In the following interview with ttvnews, Begoña Esteban, Head of International TV Sales and Acquisitions at Pink Parrot Media, explains what type of content the company is seeking for its catalog in the international market.
In an industry as constantly changing as entertainment, it is imperative to stay one step ahead of the latest trends and understand what the international market is demanding in terms of content.
With this goal in mind, ttvnews presents the initiative Buyers: What Are Buyers Looking For?, in order to gain first-hand insight into the programming needs of buyers from around the world.
On this occasion, we spoke with Begoña Esteban, Head of International TV Sales and Acquisitions at Pink Parrot Media:
What content would you highlight among those that performed best for the company in 2025?
In 2025, family animation content that combines strong writing and animation, humor, emotion, and visually appealing worlds performed particularly well.
Momonsters, the Movie and Momonsters: The Christmas Movie enjoyed an exceptional reception thanks to their optimistic tone and colorful, fun, endearing characters. These films, based on the series of the same name, have already connected with preschool audiences in more than 70 countries and boosted opportunities in licensing and consumer products.
Go Fish+ also stood out as a series set in the New Coralton reef, featuring everyday adventures filled with humor, wit, and teamwork, promoting values such as friendship and curiosity through soft, highly accessible stories.
Another title that received strong acclaim was My Brother the Monster, an emotional story whose sensitive approach and strong, determined, authentic protagonist resonated particularly well with audiences.
Aligned with our focus on socially meaningful content, we invested in Louis the Piglet, a series in which the protagonist is bullied by his cousin for being different. This title addresses bullying through a warm, constructive lens, showing how Louis learns to confront it with courage and the support of his friends.
All these titles have seen increased international demand, confirming the interest in universal, warm, and original stories.
What type of content is currently most in demand by your audience?
Today’s audience shows a clear interest in feel-good content: colorful, emotional, and full of values, humor, and magic, with creative problem-solving at its core.
A clear example of this demand is our film Unstable, a hilarious comedy combining humor, action, and a deeply emotional relationship between a betrayed police horse and a girl who dreams of having a pony. The story of Bravo —reluctantly renamed Princess Lady Boots— perfectly captures what audiences are looking for: lovable characters, quirky situations, and an emotional arc that celebrates empathy, friendship, and redemption. Production will wrap next year, and it has already been presold in more than 20 territories —including the Baltics, Bulgaria, Canada, CIS, Czech Republic, Hungary, Israel, the Middle East, Poland, Turkey, the United Kingdom, and the United States— demonstrating its international appeal.
In the same line of emotional, accessible, and visually appealing family stories, Bottanix also stands out. The film will be completed in early 2027, and follows Daphne and Merlin, siblings who discover that swindlers are trying to manipulate their great-grandmother Greta to steal a mysterious treasure. With help from the Bottanix —kind magical creatures of nature who keep her eternally young— the children embark on an adventure that promotes openness toward others, the value of intergenerational bonds, and a healthier lifestyle. Bottanix has also confirmed global interest in this type of story, having been presold in the Baltics, Belgium, Bulgaria, Canada, CIS, the Czech Republic, Germany, Israel, the Middle East, Mongolia, Poland, Spain, and Ukraine.
Stories featuring creatures or animals continue to stand out as well, as demonstrated by the success of Momonsters, the Movie and Momonsters: The Christmas Movie.
Although some players continue relying on highly recognizable IPs to minimize risk, there is growing awareness that repeatedly using the same brands may saturate schedules. In the end, audiences reward what feels authentic, fresh, and emotionally close.
What types of content or formats will the company be looking for at industry events?
At international markets, we look for films and series with a strong identity, meaningful messages, and a level of writing and production aligned with the standards of our parent company, Carpediem Film & TV.
We are particularly interested in projects that offer family entertainment with heart, memorable characters, and clear potential to travel internationally.
In this line, within our film division we have incorporated titles such as Tistou, based on a classic of French children’s literature blending fantasy, ecological sensitivity, and an inspiring message. We have also added Lotte & Totte, a Danish 2D film based on a successful series of books, addressing friendship and adaptation through a warm, universal lens. Both stand out for their refined aesthetics and solid connection with audiences across various regions.
This year, Pink Parrot Media expanded beyond its children’s focus with Black Butterflies, an animated documentary film that tells the real stories of three women forced to migrate due to the effects of climate change. Produced by Edmon Roch (Tad, the Lost Explorer) alongside director David Baute, the film combines a deeply researched documentary foundation with traditional animation, which powerfully conveys the human drama behind the climate crisis. Black Butterflies has received significant recognition, including the Goya Award for Best Animated Film (2025), as well as the Platino Awards, Gaudí Awards, and Quirino Awards for Best Animation, plus support from the United Nations—reinforcing its artistic and commercial value.
Next year, we will continue this strategy with Butterfly Academy, an adventure series featuring smart humor and high-quality 3D animation, developed by the same artistic team behind the film Butterfly Tale.
At industry events, we will continue seeking high-quality, emotionally accessible, globally exportable children’s and family content. For preschool audiences, we are interested in series like Sleepy’s Dream Team, featuring short episodes, a gentle tone, and carefully crafted animation, with scripts designed specifically for preschoolers and conceived for multiple distribution windows.
We will further strengthen the 6+ segment with family content that blends humor and adventure while delivering surprises. We prioritize projects with multiplatform potential, capable of expanding into streaming, digital clips, apps, social media, or complementary experiences.
Where do you see the greatest growth potential for the company today, and how does this reflect in your programming strategy?
We see major growth potential in expanding our international catalogue of family animation, especially content for audiences aged 6 and up, with positive stories, smart humor, and characters who can become role models for young viewers.
We also identify a clear opportunity in properties with franchise potential, designed to live across multiple platforms and build brand presence beyond linear distribution. The rise in digital and mobile consumption requires flexible, accessible, multiplatform projects that reach audiences where they are.
Our strategy focuses on developing content with strong narrative, emotional, and aesthetic value, capable of evolving coherently within a long-term vision.
Is there any market trend you are currently following closely?
We are paying close attention to the demand for series that travel well internationally: visual humor, universal values, soft adventure, and clear emotional arcs. We look for narratives that provide emotional well-being, friendship, and creative solutions, as families today seek safety, optimism, and comforting entertainment.
We also closely follow projects designed to function within multiple ecosystems —streaming, digital clips, casual games, social media, podcasts, or derivative experiences— understanding that today the value lies not only in the series itself, but in the full ecosystem that surrounds it
