Tributes have been paid en masse from across the industry to ‘one of licensing’s brightest stars and biggest hearts’, Kelvyn Gardner, who very sadly died unexpectedly yesterday morning (January 26).
As the tragic news broke throughout the evening, members from across the global licensing community were moved to share condolences and memories of the greatly respected and much-loved ‘king of licensing’ who died of a heart attack this week.
The founder of Asgard Media and the long-time managing director of Licensing International UK, as well as an active member of the Light Fund committee, Kelvyn will be remembered as a source of inspiration, friendship, and support to many across the industry.
Kelvyn’s wife, Michelle, alongside his daughter Regan and son Eliot shared the news yesterday evening. Michelle also posted a message to the social media platform, LinkedIn to relay the news to the extensive community of friends and colleagues that Kelvyn had built around him over his lifetime in licensing.
“It was almost instant, he had tingling pains in his arms and felt a slight pain in his chest,” she posted. “I was getting dressed to take him to emergency as I wasn’t happy with what was going on, when he fell back and started not breathing properly. I called 999 and was on the phone while doing heart massage (cpr).
“The ambulance took only ten minutes to arrive, where they worked on Kelvyn for about an hour. Although they were extremely kind, saying they were taking him into MK Hospital where the resuscitation team was waiting, myself, Regan & Eliot (his children) knew that he had passed away.
“As I am typing this I just cannot tell you how we feel we are at a loss… It was Kelvyn’s 66th birthday on the 22nd of January 2021 and was going to be our big wedding anniversary 40 years… we had joked that he wouldn’t know one end of a ruby if it bit him, so I think I might have got some ruby coloured Warrington gear!
“Please feel free to get in touch, as Covid is so crap you know that funerals are 30 people, so in time we think a memorial service in its stead (Covid notwithstanding) – Michelle Gardner.”
Michelle’s message and the sudden shock of the news has prompted a mass outpouring from an industry enchanted by a man for whom licensing and the people within it was a way of life.
In the tributes that continue to be paid to him, Kelvyn has been remembered as the “brightest star and biggest heart in the licensing industry” as well as a ‘familiar and friendly face of the licensing industry; a genuine man who always had time for a chat. He will be missed by all who had the pleasure to know him.’
From the early days in the licensed collectables space with Merlin through his career with Licensing International UK and in the latter years with Asgard Media (his own award-winning business that he maintained throughout) as well as his Living with Licensing Podcast, Kelvyn had been the voice of the industry.
A friend to all in the business, Kelvyn has always been a constant source of support and inspiration to us at Licensing.biz; our conversations always characterised by laughter, his sharing of great insight and depth of knowledge, and is ability to ever be forward-looking.
A true embodiment of the licensing community he helped create, Kelvyn will be deeply missed by all within it.
Kelvyn’s family have requested that no flowers are sent, but anyone who would like to get in touch can do so by writing to Pendragon House, Wicken Rd, Deanshanger, Milton Keynes, MK19 6JR.
Michelle, Regan, and Eliot are to advise on which charity they would like people to donate to in Kelvyn’s honour.
The British game show brand, Bullseye, has made a donation to a charity supporting victims of crime in England and Wales after footage from the show featuring the convicted serial killer, John Cooper, was used in the production of the ITV series, Pembrokeshire Murders.
As a part of its deal with ITV, Bullseye ensured that its licensing fee for the use of the footage was donated to Victim Support, a charity that helps victims of crime to feel safer and find the strength to move beyond crime.
The three-part ITV miniseries, Pembrokeshire Murders, documents the real-life investigation that led to the eventual arrest of John Cooper for a strong of murders in the Pembrokeshire area. Early investigations had discounted Cooper as a suspect due to his appearance not fitting the police artist’s initial impression of the suspect.
However, Cooper was later convicted when investigating officers recognised him from his appearance on the British game show, Bullseye.
Bullseye creator and brand owner, Andrew Wood and his family were horrified to learn of the connection between the show and the serial killer. When the producers of Pembrokeshire Murders requested permission to use the content in the ITV drama, an agreement was reached that a Wood would charge ‘a significant fee for the clip’ all of which would be donated to Victim Support.
