Kids Media Club Podcast

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...

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/

In this episode of Kids Media Club podcast hosted at Mipjunior in Cannes, we were delighted to be joined by the very special guest Frank Falcone, founder of Guru Studios. On the 25th anniversary of his studio, Frank reflects on the changes the animation industry has gone through in that time. We discuss the challenges of A.I., adapting to the fragmented landscape and new audiences expectations, and the continuing importance of delivering high quality, and passionate storytelling created with human creativity.

On this week’s show, we are delighted to be joined by David Michel of French television producer and CEO of Cottonwood Media. We discuss the craft of creating dramas for tweens, teens, and millennials. We look at the impact that big budget Netflix shows like Wednesday, Heartstopper, and even Stranger Things have had on the industry and whether kids producers have the resources to compete for that cross-generational attention. There’s stuff about the role for social and vertical video to reach younger audiences and the place for linear TV within this new landscape. It’s a packed episode. Listen in and let us know what you think!

In this week’s Kids Media Club Podcast, we are joined by the creator Cory Williams who talks to us about creating a digital first children’s franchise - Silly Crocodile. He talks about how the character was inspired by toy play with his daughter, shares his challenges with the YouTube algorithm, issues around AI and piracy, and his reasons for turning down a $5million offer. This is a must listen for any YouTube kids creators out there. https://sillycrocodile.com/

In this week's episode of the podcast, we chat to analyst Ian Whittaker and ask him the question - 'Is YouTube TV?' This question prompts a deep dive into channel fragmentation, advertising revenue, the creator economy, and the centrality of Kids content within the current battle between legacy media and social media. It's a fun, no hold bars, discussion, so grab a tea and sit back and enjoy. Oh and a small disclaimer - as Ian always says, none of the opinions expressed here constitute investment advice! :-)

In this episode, we dive deep into Roblox as a game-changing platform for brand engagement and immersive content creation. Our guest, Nate Spell, CEO of Barrier4, reveals how his team evolved from producing trailers to building interactive experiences for top brands like Netflix and Nickelodeon—all within the Roblox ecosystem.We explore how brands are moving beyond traditional ads, using gameplay as storytelling and Roblox as a long-term engagement strategy. From licensing opportunities to community-driven development, this episode unpacks the new frontier of digital marketing and interactive media.Key Takeaways:Roblox is transforming digital marketing—shifting from a novelty to a core strategy for audience engagement.Barrier4's journey: From a niche magazine to a major Roblox content studio serving global brands.Gameplay meets brand storytelling: Why integrated, interactive narratives drive deeper user connections.Roblox as a platform for IP growth: Opportunities for both emerging and established franchises.Community-first strategies: Why successful brands treat Roblox as a living ecosystem, not just a campaign.Licensing potential: Explore how brands can tap into and collaborate with Roblox’s vast creator community.

As the media industry transforms at lightning speed, how do iconic events like MIPCOM and MIPJunior stay ahead of the curve?In this episode, we sit down with Lucy Smith (Entertainment Division Director, RX France; Director of MIPCOM) and Carole Ollardissen (Content & Conference Manager, MIPCOM & MIPJunior) for an insider look at how the world’s leading entertainment markets are evolving to meet the demands of a shifting industry — from the rise of streaming to the explosion of the creator economy.Together, Lucy and Carole discuss the strategic changes coming to MIPJunior 2025, its deeper integration with MIPCOM, and how both events are designed to fuel connection, innovation, and opportunity in an increasingly competitive and global content space.🔍 In this episode:Lucy’s 20-year journey through media transformation — from the DVD era to the streaming ageWhy MIPCOM and MIPJunior are more relevant than ever in 2025How the events are tackling the biggest challenges in kids and family contentMajor format changes at MIPJunior 2025, including:Physical integration with MIPCOM (no longer separate venues)Smarter, dedicated matchmaking toolsStronger alignment with broader MIPCOM initiativesNew YouTube partnership and a focus on the creator economyWhy MIPJunior is no longer just the “room where it happens” — it’s a collaborative launchpad for the future of kids contentWhether you’re developing IP, distributing content, building partnerships, or navigating the digital-first world of kids media, this episode offers an essential preview of what to expect at MIPCOM 2025 — and why it remains the beating heart of global entertainment deal-making.

