Episode 15
Kids Media Club Podcast: Roundtable Chat (Netflix, Roblox, Sidemen, Mr Beast)
In the third of a new returning format, Jo and Andy chew the fat with Emily Horgan about the latest kids media news. In today's show they discuss Netflix ad tier, Roblox, and accents in children's shows among others.
Transcript
Speaker 1
Hello and welcome to another episode of the Kids Media Club podcast. I'm your co-host, Danny Williams, and I'm here with Joe Redfern. Hello there.
::Speaker 2
I'm Joe Redfern. And once again we've got Emily, who's becoming a regular feature on our Kids Media Club podcast because we love chewing the fact about all things that are happening across and have Netflix and in the Creator economy with her. So we thought we'd kick off today by talking about Netflix. So say hello, Emily and let's yeah, let's kick off with this week's news about from Netflix.
::Speaker 3
Sure thing. Thanks for having me, guys. As an independent media consultant, I really welcome the opportunity to talk with actual people about stuff because I an essential operator quite often. So. Thanks for having me back. But yeah a busy, busy week at Netflix. 10 hours. And it's worth saying that all of this is leading into the earnings call, which is next week.
::Speaker 3
I don't know if it means there'll be no news of the earnings call or they've already heard all their news and advice. But we'll wait and see. So couple of things that are happening. Knives out to Black Onion is getting a theatrical release now. It's not a big theatrical release, but it's definitely more than what Netflix had done before, which is a limited theatrical release.
::Speaker 3
I think it's hitting about 600 cinemas in the US with the short window to Netflix. So that's, you know, I think people of people have said that they'll never, they'll never they'll never the never release titles theatrically. And I think we're starting to see the thought of that a little bit. You know, they had made lots of statements that that they were quite adverse to it.
::Speaker 3
But, you know, they're they're seeing at least wanting to test in different strategies and stuff like that. And in addition to that, then there's been a number of announcements about their to your they they've announced the pricing of it. It's I think it's going to be 499 in the UK, six $99 in the US. So that's going to be a lower a lower tier where you pay that, you pay that fee a month, you have ads and I also think actually the like the quality that you're going to get the quality available to you is going to be pretty low like 720 P which.
::Speaker 1
Are going to be.
::Speaker 3
Yeah, it's going to be HD, which in my view doesn't much define HD these days. I might and doesn't. So maybe, I don't know, maybe I should stop after sharing with him and he can get his own Netflix by mistake.
::Speaker 1
I think to me, yeah. I mean, if you're going to be watching Netflix and it's not going to be as good quality as your phone.
::Speaker 3
But maybe, maybe it's a marketing tool that like you'll be like, Oh, I'll just sign up and I'll give it a go and I'll get into a stranger things and then I'll get frustrated because it looks a bit rubbish on my TV and I'll try to be the gossip. The word on the street is that I'm Netflix instead of this isn't happening by the way, is that the introduction of the idea is essentially going to mean a price hike on the premium tier like that's what will come and whether it's you know next week it's the earnings don't think so but you know it's in the it's in the future and not not too far
::Speaker 3
a future is what the they are thinking man so involved in that ad tier expansion has been a number of deals that Netflix have done with measurement boards because obviously, you know, when you're buying ads, when you're when you're marketing or spending money on ads, you want to have it independently verified that you're getting the value for your money.
::Speaker 3
So Netflix have announced a partnership with Nielsen in the US and that like the relationship. But Nielsen I would have observed, had been a bit of a serial at one stage a few years ago. It's definitely become CO zero bias here. We've seen Netflix reference and Nielsen's the gauge which is like Nielsen's kind of measurement of like where viewing is coming from in terms of VOD, etc. and in some of their the statements that they've made.
::Speaker 3
And you know, actually the the Netflix the pivot on Netflix content performance metrics changed the last year or this year to be kind of in line with the Nielsen measurements to the minutes, minutes of content viewed. Yeah, there seems to have been a little bit of a cozying there which, which is obviously to this, to this, to this deal that they're doing.
::Speaker 3
Obviously Netflix are have Microsoft running the ad sales for the Nielsen will be independently verified that in the US and then in.
::Speaker 2
Europe in the UK.
::Speaker 3
Yeah. In the UK they've signed up to Barb. Yeah. So and again, that's kind of the odd to your point of view and.
