Category Archives: People

Aardman promotes Rob Goodchild and Alison Taylor to new director roles

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The independent animation studio, Aardman, has promoted Alison Taylor and Rob Goodchild to the positions of director of distribution and business development and commercial director, respectively.

These newly created roles in the sales and marketing arm of the business form part of a departmental restructuring to consolidate all the studio’s sales, marketing, and brand management expertise. Both Taylor and Goodchild will be central to providing market insight, financing, distribution and licensing for Aardman’s portfolio of brands.

In her new role, Taylor will be responsible for driving the financing, distribution and long-term content exploitation strategy for each brand. She joined the firm’s broadcast and development department in 2004, where she advanced through the sales team before being promoted to head of sales and acquisitions in 2016.

Since then, Taylor has led the international distribution team and is responsible for global distribution of Aardman’s own award-winning series such as Shaun the Sheep and Timmy Time, along with third party distribution for children’s properties such as Digby Dragon(Blue Zoo Animation) and Brave Bunnies(Glowberry / Anima Kitchent) across all content platforms.

Taylor also played an integral part in securing Aardman’s first Original with Netflix, Robin Robin, with financing content for new and existing brands being a key part to her new role.

Meanwhile, Goodchild joined Aardman as UK licensing manager in 2008 before progressing to head of licensing. In that time he secured major partnerships for all of Aardman’s key brands supporting global business growth, particularly in Japan and China, as well as working to deliver innovation-led projects such as The Big Fix Up, a new Wallace & Gromit immersive story told through AR (augmented reality) in collaboration with Fictioneers.

In his new position as commercial director, Goodchild will assume strategic responsibility for the selling and marketing of the studio’s services including third party commercials and short films, the rights exploitation for all Aardman brands, and defining new business opportunities such as the development of IP and animated content for third party brands, theme parks and attractions.

He will be tasked with delivering revenue across different categories and markets, influencing growth in key territories across Europe and Asia. Goodchild also directs the development of Aardman’s branded interactive business, working to increase its presence in the gaming space and with pioneering companies to grow the studio’s output in new technologies including AR and Blockchain.

Both will report to Sean Clarke, managing director at Aardman.

Clarke said: “Behind each of our beloved brands is a wealth of knowledge across rights, distribution, sales and marketing that, over recent years, has allowed us to start very successfully representing third party brands in addition to our own IP.

“The restructuring of our sales and marketing arm is the natural next step in maximising this industry-leading expertise, to continue to realise the full potential of Aardman’s IP alongside developing our studio service work for third party brands. Alison and Rob will make a formidable partnership, working alongside Lucy Wendover who will continue to lead the Marketing and Brand team.”

Upcoming Aardman projects include the recently announced Robin Robin, a half-hour, festive, musical tale coming to Netflix in 2021, and a Shaun the Sheep half hour special also for Christmas 2021.

In autumn of this year, the studio will launch Wallace & Gromit: The Big Fix Up, a brand-new AR immersive experience created in collaboration with Fictioneers backed by funding from UK Research & Innovation (UKRI). Rendered in CG using the latest technology, fans will be able to interact in a host of new ways and get closer than ever to the iconic duo.

WildBrain Spark appoints new vice president and head of US advertising sales

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WildBrain Spark, the digital media division of  the independent kids’ and family entertainment units, WildBrain has named Charles Gabriel its new vice president and head of US advertising sales.

Gabriel brings over 15 years of experience in digital advertising to the role aimed at expanding WildBrain’s digital AVOD sales efforts to its current partners, US media agencies and US brands reaching kids and families.

Over the course of his career he has built and led sales organisations inside major media companies like AOL and Disney and growth-phase startups alike. Gabriel, based in Los Angeles and New York, reports to Jon Gisby, managing director, WildBrain Spark.

