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Animating Queer Futures
The Inclusion Bites Podcast
Animating Queer Futures
AH
Speaker
AJ Hannah
JL
Speaker
Joanne Lockwood
00:00 "Creating Stories Disney Left Out" 06:09 "Inclusive Representation in Animation" 14:04 Hollywood's Missed Talent Inequality 21:16 "Poison Us: Release Plans" 25:18 "Community-Driven Creative Independence" 32:19 Characters Reflecting Their Actors 33:12 Voice Actors as Marketing Tools 41:41 "Journalism, Pivoting, Sapphic Inspiration" 46:28 "Standing Firm for Representation" 49:55 Hope Fuels Dreams…
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Featured moments
Highlights
“Join me as we uncover the unseen, challenge the status quo and share storeys that resonate deep within.”
“Diversity in Animation "Our mission, is to tell these sort of storeys that are missing in Disney.”
“Diversity in Animation "So that's what we want to do, is we want to bring more people of colour in and queer people in and people that haven't been able to really lead and put those things in to animation into storeys without that pushback from the board or, hey, you need to rewrite this.”
“We can complain that they're selling out and they're not really standing up for us. I'd rather invest in some, in an organisation such as yourselves that aren't. Well, you're unashamedly queer, queer led and you're trying to push that message out to the masses and you're not, you're not actually going to be swayed by someone saying, oh, you can't say that in China or no, in, in the. In The Middle east.”
“Queer Youth and Censorship: "even in China, where sometimes you'll get censored stuff, they'll still go, and the queer young people of China will still go and they'll find what they want to watch.”
Timeline
How it unfolded
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Full transcript
Welcome to Inclusion Bites, your sanctuary for bold conversations that spark change. I'm Joanne Lockwood, your guide on this journey of exploration into the heart of inclusion, belonging and societal transformation. Ever wondered what it truly takes to create a world without? Remember, everyone not only belongs, but thrives. You're not alone. Join me as we uncover the unseen, challenge the status quo and share storeys that resonate deep within. Ready to dive in. Whether you're sipping your morning coffee or winding down after a long day, let's connect, reflect and inspire action together. Don't forget, you can be part of the conversation too.
Reach out to jo.lockwood@seechangehappen.co.uk to share your insights or to join me on the show. So adjust your earbuds and settle in. It's time to ignite the spark of inclusion with Inclusion Bites.
And today is episode 193 with the title Animating Queer Futures. And I have the absolute honour and privilege to welcome AJ. AJ is the founder and creative director of 3dio Studios, a queer bipoc woman led indie studio creating adult anime series, animated series Poison Us. And she also champions globally resonant LGBTQ storytelling. So when I asked AJ to describe her superpower, she said it is telling storeys and it is something she loves to do and always has done. Hello, AJ, welcome to the show.
Hello. Thank you for having me.
Absolute pleasure. This is our second attempt. So we tried this probably a couple of months ago and detect differences between us and anyway, we're back today. Whereabouts in the world are you? You're. You're. You're in the States somewhere.
I am in the States on the east coast, near Washington dc. In between that? In between that.
So what's the weather like this time of year? Is it getting colder? Is it.
It is getting colder, but it's that nice fall cold where you're wearing your plaid and your. Yeah, it feels really nice. And the pollen has finally died down a little bit because it's just cold enough to kill off that last round of like weeds and hay fever. That really tries.
Yeah. So it's nice, soft, warmish.
We just had Halloween. Yeah.
Yeah. Beautiful.
Yes.
So the trick and treating is big in the States. I mean, over here it's become becoming something, but probably not as big as it is in the States.
Big in the States. I have two kids and they were just tearing through the neighbourhood in the pitch blackness and I was like, great, awesome. Door to door.
We noticed over here is you go to the local cinema and they're Doing reruns of all the horror movies. Sort of October is horror movies these and then everything is there. All the Halloween movies or the, all the Freddy Kruegers and all this other stuff. Final Destination comes out. I think they bring that back. And so yeah, there's a lot of. Culturally we seem to do a lot of horror movies on at the cinema at this time of year.
Yeah, we have a decent amount of horror movies come out on like the streaming platforms and then there's some that show like, hey, you have a limited showing in theatres, but I mean it'd be nice to do, to do that, but you'd have to find one of those small theatres that probably do it. We do, we're big on Rocky, the Rocky Horror Picture Show. A lot of theatres. Yeah, they'll either show it or they'll have like live acts or plays of it that go on the same time the movie's running. Like that's a big thing.
So you never thought about your indie studio knocking out some R rated horror then?
We actually have a thriller piece that we want to work on and it is, it's got two women who try to seek revenge on men who I guess treat women poorly. It's called the Manslaughter Project and so it's one of those thriller comedies that. But we're, we're, we're way in, we're still in pre production with that. So that's. Yeah.
Oh, sounds intriguing. So I, I noticed from your bio that you sent through that your studio aims to be a gayer and more colourful Disney. That's an ambition, isn't, is an ambition.
When you think about Disney? We have just this titan in the industry right now and it's, I mean, I grew up on Disney. A lot of us grew up on Disney. We watched the movie the Lion King and really formative in our years. And then, not to say, I mean, Disney still does great stuff, but there's a whole section of Disney that I feel could be better. And then we had the closings in the last couple of years of a lot of our DEI sectors and our LGBT and bipoc and women were laid off. If you know anything about the animation industry or the Hollywood industry, the animators and artists, while they are a lot of times female, they very rarely reach those opportunities to become the creators or to become the directors or become somebody that can actually call shots. So once that started happening, a decent amount of us still wanted to create and we wanted to create projects that were reflective of who we are and when this studio was formed, we decided, okay, this is going to be. Our mission, is to tell these sort of storeys that are missing in Disney.
So when I say more colourful, I mean Disney's colourful when it comes to colour and we love colour, but we also want colourful, as in the different shapes and colours of people represented. So the main character isn't always, you know, a person, you know, a white girl or a white boy or a white male toy or a. I mean, you can argue that Lightning McQueen, he's a car, you know, he's a bright red car. But we kind of know the demographic that he represents. You know, between the manner of speaking and the voice actor and all of that, you. You kind of get the hint as to where he falls. So that's what we want to do, is we want to bring more people of colour in and queer people in and people that haven't been able to really lead and put those things in to animation into storeys without that pushback from the board or, hey, you need to rewrite this. There was not exactly recently, but Disney had that character who was trying to tell her storey through baseball or softball and she is trans and they had.
While the aspect of her transness still stayed, certain scenes were cut out, like the scene of her having to choose in the locker room, that was cut out. The. Some of the language was cut out when she was trying to come out. And so we don't want to have to censor those sort of things, if that makes sense. But yeah, it's a big game, it's a big, big reach, but we're going to do it.
I think it's down to responsibility of organisations and production companies like yourselves to take this messaging on, because we can all criticise Disney and other corporates for their stance, but we have to recognise they operate in territories all over the world. Some of those territories. It's illegal to be queer in any shape or form. They've got sponsors, they've got money, they got shareholders, they've got everything going on. So they are trying to tow this middle line and we can complain that they're selling out and they're not really standing up for us. I'd rather invest in some, in an organisation such as yourselves that aren't. Well, you're unashamedly queer, queer led and you're trying to push that message out to the masses and you're not, you're not actually going to be swayed by someone saying, oh, you can't say that in China or no, in, in the. In The Middle east.
You're going to have to cut that bit out and change that word. Aiming at a queer audience or an ally audience who are receptive to the message of Chantel, aren't you?
Yeah. There are people that are obviously going to say, hey, this isn't. We can't show this here. And it's okay, fine, don't show it. That's the people that will want to see it. They'll reach for it, or they'll take it and they'll grab it and they'll want it. And we have such a history, a robust history, and even more, you know, future options for the people that, you know, don't want to see queer or don't want to see people of colour in the forefront. They still have all of their options.
We're not taking anything from them, obviously. We are building a media and platform for people that want to and need that sort of representation, want to have and need that sort of representation. So we're not worried about. I mean, even in China, where sometimes you'll get censored stuff, they'll still go, and the queer young people of China will still go and they'll find what they want to watch. That's just the way it is. Just even in the States where you try to, you know, block something as simple as, like high schoolers and you're trying to block, I don't know, Reddit at their school, they'll find ways around so that they can read what they want on Reddit. It just, it comes down to, this is what we're making and we are making it for us and we're making it for our community. And if you don't like it, you don't have to be a part of it.
That's fine.
Yeah. But the advantage that you have is your talent through a queer lens as well. It's not just a straight director or a straight screenwriter or the production is tend to be people straight with a queer character or a queer author. Maybe. In there you're telling the entire storey and the concept queer first, if you like, which means you're going to get a different version, a different flavour of the output than you would from a mainstream studio. And that's the power, isn't it? So someone's quoting Abraham Lincoln the other day. By the people, for the people, by the queer community, for the queer community. It's going to be far more representation, isn't it?
Yes, and that's important when you want to tell a storey, you can put a queer character in there. Or a character of colour in there. But if you don't have the people behind it, the storyboard artists, the writers, the voice actors behind it that can actually tell that storey in a representative and authentic sort of way, then what are you doing? That comes back to that 2020 where you're just sort. It feels sort of like you're pandering or you're trying to give the people what they want for commercial aspects rather than what they're actually asking for. So we have a character in Poison Us in our animated show coming up. We have a character who is Filipino and our voice actress is Filipino. We could have just cast a regular, like any other sort of voice actress like that came to us. We could have found somebody cheaper.
We could have just said, hey, we need an Asian voice actress. But no, we want somebody who. That is representative of the demographic that we're putting out there. Other character in Poison Us, Oleander, he is a trans man. And we have a trans person of colour playing Oleander because that's important. It's important and authentic to have somebody in there. And then I can also. If there's moments in the script that don't read right or that maybe need to be changed, we allow that flexibility to talk back and forth and be like, hey, actually, in this culture, or in.
We have that exchange of ideas, so it's not gonna run up against some sort of. I guess. What is that word that I'm looking for? Not political. I'll just use the word inauthentic so that it doesn't sound inauthentic. When we're creating a character, when we're creating a storyline, we want it to be reflective of other people. Like other Filipino people when they see it, or other ace people when they see it, or other trans men when they see it. We want their experiences to be, hey, I actually relate to this. Even though it's set in a world.
With magic, I hear something there about this authenticity part. And by going back so it's 100% through the eyes, through the ears, through the writing of someone with that lived experience and then portrayed by someone with that lived experience, the character becomes real to the people that it matters to. We see it in mainstream movies all the time. We think, well, is that a straight guy playing a gay guy? Is that. Is he. Is he really getting off on that kiss or that. That love scene? Is he just performing? And, yeah, act is acting, but if you believe that as well, that's part of the storytelling, is that belief in that storey, that message that resonance, actually, that is my storey as well.
And there are so many talented people that are not seen in Hollywood because it's very much a who you know, or this person knows this person and recommended them. So you end up, or you went to school with this person. And that leaves out a whole demographic that leaves out several demographics of people. That leaves out people in other countries that maybe couldn't afford to go to scad. That leaves out people that, you know, even in this country that couldn't afford to go to acting school or, you know, knew that, hey, acting school is probably not my best choice. As a queer person of colour. I need something that I can fall back on, that's going to spend more money, but at the same time, they're a great voice actor or voice actress and they, you know, do it on the side. They're not represented, they're not being seen by people or they're just.
They're thought to be too niche, so they're not picked up by an agent. There's so much talent out there that, you know, if you just look, you can find it.
I think what you just said there about they're not getting picked up by the mainstream agents, films, whatever it may be, because they're not of the typical blend. So what you're also doing is the valuable part of this is actually putting money in people's pockets, giving visibility to people, amplifying people that would not sort of be amplified elsewhere. So it's not just about telling someone else's storey and the audience, it's actually providing income into that, into that segment as well, isn't it?
Mm. And there's a big critique with indie animation right now. There's a lot of people that create their own studios, that create their own shows. And for pre product, pre production or even sometimes production, they're not paying their screenwriters or their voice actors. And for some people, especially getting started in the voice acting scene, I mean, explain exposure or building clips, that's great for them. Some people can do that. And. But indie animation gets a bad rap because we're.
It's like, oh, you want us to work for free for you? No, Wideo doesn't want you to work for free. No, we pay everyone. Except for me. I don't get paid right now. And that's fine. I put all the money back into the company and back into the artists and animators and people that work with me to create our projects. We know that, especially with all the people that got laid off, it's important to have income, any kind of income. And right now we can't afford to pay union rates.
We want to. And we want to be able to pay union rates to people that are underrepresented, are. You know, without an agent at this point, we don't have that sort of income. Our Kickstarter has the goal of being able to pay people that. And it's going on right now, but we'll see if we reach that goal, honestly. But until then, I'm paying people. FWDIO is paying people. We want people that are underrepresented to get paying gigs so that they can also put on their resume that they had this paying gig.
They have done this thing for actual money for a company and hopefully launch them even further.
Yeah, because that. That c. That showreel, that testimony is so valuable. How can you get experience? And you need experience to get experience. It's. It's a crazy world we live in. So this social proof, this footage you can give, the portfolio you start helping people build is invaluable for their career.
As well as it is. And I remember going into my first job, my first interview at I was 15 or 16, and I went in for a stockroom position. Position and at a grocery store. And she asked me if I had any experience. And I said no. Cause I mean, I'm clearly high school at that point. And she goes, well, we're looking for someone with experience. And I remember sitting there thinking, well, how do I get experience if nobody gives me experience? But I mean, either way, I was hired not in the stock room, but I was hired as a cashier up front.
So that was, I guess, but that was that first foot in the door of okay, this is a job. And any kind of job that I get, I have to use it to pivot to whatever I'm doing next. Because it's hard. It's hard to go in there with no experience and try to get something. Especially when it says, hey, you need to have experience. And that's why I see a lot of people in indie animation doing clips for free, doing voice acting for free, because they're building that roster.
So what is the typical length of a feature that you produce? Is this long hour, two hour, or is this short?
We have short. Okay, so Poison Us, the pilot is about 10 minutes. The next several episodes are also in that between 10 and 15 minute range. Just because that's the amount that we've budgeted for. And we've also found that we can tell that short enough storey in that amount of Time. Now, what I was talking about briefly before the manslaughter project, that's at more of an hour and a half for a movie length. That's. But again, that one is still in pre production, so we haven't nailed down the number.
We just still have the script that we're finishing out and fleshing out and actually I'm looking for a co writer on that one just because the topic does have a mAJor character, dear Woman, who is part of the indigenous community. And this is one of those projects that I'm not going to go forward on until we have a writer from the indigenous community that is wanting to join on this. Because that's a cultural icon. I guess icon's the wrong word. That's. A dear woman is a cultural. Dear woman is a part of their culture that I don't want to mess up personally. And if I don't have somebody that can consult on it and I don't have somebody that can write on it, then that's not something.
We're either gonna have to pivot hard with the film or that one is gonna have to be shelved because it's just. That's the way of the world. Like I. That's the way of foidio, at least. It doesn't matter how great it is. It needs to be responsible, reflective and resonant. Yeah.
Where do you push these films shorts out? Is this a YouTube or is it self hosted? Is it through independent cinemas and things? Or a bit of everything?
So with Poison Us, we have several shorts that come out on TikTok, but the actual pilot will come out on YouTube, but it'll come out on YouTube after we do a separate screening for the people in the Kickstarter that have paid, you know, the $25 to be VIP or we have. I think we're also debating right now whether or not to do a physical screening alongside. Like a. Alongside the early screening. When it comes to Poison Us, the rest of the episodes will come out on YouTube. And when it comes to indie animation, it's kind of like you can make a pilot or you can make an animation, but then if you end up partnering with another company, like a production company or a distribution company, then it has to be held until they put it on whatever streaming platform it's going to be. We don't have that issue right now with any of our projects. So we get to decide when we're putting them out, which gives us amount of time, whatever amount of time we need to finish it or to make it so if somebody has.
Somebody has surgery or somebody needs a mental health break for a week, especially like one of my animators or one of the cleanup artists. Okay, cool. Like, if I can't get somebody else to jump in on that week to fill in that piece that we need, that's fine. We will wait a week. We have that luxury right now. And that's great because mental health is so important to me and it's important to a lot of the people that work with, you know, in this industry. It's easy to burn out and burn out fast.
So your route to monetization is through sponsorship. Adverts, YouTube, watch, revenue monetization on the channel. That is that. That's primarily your. Your trAJectory to. To revenue generation.
Yeah. So we have. We have sponsorships. We actually just about a month ago landed a sponsorship with Toon Boom, which is a big animation software piece in the field. Big player for 2D animation. So we have a sponsorship from them. We also have two other sponsorships right now. And then we have the Kickstarter going on, which will fund the mAJority of the pilot.
Ooh, your puppy.
Puppy's here.
Puppy's here.
She's getting. She's getting all excited. She's playing with a nylon bone and she's making her very excited. So, yeah, anyway, yeah, sorry, yeah, no.
So we have several different streams of revenue. So we have the sponsorships, we have the Kickstarter, we will have merch also, and we have whatever comes back to us from the YouTube or TikTok, that sort of thing. And we're. We're thinking about doing Patreon, but that's not something that we've committed to yet.
So this is using sort of modern, you know, sounds quite patronising, modern, young, younger ways of doing this. You know, you're not looking traditional production, fundraising, going to the usual suspects. This is community sponsored and fed and the people are sponsoring. You are predominantly interested in queer bipoc content, so that you're accessing that market as well, right?
Yeah. So we do have. There's a couple of reasons for that. One is that our topic and our. What we're producing is niche in the idea of. This isn't what Disney would put on. This isn't what necessarily Netflix would pick up because it is. Because it is queer and it's bipoc and it's right there.
So unless we, you know, negotiated some sort of control of, you know, content and creative direction, that's. And that's probably not something that they would take and want to give up those liberties. So there's the reason for that. But the other reason is, yeah, we're community driven. We are making things for our community by people in our community. And that's what those people want to see as well. So we're reaching out directly to them rather than to a studio or, you know, financial backers that, I don't know live in the clouds. They don't live in the clouds, obviously, but they people that we also don't have access to because a lot of us were in the lower tiers of the echelons of Hollywood.
We never had access. There's no way to go up and be like, hey, look at this script, look at this project that I have an idea for. We never had access to that anyway. So we also don't have the type of access to the financial that I guess other creators would have. So we have to put our content. We have to make our content and put it out first and say, hey, look, this is what we have. This is what we love to do. This is how good we are.
And this is how many people want to see it. And then maybe they'll be like, oh, hey, do you want to also distribute that over here? Be like, oh, sure, yeah, we can do that and distribution. A lot of times you don't have to give up your creative direction for. So that's excellent.
So what's the genre apart from queer and bipoc? Is there a style? Is it gay at Disney? Is it a Pixar type or is it anime type or.
So we do 2D animation. We do 2D hand drawn animation. If you know Boondocks how it had a little bit of that anime feel, but it was still very American cartoon. That's kind of where we land. It does have a little bit of that animation anime feel to it, but it is still very much an American cartoon. We also have, yeah, Poison Us is an adult dark comedy. But then we have the manslaughter project, which is also supposed to be like a. But it's a thriller comedy.
And we have a book that came out, which was a rom com kind of book that came out earlier in Halloween. That's. We have all kinds of. We're trying to. When it comes to genre, we're trying to spread across. The next thing that we want to also work into is comics and. But that's just, you know, time management.
So you say hand drawn, obviously computer hand drawn on paper. You know, you're not drawing slope.
It's hand drawn. But yes, it's Computer. It's not like. It's not like we're actually doing it on paper anymore.
So is this frame by frame animation hand drawn, or is this. Are you.
Yeah, 24 frames per second.
Yeah, yeah, yeah.
It's a. It's quite a. Quite a mountain of time. But we have such a talented crowd, group of people that every time when they come back with pieces, I'm just like. I was just. I just showed my. My character designer. Why can I not remember the name for that? There's a technical word, there's a fur.
It's not character designer. Anyway, I showed them the key art to one of the pieces of animation that has come in recently and they were like. And I was like, I know, it's amazing. And that's just like for the opening scene, for the opening credits of the show. Of the show. Poison Us.
Anyway, so how long does it take to generate each frame? So presumably you've got some stock foot, you've got some stock animation that you layer on. You're just looking at the specific character or their movement or what they're interacting with. But everything else is a stock image. Is it?
I presume not for us. So we have. We have background artists that draw in the backgrounds and we have, you know, our colour person and our cleanup artist that does the colour. We have. Every character is animated by our rough animators and fine animators, like our. And our character animators. So there's not any stock footage right there. Every piece of art that's in there, even like one of the girls has tarot cards.
Even that has been illustrated by one of our people. So it's a. It's a labour of love. It takes a long time. It's that fun, I guess, clip or gif that goes around where it's like, animation takes a long time and it does. I don't expect Poison Us to be out until I'm shooting for, like, the worldwide premiere date of Halloween of next year. Just because. Yeah, I know.
