanding into original content development after more than a decade focused primarily on providing 2D animation services. The Indian company arrived at MIPJunior 2026 with eight intellectual properties at different stages of development, seeking new co-production partners, investors, and broadcasters.

“We are looking for 2D animation service work, but also partners for producing our own IPs, good projects to acquire, and financing opportunities,” Vinayan V, CEO and co-founder of Prayan Animation Studio, told ttvnews.

Founded in 2012 by Vinayan Vijayan and Remesh Ram, the company is based in Kerala, southern India, and has grown from just four animators in its early days to a team of more than 100 professionals. Its main focus remains 2D animation, although it also provides illustration, pre-production, post-production, and 3D animation services.

“For many years, we focused on animation services, working on numerous international projects. Last year, we also started focusing on our own IPs, and we have developed eight projects targeting different audiences,” the executive explained.

Among its international projects, Prayan has worked on productions associated with franchises such as Hasbro’s G.I. Joe. The company also has extensive experience in publishing illustrations, having contributed to more than 500 books for different clients.

One of the projects Prayan is currently promoting is Shelly and Friends, a preschool animated series set in the ocean, where a group of marine animals embark on adventures combining entertainment, friendship, and environmental education.

The project follows Shelly, a young clam, and her friends as they explore underwater life while learning about cooperation, pollution, and the importance of protecting marine ecosystems.

“We have an IP called Shelly and Friends, about the ocean and the animals living there. Today, our oceans are polluted by plastic and oil, and there are many problems affecting fish and other marine creatures,” Vinayan explained.

“We want to give children information about how they can protect our oceans. That’s the message we want to convey to our audience,” he added.

This focus on educational storytelling also reflects the changes the executive is observing in children’s viewing habits, particularly the growth of YouTube, short-form videos, and content designed to immediately capture viewers’ attention.

“Children are changing the way they consume content. They are now looking for short stories, YouTube content, and things that engage them immediately. If you can’t hook them in the first three seconds, they move on to the next video,” he said.

Against this backdrop, Prayan is also exploring educational content related to subjects such as mathematics and science, alongside stories that promote positive values.

“We are working on educational projects and learning materials, including mathematics and science. We would like to develop more education-related IPs and collaborate with partners in this area,” he explained.

La entrada Vinayan V, Prayan Animation: “We Are Looking for Partners and Investors for Our Original IPs” se publicó primero en TTV News.

The Indian animation studio arrived at MIPJunior with Tiny Terrors, its first original animated IP, and a growing slate of proprietary projects including television series and feature films. With a team of more than 600 artists, the company is looking to expand its international partnerships and sees co-production opportunities in Latin America.

*with reporting by Carolina Mussio and Ana Paula Carreira from Cannes, France.

After establishing itself as an animation service provider for companies across North America, Europe, and Australia, Indian studio Digitoonz is taking a new step in its development with the creation of original intellectual properties. On the second day of MIPJunior, CEO Vikas Kumar introduced Tiny Terrors, a new CGI series for which the company is seeking international partners.

“We are here to present Tiny Terrors, our first animated IP. We are looking for co-production partners and investors for the project, and the scripts are already being written,” Kumar told ttvnews. Digitoonz’s ambitions go far beyond producing a television series. “We have big ambitions for the project, not limited to the series, but also extending to feature films, digital content, licensing, and merchandising. We want to make it a 360-degree IP,” he added.

With offices in New Delhi and Kolkata, Digitoonz has a team of more than 600 artists and extensive experience providing animation services to international clients. Its portfolio includes work on productions such as Dora, Blue’s Clues & You!, Rick and Morty, and FriendZSpace, among others.

“We have mainly been providing services for North America, Europe, Australia, and the UK, working with our partners on several premium shows,” Kumar explained.

The company recently established a new division dedicated to developing its own intellectual properties, with two feature films and two television series at different stages of development. One of the feature films already has a partner in place and is tentatively scheduled for release in 2027, although the executive said the titles would be announced at a later date.

On the television side, Digitoonz is embracing a digital-first strategy, with CGI projects designed to expand into toys, merchandising, comic books, and video games, including Roblox experiences. Kumar mentioned a project comprising 104 four-minute episodes, with completed designs and scripts being developed by Mike de Seve of New York-based Baboon Animation. He also referred to another UK-originated IP centered on flowers that the company is developing.

