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February FableFriday: Snow (Xue) Dong, Producer

Some places have winter wonderlands that last a few months and others sparsely get a few snowflakes, but lucky for us, we get Snow all year round.

FableVision’s Producer Xue Dong, who goes by Snow, joined FableVision to pursue her interest in children's media. An artist herself, she brings her creative eye to each project, combined with her strong project management, communication, and teambuilding skills. To ensure that client needs are met while taking the thoughts of artists, developers, designers, writers, and others into consideration, Snow creates a safe working environment and the opportunity for anyone to speak up.

“I’ve enjoyed projects where the team is collaborative – everyone brings their skillset to the table, we bounce ideas off each other, and we learn from one another,” says Snow. “I make sure to ask everyone’s opinions, which can be challenging, but ultimately rewarding.” 

Keep reading to learn more about Snow’s approach for producing the best possible projects, how her Chinese upbringing helps her pay attention to small details, and the type of art that she loves to create.


What’s your “journey to FableVision” story?
As I studied sociology and animation in college, I didn’t know what I could do with those two fields, but I knew I wanted to do something creative and educational. While taking an animation class, I started researching what other Harvard students did with this degree, and I found Lead Animator Didi Hatcher’s work. I met up with Didi in the old, quirky FableVision office and it was a great opportunity for me to see how smaller organizations create purposeful media. After college, I met Executive Producer Peter Stidwill when he spoke at a local event. I introduced myself and learned about his FableVision experience. There weren’t openings then, but a couple of years went by, and I applied to an open producer role… and here I am!

Why are you drawn to children’s media?
Growing up in China, I took great pride in learning English at a young age and being good at it. Disney movies were a main resource for me, so the media was very impactful for my own childhood experience. As I worked on personal animation projects in college, I had so much agency over my creations, since I was the film director, writer, storyboard artist, and animator. The children’s piece comes in due to my sociology background. I was really interested in how education plays a part in our society, and I thought it would be cool to see how media could influence kids at a young age and facilitate learning in a fun way. I also watched Mr. Rogers for the first time in college, since he’s not famous in China. He has such strong beliefs in what media should do for kids, and he became a huge inspiration for me.

Why did you decide to go into producing? How did your background prepare you for this role?
Producing makes so much sense to me since it combines my strongest skills, knowledge of art and animation, and creative eye. My past experiences have helped me organically find how to best position myself and use my strengths. In my previous job, I worked with others, managed projects, facilitated communication, focused on timelines and deliverables, and made sure we got things done. So being a producer at FableVision was a great fit and once I started working here, everything felt familiar and comfortable to me.

What types of projects do you like to work on?
I love projects where we can collaborate amongst ourselves and with the client to come up with a great solution. It’s cool to see the problem solving that takes place in a project. It’s rewarding when a client wants our input, since we have more creative agency over the project, and it takes us some figuring things out along the way. And of course, every project is different, so you have favorite art in one, a favorite game in another, and so on.

How do you work with other team members to produce the best possible projects?
Proactive communication is so important. Since our projects are educational, they’re research-based with a lot of information, and we have to be careful to deliver the right information and content. I help team members be in sync, especially since people may be working on multiple projects, and I never assume that someone just gets it. I check that everyone is on the same page.

A lot of our projects are interactive games, which involve designers, artists, and developers. Everyone works on different pieces, but still needs to have a global understanding of the project, so that no one falls out of the loop. I try to remind myself that everyone’s ideas matter, and the most valuable opinion might come from someone who is two steps down the pipeline.

Lastly, I focus on the client relationships. Producers are the bridge between the client and the project team, so I make sure to connect them with each other and ensure there isn’t miscommunication.

How has your experience growing up and studying before college in China shaped your perspective?
I’ve lived in the U.S. for about seven years now, but having my own upbringing that is different from people in America, even though America is diverse, keeps me very curious. I have to remind myself to educate myself more and ask questions, which makes everything more interesting. Something may be common for Americans, but for me, it might feel new or different. It also helps me be a conscious observer; the things that are new to me might not trigger the same questions to those raised in the U.S.

It makes me appreciative of the American education system’s resources, but also raises more questions. For instance, even though there is an abundance of resources, not everyone learns and discusses complicated topics, such as race, in the same way. I love seeing what’s on American public television. There are many thoughtful creators, and it’s great knowing that FableVision is adding good content to that repertoire.

Lastly, it keeps me inspired to bridge the cultures. I’m working in an all-English environment, but I would love to at some point connect with Chinese creators and work on a Chinese project.

We heard that you’re also an artist! What type of art do you like to create?
I love figure drawing, which I’ve done since childhood, and drawing faces. I took a drawing class in college with live models, which helped improve my drawing since the human form is full of wonderful geometry, shapes, and textures. I would invite friends over, do portrait sketches, and show them my work. People usually liked what they saw and that felt rewarding. When I retire, I want to bring an easel to the farmer’s market and do free portrait drawings. I did this in China for a month where I would go to a cafe and sketch people. Once, I asked those who sat down with me to play their favorite songs, and the songs informed my sketching styles. For example, if it was a sad song, I would make the linework more somber, and if it was happy, it would look almost like anime.

