Spring 2020 TSX-V: TBRD OTC: THBRF Forward Looking Statements 2 - - PowerPoint PPT Presentation

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Spring 2020 TSX-V: TBRD OTC: THBRF Forward Looking Statements 2 - - PowerPoint PPT Presentation

1 Spring 2020 TSX-V: TBRD OTC: THBRF Forward Looking Statements 2 This presentation contains forward - looking statements within the meaning of applicable securities laws. We are hereby providing cautionary statements identifying


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Spring 2020

TSX-V: TBRD OTC: THBRF

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This presentation contains “forward-looking statements” within the meaning of applicable securities laws. We are hereby providing cautionary statements identifying important factors that could cause the actual results to differ materially from those projected in the forward-looking statements. Any statements that express, or involve discussions as to, expectations, beliefs, plans, objectives, assumptions or future events or performance are not historical facts and may be forward-looking and may involve estimates, assumptions and uncertainties which could cause actual results or outcomes to differ materially from those expressed in the forward-looking statements. Often, but not always, forward-looking information can be identified by the use of words such as “plans”, “expects”, “is expected”, “budget”, “scheduled”, “estimates”, “forecasts”, “intends”, “anticipates”, "continues" or “believes” or the negatives thereof or variations of such words and phrases or statements that certain actions, events or results “may”, “could”, “would”, “might” or “will” be taken, occur or be achieved. This presentation contains references to certain measures that do not have a standardized meaning under International Financial Reporting Standards (“IFRS”) as prescribed by the International Accounting Standards Board and are therefore unlikely to be comparable to similar measures presented by other companies. Rather, these measures are provided as additional information to complement IFRS measures by providing a further understanding of operations from management’s

  • perspective. Accordingly, non IFRS measures should not be considered in isolation nor as a substitute for analysis of financial information reported under IFRS. The

Company believes that non-IFRS measures, specifically EBITDA and Adjusted EBITDA, are frequently used by securities analysts, investors and other interested parties as measures of financial performance and to provide supplemental measures of operating performance and thus highlight trends that may not otherwise be apparent when relying solely on IFRS financial measures. Except for statements of historical fact, information contained in this presentation constitutes forward-looking statements and includes, but is not limited to the (i) projected financial performance of Thunderbird Entertainment Inc. (the "Company"); (ii) completion of the offering of subscription receipts and the completion of the reverse takeover transaction with Golden Secret Ventures Ltd.; (iii) the expected development of the Company’s business projects and joint ventures; (iv) execution of the Company’s vision and growth strategy, including future M&A activity and global growth; (v) sources and availability of third party financing for the Company’s projects; (vi) completion of the Company’s projects that are currently in production, development or otherwise under consideration; (vii) renewal of the Company’s current productions; and (viii) future liquidity, working capital and capital requirements. Forward-looking information is based on the reasonable assumptions, estimates, analysis and opinions of management made in light of its experience and its perception of trends, current conditions and expected developments, as well as other factors that management believes to be relevant and reasonable in the circumstances at the date that such statements are made, but which may prove to be incorrect. By their nature, forward-looking statements involve numerous assumptions, inherent risks and uncertainties, both general and specific, which contribute to the possibility that the predicted outcomes may not occur or may be delayed. The risks, uncertainties and other factors, many of which are beyond the control of the Company, that could influence actual results include factors beyond the control of the Company, include (i) risks related to the general nature of the entertainment industry; (ii) risks related to digital media, television and film industries; (iii) global media industry trends; (iv) potential for budget overruns and other production risks; (v) limited ability to exploit current and future film and television content inventory; (vi) changes in applicable regulatory environments; (vii) technological change; (viii) labour relations; (ix) dependence on relationships with content producers and suppliers; (x) customer, distribution or industry segment concentration risks; (xi) dependence on relationships with customers and distribution partners; (xii) fluctuations in financial results; (xii) competition; (xiv) dependence on key personnel; (xv) protection of intellectual property; (xvi) impact of fluctuations in exchange rates; (xvii) reliance on distribution of Canadian content and government funding; and (xviii) international distribution activities. Accordingly, readers should not place undue reliance on forward-looking information. We do not undertake to update any forward-looking information, except as, and to the extent required by, applicable securities laws.