“WildBrain has secured its position as a leader in premium content for kids and family audiences across linear broadcasting and SVOD, and WildBrain Spark has become one of the segment’s largest AVOD networks on YouTube,” said Gisby. “Now, we will amplify our AVOD business globally with direct ad sales. Charles’ extensive track record is perfect for WildBrain Spark as it enters this new growth phase.”

WildBrain Spark is the integrated marketing and digital network within WildBrain, the award-winning entertainment company that owns iconic IP like Peanuts, Inspector Gadget, Strawberry Shortcake, Teletubbies, Caillou, and Yo Gabba Gabba!, among others, and produces premium series like Primetime Emmy Award Nominees Carmen Sandiego for Netflix and Snoopy in Space for Apple TV+.

With over 168 million subscribers globally and over 21 million unique monthly viewers in the US, WildBrain Spark has a market-leading position in the kids’ space on YouTube, reaching over 40 per cent of kids under 13 in the territory.

“I’m excited to join WildBrain Spark to lead the growth of US Advertising at the moment when the kids AVOD sector is being shaped, streaming is at its highest, and family connections are more important than ever,” said Gabriel. “In the kids and family category, AVOD is essential for brands to reach consumers and WildBrain Spark is uniquely positioned to deliver.”

WildBrain Spark was established to bring premier entertainment to kids and families worldwide and works with many major studios, IP owners and toy companies, helping brands such as Fireman Sam, Polly Pocket, Woody Woodpecker, Popeye, LOL Surprize!, and Playmobil to connect with viewers.

WildBrain Television appoints Katie Wilson to the role of VP channels and curation

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WildBrain Television has appointed respected industry executive Katie Wilson to the newly created role of vice president, channels and curation.

Wilson will be responsible for curating content and providing editorial direction across WildBrain Television’s Family Channel, Family CHRGD, Family Jr. and Télémagino and its multiplatform/VOD extensions. Wilson joins WildBrain Television following six years as Director of Programming, Kids, at Corus Entertainment.

Based in Toronto, Wilson will report to Deirdre Brennan, executive vice president of content partnerships at WildBrain Ltd.

Brennan said: “Katie has a remarkable track record in delivering successful content and platform strategies and this expertise, combined with her talent for building strong teams and partnerships, will make her a vital part of the content management team at WildBrain Television. I look forward to working closely with Katie to drive viewer engagement for our channels as we continue delivering best-in-class programming for Canadian families.”

Central to her role, Wilson will spearhead WildBrain Television’s content acquisition and original production programme. Working closely with WildBrain’s global content, distribution and brand teams, Wilson will also provide critical strategic insights for the company’s core business of creating engaging entertainment for kids and families worldwide.

Wilson said: “I am thrilled to join WildBrain Television and excited to work with such an internationally respected team. As someone deeply committed to engaging and entertaining kids and families, I look forward to connecting with Canadian audiences and to also helping drive global opportunities for outstanding local content.”

Previously, as director of programming, kids, at Corus, Wilson’s remit included commissioning original content and overseeing programming strategy across the company’s flagship kids’ networks, YTV, Treehouse and Teletoon.

She also oversaw the management and scheduling across partnership channels, Nickelodeon, Cartoon Network, Adult Swim and Disney Channel in Canada. Wilson was elevated to the director role at Corus in 2014, after serving as manager of programing for Teletoon from 2010, where she managed programming across Teletoon, Télétoon, Teletoon Retro and was integral in launching Cartoon Network Canada.

Licensing chatter: 10 questions with Riverside Brands’ Ashley Holman

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In these unprecedented times for the global community, it’s nice to keep connected – and for an industry as reliant on peer to peer networking as the licensing business, maintaining those connections with our industry colleagues is paramount. That’ why Licensing.biz is kicking off a new series of interviews to get to know a bit more about the people driving it forward.

Continuing our Licensing Chatter interview series, we catch up with the founder of Riverside Brands and Licensing.biz Power 50 alumni, Ashley Holman

Hello Ashley, hope you’re staying safe and well! to kick us off, can you tell us how you got into the licensing business?

