This bonus episode of the Kids Media Club sees Andy and Jo joined by Emily, who has just published her latest Netflix Kids Content Performance Report — a deep dive into Netflix's engagement data covering the second half of 2025. It's a data-rich conversation that covers which shows are winning, which are declining, and what it all means for the wider kids content landscape.

The headline finding is that Paw Patrol has taken the number one spot by hours viewed in H2 2025, driven by its first-ever US Netflix window opening in July. It's a significant moment that underscores just how competitive the preschool segment has become — Gabby's Dollhouse held the top spot in H1, Ms. Rachel has climbed from sixth to fourth place, and Cocomelon, while still enormous, is showing signs of decline. The preschool race, as Emily puts it, is very much a ten or fifteen horse race.

Sesame Street's arrival on Netflix gets a thoughtful treatment. Launching with just four episodes, it performed modestly — and the group unpick why. Is it a volume problem? A brand perception issue, with audiences still associating the show firmly with PBS and YouTube rather than Netflix? Or simply that Sesame Street hasn't yet established a home on the platform? Emily is generous in her read of it, noting the brand's smart collaboration with YouTube creator Mark Rober as a savvy move to stay relevant — and Rober's own Netflix show, Crunch Lab, posted strong launch numbers.

That leads into a broader conversation about Netflix's creator economy strategy. The platform has been quietly building a pipeline of YouTube-native talent — Cocomelon, Little Angel, Blippi, Ms. Rachel, and now Mark Rober — and the data suggests the crossover approach is paying off in engagement terms. Jo raises the interesting point that Netflix appeared to step back from kids originals after disbanding its dedicated team, only to start commissioning original and exclusive content with creator talent again. The consensus is that Netflix never fully stepped away — it just got more selective, leaning into broader "family" content alongside its core kids slate.

SpongeBob emerges as one of the episode's most interesting talking points. Generating 143 million hours viewed on Netflix without a US window, Emily argues the Sponge is quietly having a moment that the industry isn't talking about loudly enough. She floats the prediction that SpongeBob could overtake Bluey as the top kids show in US streaming in 2026 — and notes what the strength of both SpongeBob and the Warner animation catalog (Teen Titans Go, The Amazing World of Gumball) could mean in the context of the Paramount-Warner merger.

The deeper theme running through the episode is the extraordinary durability of long-running IP. Paw Patrol at 15 years old, SpongeBob at 25, Peppa at 20 — these shows have entered a multigenerational pass-down mode where they remain fresh enough for new young audiences while carrying nostalgia value for older ones. For anyone trying to break through with a new show, that's the competitive reality they're up against.

The episode closes with a look at Gabby's Dollhouse's prospects for long-term franchise status, and a frank assessment of Cocomelon's decline — which Emily argues is structural rather than a failure of execution, given how narrowly age-targeted the IP is by design.

Key Takeaways:

1. Paw Patrol is Netflix's most-viewed kids show in H2 2025, powered by its US streaming debut — a clear illustration of how much a new territory window can move the needle on an established IP.
2. Preschool is the most competitive segment on Netflix, with Gabby's Dollhouse, Ms. Rachel, Paw Patrol, and Cocomelon all jostling for position. No single show dominates the full year.
3. Sesame Street's modest debut was likely a volume and perception problem — four episodes is thin for a brand of its stature, and audiences may not yet associate it with Netflix given its long history on PBS and YouTube.
4. Netflix's creator-to-streaming pipeline is working — shows like Ms. Rachel and Mark Rober's Crunch Lab demonstrate that YouTube-native talent can drive strong streaming engagement, and Netflix appears to be doubling down on that strategy with original commissions.
5. SpongeBob is underrated in the industry conversation — top animated comedy globally on Netflix without US distribution, and a genuine contender to be the number one kids streaming show in the US in 2026.
6. Long-running, multigenerational IP is the hardest thing to compete with — shows like SpongeBob, Peppa, and Paw Patrol are being passed down from parents who grew up with them, giving them a structural advantage that newer shows simply don't have yet.
7. Cocomelon's decline is structural, not a crisis — its very young target demographic limits its ability to build the multigenerational audience that sustains IP over the long term. Still huge; just not built to grow the way story-driven shows can.
8. Gabby's Dollhouse has genuine franchise longevity potential, particularly if the team can extend the live-action talent into formats that grow with the audience — something Emily sees as a clear opportunity.
9. The "family" designation matters more than it might seem — shows that appeal across age groups, from kids to parents, consistently deliver better engagement numbers and longer shelf lives than narrowly targeted content.