“We are starting with a digital-first strategy, but we are also looking for co-production partners, broadcasters, and distributors. Having the opportunity to distribute our content in North America and other English-speaking markets would be great,” he said.

The search for international partners also extends to Latin America, a region Digitoonz sees as increasingly relevant for children’s content production.

“We would love to explore the possibilities of releasing our content, doing co-productions, or bringing in investors from Latin America,” Kumar said. “We are exploring opportunities in countries such as Brazil, Argentina, Uruguay, and Chile.”

The executive believes that the stories Digitoonz is developing have the potential to connect with audiences across cultures, regardless of their country of origin.

“The content we are developing is not necessarily based on Indian stories. These are global stories, with action, adventure, comedy, and universal characters,” he explained.

Through this new strategy, Digitoonz aims to complement its experience as an animation services studio with the development and international exploitation of original IP, focusing on projects that can expand across multiple platforms and business models.

La entrada Vikas Kumar, Digitoonz: “We Are Looking for Co-Production Partners and Investors for Our New IPs” se publicó primero en TTV News.

The Chinese company presented a diverse catalogue at MIPJunior, ranging from preschool content to animated feature films for family audiences, led by Into the Mortal World, selected for the official competition at Annecy 2025. Winsing is also investing in new AI-generated productions as it seeks to expand its international presence.

* with reporting by Carolina Mussio and Ana Paula Carreira from Cannes, France.

Winsing Animation arrived at MIPJunior 2026 with a diverse slate reflecting the expansion of its catalogue in recent years, incorporating productions for different age groups, new genres, and animation technologies, while seeking to strengthen the international presence of its intellectual properties.

“This year we’re here to present our latest projects, including Into the Mortal World, one of our feature films, which was selected by the Annecy Film Festival. We’re also presenting our latest AI-generated content, as well as preschool, boys’ action, and teenage content,” Sophie Lau, Head of International Business at Winsing Animation. The executive was present alongside Cassy Kwong, International Media Manager, International Business Development of the company.

The company, which initially focused primarily on children’s content, began diversifying its catalogue in 2019, expanding into anime and productions targeting young and teenage audiences. Its operations also encompass distribution, merchandising, licensing, and the development of live stage shows.

“Over the past ten years, we’ve become one of the leading kids and family content providers in China. We’re not only focused on 3D animation production, but also on distribution, merchandising, licensing, and live stage shows,” Lau explained.

One of Winsing’s key international titles is Into the Mortal World, an animated fantasy-adventure feature inspired by Chinese mythology and co-produced with Alibaba Pictures and Bilibili. The film was selected for the Official Feature Film Competition at the 2025 Annecy International Animation Film Festival and is central to the company’s efforts to reach audiences beyond Asia.

“I think emotional connection is very important, especially for kids. That’s what allows you to appeal to international audiences,” Lau said. “With Into the Mortal World, we received very positive feedback during our Annecy screenings, not only from Asian audiences but also from Western audiences.”

The executive revealed that the film will continue its international journey with planned releases in Europe, including Spain and French-speaking territories, as well as Latin America and South Korea.

“It’s not only about content production. It’s all about storytelling. Emotional connection is very important,” she added.

Winsing’s diversification is also reflected in its television slate. Among the titles the company is bringing to Cannes are GOGOBUS: Mars Trip, an educational space-adventure series for preschoolers; GG Bond Racing, targeting young action and racing fans; and MONGO, a non-dialogue animated slapstick comedy featuring pet characters in short-form adventures.

The company is also exploring the use of generative artificial intelligence in its production processes. One example is GG Bond: Lost Era, a pet-themed science-fiction animated series produced using AI-generated content (AIGC) technologies, which is part of its international offering.

“I think content for children aged six to nine still has a lot of potential in the market. Apart from that, we’ve also started producing AI-generated content,” Lau said. “We have many different kinds of content, from nursery rhymes for preschoolers and boys’ action for six-to-nine-year-olds to anime, science fiction, and other genres for young teenagers.”

Alongside its creative expansion, Winsing is strengthening its international footprint not only through content distribution but also through licensing agreements and the commercial development of its intellectual properties.

