In this episode of the Kids Media Club Podcast, hosts Jo, Andy, and Emily reunited in person at London's OTT Question Time event. Between sessions, they carved out twenty minutes to share their insights from the conference, diving deep into Emily's Vertical Video panel and previewing Jo's upcoming Data and Strategy discussion.

Emily's panel tackled the elephant in the room: vertical video is not synonymous with micro dramas, despite what your LinkedIn feed might suggest. What started as marketing tactics has matured into a legitimate digital commissioning strategy spanning sports content, documentaries, and diverse formats that go far beyond scripted drama.

The timing couldn't be more significant. Just weeks before the event, major industry shifts signaled vertical's mainstream moment: Disney announced their vertical pivot at CES, TikTok launched a standalone micro drama app, Netflix hinted at vertical ambitions during earnings calls, and the BBC unveiled a major YouTube partnership.

Perhaps the most compelling insight came from Paramount's unexpected success with Geordie Shore content. When one cast member shared her infertility journey through vertical video, it transcended the show's typical audience entirely. This demonstrated how platforms like TikTok, YouTube Shorts, and Instagram Reels curate intersecting niches that connect content with viewers who'd never engage with the traditional format.

Vertical isn't cannibalizing traditional viewing—it's complementary. ESPN's "Verts" app proves this beautifully. Rather than pulling sports fans away from the big screen, vertical content enhances the experience with player deep-dives, stats analysis, and supplementary angles that enrich rather than replace live viewing.

The format's inherent intimacy matters too. Phone-based vertical video creates deeply personal experiences, whether exploring serious topics like infertility or offering fresh perspectives on beloved entertainment franchises.

Established players like Channel 4, ITV, and the BBC have reached a crucial realization: audiences aren't coming to them anymore. Rather than doubling down on walled gardens and exclusivity, they're strategically "fishing" where audiences actually are—YouTube, Meta, and other platforms. This represents a fundamental shift from trying to corral viewers through forced exclusivity to acknowledging the fluidity of modern fandom.

Looking ahead to Jo's panel, the conversation turned to a critical tension in modern media: there's no excuse not to know your audience, yet data can easily become misdirection. While data should inform commissioning and distribution decisions, it tends to measure what's easily measurable—which isn't always what truly matters.

Moonbug's Cocomelon provides the perfect case study. Their YouTube data-driven approach demonstrated analytics' power for IP and franchise building, but also raised important questions about creative vision versus algorithmic optimization.

The real skill isn't drowning in data—it's knowing how to zoom out and distill signal from noise. Ironically, experienced media professionals with 20+ years of instinct are uniquely positioned to thrive in this data-rich environment. Their gut feel, honed over decades, can cut through analytical clutter to find strategic clarity that spreadsheets alone cannot provide.

The sweet spot? Combining analytical rigor with seasoned intuition—letting data inform without letting it dictate.

Jo is away so Andy gets Emily perspective on Netflix's latest earnings report. In a recent strategic shift, Netflix are moving away from the subscriber count obsession and focusing on ‘engagement'. It's an interesting pivot, especially as the streaming giant grapples with the reality that their core markets are pretty well tapped out.

The big question now is how to keep demonstrating growth when you've already signed up most of the households you're going to get. Enter: engagement metrics. Netflix wants us to care about hours watched, not just how many people have accounts.

But that’s not the only strategic shift, Emily and Andy look at how vertical content and gaming fit into Netflix’s new playbook.

Meanwhile, the kids' content slate is having a moment. Ms. Rachel and Paw Patrol are quietly racking up serious viewing numbers, proving once again that children's programming might be the steady, reliable workhorse of any streaming service.

And then there's the possibility of Netflix acquiring Warner assets—a move that could beef up their content library and give subscribers more reasons to stick around. As Netflix figures out its next chapter, it's clear the playbook is evolving from "grow at all costs" to "keep people engaged and happy."

Takeaways:

1. The recent Netflix earnings report reflects a shift in focus from subscriber growth to content engagement metrics, indicating a new strategic direction for the company.
2. Despite a slight year-over-year increase in engagement, the overall performance remains underwhelming, suggesting challenges in sustaining growth in a saturated market.
3. The introduction of vertical video content is a significant move for Netflix, aiming to capture mobile viewership and compete with platforms like TikTok and YouTube.
4. Netflix's acquisition of Warner Bros. may provide necessary content diversification to enhance engagement and strengthen their position in the streaming market.
5. The Netflix kids' programming landscape is evolving, with significant shows like Ms. Rachel and Paw Patrol demonstrating strong audience engagement and popularity.
6. The ongoing development of Netflix's gaming strategy highlights their commitment to retaining viewer attention across multiple formats, enhancing overall user engagement.

