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Universal Pictures and DreamWorks Animation today announced the U.S. theatrical re-release of the Academy Award-nominated comedy Shrek 2, in celebration of the film’s 20th anniversary. The animated classic, directed by Andrew Adamson, Kelly Asbury and Conrad Vernon, will return to theaters nationwide on April 12.
Tickets for the re-release are available for purchase starting today (Friday, March 8) on Fandango and through theater ticketing sites nationwide. Additionally, audiences can catch the new re-release trailer in theaters from today.
“The enduring popularity of Shrek 2 and the Shrek franchise is a testament to its universal appeal and timeless storytelling,” said Margie Cohn, President of DreamWorks Animation. “We are thrilled to partner with Universal in celebrating this milestone anniversary by inviting audiences to rediscover their love for Shrek and the fantastical world of Far Far Away.”
Continuing on from the heroic rescue of the first film, the sequel starts with Shrek (voice of Mike Myers) and Princess Fiona (Cameron Diaz) happily settled into married life in the swamp; at least until Donkey (Eddie Murphy) shows up. When Fiona’s parents, the King and Queen of Far, Far Away (John Cleese and Julie Andrews) learn of her marriage, the couple are invited to celebrate at the palace. But the vain Prince Charming (Rupert Everett) and scheming Fairy Godmother (Jennifer Saunders) set out to split up the unconventional fairy tale couple. The voice cast also features Antonio Banderas as Puss in Boots
Upon its original release in May 2004, Shrek 2 shattered box office records, becoming the highest-grossing U.S. opening weekend for an animated film of all time. To date, the film has earned a staggering$928 million worldwide. Following the unprecedented success of Shrek and Shrek 2, DreamWorks Animation continued to expand the Shrek universe with Shrek the Third (2007), Shrek Forever After (2010), Oscar-nominated Puss in Boots (2011) and Oscar-nominated Puss in Boots: The Last Wish (2022), developing it into the second-highest-grossing animated franchise of all time (more than $2.9 billion worldwide).
In addition to its commercial triumphs, Shrek 2 garnered critical acclaim, earning Academy Award nominations for Best Animated Feature Film and Best Achievement in Music Written for Motion Pictures, Original Song.
“The Shrek franchise has become a cultural touchstone and has brought joy to audiences around the world for more than two decades,” said Jim Orr, President of Domestic Theatrical Distribution for Universal Pictures. “Its impact on popular culture has been profound, transcending generations, and it continues to resonate with viewers long after its initial release. So, as we celebrate the 20th anniversary of Shrek 2, we’re excited to bring this iconic film back to the big screen.”
Twenty-five works from seven countries will compete in the seventh edition of the Ibero-American Animation Quirino Awards, created to promote, and enhance the value of animation from the Ibero-American region. The winners will be announced on May 11 at the Leal Theater in San Cristóbal de La Laguna, on the island of Tenerife.
Spain tops the list of countries with the most entries (16), followed by Brazil (seven) and Chile (three). Argentina, Mexico and Portugal are present with two nominations each, while Colombia has one nomination. For the first time since their creation, the Quirino Awards achieved gender parity in their two main categories: Feature Film and Animated Series.
The announcement of the finalists in the 10 categories was made today, during the 27th Malaga Film Festival. The Quirino Awards have the main sponsorship of the Tenerife Council through Turismo de Tenerife.
Spain’s Robot Dreams by Pablo Berger — also competing for the Oscar for Best Animated Feature Film — and the Brazilian short Lulina e a Lua (Lulina and the Moon) by Marcus Vinicius Vasconcelos and Alois Di Leo are the works with the most nominations, three each.
A jury made up of directors José Miguel Ribeiro (Portugal), Marcela Rincón (Colombia) and Wesley Louis (United Kingdom), along with Zane Valeniece (Head of Acquisitions for the Latvian public television, LTV) and Emmanuèle Petry (co-founder and producer at Dandelooo, France), will be in charge of selecting the winners.
The presentation of the finalists took place as part of the activities of the Animation HUB of Spanish Screenings in MAFIZ – Industry Area at the Malaga Festival and was attended by Lope Afonso, VP of the Tenerife Council and Secretary of Tourism, External Action and International Relations; Carmen Jordán, Director of Fashion, Habitat and Cultural Industries of ICEX; Camilo Vázquez, Deputy Director General of Promotion and International Relations of the ICAA; Annabelle Aramburu, Coordinator of MAFIZ – Industry Area at the Malaga Festival; and Bea Bartolomé, Director of the Quirino Awards.
L-R: Camilo Vázquez, Dimple Melwani, Bea Bartolomé, Lope Afonso, Annabelle Aramburu, and Carmen Jordán.
The nominees are:
Best Ibero-American Animation Feature Film
Hanna and the Monsters – dir. Lorena Ares – Mr. Miyagi Films, Doce Entertainment (Spain)
The Paradise – dir. Fernando Sirianni & Federico Moreno Breser – FS Entertainment, Nomad Cine, EOK Producciones, Mcfly Studio (Argentina)
Robot Dreams – dir. Pablo Berger – Arcadia Motion Pictures, Lokiz Films, Noodles Production, Les films du Worso (Spain, France)
Sultana’s Dream – dir. Isabel Herguera – Abano Producións, El Gatoverde Producciones, UniKo Estudio Creativo, Sultana Films, Fabian&Fred (Spain, Germany)
Jasmine & JamboSeason 2 – prod. Sílvia Cortés – Teidees Audiovisuals, Corporació Catalana de Mitjans Audiovisuals, with the participation of IB3 (Televisió de les illes Balears), Institut Català de les Empreses Culturals (Spain)
The Nutty Boy Season 2 – dir. Michele Massagli & Beto Gomez – Chatrone (Brazil)
Poor Devil Season 1 – Created by Joaquín Reyes, Miguel Esteban & Ernesto Sevilla; dir. Miguel Esteban – Buendía Estudios & Rokyn Animation for HBO Max (Spain)
Sex Symbols Season 1 – dir. Paloma Mora Iñesta & Alex Cervantes – TV ON Producciones, Admirable Films (Spain)
Best Ibero-American Animation Short Film
Lulina and the Moon – Marcus Vinicius Vasconcelos & Alois Di Leo – Estudio Teremim (Brazil)
Almost Forgotten – dir. Miguel Lima & Dimitrije Mihajlovic – Bap Animation Studio (Portugal)
To Bird or Not to Bird – dir. Martín Romero – UniKo, Abano Producións (Spain)
Best Ibero-American Animation School Short Film
Carcinization – dir. Denis Souza – Universidade Federal de Pelotas (Brazil)
The Leak – dir. Paola Cubillos – KASK & Conservatorium Hogeschool Gent, Vrije Universiteit Brussels (Belgium, Colombia)
Shell Shock – dir. Emilio Ramirez Castro – Escena, Escuela de animación y artes creativas (Mexico)
Best Ibero-American Animation Commissioned Film
In the Stars – dir. Gabriel Osorio – Produced by Punkrobot Studio, Lucasfilm (Chile, U.S.A.)
Sith (Star Wars Visions) – dir. Rodrigo Blaas – El Guiri Studios, Lucasfilm (Spain, U.S.A.)