In this week's Kids Media Club Podcast, Andy is away so Jo and Emily are indulging their inner-geek and doing a deep dive into THE kids phenomenon K-Pop Demon Hunters. They unpick the strategies behind the birth of a new mega kids franchise, check out the fan created content on Roblox and Youtube, and learn about the science and craft behind the chart topping songs. K-Pop Demon Hunters really is THE hit movie that has taken everyone by surprise. When even tennis champion Novak Djokovic is doing the soda pop dance at the US Open for his daughter, you know this is one of those cultural explosions that happen very rarely.

This week’s hosts’ hangout at the Kids Media Club HQ is all about discussing K-Pop Demon Hunters’ record-breaking success (yay!). They also talk about the ongoing challenges facing kids’ media (boo!) and, in particular, try to tackle the thorny issue of COPPA regulations. Could they be amended to help the industry monetise kids’ content on YouTube more successfully or is it working as it was intended?

In this episode, we respond to the UK government’s industry survey on children’s content, programming, and social media.We talk about the aims of the survey, share our honest thoughts on what’s working, what’s not, and what the future of kids' media could look like. From funding challenges to the impact of social platforms, we unpack it all.🎧 Tune in for a real-time industry check-in from three people who care deeply about children’s content.#KidsMedia #ChildrensTV #GovernmentSurvey #KidsProgramming #DigitalKids #KidsMediaClub

In this episode of the Kids Media Club podcast, we sit down with renowned children's TV writer and producer Mellie Buse. Known for her work as head writer on Charlie and Lola, co-creating Grandpa in My Pocket, and writing/producing The Hoobs for The Jim Henson Company, Mellie shares her journey through the world of kids’ television.We dive into the evolution of children’s media, discussing the shift from traditional TV to platforms like YouTube, the opportunities this brought for IP creators, and the challenges that followed due to COPPA regulations and monetization changes.Whether you're a content creator, producer, or fan of children’s programming, this episode is packed with insights into the creative and business sides of kids’ media. Tune in now! #KidsMedia#ChildrensTV#KidsContent#TVProduction#Screenwriting#MediaForKids#ContentCreation#CreativeIndustry#KidsEntertainment

Kids Media Club is thrilled to team up with Brands in Play for an exciting new episode! We chatted with Nic Hill and Albane Prioux, hosts of the Brands In Play podcast, to explore the wild and deeply weird world of Italian Brain Rot. This chaotic blend of ironic meme culture and generative AI is making waves as the latest UGC trend. Is it just the sloppiest of AI slop yet, or does this anarchic phenomenon have the potential to evolve into a massive, open-sourced IP? Meme Chaos or IP Gold?Tune in to find out!

In this week's episode of the Kids Media Club Podcast, we sat down with Nic Cabana and Andrew Pelekis, the folks behind Claynosaurz. We talk about how they leveraged fan-power to build their a monster sized IP. We dive into how they flipped the animated brand playbook on its head by starting with collectables and building to series and discuss their mission to build a community of superfans. If you're interested in the future of brand building this is a must listen.

Hosts Hang Outs are a bit like buses, there aren't any for months and then two come along one week after another! Yes, that's right, we enjoyed our hosts' natter so much we decided to do another one straight away. Here's what we chat about in this episode of the Kids Media Club:Emily has just seen Rachel Zegler as Evita in the West End - we get her thoughts on the show and discuss the buzz around Zegler's performance. After the Snow White fiasco is this her emancipation? The British Media regulator Ofcom has published their advice to public service broadcasters on YouTube and other social video platforms - we discuss whether broadcasters need to be all in on YouTube or follow a more nuanced strategy. Finally we talk about kids media brand extensions from Pokémon teaming up with Aardman to Bluey targeting grown-ups.