Netflix, The Next Great Animation Studio?
Animation is a lucrative business, every major entertainment company is involved in it in some way, whether it’s feature films, shorts, television series or a combination of all three.
The American animation industry is segmented in a kind of funny way. It’s considered primarily a medium for children and families, so most animation is classified as pre-school or general, safe, all-audience fare. Films and television shows like Avatar: The Last Airbender, Doc McStuffins, The Lion King, Corpse Bride etc. all run a gamut of genres and tones but they never push past that magical PG rating. On the flipside, a smaller but still significant section is “adult animation”. For the longest time that only meant one type, primetime adult comedies.
For American animation enthusiasts there was little in between for other interests. While Disney and DreamWorks movies could be enjoyed by all, some people preferred watching more mature content. Cultural cornerstones such as The Simpsons and Family Guy have been around for decades, but adult animation tends to put the focus on the writing, performances and comedy, with the aesthetics of animation usually an afterthought (no shade, some of this shit is just ugly to watch).
So where did adult animation fans turn to in our quest for non-comedic animation?
Japan of course!
In Japan, anime is a term used for all animation regardless of where it was produced. The West uses it specifically to refer to Japanese animation. Anime is much more varied in tone, target market and genre than American animation and is treated more as the medium it is for diverse stories to be told, rather than as an automatic vehicle for family content.
Anime started to make its way mainstream in America in the late 1980’s with films such as Akira and Ghost in the Shell and influential shows such as Pokémon and Dragon Ball Z.
For decades mainstream animation in America fell into those categories. Children’s entertainment or adult sitcoms and Japan filled in the gaps for the rest.
However, streaming changed everything.
When Netflix started producing original content, animation was always a key component of their business. Netflix’s core strategy is to have a little bit of everything for every type of viewer on its platform. They created a deal with DreamWorks Animation to fund several of their children’s TV shows starting in 2016, signed lucrative, exclusive partnerships with high profile creators such as Alex Hirsch (Gravity Falls), distributed several anime movies and shows from Japan and also have produced critically acclaimed adult sitcoms such as Big Mouth and Bojack Horseman.
Netflix isn’t new to animation and over the past decade they’ve grown to be a strong competitor in the television and anime space. In the beginning, all of Netflix’s animation was produced by third party animation studios, but in 2018, Netflix decided it was time to build their own in-house studio and take on the behemoth that was Walt Disney Animation Studios in the feature film space.
We all know Disney and how prolific they are at animation. One of the most recognizable brands in the world, they built their company on the backs of their animated films and they’ve truly never had a competitor that could keep up with them.
In the 2000s, when their own movies were facing financial and critical woes, Disney bought Pixar Studios to help revitalize them in the animation market. When the Disney company bought 21st Century Fox in 2017, along with the humongous deal came Blue Sky Studios, an animation company most known for the Ice Age and Rio franchises. Instead of keeping three major animation studios under its company roof, Disney controversially shut down Blue Sky, leaving one less major player in animation.
There are other major studios of course, like DreamWorks Animation (they’ve fallen off in quality the last decade), Illumination (I think they’re just going to trade off between banal Minions and Sing films until we die), Warner Animation Group (they don’t seem that interested in doing outside but mining their old intellectual property for spin off films), Studio Laika (great stop motion films but too niche for the masses it seems), Sony Animation (they used to be terrible but now they’re… not? We need to unpack them at a later date) etc. but no one has been able to hit the critical and commercial consistency that Disney-Pixar has achieved through the decades.
That’s where Netflix comes in. With a seemingly bottomless budget, they took the plunge with their first in-house produced film in 2019 with Klaus. Veteran animator Sergio Pablos independently developed the original concept until Netflix funded the full production of the film. Klaus is a technical masterpiece, creating an origin story for Santa Klaus, that brings 2D animation back into the mainstream to create a breath-taking 2D/3D hybrid look.
Klaus feels like a storybook come to life. It’s shaded in a style that’s never been seen before, the characters move fluidly, the backgrounds are eye popping and full of detail and the story is even better, full of heart, wonder and originality that makes it an instant classic.
Klaus was Netflix’s first attempt at major animation awards play and managed to win the top prize at both the BAFTA and Annie Awards but ultimately lost the Academy Award to Toy Story 4. (Read more about my thoughts with Disney at the Oscars here).
Despite that, Klaus was a triumph and immediately set Netflix on the map as an innovator in animation.