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Forward Looking Statements

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Rapidly growing and highly profitable business, yet risk mitigation-focused, with a strong balance sheet and F2019 revenue and AEBITDA of C$61.5 million and C$10.3 million respectively Continuing to pursue an aggressive growth strategy through acquisition and organic growth, including investments in owned-intellectual property (“IP”) Well-known in the industry for producing exceptionally high quality, creative and innovative programming, and attracting and retaining the highest quality talent Experienced and innovative management team with deep roots in content creation Publicly traded on the TSX Venture Exchange; providing the ability to use stock as currency

Investment Highlights:

MISSION: To create content that makes the world a better place.

Thunderbird Entertainment Group Inc. (“Thunderbird” or the “Company”) is an award-winning, full-service production company with more than 1,000 full and part- time crew, headquartered in Vancouver with additional

  • ffices and studio facilities in Los Angeles, Ottawa and

Toronto. Thunderbird develops and produces a diversified portfolio

  • f animated, factual and scripted content through Atomic

Cartoons (“Atomic”) and Great Pacific Media (“GPM”) for broadcasters, OTT platforms and cable channels worldwide. 134 half-hours of owned-IP content (excluding service work) were delivered in F2019, compared to 97 half-hours in F2018, a 38% increase.

KEY STRATEGIC PRIORITIES:

  • 1. Build franchises: develop and own IP
  • 2. Expand international reach
  • 3. Optimize portfolio / grow through

disciplined acquisition

  • 4. Improve operating results

Intro roduction

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Rick and Morty Pringles commercial from Atomic called one of the best commercials of Super Bowl LIV. Pilot episode of Atomic’s Molly of Denali listed as

  • ne of the Best TV

Episodes of 2019. Hello Ninja named as one

  • f the most binged shows

across all streaming platforms by Tvision. Thunderbird Entertainment named to Fast Company’s 2020 list

  • f the world’s most

innovative companies.

Re Recent Media Re Recognition

HIGHWAY THRU HELL reached 100th episode milestone in Season 8. Just-announced Season 9 already in production. “Kim’s Convenience,” the Genial Canadian Sitcom That Feels Like Watching Another Time Line. 4

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2003 – 2016 2018 2019 2020

(2003) Founded by Tim Gamble (2014) ➢ Acquires GPM (2016) ➢ Acquires Atomic ➢ Matthew Berkowitz joins Atomic as Head of Development ➢ BEAT BUGS streams on Netflix ➢ Thunderbird grows to more than 1,000 full and part-time crew across all divisions ➢ Every GPM factual series renewed and HIGHWAY THRU HELL airs 100th episode ➢ KIM’S CONVENIENCE named Most Popular Foreign Drama at the Seoul Drama Awards ➢ Highly anticipated THE LAST KIDS ON EARTH launches on Netflix ➢ MOLLY OF DENALI featured in The New York Times list of 2019’s best TV episodes ➢ HELLO NINJA launches on Netflix ➢ Brian Paes-Braga appointed Chair of the Board ➢ Marni Wieshofer, former Lionsgate CFO, joins Board as Lead Director ➢ Opens third animation studio; first US-based in Los Angeles ➢ Upcoming slate includes #1 NYTimes bestselling PRINCESSES WEARS PANTS, Max Brallier’s EERIE ELEMENTARY and MERMICORNOS, with more to be announced ➢ THE LAST KIDS ON EARTH toy line to launch with Jakks Pacific ➢ 20 more episodes of THE LAST KIDS ON EARTH to be delivered to Netflix ➢ GPM is fully contracted for F2020, and F2021 is 80% contracted ➢ Jennifer McCarron, previous CEO of Atomic, appointed CEO of Thunderbird ➢ Mark Miller, founder and CEO of GPM becomes sole President of Thunderbird ➢ Company goes public on the TSX Venture Exhange under the symbol ”TBRD” ➢ Atomic opens second animation studio in Ottawa

Company ny Ev Evolution

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JENNIFER TWINER MCCARRON,

Chief Executive Officer and Director

Jennifer joined Atomic as Head of Production in 2011, later becoming its CEO. She was promoted to Thunderbird’s President in 2016, and then CEO in 2018. An award-winning producer, she has won an Emmy, several Leo awards, an ELAN, a DTV, and an AACTA. In 2018, she was voted Playback’s Executive of the Year, and in 2019 she was named one of Canada’s 100 Most Powerful Women by the Women’s Executive Network.

MARK MILLER,

President and Director

Mark founded one Canada’s leading factual company Great Pacific in 2011 and was subsequently acquired by Thunderbird in 2014. He is a rare mix of successful entrepreneur and artist. He is an award-winning writer, producer and music composer. His insatiable curiosity and drive for excellence are at the root of his unprecedented commercial success in the international market.

