NSW based Cheeky Little creates unique and engaging children’s and family content, which always puts the wants and needs of their audience first. The company is passionate about creating IP that is distinctly Australian with universal themes, and its slate includes globally recognised programs including Kangaroo Beach, Kazoops!, Bottersnikes & Gumbles and Ginger and the Vegesaurs. Cheeky Little is also in production on their first feature film based on the global publishing phenomenon – Zac Power. While the company has had to adapt to the rapid shifts in children’s and family content viewing habits, Cheeky Little continues to look to the future, creating content for the next generation.
Screen NSW spoke to Celine Goetz, SVP of Content Strategy and Executive Producer at Cheeky Little to discuss creative leadership, the importance of authenticity in creative teams and how Cheeky Little is growing its brand to tell bold stories and reach new audiences.
Firstly, can you tell us a little about your role as SVP of Content Strategy and Executive Producer at Cheeky Little?
As the SVP of Content Strategy and an Executive Producer at Cheeky Little Media, I lead the creative and strategic direction across our slate of original projects, from development through to delivery. My role involves working closely with writers, directors, artists and stakeholders to shape our stories and ensure that each project reflects Cheeky Little’s distinct creative voice. I also work on building partnerships, securing funding, and overseeing production to ensure each show is positioned for both creative success and market appeal.
What do you enjoy most about creating children’s content?
Animation is an incredibly special craft, and I remain constantly in awe of the imagination and talent it takes to bring these stories to life. As a creative leader at Cheeky, one of the most fulfilling parts of my role is guiding and supporting teams to do their best work—then sharing in the collective joy when something we've poured our hearts into really connects with audiences.
Creating content for the next generation is deeply rewarding for all of us at Cheeky—it’s a privilege to make shows that children will grow up with and carry with them.
And having previously worked in scripted drama, I love that I now get to make stories I can watch with my own kids—there’s nothing better than being able to share that part of my work with them.
Kangaroo Beach launched its third series in December 2024. Tell us about the strategy that was used to build such a strong audience for the program.
Kangaroo Beach is a concept that combines entertaining storytelling with real-world learning around water safety and this unique offering has always been hugely appealing to both Australian and international families.
The support we have received locally from the ABC, Australian Children’s Television Foundation (ACTF), Screen Australia and Screen NSW to get to season three has been crucial in allowing us to create a critical mass of content to continue to build audience awareness. In addition, by creating strong partnerships with well aligned institutions like Surf Life Saving and the RNLI in the UK, we are creating opportunities for audiences and their families to connect with the brand in other ways.
We’re over the moon to see the brand continuing to grow in popularity through continued engagement on ABC Kids and other international platforms, as well as from a strong digital strategy, live events, and refreshed consumer products that all help to deepen audience engagement across multiple platforms.
Ginger and the Vegesaurs is currently in production on season four. What do you think has made this series such a global hit with so many children?
The universal appeal of dinosaurs is well known, so it’s no surprise to us that this very different twist on the dinosaur has been such a huge global success.
With its simple, visual storytelling, loveable characters, comedy, and action the series has all the ingredients for a hit pre-school show. Plus, our main character Ginger is endlessly appealing—her courage, curiosity, and charm are hugely appealing to a young audience.
In addition, we are working with a great distribution partner, Studio 100, who have worked tirelessly with us to get placement on some of the best platforms in the world, including the ABC, BBC, France TV and most recently, PBS in the US.
You have an upcoming series Flower + Flour. Can you talk to us about how important it was to have creatives on the team who could authentically bring this world to life?
Flower + Flour is set in a richly diverse urban neighbourhood, so authenticity was non-negotiable. We have worked closely with Dan Mansour, the show’s creator, to ensure that we assembled a creative team of writers and artists that truly resonate with the themes and stories in the show. It’s a show with strong themes of belonging and creativity, and we’re hugely proud that this spirit is embedded in the way it was made.
Cheeky Little was a recipient of Screen NSW’s Slate Development funding. How did this help advance the pipeline of projects for the company?
Through Screen NSW’s slate funding, producers can more confidently create a broader and more robust content development strategy that allows for continued and sustained growth in the sector - this is a fantastic initiative that has seen great outcomes for Cheeky Little.
The support from Screen NSW has been instrumental in accelerating our development slate and allowing us to move projects into financing and production more swiftly. It allowed us to invest in early-stage creative development and build pitch materials that have attracted strong market interest that has led to a green light on one project already.
Cheeky Little projects have great success here in Australia and overseas. When developing a program, what strategies or considerations do you have in place to make sure your projects remain competitive, including exploring co-production partnerships or early development around licensing partnerships?
When we’re developing a new project, we are always considering the wants and needs of the audience first. We have seen monumental shifts in the viewing habits of the kids' audience in the last five years and so it’s essential that when we’re shaping a development and financing strategy, we’re considering how the content is relevant to the audience and how they will discover it. In a viewing environment where the audience is becoming more and more fractured, this may mean working with strategic partners to ensure that there is a robust YouTube, gaming or licensed product strategy as part of the overall content plan for a new series.
In addition, it's worth noting that we always need to place an international lens over our development projects. In Kids, we tend to finance no more than 40% of the budget from Australia so that means our projects need to have universality that will attract international platforms and co-producers. This can at times be a tough tightrope to walk to create projects that feel authentic to our Australian audiences, but which also have universal themes that our international audiences can relate to.
Creating and producing original IP is something that Cheeky Little are very passionate about. As a producer, what advice would you give to a screen creative creating and pitching their original IP?
Know your world and characters inside out—and be able to articulate why this idea matters now. Make your pitch personal, passionate, and practical. Buyers want to feel your conviction but also see that you’ve thought about the audience, format, tone, and how it stands out. And don’t be afraid to collaborate early—bringing the right partners in can make your idea stronger and more likely to succeed.
What are some of the key trends you are currently seeing in family content and animation?
We’re seeing a renewed interest in digital-first strategies and also an openness for some platforms to co-commission again or acquire content non-exclusively. It’s also great to see that demand is still there for authentic, authored storytelling. Comedy is still king, especially with older kids, and we’re seeing more appetite for commissioners to take some bigger swings again to create distinctive content for this age group.
Finally, there’s still a big push for content that can live across platforms—linear, streaming, YouTube, games, and beyond.
