This week the Kids Media Club team is back for another Host’s hangout - Andy returns from a ski holiday (not in a cast, luckily) — and he's joined by co-hosts Jo and Emily for a wide-ranging house chat covering some of the biggest stories shaping kids media right now.

YouTube's Quietly Enormous TV Play

The conversation kicks off with something that still surprises people even when they hear the numbers: YouTube has just had its biggest year for ad revenue ever, pulling in $40 billion. Add in the YouTube TV subscription tier — now revealed for the first time in Google's earnings — and the total climbs to $60 billion, making YouTube the second largest TV subscription service in the US.

The team unpacks what this means for how we think about YouTube. It's not the disruptive upstart anymore. It's building tailored content packages — including a kids-specific bundle featuring Nickelodeon, Disney Channel and PBS — and increasingly talking and behaving like a traditional broadcaster. Sound familiar? That's roughly the same trajectory Netflix took, and we all know where Netflix ended up.

The BBC–YouTube Partnership: Who Really Wins?

Closely related to all of this is the BBC's recently announced partnership with YouTube, bringing seven new BBC kids channels to the platform.

The group agrees it's genuinely mutual. YouTube gets the credibility boost of having the world's foremost public service broadcaster as an official partner — no small thing at a moment when social media platforms are under intense regulatory scrutiny. The BBC, meanwhile, gets reach (especially globally, where those three letters carry less weight with younger generations than they once did) and access to YouTube's expertise in creator-led content — an area where the BBC openly acknowledges a skills gap. The Creator Lab initiative and the ongoing Last Pundit Standing project are all part of that upskilling effort.

Child Safety, Age Verification and the Regulatory Heat

Recording on Safer Internet Day (10 February), the team touches on the fast-moving world of platform regulation. Australia — first mover on age restrictions for under-16s on social media — has now requested an urgent meeting with Roblox over child safety concerns, potentially bringing Roblox into the same regulatory frame as other social platforms in France and the UK.

Rather than viewing this purely as threat, the group notes that Roblox, Discord and others are actually accelerating their own age verification and safety rollouts in response. The pressure may be producing faster, better tech than the platforms would have developed on their own timetable. Whether it's enough to get them out of the regulatory crosshairs is another question.

This sparks a broader thought: could regulatory pressure push more platforms towards subscription models, where identity verification is structurally easier to enforce?

Club Penguin: Disney's Most Expensive Missed Opportunity?

From there the conversation takes a wonderfully nostalgic detour into Club Penguin — the beloved, chaotic, genuinely safe online world for kids that Disney acquired and then, the team argues, fundamentally misunderstood.

The diagnosis? Disney saw Club Penguin as a promotional platform rather than as an IP or community in its own right. They didn't invest in a proper mobile transition at the critical moment. And crucially, they couldn't see its long-term potential because they were busy counting Frozen and Star Wars money. The comparison that lands hardest: Club Penguin could have been Roblox. Disney is now investing heavily in Fortnite as its digital parks equivalent — the very thing Club Penguin might have become with patience and strategic vision.

This leads into a broader discussion of Disney's new CEO Josh D'Amaro, the question of whether Disney has a genuine new IP problem (spoiler: the group thinks yes), and what the Eisner era did differently that allowed creative hits to flow consistently. The emerging consensus: Disney Plus could be the incubator for new franchise IP, but only if it's protected from the weight of impossible commercial expectations from day one.

Pokémon at 30, Minions vs Monsters, and the Long Game of Franchise Building

The episode rounds out with two Super Bowl ad appearances from kids IP giants — Pokémon celebrating its 30th birthday and the trailer for Minions and Monsters — prompting a conversation about what it actually takes to justify an $8 million, 30-second media slot. The answer? Roughly 15–20 years of patient capital and multi-generational brand building.

Jo and Andy also flag an upcoming panel at KidsScreen exploring exactly this question — how early-stage franchises like Betty Buys from Jam Media begin the long journey towards that kind of brand scale.

