European broadcasters gathered in Warsaw during the Young Horizons Industry forum to discuss the shifting role of traditional media in the age of platforms like YouTube and TikTok. Initiated by the UK-based Children’s Media Foundation (CMF), the closed meeting explored new approaches to public media. Following this event, further discussions are planned for MipJunior in Cannes and the Children’s Media Conference in Sheffield. Cineuropa spoke with Greg Childs, director of the CMF, about this pivotal Think Tank.

Cineuropa: Could you give us an overview of the Children’s Media Foundation and its recent initiatives?
Greg Childs: The CMF is a UK-based advocacy organisation focused on ensuring children's media content remains relevant, accessible and of high quality. We don’t represent the industry, but rather the audience – children. Our recent Children’s Media Summit in London, supported by broadcasters and industry associations, focused on how audience habits are shifting. Children aged seven and above are moving away from traditional TV and towards platforms like YouTube and TikTok, which don’t carry the same public-service obligations as traditional broadcasters. These platforms are largely unregulated in terms of promoting educational or culturally significant content.

What were the key findings from the summit regarding how children consume media today?
The biggest takeaway was the sheer scale of audience migration to unregulated digital platforms. Platforms like YouTube and TikTok are driven by algorithms designed to keep users engaged, which doesn’t always align with promoting beneficial or educational content. We discussed potential solutions, such as introducing a levy on streaming platforms or encouraging YouTube to share more ad revenue with producers of children’s content. The goal is to make sure that high-quality programming doesn’t get lost in the flood of commercial-driven content.

You’ve mentioned looking at international approaches to these issues. Can you share what other countries are doing?
We’ve studied models from Canada and Australia. In Canada, there’s a 4% levy on streaming platforms that goes towards funding content production. Australia’s Screen Agency has set up specific funding for children’s programming. These systems show us what’s possible. We’re working to encourage UK policymakers to adopt similar models to safeguard the future of children's content on digital platforms.

At the Warsaw Think Tank during Young Horizons Industry, you gathered representatives from various countries. What were the main challenges discussed?
Thanks to Young Horizons' efforts, we had broadcasters from across Europe, including the BBC, German and Benelux-based public broadcasters and commercial networks, along with pubcasters from the Nordic countries, the Baltics and Southeast Europe, among others. The consensus was clear: everyone is losing audience share to platforms like YouTube, TikTok and Roblox. Some countries are implementing strategies to counter this trend, but the migration of young viewers to unregulated digital spaces is happening faster than broadcasters can adapt to with their own digital offerings.

What strategies are broadcasters using to engage young audiences in the digital age?
Many broadcasters are transitioning from linear TV to digital platforms, where content can be tailored more specifically to different age groups. Some broadcasters are putting their content directly on platforms like YouTube to reach young audiences, while others use YouTube mainly for promotion, trying to drive viewers back to their own platforms. Both strategies have shown mixed results. The key question remains whether these platforms should play a bigger role in delivering public-service content.

Speaking of digital platforms, what’s the role of YouTube in the future of public-service broadcasting?
YouTube is where young audiences are, but the platform doesn’t have the same obligations as traditional broadcasters. In the UK, public-service broadcasters have certain obligations in exchange for benefits like prominence in TV guides. But those rules don’t apply to digital platforms like YouTube. This lack of regulation means public-service content isn’t guaranteed visibility. Even though YouTube has introduced safety measures, it still relies on algorithms that prioritise sensational content to drive engagement, which often sidelines more educational or socially beneficial programming.

What do you believe needs to change in order for platforms to better support public-service goals?
Platforms need to acknowledge their responsibility to society, especially when it comes to content for children. They should be required to contribute to public-service goals, whether that’s through funding content, changing how their algorithms surface certain programming, or adhering to new regulations. In the 1950s, commercial television was integrated into the public-service system. We need a similar approach now with digital platforms. The future of children’s media depends on us finding a way to balance commercial interests with the need to provide children with content that enriches their lives.

After these discussions, what’s the next step for the CMF and the broader effort to address these challenges?
We’re planning another, more open meeting at MipJunior, bringing in perspectives from Canada, Australia and possibly the USA. This time, it will be less confidential and more like a summit, open to journalists as well. We need to get a global perspective on the challenges that children’s media faces. There are only a few organisations like the CMF, and every country approaches the issue differently. Events like Young Horizons Industry could take on a supportive role here in the future, such as becoming a meeting hub for the children's media industry, even if they are not a lobbying body. It’s also a challenge to secure enough funding and resources, but there was optimism in the room at our last meeting.

What is the mood in the industry now, given the funding challenges and shifts in audience behaviour?
Despite the shifts, public-service broadcasters remain confident. They aren’t as concerned about immediate threats to their funding, although smaller countries might struggle more. The main issue is adapting to the changing landscape. Children’s content has always been underfunded compared to the size of its audience, but broadcasters don’t seem worried about losing what they currently have. The real challenge is ensuring that smaller countries or those with less established media infrastructures don’t fall behind and can still produce local children’s content instead of relying solely on imported programmes.