Numberblocks Expands Curriculum in New Series Commissioned by BBC

Alphablocks Ltd. and Blue Zoo Animation Studio have announced the launch of a new series of their global hit preschool IP, Numberblocks. The 15 new episodes, commissioned by BBC Children’s, will premiere on CBeebies and BBC iPlayer, introducing more advanced mathematical concepts and ambitious new creative formats.

Building on the immense educational value that Numberblocks has already brought to young children, the new series sees the beloved block characters delve into a more complex, curriculum-led slate of topics, including perimeter, area, capacity, and data handling. This move reflects a growing industry trend towards enriching preschool content that builds a foundation for formal education. The series will introduce key maths skills like “bridging the ten,” adding and subtracting two-digit numbers, and understanding parts of 50 and 100. This builds on the core educational framework from series creator Joe Elliot and the Alphablocks team.

The series will feature a classic film noir-style episode. In the episode, Detective One returns to help a frantic Number Three solve the case of her missing button. By tracking her movements and reading various clocks and watches along the way, the episode cleverly embeds the concept of measuring and telling time within a compelling, genre-led narrative—a creative flourish designed to engage both children and co-viewing adults.

“With every new series of Numberblocks, our goal is to find the story and comedy in a new area of maths. We want to make abstract concepts tangible, visible, and fun for our young audience. This season, we’re tackling big ideas like measurement and data, but we’re doing it through rescue missions, detective mysteries, and team challenges. The film noir episode is a perfect example of how we can push our creative boundaries to serve the educational core of the show. It’s about showing children that maths isn’t just in the classroom; it’s everywhere, and it’s an exciting tool for solving problems.”

Adam Shaw, Co-founder of Blue Zoo

“Our creative process always starts with the maths. We ask ourselves, ‘What is the story within this calculation?’ or ‘What’s the adventure in learning about capacity?’ This series has been about translating those key early years concepts into tangible, character-driven narratives that a child can delight in. Seeing Detective One use the principles of time-telling to crack a case is a perfect example of how we fuse rigorous educational thinking with unforgettable storytelling.”

Ruth Cassidy, Editorial Director & Creative Lead of Alphablocks

Following the premiere of the series, new maths concepts will be carefully integrated into the Numberblocks World app and Numberblocks YouTube channel allowing children to engage with their favourite number characters in a variety of ways. The continued success of Numberblocks underscores the global appetite for high-quality, British-made educational animation. The brand has become a licensing and digital phenomenon, demonstrating the power of purpose-driven IP that delivers proven learning outcomes.

The new series of Numberblocks will be available on CBeebies and BBC iPlayer from this autumn. Follow Numberblocks on Instagram @numberblocks for the latest updates on the new series.

The VFX and Animation World Atlas reveals global growth over the last 12 months

UK Screen Alliance in conjunction with the British Film Commission are proud to be platinum sponsors of the 2025 edition of the Visual Effects and Animation World Atlas, published today (29^th July).

The Atlas presents a snapshot of the global workforce, and as the data collection is repeated every quarter, it gives an indication of the recent changes in the sector. The data is drawn from a study of 120,000 VFX and animation professionals associated with 2,450 studios worldwide, and is collected from public sources such as company websites and individual social media profiles.

The Atlas shows that the global VFX and animation work force grew by 9.3% in the second half of 2024, followed by a contraction of 7.6% in the first half of 2025, giving a 1% net industry global growth over the past 12 months. The London workforce reduced by 5.1%. This figure includes the impact on the UK of the global collapse of the Technicolor group, which resulted in the shuttering of The Mill and MPC in February; followed by the closure of Jellyfish Pictures in March. Together these accounted for the loss of around 500 jobs in the UK.

London remains by far the largest city hub in Europe for VFX and animation, with 10,564 people, more than double the size of Paris, it’s closest European rival. In the global league table, London sits third, just behind Mumbai on 10,866, and Los Angeles on 12,354.