Find Kids Media Club on all major podcast platforms, YouTube, and Substack.

Tags: kids media, YouTube TV, BBC YouTube partnership, children's content, Club Penguin, Disney IP, Roblox, child online safety, age verification, Safer Internet Day, Pokemon, Minions, kids franchise building, public service broadcasting, MIP London, KidsScreen

Hello and welcome to another episode of the Kids Media Club podcast.

I'm back this week.

I missed the last week's episode.

You're not in a plaster cast skiing completed.

I managed to survive.

Yeah.

Just about kept up with my kids, although they may.

They may disagree with that.

But, yeah, back from the skiing holiday.

Had a great time.

Well, we, we did miss you, Emily and I do go into a slight panic when we have to try and drive the podcast studio ourselves.

Then we fumbled our way through and we had a great.

Yeah, it looked great.

Yeah, we had a great chat with Sarah DeWitt of PBS Kids.

I mean, she's such an engaging lady and it really threw into relief the challenges that they've got facing them.

But my goodness, they're.

They're facing them with positivity and seem undeterred.

And you'd be forgiven for detecting a little bit of, you know, kind of a jaded response from her, but I was, I really thought she was outstanding.

Didn't you, Emily?

Yeah, yeah.

That was super, super fun and.

Yeah, very.

Yeah.

Positive, productive and everything like that.

Because it's a tough landscape out there.

So today we have a house chat.

Got a couple of things to get through, a couple of.

A couple of topics, I mean, to kick off, which is one of the.

One of the challenges with public service as well is that YouTube is taking over the world.

YouTube is TV.

People find it triggering.

Some people find it triggering when you say that.

But, I mean, I've been.

Don't say those words, Emily.

I think I've been saying it for about two years because with kids it's always been so obvious.

But there's loads of stuff happening with YouTube right now.

There's a BBC YouTube announcement speaking of public service and, you know, finding that integration piece, which is great.

7 kids channels coming through there.

Yeah.

So that's.

That's interesting.

And then there was all this noise around YouTube TV.

So Google's latest earnings.

YouTube has had its biggest year for ad revenue ever, which was, I think around 40 million in revenue, or got to 40 million.

Sorry, 40 billion.

I beg your pardon.

I beg your pardon.

But for the first time, they announced the subs, the premium subscriber tier on YouTube TV, which brought the revenue for YouTube up to 80 or, sorry, up to 60 billion.

And that's quite significant.

Yeah.

Crazy.

They're the second biggest TV subscription service in the US now.

Yeah.

And they, they, they kind of got there very quietly.

I think it caught everyone by surprise how big the subscription element of their offer was.

And of course they've been tweaking their packages.

Now, given that subscription fatigue is real and they've come out with, I know, some specific sports packages which I was looking at earlier last week.

But Emily, you were just saying that they've got some very kid focused packages which had slipped kind of under my radar.

So now they're beginning to tailor said packages so that it becomes much more kind of subscriber friendly for those people who have got multiple subscriptions on the go.

Yeah.

Sports season entertainment, I think is out of the offering.

It sounds practically linear.

And they had Nickelodeon, Nickelodeon, Disney Channel and PBS actually as part of that kids subscription package, which is, like I said, YouTube.

YouTube is TV, but YouTube actually really wants to be TV, I think becoming.

Increasingly clear, isn't it?

I mean, the, the vernacular, the way they're reporting their earnings, the way that they're presenting themselves.

Isn't it funny, I was having this conversation with somebody yesterday how once Netflix was the, the upstart, the pretender.

And we've spoken about how Netflix is very much established media now and one wonders if YouTube is on that similar trajectory.

You know, it's not.

We know it's 20 years old now.

The platform is maturing and as is the media landscape, but it's edging further and further towards that more traditional, traditional media model, isn't it?

Yeah, maybe it needs the.

