Connect with us

Business

How 'CoComelon' became a mass media juggernaut for preschoolers

Published

on

How 'CoComelon' became a mass media juggernaut for preschoolers

Fifty-five years ago, preschoolers were captivated by the TV performance of a fuzzy blue monster, two striped shirt-wearing best friends and a big yellow bird.

Today, in the now-crowded field of children’s media, one big-headed, animated toddler named JJ is running to the top.

Born from YouTube, JJ and his friends in the animated kids’ franchise “CoComelon” represent a new wave of children’s programming. Focused on songs, bright colors and a world with no sharp edges, “CoComelon” has become a children’s media juggernaut, spawning spin-offs, video games, toys, a live tour and a story-time podcast. Although its multimedia approach to kids’ content has helped expand its audience, it has also raised questions about screen time and what kind of content — if any — very young children should be watching.

Reflecting on the brand’s growth, CoComelon General Manager Patrick Reese said the company is thoughtful about the needs of its young audience and its own legacy in children’s media.

Advertisement

“We very much stand on the shoulders of giants in this space, like ‘Mr. Rogers’ and ‘Sesame Street,’” he said. “If you learn to be kind and open in those early years, if you learn that growth mindset way of thinking, that becomes your behavior for the rest of your life. And if we can create an environment and create these various shows and these various different streams of content that just make the world 1% kinder, 5% kinder, 10% kinder … we’re going to seize that opportunity.”

“CoComelon” has indeed taken the lucrative kids media market by storm.

In 2023, “CoComelon” ranked fifth on Nielsen’s list of top 10 overall streaming programs, bested only by the legal drama “Suits,” the Australian animated series “Bluey,” the long-running procedural “NCIS” and the medical drama “Grey’s Anatomy.” Beyond its presence on Netflix, the brand also commands massive engagement on its native YouTube.

“CoComelon” producer Moonbug Entertainment declined to share financial results for the franchise, but parent company Candle Media said Moonbug was the biggest and most profitable piece of its business, which also includes actor Reese Witherspoon’s Hello Sunshine production company.

The market for kids entertainment is “massive,” said Brandon Katz, senior entertainment industry strategist at Parrot Analytics. “It boasts probably the best re-watchability rates of anything in the market. What that represents is an incredibly long tail of engagement for whatever that one project cost.”

Advertisement

The genesis of “CoComelon” dates back to 2006, when commercial director Jay Jeon and his wife, a children’s book author, posted their first video to YouTube of a short cartoon played to music — alphabet-related animations that stemmed from videos they made to entertain their own sons.

By 2017, the videos had started to center on a toddler named JJ with a single blond curl. By 2020, “CoComelon” was the most-watched YouTube channel in the world, with more than 3.5 billion average monthly views, and had attracted potential suitors.

That year, it was acquired by the London-based Moonbug Entertainment, which also bought fellow YouTube children’s program “Blippi.” A year later, Moonbug was acquired by Candle Media, led by ex-Disney executives Kevin Mayer and Tom Staggs, for a reported $3 billion.

For “CoComelon‘s” Reese, who has worked on the franchise since 2018 and saw the dealmaking frenzy, the effect of the acquisitions has been stark.

There is now “CoComelon Lane,” a streaming series on Netflix that follows the adventures of JJ and his friends. In September, Moonbug released a live-action YouTube spin-off called “CoComelon Classroom,” which stars National Teacher of the Year awardee Juliana Urtubey as Ms. Appleberry. In the video series, Urtubey teaches lessons about letters, sings songs and interacts with an animated JJ.

Advertisement

Much of the creative team works at Moonbug’s office near the Grove in Los Angeles’ Fairfax district. A wall with three shelves’ worth of “Blippi” and “CoComelon” toys greet visitors.

“We’ve been able to grow so much faster,” Reese said. “We probably would not have been able to create all of these different shows, create all the different franchise moments that we’ve created, expanded consumer products and goods in the same way.”

But the franchise faces stiff competition in the preschool entertainment space from “Bluey,” which has generated 587 million hours of viewing through July, compared to 218 million hours for “CoComelon” and 45 million hours for “CoComelon Lane,” according to Nielsen data.