The UK has recently improved its tax incentives for film and TV, with an uplifted rate of 29.25% net for VFX, which is also now exempt from the 80% cap on eligible expenditure. VFX, post production and animation are also eligible for a net rebate of 39.25% for films with core production expenditure under £15 million. Although the VFX uplift can be claimed on expenditure from January 1^st 2025, it wasn’t confirmed in UK law until late March, with many productions reportedly delaying decisions for this certainty. UK Screen Alliance, the trade body for VFX, post and animation, feels that the impact of the recent improvements is only just beginning to be apparent.

“The VFX and Animation World Atlas is fast becoming an invaluable data source for our industry with its trend analysis and up-to-date information. But even though the data is recent, it reflects the industry as seen through the rear-view mirror. UK Screen Alliance has surveyed its member companies to gauge future sentiment, and found that 71% have seen an increase in sales enquires since the introduction of the VFX uplift, with 43% of those surveyed indicating a significant increase. As those enquiries translate into confirmed bookings VFX companies are showing increasing confidence in  a return to sustained growth in excess of  5% over the next 12 months.

“The UK’s VFX industry has an unrivalled reputation for success, with award-winning innovative crews. Now that we can couple that with a competitive tax incentive, we know that many productions are viewing  the UK as a priority destination for VFX. “

Neil Hatton, CEO of UK Screen Alliance

The VFX and Animation World Atlas is available as a free download from www.vfxatlas.com

Toikido and Lil Critter Workshop crack open animated plans for Bad Egg Co.

Toikido, the entertainment company behind the rebellious cross-platform IP Bad Egg Co., has announced a new partnership with acclaimed animation studio Lil Critter Workshop to bring an all-new Bad Egg Co. animated series to YouTube in 2026.

First hatched as a Web3-native brand, Bad Egg Co. quickly scrambled expectations with a sell-out NFT collection, growing global fanbase, and a fast-expanding pipeline spanning toys, fashion, and digital content. Now, the animated series marks a major milestone in its journey to become one of the most original and irreverent kids’ IPs around.

Lil Critter Workshop, the award-winning studio behind My Little Pony: Tell Your Tale, Emojitown, LK School Daze, and Buck & Buddy, brings global animation credentials and a flair for bold, culturally resonant storytelling, making it the perfect match for Bad Egg Co.’s mischief-fuelled world.

We’ve built Bad Egg Co. to be more than just a brand, it’s a world with attitude, humour, and heart. Lil Critter Workshop immediately got the yolk of what we’re trying to do. Together, we’re cracking open a series that’s fast, funny, and full of character.

Darran Garnham, CEO of Toikido

The series will explore the streets of New Yolk City, home to a cast of chaotic eggs who break rules, challenge authority, and still manage to find moments of unexpected redemption. Designed for YouTube Shorts, the series will span over 60 minutes of 2D animated content in flexible durations, from 30-second gags to 3-minute sketches, purpose-built for shareability, retention, and cross-platform reach.

Its character-led comedy will extend across TikTok, Instagram Reels, Facebook Watch and more, with top-performing clips adapted into HD formats. The series will launch in English and non-dialogue versions, with localisation planned to support global growth and future brand extensions.

We love characters with attitude and stories that punch above their weight, ones that truly resonate with today’s platform-agnostic, global audiences. Bad Egg Co. brings a unique creative spirit, a fearless tone, and a bold commercialisation strategy that’s made for digital-first storytelling. It’s a standout brand, and we’re egg-cited to be partnering with Toikido on something this daring and distinctive.

Walid Omar, Executive Producer at Lil Critter Workshop

This series marks the next chapter in Bad Egg Co.’s evolution, from NFT sell-out to global toyline with Eolo, and now, a full-blown animated universe built for today’s connected audiences.

For more information, visit BadEggCo.com or follow @BadEggCompany.

BBC acquires BAFTA-nominated animated feature Kensuke’s Kingdom from Modern Films

The adaptation of Michael Morpurgo’s beloved tale of adventure will arrive on the BBC this summer.

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The BBC has acquired Lupus Films’ award-winning, hand-drawn animated feature film Kensuke’s Kingdom from London-based distributor Modern Films. The deal, which was brokered by Modern Films’ Eve Gabereau, will see the film take family audiences on a thrilling island adventure when it sails onto iPlayer and BBC One on Sunday, August 3rd.

