Three young girls accidentally stumble on a tidepool on a secret island; when bathed in moonlight, the tidepool transforms them into mermaids, with great powers over water--but also a tendency to sprout a tail whenever they come into contact with water.
The original three mermaids--Emma, Cleo, and Rikki--separate at the end of season two, when the actress playing Emma left the show. In season three, another character, Bella, is added: Bella had become a mermaid in an unrelated incident some years earlier.
The mermaids also face various antagonists, ranging from rivals (e.g., the antagonist for season two, Charlotte, who manages to obtain similar powers from the moon pool) to those who wish to exploit the mermaids for their own profit.
As with Jonathan M. Shiff's other productions, the program is aimed largely at young teen audiences.
H2O Abenteuer Meerjungfrau
H2O : Mermaid Adventures
( dir. Tianxiao Zhang
)
Germany
:
Les Cartooneurs Associés
,
2015
9367491
2015
series - publisher
film/TV
children's
fantasy
A German animated adaptation of the live-action television series H2O: Just Add Water.
Although based on the Australian series, H2O Abenteuer Meerjungfrau has its own style and plotlines, including a much stronger focus on underwater life and humorous sea creatures.
H2O : Just Add Water
Nickelodeon (UK and Ireland)
(publisher),
2009
United Kingdom (UK)
:
Nickelodeon (UK and Ireland)
,
2009-2012
Z1844090
2009
series - publisher
novel
fantasy
A series of spin-off novels, based on the successful Australian television program H2O: Just Add Water. The novels, in sequence, are:
No Ordinary Girl (Rachel Elliot), February 2009.
Living with Secrets (Rachel Elliot), February 2009.
Fishy Business (Rachel Elliot), May 2009.
A Sleepover Tail (Rachel Elliot), July 2009.
Sequins for Sea Queens (Sue Behrent), January 2010.
First Crush (Sue Behrent), April 2010.
Moon Spell (Sue Behrent), August 2010.
Testing Times (Sue Behrent), January 2011.
Hot Stuff (Beth Roberts), June 2011.
In Too Deep (Beth Roberts), August 2011.
Mermaid Emotions (Beth Roberts), October 2011.
Siren Status (Beth Roberts), February 2012.
Rachel Elliot is a British author, but there is (as of this point) no information on whether the other authors are Australian.
'Due to the COVID-19 extended lockdowns this year, as well as greater accessibility on streaming services, many adults have been returning to their childhoods via nostalgic kids’ TV viewing.' (Introduction)
'Last week, free-to-air broadcaster Seven, embracing the spirit of a petulant teen, stomped its foot and announced it would no longer follow the rules regarding its Australian children’s content obligations. Nine has suggested it will soon follow suit. With the Australian government poised to release a local content policy options paper any day now, Seven’s belligerence looks like a preemptive strike.' (Introduction)
'One option for television drama producers confronted by rising production standards and increasing costs is to become more international in orientation, leading to speculation that national and cultural boundaries may become less important at the higher end of drama series production. Television drama would then become the ‘decontextualised space for universal modes of storytelling’, with lifestyle and reality television formats the more likely vehicles for expressing ‘cultural specificity’. But national and cultural boundaries do matter. The particularities of national television cultures – local policy configurations, historical and cultural influences, technology uptake, the size and wealth of national economies – all impact on the ability of television producers to engage with the global trade in television fiction. This article examines the way in which this global trade internalises and works with national particularities through the sense of a national brand that locates Australian content within a certain value hierarchy. The following discusses three successful examples of internationalised television programming – McLeod's Daughters (2001–2009), Sea Patrol (2007–), and the children's series H2O: Just Add Water (2006–) – that have worked within international perceptions that differentiate Australian content according to perceived cultural sensibilities and national image.'
Source: Abstract.
'Last week, free-to-air broadcaster Seven, embracing the spirit of a petulant teen, stomped its foot and announced it would no longer follow the rules regarding its Australian children’s content obligations. Nine has suggested it will soon follow suit. With the Australian government poised to release a local content policy options paper any day now, Seven’s belligerence looks like a preemptive strike.' (Introduction)
'One option for television drama producers confronted by rising production standards and increasing costs is to become more international in orientation, leading to speculation that national and cultural boundaries may become less important at the higher end of drama series production. Television drama would then become the ‘decontextualised space for universal modes of storytelling’, with lifestyle and reality television formats the more likely vehicles for expressing ‘cultural specificity’. But national and cultural boundaries do matter. The particularities of national television cultures – local policy configurations, historical and cultural influences, technology uptake, the size and wealth of national economies – all impact on the ability of television producers to engage with the global trade in television fiction. This article examines the way in which this global trade internalises and works with national particularities through the sense of a national brand that locates Australian content within a certain value hierarchy. The following discusses three successful examples of internationalised television programming – McLeod's Daughters (2001–2009), Sea Patrol (2007–), and the children's series H2O: Just Add Water (2006–) – that have worked within international perceptions that differentiate Australian content according to perceived cultural sensibilities and national image.'
Source: Abstract.
'Due to the COVID-19 extended lockdowns this year, as well as greater accessibility on streaming services, many adults have been returning to their childhoods via nostalgic kids’ TV viewing.' (Introduction)
