Kids Media Club Podcast

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.