Kids Media Club Podcast

This episode brings Andy, Jo, and Emily back together after a busy fortnight that saw the Kids Media Club divide and conquer — Emily and Andy heading to KidScreen in San Diego while Jo hosted the Kids and Teens Summit at MIP London. Here's what they came away with.The hierarchy is gone — and that's now official. Both events reflected something the podcast has been saying for a while: TV no longer sits at the top of the kids media food chain. YouTube, Roblox, and broadcast were all on equal footing — on the panels, and in the rooms. That shift from polite tolerance of digital platforms to genuine integration feels like a genuine turning point.KidScreen got intentional about YouTube and Roblox. Rather than token sessions, this year's programming offered real depth — from 101-level introductions to developer showcases — signalling that the industry has accepted these platforms as core infrastructure for young audiences, not add-ons.Jonathan Haidt's keynote caused friction. The Anxious Generation author's appearance divided the room, given that the very conference schedule celebrated platforms he believes are harmful to children. It made for an interesting tension — and a useful reminder that the debate around kids, screens, and wellbeing is far from settled.Social media bans: well-intentioned, but complicated. The team unpacks the nuance that came out of both events and the Children's Media Foundation day. Outright bans may actually let platforms off the hook. The COPPA regulations are held up as a cautionary tale — well-intentioned legislation that may have done unintended damage to the kids content ecosystem, with YouTube monetisation for children's content reduced to around 30% of what it once was.Kids media is facing a potential market failure. TV commissions for children's content were down 20% in 2025 — more than double the decline seen in other genres. Combined with reduced YouTube monetisation, the financial incentive to make content specifically for kids is shrinking. Some producers are already quietly dropping the word "kids" from how they describe themselves — something the team finds genuinely alarming.Roblox is getting ahead of the crosshairs. Andrew Bareza from Twin Atlas (the studio behind Creatures of Sonaria and various Lego activations) addressed safety concerns directly and clearly at MIP London — walking through the toolsets Roblox is rolling out and demonstrating how brand-safe, purposeful activation on the platform is very much possible.The BBC and YouTube partnership: a front door, not a full commitment. Jo hosted the BBC and YouTube in a fireside that got unexpectedly candid. The BBC's suite of seven YouTube channels won't simply mirror their broadcast output — the strategy is promos, tactical full episodes around new series launches, and some YouTube-first commissions (including a Next Step micro-drama). The goal is to use YouTube as a gateway to iPlayer, though whether a generation raised on YouTube will follow that path remains an open question.The Sidemen are rewriting the rules on appointment viewing. Long-form content, licensed TV formats (a Family Fortunes rework pulled from Fremantle's archive got 3 million views in 24 hours), and a focus on watch time over view counts — the Sidemen's keynote at MIP London was a masterclass in how creators are evolving into something closer to TV studios, and why that matters for the future of format licensing.Despite a lot of hard truths, both events left the team with a clear impression: the people still in the room are passionate, pragmatic, and not going anywhere without a fight.

Episode Summary:In this bonus episode, Andy Williams and Emily Horgan join Eric Calderon of Surviving Animation for a candid debrief straight from the Kids Screen conference floor in San Diego. With a smaller-than-usual attendance, a shifting industry landscape, and more than a few big questions hanging in the air, the three take stock of what Kids Screen looks like now — and what it might need to become.Key Takeaways:1. Smaller crowd, better conversations. Attendee numbers were down, but the quality of conversations was up. The frantic "hard sell" energy of previous years gave way to something more honest — people asking each other how they're really doing and what they're trying next.2. The old guard model is done. The days of "what does Netflix want?" panels are over. This year's conversation centred on anime, K-pop, webtoons, Roblox, and YouTube — and crucially, the buyers in the audience were the ones taking notes.3. The audience is there. The business model isn't. Platforms like YouTube and Roblox have the kids. Nobody has quite figured out how to build a sustainable revenue model around them yet — and the group are refreshingly honest that no one left San Diego with the answer.4. Jonathan Haidt stirred the room. The keynote took a hard line against social media and called out Roblox and micro-drama sessions directly. The reaction was mixed — some applauded, some walked out. The group discuss whether a blanket ban approach is too blunt, and make the case for a more graduated, age-appropriate ladder of access instead.5. Kids Screen itself is at a crossroads. With attendance below a thousand and a move back to Miami on the horizon, the conference is grappling with an identity question: if the traditional buyer-seller marketplace no longer functions the way it used to, what is the event actually for? The group land on a compelling answer — relationship deposits. You're not closing deals, you're laying groundwork.6. Do the thing, don't just attend the session. Sitting in on a YouTube strategy panel no longer counts as a YouTube strategy. The studios generating the most excitement were the ones actually experimenting on new platforms — making mistakes, learning fast, and trying again.7. Humility is the new competitive advantage. Whether you're a veteran studio or an independent creator, approaching new platforms with curiosity rather than authority is what separates those who are adapting from those who aren't.The mood heading into 2026? Cautiously determined. As Eric puts it: stop surviving, find the fix.Let me know if you'd like to adjust the tone, length, or structure of any section.

