Kids Media Club Podcast

With Emily otherwise occupied, this episode is a hosts' hangout — just Andy and Jo, with a car pickup deadline providing a natural time limit. The conversation covers three topics: the appointment of the BBC's new Director General, the news that YouTube kids show Danny Go has been picked up by Netflix, and some cautious optimism about original IP at the box office.The BBC discussion centres on what the hiring of Matt Britton — who comes from a background in big tech and spent a significant stretch at Google — signals about the direction of travel for the corporation. Andy and Jo read it as a confirmation of the shift from a channel-first to a platform-first BBC, a move already evidenced by the recently announced partnership with YouTube, under which BBC Children's is launching seven new channels to reach younger, social-video-first audiences. The appointment of someone steeped in data, global distribution, and commercial scale feels deliberate. The hope is that Britton brings a more aggressive commercial mindset to BBC Studios — the revenue-generating arm that has historically played second fiddle to the UK public service operation — and that the BBC uses its considerable global brand equity before it erodes further. In an era of AI-generated content proliferation, trusted, quality brands matter more than ever, and the BBC's international reputation is still a real asset, particularly in the kids space.The Danny Go segment is full of enthusiasm. The YouTube-native kids show — music-led, high energy, and genuinely well-produced in a way Jo compares to the Wiggles — has just been picked up by Netflix, and Andy argues it could give Ms. Rachel a run for her money once it lands on the platform. The broader point the conversation develops is about the YouTube-to-Netflix pipeline and what it now represents. YouTube functions as an incubation layer — a place where creators build audiences, make their mistakes, and prove their concept — before Netflix swoops in once the risk has been de-risked. Crucially, the exclusivity model that Netflix once insisted on seems to have softened: like Ms. Rachel, Danny Go is expected to remain on YouTube alongside its Netflix presence. Andy frames the Netflix pickup as something like peer review, or the moment an online-only brand gets stocked in a major department store — it confers credibility and marks a kind of graduation. The caveat is that Danny Go has been building since 2019, which leads to a broader point about fandom: you simply cannot speed run it. The Savannah Bananas are cited alongside Baller League as parallel examples of IPs that have taken seven or eight years of patient building before distribution deals and mainstream attention arrived.The episode closes on a note of measured optimism about original IP. Hoppers for Pixar and Disney and Project Hail Mary both get name-checked as encouraging signs that audiences haven't entirely given up on new ideas — that the franchise-only approach, while understandable from a risk management perspective, isn't the only game in town. The hope is that commissioning budgets eventually follow the same signal.Key Takeaways:The BBC's appointment of a Director General from a big tech background signals a deliberate shift towards a platform-first, data-literate, globally-minded BBC — one that is more willing to treat distribution partnerships with the likes of YouTube as opportunity rather than threat.BBC Studios and the BBC's global brand equity should be leveraged now, before that value erodes — the trust premium on quality, branded content is growing in an era of AI-generated content proliferation, and the BBC is well placed to capitalise on it internationally.YouTube is functioning as Netflix's R&D department for kids content — Netflix is letting creators build and prove their audiences on YouTube, then acquiring those that break through, rather than taking the development risk itself.The exclusivity model appears to have changed — both Ms. Rachel and Danny Go suggest Netflix is now comfortable with creators maintaining their YouTube presence alongside a Netflix deal, recognising that the audience was built there and can't simply be relocated.A Netflix pickup now carries a credibility signal — landing on Netflix after building on YouTube functions like moving from a direct-to-consumer website into a major bricks-and-mortar retailer, conferring legitimacy and reach.You cannot speed run fandom — Danny Go has been building since 2019, the Savannah Bananas since 2019, Baller League for over two years. The IPs that are now doing distribution deals have typically been at it for seven or eight years. Patient, consistent building is the pattern, not overnight success.Original IP is showing signs of life at the box office — Project Hail Mary's strong hold into its second weekend, alongside Hoppers and K Pop Demon Hunters, suggests audience appetite for new stories hasn't been extinguished by the franchise era, even if the studio system hasn't fully caught up with that yet.Commissioning investment into quality kids content remains under pressure, and the concern is that the YouTube-to-Netflix pipeline, while exciting, doesn't fully substitute for a healthy commissioning ecosystem that takes risks on original ideas from the outset.