Little Birds – dir. Gabriela Badillo – Médicos Sin Fronteras, Hola Combo (Mexico)
Best Ibero-American Animation Music Video
“All the Best” – dir. Pablo Roldán – Rudo Company (Argentina)
“It’s Up to the Future” – dir./prod. Nat Grego (Brazil)
“I Inside the Old I Dying” – dir. Cristóbal León & Joaquín Cociña – Diluvio, Globo Rojo, Pista B (Chile)
The Many Pieces of Mr. Coo – dir. Nacho Rodríguez – Gammera Nest (Spain)
Best Visual Development of Ibero-American Animation Work
Robot Dreams -dir. Pablo Berger – Arcadia Motion Pictures, Lokiz Films, Noodles Production, Les films du Worso (Spain, France)
Sith – dir. – Rodrigo Blaas – El Guiri Studios, Lucasfilm (Spain, USA)
Sultana’s Dream – dir. Isabel Herguera – Abano Producións, El Gatoverde Producciones, UniKo Estudio Creativo, Sultana Films, Fabian&Fred (Spain, Germany)
Best Animation Design of Ibero-American Animation Work
In the Stars – dir. Gabriel Osorio – Punkrobot Studio, Lucasfilm (Chile, U.S.A.)
Lulina and the Moon – dir. Marcus Vinicius Vasconcelos & Alois Di Leo – Estudio Teremim (Brazil)
Cold Soup – dir. Marta Monteiro – Animais AVPL, La Clairière Ouest (Portugal, France)
Best Sound Design and Original Music of Ibero-American Animation Work
Jasmine & Jambo Season 2 – prod.Sílvia Cortés – Teidees Audiovisuals, Corporació Catalana de Mitjans Audiovisuals, with the participation of IB3 (Televisió de les illes Balears), Institut Català de les Empreses Culturals (Spain)
Lulina and the Moon – dir. Marcus Vinicius Vasconcelos & Alois Di Leo – Estudio Teremim (Brazil)
Robot Dreams -dir. Pablo Berger – Arcadia Motion Pictures, Lokiz Films, Noodles Production, Les films du Worso (Spain, France)
HIDIVE subscribers across the U.S., Canada and other international markets can now explore the latest enhancements to AMC Networks’ anime-focused streaming service. The platform offers a diverse library of anime series and films, from top trending and classic titles to first-run simulcasts, including Oshi no Ko, The Eminence in Shadow, HELCK, Chained Soldier, My Instant Death Ability Is Overpowered and The Dangers in My Heart.
The new HIDIVE website and apps feature a redesigned user interface, a sleek and simplified menu as well as enhancements to content discovery, user curation and playback options. This includes updated search and watch history functionality, enabling subscribers to easily find titles by category and genre or quickly pick their next watch.
In addition, HIDIVE now includes offline viewing, one of the most highly requested features, which allows users to download content while online and watch any time. Additionally, subscribers can also now create a near limitless number of customized watchlists for online viewing.
“It’s an exciting day for HIDIVE, as we rollout our new website and apps, marrying our high-quality and popular anime content with the best possible streaming experience,” said John Ledford, President of HIDIVE. “With a multitude of upgrades and new features across the service, subscribers can not only easily find and quickly watch the movies and series they want, but also download and take their favorite anime with them — whenever and wherever they want.”
The rollout commenced with the launch of the new HIDIVE website at www.hidive.com and continues with the release of new device apps for Apple TV 4K, iPhone, Android Mobile, Android TV, Roku and Fire TV.
HIDIVE is offered on both a monthly and annual paid subscription basis.
Cloudco Entertainment, owner of the Care Bears franchise, is proud to announce six all-new animated Care Bears: Unlock the Magic specials scheduled to debut throughout 2024 on Warner Bros. Discovery’s Max in the U.S.
Adding to the 50 episodes previously launched in the U.S. on Max and elsewhere globally, the all-new animated specials and their respective launch dates are:
The Quest for the Rainbow Stone (launched Feb. 2)
Grumpy’s Ginormous Adventure (premiers March 8)
The Star of a Thousand Wishes (July 5)
The Bad Crowd Strikes Back (Sept. 1)
The Mystery of the Snickering Ghost (Oct. 4)
The No Heart Games (Nov. 1)
All of the new specials retain the look and feel of the animated TV series, but lean into bigger, more theatrical themes. The specials have already launched in key international territories on Pop! (U.K.) and Family Channel (Canada) with pan-E.U., pan-LatAm and other key global launches to be announced shortly.
“We’re excited that Care Bears: Unlock the Magic storytelling continues, and in a format that allows us to build upon our Season 1 episodes, with fun mini-movies that make the overall Care Bears offering on Max in the U.S. more of an event than just a drop of new content,” said Ian Lambur, SVP of Content for Cloudco Entertainment.
The Care Bears also marked their 40th anniversary in 2022 and was recently voted “The #3 Hottest Brand” in the global character licensing business by License Global Magazine. The enduring brand also boasts a YouTube channel that has recently surpassed 175 million views.
Today, in honor of International Women’s Day, WIA (Women in Animation) is announces their first official collaboration with partner United Nations Educational, Scientific and Cultural Organization (UNESCO) since the announcement of their historic partnership in November of 2023. UNESCO is the world’s leading organization protecting and promoting culture for sustainable development and upholding human rights around the globe.
As part of that collaboration, UNESCO has announced its support toward the Stories x Women program, an initiative aimed at facilitating access to international opportunities for women creatives who want to tell their authentic stories from emerging national film and audio-visual animation communities of Africa, Asia-Pacific and Latin America. The collaboration is part of UNESCO’s International Women’s Day call to action, “Invest in women: Accelerate progress.” The global organization now joins The Walt Disney Company as a supporter of the Stories x Women program. UNESCO’s investment will specifically go toward uplifting creatives from Africa.
“We are thrilled by the generous support of UNESCO on this International Women’s Day,” WIA President Marge Dean said. “Their investment in the Stories x Women program is proof of our shared commitment to empowering women creatives worldwide. We’re honored to continue working together to bring more women’s voices and stories to the world.”
Ernesto Ottone R, UNESCO Assistant Director General for Culture, commented, “UNESCO is proud to join forces with the Walt Disney Company to support women animation filmmakers in the Global South. The upskilling opportunities will give rise to diverse stories rarely told — brought to life through the boundless medium that is animation. Investing in women creators enriches the society as a whole, both culturally and economically.”
Both organizations believe in the transformative power of animation as both a viable and sustainable employment opportunity for women globally and an exceptional vehicle for sharing local cultural stories with a global audience.
Up to five two-person teams will be selected from a competitive pool of candidates to participate in the Stories x Women program. The chosen delegates will be announced in April. The teams will benefit from a series of mentoring and coaching sessions led by internationally acclaimed animation experts who will prepare them to pitch their projects at the Annecy International Animation Film Festival and Market in June 2024. The teams must have a woman or nonbinary in a leading role (producer, director and/or screenwriter) and must have pitch-ready projects that are either an animated film or series. All participant expenses are paid for by the program, including travel, lodging and accreditations.
Since its founding in 1946, UNESCO has collaborated closely with civil society organizations and other partners that support and advance its diverse activities and programs around the globe. UNESCO gives priority to gender equality in line with the United Nations 2030 Agenda for Sustainable Development. UNESCO’s gender message is clear: “Women and men must enjoy equal opportunities, choices, capabilities, power and knowledge as equal citizens. Equipping girls and boys, women and men with the knowledge, values, attitudes, and skills to tackle gender disparities is a precondition to building a sustainable future for all.”
Akira Toriyama, the acclaimed manga artist behind the global phenomenon Dragon Ball and the Dr. Slump series has died at age 68. According to the official Dragon Ball website, the artist died from an acute subdural hematoma (blood clots on the brain that usually form after an accident) on March 1 and that his funeral was already held by close relatives.
“He has left many manga titles and works of art to this world. Thanks to the support of so many people around the world, he has been able to continue his creative activities for over 45 years,” a statement on the website said. We hope that the world of Akira Toriyama’s unique works will continue to be loved by everyone for a long time to come.”
Born in Nagoya, Japan, Toriyama made his first big splash in the comic book world in the 1980s with Dr. Slump, the story of a young robot girl named Arale and her scientist creator who live in the strange world of Penguin Village. The manga was a huge hit, sold over 35 million copies and was adapted into a popular TV series by Toei Animation from 1981 to 1986.