In this special live episode, recorded at KidsScreen in San Diego, Andy and Emily take to the stage to moderate a deep-dive panel on one of the most talked-about new preschool IPs in the market right now: BeddyByes.Born out of the very relatable chaos of lockdown-era bedtimes, BeddyByes is a new show from Jam Media designed to help young children wind down — and it's been built with real intention, from the ground up. Joining Andy and Emily are John Rice, CEO of Jam Media and co-creator of the show; Richard Goldsmith, EVP of Kids and Family at Blue Ant Media, who handles worldwide distribution; and Vienna Downs, also from Blue Ant, leading consumer products and licensing.Together, they walk through the full journey of bringing BeddyByes to market — from the initial creative spark and the challenge of pitching a "bedtime show" to broadcasters, to landing deals with the BBC, RTE, Disney Junior, and Moose Toys. The panel covers the deliberate, step-by-step distribution strategy, what it really takes to build authentic consumer products around a new IP, and why owning a clear niche might just be the smartest move a brand can make right now.It's an honest, energetic conversation about what it looks like to build a franchise the right way — with great content at the centre and the right partners around the table.

This week the Kids Media Club team is back for another Host’s hangout - Andy returns from a ski holiday (not in a cast, luckily) — and he's joined by co-hosts Jo and Emily for a wide-ranging house chat covering some of the biggest stories shaping kids media right now.YouTube's Quietly Enormous TV PlayThe conversation kicks off with something that still surprises people even when they hear the numbers: YouTube has just had its biggest year for ad revenue ever, pulling in $40 billion. Add in the YouTube TV subscription tier — now revealed for the first time in Google's earnings — and the total climbs to $60 billion, making YouTube the second largest TV subscription service in the US.The team unpacks what this means for how we think about YouTube. It's not the disruptive upstart anymore. It's building tailored content packages — including a kids-specific bundle featuring Nickelodeon, Disney Channel and PBS — and increasingly talking and behaving like a traditional broadcaster. Sound familiar? That's roughly the same trajectory Netflix took, and we all know where Netflix ended up.The BBC–YouTube Partnership: Who Really Wins?Closely related to all of this is the BBC's recently announced partnership with YouTube, bringing seven new BBC kids channels to the platform. The group agrees it's genuinely mutual. YouTube gets the credibility boost of having the world's foremost public service broadcaster as an official partner — no small thing at a moment when social media platforms are under intense regulatory scrutiny. The BBC, meanwhile, gets reach (especially globally, where those three letters carry less weight with younger generations than they once did) and access to YouTube's expertise in creator-led content — an area where the BBC openly acknowledges a skills gap. The Creator Lab initiative and the ongoing Last Pundit Standing project are all part of that upskilling effort.Child Safety, Age Verification and the Regulatory HeatRecording on Safer Internet Day (10 February), the team touches on the fast-moving world of platform regulation. Australia — first mover on age restrictions for under-16s on social media — has now requested an urgent meeting with Roblox over child safety concerns, potentially bringing Roblox into the same regulatory frame as other social platforms in France and the UK.Rather than viewing this purely as threat, the group notes that Roblox, Discord and others are actually accelerating their own age verification and safety rollouts in response. The pressure may be producing faster, better tech than the platforms would have developed on their own timetable. Whether it's enough to get them out of the regulatory crosshairs is another question.This sparks a broader thought: could regulatory pressure push more platforms towards subscription models, where identity verification is structurally easier to enforce?Club Penguin: Disney's Most Expensive Missed Opportunity?From there the conversation takes a wonderfully nostalgic detour into Club Penguin — the beloved, chaotic, genuinely safe online world for kids that Disney acquired and then, the team argues, fundamentally misunderstood.The diagnosis? Disney saw Club Penguin as a promotional platform rather than as an IP or community in its own right. They didn't invest in a proper mobile transition at the critical moment. And crucially, they couldn't see its long-term potential because they were busy counting Frozen and Star Wars money. The comparison that lands hardest: Club Penguin could have been Roblox. Disney is now investing heavily in Fortnite as its digital parks equivalent — the very thing Club Penguin might have become with patience and strategic vision.This leads into a broader discussion of Disney's new CEO Josh D'Amaro, the question of whether Disney has a genuine new IP problem (spoiler: the group thinks yes), and what the Eisner era did differently that allowed creative hits to flow consistently. The emerging consensus: Disney Plus could be the incubator for new franchise IP, but only if it's protected from the weight of impossible commercial expectations from day one.Pokémon at 30, Minions vs Monsters, and the Long Game of Franchise BuildingThe episode rounds out with two Super Bowl ad appearances from kids IP giants — Pokémon celebrating its 30th birthday and the trailer for Minions and Monsters — prompting a conversation about what it actually takes to justify an $8 million, 30-second media slot. The answer? Roughly 15–20 years of patient capital and multi-generational brand building.Jo and Andy also flag an upcoming panel at KidsScreen exploring exactly this question — how early-stage franchises like Betty Buys from Jam Media begin the long journey towards that kind of brand scale.Find Kids Media Club on all major podcast platforms, YouTube, and Substack.Tags: kids media, YouTube TV, BBC YouTube partnership, children's content, Club Penguin, Disney IP, Roblox, child online safety, age verification, Safer Internet Day, Pokemon, Minions, kids franchise building, public service broadcasting, MIP London, KidsScreen