::Speaker 1
I saw it very much as in I think because it is reported in the press is it's Netflix trying to play nice with the regulators in the UK and I'm sure there's a dimension of that, but.
::Speaker 3
I totally.
::Speaker 1
The big push is that they need Bob to kind of support their itineraries.
::Speaker 2
So yeah, sure. And I wonder what the reaction of the the other commercial broadcasters will be in terms of the effect it has on the net value of ads. Certainly in the UK, I imagine there's been some tense conversations this week in terms of, you know, how they're going to compete with Netflix.
::Speaker 3
Yeah, yeah.
::Speaker 1
Definitely that and the fixed price in their ads pretty high. I saw that there's been there's been a lot of comment in marketing and ad circles that they're being surprised that the price point I mean, I think it makes sense because it's a premium product, but they're definitely pitching it and it's kind of more of an expensive ad.
::Speaker 3
So it's kind of their basic negotiation go high and then, you know, if you go in low, there's only one place you can go back on. You got you got space.
::Speaker 2
Yeah. And I did hear there that they're going for a fairly kind of, you know, only five, five or six ad slots an hour. So they're not they're not loading it from the off. So in terms of they're almost giving it premium ad space. Yeah, you mean that space vibe from the off. But obviously, like you say, they can start high and come down if that doesn't work.
::Speaker 1
I feel I'm quite excited about the ad tier option for Netflix, partly because I think the challenge below shows on Netflix is how people discover new shows, and I think the acting gives them a platform to be able to control that a bit more than they can do on their own, on their kind of main platform. Because as I understand it, all of the shows are going to be on on the at Tier three.
::Speaker 1
So you have an opportunity to window shows and to kind of to take shows out. And and I think with having advertising on there, it also opens up space for more cross-promotion of shows in a way that's slightly different for that go on there.
::Speaker 3
Yeah, that would be an extremely busy I mean like I know I spent marketing money to get my show after time next to like the big show that's going to be and not a good time for sure. Yeah. And then the other thing that happened is because they launched it, just taken it back to the conception that they launched Spirit and Spirit Rangers from Chris me.
::Speaker 3
And this is like Chris needed a big deal with them a number of years ago from it, we've seen a twist really. James and Dana Day care was the one that was axed and the kind of great axing of 22 and which was really, really brutal because it sounds like a lovely show but spirit rangers maintain so it's it's based on it's kind of like Native American and Native American mythology meets PJ masks and it's run by you know the creative team behind it is all really authentic and and the voices they have behind it.
::Speaker 3
On the creative side, writing and animating everything is all really Native American, you know, like brings people from that background into the fold of, of, of a show of this kind of this level. So it's been it's been a great calling card for that. And the thing I feel weird then on that regard is I switched on my Netflix to watch it, which is in British English, because my husband can't stand listening to Thomas the Tank engine in America.
::Speaker 3
And he just kind of and it's it's it's very triggering for him. So we have our our Netflix, the British series, which I don't usually notice. I just put on the show in the show of the show. And we've got popular language in British English and spirit rescue. Right. It's very rare. It was in British English, which I find very strange for a Native American show, which kind of got me thinking all over again, because I do think about this periodically, about whether there is that need to hyper localize or not.
::Speaker 3
So I don't know, what do you guys what do you guys think?
::Speaker 1
That's that's an interesting question. And it comes up so much in programing development that oh, do this. Yeah. You know so I think the assumption is the you have to default to it being transatlantic or American really even if it's even if it's an English production, just because that scene, if it's if it's very local, it's still perceived as have been an obstacle to it.
::Speaker 1
International sales. I would simply. Would you agree with that? Yeah.
::Speaker 2
I, I think the tide might be turning in terms of, you know, this this huge trend that we see certainly across social media and in kids is that, you know, nation finding your niche is the way to to build a community and build a fandom. And and you can't build a niche if you make something as generic and almost as, say the word bland.
::Speaker 2
But you know what I mean? You know, to appeal to as many people as possible, you know, certainly Gen Z and coming down towards Generation Alpha kind of kids and teens of today, they like their niche. They like to feel like they've got a tribe and they belong. And we're seeing that coming through in, you know, in a lot of ways through through gaming and content.