BARB HARWOOD

Chief Financial Officer

Barb is responsible for corporate and production finance, accounting and taxation. Barb obtained her CA designation while working for Ellis Foster Chartered Accountants (now Ernst & Young) as manager of the entertainment division, and previously held the position of CFO for Paperny

  • Films. Barb is a graduate of the University of

British Columbia with a BA in Film.

SARAH NATHANSON

General Counsel

Sarah provides legal and business affairs support to both the production crew and the corporate team. She has 12+ years of experience in entertainment law, both in private practice and in-house. Sarah was previously Director, Business & Legal Affairs at DHX Media. She has worked on numerous productions, including the Cloudy with a Chance of Meatballs television series and My Little Pony. Sarah is a graduate of the University of British Columbia and obtained her law degree at the University of Victoria.

MATTHEW BERKOWITZ

Chief Creative Officer

A seasoned executive with more than a decade in the industry, Matthew oversees the development, production and acquisition of intellectual properties. He is an executive producer of THE LAST KIDS ON EARTH and HELLO NINJA, as well as the upcoming PRINCESSES WEAR PANTS. Matthew graduated from the S.I. Newhouse School of Public Communications at Syracuse University.

Experienced Executive Team

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Key Characteristics

  • Recognized leader in animated television, with a robust

service business and a stable of owned-IP

  • Ability to take proven properties in other mediums and

develop them into global entertainment franchises – including New York Times best-selling books THE LAST KIDS ON EARTH and PRINCESSES WEAR PANTS

  • Long established relationships with key buyers
  • Artist friendly culture that attracts, retains and promotes the

best talent in the business

  • Scalable infrastructure with animation studios in Vancouver,

Ottawa and Los Angeles

  • Market leader in factual and scripted programming, known for

authentic storytelling

  • All projects are 100%-owned IP
  • Series are sold to more than 200 territories in 15 languages
  • 100% of 2019 series were renewed; F2020 is 100% contracted

and F2021 is 80% contracted

  • Owns all production and post production equipment and

facilities

  • Canadian and provincial tax credits and lower Canadian labor

costs drive quality

  • World class editorial team has been together for 10+ years

(staff retention 95%)

  • AI/data driven approach to editing

Customers / Partners F2019 (% Total) Revenue of $33.8 million (55.0%) 21 half-hours of owned-IP and 73 half-hours of service work delivered (47.7%) Revenue of $14.9 million factual and $6.5 million scripted (35.0%) 90 half-hours of factual and 13 half-hours of scripted delivered (52.3%)

Business Divisions

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Intellectual Property

Series Partner Delivered to Date In Production THE LAST KIDS ON EARTH Netflix 10 x 30 mins (Season 1) + 66 mins (Movie) 10 x 30 mins (Season 2) + 70 mins (New Content Interactive) NATE CREATE The Jim Henson Company New Property TBA HELLO NINJA Netflix 16 x 30 mins 4 x 30 mins PRINCESSES WEAR PANTS TBA New Property TBA MERMICORNOS tokidoki New Property TBA EERIE ELEMENTARY TBA New Property TBA

Service

MOLLY OF DENALI WGBH2 (PBS) 30 x 30 mins 10 x 30 mins MIGHTY TRAINS EXPRESS Spin Master New Project 30 x 30 mins 8 additional unique series are in production that have not been disclosed, for clients ranging from global streamers to major toy brands. 154 x 30 mins

Pipeline

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Factual Scripted

Show Partner Seasons to Date Seasons in Production Show Partner Seasons to Date Seasons in Production HIGHWAY THRU HELL Discovery & Weather Channel 126 x 60 mins (8 Seasons) 36 x 60 mins (Seasons 9 & 10) KIM’S CONVENIENCE CBC 52 x 30 mins (4 Seasons) Season 5 HEAVY RESCUE: 401 Discovery 47 x 60 mins (4 Seasons – season 4 delivering Q3 2020) 18 x 60 mins (Season 5) NICOLE POWERS (KIM CONVENIENCE Spinoff) TBA New Project TBA SAVE MY RENO HGTV 42 x 30 mins (3 Seasons – season 3 delivering Q3 2020) 14 x 30 mins (Season 4) SECRET FILES OF MR. BIG TBA New Project TBA WORST TO FIRST Corus 20 x 60 mins (2 Seasons) 10 x 60 mins (Season 3) HIGH ARCTIC HAULERS CBC 7 x 60 mins (1 Season – season 1 delivering Q3 2020) 8 x 60 mins (Season 2) CROSSROADS TBA New Project TBA QUEEN OF THE OIL PATCH APTN 16 x 30 mins (2 Seasons – season 2 delivering Q3 2020) 8 x 30 mins (3 Seasons) THE ISOLATED TBA New Project TBA BEACHCOMBERS TBA New Project 8 x 60 mins (Season 1) VON BRAUN TBA New Project TBA MUD MOUNTAIN HAULERS TBA New Project 8 x 60 mins (Season 1)