I also want to improve my children’s illustrations. One of my goals is to create a small children’s book for my friend’s 4-year-old kid, who I’m tutoring in Chinese. I’ve been procrastinating, but I’m halfway there. It’ll be in English and I want to illustrate it myself. 

On a very different note, I tried songwriting during the pandemic. I played a little guitar in college, so I wrote some silly tunes, took an Ableton class, and tried producing my own songs. 

And you’ve been dabbling in baking?
I started baking also during the pandemic, which I found very comforting. I hated the idea of baking before, but once I started, I leaned into it and went all out. Originally, the measuring system really got me… ounces? Cups? Tablespoons? Teaspoons? They didn’t make sense. One time, I mistakenly put a tablespoon instead of a teaspoon of baking soda and everything tasted like toothpaste. But, my key moment was buying a baking book. I followed the recipes exactly, so my baking would turn out really well, and I would feel super accomplished. And I love sweets and sharing them with people – that makes me happy too.

Anything else you’d like to share?
I’m an aspiring cat parent! I’ve always loved cats and have recently been surrounded by cat people, especially at FableVision. Fingers crossed, before the end of 2023, I’ll have my own orange cat.


More About Snow:

Favorite book?
Sapiens: A Brief History of Humankind by Yuval Noah Harari.

Favorite film?
Princess Mononoke.

Favorite game?
Ransom Notes.

Favorite holiday?
Mid-Autumn Festival because the traditional food for this holiday is moon cake, and it’s delicious.

Favorite American idiom?
“I’ve got bigger fish to fry” – when I hear this, it reminds me of a villain in an animated movie moving on to their next scheme, the next problem that they’re going to cause.

A Snow fun fact that most people don’t know?
In Chinese schools, some students are asked to give motivational speeches that they prepare ahead of time. Our school would have a speaker every Monday, usually a different student, and I’d be called up quite frequently. Outside of school I competed in public speaking contests. A super niche and buried past of me!

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June FableFriday: Jill Letteney, Producer

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With an extensive background in project management and event coordination, FableVision Producer Jill Letteney brings her masterful organization skills to every project she works on. She ensures that everyone knows what’s going on and there’s no miscommunication between the client and the creative team. 

“It’s certainly a balancing act with creative and timeline – they are equally important on all of our projects,” says Producer Jill Letteney. “I throw a lot into planning and scheduling in the initial stages, planning backward to ensure that we can meet deadlines.”

Read the FableFriday to learn more about Jill’s favorite type of work, most rewarding part of producing, and love of museums.


What’s your “journey to FableVision” story?
My introduction to FableVision came quite some time ago from former Developer Erin Carvalho. I remember her telling me about the animation and games she developed from a studio housed in the same building as the Boston Children’s Museum.

Years later, once my kids went back to learning in school, I expressed interest in freelance work and Executive Producer Peter Stidwill reached out about producing a short animation for the National Action Alliance. I had the best time working that summer with the FableVision team and felt a tremendous sense of accomplishment when we completed the project. I knew I wanted to do more. When FableVision offered me another animation project, I jumped at the chance and I’ve been happy to work alongside such creative, fun professionals ever since.

Kiawah Island

You have an extensive background in project management and event coordination. How did you transition to production?
Project management has been at the core of every job I’ve held. No matter the role, special projects and events pop up, and I’m happy to take on coordinating. Transitioning to production was easy since it involves scope, scheduling, planning backward from a deadline, and breaking large tasks into smaller ones. At FableVision, I know who to turn to if I run into obstacles. Troubleshooting issues can be fun and productive when you are working with the right people.

What type of projects do you like to work on?
I really enjoy animation and seeing the components of a story unfold over time. There are so many little details that we have to think about when it comes to character designs, backgrounds, and story. It’s like assembling a vibrant, moving puzzle. 

I also like producing live-action projects, from getting to know the crew to working on set. We recently filmed a series of videos where we put in a lot of hours to get everything shot in two days, but it was a lot of fun. And the studio we partnered with, Sound and Vision Media, featured us on their Facebook and YouTube pages.

Cliffs of Moher

How do you work with other team members to produce the best possible projects?
I try to stay as organized as possible so team members have access to everything they need to do their best work, like art assets, script copies, brand guidelines, storyboards, and schedules. I work to facilitate communication between clients and project team members so people aren’t spending time shuffling through various communication tools. It’s a challenge to tell a story or deliver information in short form and I’m always amazed at how effortlessly our artists, writers, and developers can work to pull it all together.

How do you balance the creative and timeline on complex projects?
I’ll share a high-level schedule with our clients so they know where we are throughout the project. I try to schedule meeting time with team members before we enter a new phase, like design, animation, or development, so we can discuss our project goals, assess existing work, and address any concerns or potential conflicts. 

Once I’ve established a solid structure for the project and we know our direction, it’s easy to let the artists take charge of their work. And I’m never disappointed with the quality and quantity of work they put out. I truly believe we have some exceptional talent here!

