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 Brundage'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 Brundage'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 Brundage

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/

In this episode of Kids Media Club podcast hosted at Mipjunior in Cannes, we were delighted to be joined by the very special guest Frank Falcone, founder of Guru Studios. On the 25th anniversary of his studio, Frank reflects on the changes the animation industry has gone through in that time. We discuss the challenges of A.I., adapting to the fragmented landscape and new audiences expectations, and the continuing importance of delivering high quality, and passionate storytelling created with human creativity.

On this week’s show, we are delighted to be joined by David Michel of French television producer and CEO of Cottonwood Media. We discuss the craft of creating dramas for tweens, teens, and millennials. We look at the impact that big budget Netflix shows like Wednesday, Heartstopper, and even Stranger Things have had on the industry and whether kids producers have the resources to compete for that cross-generational attention. There’s stuff about the role for social and vertical video to reach younger audiences and the place for linear TV within this new landscape. It’s a packed episode. Listen in and let us know what you think!

In this week’s Kids Media Club Podcast, we are joined by the creator Cory Williams who talks to us about creating a digital first children’s franchise - Silly Crocodile. He talks about how the character was inspired by toy play with his daughter, shares his challenges with the YouTube algorithm, issues around AI and piracy, and his reasons for turning down a $5million offer. This is a must listen for any YouTube kids creators out there.

https://sillycrocodile.com/

In this week's episode of the podcast, we chat to analyst Ian Whittaker and ask him the question - 'Is YouTube TV?'

This question prompts a deep dive into channel fragmentation, advertising revenue, the creator economy, and the centrality of Kids content within the current battle between legacy media and social media.

It's a fun, no hold bars, discussion, so grab a tea and sit back and enjoy.

Oh and a small disclaimer - as Ian always says, none of the opinions expressed here constitute investment advice! :-)