This is a short, unplanned emergency episode — Andy, Jo, and Emily jumping on a three-way call in real time to react to a double dose of seismic industry news landing in the same day. First came the announcement that World Screen (and its TV Kids publication) would be ceasing to publish. Then, as the episode was being recorded, the news dropped that the Kids Screen Summit would not be returning in 2027, with parent company Brunico Communications confirming it is discontinuing its entire US events portfolio — Kids Screen, Realscreen, and NATPE among them. Jocelyn Christie, who has long been the face of Kids Screen, is also departing.The trio don't dress it up. Kids Screen Summit has been, as the official announcement itself acknowledges, the heartbeat of the international kids content community for 30 years — the event that defined careers, brokered relationships, and gave the industry its annual gathering point. Its loss, coming alongside World Screen's closure, feels like more than a coincidence of bad timing.The conversation quickly moves to the why. Andy notes that the most recent Kids Screen Summit was noticeably down on attendance, raising real questions about whether the numbers could ever add up again. Jo and Emily point to the structural shifts underneath: the kids media industry is under sustained pressure across funding, distribution, and monetisation, and the traditional event model — built around large corporate delegations from major broadcasters like Disney who could absorb the cost of sending whole departments — no longer reflects the reality of who is actually in the room. With fewer buyers, a more fragmented landscape, and individual attendees increasingly having to justify the expense themselves, the value proposition has fundamentally changed.There's a broader point made about what these events were actually for, and whether that purpose still exists. Andy frames it neatly: these conferences were built around the gravitational pull of the big broadcasters, and when that gravitational force weakens, everything orbiting around it drifts. Emily raises the comparison with World Screen's TV Kids online summits, which have continued to attract strong speakers without requiring anyone to get on a plane — a model that perhaps points to where things are heading.The episode ends on a note that's equal parts rueful and forward-looking, with Jo floating the idea that the Kids Media Club itself might have a role to play in filling some of the vacuum being left behind.Key Takeaways:Kids Screen Summit will not return in 2027, with Brunico Communications discontinuing its full US events portfolio — a significant moment for an event that has been central to the kids content industry for three decades.World Screen and TV Kids have also ceased publishing, meaning the industry has lost two major institutional pillars in a single day.Declining attendance was already a warning sign — the most recent Kids Screen was visibly down on numbers, raising questions about sustainability that have now been answered.The traditional event model was built for a different industry — when major broadcasters could fund large corporate delegations, the economics worked. With fewer buyers and more individual attendees justifying costs themselves, the model has become increasingly difficult to sustain.This is symptomatic of deeper industry-wide pressure — the loss of these events reflects the same structural stresses around funding, distribution, and monetisation that have been reshaping kids media more broadly.The gravitational pull of the big broadcasters is weakening — and the conferences, markets, and publications that were built around that pull are feeling it acutely.Online events may point to a more viable model — the TV Kids online summits are cited as an example of strong programming delivered without the barrier of travel costs and logistics.A vacuum is forming, and the question of what — or who — fills it is now very much open.

This bonus episode takes a different format, with Emily reporting live from the Animation Dingle Festival in County Kerry, Ireland. Rather than a single guest, the episode brings together three separate conversations captured across the festival weekend: an interview with co-founder and festival director Maurice Galway, a chat with veteran screenwriter and director Karey Kirkpatrick, and a conversation with Ailbhe Fearon and Muireann Mulvihill, the two recent graduates who swept the festival's Animation Awards with their short film Anam.Maurice sets the scene by explaining what makes Animation Dingle distinct from the industry's typical market-driven events. Now approaching its 15th year, the festival deliberately caps attendance at 750 and keeps its split exactly 50/50 between students and professionals — a structural choice that keeps the focus squarely on education and mentorship rather than deal-making. Maurice talks through several initiatives designed to lower the intimidation barrier