But maybe in terms of that evolution into being tv, it needs the established TV partners in a way that it didn't previously.

Yeah, I think that's.

I mean, they need each other.

Right?

I mean, we've discussed this plenty of times how the BBC has struggled to reach and engage those younger digital native audiences, hence the partnership.

And I'll be digging into that partnership when I'm talking to Both BBC and YouTube at the kids and Teens Summit at MIP London coming up.

So it certainly is mutually beneficial.

I think a lot of the rhetoric kind of in the, the industry, it kind of favors one over the other, who's getting the best deal here.

But I do think actually it's useful for both sides because there's an air of validation.

It lends validation to YouTube when they can say that they've got the BBC, arguably the foremost public service broadcaster on the planet, as now as an official partner.

So, I mean, that's a big scoop, I would say, for YouTube, actually.

Yeah.

I mean, I think from a perception point of view, particularly in this era where it feels like social media is in the regulatory crosshairs a bit.

Indeed.

I think having a partner like the BBC endorses you and gives you a prestige which maybe provides a slight force field against some of those kind of regulatory shots.

Yeah.

Then what does the BBC get out of it?

Because I guess it kind of goes both ways.

It's like, you know, Barb has, you know, the results from Barb for the past few years have shown how relevant YouTube is, particularly for younger audiences.

Again, no news to us, but, you know, the BBC, I guess, is being seen to really move into that space and be taking that seriously as opposed to trying to finger in the ears, la la la, until it doesn't happen, you know, so it's that kind of mutual, Mutual credibility lending, perhaps.

Yep.

Maybe it gives the BBC reach, more of a global reach if they're looking to, to really kind of leverage the BBC as a global brand.

Yeah, definitely, yeah.

I mean, yeah, absolutely.

I mean, with each passing year, those, those three letters that have meant something for a hundred years or more in the global media landscape, they, they mean less and less, particularly to those younger generations.

And if they're going to try and maintain that as they come through charter renewal and dare I say, either next 100 years, then they've got to do something about how they reach and engage or not.

And resonate.

I always come back to the word resonate because, you know, we talk about reach and relevance, but actually resonate really does imply it's meaning something.

You're hearing it multiple times.

And I think that's, that's the thing.

The BBC doesn't necessarily resonate so much with that young generation.

So that's, I mean, that's, that's interesting.

And one other thing that I'm certainly going to dive into and I'm chatting to both the BBC and YouTube is, I think there's also a stated acknowledgment by the BBC that their internal competencies are not compatible with YouTube.

And we've spoken.

They've.

They launched this creator lab.

They did a, a sports creator initiative last year called Last Pundit Standing.

They're doing it again this year.

It's more.

Got more of a, a nature kind of hut.

Cultural bent.

I think it's.

But that in a way is a nice thing that they can do together in the sense that YouTube can help the BBC upskill in that way because there is a bit of a skills gap at, at the BBC, so.

And they're doing this thing with the National Film and Television School as well, so there's, there's kind of extraneous benefits to the relationship as well.

That we should perhaps acknowledge and it.

Feels like that creator lab also future proofs the BBC in some respects because.

Exactly.

With the announcement of the BBC YouTube channels I know there was.

There's a lot of discussion about that having original YouTube content that's going to be specific to that platform.

So it helps to kind of have a.

A team of creators associated with the BBC that are trained to really produce content that fits on those platforms.

Yeah, it was interesting to look at the kind of suite of channels that they announced.

So there's one called Epic Facts.

I mean this be interesting to understand what the creative process around that kind of aggregation was because they're not just lifting and shifting CBDC and putting on there.

Although there is a CBBC can of themed one but non stop cartoons, for example Newsround.

I mean we know how popular and how Newsround is still used in schools, you know but it's getting its own channel and BBC bite size of course.

I mean that's always been such a great resource but for a long time was basically hosted on the website.

And actually the fact that it's now leaning into YouTube as its primary distribution I think is.

