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Martian Blueberry, the award-winning animation studio co-founded by Carl Jones and Love Jones, has officially joined L.A.-based Partizan’s roster of animation directors.
Carl Jones is best known for co-executive producing the Peabody Award-winning The Boondocks, lauded as one of the most influential animated series in television history. His body of work, also includes Black Dynamite (Adult Swim) and Young Love (Max), based on the Oscar-winning short Hair Love. Joining forces with Love Jones — who has honed her creative instincts through her work in entertainment, music and startups — the duo launched Martian Blueberry with the aim of prioritizing voice and vision in creating complex character and telling underrepresented stories, while building a production model designed for flexibility and creative control.
“Love had a background in entertainment and music, and her experience with startups made her the perfect partner to launch an animation studio with,” Carl Jones explains. “We formed our partnership at the start of COVID — partially due to the increased demand for animation, but also because Love inspired me to turn a longtime dream into reality.”
Megan Thee Stallion “Neva Play”
Since inception, Martian Blueberry has garnered industry acclaim, winning two Clio Awards for co-directing Megan Thee Stallion’s “Neva Play” music video alongside Warren Fu. Their MLB animated series Undeniable, spotlighting the true stories of Negro League heroes, earned three Clio Awards and a Webby for Best Animation. The studio’s work spans multiple platforms, from branded content for MTV, HBO, Amazon and Meta to the gamified spatial mini-series Unlimited for Walmart.
Among the studio’s most ambitious undertakings is Bubblegoose Ballers, an original Web3-born IP that has evolved into a multi-platform universe. Known for its irreverent humor and cultural bite, the property has sparked everything from digital collectibles and a hit mixtape to sold-out retail collaborations with Pacsun and licensing deals spanning fashion, comics and entertainment. From its sellout launch to over 30 million GIPHY views and a devoted global fanbase, Bubblegoose Ballers reflects Martian Blueberry’s talent for creating characters and worlds that thrive across culture, content and commerce.
Undeniable
Lazor Wulf promo
The Boondocks title sequence
“[Martian Blueberry] build worlds that are completely unreal but still totally relatable. We’re huge fans of The Boondocks, but even with their commercial projects, they approach every project holistically and story-first, with an eye toward cultural impact,” says Angela Foster, Partizan’s Executive Producer of Animation. “Also, Carl’s a brilliant writer and director with razor-sharp instincts, so their comedy work hits that rare sweet spot — smart, fearless, and genuinely funny. I couldn’t be more honored to have them on the roster.”
Love Jones adds, “We love the creative culture that Partizan has fostered. It’s a collaborative team of cool people who truly share a passion for storytelling and film and are extremely supportive. Not to mention, they have great taste in tastemakers and an outstanding roster of talent. We’re honored to join their family, and they’ve welcomed us with open arms.”
Michael Hirsh, renowned Canadian producer of children’s programming and author of the recently published memoir Animation Nation: How We Built a Cartoon Empire, will reflect on his four decades in the animation industry at this year’s MIFA — the industry and education-dedicated market program of the Annecy International Animation Film Festival.
Celebrating its 40th anniversary, MIFA will welcome Hirsh as a Keynote Speaker, looking back on his years in the animation industry while tracing a parallel path with the Market’s journey since its founding in 1985. Hirsh’s Keynote takes place on June 10, 11:00 a.m. – 12:00 p.m., at the Impérial Palace – Étage 1 – Salle de l’Europe. Hirsh will offer insights into 40 years of Canadian animation, exploring its evolution, current challenges and outlook.
“I have attended the Annecy Festival since its inception,” said Hirsh. “It is a great honor to be the Keynote Speaker at this momentous occasion. I look forward to sharing my insights and meeting with old and new colleagues.”
Joined by Christian Davin, President of Cartoon, the conversation will delve into the founding of Nelvana in 1971, its major impact on the growth of the Canadian — and more expansive, worldwide — animation sector, the creation of Studio Ellipse in partnership with Nelvana, the company’s transformation over the years, and the broader consolidation of the industry. Hirsh will also share with Davin his perspective on the future of streaming and the opportunities it presents for non-U.S. players.
Prior to the Keynote, Hirsh will be signing copies of his debut book, Animation Nation: How We Built a Cartoon Empireon Monday, June 9, 4:30 p.m. at Bonlieu, the Palais des Festivals.
The book details how a fortuitous meeting with George Lucas led to the genesis of a major children’s animation studio and countless hours of enjoyment for children worldwide. Co-founding Nelvana not only positioned Canada as a premier creator of children’s programming, but also made a significant international impact, establishing a new and successful model for producing children’s cartoons.
Animation Nation: How We Built A Cartoon Empire is not just a memoir; it is a celebration of the power of creativity and perseverance. Packed with humor and hard-won wisdom, Hirsh’s narrative is a testament to how passion and entrepreneurial zeal can build a global empire from humble beginnings.
Published by Sutherland House Books, Animation Nation is available from major retailers as a hardcover or ebook.
MIFA will be held June 10-13, during the 2025 Annecy Festival (June 8-14). Find more information at annecyfestival.com.
Audiences can catch an exclusive teaser sneak peek of Demon Slayer: Kimetsu no Yaiba Infinity Castle when Demon Slayer -Kimetsu no Yaiba- The Movie: Mugen Trainreturns to theaters in 4K on May 14, distributed by Crunchyroll and Sony Pictures Entertainment.
Demon Slayer: Kimetsu no Yaiba Infinity Castle, the latest film in the franchise, will come to theaters in the United States and Canada on September 12, distributed by Crunchyroll and Sony Pictures Entertainment. The first film of the three-part cinematic trilogy represents the final arc and culmination of the hugely popular award-winning anime shonen series.
Synopsis: Tanjiro Kamado — a boy who joined an organization dedicated to hunting down demons called the Demon Slayer Corps after his younger sister Nezuko was turned into a demon.
While growing stronger and deepening his friendships and bonds with fellow corps members, Tanjiro has battled many demons with his comrades — Zenitsu Agatsuma and Inosuke Hashibira. Along the way, his journey has led him to fight alongside the Demon Slayer Corps’ highest-ranking swordsmen, the Hashira, including Flame Hashira Kyojuro Rengoku aboard the Mugen Train, Sound Hashira Tengen Uzui within the Entertainment District, as well as Mist Hashira Muichiro Tokito and Love Hashira Mitsuri Kanroji at the Swordsmith Village.
As the Demon Slayer Corps members and Hashira engaged in a group strength training program, the Hashira Training, in preparation for the forthcoming battle against the demons, Muzan Kibutsuji appears at the Ubuyashiki Mansion. With the head of the Demon Corps in danger, Tanjiro and the Hashira rush to the headquarters but are plunged into a deep descent to a mysterious space by the hands of Muzan Kibutsuji.
The destination of where Tanjiro and Demon Slayer Corps have fallen is the demons’ stronghold — the Infinity Castle. And so, the battleground is set as the final battle between the Demon Slayer Corps and the demons ignites.
Based on the manga by Koyoharu Gotoge, Infinity Castle is directed by Haruo Sotozaki, who helmed the anime series as well as the smash-hit movie Mugen Train, from a screenplay by producers ufotable.
For its part, Mugen Train is set after the events of the first season of the television series, and sees Tanjiro, Nezuko, Zenitsu and Inosuke embark on a new mission. Together with one of the most powerful swordsmen of the Demon Slayer Corps, Flame Hashira Kyojuro Rengoku, they investigate the mysterious disappearance of over 40 people aboard the Mugen Train.