::Speaker 2
So I actually think that it is changing a little bit. I think Bluey has done huge amounts for becoming a globally popular show or certainly an internationally popular show that's got an, you know, an Australian accent and a vernacular and terminology that previously would have been, you know, kind of edged out in favor of that American accent. And I think, you know, we were talking about this earlier in the week.
::Speaker 2
I think when when the the local element is intrinsic to the storytelling, then it occurs to me, Emily, that that's why it probably jarred with you, with Spirit Rangers, in that why would a British English accent be, you know, dubbed over content that ostensibly is about American Indians, you know, kind of native and Native American Native Americans.
::Speaker 3
Yeah. No, I mean, that was so it was just like, you know, everything about the look, the like Native Americans for Kids as well. I think that's something cool that they I was very weird. I mean I think.
::Speaker 1
Yeah I mean I think on some level the local just means authentic, doesn't it just means that it kind of has a specific can. It feels it feels like the right kind of way of of approach in that story. So it's a Native Americans and it's in an English accent, then it's yeah.
::Speaker 2
And I think that is something that is really important to kids. You ask them what they find most appealing about the YouTube is like Mr. Based. It is this authentic connection. They feel like they've got a real genuine connection to this person. So actually if you're going to put a barrier in front of that, then I can see that that is is how it might have jarred for you.
::Speaker 2
Emily Yeah, it's an interesting thing that.
::Speaker 3
I mean, I can see, like I can understand particularly preschoolers that, you know, having people that sound like them on a show, whether it's us or or a British or more kind of a locally English accented dub, I think it's it's either American or non American do it. I mean I get it. I think like even pop and rock, right?
::Speaker 3
You guys think pop would find pop and rock closer to home because it's got Chris O'Dowd with this massive Irish accent it and you know I do I do get I do get that there's that value of of kids feeling like feeling in their knees show but like you know something that something somebody like pop sounds like then somebody that they're going to identify with a bit more but I just think that there are times when you need to make the call and that you just need to like, just need to own it, you know?
::Speaker 3
And I think that like with Bluey, I think Bluey owned it. Like Louie was like, nah, it's Australian. Like that's who is like he sings like this and the whole thing and, and, you know, I would, I would say probably when Disney just took the series, there might have been a bit of research done and with a couple of focus groups to see like what the, what, what the feedback was in that and ultimately the choice was to kind of be brave and double down.
::Speaker 3
And I think there's moments where you need to do that, whether it's like a call, it comes from your gut because you think something is going to be more hysterical in an Australian accent. I mean pretty much loss making things. Ah, I always find Australians have a very fabulous intonation of just kind of something dry about the way they deliver anything and which I really appreciate.
::Speaker 3
But um, or it's more of like, like I think there's a bit more of a kind of a cultural call to be like, we've invested in this show. It is supposed to be this thing like let's just that's a, this is not me the British dub on this one because.
::Speaker 1
And I mean, I think.
::Speaker 2
No just jumping to going back to that that niche point and finding finding your tribe. I don't I think it almost does a disservice to and to the other elements that play into that. You know, it it boils down to just the accent you hear. Well, that's that's not exactly what kids look for when they're trying to find something that they relate to.
::Speaker 2
And, you know, they might resonate with someone who doesn't sound like them, but they find a point of commonality and that that is what they find. That's where they find that authenticity. And that's where they find that, you know, that someone like me or I've found my my tribe.
::Speaker 3
I aspire to or whatever. Yeah, yeah.
::Speaker 2
But that's not dependent on an accent.
::Speaker 1
Yeah. I mean, what I find really interesting, the blue example is that you could totally bluey kind of show that you could very easily have gone the Paw Patrol route and, and they could have had a kind of transatlantic like American accents. And it doesn't feel like that would have been kind of that there's any inherently in the show that you would say, No, that's a kind of terrible decision.
::Speaker 1
But you're right, the kind of the writing and the the way the jokes land, you can tell that the creators that it's in their voice really. And and I think that is very hard to it's very hard to put a kind of a value on when you're trying to justify stuff in in the kind of meeting rooms or you're kind of pitching a show, but a body.
::Speaker 1
I think the audience can tell. They can tell when the voice of the creator is kind of in sync with the way the characters speak. I think you entirely had that with Peppa Pig. I remember when I was in Nickelodeon, and Nickelodeon did have a they they had a kind of a moment where they redubbed all of the Peppa Pig in American accents.
