Magic Light Pictures
Muriel Thomas, international distribution director at The Gruffalo prodco Magic Light Pictures, discusses the evolving market for holiday specials, the London-based company’s YouTube strategy and its continuing move into TV series production.
Have you observed any changes in audience demand for holiday content?
We have seen some shifts over the past few years. Streaming has become a strong driver for repeat viewing, which is perfect for our specials. Families increasingly value the flexibility to watch again and again, on demand and across different devices.
That said, linear television continues to play a meaningful role during the holidays, particularly for premieres and highly anticipated programmes that can be shared across generations. There is still a strong appetite for those appointment-to-view moments that bring families together. Our latest production, The Scarecrows’ Wedding, confirmed this trend with 8.7 million viewers, making it the highest rated show on television this Christmas (source: BARB 28-day).
Overall, the trend is evolving, with clear value placed on both the real-time experience of co-viewing new holiday content on linear television and the ability to rewatch content on demand.
Are there noticeable differences in how global audiences engage with holiday specials compared with UK audiences?
Yes. UK audiences tend to have a long-standing tradition of animated specials, particularly around Christmas, where linear viewing and shared appointment-to-view moments remain very strong. Global audiences, meanwhile, generally engage with animated specials more as part of children’s programming, often driven by school holidays throughout the year rather than a specific broadcast date. However, high-quality productions and strong, universal storytelling continue to travel well internationally.
How has the development, finance and production of these specials evolved since The Gruffalo in 2009?
In terms of development and production, Magic Light’s mission has remained focused on telling great stories that fire children’s imaginations. Our films are warm, witty and imaginative, and aim to deliver high-quality experiences for young audiences. The stories are rich in drama and character, which is why we continue to seek out top creative talent to be involved in these productions.
We are very fortunate to work with major broadcasters such as the BBC and ZDF, as well as many other international partners who have been on board with us over many years. While the market has evolved, our core focus on quality storytelling has remained the same.
With the rise of FAST, YouTube and shortform mobile content, how do traditional holiday specials maintain relevance?
They remain relevant because they can adapt well to new viewing habits. Iconic scenes, short clips and compilations that emphasise seasonal themes work very effectively on platforms such as YouTube and other social media channels. Having a presence on YouTube and other digital platforms helps keep the content visible while also driving audiences to where they can watch and enjoy the full films. The longform storytelling experience continues to offer something distinctive for family viewing.
Do you see seasonal content becoming more evergreen outside traditional holiday windows?
It is becoming more common to see Christmas films being promoted earlier in the year, sometimes as early as the summer. Some of our specials feature traditional Christmas themes, such as Stick Man, or are closely associated with Halloween, such as Room on the Broom. However, for all of them, the stories and characters remain relevant regardless of the season. Their themes are universal, which allows them to be enjoyed all year round.
Of the 13 Donaldson/Scheffler adaptations Magic Light has made, which has performed the best?
All the adaptations have performed extremely well, particularly as part of a strong collection of high-quality animated specials, with one highly anticipated new adaptation arriving each year. However, The Gruffalo has built the greatest recognition over time, both in the UK and internationally. As the character has become timeless, we often bring the specials together under the Gruffalo & Friends umbrella, allowing audiences to enjoy them consecutively and immerse themselves in the wonderful and unique worlds created by Julia Donaldson and Axel Scheffler.
Are there any plans for live-action adaptations of the Donaldson/Scheffler titles?
There are currently no plans for live-action adaptations.
What major initiatives does Magic Light have lined up for 2026?
In 2026, we will continue doing what we do best, with another special currently in production. We are also continuing to ensure that our specials are placed with strong partners around the world, ranging from traditional broadcasters and streamers to cinema releases.
For our new series production, Zog (52×11’), based on the two existing specials Zog and Zog & the Flying Doctors, we have partnered with BBC Studios for international distribution and licensing outside of Europe. We are very much looking forward to working with such a strong global partner to launch and grow Zog internationally.