Synopsis: In a world riddled with demons, a young man, Tanjiro Kamado, and his comrades investigate the disappearance of passengers aboard a mysterious train as members of the Demon Slayer Corps, an organization dedicated to protecting humanity. With the help of a powerful ally, these Demon Slayers must confront evil in a heroic battle to bring an end to the nightmare!
Mugen Train holds the record as the highest-grossing Japanese anime movie of all time and the highest-grossing Japanese film at the global box office, garnering over 500 million USD to date. The film had the highest opening weekend in domestic box office history for any foreign language film, and went on to become the second-highest grossing Japanese anime film in North America. It also garnered a 98% critic score and 99% audience score (with 10,000+ verified ratings) on Rotten Tomatoes.
Gaumont, the world’s ‘first film company,’ has revealed the star-studded voice cast for Paul McCartney’s High in the Clouds, a 3D CG-animated film inspired by the children’s adventure book by McCartney, Geoff Dunbar and Philip Ardagh. The roster of top-tier acting and musical talent includes:
Himesh Patel (Yesterday) as the main character, Wirral
Céline Dion (Academy Award winner for Best Song) as Sugartail
Hannah Waddingham (Ted Lasso) as Gretsch
Paul McCartney as McKenzie
Idris Elba (Luther) as Barrel
Lionel Richie as Gladstone
Ringo Starr as Roy
Jimmy Fallon (The Tonight Show) as Froggo
Clémence Poésy (Harry Potter) as Doris
Pom Klementieff (Mission: Impossible – The Final Reckoning) as Mina
Alain Chabat (Night at the Museum) as Bigsby
Directed by celebrated independent animation filmmaker Toby Genkel (The Amazing Maurice), written by Academy Award winner Jon Crocker (Paddington 2) and featuring production design by Patrick Hanenberger (Rise of the Guardians, The LEGO Movie 2), High in the Clouds is a story about the power of family and freedom of expression through music.
The film will feature original songs written and composed by Academy Award winner Paul McCartney; Academy Award winner Michael Giacchino (Ratatouille, Up, Inside Out, Coco) will score the feature. The original soundtrack is set to be released by Universal Music Group.
Synopsis: After he accidentally sparked a revolution against Gretsch, the bossy diva-owl who has banned all music from his town, a teenage squirrel named Wirral embarks on an extraordinary journey to set music free.
The film is produced by McCartney (MPL Communications), Robert Shaye and Michael Lynne (Unique Features) and by Sidonie Dumas, Nicolas Atlan, and Terry Kalagian for Gaumont, in association with MPL Communications, Michele Anthony and David Blackman for Polygram Entertainment, Lemoko Investments, Sky and James L Nederlander Productions.
Award-winning Gaumont Animation is producing the feature and partnering with 88 Pictures (The Bad Guys: A Very Bad Holiday, Spirit Untamed), which is in charge of key animation elements of the film. Gaumont co-produced and distributed Ballerina (a.k.a. Leap!), which was a major hit in France and overseas in 2017.
High in the Clouds has already been sold in major territories , including the U.K. (Sky UK Ltd.), German-speaking territories (Constantin Film), Eastern Europe (Vertical/Monolith/AQS), Latin America (Imagem), CIS (Mint Films), Middle East (Four Star), South-East Asia/Taiwan/HK (A Really Good Film), Greece (Tanweer), Portugal (Cinemundo), Israel (Lev) and Baltics (Acme).
Fans of the critically acclaimed, triple-Emmy-nominated series BoJack Horseman can delve back into the hilarious, poignant and surreal imagination of creator Raphael Bob-Waksberg in the new series Long Story Short, coming to Netflix on August 22, a year after the project was announced.
The streamer today revealed the voice cast for the animated adult comedy, which is animated by BoJack studio ShadowMachine.
Logline:Long Story Short is an animated comedy about one family, over time. Jumping through the years, we follow the Schwooper siblings from childhood to adulthood and back again, chronicling their triumphs, disappointments, joys and compromises.
The newly announced voice cast includes Lisa Edelstein (House), Paul Reiser (Stranger Things), Ben Feldman (Superstore), Abbi Jacobson (Broad City), Max Greenfield (New Girl), Angelique Cabral (Life in Pieces) and Nicole Byer (Nailed It!), as well as recurring guests Dave Franco (Neighbors) and Michaela Dietz (Steven Universe).
Bob-Waksberge serves as showrunner, writer and executive producer. Executive producers are Noel Bright and Steven A. Cohen for Tornante Television; Corey Campodonico and Alex Bulkley are co-executive producers for ShadowMachine. Lisa Hanawalt, co-EP and production designer for BoJack Horseman and creator of Tuca & Bertie, is the supervising producer for Long Story Short.
***This article was written for the May/June ’25 issue of Animation Magazine (No. 350)***
When Rogue One: A Star Wars Story was released in 2016, it proved so popular that a prequel series called Andor was created by Tony Gilroy and premiered on Disney+ in 2022. Whereas Season 1 focused on what led Cassian Andor (portrayed by Diego Luna) to join the rebellion against the Galactic Empire, the second season covers a period of four years in which Andor was a key resistance fighter. The last episode takes viewers to the beginning of Rogue One.
“You can basically imagine that with every three episodes you’re moving one year closer to Rogue One, so by the time you’re in the final ones, you do make those connections directly,” says Mohen Leo, the show’s vfx supervisor. “The reason why we didn’t leverage all that much from Season 1 is that it’s almost all new locations, ships and planets. We were lucky that almost all the people from the first season continued straight on to Season 2, which meant that there was this instant shorthand and trust with Tony Gilroy [and each other] that allowed us to be more ambitious.”
Return of a Popular Droid
Something fans of Rogue One will be enjoy seeing is how Cassian Andor goes about reprogramming an Imperial security droid that will later become his trusted sidekick. “I worked on Rogue One as well,” says Leo. “One of the great things to see was, even with the big gap in real-world time, the moment you saw Alan Tudyk and Diego Luna together, that chemistry we had in Rogue One between Cassian Andor and K-2SO was immediately there again. Then our job was making sure that every nuance of Alan’s performance came through.”
Also returning from Season 1 is a ground-mech salvage assistant unit. “B2EMO is also back,” says Leo. “In Season 1, he was entirely [made using] practical creature effects, and it’s the same thing in Season 2. We did not have to do anything. The creature department did such a wonderful job of that performance.”
Viewers also get to see a mix of this world’s new and familiar creatures. “As usual, there is a good spread of various interesting alien species, and if you watch closely, you’ll see that some are direct callbacks to Rogue One,” he says.
Building Distant Worlds: The second season of ‘Andor’ focuses on the growing pains of the Rebel Alliance and will feature stunning visuals set in the world of Coruscant and the customary mix of cool droids, battleships and fantastic creatures.Coruscant, which serves as the capital of the Republic once again, is filled with political intrigue as Mon Mothma secretly seeks funds to finance the rebellion. “One of my favorite parts of working with the show for both seasons was Coruscant, because it allowed you to continue to flesh out that world,” says Leo. “The prequels did a nice job of showing Coruscant of the rich and powerful, Jedi Temples and opera houses. Some of the animated shows and TV shows go into the criminal underbelly. But what Andor allowed us to do is show you the Coruscant of ordinary people, where you can believe that people could ride public transport and go to work and shopping. What worked well is the use of real city locations, both in London and, this time around, we were also shooting in Spain for some beautiful exterior city locations stuff; that was the basis for showing many different facets of Coruscant. I enjoyed that. We managed to make that planet city feel like a bigger place because you see more different aspects of it.”
