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Season 5 of the Max Original adult animated series Harley Quinn returns with more mayhem next month! The first episode premieres Thursday, January 16, followed by one new episode weekly through March 20 on Max.
Logline: The fifth season of Harley Quinn finds Harley (Kaley Cuoco) and Ivy (Lake Bell) in a new location: Metropolis! — the home of all things Superman, Lois Lane and the Daily Planet.
Harley and Ivy discover that something sinister is at play, and all is not what it seems. Looming threats include Lex Luthor and his sister, Lena Luthor, plus fan-favorite Brainiac. But of course, Harley’s crew of misfits and allies will join her on this irreverent journey that takes no prisoners in having fun in the DC sandbox.
The voice cast also features James Adomian as Bane, Diedrich Bader as Batman/Bruce Wayne, Ron Funches as King Shark, Stephen Fry as Brainiac, Natalie Morales as Lois Lane, JB Smoove as Frank the Plant, Alan Tudyk as Clayface & Joker, and Aisha Tyler as Lena Luthor.
Based on characters from DC, Harley Quinn is produced by Delicious Non-Sequitur Productions, Lorey Stories and Yes, Norman Productions in association with Warner Bros. Animation.
The series was developed by Justin Halpern, Patrick Schumacker and Dean Lorey, who also serves as executive producer and showrunner. Executive producers are Halpern, Schumacker, Cuoco, Sam Register and Katie Rich. Chrissy Romero is co-executive producer; Cecilia Aranovich Hamilton and Ian Hamilton are supervising producers; Susan Ward is producer; Jamiesen Borak and Leslie Schapira are consulting producers; Vidhya Iyer is co-producer.
The Pokémon Company International and multi-award-winning independent studio Aardman (Wallace & Gromit, Chicken Run) have announced a special project coming to audiences in 2027. The collaboration will see Aardman bringing their unique style of storytelling to the Pokémon universe in brand-new adventures.
The presentation format and other details of the project are yet to be revealed.
“This is a dream partnership for Pokémon. Aardman are masters of their craft, and we have been blown away by their talent and creativity,” said Taito Okiura, VP of Marketing and Media at The Pokémon Company International. “What we have been working on together ensures our global Pokémon fans are in for a treat!”
Sean Clarke, Managing Director of Aardman, added, “It’s a huge honor to be working with The Pokémon Company International — we feel sincerely privileged to be trusted with bringing their characters and world to life in a brand-new way. Bringing together Pokémon, the world’s biggest entertainment brand, together with our love of craft, character and comedic storytelling feels incredibly exciting. Aardman and TPCi share an emphasis on heritage and attention to detail as well as putting our fans and audiences at the heart of what we do, which we know will steer us right as we together create charming, original and new stories for audiences around the world”
The announcement of Pokémon’s team-up with the acclaimed Bristol-based Aardman studio comes a year after the debut of Pokémon Concierge, the franchise’s pioneering stop-motion series produced by dwarf for Netflix.
Today, Disney+ revealed the trailer for The Simpsons‘ all-new holiday special “O C’mon All Ye Faithful,” premiering December 17 exclusively on Disney+. The seasonal double episode is launching timed to the 35th anniversary of The Simpsons original Christmas special, which aired on December 17, 1989.
Synopsis: Famed British mentalist, Derren Brown, comes to Springfield and uses psychological tricks and showmanship to raise the town’s Christmas spirit. When Homer gets hypnotized and mistakenly believes he is Santa Claus, it sets off a cheery chain-reaction and causes everyone to question what they believe and to explore the meaning of “miracle.”
Featuring musical performances by Patti LaBelle and Pentatonix, this special double episode marks the 35th anniversary of the original Christmas special from The Simpsons (“Simpsons Roasting on an Open Fire”) and airs exclusively on Disney+ starting December 17.
In addition to 35 seasons of The Simpsons, Disney+ is also home to The Simpsons Movie and more than 10 shorts featuring the Simpsons family. All these and more can be found in The Simpsons collection on the streaming service atdisneyplus.com/franchise/the-simpsons.
Animation fans in India looking for an anytime fix of their favorite Cartoon Network titles are celebrating the launch of CN Rewind, Warner Bros. Discovery’s new digital channel, as an add-on subscription to Prime Video.
CN Rewind is curated exclusively for Prime Video in India, and brings Cartoon Network’s evergreen classics, including The Powerpuff Girls, Tom & Jerry, Scooby-Doo, Johnny Bravo, Looney tunes, Dexter’s Laboratory, Samurai Jack, Ed Edd n Eddy and many more, for fans across the country.
Prime members can enjoy a diverse range of celebrated animated programming, available both in Hindi and English, by purchasing an add-on subscription to CN Rewind at a special introductory offer of INR 199 per year, following which subscription can be renewed at INR 249 per year.
“Animation remains a popular category on Prime Video across demographics, with younger and older audiences alike. With the launch of CN Rewind add-on subscription on Prime Video India, we are excited to take loyal fans on a nostalgic trip as they revisit their favorite Cartoon Network toons, as well as for younger audiences to discover and engage with these beloved stories,” said Gaurav Bhasin, head of marketplace (add-on subscriptions and movie rentals), Prime Video, India.
“Over the years, through add-on subscriptions, Prime Video has served a platform for several streaming services to curate exclusive channels and take their content to audiences deep within India. We are thrilled to be the exclusive home for CN Rewind, and are certain that the diverse and timeless library will find deep emotional resonance with our customers across the country.”