Is only a good thing.

And potentially a CBB parenting channel I hear coming later in the year which CBB's parents has always been quite a strong, a strong thing that they've done mainly through socials and some in.

In some cases absolutely brilliantly hilarious and a great, a great way for.

For parents to engage and have that.

What we talk about a lot that participatory relationship with the.

A preschool channel.

So that should help that too.

Yeah.

I think CBB's is probably one of the most like from an international perspective has so much potential, potential to equal women and, and a beloved brand.

It's, it's.

Yeah there's, there's lots it could go there.

What are we all going to do when the social media band comes in though and then none of the kids are allowed on YouTube.

Oh goodness.

I'll be a bit awkward.

Well it will be, won't it?

Goodness.

At that point children will be seen and not heard.

Oh God.

Well I, I should counter.

Sorry.

It's an age.

It's an age restriction.

It's an age restriction.

And we are Gary.

Commenting.

Yeah we are recording this on February 10th which is safer Internet Day.

So it is relevant and relevant for a number of reasons, not least because it's Safer Internet Day.

But what popped up on my newsfeed earlier that obviously we know Australia has been first mover in Age restrictions on social media for under 16s and just today they announced that they had requested an urgent meeting with Roblox over child safety.

Roblox not originally included in their social media age bans, but now they've requested an urgement meeting with Roblox which I think will then push Roblox into that cohort of platforms that are now being considered by the likes of the French government and even our own government.

What does this mean?

Well, we were chatting before we were recording actually about how Roblox in particular has rolled out a lot of safety and verification features of late and they do come in for an inordinate amount of criticism.

But they are rolling this stuff out and they're actually doing it at speed.

And sometimes that means it rolls out and it breaks.

Things on Roblox and the developer base go crazy.

But actually age verification, chat restrictions that they've rolled out recently, now we see discord today that they're rolling out or they're fast tracking age verification.

So all of these platforms where we know kids hang out, let's face it, actually are trying to get out in front of this thing.

So maybe the regulatory pressure will result in some really good kind of speeded up tech rollouts that will help.

Will it?

Will it take them out of those crosshairs that you mentioned, Andy?

I'm not so sure.

But at least I wonder whether it might also encourage.

They're owning being in the crosshairs, right?

Like they're not going la la la here, right?

They're going, I can see your crosshairs.

This is really corporately uncomfortable.

But I'm not going to duck, I'm just going to fix it.

I wonder whether it might also encourage.

We talked about subscription fatigue, but I wonder whether it might also encourage more of a subscription model as well.

Just because in some ways that verification becomes sort of easier within a subscription model than an ad funded one.

Yeah, that sign of, that sign of thing, this, Joe, this had me thinking about, which I saw a wonderfully nostalgic TikTok on recently.

Is Club Penguin.

Amazing.

So was Club Penguin the safest place on the Internet for kids that's ever existed?

Potentially.

It was a very beloved, chaotic little world that was really thriving for a number of years.

Oh my goodness.

It was so awesome.

I just kind of.

And it had me, it had me thinking about a few things.

It had me thinking about.

So the Disney new CEO Josh tomorrow and he's come under the observation on Josh, I'm obviously on a first name basis with him.

Is this question of whether he can come up with original IP and you know, part of a bigger question as to whether Disney can come up with original ip.

I think, you know, definitely the Iger era was defined by cherry picking some amazing ip.

Marvel, Star Wars, Pixar being the three holy trinity jewels and the crown Fox comes under a lot more criticism and I would say that's fair.

And I would also say Fox is not a defined IP the way Marvel, Star wars or Pixar was saying that there's some great Fox shows and there's some good Fox ip but it's, it's not, it's, it's not that, you know, it didn't come with that clear value proposition.

And then the additional complication of integrating another media company and the difficulties with that and how that kind of changed the culture at Disney is, is all part of the criticism around that deal.