Pipeline

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(September) ➢ 66 minute special based

  • n Book 1 released on

Netflix ➢ Book 5 ‘The Midnight Blade’ launches rocketing to #2 on the New York Times best seller list ➢ Atomic partners with Penguin Books to cross promote and have the Netflix burst added to all books (April) ➢ Book 2 episodes launch with 10 new episodes released on Netflix ➢ Toy line launches in partnership with Jakks Pacific (Spring) ➢ 70 minutes of interactive content will be released on Netflix ➢ THE LAST KIDS ON EARTH video game to launch in partnership with Cyber Group Studios and Outright Games

2017 2019 2020 2021

‘The Last Kids on Earth’ leaps from book to Netflix to toys. Next stop: billion-dollar franchise

(September) ➢ Book 3 episodes launch with 10 new episodes on Netflix ➢ Book 6 to launch the same month (October) ➢ THE LAST KIDS ON EARTH series was pitched to Netflix and an offer was made ➢ Licensing deal where Netflix retains the SVOD rights in perpetuity with Atomic retaining rights to all other terrestrial broadcasters (on a two year hold back) and ancillary revenue streams (April) ➢ Atomic met Max Brallier in NYC and agreed to partner to create franchise based

  • n popular THE

LAST KIDS ON EARTH book series

Case Study

  • Developed from a New York Times best-selling book series written by Max Brallier
  • Atomic controls 100% and has a significant interest in all ancillary revenue streams
  • Toy deal with Jakks Pacific (launching April 2020) and video game deal with Outright Games

(launching Spring 2021)

  • Minimal upfront investment to acquire the intellectual property rights

2021

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Case Study

2011 – 2014 2015 – 2016 2017 – 2019 2020

  • GPM controls and owns 100% of HIGHWAY THRU HELL (“HTH”)
  • Discovery Channel Canada’s (“Discovery”) top-rated series for all audiences, with GPM having delivered 8

seasons (126-hour episodes) and counting, with two additional seasons (seasons nine and 10) already commissioned

  • GPM owns all production and postproduction equipment and facilities, which provides favorable margins

(2011) ➢ GPM develops an original concept based

  • n a team that

must keep an important superhighway

  • pen no matter

what ➢ The concept sells after a bidding war between multiple networks (2012) ➢ HTH premieres to one of the biggest audience in Discovery Canada’s history ➢ Within six weeks, the series is sold around the world where it becomes one of National Geographic International’s most popular series in more than 100 countries (2015) ➢ In an unprecedented sale, Weather Channel USA (90 million homes) acquires second window rights to broadcast HTH, while National Geographic USA continues to run the series ➢ Netflix acquires the rights to stream HTH in 200 territories and 12

  • languages. In the US

viewers can watch the series on two networks, and Netflix ➢ Netflix, Discovery Channel and Weather Channel commission a spinoff series (now in season five) called Heavy Rescue 401 (“HR401”) (2013) ➢ HTH season two and three continue to break records in Canada, the U.S. and Europe ➢ Toyota (Tundra Trucks) and GPM agree to a large product placement deal with Discovery, worth millions of dollars over four years (2014) ➢ HTH becomes the #1 series on Discovery ➢ National Geographic International renews order for future seasons (2017) ➢ HTH and HR401 premiere on Netflix worldwide (2018) ➢ Weather Channel USA acquires cable rights to new seasons of HTH and HR401 (2019) ➢ HTH season nine commissioned for 18 episodes ➢ HR401 ordered for 18 episodes (the largest

  • rder in the history of

Discovery)

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(2016) ➢ HTH becomes one of the most successful “non studio owned” docuseries in the world (the IP is 100%-

  • wned; the Company

can exploit worldwide) ➢ Is unique and significant because most reality series, such as Deadliest Catch and Gold Rush, are owned by networks; limited benefits flow to producers beyond service production fees ➢ HR401 premieres as #1 new series on Discovery (2020) ➢ HTH season nine set to premiere on Discovery Canada ➢ Authentic characters doing inspirational things remain central to the theme of both series. ➢ HTH is considered an international benchmark for this genre of programming

