Animation Industry Downturn: Why It’s Happening Now

It’s been a weird year in 2025 – we have seen the animation industry dramatically shift from the busiest boom time we have ever had in TV animation to an absolute ghost town where it feels like nothing is in production.  Not many shows are getting pickups or greenlights at any of the studios, so it’s not localized (it’s everywhere).  

Lots of our animation friends are out of work, burning through their savings – some of them are getting ready to find other temporary jobs or even leave the industry entirely.  It’s obviously bad out there. 

Interns will ask me for advice as they prepare to enter the marketplace in this climate – they feel very apprehensive (and for good reason).  My response is to talk through the downturn, why it exists, when it will change, and what to do in the meantime.

Unfortunately, this situation feels like a lot of other downturns we have seen over the years in our industry.  Every time we have one, it feels horrible, and lots of people get a bit negative – kind of like when there is a big stock market downturn and everyone sells off their stocks in a rush of fear.  It’s hard to keep calm and everyone forgets how bad it was last time we went through something like this.

So that is number one.  We have gone through this before.  Downturns are part of the cycle of this business.

I won’t pretend like this isn’t the worst – it may be the biggest swing we have ever seen in terms of going from massive amounts of work to almost no work.  Many studios are just not picking up shows or greenlighting at the cadence that we have seen historically.

Why is there no work?

Well it’s probably a complicated stew of causes that are all colliding at the same time.  First off, we had the strikes – that pretty much put everything on hold (and caused some shows to get cancelled).  A side effect after the strikes is the costs of producing shows due to new union agreements went up significantly – those are big negotiated increases to rates and fringes across all unions, not just the ones that struck.  That means shows are now more expensive to produce.

The second factor on why we are seeing the downturn: studios decided to change business models and focus on profitability in streaming thus ending the ‘streaming wars’.  That means buying a lot less product (despite a perceived ‘unlimited’ inventory on streaming) and being careful in how and what is bought.  They are also now being much more strategic with launches and airdates, much more similar to traditional linear broadcast / cable.  

The final big factor is the current era of mergers and streamers.  These are two big categories disrupting the old “traditional” entertainment model.  These super mergers and acquisitions mean re-evaluating all business fronts and finding “efficiencies” to increase profits.    Simultaneously there is scaling back investments in old cable / dish channels where carriage fees are becoming less profitable and combining departments which removes jobs and head counts. 

The second factor is the new disruptor on the block – trying to figure out how to capture streamer (Youtube / TikTok / Twitch) subscribers.  How do you keep subscription streaming services like Hulu and Netflix from becoming the next cable / dish?

If you are following, shows are now more expensive and studios are being much more cautious because of a new business model and competitive landscape.  That recipe leads to taking less risks and going for known IPs and shows that are ‘safe’ bets.

When will there be more work?

So this all sounds quite terrible, when are we going to be on the other side of this / when will things go back to ‘normal’? 

Let’s start off by saying, we will very likely not be going back to the ‘normal’ of the giant boom era we just experienced.  It was wild but certainly not sustainable and definitely not profitable.  We are now in the conservative era of smaller / tighter budgets and schedules. 

We are starting to see a few projects getting picked up at the end of the year, which is a great indicator.  There was also an uptick in live action projects in the middle of 2025, and oftentimes animation tends to have a delayed effect of what we see on the live action side, which could be another positive indicator.  

Given what we have seen so far, it could also mean we see a few other projects start up before everything shuts down for the holidays.  Hopefully this means we should see more greenlights and pickups coming back in Q1 2026.  

What do we do in the meantime? 

It’s time to go through the list of usual hiatus suspects.  It’s not exciting, but being productive in the downtime is good.  That means working on our portfolio / website / resume / reel / samples.  Go take a class that we have been procrastinating on.  Work on that personal project.  Say hi to some friends and reconnect / network.  All these things feel like intangibles, but they make a positive difference in our careers.