What are the most challenging or the most rewarding parts about being a producer?
The most challenging part is keeping track of the moving pieces as we near a deadline. Fortunately, we use tools like Basecamp, Slack, and Trello so I know where we stand. I also work with fantastic production assistants who jump in to support so I can focus my energy where it’s needed. And without a doubt, the most rewarding part is hearing and seeing how happy our clients are at the end of a project. When they return later with new work, I get all of the good feelings again.

What advice do you have for aspiring producers?
Don’t overlook your creative intuition! Trust your gut and speak up when you notice something – that will help streamline the projects and bring them to their fullest potential. 

You’re involved with several Harvard groups! Can you talk about your work with Harvard Square Script Writers and Harvardwood?
These writing groups kept me connected with people and the outside world during the pandemic! Screenwriting is such a craft – I admire writers who can tell a meaningful, visual story in just 90 pages. Depending on my schedule, I try to review one or two scripts per month, providing notes and feedback to help writers craft more realistic characters and dialogue. I’ve read some amazing work and I always leave these meetings inspired to write and collaborate. Fortunately, I can carry that into my work with FableVision. It’s a great feeling to have my hobbies inform my professional life and vice versa.

We heard you’re a big fan of museums – tell us more!
I love museums – they’re the first thing I want to see when I travel somewhere new. When my dad moved to Philadelphia, he and I visited four museums in two days. As an undergraduate student, I studied Classics and Historical Linguistics and spent a lot of time at the MFA deciphering funerary inscriptions in Latin and Etruscan. Then I got my graduate degree in Museum Studies and worked closely with the MFA Boston, Harvard Museum of Ancient Near East, and the Brooklyn Museum on various research projects.

Museums are responsible for so much when it comes to their audiences: quality content, meeting educational goals, and online and in-person accessibility, among others. Exhibition design has similar processes to multimedia production, except I don’t have to handle fragile, ancient artifacts.

More About Jill

Favorite show?
Mad Men! I’ve rewatched the entire series five times and always discover something new. My husband bought me the box set recently so now I’m enjoying the director’s commentaries.

Favorite game to play with your kids?
Mario Kart – I used to be able to beat them. I’ve also been playing a lot of FableVision games with them recently, like Echo Explorers, Bubble Build, Claw Control, and Lights, Camera, Budget!, to prepare for new projects. It’s fun to see what attracts their eye in games and they give me very honest feedback when it comes to what they like and what they don’t like.

Favorite holiday?
My grandfather’s birthday was March 17, so St. Patrick’s Day was a big deal for my family. We celebrate every year with a parade, live music, food, crafts, games, and prizes. I basically start planning right after Christmas because it gives me something to look forward to in the spring.

Favorite band?
I love Radiohead but I haven’t seen them perform live yet. :(

A Jill fun fact that most people don’t know?
My cousin Dillon and I inspired a children's song: “Jillian Dillon (The Hippoplatypus).” (For the record, I am neither part hippo nor platypus, but I hope to see each in their native habitats one day).

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May FableFriday: Andrea Hoerner, Associate Producer

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Organization, communication, and trust: FableVision associate producer Andrea Hoerner has perfected the recipe for flawless project management down to a science. With a background in journalism and experience in higher education, Andrea combines strong people skills with her knowledge of pedagogy to lead teams that produce media that engage viewers and inspire change. 

The journalist in her seeks to honor the story being told by building strong connections with her team and clients. “The hours and hours I’ve spent with subjects either writing or photographing them has enabled me to build trust with clients and help them articulate their needs,” she shares. “Holding space for people to work through their ideas and observing what excites people are all ways of interaction that I bring with me into every meeting.” 

In her role, Andrea manages the studio’s technical and creative teams, as well as supports the production team on a variety of media projects. Read on for her organization hacks, advice to budding producers, and the sense of wanderlust that inspires her in all her endeavors.

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Welcome to FableVision! What initially drew you to the studio, and what do you enjoy most about working in educational media?
When I first heard about FableVision, I had been trying to marry my passion for social impact and education with the work that I was doing day to day. Having come from a background working in higher education, I closely aligned with the studio’s mission. I spent some time doing my own research and connected with a FableVision staff member to learn more about the various types of projects the studio tackles. I was drawn to the work being done at FableVision, and now here I am! 

Here at FableVision, we tell “stories that matter, stories that move.” How do you, in your role as an associate producer, try to honor the different stories being told?
While each project has its own mission, deliverables, and clients, my universal goal as a producer is to ensure that our team’s creative collaboration on every project is a catalyst for the desired result of audience engagement and education. Regardless of the learning goal, I like that the work FableVision does is positive and instills a feeling of empowerment through play or interaction. As storytellers and creatives, the best way to honor different stories being told is through creating connection with audiences emotionally and visually. 

