Kids Media Club Podcast

The full trio are back in the room for the first time since the summer, and the episode opens with Emily's debrief from the Australian Children's Content Summit in Coffs Harbour — the warmth of the welcome, the flash mob at karaoke, and the more substantive observation that Australia has quietly built one of the richest kids YouTube creator ecosystems anywhere in the world. Bounce Patrol, Ms. Moni, Mikmax, Milo and Chip — the names keep coming, and Emily's point is that Screen Australia's own content hours reports aren't counting any of it. The sharpest line from the Australia trip comes via Tina Harris of Lah-Lah Productions, whose framing of the divide between "creatives" and "creators" as a language problem rather than a values problem landed well on Emily's panel — and the consensus is that the ACCS is ahead of most conferences in actually putting both sides in the same room and letting them learn from each other. The second half of the episode turns to the social media ban debate, which the trio are increasingly sceptical of — not because the concerns aren't real, but because banning access is being treated as a solution to what is fundamentally an algorithm problem. Jo's point that kids who get their understanding of the world from social media, and then discuss it around the dinner table, might actually be doing something more valuable than watching the 10 o'clock news is the episode's most provocative and worth sitting with. The closer is a reminder — via the WildBrain conversation — that kids are among the most commercially valuable audiences that exist, and that the industry has been too apologetic about making that case.

Emily has travelled to Coffs Harbour for the Australian Children's Content Summit, and this episode is her dispatches from the ground — a series of short, sharp conversations captured across the event with some of the key figures shaping Australian kids content right now. First up is Jenny Buckland, CEO of the Australian Children's Television Foundation, who gives the clearest account of what happened to the Australian kids content industry when commercial broadcaster quotas were dropped in 2020 — and why the timing, colliding with the global streaming disruption, hit harder here than almost anywhere else. Then Suzanne Ryan, founder of both the ACCS itself and SLR Productions, on why she started the summit out of post-Covid isolation and producer fellowship — and why it landed at 260 attendees when she was hoping for 60. The episode also features a conversation with Barbara Stephens from Flying Bark Productions, whose studio is navigating the shift from traditional commissioning to digital-first IP development — including the freshly launched Doom Sweeper music video, which crossed 3 million YouTube views in its first weeks — and the argument that proof of concept is now proof of audience. As well as a discussion with Tina Harris, Co-Founder of Lah-Lah Productions. The thread running through all of it is the same one dominating kids media conversations everywhere: the traditional funding model is gone, the YouTube creator economy is thriving alongside it, and the most interesting opportunity right now is in the conversation between those two worlds.

Emily is still in Australia, so Andy and Jo continue their deep dive into the toy industry with two guests from Bonkers Toys — Lisa Wright, Head of Licensing, and Julie Splendoria, VP of Marketing. It's a conversation that traces the arc from Slither.io and JoJo Siwa's bow to the present day, and makes a compelling case that Bonkers saw the YouTube-to-toy-aisle pipeline coming before almost anyone else in the industry. The origin story is a good one: Bonkers' CEO spotted the opportunity literally from the driver's seat on the school run, watching his kids obsess over Slither.io on their phones, and moved fast enough to be the first licensee on Ryan's World when YouTube creator toys were still being dismissed by retailers as a niche fluke. Lisa and Julie walk through how the team reads fandom — the science of views and subscriber growth, and the harder-to-quantify art of emotional hook and community intensity — and how that methodology has evolved as the landscape shifted from YouTube to TikTok to Roblox. The "playable props" strategy developed for Toys and Colors — seeding supersized versions of toys into content nine months before retail launch — is a standout example of how to build familiarity authentically rather than just blasting product placement. The episode closes with a Q4 outlook: unboxing and blind box collectibles, the ongoing Squishies evolution, sports trading cards, and the PopMart-influenced kidult trend are all flagged as the ones to watch heading into the holiday period. Whatnot gets a mention as a platform to take seriously. And Jo reveals she's been holding a Pokémon card the whole time.