I’m one of the few people that actively looked to get into licensing from the outset. While studying for a degree in Marketing at university I was introduced to a number of people by my father in all sorts of industries from Banking to Specialist Ship Insurance Brokering. One introduction was to David Scott from Rainbow Productions who invited me for a beer with Ian Downes from Start Licensing and himself one half term…

They gave me an overview of the industry, the different roles that existed and how it all fitted together as an industry. Following a visit to Brand Licensing Show Europe in 2003 as a visitor I was amazed at the scale of the industry and the size of the commerce but at the same time the fun nature of the subject matter …….(including the Roy Lowe & Son boys walking around in Elvis suits for good measure).

I then knew that it was licensing over insurance for me… Following my graduation, I then managed to secure a role selling advertising into the industry with LicensingPages which gave me a great network and experience before a stint at Coolabi in my first licensing role. From there I moved to Nickelodeon where I had various licensing roles over a 12 year period before setting up Riverside Brand at the end of 2018.

That must have given quite a varied perspective of the industry – what have been the biggest changes you’ve seen in the space over that time?

I’ve spent most of my career in the kids’ space of the industry and the main shift there has been the sheer level of competition. Previously for kids content, consumer products was seen as the icing on the cake commercially but now with so many shows, so many different platforms, CP is a core revenue driving element to a kids IP from the outset.

More day to day in the workflow; retail is now the first element to onboard, with licensees then much more likely to partner once they know there is demand. This is in contrast to around 2005 to 2007, when it was a much more licensee first approach.

What then Ashley, has been the proudest moment of your career to date?

The day I got the Companies House registration certificate for Riverside Brands Limited. Setting up my own business is something I have wanted to do since the very first moment I started my career and I came very close a number of times over the years in doing it, however to have finally taken the plunge and received the industry support that I have been lucky enough to have been afforded has been incredible and I am truly thankful.

Have you got a favourite licensing deal/partnership on the CV – what makes it stand out for you?

Tough one to answer this as I have been fortunate to work on a number of great partnerships from multi-million dollar strategic partnerships which are exciting to be a part of, to smaller yet innovative ones too. A couple that stand out have to be:

My first deal at Nickelodeon was for a range of SpongeBob Real Musical Instruments with John Hornby Skewes and Sons. It was their first foray into licensing, it went on to win a number of awards, was a great commercial success for both them and Nickelodeon and they were still a partner nearly 12yrs later when I left…

Of course, the first licenses which I signed as Riverside Brands on behalf of ZURU for its brand Rainbocorns were very special too which were with Danilo, Fashion UK and Roy Lowe & Sons. I am grateful for their support so early on and the other partners that are now onboard with all the brand I work on.

What are some of the biggest hurdles the licensing business is facing at the moment?

Given we are in the midst of frankly an unbelievable moment in time, aside from the immediate issues of stores being shut, the longer term impact is likely to be the reduction of support of new/smaller brands in or coming to the market. Retailers will likely be incredibly risk adverse for a considerable period of time as they look to rebuild themselves. This will have a big impact into the licensing world with IP that perhaps would have been given shelf space, now likely to get a reduced opportunity to show it can work.

Therefore online will become even more important to get right to ensure you stand out from the crowd.

What conversation do you think the industry needs to be having right now?

Aside from the obvious of when will stores re-open, it will be around how do all sides involved work together with fairer commercial terms for all to ensure everyone can survive the coming 18months or so.

No one knows what the full impact will be or when things will be ‘back to normal’, if indeed they ever do so open dialogue will be key.

Retail is one of the biggest topics of talk at the moment – what do you think the future relationship between retail and licensing looks like?

There is always the balance between own brand/label and licensed brands and the margin mix buyers try to achieve between the two. However there is no denying that with the right brand, you will sell more of the same generic product so it’s about better partnerships between all those involved which is a term that gets thrown around a lot but if done properly will ensure there is a great long term relationship between retail and licensing for years to come.

