Let's Not Remove Children's Content from Platforms | Distribution and Sale of Children's Works to Continue with "Bache Zerang"

Mohammad Moslemi and Seyed Javad Hashemi, producers and directors of children's and teen works, speak about the state of producing content for children.

Interview with Seyyed Javad Hashemi and Mohammad Muslimi

Mohammad Muslimi and Seyyedjavad Hashemi, programmers and directors of children's and adolescent works, talk about the production situation for children.

Ambassador Arjan: When we talk about the future of entertainment and online display platforms, one of the groups that cannot be ignored are children. The experience of the global market shows that children's content is not a sub-sector, but one of the serious areas of competition between platforms; An area in which animation has an important contribution and can lead to the creation of a loyal audience and even the formation of an entertainment brand.

Statistics published by Netflix in April 2026 provide a clear picture of this importance. This platform has announced that between 2023 and 2025, four of the most viewed titles on Netflix and 6 of the top 10 titles of this service were in the children's genre; Because of this, children's content has become the second most viewed genre on the platform. Even in 2026, Netflix has expanded its scope by launching the "Netflix for Kids" app for play, learning and entertainment.

This trend is not limited to just one platform. A September 2025 report by Parrot Analytics shows that global demand for preschool content has grown by 25% in one year, and demand for school-age content by 21%. The report also emphasizes the high ability of children's content to cross linguistic and geographical boundaries.

In the animation section, the numbers are also significant. According to Nielsen's report, the animation "Bluey" has been watched for more than 25 billion minutes in the first six months of 2025, and 6 of the 20 most watched streaming titles in this period are in the animation category. Children's films have also had a high performance in the same report; For example, "Moana 2" has been the most watched streaming movie in the first half of the year with 7.2 billion minutes watched on DisneyPlus.

Therefore, if we are going to talk about the future of the online show industry in Iran, we cannot ignore the contribution of the production and supply of children's shows, especially animation. The issue is not just increasing the number of products; A product should be made that today's children want to see, repeat and connect with its characters.

In a market where the world has taken children seriously, leaving the showcase of Iranian platforms empty of high-quality children's works is more than a simple content gap, it is a serious opportunity to build an audience and future cultural brands.

The concern of filmmakers and children's program makers about the lack of attention paid to children on platforms

While the global entertainment market follows children and teenagers as one of its important audience groups, and platforms plan to produce and supply animation and theatrical products in this area, the situation of children's content production in Iran is still facing serious challenges. The problem is not only the lack of works; Reduction of support, limited production and a purely economic view of children's content are among the complaints that have been repeatedly raised by activists in this field. From television and cinema to platforms that can play a more serious role in this field.

Mohammad Muslimi and Seyyed Javad Hashemi, the program producer and director of children's and adolescent works, talk about this situation.

Mohammad Muslimi, an actor, writer and producer of children's programs, criticized the state of support for the production of children's works and said: "Unfortunately, children's work is not supported; Both on platforms, on TV and in cinema. Of course, thank God that the Farabi Cinema Foundation has stepped forward for this issue.

He also said about the situation of producing children's works in the field of theater: They do not take this field seriously in the theater either. For this reason, you can see that we have two or three theaters in the capital that are always empty, and we don't have a children's cinema.

Maslami continued: If one or two children's works are made during the year, the situation of television will be different. Because the TV children's group is closed. There used to be a competition among the networks to produce children's programs, but today we don't have such a competition anymore. This children's program creator added: All those who worked in the field of children are gradually moving to other fields to experience other work.

Platforms are more business oriented

Criticizing the commercial approach of platforms to the production of children's works, Seyedjavad Hashemi, an actor and director of cinema and series, said: "Platforms have a more commercial approach, and in my opinion, when a cultural product turns into earning money and business, you can't expect them to think about cultural work for children." He continued: The platform wants to create work for the child, but on the condition that it is free. This actor and director stated: For this reason, if they make children's work, the works are pointless, weak and absurd.

Hashemi said about why he did not go to the production of series in this field: "I have proposed the series "White Deer" for almost seven years, which was very popular and they liked it, but they said to make it cheap. I am not cheap; That's why I prefer not to. If I want to build, I must build it well.

In the end, he emphasized: Our children have a dignity that maybe I, a teacher who has become a filmmaker, only understand this.

The broadcast of the series "Smart kid; Forest Rescue Group" and continuing a path

In such a situation, the entry of a children's drama product into the platforms can be considered an important event for this group of audiences; Especially when this product is the continuation of a successful cinematic experience. The animated film "Bechehzarang" produced by Hamed Jafari and a joint product of the Center for Intellectual Development of Children and Adolescents and the Art Group, was released in 1402 under the direction of Behnoud Nekoui, Hadi Mohammadian and Mohammad Javad Jannati and sold more than 62 billion tomans at the box office. This movie, including the release of Cinemasiyar, sold nearly 70 billion Tomans and more than 2 million viewers, and was introduced as the most popular animation in the history of Iranian cinema.

Now this character and fictional world is going to be in the series "Smart Kid; "Forest Rescue Group" on the home show network and through the Azzah platform. A series of 52 episodes whose story is a spin-off from the movie.

The importance of this event is not limited to the return of a successful character to the home screen. The experience of "Bechehzarang" has shown that the production of a children's work can bring a significant audience with it, and now is the opportunity to continue this path in the form of a sequel series.

If the child is to become a serious audience in Iran's entertainment market, such experiences should not be an exception. The continuous production of animation and children's series requires long-term planning and investment so that Iranian fictional characters and worlds can meet their audience more than once, like the successful examples of the world. "Smart kid; "Jungle Rescue Group" can be a step in this direction; A path that needs to be continued more than anything else to last.

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