Before joining the FableVision team, you reached out to other professionals to learn more about the industry. What’s one piece of advice you would pass on to someone interested in entering the field?
As someone who loves learning from others and their experiences, I’d recommend a two-part piece of advice. I’d encourage someone interested in entering the field to network to get a sense of how the work and culture can vary at different organizations within the industry. And more importantly, I’d advocate for some internal reflection on your skill sets and experiences (“Me-search,” as I like to call it). I’ve learned that you can talk to as many people as you’d like, which is great; however, if you don’t really know who you are or what you’re looking for, it’s easy to lose sight of your own purpose.    

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You manage and support multiple teams at the studio. How do you keep the lines of communication open between departments and ensure everyone works together to get a project over the finish line?
The needs of any given project fluctuate at different times, but constant effective communication remains a pervasive part of day-to-day management. When it’s crunch time for a project or we’re about to enter a new phase of production (QA Testing, animation, etc.), I am a fan of daily team huddles or meetings. These meetings typically last all of 15 minutes every day, usually bright and early, but they provide an opportunity for all team members from different departments to have a 360-degree view. This process helps build trust on our teams, which are different for each project, and I’m often sad when a months-long project wraps after the team has found a great rhythm! 

There are a lot of moving parts when it comes to managing a project. What is your secret to staying organized? 
Personally, I love organization on a Marie Kondo level, so it’s not surprising to those who know me that I have many tricks up my sleeve. One of my favorite ways I like to stay organized across my different projects that all have moving parts is through very colorful post-it note lists on my wall. I like the visual display with color and the flexibility to prioritize or de-prioritize action items listed in front of me. 

You have a lot of hobbies. How do you cultivate your interests both in and out of work, and what is your go-to way to relax after a busy week at the studio? 
My hobbies and activities are a bit more limited these days given COVID, but I like to spend as much time outside as possible on the weekends. I’m a National Parks lover, and one of my goals is to visit as many national parks as possible! If I’m not hiking with my camera or kayaking on the Charles, I can be found meandering through the Museum of Fine Arts or dabbling with watercolor. Additionally, I’m always trying to perfect new recipes for baked goods or meals and enjoy sharing them with friends!  

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We hear that you’re an avid fan of photography. Who are your favorite photographers and what do you enjoy photographing the most?
Photography has always been about “clicks and connections” for me, meaning connection through my lens with my own photos or the photos of others. I am always connecting to a specific sense of place, time, and often people, which in turn usually helps me learn more about myself. 

Two of my favorite photographers are quite different from each other in style, subject, and time. The first is Ansel Adams, as his images inspired my hiking travels to Wyoming a few years ago. It was incredible to float down the Snake River and see the Tetons emerge on the horizon like he did. I love the way he utilizes light, especially in his black and white pieces. 

The other photographer is James Nachtwey, who is an American photojournalist and war photographer. I remember watching a documentary about his work in high school and it left me stunned by the beauty and raw quality of his work; he has covered tragic events/crises globally from the Rwandan Genocide to famine in Somalia. While many would run away from capturing the individual human experience in conflicts like these, Nachtwey runs towards those at the heart of these experiences to tell their stories and give them a voice through his work.   

We also hear that you love to travel. What are some of your favorite trips that you’ve taken? Where do you look forward to visiting once it’s safer to do so?
I’m itching to get back out West (Wyoming, PNW) again on another hiking trip with my camera. Staying inside most of the last year has made me really miss being out in nature and spending time in environments that are radically different from city life. Outside the U.S., I would really like to visit Norway either in the summer or winter to get a glimpse of the Northern Lights!

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If you could: 

Pick up any new skill: Play guitar well.

Live anywhere in the world: London.

Listen to only one album for the rest of your life: Rumours by Fleetwood Mac.

Learn any language instantly: Portuguese.

Have any animal as a housepet: Mini horse.

Have authored any one book that already exists: Too tough to choose!

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November FableFriday: Olubunmi Mia Olufemi, Children’s Programming Producer at WGBH

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For Olubunmi Mia Olufemi, inclusivity is not just an important concept, it’s a crucial and integral part of every project, meeting, and decision as a children’s programming producer at WGBH. As a producer for Molly of Denali, the first nationally-distributed children’s television series to star an Indigenous lead, Mia uses her voice to not only keep the production schedule and budget on track, but also to ensure that the right people and experiences are included and considered in every aspect of creating the show. 

“Being the only person in the room who looks like me is not a new experience,” shares Mia. “Being the only person in the room who looks like me and has a voice in how a project is run, is.”

Mia and her team work with a team of Alaska Native advisors to inform how they approach character design, backgrounds, script, plot, and more. Though these conversations surrounding race, ethnicity, gender, and culture can be challenging at times, Mia and the WGBH team know that the time and money put in is worth it to ensure that the project is authentic and the teams are inclusive. And this is something that Mia carries with her in every project she is a part of. “I know I have to throw myself into each project head, shoulders, feet, and all, otherwise I won’t have the passion, belief, and love I need to advocate for it, work hard for it, sacrifice for it, and proudly promote it,” says Mia. “And a huge part of building a project to believe in is not being afraid to get in there and do the work.”