If retailers get burnt time after time after a ‘big sell in’ and promise, then licensed space will only get less and less.

What would be your dream brand to work with or licensing deal to establish?

If I could work on Peppa Pig / Hey Dougie and Fireman Sam / PJ Masks right now, then I would be a hero in my household. Failing that, there are a number of gin licensed deals being done at the moment so I’d love to get a partnership away in that category… not just because I’m a gin fan, of course.

What is the best part of your job?

We get to talk about fun things like cartoons and toys, yet it is part of a huge commercial industry where no two days are the same. I love working on bringing products to market through a great working partnership between the brand owner, licensee and retailer and ultimately seeing a child’s joy through the product they are using / playing with. That gives great satisfaction.

What advice would you give to anyone starting out their career in licensing?

The industry is really welcoming and there are a lot of people out there that will offer you great advice and help you as much as they can (as they did for me all those years ago) so don’t be afraid to ask.

Also, put yourself out there as much as you can, this is a very sociable and close industry. Hard work gets rewarded but be patient and try and get involved and learn as many of the different aspects to the business even if that is informally from colleagues and peers as it’ll give you a greater perspective of the way it all fits together.

Finally, you’ve got to enjoy what you do otherwise you’ll never be good at it if you don’t.

Opinion: “COVID-19 isn’t the culprit, the truth is: we are” – Russell Dever

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The virus is redefining us as a nation. I am seeing kindness and caring on a scale that I have never witnessed and that is heartening. But let’s not forget that past this crisis there is still a much, much, bigger one playing out and yes, we are just as much in that together as we are now.

Sitting in my study looking out over a timeless landscape that has not changed much since there was a Roman Villa on the rise of the hill opposite, you could be forgiven for thinking that everything is alright with the world. Just three miles away from where I am writing is reputedly the smallest church in Yorkshire. It was the Parish church of the village of Led, a medieval village that disappeared off the face of the earth at the time of the great plague. I think you know where this is going….

The Great Plague was the last major epidemic of bubonic plague to occur in England between the years 1665 to 1666. It originated in China.

Between January 1918 and December 1920 we suffered another pandemic the H1N1 Virus we called the Spanish Flu. A misnomer as it also originated in China.

I am not picking on China, but it is not a coincidence that the current pandemic of COVID-19 also originates there. The speculation being that traditional live markets bring humans into very close contact with animals in such a way that viral infections like Bubonic Plague and Corona Viruses such as Spanish Flu, Bird Flu, SARS and the rest effectively ‘jump,’ from the animal kingdom into the human world.

This time, this particular epidemic has brought the developed world to a screeching halt and in a way that has reminded me of what happened to the village of Led in the mid 17th Century. We have seen that the virus brings with it economic collapse, devastating the foundations of society, the isolation of millions across the globe and for some poor individuals an unpleasant death.

Looking at the ‘fall-out’ from the Virus it is not likely that we will recover quickly. Some companies, some industries may not even recover at all, or if they do, it will be a very long and difficult journey. I doubt that this generation of humanity is going to forget the pandemic as the way we interact socially, economically, politically, and as sovereign states will never quite be the same again.

Good. Yes, I do mean that! Because the word that Coronavirus has suddenly displaced from our worldwide newsfeed and collective psyche is ‘sustainability.’

Just a month ago, the associated industries within Licensing, Toy, Games, Apparel, Media, and Entertainment were buzzing around that word. What it meant to develop sustainability. Now it’s all about the Virus and in the short term so it should be. But in the long term, what we are learning from the Virus is just what the worldwide landscape could look like if we do not get a grip and take control of the planet right now. Virus or otherwise. Because what COVID-19 is presciently showing us is just what our world could look like if we don’t.