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Case Study

2011 – 2016 2017 – 2018 2019 2020

  • KIM’S CONVENIENCE started as a commercially successful play that Thunderbird optioned and now controls

and owns the TV rights

  • KIM’S CONVENIENCE has won numerous awards each year after airing in 2016 on CBC and has grown into

an internationally recognized scripted comedy

  • Spinoff series has been ordered

➢ Thunderbird

  • ptioned the play in

2014 with development subsequently funded by CBC and Canadian Media Fund with two seasons ordered in 2015 ➢ The first season was filmed June – August 2016 at Showline Studios in Toronto and aired on the CBC in October 2016 ➢ KIM’S CONVENIENCE received 11 nominations at the 2017 Canadian Screen Awards and won four awards ➢ Won two awards (Outstanding Female Performance and Outstanding Performance by an Ensemble) at the 2017 Toronto ACTRA Awards ➢ The first-season episodes “Ddong Chim” and “Janet’s Photos” were 2017 WGC Screenwriting Awards finalists in the TV Comedy category ➢ At the 2018 Canadian Screen Awards received 12 nominations, winning three awards ➢ In July 2018, the series became available to audiences outside of Canada when it debuted internationally on Netflix ➢ The third season premiered on January 8, 2019 ➢ Won Most Popular Drama of the Year at the Seoul International Drama Awards in 2019 ➢ The fourth season premiered

  • n January 7, 2020

➢ Seasons five and six are currently in development ➢ Received eight nominations at the 2020 Canadian Screen Awards: Best Comedy Series, Best Costume Design, Best Achievement in Casting, Best Lead Actor, Best Lead Actress, Best Supporting Actor, Best Supporting Actress, and Best Guest

  • Performance. Winners to be

announced March 2020 ➢ KIM’S CONVENIENCE started as a play with its first performance at the Toronto Finge Fest in 2011 where it won best new play award ➢ First mounted by Soulpepper in 2012, where it was biggest play of their 2012 season and went on to be one of the most commercially successful plays in Soulpepper’s history ➢ Toured Canada from 2013 – 2016

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➢ Increased IP ownership with emerging & exciting New York Times best-selling brands ,which provide huge growth

  • pportunities in toys, consumer products, games, micro

transactions and distribution ➢ Expanded presence in Los Angeles affords huge growth

  • pportunities as a trusted IP provider, in particular with the

competing streamers who are vying for premium content: Netflix, Disney+, Apple TV+, Hulu, HBO Max, Peacock, Amazon Prime, to list a few ➢ Focused on robust kids and family content streamers because it is the 'stickiest,' meaning if you attract kids and family, you will win with audience retention and subscriptions ➢ Co-production opportunities in Europe and Asia will expand company presence – this is where all the streamers are expanding for new subscription bases ➢ Atomic produced a 66-minute movie on THE LAST KIDS ON EARTH in 2019 and is in active discussions regarding the production of more animated films ➢ Proven unscripted brands, through expanded season orders, spinoffs and derivative projects ➢ Expansion of "premium" content offerings to commissioners around the world, leveraging GPM’s reputation for producing hits ➢ Growth opportunities in scripted programming, with a focus

  • n stories rooted in real events

➢ Ability to capitalize on demand from streamers for high quality factual programming by leveraging Thunderbird’s reputation in kids and family and scripted programming 13

Substantial Gro rowth Opportunities

A new report on Canada's broadcasting and telecommunications sector has urged the federal government to require foreign streaming services like Canadian market leader Netflix to invest in local programming.

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2018 Revenue Sources 2019 Revenue Sources

Transition to Focusing on Higher Margin Owned-IP IP

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Production Services Licensing and Distribution Other Revenue

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Escalating Demand fo for Content

15 If you're not paying attention to OTT, you should be, because the market is set to reach US$86 billion by 2026.

2018 2019 2020 2021 2022 2023 2024

AVOD

U.S. Global $0 $10 $20 $30 $40 $50 $60 $70 $80 $90 2018 2019 2020 2021 2022 2023 2024 Billions of $USD

SVOD

U.S. Global

100 200 300 400 500 600 2002 2011 2012 2013 2014 2015 2016 2017 2018 2019

TOTAL VOLUME OF U.S. SCRIPTED ORIGINALS

SVOD vs. AVOD

Subscriber-based streaming still dominates, but revenue for ad-supported content is rising too

  • Netflix is the most established platform with 158 million subscribers

worldwide and a content library of 47,000 TV episodes and 4,000 movies

  • Apple TV+ and Disney+ joined the streaming wars in November 2019 with

Disney+ surpassing 10 million subscribers in its first day (now 28.6 million); NBCUniversal and WarnerMedia join in 2020 with Peacock and HBO Max