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Muriel Thomas, international distribution director at Magic Light Pictures (MLP), outlines how the audience for the company’s holiday specials is evolving, the digital strategy for this content and her slate for Mipcom.
What new animated holiday specials has MLP got lined up for Mipcom?
We are excited to be attending Mipcom with our latest adaptation from the best-selling picture books of Julia Donaldson and Axel Scheffler, The Scarecrows’ Wedding. This enchanting story is about two devoted scarecrows, Betty O’Barley and Harry O’Hay, as they plan the perfect wedding, until unexpected twists begin to unfold. In true Magic Light Pictures style, it’s full of heart, humour and adventure and it has a wonderful voice cast including Rob Brydon (Gavin & Stacey, The Trip) voicing Reginald Rake, Jessie Buckley (Wicked Little Letters, Wild Rose) as Betty O’Barley, Domhnall Gleeson (About Time, Alice & Jack) as Harry O’Hay, all led by Sophie Okonedo (Slow Horses, Hotel Rwanda) as the Narrator.
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Magic Light Pictures’ Marc Ollington and Muriel Thomas describe how the animation house has built a business creating specials based on Julia Donaldson and Axel Scheffler’s beloved picture books, along with an ancillary licensing programme.
Magic Light Pictures has carved out a unique position in the global animation business. Co-founded by Michael Rose and Martin Pope, the award-winning studio has built its reputation around the production of sumptuous high-end specials based on Julia Donaldson and Axel Scheffler’s much-loved picture books.
The relationship with Donaldson and Scheffler goes back to 2009 when Magic Light produced a heart-warming version of bestseller The Gruffalo. Despite all the upheaval in the kids and family market since then, Magic Light’s steady stream of specials continue to attract huge audiences both at launch and later via on-demand platforms.
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As Magic Light Pictures prepares to launch its latest animated Christmas special, titled Tiddler, international distribution director Muriel Thomas and marketing director Marc Ollington discuss what makes Julia Donaldson and Axel Scheffler’s stories so successful and give their thoughts on the industry’s changing landscape.
“This time of year is always the highlight for us as the production of our latest special is coming to an end and all the pieces come together,” says Muriel Thomas, international distribution director of Magic Light Pictures. The company is about to launch Tiddler, its 12th adaptation of the children’s books written by Julia Donaldson and illustrated by Axel Scheffler.
“Tiddler has long resonated with readers because at its heart, it’s a tale about imagination, adventure and the joy of storytelling, which appeals to both children and adults alike. Parents love it for the positive messages around creativity and perseverance, while kids are drawn to such a lively character as Tiddler and the imaginative scenarios that surround him.
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Magic Light Pictures’ latest holiday special debuted last month and here the company’s marketing director, Marc Ollington, and distribution director, Muriel Thomas, outline how its specials are a year-round business.
As each new year rolls around, UK prodco Magic Light Pictures celebrates the success of its latest animated Christmas special, which has become a much-anticipated staple of BBC One’s festive line-up.
Last year was no different, following the Christmas Day premiere of Tabby McTat, an adaptation of celebrated author/illustrator duo Julia Donaldson and Axel Scheffler’s picture book about a busker and his pet cat. The film earned itself a spot in the top 10 programmes watched on Christmas Day, according to Magic Light marketing director Marc Ollington, with around 3.4 million live viewers for its premiere TX, and up to seven million in total after one week consolidated.
Michael Rose and Martin Pope, the duo behind Magic Light Pictures, look back at their 11 adaptations of Julia Donaldson and Axel Scheffler’s much-loved picture books and reveal how they plan to take the brands into the future.
It is widely acknowledged that reading books to children delivers profound emotional and learning benefits. But there’s also evidence that it is a source of inspiration to the readers too. How many times over the years, for example, have film and TV producers said their creative ‘eureka’ moment came via the time-honoured ritual of a bedtime story?
Take Michael Rose and Martin Pope, the co-founders of award-winning London animation studio Magic Light Pictures. Back in the mid-2000s, they were both reading Julia Donaldson and Axel Scheffler’s much-loved picture book The Gruffalo to their respective children. Determined to adapt the book into an animation film, they spent the next four years convincing publishers, agents and the authors that they could be trusted with this cherished property.
