That's been so much fun and so liberating from the writing standpoint. We can change relationships, and even change the dynamic of the show in ways that we kind of weren't allowed to before. With the rise of streaming, and knowing that will this is going to be launched as a batch, and it's going to be a season, and it will exist as a whole thing, really opened up storytelling possibilities. It's just individual episodes, and that's fine.
There always had to be this flexibility of, well, we need to be able to air in any order that we want to, so make sure there's no continuity. Most of the work that I did in the first part of my career was for cable. For me, the experience with The Boss Baby: Back in Business series was where I saw this change had really happened. This is just kind of from the writing standpoint. How would you say animation has changed in the years since you joined the industry? The Boss Baby was always about the job and success. She was still evolving when I watched the rough cut, but that idea that there's this baby who works at the same company where Teddy used to but has a much different, much more evolved sense of work-life balance, that struck me. The minute I saw how Tina was functioning as a character. That was also the appeal when I saw what Tom McGrath and Michael McCullers and others were doing with the movie.
What was that like to play with, especially considering your earlier experience with the franchise as the EP on The Boss Baby: Back in Business?Ībsolutely. The meat and bones of the show really do seem to come from the interplay between Teddy and his nieces.
It was just really fun to see how much fun and how far we can stretch that in a show. It makes this fantastic family dynamic where they have to let him in even though we hope it ends the household. That somehow led to us in the writer's room what if we frame them for a crime? The minute that idea came out, it was just.
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