::Speaker 3
Oh, really?
::Speaker 1
Yeah. But it just didn't it didn't land even in the States because Daddy Pig sounds very different with an American accent than it does with a bad pig. Yeah, with the British accent. And, and so that kind of and I think that does kind of stop the show from, from landing a lot of the times. And people kind of sometimes can't put their finger on exactly what's changed.
::Speaker 1
But when they then reverted back to the English original English voices, it was a big hit in the States. I mean, you've got Quentin Tarantino saying it's the greatest British import for 20 years.
::Speaker 3
Oh, my God. I think it's it is funny. I think the bottom line is I think it's it is it it's a call like it's not because I was turning it over my head. I was like, oh, maybe Parent Bluey were like, maybe they worked because they were like, they're animals, right? So they're not as culturally specific. And then I was like, when I was like a patrol, you know, they definitely said that having that British dub kind of helped to travel a bit, a bit more, a bit more, kind of successfully.
::Speaker 3
So, you know, I think it's just it's it's a call and, you know, but I think, yeah, it needs to be totally turned over. And I'm not sure they arrived at the right outcome for for Spirit Rangers because I think, you know, it's such a Native American show. Like, that'd be what it is, you know? Yeah. And I think like in terms of authenticity, Joe, something that we were talking about as well.
::Speaker 3
So it just reminds me of like this kind of idea of like, like created like, you know, the creator economy kind of bringing out content and having that kind of authentic angle to content and kind of, you know, the accent that's something kind of fit and kind of comes into play there a little bit as well. This is.
::Speaker 2
Yeah, and I think, you know, you look at the popularity of Mr. Beast and and the sidemen, you know, they've built huge followings online out of this kind of very authentic, close connection that they've built between that. Yeah. Them as YouTubers and audiences. Now it seems crazy talking about authentic authenticity and niches and finding your tribe when Mr. Bass has got one of the biggest channels on YouTube.
::Speaker 2
But that's just a testament to the size of that tribe in that community that he's built. But it's given them such power and power almost to not have all the people making those calls that you just spoke about. Emily, you know, nobody at a studio tells Mr. Bass what to do. He he's still very much in charge of his own brand.
::Speaker 2
And what he does, you know, he's he he branched out into chocolate. He launched festivals, which, you know, is is in every Walmart in the States actually prompted by the fact that he's an he has. Oh I've got it he's got he's got some an issue with his digestive tract. So actually a lot of his those chocolate bars were created with a view to having reduced allergens.
::Speaker 2
You know what? He sold millions of them off the back of that because people, again, relate to him and they appreciate that level of authenticity that he's taken into his chocolate bar range. He didn't just license it to a manufacturer and send it off into stores. So, you know that that in and of itself has such power. He's released The Beast, Mr. Beast BURGER They had 10,000 people in a queue to get a burger when he went into, you know, to to serve them.
::Speaker 2
And now he's building this huge studio of his own, which takes him into another league. In terms of this media business, you know, there's a YouTube that he's friends with called Mr. Who's the Boss, who did a tour around their studio facility that he's building. And it is something that most movie studios would envy. But again, it's testament to the power of this community and this that, you know what, he's built on the back of this authenticity and and direct connection with his community yet again.
::Speaker 2
And we spoke a couple of weeks ago about, you know, he's hinting that, you know, if he took what he knew about content creation and community building and applied it to animation, the mind boggles at what he might achieve.
::Speaker 3
I kind of feel like we've hit creator economy. Like I say, 2.2, maybe three point, you know, like it started off like, can you talk about that authentic authenticity on those axes, you know, being your your true self? And I think back to like there's a name for the crew and I can't think of it, but like, you know, there's a well, as Joe says, like Caspar Lee, like that whole crew who came up really authentically on the rough ride of YouTube tendency.
::Speaker 3
And and like you say, maybe the deals that they did at the time when they were like yeah when they're at the height of their popularity weren't, you know, the most authentic or, you know, that maybe the purest expression of what authenticity could be wasn't yet known. Right. So it's not it's not a it's not a it's not a criticism of what they did at the time.
::Speaker 3
It's just kind of the first iteration of it was, you know, super jukeboxes that were oversize. And, you know, just so those are the first steps into what this could look like. And then you kind of have the kind of the great consolidation attempts by, you know, multi-channel networks to like Maker Studios and things like that, to like play like, yeah, we've got 10,000 creators on our roster.