Based on the best-selling children’s novel by Michael Morpurgo and adapted for screen by Children’s Laureate Frank Cottrell-Boyce, Kensuke’s Kingdom features the epic adventure of Michael, a young boy, shipwrecked on a remote island, who discovers he’s not alone when he encounters a mysterious Japanese man who retreated there after World War Two. But as dangerous invaders appear on the horizon, it becomes clear they must join forces to save their fragile island paradise.

Directed by Neil Boyle and Kirk Hendry, with an award-winning score by Stuart Hancock, Kensuke’s Kingdom’s illustrious voice cast includes Academy award nominee Sally Hawkins (The Shape of Water, Paddington), Academy award-winner Cillian Murphy (Peaky Blinders, Oppenheimer), Raffey Cassidy (The Brutalist, Snow White and the Huntsman, Tomorrowland), Aaron MacGregor (Puffin Rock and the New Friends, SuperPupZ) and Ken Watanabe (The Last Samurai, Inception).

We are delighted to be able to showcase our beautiful film on such a high-profile platform as BBC One and iPlayer. It’s a fantastic opportunity to reach a wider audience and we hope BBC viewers are going to be as excited by Michael’s thrilling adventure as we were!

Camilla Deakin, Co-Founder and Producer at Lupus Films

I’m longing to see Kensuke’s Kingdom on the nation’s screens, people are going to love it!

Michael Morpurgo, Author

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Kensuke’s Kingdom has won numerous international film & film music awards including: three British Animation Awards including Best Feature; Grand Prize at the New York International Children’s Film Festival; winner at the Indie Fest USA International Film Festival; Best Original Score and Best Animation at the New York Movie Awards; and Gold Awards for Animated Film and Original Score at the Hollywood Gold Awards.  The film was nominated in the Best Children’s and Family Film category at this year’s BAFTAs and, last month, the children of France voted Kensuke’s Kingdom (Le Royaume de Kensuke) as their favourite movie of the year at the Cine Jeunes Awards.

The producers for the film are Emmy Award-winning producers and founders of animation studio Lupus Films, Camilla Deakin and Ruth Fielding, Academy Award nominee Stephan Roelants of Melusine Productions, co-founder of Working Title Sarah Radclyffe, Emmy and BAFTA Award-winning producer Barnaby Spurrier, Co-Founder and CEO of Align Adrian Politowski and Senior Vice President, Martin Metz and award-winning producers Jean Labadie and Anne-Laure Labadie of Le Pacte. Kensuke’s Kingdom is distributed in the UK and Ireland by Modern Films.

The film is presented by BFI (awarding National Lottery Funding), Film Fund Luxembourg and Align and is a Lupus Films production in association with Kensuke’s Kingdom, Jigsaw Films, Melusine Productions, Le Pacte and Bumpybox, with the support of Ffilm Cymru Wales and Welsh Government via Creative Wales.

The Children’s Media Conference 2025: Animation Assemble!

The Children’s Media Conference ran from 8-10 July in Sheffield this year. Featuring a range of engaging discussions, take a look back at the conference, as we recap Animation UK’s Animation Assemble! panel and other highlights.

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Animation UK recently returned to the Children’s Media Conference (CMC) in Sheffield. Attended by 1000 delegates, with 220 speakers and hosts featured, the three conference days were filled with pitching sessions, networking opportunities, receptions and panels. Discussions ranged from the dominance of YouTube and how creatives can embrace AI in their workflow, to broader questions about the current children’s media industry, with emphasis on the exciting news about the Culture, Media and Sport Committee’s (CMS) new inquiry into children’s TV and video content in the UK – which Animation UK will be responding to.

This year, Animation UK sponsored and co-produced “Animation Assemble! The Next Chapter for UK and Global Animation”, which featured a panel of independent consultants who shared their thoughts and insights on the changing industry landscape and what this means for the future of animation, in a session moderated by Jodie Morris (Creative Sprouts). The session was produced by Shannon Reeve (Blue Zoo) and Kate O’Connor (Animation UK), and executive produced by Tracy Liddell (Studio Liddell).

