In early May, on the set of *Sesame Street*, the crew was heavily involved in filming for the forthcoming season, demonstrating their proficiency after almost sixty years of production. Key aspects included set monitors exhibiting mock animations during the recording of a Cookie Monster episode, and representatives from Sesame Workshop indicated that segments of the new season could showcase entirely animated backgrounds, similar to the classic “Elmo’s World” green screen set.
Shortly thereafter, it was disclosed that this initiative was part of the show’s new distribution approach, with *Sesame Street* transitioning to Netflix. The company aimed to bring back classic elements, such as “Elmo’s World,” while also incorporating new animation segments and interactive features to revitalize the format.
Online audiences rejoiced at Netflix’s decision as a reprieve from Trump’s budget cuts, considering the administration had recently proclaimed the discontinuation of the Department of Education Ready To Learn grant, a vital funding source for PBS, which had supported *Sesame Street* for three decades. However, this was not the sole factor regarding Netflix’s interest in the cherished muppets.
Prior to Netflix, *Sesame Street* was linked with HBO, which secured the rights to broadcast episodes in 2015. Episodes premiered exclusively on Max before being made available on PBS for free. Redirecting the program’s emphasis to streaming was crucial to maintain its relevance for children. A Nielsen report from 2023 revealed that streaming services comprised over a third of children’s television viewing, while broadcast television declined to 20 percent. Traditional television has seen a downturn as children increasingly prefer streaming platforms and content from online influencers.
According to Netflix, children’s and family entertainment constitutes 15 percent of the platform’s overall viewing, with many recent additions being spinoffs of well-known franchises, large-budget intellectual properties, or content from creators like TikTok and YouTube sensation Ms. Rachel.
Nonetheless, streaming services do not provide a stable environment for children’s content due to the entertainment industry’s profit pressures. The *Sesame*-Max collaboration ended in December, with Max indicating this was part of a strategy to decrease investment in children’s programming. “Based on consumer usage and feedback, we’ve had to prioritize our focus on stories for adults and families,” a spokesperson stated.
“The media industry has recalibrated its focus,” noted Sara DeWitt of PBS KIDS. “There was considerable pullback in the commercial sector regarding kids’ content, as it wasn’t attracting subscribers to streaming. Major companies that had been investing in children’s content began to retreat.”
Streaming services can deliver advantages for children’s content free from the limitations of traditional broadcasting, yet they are increasingly unreliable, concentrating on children’s media that can be monetized, remarked Rachel Franz of Fairplay, a nonprofit that advocates for commercial-free space for children.
Franz questions the motivation behind media production and the profit aspect. Streaming and entertainment conglomerates assert they are fulfilling viewer demand with innovative experiences and multimedia interactions. Video consumption dominates screen time for children under eight, as reported by Common Sense Media, with video games occupying the second position.
Entertainment firms have fostered this transition. Disney, for instance, invested $1.5 billion in Fortnite creator Epic Games to build a vast universe for its intellectual property. Netflix is replacing interactive video features with more gaming content, encompassing its new *Sesame Street* collaboration. “They are leveraging the *Sesame Street* license to create a game version, which is unnecessary,” contended Franz.
The popular gaming applications of these companies, alongside their substantial financial resources and algorithmic control, can result in exploitation, according to Franz. “Without public funding, entities like *Sesame* must form agreements with Netflix, subjecting young children to manipulative design strategies such as autoplay and data-driven personalized content,” remarked Franz. “Licensing branded games is what they are being pushed towards in the absence of funding.”
Experts like Franz express concern that these shifts diminish autonomy for children and parents aiming to entertain and educate their kids. Personalized algorithms and data collection present risks with streaming that are absent in broadcast television. “It’s the consequence of a strong business model that attracts kids and families,” says Franz.
Advocates argue that business and governmental interference obstruct a healthy childhood relationship with screens and media. As technology and entertainment advance, crafting age-appropriate content becomes less appealing to major corporations. “The reality is, prioritizing what benefits kids isn’t always profitable,” stated DeWitt.
The PBS KIDS Games app, for instance, averages 3.6 million monthly visitors, providing ad-free content and games. PBS KIDS has been producing educational games for years, intentionally designed without ads, in-app purchases, or external access.
Simultaneously, an increasing number of children are attracted to social media content, including “kidfluencers.” According to the Common Sense Media report, kids are engaging less with live television and cable, while spending more time on platforms like TikTok and YouTube Shorts. The nonprofit discovered that average daily usage on such apps surged significantly between 2020 and 2024.
“Much of the content children encounter today is produced by individuals lacking a background in children’s media,”