Just because we do have storyboards down and we have the voice acting mostly down and all of that. But then we still have to finish the animation. We have to clean up the animation. There are going to be some effects to it. We have original music in it as well. So it's really. Yeah, I mean, it's great. It's coming together, but it takes a while to make sure that everything hits.
And then there's that whole thing that you have to do with marketing and run up and, you know, that's like three months within Itself, even if it's.
Done, do the characters get modified so they look a little bit like the voice actor? Because I think about Jack Black or the Rock or things like this, or Jason Momoa when they're playing. Jason Momoa is in the Moana, isn't he? And his character looks a bit Jason Momoa. Like, do you kind of blend that reality of the person with the character? Or you have a character and you have the voice.
That's an interesting thought. So I have had people say part of it is that, okay, so we had. We have a Filipino character. She's played by a Filipino woman. So we have a Latina character, she's played by a Latina woman. We have a trans man, black character played by a trans black person. You know, that in a way, they sort of mirror each other or they look like each other. But I feel like as the series goes on, there's always tweaks in animation, and I.
I do feel like the characters will look more and more like their people or the people will take on more and more of their character. Um, especially. I want to say especially Belladonna, but we'll see. Belladonna is a white redhead and she is a nurse. But she's also, from what I know of the voice actress, they're similar in how. In their, like, studiousness, I suppose, in the way that they approach the world. And I feel like it's kind of like that thing where you name a baby and it's like, is the baby reflective of the name or is the. Did you name the baby that way because you already knew that the baby was gonna be, you know, kind of like that?
Yeah. I was wondering whether the voice actors themselves, whether people fan over them, you know, sort of like they were following and, you know, I think Disney and other big animation studios now, they pick the actor, voice actor as part of the promo to get the publicity, get the credibility. There's. I guess you want their acting skills as well. Whereas you go back 20 or 30 years, did you really care who the voice actor was if it was animated? You didn't really think about it at all. Whereas now the voice actor is a critical part of the marketing of the movie. So presumably your voice actors, when they become part of the queer bipoc community, they're going to be known and people are going to follow them. They'll want the merch.
You said they'll ought to be associated with that one, though.
Vinvox, who does Oleander. They actually do a lot of other indie stuff and they do a lot of other queer indie stuff, so they're a person for sure to follow. I always see them everywhere. To me, they're going to be like the next Michael Kovach, like the next. But like. Or they're already that way in, like the queer sphere, you know, I don't know if you know what I'm saying. They're. Do you know Michael Kovac name Isabelle? He does.
He's Jax in. And I don't know, I always say Kovach, but it's not Kovach. It's like Kovac or whatever. He does Jax in the Digital. The amazing Digital Circus. He voiced Angel Dust in the pilot of Hazbin Hotel. He voices one of the main characters in another. And like another big indie thing that's coming out Lackadaisy.
So he's. He's a big indie voice actor right now. Vinvox to me is kind of like that. They're in a bunch of stuff and I. When we're in different. When I'm popping around through different indie spheres or indie, like the communication channels when I'm on. I'm gonna call it Twitter. When they're.
When I'm on Twitter or Blue sky or any of that, I see them there a lot in the projects for those upcoming things, for those upcoming pilots or the indie work. And they're just. They go. They're like a machine with how much they audition and put out. So, yeah, they're going to be up there in one of these days and I'm going to be like, ha, ha.
You talked about. We talked about funding and how you raise capital for these projects. Is there a kind of like an umbrella funder so that people want to get involved? They could sort of fund a funding organisation who then hands out money as needed. We can bid for money for your project or do people invest direct for indie projects?
As far as I know, people invest directly into the indie project, whether that's through the indie projects Patreon or that's through purchasing the Merch or, for example, our stuff. Um, we have the Kickstarter open a lot of those. Lackadaisy, which was another indie project, did a Kickstarter for their pilot and for their first couple of episodes. And that's where if you wanted to fund them, you would go directly to, I guess, them and fund it. But that's a. I mean, that's a good idea. I don't know of anybody that actually takes in the, hey, we. We want to, you know, we want to fund indie Animation, especially queer indie animation or we want to fund indie, you know, media in the queer and, you know, people of colour sphere.
I want to give you the money and then you can distribute it. That's a great idea. I don't know anybody that, that does that. Wish I did.
You want some sort of philanthropist, don't you, as a, a huge bundle of cash somewhere who you can embid to for your project. You want, I don't know, hundred thousand dollars or something?
Absolutely. I tell people all of the time if I didn't have to do any of the fundraising, that would be amazing. Like if I had some extroverted clone of me that wanted to go schmooze and talk to people and, you know, bring back the sponsorships or the deals or the indie animation. Amazing. Because I'm an introvert at heart. I'm a behind the camera person. I absolutely, absolutely like abhor going out and having to do this, but I do it because I believe in the cause.
So you said. Yeah, you said Poison Is what, 15 minutes thereabouts? Is that right? So what does 15 minutes of poison Us take in terms of funding? You know, obviously don't have to give me your exact figures, but just. Are we talking a hundred thousand dollars? We're talking $200,000, we're talking a million dollars. What do we talk about that?
That's a great, that's a great question we have right now. We could do it in about $50,000, but that wouldn't pay people what I want to pay people. So I would love to get $90,000 for the Kickstarter so that I can pay people living wages. And again, that's not me taking any money, that's them, you know, me paying people to take money to do this work so that they can get living wages. When it comes to, you know, and union. Union, I guess, wages when it comes to doing this sort of work. That would be about $90,000 for an episode. Yeah, but we're gonna, if we have to, we'll squeeze it through there.
So what was going through my mind was it's not a lot, but it is when you're trying to, when you're trying to get it, get the cash in. Especially when you're niche, you haven't got big budgets and big, big marketing departments. You say you're doing it all yourself. You're a little introvert sat there in your studio begging for money, which is not your forte.
No, you know, I'm actually one of those people that I can't Even I've been in instances where I needed to hitchhike. I can't even work up the courage to stick my thumb out on the highway. I would rather end up walking 10 miles than ask for help. And, and so this is a whole new world that I'm going into because I want, you know, I want these people to see their passions come to life. I want these people to be paid and they should be paid what they're worth. And I'd love to do that. I'm just, you know, I don't come from a tonne of wealth was born. I'm the first in my family to go to college, to graduate college, I should say, you know, I don't know that I'm the first to like be out, you know, out as a queer person.
But I grew up in upper middle class, but I grew up in a way that was like house poor, I guess. So we have a, we have a nice big home kind of that I grew up in that districted to a nice school district so that I could get the education. My dad's originally from West Virginia. He basically finished his high school education and went straight into a union job. And as a, you know, black American with a high school education in order to get into upper middle class, that was a big thing. So yeah, that's not. If I had the money, if, you know, if my dad was able to donate a million dollars to start my, you know, whatever, that would be great. But that's not how it is.
You know, we're here and this is, I've got to do it myself. And that is perfectly fine. Love doing things by myself.
So how did you get into this? Is this something you went, you picked up at school, college, university, or did you get a. You've had a career first and you then said, hang on a minute, I want to jump out of that corporate BS and start my own thing. What, what kind of. How do you, how do you set the studio up? Got you into it?
I wish, you know, part of me wishes that, yeah, I had that corporate thing that I could, you know, fall back on. But no, I, I was a journalist for about a decade and then journalism really started to. I mean, it was already a dying industry when I went into it as an 18 year old who didn't know that I shouldn't be taking out all those student loans for journalism. But I did that for about a decade and for a couple of years you could see the writing on the wall. And I tried to get out, I tried to pivot I tried to, you know, look for something else, but it just wasn't happening. And I actually did whole, I think segment on the podcast, this queer book saved my life or something like that about how I ended up reading a storey about two Sapphic women who not only fell in love, but there was also like this otherworldly mystery that was going on. And I was like, oh, this can be mainstream. And so I was like, well, why aren't there more storeys like this? Where can I find more storeys like this? And one of the, one of the Sapphic women was a person of colour too.
So it was like, it was just hitting all the notes for me. It wasn't just like a coming out storey or like a first love storey or a rom com. It was like this thing that had a little bit of like sci fi mystery to it. It had, you know, a person of colour as a main character. It had, you know, adult overtures. It wasn't just like a high school, you know, storey. So I tried to look for more of those storeys and I, and I found a few, but they're so hard to find. And there were mostly indie creators and I had had some connections in the industry before the whole journalism collapse and I had always wanted to get back to creative writing.
So I was like, you know what? And then all those DEI shut offs were happening and layoffs and stuff in the animation industry and I was like, okay, well if nobody else is going to do this, we're going to do this. Let's do this. Let's come together and start making stuff and actually put it out there for people that want it and need it and we don't have to. Let's stop trying to pitch to people that aren't going to listen to us anyway. So yeah, that's, that's kind of the long and short of how I ended up here.
So you mentioned the layoffs, the dei, the political climate. In passing there. We're living in a, I hate this word, unprecedented. Everything's become bloody unprecedented, isn't it? But the world as we know it has been kind of kicked into the orbit at the moment. What's going on? The pushback against dei, the pushback against what we thought was progressive moves to be a more inclusive culture, society, workplace now seems to be kind of fighting against right wing extremism, doesn't it? And are you fearing that within what you're doing?
I mean, it's precedented in the way of like Nazis, but to be, you know, quite honest, yeah, in Is there ways that I fear it? Sure. My. Even back in, when I was a journalist, still my face was put on a white supremacist website for what I write about. Know that we're not going to get certain funding and I know that we're going to get blowback from people in the right wing. That's if we ever get popular enough to be seen by them as pushing an agenda. But that's not. What else am I going to do? Compromise my morals? What else am I going to do? Pretend to be someone that I'm not? They already know. They, the big.
They already know who I am. I'm already I. For a lot of us, we have nothing else to lose. We lost our jobs, you know, we, we lost our source of income. We are struggling against places that aren't going to hire us because of the names that we have on the application or because we are born female or because, you know, we're people of colour or because, you know, a Google search will show you that this person is queer. We're already there. So what's to stop us? I mean, is the smart thing to lay a bit low? I suppose, but laying low is not helping in a way, I guess, like we're not, we're not making that sort of healthy impact on our own life.
We touched on it right at the beginning of this. Who are we doing this for? Who are you doing this for? You're doing it for the queer community, for the bipoc community. You're doing it for people who look up to you as people, who are representing them and having a voice and giving them hope. I think if you lay low, what you're doing is you're copping out, you're doing what corporates do all the time. They say it's just too difficult, we'll step away from it. And I don't think we, and I say we, as in marginalised communities, we have a responsibility to say, hang on a minute, I'm not going to lay low, I'm not going to hide. I'm here whether you like me or not. In fact, the more I'm distasteful to you, the more I'm going to make myself in your face because I want to remind you that I'm not going to go away.
And I think that's the world we're in at the moment, isn't it? Try and repress us, try and oppress us, try and shut us down, but we've got to keep existing just to be unpalatable to the people who don't.
Like us, I guess. So there's. I have two thoughts on that. One is that Michelangelo painted the Sistine Chapel and he wasn't necessarily religious, Right. But he painted this religious, beautiful piece of art that is recognised now. And so it's. I have the thought of how can we be subversive or kind of, how can we be there and very much still be loud and showy, but also like just under their nose enough to where we're able to paint on their ceiling? And then they come back and they don't realise it at first because of all of the prejudice that they have in their hearts. And it's not until years later that they realise, oh, this beautiful piece of art was made by like this little gremlin of a person.
But so I. I have two thoughts. Yes. And I never. I don't do things for people. I've been told in the past that people look up to me for stuff and I don't necessarily do things for people, for other people. I don't know if that's the autism in me or if that's just the. Hey, I don't have the time to process other people thinking about me in any sort of capacity.
Nobody sets out to be a role model, do they? Nobody sets out to be a people's champion. People will accuse you of it and you go, okay, if you think I'm a role model or other people's champion, thank you, I appreciate the. But I don't do it for that.
No. So I. It's more of the play in their face, like, okay, you're gonna lay us off. Okay. You're going to not give us jobs, Fine. Okay, you're not going to put our characters in front of the audience. Fine, we'll do it ourselves. We'll do it.
We'll build it and make it and put it out there. And just because you don't want it doesn't mean it's not going to be out there. Doesn't mean it's not going to not be made, doesn't mean it's not going to not exist. It's still going to exist. That is, I guess, where I come from in the whole. Yeah, let's. For what purpose do I do this? If that makes sense.
Presumably, I look at why I do what I do sometimes and I use. Probably use the word hope. You don't buy a lottery ticket expecting to win the lottery, but if you buy a lottery ticket, at least you've got some hope you've got a Dream. You can pretend you think, oh, if I won, what would I spend the money on? So people don't buy lottery tickets. If anything other than a dream or a hope. And I think I could be repressed by society. I could have people telling me I'm not good enough. I'm this, I'm that.
I'm a Byron. All the things people say about queer trans people, whatever, and I could just be downtrodden by it, or I could say, actually, I want to have power. I want to have agency. I want to reclaim that. I want to be part of a wider community. I want to be in the middle of that, because that gives me hope. It makes me believe that I'm not alone. It makes me believe I'm part of something bigger.
So I think that's why I do. What I do is to be part of something bigger than me, so I get hope. And I can. By helping others. I don't worry about helping me anymore because I'm part of everybody. And I think that's why I do what I do, and that's why I won't stop doing what I do, because it gives me a purpose in life to do something.
That's a good reason. It's good to have a purpose, I guess. Like, it's good to have a purpose and to have a reason and to. And to give people hope. And that's very positive. I do things on the opposite spectrum. I do them for chaos and vindication and, you know, that sort of troublemaking.
Yeah, good trouble. Good trouble.
You tell me it's wrong. You tell me I can't do this. Fine, I'll do it. Like I don't care.
Fuck you.
Yeah, that kind of. All right. Fuck you. We'll do it. You're not gonna stop me from doing it. Part of that comes from a lot of people of colour. Queer people of colour especially. We realise early on you gotta be twice as good to get half as far just because of the way that you look.
So as a. As a person of colour. So then once you add in, like a. As a queer person of colour, as a trans person of colour, it's like, fuck it. Like, we're gonna. We already know we gotta work hard for anything. So you're already gonna tell me I can't have it. So I'm not gonna.
Like. Doesn't necessarily mean I actually can't have it. It just means you're gonna tell me I can't have it, and then I just gotta work twice as hard to prove that I can. Do it. So what's it matter?
But the secret is you don't want. Don't want them to have it anyway. You don't want what they have. You don't. You don't. You don't want it on their rules. That's what you're doing, what you're doing because you wanna create your own rules, create your own platform, create your own audience.
It's that sense of justice, like what is right and what needs to be right and what should be right. Everybody should be equal. Everybody should get an opportunity. Everybody should have this. If they have this potential, they should be able to show it. It's that need for justice. It's that need to be able to dance on the graves of your enemies. Like, that's why I do things.
I continue to live for spite. I continue to be me for spite, you know, for hope. And that's. It's, it's great to have hope because you need to have the dichotomy.
Yeah, well, I know that I. People off just by existing, just by speaking, just by being. Being in spaces. I. I upset people. I know there's people in the room who look at me with their. Down their nose going, oh, you're not normal. It's like.
I go, hell, yeah. Hell yeah. Good.
Is it sometimes intimidating? Yeah, absolutely. Do I always. There have been times when I've wished I don't look the way that I do. Not because, like, I don't like who I am, but just because I don't like the attention. But it's never actually stopped me from doing anything.
So. Can I unpack that a bit? You say you don't like the way you look, or you just look like a young person of colour. Queer person. I mean, you didn't look queer. You just looked like a young. A young.
Yeah. Well, and that's the, that's the thing is like. Okay, so as a person of colour, you already stand out sometimes. Going into a classroom or going into a business or going into, like a boardroom. You're already kind of standing out as a person of colour because that's not, you know, that's not what. I don't know. You just. You, you are.
You get that. That blowback sometimes, or you get that, you know, second glance. And then for the longest time, like right now, I don't have it on, but for the longest time, I couldn't wear a binder because even wearing a binder, I still had it. Just made it look like I had a sports bra on. I'm Non binary. I'm gender fluid. So. So, you know, I do a lot of she her.
That's the way I grew up. But there were so many times, especially post having kids where I was like, I am not a she her. Especially today. But I couldn't, I couldn't do anything about it. I couldn't wear a binder. I couldn't, you know, or I could, but it just didn't, it didn't give me that whatever sense of who I am. And I got top surgery. So now I'm able to be femme when I want to or feminine presenting when I want to, and I'm able to be masculine presenting when I want to.
They took five pounds off the top. Five pounds. And I still have a significant, you know, thing here. So that's. But it was quite something.
So you had, you were well endowed up top.
Yeah. So I haven't always felt that I look the way that I should. And I haven't necessarily always liked the attention, whether it was because, hey, you're a black person in this upper middle class boardroom or you're a black person in this, you know, advanced placement class, or you're a. Clearly you're a woman doing this very masculine thing. I guess in those ways, if that makes, if that does a little bit, digs into my treasure box.
Yeah. I mean, I have a experience. I walk into rooms of several hundred people. I got on stage, speak to people, 600 people in the audience. Statistically, there will be other trans or gender diverse people in the room, but often I'm the exception. You know, I get on a bus, I get on a train. Generally I'm the only trans woman in my immediate, visible, immediate, immediate circle there. So I'm used to walking into places, being the old one out, or people look at me and go, what's your name? And you say, and they say, yeah, it's Joanne.
Yeah, Joanne. Okay. They're kind of querying it or they hear the voice and not sure. I've kind of got, I don't know, over the last 10, 12 years, I've been. I kind of got used to it and I don't even think about it anymore. I don't know, just maybe I'm privileged that I can not think about it. But yeah, I get away with it. And people don't say anything if they do Them.
Them. Yeah, no, I still get that sometimes. I'll get that liberated feeling when they go, oh, thank you, sir. And I'm like, yes, yes. Like, yes. Especially if, like, I'm checking out at a grocery store or something like that. And I'm having a very masculine day and I'm, you know, have a binder on and I'm dressed in baggier clothes and I have my beanie and stuff like that. I'm like, yes, like that's.
Or when they do that very long pause. For me as somebody that's like non binary or gender fluid. Awesome. You don't know what I am. Great. Love it. Because I don't know what I am half the time either.
Ha ha.
That's the whole point. I think that that goes along with that autism thing of like, we just like to. We don't think about ourselves a lot as like, people, so as people with like physical stationary planes of being. So it's like, okay, you want me to determine if I'm a boy or a girl today? That's like, can I just not be me, the creature that I am? But yeah, no. But then there's the. There are some days where I guess maybe one day I'll have the less thought about walking into a room and seeing who I am being reflected on people's faces. But I'm still very much in that young portion of thinking about what other people think about me, and I hate doing that. I try not to do that.
At least thinking about what other people think about me in the physical sense of my being. That's something that like, comes up often enough because I have to, you know, you have to think about physical safety and blah, blah, blah, blah.
Most people are more worried about themselves than they are about other people even notice you most of the time.
Yeah, no, that's. That's true. And I. I'm also one of those people that can be a little bit. I have two kids. I have two younger kids. So I have found that I will step in front of them more to protect them and not care as much about my physical body as theirs. But then again, I didn't always think about my physical body that much.
So it's one of those weird moments where it's like I know their. I don't want their physical body to be harmed, but like, forgetting that I have one that can also be.
Yeah, I don't know if it's. I've. I've kind of reached this sort of plateau of existence where I don't think about, yay, I'm a woman. Yay, I'm this. Yay, I'm that. Which is, I think, what Cis people feel. They don't have any kind of. They don't get up and go, yeah, I'm a bloke today.
Oh, yeah, I'm a woman.
Great idea. Yeah.
They just are. And I think I've found this plane of existence where I don't wake up thinking, yay, I'm a woman, or anything like this. I just wake up being me. But I still get. I still get queer joy, or trans joy, by someone saying, mind this lady, she's coming, you know, or mind this lady with her puppy or something like this. You know, people are talking about me and I. Oh, yes. So those, Those micro validations you get are brilliant.
But apart from that, I guess I'd be pissed off if they said, mind this man or mind this bloke or something. I probably would get upset. But no, I. There's little moments of joy where people get it right without. Without prompting. And I'm. I'm not feeling particularly glamorous at that moment. I'm just wearing my hoodie or my wear.
Wear a pair of jeans and I think, oh, life's good, life's good.
But take in the joy and let everything else wash over you.
Yeah, that's right, it is. And it's. I think you get too hung up on worrying about what other people think of you because you start to realise that they don't. They don't think about you, they think about themselves or they're rushing for something. The example I often use is if you've got a photograph, like a family photograph with a wedding or something, and there's 20 people in it, you hand the photograph around. Nobody looks at anybody in that photograph apart from themselves. Everyone, oh, I've got my eyes closed. I don't like my glasses in that one.
Or they're standing like that and you won't notice anything about them because you're too busy looking about you and say, people just. People care about themselves. People will always look for themselves in a photograph. They'll always worry about themselves in public and they're too busy getting on their life. And I realised that and I think, okay, all I gotta do is just get on with my life. They'll get on with theirs. If I don't interact at that moment, we'll probably never interact again in our lives. So it doesn't matter.
