Jillianne Reinseth has seen it all — from her early days working on SpongeBob SquarePants and The Fairly OddParents to leading creative development at Disney Channel, eOne, and now Nelvana. Over the years, she’s helped shape some of the most iconic kids and family content while quietly pushing the industry forward. Today, she stands at the forefront of a major shift in animation and entertainment: the thoughtful, ethical use of AI as a tool for development and storytelling.
As budgets shrink, pipelines evolve, and distribution continues to fragment, Jillianne is a clear-eyed optimist. She believes AI won’t replace creatives — it will empower them. In this conversation, she breaks down how AI is changing pitch development, how discoverability is becoming the new challenge for creators, and how she’s using the technology to amplify unheard voices, all while preserving the human soul of storytelling.
For those who haven’t had the pleasure of meeting you, tell us a little bit about your career and what led you here.
I started in departments that had nothing to do with development—publicity, business affairs—but all of it built a foundation. I worked as a publicist on Charles in Charge, The Gary Shandling Show, and In Living Color, then moved into business affairs. Eventually, someone connected me to ABC Productions, and that started my development career.
Did you always see the value in those early, seemingly unrelated jobs?
Absolutely. What seemed disconnected back then now makes complete sense. Publicity taught me messaging, advertising taught me positioning, and business affairs gave me insight into deal-making. The tools have changed, but the fundamentals haven’t. I still subscribe to Adweek, even though I was only in advertising for seven months—it made that much of an impact.
Would you say you specialize in any particular type of content now?
Yes, I’ve spent the last 20 years in kids and family entertainment. I started in animation in 2000 at Nickelodeon with SpongeBob and The Fairly OddParents. Then I moved to Disney Channel where I worked on Lilo & Stitch and Kim Possible, then into Disney’s TV animation development department.
Did you know SpongeBob would be a hit? Or is it always a mystery until it airs?
No one really knows. When SpongeBob launched, we were up against Pokémon, which was the number one kids’ show at the time. And back then, there was no streaming—it aired at the same time on the schedule. It was a gamble. But of course, we’re all grateful it turned into what it did.
You’ve worked at legacy institutions but have always been open to new technologies. What’s your view on AI right now?
Two years ago, I was terrified. Like a lot of people, I thought AI was going to take my job. But then I started digging deeper and talking to people immersed in it—people who still respected the human component. That changed everything. AI is just a tool, like Microsoft Word or Excel once were. It’s here to evolve how we work, not replace us.
How are you using AI specifically in your work now?
I use it for early development—brainstorming ideas for legacy properties, creating mood boards, and generating visual layouts. It’s sped up my process significantly. Recently, I used AI to help take meeting notes while collaborating with two incredible women, aged 77 and 84. That freed up our time for the creative work that matters.
What changed your mindset from fear to curiosity?
I started seeking out opposing viewpoints. I wanted to understand what AI advocates were actually saying. One of them, Nick Dorra in Finland, showed me how AI can improve pipelines without cutting out human creativity. That really influenced me. We still need writers, directors, and designers—AI just helps get us to the creative part faster.
Have you noticed a shift in how broadcasters and studios view AI now?
Yes. A few years ago, I asked 10 broadcasters if they’d accept an AI-developed pitch, and all 10 said no. But this year at Kidscreen, the answer was more like, “Maybe—if you’re transparent about how AI was used.” They’re cautious, mostly around copyright and IP infringement, but open to discussion now.
Where do you see us in the next two years with AI, animation, and discoverability?
Discoverability will be the buzzword of 2025. With so many platforms and user-generated content, the challenge isn’t just making something good—it’s getting it noticed. AI will help reduce budgets and speed up development, which is crucial since everyone wants more for less now. YouTube and other platforms are already acting as modern talent scouts. You don’t have to live in LA or New York to get discovered anymore.
That’s so true. Any final thoughts for creators trying to navigate this shift?
Put your work out there. It doesn’t have to be glossy. Just show your idea and your vision. If it resonates, someone will notice. AI can help you get to that first draft faster, but it’s your voice that will carry it forward. The future belongs to those who embrace change and use it to amplify what makes them unique.
