TW: When Brian Robbins was hired, he also spoke of the importance of Nickelodeon’s content reflecting its diverse audience. What are some of your favorite examples?
RN: The Casagrandes just premiered. It’s an amazing, animated comedy about a Mexican-American family. It’s girl-empowered, bilingual and culturally vibrant. It's one of a kind.
We're also shooting a sitcom pilot called Meet the Voxels. It's features an African-American and Latinx family where everyone is from a different video game. What’s unique about the production process on this, is we’re shooting it in a game engine, which halves the production turnaround with a fresh and contemporary visual style.
We're also into production on Star Trek: The Animated Series. As a Japanese-American girl growing up watching Star Trek, I remember being inspired by strong female characters like Uhura, and getting to see an Asian character like Sulu. Our series will continue Star Trek’s legacy told through a Nick lens.
TW: What can you tell us about the SpongeBob spinoff Kamp Koral? Why is it being created in CGI as opposed to SpongeBob, which is two-dimensional?
RN: This series embraces what makes camp so special. It’s a place where new friendships are formed and memories are made. Our ability to create a really elastic squash-and-stretch-and-defy-all-gravity type of animation style in CGI is 100 percent doable. And the cartoony naturalistic texturing and underwater lighting allows Bikini Bottom to shine in a way we haven’t seen before.
TW: How did that idea come about?
RN: It came from the genius mind of Steve Hillenburg, the creator of SpongeBob Squarepants. At its heart, Kamp Koral is about friendship and it shares the origin story of how our Bikini Bottom friends all met.