In 1983, he introduced the world to his kung fu movie-inspired Dragon Boy series, which eventually evolved into Dragon Ball in 1984 and ran in the Weekly Shonen Jump magazine until 1995. The original manga mixed elements of the classical 16th-century novel Journey to the West with Hong Kong martial arts films. It follows the adventures of its protagonist Son Goko from his childhood through adulthood as he trains in martial arts and searches for seven orbs known as the Dragon Balls, which summon a wish-granting dragon.
Toriayama’s manga was initially adapted into two anime series produced by Toei Animation: Dragon Ball and Dragon Ball Z, which were broadcast in Japan from 1986 to 1996. The studio also created 21 animated feature films and three TV specials and the anime sequel series Dragon Ball GT (1996-1997) and Dragon Ball Super (2015-2018), as well as recuts, live-action versions and numerous video-games. As a result, Dragon Ball became one of the highest-grossing anime franchises of all time and developed a huge merchandising empire as well.
In various interviews, he noted that he was inspired by Osamu Tezuka’s Astro Boy, martial arts movies and Disney’s One Hundred and One Dalmatians. A modest and shy artist who shied away from publicity, Toriyama said he had no idea how Dragon Ball becomes so popular around the world. He described the success of the manga as a miracle. “It helped someone like me who has twisted, difficult personalities to do a decent job and get accepted by society. He told the news agency AFP, “When I was drawing the series, all I ever wanted to achieve was to please boys in Japan.”
You can watch a 1983 interview with the manga master below:
Entertainment-focused brand management company Foundation Media Partners, which is behind Build-A-Bear’s entertainment expansion, today announced that they are representing Varsity Spirit (a division of Varsity Brands) across multiple entertainment categories.
Varsity Spirit is a global leader in cheerleading, dance team & band apparel, camps & competitions and yearbook. This partnership will see Foundation Media broaden the reach of the Varsity Spirit brand through film, TV, music, live events, publishing, podcasts, documentaries and hybrid content. Foundation will lead development, packaging and production across new Varsity Spirit entertainment verticals.
The first projects underway through the partnership include an animated feature, dramatic live-action film and a documentary.
“Working with Varsity Spirit is a dream come true. Varsity Spirit President Bill Seely and EVP Nicole Lauchaire have created a path forward for the company through entertainment ventures that lends itself perfectly to extending and enhancing the Varsity Spirit customer experience,” said Patrick Hughes, Founder & CEO of Foundation Media Partners. We have a shared vision that includes feature films, TV series, docuseries and much more in the Varsity Spirit universe as well as some big surprises in music.”
Bill Seely commented, “At Varsity Spirit, our mission revolves around promoting spirit and instilling important values such as teamwork, dedication, and inclusivity in a way that resonates with today’s youth. We are excited to partner with Foundation as we embark on a journey to demonstrate how the power of spirit can transform communities. This collaboration presents an opportunity for Varsity Spirit to showcase cheerleading, dance, band, and yearbook activities by introducing an innovative brand extension that not only offers new entertainment options for our customers but also opens new avenues to educate audiences about the profound impact of spirit.”
Foundation Media and Varsity Spirit initially began working on entertainment properties together in 2023 when they teamed with Guru Studios (PAW Patrol) for a new animated project titled Spirits of Ridgeway High.
Now reimagined as an animated feature, Spirits of Ridgeway High is a story about optimist cheerleader Melissa Mayfield who while on a mission to lead her last-place cheer team to victory, discovers both cheer and music have secret magical powers. The movie will star Morgan Simianer, who became a breakout personality on the Netflix docuseries Cheer, in the role of Melissa.
The feature film, created in the vein of Rudy, is a sports drama written by Peter Iliff (Point Break, Varsity Blues, Patriot Games) aimed at young women. Set under the lights of a major university, the film lives at the intersection of football and cheer, ushering audiences into the spirit world from a new perspective.
The feature documentary centers on Memphis-based PURE Academy. The film spotlights coach Melvin Cole as he teaches underprivileged youth not only the game of football, but also the game of life. Narrated by Bill Courtney, the subject of the Academy Award-winning documentary Undefeated, this doc tells another story of defying the odds and will feature several brand partners who will become a part of the school’s success story.
Additionally, Foundation Media is repackaging and will re-release Varsity Spirit’s documentary American Cheerleader, which was developed and produced by Milojo, Kelly Ripa and Mark Consuelo’s production company. The film follows the journey of two high school teams vying for the coveted UCA National High School Cheerleading Championship title.
Foundation’s clients and executive team have produced a number of commercially successful and award-winning films for major studios and independent financiers. Recent titles include The Bad Guys (DreamWorks Animation/Universal Pictures), based on the best-selling book franchise by Aaron Blabey; Thelma the Unicorn, based on another best-selling book franchise by Blabey, from director Jared Hess (Napoleon Dynamite) for Netflix; and the Build-A-Bear Entertainment projects Deliver By Christmas (Hallmark), Honey Girls (Sony Pictures Worldwide Acquisitions) and the brand’s first animated Christmas movie, Glisten and the Merry Mission.
The winners have been announced for the prestigious British Animation Awards 2024 (britishanimationawards.com) at a ceremony held at London’s BFI Southbank, presented by comedian Henning Wehn. Now in their 28th year, the BAAs celebrate one of the nation’s most successful creative industries with a biennial gala.
“As always we have been blown away by the quality of work produced by the British Animation industry over the last couple of years and would like to offer our heartfelt congratulations to all the winners,” commented BAA Director Helen Brunsdon and Producer Kieran Argo.
The night’s big winner was Lupus Films’ hand-drawn animated feature film Kensuke’s Kingdomwhich triumphed in three categories including Best Feature, the Writers Award for Frank Cottrell-Boyce and Best Original Music for composer Stuart Hancock. Adapted from the classic adventure story by Michael Morpurgo and directed by Neil Boyle and Kirk Hendry, the film, about a boy shipwrecked on a seemingly-deserted island, features the voices of Sally Hawkins, Cillian Murphy and Ken Watanabe.
London-based animation studio Lupus Films was also successful in the Best Long Form category. Its Channel 4 hand-drawn animation adapted from Judith Kerr’s classic picture book Mog’s Christmas(directed by Robin Shaw)shared the honors with A Bear Called Wojtek, Iain Gardner’s film about Edinburgh Zoo’s famous brown bear who was adopted by Polish soldiers in WWII.
The Best Short Film category was won by Elizabeth Hobbs for The Debutante, a startlingly visual tale about a spirited young woman who persuades a hyena from London Zoo to take her place at a dinner dance held in her honor.
The ensemble cast of Sky Cinema’s The Amazing Maurice (directed by Toby Genkel and Florian Westermann) won the BAA for Best Voice Performance. The fantasy comedy based on the Terry Pratchett novel about a streetwise cat and his gang of rats features the voices of Hugh Laurie, Emilia Clarke, David Thewlis, Himesh Patel, Gemma Arterton, Hugh Bonneville, David Tennant and Ariyon Bakare.
Great British Bake Off’s promotional trailer for 2023 (directed by JuanPe Arroyo) proved to be a recipe for success in the Best Animation in a Commercial category, while rocking the Best Music Video Award was “Late Nights,” directed by Golden Wolf for Death by Romy and Adult Swim.
Channel 5 Milkshake!’s Odo, about a little owl with a big heart, flew off with two awards. Produced by Belfast-based Sixteen South, the series picked up the awards for Best Children’s Pre-School Series and Best Design. Meanwhile, the Best Children’s Series Award went to the hapless heroes from The Rubbish World of Dave Spud, directed by Edward Foster and produced by the Illuminated Film Company for ITV. The Best International Animated Series was awarded to Nickelodeon’s The Tiny Chef Show and Factory Create.