“What Andor allowed us to do is show you the Coruscant of ordinary people where you can believe that people could ride public transport and go to work and shopping … We managed to make that planet city feel like a bigger place.”
— VFX supervisor Mohen Leo
The grain planet of Mina-Rau is among the new backdrops for one of the big action sequences. “That was a crazy thing for me,” says Leo with a laugh. “I had never done anything like that before. The production specifically had a farm in Oxford plant a giant field of rye six months in advance so that it would grow to the right height. It was several football fields’ worth of grain. Within that we could shoot so much practically and have visual effects extend outwards and put in some bigger structures in. But again, having that basis of being in a massive field of grain and everything around the actors is real makes a huge difference.”
He adds, “Special effects, for example, did do some of the cool dirt explosions, but because it was all rye, they couldn’t do any fire because that would light the hold thing on fire! That was one of the things where from the start we were going, ‘Do what you can with smoke and dirt. We’re going to add the fire to that.’”
Set photoEchoing a James Bond cold opening scene of a mission in progress, Andor attempts to steal a prototype TIE fighter, which sets Season 2 in motion. “There is a new ship in Episode 201 that is established as a ‘skunk works’ test pilot prototype,” explains Leo. “That was a fun cooperation with [production designer] Luke Hull and the art department because it hadn’t been seen before. We were able to jam a bunch of different ideas of various weapons and sensor systems in there.”
The art department built a full-size version of the fighter that was on set. “That was fantastic,” says Leo. “I got to sit in it! Whenever you see it static or not moving, it’s the real thing. That was great because people could get in and out, and Cassian had the controls. We shot all of that in camera. But once the TIE fighter takes off, it’s a mix in the wider shots of still shooting in the hangar but with a CG ship flying around and shooting.”
To create over 4,000 visual effects for the season’s 12 episodes, most vendors from Season 1 were brought back. “In order to reduce the co-dependencies between vendors, we try to find chunks of work that often relate to a particular environment,” explains Leo. “In the first three episodes, there is this grain planet. Also in the first three episodes, you see Mon Mothma’s home planet of Chandrila, which has landscapes based on Montserrat in Spain. We went to shoot there as well. We have some beautiful landscape photography. Those were Scanline VFX’s main body of work. There are always little things like when you have a ship that shows up on one planet shows up on the other planet then people share that. Hybride focused more on a planet that plays in later episodes. ILM was all over a lot of the things, but the big focus was on the Coruscant.”
Constructing the Star
Other contributions came from Soho VFX, Midas VFX and Blind. “For the UI graphics we’re working with Blind, which did Rogue One as well. Often, the UI [visuals] are beautiful window dressing, but in some cases, they’re specific storytelling devices.”
Pivotal to the storytelling is the construction of the Death Star. “In Rogue One, you literally see the moment when the laser dish was placed into the Death Star,” recalls Leo. “Here, we are a little bit earlier than that, so it has to be almost there but not quite, so you can work backwards from that. We had the Death Star extensively in Rogue One, and that was the main basis of the work.”
The bigger ambitions of Season 2 had to be realized within the same production schedule as Season 1. “Having known Tony now for so many years, the aesthetics of it was clear, and often he would give us a lot of freedom and go, ‘Come up with something, show it to us, and I’ll comment on it.’” says Leo. “Initially, going into Season 2 we were more nervous about the scope because it is much bigger than Season 1, but the shooting and prep schedules weren’t any longer. We were like, ‘We have to do that much more in the same time.’ But again, having just that trust and familiarity with the key people made that possible and allowed us to work out how to do most of the things that Tony wanted to achieve.”
The second season of Andor premiered on Disney+ in April. New episodes drop Tuesday nights at 9 p.m. ET/6 p.m. PT.
Storyboard and Layout artist, character designer and musician Jim Smith (born James Carl Jobb) died on Friday, May 2, of a heart attack at age 70. The animation veteran was perhaps best known for co-founding indie studio Spümcø with working partner John Kricfalusi, Bob Camp and Lynne Naylor and co-developing the influential Nickelodeon series The Ren & Stimpy Show in 1991. Smith also co-created Spumco’s follow-up show The Ripping Friends with Kricfalusi (2001-2002).
The Lubbock, Texas-born Smith began his career as a layout and storyboard artist in the early 1980s, working on shows such as The Real Ghostbusters, The Get-Along Gang, Mighty Mouse: The New Adventures and Beany and Cecil. He was also an animator on the famous 1986 Rolling Stone music video Harlem Shuffle, directed by Ralph Bakshi and Kricfalusi and layout artist on Bjork’s 1995 music video, I Miss You, also directed by Kricfalusi.
He worked as a storyboard artist on Bakshi’s feature Cool World (1990), Warner Bros.’ Tiny Toon Adventures (1991) and Batman: The Animated Series (1992). He was also a character designer and storyboard artist on Nickelodeon’s The Ren & Stimpy Show in the 1990s. In the 2000s, his storyboard credits include Oh Yeah! Cartoons,Ice Age,The Oblongs, Poochini, Ren and Stimpy Rocks, Ren and Stimpy Adult Party Cartoon, SamuraiJack, The X’s, Tom and Jerry Tales, The Mighty B!, The Haunted World of El Superbeasto, and Scooby-Doo: Legend of the Phantasaur.
Jim Smith’s storyboard art for “Weekend Pussy Hunt,” one of the first Flash-animated series on the Web.
Smith continued to work as a storyboard artist for Warner Bros. Animation’s The Looney Tunes Show and background artist on Cartoon Network’s acclaimed Over the Garden Wall miniseries.
Smith was also an accomplished musician: He played the guitar on the Ren & Stimpy theme song, alongside Scott Huml and Chris Reccardi.
In a 2007 interview, Smith said, “At first, my inspiration was Jack Kirby, a Marvel Comics artist. But as far as animation, it was always Chuck Jones and Tex Avery. I didn’t really start gettin’ into Clampett ’til I met John… when I came to California. There was never any good prints of Clampett cartoons on TV in Texas. They always just played Chuck Jones and Friz Freling cartoons. But when I met John he showed me all these really cool cartoons. He’d freeze frame them. They were great. I got heavily into Clampett after that. I was always into Disney before….Another real real big influence on me was Frank Frazetta. He was an oil painter who painted a lot of paperback covers in the sixties. He was kind of famous for painting Conan. I think he’s the greatest painter that ever lived. I discovered him at a time when I didn’t really want to be an artist… when I was heavily into my music. But I kept on getting those paperbacks of his and gradually came back around. And I decided to draw for a living!”
His friends and colleagues shared heartfelt remembrances of Smith on social media. Writer Richard Purcel (@dickp2000) who worked with Smith on several projects wrote: “Oh man, we’ve lost another one of my artistic heroes, Jim Smith. I met Jim working my first animation gig on Tiny Toon Adventures where he had already commanded respect as one of the best in the business. He studied classic film composition, taught life drawing. He was a mentor, patient, and humble. His skills were undeniable. Rest in Peace, Jim. You made the world a much better place.”
Spumco co-founder and Ren and Stimpy co-creator Bob Camp wrote: “Happy Trails to Jim Smith, cartoonist and musician who has gone on to the big cartoon studio in the sky. He was one of the four original Spumco big-shots who co-created The Ren and Stimpy Show and the best draftsman of all of us.”
Ren and Stimpy art
Storyboards for Samurai Jack.Storyboards for Ripping Friends
Chris and Shane Houghton’s charming and big-hearted series Big City Greens will be celebrating its 100th episode next week. The show, which debuted on June 18, 2018, centers on the Green Family (siblings Cricket and Tilly, their dad Bill and their Gramma Alice), who had to leave their farm in the country and adjust to life in the big city.
