British icon behind Teletubbies and Tots TV calls out “huge loss” of children’s TV to YouTube: “Algorithms are quick, cheap and easy”

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Children’s TV used to feel special. The best programs brought families together, much like reading a beloved storybook. Shows like the Clangers, Bagpuss, Rosie and Jim, and Blue Peter were truly among the best in the world.

Things are very different now. YouTube is the main source of entertainment for kids, and Cocomelon is one of the most popular shows. But it doesn’t offer much real value – it’s just visually stimulating and doesn’t seem to engage children with a meaningful story or help them grow. It feels more like something created by a computer program than a thoughtfully made show.

Ragdoll Productions is a company that makes television programmes for young children. Founded in 1985, we’ve created many popular shows over the years, including Pob’s Programme, Rosie and Jim, Brum, Tots TV, In the Night Garden, Dipdap, and Twirlywoos. We’ve used all sorts of techniques – from animation and puppets to, famously, people in suits performing in outdoor locations, like in Teletubbies, where they interacted warmly while a laughing baby’s face appeared on a screen.

Teletubbies, with its playful characters Tinky Winky, Dipsy, Laa-Laa, and Po, became a worldwide phenomenon, though it also sparked a lot of debate. Despite criticism about its simple language and repetitive nature, the show was broadcast in over 150 countries. Its success stemmed from being designed specifically for young children. While some accused it of being too simplistic, Teletubbies was actually based on extensive research into how children perceive the world and learn through their senses – a groundbreaking approach at the time.

The world was rapidly changing thanks to new technology – things like mobile phones and all sorts of devices were appearing in homes. The Teletubbies reflected this shift. They were brightly colored, baby-like characters with televisions built into their bellies and antennae, living in a high-tech, dome-shaped world filled with gadgets like a custard machine and a robotic vacuum cleaner, all controlled by fascinating buttons and switches.

The support system that allowed amazing shows like this one to be created – built on decades of skill, creativity, and a willingness to take chances – has slowly faded away. Today, it’s almost completely gone.

It’s concerning how we’ve reached this point. Several mistakes have been made along the way. Channel 4 was the first to stop making its own children’s shows. Then, in 2007, rules were put in place to reduce children’s exposure to ads for unhealthy foods and drinks. Commercial channels like ITV used the resulting loss of advertising income as a reason to stop creating new children’s content, essentially leaving the BBC to handle everything.

Television is, first and foremost, a way to tell stories. However, creating quality content is expensive. It demands skilled and committed people who can build believable characters and compelling narratives, while also ensuring that the stories and cultures of children are valued and represented.

A show like In the Night Garden – which many families still enjoy after 19 years, with older episodes available online – would be very difficult to make today. It’s not just the expense; the show relied on a lot of skill and creativity to create its funny rhymes, unique characters, and imaginative settings. These fantastical worlds are incredibly valuable. Think about how many children it has soothed before bed and how much it has helped parents over the years.

I’m really worried about how algorithms are shaping things for kids today. They seem to prioritize what’s similar, and it’s become way too easy for TV channels and others to just hand over responsibility to platforms like YouTube. Honestly, it feels like they’re asking why bother with creativity and unique content when algorithms are so fast, cheap, and convenient? It’s like they’re giving up on nurturing a real children’s culture, and I think that’s a huge mistake.

It’s really disappointing to see less content for children and families. While the BBC still has some successes like Bluey, made with Australian partners, there’s a lack of shows for older kids and programs the whole family can watch together. Simply adapting one Julia Donaldson book each year isn’t enough.

Children’s TV shows can be very successful internationally. For instance, Teletubbies earned money from many countries, including the United States, proving that popular culture doesn’t just flow from the US to other places.

As a long-time fan of quality kids’ TV, I’m hearing that Parliament is looking into the future of children’s programming, and honestly, I’m not holding my breath. I’ve been involved in campaigning for better shows for over 30 years, and we’ve seen these reviews happen before. Sadly, things have actually gotten worse over time, not better. It’s hard to feel hopeful this time will be any different.

We’re amazed by how quickly children learn to use new technology, but we haven’t focused enough on creating good content for them. It’s crucial to recognize how important engaging and comforting stories are – we all suffer when they’re missing, and it’s worth any expense to ensure they exist.

Authors

Anne Wood

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2026-04-06 19:35