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On Children’s Day in India, a look back at the young creators who drew millions of viewers shows that the child on screen was rarely the whole operation. A November 2018 Scroll.in feature profiled children making cooking videos, toy explanations, Hindi stories and memory lessons. Their families handled much of the filming, editing and commercial work. The reported subscriber counts and earnings below are historical, not current figures.
A snapshot from India’s early child-creator boom
India celebrates Children’s Day on November 14, the date on which the Scroll.in feature appeared in 2018. Its portraits captured a moment when child-facing channels were finding audiences with live-action formats, often built around a child’s interests and a family’s production effort. These were not all the same kind of channel: one centred on cooking, another on toys, others on Hindi entertainment and educational memory techniques.
The distinction matters. A child may be the performer or on-camera personality, while adults devise the format, operate the account, edit videos, arrange brand work and receive payments. The figures reported at the time do not establish what a child personally owned or earned, and they should not be mistaken for present-day channel statistics.
Five channels and the formats behind them
Little Chef Kicha: cooking as the central act
Kochi-based Nihal Rajagopal, known as Little Chef Kicha, appeared in videos cooking rather than simply posing with food or reading a script. His family described handling recipes, filming, editing and management. The 2018 report said production was limited to about two hours a week, and put production costs at roughly ₹5,000–₹7,000 per video. It also reported that the family said a video could earn up to ₹1 lakh, and that $2,000 had been paid for non-exclusive rights to a Mickey Mouse mango ice-cream video. Those are attributed historical claims, not audited figures or current benchmarks.
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The feature also noted Kicha’s appearance on The Ellen DeGeneres Show, participation in the Under-25 Summit and sponsored activity involving Double Horse. The account illustrates how a distinctive skill could travel beyond YouTube through television, events and commercial arrangements. It does not establish that those partnerships or the channel’s activity continued unchanged.
Kyra Kanojia: explaining toys, not just opening boxes
Kyra’s interest in toy-review videos began after she saw herself in family birthday footage. Her family said the videos aimed to explain how toys worked, rather than rely only on unboxing. The 2018 feature reported approximately 9,700 subscribers for Kyrascope Toys Reviews. It described home production involving family and friends, collaborations with Witty Pants and Playshifu, and the development of a Kyrascope website with input from educationists, bloggers, advertisers, filmmakers and lawyers.
Kyra’s mother also spoke about balancing the channel with school and recreation. That balance is part of the story, not a footnote: a recurring upload schedule can create adult work and child commitments even when production takes place at home.
Aayu and Pihu: finding an audience in Hindi
The Aayu and Pihu Show began in May 2017, started by the children’s father, Piyush Kalra. The family believed there was room for Hindi live-action content for children. Early cooking and positive-habit videos did not draw the response they hoped for; the channel shifted toward moral stories and challenge videos. The 2018 report said the channel’s “Ek Jhooth” video had passed 11 million views by then.
The children reportedly helped with scripts and thumbnails, while their father ran the channel. The family said it crossed 100,000 subscribers by June 2018 and had about 600,000 by September that year; the Silver Play Button was a milestone in their account of the channel’s growth. These dated figures show a rapid rise at the time, not the channel’s current audience.
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MyMissAnand: a child as the face of a wider operation
Beauty vlogger Shruti Raj Anand started MyMissAnand for her daughter, Anantya. The first videos focused on children’s hairstyles before broadening into challenges, fashion videos, family vlogs and skits. Scroll.in described Anantya as nine years old in 2018 and reported more than 1.4 million subscribers and 230 million views at that time.
The example makes visible a recurring structure: the child may anchor the channel’s appeal, but an adult creator can shape the format and operate the surrounding brand. The historic figures do not by themselves tell us how revenue was divided or what the channel’s current status is.
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Amar, described as 12 in the 2018 feature, made educational videos about memorising information such as countries and rivers. He developed methods with his father, Goverdhan Chary Thogini. The report placed the channel at approximately 160,000 subscribers. It was a different proposition from toys or family challenges, but shared the same basic ingredients: a recognisable format and substantial adult involvement behind a child’s on-screen contribution.