The awards themselves are unique, edition-numbered linocut/relief prints paying homage to Renaissance ‘Triumph’ pictures like Holbein’s 1533 artworkTriumph of Wealth and Mantegna’s 1484-1492 Triumphs of Caesar. Featuring some of the best-loved animation characters of the last 100 years, The Triumph of Animationawards were created by animator and artist Derek Hayes, senior lecturer Animation and FX at Falmouth University.
Additional category winners listed below. See the full list of 2024 nominees here.
Best Factual Award — Another Presence– Dir: Simon Ball
Best Undergraduate Film — Cortex – Dir: Sena Miyazaki
Best Postgraduate Film — The Wolf of Custer– Dir: Tanya J. Scott
Lamb Award — Malachi James– Blue Zoo
Children’s Choice — Dead End: Paranormal Park – Dir: Liz Whitaker
Cutting Edge — Beware of Trains – Dir: Emma Calder
Wildcard (awarded to animations of any durations deemed as ‘extraordinary’) — Two Gracious Uncles Smooched to the Beat– Dir: Jon Dunleavy
Social Good Award — Alzheimer’s Research UK “Change The Ending” – againstallodds
Mattel and Nickelodeon today announced that the second season of the hit animated series Monster High will premiere on Monday, March 11 at 2 p.m. (ET/PT) on Nickelodeon. All-new episodes featuring original and legacy characters alike will continue to debut weekly on Nickelodeon.
In the half-hour season premiere, “Rule School,” Clawdeen finds that balancing school with her new role as Were-Ruler is way more challenging than she thought. As she faces her first big task as Were-Ruler, Clawdeen makes a decision that will shake up the were-world.
Synopsis: It’s a new semester in the 20-episode second season. The boo crew find themselves navigating a variety of monstrous situations, including a vacation at Scare-adise Resort that takes a mysterious turn, a mythological showdown during a music festival, a magic-powered competitive game night, and more. Throughout the all-new season, monster mayhem is always on the menu at Monster High. With each pop quiz the undead life throws their way, the fan-favorite monsters learn that they have what it takes to change the world.
From Mattel and Nickelodeon, the reimagined Monster High follows the teenage children of legendary monsters — Clawdeen Wolf, Draculaura, Frankie Stein, Deuce Gorgon — and friends as they discover who they are in the one place they all belong: Monster High.
“An all-new season of Monster High promises audiences more stories centered on friendship, acceptance, and of course, plenty of surprises,” said Michelle Mendelovitz, Global Head of Mattel Television Studios. “We are monstrously grateful to our cast, crew, and partners at Nickelodeon and Paramount+ who have helped us bring Mattel’s iconic Monster High brand and it’s important message of inclusivity to life in an all-new way.”
New cast members joining the second season include Anna Cathcart (XO, Kitty) as Jinafire Long, a Chinese dragon with weather powers, and Rutina Wesley (True Blood) as Venus, a budding entrepreneur who owns a beachfront smoothie hut at the Scare-adise Resort.
Returning voice stars include Gabrielle Nevaeh as Clawdeen Wolf, Courtney Lin as Draculaura, Iris Menas as Frankie Stein, Tony Revolori as Deuce Gorgon, Jonathan Melo as Clawd Wolf, Kausar Mohammed as Cleo De Nile, Valeria Rodriguez as Lagoona Blue, Alexa Kahn as Toralei Stripe, Alexander Polinsky as Heath Burns and Debra Wilson as Headmistress Bloodgood.
Previously announced S2 voices include Kate del Castillo as Selena Wolf, Rhea Seehorn as Medusa, Jessica Darrow as Skelita Calaveras, John O’ Hurley as Hades, Debi Derryberry as Euryale and America Young as Stheno.
Shea Fontana (Polly Pocket) serves as showrunner and co-executive producer, with Nick Filippi (Big Hero 6: The Series) as supervising producer. Production is overseen for Nickelodeon by Claudia Spinelli, SVP Big Kids Animation, and Nikki Price, Director of Development and Executive in Charge of Production, and for Mattel by Fred Soulie and Christopher Keenan.
The 31st Stuttgart International Festival of Animated Film (ITFS) will take place April 23-28 for the first time under the direction of Heike Mozer and Annegret Richter. The new chiefs unveiled the changes to come for this year’s festival edition yesterday at a joint press conference with the FMX – Film and Media Exchange and the co-production market Animation Production Days.
In addition to a clear structure and fixed time slots for the competition programs, 2024 will also see a new Festival Center for filmmakers, audiences and the press to gather in the heart of the city. The new directors proclaim this edition “the festival of short distances” and have given the ITFS a makeover both visually and conceptually. This will be evident at the Festival Centre as well as the open-air venue at Schlossplatz and the festival cinemas, all located within walking distance.
The festival’s theme “Insights” will be highlighted in talks and panels, masterclasses and workshops, primarily taking place in the Eugen-Bolz-Saal in the Festival Centre. There, the Filmmakers Lounge offers a place to meet, relax briefly and hold receptions, discussions and presentations such as the Filmmakers Talks. Festival audiences can meet the filmmakers in person and learn more about their work.
Also new: The Festival of Animated Film, APD and FMX announce the inaugural “Stuttgart Animated Week.” The three parallel events will fill this week at the end of April with activity. The day before the grand opening of ITFS on April 23, there will be a joint opening event for professionals and guests of honor.
Programmatically, there are overlaps between the three events: FMX’s focus on “Women in Animation” carries over in the ITFS program. There will be a masterclass with Ebele Okoye, who is dedicated to empowering women in animation in Africa. As part of the IN PERSONA series Špela Čadež will be a guest, a passionate advocate of the analog, impressing with puppet and cutout techniques. Michaela Pavlátová will be honored with the international ASIFA Prize in Stuttgart. And Isabel Herguera will give insights into her work on the feature film Sultana’s Dream, created by and with women in India, screening on Friday.
The ITFS program will present more than 500 films from 34 countries. “In the competitions, there is a tendency towards stop-motion, handmade and very few films in 3D. By the way, there are no films made by AI,” emphasized Artistic Director Annegret Richter. Filmmakers are more concerned with questions like “Who am I? Where do I want to go? What is home?” Topics also include mental and physical health or self-reflection.
Another programme highlight is the new focus on German animation. “It is important to me personally to make German animation more visible at the festival and to involve the German industry more strongly. Some German short films are also featured in the International Competition, but we have additionally compiled two programs with current films from Germany, showcasing the entire spectrum of German filmmaking,” said Richter.
This includes the world premiere of the series Fritzi and Sophiebefore it airs on ARD and Kika in the autumn. ITFS will show all eight episodes on the open-air screen and in theatres on Friday. The story of the boundless friendship of two 12-year-old girls takes place in the politically turbulent summer and fall of 1989 and portrays a piece of German-German history for children, families and all those who were around at the time. But it also serves as a prime example of the synergies among our three events of Stuttgart’s Animated Week: The film project Fritzi was at APD in 2015, and now ITFS hosts the premiere, with the creators presenting at FMX.
Last but not least, ITFS is rolling out the green carpet for Ireland in the Special Focus program. “For over 20 years, an incredibly exciting, young and progressive animation film scene has developed there, which attracts a lot of international attention. Together with Animation Ireland, we look forward to bringing great guests and films to Stuttgart,” said Richter. The Special Focus on Ireland is supported by festival partners Zeitgeist Irland 24.
Early Bird rates for the Combi Pass (ITFS and FMX) as well as the Festival Pass are still valid until March 15. From March 20 to April 1, ITFS is also offering a Spring Special: During this period, the offer for day tickets is “Buy 3, pay 2.” Single tickets will go on sale when the printed Festival Guide is published on April 3.
Full ticket and pricing options and more information available at itfs.de.