This week the Kids Media Club welcomes Sarah DeWitt, SVP and GM of PBS Kids, for a conversation that covers a lot of ground — and covers it brilliantly.For international listeners, Sarah begins by unpacking how PBS actually works: a network of 330 member stations across the US, locally run but nationally coordinated, funded through a mix of voluntary public donations, corporate underwriting (with strict nutrition and advertising rules), and federal grants. It's a model unlike anything in the UK or Ireland, and understanding it makes what comes next all the more striking.Sarah explains the two major federal funding cuts that have hit PBS Kids hard — the dissolution of the Corporation for Public Broadcasting and the abrupt termination of the Department of Education's Ready to Learn grant, a $100 million, five-year programme that has quietly underpinned some of PBS Kids' most beloved shows. Super Why, Odd Squad, and the brand new Phoebe and J all owe their existence, in part, to shifting presidential education priorities channelled through that grant. With it gone almost overnight, PBS Kids has cut close to 30% of its content staff and is now looking at halving its development pipeline by 2028 and 2029.But the conversation is far from doom and gloom. Sarah talks about the extraordinary public response — kids running lemonade stands and sending in their pocket money — and shares that 82% of US voters, including 72% of Trump voters, say they value PBS for its children's content. She's also busy exploring new territory: philanthropic foundations, commercial licensing, and international co-production opportunities that PBS had never needed to pursue before.There's also a rich discussion about what public service media can do that commercial broadcasters simply won't — from Carl the Collector, a show with a lead character on the autism spectrum that sparked a seven-year-old to ask his parents if he was autistic, to the challenge of creating developmentally appropriate short-form content that pushes back against the addictive mechanics now baked into so much of kids' media.It's one of those episodes where the hosts keep trying to get back on track and keep getting beautifully derailed — and you won't mind one bit.

Aardman Animations, renowned for its innovative and beloved characters such as Wallace and Gromit and Shaun the Sheep, is undergoing a significant transformation in its approach to audience engagement as articulated by Emma Hardie, the executive commercial and brand director. The discussion pivots around the studio's strategic shift from a broadcast-first paradigm to a fan-centric model that prioritizes direct consumer interactions. Hardie delineates how this evolution is not merely a superficial adjustment but reflects a profound understanding of contemporary branding, where the audience is not just passive consumers but active stakeholders in the brand's narrative. This transformation is underscored by Aardman’s rich history, celebrating its 50th anniversary, and highlights the necessity for brands to remain perpetually relevant amidst the ever-changing dynamics of digital engagement and consumer expectations. Throughout the conversation, Hardie elaborates on the intricacies of this shift, detailing how Aardman's storied legacy is being leveraged to foster deeper connections with fans across diverse platforms and demographic segments. The studio is actively exploring innovative ways to engage audiences, such as through interactive social media campaigns and experiential events, which allow fans to immerse themselves in the creative processes behind the beloved characters. This approach not only enhances brand loyalty but also enriches the creative ecosystem that Aardman has cultivated over decades, ensuring that its characters resonate with both new and long-time fans alike. The dialogue encapsulates the essence of Aardman's commitment to crafting narratives that transcend traditional media, emphasizing the importance of authenticity in storytelling. Hardie's insights reveal a forward-thinking vision that seeks to integrate fan feedback into the creative process, thereby making Aardman's offerings not just products but integral parts of the fan experience. As the studio embarks on this new chapter, the implications for the animation industry at large are profound, presenting a case study in how legacy brands can adapt and thrive in the digital age while maintaining their unique creative identity.Takeaways:In this episode, we discussed Aardman's pivotal shift from a broadcast-first model to a fan-first approach.Emma Hardie elaborated on the importance of audience engagement, highlighting Aardman's dedication to understanding fan expectations.The podcast underscored the significance of innovation within Aardman, particularly in adapting to digital platforms and evolving content creation methods.Aardman's commitment to craft and storytelling remains paramount, as they continue to develop beloved characters that resonate with audiences globally.Companies mentioned in this episode:AardmanChicken RunWallace and GromitShaun the SheepTimmyPowerwash SimulatorM&SPinguPokemonLego

