Argentina’s Spiritum Entertainment arrives at MipJunior and Mipcom with Bumpy the Bear, its first preschool franchise since the Latin American hit Plim Plim. The project is coproduced with Canary Islands-based distributor Krakatoa and has already secured a public-broadcast window: Spain’s RTVE will carry it on children’s channel Clan and across its international channels.
What is on the table
Bumpy the Bear is built for platform distribution. It comprises 52 shorts and 52 music videos, produced in English, Spanish and Portuguese. The setup follows a young bear and his friends as they apply what their teacher shows them through music and play — a format designed for repeat viewing rather than appointment viewing.
Spiritum is not entering the market cold. Its previous preschool brand gives the pitch a data story few independent producers can match:
- 48.4 million subscribers across Plim Plim’s YouTube channels
- 21.8 billion video views over the past 12 months
- 52 shorts and 52 music videos ready for Bumpy
- 3 language versions: English, Spanish and Portuguese
- RTVE Clan attached for Spain, plus international channels
Why the Plim Plim numbers matter
For entertainment buyers, Plim Plim’s audience is not a vanity metric. It is an owned audience that Spiritum can activate when Bumpy launches, lowering the cost of building awareness from zero. It also shows the producer understands short-form, music-led preschool content on YouTube, where algorithmic discovery and repeat plays matter more than a single linear slot.
“This is a new story with an identity of its own,” said Guillermo ‘Tita’ Pino, president of Spiritum Entertainment, adding that the show shares the company’s belief that entertainment can help children learn, play and discover the world.
What buyers should test
Víctor M López, co-founder of Krakatoa, said Bumpy was “conceived for an international audience” with a strategy to grow across platforms, territories and categories. That is the right market pitch, but acquisition teams should not stop at the headline reach. The questions that matter are whether the new show holds attention over multiple shorts, what watch-time and retention look like on its YouTube launch, and which platform windows are still open in each territory.
RTVE’s early move is useful validation, but it is one window in one market. The real test is whether Bumpy can convert Plim Plim’s enormous YouTube reach into durable demand for a new character — and whether licensing partners see enough white space to build consumer products beyond broadcast.
Source: C21media