The press conference also saw the 18th Animation Production Days (APD) announce this year’s selection of 51 projects from 19 countries. As part of the Co-Production and Financing Market, which is taking place April 23–25 in Stuttgart, producers and creatives will present their projects to potential partners in pre-arranged one-to-one meetings. APD is a joint venture of the ITFS and FMX. The APD Conference and numerous networking events also form part of the APD program.
A total of 94 projects were submitted for this year’s edition. The 51 projects that have been selected comprise 29 TV series, 12 feature-length films, two TV specials and eight cross- or transmedia projects. Approximately 30% of the projects are being developed for preschool children, another 30% for six- to 12-year olds, 25% percent for family audiences and the final 15% for young adults.
In 65% of the projects, at least one woman has a leadership position, i.e. as a producer and/or director. The total production volume of the projects is around 210 million euros.
Over 25% of the projects address environmental topics. For the youngest target group, these primarily take the form of stories in and about nature, while, for older children and teenagers, environmental destruction and climate change are also discussed. Diversity and inclusion are integrated into the narratives of almost 30% of the projects. Overall, a lot of comedies are featured this year (action comedy, adventure comedy, sit-coms). Some of these projects tackle serious topics, including physical and psychological illness, mental health, loss and death, in creative, entertaining and often encouraging ways.
Germany is the most represented country of origin (12 projects), followed by Denmark (six), France (five), Spain (four), Ireland (three) and Finland (three). There are also projects from Austria, Belgium, Croatia, the Czech Republic, Estonia, Hungary, Iceland, Latvia, Norway, Serbia, Slovakia, Ukraine and the United Kingdom.
This year’s Co-Production and Financing Market has a particular focus on Ireland which is being represented at APD by more than 10 participants. Supported by the Zeitgeist Irland 24 initiative and in cooperation with Animation Ireland, Ireland is also the country-in-focus at this year’s ITFS.
Of the projects submitted, 29 were applications for the APD’s highly sought-after Talent Program, which selects eight European projects each year. The up-and-coming producers and creatives in the program receive free accreditation for APD where they have the opportunity to discuss their ideas with experienced industry experts as well as to build their networks and find partners for their projects.
This year, the Croatian series project Flipside Sautee by Sunčana Brkulj and Jess Mountfield qualified for participation in the APD Talent Program via a cooperation with the European training program, Animation Sans Frontières.
Big City Greens the Movie: Spacecation, an original, music-filled comedy-adventure from the creators of Disney Channel’s hit animated series Big City Greens, will debut Thursday, June 6 (8 p.m. EDT), on Disney Channel and Friday, June 7 on Disney+.
Synopsis:Big City Greens the Movie: Spacecation follows the Green family as they embark on an adventurous outer space-bound vacation. When thrill-seeker Cricket tricks his family into taking a “road trip” in space, chaos in the cosmos quickly ensues. Despite growing frustrations between Cricket and his dad, Bill, the two must learn to appreciate each other’s unique perspectives in order to prevent Big City from being destroyed by an interstellar disaster.
The movie features the voices of series stars Chris Houghton (Cricket Green), Marieve Herington (Tilly Green), Bob Joles (Bill Green), Artemis Pebdani (Gramma Alice), Wendi McLendon-Covey (Nancy Green), Zeno Robinson (Remy) and Anna Akana (Gloria).
Joining the cast list for Spacecation are Renée Elise Goldsberry (Colleen Voyd), Cheri Oteri (Gwendolyn Zapp), astronaut Scott Kelly (himself), Joe Lo Truglio (BigTech Scientist), Jack McBrayer (Farmbot) and Raven-Symoné (Maria Media).
From Disney Branded Television and produced by Disney Television Animation, Big City Greens the Movie: Spacecation is created and executive produced by Chris and Shane Houghton and produced by Michael Coughlin. Anna O’Brian is the director and Joachim Horsley is the series composer. The movie carries a TV-Y7 parental guideline.
A Big City Greens the Movie: Spacecation original soundtrack will be released June 7 on Walt Disney Records.
Disney and Pixar today unveiled the official trailer plus new images and poster for Inside Out 2, which welcomes new Emotions to now-teenager Riley’s mind. Joining Joy (voice of Amy Poehler), Anger (Lewis Black), Sadness (Phyllis Smith), Fear (Tony Hale) and Disgust (Liza Lapira) is a group of Emotions perfectly suited for the teenage years:
Maya Hawke voices Anxiety, the previously announced new arrival bound to shake up everything in headquarters and beyond. A bundle of frazzled energy, Anxiety enthusiastically ensures Riley’s prepared for every possible negative outcome.
Envy, voice of Ayo Edebiri, may be small but she sure knows what she wants.She’s perpetually jealous of everything everyone else has, and she’s not afraid to pine over it.
Ennui, who’s voiced by Adèle Exarchopoulos, couldn’t care less. Bored and lethargic with a well-practiced eye-roll, Ennui adds the perfect amount of teenage apathy to Riley’s personality, when she feels like it.
Embarrassment, voiced by Paul Walter Hauser, likes to lay low, which isn’t easy for this burly guy with a bright blush-pink complexion.
Additionally,Kensington Tallman takes on the role of Riley Andersen, who’s about to begin high school. Lilimar voices Valentina “Val” Ortiz, a high school hockey player who everyone, including Riley and her friends, looks up to. Diane Lane and Kyle MacLachlan return to voice Riley’s mom and dad; Sumayyah Nuriddin-Green and Grace Lu provide the voices for Riley’s besties; and Yvette Nicole Brown voices Coach Roberts, who heads up a summer hockey camp.
The voice cast also includes Sarayu Blue, Flea, Ron Funches, Dave Goelz, James Austin Johnson, Bobby Moynihan, Frank Oz, Paula Pell, Paula Poundstone, John Ratzenberger, Kendall Coyne Schofield, June Squibb, Kirk Thatcher and Yong Yea.
Synopsis: Disney and Pixar’s Inside Out 2 returns to the mind of newly minted teenager Riley just as headquarters is undergoing a sudden demolition to make room for something entirely unexpected: new Emotions! Joy, Sadness, Anger, Fear and Disgust, who’ve long been running a successful operation by all accounts, aren’t sure how to feel when Anxiety shows up. And it looks like she’s not alone.
Directed by Kelsey Mann and produced by Mark Nielsen with a score by Andrea Datzman, Inside Out 2 releases only in theaters June 14.
Europe’s pitching and co-pro event, Cartoon Movie announced the winners of its 2024 edition’s distributor, director and producer of the year awards.
Producer of the Year: Animagrad (FILM.UA Group) for The Forest Song (Ukraine). One of the leading animation studios in Eastern Europe, Animagrad’s first international pitching of their film Mavka: The Forest Song was held at Cartoon Movie 2017. Following its premiere in Ukraine in March 2023, the film was sold to more than 80 countries.
Director of the Year: Jeremie Périn (Mars Express). The French director’s first feature film was first presented at Cartoon Movie 2019. Produced by Everybody On Deck, the noir sci-fi movie is set in the 23rd century and adventures of a private detective and her android partner who are hired by a wealthy businessman to track down a notorious hacker in Mars. The film opened in France last November after screening in Cannes and Annecy. It will be released by GKIDS in the U.S. this spring.
Distributor of the Year:Eurozoom (France). Created in 1997, Paris-based Eurozoom is an independent film distributor with an extensive catalogue of European animated films, including Anca Damian’s The Island, Salvador Simó’s Buñuel in the Labyrinth of the Turtles and Jan Bultheel’s Cafard.
Voted by the 886 professionals from 35 countries attending the 26th edition of the event, these prizes recognize the companies and personalities whose major contributions in their respective fields have significantly enhanced the European animation industry over the previous year.