Emily is somewhere over the Middle East en route to Australia, so Andy and Jo have been let loose on the podcast control desk — new buttons and all. The result is a slightly more multimedia episode than usual, with trailers played in and reacted to in real time, and a genuinely good conversation about what the summer's animation slate says about where the industry is heading. Four things get the treatment. Paw Patrol: The Dino Movie has just posted the franchise's strongest opening weekend ever — $20 million domestically, $69 million worldwide — and Andy and Jo make the case that the trailer reveals a show that has genuinely grown into itself, with sharper animation, better timing, and writers who clearly love the world. The Bluey movie teaser gets an equally warm reception, with Andy's observation that it chooses a falling balloon as its centrepiece moment — the smallest thing enlarged into the biggest thing — landing as the episode's neatest critical point. Coco 2 prompts the more sceptical conversation: both Andy and Jo loved the original precisely because it felt complete, and the worry is that a sequel risks casting a shadow over something people remember with real tenderness. The Pixar slate discussion that follows — one original, Coco 2, an Incredibles spinoff — raises the question of whether the studio is in a defensive crouch. Oswald the Lucky Rabbit rounds things off: Disney reviving a century-old pre-Mickey character in a hybrid live action and hand-drawn animation style, which Andy and Jo read as both a smart copyright play and a meaningful reconnection with Disney's hand-drawn heritage.

John Baulch, publisher of Toy World magazine and the author of the Friday blog that has survived every newsletter cull Jo has ever attempted, joins Andy, Emily, and Jo for a wide-ranging conversation about the state of the toy industry in 2026 — which, it turns out, is in remarkably good shape. John makes the case that the toy market is in a genuine purple patch: not driven by one breakout product creating supply chain chaos, but by four or five things working well simultaneously — Squishies, Pokémon, Lego, Toy Story merchandise, and the growing kidult phenomenon of adults buying collectibles for themselves. The conversation moves from evergreen IP and what Hasbro has done to revive Peppa Pig, to the fast-fashion end of the toy market: limited drops, chase figures, scarcity mechanics, and the PopMart model that the rest of the industry is now rapidly absorbing. John's fast-fashion analogy is the sharpest frame in the episode — the idea that the toy industry is entering a phase where some product exists to thrill in the moment and disappear, just like a Primark seasonal range, and that this isn't a problem to be solved but a structural shift to be understood and managed. For anyone working in kids IP, licensing, or content who wants to understand how toys actually work in 2026, this is a very useful 40 minutes.

Jo and Emily are both away, so we’re revisiting two recent conversations that sit neatly together: one about the challenge of making original animated IP outside the Hollywood system, and one about the new frontier of creator-led cinema distribution. First up is Matthieu Zeller, president and CEO of Belgium's nWave Studios and the team behind the Chicken Hare franchise — a case study in how a European studio can build original animated IP on a fraction of a US studio budget, through loyal distribution partners and a fully integrated model that keeps creative and commercial control under one roof. Then Caspar Nadaud of Piece of Magic Entertainment on what the Amazing Digital Circus and Iron Lung have revealed about cinema's new relationship with creator fandoms — and why the old gatekeeper model has given way to something far more collaborative and equal. Both conversations are worth hearing in full — links to the original episodes are in the show notes. Chickenhare https://podcasts.apple.com/gb/podcast/kids-media-club-podcast/id1573404550?i=1000777023112 Creator Cinema https://podcasts.apple.com/gb/podcast/kids-media-club-podcast/id1573404550?i=1000775115916

Andy and Jo are joined by Jason Tammemagi, Chief Creative Officer of Cartoon Saloon — the Oscar-nominated Irish studio behind The Secret of Kells, Song of the Sea, and Wolfwalkers — for a conversation that is as much about the philosophy of making things as it is about the business of animation. Jason traces a career that moved from animator to director to studio founder before landing at Cartoon Saloon, where his brief is essentially to support the creative vision of founders Tom Moore, Paul Young, and Nora Twomey while keeping one eye on strategy and market. The core of the conversation is about what it actually takes to protect brave storytelling inside a risk-averse industry — and Jason is clear that the danger doesn't only come from outside the studio. Fear, he argues, is the story killer, and it operates as much in internal notes as it does in broadcaster development meetings. The instinct to sand off anything uncomfortable or gray-area is precisely what makes safe stories unsafe. There's also a genuinely interesting thread on Cartoon Saloon's identity as a Kilkenny studio — why its Irish cultural specificity turned out to be a strength rather than a limitation, how the Secret of Kells was an act of creative bravery at a time when the entire industry was pivoting hard to CGI, and why Kilkenny being small enough that everyone walks to work turns out to matter more than it might seem. Jason's closing observation — that the industry has always been good at learning the wrong lessons — is one worth sitting with.