The Kids Media Club podcast is open for sponsorship and we're changing things up a little bit where we're going to be offering feature episodes ahead of major industry events like Licensing Expo, Annecy, ble, mipcom, Toy Fair, and more.

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hello, and welcome to a bonus episode

of Paddy's Media Club.

I'm Andy Williams.

Welcome along.

I'm Jo Redfern and fresh out of swimming around in copious amounts of Guinness because it's been Paddy's Day week.

Today we're talking to Emily and we're going to swim around in some data.

How are you getting on, Emily?

Oh, my God.

That sums up my week perfectly.

Swimming around in Guinness and swimming around in Netflix data.

Yeah, I'm doing okay.

I'm living the maximalistic version of my life.

And yeah, in addition to it being Paddy's Day, which was an absolutely stonker for Paddy's Day here in Dublin with the sun shining, I have published my latest Netflix Kids content performance report, which has been in the works since Netflix dropped their engagement data in January.

And yeah, I say it every time.

The latest report we do is my favorite one yet.

I've never, never not satisfied by the experience.

It's a very satisfying experience.

I was saying to the team, it's satisfying.

I was like, it's not.

It's fun.

Maybe not some of it's fun, but it's definitely satisfying.

So, yeah, it's been another really interesting round of data, another validating moment of looking at what's happening and going, I'm so glad we're looking because there's lots and lots to see.

So they're the new number.

What were the key standouts?

Easy, you two.

See, we just want to get into it.

We have questions.

Yeah, we have some questions.

Cool.

No, the key thing is so Paw Patrol's number one, the number one show by air, is viewed.

It was its first US Netflix window and opened it up to a massive audience.

On Netflix, as the most dominant streamer in the U.S. it underscores how competitive preschool is.

The preschool segment is right.

We've had.

This is the second new number one we've had.

Now we have Paw Patrol in H2.

So she has gone from number six to number four.

So, yeah, it's.

The preschool is super, super competitive, which is, makes it really exciting.

Sorry, I might be a loser of my own in that.

But like, that's one of the things that is so, so fun about going diving in the data is that like, yeah, we're seeing new things each time and it's, it's just, yeah, it's, it's not a, it's not a one, a one horse race by any means.

It's a 10 or 15 horse race.

So that's really cool.

I, I have a question about kind of volume tonnage, if you like, because when you shared your key takeaways, Sesame street as one of the most recognized children's brands on the planet, performed modestly, shall we say.

And I just wondered if you could talk to us.

What does it tell us about the kind of limits of tonnage on a platform like Netflix?

Tonnage, I love that.

Yeah.

Sesame street obviously is so, so well known, I think, very embedded in the heads of, you know, both parents and media, media execs worldwide because of our vintage.

And it's recently, just this week, dropped a new season.

And so there is a question as to whether that volume of episodes plays into it Now.

It's interesting because it was four episodes of around 30, so around two hours of volume or tonnage as Jo Redfern has now coined.

Yeah, it's interesting.

So from one side, we definitely see with like nursery rhyme IP that they launch, they can go with around three hours of content that seems to serve them quite well.

Ms. Rachel also didn't launch with a ton of episodes, a tonnage of episodes and still managed to drive.

But definitely that volume and that depth, maybe even because Sesame street is such an established brand, is something that, you know, didn't necessarily help it tell a great story in terms of the engagement this time.

I mean, obviously it hit like Netflix spotlighted it themselves when they dropped this data.

So they must, I guess, be happy with it.

