>>119896367The way I see it the problem is two-fold, there are the obvious and objective production quality issues which manifest themselves in basically every facet of the show, bad writing, wonky animation, poor character utilization, lack of character and relationship development, off pacing, flat and off-perspective backgrounds, sakuga moments etc it's clear the effort behind the show is amateurish for whatever reason, either Dana picked a team of friends or diversity hires that don't know what they're doing, they could be amateurs even if not diverse, the budget could be smaller etc. However I think Dana either doesn't notice and acknowledge these issues at all, maybe because she's an amateur herself, or she intentionally ignores them because she doesn't want to go hard on her team.
The other problem isn't actually a problem at all but a subjective preference, the original premise of the show was darker and more mature, and the vision had to be pared down to a kid-friendly version of itself to be suitable for Disney, and this is what Dana openly talked about having an issue with. Now there's nothing wrong with kid-friendly ideas in and of themselves, for example Gravity Falls was made in the same vein and didn't suffer for it (Gravity Falls was professionally made though) but Dana doesn't seem to enjoy working with those constraints given her style and subject matter.
If we had the choice of getting the same lack of production quality but with the more mature original vision, I think the show would've been even worse, and the low ambition kept the show in check, however if the show could get the professional effort like Gravity Falls had, the original vision would definitely be better than what we got and even the equivalent quality kid-friendly version. Maybe Dana will join Alex in Netflix limbo once The Owl House is over.
