Sonia Fleck, chief executive officer of Bomanbridge Media,talks about surfacing content, improving discoverability, YouTube, IP and rights, Asia's acquisition habits, monetising kids content and what the biggest influences in 2020...

Discoverability is as much an issue among kids programmers as among any other genre in the streaming universe. Do you have a preferred strategy for surfacing content?
"I am still a believer that we can be agnostic and work across all media platforms. We’ve seen arguments that launching kids content on Youtube first is the best way, others feel L&M release first is a better lead into media content. Our preferred strategy varies according to the project as ‘one size’ simply does not fit all in the kids arena. Be that as it may, what is clear is that a very articulate and highly developed strategy needs to be established, including thoughtful in depth narrative, third party digital and CP creatives. I find many producers don’t really put enough gusto into that original pitch."

Is there anything you wish platforms would do to improve discoverability?
"I wish we could more commonly have a balanced discussion with our broadcasting and streaming partners to create a refreshed methodology on overall marketing. These important partners remain constrained in allowing a democratization on a wider number of social media services which could simply further promote the shows. I also think producers really would consider a more incentivizing % of back end on CP with truly committed platforms if they gave more calculated out of the box approaches to the promotion. The idea of brand “control” and “ownership” needs to change in a fluid digital landscape. Many producers feel they have to do far too much. What was once a creative vocation has become a “think for everyone” multi hat job profile."

If kids, as is commonly thought, live mostly on YouTube, what’s your approach to streaming video? Do you have a YouTube-first policy?
"YouTube is a real cornerstone for children and parents’ easy program access, and it is not to be ignored, but I do not always necessarily feel the long form series need to be on youtube. Thoughtfully created shoulder and short form content can just as easily give the extension visibility the brands need to get started. Depending on uptake, we then can decide where to go from there."

Are you seeing any significant changes in the way kids buyers are acquiring content in/for Asia?
"Yes, with the level of pressure for broadcasters to create local IP, I have found many terrestrials have all but moved their kids slots onto their DTT channels, which have a much lower viewership. For those slots which remain on key FTV’s, their slots are reduced and for the most part, they are all airing the same top 10 programs. It is incredibly difficult to get on the schedule if you are not in the ‘Top10 Club’."

Did monetising kids content in Asia become more difficult in 2019? Why?
"We have been very successful, but we carry a powerhouse of tried and proven brands, from Oddbods, to Care Bears as well as our Japanese anime Inazuma Eleven and Yokai Watch have done amazingly. Bomanbridge makes a point to provide very competitive programmes."

Do you think it will become easier to monetise kids content in 2020?
"It’s not clear as YouTube is changing the monetisation policy and I know this will hurt many IP owners. Broadcasters also became more comfortable with sharing those windows with YouTube as the revenues ultimately helped the franchise production budgets. There will be again a chaotic truth and tell on where funding will come from for these brands moving forward."

What do you think will have the biggest influence on kids programming (production and distribution) in Asia in 2020?
"Good Co Productions, as well as the 2.0 era on social media platforms, (ie. TikTok, YouTube, etc) and how their role will enter into the entire kids strategy approach. For distribution, we are seeing again volume deals for our OTT streaming platforms, which allows a second and or third cycle to programs which have already had their television windows."

What industry sector in Asia acquires the most from you (free-TV, pay-TV, streaming, other)?
"I am proud to say we carry many significant franchises and are therefore still landing a large number of key children’s channels, whether the #1 player be free TV or pay TV."

How have rights negotiations for kids content changed in the past year or so?
"One thing that I have found to be less satisfactory is that many of the localised by territory OTT platforms seem to take less of a curated approach and more of a standard commercial term approach on the per title significance, privileging volume and a basic price per hour. It’s a bit painful when we see so many of our high value titles be requested and thrown into a “number of hours” that need to be fulfilled. I recognise that the streaming OTTs need volume indeed, but as kids programs often bring more to the table in terms of the experience ( ie. CP and other online offerings), I am still struggling with the feeling that sometimes the shows aren’t getting the special consideration and leverage deserved."

How critical is licensing and merchandising to your business in Asia? Will this change in 2020?
"It is not yet critical in that most of our revenue is still based on distribution, however we have and will continue to invest into IP where we have a share in CP. L&M revenue extension is a major priority for us moving forward. This said, we do not want to be the company that pitches to global players a toy first, leaving behind the valuable narrative which expresses our creative commitment."

Excerpts of this interview were published in ContentAsia's print magazine for the ATF 2019