True. Very true. It's like that high school thing. Not everybody's looking at you. Don't worry about it.
Nobody cares. They're worried about themselves. They're worried about themselves. When you realise that, life becomes much simpler if you just worry about yourself and don't worry about what other people think of it.
Worry about yourself.
Yeah. Because they're not thinking about you. They don't care unless you tell them to care.
Unless you show that you care. Unless you show that it's like a weakness or something like that.
Yeah, yeah, yeah. Then they can turn that against you or whatever thing. But generally it's their own insecurity that's coming out, not you.
True.
Yeah. But I've turned 60, so I guess I'm. I've had a lot of life and a lot of experience that I've learned these lessons. And if you're younger, you're still trying to figure yourself out, still trying to fight your way in the world, then I guess these challenges are real.
I'll get there. I'll get there one day.
Yeah. When you're a fantastic queer studio, Gay Disney celebrated the world over with revenue coming in and people looking to fund you, and you'll be sat there going, I made it. It got there in the end. And now giving everyone the finger if they're not interested.
Yeah. All my wrinkles don't matter. The way that I look in my physical body doesn't matter.
Yeah. Elevate yourself to Whoopi Goldberg status, won't you, where you'll be kind of like this really celebrated person that. Who doesn't give. Who doesn't give a flying fuck about anybody else because they've made it, and that's. That's where you're going to be. You're going to. You're going to be celebrated.
True. You just got to project confidence, I guess.
Project confidence. Just. Yeah, just go for it. Go for it, A.J. we've had a fantastic hour. I mean, I feel like I just carry on chatting to you, and it's a shame you're so far away, because I'd love to drop in for a coffee one day and see the studio, but. Yeah, no, it's been lovely talking to you, and I'm glad we got this reschedule. And our little puppy made an appearance halfway through just to say hello, which is good.
It was nice to meet you. Yeah. Our first podcast. So many of my other episodes, I've had other people's dogs joining the show, and this is the first time I've had my own puppy joining in my podcast. So. Yeah, that's right. I don't know where she is now. I think she's fallen asleep somewhere.
So she's.
Puppies needs lots of rest. Puppies need.
Not so.
Well.
I need to take her out for a walk. Now it's just about turned get dark so I need to put my head torch on and get out there and take her for a walk.
Okay.
Thank you so much. It's been amazing.
Thank you. It was great talking with you.
As we bring this conversation to a close, I want to express my deepest gratitude to you, our listener, for lending your ear and heart to the cause of inclusion. Today's discussion struck a chord. Consider subscribing to Inclusion Bites and become part of our ever growing community driving real change. Share this journey with friends, family and colleagues. Let's amplify the voices that matter.
Got thoughts, storeys or a vision to share?
I'm all ears. Reach out to jo. lockwood@seechangehappen.co.uk and let's make your voice heard. Until next time, this is Joanne Lockwood signing off with a promise to return with more enriching narratives that challenge, inspire and unite us all. Here's to fostering a more inclusive world one episode at a time. Catch you on the next bite.
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Episode Category
Primary Category: Queer Voices
Secondary Category: Cultural Diversity
🔖 Titles
Creating a Gayer and More Colourful Disney: Animating Queer and BIPOC Futures
Challenging the Animation Norm with Inclusive Queer Storytelling
Amplifying Queer Voices in Animation: From Poison Us to Industry Change
Creative Justice: Funding Independent Animation for Queer and BIPOC Communities
Unfiltered Authenticity: Indie Animation’s Role in Queer and BIPOC Representation
Disrupting Disney: Animating Inclusive Narratives for Tomorrow
Breaking Industry Barriers: The Rise of a Queer-Led Animation Studio
Spite, Hope, and Representation: Empowering Queer Animation with Community Support
From Layoffs to Leadership: Revolutionising Animation with Queer BIPOC Excellence
Finding Joy and Justice: Telling Unapologetically Queer Stories Through Animation
A Subtitle - A Single Sentence describing this episode
AJ Hannah explores the power of authentic queer and bipoc storytelling, the challenges of independent animation, and the importance of creating unapologetically inclusive media that offers hope, validation, and representation to communities historically left unseen.
Episode Tags
Queer Animation, Inclusive Storytelling, Diverse Representation, Authentic Voices, Indie Studios, LGBTQ Narratives, BIPOC Creators, Creative Empowerment, Media Representation, Social Change.
Episode Summary with Intro, Key Points and a Takeaway
In this episode of The Inclusion Bites Podcast, Joanne Lockwood welcomes AJ Hannah to explore the vibrant, challenging, and timely subject of animating queer futures. Together, they consider what it means to reimagine the animation industry—traditionally dominated by mainstream narratives—through unapologetically queer and intersectional lenses. AJ and Joanne unpack how authentic representation behind and in front of the camera can disrupt stereotypes, empower marginalised creators, and spark meaningful social change, especially amidst political and cultural backlash against inclusion. Their discussion deftly traverses the realities of building a grassroots, diversity-first studio, funding hurdles, the significance of community-driven support, and the defiant joy of making space where others refuse to tread.
AJ is the founder and creative director of 3dio Studios, a queer-led, BIPOC woman-founded indie animation studio. Her current projects, including the adult animated series Poison Us, position her on the frontline of championing globally resonant LGBTQ+ storytelling. Drawing on her background in journalism, personal journey as a gender fluid person of colour, and determination to provide platforms for talent overlooked by traditional Hollywood, AJ weaves her lived experiences into the narratives and opportunities she creates. Her focus is on telling the stories major studios eschew, ensuring characters and talent genuinely reflect the communities they represent both on screen and behind the microphone.
Joanne and AJ probe the nuances of representation, from refusing to erase queer identities for wider market appeal to the importance of paying underrepresented artists a fair wage. They address the responsibilities of queer-led organisations to hold space for authentic narratives and discuss the realities of operating without corporate safety nets—fuelled by defiant hope, community investment, and the will to dismantle outdated norms. With stories of resilience, creative chaos, and the pleasure of minor acts of rebellion, this episode offers both practical insight and inspiration, urging listeners to consider how inclusion is brought to life—not just in storylines, but within every line drawn and every voice amplified.
A key takeaway from this conversation is the transformative power of authentic, unapologetic storytelling that centres queer and BIPOC voices—not as an act of tokenism, but as an act of justice, hope, and cultural reclamation. Listeners will be inspired to reflect on whose narratives are missing, understand the value of investing in grassroots inclusion, and feel encouraged to be part of the movement animating a more inclusive future.
📚 Timestamped overview
00:00 Disney is a major cultural influence but lacks diversity; layoffs affected DEI sectors, prompting creators to form a studio focused on inclusive storytelling.
06:09 Advocate for more diverse representation in animation, including race, gender, and LGBTQ+ identities.
14:04 Hollywood overlooks many talented individuals, particularly marginalised groups, due to its reliance on connections and privilege.
21:16 "Poison Us" shorts release on TikTok; the pilot debuts on YouTube after a Kickstarter VIP screening. Future episodes will also be on YouTube. Independent production offers scheduling flexibility.
25:18 Preferred creative control and community-driven content over studio influence or external backers.
32:19 Characters may increasingly resemble their actors, particularly Belladonna, who shares traits with her voice actress.
33:12 Voice actors are now integral to marketing, gaining fans and recognition, unlike in the past.
41:41 Former journalist reflects on career’s decline, struggles to pivot, and inspiration from diverse Sapphic literature.
46:28 Stand up for marginalised communities, be visible, and refuse to back down.
49:55 Buying lottery tickets symbolises hope, dreams, and escapism despite societal judgement.
57:54 Struggles with self-identity, societal perception, and overthinking tied to autism.
01:00:59 People focus on themselves, not others.
📚 Timestamped overview
00:00 "Creating Stories Disney Left Out"
06:09 "Inclusive Representation in Animation"
14:04 Hollywood's Missed Talent Inequality
21:16 "Poison Us: Release Plans"
25:18 "Community-Driven Creative Independence"
32:19 Characters Reflecting Their Actors
33:12 Voice Actors as Marketing Tools
41:41 "Journalism, Pivoting, Sapphic Inspiration"
46:28 "Standing Firm for Representation"
49:55 Hope Fuels Dreams
57:54 "Being Me Without Labels"
01:00:59 Self-Focused Perception Explained
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🎙️ 𝗧𝗵𝗶𝘀 𝗪𝗲𝗲𝗸 𝗼𝗻 𝗜𝗻𝗰𝗹𝘂𝘀𝗶𝗼𝗻 𝗕𝗶𝘁𝗲𝘀: 𝗔𝗻𝗶𝗺𝗮𝘁𝗶𝗻𝗴 𝗤𝘂𝗲𝗲𝗿 𝗙𝘂𝘁𝘂𝗿𝗲𝘀 🎙️
💬 What happens when you challenge Disney, disrupt the animation status quo, and centre queer voices? You get stories the industry wishes it had! Ready for a flavour of unapologetic creativity? Hear the future in just 60 seconds! 💬
This week, I’m excited to welcome AJ Hannah, founder and creative director of 3dio Studios—an unapologetically queer, bipoc-led animation powerhouse. AJ’s on a mission to craft a “gayer, more colourful Disney”—and believes animation should reflect lived experience, not just tick boxes.
Together, we explore:
🔑 Queer First Storytelling – What happens when lived experience drives every stage, not just the script?
🔑 Filling Representation Gaps – How indie animation puts authenticity and cultural nuance above the boardroom.
🔑 Accessible Pathways – Why paying talent fairly and breaking industry barriers is essential for genuine inclusion.
Why Listen?
"Inclusion is about understanding, and this episode is packed with insights to help you create more #PositivePeopleExperiences."
About the Podcast
As host of Inclusion Bites, I release episodes every week to spark change and disrupt norms around inclusion and belonging. This 1-minute highlight gives you a taste—expect bold ideas and a touch of mischief!
What’s your take? 💭 How do you see media shaping the future of inclusion? Share your thoughts below 👇 or tell us about a storey that made you feel seen.
🎧 Listen to the full episode: https://seechangehappen.co.uk/inclusion-bites-listen
#PositivePeopleExperiences #SmileEngageEducate #InclusionBites #Podcasts #Shorts #QueerVoices #IndieAnimation #RepresentationMatters #CulturalAuthenticity #CreativeInclusion
Don’t forget to like, comment, share, and tag someone who loves bold stories and brilliant animation!
with SEE Change Happen and AJ Hannah
TikTok/Reels/Shorts Video Summary
Focus Keyword: Queer Representation in Animation
Title: Queer Representation in Animation: Igniting Positive People Experiences & Culture Change | #InclusionBitesPodcast
Tags: queer animation, culture change, positive people experiences, lgbtq storytelling, inclusion, diversity, animation industry, creative leadership, bipoc voices, representation matters, authentic storytelling, indie animation, animation studio, pride, inclusive media, queer voices, animated series, lgbtq creators, empowerment, indie studio, creative diversity, see change happen, podcast UK, representation in media, inclusive culture
Killer Quote:
"We're building a media and platform for people that want to and need that sort of representation, want to have and need that sort of representation. So we're not worried about... This is what we're making and we are making it for us and we're making it for our community." – AJ Hannah
Hashtags:
#QueerRepresentation, #CultureChange, #PositivePeopleExperiences, #Inclusion, #Diversity, #Animation, #LGBTQ, #InclusiveCulture, #RepresentationMatters, #IndieAnimation, #BIPOC, #LGBTQStories, #AnimationStudio, #CreativeLeadership, #IndieStudio, #Empowerment, #CreativeDiversity, #SeeChangeHappen, #InclusiveMedia, #InclusionBitesPodcast
Summary Description:
Ready to find out why authentic queer representation in animation is a catalyst for true Culture Change? In this episode of The Inclusion Bites Podcast, I chat with AJ Hannah, founder of 3dio Studios, who is leading the charge on unapologetically queer and BIPOC-led animated storytelling. We dig into why centring Positive People Experiences and lived realities is the future of the animation industry, and how representation on and off the screen makes culture shift possible. If you’re passionate about breaking the mould, creating space for all identities, and seeing the power of indie studios championing underrepresented voices, this is a must-listen. Tune in for actionable insights, genuine stories, and an empowered vision for a more inclusive future.
Don’t forget to catch the full episode for the real conversation behind the soundbite.
Outro:
Thank you for tuning in to this bite-sized piece of Inclusion Bites. If this chat sparked something for you, give us a like, pop your thoughts in the comments, and hit subscribe for more stories about Positive People Experiences and real Culture Change. For more conversations and resources, visit SEE Change Happen at https://seechangehappen.co.uk.
Listen to the full episode here: "The Inclusion Bites Podcast"
Stay curious, stay kind, and stay inclusive – Joanne Lockwood
ℹ️ Introduction
On this episode of Inclusion Bites, host Joanne Lockwood welcomes AJ Hannah, founder and creative director of 3dio Studios, for a compelling conversation entitled “Animating Queer Futures.” Together, they navigate the vibrant world of queer-led independent animation, shining a light on the barriers and breakthroughs facing LGBTQ+ and BIPOC storytellers in an industry still dominated by mainstream giants.
From the shifting landscape post-DEI layoffs at Disney through to the grassroots drive to create unapologetically queer, globally resonant work, AJ Hannah reveals not only her creative superpower—storytelling—but also the powerful mission behind her studio: to become a “gayer, more colourful Disney” for a new generation. Listeners are taken through the realities of indie animation, where authentic representation is more than a buzzword; it’s a lived practice, reflected both in front of and behind the scenes. We’ll hear about the significance of lived experience in casting and writing, the challenge of funding without compromise, and the joy—and chaos—of pushing back against norms to make space for voices long ignored.
Buckle up for an episode packed with laughter, honesty, and hope, as AJ Hannah and Joanne Lockwood offer inspiration and a rallying cry to anyone dreaming of a more inclusive future in media. Whether you’re a changemaker, creative, or curious ally, this episode will leave you feeling energised to champion stories that challenge, affirm, and ignite.
💬 Keywords
queer storytelling, indie animation, LGBTQ representation, BIPOC creators, authentic voice acting, Disney comparison, DEI layoffs, inclusion, belonging, societal transformation, crowdfunding, Kickstarter, sponsorship, 2D animation, hand-drawn animation, creative direction, representation in media, marginalised communities, mental health in creative industries, animated series development, empowerment, artistic authenticity, identity, non-binary experiences, gender fluidity, youth role models, pay equity, union wages, creative funding, community building
About this Episode
About The Episode:
In this conversation, AJ Hannah, founder and creative director of 3dio Studios, explores what it means to forge unapologetically queer and BIPOC-centred animated futures. With a clear-sighted critique of mainstream animation’s limitations, AJ shares a vision for transformative, authentic storytelling that platforms underrepresented talent both behind the mic and on the screen. This episode unpacks the responsibilities, practicalities, and politics of building a queer-first indie animation studio from the ground up.
Today, we’ll cover:
The power and necessity of authentic representation in animation—why it goes beyond mere casting and into lived experience at every level of production.
Structural barriers faced by marginalised creators in mainstream animation, and how indie studios provide alternative platforms and pathways.
The realities of ethical indie production, including paying underrepresented artists fairly and the challenges of funding outside traditional channels.
The tension between creative integrity and global distribution constraints, particularly when “queer stories” face censorship or resistance.
Strategies for sustainable content creation: balancing short-form episodes, audience engagement, and monetisation through community-driven models.
Prioritising mental health and flexibility within production teams as essential practices for inclusive creative environments.
The role of hope, activism, and joyful defiance as driving forces for building inclusive storytelling ecosystems in hostile political climates.
💡 Speaker bios
Joanne Lockwood is the dynamic host of Inclusion Bites, a podcast and platform dedicated to bold conversations that inspire societal change. As a passionate advocate for inclusion and belonging, Joanne guides listeners on a journey to challenge the status quo and explore what it truly means for everyone to thrive. With a warmth that invites connection, she unearths unseen storeys and encourages others to reflect, connect, and become part of the conversation. Whether over a morning coffee or at the end of a long day, Joanne inspires her audience to reflect, engage, and take meaningful action towards a more inclusive world.
💡 Speaker bios
AJ Hannah has always been a keen follower of horror films, particularly enjoying the unique atmosphere created by classic cult events. Growing up, AJ noticed that while many horror films landed on streaming platforms, the thrill of special cinema screenings remained—though often confined to smaller, independent theatres. This passion naturally led AJ to embrace the vibrant community around "The Rocky Horror Picture Show", where cinemas regularly host screenings, sometimes paired with energetic live performances. For AJ, these events are not just about watching a film, but about sharing in a beloved cultural phenomenon that brings audiences together in celebration of all things quirky and theatrical.
❇️ Key topics and bullets
Certainly! Here’s a comprehensive sequence of the main topics and sub-topics covered in the transcript of this Inclusion Bites Podcast episode, “Animating Queer Futures”:
1. Introduction to the Podcast and Guest
Overview of Inclusion Bites and its mission
Joanne Lockwood's welcome and introduction
Introduction of AJ Hannah and her role as founder and creative director of 3dio Studios
2. Personal Context and Environment
AJ Hannah’s location and seasonal context (East Coast, USA, autumn weather)
Discussion of American versus British Halloween traditions
Cultural notes on horror movies and cinema practices
3. Creative Projects at 3dio Studios
The ambition to be a “gayer and more colourful Disney”
Reflection on the animation industry's diversity gaps
Ongoing and future projects:
Poison Us (adult animated series)
The Manslaughter Project (thriller-comedy in pre-production)
4. Representation and Authentic Storytelling
Importance of authentic LGBTQ+ and BIPOC narratives
Limitations and censorship in mainstream studios like Disney
The composition and casting within 3dio Studios:
Actors and team members with lived experience
The value of authentic performances over commercialised representation
5. Industry Challenges and Opportunities
Barriers to entry for queer and BIPOC talent (voice actors, writers, animators)
The challenge of gaining mainstream agent representation
Significance of providing paid opportunities and building professional portfolios for underrepresented creatives
6. Production, Funding, and Monetisation Strategies
Project lengths and formats (shorts, full episodes, potential feature films)
Responsible representation and the process for writing culturally sensitive narratives (e.g., seeking Indigenous writers for specific projects)
Distribution methods:
TikTok for shorts
YouTube for pilots and episodes
Kickstarter for funding
Exploration of merch and potential Patreon opportunities
Partnerships and sponsorships (e.g., Toon Boom)
7. Creative Processes and Animation Methods
Emphasis on 2D, hand-drawn animation
Artistic influence (Boondocks, American and anime fusion)
The collaborative workflow (background artists, fine animators, original music)
Timeline and the intensive labour involved in animation production
8. Voice Talent and Fandom
Alignment between character identities and the actors portraying them
Emerging indie voice talents in queer and BIPOC spheres
Potential for actors to gain devoted followings and become community icons
9. Funding Landscape and Industry Ecosystem
Nuances of indie animation funding (direct support via Kickstarter and merch)
Observations on the absence of a centralised funding body for queer/BIPOC indie projects
The challenge of fundraising for niche, community-focused content
10. Societal Resistance, Identity and Activism
Impact of DEI (Diversity, Equity & Inclusion) programme closures
The political climate and increased right-wing pushback against inclusion
AJ Hannah’s personal experiences of discrimination and resilience
The importance of community-driven production and rejecting corporate compromise
11. Personal Journeys and Identity Exploration
AJ Hannah's career progression from journalism to creative animation
Lived experience as a queer, gender-fluid, person of colour
Navigating visibility, confidence, and external perceptions
Joanne Lockwood's reflections on gender identity and self-acceptance
12. Purpose, Hope and Motivations
The dual motivations behind activism: hope vs. defiance (vindication, “good trouble”)
The role of personal drive, representation, and inspiring the next generation
Commentary on community solidarity and agency
13. Closing Thoughts
The importance of projecting confidence and leading by example
Aspirations for the future of 3dio Studios and its impact
Expressions of gratitude and encouragement to listeners for continuing the journey of inclusion
This outline should provide a clear roadmap to the podcast’s discussion and the sequence in which each theme was addressed, including the nuance and depth within each topic.
The Hook
Ever felt like the stories you craved just… didn’t exist? What if the worlds we imagine could finally belong to ALL of us—unfiltered, unapologetic, and downright real? Step inside a creative revolution where inclusion isn’t a buzzword—it’s the plot twist.
What happens when the gatekeepers say “no”… and you build your own universe instead? This isn’t just another tale about fighting the odds. It’s about rewriting the rules of who gets to dream—and WHO gets centre stage.
Tired of “diversity” as a corporate checkbox? Imagine content where authenticity isn’t just nudged in—it’s baked into every frame, every voice, every frame. Curious how art can ACTUALLY create belonging? It starts here.
Heard the world is “post-inclusion”? Think again. There’s a new wave brewing—and it’s uncompromisingly bold. Ready to find out what happens when community fuels creativity (and change, for real)?
