Going Global with Kids’ Content: A Conversation with Paul Robinson of Kartoon Studios

Introduction:
This is a written version of the podcast featuring Paul Robinson, hosted by Atul from Vitrina. Summarized for quick reading, this Q&A-style transcript explores Paul’s journey from BBC and Disney to leading international expansion at Kartoon Studios. He shares insights on FAST channels, localization, AI in dubbing, global content strategies, and why kids’ content is the ultimate anti-churn weapon for platforms.

1. Vitrina: Paul, can you walk us through your fascinating journey from radio presenter to leading roles at BBC, Disney, and now Kartoon Studios?

Paul Robinson:
“I started in radio because I was a music fan… I studied natural sciences at Cambridge, but I chose media instead. I became a presenter, then a program director, and eventually ran BBC Radio 1, which had 19 million listeners a week. Then I became Head of Strategy for all BBC national radio… one day, Disney called — seven interviews later, I was in. From there, I stayed in content and strategy leadership and eventually reconnected with Andy Hayward at Kartoon Studios, who invited me to launch and lead the international division.”

2. Vitrina: What is your current role at Kartoon Studios, and how is the business structured?

Paul Robinson:
“My remit is to run the international business — essentially, to get our IP to global audiences through free TV, pay TV, FAST, and digital platforms. Kartoon Studios is an IP company — we create original animated and live-action content, and we manage the back end through licensing and merchandising, where much of the value is shifting.

We’ve rebranded from NASDAQ to NYSE, refocused on kids and family. We also own Frederator (targeting teens and up) and the Stan Lee IP business. My focus is still Kartoon Channel — expanding that internationally through partnerships with platforms and smart TV manufacturers like Samsung, LG, and Hisense.”

3. Vitrina: How has the kids’ content landscape evolved with digital, FAST, and global OTT platforms?

Paul Robinson:
“Everything is digital now — AVOD, SVOD, FAST. FAST is essentially free TV with ads, just delivered over the internet. It’s very targeted — like niche magazines used to be. In some markets, like Africa, 85% of the market is still linear; in the U.S., half is digital. So we stay agnostic — different markets, different models. You need to understand culture, taste, tech infrastructure, and who your stakeholders are — both the platforms and the bill-paying adults buying for kids.”

4. Vitrina: What’s your approach to original IP versus co-productions and acquisitions?

Paul Robinson:
“Our preference is to create and own original IP — it gives us end-to-end control across geographies and windows, a real competitive advantage. We also co-produce and acquire where it makes sense. A great example is our Roblox Rumble Show, created in-house and made entirely in our LA studio — it’s performed brilliantly on Amazon Prime and in Southeast Asia.”

5. Vitrina: How does this original content strategy extend to international markets?

Paul Robinson:
“We’re in 60 countries today — from Australia to the Philippines to Africa. At this early stage, it’s primarily distribution-led. Content is still created in the U.S. or Canada, but our long-term goal is to co-create globally. That includes acquiring local shows to reflect regional flavor while maintaining a consistent brand.”

6. Vitrina: What does international success look like for Kartoon Studios?

Paul Robinson:
“We’re betting on all platforms — pay TV, free TV, and digital — knowing digital will eventually dominate. Monetization timelines differ by region — FAST is mature in the U.S., but slower in Europe. Pay TV is still lucrative outside the U.S. A successful year would mean entering six more markets, securing a few hit shows, and keeping our board happy financially.”

7. Vitrina: What kind of partners or collaborations are you open to?

Paul Robinson:
“I’m keen to hear from content creators — even startups — with fresh IP ideas. We’re already working with major broadcasters like BBC, Super RTL, MediaCorp, and Astro. On the tech side, we’re actively partnering with smart TV platforms like Roku, Tubi, and Samsung. And we’re always open to hearing from new digital platforms gaining traction.”

8. Vitrina: You’ve touched on production partnerships. How do tax incentives and global talent play into your strategy?

Paul Robinson:
“We’re open to co-production in markets offering tax breaks — like Canada, which is already a big part of our production ecosystem. The Canary Islands offer up to 40% rebates. But writing and character design still flourish best in the U.S. and UK. We’ve found amazing animation quality in Korea, for example, but they’re still building storytelling expertise. So we go where the strengths are.”

9. Vitrina: Can you share an example of a successful cross-border co-production?

Paul Robinson:
“Our Roblox Rumble Show was co-produced with Astro in Malaysia. They led casting and localized elements, while we managed the creative and IP. It performed well on their platform and later did brilliantly on Amazon Prime in the U.S. That’s a win-win — made in Asia, exported globally.”

10. Vitrina: What role does YouTube play in your content strategy?

Paul Robinson:
“YouTube is powerful for reach and awareness, but tough to monetize if you’re investing millions in IP. It’s a great platform for building fandom, but not the full business model. We use it as part of our mix — not the core.”

11. Vitrina: How do you see technological disruption — like GenAI and gaming engines — changing your industry?

Paul Robinson:
“Tech is both an opportunity and a threat. AI can take over repetitive tasks in post, dubbing, translation — freeing people for more creative work. Dubbing is where we see huge AI potential, especially for smaller markets where traditional dubbing is unaffordable. We’ve used AI for promos and are exploring lip-sync dubbing.

But creativity starts with people. AI won’t invent the next Game of Thrones. It might copy it. Humans must drive ideas, oversee AI, and use it as a productivity enhancer — not a replacement.”

12. Vitrina: Final thoughts — what are you hoping to achieve in the coming year?

Paul Robinson:
“I’d love to find a few exciting new content pieces, enter another half-dozen markets, and keep growing the business sustainably. I’m always open to hearing from creators, partners, and platforms who want to work together.”