After Klaus, Netflix's co-CEO stated they were ramping up their slate and committed to releasing six movies a year starting in 2022. If you know anything about animation, that’s a jaw dropping amount. Neither Disney or Pixar has put out more than two films a year and DreamWorks releasing three films a year almost put them into bankruptcy.
Perusing their upcoming films, the aspect that impressed me the most was the sheer variety. All mediums of animation, whether it was 2D, rotoscoping, CGI, stop motion, photorealism or more were represented. I also noticed a notable amount of non-white and female animation directors helming films at Netflix Animation. While Netflix’s in-house studio was built specifically to target the family market, movies targeted towards adults are not being forgotten.
For a medium that imagines limitless possibilities, the animation industry is still very white male led unfortunately (link). Even when the movies feature characters of color or female protagonists, the behind the scenes rarely reflects that on screen inclusion.
Netflix Animation does seem to be making some strides though.
Here’s a rundown of upcoming Netflix films that caught my eye.
Apollo 10 ½: A Space Age Childhood
Logline: Apollo 10 ½: A Space Age Childhood tells the story of the first moon landing in the summer of 1969 from two interwoven perspectives – the astronaut and mission control view of the triumphant moment, and through the eyes of a kid growing up in Houston, Texas who has intergalactic dreams of his own. Taking inspiration from Academy Award-nominated filmmaker Richard Linklater’s own life, Apollo 10 ½: A Space Age Childhood is a snapshot of American life in the 1960s that is part coming of age, part societal commentary, and part out-of-this-world adventure.
What makes it exciting: Linklater is no amateur to adult animation. While he’s more known for his live action dramas and comedies, Apollo 10 ½ will be his third film using the underrated rotoscoping animation technique.
The Sea Beast
Logline: In an era when terrifying beasts roamed the seas, monster hunters were celebrated heroes - and none were more beloved than the great Jacob Holland. But when young Maisie Brumble stows away on his fabled ship, he’s saddled with an unexpected ally. Together they embark on an epic journey into uncharted waters and make history. From Academy Award winning filmmaker Chris Williams (Moana, Big Hero Six, Bolt), The Sea Beast takes us to where the map ends, and the true adventure begins.
What makes it exciting: The first trailer was immediately striking when I first watched it. It had a unique paper-y type feel to the visuals which can be attributed to director Chris Williams finding inspiration from “the fantastical beasts that adorned 16th and early 17th century nautical maps.” Bonus points for a black female protagonist!
My Father's Dragon
Logline: From five-time Academy Award®-nominated animation studio Cartoon Saloon (The Secret of Kells, Song of the Sea, Wolfwalkers) and Academy Award®-nominated director Nora Twomey (The Breadwinner), comes an exquisite film inspired by the Newbery-honored children’s book from author Ruth Stiles Gannett. Struggling to cope after a move to the city with his mother, Elmer runs away in search of Wild Island and a young dragon who waits to be rescued. Elmer's adventures introduce him to ferocious beasts, a mysterious island and the friendship of a lifetime.
What makes it exciting: Cartoon Saloon is four for four with their animated films and I don’t expect My Father’s Dragon to miss especially after Twomey's last effort, the gorgeous and moving The Breadwinner. Their unique 2D style will be perfect for another fantasy adventure.
Wendall and Wild
Logline: From the delightfully wicked minds of Henry Selick and Jordan Peele, comes Wendell & Wild, an animated tale about scheming demon brothers Wendell (Keegan-Michael Key) and Wild (Peele) - who enlist the aid of 13-year-old Kat Elliot - a tough teen with a load of guilt - to summon them to the Land of the Living. But what Kat demands in return leads to a brilliantly bizarre and comedic adventure like no other, an animated fantasy that defies the law of life and death, all told through the handmade artistry of stop motion.
What makes it exciting: Stop motion master Henry Selick (Coraline, The Nightmare Before Christmas) finally returning to the director’s chair with a Jordan Peele script seems like a match made in heaven for horror fans. Bonus points again for a black female protagonist!
Pinocchio
Logline: Academy Award-winning filmmaker Guillermo del Toro reinvents Carlo Collodi's classic tale of the wooden marionette who is magically brought to life in order to mend the heart of a grieving woodcarver named Geppetto. This whimsical, stop-motion musical directed by Guillermo del Toro and Mark Gustafson follows the mischievous and disobedient adventures of Pinocchio in his pursuit of a place in the world.
What makes it exciting: A celebrated genre auteur like del Toro finally making his way into animation will always be something to look forward to, it will be interesting to see how he makes this old story fresh for audiences.