Who gets to tell our stories—and why does it matter? If you’ve ever wondered what true representation sounds like (and how it feels to finally see YOU on screen), you’ll want to keep reading. There’s a future being animated, and it’s got your name all over it.
🗞️ Newsletter
Subject: Animating Queer Futures – Inclusion Bites Podcast Newsletter
Hello Inclusion Bites Community,
Welcome to the latest edition of the Inclusion Bites newsletter, where bold conversations spark real change! This week, we invite you into the vibrant world of inclusive animation with episode 193: Animating Queer Futures.
Meet Our Trailblazer:
We’re joined by AJ Hannah, founder and creative director of 3dio Studios—a queer, BIPOC, woman-led indie studio championing authentic LGBTQ+ stories through projects like the animated series Poison Us. Interviewed by our host Joanne Lockwood, AJ lifts the lid on what it means to create media for, by, and with underrepresented communities.
Why This Episode Matters:
With big studios making only tentative steps towards queer representation and often compromising for mainstream markets, independent creators like AJ Hannah are stepping in to tell bold, truthful stories. This episode unpacks:
The vision for a “gayer and more colourful Disney”: Representation means all dimensions of colour—identity, experience, and culture.
The importance of authenticity: Why lived experience matters not only on screen but behind the mic, from storyboard to voice actor.
Funding realities and community power: How queer BIPOC animation thrives on grassroots sponsorship, Kickstarters, and the support of its own audience.
Key Listening Moments:
What it takes to create unapologetically queer content in animation.
How AJ Hannah and her team ensure authentic casting—like hiring Filipino and trans actors for characters who share their background.
Reflections on resilience, hope, and creative vindication amidst rising right-wing pushback against DEI efforts.
AJ’s Story, In Her Own Words:
After years in journalism and witnessing widespread DEI layoffs in mainstream media, AJ Hannah knows what it’s like to be shut out and underestimated. Instead of asking for a seat at someone else’s table, she’s built her own—and is inviting others in.
🎧 Listen & Share
Tune in to hear voices and visions shaping a more inclusive media future. Whether you’re a D&I professional, a lover of adult animation, or believe in the power of community-driven change, this episode will inspire you to act and amplify.
🔗 Listen now to Animating Queer Futures
📢 Join the Conversation
Have thoughts, experiences, or ideas to share? Email Joanne Lockwood at jo.lockwood@seechangehappen.co.uk to get involved, or let us know what matters to you in the inclusion space.
Thank you for being part of our community—together, we foster change, one bold conversation at a time.
With hope (and a little bit of good trouble),
The Inclusion Bites Podcast Team
#InclusionBites #AnimatingQueerFutures #QueerVoices #DEI #IndieAnimation
Guest's content for their marketing
Animating Queer Futures: My Journey on the Inclusion Bites Podcast
I am thrilled to share that I recently featured as a guest on the widely respected Inclusion Bites Podcast, with the inspiring Joanne Lockwood as host. It was an honour to sit down for an open, transformative conversation about my journey, my work, and my vision for a brighter, more inclusive future in animation.
As the founder and creative director of 3dio Studios—a queer-led, BIPOC, woman-driven indie studio—my mission is to amplify stories that so often go untold. On the episode titled “Animating Queer Futures,” I delved into why representation and authentic storytelling are not just ambitions, but core values shaping every aspect of our studio.
During our discussion, I explored what it means to build a “gayer, more colourful Disney.” What does that world look like when queerness and diverse identities are told through our own lens, not through subtexts or side characters, but as heroes and central narratives? We discussed how deeply important it is that characters are voiced and shaped by people who share their lived experiences. For instance, in our animated series Poison Us, our Filipino character is played by a Filipino actress, and our trans man character is voiced by a Black trans actor. It’s about building stories with our community, not just about them.
We also tackled the realities behind independent animation—both the challenge and liberation of funding, the importance of paying marginalised artists and contributors, and the joy of seeing projects take shape because the community itself believes in them. I was able to share open, honest insight into the difficulties of fundraising as an introverted creative, but also the resilience and hope that come from turning adversity into power. For me, it’s about creating with a sense of justice and a relentless drive to make space for those who are so often told they can’t have it.
Addressing today’s climate of cultural and political pushback, I spoke about the ongoing need for courage—about creating unapologetically queer and BIPOC-centred content, and not shying away from difficult discussions. Our existence, our stories, and our art are themselves acts of celebration and resistance.
Being on the Inclusion Bites Podcast offered a rare platform to articulate why I do what I do—not only from a place of personal vindication, but because seeing ourselves reflected authentically can give a community hope. It reminded me that even when systems aren’t made for us, we have the power to build our own—and that is both a radical and joyful act.
If you’re passionate about inclusive storytelling and want to learn more about the realities and dreams of animating queer futures, I invite you to listen in and support our journey. Together, let’s make space, amplify talent, and keep dancing on the boundaries others say we can’t cross.
Listen to the full episode and join the conversation at seechangehappen.co.uk/inclusion-bites-listen. Let's keep creating the future, one story at a time.
Pain Points and Challenges
Certainly. Below is a focused summary of the key pain points and challenges discussed by AJ Hannah and Joanne Lockwood in the “Animating Queer Futures” episode, along with tailored suggestions to address each issue:
Key Pain Points & Challenges Highlighted
Lack of Authentic Queer and BIPOC Representation in Mainstream Animation
Mainstream studios rarely allow queer or BIPOC voices to lead or direct, resulting in stories that fail to reflect these communities authentically.
Diverse stories are often diluted or censored to fit global market demands and appease shareholders.
Barriers to Entry for Underrepresented Talent
Industry gatekeeping (education, industry connections, and agents) prevents many talented queer and BIPOC individuals from securing key creative roles.
Indie animation is often maligned for not paying contributors, exacerbating the struggle for fair economic opportunities.
Funding Struggles for Queer-Led Indie Projects
Mainstream investors and platforms are reluctant to support explicitly queer and BIPOC-centred content.
Raising funds through community-driven methods (Kickstarter, sponsorships) is arduous, especially without access to traditional networks of financial power.
The Burden of Activism and Risk of Backlash
Operating in an increasingly hostile socio-political climate brings risks of both institutional and individual backlash—including professional blacklisting, personal safety threats, or becoming targets for hate groups.
The emotional and practical toll of being ‘out front’ as a marginalised creator is significant.
The Mental and Physical Health Toll of Indie Production
Indie teams often lack resources for adequate breaks, leading to potential burnout.
The work demands can leave little time and headspace for personal care, further compounded by the expectation to deliver “twice as much for half as much recognition.”
Content to Address These Issues
1. Championing Authentic Representation
Empowerment Through Own-Lens Storytelling: Prioritise recruiting talent with lived experience of the identities reflected—writers, storyboard artists, voice actors. This ensures the narrative tone, character arcs, and nuances genuinely resonate (see AJ Hannah’s approach in “Poison Us”).
Resist Censorship for the Sake of Marketability: Indie creators should embrace the freedom to tell the whole story, including challenging or overlooked aspects of queer and BIPOC lives.
2. Breaking Down Barriers for Talent
Non-Traditional Recruitment: Hold open auditions, accept portfolios from outside conventional networks, and actively scout talent not represented by agents. Publicise opportunities in queer and BIPOC community spaces.
Pay and Credit Contributors: Structure project budgets—even if crowdfunded—to compensate all creative contributors, giving them real industry credits and showreel material.
3. Rethinking Funding and Community Investment
Multi-Stream Revenue Models: Like AJ Hannah, combine crowdfunding, sponsorship, and value-aligned merchandise to spread financial risk and widen support.
Direct-to-Community Engagement: Build a community around your content early and invite fans to support not just the project, but the mission. Transparency about funding needs and where support goes can foster deeper loyalty.
4. Navigating Backlash and Building Resilience
Build Internal and External Support Networks: Connect with other independent queer and BIPOC creators for mutual support, shared learning, and collective advocacy when facing discrimination or bad-faith targeting.
Ownership of Narrative: Channel adversity as creative fuel—turn resistance and negativity into themes explored in art, giving agency back to your team.
5. Fostering Wellbeing in Indie Production
Prioritise Flexibility and Rest: Create self-governing project schedules that allow for mental health breaks and personal emergencies. Celebrate slower timelines if it means supporting artists’ wellbeing.
Mental Health Advocacy: Normalise conversations around burnout and self-care; promote resources and dialogue within your team.
By focusing on these actionable strategies, creators can address the structural inequalities AJ Hannah and Joanne Lockwood so powerfully dissected, and forge a more equitable, resilient, and genuinely creative animation landscape.
For anyone looking to get involved, contribute, or learn more, visit Inclusion Bites Podcast at SEE Change Happen, or reach out directly to Joanne Lockwood.
Let’s continue to turn these challenges into stepping stones for authentic storytelling and meaningful inclusion.
Questions Asked that were insightful
Absolutely, several questions during this episode prompted AJ Hannah to share rich, nuanced insights that would be ideal for a series of FAQs for the Inclusion Bites audience. Here are some standout exchanges and potential FAQ topics:
1. What inspired you to create a “gayer and more colourful Disney”?
When Joanne Lockwood referenced AJ Hannah’s ambition to create a gayer, more colourful version of Disney, AJ offered a thoughtful exploration of representation gaps in mainstream animation, describing the lack of authentic queer, BIPOC, and women-led narratives (especially in leadership and creative roles). She explained how her studio aims to fill those gaps and resist the pressure to sanitise or censor stories for wider, but less inclusive, audiences.
2. Why is authentic representation in animation so critical?
The conversation around the importance of having not just diverse characters but also queer/BIPOC/underrepresented talent behind the scenes was particularly insightful. AJ Hannah argued that only by prioritising authenticity—casting, writing, and animating with people who have lived experience—can stories resonate genuinely with those communities.
3. How does your studio ensure cultural accuracy and respect when telling marginalised stories?
When discussing The Manslaughter Project, AJ made it clear she would not progress with stories based on Indigenous iconography without collaboration from writers within that community. This demonstrated a strong ethical stance on cultural respect and responsible storytelling.
4. What are the challenges and advantages of being a niche, unapologetically queer-led indie studio?
Joanne Lockwood asked whether the intended audience was explicitly queer and allied. AJ’s response highlighted the freedom and challenges of sidestepping mainstream expectations and censors, instead focusing on serving the intersectional identities of their direct communities.
5. How is the studio funded, and what innovative models are used to support underrepresented creators?
In discussing funding, AJ was transparent about using Kickstarter, sponsorships, and community-driven support, all with the aim of paying contributors fairly—even if it means not drawing a salary herself. She contrasted this with mainstream and some indie production models, which often seek unpaid creative labour.
6. What advice is there for early-career voice actors or animators struggling to break into the industry?
AJ’s reflection on experience barriers and her own hiring philosophy provided reassurance and tactical guidance for those feeling overlooked due to not fitting the industry's "typical blend." She stressed the importance of authentic portfolios, paid opportunities, and self-production in indie circles.
7. How do you emotionally navigate being visible as a queer person of colour and a leader in animation?
AJ candidly discussed the pressures, safety concerns, and the resilience required to maintain visibility, especially when intersectional identities often attract unwanted scrutiny. Both speakers reflected on the tension between standing out and simply wanting to belong.
8. What keeps you motivated to keep creating in the face of opposition or indifference?
Motivation, hope, and, in AJ’s case, even ‘spite’ were all explored—offering relatable, sometimes cheeky responses about purpose, agency, and the drive to build new spaces when excluded from the mainstream.
Each of these could be developed into an FAQ post or expanded conversation starter, giving listeners practical takeaways, ethical context, and inspiration drawn directly from AJ Hannah and Joanne Lockwood’s experiences.
Blog article based on the episode
Animating Queer Futures: How AJ Hannah and 3dio Studios Are Re-drawing the Landscape of Inclusive Storytelling
What if the next generation of animated heroes didn’t just look different, but thought—and loved—differently too?
In an age where mainstream media tiptoes around diversity, genuine and resonant representation remains the exception, not the norm. It is into this gap that AJ Hannah, founder and creative director of 3dio Studios, steps boldly. In our recent Inclusion Bites Podcast episode, “Animating Queer Futures”, AJ Hannah revealed not only the systemic gaps in modern animation but shared tangible steps that can push us all towards a future where queer and bipoc stories are not just present, but celebrated.
The Problem: Diversity Censored and Creativity Stifled
Animation shapes childhoods, teaches values, and builds worlds where we imagine ourselves as anyone—or anything. Yet, for decades, these worlds have centred the same narratives and faces. As AJ Hannah described, even titans like Disney may pride themselves on surface-level diversity, but their boardroom decisions routinely cut nuanced, meaningful queer and bipoc stories at the edit suite.
Projects with LGBTQ+ and authentic bipoc lead characters are often diluted or censored to pander to global markets, as AJ Hannah detailed through examples where trans stories were clipped and meaningful representation sanitised. Mainstream studios, hampered by complex shareholder and regional interests, “straddle the middle line”, too often sacrificing authenticity for commercial comfort.
Perhaps most disturbingly, the invisibility goes behind the microphone too. As AJ Hannah highlighted, in the animation industry, women and people of colour are abundant amongst animators, writers and voice artists, but very rarely do they ascend to creative leadership—or even meaningful input. The upshot? Even when queerness or diversity is present on screen, the stories lack lived truth and holistic resonance.
The Vision: Unapologetically Queer, Always Authentic
So, what is the alternative? For AJ Hannah, it is not to wait endlessly for permission from gatekeepers—it's to build a “gayer and more colourful Disney” from the ground up. Through 3dio Studios, AJ Hannah and her collective are redefining what animated storytelling can be: unapologetically queer, unabashedly inclusive, fiercely authentic.
How? By embedding authenticity at every level. Queer and bipoc experiences are not pasted onto characters as an after-thought—they are written, animated and performed by people who live them. In 3dio’s forthcoming animated series Poison Us, for instance, a key Filipino character is voiced by a Filipino actor, while a trans man is performed by a Black trans voice artist. Not only does this bring resonance and nuance, but it ensures culture, language, and perspective are carried through every scene and line.
As AJ Hannah put it, “If you don’t have the people behind it…who can actually tell that story in a representative and authentic way, then what are you doing?” Authentic representation must reach beyond the diversity agenda—it is about empowering those who have been historically locked out to tell their own stories, their way.
Action Points: How to Animate the Future
1. Resource Authentic Storytellers
Studios, production companies and even independent creators can prioritise hiring from lived-experience backgrounds. This is more than a tick-box: it means actively seeking out underrepresented talent, providing genuine paid opportunities, and listening to feedback when stories don’t ring true. As AJ Hannah explained, paying actors from the communities they represent matters—not just to the integrity of the work, but to building careers and amplifying new voices.
2. Fund Indie and Community-led Media
Too often, innovative projects fizzle out due to lack of financial support. Unlike the big studios, grassroots ventures cannot afford to work for free perpetually. Supporting queer-led and bipoc-led Kickstarters, Patreons, or merch offerings is a direct way of voting for the stories you want to see in the world. If you’re in a position to sponsor, partner or invest—do it.
3. Champion Non-traditional Distribution
Gatekeepers are changing. With platforms like YouTube, TikTok and even independent physical screenings, content can now connect directly with its audience. Community sharing generates its own momentum. AJ Hannah’s decision to launch Poison Us pilots and shorts on direct-to-audience platforms both builds buzz and keeps creative control in the hands of those making the work.
4. Insist on Structural Change
Large studios must do more than perform diversity; they must hand over authority. From creative leads to writers’ rooms to the board itself, those with lived experience of marginalisation need to be at the helm. If you work within a traditional studio—be an activist within, advocate for those not in the room, and push for genuine structural inclusion.
5. Refuse to Be Silenced
Opposition is real. Funders will walk away. Trolls will attack. But as AJ Hannah asserted, the solution is not to play small. “If you lay low, you’re doing what corporates do all the time…for us, there’s nothing else to lose.” The most powerful act can often be simply to exist loudly—reminding the world that these stories, these voices, will not go away.
The Call: Join the Animation Revolution
There is a new world of animation taking shape—messier, bolder, sometimes funded with the price of a coffee, but infinitely more honest than any corporate rainbow. Poison Us and 3dio Studios offer more than just inclusion—they offer hope, justice, and, as AJ Hannah put it, a “sense of spiteful joy.” For those who’ve ever felt outside the story, these projects represent a new place at the heart of the narrative.
Now is not the time to wait for permission or acceptance. Now is the time to support, sponsor and amplify the makers forcing change—so that young queer, bipoc and intersectional kids see themselves not just surviving, but thriving onscreen.
Inspired by AJ Hannah, let’s be part of the future we wish to animate.
Support independent media. Share their content. Challenge your workplace to do better. And, above all, refuse to settle for stories that do not feel like yours.
For more from this inspiring conversation and other changemakers, listen to “Animating Queer Futures” now on the Inclusion Bites Podcast. Subscribe, share, and let’s build the media ecosystem we all deserve.
Listen and get involved at: https://seechangehappen.co.uk/inclusion-bites-listen
Contact Joanne: jo.lockwood@seechangehappen.co.uk
#InclusionBites #AnimatingQueerFutures #QueerAnimation #DiversityInMedia
The standout line from this episode
A standout line from this episode is:
"You tell me it's wrong. You tell me I can't do this. Fine, I'll do it. Like I don't care." – AJ Hannah
This encapsulates the episode’s spirit of resilience, defiance, and the drive to create authentic queer futures in the face of adversity.
❓ Questions
Certainly! Here are 10 discussion questions inspired by this episode of Inclusion Bites, “Animating Queer Futures”:
How does AJ Hannah's vision for a “gayer and more colourful Disney” challenge the current norms in mainstream animation?
In what ways does authentic representation—having queer and BIPOC talent both on screen and behind the scenes—enhance storytelling in media?
What are the unique challenges and opportunities facing indie animation studios like 3dio Studios compared to established platforms like Disney and Netflix?
How does AJ Hannah conceptualise creative control and the importance of resisting censorship, especially in territories with limited LGBTQ+ freedoms?
To what extent do you think funding models such as Kickstarter and community sponsorship influence the creative process and content of queer-led animation?
Joanne Lockwood reflected on the role of perseverance and “good trouble” in driving inclusion. How can this attitude empower marginalised creators?
How do past experiences of exclusion shape the way AJ Hannah and her team approach leadership, opportunity-giving, and talent discovery within their studio?
In your view, what is the impact of authenticity and cultural consultation when creating characters from underrepresented backgrounds, as discussed in relation to “The Manslaughter Project”?
How do AJ Hannah and Joanne Lockwood navigate personal identity in professional and public spaces, and what does this say about broader societal attitudes to queer and gender-diverse people?
Reflecting on the episode, do you believe that “inclusion is resistance” as debated by the speakers? Why or why not, and how does this manifest in creative industries?
These questions are designed to spark meaningful dialogue around the key themes of authenticity, representation, resistance, and the realities of running an inclusive, values-led creative business.
FAQs from the Episode
FAQ: Animating Queer Futures – Inclusion Bites Podcast
1. What is "Animating Queer Futures" about?
"Animating Queer Futures" is an episode of the Inclusion Bites Podcast, hosted by Joanne Lockwood, featuring guest AJ Hannah. The episode explores the power and necessity of queer, BIPOC-led animation studios that unapologetically create content centring LGBTQ+ and diverse identities. It centres on AJ Hannah’s studio, 3dio Studios, and its mission to address the gaps in mainstream animation, such as Disney, by producing genuinely representative and authentic stories.
2. Who is AJ Hannah, and what is her vision for animation?
AJ Hannah is the founder and creative director of 3dio Studios, an independent, queer, BIPOC woman-led animation studio. Her vision is to build “a gayer and more colourful Disney,” advocating for stories that mainstream studios often neglect – focusing on queer characters, people of colour, and those living at intersectional margins, both on and off the screen.
3. How does 3dio Studios differentiate itself from mainstream studios like Disney?
Unlike mainstream studios, 3dio Studios prioritises authentic representation by ensuring both characters and creative talent share lived experiences with those they portray. For example, a Filipino character will be played by a Filipino voice actor, and a trans character by a trans actor of colour. The studio refuses to censor or dilute narratives for commercial safety, choosing instead to tell bold, resonant stories for the communities they serve.
4. What are some of the flagship projects of 3dio Studios?
The primary animated series discussed is "Poison Us," an adult dark comedy with a diverse cast of characters voiced by actors from corresponding backgrounds. Another project mentioned is “The Manslaughter Project,” a thriller-comedy in pre-production, focusing on female protagonists and seeking active collaboration with indigenous writers for cultural credibility and accuracy.
5. In what ways does 3dio Studios support underrepresented creatives?
3dio Studios actively recruits writers, voice actors, and artists from underrepresented groups and insists on paying them, even if that means the founder herself goes unpaid. Their objective is to build CVs and “showreels” for those typically overlooked by mainstream agencies, providing not only representation in media but tangible income and professional opportunities.
6. How does the studio fund its productions?
Funding is sourced from modern community-driven avenues such as Kickstarters, Patreon (considered but not yet enacted), merchandise, and sponsorships from organisations like Toon Boom. Rather than pursuing traditional production financing or courting big studios, 3dio Studios intentionally reaches out to its core community to maintain creative control.