“We were appalled to find that a serial killer had appeared on our show and never wanted to benefit in any way from the footage,” said Wood. “But to be able to donate the fee for its use in the ITV series to Victim Support goes some way to helping those who have suffered at the hands of criminals.”
Bullseye remains a favourite among viewers in the UK and further afield and Bulldog Licensing, which manages the rights for the brand has built a successful consumer products programme for the property, spanning categories such as gifting, publishing, apparel and accessories and is in conversations with potential licensees to further expand the offering.
Rob Corney, MD, Bulldog Licensing, added: “We’re pleased that the team at Bullseye were able to create some good from such a terrible situation and offer much-needed support for victims of crime as a result.”
Major changes are taking place across both the licensing and retail landscapes, and it’s not all driven by the pandemic. Yes, the arrival of the coronavirus on a global scale has influenced some sweeping evolutionary moves for businesses the world over, but it has only acted as a facilitator of the inevitable changes that were upon us.
Here, John Taylor, VP Northern Europe and MD UK and France at WildBrain CPLG talks us through a selection of the biggest trends he believes will go on to define the year 2021.
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With 2021 underway and the industry navigating changes to the licensing and retail landscape brought on by the global pandemic and other forces, I’d like to explore five key trends that we at WildBrain CPLG expect to see this year and what we think they will mean for brand owners.
Sustainability accelerates
For several years, the licensing industry has been discussing how we can make our business better for the environment, and how we can play a part in protecting our planet for future generations. There’s been significant acceleration in this area and a clear shift in priorities, with sustainability now an urgent focus for many businesses.
Plans for developing more environmentally conscious products and packaging are being worked into licensing agreements, which is an extremely positive step.
Some good examples we’ve seen include The LEGO Group pledging up to US$400 million over three years to accelerate its sustainability and social responsibility initiatives, and Hasbro phasing out plastic from new toy and game packaging.
I anticipate we’ll also see more brands making sustainability a focus not only in product development, but also in marketing activities. Last October, our partner Peanuts Worldwide launched a fantastic multi-year initiative called ‘Take Care with Peanuts’ as part of the brand’s 70th anniversary celebrations.
The campaign directly draws from Charles Schulz’s beloved comic strips and reminds all of us to be good global citizens, with caring for nature and the environment forming a key part of this. The response has been overwhelmingly positive and we’re looking forward to delivering great licensing partnerships which uphold this ethos to support the campaign.
I’d also like to extend a huge congratulations to Helena Mansell-Stopher, CEO at Products of Change, for her work in pulling together the first Sustainability in Licensing Conference last year. It’s clear the licensing industry is committed to doing more to protect our planet, and seeing everyone come together to share ideas and knowledge was really inspiring.
Supporting retail innovation
Retail has always been a huge part of my career, and I have great respect for all those working in the sector – I still find myself tidying shelves and rearranging displays when I’m out shopping! It used to be that the industry would only assess the state of the retail landscape on an annual basis, which then became every quarter as e-commerce began changing the way we shopped. Now, with the current pandemic, retail is being discussed in the news on an almost daily basis.
Given the pace at which the retail landscape is changing, its important the industry comes together and works closely with retailers to ensure we understand their challenges, needs and ambitions. Now, more than ever, licensors and licensing agents need to provide the innovation and tools required for retailers to stand out and keep their customers coming back for more.
Navigating through COVID
While we can look to the horizon with optimisim, there is little doubt that COVID will still be affecting the industry throughout the year – particularly when it comes to forward planning and strategies. This pandemic has highlighted how important it is for brand owners and retailers to have not only a Plan A, but also Plans B and C and beyond, which gives them flexibility to effectively react and adapt to changing circumstances. These plans should be centred around aspects of the business they can control and where possible be informed by data and insights.
Consumer buying habits have changed significantly, from both where they are buying and what they are looking for, so staying on top of purchasing behaviours and trends will be very important. Sound contingency plans will ensure businesses of all sizes are equipped to face whatever surprises and opportunities may arise.
Shifting consumer habits
With a lot of the population spending much more time at home, we’ve seen notable changes in the types of products consumers are seeking out. Unsurprisingly, there’s been a big spike in home improvements and renovations as people make their surroundings not only more functional, but also more comfortable.