But I know there was a, there was a broader, was like 90 hours, I think, of content that were announced when it launched, where I'M like, where is all that content?

Like, you know, maybe because it's such an established people, there's an expectation to go a bit deeper and.

But they also have a massive YouTube presence that's been expanding in the last while, so.

Yeah.

And then.

And we would tend to see lower volumes from streaming series.

Right.

Like, this is.

The whole thing about streaming is like, back in the day, we used a season.

Used to be, you know, 20 to 25 episodes of 22 Minutes.

Yep.

Streaming.

Kind of repositioned or rebranded what a season is.

And so seasons for streaming series tend to be more like eight, nine episodes, you know, sometimes six, seven, eight, nine episodes of content.

So that kind of season expectation is there.

But yeah, definitely Sesame street with the four episodes felt a bit on the lower side.

I'm sure it's driven by their production needs.

I'm sure possibly that type of volume has worked out fine for them before where they'd been on PBS and there's that back catalog there that they're rotating and the new episodes come in and whatever.

But yeah, it's.

That was.

That was an interesting one.

And as I said, preschool is so competitive.

Like, you know, that's up against, you know, as I said, two seasons of Paw Patrol in their entirety.

Hitting.

Hitting Netflix us.

Right.

And that is.

Is.

That is tonnage.

Right.

Like, overtrol is a volumous IP at this stage, for sure.

So.

And that drives what.

What we tend to look at when we're looking at seasons is hours viewed because that gives you a real sense of the engagement value of it.

The Views metric is helpful when you're comp.

Comparing, you know, seasons or movies, but it gets the view.

The Views metric becomes problematic when you're summing seasons.

And yeah, my, My.

My research team would.

My research.

Yeah.

Colleagues would get into the detail on it.

So, yeah, you know, those.

Something like.

Like Paw Patrol and Pepper and that kind of thing drive real volume and.

And things like Spongebob as well.

And do you think that.

So did Ms. Rachel manage to convert her audience from YouTube onto Netflix more successfully than Sesame street has up to this point?

Do you think it's just a different.

I think it's just different.

Right.

Like they're on kind of like a different life journey, you know, like, we can't say definitively, like, what amount of audiences migrated from one place to another.

We know Ms.

Racial came and brought a phenomenal amount of engagement and continues to do so.

And whether that's people coming.

Well, one would assume it is at least Some of the people coming from YouTube over and whether they watch still remain watching in both is a question possibly very much so because Netflix offer the, the safer platform for, for, for preschoolers, right?

Like scooters can't go off a rabbit hole on Netflix into, you know, I mean, a Miss Rachel lookalike copycat who's actually, you know, less, you know, at best less quality or at worth acting in a nasty, nefarious way.

So you have to think that like, you know, Netflix is the safer place for parents to put their kids.

I guess Sesame street is just, it's, it's such a legacy, right?

It's got the PBS position, it's got link.

As you were saying that I was, I was thinking you can see how Ms. Rachel has that identity as being a creator on YouTube.

And in some ways that move to Netflix gives, I don't know, credibility or that kind of reassurance to parents.

Credibility,

a stamp of credibility.

Whereas those, that same filter doesn't really apply to Sesame street in the same way.

And I think also maybe another consideration with Sesame street is that it is so synonymous with public service broadcast and pbs.

It might not have actually registered as kind of having its home on Netflix yet given that it was only four episodes, it could quite easily have just disappeared.

And people are still not associating Sesame street having now gone onto Netflix because it's always been so synonymous with PBS and increasingly YouTube, as you said.

So maybe it's just a question of people actually realizing that there is some Sesame street on Netflix.

I just think there needs to be more.

But you know.

Yeah, yeah, yeah, yeah.

It's funny you talk about creators.

So one of the cool things Sesame street did do was they ran a collab, a collaboration with Mark Rober, right.

So Elmo, Mark Rober's Christmas, which I think is a lovely way of bringing the Ivy into, into fresh relevance and you know, works really well.

And obviously then Mark Rober launched on Mark.