“We started with international distribution, but we’re also developing our brands and expanding our IP licensing and toy businesses into international markets,” Lau concluded.

La entrada Sophie Lau, Winsing Animation: “Emotional Connection Is Key to Reaching International Audiences” se publicó primero en TTV News.

The Wiggles are presenting Dorothy the Dinosaur’s return to live action, with a new series paving the way for an animated adaptation in 2028. Luke Field, General Manager of Commercial at the company, highlighted the potential of both projects to expand the brand’s international reach.

* with reporting by Carolina Mussio and Ana Paula Carreira, from Cannes, France

The Wiggles is celebrating its 35th anniversary with the return of one of its most beloved characters, Dorothy the Dinosaur, to live-action television. The new series, presented at MIPJunior 2026, marks the first step in a strategy that will enter its next major phase in 2028, with the launch of an animated production designed to bring the character to new audiences and international territories.

“One of the main reasons I’m here is to showcase the fantastic work we’ve done with the new live-action Dorothy the Dinosaur series. We haven’t done one in a long time, so I’m especially excited to present it,” Luke Field, General Manager of Commercial at The Wiggles, told ttvnews.

The new Dorothy the Dinosaur production, comprising 30 five-minute episodes, takes the popular character into her own world, introducing new friends such as Pedal and Poppy alongside familiar Wiggles characters including Wags the Dog, Henry the Octopus, and Shirley Shawn the Unicorn.

The series is now available to international buyers and provides an opportunity to reintroduce the character ahead of her move into animation, through a project developed alongside Sinking Ship Entertainment and currently in production. “What really excites me about animation is that it gives us the opportunity to reach new audiences, not just in English, but also in Spanish and French. That’s something we haven’t done before, and it’s really exciting,” Field said.

The executive explained that developing animated content represents an opportunity to overcome some of the limitations of a brand that continues to maintain an intensive live touring schedule.

“The Wiggles are still touring six months of the year. They’re human, so there’s a bit of a limitation,” he commented. “But animation allows us to be everywhere in the world and in different languages. We’ve already sold 30 million albums worldwide, so we know it works. I think this will help us reach territories we haven’t been to before.”

The company is also presenting Ready, Steady, Wiggle! at MIPJunior, one of its flagship television franchises, combining music, dance, storytelling, and learning for preschool audiences.

35 Years of Music and New Generations

Founded in 1991, The Wiggles has undergone numerous transformations throughout its history. One of the most significant came during the pandemic, when the group expanded from four to eight members, introducing greater diversity in ages and backgrounds.

“The youngest Wiggle is 21, and the oldest is 63. I think that diversity has brought so many new elements to the group,” Field explained.

For the executive, one of the brand’s greatest strengths is the constant renewal of its audience. “The fantastic thing about preschool audiences is that they’re always changing. Every couple of years, we have a new audience, and they re-energize us. They’re the most honest audience, but they’re also the most beautiful.”

That ability to connect with different generations also has a personal dimension for Field, who is the nephew of Anthony Field, the group’s founder and longest-serving member.

“One of my earliest concert memories was seeing The Wiggles when they first started. Now I’m the father of two daughters, and it’s been beautiful to take them to The Wiggles concerts,” he recalled. “Today, we’re seeing three generations of families attending our shows. As a father, it’s fantastic to have something I can share with my daughters, singing and dancing together.”

“Some things have stayed the same over the years, like the concerts, the songs, and the music. But new generations consume content differently, so The Wiggles has also expanded into short-form content and digital platforms,” he explained.

Field highlighted the example of Tsehay Hawkins, one of the group’s youngest members and a world-champion salsa dancer, whose presence on TikTok helps the brand connect with younger audiences.

“Music is a universal language, and it’s always been the foundation of The Wiggles,” he said. “We don’t just do one genre of music. We do everything, from country to traditional Irish and Scottish music.” The executive also recalled Anthony Field’s admiration for Carlos Gardel and noted that this musical diversity has helped build an international audience that includes South America.

Looking ahead, The Wiggles is seeking partners that share its creative vision and the brand’s quality standards. “We do a lot of things in-house, and we’re very selective with our partners. We have very high standards, and that’s what we expect from the people we work with,” Field concluded.