This FableFriday, we spoke to Mia about her personal and professional journey, how the Molly of Denali team keeps in mind the real experiences of Alaska Natives when creating the show, and how companies and organizations can navigate conversations about representation and inclusivity. 

Mia in Haiti in 1996 with a Goosebumps book. She always had a book somewhere on her.

Mia in Haiti in 1996 with a Goosebumps book. She always had a book somewhere on her.

You worked in consulting for six years before entering the children’s media industry. What initially attracted you to the industry, and what made you stay for another six years since then?
I’ve always loved children’s media, books in particular. My parents read to me every night when I was little until I could “read” my favorites to myself from memory. Later, I read books to my brother, and devoured the boxes of books my aunt, who worked at Scholastic at the time, would send me. Growing up, I took a book everywhere I went: parties, concerts, games, you name it. After college, I knew I wanted to become a young adult fiction editor, so that I could help bring wonderful stories to other kids who liked to bury themselves in books like I did.

I went to Emerson for my master’s after two years of working in consulting to get my degree in publishing, literature, and writing. A mentor, Gary Hill, offered me a job, and then kept me flush with part-time work when I eventually made my way back to Boston to work an editorial job for a medically inclined publishing resource. 

About a year into that, I was itching to get back into a creative field. I was mostly looking for editorial jobs, but by chance, I saw WGBH was hiring a production assistant for Arthur. I had no production experience, but my younger brother and I had grown up on the show and loved it. And I had all the other skills a PA might need (I was detail-oriented, organized, able to juggle multiple tasks, and I was a decent writer), so I took a leap and applied. When I checked back in with Carol Greenwald (Executive Producer of Arthur, Curious George, etc.) about the status of my application, she told me they had hired someone else with more experience. BUT, she liked me and would offer me a part-time gig three days a week if I wanted to take it. I did. 

Since then I’ve worked on several projects: Arthur, Curious George, Martha Speaks, Sara Solves It, Design Squad Global, The Ruff Ruffman Show, and Molly of Denali. The work of making educational kids show is incredibly challenging and stressful, but it’s also meaningful in a tangible way. In a “you taught me how to read/inspired me to become an engineer/taught me to be proud of who I am” kind of way. I don’t think I’ll ever get tired of that.

IMAGE CREDIT: Molly of Denali, Trademark/Copyright 2019 WGBH Educational Foundation. All rights reserved.

IMAGE CREDIT: Molly of Denali, Trademark/Copyright 2019 WGBH Educational Foundation. All rights reserved.

How has your role grown and evolved at WGBH since you began? 
Because I started off part-time, I helped out in little ways on all our shows. I’d take animation notes, help gather clips for marketing, go on live action shoots and do PA field work, etc. I’d sit quietly in team meetings, transcribing minutes as fast as I could while also trying to take everything in. I had no clue what a producer did before I started working there. Now I see we do everything: from getting a show idea created and funded, to hiring the writers and animation company, to overseeing the distribution and marketing of it, as well as the creation of all ancillary materials associated with the show. As a producer on Molly of Denali, I’m now the one leading team meetings. I oversee junior team members and give animation notes. I help hire the writers and advisors, and work closely with the animators to make sure our shows are delivered to PBS on time and up to spec. I review marketing assets to make sure they stay on brand and true to our show. I oversee all live action interstitial production and review our digital games. I have a voice in the direction the show takes, strategically, creatively, and philosophically. Three years into Molly, all of my previous experiences are informing the development of my own children’s television show. It’s been quite a hike, and I’ve still got a long way to go.

What is Molly of Denali?
Molly of Denali
is an animated television series for kids ages 4-8 that features the story of Molly Mabray, a gregarious 10-year-old girl who runs the Denali Trading Post with her parents in the village of Qyah (which means “community” in the Dena’ina Athabascan language). With her dog Suki and best friends Tooey and Trini, Molly adventures through picturesque Alaska on dogsled, snowshoe, ATV, bush plane, canoe, and foot. Along the way, she solves problems using knowledge from her Elders, as well as books, maps, apps, and other informational texts. Through her vlog, she shares knowledge about herself, her adventures, and Alaska Native values, such as honoring your Elders, knowing who you are, and sharing what you have. 

Molly is also a multi-platform series, with games, apps, a podcast, books, digital teaching tools, and lesson plans, printable family activities, and a rural educational outreach initiative.

IMAGE CREDIT: Molly of Denali, Trademark/Copyright 2019 WGBH Educational Foundation. All rights reserved.

IMAGE CREDIT: Molly of Denali, Trademark/Copyright 2019 WGBH Educational Foundation. All rights reserved.

Sydney Isaacs working on totem pole design.

Sydney Isaacs working on totem pole design.

Core Alaska Native Advisory Group. Pictured from left to right: Dewey Kk'ołeyo Hoffman, Rochelle Adams, Elder Luke Titus (seated), Adeline P. Raboff. Also pictured, Creative Producer Princess Daazhraii Johnson (far right).