Episode OverviewIn this episode of the Kids Media Club Podcast, hosts Jo, Andy, and Emily reunited in person at London's OTT Question Time event. Between sessions, they carved out twenty minutes to share their insights from the conference, diving deep into Emily's Vertical Video panel and previewing Jo's upcoming Data and Strategy discussion.Key InsightsVertical Video: More Than Just Micro Drama HypeEmily's panel tackled the elephant in the room: vertical video is not synonymous with micro dramas, despite what your LinkedIn feed might suggest. What started as marketing tactics has matured into a legitimate digital commissioning strategy spanning sports content, documentaries, and diverse formats that go far beyond scripted drama.The timing couldn't be more significant. Just weeks before the event, major industry shifts signaled vertical's mainstream moment: Disney announced their vertical pivot at CES, TikTok launched a standalone micro drama app, Netflix hinted at vertical ambitions during earnings calls, and the BBC unveiled a major YouTube partnership.Finding Audiences at the Intersection of NichesPerhaps the most compelling insight came from Paramount's unexpected success with Geordie Shore content. When one cast member shared her infertility journey through vertical video, it transcended the show's typical audience entirely. This demonstrated how platforms like TikTok, YouTube Shorts, and Instagram Reels curate intersecting niches that connect content with viewers who'd never engage with the traditional format.Vertical isn't cannibalizing traditional viewing—it's complementary. ESPN's "Verts" app proves this beautifully. Rather than pulling sports fans away from the big screen, vertical content enhances the experience with player deep-dives, stats analysis, and supplementary angles that enrich rather than replace live viewing.The format's inherent intimacy matters too. Phone-based vertical video creates deeply personal experiences, whether exploring serious topics like infertility or offering fresh perspectives on beloved entertainment franchises.Traditional Broadcasters Go Fishing in New WatersEstablished players like Channel 4, ITV, and the BBC have reached a crucial realization: audiences aren't coming to them anymore. Rather than doubling down on walled gardens and exclusivity, they're strategically "fishing" where audiences actually are—YouTube, Meta, and other platforms. This represents a fundamental shift from trying to corral viewers through forced exclusivity to acknowledging the fluidity of modern fandom.Data: Powerful Tool or Dangerous Master?Looking ahead to Jo's panel, the conversation turned to a critical tension in modern media: there's no excuse not to know your audience, yet data can easily become misdirection. While data should inform commissioning and distribution decisions, it tends to measure what's easily measurable—which isn't always what truly matters.Moonbug's Cocomelon provides the perfect case study. Their YouTube data-driven approach demonstrated analytics' power for IP and franchise building, but also raised important questions about creative vision versus algorithmic optimization.The real skill isn't drowning in data—it's knowing how to zoom out and distill signal from noise. Ironically, experienced media professionals with 20+ years of instinct are uniquely positioned to thrive in this data-rich environment. Their gut feel, honed over decades, can cut through analytical clutter to find strategic clarity that spreadsheets alone cannot provide.The sweet spot? Combining analytical rigor with seasoned intuition—letting data inform without letting it dictate.Recorded live at OTT Question Time in London

Jo is away so Andy gets Emily perspective on Netflix's latest earnings report. In a recent strategic shift, Netflix are moving away from the subscriber count obsession and focusing on ‘engagement'. It's an interesting pivot, especially as the streaming giant grapples with the reality that their core markets are pretty well tapped out.The big question now is how to keep demonstrating growth when you've already signed up most of the households you're going to get. Enter: engagement metrics. Netflix wants us to care about hours watched, not just how many people have accounts.But that’s not the only strategic shift, Emily and Andy look at how vertical content and gaming fit into Netflix’s new playbook.Meanwhile, the kids' content slate is having a moment. Ms. Rachel and Paw Patrol are quietly racking up serious viewing numbers, proving once again that children's programming might be the steady, reliable workhorse of any streaming service.And then there's the possibility of Netflix acquiring Warner assets—a move that could beef up their content library and give subscribers more reasons to stick around. As Netflix figures out its next chapter, it's clear the playbook is evolving from "grow at all costs" to "keep people engaged and happy."Takeaways:The recent Netflix earnings report reflects a shift in focus from subscriber growth to content engagement metrics, indicating a new strategic direction for the company.Despite a slight year-over-year increase in engagement, the overall performance remains underwhelming, suggesting challenges in sustaining growth in a saturated market.The introduction of vertical video content is a significant move for Netflix, aiming to capture mobile viewership and compete with platforms like TikTok and YouTube.Netflix's acquisition of Warner Bros. may provide necessary content diversification to enhance engagement and strengthen their position in the streaming market.The Netflix kids' programming landscape is evolving, with significant shows like Ms. Rachel and Paw Patrol demonstrating strong audience engagement and popularity.The ongoing development of Netflix's gaming strategy highlights their commitment to retaining viewer attention across multiple formats, enhancing overall user engagement.