  • With 5G rolling out globally, the next generation of mobile technology is

poised to enhance the consumer streaming experience by offering faster speeds, lower latency, stronger reliability, higher capacity, and better mobility

SOURCE: FINANCIAL TIMES (APPLE); BMO CAPITAL MARKETS (NETFLIX); CREDIT SUISSE (DISNEY, VIACOMCBS); RBC CAPITAL MARKETS, SNL KAGAN, COMPANY REPORTS (ALL OTHER FIGURES) Discovery Fox Apple Amazon AT&T Netflix ViacomC… Comcast Disney

2019 ORIGINAL CONTENT SPEND ESTIMATES

$27.8 billion $15.4 billion $15.0 billion $15.0 billion $14.2 billion $6.5 billion $6.0 billion $5.7 billion $4.6 billion $27.8 billion SOURCE: AMPERE ANALYSIS, ADVERTISING DATA HISTORICALS SOURCE GROUP M AND ONLINE SPLITS SOURCE ZENTH, AMPERE ANALYSIS SOURCE: FX RESEARCH

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1 Adjusted EBITDA is EBITDA excluding certain items to better analyze trends in performance and after non-controlling interests. These adjustments result in a truer economic representation on a

comparative basis. Adjusted EBITDA includes the add-backs made to calculate the Adjusted Net Income and additionally add-backs for interest expense, net of interest income, depreciation and any non-cash amortization (to the extent not added in to Adjusted Net Income).

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Focus on High Margin Business

$- $2,000,000.00 $4,000,000.00 $6,000,000.00 $8,000,000.00 $10,000,000.00 $12,000,000.00 2017 2018 2019 AEBITDA

5.4% AEBITDA1 Margin 7.1% AEBITDA1 Margin 16.7% AEBITDA1 Margin

41.4% CAGR

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TSX.V

TBRD

Price

$1.07

Market Cap

$49.9M

Debt

$299K

Cash

$9.5M

Insider Ownership

44%

Issued & Outstanding 46,631,475 Warrants Options 337,342 4,506,000 Fully Diluted 51,474,817 Analyst Coverage:

Canaccord Genuity Aravinda Galappathige Tel: +1-416-869-7303 agalappatthige@cgf.com Buy

$2.50

Cormark Securities David McFadgen Tel: +1-416-943-6452 dmcfadgen@cormark.com Buy

$2.25

Current Capitaliza zation

(As of last reporting quarter)

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Date Transaction Transaction Size (MM) LTM Revenue Multiple LTM EBITDA Multiple Notes 2019 Hasbro

Acquires

eOne £2,900 3.1X 14.7X

  • Hasbro adds eOne’s family brands, exceptional, proven

TV and film expertise

  • Gain access to eOne’s US$2 billion content library
  • Adds Peppa Pig and PJ Masks and additional brands to

Hasbro’s robust brand portfolio

2018 Mayfair Equity Partners

Acquire an 80% Stake In

Pixomodo US$65 N/A ~10.0X

  • Mayfair's first transaction in the digital media sector:

according to Mayfair’s managing partner Daniel Sasaki, the rise of streaming platforms has led to an increase in demand for visual effects, which has prompted their move

2017 All3Media

Acquires

Raw TV N/A N/A N/A

  • Strengthens content offering and talent base, in the UK,

US and internationally

  • Financial and creative synergies regarding each

company’s factual program offerings

2015 Technicolor

Acquires

The Mills US$292 1.4X 8.6X

  • Establishes leadership positions for visual effects and

digital creation

  • Reinforces Technicolor’s strong portfolio of brands

including MPC, Mr. X and Mikros

  • Brings significant talent and expertise around emerging

technologies such as virtual reality content

2014 ITV

Acquires and 80% Stake In

Leftfield Entertainment US$360 N/A 12.0X

  • ITV will initially pay $360m for an 80 percent stake in

Leftfield

  • Leftfield’s production included 26 series for 2014 and 31

development projects underway.

