Kartoon Channel! Gets New Spanish-Language Content

Genius Brands International has announced a new Spanish-language content service for children — ¡KC! En Español — on its streaming platform Kartoon Channel!

Kartoon Channel! also announced Oct. 5 that it is now available on Pluto TV.

With ¡KC! En Español, Kartoon Channel! expands its current  platform to serve the Latino children’s community in North America. The new Spanish-language children’s program service will reside on the main Kartoon Channel! platform and function as a sub-brand of Kartoon Channel!, similar to Kartoon Classroom!, which premiered in September 2020. The offering will launch with Genius Brands’ “Rainbow Rangers,” in addition to “Thomas Edison’s Secret Lab,” “Mi Perro Chocolo,” YouTube’s “Spanish Tree TV” and “Stan Lee’s Mighty Seven.”

“Not only is this the right entertainment and cultural move for Kartoon Channel!, but it also makes good business sense too,” Jon Ollwerther, president of Kartoon Channel!, said in statement. “Today, 26% of kids in the U.S. under the age of five are of Latinx heritage, a number that is only expected to grow. Further, 83% of Latinx audiences are streamers, versus 73% of non-Latinx audiences. Finally, digital ad-spend focused on the Latinx audience in the United States has more than doubled from 2015 to 2020 and the market today is estimated at over $1.5 billion. We look forward to this becoming an important and growing contributor to the business of Kartoon Channel!”

“Following the success of our educational sub-brand Kartoon Classroom!, ¡KC! En Español was the obvious next step for us,” Michael Riley, Genius Brands International’s chief diversity officer, said in a statement. “We’re proud to announce this new offering during Hispanic Heritage Month and to better serve the Latinx community, now in English and en Español.”

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Genius Brands International’s digital network Kartoon Channel! is a family entertainment destination. Kartoon Channel! delivers  content across multiple platforms, including Comcast, Cox, Dish, Sling TV, Amazon Prime, Amazon Fire, Apple TV, Android TV, Android Mobile, Google Play, Xumo, Roku, Tubi, Samsung Smart TVs and LGTVs. Kartoon Channel! can also be streamed on TVs and mobiles device by downloading the app, or on desktops by visiting www.kartoonchannel.com.

Georgia Latino Film Alliance Appoints Julie Ann Crommett Board Chair

The Georgia Latino Film Alliance (GALFA) has appointed Julie Ann Crommett, a former Walt Disney Studios, NBC Universal and Google exec, as its new board chair.

Crommett will work closely with the board of directors to grow the organization into a valuable resource and support system for next-generation Latino filmmakers, students, executives and content creators in Georgia, according to GALFA.

“It is my great honor to welcome Julie Ann Crommett as the newest elected GALFA board chair, “said Jose Marquez, CEO and founder, GALFA, in a statement. “Her unique business experience in the DEI [diversity, inclusion and inclusion] space, her creative insights and ongoing commitment to advocating for systematic change will undoubtedly help our organization scale to greater heights under her strategic guidance.”

“We are so fortunate to have Julie Ann join us in our mission towards achieving new benchmarks in the film and entertainment industry,” Yvette Moise, president and co-founder of the Georgia Latino Film Alliance and Festival, said in a statement. “Together we will work towards making this place a whole new world.”

The Georgia Latino Film Alliance and Film Festival conducts the Georgia Latino Film Festival in the state of Georgia, which features Latino-directed, -produced and -acted films among other national and international entries. The mission of the Georgia Latino Film Alliance is to build awareness of independent films and film as an art form, provide educational opportunities for students and Georgia Latino filmmakers, and create opportunities for the Georgia communities to experience high-quality Latino films.

Crommett has been working in the diversity, equity and inclusion space for more than a decade in the film, media, entertainment and tech industries.

“I am humbled to join the GALFA board and look forward to working with the talented board, partners and members who tirelessly foster Latino development in the film industry,” Crommett said in a statement. “GALFA is moving ahead stronger than ever. I’m excited to join Jose and Yvette and their outstanding team in giving voice to America’s next generation of Latinx Storytellers.”

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Crommett has worked at The Walt Disney Studios and NBC Universal as well as Google. She is currently founder and CEO of Collective Moxie, a consultative agency that focuses on diversity, equity and inclusion strategy, narrative and community engagement.