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Panellists Jiella Esmat (8 Lions Entertainment), Robin Gladman (Red Squirrel), John Reynolds (Flip Side Media), and Laura Taylor-Williams (Media Stori Consultancy) emphasised that as the current industry landscape has already been disrupted and changed, the animation sector needs to be more entrepreneurial, collaborative, agile and proactive, as well as form more strategic partnerships – both nationally and globally, but also commercially with brands. They highlighted how creator economy models have been particularly successful, in a world where data literacy is now key.

But how can this be financed? The panel emphasised that sourcing funding is like compiling a jigsaw puzzle, where sources can range from more traditional broadcaster funds and regional incentives, to fresher co-production deals and brand partners. The panel called for more viable funding strategies, especially the expansion of funding criteria to make them more accessible for smaller and younger animation companies, and also called for better distribution models. They encouraged the audience to think of their IP more long-term and globally from the outset too, potentially modelling out of future earnings with a clear global distribution plan, and optimising IP via multi-platform brand strategies.

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AI was also another topic of discussion, where the panel highlighted the importance for companies to examine how to incorporate AI into their workflow and how to implement it strategically in our industry. While it may be useful to use its tools operationally to stay competitive, questions around ethical licensing, copyright, and creativity remain.

The session wrapped up with some positive messages for the future of the industry, including celebrating the digital literacy of creators, talent of the younger generation, YouTube’s announcement on deprioritising AI content, and the CMS inquiry.

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Throughout the week, Animation UK attended a variety of other panels and we were pleased to see a range of speakers from our membership contributing to most sessions, including “Question Time” – sponsored by Magic Light Pictures, featuring Blue Zoo’s Oli Hyatt and Aardman’s Emma Hardie – and “Put Your Money Where Your Mouth Is”, the pitching session showcasing fresh ideas from Brighton Zoo and Bonnie and Braw.

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We also attended the “Opening Keynote” – where we heard from Waterstones’ Children’s Laureate Frank Cottrell-Boyce and this year’s Changemaker Lily Mott about shaking things up in the children’s media industry – the “Creative Keynote” on the legacy of Paddington Bear, and the “Last Word”, which was delivered by Basil Brush himself. The event has shown that CMC remains the place to be to engage with the UK’s children media sector.

CMC has a reputation for the quality of the content in the sessions. It’s because they’re all curated by volunteer producers from across the industry and the amazingly hard-working Advisory Committee members. What was really pleasing this year was to hear so much praise from delegates for the thoughtful, analytical and insightful conversations that happened on the panels. We couldn’t do that without the industry volunteers. CMC really is ‘by the industry for the industry’.

Greg Childs, Organiser of The Children’s Media Conference

We would like to thank the CMC team, the panellists and our fellow conference attendees for a wonderful few days. We look forward to seeing you all again in Sheffield next year!

Registered delegates and catch-up ticket holders can access the recorded panel sessions and reports on the CMC website. Videos of the sessions will come out on a rolling schedule over the next few weeks. For other information about CMC, visit their website here.

Sky announcement marks another blow to UK children’s content creation

The decision by Sky to end commissioning of original children’s content represents a significant loss to the UK’s animation and children’s media sector.

Under Lucy Murphy’s inspired leadership, Sky Kids has been a valued commissioner and supporter of original UK content, contributing to the strength of the UK’s world-class children’s production sector. The decision will come as a significant blow to the many animation creators, studios, and freelancers who have helped build Sky’s acclaimed slate.

While Animation UK welcomes Sky’s assurance that it will continue to honour existing commissions and maintain a schedule of children’s content, the shift away from original UK content towards acquired programming adds to an escalating crisis in children’s television.

This news arrives at a time of growing concern across the industry, with public service broadcasters also under pressure and independent producers struggling to find sustainable pathways for financing and distribution. The loss of a major commissioner, such as Sky, reduces creative opportunities and limits the ability of UK producers to reach audiences with culturally relevant stories and characters.

This development underscores the importance of the newly launched Culture, Media and Sport Committee inquiry into Children’s TV and Video Content. We will be submitting evidence to highlight the structural challenges facing the sector and the urgent need for targeted policy interventions to support UK children’s content production.