Cartoon Movie and Eurimages, the cultural fund of the Council of Europe also announced that this year’s Eurimages Co-Production Development Award (20,000 euros) will be given to the upcoming feature Pesta, directed by Hanne Berkaak and produced by Mikrofilm (Norway), in collaboration with Xilam Films (France) and Knudsen Pictures (Germany). The award has been created as an initiative to promote the Fund’s role in encouraging international co-production from the initial stages of a project. It recognizes an artistically outstanding animation project in its development phase.
“Pesta” won the Eurimages production prize at the 2024 edition of Cartoon Movie in Bordeaux.
After facing the challenging task of choosing among the remarkable animation projects pitched, the jury decided to award the Eurimages Co-production Development Award to a an ambitious artistic work, that pushes the boundaries of genre and presents an original audience approach. The jury called Pesta “a film with a clear vision and a well-balanced creative collaboration between an almost all-female team.” Set in Norway during the Black Death, Pesta tells a tragic love story between an unlikely couple: the pious noble girl Astrid and the outlaw heathen Eilev. Their paths cross as the world as they know it is coming to an end, creating a possibility for a relationship that defies societal norms.
Tonje Skar Reiersen
“We are incredibly honored to be awarded with Eurimages’ development award,” producer Tonje Skar Reiersen told Animation Magazine. “European animation is enjoying a golden age with an amazing variety in terms of what stories we tell, the audience we target, the visual looks, themes and techniques. With Pesta we are breaking new ground with an exciting genre mix between romance and horror. The reception at Cartoon Movie was beyond our wildest expectations, and it is such an encouragement to experience how both our industry colleagues and the sales and distribution companies are really embracing our ambitious goal to bring this story to a teenage audience.
Most Popular Pitches
1.Rosa & Dara and their Great Summer Adventure(Czech Republic / Slovakia) – 63% 2. Rouxelle and the Pirates (Belgium / Switzerland) 61% 3. Milo (Ireland) 58% 4. Niko – Beyond the Northern Lights (Finland / Germany / Ireland / Denmark) 54% 5. Mami Fatale and the Great Cookbook (Poland) 51% 6. Balls (Sweden) 49% 6. Kaja the Great (Norway / Belgium) 49% 7. Agent 203 (Germany / Spain) 48% 8. Flamingo Flamenco (Germany / Spain) 46% 9. When Mumbo Jumbo Grew Giant (Denmark) 45% 9. Dom Fradique (Portugal / Italy) 45% 10. Twisted (France / Italy) 43% 10. Yugly (Belgium / France) 43% 10. Out of Frame (Germany) 43%
Top 10 European Co-Productions
1. The Island of Salamanders (France / Slovakia / Germany) 2. Pesta (Norway / France / Germany) 3. Yugly (Belgium / France) 4. Ogresse (France / Belgium) 5. The Defects (Luxembourg / France / Belgium) 6. Twisted (France / Italy) 7. Picasso in Royan (France / Spain) 8. Flamingo Flamenco (Germany / Spain) 8. Super Charlie (Sweden / Denmark / Norway) 9. Dom Fradique (Portugal / Italy) 9. The Treasure of the Wyrm (Italy / France / Czech Republic) 10. Into the Wonderwoods (France / Luxembourg)
The Island of Salamnders was one of the most popular pitches at the 2024 edition of Cartoon Movie.
Since its first edition in 1999, 467 films have been financially supported by Cartoon Movie with a total budget of 3.06 billion euros. Organized by CARTOON, Cartoon Movie is an annual forum aimed at strengthening the production and distribution of animated feature films in Europe. The event has the support of Creative Europe – MEDIA, CNC (Centre national du cinéma et de l’image animée), Région Nouvelle-Aquitaine, Bordeaux Métropole, and Pôle Image Magelis.
You can read more about the 2024 edition of Cartoon Movie here.
Apple TV+ today revealed that Grammy-nominated international superstar Adam Lambert and beloved K-pop sensation aespa are set to join the cast of Fraggle Rock: Back to the Rock in guest star roles. In Season 2, premiering March 29, will bring big changes to the Rock, and the Fraggles, Doozers and Gorgs will be forced to confront their past and celebrate their interdependence, as they move through challenges together with hope, silliness and brand-new songs.
Lambert and aespa join previously announced special guests, including Tony and Grammy Award winner and Emmy Award nominee Daveed Diggs (Hamilton), Academy Award winner Ariana DeBose (Schmigadoon!), Emmy Award winner Brett Goldstein (Ted Lasso) and Emmy Award winner Catherine O’Hara (Schitt’s Creek).
The show follows along with Jim Henson’s fun-loving and musical Fraggles — Gobo, Red, Boober, Mokey, Wembley and Uncle Travelling Matt — as well as new Fraggles and Doozers, as they embark on epic, hilarious adventures about the magic that happens when we celebrate and care for our interconnected world.
Fraggle Rock: Back to the Rock is executive produced by The Jim Henson Company’s Lisa Henson, Halle Stanford and John Tartaglia, alongside Matt Fusfeld and Alex Cuthbertson. Co-executive producers are Dave Goelz and Karen Prell, and executive music producer is Harvey Mason Jr. The new season is produced by Chris Plourde and co-produced by Tim O’Brien. The series is produced in association with New Regency, with Arnon Milchan and Yariv Milchan executive producing.
The series currently boasts a 100% critics’ score on Rotten Tomatoes, and has been recognized by the Sentinel Awards for Outstanding Children’s Programming, as a finalist in the prestigious Prix Jeunesse International, and won Outstanding Art Direction/Set Decoration/Scenic Design at the inaugural Children’s & Family Emmy Awards in addition to receiving nominations for Outstanding Children’s or Family Viewing Series, Outstanding Cinematography for a Live Action Single Camera Program and Outstanding Editing for a Single Camera Program.
Award-winning animation studio Hero4Hire Creative is helping educate the next internet-native generation on crucial skills for navigating the chronically online world, having recently produced a series of comedic digital shorts for Microsoft and public media outfit GBH. Spinning off the popular Ruff Ruffman franchise, the animated shorts are designed to teach kids about the impact of AI and media literacy skills.
Microsoft partnered with award-winning public media station GBH to create five new short-form videos at the intersection of technology, education and entertainment. Produced by GBH and animated by Boston-based studio Hero4Hire,Ruff Ruffman: Humble Media Genius tackles media-related topics about technology like AI in a fun and accessible way. Available on the PBS KIDS Video App, PBS KIDS Video Player and PBS KIDS YouTube channel, these shorts serve as valuable resources for children navigating our ever-changing digital landscape.
“Microsoft is committed to helping every person and organization on the planet to achieve more. We know that AI technology is the future, and so are our kids,” says Ginny Badanes, General Manager, Democracy Forward, Microsoft. “Ensuring young people and parents have easy access to tools that explain AI basics is key to providing AI literacy, setting them up for success as the technology evolves.”
About the shorts:
“Ruff Amuck”: Ruff and Lupine explore the creative possibilities of artificial intelligence while creating art on their computer.
“Robot Helper”: Ruff and Lupine encounter the challenges of interacting with a robot powered by artificial intelligence, raising questions about realism and technology.
“Algorithms”: Through the lens of a classic rock video, Ruff and Lupine demystify algorithms and their impact on our digital experiences.
“Poetry”: Using artificial intelligence, Ruff and Lupine collaborate to compose a poem celebrating the importance of media literacy in the 21st century.
“Meet Halley”: Can an AI-powered voice assistant cater to the diverse preferences of Ruff and Lupine? This episode explores the capabilities of voice technology in planning activities.
With Jack Black ready to make his triumphant return as the black-and-white hero in Kung Fu Panda 4 this Friday, March 8, critics are weighing in on the skadoosh-worthiness of Po’s latest adventure. Fans of the DreamWorks franchise and those carting the next generation of young moviegoers to cinemas will be glad to know that reviews are promising a solid, action-packed family adventure that follows the tao of KFP.