That disparity could be due to the difference in how “CoComelon” and “Bluey” are perceived, particularly by parents. Adults will readily admit watching “Bluey” with their kids, noting how the family dynamics feel real and relatable.

But “CoComelon” does have about a 50% co-watching rate with adults, said Staggs of Candle Media. Mayer said he and Staggs have been thanked by parents for their work on “CoComelon,” which provides relief and emotional stability for their kids during times of stress.

Advertisement

“It’s heartwarming, it’s easy to digest,” said Nancy Jennings, a professor at the University of Cincinnati and director of its Children’s Entertainment and Education Research Lab. “There’s not a lot of dialogue that you have to follow, and with the songs too, a lot of the characteristics of the show are attractive to kids in general.”

But even kids’ media is not immune to Hollywood’s recent struggles. Last year’s dual Hollywood strikes and the upheaval in the industry has touched nearly every company in the industry, including Candle Media, which is backed by Blackstone.

“Candle Media has come through a very difficult time, as the rest of the industry has … but as a whole, we’re profitable,” Mayer said. “And Moonbug is the main driver of that, and is, in and of, itself, very profitable too.”

The company must also grapple with concerns about children’s screen time.

The American Academy of Pediatrics recommends that families avoid screen media, other than video-chatting, for children younger than 18 months, and that children ages 2 to 5 should get only an hour of screen time a day. The primary audience for “CoComelon” is kids ages 0 to 4.

Advertisement

Research, though largely correlational, has shown that heavy exposure to screens at early ages is associated with inattention and impulsive behaviors, said Drew Cingel, an associate professor in UC Davis’ communication department who directs the university’s human development and media lab. Programs with bright colors, repetition and songs grab hold of children’s attention, he said.

“There are 24 hours in a day, and when you’re a developing child, there’s a lot of things you need to do in those 24 hours in order to get you the inputs you need to develop normally and healthfully,” he said. “Anything that takes up a sizable portion of those 24 hours can displace the time that could be spent practicing these developmental capabilities.”

Reese said that the company works with educational consultants and that there are ways for families and children to interact with “CoComelon” beyond screen time, such as through books and live tours. The company says it takes seriously its responsibility of teaching and entertaining children for the amount of time they spend with “CoComelon” content.

“It’s for every family to decide for themselves what their level of comfort is with any activity,” Reese said. “We want to create the best environment and the best tools, and the most entertaining, enriching content that we possibly can. And use us how it makes you happy.”

Every episode must incorporate music and life skills, said Rich Hickey, chief creative officer. A so-called story trust meets weekly to discuss ideas, and themes revolve around milestones and lessons that families experience on a regular basis.

Advertisement

“You really want to meet kids and families where they’re at,” said Hannah Kole, senior development executive. “We really want to make sure that those are relatable experiences that we know kids are going through.”

That can include bath time, eating vegetables or experiencing something new for the first time.

“Every day, we’re reminding ourselves that we’ve got a responsibility to a huge audience, globally,” Hickey said. “We’re trying to make a meaningful connection, that parents and caregivers will trust us that we’re going to make content that’s enriching and warm and safe for their children.”

Advertisement

Business

A new delivery bot is coming to L.A., built stronger to survive in these streets

Published

on

A new delivery bot is coming to L.A., built stronger to survive in these streets

The rolling robots that deliver groceries and hot meals across Los Angeles are getting an upgrade.

Coco Robotics, a UCLA-born startup that’s deployed more than 1,000 bots across the country, unveiled its next-generation machines on Thursday.

The new robots are bigger, tougher and better equipped for autonomy than their predecessors. The company will use them to expand into new markets and increase its presence in Los Angeles, where it makes deliveries through a partnership with DoorDash.

Dubbed Coco 2, the next-gen bots have upgraded cameras and front-facing lidar, a laser-based sensor used in self-driving cars. They will use hardware built by Nvidia, the Santa Clara-based artificial intelligence chip giant.

Coco co-founder and chief executive Zach Rash said Coco 2 will be able to make deliveries even in conditions unsafe for human drivers. The robot is fully submersible in case of flooding and is compatible with special snow tires.

Advertisement

Zach Rash, co-founder and CEO of Coco, opens the top of the new Coco 2 (Next-Gen) at the Coco Robotics headquarters in Venice.