We're revisiting one of our favourite conversations — Emily cornered Sydney Bright at Kids Screen after she got mobbed following her panel — dropped a card in the middle of the crowd, said "come on the podcast," and here we are. Sydney is Head of Global Animation at Webtoon, the world's leading digital comics platform with 145 million monthly active users, and her job is to identify titles from the platform ripe for adaptation and take them through to screen. It's a genuinely different development model — one where audience investment is baked in before a single frame of animation is made. Sydney explains how Webtoon tracks not just read counts but comment engagement, retention, and emotional intensity of fan response as signals for adaptation potential. The conversation gets into what it actually takes to translate a webcomic into animation, how to honour a fanbase that feels genuine ownership of a property, and why that kind of proven, community-built IP is increasingly what streamers want to see walk through the door. There's a lot of ground covered — Wattpad's role within the same parent company, the upcoming Lore Olympus series with Amazon Prime, the titles on Sydney's radar for the 6 to 16 demographic, and what her animation students at Loyola Marymount are watching right now, which turns out to be a surprisingly useful window into where the industry is heading next.

Emily has been banging on about Chickenhare and the Hamster of Darkness for years, so she's delighted to have a professional reason to do it again. Matthieu Zeller, president and CEO of Belgium's nWave Studios, joins Andy, Jo, and Emily to talk about the Chickenhare franchise, whose second instalment — Chickenhare and the Secret of the Groundhog — is hitting cinemas now. nWave is a 31-year-old studio with origins in stereoscopic 3D for IMAX and theme parks, and a track record of original animated features built on character-first storytelling, European financing, and budgets that are a fraction of what US studios spend. Matthieu is refreshingly direct about what that means: no massive battles or thousands-of-character set pieces, but a clarity of emotional storytelling that he argues can out-move the big studios when the script is right. The conversation gets into how nWave structures its financing through loyal European distribution partners, why constraints produce better creative work rather than worse, and why the mid-budget family animation that once anchored theatrical and DVD has been almost entirely forgotten by an industry fixated on franchises and streaming. There's also a pointed argument running through the episode about who is actually underestimated in the room — and it's kids. Matthieu's view, backed up by test screenings, is that children handle sophisticated, layered storytelling far better than most adults in the industry give them credit for, and that the industry's tendency to dumb things down is both an insult and a missed opportunity. If you've ever wondered whether a good original family film can still get made outside the studio system, this episode is the answer.

A bonus episode timed ahead of Netflix's earnings call, with Andy and Jo putting questions to Emily as she and her team prep the next Netflix Kids Content Performance Report. The conversation starts with the Warner deal Netflix walked away from, and what that decision — clinical, unmathematical, uncharacteristically restrained — reveals about where Netflix thinks its gaps actually are. From there it's into the data: second seasons not landing as hard, the hit-making machine feeling slightly less reliable, and the structural tension between binge-model engagement and the habit-forming retention Netflix is now chasing. Kids content, Emily argues, is central to solving that problem — it's the most habitually consumed content on any platform — which makes Netflix's growing investment in the space (YouTube creator acquisitions, the Playground gaming app, no ads on kids profiles even on the ad tier) start to look less opportunistic and more strategic. The harder question the episode lands on is whether Netflix is actually in the business of building IP, or just exceptionally good at acquiring other people's. K-Pop Demon Hunters was lightning in a bottle — brilliant, defining, not a strategy. Emily's view is that Netflix's note is aggregation, not origination, and the Warner pursuit was less about content ambition and more about filling a catalogue gap they can't otherwise close. Takeaways: In this episode, we discussed the implications of Netflix's recent data drop on children's content and engagement metrics. We examined how Netflix's shift from subscriber growth to engagement metrics reflects a significant corporate strategy adjustment. The discussion highlighted the challenges Netflix faces with second seasons not performing as strongly as expected, raising concerns about content sustainability. We noted the increasing competition among children's programming, particularly how established properties like Ms. Rachel are reshaping engagement on the platform. The podcast emphasized Netflix's strategic positioning as a safe alternative to YouTube for children's content, focusing on curated and ad-free viewing experiences. We explored the significance of Netflix's kids app and gaming offerings in enhancing viewer retention and engagement for younger audiences. Links referenced in this episode: kidsmediaclub.substack.com youtube.com