Core Alaska Native Advisory Group. Pictured from left to right: Dewey Kk'ołeyo Hoffman, Rochelle Adams, Elder Luke Titus (seated), Adeline P. Raboff. Also pictured, Creative Producer Princess Daazhraii Johnson (far right).

We know that representation matters and that the producers of Molly of Denali partnered with Alaskan advisors to consider all aspects of real experiences of Alaska Natives in the show. Can you share an example of when you worked with your team of advisors to accurately and authentically portray Native Alaskans’ lives or traditions?
Molly of Denali is a partnership with Alaska Native people. Who Molly is, what she wears, where she lives, what adventures she has, the things in her room, the people she meets, all of these decisions were made together by the WGBH producers and cultural advisors. There are so many examples of this partnership I could talk about, but there are two I’ll mention as I think they get to the complexity of what it means to work on an inclusive production like Molly.

The first is about a story we did around totem poles. In “Tale of a Totem,” Molly heads down to Sitka in southeast Alaska to visit her cousin and attend her first totem pole raising. It was a story idea we had passed on earlier that I suggested we revisit after hiring our production assistant Sydney Isaacs. A Tlingit Alaska Native, Sydney is a talented artist and an apprentice totem pole carver who studied under a master carver in her hometown of Klawock, Alaska. She served as this script’s cultural advisor, reviewing every draft. She educated us about the different purposes of totem poles, how some were created to preserve the stories of the Tlingit through the ages. She steered our well-meaning script writers away from using a sacred story belonging to a group of Haida people that the authors had found on their own. And when the time came to animate the episode, she designed the totem pole Randall and his community raised with the blessing of her master carver, gifting the series with a special story of its own. 

The second example I’d like to share is about a story we “killed.” One of our writers wanted to do a script on a set of bear cubs that end up in Molly’s village. We were cautious about this to start, because bears can be very dangerous. But we decided to move forward because we thought it might be interesting for Molly to help with an animal rescue by observing the cubs and taking notes from afar for wildlife rangers who would eventually get them back into the wild. Our Creative Producer Princess Daazhraii Johnson had some slight misgivings about the story, and when she shared it with our Advisory Group, she found that she had good reason. The Koyukon people have a complex set of protocols around interacting with bears, much of which is specific to gender. For Molly to interact with bears in this way, much less engage them, would be incredibly taboo. From what I understood from Princess, this was not a taboo that her group, the Neets'aii Gwich'in, share. 

It was a great reminder of a few things. The first is that dominant culture norms are very different from Alaska Native norms. The second is that, although the Koyukon and Neets'aii Gwich'in are neighbors and share some cultural similarities, like their respect for the land and animals, they are different. And the third was that WGBH was right in thinking that we could not make this show without Alaska Native people at the helm beside us.

Three main kid characters of Molly of Denali, Molly, Tooey, and Trini.

Three main kid characters of Molly of Denali, Molly, Tooey, and Trini.

How do you navigate conversations around representation when balancing all aspects of production, from timelines and budgets to creative decisions like landscapes, character design, and native language?
It was difficult finding my voice and asserting it in a space where it was not welcome at certain points in time. It was difficult learning that I had a right to ask questions born out of my identity as a woman of color. That the three main kid characters on our show, Molly, Tooey, and Trini, are all children of color is due to my finding the courage to question our team’s choices and notions around representation, race, and ethnicity. That Molly is voiced by a talented young actress who is Tlingit Alaska Native and Muckleshoot is in large part because my team and I knew from the very beginning that if we were going to make this show work, we would have to cast an Alaska Native child. We looked for her everywhere. Our animation partners, Atomic Cartoons, were instrumental in this, researching local theater groups, putting out calls for auditions on First Nations radio stations, and contacting tribal offices. The search for Sovereign was long and cost the project a lot of time and money. And it was one of the best decisions we’ve made to date.

I would tell media companies that the best way to navigate conversations around representation and balance all aspects of production is to be inclusive, not just diverse. Inclusivity demands a level of effort way beyond that of diversity. All creators of children’s media should have teams that are inclusive. And if you are going to make a show about a group of people of a certain race/ethnicity, those people must be in the room. They must participate in the conversations that decide the budget and inform the project timelines among other things.

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Molly of Denali is a truly transmedia property. Children can access games, podcasts, and classroom interactives on multiple platforms. How do all these media components complement each other, and what strategy decisions did you make when thinking about dissemination and reaching the biggest audience possible?
Because we are a PBS KIDS show, it was planned from the start that we would premiere with a certain amount of episodes along with a suite of digital games and mobile apps. WGBH has been at the front of the pack as far as seeking out opportunities to pair with our shows, like TV tie in books, Alexa skills properties, and educational outreach materials for families and teachers. We try to reach our audience of children, families and educators by giving them a number of ways to engage with our shows at every level we possibly can. But the Molly of Denali podcast was a first. 