La entrada Luke Field, The Wiggles: “Animation Will Help Us Reach New Territories” se publicó primero en TTV News.

This year’s finalists features titles from Ireland, Canada, China, Spain and South Africa. They will have the opportunity to pitch in front of a panel of top commissioners and licensing experts at the event.

MIPJunior Pitch 2026 is calling for the next generation of standout IPs created for one of the fastest-evolving audiences in entertainment: Tweens & Teens (09 – 17).

This international competition is open to creatives and creators of bold and original IPs with the greatest potential for TV and/or digital & Streaming platforms – whether these IPs are completely new or originated from social media, gaming, books, e-books, podcasts or other

Finalists will have the opportunity to pitch in front of a panel of top commissioners and licensing experts at MIPJunior.

The finalists

Beast Guitar (Veplusde, Ireland)

Fee Rodrigues is the lead singer of an all-girl rock band transforms into monsters during their debut concert by a powerful curse and gets pulled from the normal world into a magical realm of ancient spells. Blessed by a Rock Wizard with the legendary Beast Guitar, they find themselves caught between the mess of starting a band and a magical music battle for the minds of their fans. Now they must learn to play together, control their new powers and keep their world from ancient musical monsters.

Big Red (PVP Media Inc., Canada)

In a distant future that feels suspiciously like today, 15-year-old Wolfie dreams of making it big on CLICK, the social app that runs the world. With only one follower, Wolfie can only dream of Big Red, a martian utopia where the party never ends for the rich and popular. Everything changes when CLICK announces an unprecedented contest: anyone with 10,000 followers, a fraction of the usual threshold, can compete for a permanent spot in Big Red. Wolfie may be 9,999 followers away from his dream, but he’s ready to do whatever it takes to get there.

Murphy’s Manor (Fantawild Animation Inc., China)

Murphy’s Manor is a brand-new animated fantasy comedy series following a young boy who inherits a magical manor filled with all kinds of supernatural tenants! Murphy’s unique new friends teach him the value of friendship and doing what is right. Living alongside these extraordinary yao (‘monsters’ from Taoist folklore), Murphy helps them navigate the challenges of life in the human world, gaining not only their trust, but also growing and maturing along the way.

Noty Toons (TheBox Characters & Creatures, SL, Spain)

Noty Toons is a chaotic news show that blends real-time reporting with serialized comedy-adventure, following a team of reporters covering strange, absurd, and unexpectedly educational stories worldwide. Everything changes when reporter Ronaldo Lape and his niece Quima are abducted by a UFO live on air, discovering Etorum 8, a planet made of cookies. When the UFO is destroyed, Ronaldo, Quima, and cameraman Fredo – now the “Moo Trio” – are thrown into a wild, world-spanning chase.

Hunted by the Dark Men, agents of the secret society “The Obscuretis,” led by President McLiers and billionaire Lilon Sharck, the trio’s path keeps crossing with the very newsroom reporters covering their story, turning each escape into a live broadcast of its own. As they stumble into global conspiracies, the Moo Trio becomes world-famous. With the help of incidental allies – Luli Moon, Homonymus, and a colorful bunch of fellow travelers, along with the Etorians, the trio’s biggest fans – the Moo Trio finally defeats the Obscuretis, though McLiers and Lilon escape into another dimension, setting up the trio’s next chase.

Super Tree Hero and the Five Kingdoms (Independent Creator – Katherina Bach, South Africa)

In the luminous world of Arboria, eight-year-old Super Tree Hero hears a mysterious melody travelling through the roots—a call from Earth. He journeys across space in a biodegradable seed-pod capsule, unaware that four-year-old Mushi, guardian of the fungi kingdom, has hidden aboard. They land in South Africa’s fire-scarred fynbos, where the ancient King Protea Oracle reveals that Earth’s five kingdoms of nature are losing their connection.

To restore the balance, Super Tree Hero and Mushi must find three young Earth guardians: Zao Zao, connected to algae; Nomathemba, connected to microorganisms; and Flui, connected to animals and water. Together they become the Green Five. Travelling through hidden biological Rootpaths, they undertake missions inspired by nature’s extraordinary intelligence while confronting damaged ecosystems, misguided technologies and their own fears and differences. Each adventure also reveals another clue about the mysterious Mr. Pollsmor and the choices that separated humanity from nature.