Sky has played a valuable role in backing original UK animation and children’s programming. Its decision to step away from commissioning is another signal that the children’s content sector needs urgent attention. Without intervention, we risk losing the UK’s ability to tell its own stories to its youngest citizens and to support our world class content creation sector.

Kate O’Connor, Executive Chair of Animation UK

Animation UK stands ready to work with government, regulators, and industry partners to ensure that future generations continue to enjoy high-quality, UK-made children’s programming that reflects their lives, values, and culture and to secure support for our world class animation sector.

MBC and Acamar Films launch Bing across MENA

MBC Group has signed a landmark agreement with Acamar Films, commencing the next stage of Bing’s global expansion, by launching a wide range of content, books, products, services and events, for the multi-award-winning preschool series Bing, across the Middle East and North Africa.

MBC Group, the largest and most prominent broadcaster in the Middle East and North Africa (MENA), has signed a new programming and licensing & merchandising representation agreement with Acamar Films. This 360° deal will bring the multi-award-winning preschool series Bing to families across the Arabic-speaking world via MBC3 and its global streaming platform Shahid. The launch is scheduled for July 2025 and will also include US English, French, and Arabic versions.

We are delighted to premiere Bing, which continues our deep commitment to providing high-quality entertainment across traditional broadcasting and digital platforms in the MENA region for our youngest audiences. We also look forward to creating further engaging experiences, from toys and games to experiential events for families to enjoy together.

Ashraf Younis, Director of MBC3

MBC Group is globally recognised as the leading Arabic-language company, with a portfolio of channels in multiple languages and a long-standing commitment to children’s content. Its licensing division in Riyadh is now leading on Bing’s licensing and events management activities across the region, in partnership with Acamar’s London-based leadership team. This will include the production of a wide range of Arabic-language books, toys, apparel, and family-focused experiential events.

This new launch marks a significant step in Acamar’s global expansion of Bing. The beloved preschool series created by Acamar Films in partnership with Brown Bag Films, originally premiered on the BBC’s CBeebies. Since its debut, Bing has become a cherished part of the daily lives of young children across Europe, offering a powerful tool for early development and emotional resilience, through its authentic expert-led storytelling and characters.

We have such respect for all that Ashraf and the MBC team have achieved over many years, in building the best media offering for younger children and their families in the region. This is our first strategic move in the global expansion of Bing, and we’re delighted to be launching Bing across all areas of media, licensing, publishing and consumer products in the MENA region in our new partnership with MBC.

Mikael Shields, CEO of Acamar Films and Producer of Bing

The partnership was led and negotiated by Jiella Esmat, CEO of 8 Lions Entertainment, in collaboration with Brands & Rights 360, and Acamar Films. 

CAKE secures German broadcast deal with NDR for season 3 of The Sisters

The leading kids’ entertainment specialist has announced a deal in Germany for a third season of popular animated comedy series The Sisters from Samka Productions.

Featuring 52 new episodes, the family sitcom will premiere on KiKA in November 2025 with new stories, once again, capturing the ups and downs of sibling life filled with fun, chaos and dramatic showdowns!

The Sisters is a heart-warming and hilarious look at the everyday adventures and sibling squabbles of Marie, a lovable, energetic, and wildly imaginative 7-year-old and her older sister Wendy, who at 13, is navigating the early stages of adolescence and eager to grow up, often finds herself caught between childhood and teenage life. Despite their fiery tempers, constant bickering, teasing and frequent clashes, Marie and Wendy share the undeniable bond of deep sisterly love…even if they don’t always admit it!

Based on the best-selling comic book series by Cazenove and William published by Bamboo Edition, the 2D animated series for 6-10 year-olds is co-produced by French studios Samka Productions and Bamboo Production for M6, Guilli and Canal+ with the participation of the CNC.

This intelligent, high-energy comedy continues to impress with its clever humour, brilliant writing, and the boundless energy of its leading girls. After the huge success of the first two seasons, our creative team here in Hamburg has had a lot of fun adapting the original comedy for German audiences, infusing it with subtle wordplay and standout performances. Power Sisters fans, get ready – fresh new adventures are on their way!

