Innovative formats and new platforms: How Nordic creators turn their stories into brands that travel

As part of Nordisk Film & TV Fond’s (NFTVF) 2026 theme year Branding & Distribution, some of the articles will offer case studies on Nordic productions that focus on branding in new ways.

Finnish Gigglebug Entertainment’s animated series Ted & Paula’s Tadpole Journey, currently in production, is about the adventurous tadpole siblings Ted and Paula, who live in a vast and perilous pond. The young tadpoles navigate in a fast-paced, laugh-out-loud quest to level up, grow up, and chase big dreams - all while discovering the power of teamwork sibling bonds.

This kids’ animated series is reportedly the first one in the world that is specially designed from the start for both vertical and horizontal screens.

The series has been developed by Gigglebug’s CEO/producer Anttu Harlin together with the series’ director Joonas Utti. Both Harlin and Utti are founders of Gigglebug. Harlin says that they wanted to take a leap of faith, as vertical format is not yet that common on streaming platforms, at least not when it comes to the broadcasters:

“Everyone’s watching vertical videos. We have almost taken a bit of a gamble when deciding to make this show in a vertical format, and then two years later when it’s ready we will see if it will actually also find a lot of distribution in vertical format on broadcaster platforms.”

The vertical format came naturally, as the story itself moves from the bottom of the pond towards the surface of it:

“As we're producing it, it means that we're working with a square aspect ratio, so that we have a high quality vertical output. And the storyboard team is always aware of how they can use the high and the wide formats to set the scene.”

The team members work with a 360 universe across formats. Harlin says they start by identifying the core of the brand and the main message, to be able to expand the universe into new formats and platforms. Their core message for the series is clear:

”Ted & Paula is about celebrating bravery, facing incredible odds, keeping on dreaming and keeping on going. The siblings want to go from the bottom of the pond all the way to the top. As it’s super dangerous, staying alive is a miracle. They will keep on going, and they will level up.”

The tadpoles are levelling up physically by going towards the surface, and also emotionally when they grow more self-confident. When exploring formats, the thought of levelling up comes naturally when expanding the idea to mobile and console games. However, Harlin underscores the need to characterise the brand in an organic way for all formats and platforms:

“When we think of other places where we can interact with these characters: books, music, live experiences, we think about how to use that same message, and the same brand core on those platforms. It’s quite easy to take a leap of imagination and say: “Yeah, this is going to be a mobile game, they are gonna keep on levelling up.” But when you think of books… For example, you don’t want to make a book that doesn’t capture the core idea. If it’s the first place a fan meets your brand, you have to think about how it is still living up to the idea of the brand.”

To build a strong IP and travel across borders, the messaging has to be very clear:

”I think the distinctiveness of the character design is important, as well as the name, the logo, the tagline, the key, thumbnails, and the synopsis. And you have to have the core of the brand and summarise it into a few words, and simultaneously think of the whole universe of the story in those core words.”

The need for original IPs can turn out to be an advantage for Nordic studios:

“I think it’s an interesting time to be an independent studio, and there’s substantial movement online for independent creators. There’s less original IP made at the big studios, so I think the audience is hungry for new IP. It will be really exciting to see if an independent brand can fill the void with what people are hungry for.”

Awarded innovative marketing strategies for Requiem for Selina

A Norwegian success story when it comes to branding is the drama series Requiem for Selina (Rekviem for Selina), which premiered in 2025. The series has gained international recognition in the form of awards, not only for the series itself, but also for its branding and visual image. The series was awarded at Norway’s biggest ceremony for design, illustration and visual communication at the event Visuelt 2026 for its visual universe. The series has also won recognition in Norway for its campaign Rekviem for Tise, both at the Norwegian advertising competition Gullblyanten 2026 and at the annual marketing conference Gulltaggen 2025.

Requiem for Selina is produced by ANTI and commissioned by NRK. Inspired by true events, the story focuses on Norway’s first beauty blogger. The series explores the dark side of early Internet fame. ANTI’s Head of Production Ingunn Rensel, who acts as the series’ producer, and its creator/main writer Emmeline Berglund share with us the development process and successful marketing strategy:

“We had to find alternative ways to build awareness and reach audiences. For Requiem for Selina, that challenge actually aligned well with the nature of the series itself. The story already blurs the line between fiction and reality, so we wanted the marketing to operate in the same space rather than sit outside of it.”

As public broadcaster, the commissioning broadcaster NRK had certain rules that affected the marketing strategy. NRK can’t rely on paid advertising placement to promote a production. What seemed to be a challenge led to totally new solutions for ANTI, such as the collaboration with the Norwegian resell platform Tise:

“Instead of using Tise as a traditional marketing channel, we created a real profile for Selina, and extended her presence into a platform the target audience already uses. Through her own unique tone of voice — written by the screenwriters — we sold items from the series as if she were a real person, allowing audiences to meet the character both before and after they watched the show. This is generally how we approach these kinds of activation. We try to create ideas that feel like a continuation of the story rather than an advertisement for it.”

How do you work with broadcasters when it comes to branding?

“As strategic branding is one of ANTI’s core areas of expertise, it is important for us to maintain creative control over how the series is positioned and communicated. When working with broadcasters and streaming platforms, promotional priorities are ultimately determined by the channel. Having experienced projects receiving less marketing support than we had hoped for, we have learned not to take visibility for granted. After investing tears and years of creative work into developing and producing a series, simply handing over the finished product and hoping it will be prioritised feels like a risky little game.”

This leads ANTI to integrate audience engagement and launch strategy into their process from an early stage on:

“We develop marketing concepts alongside the creative development of the series, and produce promotional content throughout production. While we highly value the collaboration with NRK and any promotional support they provide, our strategy is designed to complement — not depend on— the broadcaster’s efforts.”

Some lessons can be learned from the so-called traditional marketing when it comes to creating a strong brand for a drama series:

“In today’s highly competitive streaming landscape, making a great series is not necessarily enough. In a sea of other options, there is no guarantee that your series will be discovered or chosen by audiences.”

Rensel and Berglund conclude that familiar topics are something that people more likely will engage with. This is built through repeated exposure over time, while creating anticipation and cultural momentum around a project:

“When done well, it can transform a series from just another title in the catalogue into something that feels like the next big thing. But sadly, there is no one-size-fits-all when it comes to marketing a series. Each strategy needs to adapt to the uniqueness of the series itself, for the series to stand out. That’s why we approach each project as a brand to be built, not a product to be sold.”

In practice, that means the launch campaign starts taking shape long before the shooting:

“As soon as we have a clear story and purpose, we start thinking about how to engage future audiences and build anticipation. We don’t see promotional material as a final marketing layer added after the series is finished. Instead, we see it as an extension of the story itself, created by the same storytellers who write and direct the show. When the branding, marketing and storytelling are aligned from the start, you create a much stronger connection with the audience.”

Ted & Paula’s Tadpole Journey and Requiem for Selina have both received support from NFTVF.