To wrap up – we as an industry have gone through rough spots like this before and we will inevitably go through them again.  They are always tough to experience in the moment, but we always find a way to get through them.  Help support your friends, ask for help, and hang in there.  We’ll get through it together.

Mating Season Netflix Announced

It always feels a little silly when you work on NDA projects – you can’t really talk too much about what you’re working on, but this show was announced officially months ago so … here’s what I’m working on these days – it’s a new Netflix primetime animated sitcom from the creators of Big Mouth called Mating Season! This show is about animals telling their stories about friendship, love, relationships and sex.

We got to work with lots of our friends from Big Mouth – producing the show with Brutus Pink out of Titmouse again and it’s been a fantastic production so far. I’ll post more about the show later as more details get released – but for now, that’s what we have been working on!

Here’s the press release from Variety on the announcement:

Netflix Orders Adult Animated Comedy ‘Mating Season’ From ‘Big Mouth’ Team

Random Projects – The Quibi Commercial

Over the years I’ve had the opportunity to work on all kinds of different projects … the other day someone was talking about Quibi and it reminded me of this one.  We did a little commercial that sold the idea of how fun short content on the Quibi platform would be.  

This was late 2019 and we were animating at Titmouse, contracted by the Mill (back when they still had an LA office).  The Mill would handle boards / animatic / designs and the agency communication.  Titmouse would tackle all the animation, compositing, post editing and exports.    Style wise it was supposed to look like Jay Ward animation and directly references Dudley Doo Right and Snidely Whiplash – only instead of the damsel on the railroad tracks, it ends up being our cowboy.

We got to work with one of my favorite animation directors, Mike Carlo, collaborating with the New York Titmouse studio.  The compositing and editing were done back at Titmouse Los Angeles.  Mike Carlo and I have gotten to do a few projects together over the years and he is incredibly great at problem solving and adjusting while still making the animation look fantastic (and just an all around amazing animator).

We had a tiny budget (there were just 4 of us), a quick schedule and things were changing constantly (as they often do on these things) – characters would change (the cowboy was a different character originally), dialogue changed, composited footage changed, backgrounds changed.  Basically over the course of production, everything that could change, did change (often more than once).  Nothing would lock until the last second and everything was wet clay up until delivery.

We also had the added challenge of delivering two different versions – landscape (9×16) and vertical (1×1).  That meant separate crops, tweaks and exports – you’re doing everything twice on the back side.  That was a new idea at the time that Quibi was trying to capitalize on – content that worked full screen no matter how you held the phone (vertical or horizontal).

Related side note – Back around 2003-2004 when we switched to “HD” from 4×3, we had a somewhat similar problem – formatting to keep action inside tv safe on the 4×3, while trying to populate the edges of the screen. So they ended up exporting two versions – one for people still watching on old traditional 4×3 tv’s and a widescreen version for people on what were then known as “HD” tv’s. If you watch shows from this era, you might see lots of dead space onscreen on the sides, and this is why.

End of the day, we got it done, our compositor cursing at us all the way with our last minute changes from the client.  Looking back on it now, it’s maybe a little simple, but for the limited time and money (and all the changes we had), it turned out pretty great. I vaguely remember seeing this run during some tv network sports games, so it got out into the wild and saw some distribution.

One of the things I learned on this commercial (and continue to learn on small projects) is practicing flexibility.  Doing things out of order and changing content constantly during production can drive you crazy – your job is to slow down, think through it, and adapt.  This one was small enough that it never got out of control and I could learn HOW to adjust on the fly.  We had great collaborators at the Mill who were there with us through it all.  Finally, if you have a great partner to help you in your quest (like Mike Carlo was for me on this one) you can get through the craziest situations and come out with great work.

Parting thought – Funny that Quibi as a concept / company didn’t do well, but here we are all constantly watching IG / Youtube / Tiktok / etc shortform content 6 years later and everyone’s attention spans have likewise eroded.  People make fun of the execution of Quibi, but it may have just been too far ahead of the curve with not enough runway – clearly the idea works on some level.