(Kayla Bartkowski/Los Angeles Times)

Early this month, a cute Coco was recorded struggling through flooded roads in L.A.

“She’s doing her best!” said the person recording the video. “She is doing her best, you guys.”

Advertisement

Instagram followers cheered the bot on, with one posting, “Go coco, go,” and others calling for someone to help the robot.

“We want it to have a lot more reliability in the most extreme conditions where it’s either unsafe or uncomfortable for human drivers to be on the road,” Rash said. “Those are the exact times where everyone wants to order.”

The company will ramp up mass production of Coco 2 this summer, Rash said, aiming to produce 1,000 bots each month.

The design is sleek and simple, with a pink-and-white ombré paint job, the company’s name printed in lowercase, and a keypad for loading and unloading the cargo area. The robots have four wheels and a bigger internal compartment for carrying food and goods .

Many of the bots will be used for expansion into new markets across Europe and Asia, but they will also hit the streets in Los Angeles and operate alongside the older Coco bots.

Advertisement

Coco has about 300 bots in Los Angeles already, serving customers from Santa Monica and Venice to Westwood, Mid-City, West Hollywood, Hollywood, Echo Park, Silver Lake, downtown, Koreatown and the USC area.

The new Coco 2 (Next-Gen) drives along the sidewalk at the Coco Robotics headquarters in Venice.

The new Coco 2 (Next-Gen) drives along the sidewalk at the Coco Robotics headquarters in Venice.

(Kayla Bartkowski/Los Angeles Times)

The company is in discussion with officials in Culver City, Long Beach and Pasadena about bringing autonomous delivery to those communities.

There’s also been demand for the bots in Studio City, Burbank and the San Fernando Valley, according to Rash.

Advertisement

“A lot of the markets that we go into have been telling us they can’t hire enough people to do the deliveries and to continue to grow at the pace that customers want,” Rash said. “There’s quite a lot of area in Los Angeles that we can still cover.”

The bots already operate in Chicago, Miami and Helsinki, Finland. Last month, they arrived in Jersey City, N.J.

Late last year, Coco announced a partnership with DashMart, DoorDash’s delivery-only online store. The partnership allows Coco bots to deliver fresh groceries, electronics and household essentials as well as hot prepared meals.

With the release of Coco 2, the company is eyeing faster deliveries using bike lanes and road shoulders as opposed to just sidewalks, in cities where it’s safe to do so. Coco 2 can adapt more quickly to new environments and physical obstacles, the company said.

Zach Rash, co-founder and CEO of Coco.

Zach Rash, co-founder and CEO of Coco.

(Kayla Bartkowski/Los Angeles Times)

Advertisement

Coco 2 is designed to operate autonomously, but there will still be human oversight in case the robot runs into trouble, Rash said. Damaged sidewalks or unexpected construction can stop a bot in its tracks.

The need for human supervision has created a new field of jobs for Angelenos.

Though there have been reports of pedestrians bullying the robots by knocking them over or blocking their path, Rash said the community response has been overall positive. The bots are meant to inspire affection.

“One of the design principles on the color and the name and a lot of the branding was to feel warm and friendly to people,” Rash said.

Advertisement

Coco plans to add thousands of bots to its fleet this year. The delivery service got its start as a dorm room project in 2020, when Rash was a student at UCLA. He co-founded the company with fellow student Brad Squicciarini.

The Santa Monica-based company has completed more than 500,000 zero-emission deliveries and its bots have collectively traveled around 1 million miles.

Coco chooses neighborhoods to deploy its bots based on density, prioritizing areas with restaurants clustered together and short delivery distances as well as places where parking is difficult.

The robots can relieve congestion by taking cars and motorbikes off the roads. Rash said there is so much demand for delivery services that the company’s bots are not taking jobs from human drivers.

Instead, Coco can fill gaps in the delivery market while saving merchants money and improving the safety of city streets.

Advertisement

“This vehicle is inherently a lot safer for communities than a car,” Rash said. “We believe our vehicles can operate the highest quality of service and we can do it at the lowest price point.”

Continue Reading

Business

Trump orders federal agencies to stop using Anthropic’s AI after clash with Pentagon

Published

on

Trump orders federal agencies to stop using Anthropic’s AI after clash with Pentagon

President Trump on Friday directed federal agencies to stop using technology from San Francisco artificial intelligence company Anthropic, escalating a high-profile clash between the AI startup and the Pentagon over safety.