The landscape of children's entertainment is shifting—fast. In this eye-opening conversation, multi-award-winning creative executive Jesse Cleverly shares why now might be the perfect time to work in media, despite all the doom and gloom.The Perfect Storm (In a Good Way)Jesse drops a perspective bomb early in the conversation: while traditional media is facing seismic changes, he genuinely believes we're entering "an interesting and great moment" for the industry. Why? Because creators no longer need permission to build audiences."If you've got a great idea or you are a great creator, you can go out and learn what works," Jesse explains. The empowering nature of new platforms means you can test and refine before spending €10 million on a 50-episode series. Revolutionary? Absolutely.The Creator Burnout CrisisBut it's not all sunshine and viral videos. Jesse pulls back the curtain on a troubling reality: many successful digital creators are exhausted and burned out, trapped in a world of low CPMs (cost per thousand views) with no sustainable revenue model beyond grinding out content.The solution? Studios and creators need each other now more than ever. Traditional media professionals bring crucial skills in brand development, monetization, and long-term value creation that many creators desperately need but don't have the bandwidth to develop themselves.Rethinking the "Kids' Audience"Here's where Jesse gets provocative: he questions whether the traditional definition of a "kids' audience" was actually created by commercial television rather than reflecting what children genuinely want.His evidence? When given true choice, kids increasingly watch content made for broader audiences. His own research revealed young viewers gravitating toward shows like "Heartland" (a Canadian horse ranch drama) because there's "no punching and killing"—not because it was marketed to them as children's programming."I wonder whether this definition of the kid audience is also a product that we used for media in the commercial television age," Jesse muses, challenging fundamental assumptions about age-appropriate content.The Power of NichesForget mass audiences—Jesse sees the future in passionate, engaged communities around specific interests. His favorite example? Werewolf romance fiction is "killing it" with tens of millions of readers, yet virtually no one is creating werewolf video content.The math is simple: going from broad, low-engagement audiences to narrow, high-engagement niches means higher lifetime value (LTV) per fan. Plus, we're not limited to local markets anymore—you can reach every werewolf romance fan in the world."The goldfish and the water," Jesse says. "We've been swimming in the world of low-hanging fruit local markets. We're not in local markets now—we're in the world."5 Key TakeawaysPermission is Dead: You don't need a commissioner's approval to build an audience anymore. Create, test, learn, iterate—then scale.Creators Need Studios (and Vice Versa): Digital creators have audiences but often lack monetization expertise. Traditional media professionals have those skills but need to understand platform-native content.Value Has Shifted: Historical kids' media companies like Nickelodeon made most of their money from licensing and merchandising, not the TV shows themselves. That model still works—just on different platforms.Rethink Your Audience: Age-based demographic targeting may be a legacy TV construct. Focus on interests, values, and what genuinely resonates rather than arbitrary age brackets.Play the Long Game: Build communities, not just view counts. Engineer awareness through the "primordial soup" of social platforms, then nurture what evolves.The Primordial Soup TheoryJesse's closing metaphor brilliantly captures the new creative landscape: platforms like YouTube and Instagram are the "primordial soup" where millions of content ideas compete to evolve. Most will die away, but a few will succeed and thrive.His role? "Watching the shoreline and waiting... oh, that one looks like it might evolve. And then you run in, grab it, help it up onto land."Why This Matters NowJesse’s argument in a nutshell: Traditional TV commissioning is contracting. Streaming services are tightening budgets. But direct-to-audience platforms are exploding. For creative professionals willing to adapt, learn new skills, and genuinely listen to what audiences want (rather than what we think they should want), the opportunities are enormous.What do you think? Is Jesse's optimism naive or strategic? He's seen both worlds, from BBC commissions to digital-first studios, and he's betting on a future where authentic engagement beats mass distribution every single time.Listen to the full episode of Kids Media Club wherever you get your podcasts. Subscribe for weekly insights from the brightest minds in children's entertainment.

In this episode we discuss the evolving regulatorary landscape around kids content on YouTube and social media. The wild west era of children's content on YouTube appears to be coming to an end. As countries worldwide move toward stricter social media regulations—France announcing September 2026 enforcement, Virginia implementing new protections—YouTube's AI-powered content moderation is creating uncertainty for creators in the kids' space.Key TakeawaysThe Regulatory Shift: After years of minimal oversight, 2026 looks set to bring significant changes to how children's content is managed online. Multiple jurisdictions are finally catching up to long-standing concerns about kids and social media.YouTube's Opaque AI System: YouTube's AI now determines whether content is "suitable" for young audiences, but the decision-making process remains unclear. Creators face potential demonetization or restricted reach without understanding the benchmarks, making commercial viability increasingly risky.The "Social-Only" Gamble: Creators who went all-in on YouTube as their sole platform now face a precarious position. Diversification across multiple platforms—once considered smart strategy—is becoming essential again as the regulatory landscape shifts.BBC's Opportunity: As YouTube becomes a financially high-risk space for quality kids content, publicly funded broadcasters like the BBC have a chance to prove their value. Charter renewal debates may gain new context when commercial platforms struggle to sustainably serve young audiences.Content Duration Concerns: The rise of ultra-short-form content raises questions about optimal viewing lengths for developing brains. Even tech founders are reportedly limiting their own children's screen time—yet clear benchmarks remain elusive.Bottom Line: The permissive era of creators freely making kids' content on YouTube is closing. Welcome to the new regulated reality.

In this special New Year episode of the Kids Club Podcast, we reflect on our favourite Podcast conversations of 2025 and share eight moments that stood out for us from the year.We revisit conversations with industry professionals who share honest insights on being transparent and staying scrappy in tough times.Featured Topics:Building resilience as a content creator in 2026The importance of self-advocacy for aspiring creatorsBreaking through in a competitive creative environmentPractical advice from writers, producers, and industry professionalsThis year-end episode we highlight key takeaways from guests who opened up about the realities of working in kids media in 2025.