Here’s the commercial!

Big Mouth – The Last Table Read

The writing team for Big Mouth conducts table reads to evaluate scripts with a live audience. For season 8’s final episode, Netflix hosted a celebratory event with cast and crew, marking a shift from remote reads due to COVID-19. The event captured the chemistry of the cast, resulting in a memorable behind-the-scenes video release.

One of the things we do as part of our writing production on Big Mouth is table reads – a process where we all get together and the talent and writers to do a real time read through of the script.  Many primetime adult comedy animated sitcoms do this exercise – one that is labor intensive and expensive, but typically worth it.  This is a good way to pressure test the script and see what’s working and what isn’t with a live audience.

For Big Mouth season 8, to celebrate the final episode table read, Netflix put together a big internal event at the Netflix animation studio with a large audience where we invited many more people than a normal table – family, friends and lots of people who had worked on the show over the years.  Even though this was back in 2024, the majority of our table reads from 2020-2024 had actually been remote / zoom tables since Covid.  Something we initially thought would be temporary, ended up being over 50 zoom tables!  Ending this show with a giant table read was a fantastic celebration for the cast, crew and Netflix.

In many table reads, it’s difficult to gather all the cast (or even the majority of them) for any given episode – everyone is off working other projects, busy shooting and you are doing these table reads usually twice a month.  When that happens, you have other talent or (more often) writers fill in the roles for any missing talent.  This being a big event, we managed to secure most of the talent for the episode and it’s amazing to see all those actors in one place!

Some of what you get to see with a live table read is the cast interacting with each other, messing around and enjoying the script.  I think everyone there knew how special this moment was – there was a kind of magic in the air.  It’s fun to watch this and see the actors riffing off each other and doing improv – we try to capture as much of that chemistry as possible in the record and hopefully it comes through in the final product.

I remember seeing them having cameras set up and filming the table read, but we weren’t sure what was ever going to be done with the footage.  Here we are over a year later and they released a video of the table read to the public as part of the promotion for the final season.

It’s a cool behind the scenes look at what was a very special event and something that most people would never get a chance to see, so I’m glad it’s out in the wild for everyone to watch.  

If you do end up watching the table read, you’ll get to see a peak behind the curtain at the beginning as Mark Levin (one of the creators of the show) does an intro to the table and talks about the history of the show along with some funny stories about executive notes and cut scenes that couldn’t make it into the series.

Also a nice article from Variety here about the last table read.

LDR – How Zeke Got Religion

Time to throw down a plug for the new Love Death & Robots on Netflix (specifically THIS short: How Zeke Got Religion) – it is one gorgeous piece of animation. I started going through the new LDR, but went straight to Zeke first, since I have friends who put their blood and sweat (and maybe some tears) into it.

If you are not familiar, no LDR short is easy to produce – the standards are always extremely high, things running hot and fast. These things are tough to make, so I have lots of respect for the teams that go through the gauntlet to get em done.

This LDR short, Zeke, has such beautiful shot choices, editing, animation and art direction. It’s got it all across the board – just well blended, solid filmmaking. It’s one of those shorts that you can pick any frame, any screenshot and it’s like its own piece of art. The amount of work that went into this is crazy.

Heads up to anyone squeamish – Like many of the LDR shorts, maybe don’t watch if you don’t like your animation on the graphic / gore side of the spectrum (like eyeballs popping out of heads / crushed skulls kinda stuff). But boy, do they make dismemberment look good!

Big props (B17 pun unintended) to Diego, Gigi and Riley – you guys killed it. This is one fantastic masterwork that reminds me of why we work so hard to make animation in the first place. Go watch the new LDR on Netflix and check out Zeke – it’s killer stuff!

Big Mouth Season 8 Dropped!

Here we are – at the end of a very gross era, Big Mouth season 8 (our final season) has dropped on Netflix this week! Go watch a few episodes (or all of em) and enjoy all the nonsense we have been tinkering on for the last 2 years.

