Episode Title:

This is a special compilation episode revisiting two of the Kids Media Club's most popular conversations on kids online safety — with Ashley Mady from Zigazoo and Chris Heatherly, former General Manager of Club Penguin at Disney. With regulation around kids social media still very much in flux, it felt like the right moment to bring these two perspectives together.

Ashley walks through how Zigazoo works — challenge-based, fully moderated, no bots, no personally identifiable information — and makes the case that safe social media for kids isn't an oxymoron, it's a design choice. The platform's hybrid AI and human moderation model, its age-gated content tiers, and its wishlist-to-parent email feature all point to what's possible when child wellbeing is built into the product from the ground up rather than bolted on afterwards. When TikTok faced its US ban and new users flooded in, existing Zigazoo kids told them how to behave — which is probably the most compelling endorsement of a platform's culture imaginable.

Chris brings the historical weight. Club Penguin at its peak had 200 million registered avatars and was, as he puts it, the biggest playground in the world — and his job was to keep it safe and keep it fun. The corporate story is a cautionary one: Disney's MBA-led strategy teams couldn't quantify the value of community, and the platform was eventually shut down despite fierce internal opposition. But the emotional legacy Chris describes — kids who found belonging and identity on Club Penguin that they couldn't find at school — is a reminder of what's genuinely at stake when these platforms get it right.

A bonus episode with Andy and Jo, fresh off the plane from Content Europe in Lisbon, where both were on panels and Jo was moderating. Emily is absent this week, so the two debrief on the themes that dominated the conference.

The defining question that ran through almost every session was deceptively simple: what even is a hit anymore? A show can hit 200 million YouTube views and still not be financially viable. That gap between attention and money, Andy and Jo agree, is not self-correcting — and without investment flowing back in on terms that make sense for kids content, the market risks stalling further. The advertising conversation is equally candid, with Jo pointing to WildBrain Media Solutions and Lumi as two companies actively trying to solve the COPPA problem by taking kids YouTube inventory out of the programmatic black box and selling it directly to advertisers.

Jo closes with the sharpest observation of the episode: that kids media has quietly allowed tech company measurement frameworks — 28-day windows, engagement metrics, short-term return expectations — to define success in a space that has never worked that way. You can't speed run fandom. Patient capital is the only kind that works in kids media, and the industry needs to say so louder.

Key Takeaways:

1. "What is a hit?" is now genuinely an open question — the old definition (big linear partner, west coast origin, strong ratings) no longer holds, and the panel at Content Europe couldn't agree on a replacement, which is itself telling.
2. Attention and revenue have been decoupled, and the industry hasn't yet found a reliable way to bridge them. 200 million YouTube views doesn't automatically translate to financial viability for the producers who made the content.
3. WildBrain and Lumi are testing a direct sales model for kids YouTube inventory — selling contextually against known IP rather than through programmatic systems, which offers advertisers brand safety and producers a better commercial deal.
4. Connected TV co-viewing changes the advertising calculus — when a child watches YouTube on the living room TV, a parent is often in the room. That audience is more valuable and more brand-safe than mobile-first viewing, and the industry is only beginning to price that in.
5. Platform native, not platform everywhere — the shift observed across multiple Lisbon panels is from spray-and-pray digital distribution to intentional, platform-specific strategy: YouTube as top of funnel, FAST as destination viewing, streaming partners for deeper engagement.
6. Tech company measurement frameworks don't fit kids media — 28-day Netflix windows, short-term engagement metrics, and VC-style return expectations are being applied to an industry where fandom takes years to build and IP value compounds over decades.
7. Patient capital is the only capital that works in kids — and the industry needs to make that case more deliberately to investors, rather than trying to fit kids IP into frameworks designed for SaaS companies or adult entertainment.
8. The swing back to curated, intentional viewing is good news for kids content — audiences paralysed by infinite choice are gravitating back towards scheduled, lean-back experiences, which plays to the strengths of well-programmed kids IP on FAST and connected TV platforms.

This episode of the Kids Media Club Podcast is part of a sponsored series produced in partnership with WildBrain Media Solutions. We get together with Kate Smith, EVP of Audience Engagement at WildBrain to talk about what constitutes a TV Network in 2026.

Within the industry the term "distribution" has evolved. Kate opens by sharing how WildBrain has pioneered its own Network, driven by TV viewing insights. The company has quietly become one of the dominant operators in kids' FAST channels and on YouTube, holding over 50% of all kids and family channels across major FAST platforms in the US and operating 800 YouTube channels.

We explore how YouTube and FAST serve different but complementary functions — YouTube as a discovery engine, FAST as a destination for fans who already know what they want — and why legacy IP with multigenerational appeal continues to drive the strongest long-form viewing numbers.

1. https://bit.ly/WBMSCapabilities

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.