Nickelodeon’s The Loud House Will Continue Into A Tenth Season But Its Los Angeles Production Crew Won’t

The long-running Nickelodeon animated series The Loud House has been greenlit for a tenth season, marking a significant milestone for the franchise. However, this renewal comes with a stark shift in operational strategy that has sent shockwaves through the Los Angeles animation community. According to veteran series director Jessica Borutski, the production will be shifting its primary animation work to Canada, leaving the incumbent Los Angeles-based crew behind.

This development was confirmed by Borutski during an appearance on the YouTube series Billy & Mandy vs. The Entertainment Industry, hosted by creator Maxwell Atoms. The revelation has reignited critical conversations regarding the viability of animation careers in Southern California, a hub that has historically served as the epicenter of global animation production.

A Strategic Shift in Production Logistics

During the discussion, Borutski clarified that while the show’s creative leadership—specifically its showrunners—will remain intact to maintain the series’ established tone and narrative continuity, the technical production pipeline is being dismantled in Los Angeles. Borutski characterized the move as a cost-cutting measure, noting that the studio opted not to hire the existing LA-based crew for the upcoming season.

"They didn’t hire any of the LA crew," Borutski stated during the interview. "They’re sending all of the production work to Canada… They want to make it, but cheaper."

For the animation industry, this transition is emblematic of a broader trend: studios seeking to leverage international tax incentives, subsidies, and lower labor costs in regions like British Columbia and Ontario. By shifting production to Canada, major studios can significantly reduce their bottom-line expenditure, though the trade-off is the loss of a specialized, localized workforce that has nurtured the series for nearly a decade.

The Evolution of The Loud House

Since its debut in 2016, The Loud House has been a cornerstone of Nickelodeon’s programming block. Created by Chris Savino, the show follows the chaotic life of Lincoln Loud, the middle child and only boy in a family of eleven children. The series was praised for its unique visual style, which draws heavy inspiration from newspaper comic strips, and its relatable character dynamics.

Over nine seasons, the show expanded into a massive multimedia franchise, including the spin-off The Casagrandes, multiple television movies, and a live-action adaptation. The transition into a tenth season places it in the upper echelon of long-running animated series, joining the ranks of SpongeBob SquarePants and The Fairly OddParents. However, the departure of the LA crew marks a definitive break in the show’s production history, transitioning from a domestically produced product to an outsourced international collaboration.

The Economic Reality of Los Angeles Animation

The decision to relocate production has broader implications for the "Hollywood" animation scene. Borutski and Atoms utilized their platform to discuss the systemic instability facing animators, storyboard artists, and production staff in the current climate. Both creators highlighted a pervasive sense of insecurity, with many professionals facing prolonged unemployment or being forced to pivot to other industries to maintain financial stability.

Data from the Animation Guild (IATSE Local 839) and various industry reports have indicated a cooling period in the animation sector over the past 24 months. Following the post-pandemic surge in streaming demand, which led to a "content bubble," many studios have significantly contracted their development and production budgets. This "correction" has led to layoffs and the cancellation of projects, creating a competitive environment where veteran artists are struggling to find consistent work.

"I wonder what the second half of my life is going to look like," Borutski reflected during the broadcast. "Will there still even be a Hollywood scene?"

The sentiment is echoed by many in the industry who fear that the migration of production to lower-cost regions is not a temporary fluctuation but a permanent restructuring of how animated content is financed and produced.

The Question of Artificial Intelligence

The conversation between Borutski and Atoms also touched upon the industry’s anxiety regarding artificial intelligence. As generative AI tools become more sophisticated, many artists have expressed concerns that their roles could be minimized or replaced by automated processes.

Interestingly, both creators noted that they have seen little evidence of AI being integrated into the standard production pipelines of major networks like Nickelodeon. Borutski noted that she is unaware of any major, traditional shows utilizing assisted AI in their workflows at present. The exception cited was the Disney Jr. series Ozzy Fox, which recently announced a partnership with the AI-focused company Animaj.

While AI has not yet replaced the human labor force at the scale some feared, the economic pressure to reduce costs remains the primary driver of job loss. In the case of The Loud House, the replacement of human labor is not being achieved through automation, but through geographical relocation—a traditional method of cost containment that remains highly effective for large studios.

Industry Implications and Future Outlook

The decision to move The Loud House production to Canada serves as a case study in modern corporate studio management. By decoupling the creative leadership from the production workforce, studios can maintain the "brand" and "voice" of a successful series while drastically reducing overhead.

For the Los Angeles workforce, the implications are profound. If top-tier, long-running properties continue to migrate production internationally, the local talent pool may diminish. This, in turn, impacts the mentorship pipeline—the process by which junior artists learn from industry veterans—as those veterans are increasingly squeezed out of the market.

Furthermore, the shift forces a conversation about the sustainability of the animation industry as a career. If even experienced directors and crew members are left questioning their future, the barrier to entry for new talent becomes significantly higher.

As of the current reporting, Nickelodeon has not issued a formal statement regarding the specifics of the season ten production model or the transition to Canadian studios. However, the move is consistent with the broader strategic priorities of parent company Paramount Global, which has been under significant pressure to streamline operations and return to profitability across its streaming and linear assets.

Conclusion

The news of the tenth season of The Loud House is a bittersweet milestone. While fans can celebrate the continued adventures of Lincoln Loud and his family, the production’s departure from Los Angeles serves as a stark reminder of the volatile nature of the animation business. The industry is currently in a state of flux, caught between the desire for high-quality, recognizable content and the relentless pressure to cut costs in a rapidly changing media landscape.

As the production team packs their desks in California, the industry will be watching closely to see if this trend continues. For the artists who have poured years into the success of The Loud House, the transition is a painful reminder that even the most successful shows are not immune to the shifting geography of the global animation market. The coming years will likely determine whether Los Angeles can maintain its status as the creative heart of the industry or if the future of animation belongs to a more decentralized, globalized model.