The proof is in the productions - Elena of Avalor, Victor and Valentino, Onyx Equinox - as well as rapidly growing industry groups like LatinX in Animation, founded by Magdiela Hermida Duhame in 2018.įor Gonzalez, representation is foundational to his work now: “On The Casagrandes, I can represent my culture - growing up, we didn’t really have that.
Strides are being made in animation, with The Book of Life director Jorge Gutiérre attributing this to the Dora generation - a cohort of creators who grew up seeing a Latinx central character as normal, according to Variety.
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While statistics for toons are scarce, according to the TV portion of UCLA’s Hollywood Diversity report, Latinx actors represented only 6.6 percent of broadcast, 4 percent of digital and 5.5 percent of cable lead roles. Each source is brighter and more vivid than the last - a contrast to the more muted Michigan colour story of Loud House. The series’ palette draws inspiration from homes in Gonzalez and Puga’s families to artist Frida Kahlo’s house in Mexico City to luchador masks to pottery and textiles. He was brought onto the team by former The Loud House creative director Amanda Rynda and, while he was aware he could not change the style massively, he knew he had to bring in a more Mesoamerican colour palette - and Nickelodeon agreed. Gonzalez estimates at least 30 percent of the show’s team is Latinx, which helps contribute to the authenticity of the animation and art.
It’s very important for kids also to see themselves reflected on TV Miguel Puga A lot of our artists reflect themselves into the show - they pull characters and designs off of people they know or they grew up with,” says Puga. I reached out to over 300 Latinx artists and I’m very proud to say I think we’re one of the most diverse crews in Burbank. “One of the first things that I pitched to my producers was let’s make our cast and crew reflect the characters that we’re working on. Not long after, the project got greenlit and he has subsequently built out a crew he describes as a family that works together and supports each other. Puga pitched a concept based on his own life’s story growing up in a multigenerational Mexican-American family. Catching the attention of the show’s producers and writers, he was asked to help them develop a show idea they had for Ronnie Anne and her brother Bobby. The Casagrandes began while Puga was a storyboard artist on The Loud House, and he quietly transformed a new character from a redhead into a Latinx girl: Ronnie Anne.
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For Mexican-American artists like Puga and Gonzalez, the series is a dream come true - not only to help create a cartoon where their culture is focal and authentically shared, but also to have that representation both on-screen and behind the scenes. Having premiered to widespread praise in October 2019, The Casagrandes has already won an Emmy and was renewed for its third season before its second even launched.
I have a daughter and I want her to see herself and have a role model in a character like Ronnie Anne and say, ‘I want to be like that when I get older,'” says Puga. “I don’t want to build walls I just want to build the table longer so we can all have a seat. The show has been celebrated for its diverse, inclusive perspective. The Loud House spin-off follows Ronnie Anne, her multigenerational Mexican-American family and their multicultural community in the fictional Great Lakes City (based on Chicago, with hints of New York City and Los Angeles). Keeping his ear to the ground, eventually his friend, director Miguel Puga, told him the rumour was becoming reality - and he knew he had to be a part of it.įlash forward and Puga is now co-executive producer and director on The Casagrandes, while Gonzalez serves as art director on the groundbreaking Nickelodeon animated series. The first time Miguel Gonzalez heard about The Casagrandes, it was barely more than hushed speculation after a Mexican-American family had been introduced on The Loud House.
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