Disney are not known either for doing very well with their digital acquisitions, I would say.

And that's probably a blind spot for them.

You know, they acquired maker that was, you know, again another.

That's something that they share with a lot of other established media companies.

I mean famously, was it fun to bought MySpace and didn't really know what to do with it?

Yeah, yeah, very different skill.

But that's where I bring it back to Club Penguin.

Like it was a really discreet space, specific IP Y.

The one thing they got right but.

They didn't, they didn't get it right.

The pro, that was the problem.

They didn't see the long term, they didn't see the long term potential of it.

You know.

What mistakes do you think they made with it?

Yeah, sorry, what, what mistakes do you think Disney made them with?

With Club Penguin?

They deprioritized it.

They didn't invest, they didn't continue to investment, they didn't majorly invest in it for mobile.

Right.

And that was the major thing was that they shut off the desktop experience before the MO and set up like kind of a really like wishy washy mobile experience instead.

Yeah, they didn't see the vision.

Right.

Like they, I'm like what a time in their life, you know, in the life of that company.

We were all making money.

There was frozen dollars coming in the door.

There was Star wars dollars coming in the door in a long term, 15 year vision.

Kuklu penguin have been Roblox.

Not quite the same thing, but it could be.

Yeah, I could totally see It.

Why not?

Yeah, it could have been.

Yeah, it could have been.

And that's it.

Given that they've invested heavily in Epic and Fortnite.

Yeah.

That.

I do wonder if that there are some quarters of Disney that are like, oh, if only.

If we'd have just stuck with it another couple of years, that vision would have become clear.

I agree with you.

I think it was.

They didn't.

They didn't see the potential.

And perhaps because it's not their heartland, because they're a more traditional studio, but that vision would have crystallized and become clear if they'd have just hung on.

A little bit longer.

Yeah.

And I also wonder whether.

Cause you were saying that that's a period of real success for Disney brands at that point.

Yes.

And I think the problem there in some ways is that those kind of capture everyone's attention.

And so something like Club Penguin, relative to that looks like it's not really that crucial or that critical.

It's quite hard to then project 10 years into the future and think of what it could be.

And it was seen as a platform, not an ip, if you.

You know what I mean?

Right.

Like, so let's use Club Penguin to do a Frozen party to promote, you know, Frozen, whatever.

Like Disney.

Disney are.

Are the king of using their platforms to, you know, be the machine that promotes the.

Promotes the brand.

But, like, they didn't see it.

They saw it just as.

As a platform.

Not.

Not an IP or not.

Not a.

You know, not something.

Not a community, maybe.

Yeah, but.

But like you say, I mean, one community, and look how valuable they are now.

And those that were building community at the time that Club Penguin was around, the Mr. Beasts of this world, look where they are.

They've got the big communities in the world, so maybe a miss there, but it was safe, social.

And again, coming.

Coming back to what we're talking about with Internet Day.

Safe Internet Day, they had safe social.

And arguably, and again, like I said, hindsight is a wonderful thing, but they were doing pretty well.

Yeah, absolutely.

I mean, going back to the.

To the.

The story about this new CEO, I wonder whether there's almost.

Club Penguin could have been like a digital version of the parks.

Do you mean it could have very much been like a digital version of the parks?

And I think our friend Josh, he's kind of.

He's.

He's kind of.

His background is from the parks.

He's come from.

From that side of it.

And you can see how Club Penguin or something like that could have been integrated into a Complete kind of universe where you've got the parks, you've got the digital reflection of that.

Well, that's how they're now considering Fortnite.

There's been multiple commentary on how they consider Fortnite to be the platform on which they can build the digital version of their parks and populate it with their characters and premiere movies in there and things.

Yeah.

So.

Okay, yeah, hang on one second.

Okay, one second.

Hi, Josh.

Hi, Josh here with Andy and Joe.

You mind us calling you Josh?

Your IP issue is going to be solved by re engaging with the Club Penguin ip.

