Planet Rights’ Rob Goodchild on plans for Astro Boy, Kitchen Disco, Talking Tom and more

Planet Rights is a newly launched company. Can you tell us about the thought process and philosophy behind the company?
We are a business built on expertise in developing global brand and licensing programmes within kids and family sectors. We have strong team that has worked for major brands including Wallace and Gromit, Shaun the Sheep, Paddington, Studio Ghibli and Cartoon Network.

Our purpose is twofold. Firstly, we are looking for great IP that we can work with on a global level, and secondly to work with some of the world’s best entertainment and lifestyle brands to open up new markets in UK and Europe.

You have quickly established a good portfolio of rights. How challenging has it been to build your portfolio?
We are really pleased with our offer and the fact that so many rights holders have entrusted their brands with us. Firstly, we looked for IP that we had personal passions for and felt were under-represented – or even untapped in our market. Then we built bespoke proposals showing how we believed we could help build their business. We haven’t promised overnight success, but we do promise that we will give each brand the attention it deserves.

One of the brands you represent is Astro Boy. Why do you think Astro Boy has stood the test of time and still remains popular today?
He’s a cultural icon in Japan, not dissimilar to the way Mickey Mouse is regarded in the USA or Wallace and Gromit in the UK. When it first launched in 1952, Astro Boy was a pioneering brand in the world of anime, being Japan’s first mainstream anime series and the first to sell internationally.

As for the wider success of anime and manga, it’s always had an ardent fanbase, even when it was perceived as niche. Now we have generations that grew up on properties such as Pokemon and Dragon Ball… This means there has always been a solid platform for growth. On the back of this has come the accessibility of the content via streaming services and the current nostalgia trend, which has led to the general elevation of pop culture. A rising tide lifts all boats…

You are also representing Talking Tom. Can you update us on this brand and the new Talking Tom animated series?
We are so pleased that a business such as Outfit7 trusted us with their IP. It feels like they are something of a sleeping giant in the entertainment space, but the stats speak for themselves. Talking Tom & Friends is the world’s biggest mobile gaming brand with over 250 million downloads in the UK, while the YouTube channels reach audiences worldwide, with total views now exceeding 1.2 billion in the UK and 119 billion globally.

The new pre-school series, Talking Tom Heroes: Suddenly Super, represents a major investment by the company, developing from what may be seen as a digital franchise into a full blown 360 IP. We are now geared up for launch of the new TV series on CBeebies and are pleased to have secured Character Options as our master toy partner. There’s so much more to come.

As a rights agency which represents a range of brands, how do you keep your clients in touch with design and market trends? How do you keep your portfolio fresh from a design perspective?
Well, we are new, so everything is fresh! This is all about good communication, where we feedback from market visits and brand owners and licensors offer their own ideas. It’s our mission to work with the world’s best creative businesses. And while we want to ensure that brands remain relevant, we also understand that the original creative vision remains a foundation stone.

From a practical point of view, we have an in-house design team and are also well connected with agencies and creatives that can work to respectfully develop the ideas into tangible assets. Our global outlook also means that we can recognise and adopt trends in other markets, feeding this back to our client base, or enabling us to bring in new IP to enhance our portfolio.

There is a lot of time and focus given in licensing to building and maintaining retail relationships. What is your approach to retail and are there specific ways you have identified to make Planet Rights “retail ready”?
Well, all this is pretty pointless without retail! Of course we make it our mission to see as many retailers as possible, but often they are time poor, so we have to prove to them why we are worth their efforts.

Our first challenge is to get our IP on their radar and then build a supplier base that they trust. In some cases, such as Kitchen Disco, we can take more of a retail-led approach where we can react quickly to market demands and develop products on spec. While in the case of entertainment-led IP, we need to convince retailers why this is a horse – or cat! Or mole! – they should back.

On Kitchen Disco, you have worked with ex- Aardman creative Danny Heffer to develop that. Can you talk us through this partnership and the benefits you see from working with designers like Danny.
Kitchen Disco is a lifestyle/design brand that brings families together, recognising the dynamics between kids and adults – making sure the party is for everyone. Danny and I worked together at Aardman for over 15 years, being responsible for numerous campaigns, extensions and collaborations around the world. We share many sensibilities – and insensibilities! – which means that we know how to communicate effectively, bounce ideas and turn creativity into a commercial offer.

Planet Rights are also extending this approach to other creator concepts such as Whatsitsface and Little Rebels where we can apply our commercial acumen to help create a meaningful offer to distributors and retailers. Every good brand in our space is born out of creativity, and so working with people who have great ideas and the determination to pursue them is not only vital, but really good fun!

You also represent Wild Guides. Tell us a little bit about this brand but also how do you bring a publishing brand like this alive in licensing design wise?
This is an example of a passion project, with the books having accompanied us on every family holiday, providing great places to explore away from the hordes and predatory seagulls!

Firstly, Wild Things Publishing have their own design identity and also a very rich photography archive. What want to do here is bring out those basic cues and icons and then combine that with the imagery and locations to make a truly unique proposition. We want to create products and experiences for those who “get it” and then look at how we build out from there to develop into a family adventure brand in its own right.

You exhibited at the China Licensing Expo. What was the thought process behind this and what were your objectives at this show? How did it go for you?
One of our core brands – Moley – has recently launched on Youku and IqiYi, and so we wanted to be there to show that we are serious about the Chinese market and will put in the effort to make the brand a success there.

We also see our experience and network in China as a competitive advantage. As well as our own portfolio, we can also offer a bespoke service where can present other brands to potential partners and agents to see if there may be an opportunity to open up the market.

It’s fair to say that China is a territory that has its own dynamics and so can be perceived as daunting or impenetrable from a distance. However it has a thriving licensing community, ever-expanding creative industries and appetite to develop internationally. With so much good IP now being developed in China and the general trend for Asian content, we also need to be open to potential representation opportunities.

We were very pleased with the general outcomes from the show – of course, subject to follow up. We had a really great response on Chinese social media channels and the stand was busy all day. That’s a good sign!

Finally, looking ahead to 2026, are there any “emerging trends” you have identified that might be beneficial to Planet Rights in terms of new business from licensees and retailers?
While I wouldn’t say the rise in kidult and pop culture is “emerging” it’s definitely cementing. It’s incredible how many retailers there are now in the space, becoming a mainstay of the high street.

In children’s entertainment, there seems to be a desire for a shift back to more high-quality, story-driven creative in order to combat the attention-span sapping media-snacking that drives parents to distraction. This should also lead to a search for provenance, where the roots of a brand or content will help give reassurance that it is created with good intentions.

Finally, after the success of Hasbro’s successful Peppa campaign, I envisage a baby boom amongst pre-school characters. Perhaps one of those Teletubbies will finally give birth!

What a note to end on! Thanks Rob!