We had the chance to catch up with the always friendly brothers to find out about the plans for the big 100th episode, and check out some first-look images from the Greens’ milestone adventure:
Big City Celebrations! Shane (left) and Chris Houghton joined with the cast and creative team of ‘Big City Greens’ to celebrate the 100th episode ahead of its May 3 premiere. [ph. c/o Disney / Frank Micelotta]
Animation Magazine: It seems just like yesterday when we chatted about the premiere of your show! How do you guys feel now that the show is about to debut its 100th episode?
Chris Houghton: It’s incredible. Reflecting on 100 episodes, I’m overcome with a tremendous amount of gratitude. I’m thankful to our hardworking crew, many of whom have been with us since the beginning. I’m thankful for our hilarious cast, our amazing overseas partner studios, and the tremendous amount of support Disney has shown the series over the years. But there’s no one we owe thanks to more than the fans of Big City Greens. We never could have made it to 100 episodes without them.
Shane Houghton: As of April 25th, Chris and I have been in series production of Big City Greens for a full nine years! Wild! Making it to 100 episodes is a huge milestone. We are thrilled, honored, and grateful that our audience has supported the show for so many years and continues to grow. When we were first developing Big City Greens back in 2014, the execs would always ask if we thought this series could run for 100 episodes, so in a way, this is a milestone we’ve been shooting towards for over a decade.
What is the biggest lesson you have learned along the way?
Chris: When making a decision, it’s helpful to gather input from others but ultimately, trust your gut.
Shane: Hold on, let me consult Chris … Yeah, trusting your gut is good advice.
What are the big plans for the 100th Episode celebration?
Shane: Disney TVA has planned a celebration in the studio where we the crew will celebrate with the rest of the productions and have the 100th episode playing on a loop in the theaters. Recently at Disney’s Bring Your Kids to Work Day, there was a packed advance screening of the 100th episode for the kids who were on the Disney lot that day. Our personal plans? Take another dose of that special serum that allows us to go another 100 episodes.
We put as much of the celebration as we could into the episode. The episode itself is a celebration of all the things we think Big City Greens does well. Hopefully we touch on all the things fans like about the show. It’s got a huge cast, lots of jokes, and some really touching moments. We were able to add an additional three minutes to the total runtime for an extra packed episode of fun. Mark Hamill guest stars as a very fun and goofy new character, and I got to voice my dream character: a giant chicken.
Chris: Yup, we’ll all gather and toast to the 100th episode! … Then get to work on the next episode.
What can you tell us about future episodes of the show?
Shane: After “One Hundred,” we roll right into another half-hour special, all about the return of BCG baddie, Chip Whistler! After that, we’ve got a Downton Abbey-esque episode with Tilly’s stuffed potato sack, Saxon; Wayne goes to the Big City; Gramma fights some porch pirates; The Greens get swole at the gym! The season finale is a very special pairing of two episodes… In “Rehashed History” we revive the only shelved episode from season one, previously titled “Hands-On History.” There has been some online fan buzz around the episode since it’s the only “lost” episode. We thought it was time to dust it off and present it as the historical artifact it is. The second episode of the finale is a fun and emotional story where Cricket learns something about his genesis.
Chris: Fans of Chip Whistler are in for a treat with the episode, “Chip’s Revenge”! The very last episode of season 4 is a big swing and I love how it turned out. Shane wrote the script and I was blown away when I first read it. It inspired me to write a new end credit song for the season finale. Also, season 5 is shaping up to be one of our funniest seasons ever.
Who is the most famous fan of the show (that you know of?)
Shane: If they’re a famous fan of the show and we know of it, we’ve cast them! A lot of the times we cast folks and then find out they love the show when they come in to record. Many have kids and love that they can watch something together that they both enjoy. Jeffery Dean Morgan voices Wolf Fang, and it turns out he was a huge fan. Dan Stevens voices Saxon in an upcoming episode, and turns out he loves the show as well. Later in Season 4, we also have other creators of shows that we’re fans of appearing as guest stars including Zach Hadel and Michael Cusack (the creators of Smiling Friends) and J.G. Quintel (creator of Regular Show).
The only famous person who we’d love to cast is Bob Iger! Bob, come do a voice!
What is your take on the state of animation in 2025?
Chris: The industry is definitely in a tough spot. Between YouTube, video games and social media, the landscape is more competitive than ever. Plus, the business model shifted from cable to streaming which is a very different beast. It’s one of the main reasons we’re producing so much short-form content and new partnerships with Big City Greens.
I hear you managed to tackle the scary topic of AI in one of the episodes?
Shane: Like a lot of things in our lives, we tackle the issue of AI in an upcoming Season 4 episode, “Spinned Off.” In the episode, Gwendolyn Zapp (BCG‘s delusional billionaire and tech genius) uses her company, BigTech, to use AI to create custom TV shows based on Big City citizens. Gwendolyn sums it up best in the episode by saying, “Finally, we can end humanity’s long nightmare of creating art!”
Any great piece of advice for aspiring creators of animated shows?
Chris: There’s a lot of doom and gloom talk right now, but remember that chaotic times also bring opportunities. Hollywood will always be in the business of making stuff that captures the attention of as many people as possible. That’s it. If you can help do that, you’ll find success.
Shane: We’ve found that great, long-lasting TV shows are all about great characters and being funny. This isn’t a new concept, but one that has been around since the dawn of television. We’re just lucky enough to have created enduring characters that millions around the world find charming, relatable and funny.
Big City Greens episode “One Hundred” premieres May 3 on Disney Channel and May 7 on Disney+.
The animation industry’s innovative cancer research fund-raising
initiative, 10K Heroes, announced its second annual Animation Heroes 24-hour Livestream, set to take place this Mother’s Day weekend, May 10 & 11. This powerful event is designed to raise critical funds for the Leukemia Lymphoma Society’s groundbreaking
clinical trials, which aim to put an end to the use of chemotherapy in cancer treatments for kids by replacing them with a painless, pill-based solution.
The YouTube-A-Thon will present a one-of-a-kind podcast experience, broadcasting live for 24 hours straight. Fans of animation will have the extraordinary opportunity to connect with a revolving roster of industry giants — talented voice actors, brilliant writers, visionary producers and even top-tier executives sharing their unique stories and perspectives on how the industry got here, and where it’s going next. All the while engaging with the online audience via chat to support a great cause revolutionizing cancer treatment for children.
Following last year’s success, Salami Studios has donated the use of their studio space once again, providing a professional backdrop for a weekend full of hope, laughter and collective effort to change the world for millions of young cancer fighters.
“As a Hodgkin’s Lymphoma survivor, I am living proof of the profound impact of innovative cancer research,” said Joe Sichta, CEO of Public Pixels Media and Air Castle Entertainment, the corporate sponsors of the 10K Heroes project. “Our goal is to bring the animation community together in support of this life-altering scientific breakthrough — a future where children with cancer can receive genetically tailored treatments without the harrowing side effects of chemotherapy. By leveraging the joy and creativity inherent in our industry, we aim to inspire hope, support research, and make a lasting difference to millions of children worldwide.”
For more information on how to get involved, whether by donating or participating in the livestream event, visit 10Kheroes.com.
10K Heroes is a movement dedicated to supporting groundbreaking pediatric cancer research and treatments. Founded by industry vets Joe Sichta and Collette Sunderman, 10K Heroes strives to unite animation fans around the world in the quest to end the use of chemotherapy on children forever. By focusing on tailored genetic treatments that promise a cure without the devastating side effects, 10K Heroes champions a world where every child has the opportunity to live a full and healthy life, so they can go back to the carefree enjoyment of one of life’s greatest gifts, WATCHING CARTOONS!