Mark Robert's Crunch Lab launched on Netflix in the last half as well.

So that did, that did well.

Like we, we can see that did, you know, decent, decent launch numbers.

Good.

More than decent, you know, very good launch launch numbers and stuff like that.

So it's interesting to see that creator economy deposit of Netflix grow.

They've had things like Cocomelo in the past, Little Angel Blippi, those types of shows.

These are more creator like individuals, individual shows.

And both of them have done pretty well.

And again, new seasons to come on all of that.

Like there's a new IP for beside not a new ip, a new series from Mark Rober.

Like a bespoke Netflix produced series or produced four Netflix series that's gonna be coming or I think it might have hit last week.

So, yeah, loads, Loads happening.

But that, that, that kind of strategy of taking stuff that's doing really well on YouTube, taking it, having it on Netflix, there definitely seems to be a payoff from an engagement point of view, for sure.

It's, it's interesting given that Netflix kind of got out of the kids and family originals business in the sense that, you know, they got rid of that team and then it looked very much like they were just looking at YouTube to see what popped and then they would sweep that up, obviously.

I mean, I'm big fan of Mark Rober and I think Mark Rober actually has that broader appeal because parents will sit down and watch Mark Rober and be engaged with it, which we know is gold dust when you're talking about kids content.

What's interesting is what you said about they've.

Well, I guess they did it with Cocomelon Lane.

You know, they've taken some of his content from YouTube, but now they're creating some original or exclusive content to the platform with him as well.

What do you think that says about them, kind of considering originals again or the value of originals?

Yeah, Netflix.

So there is a, there still is a kids team there.

They're doing different things.

So a lot of the stuff that they're doing is stuff like with Dreamworks, like Gabby's Dollhouse continues to roll out new episodes.

Hot Wheels, that's Race and From a Tower.

So there is that pipeline coming through the kind of.

It's a smaller team and the original originals.

What I'd say is like, we see a lot of limited series.

So like they did the Asterix and Obelix series last year that seemed to do pretty well.

They did Seven Bears, which is a series that did actually really well from a comedy point of view in this, in the SEI's report.

I don't know why it's a limited.

I don't know why they needed to say it was a limited series.

Maybe so that I didn't go, ah,

they didn't renew it.

It mustn't be doing well.

I kind of got a bit of.

Maybe that's their new terminology.

They're managing expectations from the beginning.

So Emily gotta give us hassle for not renewing it.

Yeah.

So but it like Seven Berries do pretty well.

So you're kind of like, well, is it limited until it's not, you know, so they are moving on that type of content, you know, and.

And the thing, what I'll say is we see is that Netflix really get the value of broader content too, right?

Like a Mark Rober sits in that area, right?

Like, he's.

Like you said, Joe, it's not just for kids.

It's.

There's appeal for.

There's appeal for a broader audience, for sure, for parents to watch with, you know, for teenagers to watch and that kind of thing.

So.

And that goes to loads of different genres, by the way.

Like, you can see that with, you know, K Pop demon hunters aren't gonna believe.

But shows like, you know, Wednesday, which has a.

Like, will have a young interest and will also have a broad interest.

There also did a.

There was a new show this half that came in In December, man versus baby, which is Rowan Atkinson, silently versus a baby.

It's Rowan Atkinson, Mr. Beaning and a baby.

But it's not Mr. Bean branded.

Right.

So.

But that did phenomenally well.

Like, you know, dialect free comedy, like physical comedy, like, you know, with a known face, that parents will have that kind of nostalgia or sentiment, sentimentality, or at least connection with, you know, like Rowan Atkinson.

So he's probably better than sentiment, like, sentimental.

He's a fabulous actor doing his signature thing.

Right.

So those broader swings feel like part of what Netflix are up to and part of what they're really getting.

Right.

I would say.

You know, and it's.

It's that kind of.

It's that fun designation, right?

Like, you know, kids shows, family shows.

What's the difference?

Right?

Like, you know, that.

That family.

Family tagging is.

Or that family positioning just.