Licensing has seen positive benefits from this shift in purchasing, with growth in the homewares category and also in toys and games as families spend more quality time together. The World of David Walliams, for example, has shown huge growth for us this year with the brilliant collection from University Games.
Many new licensing opportunities are also opening up due to the increased time spent at home. Brand owners are exploring categories they previously had not considered or which may not have been a priority. For example, we recently secured a deal on behalf of Osprey London for a garden furniture range, which wasn’t in our plans at the start of 2020. We’re also in discussions with many other potential new licensees who have never ventured into homewares licensing before, but are starting to see the value of this revenue stream and now want to jump into our world.
Streaming brands blossom
As we’re not expecting any tentpole movie releases until later this year, streaming is currently winning the attention of audiences. The growth of streaming has opened up some exciting retail and licensing opportunities for key titles available on major platforms. We’ve been blown away by the demand for merchandise from streaming shows in our portfolio, such as Sony Pictures Consumer Products’ Cobra Kai and The Boys – both major hits that made ‘most watched’ lists in 2020. In early 2021, we’re bringing fans products from such brands that they’ve been eager to find, and we’re excited to see how the industry capitalises on the potential these type of properties offer.
Whatever 2021 has in store, this is definitely going to be a year businesses need to unite and support the whole licensing chain. Here’s wishing everyone a healthy and brighter year ahead.
The environmental awareness platform, Wastebuster has partnered with Products of Change to bring together a cross-sector of stakeholders to share knowledge, resources, and finance, to develop an efficient, environmental, and sustainable means of recycling plastic toys.
In partnership with EPPIC (Extended Plastics Partnerships for Innovation in Circularity) the programme will operate under the title Recycle to Read and will engage consumers to recycle their toys (including small electricals and textiles) and to reward participating schools and communities with books and reading resources to improve literacy.
The programme aims to provide an industry-wide solution for recycling all plastic toys while providing a platform for consumers to engage with easily. It will look to co-ordinate toy, tech, and textiles ‘Take Back’ collections in retailers, schools, and household recycling centres across the UK.
As it builds it will look to unlock considerable social, economic, and environmental benefits for the communities in which it operates.
The programme also provides research and industry insight into toy design for recyclability, to support the move towards a more circular future for toy production.
Collected plastic toys will be recycled into new products, such as construction boards, outdoor furniture, or playground equipment. Any plastic toys suitable for reuse will be recirculated by charity partners. The project will drive a nationwide call to action to ‘Recycle Right’ and promote the Toy Take Back linked to the Recycle to Read rewards programme across schools, retail, brand, toy, and publishing partners.
By bringing together a critical mass of cross-sector members, Recycle to Read can deliver a recycling system for toys that benefits its members, society and most importantly, the environment.
Developed by Katy Newnham, founder of Wastebuster, the Recycle to Read campaign and its Toy Take Back initiative is being billed as a ‘dynamic research programme’ and the “start of the creation of a circular and sustainable future for toy production.” The programme will be a multi-stakeholder collaboration that spans industry, government, and consumer networks.
Already 40 companies and 70 local authorities have taken steps to become a part of the programme, having taken part in a special roundtable webinar last month.
“We believe in the power of collective impact,” said Newnham. “By coming together, brand owners, toy manufacturers, retailers, publishers, recyclers, governments, schools, and consumers, we have the ability to work together to share intelligence and resources to create a workable, long-term, sustainable solution to plastic toy recycling.
“The real power of the Recycle to Read/Toy Take Back programme is in collective impact. We all have a role we could play to support this important project and the move towards not only creating a more sustainable future for the toy industry but educating and empowering a whole generation to act as responsible consumers.”
“There is no time like now to change the future of the toy industry. Acting as a responsible business is no longer a ‘nice to have’. It is a commercial necessity and environmental imperative. We can turn the dial for a whole generation, to promote and enable responsible consumption and production. Let’s make this a good news story for industry, for children and for the planet. Let’s work together to do that.”
Helena Mansell Stopher, director of Products of Change, added: “Products of Change is extremely proud to be working with Katy and her team to bring a fully circular solution to toy recycling in the UK, to be rolled out internationally over the coming years.
“For an industry to be part of actually building an infrastructure of this magnitude, to also be linked to rewarding schools to positively effect children’s literacy, is pretty phenomenal.”