Anke Schmidt-Bratzel, Commissioning Editor at NDR, Hamburg

We’re thrilled to extend our partnership with NDR and KiKA for a brand-new season and look forward to bringing even more sibling hilarity to German audiences this November.

Dominic Gardiner, Managing Director, Distribution at CAKE

BBC Sport serves up stunning Wimbledon intro with A+C Studios’ papercraft stop-motion magic

The award-winning stop-motion specialists based in Margate have unveiled a charming new papercraft animation created for BBC Sport’s Wimbledon 2025 coverage.

Directed by celebrated animation director Jess Deacon, the handcrafted intro marks the beginning of the BBC’s iconic Wimbledon broadcast, setting the tone for two weeks of world-class tennis with a visually striking, heartfelt homage to the tournament.

Crafted entirely from paper and brought to life through meticulous stop-motion animation, the film blends tradition and texture to capture the timeless elegance of Wimbledon. From Henman Hill to champagne and strawberries, each frame is layered with detail and animated nuance, honouring the tournament’s rich heritage while inviting a new generation of fans.

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Wimbledon is a sporting institution, a global celebration of skill, history, and summer. We wanted to reflect that sense of magic and pageantry in every fold and frame. Paper became the perfect medium to evoke both fragility and craftsmanship just like the sport itself.

Jess Deacon, Director

The animation was entirely produced in A+C’s purpose-built Margate studio, where a team of animators, model-makers and set designers worked over several weeks to construct and animate the intricate papercraft world.

Working with BBC Sport on such a beloved cultural event is a huge honour. Jess and the team have poured their hearts into every second of this film, it’s a celebration of Wimbledon, of animation, and of what happens when traditional craftsmanship meets modern storytelling.

Bethany Abbott, Executive Producer at A+C Studios

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The stop-motion intro premiered on BBC One and iPlayer at the start of Wimbledon 2025, and is now available to watch across BBC Sport’s social channels and BBC Sport website. Watch the full animation here.

Blue Zoo welcomes Claire Horseman to head up award-winning studio culture

The B Corp-certified studio, known for its joyful content and award-winning culture, has announced the appointment of Claire Horseman as its new Head of People & Talent.

Claire is stepping into a pivotal role in shaping the award-winning studio culture, following in the footsteps of Paulene Hamilton, who, after seven years at the helm of the studio’s people strategy, is moving on to well-deserved retirement.

Paulene has been nothing short of a legend, the architect behind Blue Zoo’s celebrated culture. She’s tirelessly built an environment where the team not only thrives but genuinely feels at home, and her work in nurturing talent has been foundational to everything Blue Zoo is today. Under Paulene’s leadership, the studio won a spot on Broadcast’s Best Places to Work in TV list five times in a row. The entire studio wants to extend its heartfelt thanks to Paulene for her immense contributions and wishes her a truly joyful next chapter.

In a fast-moving and ever-changing industry, Claire brings over 25 years of experience across the media and entertainment world and is well-positioned to help navigate the road ahead. She will be leading the people strategy, focusing on attracting and developing top talent, and ensuring that the unique, award-winning Blue Zoo culture remains at the forefront of the studio’s priorities.

It’s impossible to overstate Paulene’s contribution to Blue Zoo. She has been our anchor, ensuring that as we grew, we did so with heart. We will miss her hugely, but she leaves a powerful legacy. Now, as our industry faces new challenges, our strategy is to double down on what makes us unique: our human talent. That’s why we’re so thrilled to welcome Claire. She isn’t just a people leader; she’s a culture builder who gets that the success of a studio comes only from its people. Her experience in helping people grow and adapt is vital for our next chapter of creative innovation and success.

Tom Box, Co-Founder of Blue Zoo

I am absolutely delighted to be joining the talented team at Blue Zoo. It’s a studio renowned for its creativity, innovation, and strong values. I’ve long admired their work and culture. I’m eager to contribute to the studio’s continued success by focusing on attracting, retaining, and developing the best talent in the industry, while honouring the wonderful legacy Paulene Hamilton has built.

Claire Horseman, Head of People & Talent at Blue Zoo

Claire will oversee all aspects of talent management, including recruitment, employee relations, learning and development, compensation and benefits, and diversity and inclusion initiatives.