La entrada Finalists Revealed for the MIPJunior Pitch 2026 se publicó primero en TTV News.

Animaj’s Gregory Dray, Evan Shapiro, Ampere Analysis and Glance headline a programme exploring the audiences, business models and next generation companies redefining entertainment for young audiences.

MIP Junior (10-11 October), the international market and conference for kids and family entertainment, today unveiled its 2026 programme, bringing together leading creators, analysts, entrepreneurs and decision-makers shaping the future of kids and family entertainment.

Reflecting where growth and innovation are happening across the industry, this year’s programme expands beyond preschool and children’s content to embrace the full youth entertainment landscape, from preschool and kids through to tweens and teens, while introducing a more practical, businessfocused conference programme.

As audiences discover, consume and engage with content in entirely new ways, the MIP Junior 2026 programme will equip delegates with practical insights into how companies are already adapting to changing audiences, platforms and business models through real-world examples, market intelligence and actionable strategies.

Lucy Smith, Director of Mipcom Cannes and MIP Junior, said: “The next generation of audiences are redefining how content is discovered, consumed and valued. Kids and family entertainment has become one of the most dynamic and innovative sectors of the media business, where new platforms, digital-first brands and evolving business models are constantly reshaping how successful IP is created, distributed and monetised. As the industry evolves, MIP Junior is evolving with it.”

“This year’s programme broadens our editorial focus to better reflect where innovation is happening, across entertainment for young audiences, and places an even greater emphasis on practical business insights. Our ambition is to help the industry not only understand what’s changing but learn from the companies already driving that transformation. Increasingly, the trends emerging in children’s entertainment are influencing the wider entertainment industry, making MIP Junior an essential forum for understanding where the future of content is headed.”

Reflecting MIP Junior’s broader editorial scope and more practical business focus, programme highlights include:

MIP Headliner: Gregory Dray, Co-Founder, Animaj and Chairman of LUMEE – Embracing a New World: Reinventing Legacy IP for the Digital Generations

One of the industry’s leading next-generation media entrepreneurs, Gregory Dray will explore how nextgeneration studios are reinventing legacy IP for digital-native audiences, redefining audience engagement and building global entertainment franchises.

Gregory Dray, Co-Founder, Animaj, and Chairman of LUMEE added: “Understanding young audiences today is essential to building the global entertainment brands of tomorrow. As our industry reinvents how IP is created, produced, distributed and eventually monetised, MIP Junior is the pre-eminent forum for bringing together the global kids and family entertainment community to share ideas and explore the trends and business models that are not only reshaping our sector, but increasingly shaping the future of the wider media and entertainment industry.”

The Kids Content Business in the Affinity Economy

Renowned media strategist Evan Shapiro will present exclusive new data and insights into how families and children consume content, examining the commercial models emerging in an increasingly fragmented media landscape and what they mean for the future of kids and family entertainment.

Kids Content Trends Watch: A Year-End Market Snapshot

Ampere Analysis Senior Research Manager Cyrine Amor will provide an essential overview of the global kids’ content landscape, examining production and commissioning trends, broadcaster and streamer strategies, shifts in AVoD, and social media, and what the latest data reveals about the world’s leading kids’ YouTube channels and content owners.

Next-Gen Viewing: Trends Shaping Children’s Content

Glance Senior Research Analyst Romy Nicolas will explore how viewing habits evolve from preschool through kids, tweens and teens and how young audiences are engaging with stories across multiple platforms, examining what changing audience behaviours mean for content strategy, commissioning and distribution, while highlighting the trends and strategies driving the next generation of global children’s hits.

Through practical case studies and commercial examples, delegates will explore how emerging technologies, evolving audience behaviours and new business models are transforming the way kids and family entertainment is created, financed, distributed and monetised.

Held immediately ahead of Mipcom Cannes (12-15 October), MIP Junior is expected to welcome approximately 900 delegates from over 60 countries this October, which attracts more than 10,600 delegates from over 100 countries and remains the world’s leading international marketplace for entertainment content.

La entrada MIP Junior Unveils 2026 Programme Exploring The Evolving Business Of Kids, Tweens & Family Entertainment se publicó primero en TTV News.