Oni Press, the multiple Eisner and Harvey Award-winning publisher of comics and graphic novels since 1997, has unveiled a new look inside The Summoning Volume One: The Art of the Craft, the spooky debut graphic novel from cartoonist Elyse Castro (Go! Cartoons) — materializing in bookshops on October 7!
Expanding on the world first introduced in Castro’s YouTube short, produced by FredFilms (Adventure Time), that has since accrued more than 6 million views worldwide, the full-length first volume of Castro’s graphic novel trilogy weaves a cozy, coming-of-age-tale that follows Claire, a young witch, and her kitty familiar, Edgar, as they seek to hone her magikal abilities.
In The Art of the Craft, Claire specializes in the magik of manifestation, creating art pieces that are capable of coming to life! But she wants to do more — and to be more — so when she learns that a prestigious magikal institution called the Ridgewood Coven is accepting applicants for the first time in years, she’s determined to improve her skills and make her mark.
But first, Claire has to pass the Coven’s rigorous application process. With the help of her best friend Edgar; her curmudgeonly rabbit neighbor Flufftops; her magikal rival Swan; and a host of new friends, Claire is going summon ghosts, battle trolls, and even befriend Death — but will it be enough to impress the Coven and secure a spot within their ranks? Or will Claire’s self-doubt keep her from manifesting magikal art ever again?
Through it all, the sinister secrets of the closed-off Ridgewood Coven slowly come to light. Not everything is as it seems, and difficult decisions lie ahead: Will Claire be up to the task?
Check out the previously released sneak peek here and read on to glimpse more of Castro’s magikal world of Ridgewood.
Oscar-nominated family entertainment company Magic Light Pictures is toasting its live-action/animation hybrid adaptation of The Velveteen Rabbit, which has just won a BAFTA in the brand-new Children’s Craft Team category. The 2025 BAFTA Television Craft Awards were announced April 27 at a ceremony in London, and recognize exceptional creativity, skill and craft behind-the-scenes in television programming.
The Velveteen Rabbit adds this inaugural honor from the BAFTAs to previously awarded prizes from the Children’s & Family Emmy Awards (Best Fiction Special and Best Young Performer for Phoenix Laroche).
The Children’s Craft Team award was accepted by screenplay writer Tom Bidwell, who was one of the named winners alongside Jennifer Perrot, Rick Thiele, Sarah Brewerton, Anna Rackard and James Mather.
“This is an absolute honor and I’d like to thank BAFTA, everyone at Apple TV+, producers Bianca Rodway and Martin Pope and the team at Magic Light Pictures, who only produce quality TV,” said Bidwell. “I’d also like to thank every single person on the animation side and every single person on the live action side who proved with their talent and their kindness that collaboration really is the beating heart of television.”
Launched on Apple TV+ in November 2023, The Velveteen Rabbit is based on the treasured, classic children’s book by Margery Williams, which celebrates the magic of unconditional love when seven-year-old William (Laroche) receives a new favorite toy for Christmas, discovering a lifelong friend and unlocking a world of magic.
The 40-minute special features CG-animated characters voiced by Alex Lawther (the Velveteen Rabbit), Helena Bonham Carter (Wise Horse), Nicola Coughlan (Playroom Fairy), Bethany Antonia (White Rabbit), Lois Chimimba (Mechanical Car), Paterson Joseph (King), Clive Rowe (Lion) and Nathaniel Parker (Brown Rabbit).
The BAFTA Television Craft Awards also present an award for Special, Visual & Graphic Effects, which this year was awarded to Prime Video’s The Lord of the Rings: The Rings of Power, to the team of Jason Smith, Richard Bain, Ryan Conder and Chris Rodgers. Learn more about this year’s award winners at bafta.org.
Anime Tokyo Station, an exhibition site focused on Japanese anime content, will be hosting a special exhibition for Mobile Suit Gundam GQuuuuuuX -Beginning-, which debuted in theaters around the world ahead of its TV broadcast. The show will be on display from May 24 to August 11 at the Ikebukuro event space, which has welcomed 156,458 visitors (as of April 13), children and adults alike, from both Japan and overseas.
The latest installment in the Gundam series, directed by Kazuya Tsurumaki, has generated significant buzz for being the first-ever collaboration between studio khara, known for the Evangelion franchise, and Sunrise, the studio behind Gundam. The pre-broadcast theatrical version using re-edited episodes from GQuuuuuuX has already drawn 2.02 million viewers and earned 3.34 billion yen at the box office, showcasing high anticipation and popularity even before the anime’s official airing (from Jan. 17-March 30, 2025). The theatrical event was released in North America by GKIDS in February.
The special exhibition at Anime Tokyo Station will showcase key cuts from the anime that revisit memorable moments from the theatrical pre-release. Visitors can also enjoy character standees, including the protagonist, Amate Yuzuriha (MACHU) and mobile suits, photo spots that recreate scenes from the anime and valuable production materials such as original scripts. There will also be a special corner where visitors can take AR photos with motifs inspired by characters from the anime — creating a uniquely Anime Tokyo Station experience.
Adult Swim fans can catch a new animated wave in the debut episode of Buzzard’s Bay, a coming-of-age comedy series for the network’s Smalls shorts program from animator Torey Strahl (The Colbert Report, The Late Show with Stephen Colbert) and comedian/writer Elena Ridker (Broad City).
Logline: It’s summer 2003 on Cape Cod and four horny teens are living their beach town dreams: working at a pizza shop by day, swappin’ spit under the docks at night, and getting schooled on life by a talking seagull.
In the first episode, “High Tide, Low Rise,” the gang sneaks out to catch the first sunrise of summer … unfortunately for Buzz, Rainnn is on the forecast.
Ridker wrote the episode and Strahl created the digital 2D animation. The co-creators, both from Massachusetts originally, also voice star alongside James Fasulo and Steven Castillo. Background art is by Dak Stiga.
Episode 2 of Buzzard’s Bay will debut on the Adult Swim Smalls YouTube channel on Friday, May 9.
The Mammoth Lakes Film Festival (MLFF) has announced the program for this year’s 11th edition, taking place in-person from May 21-25 at venues across Mammoth Lakes, California.
“We are excited to present a slate of bold and innovative films for this year’s festival,” said Festival Director Shira Dubrovner. “We thrive on giving filmmakers a platform to present highly personal work in a live theatrical setting, the way films should be experienced, bringing stories to light that open up our awareness — the first step toward positive change within ourselves as well as out in the world.”
Among the selected films will be the World Premiere presentation of the indie animated feature Take off the Blindfold, Adjust Your Eyes, Look in the Mirror, See the Face of Your Mother, from Chicago-based auteur Jonni Peppers (jonnipeppers.com), which builds on “The Blindfold” narrative series begun with the shorts anthology known as Wasteland, Secrets and Lies in the Town of Sinners and the 2022 feature Barber Westchester.
The filmmaker describes the project, formerly known as Saliatos Season 2, as “basically about the universe waking up to itself, reckoning with memory, prophetic visions and shedding old systems through force.”
MLFF will also present a diverse lineup of animated shorts from the U.S., Canada and Europe, some of which will be making their national or continental premieres in the scenic California town.