Three guests on one episode — Oliver and Alvaro, co-founders of Telos Media and the team behind Solar Balls (half a billion views on the English channel alone, 2 billion across all languages), and Mary James, the Hollywood-experienced executive producer who bridges their digital-first world and the mainstream. Together they've just launched Run Monster Run, a new animated IP that hit 20 million views within two weeks of its pilot dropping on YouTube — and they're already fielding inbound interest from platforms. The conversation covers the full playbook: how Solar Balls went from zero to 100,000 subscribers in 10 days and turned profitable within a month; why YouTube was chosen as the launch platform for Run Monster Run over a traditional pitch route; how Discord functions as a fandom hub that sits outside the algorithm; and how Alvaro manages fan engagement with a deliberately mysterious, Easter-egg-heavy approach that keeps communities theorising and proactive without burning through the IP's future potential. The team is refreshingly candid about what they're looking for in a platform partner — and equally clear that they don't need one to proceed. The episode also gets into what makes Run Monster Run different from the current wave of independent animation: a deliberately broad, multigenerational emotional premise, complex lore built for long-term storytelling, and the creative discipline not to show everything at once. A team of 122 people, a theme song co-written by the creators of the Paw Patrol theme, and a shorts strategy designed to deepen character rather than just fill a feed. This one is worth watching closely.

Caspar Nadaud, founder of theatrical distribution company Piece of Magic Entertainment, joins Andy, Emily, and Jo to unpack exactly how The Amazing Digital Circus went from a YouTube finale to a global cinema event — and what it reveals about the new relationship between creators, fandoms, and the big screen. Piece of Magic handled European distribution and helped take the Glitch-produced finale to roughly $14 million across 38 markets, with the film's combined US, Canada, and European box office likely exceeding $50 million once Latin America and Asia are factored in. Caspar walks through the mechanics in detail: why engagement, not follower count, is the real predictor of cinema success; why scarcity (limited cinemas, a tight release window) actually amplifies fandom rather than suppressing it; and why The Amazing Digital Circus's event-model release strategy — concentrating nearly all box office into one mobilised weekend — differed sharply from the slower, word-of-mouth build of Markiplier's Iron Lung. He's candid about the projects that didn't work, where huge YouTube numbers didn't translate to engaged, mobilisable audiences, and about how Piece of Magic is still learning to read which fandoms will actually show up. The conversation also covers the changing power dynamic between distributors and creators — a genuine partnership model rather than the old gatekeeper relationship — and closes with a tease of Piece of Magic's next major announcement, plus a broader reflection on cinema's surprising post-pandemic resurgence, driven in large part by Gen Z's appetite for communal, dressed-up, FOMO-driven theatrical moments.