You won’t have to worry about shortages of toilet paper because in the extreme, society will have broken down and collapsed to the point where there won’t be a sewerage system. There simply won’t be enough people to run what we have come to regard as normal civilised society.

That is because the entire infrastructure of the planet is already right on the very brink of collapse and COVID-19 is giving you a taste of what that world looks like and its terrifying.

This time will pass. The flu Virus will mutate as it has done in previous decades, scientists will find a suitable vaccine, it will be defeated. But when we all come out of forced hibernation, will we remember just how devastated we felt? Will we recall that it was symptomatic of our failing ecosystem, that in just a few short years we are facing a threat to our world that cannot be reversed as we will have already passed the tipping point? (As many scientists now believe has already happened in the Amazon Delta. Take some time to read about the Aral Sea, that’s where we are headed…)

So, lets in a very strange way be glad of circumstances that give us the opportunity to experience what life and death could be like in circumstances where we ignore all the warning signs. Yes, we are living in unprecedented times. But this is nothing but a walk in the park compared to what is to come if we do not push COVID-19 to one side and replace it with that word ‘sustainability’ once more.

We have a very tiny window in which we can turn the clock back and bring urgent recovery to the natural world. If our Government can, in a few short days, effectively nationalise the UK payroll it only goes to show what we can do if we set our minds to the urgent task of ensuring that we do not end up like the village of Led. A few almost forgotten marks in abandoned fields with a sad monument to what was once a thriving community of living souls.

The virus is redefining us as a nation. I am seeing kindness and caring on a scale that I have never witnessed and that is heartening. But let’s not forget that passed this crisis there is still a much, much, bigger one playing out and yes, we are just as much in that together as we are now.

Let’s put the word ‘sustainable’ back where it belongs. Right at the very top of our respective agendas. You saved lives and protected the NHS by staying home and staying safe. What more could you do as an individual? more so, what more can we do as an industry to save lives and protect the fragile world in which we live?

Russell Dever is the Managing Director of Those Licensing People, a proponent for sustainable growth and change within the global licensing community.

Mattel takes up arms against COVID-19 as it focuses production on face masks and PPE

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Mattel has become the latest toy company to join in the fight agains the deepening COVID-19 pandemic, dedicating a slice if its production line to face masks in order to meet the urgent demand for medical supplies in the US.

In a post across social media, Mattel’s president and COO, Richard Dickson announced the company’s intentions, stating that its design and development teams in El Segundo, California, and East Aurora, New York will be producing face masks from Barbie and Fisher-Price fabric ‘to help meet the significant demand.’

Mattel is also prototyping personal protective equipment, such as face shields, for medical workers – many of which have been faced with the ongoing efforts of caring for those with COVID-19 without the appropriate safety or protective wear.

Mattel now joins a slew of toy companies who have taken up arms in the global fight against the coronavirus in the past week, including the likes of Zimpli Kids and Crazy Aaron who have dedicated portions of their manufacturing processes to the production of hand sanitiser.

Meanwhile, MGA Entertainment’s CEO Isaac Larian launched Operation: Pac-Man to bring supporters together to equip hospitals and healthcare workers with the supplies they need to protect themselves as the global fight against Covid-19 continues.

Speaking of the firm’s own efforts, Mattel’s Dickson, said: “As companies all over do what they can during these uncertain times, we are doing our part. Our design and development teams in El Segundo, CA and East Aurora, NY, are producing face masks from Barbie and Fisher-Price fabric to help meet thee significant demand for these supplies. We are also prototyping personal protective equipment such as face shields for our heroes in the healthcare profession.

“I am inspired by our people at Mattel, as well as the amazing contributions from the toy industry and companies all over the world.”

Sesame Workshop rolls out new content for its Caring for Each Other platform

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Building on its launch last week of the Caring for Each Other initiative, Sesame Workshop is rolling out new content to help families stay physically and mentally healthy as the coronavirus pandemic continues.