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Magic Light Pictures is best known for its animated Christmas specials on BBC One and now it’s diversifying, execs from the company reveal.
As Magic Light Pictures celebrates its 20th birthday, 2023 is shaping up to be a big year for the UK prodco, which has made TV specials loved by many millions of kids around the world.
The award-winning London company, founded by joint MDs Martin Pope and Michael Rose, has produced 12 of the BBC’s Christmas animated specials, including 10 films based on the story books by Britain’s best-selling author and illustrator, Julia Donaldson and Axel Scheffler.
Its most recent, The Smeds & The Smoos, had more than 8.5 million linear viewers last December, with many more streaming this beautiful film on BBC iPlayer. This success is the culmination of two decades of hard work, creativity and smart stewardship from Pope and Rose.
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Michael Rose, joint MD at UK animation studio Magic Light Pictures, talks about the company’s strategy for turning shows into brands, and offers a glimpse of the company’s MipJunior slate via C21’s Digital Screenings.
Magic Light Pictures is probably best known as the Oscar-nominated production house behind many of the BBC’s recent animated Christmas specials, such as The Gruffalo, Zog and Superworm.
Last year the company launched its first animated series, Pip and Posy, on Paramount-owned Channel 5’s Milkshake! children’s block and on Sky Kids, with the show achieving fantastic ratings and international success.
The series is about two best friends whose lives revolve around a wonderful world of play. Based on the picture books illustrated by Axel Scheffler, the illustrator of The Gruffalo, it aims to show preschoolers how to build lasting friendships with kindness, resilience and flexibility.
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With its holiday hit Superworm wriggling its way into millions of festive front rooms last Christmas, UK animation house Magic Light Pictures is lining up new content for 2022 and beyond.
UK-based Magic Light Pictures, founded in 2003 by joint MDs Martin Pope and Michael Rose, has built up a strong reputation in the kids’ and family space, particularly for its animated Christmas specials for the BBC. With classics like The Gruffalo and The Gruffalo’s Child under its belt, the prodco has won three international Emmys and two Baftas and has been nominated for four Oscars.
“We formed the company because we wanted to make high-quality programmes with a focus on the family audience,” Rose says.
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After a bumper year for the animation industry in general, Muriel Thomas of Magic Light Pictures reveals the UK company’s slate for this year and discusses plans for international expansion, as part of its C21 Digital Screenings showcase.
While the events of last year sent many TV production houses into meltdown, the animation industry overall was less affected. Rather than shooting on location, CGI animators were able to keep working from their homes. Despite many challenges, productions could continue.
The UK’s Magic Light Pictures – best known for producing Oscar-nominated animated specials based on Julia Donaldson and Axel Schleffer’s books, such as The Gruffalo and Room on the Broom – benefitted from this along with other animation houses and was also able to keep ahead of the gradually flattening curve through its position as both a producer and distributor.
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Magic Light Pictures’ joint MDs Michael Rose and Martin Pope and head of international distribution Muriel Thomas showcase their C21 Digital Screenings playlist, discussing why young audiences deserve quality content and reveal details of their new project.
Launched in 2003, Magic Light Pictures (MLP) originated from joint MDs Michael Rose and Martin Pope’s mutual desire “to produce imaginative, thought-provoking and exciting entertainment for children and families worldwide,” says Pope.
Previously, Rose had set up the feature film division at Aardman Animations and Pope was a live-action producer, working with industry heavyweights including Alan Bennett and John Schlesinger at the BBC. “We shared an interest in focusing increasingly on the family market, as we realised it’s an incredibly important audience who deserve to be well served by the best there is,” says Pope.
“What’s wonderful about this audience is they are so clear-sighted; they can sniff out anything that feels inauthentic. It’s important to work with writers and directors who have a clear sense of what they’re trying to say and deliver it in a congruent way.”
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