It's subtle, but actually, there's.

There's upsides to it.

You know, there's real upsides to it.

Mm.

And what about Spongebob?

Because I saw that.

I mean, Spongebob, of course, you know, who doesn't know Spongebob?

So it's no surprise that it drove 143 million hours.

I think you put in your notes to us before this call.

And that is without US distribution.

Right?

So without US distribution.

Pretty good number.

Yeah.

The thing.

Sponge is like the Sponge.

I've been writing about this a bit in my newsletter recently.

Right.

Like the Sponge.

We all know him, but, like, the Sponge is kind of killing it.

And I don't think people are talking about this enough because, like I said, top comedy.

Top comedy animated show on Netflix globally, which is a number that is neutering itself because it doesn't have the.

It's not on fus, right in the

U.S. imagine what it'd be if it was.

Yeah, I know, right?

Like you think of that Paw Patrol jump, right?

Like spongebob still has that opportunity to do that.

And his movies, like SpongeBob has movies on Netflix and stuff like that.

They did some original movies.

So he does have presence on the platform.

It's very multi platform, multi platform.

I love it.

But the spongebob is doing phenomenal numbers on Paramount right now in the U.S. right.

Like being in the top 10 Nielsen for numerous weeks.

Now listen, don't discount Bluey.

You never know what that team have in the bag to try to re snap up a bit more viewing.

But as it's going, potentially, SpongeBob could nail it.

So, you know, we know he's big on Netflix globally, we know he's big on Paramount plus in the US And I think in the context of that Paramount Warner merger, that strength of animation is a real opportunity led by spongebob.

But also we can see from the Netflix data, and we did this review in the report about what the Warner catalog is doing.

Right, but there's lots of stuff in the Warner catalog that's still popping and hopping, right?

You've got Teen Titans Go.

You've got the Amazing World of Gumball.

I know these aren't gonna be surprises to anybody listening to the show, but when you're able to quantify, you know, the value of it and you're able to see the, the hours viewed, the engagement errors viewed, and then you go, well, if you line those guys up with SpongeBob, who's also huge, and then you, yeah, you put that onto another, you know, a different service.

Right.

Like that's, that could be.

That, that would, that would be a hit for Netflix and being their direct competitor.

Right.

So, and, and with all of those shows, I mean, they must be finding new younger audiences as well.

So it's not just, it's not just driven by nostalgia.

So spongebob can't be that big unless it's reaching.

Oh, it's multi generational.

It's back to that broad thing, I would say, Andy.

Like, it's that and this is the other thing we're seeing.

It's these shows are.

Remain fresh enough for young audiences to find them and like them and love them.

Right?

But they, but then they maintain this nostalgia value.

And this comfort rewatch value for Gen Z millennials or.

Right, like that 20 year old still loves Spongebob.

Yeah, exactly.

My, my 7 year old just got into it right.

For the first time.

Right.

And, and is obsessed.

Right.

So it, it goes the whole spectrum.

Right.

But like that's, that's the thing.

One of the key things we're seeing in the landscape, it's like, and I know this again, it might sound obvious, but when you have the data to quantify it, it's like, you know, the last 25 years of TV has produced defining shows that continue to eat up space in the landscape.

Paw Patrol, 15 years old.

SpongeBob, 25 years old.

Peppa, 20 years old.

A lot of those Cartoon Network shows, you know, as well that are from that vintage.

So if you're coming in with a new show, you need to try to like gain ground from these really established shows that have established audiences and are now in that multi generational pass down mode.

Right.

Like where they're being passed down from people who grew up with them and, and they still standing up as fresh enough to, to you know, from a, from like those people might say, oh, because kids today, you know, it's not 3D.

Like they're not going to like it.

Right.

You know, that's absolutely not the case, you know.

Yeah.

So do you think, do you think Gabby's has a chance of extending into that territory given that Gabby's as a, as an ip is you know, younger but is still tracking, is still performing, feels like he's in it for the long haul.

I love Gabby, you know, I love Gabby.

I know you love Gabby.