Among those to have pledged their support to the campaign as founding members is Immediate Media.
“We hope it will bring the whole toy industry together to help create a recycling ecosystem for plastic toys at the end of their useful life and generate a momentum of its own once the word of the scheme spreads,” said Andy Marshall, group managing director of Immediate Media Co.
Peter Rooke, director of Smart Toys and Games, a member of Recycle to Read, added: “Sustainability in toys is so important for the toy industry.
“The single use and giveaway toy world is particularly under threat and is in the sights of regulators so change must come to that aspect of the industry quickly.
“I fully support the circular economy and for toys, one that is restorative and regenerative by design.”
For more details on the campaign (and to sign up to the next webinar), simply click on this link. You can also contact Simon, on Simon@recycletoread.org to find out how to get involved.
Asterix has marked 2020 as a year ‘of unparalleled’ success during which its latest album, The Chieftain’s Daughter sold more than five million copes around the world, hitting a new record for an Asterix album since the series takeover in 2013.
Meanwhile, the illustrated album Le Menhir d’Or, published in October last year, is about to exceed 15,000 copies sold in France – a record for an illustrated album.
The iconic French comic brand has reported that it has shifted nearly 800,000 copies of albums from its current backlist throughout 2020, marking a five per cent increase when compared to sales through 2019, and 35 per cent more than 2018.
On the licensing side, major operations have been equally successful. Lidl the brand in 2020 for a loyalty program over ten weeks, with new activations already signed off for 2021. In France, Asterix stands as the favourite charcter for boys aged seven to 14, ahead of Harry Potter and in the overall top ten licenses in the country.
Asterix brand owners, Éditions Albert René are now coining 2021 as the year for Asterix as it gears up for the launch of a new comic book album this October, and the debut of a new TV series based on the character Idefix/Dogmatix on France Televisions this September. It will also air on Super RTL in Germany at the end of the year.
Meanwhile, 2022 will see the release of the live action film in which Asterix and Obelix travel to China on an unprecedented adventure in a new movie directed by Guillaume Canet.
Asterix will also be leaving his mark on the gaming space with the planned launch for an augmented reality mobile game this spring, Developed by Hootside, the game will see players take on the role of a young Gaul from the village, and help Obelix find his friends. It’s been billed as an immersive new game that will play a key role in recruiting new fans to the IP.
Given the manner in which Innersloth’s hit mobile and Steam gaming title, AmongUs, has managed to capture the world’s attention over the course of 2020, it was always to be the rather fortunate firm indeed to whom the licensing and toy rights finally fell.
Launched in June 2018, it took a global pandemic to give the free multi-player game the airtime it needed, driven in popularity by a number of high-profile Twitch channels that picked it up as the ultimate antidote to Coronavirus boredom, to officially become the most downloaded game globally of the past year.
Beating other popular mobile games such as PUBG mobile, Roblox, and Call of Duty, AmongUs hit a total of 264 million downloads globally last year. 41 million of those were in the US alone.
The game fired the collective imaginations of gamers the world over and incited much chatter over who – indeed if anyone – would be the company that aligned itself with the sensibilities of its studio, Innersloth, enough to take the game into the physical consumer products space.
Toikido founder Darran Garnham
It came as little surprise then when, only last week, the toy, licensing, and entertainment industry guru, Darran Garnham, declared that the honour had fallen to him and his boundary-pushing, multi-discipline business venture, Toikido.
The big news for everyone keen on tapping into one of the biggest entertainment IPs to have emerged from the 2020 pandemic – and most likely its ongoing 2021 twinned experience – is that, with the global master toy rights to AmongUs, we can expect to see launches across a number of categories, including – “but certainly not limited to” – collectables, figures, plush, play-sets, RC, and more.
The partnership will mark the first for Toikido, a business itself born out of the last year, as it looks to “push the envelope of innovation” in not only the kind of toys and IP it delivers to a contemporary toy industry, but in the way the industry itself operates. From the outset, Toikido certainly appears to be one of the many silver linings that the children’s industry has striven for over the last 12 months.
“Toikido has been born by handpicking amazing people who I have always wanted to bring together,” Darren Garnham, the business’ founder, tells ToyNews. “We’ve developed an ecosystem across many disciplines and skills that are really going to shake things up a bit.”