The team dives into Netflix's Christmas movie dominance, shares heartwarming holiday TV traditions from around the world (including Ireland's legendary Late Late Toy Show), and makes bold predictions for 2026's animation landscape. Spoiler: sequels reign supreme, and Australia's social media ban for kids could reshape the creator economy.Episode Breakdown🎅 Netflix's Christmas Movie EmpireEmily kicks things off celebrating Netflix's "pure and lovely" commitment to churning out Christmas content. This year brought Champagne Problems, My Secret Santa, and Jingle Bell High Speed, with classics like Klaus (Jo's favorite from 2018) getting their annual boost.Key insight: Christmas is genius brand strategy—it's an open-source brand everyone can leverage. Andy points out it's smart business too, giving A-list talent a chance to do "something warmer and family-friendly" while earning sweet residuals that come back every year.Cultural gem alert: Emily introduces the Late Late Toy Show, an Irish institution that's been running longer than US late-night shows. Picture kids staying up past midnight to watch toy reviews, celebrity surprises (Roy Keane hassling kids this year!), and wholesome chaos. It's basically a three-hour commercial that somehow works because it's cultural heritage.🎬 2026 Animation Predictions The hosts get into crystal ball mode for next year's releases:Andy's calls:Toy Story 5 - Will dominate (though Emily wonders if Lightyear's underwhelming performance signals franchise fatigue)Hoppers (Pixar's robot-consciousness-transfer story) - Will underperform and struggle to cut throughLive-action Moana - Big winner, demonstrating the power of established IPThe Illumination juggernaut: Super Mario Galaxy movie + Minions 3 dropping in 2026 could net them $2-3 billion at the box office. Emily notes we're firmly in a "sequel world."The dark horse: Disney's Hex (November 2026) about a teenage boy discovering magical powers. Emily thinks there's appetite for well-executed magic content after Spellbound missed the mark.📱 The Creator Economy Shake-Up Emily gets passionate about YouTube kids creators needing to "hold their nerve" on streaming deals. The economics have gotten tougher since YouTube's COPPA restrictions five years ago made it harder for mid-tier creators to sustain careers.The Australia wildcard: The social media ban for under-16s could be a game-changer. While challenging for creators, Emily sees it as "tough medicine" that might force better economic models and push creators toward premium streaming deals. YouTube Kids could become more crucial, and platforms like Discord might benefit unexpectedly.Miss Rachel mention: As an example of intentional content strategy—no shorts, calm and steady vibes, less dopamine-focused approach that resonates with parents.🎤 Wild Cards & Sign-Offs The hosts wrap with a joke about whether the wheels will come off the Kids Media Club podcast itself in 2026 (they won't), and acknowledge it's been "a busy year" with their heads "slightly blown off" by industry moves like Netflix buying Warner Brothers studios.Quotable Moments"Christmas is a brand that nobody owns and everybody can leverage." - Emily on Netflix's strategy"I want 5,000, not a fiver. It's renting the audience I've built." - Jo on creator economics"Sometimes you take the medicine." - Emily on Australia's social media banWhat to Watch in 2026Toy Story 5 vs Hoppers performanceIllumination's potential $2-3B yearCreator economy deals as social restrictions tightenWhether magic-themed family content finds its footing againNext episode: TBD (they're taking a Christmas break!)Perfect for: Animation industry watchers, kids media professionals, anyone curious about streaming strategy, and people who need their yearly dose of Late Late Toy Show content

The Kids Media Club crew tackles the biggest media story in years: Netflix's acquisition of Warner Brothers. Andy and Jo dive deep into what this seismic deal means for streaming, cinema, theme parks, and most importantly—the future of kids' content production. From Harry Potter to DC Comics, and from theatrical releases to original programming, they unpack the winners, losers, and uncertain future facing producers everywhere.Key Takeaways🎯 Why Netflix Wanted Warner BrosUnlocks merchandise and theme parks—two areas Netflix never had access toAdds massive legacy IP including Harry Potter, DC Universe, and Cartoon NetworkCompletes Netflix's transformation from tech company to full-spectrum entertainment studio🎬 Cinema Under ThreatWarner Bros films are tentpoles of the theatrical box officeNetflix's anti-cinema stance could devastate theater chainsTwo-week window releases might become the new normal, worrying directors like James Cameron📺 The Producer's DilemmaOne fewer independent buyer in an already consolidated marketNetflix may focus budget on legacy IP management rather than original programmingCould producers be waiting years for attention to shift back to new shows?🏢 Industry Consolidation AcceleratesParamount's hostile counter-bid adds drama to an already complex situationUK broadcasters (BBC, Channel 4, ITV, Sky) may follow with their own mergersThe era of distinctive brand voices (Cartoon Network vs Nickelodeon vs Disney) may be ending🎪 The Walmart EffectNetflix becomes the "entertainment supermarket"—so big it can't have a distinctive voiceHomogenization risk: will everything start to feel the same?The monopoly question intensifies as the third-biggest streamer disappears⚡ Wild CardsWhat happens to CNN under Netflix ownership?Could this deal actually be blocked on monopoly grounds?Bottom Line: This isn't just a business deal—it's a fundamental reshaping of how entertainment gets made, distributed, and consumed. For kids' content creators, the golden age of multiple competing buyers may be coming to an end.