That's why I asked.

I love Gab.

Thank you for giving me the opportunity to speak about Gabby Jo.

I am very interested to see what they do.

Right.

Like so they, they roll out the movie.

The movie did, the movie did grand.

I would say it, it was, it did a good preschool movie perform like movie performance and, and it wasn't at the level of Paw Patrol.

But Gabbie is maybe.

She's obviously less established and a little less broad than Paw Patrol.

I think there's plenty to be doing on Gabbie.

I think, you know, when we're talking about that broadening, I think taking and we maybe we.

I'm not sure if we've spoken about this on tape before, but we've definitely spoken about this before is like taking Layla Larker Kramer, like the live action talent to Gabi and finding a vehicle for that to, for her to kind of grow a little bit or extend in a way that's really adjacent to maybe the core franchise or in a way, yeah, complements the core franchise and like, you know, staying with that audience when they get a little bit older and that seems like an opportunity.

And yeah, I definitely think Gabby could be built into something that is, is multigenerational.

So she's only 4, 5, 5 years old this year and showing no signs, no signs of sewing down.

And I know, like, obviously the DreamWorks team work hard like getting a movie up and running and financed and pushed through and the theatrical campaign and everything that they're doing.

Like they've never ever once rest.

Taken a day off on Brady Stahl House.

They have always been grinding and you know, I respect that.

I think it's a lovely, it's a lovely, sweet show and there's plenty of it that, you know, just taps into know kids today.

So yeah, I definitely think that has potential to have that longevity.

I, I have one last question.

Oh yeah, it's like, it's like Mastermind.

We should have a spotlight on you.

I'll put that in post.

Yeah.

I just wanted to talk about Cocomelon because Cocomelon is, seems to be into this kind of pattern of decline, shall we say?

What do we think is driving that?

I mean, given that we've spoken about Gabby, how they've not taken a day off and how that's really solidifying into what could be a long running franchise.

Then we spoke about running franchises in spongebob and so what do we think is the challenge with Cocomelon?

Is it just that that kind of IP that was the OG on, on YouTube as a shorter shelf life than those story driven IP.

What do we think?

Yeah, it's a tough one, isn't it?

At the risk of free consulting Jo Redfern, it's.

She's.

Jo's just choking on her tea right now.

Yeah, it's.

I don't know, it's.

Listen, it's still phenomenal.

It's still phenomenally huge.

I always say, like the decline of Cocomelon, it's always been greatly exaggerated.

The numbers are there.

For anybody who wants to look at the Netflix, you can see how much it's, how much its engagement numbers are down on the streaming platform.

The key thing for me is that Cocomelon is such a young skewing ip, right.

It is actually very narrow in its target and that ability to be multi generational, that ability to, you know, stretch up or Become comfort.

TV viewing just isn't there for that type of ip.

No, naturally not there.

It's not a criticism on, on the IP and as it's been produced, that's.

If you're gonna go for that, if, if that's your heartland, then you're just, you're ruling out certain, certain things.

And again, I, Yeah.

I also wondered, do you think, do you think something like Cocomelon, by being more audience first in some ways or very audience responsive in some, that that kind of naturally ends up having a shorter shelf life because the audience maybe get a bit tired of that in a way that more maybe creator driven shows have a kind of more durability.

Yeah.

I'm saying.

No, I don't.

But you, but you mean because they're like, they're reacting to aud.

Like, like audience because they're so kind

of engineered to deliver what the audience is telling them that they want.

Yeah.

That, that in some ways those, that can, that can mean that it has a shorter shelf life because the flavor of that bubblegum gets kind of.

You lose it quicker.

Yeah, I think I, I know what you're saying that, you know, it's like what is at the end, what is at the creative heart of Cocomel?

And I can hear Andy the producer talking very much so here.

It's like, what is that?

The creative heart of like pushing this story forward.

Yeah.

And trying to like, to be, to be really clear on that.

And maybe, you know, looking at Cocomelon, like can you like.

I totally get your point.

You can't really.

Can you distill it into something that like is.