::Speaker 3
It was great. Like, I know they, they did some investment in studios and stuff too, and, but now you kind of have like creators, which is the right thing is where it should be coming from, really iterating, reiterating again themselves what this could look like in a really real way that's sticking so well. And I really believe, Joe, that, you know, the potential of them to apply their understanding of their community and their audience to any genre if it's channeled the right way, you know, obviously, and I think they get that they would like the sidemen releasing, but that doesn't make them bug experts.
::Speaker 3
Right. Like they are YouTube experts. But you know and coming towards that, they make creating cartoons and making cartoon pictures. But like if it channeled correctly, that has real that has real potential.
::Speaker 1
I mean, I think one of the I think what they both have is the audience relates to them in a way that they just don't relate to people on country national.
::Speaker 3
TV and they relate to the audience.
::Speaker 1
Yeah, totally. And there is an element with YouTube where I think everyone watching it understands that they could easily set up their own YouTube channel. So when they see sidemen and they see kind of everyone sharing this house, that's a that's a classic thing, which I think lots of kids grow up thinking it. Wouldn't it be amazing if when I grow up, I can just live with all my mates in a big house and that's kind of what they they can do really.
::Speaker 1
And this is very relatable. I think that's a real that's the kind of real strong part of their success, I think.
::Speaker 2
And I, you know, I think I think you're right, you know, talking about zoella you right. I think it was pretty bruising as you know, Zoella and Caspar Lee grow up through that because they almost, you know, the more traditional way of licensing their brands got hold of them and they thought, well, this is you know, this is how we do it.
::Speaker 2
And it didn't work again. It fell foul of that. That lack of authenticity that kids have is pin pinpoint radar to see right through. You know, I still remember being in Vegas at the licensing show even a few years ago now and hearing a talk from a beauty YouTuber and and I did that awful thing and of having a preconceived notion of this, you know, beautiful blond teenager that walked onto the stage.
::Speaker 2
And I didn't expect to say anything very insightful. And boy, how wrong I was. She sat there and she very, very eloquently spoke about she knows exactly the time to post her videos because she's so across the data. She knows when most of her audience are online. They she knows what they expect and when, how long she know which parts of her videos track best.
::Speaker 2
And she told a story of how she'd been offered a six figure sum to promote an electric toothbrush by some, I don't know, you know, big corporate. And she turned it down because she knew that her audience would see through that inauthenticity if she all of a sudden held up an electric toothbrush and said, Hey, guys, this is my new favorite thing.
::Speaker 2
And she turned it down. And I was absolutely blown away with how these creators, these ones that have grown up natively on YouTube, they've cut their teeth on it. They are so instinctively in tune with what their audience wants. Actually, it you can see why they don't necessarily feel the need to go to big established agencies to do these things.
::Speaker 2
Now, that's why side men are doing their own vodka. It's why Mr. Beast is doing his own festivals because they know better than the people who have done this for 20 years because.
::Speaker 1
And I think that's a real difference really between that first generation of vloggers and this generation is my sense is that the zoella and the kind of the first generation of blogs kind of arose, they they ended up being managed by people that took quite a kind of traditional talent management approach. You know, like Mr. Beast and sidemen, they're sort of being managed by people that understand the world a lot better.
::Speaker 3
Definitely. And it's got it's interesting, I think, from the kids point of view, because this is an area I think pocket watch has kind of been in for a number of years. And it's it's a bit trickier when you're when you're going with younger kids for lots of reasons, you know, and I think they've, you know, they've done the right thing in terms of like, you know, writing running like Nickelodeon show, like they haven't necessarily, you know, when it's young talent, you know, you just it's a different way of channeling it.
::Speaker 3
But it is kind of the same. It's kind of the same thesis to me that we can take this with the creator who knows their audience to make, you know, alternative, alternative content and content moments, etc.. And it's just when you think about it, for the old, for the older generation or older older folks within the greater economy, it's being able to tap into them as grown ups, you know what I mean?
::Speaker 3
And their understanding of that young audience, which I think is so exciting and has such potential.
::Speaker 2
And I do you know, I think we'll we'll see them grow and evolve as creators and people as well. It was interesting this week I saw that the first of the sidemen to become a father happened in the last ten days.