And you know what, Joking aside, I still.

So there's.

Nostalgia.

Yeah.

Harking back to a time when we all felt a little bit more safe and secure.

I don't know why when Rickman died.

Okay.

You know, whatever.

That was a bad year for that, I'll give you that.

But you know what?

I would not.

If they could do something with Club Penguin, I think it would work if they brought it back inside.

I mean, look at.

Nobody thought that the Minecraft movie would work.

Yeah, yeah.

But it needs to be strategic, not tactical.

Strategic, not tactical and a bloody story.

But I think.

I think there are multiple, potentially multiple creators, directors, producers out there that would also feel very fondly about Club Penguin and they'd love to get their hands on it.

Yeah, yeah.

Oh gosh.

We're consulting for free again.

For you, Josh.

Yes.

Yeah, yeah.

But listen, I think it's all fair.

It's fair criticism about that.

I mean there's lots of good things.

You know, he's very, he knows Disney fan.

He's very passionate about the Disney fan parks and experience.

That real type of engagement is definitely has to be part of the future, but it just, it doesn't solve.

Doesn't solve Disney's IP issue.

So yeah, bit of a challenging one there.

Do you think Disney has an IP issue?

Yes.

You do you not think so?

Well, they've had some of the biggest animated movies over the last couple of years.

A new IP issue?

Well, I mean, I think maybe more.

A new IP issue.

And also the fact that they're having, they're having miss misses as well as hits.

Yeah.

When they used to, you know, their run rate was pretty good.

Yeah, right, sorry.

And it was one after another.

Yeah, yeah, yeah, yeah.

The originals is an issue.

Yeah.

Granted.

And it surprisingly is not one that is not one that Iger ended up solving really.

Which was.

His return was supposed to solve that issue.

It's that IP truffle picking type of competency.

Right.

Isn't it like.

And again, the Fox acquisition wasn't an IP truffle pigging.

That was, that was like a.

That was an asset bank maker.

Arguably was an asset bank, not IP led Peng Penguin is something different actually on that Pixar, I would say is less of an asset back, more of an I like an IP or ip.

You know, I think of like what, what, what.

What's happening with Candle and you know, and listen, they haven't made all the right decisions but like going hello sunshine.

Reese with a spoon.

This is like, you know, this has got that kind of juice.

Yeah.

That feels like more of that truffle picking.

Yeah, I can see that.

I mean I always, I always thought that with Bob Iger, his, his real magic was sort of as a deal maker.

He.

He brought incredible kind of brands into the Disney universe that felt complementary to that universe.

I think that's why Fox ended up being one of those deals that wasn't as easy to integrate.

But certainly with Pixar and Marvel they felt like that was kind of very complementary.

But maybe, maybe now you need.

I almost think like the Eisner era was more of the era where you had that creative kind of renaissance.

Yeah, yeah, yeah, yeah, yeah, yeah.

Yeah.

And through to.

I mean I'd probably still include.

Wasn't.

Was High School Musical still at the end of the Eisner era?

Yeah, I think it was.

2003.

Yeah.

You googling now.

It's earlier than that.

I thought, I thought it was.

Oh, you're right.

2006.

Then split the change.

Hang on.

2006 it was.

Yeah, yeah, yeah, yeah, yeah.

Listen, it's also the first.

I kind of feel that they.

The environment in which the new IP is created almost needs to be one in which there aren't.

It isn't heaped with expectations in terms of what that new IP is going to achieve straight out of the gate.

Yeah.

Because you're never going to be able to compete with Zootropia, Zootopia or kind of or Toy Story.

Those, those kind of sequels, I think are always going to bring a bigger audience than the originals.

In the name of Paper Demon Hunters.

I would disagree, but you know.

Yeah, yeah.

And I mean, and that's, I think a key part of that is the, is the Netflix as a platform.

When we actually launched that, I don't think K Pop would have been as big a hit as a theatrical release.