for students, including the "Pitch and a Pint" session where students pitch directly to executives from broadcasters and streamers, a new confessional-style format for sharing ideas too wild or half-formed for a public pitch, and a "Tell Your Untold Story" stage coaching session. A theme Maurice returns to is the two-way nature of the inspiration: professionals arrive to give, and consistently leave having received something themselves from the energy and enthusiasm in the room.Karey Kirkpatrick brings a sharp perspective on the state of the industry, drawing on a long career that includes work with Aardman and multiple original features. The central argument she makes is that the entertainment industry has become so risk-averse — particularly as studios answer to shareholders rather than creative leads — that the idea of a "sure thing" has taken over, even though it doesn't really exist. She uses K Pop Demon Hunters as a case study in how a genuinely original, unconventional idea can catch fire when it's given the right platform and timing, but notes that the same idea would likely have been passed over repeatedly in a pitch room. The conversation turns to what this means for emerging creators, and Karey's advice is clear and practical: don't wait to be discovered through a pitch, make things. Streamers in particular, she argues, are increasingly behaving like distribution platforms rather than development partners — meaning the work needs to demonstrate proof of concept before it reaches them, not after. Her summary advice to students is to build the craft fundamentals so that when a door opens, they can handle the pressure that comes with it.The episode closes with Ailbhe Fearon and Muireann Mulvihill, whose Irish-language short Anam — meaning "soul" — won seven awards at the festival, including the overall Student Animation Award. The film, about an old man and a young boy on the Aran Island of Inis Oírr, grew out of a two-week research residency on the island and draws on the philosophy of John O'Donohue and the concept of the inner child. Their commitment to making the film in Irish — not translating an English script but constructing it in the language from the ground up, down to getting the specific Inis Oírr dialect right — gives the conversation a quietly profound dimension. They also share the story of reaching out to musician Brian McGlynn (of New Vagabond) after listening to his album on repeat throughout their residency, and his score going on to win its own award at the festival. Both are newly graduated and keen to stay in the Irish animation space.Key Takeaways:Animation Dingle is deliberately not a market — the 50/50 student-to-professional split and the cap of 750 attendees are design choices that protect the festival's educational culture and make it distinct from every other industry gathering.Lowering the stakes unlocks participation — the confessional-style pitch format and the "Tell Your Untold Story" session are thoughtful responses to listening to what students actually need, recognising that not everyone thrives in a high-pressure public pitch environment.Inspiration runs both ways — professionals who come to give frequently report leaving re-energised by students' creativity and enthusiasm, something Maurice says has become one of the festival's unexpected gifts.There is no such thing as a sure thing in entertainment — Karey Kirkpatrick's core argument is that the attempt to science-ify creative risk is both futile and damaging, and that some of the industry's biggest successes (K Pop Demon Hunters, Anora) would have struggled to get made under current risk frameworks.Fear is driving creative conservatism at the executive level — the pressure of reporting to shareholders rather than creative stakeholders means executives default to "defensible" choices over bold ones, which is hurting original IP across the board.Streamers are becoming distributors, not developers — Karey's observation that streamers want work that's already beyond the idea phase, already executed with some competence, has significant implications for how emerging creators should be thinking about building their careers.For students entering the industry: make things, build FOMO — the practical advice from Karey is to create a body of work that generates a sense of momentum and demand, rather than waiting for a pitch to land. Proof of engagement is now more valuable than a great pitch alone.The Irish language is a storytelling asset, not just a box to tick — Ailbhe Fearon and Mulreann's insistence on making Anam in Irish rather than dubbing it, and their careful attention to Inis Oírr dialect, is held up as an example of authenticity that audiences and judges responded to strongly.Animation in Ireland is in a strong moment — the quality of student work on show at Animation Dingle, and the international talent it attracts, reflects a wider sense that Irish animation is punching well above its weight as an industry.