7. Where and how can audiences watch or support 3dio Studios’ work?
Shorts and pilots such as "Poison Us" are released initially to Kickstarter backers via early screenings and then on platforms like YouTube and TikTok. Community members support the work through crowdfunding, purchasing merchandise, and direct contributions—thereby ensuring the studio’s independence from mainstream creative constraints.
8. Why is authenticity in voice acting and storytelling important to 3dio Studios?
Authenticity is crucial to ensure that stories and characters truly resonate with their intended audience. AJ Hannah argues that representation must go beyond casting to include the writers, storyboard artists, and other creatives – those with relevant lived experiences – so narratives do not ring hollow or appear tokenistic. The studio is open to revising scripts to ensure cultural and experiential accuracy.
9. What is the studio’s approach to content relating to culture, queerness, and identity?
Content is designed to be unapologetic and uncensored. AJ Hannah and her team aim to tell the stories missing from mainstream animation—narratives that do not shy away from realities like coming out, gender identity, or authentic depictions of BIPOC experiences. There is an emphasis on telling stories that reflect hope, justice, and sometimes, in AJ Hannah’s words, “good trouble.”
10. How does 3dio Studios respond to political and social pushback against DEI and queer representation?
Both AJ Hannah and Joanne Lockwood acknowledge the climate of resistance and backlash against DEI initiatives and queer representation. Rather than compromise, 3dio Studios is intentionally robust in delivering representation, seeing the current climate as a call to be even more visible and impactful, offering hope, community, and “spite-fuelled” pride to those who need it most.
11. How can listeners follow up, support, or get involved?
Interested listeners can visit https://seechangehappen.co.uk/inclusion-bites-listen to catch more episodes. For direct involvement, insights, or to join the conversation, reach out to Joanne Lockwood at jo.lockwood@seechangehappen.co.uk. To support 3dio Studios, audiences are encouraged to look for their Kickstarter, subscribe on YouTube, follow on TikTok, and watch for future projects.
12. What lasting message does this episode leave with listeners?
The episode champions authenticity, resilience, and the importance of forging inclusive futures through bold storytelling. Whether driven by hope or "good trouble," the work of AJ Hannah and 3dio Studios exemplifies how marginalised creatives can reclaim narrative agency and inspire new generations to not merely be included but to thrive.
Tell me more about the guest and their views
The guest on this episode is AJ Hannah, the founder and creative director of 3dio Studios—a queer, BIPOC woman-led indie animation studio based near Washington, DC. Her studio is known for creating the adult animated series “Poison Us” and for championing globally resonant LGBTQ+ storytelling.
AJ Hannah is driven by the desire to authentically represent queer and BIPOC narratives in animation. She describes her superpower simply as “telling stories,” a passion evident throughout the conversation. Her vision is ambitious: she wants 3dio Studios to be a “gayer and more colourful Disney”, meaning not only visually vibrant, but also inclusive in terms of identity, shapes, and cultural backgrounds. For AJ Hannah, it’s vital that marginalised people—particularly queer people and people of colour—see themselves authentically depicted in leading roles, rather than as token characters or stereotypes.
A core tenet for AJ Hannah is authenticity, both in terms of who creates the work and who is represented. She is adamant that the writers, story-boarders, and voice actors come from the communities they portray. For instance, the animated show “Poison Us” features a Filipino character voiced by a Filipino actress, and a Black trans male character voiced by a Black trans actor. She is clear that diversity behind the scenes is equally as important as representation on-screen, maintaining, “If you don’t have the people behind it…that can actually tell that story in a representative and authentic sort of way, then what are you doing?”
AJ Hannah is unapologetic about centring queer perspectives, regardless of market pressures: “We are building a media and platform for people that want to and need that sort of representation…we’re making it for us and we’re making it for our community. And if you don’t like it, you don’t have to be part of it.” She is pragmatic in recognising that large studios like Disney are limited by operating across vastly different cultural contexts and legal constraints, but she believes her own value lies in the creative and social freedom of independence.
Another core value is economic empowerment. AJ Hannah intentionally provides paid opportunities for underrepresented artists, screenwriters, and voice actors, recognising that mainstream agents and studios often ignore or undervalue them. She’s upfront that, at times, she diverts all available resources towards paying her team fairly, even foregoing a salary herself to ensure her contributors are compensated.
In terms of her artistic ethos, AJ Hannah insists on cultural respect and collaboration. For example, when developing projects that feature Indigenous stories or characters, she will not proceed without partnering directly with writers from those backgrounds: “It needs to be responsible, reflective and resonant.”
Her personal philosophy is a blend of hope, justice, and “good trouble.” She sees her work both as an act of resistance—vindication and creative mischief in the face of exclusion—as well as a beacon for those needing hope and community. She is motivated by a determination to “build it and make it and put it out there” for people who have been historically sidelined, far more than by any desire for mainstream acceptance.
Overall, AJ Hannah is a passionate advocate for radical inclusivity, creative autonomy, and ethical representation in media. Her approach is both principled and pragmatic, shaped by her lived experience as a queer Black creative in the US, and she represents a movement that insists on both telling and owning their own stories.
Ideas for Future Training and Workshops based on this Episode
Certainly! Drawing directly from this episode of Inclusion Bites, “Animating Queer Futures,” with AJ Hannah and Joanne Lockwood, here are lively and purposeful training and workshop themes for D&I and related spheres:
1. Authentic Storytelling for Inclusion: Beyond Tokenism
Focus:
How to create genuinely representative media, especially animation, that goes further than tick-box diversity.
Key Topics:
The importance of lived experience: hiring writers, voice actors, and artists from the communities portrayed (AJ Hannah referencing casting decisions in Poison Us).
Pitfalls of surface-level inclusion versus authentic representation.
Hands-on storyboarding sessions where participants rework classic narratives through a truly intersectional lens.
2. Indie Media as a Vehicle for Queer and BIPOC Narratives
Focus:
Empowering community-driven media creation; embracing new routes for funding, audience engagement, and distribution as alternatives to mainstream gatekeeping.
Key Topics:
Navigating crowdfunding (Kickstarter, Patreon) and ethical sponsorship (as discussed by AJ Hannah).
Workshop: Designing a sustainable community-backed digital media project.
Case studies and role-play on negotiating creative control with funders/studios.
3. Building Inclusive Creative Teams
Focus:
Unpacking systemic barriers that prevent marginalised creatives from thriving, and practical strategies for inclusive recruitment and team empowerment.
Key Topics:
Reviewing recruitment pipelines: practical steps to welcome queer, trans, and BIPOC talent—beyond “who you know” agency models.
Workshop activity: Auditing your own artistic/professional portfolio or project for hidden bias or exclusion.
Creating opportunities for those without traditional access (echoing AJ Hannah on barriers in animation and film).
4. Intersectionality in Animation: Character Design, Narrative and Voice
Focus:
Deep dive into collaborative methods for integrating queer, trans, and BIPOC perspectives in character development and storytelling.
Key Topics:
How to work with cultural consultants and sensitivity readers (drawing from AJ Hannah’s insistence on authentic collaboration for The Manslaughter Project).
Hands-on session: Revise an animated character for intersectional authenticity.
Building feedback loops with represented communities.
5. Resilience, Activism and Agency in the Creative World
Focus:
Developing personal and professional resilience in the face of hostile political climates and systemic setbacks.
Key Topics:
Transforming resistance and adversity into creative power (“good trouble,” as both speakers put it).
Building hope and solidarity: how community gives strength to persevere.
Reflection circles: Sharing lived experiences and strategies for self-advocacy and activism, inspired by the attitudes of AJ Hannah and Joanne Lockwood.
6. Digital Distribution and Ethical Monetisation in Marginalised Media
Focus:
Exploring modern platforms for promoting and monetising queer/BIPOC content—balancing ethics and sustainability.
Key Topics:
Navigating choices: YouTube, TikTok, Patreon, and direct-to-community models.
Case examples: how to maintain creative control whilst scaling content and engaging sponsors.
Mapping your own route to market for independent media projects.
7. Combating ‘Pinkwashing’ and ‘Performative’ Allyship
Focus:
Understanding, identifying, and avoiding “performative” inclusion and DEI in corporate and creative contexts.
Key Topics:
Real-world examples from media and animation (referencing the Disney comparisons).
Workshop: Reviewing workplace or campaign initiatives for authenticity—diagnostics and remedial action.
Crafting comms, marketing, or story arcs that centre lived experience over optics.
These ideas reflect the themes, philosophy, and urgent calls to action voiced throughout the conversation with AJ Hannah and Joanne Lockwood. Each concept is designed to be dynamic, practical, and boldly aligned with contemporary inclusion movements in creative industries.
🪡 Threads by Instagram
What if Disney told every kind of storey? AJ Hannah’s mission: a gayer, more colourful animation world, fronted by queer, BIPOC voices—unfiltered, authentic and made for those who rarely see themselves centre stage. That’s true belonging in action.
Representation matters. AJ Hannah insists that authentic diversity means creators, writers, and actors reflect the lives on screen. No more tokenism—real stories, lived experiences, and power returned to the communities they portray.
Why create indie queer animation? Because mainstream studios often won’t. AJ Hannah and her team build their own platform, fund their work by the community, and redefine what’s possible in storytelling—visibility and agency aren’t negotiable.
Authenticity is non-negotiable. AJ Hannah’s studio listens, consults, and adapts so storeys resonate. Authentic casting means every voice matches the character’s experience, so no one feels unseen or unheard—this is legacy building through narrative.
Drive for change or spite? For AJ Hannah, it’s both. Telling stories that “aren’t meant to exist” is a revolutionary act in itself. Keep pushing, keep creating, and one day, everyone will see themselves reflected in the stories that matter.
Leadership Insights - YouTube Short Video Script on Common Problems for Leaders to Address
Leadership Insights Channel: Creating Authentic Representation
Struggling with how to build authentic representation in your team or organisation? Here’s a common pitfall: leaders often include diverse individuals but fail to create space for their lived experiences to shape outcomes. The result? Superficial inclusion that feels inauthentic and leaves talent on the sidelines.
If you want real impact, here’s what to do:
Listen to lived experience. When someone with a unique background joins your project, empower them by inviting their input on character, storyline, or process decisions—just as you’d want their input if you’re portraying a specific culture or identity.
Cast and promote authentically. When representing marginalised groups, ensure those playing key roles have genuine connections to the stories being told. That could mean hiring voice and screen talent who reflect the diversity you’re striving for.
Enable flexibility and dialogue. Like the best studios, allow space for your team to shape narratives. If something doesn’t feel authentic or hits the wrong tone, adapt. The most resonant work comes from collaboration, not box-ticking.
By embracing these actions, you’ll move from token inclusion to truly impactful leadership—amplifying voices, empowering talent, and building an environment where everyone can thrive.
Lead with representation. Lead with authenticity. The positive outcomes follow.
SEO Optimised Titles
How 3dio Studios Is Animating Queer Futures | 90K Needed to Fund Inclusive Indie Projects | AJ @ 3dio Studios
Inside Poison Us | Why 2D Animation Takes Over a Year and $90,000 Per Episode | AJ @ 3dio Studios
From Disney Layoffs to Queer-Led Storytelling | 50,000+ Needed for BIPOC Voices in Animation | AJ @ 3dio Studios
Email Newsletter about this Podcast Episode
Subject: Animating Queer Futures – A Dose of Inclusion Bites Magic 🎧✨
Hello Inclusion Bites Fam,
We’re back with a truly vibrant episode that’s bound to ignite your creativity and shift perspectives. This week, Joanne Lockwood and AJ Hannah invite you to explore what it means to dream, create, and challenge the norms through the world of queer-led animation.
Here’s what you’ll learn from “Animating Queer Futures”:
Power of Authentic Storytelling
Discover why real representation is more than ticking boxes – AJ Hannah shares how bringing lived experience into animation creates stories that genuinely resonate.How Independent Studios Can Disrupt Media
Dive into the behind-the-scenes workings of 3dio Studios—a “gayer, more colourful Disney”—and their commitment to unfiltered queer and BIPOC narratives.Funding with Purpose and Passion
Gain insight into the realities of indie animation funding, including how sponsorships, Kickstarter, and community-driven support are fuelling authentic content (and why AJ Hannah isn’t collecting a salary yet!).Why Representation Behind the Scenes Matters
Learn how casting voice actors who share their characters’ identities leads to richer, more true-to-life characters—bye bye, outdated stereotypes!Resilience in the Face of Resistance
Hear both speakers reflect candidly on today’s political climate, laying bare what it takes to keep pushing forward for inclusive media—sometimes out of hope, sometimes out of spite, but always with purpose!
Unique Fact from the Episode
Did you know the pilot for “Poison Us” will be entirely hand-drawn, frame by frame, by a team of LGBTQ+ and BIPOC artists—no stock animation or shortcuts involved? This is what dedication to authentic storytelling looks like!
Ready to Amplify Queer Voices in Animation?
Join the movement! Listen, subscribe, and share this episode with your friends and colleagues. If today’s conversation sparks something in you, why not support studios like 3dio by spreading the word or even backing their projects?
Listen to “Animating Queer Futures” now:
👉 Inclusion Bites Podcast – Animating Queer Futures
Want to get involved or have your story heard? Drop Joanne a line at jo.lockwood@seechangehappen.co.uk.
Stay bold. Stay curious. Stay you.
Remember, together we’re not just imagining better futures – we’re drawing them, one frame at a time.
Keep biting,
The Inclusion Bites Team 🏳️🌈✨
#InclusionBites #AnimatingQueerFutures #QueerVoices #IndieAnimation
Potted Summary
Welcome to "Animating Queer Futures" on Inclusion Bites. In this episode, Joanne Lockwood sits down with AJ Hannah, founder of 3dio Studios, to explore the creation of queer-led animation. Together, they unpack the challenges of authentic LGBTQ+ representation, the hurdles faced by creatives within mainstream studios, and the drive to create inclusive, BIPOC-centred storytelling that resists compromise. Join this vibrant discussion about championing representation and agency through the art of indie animation.
In this conversation we discuss
👉 Authentic Queer Voices
👉 Indie Animation Funding
👉 Representation in Media
Here are a few of our favourite quotable moments
"We are building a media and platform for people that want to and need that sort of representation."
"If you don't have the people behind it... that can actually tell that storey in a representative and authentic sort of way, then what are you doing?"
"We'll build it and make it and put it out there... Just because you don't want it doesn't mean it's not going to be out there."
Ready for more?
Explore the realities behind animating diverse futures—where creativity, representation, and resilience collide. AJ Hannah and Joanne Lockwood reveal why queer-led studios matter now more than ever. Don't miss out—tune in and be inspired! Listen to the full episode on Inclusion Bites at https://seechangehappen.co.uk/inclusion-bites-listen.
LinkedIn Poll
LinkedIn Poll and Framing
Context for Poll:
In this episode of Inclusion Bites, “Animating Queer Futures,” AJ Hannah, founder of 3dio Studios, discusses the power and responsibility of authentic LGBTQ+ and BIPOC-led storytelling within animation. Joanne Lockwood and AJ Hannah explore the significance of representation not just in front of the camera but behind it—highlighting how voice actors, screenwriters, and animators with lived experience bring depth and resonance to queer narratives. This bold conversation challenges us all: What do we believe will have the most meaningful impact in advancing more inclusive, representative animation in the future?
Poll Question:
Which factor will most impact the future of inclusive queer and BIPOC animation? 🌈
Poll Options:
🎤 Authentic voice casting
📝 Queer-led scriptwriting
💰 Community crowdfunding
🌍 Global distribution access
#InclusionBites #QueerFutures #DiversityInMedia #RepresentationMatters
Why vote?
Your voice shapes the conversation about inclusive storytelling. Choose what you think matters most—let’s spotlight the path to a truly representative media landscape. Every vote is a step towards change!
Highlight the Importance of this topic on LinkedIn
🌈 Why We Need to #AnimateQueerFutures in HR & EDI 🌈
Just listened to episode 193 of Inclusion Bites, “Animating Queer Futures”, and I can’t recommend it enough for every HR, Diversity & Inclusion, or People Leader out there!
Here’s why this conversation between AJ Hannah and Joanne Lockwood matters:
✨ Real representation starts with who tells the story. Queer and BIPOC creators are not only ‘adding’ diversity but fundamentally reshaping narratives for authenticity, resonance, and impact.
💡 Indie studios like 3dio Studios aren’t just making content for content’s sake—they’re breaking cycles of exclusion and putting equity into practice, offering meaningful work and financial recognition to communities too often ignored by the mainstream.
🚫 Sidelining inclusion is NOT a risk-free move. As AJ Hannah put it: “If you don't like it, you don't have to be a part of it.” But queer audiences—and their allies—will always seek out spaces where their realities are seen and celebrated.
🔗 As EDI professionals, we need to support and amplify platforms that refuse to water down lived experience for palatability. Otherwise, “what are we doing?”
👀 We owe it to our workplaces, industries, and society to invest in storytelling that mirrors ALL of us—messy, powerful, and unfiltered.
If you’re in HR, People, or EDI, don’t just tick boxes: listen in, reflect, and ACTION your allyship!
🎧 Catch the episode here: https://seechangehappen.co.uk/inclusion-bites-listen
#InclusionBites #EDI #PeopleProfession #RepresentationMatters
L&D Insights
Certainly! Here’s an expert L&D analysis tailored for Senior Leaders, HR, and EDI professionals on the Inclusion Bites episode “Animating Queer Futures”, featuring AJ Hannah and Joanne Lockwood:
Key Insights for Leaders & EDI Professionals
1. Authentic Representation Isn’t Just About ‘Who’ is Shown—It’s About ‘Who’ is Involved 🎭
A core message emerges around authenticity: It’s not sufficient to insert diverse characters into storylines; genuine inclusion means inviting people with lived experience—across writing, voice acting, storyboarding, and production—into the creation process. AJ Hannah highlights the impact when trans, queer, and BIPOC voices shape their own narratives. For HR or EDI leaders, this is a direct challenge to examine if your organisation’s diversity is truly layered throughout, or if it’s only surface-deep.
Aha Moment: Authenticity comes from the inside out, not merely the optics of visible representation. Are the “voices in the room” reflective of those you serve?
2. Don’t Shy From Niche—Community-Led Content is Power 🔥
The episode contests the notion that inclusion should be ‘mainstreamed’ for maximum reach. The choice to remain niche—directly addressing and creating for queer and BIPOC communities—enables freedom from market-driven content sanitisation. Joanne Lockwood notes large corporates often compromise to meet broad, sometimes oppressive, territorial or shareholder demands. Indie-led efforts like AJ Hannah’s show a radical, sustainable alternative: serving your core audience wholeheartedly, instead of diluting impact for mass appeal.
Aha Moment: Sometimes real inclusion means stepping away from the mainstream and investing deeply in underrepresented groups—even if that means being unapologetically “for us, by us”.
3. Equity Means Economic Opportunity 💸
AJ Hannah is frank about the rarity of indie animation studios actually paying marginalised talent adequately. They position their studio as an antidote to exploitative ‘work for exposure’ models, arguing that equity goes hand in hand with economic empowerment: “We pay everyone. Except for me. That’s fine.” For HR, EDI, and L&D, this poses a critical reflection: Are your organisational processes inadvertently reinforcing inequity by underpaying, over-relying on passion, or excluding those without traditional credentials?
Aha Moment: Real inclusion means money in people’s pockets—the chance for career growth and portfolio development, not only visibility.
4. Inclusive Storytelling Demands Courage and Disruption ⚡️
This resource demonstrates the courage it takes to resist assimilation or corporate appeasement, particularly as political and social climates backslide. AJ Hannah is unflinching about weathering backlash, foregrounding a “do it for justice, not compliance” approach. Joanne Lockwood reminds listeners that playing safe for marginal gains won’t drive lasting change.
Aha Moment: Progress requires good trouble. Silence and compromise often equal complicity with the status quo.
5. Intersectionality Isn’t Thematic. It’s Structural 🏛️
The episode models what authentic intersectional practice looks like: refusing to progress projects without writers from the appropriate backgrounds, integrating mental health as a production value, highlighting non-binary and neurodiverse creators, and recognising that not all forms of marginalisation are visible. There’s an insistence that everyone should get an opportunity, not just those already ‘on the list’.
Aha Moment: Inclusion is not a cast list—it's a set of practices and policies that operationalise equity at every stage of your work.
What Should Leaders and EDI Pros Do Differently?
Reframe “Diversity”: Audit who holds creative and decision-making power, not just your front-of-house talent.
Resource Properly: Allocate budget to ensure marginalised talent is paid, not only platformed.
Stand Your Ground: Be clear on your values. Don’t dilute inclusive messaging to appease external ‘territory’ pressures.
Champion Intersectionality: Embed multi-layered perspectives in every project, from story conception to delivery.
Celebrate Subversive Success: Be open to success metrics that centre joy, justice, and hope within marginalised communities.