First and foremost, Toikido will be doing so by partnering with existing studios as well as developing its own brands, games, and content. Secondly, states Garnham, is that Toikido has been designed from the ground up, to push the envelope of what toy companies of the 21st century look like.
“We are a young team and between us have decades of knowledge, strong relationships throughout the industry, and we are trusted,” says Garnham. “It’s a group that includes Grammy and BAFTA winners, inventors, investors, social media, IP and tech experts, and it’s this unique blend of talent and skills that will make the difference.”
A name well-known in the toy, licensing, and entertainment circles, Garnham’s career has seen him attached to some of the biggest companies across the space, including the likes of Nintendo, Pokemon, LEGO, MTW Toys, and Mind Candy as part of the team that built Moshi Monsters into a multi billion-dollar retail business. It’s an enviable CV and one – through his experience with Moshi and a tenure at Universal (where he managed over 4,000 licensees) that has given him the skills needed to run a global IP business.
“I have worked with the very best toy companies, watched how they pitch, what they pitch, how they innovate and where opportunities exist to do things even better,” says Garnham. “I have also been exposed to models well outside the toy industry and this has led us to conclude that there are untried models we can pull from other industries into the toy space and make a real difference to how business is done.”
It’s through a career as diverse as the people and talent he has met throughout it that Toikido begins to be pulled together. It’s not just a team drawing from the toy or licensing industries, but backgrounds working with some of the biggest artists (in both music and social media) in the world.
“This allows us to not only launch toys from different platforms, but also from unexpected places,” he says. “This cross-functional, cross-platform integration and knowledge is one of the things that sets us apart.”
Garnham makes it abundantly clear that Toikido is here to “turn things on their head” in the toy space. A career spent watching innovation in product give way to cost in order to meet the demands of each part of the chain, Garnham wants to prove that “it’s still possible to make amazing products that give each part of the chain what they want without having to drop the quality bar.”
“Retailers want as much margin as possible, licensors as much royalty as possible, but also the best products, and the end consumer wants value for money. The we include R&D costs, marketing, shipping and placement, and compromise and mediocrity take over. This often leads to cheap, disposable toys making innovation difficult,” Garnham says.
“But we will be delivering toys that will be kept and passed down the generations because they are great toys with great play value.”
With a hand in Mediatonic, the wellness app Calm, KidsKnowBest and SuperAwesome, Garnham makes no secret of the fact that he likes to be involved in “fast moving, disruptive companies.”
“I love the journey, the energy, the belief to win,” he explains. “I also like data driven decisions. Research and launch, but don’t be afraid to kill or pivot if required.”
As a result of such mind-set, Toikido will be partnering with kids and family market experts Kids Industries and Kids Know Best as part of its service to partners, utilising the expertise of each to drive the firm’s insight and design strategy as well as targeted marketing initiatives through influencer programmes.
So to write 2020 off as the year we’d like to forget is to do a disservice to the leaps in innovation and forward-thinking that have been taken because of it. The toy industry itself has managed to find a new stride and has given space for opportunities as it has continued to grow during the challenges presented to it.
“Personally, I have taken 50 less flights this year and spent that time with my kids, while the negative knock-on effects for business has been minimal,” says Garnham. “I think we will question the need to spend the first quarter of the year running around the globe from fair to fair. With that being said, we work in an extremely sociable sector, and I can’t wait to bump elbows with friends when we next meet.”
When that will be, who’s to say. In the meantime, Garnham and the Toikido team have enough to keep them busy. Handling toy roll-out for the biggest mobile gaming IP of the past year is no small undertaking, and it’s a tone for the future of Toikido that the team is keen to pitch right.
“We are building a culture that will support our partners, avoid cannibalisation, and as a business, dedicate itself to supporting the shared visions, rather than taking in too many IP and getting distracted,” says Garnham.
“Within the team we have experts in numerous fields, so if the licensor requires, we can help expand IP from one platform to another – bring games into movies, toys into animation, social media talent into toys or music.
“We’re a new type of toy company for a brand new type of world, and we look forward to bringing a number of you on the journey with us.”