Episode Summary: Andy, Jo, and Emily are joined by marketeer and 'recovering French man' Louis Grenier to give an outside perspective on kids media. Louis delivers his inimitable no-holds-barred take on the industry—expect sweary spikiness and truth bombs about what's really going on in children's content.Key Discussion Points:Ethical marketing practices in children's contentHow media consumption affects kidsUsing creativity to differentiate in a competitive marketCreating meaningful, responsible content for young audiencesGuest Expert: Louis Grenier shares marketing insights and fresh perspectives on kids' mediaHosts: Emily Horgan, Jo Redfern, and Andy Williams (Kids Media Club podcast)https://www.kidsmediaclubpodcast.com/https://creativelycurious.substack.com/https://thekidsstreamersphere.substack.com/https://joredfern1.substack.com/Louis Grenier’s websitehttps://www.stfo.io/about

Author Louie Stowell (Loki series) joins the Kids Media Club to make the case for more chaos in children's books. Why do young readers crave mischief? How do illustrated books hook reluctant readers? And what's killing kids' love of reading—spoiler: it's not TikTok.Key Takeaways:Mischievous characters create powerful entry points for emerging readersIllustrations aren't just for "struggling" readers—they're a legitimate storytelling mediumTesting culture is crushing reading joy (and what we can do about it)Give kids real choice in what they read—it matters more than you thinkChildren's publishing needs more risk-taking, diversity, and yes, anarchyhttps://louiestowell.com/https://www.kidsmediaclubpodcast.com/

In this special listener's digest episode, we examine the challenges and opportunities of creating children's content on YouTube. We listen back to three creators who shared their experiences navigating COPPA regulations, monetization struggles, and strategies for building sustainable businesses in the current digital landscape.Key GuestsMelly Buse - Boutique content producer discussing COPPA's impactCory Williams - Creator of Silly Crocodile, a YouTube-first kids IPNic Cabana - Claynosaurz, discussing transmedia approachesMajor ThemesThe COPPA CrisisCOPPA regulations have devastated YouTube revenue for children's content, with some creators experiencing drops from £8,000 per month to just £300. Channels marked as "made for kids" earn approximately 20 times less than adult content, making sustainable production nearly impossible through YouTube revenue alone.The Monetization RealityDespite impressive metrics, revenue remain a challenge. Silly Crocodile, with nearly a million subscribers and 13 million monthly views, earns only $5,300 per month - highlighting the stark disconnect between engagement and revenue for kids content.Survival StrategiesDiversification is Essential: Creators must expand into merchandising, publishing, and retail distribution. Platform dependency is increasingly risky.Transmedia Approach: Claynosaurz creates content across multiple platforms simultaneously. Their 39-episode series uses seven-minute formats optimized for YouTube while remaining adaptable for European distribution and streaming.Building in Public: Successful creators involve audiences early in development, building trust through authentic behind-the-scenes content - similar to Peter Jackson's Lord of the Rings development journals.Creator-Led Model: Direct audience relationships and active community management are crucial, with founders maintaining presence "in the trenches" to gather feedback.Key TakeawaysYouTube alone won't pay the bills - Diversify revenue through licensing, merchandising, and distributionCOPPA decimated revenue without clearly improving child safetyMeet audiences where they are - Success requires content across multiple platforms, not single-format betsCommunity is currency - Early fan engagement creates loyal audiences and valuable feedbackThink transmedia from day one - Don't build for just TV or film; build for everywhereThe Bottom LineCreating successful kids IP on YouTube requires resilience and strategic diversification. While revenue challenges are severe, creators who embrace transmedia strategies, build authentic communities, and operate outside traditional studio models can still thrive.