What's the creative DNA, Creative part of it?

And that's not a preschool thing necessarily because like what's at the creative heart of Ms. Rachel?

I would say like education and connection with kids, firstly.

Yeah.

But also obviously there's one, one or two.

Like her and her husband have a vision on what this IP is and what they want it to be moving forward that's not just based on the audience feedback.

So.

Yeah, I think you might be on something there.

I don't know.

We need to, we need to chew that one around a bit and like.

Yeah, like, because it's, it's.

Yeah, I kind of.

I hear what you're saying and listen, it's hard.

You can't get the data to definitively back that up.

It's.

Yeah, that's a fair question, I would say.

Yeah, it is, it's interesting because it is very specific, isn't it?

Like you said it's very young, but it also does a very specific job.

But that in itself makes it quite narrow.

Yes.

Which is perhaps a limit, but like you said, still very much a workhorse doing the numbers.

By no means in the doldrums yet.

The other thing you need to factor in on it all is like, Cocomelon's on its way to Disney.

Right.

So, you know.

Yeah, that's.

You know, it's some.

Some of its influx.

Right.

Like, who's to know?

Like, Netflix only let the algorithm do the talking, allegedly.

Right.

You know, but the priority of the.

The priority of its longevity within that Netflix, you know, within.

Within that Netflix arrangement is going to be concluding Netflix will always retain Coco Melanin for like another 20 years or something like that.

But it's a good point, you know, so, like, it.

It is an IP in flux.

Right.

We can.

The numbers are declining on Netflix.

Right.

That's lots in the data.

And it's coming out with its movie, which, you know.

Yeah.

Who knows what.

I don't.

You know what?

That.

That's just like, so something in change for sure.

And definitely still big.

Right.

Like, not like it's.

It.

Tales of its demise have been overstayed vastly.

Right.

Like, it's still.

It's still huge.

It's still.

It's still a really big IP in a.

And in a really competitive landscape, still holding.

Still holding space.

So, yeah, absolutely.

I had one last question, actually, which was, do you have any tips for who might steal the number one spot from Paw Patrol?

I don't know who's coming up.

I'm going to set up a prediction market on this.

Yeah, we could.

It's a hard one.

I don't know.

I. I need to see the.

It depends on the windows.

Right.

Like, I think.

I think Cocomelon.

Oh, sorry.

I think Paw Patrol could hold it because I doubt the window they've done on the US on those US Seasons is going to be like, less than a year.

Right.

Like, it's going to be at least a year, whether they add more seasons.

If they.

So I think they've got two seasons on in the US if they were able to open up another few and add to that, then that could be quite potent.

Peppa's been doing a lot of moving and shaking as well.

Right.

This last year we had Ezra on the podcast.

I don't even want to know when that was.

But you know that that's an IP that's in activation mode even though it's 20 years old.

Right.

So never to be discounted.

And then Gabby's dollhouse is, you know, again, the, the, the that team never take a day off.

They're always finding a way to grind.

And so, yeah, it's really, really competitive, which makes it, as I said, exciting and fun.

Good stuff.

So how do people get their hands on a copy of this Netflix report?

Emily?

Definitely.

Yes.

Good job, Joe.

The sales part, right?

Drop them on LinkedIn if you're interested in hearing more.

We've got packages for business to business packages for the full thought report and webinars.

And you can find out more@e wordmedia.com or sign up for my newsletter, the Kids StreamerSphere.com where we'll be sharing some extracts from it as well with, with paid subscribers.

So, yeah, thanks so much, guys.

I've been like, you know, I've been like cooking on this for a number of weeks.

It's been like on the tip of my tongue.

So I think I appreciate the opportunity to chat with you both about it.

Yeah, it's great.

This is good, good intel.

It's a good week.

We love a bit of Intel.

Genescent data.

That's what sums it up.

Absolutely.

That was great.

Shall I do a quick sign off?

So I hope you guys enjoyed that quick bonus episode and please like and subscribe and find us wherever you get your podcast and we will see you guys next week.

But.