Parallel to the changing world, our values, specifically the values weattribute to children has been transforming. Societies implementprecautions for protecting the rights of children. The most known ofthese measures focuses on the employment of children. Despite theprecautionary practices, child labor cannot be abolished and besides,its novel forms are emerging. In recent times increasing numbers ofchildren are being employed in media which is an example to thiscase. Nevertheless, it is self-evident that this situation is neitherconsidered to be a problem nor being discussed as a contemporarydimension of child labor or child exploitation by the general public.This study concentrates on the children employed in media. The aimis to initiate a discussion about the children s employment in this fieldand draw attention to the unobtrusive dangers that this phenomenoninvolves. Due to the fact that most of the work done by the childrenis carried in the backstage and because of the specificities of thelaboring process, the fact that those children are put to labor remainsunrecognized. Therefore the labor of child actors, the nature of theirwork and the conditions under which they are employed is widelyunnoticed.In this study, how child actors whom we watch in commercials, TVseries or movies enter the business, their struggle to prove themselvesand remain in the business, and their experiences are investigated.Moreover, the questions why the general public normalize and showsympathy to the laboring of children in media and what themotivations are for the parents who put their children to work in thissector, are explored. In order to carry out this research agenda, in-depth interviews were conducted with the mothers who haveregistered their children to casting agencies. In this way, the mothers motivations and the internal functioning of the agencies are tried tobe grasped. Besides, for achieving a better understanding about thesector, a former casting agent owner was interviewed. Another aspectof the children s employment in the entertainment sector isconcerned with the state s position. If the state accepts that thesechildren are being employed, does it implement appropriate legalregulations and inspect the children s working conditions or does thestate overlook the laboring children in the entertainment business? In conclusion, through the data gathered in this research, it is assertedthat the world of child actors are not as rose-colored as the worldsthat they act in and represent on the screen and the many problemswhich this phenomenon is entangled with are tried to be brought intoview.