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:

1. Building resilience as a content creator in 2026
2. The importance of self-advocacy for aspiring creators
3. Breaking through in a competitive creative environment
4. Practical advice from writers, producers, and industry professionals

This 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.

Emily 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.

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 through
• Live-action Moana - Big winner, demonstrating the power of established IP

The 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.

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.

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.

"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 ban

• Toy Story 5 vs Hoppers performance
• Illumination's potential $2-3B year
• Creator economy deals as social restrictions tighten
• Whether magic-themed family content finds its footing again

Next 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.

🎯 Why Netflix Wanted Warner Bros

• Unlocks merchandise and theme parks—two areas Netflix never had access to
• Adds massive legacy IP including Harry Potter, DC Universe, and Cartoon Network
• Completes Netflix's transformation from tech company to full-spectrum entertainment studio

🎬 Cinema Under Threat

• Warner Bros films are tentpoles of the theatrical box office
• Netflix's anti-cinema stance could devastate theater chains
• Two-week window releases might become the new normal, worrying directors like James Cameron

📺 The Producer's Dilemma

• One fewer independent buyer in an already consolidated market
• Netflix may focus budget on legacy IP management rather than original programming
• Could producers be waiting years for attention to shift back to new shows?

🏢 Industry Consolidation Accelerates

• Paramount's hostile counter-bid adds drama to an already complex situation
• UK broadcasters (BBC, Channel 4, ITV, Sky) may follow with their own mergers
• The era of distinctive brand voices (Cartoon Network vs Nickelodeon vs Disney) may be ending

🎪 The Walmart Effect

• Netflix becomes the "entertainment supermarket"—so big it can't have a distinctive voice
• Homogenization risk: will everything start to feel the same?
• The monopoly question intensifies as the third-biggest streamer disappears

⚡ Wild Cards

• What 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 content
• How media consumption affects kids
• Using creativity to differentiate in a competitive market
• Creating meaningful, responsible content for young audiences

Guest Expert: Louis Grenier shares marketing insights and fresh perspectives on kids' media

Hosts: 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 website

https://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 readers
• Illustrations aren't just for "struggling" readers—they're a legitimate storytelling medium
• Testing 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 think
• Children's publishing needs more risk-taking, diversity, and yes, anarchy

https://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.

• Melly Buse - Boutique content producer discussing COPPA's impact
• Cory Williams - Creator of Silly Crocodile, a YouTube-first kids IP
• Nic Cabana - Claynosaurz, discussing transmedia approaches

COPPA 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.

Despite 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.

Diversification 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.

1. YouTube alone won't pay the bills - Diversify revenue through licensing, merchandising, and distribution
2. COPPA decimated revenue without clearly improving child safety
3. Meet audiences where they are - Success requires content across multiple platforms, not single-format bets
4. Community is currency - Early fan engagement creates loyal audiences and valuable feedback
5. Think transmedia from day one - Don't build for just TV or film; build for everywhere

Creating 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 streaming
• Kid Cowboy marks their flagship YouTube-first series
• This represents a 5-year evolution, not a sudden pivot

Why It Works:

• Leadership buy-in from the top (Brian Robbins understands digital platforms intimately)
• Tight integration between creative teams and data analytics
• Platform-specific content strategy rather than repurposing linear content
• In-house production for speed and cost efficiency

The 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 patterns
• Build trust and iterate based on performance data

Nickelodeon'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:

1. Building up the YouTube network
2. Early seeding of new shows
3. Sampling episodes on the platform
4. Finally, launching shows YouTube-first

Kid 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 YouTube
• Audience alignment: The show features robots, gadgets, and races—all elements that Blaze audiences love
• Format adaptation: Instead of straight narrative, they created "Guess the Gadget Rescues" using gamification formats that resonate with the existing audience
• 24 episodes: Currently have 24 four-minute episodes planned

The team emphasized that platform specificity is underrated. Their approach balances:

Data inputs:

• Computer vision analysis of content performance
• YouTube Analytics providing granular insights
• Identifying trending elements (specific characters, themes, formats)
• Testing and iteration based on real-time feedback

Creative excellence:

• Multi-hyphenate producers who are writers, composers, designers, and animators
• In-house development and scripting for speed and audience knowledge
• Maintaining Nickelodeon's storytelling standards
• Creating repeatable formats that allow for efficient production

The 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 franchises
• Digital content serves the IP across all platforms
• Data insights can inform long-form production (example: Blaze learned robots are popular, incorporated them into later seasons)
• This approach leads to more season pickups

Speed and efficiency without sacrificing quality:

• In-house creative team eliminates external approval cycles
• Most time in production is spent waiting for decisions—they've minimized this
• Reusable animation, props, and sets
• Mix of 2D and 3D techniques
• Clear runway from leadership to execute quickly

The mantra: "We're here to make really great content just for this platform, which is very specific."

Beyond 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 reboot
• Developing two more original YouTube-first properties

Can 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.

1. Leadership understanding: Brian Robbins built Awesomeness TV, understands digital platforms intimately
2. Trust built over time: Five years of proving the digital team serves the IP, not just "chopping up content"
3. Integration: Digital team isn't an appendage—they're deeply connected to show creators and executives
4. Proven track record: Blaze and the Monster Machines channel success led to season pickups
5. Clear mission: Being wherever kids are (echoing Nickelodeon's founding DNA)

The team expects:

• This won't be a one-size-fits-all model
• Acquisitions might follow different strategies
• Age groups will require different approaches (easier with younger audiences)
• YouTube will always play a role, whether for development or early seeding
• Format-first thinking will continue to drive original YouTube content

"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 Reed

According to the team, every decision considers:

1. The Business - sustainability and growth
2. The Audience - what kids actually want
3. The Platform - what works specifically on YouTube

This 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.

Chapters

00:00 Introduction and Sponsorship Opportunities

01:56 Industry Layoffs and Their Impact

05:43 Building in Public: Lessons from Emily Brundige

09:42 The Evolution of Stage Productions in Kids Media

13:22 Experiential Opportunities and IP Revivals

17:02 Fandom and Community in Cinema Experiences

18:24 Crafting Theatrical Experiences from IPs

21:00 The Evolution of Fandom and Engagement

24:36 The Impact of Algorithms on Fandom

27:44 Depth of IP and Content Planning

34:18 SpongeBob: A Case Study in Longevity

39:40 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/