Kids Media Industry in Crisis: Kids Screen Summit Cancelled and World Screen Shuts Down — A Kids Media Club Emergency Episode
Kids Media Club PodcastShow Notes
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: 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. World Screen and TV Kids have also ceased publishing, meaning the industry has lost two major institutional pillars in a single day. 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. 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. 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. 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. 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. A vacuum is forming, and the question of what — or who — fills it is now very much op
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A live recording from MIP Junior in Cannes, with Andy, Emily and Jo grabbing Jon Mason, founder of Jollywise and creator of Stan and Gran, for a conversation that cuts against the grain of most MIP conversations. Instead of talking about how to get a show made, Jon is asking whether the show is the right format at all — and whether the industry is measuring the wrong things entirely. The provocation at the heart of the discussion is a LinkedIn article Jon wrote questioning whether dwell time and views are sufficient metrics for kids content, at a moment when a World Economic Forum white paper on AI and children is asking the same question from a policy direction. Jon’s argument is that the industry has allowed data that is easy to collect — clicks, completion rates, engagement — to become the only data that matters, when what actually counts is what a child does after the content ends. Whether they go outside, ask a question, make something, explore. That’s much harder to measure, but arguably much more important. Bluey, he notes, are starting to think about exactly this. The conversation ranges across screen-free AI products (Mallow, Freckle, Yoto), the gap between the ed-tech world and the kids IP world that MIP could usefully bridge, the risk of AI companions that are permanently available and relentlessly sycophantic, and Jon’s core creative mission with Stan and Gran: getting kids outside. His closing challenge to the room is a good one — does your IP have to be a TV show? And if the answer is yes, are you absolutely sure?
This pre-MIP Junior sponsored episode brings Nicolas Eglau, Managing Director of EMEA, APAC and Global Distribution at Moonbug Entertainment, into conversation with Andy, Emily, and Jo. The timing is deliberate — Moonbug has a lot to talk about heading into Cannes. Nicolas traces the logic of what he calls Moonbug's reverse distribution model: where traditional studios start with premium pay TV and work their way down to YouTube, Moonbug started on YouTube and has worked its way up — through premium streamers, linear channels in 100-plus markets, consumer products, gaming, live events, and now, with the Cocomelon movie landing in February, theatrical. Owning all of their IP outright is what makes the model work; it means no permissions to seek, no rights to negotiate, and the ability to move from idea to execution in months rather than years. The linear channel launch in the Philippines took five months from concept to air. Emmy's Wonder Wardrobe — a live action Little Angel spin-off built around a character the audience was already asking for — went from data insight to Disney and Netflix in similarly short order. The newest announcement is Big Feelings, a music company Moonbug has built to open up its distribution and monetisation infrastructure to third-party artists and creators — with Snoop Dogg and Doggyland among the first partners. It's a bet that what Moonbug has built for its own music-led IP can be valuable to others who have the talent but not the network. The episode closes on the Cocomelon movie, which Nicolas describes as the climax of everything the model has been building toward — and on which he is, emphatically, not scared.
A bonus mini episode from Jo, recorded at the Young Horizons Film Festival in Warsaw — a relatively small but well-curated industry event that she reports punching above its weight. Two conversations captured at cocktail hour, both worth hearing. First, David Kleeman on why "a good story well told" is no longer enough as a creative ambition. His argument is that kids engage with stories through three fundamental need states — wanting to be involved, wanting to explore freely, and wanting to be part of a community — and that the industry keeps accidentally frustrating all three through IP protectionism, algorithmic curation, and age-gating from social spaces. His closing point is sharp: start with a core, let the audience tell you where they want to go next, and don't try to build everywhere at once. Then Janine Weigold former Netflix executive now consulting across the industry, on the funding gap that nobody has solved: the space between an early idea and a full commission, where animation in particular keeps falling through the cracks. Her argument is that broadcasters, ad sales teams, and private companies with audience reach could function as incubators — offering channels, expertise, and promotional muscle to help creators find proof of concept before the big platforms come looking. The conversation ends on data sharing, where Janine is unambiguous: platforms hoarding engagement data isn't just bad for the industry, it's preventing the discovery of the next SpongeBob.
Jo is absent again, so Andy and Emily have a two-topic episode: first, the announcement of the Business of Children's Media Summit, taking place November 12th in Dublin; then a deep dive into Jeffrey Katzenberg's viral essay on AI and the future of animation. Dennis Crushall from Precisify joins briefly to help launch the summit, which Emily has been quietly building for months in partnership with Cultural and Creative Industries Skillnet. Taking place at the Alex Hotel in Dublin, the day-long event is focused on going direct to audience — YouTube, gaming, consumer products, and franchise strategy — and features keynote speaker Erica Quinn, Director of Kids and Family Consumer Insights at Disney, alongside BBC Children's and Education's Anna Taganov. Tickets are €75 via Eventbrite, and there will be a live podcast recording on the day. Emily has also promised a pint of Guinness to every international attendee, a commitment Andy intends to make very expensive. The second half is a sharp dissection of Katzenberg's 2,000-word Twitter essay positioning AI as the next Toy Story moment for Hollywood — expansive rather than destructive, with tech providing the tools and Hollywood providing the soul. Andy's most interesting observation is around the John Philip Sousa parallel Katzenberg draws: the real fight may not be about the technology at all, but about copyright compensation — and studios sitting on vast IP libraries, including the newly merged Paramount-Warner entity, could stand to benefit significantly if the law catches up. The episode closes on a fittingly ironic note: someone ran the essay through an AI checker and it came back 60% AI-generated. 🎟️ Get your tickets for the Business of Children's Media Summit: https://www.eventbrite.ie/e/the-business-of-childrens-media-summit-tickets-1998215489319 📊 Explore Precisify's research and reports: https://www.precisify.com/reports-and-playbooks