Jennifer Yuh Nelson on pushing boundaries with ‘LOVE, DEATH + ROBOTS’

From Kung Fu Panda to Emmy contender

Nelson’s path into animation wasn’t planned. Trained in illustration, she entered the field through storyboarding, in which she established herself as a storyteller with a distinct visual voice. “Drawing was in my DNA,” she reflects, “but I didn’t really intend to be in animation.” She thought she’d make action movies. Drawing was her interface with film. That visual language became her gateway into directing, as her storyboards allowed teams to see directly into her imagination. Her skills carried her into directing Kung Fu Panda 2, a film that resonated with audiences worldwide, thanks to its underdog hero and universal themes.

“I think the idea of the underdog is definitely something people identify with, especially with all the difficulties that people face in the world with their careers, lives, and families,” Nelson explains. “Basically, every day to see someone that looks or seems to not have all the skills or qualities that you would associate with a hero, and see them overcome challenges, I think that is something that is incredibly empowering, encouraging, and identifiable for anyone.”

Her success cemented her as a trailblazer. Along the way, she credits mentors such as Brenda Chapman, Vicki Jenson, and Guillermo del Toro. Del Toro once gave her advice she still carries: “Do you want to get fired for the movie you want to make, or the one they want you to make?”

As one of the few women directing in a male-dominated industry at the time, Nelson says she was fortunate to have both strong mentors and supportive crews. “Back then, people didn’t really notice on a day-to-day level,” she explains. “I was just another member of the team. Luckily, I worked with incredible people who supported me unconditionally.”

Why LOVE, DEATH + ROBOTS works

With Love, Death & Robots, Nelson has embraced animation without limits. The anthology spans genres and styles—2-D, stop-motion, hyperreal 3-D—each episode a showcase for experimentation.

The anthology series was created by Tim Miller (Deadpool, Terminator: Dark Fate) and is executive produced by David Fincher (Mindhunter, The Killer). Volume four takes audiences into 10 startling shorts with a variety of themes: funny, dark, disturbing, and action-packed. The range allows people to find something that speaks to their mood. 

These episodes demanded the same world building as a feature film, but compressed into a matter of minutes. “It’s an exercise in minimalism,” Nelson explains. “There’s no single wasted frame. Every beat has to count. To create an emotional rollercoaster in under 15 minutes requires a level of self-discipline and artistic control that’s very challenging, but also rewarding.”

Reflecting on different episodes from across the volumes, she says, “Where else do you get a clay puppet Santa monster next to Akira-level hand-drawn explosions?” The variety is the strength of the show. She points out the use of 2-D animation, in the episode, “How Zeke Got Religion,” which isn't showcased much at scale. But each episode has its own unique style and story and viewers can find something that appeals to them, so that one single story is not carrying the weight of everything. When asked about a favorite episode in volume four, Nelson smiles and says you can’t have a favorite because they are all your kids. 

With each episode, she says, they try to find the purest version while working to maintain the uniqueness of each director or studio’s vision. And while it’s liberating to create adult animation, this kind of work can be risky and possibly offensive. It requires a level of responsibility. She says, “You don’t want to hurt anyone.”

The future of animation

Nelson believes animation is entering a new era of creative freedom and global relevance. Instead of following one dominant style, she sees artists experimenting across mediums in both technique and storytelling.

She notes what was once confined to festivals or niche audiences is now gaining mainstream viability and economical possibilities. This shift, she says, is going towards an expansive medium for art, commerce, and global storytelling.

Nelson highlights the rise of international influence, pointing to South Korea’s surge in creative output and how stories from Asia are now resonating with audiences worldwide. With globally hit films such as Maggie Kang’s KPop Demon Hunters, she states, “People around the world are seeing how these stories coming out of South Korea are relevant to them. It's not being done over there. It's something that means something to them here.” The future of animation is a space where bold visions can thrive and connect across cultures.

Looking ahead

With an Oscar nomination, an Emmy, and numerous accolades and nominations, and a career that continues to expand the possibilities of animated storytelling, Nelson is not just a trailblazer, but a visionary. Whether through the warmth of the Kung Fu Panda films, or the daring darkness of LOVE, DEATH + ROBOTS, she has shown the world that animation is not a genre, but a boundless medium for human expression. And as she puts it, “Art is uncompromising.”