While serving as VP of multicultural audience engagement at The Walt Disney Studios, she spearheaded efforts to diversify talent in front of and behind the camera, connect creative projects with communities they touched, and build a more inclusive culture within the studio. She played an integral role in contributing to key film release projects including Disney/Pixar’s Soul and Coco, Walt Disney Animation Studios’ Raya and the Last Dragon, and Marvel Studios’ Black Panther. She also created Disney’s “Launchpad: Shorts Incubator,” a program that provided six directors from underrepresented backgrounds the opportunity to produce a short film for Disney+. Additionally, and in partnership with Disney executive chairman Bob Iger, she launched and co-chaired Disney’s first-ever Creative Inclusion Council dedicated to increasing inclusion and accountability in Disney’s creative endeavors.

Crommett has been recognized by The Hollywood Reporter’s “35 under 35,” the IMAGEN Foundation’s Influential Latinos in Entertainment list and as an ADCOLOR Innovator. She hosted a TEDx Talk in 2016 covering equity and storytelling and serves on the boards for the Hispanic Federation, the National Association of Latino Independent Producers and Women in Animation.

A Puerto Rican and Cuban American, Crommett was raised in Atlanta and earned her B.A. in English from Harvard University.

Nearly Two-Thirds of U.S. Latino Spanish-Language Content Viewers Stream

A recent Horowitz Research survey found 80% of U.S. Latino TV content viewers are streamers, including nearly two-thirds (64%) of Latino Spanish-language content viewers.

Eight out of 10 (80%) subscribe to at least one SVOD service. On average, Latino streamers pay for four streaming services.

According to Horowitz, half of Latino households (49%) subscribe to both a traditional MVPD and at least one streaming service, with younger, multilingual, bicultural, family households the most likely to leverage both MVPD and SVOD platforms to meet their households’ needs, which includes demand for both English and Spanish content.

Six in 10 Latinos watch Spanish-language content at least occasionally, according to the study. Notably, viewing of Spanish-language content is as high among bilingual, bicultural Latinos as it is among their Spanish-dominant counterparts. And, almost one in three (29%) English-oriented, highly acculturated Latinos watch in Spanish at least occasionally, according to the study.

While traditional (broadcast and cable) used to be the main source for Spanish-language content, the Spanish-language TV landscape is transforming, according to Horowitz. The past couple of years have ushered in an explosion of Spanish and Latinxo-themed streamed content, starting with the success of Netflix’s “Narcos,” “La Casa de Papel,” “Elite,” “La Reina del Sur” (a Telemundo series) and other popular shows.

Horowitz noted Latino audiences can now access Spanish-language and Latinx-themed content across a wide variety of free and paid services: Peacock, with a selection of Telemundo content; Amazon Prime Video, which is making substantial investments in Spanish and Latino-themed content; FuboTV, offering Spanish-language sports programming; Discovery, which offers various Spanish-language mobile apps; Pluto TV, with free programming and channel surfing in English and Spanish; Pantaya; OnDemandLatino; and the new Univision/Televisa venture Prende TV, among many others.

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“Latinx consumers have long been underserved in the streaming space, but this is completely changing now,” Horowitz’s Adriana Waterston, SVP of insights and strategy, said in a statement. “There is a market for all sorts of streamed Spanish and Latino-themed content, ranging from traditional telenovelas to content that speaks to the sensibilities of younger, bilingual, bicultural U.S. Latinos. Importantly, much of this content will not only appeal to Latino consumers but other audiences as well.”

Latino audiences continue to value the benefits of traditional MVPD services when making their subscription decisions, such as accessing live TV content, watching television episodes the day they air, and having access to local, national and international up-to-date news coverage.

However, two in three Latino consumers surveyed perceive that the quality and variety of Spanish content available in the streaming ecosystem is as good or surpasses that which is available through MVPD services, which could lead to more Latino households becoming cord-cutters, according to Horowitz. The Horowitz survey shows that already 22% of Latino TV homes have cut the cord in the last three years.

