The British animation industry was pulled back from the brink by subsidies, but now it faces a far bigger and more insurmountable challenge: Brexit.
To get it out of the way right off the bat, I think YouTube is ultimately done for, at least in its current form. The massive scale and complexity of the service don’t bode well for it in the long-term. At least Netflix has narrowed its focus to a fairly small number of high-quality productions, and building a reliable distribution service. YouTube is like a blunderbuss; spewing content in every direction in the hope of hitting the mark. It’s worked so far, but it isn’t going to work forever.
People have been clamouring for a Disney princess that embodies LGBT traits for some time, but the latest #GiveElsaAGirlfriend campaign is misdirected, misguided and will ultimately fail to accomplish the very outcome it desires. Why is this so, and why do fans tend to believe otherwise? The answer is troubling and undermines all efforts aimed at increasing representation in the media.
I pose 25 questions that are significant to the future development of the animated art form.
When a TV show gets canned, it vanishes to appear later on cable reruns. What happens to web series once they end and are creators adequately prepared?
Are characters in animated content in danger of following the live-action trend of portraying characters with traits that could never exist in reality as being capable of existing in real like?
Coming by way of Fred Seibert’s twitter feed is this article by Ben Elowitz on an important topic that I’d never really considered before. It’s basically about programming…