  • Pawn Stars is History’s number one show worldwide

2006 Disney

Acquires

Pixar US$7,400 N/A ~20.0 – 25.0X

  • Combines Pixar’s preeminent creative and technological

resources with Disney’s unparalleled portfolio

  • Combines the two talented teams who will now be

involved in the development of properties and content

  • 15-year partnership provides a strong foundation that

embodies their collective company values

Select Transaction Compara rables

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Select Trading Compara rables

SOURCE: BLOOMBERG, COMPANY FILINGS ALL FIGURES ARE IN CAD

Company FY Reporting Stock Price Equity Value (MM) Net Debt (MM) Ent. Value (MM) Revenue (MM) EBITDA (MM) EV / Revenue EV / EBITDA F2019 LTM E2020 F2019 LTM E2020 F2019 LTM E2020 F2019 LTM E2020 Lionsgate

31-Mar 14.07 2,948 4,025 6,973 4,858 5,094 5,123 766 457 637 1.4 1.4 1.4 9.1 15.3 10.9

WildBrain

30-Jun 1.42 221 725 945 440 453 440 111 109 80 2.1 2.1 2.1 8.5 8.7 11.8

Wow Unlimited Media

31-Dec 0.38 15 13 27 94 98 73 1

  • 4

3 0.3 0.3 0.4 39.1 - 7.6 10.5

Average

5.29 1,061 1,588 2,649 1,797 1,882 1,879 293 $ 187 240 1.3 1.2 1.3 18.9 5.4 11.1

Thunderbird Entertainment

1.07 50

  • 9

41 62 64 N/A 10 $ 9 N/A 0.7 0.6 N/A 4.1 4.6 N/A

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Award Definition Wins/Nominations

Created by the Motion Picture Arts & Sciences Foundation of British Columbia, the Leo Awards have been celebrating excellence in British Columbia Film & Television since 1999 2019

  • Best Direction in Music – Comedy or Variety Program or Series (Kim’s Convenience)
  • Best Music – Comedy or Variety Program or Series (Kim’s Convenience)

2018

  • Best Music – Comedy or Variety Program or Series (Kim’s Convenience)
  • Best Performance in Music – Comedy or Variety Program or series (Kim’s Convenience)
  • Best Direction in Music – Comedy or Variety Program or Series (Kim’s Convenience)
  • Best Host(s) – Information, Lifestyle or Reality Program or Series (Worst to First)
  • Best Picture Editing – Documentary Series (Heavy Rescue: 401)

2017

  • Best Screenwriting (Kim’s Convenience)

Awards given annually by the Academy of Canadian Cinema & Television recognizing excellence in Canadian film, English-language television, and digital media productions. 2020 Nominations (Awards ceremony is in March 2020)

  • Best Comedy Series (Kim’s Convenience)
  • Best Achievement in Casting (Kim’s Convenience)
  • Best Costume Design (Kim’s Convenience)
  • Best Lead Actor – Comedy (Kim’s Convenience)
  • Best Lead Actress – Comedy (Kim’s Convenience)
  • Best Supporting Actor – Comedy (Kim’s Convenience)
  • Best Supporting Actress – Comedy (Kim’s Convenience)
  • Best Guest Performance – Comedy (Kim’s Convenience)
  • Best Animated Series and Best Performance, Animation (Cupcake and Dino)
  • Best Writing – Factual (Heavy Rescue: 401)

2018

  • Best Comedy Series (Kim’s Convenience)
  • Best Supporting / Guest Actor Comedy (Kim’s Convenience)
  • Best Lead Actor Comedy (Kim’s Convenience)
  • Best Direction – Television Series or Program (Kim’s Convenience)

2017

  • Best Picture Editing in a Comedy Program or Series (Kim’s Convenience)
  • Best Performance by an Actor in a Featured Supporting Role or Guest Role in a Comedy

(Kim’s Convenience)

  • Best Achievement in Casting (Kim’s Convenience)
  • Best Performance by an Actor in a Continuing Leading Comedic Role (Kim’s Convenience)

An American accolade bestowed by the New York–based National Academy of Television Arts and Sciences in recognition of excellence in American daytime programming. 2019

  • Outstanding Sound Mix in a Preschool Animation Program (Beat Bugs)

2017

  • Outstanding Writing in a Preschool Animation Program (Beat Bugs)

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Awards

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Award Definition Wins/Nominations

An annual award ceremony based in Seoul, South Korea which honors excellence in television drama productions worldwide. 2019

  • Most Popular Foreign Drama of the Year (Kim’s Convenience)

Presented in an annual award show hosted by the British Academy of Film and Television Arts. They have been awarded annually since 1955. 2019

  • Animation (Hilda)

First presented in 1972 to celebrate excellence in Canada's television and radio industries 2020

  • Award of Excellence (Kim’s Convenience)

2019

  • Sandi Ross Award for Inclusion Onscreen (Kim’s Convenience)

2017

  • Outstanding Performance by an Ensemble (Kim’s Convenience)
  • Outstanding Performance by a Female Actress (Kim’s Convenience)