Directed by Mike Mitchell (Trolls, Shrek Forever After) and co-directed by Stephanie Ma Stine (She-Ra and the Princesses of Power), Kung Fu Panda 4 finds Po (Jack Black) harkening to the call of destiny… to retire.
Tapped to become the Spiritual Leader of the Valley of Peace, Po must train a new Dragon Warrior to take his place. But the arrival of a new villain known as the Chameleon (Viola Davis) — a sorceress who can shapeshift and summon the powers of Po’s previous foes — complicates matters. To defeat this threat and protect the Valley, Po forms an odd-couple alliance with a crafty thief (Awkwafina) and discovers heroes can come from anywhere.
The fourth installment has earned a 77% Fresh on Rotten Tomatoes (from 39 critics’ reviews) so far, with a more mixed rating of 54 on MetaCritic (20 critics’ reviews). By comparison, Kung Fu Panda 3 (2016) holds an 87% critics’ rating / 79% audience score, Kung Fu Panda 2 (2011) is at 81%/74% and the original Kung Fu Panda (2008) is still kicking with 87%/83%. The three previous films have totted up $1.8 billion in global box office.
Here’s what some of the critics are saying:
“With its new settings and characters, including Oscar winner Ke Huy Quan as a pangolin leader of a den of thieves and Ronnie Chieng as a fish that lives in a pelican’s mouth, Kung Fu Panda 4 clearly aims to refresh the franchise. But it’s really more of the same, which is not such a bad thing … Its appeal still lies largely in Black’s hilarious vocal performance which has lost none of its charm. Here, he’s well matched by Awkwafina, who brings such verve to her line readings that she’s a cinch to return in the inevitable future installments.”
— Frank Scheck, The Hollywood Reporter
“As always, it’s the animators who are the real heroes here. From the thick fur on the pandas, to clay tiles smashing on roofs to rain splashing on stones, barroom brawls and petals wafting from cherry trees, this is a visual delight. Creating The Chameleon — and her scary Komodo dragon guards — gives the animators a chance to show a tiny lizard metamorphosize into an elephant in a few seconds and they relish it. They also sometimes dip into different animation styles, giving a viewer a visual break.”
— Mark Kennedy, Associated Press
“Kung Fu Panda movies have always excelled based less on story and more on style; at their best, the films offered action scenes up there with the best any animated film has to offer. Kung Fu Panda 4 ably continues that legacy. Director Mike Mitchell and co-director Stephanie Ma Stine, making their debut in the franchise, effectively stage a variety of acrobatic, wuxia-inspired showdowns with inventive combat and satisfying weight to them, including a climatic battle that ranks among the best seen in these films. The film’s animation is consistently gorgeous, and there’s a variety of visually inventive locations (a tavern staffed by enslaved bunnies located precariously on a rocky ledge) and characters (an Arowana fish pirate, voiced by Ronny Chieng, living inside a pelican’s mouth).”
— Wilson Chapman, IndieWire
“Despite some fertile narrative ground to build upon, aside from a few, scattered but sweet scenes, there’s so much emotionality and thematic depth left on the table, in favor of comedy above all … Yes, there are still the fights to look forward to, and they’re as beautifully stylish and bombastic as fans of the Kung Fu Panda have come to expect, but this series has historically been able to balance that bombast with more heart than what’s on display here.”
— Justin Clark, Slant
“Unlike the second film, which incorporates a variety of visual styles to move character and story development forward with 2D and die-cut silhouettes, Kung Fu Panda 4 uses an anime-style split screen … The all-too-brief barroom brawl oner, where we follow Zhen from behind as she tries to evade capture, is an undeniable highlight, as is The Chameleon’s transformation sequence that plays like gateway horror for kiddos … Black’s effervescent, ebullient vocalizations and his character’s positivity, gumption, and vulnerability — no matter how slight and superficial here — are what bolster the picture.”
— Courtney Howard, AV Club
“This genial fourth-chapter action fairy tale has all the things it’s supposed to have, at least according to the blockbuster animation playbook: Po kicking butt between daydreams of doughy cuisine; a quirky fighting sidekick — an androgynous-looking fox named Zhen, voiced by Awkwafina — who spends the film trading barbs with him; box-checking encounters with Po’s parents, Li Shan (Bryan Cranston) and Mr. Ping (James Hong), as well as his training guru, the ancient curmudgeon Master Shifu (Dustin Hoffman); plus a supervillain who does all she can to take over the world. Yet as the movie unfolded, all I could think was, Where’s the skadoosh?”
iam8bit is bad with another fan-favorite animated series soundtrack on literally groovy vinyl: In collaboration with Milan and Frederator Networks, the music publisher announced the first release of the double-LP vinyl soundtrack ($42.99) fromBee and PuppyCat, available for pre-order starting March 7 at 9 a.m. PST on iam8bit’s store with orders expected to ship Q3 2024.
Created by Natasha Allegri, Bee and PuppyCat follows the cheerful titular heroine and her adorable feline-canine hybrid as they embark on all sorts of misadventures through the mysterious Fishbowl Space, meeting a cast of quirky, sincerely sketched characters along the way. Through this heartwarming and unabashed weirdness, the show simultaneously defies explanation and feels entirely cozy and familiar, like a long-lost childhood friend.
From its original debut on Frederator Networks’ Cartoon Hangover YouTube channel to its latest adventures on Netflix, the series has amassed a global fan base and has topped “best shows to watch” lists.
About the Soundtrack:
Bee and PuppyCat’s surreal electronic soundtrack beautifully captures the chaos and uncertainty that comes with being a young 20-something — with an extra scoop of sugary surrealism. Packed with bite-sized themes and mischievous little loops, composer Will Wiesenfeld (of Baths) has crafted a luscious soundscape that feels like a digitized warm summer breeze.
The Bee and PuppyCat 2xLP Vinyl Soundtrack includes 55 tracks from Volume 1 and Volume 2 of Bee and PuppyCat (Original Netflix Series) onto two discs, pressed on Pretty Patrick Pink and Wizard Green wax. iam8bit collaborated with Natasha Allegri to produce all-new illustrated art of your favorite freelancing duo with nostalgically cozy cover art and center labels.
Animation Dingle, one of Europe’s premier animation festivals, returns for its highly anticipated 2024 edition. Now in its 12th year, the event promises a showcase of creativity, innovation and collaboration in the world of animation set against the picturesque backdrop of Dingle, Ireland.
“Screen Ireland is proud to support Animation Dingle this year as its official Industry Partner — it is a festival that brings together international partners across broadcasting, production and distribution and connects them with Irish animators and world-class studios,” says Désirée Finnegan, Chief Executive of Fís Éireann/Screen Ireland. “We hope this year will be an incredible celebration of animated storytelling in all its forms.”
Taking place March 22–23, the Academy Awards- qualifying festival is building upon its reputation as a hub for fostering dialog, networking and inspiration within the animation community. With a diverse program encompassing screenings, workshops, panel discussions and networking opportunities, the festival serves as a platform for both seasoned veterans and emerging talents to connect, learn and showcase their work
“Animation Dingle is a testament to the vibrant creativity and innovation that defines Ireland’s growing animation industry,” asserts Leo Clancy, CEO, Enterprise Ireland. “Connecting young talent, Irish companies and international industry leads, the event showcases Ireland as a center of excellence for animation and celebrates the work of an increasing legion of award-winning Irish animators. This growth arises from an extraordinary spirit of collaboration amongst the Irish companies and industry stakeholders. Enterprise Ireland is proud to support Animation Dingle and its mission to promote Ireland as a global leader in animation”
John Rice, CEO of Jam Media, comments, “We’re incredibly excited to host Animation Dingle 2024, a festival that stands at the crossroads of education, celebration and industry, where animation students come to mingle and network with the best in the business. This year, we’re delving into the transformative impact of AI on the industry, sparking what promises to be a lively debate. It’s a unique chance for students to immerse themselves in the latest trends, techniques, and innovations, from traditional storytelling to cutting-edge virtual reality, and to engage directly with the creators and companies shaping the future of animation.”
