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.