In this episode, Andy, Jo, and Emily are joined by Ashley Mady, President of Zigazoo — a social media platform built specifically for kids that has been quietly growing its user base to over 10 million while the wider debate around children and social media has grown louder and louder. The timing feels right: with social media bans for under-16s being debated in legislatures around the world, Zigazoo makes the case that the answer isn't to shut kids out of online social spaces altogether, but to build better ones.Ashley walks through what Zigazoo actually is and how it works. At its core, the platform is challenge-based — kids respond to video prompts by creating their own short-form content, and everything goes through moderation before it reaches the feed. The design philosophy is the inverse of most COPPA-compliant platforms, which tend to solve the safety problem by removing engagement entirely. Zigazoo keeps kids active and social, it just does so within guardrails built by educators rather than pure tech entrepreneurs. The founding team — husband and wife Zak and Leah — bring that dual lens of engineering and digital wellness to every product decision, and Ashley is clear that the mission is read aloud at every team meeting to keep it front and centre.The moderation conversation is illuminating. Zigazoo started with round-the-clock human moderation but has since developed a hybrid "human in the loop" model where AI handles the initial filtering — including detecting whether a user is a child or adult and flagging inappropriate content — while humans remain part of the process. The addition of a comments feature, which was held back for years due to concerns about intent being lost in written text, was only made possible once AI became reliable enough to support it.There's a lot of ground covered on what the platform has learned about kids' behaviour online. Notably, Zigazoo found that punishing bad content didn't work as well as rewarding good content — a shift from early notification-heavy approaches to a model that simply surfaces positive posts and lets the algorithm do the teaching. Kids who post well get featured; kids who don't get silence rather than a telling-off, and they adjust accordingly. The existing community of over 1,000 kid creators reinforces those norms organically, policing the platform's culture with a pride of ownership that Ashley describes as one of its most unexpected and valuable outcomes.The platform's audience data is interesting in its own right. While Zigazoo launched as a preschool app, its core audience has aged with it — 9 to 12 year olds are now its most active creators, and some users who joined five years ago are still on the platform at 15. Rather than losing them to mainstream social media, Zigazoo has had to keep evolving to stay relevant, a challenge Ashley acknowledges openly and with some enthusiasm.The brand and commercial side of the platform gets a thorough airing too. Over 100 brands — from Paramount and Amazon to toy companies, sports organisations, and publishers — use Zigazoo as a COPPA-compliant way to build genuine two-way community with kids. The platform vets all brand partners for mission alignment and manages their channels directly, which keeps the quality high but also means brands get something genuinely rare: verified, bot-free engagement with actual children. A wishlist feature that sends personalised emails to parents when a child saves a product is highlighted as a standout commercial innovation — formalising the influence kids have over family purchasing decisions in a way no other platform can currently match.The episode closes on a broader cultural note. Ashley sees the current generation of kids as meaningfully different from their parents — more media literate, more aware of the downsides of social media, and more interested in positive online experiences. Jo echoes this from her own experience as a parent, noting a generational swing away from the open, unguarded approach their own generation took to early social media. The group agrees that banning kids from social media entirely risks pushing them towards unmoderated spaces via VPNs and hand-me-down phones, and that platforms like Zigazoo represent the more responsible path.Key Takeaways:Zigazoo makes the case for building better social media rather than banning it — the platform argues that keeping kids off social altogether drives them to less safe alternatives, and that the right response is purposefully designed, moderated spaces.The challenge-based model is central to how it works — kids respond to video prompts with their own content, creating active participation rather than passive scrolling, while everything is moderated before reaching the feed.Rewarding good behaviour outperforms punishing bad behaviour — early attempts to notify kids when content failed moderation created a negative experience. Surfacing good posts and letting poor ones disappear quietly proved far more effective at shaping behaviour.AI-assisted "human in the loop" moderation has unlocked new features, including the comments section that was held back for years — a reminder that moderation technology, not just policy intent, sets the ceiling for what's safely possible on kids' platforms.The platform's community polices itself — 1,000+ kid creators model positive behaviour, and when TikTok faced its US ban and new users flooded in, existing Zigazoo users actively told newcomers that this was a different kind of space.Age-gating within the platform recognises that under-16 isn't a monolith — the experience for a 6-year-old looks nothing like that for a 13-year-old, a distinction that blanket social media bans tend to collapse entirely.Zigazoo has become a Gen Alpha trend intelligence platform — with 10 million users and polling features originally built for fun, the platform now has genuine insight into what kids are talking about, buying, and looking forward to, before those trends surface elsewhere.The brand model is built on mission alignment and white-glove management — brands can't self-serve onto the platform, which keeps commercial activity COPPA-compliant and maintains trust with parents and kids alike.The wishlist-to-parent email feature is a commercial innovation worth watching — it formalises child-to-parent purchase influence in a privacy-safe, opt-in way that no other platform currently offers.Parent involvement is baked in from signup, which Ashley argues leads to longer platform lifecycles — a child whose parent has given informed consent is far less likely to be pulled off the platform than one who has found their way onto something their parents don't know about.