Why viewers responded—and what the examples do not prove
Across these profiles, several patterns stand out. Each channel had a legible premise: cook, explain a toy, tell a story, take on a challenge or remember facts. Language and cultural fit mattered too; the Kalra family’s Hindi stories were a deliberate alternative to formats they felt were missing. The children’s own mannerisms and participation gave the videos their on-camera character, while parents supplied equipment, planning, editing, logistics and business contacts.
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Experimentation also mattered. Aayu and Pihu’s family changed direction after early formats underperformed. Cross-platform opportunities—including an appearance on television, events, websites and brand activity—could extend a channel’s reach. But five profiles cannot establish a universal growth formula. Nor do regular uploads, a large view count or a recognisable child personality prove profitability.
Where the money could come from
The 2018 reporting described several possible revenue routes: YouTube advertising, sponsored videos, brand ambassadorships, product collaborations, licensing or media rights, appearances and related websites or merchandise. Its examples included Double Horse, Witty Pants and Playshifu. These are historical examples, not confirmation of current deals. A channel should not be assumed to earn from every route simply because the route exists.
Advertising income is especially difficult to infer from views. It depends on whether a video is monetised, audience geography, watch time, ad availability and demand, seasonality, revenue sharing and any restrictions on the content. A large audience may still produce modest income; copyright claims, inactivity or a lack of sponsorships can also affect returns. Gross channel revenue is not the same as net income, and neither figure reveals what share, if any, belongs personally to a child.
YouTube’s current Partner Programme eligibility information lists the main advertising-revenue threshold as 1,000 subscribers plus either 4,000 valid public watch hours in the past 12 months or 10 million valid public Shorts views in the past 90 days, alongside policy, account and review requirements. Meeting a threshold does not guarantee acceptance or a particular income.
YouTube says a creator under 18 who wants to monetise must link the channel to an approved AdSense account belonging to a parent or guardian over 18. That is an account and payment requirement, not a ban on children appearing in videos. It also underscores the adult’s role: the platform payment account does not, by itself, decide how earnings are safeguarded or divided within a family.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.“Made for kids” changes the monetisation picture
A child appearing in a video does not automatically make it “made for kids.” YouTube’s guidance asks creators to consider the intended audience and relevant characteristics such as child-directed characters, activities, games, songs, stories, language and subject matter. Creators must designate the audience status for their content.
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For videos designated as made for kids, YouTube says personalised advertising is not served, and features including comments and notifications may be restricted. Some monetisation and commerce features are also unavailable or limited. Advertising may therefore be less personalised, and revenue can be affected. “Family-friendly” and “made for kids” are not interchangeable labels; creators should use YouTube’s audience guidance and feature-restriction information, not guess based on whether a video feels safe for a family to watch.
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The adult infrastructure—and the child’s interests
Any honest account of child creators needs to separate the roles involved: the child on camera; the parent or guardian controlling the account; relatives or staff writing, filming and editing; a manager or agency negotiating deals; and the adult who receives and administers payments. A child’s visibility is not proof of ownership, control over contracts or personal access to the money.
Popularity also raises questions that subscriber totals cannot answer. How much time does a child spend rehearsing, filming or travelling? Can they decline a shoot without pressure? Is school, sleep or recreation affected? Who moderates comments and messages, and are identifying routines or locations exposed? How are commercial terms explained, and how will earnings be protected? Does the child understand that a public video can persist after their interests change?
Those questions do not justify assuming that every family channel is exploitative. They do make the production arrangement, the child’s own account and practical safeguards essential parts of reporting. Platform rules are not a complete statement of Indian law: questions about child work, contracts, taxation, advertising disclosures, privacy, education and income protection may require current Indian legal and regulatory guidance.
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A useful way to read the 2018 numbers
The figures in the Scroll.in feature are valuable as a record of a particular moment: young Indian personalities were drawing audiences with formats ranging from cooking to Hindi stories, and families were exploring advertising, sponsorships and licensing. They are not a current league table, a reliable earnings guide or evidence that a child personally kept the money. To describe any creator as active now, or to state current subscribers, views, partnerships or income, those details need fresh verification.
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