Why Kids’ Media Is More Complicated (and Exciting) Than Ever
How Kids’ Content Is Evolving—And Why That’s Maybe Not a Bad Thing
Whenever someone asks if I like what I do, I say, “How can I not? I get to make content for kids!”
I’ve been working in the kids’ entertainment industry for over a decade. Most recently, I was a Development Executive at Sesame Workshop working alongside some of the best writers, creators, producers, and curriculum experts in the business. I also earned my Ed. M. from Harvard in Technology, Innovation, and Education, and helped build Hellosaurus, an interactive video platform for kids that earned accolades like Apple’s App of the Day, Fast Company’s World-Changing Ideas, and the Kidscreen Award for Best Kids-Only Streaming Service.
So I must know what I’m talking about, right?
Not quite.
Not because I’m not an expert in my field, but because the industry is changing—and fast.
More and more of my peers are searching for work after corporate layoffs, shrinking writers’ rooms, and dwindling opportunities for series greenlights. It feels like despite how many people I talk to, nobody really knows what’s going to happen next.
Which raises the question: Is the kids’ media industry dying?
In my opinion, what may be dying isn’t kids’ media itself, but the familiar way of doing things. And maybe that’s a good thing. After all, the beginnings of this industry were built on creativity, boldness, and experimentation…
In 1969, Sesame Street broke every rule. It merged education and entertainment and cast a racially diverse ensemble. Mister Rogers’ Neighborhood was just as radical, but in an entirely different way. It slowed things down and sat with big feelings. Then came Nickelodeon in the ’90s, flipping the script yet again. This time with content not just made for kids, but made with them in mind.
These weren’t safe bets. They were creative risks that redefined what kids’ content could be.
As we wait on the side lines for permission, we’re watching new curious and creative voices take the lead—building new formats, forging new paths, and reaching kids in more ways than ever. The question shouldn’t be if we can stop them… It’s if traditional media is willing to keep up.
The Rise Of YouTube (And Why It’s Not Just About Views)
(I know this isn’t breaking news but stick with me, lol.)
According to David Kleeman, SVP of Global Trends at Dubit, “In February 2025, YouTube was the most-watched streaming service, with 11.6% of all TV viewing—a new high.” It’s a stat that confirms what many of us in kids’ media have already felt: YouTube is no longer just major player—it’s the player.
We’re seeing more and more legacy brands shift to YouTube. Take Nickelodeon, for example. Recently, they launched their new original preschool series Kid Cowboy on YouTube first, rather than on their network. It’s a move that signals changing strategic priorities to adapt to the shifting media landscape (You can hear more about it on The Kids Media Club Podcast with Marc Cantone and Alex Reed.)
Even back in 2020, DreamWorks dropped clips of Gabby’s Dollhouse on the Rhyme Time Town YouTube channel ahead of its Netflix debut. When you break it down, it seems that these decisions are less about early access. They’re strategic bets to try and meet kids where they are at.
Hearing all of this, it’s easy to think: “Well, the answer is simple—just put your content on YouTube! That’s where the kids are!”
Sure. Maybe that’s part of it…
But to me, the more important question isn’t where are kids watching—but how and why they’re watching?
I don’t believe it’s enough to just repurpose your narrative video content, press upload, and hope it sticks. The most successful creators on YouTube didn’t just move content over to a new platform, they built a whole new genre and methodology from the ground up.
How Are Kids Consuming Media?
For decades, kids’ media was shaped by a few trusted names and a few trusted networks. I grew up in a time where you were either a Nick, Disney, or PBS Kid. You turned the channel on after school, (I myself am proud to say I was a “Nick Kid”—so channel 33 for me!) and you simply watched what was on.
The programming was carefully and intentionally developed, along with the scheduling. What made these networks so successful was their consistency. For kids, we knew when and where to find our favorite characters. And for creators, while the path to make a show was clear: pitch, sell, staff, produce, premiere; it wasn’t that easy to break in.
Fast forward to today, the tools to make content are in more people’s hands and the doors are wide open. What used to take studios, networks, and whole teams can now start with just one person and a phone camera.
Are YouTube-native creators outperforming the big brands?
In many ways—I’d say yes. But this isn’t just about view counts or subscriber milestones (though Blippi’s 24 Million Subscribers and 17.8 Billion Views certainly shouldn’t be overlooked…)
Creators are not just delivering content; they’re building relationships. And they’re doing it with speed, flexibility, and authenticity that’s difficult for traditional media to match.
Let’s take a closer look at Ms. Rachel. When she was building her brand, it looks like she uploaded around an hour of new content every two to three weeks. That cadence, whether intentional or a happy accident, worked perfectly for her toddler audience—kids who love repeat viewing. Each video had space to breathe, and viewers had time to rewatch, reengage, and build familiarity. Just as they were ready for something new, a fresh episode would drop.
Compare that to Blippi’s strategy in 2019: nearly 200 videos uploaded in a single year, each 10–20 minutes long. That’s a massive amount of content—more than most kids’ series have in their entire catalog.