Highlights of Animation Dingle 2024 include:
Screenings: A diverse selection of animated films, shorts, and series from around the world, spanning various genres and animation styles.
Studio Fair: Includes Irish animation studios such as Boulder Media, Cartoon Saloon and Animation Ireland.
Workshops: Hands-on sessions led by industry experts, offering invaluable insights into the craft of animation, from character design to storytelling techniques.
Panel Discussions: Engaging conversations with leading figures in the animation industry, exploring emerging trends, technological advancements and the future of animation.
Networking Opportunities: Ample occasions for attendees to connect with fellow enthusiasts, industry professionals and potential collaborators, fostering meaningful connections and partnerships.
More information on Animation Dingle 2024, including the full program, is available at animationdingle.com.
Nearly two years since making a star-studded voice cast announcement for the project, MTV Entertainment has confirmed that it will not go ahead with Jodie, opening it up to other outlets. Originally picked up by Comedy Central in 2020 as a spin-off series from the ’90s animated favorite Daria (itself a spin-off of Mike Judge’s Beavis and Butt-head), the concept was being reworked as a movie.
Jodie was created by Grace Edwards, billed as head writer and showrunner in the series announcement, and was to voice star Tracee Ellis Ross as the titular character as she leaves behind Lawndale and the pressures of being “the perfect African-American teen.” The story was to center on Jodie’s experience moving to a gentrifying city to work for a mysterious tech giant.
An MTVE Studios spokesperson told Deadline, “Jodie will not be moving forward at MTVE Studios. We have loved working with Tracee, Grace and the whole team on creating a film that is full of joy and genre-bending fun with an inclusive, diverse, and incredible cast. We are fully supportive of them finding a home elsewhere and look forward to partnering with them in the future.”
Edwards was also executive producing the project alongside Ross and Ashley Kohler of Awesome Inc. The voice cast announced in 2022 included Pamela Adlon, Cole Escola, William Jackson Harper, Zosia Mamet, Kal Penn, Dulcé Sloan and more.
The U.K. Government’s Spring Budget announcement made today (March 6) introduces a 53% expenditure credit — equating to a tax relief of approximately 40% — for U.K. film productions, including animation, with a budget up to £15 million. Animation UK shared its welcome reaction to the news, having built the case for the nation’s original animation tax credit and campaigned vigorously for increased tax incentives.
The professional alliance argued the case, supported by compelling evidence from its members, for the animation uplift to include animated theatrical release films, alongside TV. The wider campaign led by the BFI to support independent film, including animation, is fundamentally essential to the vitality of the industry, say organizers.
“Animation UK enthusiastically embraces today’s Budget announcements, particularly the introduction of VFX tax relief and the substantial increase in the tax rate for indie films,” said Kate O’Connor, Executive Chair of Animation UK. “With the new rate set at 54%, our sector anticipates a significant impact, propelling animation production in the U.K. even further. Additionally, the VFX proposals will directly benefit our animation studios, enhancing their ability to provide top-tier VFX services. This momentous occasion marks a significant milestone in the evolution of our digital production sector, paving the way for unprecedented growth and innovation.”
This uplift in the expenditure credit is for U.K. films with a budget up to £15 million range (with either a U.K. writer or U.K. director, or certified as an official U.K. co-production) and it marks a transformative moment for the sector, as producers and filmmakers have increasingly struggled to finance films at this level and get them into production in the U.K. Films that meet the criteria will be able to claim an increased Audio-Visual Expenditure Credit (AVEC) at 53% (up from 34%) from April 1, 2024.
“This is a welcome announcement, at a time when it is really challenging to raise finance for independent film production in the U.K.,” said Sean Clarke, Managing Director of Aardman (Chicken Run: Dawn of the Nugget). “This will be significant in helping Aardman to continue to do what do best in producing British animated films for a global audience.”
The AVEC replaces the Film Tax Relief rate, which has provided 25% of qualifying U.K. expenditure on up to 80% of a film’s total production budget. The AVEC at 53% equates to a relief rate of approximately 40% under the Film Tax Relief.
“As U.K. producers of independent animated films which are often based on well-loved British literature, this is very welcome news indeed for Lupus Films,” noted Ruth Fielding, Joint MD of Lupus Films (Kensuke’s Kingdom) It will mean we can keep more IP in Britain, stimulate growth in the sector and create more jobs.”
Sean Feeney, Head of Production at GFM Animation, added, “Increasing the U.K. incentive to approximately 40% net of spend is a vital step in creating a level playing field with Europe and Canada. This is a game changer for our sector. For independent high quality animated films, this will be a great support and should encourage more animated films to be made in the U.K.”
‘Poor Things’ recently won the EE BAFTA Film Award for best special effects. The work was done by London-based Union VFX under VFX supe Simon Hughes and VFX producer Tallulah Baker
The Budget updates announced today will also give a significant boost the U.K.’s visual effects industry, and are a result of the proposal presented to HM Treasury by the UK Screen Alliance, The Chancellor of the Exchequer, Jeremy Hunt, announced improvements to the film and high-end TV incentives specifically for VFX, hinted at in his Autumn Statement in November.
The government has proposed that for productions spending more than 5% of their budget on VFX in the U.K., it will lift the 80% cap on total eligible expenditure for the VFX spend only, and that the rate of AVEC for the VFX spend will be lifted to 39%, which represents a rate of 29.25% after tax, an effective increase of 3.75%. For productions shooting in the U.K., the removal of the cap means that they will be now also be incentivized to stay in-country for their VFX — effectively an almost 30% increase in the rate of incentive for VFX in this scenario, the Alliance points out.
“This is a major breakthrough. Before, productions would either film in the U.K. or do their VFX here, but rarely both, because of the cap on tax relief,” said Neil Hatton, CEO of UK Screen Alliance. “That will no longer be the case and the significant growth potential in the U.K.’s VFX sector will now be unlocked.”
Currently, the U.K. offers an expenditure credit for film and high-end TV production of 25.5% (effective after tax) for eligible U.K. expenditure. However, once a production has spent 80% of its global budget in the U.K., no further incentive is available. This has led to productions claiming the U.K.’s credit for filming, but as VFX represents the most portable part of the expenditure, very often it will be placed outside the U.K. so the production can access the tax incentives on the remaining 20% of their budget from another territory.
“This is great news for the U.K. VFX industry,” commented Tim Caplan, Co-Founder & Executive VFX Producer for Union VFX, which recently won the special effects BAFTA for its work on Poor Things. “Much of the VFX work that is currently being taken overseas will now remain in the U.K., allowing for sustained growth and ongoing development of the amazing, award winning talent we have here in the U.K. The U.K. can now compete globally on a much more level playing field.”
UK Screen Alliance, in their response to the Treasury’s Call for Evidence, revealed that for films and TV series claiming the U.K. incentive for filming in the U.K., £350 million of VFX on those productions was performed outside the U.K. each year.
The changes announced today, according to UK Screen Alliance estimates, are likely to stimulate an additional £175 million of VFX work to be performed in the U.K.; a 32% increase on the annual pre-pandemic VFX spend on film and high-end TV. This will generate 2,000 new high-tech and high productivity jobs in VFX and a further 800 indirect jobs. UK Screen Alliance has calculated that the VFX enhancement will be self-funding, as tax receipts from the increased economic activity will cover the cost of the Exchequer providing the incentive.
Stakeholders will now have 10 weeks to respond to a consultation on the government’s proposals, which are expected to take effect on April 1, 2025.
Read the HMT-HMRC policy note on the U.K. Independent Film Tax Credit here.
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