::Speaker 3
And I guess I was very aware.
::Speaker 2
But yeah, so, you know, came out with the charity soccer match which gave birth, you know, he was there with the baby on his chest. But, you know, again, I think they're all also open to to growing with their audience. And again, this is why I think, you know, at some point they'll get into kids TV because they're all going to have kids and they become really important to them.
::Speaker 2
So it'll be interesting to see how that plays out.
::Speaker 1
Interesting. I read just one final thought on that. I read that Mr. Beast was offered something like $800 million to to sell the Mr. Beast brand and the price. And then.
::Speaker 2
Of course, he would buy, which would.
::Speaker 3
Be a billion is going to be the first billion dollar brand. And there you go. There is the forecast. Yeah.
::Speaker 2
Yeah. I mean crazy that someone would think that he might get rid of it for that amount of money.
::Speaker 1
Yeah. You know, I just.
::Speaker 3
Yeah.
::Speaker 2
Seems crazy.
::Speaker 1
Moving on from the YouTube stuff kind of brought into mind what we talked about with roadblocks and what the opportunities were for the brands. Do you think in kind of that space that there are any brands that you feel like, oh, kind of moving into the robot space? I haven't yet that there'd be a real opportunity for. That's kind of new.
::Speaker 1
Is your area yet?
::Speaker 2
Well, they're going back to both chatting about Netflix, which we did at the top of the show and more latterly creators. You know, it really it would surprise me if both of those didn't move towards roadblocks at some point. You know, we we've seen with Netflix, you mentioned Ridley Jones, Emily, you know, we saw a few years ago Netflix starting to see them out onto their YouTube channels.
::Speaker 2
So they went onto YouTube and they started premiering that as a funnel back into the rest of the series. It went to Tree and now it feels like Netflix have fully embraced YouTube as a way to to premiere and debut content. There's no reason that similar things couldn't happen with roadblocks, you know, particularly with the kind of teen teen stuff, you know, you could create an area in roadblocks you could have behind the scenes stuff you could have Q&A with, you know, some of the talent.
::Speaker 2
We know that Spotify you know, Spotify, an audio platform is created, Spotify Island for that exact thing. You know, they can run concerts, they can do things on there that can be a funnel for young people through to the main platform. And I don't see why someone like Netflix couldn't utilize that and leverage that.
::Speaker 3
That's like being at roadblocks right now to be like eight weeks from not on there because that is saying they should be on there. Right. I think in ten years. Well, we'll see. We'll see. Like the Mr. Beast of YouTube or maybe when we took Disney would be like, well, you know what I mean? Like but that first, like ten years ago, the first wave of original originated IP from that platform will be in the landscape.
::Speaker 3
I can't tell you what what shape that will take, but it has to happen. I think.
::Speaker 2
What are you thinking? I my my bet for the next biggest franchise is that it will be born on road blocks. I mean, I think it's you know, you look at Adopt Me, which has had about 30 billion visits. You know, it's ostensibly, you know, you have checks. You you collect little animals, you grow them, you know, you feed them.
::Speaker 2
You collect your little group of animals. You know, they that that's huge. I would be absolutely amazed if they hadn't already done a deal for an animated spinoff. I know for a fact they're looking at licensing because they just took a licensing person on a couple of months ago. You know, this is a brand that has 30 billion visits on on road blocks.
::Speaker 2
And I would imagine there's a first you kids that are now asking their parents, you know, when can I get an adopt me? Kind of, you know, should do they do they said you know it's it's so it will it will come it will definitely come and that would be my next big. My bet actually is that the next big franchise will be built on that platform.
::Speaker 3
And we saw a little bit this week with the news of Quilloughby being bought by Tom Price. You know, so everybody, you know, lucrative long hangers, but actually where they're kind of hot right now is what they're doing with shows like Warrior Cats and stuff like that. And the kind of shows that, you know, yeah, I thought that that was it.
::Speaker 3
That was interesting story. This week. Everyone was like decliners and you're like, No, no, no. That's not because like, I look at Tiger and what it's not about the Tigers, like, yeah.
