The Future of Children's Media: A Battle for Hearts, Minds, and Screens
As we step into 2026, the landscape of children’s media is more dynamic and challenging than ever. It’s not just about entertainment anymore—it’s about shaping identities, fostering representation, and building a sense of belonging. And this is the part most people miss: in a world where over 50% of children’s video consumption happens on YouTube, traditional public service broadcasters are fighting for visibility in a space dominated by global, often non-local content. But here’s where it gets controversial: while we’ve joined calls for greater prominence of UK public service broadcasting (PSB) content on these platforms, prominence alone isn’t enough. We must meet children where they are—on YouTube, Roblox, and beyond—by evolving our commissioning strategies to create public service content tailored for these third-party platforms.
Over the past year, we’ve taken bold steps to adapt. We’ve expanded our Children & Education brands onto YouTube and Roblox, launched CBeebies Parenting to support families directly, and diversified into audio podcasts and live experiences. These moves haven’t just built awareness—they’ve opened exciting opportunities to connect with young audiences, parents, and teachers in ways that feel natural and relevant. Across our own platforms—TV, BBC iPlayer, web, and apps—we reached 53% of 0–15-year-olds in the last quarter, around 6 million UK children. iPlayer, in particular, saw a 12% year-on-year increase, marking its third consecutive year of growth. But we can’t rest on our laurels. Funding remains a challenge, with shrinking budgets and fewer commissioners investing in original children’s content. Producing high-quality work at scale is harder than ever, and ensuring children can find it is an ongoing battle.
Here’s the silver lining: the Culture, Media and Sport Committee’s inquiry into children’s TV and video content offers a glimmer of hope. It’s a critical moment to recognize the value of our industry and secure its future for the next generation.
Looking ahead to 2026, there’s a renewed sense of optimism. Nostalgia continues to drive trends, with families eager to share the shows they loved with their children. That’s why we’re bringing back Balamory in Spring 2026—a perfect example of public service TV that reflects UK children’s world, culture, and community. Multi-generational viewing remains at the heart of what we do, with big family moments on main TV networks like BBC One’s Gladiators and The Traitors proving timeless. Spin-offs like Gladiators: Epic Pranks keep parents and children laughing together, while live events and cinema specials—like The Great Ice Cream Hunt and Cinderella Panto—build brand love and awareness in a crowded market.
High-end dramas based on strong literary IP, such as Lady Grace Mysteries and Crookhaven, will appeal to broader family audiences. Meanwhile, micro-dramas and shorter-form storytelling are gaining traction among tweens and teens, so we’re exploring these formats to meet their expectations. Animation remains the powerhouse of children’s entertainment, with comedy and serialized anime driving engagement for 7–12-year-olds. I’m particularly excited for Duck and Frog, our homegrown slapstick series from BBC Ignite.
But here’s a thought-provoking question: as we champion emerging talent and expand our presence on platforms like YouTube and Roblox, are we doing enough to balance entertainment with education? Social gaming platforms like Roblox offer incredible opportunities to weave learning into play, as seen in experiences like Planet Planners and our upcoming Horrible Science Roblox game. Yet, as we innovate, we must ask: How can we ensure these spaces remain safe, inclusive, and aligned with our public service mission?
In 2026, we’ll continue to deepen our presence wherever our audience is, partnering across the industry to build brands that stretch beyond screens and into live events, cinemas, and interactive spaces. And we’ll keep supporting parents, carers, and teachers with content that informs, educates, and entertains. But the real question is: How can we all—creators, platforms, and policymakers—work together to ensure children’s media not only survives but thrives in this ever-changing landscape? Let’s start the conversation in the comments below.