Social Hashtags
#AuthenticInclusion
#EquityInAction
#IntersectionalLeadership
#DisruptTheNorm
#AnimateBelonging
This episode is a masterclass in putting inclusion into practice—from talent pipelines to cultural production. For Senior Leaders, HR, and EDI professionals, the challenge is clear: strive beyond tokenism. Build spaces and structures where representation isn’t a tick box, but a lived reality.
Glossary of Terms and Phrases
- **Queer Futures**
Refers to the envisioning and creation of spaces, narratives, and possibilities centring queer identities, beyond the constraints of mainstream or heteronormative storytelling.
- **BIPOC**
Acronym for Black, Indigenous, and People of Colour, used to centre discussions around racial equity in media and representation.
- **Indie Studio**
An independent production studio, in this context specifically one unaffiliated with major corporate entities, often creating media outside mainstream frameworks and constraints.
- **Gayer, More Colourful Disney**
A provocative phrase used here to describe the ambition to create high-quality, imaginative content akin to Disney’s, but centring queer and racially diverse stories and creators.
- **LGBTQ Storytelling**
Narrative forms that focus on lesbian, gay, bisexual, transgender, and queer experiences, seen as necessary for authentic representation.
- **Thriller Comedy**
A hybrid genre, blending suspenseful or thriller-like elements with comedic tones, referred to in relation to a studio project.
- **Pre-Production**
The stage of development in animation or film before actual production starts, involving planning, script writing, storyboarding, and casting.
- **Board Pushback**
Industry term for when senior decision-makers or a board of directors request changes to content—often to dilute, censor, or alter marginalised representation under pressure from societal or commercial interests.
- **Authentic Representation**
Emphasises accuracy in reflecting real experiences of marginalised groups, such as having trans actors portray trans characters, or using writers of the community being depicted.
- **Voice Acting/Voice Actors**
Performers who provide character voices in animation; crucial here for authentic representation.
- **Union Rates**
Refers to the industry-standard rates for pay as set by entertainment unions, which are often challenging for indie studios to meet.
- **Showreel**
A curated portfolio of an actor’s or animator’s work, used to gain further employment or demonstrate skills.
- **Kickstarter**
Crowdfunding platform referenced as a central means of raising funds specifically from interested communities, bypassing traditional financiers.
- **Distribution Companies**
Entities that secure platforms or channels for content to reach wider audiences; often take over the timing and rights to release projects.
- **Patreon**
A platform enabling ongoing community-backed funding via monthly subscriptions from fans.
- **2D Hand Drawn Animation**
Animation created frame-by-frame (here, digitally rather than on paper), distinguished from computer-generated or 3D animation.
- **Cleanup Artist**
Technical role in the animation pipeline: refines rough animation drawings to their final form.
- **Fine Animator/Rough Animator**
Specific stages of animation; rough animators sketch initial movement, while fine animators polish and finalise it.
- **Resonant Storytelling**
A narrative approach intended to deeply connect with and mirror the experiences of its intended audience.
- **Marginalised Communities**
Groups systematically excluded or underrepresented in mainstream narratives and industry opportunities.
- **Queer Joy/Trans Joy**
Moments of affirmation and contentment arising from living authentically as queer or trans, especially in environments that offer respect and validation.
- **Cultural Icon/Cultural Consultation**
Reference to ensuring stories involving figures or narratives from minority cultures (e.g., Indigenous traditions) are handled responsibly and with input from those cultures.
- **Vindication/Spite Motivation**
Personal drivers identified in creative practice—pursuing justice and visibility out of a sense of defiance against mainstream exclusion or outright prejudice.
- **Micro Validations**
Small, everyday affirmations of identity from others (e.g., correct pronoun use), which contribute to a sense of inclusion and joy.
- **Role Model Representation**
The phenomenon of unintentional leadership or inspiration provided to marginalised communities by those forging paths in visible, creative fields.
SEO Optimised YouTube Content
Focus Keyword: Animating Queer Futures
Video Title: Animating Queer Futures: Positive People Experiences Drive Culture Change | #InclusionBitesPodcast
Tags: animating queer futures, positive people experiences, culture change, LGBTQ storytelling, diverse animation, indie animation, queer-led studios, BIPOC creators, inclusion podcast, LGBTQ media, representation in animation, AJ Hannah, Joanne Lockwood, SEE Change Happen, inclusive culture, authentic stories, queer community, creative industry, independent film, digital animation, social justice, trans creators, empowering voices, diversity in media, mental health in animation
Killer Quote:
"I continue to live for spite. I continue to be me for spite, you know, for hope... It's great to have hope because you need to have the dichotomy." – AJ Hannah
Hashtags:
#AnimatingQueerFutures, #PositivePeopleExperiences, #CultureChange, #InclusionBites, #SEEChangeHappen, #LGBTQStorytelling, #QueerVoices, #BIPOCCreators, #IndieAnimation, #RepresentationMatters, #Inclusivity, #CultureShift, #AuthenticStories, #Diversity, #TransVoices, #CreativeIndustry, #EmpoweringVoices, #SocialJustice, #Belonging, #LGBTQPodcast
Why Listen
Welcome to another provocative episode of Inclusion Bites, where I, Joanne Lockwood, bring you stories that don’t just ask for change—they spark it. In this episode, “Animating Queer Futures," I'm joined by AJ Hannah, the inspiring founder and creative director of 3dio Studios—an unapologetically queer, BIPOC, woman-led indie animation studio. Together, we take you on a compelling journey into the transformative power of storytelling, challenging the norms of a predominately heteronormative and mainstream animation industry. The focus keyword—Animating Queer Futures—is not just a title; it’s a call to action for culture change, Positive People Experiences, and empowering authentic voices.
The heart of our dialogue is AJ’s passion for animation that doesn’t just look visually diverse but is built with lived experience at every step—from writers, to animators, to voice actors. If you’ve ever questioned why representation matters, or how genuine inclusivity can revolutionise both a business and the stories we tell, this episode is an education and an inspiration.
We discuss how the mainstream—Disney et al—may provide colourful characters on screen, but they often miss the mark in authentically capturing the lives of those from the LGBTQ and BIPOC communities. AJ shares candidly about the creative vision of 3dio Studios to be a “gayer and more colourful Disney,” not merely in palette but in the full spectrum of lived experience, cultural nuance, and unfiltered representation. This is about moving from surface-level diversity to embedded, systemic culture change.
You’ll hear how Positive People Experiences aren’t just for audiences—they start in the studio. AJ talks about choosing authentic casting and ensuring the person voicing a Filipino character is Filipino, or a trans character is played by a trans person of colour. This is about disrupting business as usual in animation, so that every person involved feels seen, heard, valued, and paid. In a world where “who you know” blocks access for marginalised creators, AJ’s relentless drive to amplify talent outside the status quo provides a blueprint for making culture change tangible, not theoretical.
As the conversation deepens, we touch on the significant political headwinds against DEI in the creative sector—the layoffs, the pushback against inclusion, and the real-life risks and challenges that activism brings. AJ’s response is as invigorating as it is raw: she continues not just for herself, but for the hope, defiance, and “good trouble” that comes from refusing to shrink back in the face of adversity. For those who have ever doubted whether their voice matters, or where to find hope when the world feels hostile, AJ’s story and vision for animating queer futures is oxygen for the spirit.
We also spotlight the innovative, community-driven funding and distribution strategies reshaping the indie media landscape. From YouTube to TikTok, to sponsored partnerships and ambitious Kickstarters, AJ is forging a new path where audience, talent, and creator are co-conspirators in change. This episode is packed with actionable insights on how to start, fund, and sustain meaningful creative work that delivers both culture change and Positive People Experiences.
Every story here serves one overarching mission: to create a world—and a media landscape—where everyone not only belongs, but thrives. Whether you’re an aspiring creator, a passionate ally, or someone who just wants to see a fresher, braver, and more inclusive kind of animation, “Animating Queer Futures” is your essential listen. It’s a manifesto for everyone ready to be part of the solution and join the forward edge of inclusion.
Closing Summary and Call to Action
Key Insights & Actionable Steps from Animating Queer Futures
Demand Authenticity at Every Level
Representation must run through every phase of production, from storyboarding, writing, animating, and casting, to voice direction. Script authenticity by employing those with lived experience in the stories being told. If you’re creating, reflect reality honestly—no tokenism, just real people creating real Positive People Experiences.
Community-first Funding Models
Break with old structures that restrict creativity and voice. Leverage platforms like YouTube, TikTok, Patreon, and Kickstarter to launch and amplify your vision independently. As AJ shared, being niche is an asset—not a liability—when you serve a hungry, underrepresented audience ready to support and engage.
Empower Underrepresented Talent
Build your creative teams from the community you’re representing. Pay your artists, writers, and voice actors as much as feasible, even if it means sacrificing your own salary at the early stages. Make it a priority for those historically excluded from mainstream media careers to finally get both the opportunity and the credits to propel their careers forward.
Culture Change is Purposeful and Relentless
Do not wait for mainstream validation. Culture change stems from creative defiance, determination, and a willingness to reject spaces or funders who won’t let you be truly authentic. This is about shifting power, not just carving a new niche.
Positive People Experiences Begin Behind the Scenes
Nurture a studio workplace culture that values mental health, teamwork, and flexibility. As AJ put it, making allowance for health breaks or adjusting timelines ensures the well-being and sustainable creativity of your team—a model of inclusion at work.
Challenge the Status Quo—Resist Censorship and Compromise
Take inspiration from AJ’s refusal to cut or dilute scenes of lived experience, even if it means not being picked up by a mainstream platform. This is about serving community-first, not pandering to boardroom decision-makers.
Brand with Pride and Unapologetic Purpose
Let your studio, film, or movement be “unashamedly queer” or reflective of your social purpose. Own your mission out loud—not just to attract viewers, but to inspire others to follow or fund your example.
Own the Difficulties and Push Through
Raising funds for niche, unapologetic projects is not easy—especially for introverts. AJ’s honest storytelling about the grind of fundraising, navigating a world of systemic barriers, and pushing through despite personal discomfort, is a masterclass in authentic leadership.
Normalize Inclusion Within Storytelling
Our content must normalise not just the presence, but the agency of queer, trans, and racially diverse characters as heroes, not just sidekicks. Commit to stories where everyone can see themselves as central, vital, and complex.
Resilience Through Community
When systems shut you out, lean into the power of community. Support, elevate, and champion each other. Community-driven projects are harder to dismantle.
Take Action Now:
If you care about representation in media and want to be part of this movement, support indie creators. Share their work, fund their Kickstarters, subscribe and engage with their channels.
Amplify and nurture Positive People Experiences wherever you work or create—make space for others, mentor, and advocate for those whose voices are still marginalised.
Push for culture change in your own organisation—move beyond surface-level DEI, and demand authentic, embedded transformation.
Celebrate chaos, hope, and good trouble. As AJ reminds us, sometimes the best change comes from those who are told it’s impossible, but do it anyway.
Most importantly, keep listening, sharing, and telling stories. Every conversation helps ignite culture change and move us closer to a world where everyone truly thrives.
Outro
Thank you so much for tuning in to this episode of Inclusion Bites. If you found our conversation on animating queer futures, Positive People Experiences, and deep culture change inspiring, please don’t forget to like and subscribe to the channel.
You can discover even more insightful episodes and get involved in fostering inclusion by visiting:
Your support helps amplify the voices that matter.
Stay curious, stay kind, and stay inclusive – Joanne Lockwood
Root Cause Analyst - Why!
Certainly, as a Root Cause Analyst, let's unpack the key problems signposted in this Inclusion Bites Podcast episode, “Animating Queer Futures,” featuring AJ Hannah and Joanne Lockwood.
Key Problems Identified
Lack of Authentic Queer and BIPOC Representation in Mainstream Animation
Systemic Barriers Limiting Opportunities for Underrepresented Creatives
Challenges in Securing Sustainable Funding for Niche, Inclusive Indie Projects
1. Lack of Authentic Queer and BIPOC Representation in Mainstream Animation
Why does this problem exist?
Queer and BIPOC narratives are largely absent or tokenised in mainstream animation.
Why? (1)
Mainstream studios (e.g., Disney) operate within commercial and geopolitical constraints, often prioritising global marketability over authentic representation.
Why? (2)
These studios fear alienating audiences or losing access to markets where LGBTQ+ or ethnically diverse content is censored or outright banned.
Why? (3)
Corporations are beholden to shareholders and sponsors, who generally prioritise profit and stability over progressive social messaging.
Why? (4)
Structural power lies predominantly with senior decision-makers who are often neither BIPOC nor LGBTQ+, leading to a perpetuation of the status quo.
Why? (5)
There’s a historical lack of diversity in gatekeeping positions, coupled with risk aversion tied to lack of lived experience and empathy.
Root Cause Summary: A deep-seated structural imbalance in power, risk management, and sympathies within the industry hierarchy, perpetuated by economic and social pressures.
2. Systemic Barriers Limiting Opportunities for Underrepresented Creatives
Why does this problem exist?
Underrepresented creatives rarely break through as creators, directors, or leads in animation projects.
Why? (1)
Studio hierarchies favour those with established networks and elite educational backgrounds, excluding many diverse voices.
Why? (2)
Traditional recruitment relies on personal recommendations and prestigious educational pedigree (e.g., AJ Hannah references “who you know” or “where you went to school”).
Why? (3)
This results in the same limited pool of talent being recycled for roles and opportunities.
Why? (4)
Underrepresented individuals frequently lack access to those formative networks or financial means to pursue specialist training.
Why? (5)
Socioeconomic inequalities, rooted in wider social injustices, constrain opportunities long before aspiring creatives can challenge industry barriers.
Root Cause Summary: Enduring network and resource disparities, protected by industry customs and social stratification.
3. Challenges in Securing Sustainable Funding for Niche, Inclusive Indie Projects
Why does this problem exist?
Indie studios like AJ Hannah's FWDIO are forced to rely on patchwork funding (Kickstarter, sponsorships) to survive.
Why? (1)
Traditional media investors and distributors are reticent to back non-mainstream, overtly queer or BIPOC-centred projects.
Why? (2)
These projects are perceived as “niche” and commercially risky.
Why? (3)
Investor logic revolves around familiar success stories and quantitative risk aversion, not social values or inclusion.
Why? (4)
There’s insufficient infrastructure (e.g. dedicated grant-funding or philanthropic distribution) to nurture diverse indie media.
Why? (5)
Longstanding underinvestment in equitable representation means alternative financial ecosystems have not yet matured to support such projects.
Root Cause Summary: The absence of robust, values-driven funding pipelines for inclusive independents, maintained by an industry-wide tilt towards what is “safe”.
Holistic Summary
At the root, the problems encountered by genuinely inclusive, queer, and BIPOC-led animation projects stem from entrenched power structures, systemic networking biases, and a commercial financing ethos geared towards stability and majority tastes—actively excluding or diluting authentic representation.
Potential Solutions
Establish Purpose-Driven Grant Funds
Philanthropists and progressive organisations should pool resources to provide grants or seed funding for queer and BIPOC-led indies. This directly addresses gaps in traditional investment models.
Mentorship and Development Programmes
Structured access to industry mentors, coupled with education funding for underrepresented creatives, can help dismantle historical network and access barriers.
Inclusive Decision-Making in Media Production
Transform hiring and commissioning frameworks to centre lived experience, enabling authentic storytellers to lead from the outset.
Community-Driven Distribution and Monetisation
Continue leveraging community-centred platforms (social media, Patreon, merchandise) while developing alternative distribution models that bypass traditional gatekeepers.
Advocacy and Visibility
Encourage visibility and advocacy within the industry to keep inclusion on the agenda and highlight the commercial and social value of diverse storytelling.
In summary:
Without systemic shifts in both industry structure and investment culture, the authenticity gap in queer and BIPOC animation will persist. Direct intervention—through dedicated funding, barrier-breaking mentorship, and community-first values—offers the most credible path towards a truly inclusive creative future.
Canva Slider Checklist
Slide | Content |
|---|---|
Opening | Unlock the power of authentic, intersectional storytelling to drive meaningful inclusion within your organisation. This checklist covers actionable strategies to amplify underrepresented voices, ensure genuine representation, and foster a creative culture where everyone belongs—delivering real impact for senior HR, DEI, TA, and OD leaders. |
1. Prioritise Authentic Representation | Ensure that projects centre real lived experiences—engage people who genuinely reflect the backgrounds, identities, and communities being showcased. True authenticity arises when both creative teams and talent are representative, not just the characters. |
2. Empower Through Opportunity | Actively seek and remunerate underrepresented talent across all creative and production roles. Offer pathways for development and career progression, so marginalised voices have the agency and platform to shape narratives and gain deserved visibility. |
3. Make Inclusion Central, Not Tokenistic | Move beyond surface-level gestures. Embed diversity and inclusion at every stage—strategy, scripting, casting, and delivery. Avoid “pandering” by ensuring meaningful participation and genuine collaboration from the outset. |
4. Create Brave, Supportive Spaces | Cultivate a working environment that prioritises psychological safety and flexibility. Recognise the importance of mental health, the right to rest, and the freedom to create without fear of censorship or conformity. This nurtures innovation and engagement. |
5. Leverage Community-Led Approaches | Build and back projects with the direct involvement of the audiences they’re for. Focus on community-driven funding models, engagement, and feedback—ensuring your inclusion work is sustainable and resonates with those it most seeks to support. |
Closing/CTA | Ready to ignite meaningful inclusion in your organisation? Connect with Joanne Lockwood at SEE Change Happen. Discover insights, partnership opportunities, and how we can help you drive impact across your DEI strategy: seechangehappen.co.uk — Let’s shape inclusive futures together! |
6 major topics
Animating Queer Futures: Six Life-Changing Conversations on Representation, Authenticity, and Hope
SEO keyword: Queer Representation
Meta Description:
Dive into my conversation with AJ Hannah as we explore queer representation in animation, the pursuit of authenticity, nurturing marginalised talent, and how stories shape a bolder, more inclusive future.
I recently had the privilege of conversing with AJ Hannah, an innovative force in the world of animated storytelling and creative direction at 3dio Studios. What unfolded was a tapestry of insights, challenges, and hopes centred around queer representation—from the fight to tell our own stories to the radical act of providing authentic visibility in spaces traditionally closed to us. Here’s what lingered with me long after our chat ended.
1. Reimagining Animation: The Call for Queer Representation
AJ’s ambition is striking: to craft a “gayer, more colourful Disney”—a home for narratives and characters pushed to the periphery by mainstream studios. We mused on the hegemony of traditional powerhouses and how their incremental strides towards representation are often checked by global markets, censorship, and commercial risk. But what happens when unapologetic, queer-led animation studios take up the mantle instead? AJ’s studio doesn’t merely insert a rainbow here and there—they build entire worlds where queer people and people of colour aren’t an afterthought but the very heart of the story. I found myself wondering: How might the media landscape look if this courage was the industry norm?
2. Authenticity at the Core: Telling Stories By, For, and With Us
Authenticity is the difference between representation that resonates and that which rings hollow. We agreed that true queer representation can’t be achieved by simply including a colourful character—it requires storytellers, artists, and actors with lived experience. AJ spoke about casting a trans man of colour to voice a trans character and a Filipino actor for a Filipino role, highlighting the care and flexibility required for culturally respectful narratives. It sparked a thought that brims with curiosity: What subtle details and perspectives are lost when lived experience is side-lined for convenience?
3. Nurturing Marginalised Voices: From Gatekeepers to Gate-Openers
We didn’t shy away from the difficult reality: mainstream barriers routinely keep underrepresented creatives out. AJ and I explored how 3dio Studios is not just making art but dismantling the economics of exclusion—paying contributors fairly, offering visibility, and even crowdfunding to democratise production. It’s a far cry from the world where experience is a catch-22—you can’t get it if you’re never given a chance. I couldn’t help but ask: How many extraordinary talents have we missed by keeping the same doors closed?
4. The Economics of Indie Animation: Building Sustainable Queer Futures
Money isn’t a dirty word—but access, who controls it, and on what terms remains deeply political. We delved into the realities of indie funding: sponsorships, Kickstarters, merchandise, and the tantalising possibility of wider community patronage. AJ pointed out how relinquishing creative control to traditional financiers can come at the expense of authentic storytelling. The ingenuity of community-driven funding feels almost rebellious. Could this, I mused, be the blueprint for sustainable queer representation across all creative industries?
5. Defiance, Hope, and Community: Resistance Through Existence
Our exchange turned raw as we acknowledged the backlash, the scrutiny, and the overt political hostility facing queer creatives—especially in current climates. For AJ, existence itself is audacious resistance: “We’ll build it, make it, and put it out there just because you don’t want it doesn't mean it won’t exist.” Together, we reflected on the dual motivations of hope and spite, of chaos and vindication, fuelling an unstoppable drive to claim space and tell our stories, regardless of who finds it unpalatable. It left me wondering: Can resilience born of exclusion ultimately become the strongest creative force of all?