The Big Shift:Nickelodeon is launching new shows on YouTube FIRST before linear or streamingKid Cowboy marks their flagship YouTube-first seriesThis represents a 5-year evolution, not a sudden pivotWhy It Works:Leadership buy-in from the top (Brian Robbins understands digital platforms intimately)Tight integration between creative teams and data analyticsPlatform-specific content strategy rather than repurposing linear contentIn-house production for speed and cost efficiencyThe Strategy:Launch new IP on established YouTube channels (Kid Cowboy debuted on Blaze and the Monster Machines channel)Use data to identify what audiences love (robots, gadgets, races)Create format-first content tailored to YouTube viewing patternsBuild trust and iterate based on performance dataFull Episode SummaryThe Evolution to Digital FirstNickelodeon's digital first strategy didn't happen overnight. Alex Reed (SVP Business and Operations) and Marc Cantone (VP of Preschool Digital Content) explained that this has been a gradual five-year journey.The progression was natural:Building up the YouTube networkEarly seeding of new showsSampling episodes on the platformFinally, launching shows YouTube-firstThe Kid Cowboy Case StudyKid Cowboy represents Nickelodeon's first major YouTube-first launch. Key decisions included:Strategic placement: Launched on the Blaze and the Monster Machines channel, which is the #1 preschool vehicle channel on YouTubeAudience alignment: The show features robots, gadgets, and races—all elements that Blaze audiences loveFormat adaptation: Instead of straight narrative, they created "Guess the Gadget Rescues" using gamification formats that resonate with the existing audience24 episodes: Currently have 24 four-minute episodes plannedThe Data-Driven Creative ProcessThe team emphasized that platform specificity is underrated. Their approach balances:Data inputs:Computer vision analysis of content performanceYouTube Analytics providing granular insightsIdentifying trending elements (specific characters, themes, formats)Testing and iteration based on real-time feedbackCreative excellence:Multi-hyphenate producers who are writers, composers, designers, and animatorsIn-house development and scripting for speed and audience knowledgeMaintaining Nickelodeon's storytelling standardsCreating repeatable formats that allow for efficient productionOvercoming Internal ChallengesThe biggest educational hurdle wasn't with executives but with show creators who needed to understand that:YouTube isn't "just YouTube"—it's a strategic platform for building franchisesDigital content serves the IP across all platformsData insights can inform long-form production (example: Blaze learned robots are popular, incorporated them into later seasons)This approach leads to more season pickupsProduction PhilosophySpeed and efficiency without sacrificing quality:In-house creative team eliminates external approval cyclesMost time in production is spent waiting for decisions—they've minimized thisReusable animation, props, and setsMix of 2D and 3D techniquesClear runway from leadership to execute quicklyThe mantra: "We're here to make really great content just for this platform, which is very specific."The Broader Portfolio StrategyBeyond Kid Cowboy, Nickelodeon is:Doing light reboots (Backyardigans with modern pop music and updated animation)Testing new series on existing channels (Barnyard Daycare on Blue's Clues channel)Launching Bubble Guppies rebootDeveloping two more original YouTube-first propertiesThe YouTube QuestionCan you build a kids brand today without YouTube?The consensus: It's really difficult. They point to Bluey as perhaps the last example of the "old model" that rode Disney+ success, though even Bluey had a YouTube presence. The team believes platform specificity and YouTube presence are now essential for scaling kids brands.Why This Model Works for NickelodeonLeadership understanding: Brian Robbins built Awesomeness TV, understands digital platforms intimatelyTrust built over time: Five years of proving the digital team serves the IP, not just "chopping up content"Integration: Digital team isn't an appendage—they're deeply connected to show creators and executivesProven track record: Blaze and the Monster Machines channel success led to season pickupsClear mission: Being wherever kids are (echoing Nickelodeon's founding DNA)Future OutlookThe team expects:This won't be a one-size-fits-all modelAcquisitions might follow different strategiesAge groups will require different approaches (easier with younger audiences)YouTube will always play a role, whether for development or early seedingFormat-first thinking will continue to drive original YouTube contentKey Quotes"We're not just putting a video on YouTube. We're doing it strategically and creatively." - Marc Cantone"Platform specificity is underrated... what people are there for and how they engage and what the platform rewards, they're all different." - Alex Reed"If we're not having fun making what we're making, kids aren't going to have fun watching it." - Marc Cantone"The majority of time spent in making something from pitch to launch is spent waiting for people to make decisions." - Alex ReedThe Three Pillars of SuccessAccording to the team, every decision considers:The Business - sustainability and growthThe Audience - what kids actually wantThe Platform - what works specifically on YouTubeThis balanced approach, combined with creative excellence and data-driven insights, positions Nickelodeon to build franchises in the modern media landscape while staying true to their mission of being wherever kids are.

In this episode of the Kids Media Club podcast, hosts Andy, Jo, and Emily discuss the current challenges in the kids' media industry, including layoffs and the importance of networking. They highlight Emily Brundige's success as a creator and the significance of in-person experiences. The conversation shifts to the rise of stage productions and the dynamics of fandom, particularly focusing on K-Pop Demon Hunters. They also explore the importance of content planning for IP longevity and conclude with a discussion on SpongeBob's resurgence and Nickelodeon's enduring power in the market.Takeaways:The industry is facing significant layoffs and challenges.Emily Brundige's success story serves as inspiration for creators.Building a network is crucial for career longevity.In-person experiences are becoming increasingly important.Stage productions are evolving as part of IP strategies.Fandom engagement is vital for sustaining interest in content.K-Pop Demon Hunters is a case study in modern fandom dynamics.Content plans are essential for the longevity of IP.SpongeBob's resurgence highlights Nickelodeon's enduring power.Chapters00:00 Introduction and Sponsorship Opportunities01:56 Industry Layoffs and Their Impact05:43 Building in Public: Lessons from Emily Brundige09:42 The Evolution of Stage Productions in Kids Media13:22 Experiential Opportunities and IP Revivals17:02 Fandom and Community in Cinema Experiences18:24 Crafting Theatrical Experiences from IPs21:00 The Evolution of Fandom and Engagement24:36 The Impact of Algorithms on Fandom27:44 Depth of IP and Content Planning34:18 SpongeBob: A Case Study in Longevity39:40 Reviving Legacy Brands and Future Prospects

In this week’s Kids Media club podcast, it the hosts are playing tag: Emily is away this week, but Jo is back from giving a talk at the Vimeo Creativity conference in New York. Andy and Jo discuss the Vimeo conference and the way video platforms are evolving. On the one hand we have platforms like YouTube and TikTok which offer massive reach, albeit subject to the vagaries of the algorithm, and on the other hand we have fan-based subscriber driven platforms like Substack, Patreon, Vimeo, possibly even Onlyfans. It feels like YouTube, TikTok et al are the way to get noticed, but getting paid there is a bit more of a question. Do the fan based subscription platforms offer a better financial return for creators? Listen in to hear what we think!https://creativelycurious.substack.com/https://thekidsstreamersphere.substack.com/

In this episode of the Kids Media Club, we are back from Cannes and have some thoughts! Jo is on a work trip, but for the rest of us, we are back in the office and ready to share our impressions of MIPCOM and MIPJunior and just what it means for the industry. We chew the fat on the current state of programming strategy in streaming services, highlight the contrast between the algorithmically led programming compared to editorially led approaches. Lots to dive into. Also, quick plug for Emily’s brilliant and incisive substack, which we mention on the episode: https://thekidsstreamersphere.substack.com/