When you're a creator in control of your own distribution, you can meet demand directly. You can adapt and adjust to what’s working (and what’s not) in real time. And you have the freedom and availability to release at a consistent and ongoing rhythm —and it's a key reason they're able to build such a large and loyal audience.
Now compare that with traditional streaming platforms. Most operate on a seasonal model: episodes are produced in batches, greenlit in phases, and released with long gaps in between. They’re systems built for how adults consume content: for scale, binge-ability, and the help of word of mouth engagement.
But that’s not how kids engage. Young viewers crave consistency, familiarity, and an ongoing relationship with the content and characters they love. They don’t need every episode at once, they need to know they can find it again (and again, and again.) And if they have to go a year (or even 6 months) between seasons, chances are they’ve aged out or simply moved on.
The other issue is discoverability. Even if a show is great, that doesn't guarantee it will find its audience on a streaming platform. Kids aren’t searching through apps for content. If it’s on the homepage, that’s what they’re watching. Unless you're a breakout hit, the algorithm might not even surface your content to the right kids at the right time. This may be why part of why we’re seeing more and more one (or two) season wonders; shows with strong potential but canned before they even had a chance to be discovered.
What sets Ms Rachel and Blippi a part is that they didn’t wait for permission to keep creating, they just never stopped. And now, not only are they dominating digital, they’re expanding their success back into traditional media. And what’s enticing for streamers that an original series can’t compete with is that they have the power to bring their massive audiences with them wherever they go.
You have to wonder, would they be as successful if they’d launched as traditional streaming series?
Given today’s content strategies and constraints, I’m not so sure…
What It Really Takes to Make Something Great
So, does that mean ANYONE can make content for kids?
Kind of…
Today, the tools for making content are more accessible than ever. But the knowledge that makes content truly effective? That’s something I still think you have to learn.
From the outside, creating kids' content appears easy to the average person, which encourages lots of folks to jump in (everyone was once a kid, right?) How hard can it be? Add a friendly character, a bright set, and a catchy tune—right?
That’s essentially what the Blippi approach was. Stevin John (aka Blippi) was a digital content creator who was inspired to use his expertise in creating quality content after seeing the lackluster videos his 2 year old nephew was watching on YouTube. He had no children and no formal education background or training.
But as anyone who’s made a kids show before knows, behind every great series is a intricate web of decisions and many, many considerations and discussions with experts across creative and child development.
Take Daniel Tiger’s Neighborhood. Every song and storyline is grounded in research-backed early childhood principles. It’s not just written to be catchy and entertaining —it all backs into a curricular goal and learning outcome. A recent UCLA study even found that teens who watched the show as preschoolers still use its calming strategies years later.
That doesn’t just happen by accident.
Unlike Blippi, Ms Rachel is an educator first, who taught herself how to create media. She has two masters degrees (one in Early Childhood Education, and one in Music Education both from NYU). She also worked as a music teacher in a public preschool before starting her channel. While the intentions were all there, it took her a while to find her footing as a producer, director, and editor.
The challenge is, YouTube’s algorithm rewards quantity over quality. So when creators are under pressure to pump out content fast, it’s easy to cut corners for the aspects they might not feel like experts in. If you’re a creator, you’re not focused on the outcome, and if you’re an educator, you may not be as focused on the production value.
Creating good content takes time, energy, and resources. And the reality is, not everyone has the support system, free time, or financial cushion to sustain a channel while it builds traction. It can take many, many years to find an audience, let alone a groundbreaking hit.
The tools may be democratized, but that doesn’t mean access is equal.
As more and more people jump into the kids’ content bandwagon, there’s a lot they can learn from us experts in the field. But in return, we need to recognize there’s a lot we can learn from them too…
So, What’s Next? —And Why I’m Starting the Kids Media Book Club
I’m not sure where the industry is headed, but one thing’s for sure, I’m excited to see where it lands. Like so many of you, I’m trying to navigate the unknown and figure out what my role might be in this new way of creating.
As it all shakes out and I search for my next role, I wanted to create a space to pause and reflect on what makes me love this work in the first place and to get inspired by what this moment of change might unlock.
What are the new stories we can tell? What new tools can we use? How many more possibilities are out there where we can create meaningful, joyful, impactful media for kids?
That’s where the Kids Media Book Club—comes in.
Each month, I’ll spotlight one tentpole book exploring education, media, creativity, or technology, and pair it with real-world examples from across the kids’ media landscape: shows, apps, podcasts, research, and more. You can expect thoughtful reflections, industry trends and eventually interviews, behind-the-scenes peeks, and prompts to spark your own curiosity.
I hope this can be a space where we embrace change and explore what media can do—and how we, whether we’re creators, educators, or curious humans, can continue to shape meaningful, joyful, and lasting experiences for kids.
Welcome to the Kids Media Book Club.
Each month, we’ll explore a topic that helps us think more deeply about the content we create for kids and the world we’re creating with them in mind.
Whether you’re a seasoned television executive, a digital creator, an app developer exploring kids’ content for the first time, an educator looking to stay connected to the media landscape, a curious parent, or just someone who believes in the power of children’s media subscribe now to join the conversation.
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