Animation highlights include:
Features:
Take off the Blindfold, Adjust Your Eyes, Look in the Mirror, See the Face of Your Mother (U.S.A.) – A cartoon in a genre of its own, this sequel to Barber Westchester and Secrets and Lies in a Town of Sinners starts with a Der Wienerschnitzel employee getting a hot dog extracted from their eyeball and progresses to the universe is waking up to itself, prophets receiving visions, and God-defying towers formed in hedonistic abundance toppling over. Directed and written by Jonnï Peppers. World Premiere
Shorts:
Anansi the Spider (U.S.A.) – Anansi the Spider must outsmart the jungle’s fiercest predators… Or end up as someone’s lunch! Directed by Jared Hall.
And a Little for Me (U.S.A.) – What begins as a typical, summer beach day: an afternoon of surf, sun and dinner, escalates into a theft and a riot. Why? Directed by Kathryn Roake.
Avant de Rentrer(France) – Lost along the road, someone enters the forest… Directed by Arthur Bonneau. N. American Premiere
Confetti (U.S.A.) – Separation, fever dreaming, and a deflated celebration. Directed by Amanda Bonaiuto.
Doh God (U.S.A.) – A kid named Lily struggles with depression and an existential crisis in a world made entirely out of PlayDoh. Directed by Nathan Siskel.
Gemini (U.S.A.) – Sarah and her two cats go about their separate lives. The cats have strange dreams about their desires, and Sarah develops an unshakable paranoia that something is wrong with them. Sarah’s paranoia bleeds into her social life, and her two cats have their dreams come true. Directed by Jamie Steele Griffiths.
In Dreams (U.S.A.) – Wrapped in bandages, a burn victim is tended to by a futuristic hospice service. Directed by Josh Shaffner.
Les Bêtes (U.S.A.) – A mysterious rabbit with a set of magic keys summons a host of strange creatures to entertain a wicked king and his decadent court in this dark stop-motion animated fantasy inspired by the works of Ladislas Starevich. Directed by Michael Granberry.
Mnemonic (U.S.A.) – House thinks thought, has realization. landscape in translation.. Directed by Raffaele Gans-Pfister.
Organza’s Revenge (Canada) – A broke artist travels across the galaxy to seek revenge on her ex-lover in an attempt to cure her mysterious illness. Directed by Walter Scott. U.S. Premiere
Pubert Jimbob (Belgium) – Pubert Jimbob, a young man, enters a strange reality after getting turned away from his home by an enigmatic figure, who throws him a lighter at his doorstep. A car crash leads to Jimbob meeting Nadine, a lump with a mouth. He brings her to a hospital, where he eats her surgically removed ‘bluehead’. A strange encounter in a toilet finally convinces Pubert Jimbob to return home from his bizarre journey. Directed by Quirjin Dees. U.S. Premiere
Tortured Artist (U.K.) – Some artists never get a break… until they do! An aspiring artist struggles with negative self-talk and unfair comparisons with his peers. Can his only fan save him from himself? Directed by Thomas Laurance. U.S. Premiere
Paris-based “soft-adult” animation shop Bobbypills (Creature Commandos, Vermin, The Wakos) is kicking off production on its first feature film, Jim Queen and the Quest for Chloroqueer. The comedy adventure, described as “a gay film with a straight plot,” is hoped by the producers to provide much-needed, queer-led heroic levity to these trying times.
Bobbypills will crowdsource support with a Kickstarter campaign launching in June, tied to Pride Month. The studio plans to launch a teaser trailer on May 12.
Synopsis: Can you explain the difference between a touchdown and a touchback? Have you ever willingly taken part in a conga line at a wedding? Do you own at least one sleeveless puffer vest? If so, you might be infected with Heterosis — a mysterious new virus turning people into… straights!
But don’t panic! Help is on the way: Jim Perfect, Paris’ biggest gay influencer, is on a quest to find a cure and save the LGBTQIA+ community from extinction in Jim Queen and the Quest for Chloroqueer.
The project is directed by Marco Nguyen & Nicolas Athané, and written by Simon Balteaux, Nguyen, Athané and Brice Chevillard. Produced by Bobbypills, Jim Queen is co-produced with Umedia (Under Paris, How to Make a Killing, The Count of Monte-Cristo), and distributed by The Jokers Films (Parasite, The Book of Solutions, The Handmaiden, The Neon Demon).
The film’s voice cast includes Alex Ramirès (Quotidien, Encore vous?), Jeremy Gillet (Ordinary People, Mytho), Shirley Souagnon (Spiral, Jamel Comedy Club), François Sagat (Man at Bath by Christophe Honoré, 2017 GayVN Award for Best Actor), rising star Harald Marlot, a.k.a. Jerrie FK (Three Nights a Week), and acclaimed voice actress Elisabeth Wiener (French dub voice of Meryl Streep, Glenn Close and Jamie Lee Curtis).
Following an ambitious development phase — supported by grants from CNC, Eurimages and several regional funds — production officially kicked off on April 18 under the benediction of the Paris convent of the gay rights activist group Sisters of Perpetual Indulgence, founded in San Francisco in 1979. Bobbypills’ studios in Paris and Angoulême, alongside partners Gao Shan and Waooh!, are working to deliver the film by Spring 2026.
As the studio states in its announcement: “In a time of rising social and political tensions, Bobbypills is proud to champion a bold, inclusive project — one that uses laughter to challenge prejudice and celebrates the diversity of modern society. With its first theatrical feature, the studio reaffirms its commitment to produce daring, high-quality works to empower the voices of tomorrow’s popular culture.”
Learn more about Jim Queen and how to support the project at jimqueen.fr.
The official trailer has arrived for Little Amelie or the Character of Rain (Amélie et la Métaphysique des Tubes), a new French animated feature from Maybe Movies and Ikki Films, which will make its world premiere as a Special Screening at the Cannes Film Festival this month. Rendered in illustrative 2D, the story explores the experiences of a young Belgian girl awakening to childhood in her new home: Japan.
Synopsis: Until the age of two and a half years old, Amélie describes herself as a digestive tube, inert and vegetative. Then comes the crucial event that makes her fall into childhood. For six months, she discovers language, parents, brother and sister, a heavenly garden, passions (Japan and water), aversions (to carp), seasons and time. Everything that, from the age of three, constitutes the human person forever. Because at that age, everything is played out, happiness as well as tragedy… This is the message that this mischievous baby sends us, observing the world with acuity.
Also slated to screen in the official competition of Annecy International Animation Film Festival this summer, Little Amelie marks the feature directorial debuts of Maïlys Vallade (The Lighthouse Keeper; layout/storyboard artist on I Lost My Body, Calamity) and Liane-Cho Han (animation director, Calamity, Long Way North). The film is produced by Henri Magalon & Claire La Combe for Maybe Movies, Edwina Liard and Nidia Santiago.
The voice cast features Emmylou Homs, Loïse Charpentier, Laetitia Coryn, Yumi Fujimori and Isaac Schoumsky.
Haut et Court is handling Little Amelie‘s French theatrical release. International sales are by Gebeka International (A Hildegarde x Goodfellas company).
The Cannes official program will also present a special screening of the animated biopic A Magnificent Life (directed by Sylvain Chomet).
Brazen Animation — a Dallas-based studio which has helped bring award-winning content to screen for clients such as DreamWorks, Warner Bros, Amazon MGM, Fox, Riot Games, Epic Games, EA and Blizzard — is officially expanding into the world of interactive entertainment with the launch of its new division, Brazen Games. The new label will focus on creating original IP, collaborating with industry partners and developing gaming experiences that embody the studio’s mission to create bold, innovative and story-first content.