In a Friday post on the social media site Truth Social, Trump described the company as “radical left” and “woke.”

“We don’t need it, we don’t want it, and will not do business with them again!” Trump said.

The president’s harsh words mark a major escalation in the ongoing battle between some in the Trump administration and several technology companies over the use of artificial intelligence in defense tech.

Anthropic has been sparring with the Pentagon, which had threatened to end its $200-million contract with the company on Friday if it didn’t loosen restrictions on its AI model so it could be used for more military purposes. Anthropic had been asking for more guarantees that its tech wouldn’t be used for surveillance of Americans or autonomous weapons.

Advertisement

The tussle could hobble Anthropic’s business with the government. The Trump administration said the company was added to a sweeping national security blacklist, ordering federal agencies to immediately discontinue use of its products and barring any government contractors from maintaining ties with it.

Defense Secretary Pete Hegseth, who met with Anthropic’s Chief Executive Dario Amodei this week, criticized the tech company after Trump’s Truth Social post.

“Anthropic delivered a master class in arrogance and betrayal as well as a textbook case of how not to do business with the United States Government or the Pentagon,” he wrote Friday on social media site X.

Anthropic didn’t immediately respond to a request for comment.

Anthropic announced a two-year agreement with the Department of Defense in July to “prototype frontier AI capabilities that advance U.S. national security.”

Advertisement

The company has an AI chatbot called Claude, but it also built a custom AI system for U.S. national security customers.

On Thursday, Amodei signaled the company wouldn’t cave to the Department of Defense’s demands to loosen safety restrictions on its AI models.

The government has emphasized in negotiations that it wants to use Anthropic’s technology only for legal purposes, and the safeguards Anthropic wants are already covered by the law.

Still, Amodei was worried about Washington’s commitment.

“We have never raised objections to particular military operations nor attempted to limit use of our technology in an ad hoc manner,” he said in a blog post. “However, in a narrow set of cases, we believe AI can undermine, rather than defend, democratic values.”

Advertisement

Tech workers have backed Anthropic’s stance.

Unions and worker groups representing 700,000 employees at Amazon, Google and Microsoft said this week in a joint statement that they’re urging their employers to reject these demands as well if they have additional contracts with the Pentagon.

“Our employers are already complicit in providing their technologies to power mass atrocities and war crimes; capitulating to the Pentagon’s intimidation will only further implicate our labor in violence and repression,” the statement said.

Anthropic’s standoff with the U.S. government could benefit its competitors, such as Elon Musk’s xAI or OpenAI.

Sam Altman, chief executive of OpenAI, the company behind ChatGPT and one of Anthropic’s biggest competitors, told CNBC in an interview that he trusts Anthropic.

Advertisement

“I think they really do care about safety, and I’ve been happy that they’ve been supporting our war fighters,” he said. “I’m not sure where this is going to go.”

Anthropic has distinguished itself from its rivals by touting its concern about AI safety.

The company, valued at roughly $380 billion, is legally required to balance making money with advancing the company’s public benefit of “responsible development and maintenance of advanced AI for the long-term benefit of humanity.”

Developers, businesses, government agencies and other organizations use Anthropic’s tools. Its chatbot can generate code, write text and perform other tasks. Anthropic also offers an AI assistant for consumers and makes money from paid subscriptions as well as contracts. Unlike OpenAI, which is testing ads in ChatGPT, Anthropic has pledged not to show ads in its chatbot Claude.

The company has roughly 2,000 employees and has revenue equivalent to about $14 billion a year.

Advertisement
Continue Reading

Business

Video: The Web of Companies Owned by Elon Musk

Published

on

Video: The Web of Companies Owned by Elon Musk

new video loaded: The Web of Companies Owned by Elon Musk

In mapping out Elon Musk’s wealth, our investigation found that Mr. Musk is behind more than 90 companies in Texas. Kirsten Grind, a New York Times Investigations reporter, explains what her team found.

By Kirsten Grind, Melanie Bencosme, James Surdam and Sean Havey

February 27, 2026

Continue Reading

Trending