“Latino households have been some of the most loyal customers of MVPD services, driven by the desire to have access to the most robust selection of both English and Spanish content,” Waterston said in a statement. “As streaming services amp up their Latino-oriented offerings, traditional players will need to find new ways to retain their value proposition among this audience.”

Study: Movie Viewers Want to See Themselves Reflected Onscreen

Movie viewers want to see themselves reflected on the screen, according to a new study from the Geena Davis Institute on Gender in Media and data analytics firm Movio.

Moviegoers being able to identify with the characters in a movie drives their attendance behavior, the study found. When there are characters of a certain cohort (group), this is likely to drive more moviegoers of the same cohort. The analysis shows across all films that the leading characters and audience are generally 50-50 female/male. In 2007, only 23% of leads were female, and in 2017 30% were female. The more female characters, the more female the audience, and the more male characters, the more male the audience. The effect of genre on the percentage of leading characters male versus female was clear, according to the study authors, as well as the corresponding gender split in the attending audience. Action movies, most notably, regularly have well over 50% male characters and well over 50% (and frequently over 60%) male audience.

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The opportunity for Black, Asian and Latinx moviegoers to see themselves represented on screen is significantly lower than for white moviegoers. Several movies tally 100% of their characters as White with the majority having over 50% white characters. For the remaining four race/ethnicity groups, the majority of films are clustered at below 25% (if not 0%) representation on screen. This is significant considering people of color (Black, Asian and Latinx) comprise 37.8% of the U.S. population, the study noted. Across the board in terms of ethnicity, gender, and age, the negative portrayal of characters from a certain group has little bearing on whether or not that group attends a movie. However, particularly with regard to race and ethnicity, the analysis again shows how minority audiences are given substantially fewer opportunities to even see characters from their racial or ethnic group on the screen, no less characters from their racial or ethnic group who are also not depicted negatively.

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The research was also able to determine what demographic cohorts are being represented in films geared primarily towards children. Both male and female leads are roughly evenly split in terms of on-screen representation for films with more child visits, suggesting that young moviegoers are getting a fairly balanced representation of genders in their on-screen media consumption. However, when looking at race/ethnicity there is less of a balanced representation. White characters are very well represented in children’s films, with the majority of films having 50% or more White characters represented on screen. There is not the same level of representation for Asian or Latinx characters in children’s media as the vast majority of films moviegoers are bringing their children to see have no representation of these cohorts. For example, of all the titles analyzed, only six titles had over 18% Latinx characters, despite Latinx comprising 18.4% of the U.S. population.

Data scientists at both organizations examined the following questions for the “I Want to See Me: Why Diverse On-Screen Representation Drives Cinema Audiences” white paper:

  • Does the presence of certain groups (Race/Ethnicity, Gender, Age) on-screen draw larger numbers of the corresponding audience?
  • What negative or positive portrayals of certain groups are different viewers seeing in the most popular films?
  • What portrayals of certain groups are child viewers seeing in the most popular films?

 

On-screen data (the Institute) and audience demographic data (Movio) for the top 100 films (by box office) in the United States were examined for 2018 and 2019.

“As we’ve said before, our goal is very simple: that the characters on screen reflect the population, which is half Female and incredibly diverse,” Geena Davis, founder and chair of the institute, said in a statement. “We know that increasing the presence of underrepresented groups in media can have a very powerful impact on shifting cultural perceptions. Our industry has a tremendous opportunity to foster inclusion in society by taking action to diversify who shows up on screen. As this new research shows, we have made progress, but we need to do better.”

“As the movie industry begins to recover from the effects of the pandemic, this research carries even more weight,” William Palmer, chief executive and co-founder of Movio, said in a statement. “Diverse audiences can go elsewhere to find entertainment options that speak to them and their lives, so if cinema is to remain relevant and continue having a cultural impact, it must attract these audiences by delivering more representative content.”

“When we consider the impact that the media children are exposed to can have, including in the cinema, it is vital for them to see from the beginning that fictitious worlds reflect the real world, and that they see themselves reflected on screen,” Davis added. “When you see someone like yourself reflected, you take in the message: ‘There’s someone like me, I must belong.’ It’s encouraging to see the progress we’ve made with gender representation, but we must show more diversity on screen, if we don’t show more diversity, we are contributing to the serious problem of racial inequity in our society today.”