The slightest bits of serialised storytelling would often result in finger wagging from the top and a speech about how these choices would cost us viewers. MB: In terms of pacing, I think the reason it works well is that we wrote it with a 90-minute movie format in mind. The finale’s timeskip has the characters ageing up by ten years, split apart by the natural progression of fate as they go their separate ways to establish careers and mature as people.

In retrospect, I think Amphibia was tantalisingly close to the kind of show the network really wanted - funny jokes, warm characters, and friendly visuals. I’m really happy with what our team was able to accomplish - it was all very ambitious for an 11-minute show and nearly broke the production a couple times.MB: Honestly, I think the fans were very mature and respectful about our choice not to create any official romantic pairings between the three human leads. It’s additive in a way that wouldn’t be possible had this book been written at the same time as the show. There are a lot of moody sentiments in the Journal that would have utterly halted the pacing of some of our episodes…but on the page we were able to make them feel as if they were happening in tandem to the action/comedy found in the show.

TG: Time skips are often controversial, but I also love them and was so happy to see The Owl House follow in similar footsteps to Amphibia.Far removed from the teenage hijinks that defined them, the timeskip was a bittersweet farewell to a show many held dear.

Life might tear them apart, but they will always find a way back to each other whether they realise it or not. I also think the idea of empathy as an important and valuable quality is something that is (thankfully) becoming more popular in fiction.I will say it was important for us that each girl felt confident, self-assured, and VERY supportive of one another in the end. If not, is there anything in the finale you would want to expand upon or change if given an opportunity?