6. Embodied Experience and the Journey to Self-Acceptance
At the heart of our conversation was not only the stories AJ wants to see but also the story of becoming—a journey full of micro-validations, visibility, and small daily acts of rebellion against invisibility. Conversations about identity, body, and belonging were woven with personal anecdotes, as we laughed about moments of joy, misgendering, and the frustrations of being constantly seen as an “other.” How powerful could queer representation be if everyone grew up seeing themselves reflected with pride, complexity, and nuance?
Queer Representation: Our Stories Are Just Beginning
Reflecting on my interaction with AJ, I am reminded that queer representation isn’t an abstract ideal—it’s visible, audible, and transformative. It thrives when we prioritise lived experience, challenge economic and cultural gatekeeping, and hold onto hope, even in the face of resistance. I remain curious: As more creatives claim space outside the mainstream, what unexpected futures might we animate for ourselves and generations to come?
If you’re ready to embrace unapologetic stories that spark change, join me on our journey at Inclusion Bites. Let’s celebrate the art, the activism, and the audacity of those who dare to imagine a more inclusive world, one frame at a time.
For more bold conversations on inclusion, belonging and societal transformation, visit Inclusion Bites. To share your story or insight, reach out to me directly at jo.lockwood@seechangehappen.co.uk.
Slogans and Image Prompts
Certainly! Drawing from the transcript of "Animating Queer Futures" on the Inclusion Bites Podcast, here are some memorable slogans, soundbites, and quotes that would translate perfectly to merchandise or hashtags. Each includes an evocative, detailed AI image generation prompt to bring the words to life visually, ensuring the end result is both powerful and desirable.
1. "Build it. Make it. Put it out there."
Context: AJ Hannah emphasises self-reliance and creative agency, especially for those whose voices are excluded.
AI Image Prompt:
A vibrant, diverse group of creators in a colourful studio, painting, sketching, and animating; rainbow flags and inclusive symbols adorn the walls. The foreground highlights an inspiring non-binary figure with a determined look, launching a sparkling paper plane towards a star-filled sky, symbolising the act of sending creative work out into the world.
2. "For our community. By our community."
Context: This recurring motif highlights authentic, lived experience as the foundation of queer BIPOC storytelling.
AI Image Prompt:
An energetic street mural with overlapping hands of all skin tones, adorned with pride colours and cultural patterns, painting and sketching together. In the centre, the mural spells out the slogan with bold, vivid brushstrokes.
3. "Good trouble."
Context: AJ Hannah reclaims the idea of rebelliousness for positive change, echoing the tradition of activism through art.
AI Image Prompt:
A dynamic comic-style illustration, showing a group of queer and BIPOC cartoon characters breaking through a wall with joyful exuberance, scattering icons of censorship and oppression, while confetti and the phrase “Good trouble” bursts through in playful type.
4. "Animating Queer Futures."
Context: Episode title and encapsulation of visionary, community-centred storytelling.
AI Image Prompt:
A dreamlike cityscape at dusk, with futuristic architecture interwoven with rainbow neon lights. Queer couples and families of many identities walk together, while animation frames swirl through the air, projecting scenes of joy and solidarity.
5. "We create the stories we need."
Context: AJ Hannah reflects on the necessity of self-representation.
AI Image Prompt:
A warmly lit bookshop with shelves overflowing with graphic novels and comics featuring queer and BIPOC characters. Central focus: an androgynous person reads aloud to diverse children, magical story illustrations coming to life in illuminating clouds above them.
6. "Project confidence. Just go for it."
Context: Joanne Lockwood offers an empowering call to action.
AI Image Prompt:
A stylish, contemporary individual with a bold, proud stance gazes unapologetically at the viewer, flanked by a background of geometric rainbow patterns and pixelated sparkles. They radiate visible aura lines of confidence and dreams.
7. "Twice as good to get half as far—so I’ll go twice as hard."
Context: AJ Hannah speaks candidly about resilience in the face of systemic barriers.
AI Image Prompt:
A dramatic, split-screen illustration: one side shows closed doors and broken ladders, the other side, the same character smashing through, sprinting ahead, trailing rainbow light, with crowds cheering in support.
8. "Unashamedly Queer."
Context: Reclaiming pride and refusing to compromise for mainstream acceptance, as championed by Joanne Lockwood.
AI Image Prompt:
A powerful, unapologetic character stands on a rooftop, arms spread wide, letting a huge rainbow cape billow behind them over a bustling city at sunrise; the words “Unashamedly Queer” arc across the sky in neon lights.
9. "Our stories, our rules."
Context: Refuting industry gatekeeping and advocating for autonomous, community-made narratives.
AI Image Prompt:
A large, open storytelling circle, with participants passing around a glowing book labeled “Our stories, our rules.” Stylised mountains of rejected scripts fade into the dusk behind them as the central fire emits rainbow-hued light.
10. "Hope is a rebellion."
Context: Joanne Lockwood and AJ Hannah discuss finding purpose, power, and hope in existence.
AI Image Prompt:
A field at dawn; a solitary, resilient flower grows from the cracked pavement, petals painted with all the pride flag colours. Its shadow stretches forward, transforming into a crowd of standing, hopeful figures.
Hashtag Suggestions
#GoodTrouble
#AnimatingQueerFutures
#QueerCreativity
#BuildItMakeItShareIt
#UnashamedlyQueer
#HopeIsARebellion
#OurStoriesOurRules
#ByUsForUs
These choices draw directly from the spirit and language of the episode, elevating key quotes into visual statements ready to inspire, advocate, and decorate any surface or piece of merchandise.
Inclusion Bites Spotlight
AJ Hannah, founder and creative director of 3dio Studios, joins us on this episode of The Inclusion Bites Podcast for “Animating Queer Futures.” AJ Hannah’s journey redefines what it means to make space for marginalised voices in animation, placing authentic queer and BIPOC stories front and centre in the world of adult animated series. Her vision—a “gayer and more colourful Disney”—is not simply an aspiration, but an ingenious call to reconstruct an industry legacy, putting lived experiences, vibrancy, and narrative agency in the hands of those too often pushed to the periphery.
Through 3dio Studios and the upcoming series “Poison Us,” AJ Hannah is building a platform where representation is not decoration, but a lived reality. She and her team leverage queer and BIPOC talent both on-screen and behind the microphone, signalling a shift away from tokenism towards true creative autonomy. There is not only a story about trans and queer characters, but their very creation and performance is led by artists who share that lived identity—delivering the authenticity so frequently erased or diluted by mainstream studios.
Joanne Lockwood and AJ Hannah unravel the tensions facing independent creators: from funding challenges and industry gatekeeping, to the complex relationship with “corporate inclusion,” where brands talk diversity but often shrink from meaningful risk. Unapologetic and fiercely driven, AJ Hannah reveals what it means to build “by the community, for the community,” leaning into hope, resistance, and a refreshing dose of good trouble.
This episode is a beacon for anyone passionate about changing the animation landscape and a rallying cry for all who believe that authentic storytelling changes lives. Discover how platforms like 3dio Studios bring resilience and radical imagination to the fore—and what it really takes to create spaces where everyone can see themselves, belong, and thrive.
Tune in to “Animating Queer Futures” for a conversation that challenges the status quo, ignites creativity, and reminds us that truly vibrant worlds are those in which all stories are told.
YouTube Description
Opening Hook (Challenging Statement):
What if animation studios unapologetically centred queer and BIPOC voices—could they change the face of global storytelling and challenge the gatekeepers of mainstream media?
Description:
Welcome to Episode 193 of the Inclusion Bites Podcast: Animating Queer Futures. Host Joanne Lockwood goes beyond surface-level representation with guest AJ Hannah, founder and creative director of 3dio Studios—a trailblazing, queer, BIPOC woman-led indie animation house. In an industry where “diversity” is too often a tick-box exercise, this episode exposes what authentic, lived-experience storytelling truly means.
You’ll discover why AJ Hannah rejects industry compromises, insisting on casting trans and BIPOC voice actors to mirror the characters they portray. Listen as they unpack the realities of funding, the politics of queer animation, and the impact of global censorship—navigating between creative excellence and activist defiance.
Learn how 3dio Studios’ dark comedies and thrillers (think a “gayer, more colourful Disney”) are rewriting the expectations for representation, not just in content but in who gets paid, spotlighted, and inspired. Joanne Lockwood and AJ Hannah reveal the resilience required to build hope and justice for marginalised creators—transforming exclusion into community-centred opportunity.
Takeaways & Actions:
Reflect on your own media consumption—are you supporting queer and BIPOC voices, or just the mainstream echo chamber?
Let this conversation ignite courage to not simply “lay low,” but to create and champion spaces for radical authenticity.
Seek out and invest in indie content that embodies true diversity—funding, sharing, or simply watching helps underpin new futures.
Share this episode to amplify the importance of responsible, resonant storytelling in changing hearts, minds, and professional practices.
By reimagining who gets to tell stories—and who gets seen—this episode will transform the way you think about animation, belonging, and power in creative industries. Contribute your thoughts or get involved by contacting jo.lockwood@seechangehappen.co.uk or visiting seechangehappen.co.uk/inclusion-bites-listen.
#InclusionBites #QueerFutures #BIPOCVoices #IndieAnimation #AuthenticStorytelling #RepresentationMatters #DiversityInMedia #CreativeJustice #LGBTQAnimation #CommunityDrivenContent
10 Question Quiz
Quiz: “Animating Queer Futures”—Insights from the Host
1. What primary role does Joanne Lockwood play in the Inclusion Bites Podcast?
A) Guest speaker
B) Event organiser
C) Host and facilitator
D) Scriptwriter
2. According to Joanne Lockwood, what is a key responsibility for organisations and production companies like AJ's studio?
A) Maximising profits
B) Pushing inclusive messaging into media
C) Limiting content to traditional audiences
D) Avoiding controversial topics
3. Joanne Lockwood describes the Inclusion Bites Podcast as a:
A) Light-hearted chat show
B) Surface-level diversity podcast
C) Call to action for real change
D) Series of comedy sketches
4. When discussing the global landscape for queer media, Joanne Lockwood points out that:
A) Disney is the only company with sufficient reach
B) Some territories make it illegal to be queer
C) Streaming platforms have no restrictions
D) All content is welcomed everywhere
5. What does Joanne Lockwood believe is the real advantage of studios that create from a “queer lens”?
A) They save money on production
B) Their stories are more commercially viable
C) They provide authentic queer representation
D) They can avoid hiring professional writers
6. According to Joanne Lockwood, what essential resource do marginalised creatives gain from indie studios like AJ’s?
A) Directorship at Disney
B) Mainstream media control
C) Income, visibility, and amplification
D) Guaranteed Disney contracts
7. How does Joanne Lockwood distinguish the storytelling approach of AJ's studio from mainstream media?
A) It focuses only on fantasy themes
B) It puts queer experiences at the centre, by and for the community
C) It copies classic Disney tales
D) It uses only anonymous actors
8. Joanne Lockwood highlights what about the audience for queer and BIPOC stories?
A) They are reluctant to seek new content
B) They want and need authentic representation in media
C) They only watch Disney content
D) They prefer documentaries over animation
9. What concept does Joanne Lockwood use to explain her own motivation in inclusion work?
A) Seeking fame
B) Avoiding conflict
C) Building hope and community
D) Limiting her public profile
10. In her closing remarks, Joanne Lockwood encourages listeners to:
A) Avoid action and reflection
B) Subscribe, share stories, and become part of a movement
C) Only listen passively
D) Rely on mainstream media for inclusion
Answer Key and Rationales
1. C) Host and facilitator
Rationale: Joanne Lockwood clearly positions herself at the beginning as the host who guides the conversations and journey into inclusion.
2. B) Pushing inclusive messaging into media
Rationale: She states, “It’s down to responsibility of organisations and production companies like yourselves to take this messaging on...” indicating the importance of pushing messaging for inclusion.
3. C) Call to action for real change
Rationale: The show is described as a call to action for real change, not just surface-level chatter, aligning with the show’s description and Joanne Lockwood’s statements.
4. B) Some territories make it illegal to be queer
Rationale: She highlights in the discussion that companies must operate globally, where “it’s illegal to be queer,” illustrating regulatory and cultural obstacles.
5. C) They provide authentic queer representation
Rationale: Joanne Lockwood underscores that queer-led studios produce authenticity “by the queer community, for the queer community,” making for more resonant stories.
6. C) Income, visibility, and amplification
Rationale: She mentions that these studios “put money in people’s pockets, giving visibility to people, amplifying people that would not... be amplified elsewhere.”
7. B) It puts queer experiences at the centre, by and for the community
Rationale: The core point is that the content is "queer first," not inserting a character as an afterthought, but grounded in lived experience throughout.
8. B) They want and need authentic representation in media
Rationale: Joanne Lockwood affirms that the audience is “wanting and needing that sort of representation” which indie studios provide.
9. C) Building hope and community
Rationale: When explaining her motivation, Joanne Lockwood discusses finding hope and belonging by contributing to something larger than herself.
10. B) Subscribe, share stories, and become part of a movement
Rationale: Her closing calls on the audience to "subscribe... share this journey... become part of our ever growing community driving real change."
Summary Paragraph
The episode “Animating Queer Futures,” guided by host Joanne Lockwood, positions itself as a vital call to action for authentic change in how stories of inclusion and belonging are told. Joanne Lockwood spotlights the responsibility of newer, queer-led studios to deliver content that centres queer experiences authentically, free from the constraints and compromises required by mainstream media operating globally in less inclusive climates. She stresses the importance of giving marginalised creatives not just representation, but also tangible opportunities—income, visibility, and career growth otherwise unavailable to them. Throughout, Joanne Lockwood advocates for stories “by and for the community,” serving audiences who seek and deserve to be seen. Her own commitment to fostering hope and community encapsulates the spirit of the Inclusion Bites Podcast, concluding with an imperative for listeners to actively join the movement, ensuring that inclusion and belonging remain at the forefront of societal transformation.
Rhyme Scheme and Rhythm Podcast Poetry
Animating New Tomorrows
In stories woven, bold and true,
A canvas shining every hue,
A dream takes flight and dares to be
A world alive with equity.
Where voices once left in the wings,
Now sing as queens, creators, kings,
And laughter rises, sharp and bright,
In tales reclaimed, the future’s light.
From autumn’s chill to city streets,
Hope gathers softly, queer heartbeats;
An artist sketches justice wide,
No gate to keep, no rule to hide.
The tales we missed, the ones denied,
Now step in frame and won’t subside;
For every person’s vibrant shade
Deserves a scene that can’t be swayed.
Let love and vengeance, joy and pain,
And chosen family break the chain,
For magic thrives in every form—
A revolution being born.
Here, stories pulse in every line,
With power fierce and hope divine.
If futures queer, and voices bright
Inspire your heart to join this fight,
Pull up a seat and spread the word—
Of change and dreams that must be heard.
with thanks to AJ Hannah for a fascinating podcast episode
Subscribe and share for more bold conversations.
Key Learnings
Key Learning and Takeaway:
The most important takeaway from this episode is that authentic, unapologetic queer and BIPOC storytelling is not only necessary but revolutionary in animation and media. AJ Hannah and her studio 3dio are actively challenging an industry that often sidelines or censors marginalised voices, instead building new platforms where true representation—both in front of and behind the scenes—drives honest narratives and community empowerment.
Point #1: Authenticity in Representation Matters
AJ Hannah emphasises that hiring talent who genuinely reflect the backgrounds and lived experiences of their characters is crucial. Authentic queer and BIPOC stories can only be told respectfully when voice actors, writers, and animators are themselves part of those communities.
Point #2: Creative Freedom Fosters Impact
Independent studios like 3dio can produce honest work precisely because they're not beholden to corporate shareholders, international censors, or risk-averse boardrooms. This freedom empowers creators to tackle topics authentically, including those often sanitised or omitted in mainstream media.
Point #3: Community Drives and Benefits From Progress
By relying on direct community support—through crowdfunding, sponsorship, and grassroots distribution—queer and BIPOC creators are building sustainable ecosystems of visibility and economic advancement. This model not only funds work but also amplifies underrepresented talent and builds industry connections.
Point #4: Resistance as a Creative Force
Rather than shrinking back in response to growing societal and political backlash, AJ Hannah and her peers use adversity as motivation to create, disrupt, and challenge. The drive to exist, create, and take up space becomes an act of resistance and hope, encouraging others to do likewise.
In summary, this episode makes clear that truly inclusive media is created when marginalised voices are given agency—not just as subjects but as storytellers, leaders, and visionaries.
Maxims to live by…
Maxims for Animating Queer Futures and Living Authentically
Champion Stories That Reflect Your Truth
Tell stories that mirror your experiences and those of your community—authenticity resonates more deeply than appeasement.
Representation is a Responsibility, Not a Trend
Deliberately create spaces and opportunities for those who are often sidelined, including queer, BIPOC, and underrepresented voices, on and off the screen.
Authenticity Beats Conformity
Resist censoring your reality to placate others; true impact comes from honest, uncensored self-expression.
Prioritise Lived Experience in Storytelling
Value creators and performers who share the life experiences of the characters they portray—this breeds genuine, meaningful narratives.
Refuse to Compromise Your Values for Acceptance
Do not change who you are or what you create simply to fit the expectations or comfort zones of others.
Create for Your People First
Focus on your core audience—those hungry for representation—rather than watering down your message for broad, mainstream appeal.
Shared Community Power Grows Change
Harness the energy, resources, and talents within your own community. Collective action is transformative.
Economic Justice Matters
Ensure fair pay and recognition for all contributors, particularly those historically excluded from industry structures.
Talent Thrives Beyond the Mainstream
Look beyond traditional pipelines; many remarkable voices and talents are found outside established systems.
Mental Health and Wellbeing Are Non-Negotiable
Centre self-care and peer support. Create timelines and cultures that allow for rest and mental wellness.
Resist Respectability—Embrace Good Trouble
Sometimes, making ‘good trouble’ is an act of survival. Embrace disruption and resistance as valid, necessary stances.
Do Not Fear Being Unpalatable
Your very existence and artwork may challenge others. Let that discomfort lead to dialogue, not self-erasure.
Visibility Breeds Hope
Simply existing, telling your story, and being seen creates hope and validation for others like you.
Find Joy in Small Affirmations
Cherish moments of recognition and celebration, however small—they are victories in a world conditioned to overlook difference.
Empower Others by Creating Platforms, Not Just Products
Make room for new voices. Build platforms so others can tell their truths and shape shared futures.
Reject False Limits Imposed by Gatekeepers
Persist, even when told ‘that’s not for you’ or ‘it can’t be done’. Obstacles are meant to be overcome, not obeyed.
Hope and Defiance Are Twin Forces
Act from a place of hope, but also from defiant insistence—exist and create not only to inspire, but to prove doubters wrong.
Celebrate the Power of Community-Funded and Grassroots Art
Legitimize alternative methods of funding and distribution—matching your processes to your principles.
Know That You Belong—Just as You Are
Take up space boldly and unapologetically; your presence and point of view are valid and necessary.
Pay Forward the Opportunity
As you rise, use your influence and access to open doors for others, multiplying possibility for future generations.
Live by these principles to animate not only new forms of media, but a future where diversity, resistance, and authentic joy are at the centre of every story told and life lived.
Extended YouTube Description
Animating Queer Futures | Inclusion Bites Podcast EP193
Championing LGBTQ & BIPOC Voices in Animation and Media Representation
Timestamps for Key Moments:
0:00 – Introduction to the Inclusion Bites Podcast
1:14 – Meet AJ Hannah: Founder of 3dio Studios
4:47 – Rethinking Disney: A Gayer, More Colourful Vision
9:03 – The Importance of Authentic LGBTQ & BIPOC Storytelling
13:08 – Inclusive Casting and Authentic Representation
15:12 – Uplifting Underrepresented Talent
21:16 – Behind the Scenes: How Indie Animation Gets Made
23:00 – Paths to Funding & Monetisation in Queer-led Animation
26:59 – Why Community-led Funding Matters
27:10 – Visual Style & The Power of Hand-Drawn Animation
38:12 – Production Realities: Funding Challenges & Team Dynamics
44:19 – The Political Climate: Navigating Backlash & Hope
51:04 – Purpose, Motivation, and Resilience
56:15 – Navigating Identity, Joy & Visibility
1:03:35 – Closing Reflections & Final Messages
Description:
Welcome to Animating Queer Futures, a landmark episode of the Inclusion Bites Podcast with host Joanne Lockwood and guest AJ Hannah (Creative Director & Founder of 3dio Studios). This episode is essential viewing for DEI practitioners, animation professionals, creative leaders, and advocates passionate about LGBTQ and BIPOC representation in media and the arts.
AJ Hannah shares her inspiring journey from journalism into indie animation, spotlighting how 3dio Studios is redefining representation by producing unapologetically queer and BIPOC-centred animated series like Poison Us. Discover the critical gaps in mainstream media—especially legacy studios like Disney—and why authentic storytelling by and for marginalised communities is vital. This conversation goes beyond performative allyship, addressing real challenges around censorship, funding, and creative autonomy faced by LGBTQ creators in today's rapidly changing political climate.
