Long before LibsofTikTok and Elon Musk called on parents to cancel Netflix, cartoons were already on the tail end of their queer renaissance.
Archived version: https://archive.is/9rr2A
You must log in or register to comment.
That’s just a giant article talking about corporate cartoons.
I have more faith in artists unionizing and making queer kids toons for gen α and beyond, without capitalism at the helm.
It’s a long and detailed article, and it gets to the current trend of indie cartoons being made outside of corporate machinery and being released for free on YouTube, like ViziePop and Glitch Studios productions.
There’s a direct throughline in content and style between the queer cartoons made within said corporate machinery and the new ones being made outside of it (and in Dana Terrace’s case, a direct throughline in creator identity, from The Owl House to Knights of Guinevere). It’s all important context to see how corporations acted when funding queer media was seen as profitable, and how artists are dealing with the funding shortfall now that it isn’t.