Unlike most other primetime series, our characters actually age and change, and this season our characters got a little bit older and finally get to high school. I won’t spoil any surprises here, so you’ll have to see for yourself what changes happen this season with Andrew and Nick (and Missy) going to different schools.

This was also one of the most challenging seasons in some ways – we started this one way back in March 2023 and then almost immediately got put on hold because of the strikes. Our production luckily still had work finishing post on season 7 while the strikes were going on (and I ended up producing a pilot for Netflix around that time too since things were slow).

But fast forward to May 2025, and we have a season 8 drop on Netflix! I am very proud of this season and grateful for the fantastic team that put in so much dedicated work to bring it to life. It’s a beautifully animated close to the longest running series on Netflix and a show that means so much to a lot of fans out there.

And if you aren’t totally caught up on prior seasons of Big Mouth, you can still jump right in and be fine. Even though it’s somewhat serialized, you can pop in anywhere and enjoy the ride. Thank you to Netflix, the EPs, Titmouse, to the crew, and to our amazing fans for an incredible NINE year run with eight amazing seasons!

Get Promoted #3 – Learn From Your Future Job

Learn from the masters, learn from your contemporaries. Always try to update yourself.

James Stewart

This might seem obvious, but there are people out there already in the job you want to be in (and also people who used to be in that job and have since grown), why not learn from the people who are or were already where you want to be?

Preferably this person is someone you look up to, has some sort of shared background or values with you.  This can create a better connection for both parties, increasing the candor and insight you receive.

Talk to them about their work, how they got there, what they have learned.  There is a vault full of knowledge from people who have already done what you want to do.  Successful people often enjoy sharing their wisdom (assuming you ask nicely and don’t come off like a weirdo).

Things you can ask them…

Tell me about your journey getting here – what were some of the big challenges in securing the role?

What are your weeks like?  What is unique to the job that you did not experience before this role?

What was most surprising to you about the role when you started?  (can be positive or negative)

Were there any skills, requirements, networks necessary that held you back from advancing?  How did you discover and grow through these?

Add any question to your list that might give you insights to their challenges, process and journey.

Your path will be different

Their path and experience won’t necessarily be identical to yours, but hearing how they did it might guide you.  It certainly could help you avoid some pitfalls along the way.

If they are open to it, you can also tell them about your journey so far – especially where you have succeeded and / or failed in your goal of the next role.  Ask about their thoughts – what you might need to work on to secure the promotion.  What are you missing that other people have in the role?  They will likely have insights that would take you far longer to discover on your own.

What do you need to work on?

Perhaps the conversation will have revealed specific gaps in your skills.  If that’s the case, ask them if you can come back to talk with them in a brief targeted time in the future.

There is an absolute wealth of knowledge available to us in others who have already gotten to where we want to be.  This can apply to a promotion at work, starting a company, buying a property, winning awards, getting that next jujitsu belt, just about anything – it’s incredibly versatile.

Human Resources Season 2 Launch

Today is the day! Human Resources season 2 is out in the wild – all 10 episodes are available on Netflix for you to watch!

It’s hard to believe we made this series all remotely, over Zoom / Evercast / chat / email / etc. I am very proud of what is an incredibly beautiful and touching season. The crew really went all out and built some amazing episodes here, so I hope you get to see some of it.

While we are here, I just want to say how grateful I am for the entire crew that made this show. EPs, directors, writers, boards, editors, production, designers, assistants, timers, compositors, checkers, animators, sound engineers, mixers, colorists, and probably some others I didn’t remember to list here. Fantastic, best in the biz team here. Much appreciation to all of them and the time we spent together making this killer show.

Sadly it’s also the end of the series, but lots of these characters will go on to be a part of the Big Mouth cast and we will get to see them again soon.

Go check it out! Out today on Netflix! Happy HR2 Day!

Human Resources Season 2 Trailer

Giving a shout out for the Human Resources season 2 trailer if you haven’t already seen it. It’s the Big Mouth spinoff show that seemingly no one knows about!