Key takeaways include:
Authentic Animation Storytelling: How 3dio Studios involves lived experience at every production stage, casting trans and BIPOC voice actors for true representation.
Diversity in Creative Leadership: Why it matters who is behind the scenes, not just on screen, and the impact this has on the resonance of queer and minority stories.
Community-funded Art: Opportunities and challenges with crowdfunding, sponsorships, and sustaining grassroots creative projects outside the mainstream.
Empowering Marginalised Talent: Practical strategies for emerging artists to break into animation, gain paid experience, and build portfolios in a historically exclusive industry.
Resilience Through Adversity: Candid discussion on overcoming discrimination, finding purpose, and using storytelling as a form of protest, hope, and self-affirmation.
Whether you’re an animation aficionado, an EDI leader, or a young creative seeking representation in media, this episode offers actionable insights, tools for change, and inspiration to cultivate a more inclusive cultural landscape.
Engage & Take Action:
👍 If you found value in this episode, LIKE this video
💬 Share your thoughts or questions in the COMMENTS below
🔔 Subscribe to Inclusion Bites for more unfiltered conversations with changemakers: SEE Change Happen
🌐 Visit our website for resources, guest information, and more episodes: https://seechangehappen.co.uk/inclusion-bites-listen
📧 Want to share your story or collaborate? Email Joanne: jo.lockwood@seechangehappen.co.uk
Related Videos:
[Building Inclusive Creative Teams]
[How Media Changes Mindsets: LGBTQ Representation]
[Funding Your Indie Project: Crowdfunding Essentials]
Hashtags (Expand Your Reach):
#QueerAnimation #LGBTQVoices #BIPOCCreators #InclusiveStorytelling #IndieAnimation #RepresentationMatters #DiversityAndInclusion #Podcast #CreativeLeadership #LGBTQ #PoisonUs #InclusionBites
For creative professionals, DEI leaders, and allies, this is not just an episode—it's a masterclass on the future of inclusive media and why changing the narrative starts with us. Watch, share, and be part of animating a truly inclusive future!
Substack Post
Animating Queer Futures: Painting Belonging Into Every Frame
What does an inclusive future look like when the storytellers—and the heroes—aren’t asked to shrink themselves? In a world where workplace DEI initiatives can sometimes feel toothless, or are rolled back at the first sign of political headwinds, how do we keep championing equity, authenticity, and representation? This question sits front and centre for so many of us tasked with shaping truly inclusive cultures.
That’s exactly why the latest episode of the Inclusion Bites Podcast is one you won’t want to miss. I had the immense privilege of welcoming AJ Hannah, the visionary founder and creative director of 3dio Studios, onto the show for episode 193: "Animating Queer Futures." In a conversation that crackles with both realism and hope, we traced the challenges and triumphs of creating media “by us, for us” – and why that matters far beyond the screen.
Animation With a Mission: Reclaiming Space for Queer and BIPOC Creativity
The animation industry has long been painted with a white, heteronormative brush. If you’re HR, in D&I leadership, or manage talent pipelines, you’ll know how representation in the stories we tell seeps quietly into the workplace—into who gets hired, who’s promoted, and who feels they belong.
In this episode, AJ Hannah and I dig into why animation is more than children’s fairy tales and musical numbers. AJ, who leads a queer, BIPOC, woman-led studio, lays bare the systemic barriers that so many creative professionals still face. Whether it’s Disney’s much-publicised DEI rollbacks or mainstream studios’ risk aversion, it’s clear: authentic narratives rarely make it to the boardroom, let alone the screen, unless we collectively build new platforms.
Our conversation traverses the very real, practical struggles of the industry—the gatekeeping, the lay-offs, and the stark underrepresentation of queer and BIPOC creators. Just as crucially, we celebrate the joy and audacity in creating a “gayer and more colourful Disney”—one where everyone’s voice counts, from the storyboard to the final credit.
Lessons for the World of Work: Breaking Moulds, One Frame at a Time
So, what can people leaders, HR strategists, and D&I champions learn from AJ’s approach? Here are my core reflections:
1. Representation Isn’t Decoration—It’s a Foundation
AJ’s mantra is simple: real diversity means both protagonists and production teams come from a tapestry of backgrounds. It’s not enough for organisations to sprinkle in “diverse” characters or tick a demographic box. If the voices, the decisions, and the stories still flow from the same traditional sources, nothing changes.
Ask yourself: Who is allowed to create, curate, and lead within your organisation? If the answer feels stagnant, how might you amplify fresh voices in every layer—creative, technical, or strategic?
2. Authenticity Demands More Than Optics
Poison Us, AJ’s flagship animated series, doesn’t just feature marginalised characters; it is voiced, storyboarded, and written by those who share the lived experiences of the story. As AJ puts it, that means hiring a Filipino voice actor to play a Filipino character, and a trans man of colour to play a trans character—no corners cut for speed or “marketability.”
How truly “lived” are the DEI principles you espouse? Do you insist on authentic, experience-led perspectives when you design talent programmes, invest in employee voice, or rework policies? Or do you settle for cosmetic change?
3. Equity Means Paying People Their Worth
AJ is candid about the uncomfortable reality: many independent and marginalised creators are expected to work “for exposure.” 3dio Studios strives instead to pay artists, writers, and actors fairly—even if that means leaner margins or longer fundraising drives.
In your talent supply chain, are there places where “opportunities” are being offered without fair compensation? Do you treat underrepresented voices as charity – or do you invest in their expertise and creative capital as you do in any other business asset?
4. Purpose Is Power—But the Road Is Rocky
AJ’s journey is powered by ‘good trouble’ and sheer determination: carving out new space where it’s never been offered. As they remind us, sometimes it’s hope, sometimes it’s spite, but always, it’s the commitment to keep showing up “even if you have to be twice as good to get half as far.”
Are your DEI aims clear and robust enough to weather external pushback, restructures, or culture wars? When the going gets tough, does your purpose fuel resilience or does it evaporate?
5. The Real Barriers Are Access and Gatekeeping—Not Talent
Talent is abundant amongst those marginalised and overlooked by the status quo; what’s missing are pathways and opportunities. AJ’s solution? Community-powered funding, flexible working practices, and creative autonomy—not waiting for a golden ticket from the “usual suspects” in media or business.
Where in your pipeline have you confused “best fit” with “most familiar”? Are you supporting underrepresented colleagues with real sponsorship, development, and advocacy, or are you asking them to ‘hitchhike’ their way in, thumb out on the motorway, hoping for a lift?
Peek Behind the Curtain—Watch, Reflect, and Reimagine Inclusion
Wondering what this looks and sounds like in practice? I invite you to take a minute—literally—and watch the [1-minute portrait audiogram embedded below]. In this snippet from my conversation with AJ, you’ll hear the clarity, courage, and nuance that define their leadership. These aren’t just taglines; they’re a lived challenge to every workplace gatekeeper, every HR leader thinking about “cultural fit.”
[Watch the audiogram here and feel the pulse of the episode.]
Listen, Share, and Start the Conversation
If your role involves hiring, talent development, leadership, or simply caring that everyone in your organisation feels they belong—you need to hear AJ’s story. This episode isn’t just about animation; it’s a blueprint for how we can all work towards systems that are genuinely equitable, not just performative.
🎧 Listen to the full episode:
https://url.seech.uk/ibs193
Share the episode with your DEI networks, leadership teams, and anyone who might benefit from a fresh, uncensored look at what true inclusion requires. The more these conversations ripple out, the less “niche” belonging really becomes.
Have thoughts or questions after listening? I always welcome reflections and dialogue at jo.lockwood@seechangehappen.co.uk—or join the conversation via our website, SEE Change Happen.
What Story Will Your Organisation Tell?
We’re at a crossroads. Will we continue recycling old narratives with new faces, or will we rewrite the scripts of our cultures so that everyone, everywhere, is both visible and valued?
As you reflect on AJ’s journey and the insights from this episode, I urge you to consider: Are you creating channels for genuine belonging, or are you just painting rainbows around the margins?
I look forward to hearing your thoughts—and to seeing what kind of stories our collective courage will animate next.
Until next time,
Joanne Lockwood
Host of the Inclusion Bites Podcast
The Inclusive Culture Expert at SEE Change Happen
Let’s not just imagine queer futures—let’s create them, one brave conversation at a time.
1st Person Narrative Content
Animating Queer Futures: Why We Refuse to Ask Permission Anymore
There’s a particular thrill in building something the world hasn’t seen, especially when it’s the sort of thing you’ve craved your whole life. For me, venturing into indie animation as a queer, BIPOC founder isn’t about following in anyone’s footsteps—it’s about torching the blueprint, standing in the ashes, and inviting my chosen family to help paint what comes next. Let’s be honest: nobody’s going to hand us the stage, let alone the microphone. So we build our own theatre.
I had the chance to walk through these convictions—sometimes with a wry grin, sometimes with outright defiance—in a conversation with Joanne Lockwood, host of the Inclusion Bites Podcast. Joanne is a force: an inclusion architect, an endlessly curious interviewer, and the sort of person who doesn’t let surface-level answers slide by. Her background in disrupting norms with purposeful inclusion work and creating platforms for authentic belonging made this more than just an interview; it was a mutual invitation to push further.
More than [INSERT_VIEW_COUNT] people have already watched our interview on YouTube, with many more tuning in via Spotify and Apple Podcasts.
If what follows stirs something in you—encouragement, debate, or your own ideas—drop your thoughts in the comments below. I genuinely want to learn how you see the future we’re queering up together. I read every single one.
Redefining Studio Power: The Audacity to Be “Gayer, More Colourful Disney”
There’s a tongue-in-cheek audacity to wanting to become, as I say to anyone who’ll listen, “a gayer, more colourful Disney.” The ambition behind that line is both a wink and a war-cry: the big houses aren’t coming for us, so it’s up to us to build what we want to see.
What fuels this? It’s knowing, as so many of us do, how formative stories were for us as children—growing up with Disney’s polished narratives, all while never quite seeing ourselves reflected back. Joanne put it simply: “We can all criticise Disney and other corporates for their stance, but we have to recognise they operate in territories all over the world. Some of those territories—it’s illegal to be queer in any shape or form...They’re trying to toe this middle line.” She’s right. The constraints are real.
But constraints breed creativity—and, in our case, outright rebellion. If the industry closes DEI doors, lays off LGBTQ and BIPOC staff, and continues to sanitise narratives out of fear, then our answer isn’t to ask politely for a seat. Instead, we set our own table. This isn’t about taking something from anyone else. It’s about filling the hungry parts of ourselves and our communities that mainstream media still finds inconvenient.
Authenticity at the Source: Storytelling as Lived Experience
It’s easy for a studio, even with the best intentions, to slip into tokenism: add a queer or BIPOC character here, celebrate a “first” there, and pat themselves on the back with a press release. That’s not enough, and frankly, it’s why most “diverse” output doesn’t ring true. If you want something authentic, you have to start from the soul of the thing—the team, not just the pitch deck.
Joanne spotted this straight away: “Your talent is through a queer lens as well. Not just a straight director with a queer character, but you’re telling the entire story queer first. That’s the power, isn’t it? By the people, for the people.” That phrase cuts to the bone of what we’re doing. From our scripting process to our casting, there’s intentionality in putting the right hands on the reins. When a character is Filipino, we cast a Filipino actor—could I find someone cheaper? Perhaps. But why would I, when authenticity is the point?
The same applies for our trans characters—like Oleander, voiced by a trans person of colour, with room in the creative process for notes, corrections, and lived expertise to shape how the story unfolds. It’s not just about avoiding mistakes or cultural mishaps. It’s about breathing genuine life into a narrative, allowing those who’ve been “othered” to finally tell their own jokes, own their silences, and control their revelations.
Funding the Revolution: Why Indie Isn’t Code For “Free Labour”
You learn quickly, when you’re funding an indie venture, that the romance of “DIY” wears off when it comes to paying the bills. It’s easy from the outside to assume everyone in indie is here for the passion—and to an extent, that’s true. But I’m crystal clear that passion doesn’t pay the rent, and I’m allergic to perpetuating the “work for exposure” trap that plagues animation and the broader creative community.
I refuse to be a business that reluctantly acquiesces to exploitation simply because it’s the norm. “For pre-production or even production, they’re not paying their screenwriters or their voice actors…Indie animation gets a bad rap because we’re—‘Oh, you want us to work for free?’” Joanne probed.
My philosophy is cut-and-dried: We pay everyone—but not myself. The sacrifices I ask of others, I make tenfold myself, funnelling every pound directly into the hands of our artists, animators, and writers. Is it always market rate? I wish, and that’s my Kickstarter goal. But even now, people are getting paid, including those historically locked out or bypassed by agents and “mainstream blend” demands. That’s not a virtue; it’s the price of admission if we’re serious about changing the status quo.
Still, I run into the chicken-and-egg problem every founder knows: How do you get experience without already having experience? For so many marginalised creatives, that question is doubled—they face structural gatekeeping at every level. So, every paying gig we can offer becomes a CV builders, a real line in the credits, a piece of showreel that opens more doors—not just for this project, but for their whole careers.
Ownership and Unapologetic Messaging
I don’t intend to sand down my politics for broader appeal. The idea that I’m supposed to dilute the work or make it “presentable” for global distribution is nonsense. As Joanne succinctly put it, Disney has jurisdictions where “You’re going to have to cut that bit out and change that word.” I’m not interested in that game.
We create queer, BIPOC-centred stories for the communities that demand and deserve them. “If you don’t want to see it, you don’t have to,” I tell funders and distributors alike. Our approach to monetisation is as grassroots and uncompromising as our art: sponsorships (hello, Toon Boom!), Kickstarter-driven funding, merchandise, and a potential Patreon.
It turns out being uncensored, making “just for us, by us” narratives, is a competitive advantage in a world where the biggest players are paralysed by controversy. Our pilot for Poison Us is a ten-minute (and, yes, possibly up to fifteen minutes) masterclass in that ethos, with further episodes and other projects ranging in length—but always intentional, always hand-drawn, at 24 frames a second, no shortcuts. We’re not waiting for Netflix or Amazon to rescue us. We release on our terms—YouTube, early screenings for VIP backers, TikTok teasers—so no boardroom exec can pull the plug or demand we rip the heart out of our stories.
Creative Process: Why We Obsess over Details (and Bring in the Right Co-Writers)
It’s tempting to over-romanticise the grind of hand-drawn, 2D animation—“a labour of love” only hints at the truth. Every background, prop, and flash of movement is crafted by real artists. There’s no stock animation, no corners cut. Even the tarot cards in Poison Us are bespoke.
The creative process isn’t just about production values, though. It’s also about responsibility—particularly when projects touch on cultures not my own. Take our upcoming Manslaughter Project: it features deer woman, a figure significant to Indigenous communities. I won’t advance that script without the partnership of an Indigenous co-writer—it’s not just about sensitivity; it’s about basic artistic integrity. If I can’t secure that authenticity, the project pivots or gets shelved. That’s leadership for me: refusing to compromise the vision or the respect owed to other people’s stories.
Standing Up to Backlash, Not Just Headwinds
Let’s be candid: we are not building in a vacuum. Joanne’s pointed commentary on the current political climate—where DEI is facing a concerted backlash, rightwards social tides are rising, and economic safety nets are being slashed—isn’t just context, it’s the reason why our work is urgent. When right-wingers decry “agendas” or when funders shy away at the whiff of “controversy,” we keep going anyway.
There’s risk, of course. My face landed on a white supremacist website back when I was a journalist. As I told Joanne, “What else am I going to do? Compromise my morals?...For a lot of us, we have nothing else to lose.” We’re working from a position of necessity, not comfort. We didn’t choose the margins—the margins happened to us.
I’ll admit, Joanne’s attitude here is galvanising: “If you lay low, what you’re doing is you’re copping out...We, as in marginalised communities, have a responsibility to say, hang on a minute, I’m not going to lay low, I’m not going to hide. I’m here whether you like me or not...” She’s right. Sometimes spite is as powerful as hope.
Identity, Visibility, and the Intimacy of Representation
The conversation was as much about the art as the lived complexities that drive it—the emotional calculus of walking into a boardroom or a classroom as the only person of colour, or navigating spaces as visibly queer or trans. And sometimes, it’s not about the declarations or the external world, but the small, precious moments of validation—a sir from a stranger in a grocery queue, the right pronoun flung your way by accident, the joy of simply being unremarkable, even for five minutes.
“Sometimes I wish I didn’t look the way I do—not because I don’t like who I am, but because I don’t like the attention,” I reflected. Yet this, too, is ammunition. For every uncomfortable glance, for every time our joy disrupts the neat expectations of others, we’re affording hope to the ones watching from the wings.
Joanne put it into perspective: “Most people are more worried about themselves than they are about other people...they’re too busy getting on with their own life. All I have to do is just get on with mine.” This is the paradox of being out and proud—you’re both spectacle and background, eruption and everyday. And the joy is in both.
Hope, Justice, and the Wicked Pleasure of Outlasting Our Critics
So, why keep going? For me, it’s an intoxicating mix—yes, hope, but also justice, and let’s be honest, a dash of spite. I keep living, keep creating, for all the reasons the world told me not to. “We already know we’ve got to work twice as hard to prove that we can do it,” I mused. Then there’s the other side: we do not want what they have, at least not on their terms.
It’s about building spaces and stories that are ours—uncensored, unbowed. We do the work for each other, buoyed by the micro-validations, the unexpected allies, the knowledge that even when our effort feels futile, it’s being watched by someone who will take it further, who will be bolder, or softer, or more themselves because we refused to sit quietly.
You can call it chaos, or vindication, or even good trouble. For me, it’s the only way forward. And if a future generation looks back and says we left the ceiling stained with our refusal to disappear—like Michelangelo, but a little queerer, perhaps a little messier—I’ll count that as a win.
So, what will you do with the spaces denied you? Will you wait to be given permission, or will you, like us, build and animate your own future, frame by painstaking frame—never apologising for the palette you use, the family you choose, or the noise you make?
Let’s keep painting on the ceilings no one else imagines. I’m all in.
If this conversation resonated, challenged, or even rankled you, let’s talk about it in the comments below. As I said: I read every single one.
Song Lyrics from Episode
[Title
Queer By Design]
[Synopsis
Episode 193 — Inspired by “Animating Queer Futures,” this song is an anthem to building representation, chosen family, and claiming one’s space when the world says you don’t belong. Honest and steadfast, it weaves the frustrations of being othered with refusal to shrink. Soft indie-pop instrumentation and direct vocals capture defiant hope, reflecting the journey from invisibility to “we’ll build it — come see us shine.”]
[Vibe
Steady acoustic guitar and subtle country twang blend with indie-pop warmth. Atmospheric electric piano pads add shimmer. Percussion is understated but insistent, driving each section forward without overwhelming the vocal. Verse and bridge are intimate, almost conversational; chorus rises with harmonies and uplifting chords. The bridge strips back, then the final chorus soars. Fades out instrumentally with gentle, picked guitar figures.]
Lyrics
[Verse 1]
Walked in the room and I knew I was different,
Name on their lips — still out on my own.
Told not to ask for the world I imagined,
So I made one myself from the ground and the bone.
Colour outside of their lines,
Stories they wouldn’t let live.
This is where I draw my future
And give all I have left to give.
[Instrumental break — fingerpicked guitar, soft keys]
[Verse 2]
Did all the jobs they said someone like me couldn’t,
Worked twice as hard for half of their trust.
They closed all the doors but they don’t own the ceilings,
So we painted our love on the rafters above.
No committee here for permission,
No shrinking down just to fit.
This story’s by queer hands, for queer hearts —
And we’re done hiding it.
[Pre-Chorus]
Told me I can’t, so I did it for spite.
Refused to be less, set the dark room alight.
If hope is a risk,
I’ll throw in my lot.
Give me their silence, I’ll answer with plot.
[Chorus]
We’re queer by design,
Colour and line.
We’re the stories you cut,
Shouting, “We won’t resign.”
Gonna take up that space
'Til the future is mine —
Not here by mistake —
We’re queer by design.
[Instrumental break — rising percussion, shimmering keys]
[Verse 3]
Called too much, not enough, out of line, out of place —
But there’s purpose in chaos, and hope in our face.
We build from the roots up,
Chosen and true,
If you’re searching for home,
We’re making room for you.
[Bridge]
And when the world says quiet,
We answer with thunder.
Not here to beg for a seat at their table —
We’ll build our own under.
Put money in pockets they never would see,
And every “No” handed down
Just sets someone free.
[Chorus (Lifted)]
We’re queer by design,
Bold in our light.
Curves and bright corners,
Refusing to hide.
This joy is a riot,
This justice is kind —
Not here by mistake —
We’re queer by design.
[Instrumental outro — voices fade into warm guitar, pads, gentle drums]
[Final chorus — softly, almost spoken, fading out]
Not here by mistake…
No, not here by mistake…
We’re queer by design…
[Artistic Direction
Conclude with long instrumental fade. Vocals melt into humming, picked guitar, and gentle atmospheric pads, leaving a feeling of gentle strength and persistent hope — “we’re not done yet; the future’s still ours to draw.”]
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