A crossover episode with Eric Calderon of Surviving Animation, recorded with Andy and Eric fresh off the ground in Annecy while Jo and Emily nurse their FOMO from home. It's the second collaboration between the two podcasts, and the energy carries that — equal parts industry analysis and genuine enthusiasm for the world's oldest animation festival, which Eric was attending for the first time in 14 years. Eric's framing of Annecy as "the perfect picnic" runs through the whole conversation: a rare alignment of factors — a beautiful lake town, a film festival with genuinely pure independent roots, a market (MIFA) that hasn't been allowed to swallow the festival whole, and a decentralised structure that means choosing one screening means missing five others. The AI conversation gets a sharper edge than in other episodes: Eric describes a genuinely tribal atmosphere, where it's socially acceptable to be loudly anti-AI but considered "punching down" to push back the other way. Both Eric and Andy note the split between students nervous about junior roles disappearing and senior executives trying to figure out workflow integration, with a quieter middle ground that exists but speaks less loudly. Anime emerges as the other dominant theme — not as a trend but as something Eric compares to hip-hop: permanently embedded in the culture, with everyone from the Tokyo government to a hitchhiking Czech animation collective to Warner Bros trying to find their way in. Eric's term for non-Japanese anime-influenced work, "cowboy anime," gets a real airing, alongside the Toei Animation producer's prediction that the future of anime won't be exclusively Japanese-made. There's also a sharp, important critique buried in the conversation: Eric's worry that Annecy is drifting toward becoming a B2C event dominated by corporate slate announcements, and his observation that the real energy and the real audience — the students lining up in the banlieue — are being overlooked by an industry fixated on the Imperial hotel crowd. The episode closes, fittingly, with Eric plugging his Flow-licensed merchandise line and everyone agreeing to make it to Annecy together in person next year.

Andy is calling in from Annecy — sunglasses on, rosé imminent, 45 minutes from his accommodation in 38-degree heat — while Jo and Emily hold the fort from home. It's a short, lively check-in from the world's oldest animation festival, and the main topic writing itself on every wall in town is AI. Andy reports that the conversation around AI at Annecy has meaningfully shifted from previous years. The theoretical debate about what AI might mean for animation has largely given way to the practical reality of studios working out how to use it. Students remain understandably anxious about junior roles being squeezed — the very rung of the ladder they need to get started — while producers and execs are focused on workflow integration. Andy's prediction is that a distinct "AI animation" category will eventually become as meaningless as "CGI animation" did after Toy Story: it'll be everywhere, and it'll stop being a label. There's also a quick and genuinely useful primer on how Annecy actually works — the Imperial, MIFA, the old town, the meetings by the lake, the producers dashing between venues who've badly underestimated the distances — for anyone who hasn't been and is thinking about going. Jo and Emily are already planning next year.

It's been a year since K-Pop Demon Hunters dropped on Netflix — quietly, in June 2025, without much fanfare, to a modest first week. The trio mark the anniversary with a look back at how the phenomenon actually unfolded, and a frank assessment of where the franchise goes from here. Emily, Andy, and Jo piece together the real story of the IP's growth: the music videos Netflix pushed to YouTube that first weekend, the summer rewatches that let kids learn the dances, the back-to-school moment that supercharged playground currency, and the 300-plus fan-made Roblox experiences that confirmed something genuinely generational was happening. The consensus is that the slow-burn launch wasn't a failure of marketing — it may have been the making of it. The harder conversation is about what comes next, with a sequel not arriving until 2029. Netflix has done impressive franchise work — Hasbro and Mattel deals, late night appearances, NFL halftime shows, an Oscar — but a year in, there's still no new story content. The trio have thoughts on what that gap needs, and aren't shy about sharing them. Companies mentioned in this episode: Netflix Hasbro Mattel

The band is back together — and Jo has news. She's joined Coolabi as SVP of Digital, with a brief that includes Warrior Cats: a book IP 74 volumes deep, a Roblox game at 730 million visits, a Tencent animation in production, and one of the most voracious fandoms in kids media. It's a good segue into the episode's main subject. Amazing Digital Circus was supposed to have a four-day cinema run. It's now been extended to eight weeks, has outgrossed every independent animated movie in its window, and is cosplay screenings are selling out. The trio use it to pick up the thread from last week's creator movie conversation — but this time with a focus on what it means structurally. Creators who own their IP are coming into rooms with broadcasters and studios from a position of security rather than permission, and the entertainment industry is only beginning to reckon with what that shift means for how rights deals get structured. The conversation also takes a sharp turn into social media regulation and what an under-16 ban would actually mean for the kind of co-created fandom that put Amazing Digital Circus in cinemas in the first place — Kane Parsons, after all, taught himself Blender on Discord at 14. It's the episode's most unresolved and most important thread, and one the podcast will clearly be returning to.