Today’s release on SesameStreet.org/caring includes animations on healthy habits, resources providing comfort, and activities that caregivers can use to spark learning in areas like reading, math, science, and more. The animated spots – which will be available in 19 languages – include Elmo’s new Washy Wash song, as well as Sesame Street Muppets learning how to sneeze properly.

New messages of love, kindness, and fun will be posted on a regular basis on Sesame Street social media channels, including Snack Time with Cookie Monster, Singalong with Elmo, Move & Groove with Abby Cadabby and Grover, and Story Time with Alan.

“Sesame Street is there for children and families whether it’s a sunny day or a stormy one, and unfortunately many families are facing unprecedented challenges right now,” said Dr. Jeanette Betancourt, senior vice president of US social impact, Sesame Workshop.

“Through Caring for Each Other, we’re committed to supporting families for the duration of this crisis and beyond – equipping them with the tools they need to get through this together and look to the future with hope and optimism.”

The new animated spots will be distributed through a wide range of partners in the US and globally, including HBO, PBS KIDS and local PBS stations, Univision, the Ad Council, YouTube, Sesame Street in Communities partners, and international broadcast partners.

They will be available in the coming days in languages including English, Spanish, Amharic, Arabic, Bangla, Dutch, Dari, German, Hausa, Hebrew, Hindi, Japanese, Kurdish, Mandarin, Pashto, Portuguese, Rohingya, Somali, Swahili, and additional dialects.

“As families around the world adjust to their new realities, parents and caregivers are looking for help in creating new routines, staying healthy, and fostering learning at home,” said Dr. Rosemarie Truglio, senior vice president of curriculum and content, Sesame Workshop.

“At Sesame Workshop, we’re here to support the caring adults in children’s lives as they help their children navigate these challenging times.”

The Caring for Each Other initiative was launched last week in response to the unprecedented uncertainty facing young children and families. SesameStreet.org/caring will be updated to meet the needs of families as the situation evolves on an ongoing basis, with resources designed to help parents provide comfort and manage anxiety, as well as help with creating routines, fostering playful learning at home, and staying physically and mentally healthy.

Opinion: How will we adapt to a post-coronavirus economy? – Trudi Bishop

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By the time this goes to print the state of the COVID-19 pandemic will be in a very different place than it is now so bear with me.

We are experiencing unprecedented times. The pandemic is not just affecting the health of the global population, but it is also having an effect on the health and wellbeing of the planet as a whole. Due to the various lockdowns we have seen a significant reduction in air pollution over these countries. To give some context (but not wanting to downplay the significance of the pandemic), according to WHO, air pollution kills almost 7million people every year. But this barely gets a mention in people’s conversations or on the news.

Every day our children walk to school they breathe in the poisons from our commuters’ cars (it’s also worth recognising children in buggies are at the same height as a car exhaust) yet we don’t seem to find social media meme’s saying ‘stay safe’ for our kids but simply accept this is how life is.

With the sudden and exponential onset of COVID-19 we are seeing businesses having to rethink their whole way of operating. Working from home has become the ‘right and safe thing to do’. Amazon has stopped all ‘non-essential’ deliveries. With these small changes we will see an immediate positive effect on our children’s wellbeing.

Beyond this, as public events, sports and schools close we will be ‘forced’ to spend more time with each other as families. This may be a little daunting for some, but it can also be seen as an opportunity. We have the chance to reconnect with our children and allow life to slow down to really think on what is important. As the UK is not in full lock down it also allows us to reconnect with, notice and appreciate nature.

The ‘business as usual’ mentality has had to change in light of this tragedy. Attitudes to our consumption behaviour have changed whether through necessity (due to lack of goods) or due to focussing on our health and wellbeing. And despite the selfish act of stockpiling by many people, it has also brought out the good in humanity. We have neighbourhoods looking out for the elderly and housebound by buying and delivering goods for them. Behaviour has changed and it is the more positive results of the pandemic that I hope we can show children on how society really can be.