The Brooklyn-based indie studio, Somos Arte (We Are Art), the name behind the hit comic superhero franchise, La Borinqueña, has tapped FanGirl Consulting & Brand Management as its agent to focus on licensing, promotional partnerships, and brand integrations.
Created by the graphic novelist Edgardo Miranda-Rodriquez, the superhero emerged in 2016 as a direct response to the economic crisis affecting the island of Puerto Rico. Inspired by the Puerto Rican national anthem of the same name, La Borinqueña is an original Afro-Puerto Rican character and patriotic symbol presented in a classic superhero story.
As a response to Hurricane Maria, Miranda-Rodriguez self-published the best-selling benefit anthology, Ricanstruction: Reminiscing & Rebuilding Puerto Rico, under his own studio Somos Arte.
The anthology features La Borinqueña teaming up with Wonder Woman, Superman, Batman, and other DC Comics heroes. All sales from this benefit anthology were used to award grants to non-profit organizations based in Puerto Rico. During the 2019 San Diego Comic-Con event, Miranda-Rodriguez was bestowed the Eisner Award’s Bob Clampett Humanitarian Award for his philanthropic efforts.
Through sales of the graphic novels and various other collaborations, the grants program has raised over a quarter of a million dollars for grassroots organizations in Puerto Rico via the La Borinqueña Grants Program.
“Superheroes and their stories inspire us to help make the world a better place for all of us. With La Borinqueña, I set out to create a character that connects readers and fans to a real place rich with history and heritage,” said Miranda-Rodriguez. “Our hope is that La Borinqueña inspires us all to see our heroic potential to make a difference now, leaping from the comic book pages to the real world.”
Anita Castellar, CEO of FanGirl Consulting and Brand Management, added: “As a Puerto Rican woman myself, I couldn’t be prouder to build an official licensing program for La Borinqueña and to work with Somos Arte to celebrate our Puerto Rican heritage and share our stories with the world.”
In 2020, both Rosario Dawson and Zoe Saldana lent their voices to various public service announcements featuring La Borinqueña, and produced in conjunction with Voto Latino, Fair Fight, and Poder Latinx, to engage voters in the US general election and the Georgia runoff elections.
On December 18, 2020 La Borinqueña joined forces with Stretch and Bobbito + The M19s Band to produce the first song, music video, and comic book Que Bonita Bandera to commemorate the 125th anniversary of Puerto Rico’s flag which falls on December 22nd.
The song is released on 10x Grammy Award winner Eddie Palmieri’s label Uprising Music NYC (distributed by ADA/Warner Music) featuring vocals from such celebrities as Rosario Dawson, Rosie Perez and over a dozen more! On sale now with 100% of the net profits to benefit the La Borinqueña Grants Program.
FanGirl Consulting & Brand Management will serve as global Licensing Agent for La Borinqueña brand, overseeing and seeking deals across licensing, retail, and promotional opportunities, as well as build direct to consumer and ecommerce strategies.
The New York Toy Fair 2021 has been cancelled owing to the insufficient resolution of the ongoing Coronavirus crisis across the globe, the Toy Association has confirmed this afternoon.
The annual industry event had been moved from its Q1 February slot to a later date, scheduled to take place from May 1st to 4th this year. However, the US industry body has confirmed this afternoon that it will not conduct the interim trade show this year.
Plans for Toy Fair Dallas remain on course for October 2021 while providing an ongoing mix of physical and digital business opportunities for the industry will be the Association’s focus this year.
“Our foremost consideration is the health and well-being of the global toy and play community and setting a clear path forward,” said Steve Pasierb, president and CEO of The Toy Association.
“We want to provide our exhibitors, retail buyers, and the larger toy and play community with certainty on important destination shows and the ability to take advantage of immediate opportunities through our year-round buying and selling platform.”
As uncertainty about the pandemic persists, The Toy Association remains keyed into what is possible, stating that it will be concentrating on its digital business offerings, before bringing the industry back together in person for Toy Fair Dallas 2021 from Tuesday, October 5 through Thursday, October 7.
The Toy Association is also looking ahead to Toy Fair New York 2022 from Saturday, February 19th to Tuesday, February 22nd in a newly expanded Jacob K. Javits Center.
