『Kids Media Club Podcast』のカバーアート

Kids Media Club Podcast

Kids Media Club Podcast

著者： Jo Redfern Andrew Williams & Emily Horgan
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今ならプレミアムプランが3カ月 月額99円

2026年5月12日まで。4か月目以降は月額1,500円で自動更新します。

概要

 Kids Media Club Podcast is a podcast hosted by Jo Redfern, Andy Williams, and Emily Horgan. In each episode they chat with a different guest about the world of Kids Media. The podcast covers everything from trends in animation to the rise of Edtech.Copyright 2022 Kids Media Club Podcast マーケティング マーケティング・セールス 政治・政府 経済学
エピソード
  • Deddy Bears: From Shelf to Screen, Building IP Without Content First — with Gavin Lawler and Chris Ticker

    Deddy Bears: From Shelf to Screen, Building IP Without Content First — with Gavin Lawler and Chris Ticker
    2026/04/09
    This episode, sponsored by Innov8 Creative Academy and Deddy Bears, sees Andy and Emily joined by two guests who met through a thoroughly Irish chain of mutual acquaintances and ended up building something genuinely unusual together. Gavin Lawler is the founder of Innov8 Creative Academy — a toy inventor and entrepreneur with over 250 IPs in his portfolio and a background that includes the Irish Fairy Door Company. Chris Ticker is a kids media showrunner and creator with a long career in the industry, including time at Jam Media. They're currently collaborating on Deddy Bears: a creepy-cute collectible toy brand that has sold over 10 million units in under three years and is now moving into content, with a YouTube series in production and a feature film in development.Gavin opens by telling the story of the Irish Fairy Door Company — half a million units sold at twenty pounds each in Ireland, a business that worked brilliantly at home but struggled to translate internationally because the Irishness was too specific and the product too niche. The lesson he took from it was the need to design for a global audience from the outset. Since then, Innov8 Creative Academy has built a reputation as a rapid trend-identification and commercialisation machine — the Six7 plush is cited as an example of a product that went from a six-hour design turnaround to hundreds of thousands of units sold in a matter of weeks. The model is built on firing small bullets: get to market fast and cheaply, test sell-through, and only scale what lands.Deddy Bears emerged from a 36-hour design sprint for a Walmart Canada Halloween brief. The buyer initially chose a different product, but when that proved too complex to execute, Deddy Bears got the slot by default — and promptly achieved 86% sell-through in its first season, opening doors to major retailers across 50 countries. The bears come in coffins with death certificates, each character has a backstory ranging from ancient Egypt to the modern day, and the whole thing sits in that now-familiar cultural territory occupied by Wednesday Addams, Stranger Things, and Five Nights at Freddy's: once-alternative content that has been thoroughly normalised for family audiences and is, as Gavin puts it bluntly, extracting cash from people's pockets.The conversation that forms the heart of the episode is about what happens when these two worlds — fast-cycle toy invention and long-form IP development — collide. Chris describes arriving into a brand that already had a fandom and realising his first job was simply to listen: to go to New York Toy Fair, watch the fans and influencers, understand who was actually buying the bears and why, before writing a single word. What he found surprised him — a remarkably wide demographic ranging from children collecting blind bags to 20-something women forming deep emotional attachments to the characters, caring about packaging, wanting to know the lore. The Giphy page Gavin's wife Aoife created as a half-joke hit 10 million shares within weeks of launch, including a front-page feature on April Fool's Day, and neither Gavin nor Chris fully saw it coming.There's a genuinely interesting structural argument running through the episode about the relationship between content and IP. Chris's view — shaped by coming into a brand that already had proven market demand — is that content doesn't always have to carry all the weight; sometimes it exists to support IP rather than create it. Gavin's perspective is that the toy market has always needed to fire small bullets and test quickly, and that traditional media could learn from this rather than committing millions upfront in the hope that an audience materialises. Both agree that character, not plot, is the fundamental unit of connection — plot matters the first time, but audiences return to hang out with characters they love.The episode ends with a look at what's next: the YouTube series launches this summer, studio conversations for the feature film are underway in LA, and Gavin makes the point that the priority now isn't a money grab — the IP is already selling — but finding the right partners who respect and bring along the fandom that already exists.Key Takeaways:Irish Fairy Door Company's international struggles taught Gavin a key lesson: a product built on cultural specificity needs to offer something universally resonant underneath, and Irishness alone isn't enough to drive global commercial scale.Rapid trend identification and small-bullet commercialisation is a replicable model: Innov8 Creative Academy's approach — spot a trend early, design fast, test at retail, scale only what sells — offers a very different risk profile to traditional IP development.Deddy Bears succeeded almost by accident, getting its Walmart listing by default when a more complex design proved undeliverable, but the 86% sell-through in season one validated the concept and opened up major global retail ...
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    46 分
  • BBC's New Direction, Danny Go's Netflix Deal, and Why You Can't Speed Run Fandom — A Kids Media Club Hosts' Hangout

    BBC's New Direction, Danny Go's Netflix Deal, and Why You Can't Speed Run Fandom — A Kids Media Club Hosts' Hangout
    2026/04/02
    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 ...
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    22 分
  • Kids Media Industry in Crisis: Kids Screen Summit Cancelled and World Screen Shuts Down — A Kids Media Club Emergency Episode

    Kids Media Industry in Crisis: Kids Screen Summit Cancelled and World Screen Shuts Down — A Kids Media Club Emergency Episode
    2026/03/31

    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:

    1. 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.
    2. World Screen and TV Kids have also ceased publishing, meaning the industry has lost two major institutional pillars in a single day.
    3. 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.
    4. 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.
    5. 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.
    6. 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.
    7. 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.
    8. A vacuum is forming, and the question of what — or who — fills it is now very much open.
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    8 分
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