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The design meant that even in profile the pig could show a full range of expressions, but it limited her merchandising potential. There were concerns about Peppa’s two-dimensional face, which is shaped a bit like a hair-dryer, with both eyes on the same side. “We’d go round to depressing meetings where they’d give us all the reasons why it couldn’t work.
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The trio sent a trailer to TV executives, but notably not the BBC after their Big Knights experience. “We gave her the red dress and the name, which is sort of hot and spicy, because we wanted her to be a bit edgy and have character,” Baker says.
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Snorts led naturally to pigs, and mud, and Peppa’s house on a hill. Next came the snorts, which, the animators hoped, children would enjoy copying in playgrounds.
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The family idea came first, and then the girl protagonist – another glaring gap in the market. Baker recalls: “She said that when she read stories to Lily, she’d often ask: ‘Where’s the mummy and daddy?’” When executives told them children didn’t like watching adults, conversations with Alison gave them succour. What children lacked, they decided, were everyday stories about families. “We gave ourselves a week to come up with ideas,” Astley says. “After all that work, it was gone.”ĭistributors and broadcasters were still looking for the next big thing after the success of Bob the Builder and the Teletubbies. “At a meeting about a second series, Nev pointed out that they were talking about the show in the past tense,” Baker recalls. It won awards, but the BBC shunted it around the Christmas schedules in 1999 and it didn’t stick.
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The friends thought they had made it when BBC Worldwide funded The Big Knights, an animated series about two hapless, overweight soldiers. Global reach … a Rice Field In Huangshan, China, with an image of Peppa Photograph: VCG/VCG via Getty Images When Astley and Baker set up shop with Davies, they embraced new computer technology in a way that meant they could think big while staying small. But hand-drawn animation was notoriously laborious and many studios were outsourcing work to eastern Europe. “We’d learned from books written by the old Disney animators,” says Baker.Īstley and Baker wanted to create a cartoon series that would have the same charm as shows such as The Magic Roundabout, which they had watched with their parents in the long-gone slot before the BBC evening news. People were still painting by hand on to celluloid sheets then. The couple were old friends of Baker, who had begun working with Astley in the early 90s. How did a strangely drawn pink farm animal became so wildly popular – and profitable? The story starts with a little girl called Lily, the daughter of animators Alison Snowden and David Fine. “Peppa stood on a stage and people handed their kids up to her,” he says. Her father, Rob, remembers being stunned by the adoration he witnessed during his first visit to the park, where the insanely catchy theme tune plays on a loop. “It did kind of feel like I was in her world,” says Betsy Ellis, a recovering Peppa superfan, who is now seven. Meanwhile, in England, Peppa Pig World, which opened in 2011 at a Hampshire theme park, attracts legions of snorting four-year-olds. Two more Peppa Pig World of Play attractions have opened this year in the US, with plans for dozens more, including in New York and Beijing. Last October, Merlin Entertainments, the British attractions company behind Legoland and Alton Towers, opened a Peppa Pig theme park inside a Shanghai shopping mall.
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Peppa Pig has, among other accusations, reinforced gender stereotypes, encouraged children to be naughty, reflected a middle-class worldview and even endangered life in Australia, the national broadcaster banned an episode in which Peppa reassures her brother that spiders are harmless.īut she marches on. Success has brought with it a level of criticism that the animators never expected.