Toy Fair Everywhere digital market weeks held throughout 2020 successfully helped toy businesses forge ahead amid the pandemic and brought in more than 3,000 buyers from over 60 countries, proving the global potential of the platform for doing business despite travel restrictions and different time zones.
This February, the digital B2B marketplace will further establish its position as the toy industry’s first and only year-round platform, making new business opportunities possible every day.
The Toy Association will also collaborate with additional prospective retailers throughout 2021 on virtual private product preview events, which in 2020 created new avenues for nearly 400 toy makers to get their products on shelves.
The next virtual event with specialty retailer Claire’s is scheduled to take place February 4th.
“These proven digital opportunities should continue to be a critical part of every toy businesses’ mixed sales and marketing strategy,” said Marian Bossard, executive vice president of global market events at The Toy Association.
“As we look forward to our time together at Toy Fair Dallas 2021 and Toy Fair New York 2022, the proof is in the pudding as to the potential of these digital tools and events to serve our members in reaching new audiences.”
As we quickly approach the end of a year heavily affected by Covid-19, and look optimistically toward a post-coronavirus horizon, toy companies and brands have a lot to think about in terms of their 2021 strategies, especially when it comes to advertising in kids’ entertainment.
WildBrain Spark’s Executive VP and MD, Jon Gisby explores how this year has changed kids’ viewing habits and how to prepare for 2021.
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As one of the largest premium kids’ and family-content publishers on AVOD platforms, the thing we get asked the most from advertisers is: Where can we make the biggest impact based on Covid viewing trends in the digital kids’ space?
Some of our latest discoveries provide telling answers. Key findings and trends from an analysis of all our WildBrain Spark content, reveal shifts that brands and advertisers would do well to note in kids’ and family viewing habits from before Covid (December 2019 – February 2020) compared to after its arrival (April – September 2020).
CTV viewing overtook mobile and tablet for the first time
One of the first trends we discovered after analysing consumption data and patterns for WildBrain Spark content since April 2020 was that connected TVs quickly outpaced all other types of devices as the primary way to watch video content for children.
Smart TVs became the viewing device of choice for families starting in April and continue to be so, with 46 per cent of WildBrain Spark content watched on these devices even in October 2020. Connected TVs were already growing in popularity before Covid, but the pandemic has pushed families in the direction of co-viewership on larger screens.
Our recent report “Making Screen Time Family Time” in partnership with nScreenMedia, an independent digital TV analyst company, confirms this trend. Of the 3,000 US families we asked, 62 per cent of parents say the smart TV is the most popular platform for co-viewing, with 48 per cent using a connected TV device.
In the kids’ entertainment space, co-viewership on connected and smart TVs is likely to continue well into 2021 and beyond. Two-thirds of parents said they expect time spent with their kids watching TV/movies to remain the same or increase once the pandemic is over.
When preparing strategies, toy companies and brands should be sure to prepare spots optimised for larger screens, and partner with media companies that have a solid presence in the CTV market.
Viewing sessions increased on long-form content
In addition to the shift to co-viewing, we also discovered that viewing sessions on kids’ content have increased by 23 per cent since Covid began, particularly on long-form content of 10 minutes or greater in length. In fact, 57 per cent of all views since Covid began were on long-form content.
For example, the average watch time on long-form WildBrain Spark content between December 2019 and February 2020 was 3.7 times the amount of time spent on short-form content. Since April 2020, this ratio jumped 17 per cent, taking it to 4.3 times the amount of time spent on short-form videos.
This is a major shift in family viewership habits resulting from the rise of viewing on CTV during the pandemic. These trends show that kids and families are officially watching longer videos instead of shorter ones on larger screens for a more premium entertainment experience.
Toy companies and brands should keep this in mind when looking to partner with publishers: Aim to advertise against and sponsor longer-form content to help you reach a more receptive, family-friendly audience.
Media companies caught up to kids’ influencers and creators
While creators and influencers in the kids’ space often pull in billions of views a month, we saw a different viewing habit among children and families during the peak of the first lockdowns and stay-at-home measures in April 2020.
Essentially, premium content from media companies and publishers outperformed creator content, seeing a +22 per cent average view increase versus just a +3 per cent view increase for creators and influencers.