“For years, we’ve been pushing the boundaries of animated storytelling,” said Bryan Engram, CEO and Chief Creative Officer of Brazen Animation. “We have worked with world-class gaming clients over the past decade at Brazen Animation. From there Brazen Games is our next natural chapter, a chance to forge new worlds where players don’t just watch the story unfold … they live it.”
Brazen Games builds on the studio’s decade-long experience collaborating with leading gaming clients, aligning creative exploration with full-scale game development. The leadership team will continue to guide the studio’s overall vision, while its multidisciplinary team of artists, designers and technologists, the same talent behind Brazen Animation’s animated projects, will extend their creative purview to Brazen Games.
Green Ember: Helmer in the Dragon Tomb
Brazen is currently self-developing an unannounced platformer, an original title that blends dynamic animation and gameplay with narrative depth. Additionally, with the establishment of Brazen Games, the studio is actively developing an end-to-end gaming experience designed to bring the bestselling book series, The Green Ember, into new realms of immersive storytelling and gameplay. This title is expected to launch in 2025.
Brazen’s expansion is supported by strategic leadership hires. Ben Sanders, with a background that spans Disney Imagineering, NASA and Amazon AWS, joins as Head of Technology, bringing expertise in cloud infrastructure, software development and AI-driven innovation. Brock Starkweather, formerly with Ubisoft, joined in 2024 as Head of Business Development, leveraging his experience in global partnerships to drive original IP and cross-platform collaborations.
“Our mission has always been to create work that connects deeply with audiences, whether through animation or gaming,” Engram continued. “At Brazen, storytelling has always been our foundation, but our talented tech team ensures we can now build rich, interactive experiences as well. We’re excited to show the full range of what we can deliver to the gaming world.”
Brazen Animation will continue its work across film, television, advertising and mixed media, while Brazen Games embarks on new adventures in the interactive entertainment space.
Sycamore Studios announced today that veteran producer Jeremy Latcham (The Avengers, Guardians of the Galaxy) will join the company’s upcoming animated feature, Zita the Spacegirl, as an executive producer through his Latcham Pictures banner. The project marks Latcham’s first foray into animation. Additionally, Latcham Pictures’ Andrew Pace (Dungeons & Dragons: Honor Among Thieves) will serve as a producer on the film.
Based on Ben Hatke’s #1 New York Times bestselling trilogy, Zita the Spacegirl follows an adventurous girl who is propelled into a cosmic adventure when her best friend is abducted by aliens. Zita’s unwavering determination to find her way back home and her courageous sacrifice for others transform her into an intergalactic hero. This children’s graphic novel series, published by Macmillan, has garnered over 20 awards and honors, including the American Library Association Notable Children’s Book, a CYBIL Award and several Books of the Year awards, including Kirkus and School Library Journal.
“At Sycamore, we believe in telling timeless stories that elevate the vision of our audience,” said CEO Christian McGuigan. “Jeremy brings blockbuster experience, in addition to a deep understanding of how story shapes the heart. We’re thrilled to have him help us bring Zita to life.”
The Zita the Spacegirl adaptation, announced in December 2024 by Sycamore Studios CEO Christian McGuigan and CCO Timothy Reckart, joins a growing lineup of IP-based animated feature film projects, including Doctor Dolittle by Bob Barlen and Cal Brunker (PAW Patrol: The Movie, PAS Patrol: The Mighty Movie).
Latcham is the producer of Dungeons & Dragons: Honor Among Thieves and Bad Times at the El Royale. He serves as a senior advisor to the Wonder Project, where he is developing and producing a slate of films with projects in the works at Amazon MGM Studios and Sony Pictures. Latcham has an overall deal with Hasbro Entertainment, where he is developing a D&D sequel and has projects set up at Skydance and Lionsgate. Previously, Latcham served as SVP of Production & Development at Marvel Studios, where he was an executive producer on Spider-Man: Homecoming, Avengers: Age of Ultron, Marvel’s The Avengers and Guardians of the Galaxy, associate producer on Iron Man and co-producer on Iron Man 2.
“Animation opens up a whole new storytelling toolkit, and I couldn’t be happier to launch that journey with Zita the Spacegirl,” said Latcham. “Sycamore Studios brings passion and a level of creativity that truly elevates the project, and their thoughtful approach to storytelling makes them a perfect partner to bring Zita from the page to the screen.”
Latcham is represented by Warren Dern and Kiley Wong at Sloane Offer. The deal was negotiated by McGuigan and Barndon Milostan of Greenberg Glusker.
As the animation industry lobbies to be included in proposed updates to California’s motion picture tax credits bills (Assembly Bill 1138 and Senate Bill 630), The Animation Guild (TAG), BRIC Foundation and Titmouse Foundation have partnered with CVL Economics to release Reclaiming California’s Role in Global Animation.
With support from the Entertainment Industry Foundation, Gnomon, Fourthwall Management, Group Effort Initiative, West Studio, the Gotham Group and WIA (Women in Animation), the report details the negative impact on California’s once-dominant animation and VFX industries as work has migrated offshore in part due to production incentives that are now offered in 30 U.S. states and nearly every major global hub.
A recent example of this shift is Disney’s Moana 2. If it had been produced in California like the original film, Moana 2 would have supported 817 jobs and generated more than $87 million in wages within the state.
“Studios aren’t just outsourcing animation work; they’re baking it into the development process. That’s a structural shift, and California’s failure to respond is costing us thousands of jobs,” says Adam J. Fowler, Economist and Founding Partner of CVL Economics.
Key Findings:
California is losing ground. Thirty U.S. states and nearly every major global hub now offer tax credits for animation. California does not — despite being the birthplace of the
industry.
Post-production collapse. Since Canada introduced its film tax credit in 1995, California’s post-production workforce has shrunk by nearly 60%.
High-value work is fleeing. Animation jobs in California have declined 4.7% since 2019, while British Columbia’s have surged +72% due to aggressive incentive policies.
Global market, local losses. Animation is a $400 billion industry powering streaming, gaming, VFX and virtual production. As global demand grows, California’s market share continues to fall.
Why This Matters:
Middle-class jobs at risk. Below-the-line animation workers earn $48.87/hour on average — well above the state average but are often the first to be outsourced when other regions offer better incentives.
Creating a thriving industry across California. Animation can be done remotely, offering economic opportunity across underrepresented regions of California, not just in Los Angeles.
Innovation ecosystem. Animation and VFX are critical training grounds for skills that power virtual production, AR/VR and gaming — industries of the future.
Loss of work due to global tax incentives has dramatically impacted animation creatives in California, forcing them into leaving the state or pursuing jobs outside their careers. “Most of my creatives have been out of work for over a year. Some of my most talented storyboard artists and directors have had to take unrelated jobs at places like Lowe’s just to make ends meet,” says Alison Mann, President of Fourth Wall Animation and Co-Founder of BRIC Foundation. “Meanwhile, my international clients, who benefit from more robust government funding and incentives, continue to successfully launch independent features.”
TAG President Jeanette Moreno King has visited lawmakers in Sacramento over the last few months to lobby for these important tax incentives that can reignite the animation industry in California. “Behind every animated show or movie are thousands of artists, writers, and technicians who make the magic happen — and they’re being left behind,” she says. “Our members are ready to work, but without competitive tax incentives, those jobs are going elsewhere. This report shows just how urgently California needs to act to protect its animation workforce and remain a global leader.”
The authors of the report recognize this is a critical moment for California and recommend several important policy recommendations, including:
Level the playing field: Make animation and VFX fully eligible for tax credits — as done in New York, Georgia, British Columbia, and across Europe.