The Rosie Awards is the name given to the Alberta Film and Television Awards, presented annually by Alberta Media Production Industries Association 2018

  • Best Performance by an Alberta Actor (Kim’s Convenience)

Ranks and profiles the world's top 50 kids entertainment companies 2019

  • Atomic Cartoons named #4 animation production company in the world

Professional association representing writers for stage, screen, radio and online and has protected and promoted their creative and professional interests for more than 50 years 2019

  • Animation (Beat Bugs)

Member-based organization, exists for the advancement, development and recognition of professional women in Canada 2019

  • Canada’s 100 Most Powerful Women (Jennifer Twiner McCarron)

Awards

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BRIAN PAES-BRAGA

Chairman of the Board

Brian is a Canadian born entrepreneur, merchant banking executive, and philanthropist and sits on the Board of Directors of DeepGreen Metals. He also serves as Principal, Head

  • f Merchant Banking at SAF

Group, a leading structured credit and merchant banking group which builds, invests, finances and advises high growth companies as well as provides flexible and long-term capital solutions to public and private corporations while providing stable returns for investors through its structured credit arm. Brian was Founder and CEO of Lithium X Energy Corp., a lithium resource company, which raised approximately $53 million and, within 2.5 years, was sold to an international company for $265 million in March 2018.

MARNI WIESHOFER

Lead Director

Marni’s background includes serving as the CFO and EVP of Corporate Development at Lionsgate Entertainment where she oversaw the company’s mergers, acquisitions, and other strategic financial initiatives including the acquisitions and integration of Trimark Pictures, Artisan Entertainment and Redbus Films Distribution U.K. to name a few, as well as the sale of Lionsgate Studios and the Canadian distribution business. Most recently she was the Head of Media and a Managing Director in Houlihan Lokey’s TMT Corporate Finance Group, based out of Los Angeles, providing M&A, capital markets, financial restructuring, including the Relativity Media and Weinstein Company bankruptcies and subsequent sales and financial advisory services. Ms. Wieshofer’s experience also includes prominent roles at MESA, Media Rights Capital, Alliance Atlantis Communications and Coopers & Lybrand Chartered Accountants. Marni is currently a member of the Board of Directors of Film2Future, a member of the Dean’s Advisory Committee at the Rotman School of Management, and the Chair

  • f the Women’s Volleyball Be Extraordinary

Campaign at Western University.

FRANK GIUSTRA

Director

Frank’s entrepreneurial success expands to both his established works within the natural resource industry and film industry. He is a significant shareholder of Thunderbird Entertainment and was previously the Company’s lead director. Mr. Giustra is President and Chief Executive Officer

  • f Fiore Financial Corporation and is

the founder of Lionsgate

  • Entertainment. Previously, Mr. Giustra

served as President, Chairman and Executive Officer at Yorkton Securities

  • Inc. and as Chairman of Endeavour

Financial Corporation. Mr. Giustra is a noted philanthropist who sits on numerous boards as well as having launched the Clinton Giustra Enterprise Partnership.

TIM GAMBLE

Director

  • Mr. Gamble is a founding partner of

Thunderbird and as former CEO, was instrumental in the acquisitions of both Great Pacific Media and Atomic

  • Cartoons. Tim played a key role in IP

acquisition including Blade Runner 2049 and The Beatles inspired animation series Beat Bugs where he served as Executive Producer. Mr. Gamble focuses

  • n corporate finance and strategic

alliances, as well as providing executive production services for feature films and television series.

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Predominant Directors rs

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Inv nvestment Summary

Rapidly growing and highly profitable business, yet risk mitigation-focused Well-known in the industry for producing exceptionally high quality, creative and innovative programming in an artist-friendly environment Pursuing an aggressive growth strategy through acquisition and organic growth including investments in owned-IP Highly regarded management team with expertise in sourcing the best creative talent and a track record of developing highly sought-after short form content Scalable infrastructure, with offices and studios in Vancouver, Los Angeles, Ottawa and Toronto, and an increasing presence in Los Angeles, which affords huge growth opportunities as a trusted IP provider for the competing streamers Strong balance sheet with negligible debt Publicly traded on the TSX Venture Exchange; ability to use stock as currency

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About Us About Us

W R I T E H E R E S O M E T H I N G A B O U T T H E T O P I C

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Contact Us

400 – 2233 Columbia Street Vancouver, BC V5Y 0M6 Head Office 604.683.3555 info@thunderbird.tv Investor Inquiries investors@thunderbird.tv 24