A hosts' hangout with Andy and Jo, prompted by a conversation that has been running hot across LinkedIn all week: creator-made films are pulling audiences into cinemas in a way that Hollywood studios haven't managed for years. Backrooms — made by 20-year-old Kane Parsons who taught himself Blender during Covid — and Obsession, made by Cory Barker for under a million dollars, are both seeing successive weeks of audience growth in theatres. The last film to do that was E.T. The conversation goes beyond the hot takes to ask what's actually driving it. Andy and Jo's argument is that this isn't really about filmmaking — it's about trust, built slowly, over years of showing up for an audience before it ever made commercial sense to do so. The parasocial relationships these creators have with their fans are something no studio can manufacture, and the co-created lore around something like Backrooms means audiences don't just watch the film — they feel they made it. Mr. Beast is the useful counterexample: so big he's effectively become the kind of corporate entity his audience was rooting against. The episode then pivots to what all of this might mean for kids and teens media specifically — from the structural problem of COPPA preventing younger audiences from participating in the kind of creative sandpits that made Backrooms possible, to whether Roblox game adaptations like 99 Nights in the Forest could replicate the Minecraft movie moment, to the genuinely exciting question of what happens when this generation of creators starts having kids of their own.

A hosts' deep dive with Andy and Jo, recorded in the middle of a British heatwave with Emily absent. Jo has spent the last six months tracking the top 50 sports games on Roblox daily, and this episode is her five-takeaway breakdown of what that data reveals about how teenage sports fandom actually works — and how far behind most sports organisations are in understanding it. The headline finding is counterintuitive: official, licensed sport consistently underperforms unofficial, developer-originated games on Roblox. The NFL, Premier League, and FIFA all have a presence on the platform; none of them come close to games built from scratch by teenage developers who simply love their sport. Jo's argument is that this isn't just a platform quirk — it's a window into how this generation relates to fandom itself. Volleyball, driven by the anime series Haikyuu, is currently one of the biggest sports categories on Roblox despite being nowhere near football in real-world popularity. Almost every top-performing sports game, across every sport, has an anime aesthetic. And the primary game loop isn't playing the sport — it's hanging out, looking good, and being social with friends. The tribal rituals of going to a match are being replicated in digital space, just dressed differently. The episode is essential listening for anyone in sports media, rights ownership, or brand strategy who is trying to understand where the next generation of fans is actually spending their time — and why turning up on Roblox with broadcast-mode thinking and a calendar of big events is precisely the wrong approach.

Halle Stanford has spent almost 30 years at the Jim Henson Company — executive producing Fraggle Rock, creating Sid the Science Kid — and has just launched Wowsabout, a new puppet preschool special on PBS Kids about a guitar-playing hedgehog and a tree-loving pig out to see the wows of the world. It's the first preschool show built around the emotion of awe, and it's already outperforming existing PBS Kids IP on YouTube within two weeks of release. The conversation covers how Wowsabout got made — and it wasn't through a conventional commissioning deal. Halle built a coalition of mission-aligned partners, leaned into the science behind awe in a way that opened unexpected doors, and had to be, as the Jim Henson Company calls her, the queen of pivot at every turn. There's also a robust defence of puppetry as a medium — Halle has thoughts on the "puppets don't travel" orthodoxy, and they're worth hearing.

Emily cornered Sydney Bright at Kids Screen after she got mobbed following her panel — dropped a card in the middle of the crowd, said "come on the podcast," and here we are. Sydney is Head of Global Animation at WEBTOON, the world's leading digital comics platform with 145 million monthly active users, and her job is to identify titles from the platform ripe for adaptation and take them through to screen. It's a genuinely different development model — one where audience investment is baked in before a single frame of animation is made. Sydney explains how WEBTOON tracks not just read counts but comment engagement, retention, and emotional intensity of fan response as signals for adaptation potential. The conversation gets into what it actually takes to translate a webcomic into animation, how to honour a fanbase that feels genuine ownership of a property, and why that kind of proven, community-built IP is increasingly what streamers want to see walk through the door. There's a lot of ground covered — Wattpad's role within the same parent company, the upcoming Lore Olympus series with Amazon Prime, the titles on Sydney's radar for the 6 to 16 demographic, and what her animation students at Loyola Marymount are watching right now, which turns out to be a surprisingly useful window into where the industry is heading next.