This opportunity was proposed by our sponsorship team and our partners at PRX. We weren’t quite sure what it would lead to, but Carol Greenwald, our Head of Children’s Podcast Strategy Priya Desai, and the Managing Producer of Podcasts at WGBH Nina Porzucki saw something special. They linked up with the talented founders of GenZ Media, who have been wildly successful at creating podcasts for children, and brainstormed a new podcast idea, a standalone prequel to an animated television series yet to be released. We rolled out the episodes in the weeks leading up to the premiere as a content teaser for folks to latch on to and get them excited about the upcoming television series. The experiment was a success, garnering millions of streams and downloads, and a following so strong that we received comments on social media to the effect of “Did you know the podcast also has a related television series?” We are now hoping to release a second season.

How do you work through writer’s block, and where do you get your creative inspiration?
I like to write in the morning. I’m one of those producers that will often wake up in the middle of the night with an idea that I like to jot down, so when I wake up (and drink my coffee), my mind is fresh, unencumbered by other things, and ready to work. I draw inspiration from everything I absorb of interest to me: other shows, life, my family’s stories, things I see on Instagram, etc. Anything can serve as good story fodder. 

We hear you are a big fan of cooking. What is your signature dish, and how does cooking, along with other activities, balance your career?
I think I’m more of a fan of eating good cooking than cooking myself, but I do like to try things from time to time. My mother is from Haiti and my dad is from Nigeria, so I’m always proud when I can recreate a dish I grew up with. I’ve often used cooking as a break from work. As much fun as work can be, it can also be all-consuming, so I try to unplug completely on the weekends.

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Fun Facts about Mia:

Favorite cartoon character: Pucca.

Current book on your nightstand: There There by Tommy Orange.

Special talent no one knows you have: I played the french horn and flute in high school. 

Favorite winter activity: Holiday dinners with my large family. We laugh, eat, joke, play games. It’s a blast! 

Which movie, TV series, or book character are you most similar to? Too many to name.

Your vice: Earrings and jewelry. I just came back from New Orleans with a wild set of earrings made a Frida Kahlo pin made with multicolored vinyl. I can’t get enough!

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August FableFriday: Michael Fogarasi, Producer

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“I was drawn to FableVision because of its emphasis on mission-based projects” says Michael Fogarasi, FableVision Producer. “This coupled with working with creative and technical teams here at the studio brings a uniqueness to what might otherwise be a traditional project management role.” As producer, Michael manages not only his own schedule, but those of his team members. He also keeps track of task lists, reviews, and other items to ensure the projects he produces are running efficiently and delivering high quality content.

Michael is also no stranger to stepping up when it comes to a new project. As evidenced by his transition from Associate Producer to Producer and his role as Production Internship Coordinator, Michael not only understands the production process, but is also passionate about guiding and mentoring FableVision interns so that they can understand and become familiar with it.

Although every project is different, Michael welcomes every unique challenge and works hard to keep the team on track to deliver a project that meets both the client’s mission and the studio’s goals. And since we work with like-minded organizations to move the world to a better place, his managing of our teams is seen and felt by staff and partners alike. Let’s jump in and learn more about his process for approaching new projects, what he looks for in a production intern, and where he’s headed on his next vacation!

How did you come to be at FableVision?
I started college around the time when educational technology websites and apps like Quizlet and Duolingo were first coming out. Once I tried them, I was immediately hooked—they not only became an integral part of my learning experience, but also sparked a passion for educational technology. Pursuing this passion, I ended up as an intern in MIT’s video production department, where I helped film and edit courses for MIT OpenCourseWare. Then, a good friend of mine and former FableVision associate producer Katie Tusch, let me know the team was hiring for the associate producer position, and I jumped at the chance.

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You have to balance a lot of schedules when producing projects. What does a day in your life look like? And how do you keep your team(s) on track?
My day starts and ends with a variety of productivity tools and schedules. Every morning, I’ll check in on FableVision’s weekly schedule and my own schedules for each of my respective projects. I’ll then make sure that each person on my team knows what they have ahead of them that day—sometimes that’s through project stand-ups, Slack check-ins, or I’ll just head over to their desk. 

For projects that are earlier in the process, we tend to meet fairly frequently, so I’ll gather the team for brainstorming sessions or production meetings to start the problem-solving process. I’ll also frequently meet with clients to present what we’ve been working on, making sure that we capture their feedback.   

All of this information ends up getting organized on my personal Trello board. Anything that comes my way gets immediately noted and categorized—I rely upon it heavily! I probably run through my to-do list 10-20 times a day to determine the next steps that need to be taken. Then, I’ll do one final swoop at the end of the day to ensure we’ve hit all of our deliverables, while also previewing the next day—just to make sure there are no surprises! 

What is your process for approaching a new project, and what advice do you have for new producers starting their first project?
The beginning of a project is an exciting time—it can go a million different ways and it’s the producer’s job to help find its footing. Beyond setting up all the organizational infrastructure, my advice would be to become intimately familiar with the client’s goals and wishes for the project. I like using the project kickoff to explore the client’s background and reasons for coming to FableVision. Those early conversations can set the tone for the entire project—if you’re able to keep these discussions in mind, you can make sure that every decision is made in the project’s best interest. 

