They're literally different worlds.
As a 22 year old neurodivergent, I was able to pitch show ideas directly to executives. Part of that was because TV Animation wasn't a glamorous profession (quite yet), so the higher-ups were genuinely passionate about the medium. I earned good money for the time and was generally trusted to run my show and tend to the crew. I would periodically be handed portfolios, which I would personally review and pass on to other show runners. For the networks it was always corporate, cutthroat, and ultimately about the money, but as an artist you could still have a voice and make art while being paid a living wage.
The pay for a freelance storyboard in 2005 is almost exactly what it is today, but now you're likely to have less time and be required to do an animatic on top of it. Portfolios are online, and (beyond metrics) you'll probably never know if anyone looks at it or not.
Animation got big. Too big. The executives got "glamorous", then the talent got "glamorous". By then you probably wouldn't get a pitch meeting unless you were a celebrity or knew one willing to be connected to your project. Animation eventually got so big that it popped. And that's where we are now.
Most of the people I know from Kid's TV Animation are currently unemployed. I have been off Jellystone for over a year, and I'm starting to get genuinely worried. Like, "move away to save money" worried. Most of the employed artists I do know are on long-running legacy series, and they're concerned about their futures when/if those series end. Right now is not a fantastic time for "animation as a money-making profession". The "glamorous" part popped years ago.
That being said, there are still opportunities out there. If you're just starting out, apparently there's a planned surge in adult and pre-school animation. It's also a great time (as long as YouTube remains sane) to be crafting your own content. But I think that the time of Big Studio Patronage is over for most of the industry. It's up to the individual artist now more than ever, not only to make but to promote their own content.
Back at the height of Billy & Mandy, we mostly pulled fours and fives in the Neilsen ratings, but we occasionally got a seven. For reference, E.R. consistently got eights. It's difficult to say exactly how many people that actually was due to how those ratings work, but it was a big deal for the time. Millions. Enough people that if I had a dollar for each person that just watched that one episode, I would have been set for life. Now, nobody gets a seven. A four is huge. Back then there were maybe fifteen or twenty channels of programmed content as opposed to the streaming smorgasbord we were all just enjoying (and which now also seems to have popped). Point being, even though I wasn't paid-per-view, I was able to use those views as justification for an eventual raise. In modern times, streaming numbers are seemingly deliberately kept secret. You'll never really know how well your show was doing until it's over. Or maybe never.
In modern times, a million views on YouTube is enough to get you noticed online. It's a lower bar for entry in a way, but you've got to get there all by yourself. Once you're there (hello Hazbin) a network may indeed come and scoop you up. Even if they don't, you can probably make a decent living with numbers like that if you're savvy and willing to take the time.
I feel like I could go on all day, shaking my fist at the sky, gray-ass beard blowing in the wind. Was it better or easier making cartoons in the past? It seemed that way to me, but that was a world I knew. There was no AI to sell you out to, and the media was more of a "Wild West" than it is today. I do think that AI is going to continue to displace artists (and soon others), making it even more difficult to get anyone's eyes on anything at all.
Culturally, we lack the common touchpoints that bonded our society in the 20th Century. I suspect that the media landscape will continue to become more "bubbly" and disjointed unless some powerful force swoops in to mandate a common viewpoint. Those are two very divergent, uniquely tiring futures, each presenting a different challenge for an artist's survival.
Outside of whatever our modern world is, animation was made for a century by photographing drawings. If Émile Cohl could do it in 1908, you can do it now. It's a lot of labor, but maybe that's part of what makes it special.
