I’m not sure what kind of divine magic was circulating me back then, but in June 2022, I boarded a one-way flight from Manchester, UK, to LA after securing a dream role on Moon Girl and Devil Dinosaur.

It was the kind of opportunity I’d fantasised about, especially when I started studying Animation when I was 16. Then on the flight — mid Chigago (2002) — I realised I was about to be surrounded by world-class artists... and it’d be my job to keep them on schedule.

From day one, the Moon Girl crew defied every stereotype I’d heard about big American studios.

The team were the most accepting, compassionate, thoughtful individuals I’d ever met. Every single person in that building possessed skills I didn’t think people could have. Music, craft, illustration, party-planning, photography. Every team-member had immense creativity outside their day job in Production

This wasn’t a faceless machine, it was a hive of hyper-creative, multidisciplinary talent.

My role was to make their lives easier, their feedback loops faster, and their vision frictionless.

No pressure, right?

The work

I joined during Season 2, just as the baton was being passed from post on Season 1. It was a critical moment, new episodes, tight turnarounds, a hybrid workforce spanning multiple time zones, and an audience not knowing whats about to hit them. My job sat at the intersection of coordination, creativity, and chaos control.

Production Check-Ins - Prepped and hosted art reviews with directors/supervisors and designers across colour, background design, prop design, character design. I published actionable takeaways so no notes got lost in the ether

Editorial and VO Oversight - I sat in on animatic edits, fine-cuts, and voice sessions with directors, editors, and talent. I flagged any continuity issues and ensured creative intent stayed intact from board to broadcast.

Asset Taming and Wrangling - Managed version control across hundred of shots/assets and implemented an asset-tagging protocol

Research That Got Greenlit - Authored a confidential extensive research deck for an upcoming show, blending visual trends, DEI analysis, and child-safe language standards. The project became a guiding document for a new show's development.

Pipeline Fluency. Not strictly a role, more just learning about Disney’s legal standards and psychological safety guidelines. I learnt the hidden nuances, like why the phrase “breaking news” can’t be used in kid’s TV. Heartbreaking.

Kept morale up. Again! Not really a role — is it? But I helped where I could, bakes cookies in the shape of rollerskates — like our main gal Lunella —

The impact

• Kept Season 2 delivery on track despite team transitions and post pandemic-era delays

• Cut review cycles, enabling faster iteration

• Bridged the gap between creative and production, becoming a buffer point of contact between art, tech, and timelines

• Created systems that made collaboration smoother, not slower

Why it matters

Production coordination isn’t just about calendars and spreadsheets. It’s about momentum. Empathy. Taste. Knowing when to escalate and when to solve quietly. At Disney TVA, I didn’t just learn how animated series get made—I learnt how great ones stay on course without burning out their team.

And I bring that same energy to every project I touch.

You don’t move to LA to learn how to schedule meetings.

You move because you want to feel the buzz of something bigger than you… to have a front-row seat to the magic (Disney cliche 101 — sue me) and play a small role in making it.

Working on Moon Girl showed me just how much heart goes into keeping a show alive, especially behind the scenes. It’s not glamorous. It’s a lot of long email threads. Late-night file hunts. But that invisible effort is what keeps the team afloat.

Keeps the work sharp.

Keeps the spark going.