I don't think it would be as big a hit as a theatrical release.

But if it had hit Disney plus as a streaming release.

Oh yeah, potentially.

But in some ways it's kind of what the streaming platforms can do is that they can breathe, they can kind of build in that familiarity with it.

So quite a kind of rapid speed and I don't know.

So maybe that, maybe that's the answer is, is for Disney plus to really leverage.

For Disney to leverage Disney plus for their new franchise in, in a way that they haven't managed to up up to this point.

Yeah, definitely.

Yeah.

Right.

What else is on the list?

We were talking, talking about franchises and sequels and.

Yeah.

Well, I was, I, I was just gonna mention that I'd noticed Pokemon advertising in the Super Bowl.

Yeah.

Pokemon turns 30.

Happy birthday.

So High School Musical 20 and Pokemon turns 30.

We're all enjoy it.

Year and.

But Pokemon advertised in the super bowl still proving that kids IP owners are still willing to kind of invest in traditional media and you know, culturally, culturally relevant $8 million per 30 second spot media.

But still has traction.

Right.

You know, particularly those, those big moments like the Super Bowl.

And you were saying about.

Gary Vaynerchuk had said that that's the most powerful piece of media you can buy.

Yeah.

So his argument is that.

Well, his argument is that the super bowl.

Only on the super bowl can you buy a media slot that will guarantee 200 million views.

Not sure if that's accurate and actually arguably would work very well for Pokemon at 30 years old because you've got that multi generational appeal.

Yeah.

You sit in the super bowl and you're going to appeal to kids who are satisfied eating chicken wings with the family because they're talking about the new Lego launch.

Then you've got special editions of the trading card game to celebrate the 30th anniversary.

That's going to appeal to the dad.

So pretty, pretty sweet.

Whether it's worth $8 million, who knows?

I'm sure Pokemon can stand that.

Yeah.

Yeah.

The other One that hit the super roll ads was Minions and Monsters.

That was the one.

Yes.

Great trailer.

Did you like the trailer?

Ah, it's Minions.

Like, it's at their best.

I don't know.

They're just so daft.

I mean, what, like, what's not.

What's.

What's never not to like about the Minions?

You know what I mean?

They were meeting monsters.

There were some cute ones.

There were some funny ones, like.

Yeah.

Oh, it's just minion energy.

Like you.

It's always.

It's always welcome in my heart.

It's always welcome in my house.

Yeah, no, I thought I. I would.

I went into watching it a little bit jaded, given that we're a few minion movies in now, but actually, really, like, I think they've taken it in a really fun direction.

Yeah.

Which is good.

Yeah.

But another one that can, yeah, afford.

Afford the price tag of the.

Of the media space and stuff like that, which is an interesting one.

And actually, Andy, yourself, myself, are doing a panel at Kids Screen that looks at, you know, launching a franchise.

The early.

The early stages, we're talking about Betty buys.

It comes from jam media.

And this question of, you know, how do you launch, how do you build, how do you get to, you know, be able to justify a Super bowl ad or a Macy's Day Parade kind of float or whatever is part of.

Part of that.

Part of that conversation, which would be interesting.

Patient capital.

Very patient capital.

Given that what Minions.

Gosh, Minions must be.

When did Despicable Me come out?

That's.

That's going to be coming up for 20 years, surely.

Oh, my gosh.

Really?

I know that we are old.

I'm just looking it up.

Despicable Me.

Do you have the drum roll, Andy?

2010.

We're okay.

Wow.

Oh, my gosh.

We might still be doing this podcast when it turns 20, though, you guys.

Awesome.

Good stuff, right?

Wow.

That's all the all for this week.

And, Andy, I'm going to leave it to you.

I always think that I can do the sign off and then I go blank.

I'm sure you can.

Okay, I'll do the sign off.

So, yeah.

So thanks very much for listening everyone, and please like and subscribe.

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