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...

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/