ANIMATION
how Hollywood’s rising digital powers are breathing new life into the animation industry.
Streaming companies are not only taking risks on animated shows oriented toward adults but are also green-lighting a host of new cartoons for children — discovering that one of the best ways to keep parents paying their monthly subscriptions is to hook kids on shows exclusive to their platforms.
“Animation is a really core area,” said Melissa Cobb, vice president of kids and family content for Netflix. “We have a lot of viewers throughout the world who are really loving animation.”
Led by Netflix and Amazon, streaming services are rapidly boosting their spending on animation content, according to estimates from the venture capital firm Loup Ventures.
This year, Netflix is expected to spend $1.1 billion, 11 percent of its overall original-content budget, on animation. Amazon is projected to spend $300 million this year — 10 percent of its budget, Loup Ventures said.
By 2022, that investment will grow dramatically to $5 billion for Netflix and $1.86 billion for Amazon Prime Video, the firm estimates.
The spending has created new opportunities for artists and filmmakers alike.
“It’s sponsored an explosion in growth,” said Thomas Sito, a professor of the University of Southern California’s School of Cinematic Arts. “There is a lot more content being worked on right now.”
But the growing clout of streaming businesses in the animation arena poses a growing threat to traditional media companies that once dominated kids programming. Netflix and others are capitalizing on changes in consumer behavior as younger audiences bypass traditional cable television — which has long supplied viewers for such kids networks as Disney Channel and Nickelodeon. Disney plans to launch a streaming service to provide a new platform for family-friendly shows, heating up the competition for animated fare.
“There’s no question that these streaming services are trying to win family (content),” said Eunice Shin, managing director at consulting firm Manatt Digital.
Cobb and other executives A scene from “Pete the Cat.”
cite several reasons for the popularity of animation. Streaming programs can be viewed anytime and on any device, making it especially appealing to parents of young children. Some animators have large fan bases on social media, providing them with ready-made audiences. And the shows have widespread appeal among viewers worldwide and can be easily dubbed in different languages.
“There is so much potential viewership now domestically and worldwide that they will need content of all kinds,” said Teresa Cheng, chairwoman of USC’s John C. Hench Division of Animation & Digital Arts.
Unlike some adults who can cut their Netflix subscriptions after they binge a whole season of “House of Cards,” parents of young kids have a harder time doing that with animated shows.
Animated programs, in some cases, are the reason that families pay for subscriptions, said Michael Hirsh, CEO of Torontobased animation business Wow Unlimited Media, which owns the studio that produces “Castlevania.”
“Kids don’t want you canceling and un-canceling,” Hirsh said.
Netflix has led the push into children’s fare, adding 21 original animated series to its platform from January to October, with its catalog totaling 72 shows, according to the data science firm Parrot Analytics. Amazon added four original animated shows, bringing its total to 15 during the same period. Hulu says it has two original animated series on its platform.
Netflix, based in Los Gatos, California, says nearly 60 percent of its subscribers consume kids and family content every month. Last week, Netflix announced six new original animated titles, including “My Father’s Dragon,” a 2-D animated feature film, and “Kid Cosmic,” an animated series produced by Craig McCracken, the creator of “The Powerpuff Girls.”
The hunger for more animation has boosted production businesses such as DreamWorks Animation, which signed a deal with Netflix in 2013 to provide more than 300 hours of programming. Since then, employment at the Glendale studio’s TV unit has surged to 800 employees in response to demand from Netflix and other companies.
Meanwhile, Netflix’s archrival also has been aggressively building its animation pipeline.
Amazon has launched kid-friendly shows based on popular book or video-game franchises, recently adding five new animated specials.
Amazon Prime Video in September premiered “Pete the Cat,” an animated show about a cool cat who learns how to embrace who he is.
Figuring out “how can we excite families and parents who are looking for things to provide their kids to watch” is part of the thinking behind Amazon’s content strategy, said Melissa Wolfe, head of kids programming.
In addition, certain shows could also help other aspects of Amazon’s business. For example, “Pete the Cat” is based on a popular series of children’s books, which are sold on Amazon. Music from “Pete the Cat” can also be streamed on Amazon Music.
Streaming businesses are also keen on bringing animators with large followings to their platforms.
In 2020, Hulu will premiere “Solar Opposites,” an adult animated show about aliens created by Justin Roiland and Mike McMahan, who worked on “Rick and Morty” and have significant social-media followings.
“There is a massive fan base behind these talents,” said Beatrice Springborn, Hulu’s vice president of originals development. “We know there is an audience that is going to come for that.”
“WARM” (Jeff Tweedy):
It’s a big month for the veteran Wilco guitarist, who on the heels of his memoir — which details typical rock-androll stories of excess — is releasing this new album full of songs about family and mortality. Other notable releases:
“Red Velvet the 5th Mini Album” (Red Velvet), “Songs for Judy” (Neil Young)