This bonus episode of the Kids Media Club sees Andy and Jo joined by Emily, who has just published her latest Netflix Kids Content Performance Report — a deep dive into Netflix's engagement data covering the second half of 2025. It's a data-rich conversation that covers which shows are winning, which are declining, and what it all means for the wider kids content landscape.The headline finding is that Paw Patrol has taken the number one spot by hours viewed in H2 2025, driven by its first-ever US Netflix window opening in July. It's a significant moment that underscores just how competitive the preschool segment has become — Gabby's Dollhouse held the top spot in H1, Ms. Rachel has climbed from sixth to fourth place, and Cocomelon, while still enormous, is showing signs of decline. The preschool race, as Emily puts it, is very much a ten or fifteen horse race.Sesame Street's arrival on Netflix gets a thoughtful treatment. Launching with just four episodes, it performed modestly — and the group unpick why. Is it a volume problem? A brand perception issue, with audiences still associating the show firmly with PBS and YouTube rather than Netflix? Or simply that Sesame Street hasn't yet established a home on the platform? Emily is generous in her read of it, noting the brand's smart collaboration with YouTube creator Mark Rober as a savvy move to stay relevant — and Rober's own Netflix show, Crunch Lab, posted strong launch numbers.That leads into a broader conversation about Netflix's creator economy strategy. The platform has been quietly building a pipeline of YouTube-native talent — Cocomelon, Little Angel, Blippi, Ms. Rachel, and now Mark Rober — and the data suggests the crossover approach is paying off in engagement terms. Jo raises the interesting point that Netflix appeared to step back from kids originals after disbanding its dedicated team, only to start commissioning original and exclusive content with creator talent again. The consensus is that Netflix never fully stepped away — it just got more selective, leaning into broader "family" content alongside its core kids slate.SpongeBob emerges as one of the episode's most interesting talking points. Generating 143 million hours viewed on Netflix without a US window, Emily argues the Sponge is quietly having a moment that the industry isn't talking about loudly enough. She floats the prediction that SpongeBob could overtake Bluey as the top kids show in US streaming in 2026 — and notes what the strength of both SpongeBob and the Warner animation catalog (Teen Titans Go, The Amazing World of Gumball) could mean in the context of the Paramount-Warner merger.The deeper theme running through the episode is the extraordinary durability of long-running IP. Paw Patrol at 15 years old, SpongeBob at 25, Peppa at 20 — these shows have entered a multigenerational pass-down mode where they remain fresh enough for new young audiences while carrying nostalgia value for older ones. For anyone trying to break through with a new show, that's the competitive reality they're up against.The episode closes with a look at Gabby's Dollhouse's prospects for long-term franchise status, and a frank assessment of Cocomelon's decline — which Emily argues is structural rather than a failure of execution, given how narrowly age-targeted the IP is by design.Key Takeaways:Paw Patrol is Netflix's most-viewed kids show in H2 2025, powered by its US streaming debut — a clear illustration of how much a new territory window can move the needle on an established IP.Preschool is the most competitive segment on Netflix, with Gabby's Dollhouse, Ms. Rachel, Paw Patrol, and Cocomelon all jostling for position. No single show dominates the full year.Sesame Street's modest debut was likely a volume and perception problem — four episodes is thin for a brand of its stature, and audiences may not yet associate it with Netflix given its long history on PBS and YouTube.Netflix's creator-to-streaming pipeline is working — shows like Ms. Rachel and Mark Rober's Crunch Lab demonstrate that YouTube-native talent can drive strong streaming engagement, and Netflix appears to be doubling down on that strategy with original commissions.SpongeBob is underrated in the industry conversation — top animated comedy globally on Netflix without US distribution, and a genuine contender to be the number one kids streaming show in the US in 2026.Long-running, multigenerational IP is the hardest thing to compete with — shows like SpongeBob, Peppa, and Paw Patrol are being passed down from parents who grew up with them, giving them a structural advantage that newer shows simply don't have yet.Cocomelon's decline is structural, not a crisis — its very young target demographic limits its ability to build the multigenerational audience that sustains IP over the long term. Still huge; just not built to grow the way story-driven shows can.Gabby's Dollhouse has genuine franchise longevity potential, particularly if the team can extend the live-action talent into formats that grow with the audience — something Emily sees as a clear opportunity.The "family" designation matters more than it might seem — shows that appeal across age groups, from kids to parents, consistently deliver better engagement numbers and longer shelf lives than narrowly targeted content.