For a streaming service with 30,000 films in its catalog and 5 million worldwide users, Kanopy has stayed largely under the radar since its U.S. launch in 2013. That’s beginning to change with an increasing emphasis on new classics like Memento and The Queen of Versailles, and the service takes another big step today with the launch of a catalog of children’s programming.

Kanopy Kids, which sits under new tab within the main Kanopy app, includes feature films, documentary films, and PBS Kids series titles like Arthur, Babar, Franklin & Friends and Maya the Bee. The new collection has 500 kids titles at launch, and Kanopy said it expects to add about 100 new titles a month.

Decider sat down with Kanopy founder and CEO Olivia Humphrey to talk about the service’s expansion over the last five years, some notable titles from the film catalog and today’s launch of Kanopy Kids.

DECIDER: Kanopy is largely available by logging in with your library card. Are local libraries how most new users are finding out about the service?

OLIVIA HUMPHREY: Through libraries, universities and social media. The Kanopy library program is much newer, but university students have had access to Kanopy for many years. New users are finding out largely through local libraries and other users.

How many monthly active users does Kanopy have?

We have about 5 million monthly active users, and that’s across English-speaking countries around the world.

That’s the United States, the U.K., Canada, Australia and New Zealand, primarily?

Those are our key markets for the libraries, and we’re all over the world in the academic market.

And you sound like you’re from one of those latter two.

I’m Australian. Thanks for not guessing! [Laughs.]

The service is free to users. Are you funded primarily by the libraries and universities?

That’s right. We’re a resource for public libraries and university libraries, so those libraries pay for Kanopy through their operating budgets so that their users can watch for free.

The service is available on the major streaming platforms. Are you spending a lot of time on platforms and UI development?

Yes we’re spending a lot of time on that. We’ve launched many of those apps within the last 18 months on the idea that we want to be everywhere that our users expect us to be.

You market that you have 30,000 film titles. Is that largely a permanent library, or do you have a lot of titles that come and go every month?

Most of our titles don’t leave the catalog, which is unlike the usual SVOD model.

Do you log into the service with your library card, or do you sign up through your library?

You just need your library card, which will have your member number on it, and you can set up a password through Kanopy. A lot of library resources now digital now — ebooks, audiobooks, digital magazines and movies.

And that makes a lot more sense in 2018 that going to be library and checking out a DVD, which may or may not even be available.

That’s exactly right.

Clicking through the catalog, I see a lot of Ken Burns titles like The Vietnam War and Prohibition. Is PBS a big component of the catalog?

It is. Our concept is thoughtful entertainment, so we acquire content that fits with that. And libraries tend to revolve around educating local communities and reflecting diverse backgrounds in their collections, so we’ve very mindful that every film we license has that.

You have PBS’s Eyes on the Prize series about the history of the civil-rights movement that I haven’t seen anywhere else on streaming.

We’re very proud of our relationship with PBS and with Special Broadcasting Service in Australia. Because of those relationships, we’re able to make many PBS and SBS titles available immediately after the broadcast window.

Global cinema is one of your more prominent collections?

World cinema is one of our most-watched collections with college students and with library users. When we first launched our world-cinema collection in the United States, we were targeting millennials on college campuses. When we added The Girl With the Dragon Tattoo we got a lot of requests for the American version, so we ran an entire campaign around encouraging students to watch subtitled films.

Some of your newer titles overlap with other services. You have Taika Waititi’s Hunt for the Wilderpeople, which is also on Hulu. How do you navigate around commercial services having exclusive rights on titles?

We’re in a different market than SVOD services, so some of those rights owners are able to bring us titles that we can stream to our audiences concurrently with those other services.

Are there curated collections — directors, film eras, etc. — Kanopy has put together that you’d say are particularly noteworthy?

I’d say that our world cinema catalog is unparalleled, and Our classic film catalog is also very, very strong. We have some newer classics like 2 Days in Paris and Donnie Darko that do extremely well for us, and we also have maybe the most exciting documentary collections anywhere as a product of curating that for the academic market for the last 10 years.

You have the Great Courses series, which I’ve never seen on any other streaming service.

We have an enormous collection — nearly 200 of those — in the Great Courses series, and the do extraordinarily well with our library users. We’re seeing a lot of those individual episodes getting assigned as viewing in college courses.

You’re launching a children’s section this week on Kanopy. Does that pull together a lot of things you already had rights to, or did you go out a build that as a separate focus?

The key reason we’re launching Kanopy Kids is that librarians were asking for that. It’s an extension of our thoughtful-entertainment brand, and we have a wide range of PBS content and classic American films, and we’ve got some international content like Nigerian animation. We also have science films and history films that are more classroom content that’s presented in an engaging way to appeal to children.

Particularly with the children’s catalog coming online, are some of your library members planning on summer film series or other events to show programming from the catalog?

Yes, and that’s very new for us. A lot of libraries are talking to us about summer promotions, and we’re working with a lot of libraries about summer education campaigns. Libraries want to build membership and they want to be relevant, so we’re looking at a lot of interesting programs that we hope to be able to talk more about in the next few months.

Scott Porch writes about the TV business for Decider, is a contributing writer for Playboy, and hosts a podcast about new digital content called Consumed with Scott Porch. You can follow him on Twitter @ScottPorch.