Some genres in particular saw a substantial increase in viewership. Kids’ music jumped 41 per cent from April to June 2020 compared to views garnered between December 2019 and February 2020. Kids’ animation saw a 32 per cent bump in views across these same months, while children’s TV properties came in a close third, at 30 per cent.
This increase of premium content views appears to be here to stay. The rise of premium content shows it’s important to expand advertising strategies to partner with media companies who have known favourites and premium shows that kids and families have turned to this year. This will diversify reach and improve the chances of getting in front of new audiences.
As 2021 draws near, make sure you’re ready to address this new kids’ entertainment market head on. In short, toy companies and brands should prepare their advertising strategy so it’s easily viewed on connected TVs, appears against longer-form content, and can be found alongside premium content from top media companies.
A two-man operation working out of a headquarters in Wheal Vor, in Cornwall, Beer Buddies has started to make its presence known on the pop culture licensing and merchandise scene through its range of best-selling Motorhead, Iron Maiden, and now Original Stormtrooper bottle openers.
Using traditional sculpting methods put to use from its Cornish workshop, this is a company that has not only struck upon a unique angle within the traditional licensing space, but continues to champion an artisan approach within the sector, finding and bridging that gap between today’s demand for pop culture merchandise and the consumer’s desire for artistry.
Here, Licensing.biz grabs a quick five minutes with Beer Buddies co-founder Richard House to talk about the firm’s foray into licensing, its successes, and what’s on the horizon for the UK business.
Hi Richard, good to catch up with you. To start, can you give us a bit of history on the Beer Buddies company? How did this all come about for you guys, and what was the moment that got you into the licensing space?
Beer Buddies is just two people: myself and Seamus Moran. We both did design based degrees and formed Beer Buddies 10 years ago, we’ve worked together ever since moving to Cornwall from the Midlands in 1988.
Buddies started almost by accident when we were asked to design and produce a Green Man wall plaque. Seamus realised that a bottled opener could be incorporated into the mouth and I came up with the name Beer Buddies. We came up with a few more designs, made them in our workshop and began selling, as demand grew and the range increased and we moved the manufacturing to China.
We had never considered doing licensed products until Jens Drinkwater of Global Merch introduced himself to us at a trade show about three years ago. Motorhead bottled beer Road Crew was selling strongly and Jens suggested a bottle opener would be a great addition to Motorhead merchandise line.
The trail went quiet for about 12 months and then out the blue we got the green light from Global and six months later the first Beer Buddies licensed product was on sale. It immediately opened our eyes to the potential of the licensing world. Motorhead sold more than the rest of our range put together.
You pay homage to a real artisan aspect of creating Beer Buddies. How do you guys strike that balance of bringing the artisan to the licensing space? What do you think this brings to the licensing space itself and is it proof that artistry and merchandise can work together?
The artisan element of our working methods probably has much to do with our age. Seamus is a sculptor in his own right and totally at home working with traditional modelling materials such as clay and plaster. Neither of us are of the Cad era. Seamus has a meticulous modelling style and an eye for detail that is unique to him and that translates into the designs and brings a very human element to the work that a computer generated design can’t.
We look for brand icons that will translate into what we do without making too many compromises to the original concept. Also, because this is so new to us having good support from the licensee is very important. Global has been fantastic in this regard and Jens has introduced us to new customers and spread the cost of royalty fees when our cash flow has been tight.
What has reception been like to the Beer Buddies’ licensed roll out to date?
The response to our licensed roll outs to date has been very positive. Motorhead and Iron Maiden are our biggest sellers. Original Stormtrooper arrived late due to the chaotic situation at UK ports but the initial signs are that it’s going to be very strong .
How has business been for you guys over the course of 2020? With lockdown keeping people in their homes for longer, has Beer Buddies spotted an opportunity here?
Like virtually all businesses this year, Covid-19 has caused us problems. Most of our trade accounts have been closed for 25 per cent of the year and some may have closed for good. We probably won’t know the full extent of the damage until next year. On the plus side our own website sales have more than doubled as lockdown has sent online shopping go off the chart .
What’s the next big move for Beer Buddies, what can we expect from you guys in 2021?
Next year we hope to get some more Heavy Metal under our belts with Metallica, they have the right look and like Motorhead and Iron Maiden already have a licensed beer and a huge loyal fan base.