::Speaker 2
Yeah, yeah, for sure. You know, Talent House are a tech company and that's where they specialize. And they will. I mean, warrior caps, I don't know any stats on it, but I know they've got a huge online fandom already. So again, it would be crazy for them not to take that and then build it out onto robots. Let's finish off just with teen movies.
::Speaker 2
We were talking about Emily, which I know is you're one of your favorite, favorite genres.
::Speaker 3
Oh, so yeah, teen movies, Netflix. I know. Like all that news, but like actors and cyber ninjas in the UK and, you know, theatrical releases and Barbie integration. Neil's integration is like, I know that's like kind of big, but like actually the big news is and I saw what it's in can't move from from Netflix where the cosmetics has moved on.
::Speaker 3
She was really instrumental in the teen tween movies and I don't we don't call them tweens anymore. But, you know, the kind of movies for young people, I say, and that makes me sound old and, you know, she she had seen movies like Tool Girl. And so I was interested to see her and her move on. And I hope it doesn't mean that Netflix is moving away from their teen movie strategy, because I kind of feel that's one of the things that they've done really, really well that no one else has done is create a content melting pot like traditional format content for teens.
::Speaker 3
And we know they're on YouTube. We know there are no longer, you know, they're on TikTok, etc., but like just traditional format, you know, movie series, they've done really well. They kind of have few movies that start, you know, you didn't even watch it, your little sister, because it might be just a person who might be dancing. And then that would funnel up to the Never have I ever.
::Speaker 3
Is it a follow up to the to the kissing booth? It'll follow up to the princess switch and then that will funnel up to stranger Things. It will follow up to Shadow and Bone with Saga Wednesday, the new Addams Family spinoff coming. And so I think that's I think it's a really smart thing that they've done well for a long time.
::Speaker 3
And I know I understand that to be quite intentional, teens think Netflix is cool. And if you've ever been confused by a teen, you'll know where that is and and that kind of future proof their subscriber pipeline, basically, because then they move on and put that into their twenties and whatever. So I hope the talent move isn't indicative of any sort of implosion happening there because that would seem to me to be a bad thing for for Netflix anything that you know I'm pretty, you know, in terms of having that kind of.
::Speaker 2
Back and she's she's gone with.
::Speaker 3
Universal.
::Speaker 2
So do you think it might be a sign that Universal have spotted a niche that they could own?
::Speaker 3
Yeah, maybe. Yeah, who knows? She's obviously very talented. Talented, exactly. You know, she she can look around at Disney and etc.. So, you know, she's on property. She's on property that's like work. Like, go get that. Go get that recognition, you know, and but it just, you know, in the realm of the overall Netflix content offering for young kids or for young people, I just thought it was I was like, okay, well, let's just keep an eye on that one.
::Speaker 1
Yeah. I mean, I think you're right because Netflix managed to, I think, really revive that genre of teenage movies that kind of got forgotten about, I think.
::Speaker 3
Totally, yeah. And they've done it really, really well and really successfully so. And it's efficient, right? It's going to be efficient in terms of costing and stuff. So I just I just yeah. Let's watch this space.
::Speaker 2
And are there any contenders to to come in and replace her at Netflix, do you think?
::Speaker 3
I don't know. I couldn't say you know, obviously, there's a whole there's going to be a whole team there that I've been putting this is has just been under the stewardship of a sole person. So potentially people, you know, you know, like the backgrounds there and obviously like with shows like Wednesday coming out like they're servicing of the teen audience or is isn't coming off the boil obviously so yeah, I think we just need to wait and see.
::Speaker 3
But it's something they've done really well and I just yeah, I don't know, just a bit tricky from the air like don't implode. Yeah, we just had a few things happen among the streamers, so I just get twitchy when I start seeing people moving.
::Speaker 2
To be interesting to see what she does at Universal, I wonder if there's anything coming through for kind of Gabby's dollhouse and and the the actress that plays Gabby.
::Speaker 3
Yeah. Yeah. You know.
::Speaker 1
And I definitely want to keep an eye on. Okay. I think I think we've kind of we've covered covered all of the news this fits.
::Speaker 2
That's.
::Speaker 1
In kids media this week. Thanks very much for joining us again, Emily.
::Speaker 3
Thanks for having me, guys. It's good to speak to people.
::Speaker 2
Thank you very much for listening in. Well, we'll be back again soon.
::Speaker 3
Thank you. Bye.
::Speaker 1
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