We worked on this show in-between / on top of seasons of Big Mouth, which made for a crazy schedule, but it also gave a lot of our team year round employment, which was awesome. I don’t think we could have asked for a better team than the crew that worked on this show.

Season comes out June 9! Very proud to have worked on this.

https://www.youtube.com/watch?v=jBupl81yAEQ

How To Be A Conversation Jerk

Sometimes I talk to someone who seems like a jerk – I often become annoyed, and then immediately question if I also have some of those traits.  We tend to be most irritated by people who have similar negative traits that we have.

Are you aware who the conversation jerks are in your group or your company?  They tend to be annoying to talk to (and usually annoying to work with).  If you don’t know, then you might be the jerk yourself.  Here’s some tips I’ve gathered on being a ‘people’ person – so that people don’t get annoyed working with you.  Credit to Marshall Goldsmith – most of these are collected from his classes and books.

Winning Too Much

Are you always pushing to win every argument, to always be right?  It can be very annoying for the other person.  Even if you’re competitive, it’s ok to punt sometimes and let things go.  Not every battle is worth going to the mat on.  Lots of petty wins end up costing you much more than you get (you’re creating social minefields for later).  It’s ok to roll over and sometimes take the L so you maintain relationships and keep things moving. 

Interrupting

We interrupt for usually 2 reasons – 1. We are emotional and in a fight mode OR (more often) 2. Our point is SO IMPORTANT that we need to stop the other person to convey it.  Being interrupted is annoying, no one likes it.  If you find yourself doing it (and can be aware of it), immediately apologize, acknowledge you interrupted and let them finish their point.  What you are saying can wait.

Talking Over Others

This is another aggressive conversation tactic, like interrupting. You are trying to talk louder because you believe your point is much more important, but be aware–it’s very rude. This can be exacerbated on video calls when there is connection interference, but it can make you seem like a bully if it happens too often.  Remember, your information is rarely so urgent that it cannot wait.

Negatives & Contradictions

Did you start your sentence or idea with, “But”, “No”, or “However”?  These are all negatives that essentially say to the other person in conversation, “Whatever you just said is wrong and here’s why.”  It’s a great way to make yourself feel good at the expense of others.  Even if you are right, you are saying it in a way that puts you in opposition to the other person.  Choose other words that convey your point and also collaborate.

Not Acknowledging Points

If you aren’t actively thanking people and pointing out that their ideas are good / welcomed, you might inadvertently be dismissing their contributions.  Make an effort to use positives such as, “thank you for bringing that up,” “that’s right,” and “good point.”  This folds people into the circle and rewards participation.  If you end up getting “too much participation” (rarely happens), it’s easy to re-focus everyone.

Solo Show

I also find aggressive conversationalists don’t like to share the spotlight.  They like to answer every question or just talk endlessly and monopolize the meeting.  If you find yourself the only person talking, throw to other folks, ask questions.  Even if you are leading a meeting, you don’t want to sound like you are pontificating.  You aren’t a standup comedian, people aren’t coming to see you talk.  They are there for a purpose, remember that and share time.

Side note – most people who use any of the above techniques THINK they are smart.  They usually believe everything that they say has incredible value.  I have an unfortunate revelation for 99% of us.  We are not as smart as we think we are.  The other 1% are the Bill Gates and Zucks of this world – people tend to be tolerant of the negative behavior there because they are running 100 billion dollar businesses (but it doesn’t necessarily make it ok).

Ok, so what do I do?

Swallow your pride and shut up.  You don’t have to be right, you don’t have to prove how smart you are.  When you are about to talk, pause a moment.  Make sure you are saying the right thing AND saying it in the right way.  Are you about to say something that could be perceived as condescending?  Are you getting heated up / emotional?  What’s your goal in what you are about to say?  How could you say it without leaving someone else annoyed / hurt?

Everyone you are working with is trying to do their best – respect the work they are doing, their contributions, and most importantly, please respect them as individuals.