I, Chihuahua
Logline: The ultimate underdog tale of Chacho, a scrappy masked Luchador Chihuahua, who embarks on a hilarious and action-packed journey around the world to fight for his family
What makes it exciting: Jorge Gutierrez returns to direct his second feature after The Book of Life. It’s hard to find singular voices in mainstream animation but his work on El Tigre, Maya and the Three and The Book of Life shows that he has an engaging signature style that shows off his adoration for his Mexican culture.
Steps
Logline: In a spin on the classic Cinderella story, two stepsisters are overlooked for marriage by the Prince and embark on an epic journey, realizing that their own perfect fairytales might be different from what they originally thought.
Quote from Alyce Tzue: "Our step sisters are a pair of young Asian immigrants to a fairytale world, and their journey navigating the pressures of their kingdom to ultimately arrive at their true dream is a story that resonates deep inside my heart.
What makes it exciting: With an Asian female director, I’m curious to see what a diverse take on a classic European fairytale such as Cinderella entails, especially competing in the musical space that Disney dominates so well in.
Pashmina
Logline: Pashmina is a fantasy and adventure story that follows Priyanka, a first generation American of Indian descent, as she explores her family history with the help of a magical pashmina. Nidhi Chanani’s debut graphic novel by the same name has been lauded for its portrayal of Indian culture and feminism, receiving a number of awards and recognitions, including Amazon’s Top Twenty Children’s Book of the Year, Northern California Indie Bookseller Association Long-List Title and A Junior Library Guild Selection.
What makes it exciting: While Asian American stories are starting to explode on screen in both animation and live action cinema, there’s still a heavy focus on East Asian culture. Shifting to another part of the continent will be refreshing for many and provide representation for what is literally, billions of people.
Tunga
Logline: Tunga is inspired by the mythology of the Shona culture of Zimbabwe, a culture Jabangwe was raised in as a child. It tells the tale of a young African girl named Tunga, who, after the death of her father, must venture to a mythical lost city where her people’s spiritual elders can teach her how to summon the rain and save her village from a long-enduring drought. Accompanying Tunga is her animal totem Zuze — a wooden figurine that comes to life as a trouble-making honey badger — who Tunga must learn to trust and work with in order to complete her journey.
What makes it exciting: While there are a few animated films with black protagonists, there’s very few about black culture and Tunga looks like it may just hit that needed spot
The Witch Boy
Logline: In a secret, magical community where girls are born to be witches and boys grow into shapeshifters, Aster is surprised to discover his emerging and extraordinary witch powers. When a mysterious danger threatens his world, Aster must embark on a journey to uncover the truth behind himself, his powers, and everything that is magical.
What makes it exciting: In an era where Disney is noticeably blocking animators from inserting queer undertones or narratives into their films and other studios aren’t even bothering for inclusion, knowing an upcoming film will unabashedly feature LGBT+ themes and characters is an inspiring step forward. If the representation doesn't entice you, perpetually cool pop rock sister trio, Haim, is writing the music for the film
Their feature content doesn’t just end there, Netflix has also made a habit of picking up critically acclaimed international films such as Bombay Rose, The Summit of the Gods and I Lost My Body for distribution. International animation outside of major Japanese studios can be hard to come by and Netflix’s accessibility can potentially broaden the audience of films that usually don’t get much action outside of dedicated animation circles.
Netflix isn’t the only animation studio changing the game, but they are one of the biggest out right now.
Now is Netflix a perfect utopia for creator autonomy, expression and diverse storytelling?
Hell no, of course not!
At the end of the day they are a corporation and a brand and their one true goal will always be maximizing profit above all else.
While Netflix has made intriguing steps forward in their animation department, it doesn’t erase the dozens of controversies they’ve faced over the years for both their content and workplace practices.
The industry as a whole is also in flux as The Animation Guild battles networks and streaming services for increased wages on par to employees of live action film and television.
Another big issue Netflix has is general visibility. At this point, they release dozens of films and shows a day and many viewers are starting to feel like the best content is getting lost behind a confusing user algorithm with very little marketing on Netflix’s part to help increase eyeballs. Just last weekend a new animated film from one of the most acclaimed directors of recent memory, Richard Linklater, released with just a whisper in the wind. If a director like Linklater could have his film buried, what hope is there for emerging animation talents who sell to or make a niche film for Netflix?
American animation is changing faster than ever before with technological advances and the thirst for content grows to a fever pitch as streaming continues its chokehold in entertainment. To compete against the current studios, Netflix made the smart choice to take a radically different approach to develop their projects. There’s still many kinks to work out in their company, but I will look forward to watching what they have planned.