Keep post-production local: Eliminate per-project caps on in-state VFX spending to protect and grow high-wage jobs.
Carve out space for animation: Create a dedicated allocation within California’s $750M film tax credit so animation isn’t crowded out by live-action productions.
The 20th edition of Animayo Gran Canaria is swiftly approaching, and the organizers have revealed a stellar roster of international talent set to present masterclasses and workshops during the busy event running May 7-10. Spain’s first and only Oscar-qualifying festival for two awards categories will also premiere a new Walt Disney Animation Studios art exhibition, building on the lineup previously announced by festival director/producer Damián Perea.
A total of 14 masterclasses and six workshops will be held at CICCA in Las Palmas de Gran Canaria (Spain), led by experts among more than 40 guest speakers.
Steamroller Animation’s ‘Spice Frontier’
Masterclasses
The masterclasses and panel content will cover 3D animation, storytelling and game development with computational arts, visual effects, videogames, character design, storytelling, visual development, voice acting (panel), cinematic storyboarding, creative vision and business structure, and animation production. These masterclasses, free for pass holders and available for general public purchase at CICCA’s box office for 15 euros, each have a 90 minutes duration and will be accompanied by Spanish translations, summarized after each exposition phase.
Among the artistic and inspirational focuses of these masterclasses and discussions are the hit Netflix series Arcane, Amazon Studios’ new game-inspired anthology Secret Level, the work of Steamroller Animation and the international premiere of its series Spice Frontier, the character design of Klaus and Robot Dreams, the work and career of iconic Disney artist Lorelay Bové, and much more.
Robot Dreams character design by Daniel Fernández Casas
Leading the sessions:
Sherry Gunther Shugerman (executive producer; Twilight of the Gods, The Simpsons, Family Guy)
Ángela Iturriza (storyboard artist & animator; Batman: The Animated Series, Tarzan, The Hunchback of Notre Dame)
Daniel Fernández Casas (character designer; Robot Dreams, Klaus)
Javier Romero (VFX supervisor; Luck, Planet 51, Mortadelo and Filemon: Mission Implausible)
Raul Rocha (Illusorium Animation Studios; Secret Level, Mega Man: Beginning, Sky: Children of the Light)
Carlos Ysbert (Spanish theater, film, TV & voice actor / voice director; Homer Simpson in The Simpsons, Tony Soprano in The Sopranos, Chef Skinner in Ratatouille)
Sara Vivas (voice actress & director; Bart Simpson in The Simpsons, Kyle Broflovski in South Park, Dexter in Dexter’s Laboratory)
Isatxa Mengíbar (voice actress & director; Lisa Simpson in The Simpsons, Rory Gilmore in Gilmore Girls)
Klaus Scherwinski (storyboard & visual development artist; Avatar: Frontiers of Pandora, Horizon Forbidden West, Hitman, Ryse: Son of Rome)
Animayo workshop session
Workshops
The workshops, already available on Animayo’s website with discounts for pass holders, students and unemployed participants, will each last 240 minutes and focus on practical skill development in areas such as storyboarding, concept art, character design, voice acting, video games and acting for animation.
Workshops will be led by:
Raúl García, director, producer & animator (Beauty and the Beast, Aladdin, The Lion King)
Miriam Hidalgo (Perditah), 2D artist, illustrator, educator & visual development artist (Chico & Rita, Nocturna, They Are Unique)
Ayose Lomba, director and educator at UNAM
Javier Belda González, educator and game designer.
Plus masterclass presenters Iturriza, Fernández Casas and Vivas
All workshops are presented with the collaboration of major sponsors and partners such as Walt Disney Animation Studios, Skydance Animation, Platige Images, Steamroller Animation, Rodeo FX, 3Doubles Campus, Fortiche Production, Illusorium Animation Studios, and universities and schools like U-Tad, Movie School by Trazos, UDIT (University of Design, Innovation, and Technology), ECIB (Escola de Cinema de Barcelona), the School of Visual Arts, Universidad del Atlántico Medio (UNAM) and L’Idem Animation School.
Autograph Sessions & Portfolio Reviews
In addition to autograph signing sessions — which will take place during the half-hour following the end of each masterclass and workshop— several guest speakers, studios, universities, and schools (as specified in the program descriptions) will participate in the Portfolio Review sessions at the Gabinete Literario on various dates.
Limited spots are available; prior registration is required by sending an email to natalia@animayo.com by April 30. Full details available on Animayo’s website.
‘Encanto’ artwork by Lorelay Bové [Disney]
World Premiere Exhibition: Whimsy & Wonder
Walt Disney Animation Studios joins as official sponsor of Animayo Gran Canaria 2025, with an unprecedented event: the new exhibition Whimsy & Wonder, presented for the first time ever and exclusively on display in Gran Canaria May 7-10. The show pays tribute to the women artists who have shaped Disney’s visual storytelling for over a century. From the iconic Mary Blair, who revolutionized the use of color in the 1950s, to the contemporary artists behind hits like The Princess and the Frog, Frozen, Encanto and Moana 2.
‘Sleeping Beauty’ art by Mary Blair [Disney]The exhibition features work from six extraordinary artists at Walt Disney Animation Studios:
Lorelay Bové, visual development artist on Big Hero 6, Zootopia, Wreck-It Ralph, The Princess and the Frog, and associate production designer of Oscar winner Encanto. ·
Lisa Keene, production designer & visual development artist on Wish, Frozen and classics such as Beauty and the Beast and The Lion King.
Brittney Lee, production designer & visual development artist who made an early mark with her iconic costume design for Elsa in Frozen and the interior of her ice palace.
Griselda Sastrawinata-Lemay, visual development artist on Encanto, Moana, Raya and the Last Dragon, and associate production designer on Wish.
Josie Trinidad, Emmy-winning director and head of story on Zootopia and Ralph Breaks the Internet.
Fawn Veerasunthorn, director of Wish and head of story on Raya and the Last Dragon.
See You in Las Palmas!
Animayo’s 2025 program also includes 15 educational lectures, six premieres and screenings featuring the official competition sections and the best of Animayo from the last four editions, three author presentations, five school stands, 20 talent stands, 18 hours of recruitment sessions, portfolio reviews and autograph signings, as well as family-oriented activities yet to be announced.
Under the umbrella of cutting-edge art and technology, Animayo aims to empower limitless talent, turning Gran Canaria and its capital, Las Palmas de G.C., into the epicenter of the global animation, VFX and digital creation industry during its celebration, consolidating the island as a strategic hub for creative industries. Gran Canaria offers an unbeatable combination: year-round mild climate, diverse natural landscapes, connectivity with major European airports, a strong cultural commitment, and an increasingly active local audiovisual scene.
With both in-person and online formats, Animayo, based in Gran Canaria (Spain), extends its programming to other cities and countries through its “Animayo Itinerant” version, with events held in Los Angeles, Madrid, Barcelona, Lanzarote, Portugal, Czech Republic, Brussels, Chicago, Mumbai, Prague, Colombia, Belgrade and Korea, among others.
Animayo Gran Canaria is made possible in part by sponsors including the Cabildo de Gran Canaria through its Presidency Service, the Society for the Promotion of the City of Las Palmas de Gran Canaria, the Department of Tourism, Industry and Commerce of the Government of the Canary Islands through Promotur, Turismo Gran Canaria, the Fundación La Caja de Canarias, the Government of the Canary Islands, as well as production companies, studios, schools, universities and many private companies that firmly support the film industry and efforts to bring audiovisual and technological culture and education to all audiences.
Learn more about Animayo Gran Canaria and this year’s 20th anniversary program at www.animayo.com.
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