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What’s the biggest difference in producing animation and game projects?
Animation and games are quite different in the way they are experienced—animation conveys its information to curious viewers, while games need to get their message across through a series of interactions. 

In animation projects, I like to think of the storyboard as the end-product of the ‘plan’ phase. Once the script has been written and the storyboard drawn—both major feats on their own—our team has a pretty good sense of whether the piece is engaging or conveys the intended message. If we’re happy with the piece at this stage, we can be very confident that we’ll similarly be happy with the final piece—and so it just becomes a matter of executing on the storyboard, which requires tracking all the assets to be created, scenes to be animated, and audio to be recorded. 

Meanwhile, an interactive project’s ‘plan’ is typically a game design document, which describes all the interactions a user may encounter throughout the experience. Ultimately, the design process requires careful testing and tweaking of the document’s mechanics over the course of the development cycle to ensure that we create something fun that simultaneously gets the content across. Because of that, our team needs to act much more quickly—constantly meeting, reviewing game builds, and discussing potential improvements—while also figuring out which assets need to be tracked and created. It’s a process that keeps you on your toes!

You’ve produced some pretty large projects during your time here. Can you tell us a little more about one in very recent memory, Project Here Games? What went into getting that project to the finish line?
Project Here Games was a really fun and challenging project to work on. The project was commissioned by the Massachusetts Attorney General’s Office (AGO) as part of their Massachusetts-state-wide Project Here initiative to combat substance use through social emotional learning and healthy decision making. As you can imagine, that’s a pretty hefty task to fit into an engaging website for middle schoolers—but none too big for the project’s creative masterminds, Leigh Hallisey (creative director/writer) and Loren Lee-Flynn (user experience designer). Our team devised a series of quizzes and games, which were designed to model real-world situations and reward healthy decision-making. Combined with a really fun art style from our art team, Keith Zulawnik and Christina Kelly, the website was an instant hit. And collaborating with associate producer, Mikaela Johnson, and really dedicated teams at the AGO, Human Resources in Action, and GE, allowed us  to wrap up the project smoothly and successfully. 

You also project managed The Paper Girls Show! What’s your favorite thing about that animated series?
The series Paper Girls Show depicts two friends, Caily and Reese, who are both totally enamored with STEM and use it to solve all sorts of creative challenges. The show aims to break down gender stereotypes around STEM subjects and empower more girls to join those fields. It was inspiring to work with a team of people who were passionate about the mission. This created a fast-paced, creative environment that was amazing to be a part of—we could barely keep up with all the backgrounds, characters, and designs our art team was producing. And at the end of our first season, it was exciting to receive validation for our hard work once we took home animation awards at Cannes, Palm Springs, and KidsScreen!

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You’re also the coordinator for the studio production internship. How do you work with the interns to insure they’re getting the most out of their time here, and what do you look for in a production intern?
At the beginning of a student’s internship, we meet to determine what sorts of projects they are interested in and subsequently pair them with a few. While assigned to a project, the interns become part of the team, helping out in a variety of capacities. When I was an intern at various companies, I didn’t always get a sense of the company’s bigger picture beyond the project I was assigned to, so I also started a series of weekly meetings with our interns, in which studio members discuss their roles and backgrounds. Through these meetings, the interns are able to see how all the different pieces of the FableVision puzzle fit together. 

Regarding prospective candidates, I’m most interested in whether they have demonstrated a real interest in either children’s media or educational technology. We’re looking for students who are really passionate about the field and made efforts to contribute to or learn about it. 

What are your favorite ways to unwind after work?
I really enjoy running, biking, or cooking when I get home in the evenings. I don’t have a car in MA, so I’ve been able to get out and explore the area by biking deep into the suburbs and countryside. I also love trying out and perfecting new recipes, particularly with unique ingredients or new flavors I haven’t experienced before. 

You’ve lived in and travelled to a lot of countries. How have your travels influenced you, and what’s your next vacation destination?
I was lucky enough to grow up in a foreign service family, which meant moving to a new country every three to four years. It’s hard not to love travel with that kind of background. So since I moved back to the US about 10 years ago, I’ve been trying to get out as much as possible. I love seeing unique places (especially city skylines), trying new foods, and⁠—though I’m a bit of an introvert⁠—meeting new people. 

In terms of next destinations, one of my good friends is moving to Argentina for a few months and I’m hoping to get down there in the fall. It will be my first South American destination, but I’m hoping to travel throughout the continent at some point. 

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More about Michael:

Current show you’re binge-watching: Anything from Bon Appetit’s YouTube channel.

Favorite game: Mario Kart Double Dash.

Any podcast recs? It’s not the cheeriest rec, but I’ve been listening to Slate’s Slow Burn about Bill Clinton’s impeachment. I’ve been trying to revisit political events from my childhood and this fits in perfectly. 

Go-to dish to bring to a potluck: Homemade hummus or a dip with too much garlic.

Favorite book you’ve read recently: Bad Blood: Secrets and Lies in a Silicon Valley Startup by John Carreyrou.

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