But what happens once the pandemic passes and business as usual returns? The economic scars could be long and deep. There will be the temptation (as we see in China already loosening rules on pollution) to ramp up production and put the long-term negative effects on the environment aside for short term monetary gain to get us all ‘back on track’.

Surely as we all have to rethink how we work, live and shop, this presents us with the opportunity to make the permanent and systematic shift toward a better future, giving us a very real chance of saving humanity and the precious environment.

We owe it to our children and we owe it to ourselves.

Kelvyn Gardner departs Licensing International’s UK chapter

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Industry veteran, Kelvyn Gardner, has departed from his role as the head of the UK chapter of the industry trade body, Licensing International, it was confirmed yesterday.

Gardner had been the recognised face of Licensing International’s UK operations for the past 12 years and a recipient of a Licensing.biz People Awards Outstanding Contribution to Licensing back in 2017.

In a message issued to Licensing International members, president Maura Regan, said: “We thank him for his many years of devoted service to you, our members, and the industry at large. At the same time, I want to assure you that nothing will change in how we service and support you.”

Regan detailed that Licensing International’s Gisela Abrams and Maria Ungaro will join her in handling day-to-day operations and coordination of all upcoming events on the organisation’s event calendar.

“We are well into our search for local support to best serve this important market, and are confident that we will be able to make an announcement before spring is over,” Regan added.

ZAG bolsters its global licensing and merchandising team

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The global independent animation studio, ZAG has appointed a robust team of experienced executives to expand the company’s licensing and merchandising business.

Kirk Bloomgarden will serve as head of consumer products, Rebekah Belzer joins as senior director, licensing and merchandising, North America, and Eva Rodriguez will serve as director, Latin American Licensing. The announcements were made today by Julian Zag, EVP of Global Operations.

“We are very proud to expand our licensing and merchandising department with such talented and respected people in our industry. Working with such accomplished executives on the strategy for all our brands is an essential step towards our growth, and our main goal – giving to kids and families all around the world a maximal experience with their favourite heroes,” said Julian Zag.

Bloomgarden is a global consumer products industry veteran, working in senior management roles in both Europe and the US. He has held leadership roles in both boutique and multi-national companies serving as CEO of CPLG in London, Europe’s largest licensing agency and SVP at Twentieth Century Fox. In recent years, he has focused on developing new business in Asia, particularly China.

Meanwhile, Belzer will oversee the licensing and brand-building efforts for North America. Rebekah boasts 20 years of retail and consumer products experience and has managed sales and licensing for brands such as Power Rangers, Paul Frank, Pantone, MasterChef Junior, Dwell Magazine. She spent her early career at globally recognised studios including Disney. She has also served at Brand Central, managing numerous lifestyle, fashion and celebrity brands.

Rodriguez most recently worked at Twentieth Century Fox, managing the Latin American consumer products portfolio for major brands such as The Simpsons, Ice Age, andRio, across all categories. In this capacity, she worked with licensing agents on the ground to ensure brand integrity and to expand the consumer products’ program across the region.

The team will lead the development and execution of the worldwide consumer products strategy for all of the properties under the ZAG Heroez label – an umbrella brand franchise that brings together the superheroes from ZAG’s animated properties.

ZAG’s flagship brand, the global phenomenon, Miraculous™: Tales of Ladybug & Cat Noir, sold over 100M products during the past three years with seasons four and five currently in production as well as a major theatrical release.

A new toy line from Playmates Toys for Power Players recently debuted in the US. Power Players currently airs on Cartoon Network US and in key territories across EMEA and Asia Pacific, and is available for streaming on Netflix.

The series is also set for debut on France’s France Télévisions, Germany’s WDR, Brazil’s Gloob, and Discovery Latin America.  The company’s newest property, Ghostforce, is currently in production for Disney Channel EMEA, TF1, and Discovery Kids Latin America.