The landscape of children's entertainment is shifting—fast. In this eye-opening conversation, multi-award-winning creative executive Jesse Cleverly shares why now might be the perfect time to work in media, despite all the doom and gloom.

Jesse drops a perspective bomb early in the conversation: while traditional media is facing seismic changes, he genuinely believes we're entering "an interesting and great moment" for the industry. Why? Because creators no longer need permission to build audiences.

"If you've got a great idea or you are a great creator, you can go out and learn what works," Jesse explains. The empowering nature of new platforms means you can test and refine before spending €10 million on a 50-episode series. Revolutionary? Absolutely.

But it's not all sunshine and viral videos. Jesse pulls back the curtain on a troubling reality: many successful digital creators are exhausted and burned out, trapped in a world of low CPMs (cost per thousand views) with no sustainable revenue model beyond grinding out content.

The solution? Studios and creators need each other now more than ever. Traditional media professionals bring crucial skills in brand development, monetization, and long-term value creation that many creators desperately need but don't have the bandwidth to develop themselves.

Here's where Jesse gets provocative: he questions whether the traditional definition of a "kids' audience" was actually created by commercial television rather than reflecting what children genuinely want.

His evidence? When given true choice, kids increasingly watch content made for broader audiences. His own research revealed young viewers gravitating toward shows like "Heartland" (a Canadian horse ranch drama) because there's "no punching and killing"—not because it was marketed to them as children's programming.

"I wonder whether this definition of the kid audience is also a product that we used for media in the commercial television age," Jesse muses, challenging fundamental assumptions about age-appropriate content.

Forget mass audiences—Jesse sees the future in passionate, engaged communities around specific interests. His favorite example? Werewolf romance fiction is "killing it" with tens of millions of readers, yet virtually no one is creating werewolf video content.

The math is simple: going from broad, low-engagement audiences to narrow, high-engagement niches means higher lifetime value (LTV) per fan. Plus, we're not limited to local markets anymore—you can reach every werewolf romance fan in the world.

"The goldfish and the water," Jesse says. "We've been swimming in the world of low-hanging fruit local markets. We're not in local markets now—we're in the world."

1. Permission is Dead: You don't need a commissioner's approval to build an audience anymore. Create, test, learn, iterate—then scale.
2. Creators Need Studios (and Vice Versa): Digital creators have audiences but often lack monetization expertise. Traditional media professionals have those skills but need to understand platform-native content.
3. Value Has Shifted: Historical kids' media companies like Nickelodeon made most of their money from licensing and merchandising, not the TV shows themselves. That model still works—just on different platforms.
4. Rethink Your Audience: Age-based demographic targeting may be a...

In this episode we discuss the evolving regulatorary landscape around kids content on YouTube and social media. The wild west era of children's content on YouTube appears to be coming to an end. As countries worldwide move toward stricter social media regulations—France announcing September 2026 enforcement, Virginia implementing new protections—YouTube's AI-powered content moderation is creating uncertainty for creators in the kids' space.

The Regulatory Shift: After years of minimal oversight, 2026 looks set to bring significant changes to how children's content is managed online. Multiple jurisdictions are finally catching up to long-standing concerns about kids and social media.

YouTube's Opaque AI System: YouTube's AI now determines whether content is "suitable" for young audiences, but the decision-making process remains unclear. Creators face potential demonetization or restricted reach without understanding the benchmarks, making commercial viability increasingly risky.

The "Social-Only" Gamble: Creators who went all-in on YouTube as their sole platform now face a precarious position. Diversification across multiple platforms—once considered smart strategy—is becoming essential again as the regulatory landscape shifts.

BBC's Opportunity: As YouTube becomes a financially high-risk space for quality kids content, publicly funded broadcasters like the BBC have a chance to prove their value. Charter renewal debates may gain new context when commercial platforms struggle to sustainably serve young audiences.

Content Duration Concerns: The rise of ultra-short-form content raises questions about optimal viewing lengths for developing brains. Even tech founders are reportedly limiting their own children's screen time—yet clear benchmarks remain elusive.

Bottom Line: The permissive era of creators freely making kids' content on YouTube is closing. Welcome to the new regulated reality.

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...

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