Cartoon Network is a cultural phenomenon that redefined pop culture, and a source of special memories for millennials and generations across decades. CN Rewind will provide fans the chance to relive those memories in a modern, on-demand format, giving them the opportunity to immerse themselves in the same joy and excitement they felt decades ago and to pass those treasured moments to the younger generation.
“There’s a deep emotional connection between Indian audiences and Cartoon Network. CN shows aren’t just cartoons, they’re pieces of our childhood that evoke joy, friendship, and a simpler time,” said Ruchir Jain, Head of Distribution, South Asia, Warner Bros. Discovery. “With CN Rewind, we’re creating a space where nostalgia can thrive while ensuring these beloved characters continue to inspire and entertain today’s kids in a whole new way.”
Benefits of add-on subscriptions on Prime Video for Prime members include:
No hassle login & billing: Customers do not have to juggle between multiple usernames, passwords and billing due dates. With add-on subscriptions, all premium content subscriptions are managed within a single destination – Prime Video apps and website.
More time watching, less time deciding: Customers don’t have to spend time toggling between their favourite services to discover what’s new and popular. With add-on subscriptions they can browse in one place, search across all their premium subscription and get personalized recommendations. All of this without ever having to leave the Prime Video app or website.
Enjoy your favourite features, no matter which service: Customers can enjoy X-Ray feature and a single consolidated watch list and download library for offline viewing. Subscribers can also manage data consumption and much more across all their add-on subscriptions.
More Choice: With add-on subscriptions, Prime members can access thousands of additional titles across 25+ OTT services, including CN Rewind.
The Pinkfong Company, a global entertainment company, announced today its plans to expand consumer experiences across TV broadcasting and offline collaborations as Sealook celebrates its second anniversary. Produced in collaboration with Million Volt, the dialog-free 3D animated series follows the daily adventures of a group of seals at the edge of the Earth.
Since its launch in 2022, the show has achieved remarkable global success, garnering 1.63 billion YouTube views, 60 million TikTok views and 200 million Instagram, Facebook and X views in December 2024. In addition, Sealook is now available on Tencent Video, one of China’s largest online video platforms, and has surpassed 500 million cumulative views. The show has achieved a total of 2.4 billion lifetime views across all platforms, gaining great popularity especially among the MZ generation.
For its second anniversary, The Pinkfong Company is expanding Sealook‘s global footprint through TV channels, OTT platforms, licensing deals and experiences. Sealook Season 1 has officially launched on Prime Video, marking its premiere in both the U.S. and U.K. A licensing partnership with Trevco will introduce print-on-demand apparel and accessories featuring eight adorable Sealook designs, available in the U.S. and Canada from December 2024.
In Korea, KBS 1TV will broadcast Sealook Season 1 Part 2 starting on December 28, featuring new characters Baby Seal and Baby Bear. The company also partnered with Phoenix Snow Park in Pyeongchang, which held the international sporting event, Winter Olympic Games 2018, to create a Sealook-themed snow village with branded content and limited-edition merchandise.
In Taiwan, Sealook Season 1 will air on YoYo TV, the leading family entertainment channel in Taiwan,, alongside a collaboration with TP TEA, the flagship brand of Taiwan’s largest milk tea company Chun Shui Tang, featuring six adorable Sealook character-themed cups and exclusive merchandise to be released in December 20. The special merchandise will include Sealook-themed keychain, plush doll, ice tray, and mouse pad, and will be available at 40 offline stores.
To celebrate the anniversary, the official Sealook Shop is offering a month-long “HAPPY SEALOOK DAY” promotion in December, with discounts up to 50% and special gifts with purchases.
“Sealook has demonstrated universal appeal that transcends language barriers, successfully captivating Gen Z audiences worldwide and experiencing remarkable growth,” said Bitna Kwon, Chief Strategy Officer at The Pinkfong Company. “We will continue to expand both our digital and physical presence while creating content that resonates with audiences of all ages to cultivate our growing fan community.”
Sealook‘s 90-second episodes have gained popularity worldwide, including in the United States, Indonesia, Philippines and Vietnam, with dialog-free humor that swims over language barriers. The growth of Sealook’s business in China, driven by its partnership with IPX (formerly LINE FRIENDS) has been remarkable: The “Sealook Day” offline marketing promotion, held for two weeks in March in Shanghai, generated over 1.2 million in traffic with photo zones installed at major Shanghai subway stations.
Carlos Saldanha — the Brazilian director, writer and animator known for bringing Blue Sky’s blockbuster Ice Age films to the big screen as well as Rio, Rio 2, Robots, Oscar nominee Ferdinand and this year’s hybrid pic Harold and the Purple Crayon — has signed on as an executive producer to the Oscar-qualified Colombian animated short La Perra (The Bitch), directed by Carla Melo Gampert.
A hand-illustrated exploration of womanhood, the short screened in competition at Cannes, Annecy, TIFF, SXSW, AFI Fest and more, winning Academy Awards-qualifying honors at San Francisco international Film Festival, Chilemonos and Bogoshorts, as well as the Macondo Award for best animated short from the Colombian film academy.
La Perra takes inspiration from the director’s own life experiences coming of age in a culture which expects women to transition from the innocence of childhood to the approved life of a mother, and labels those who seek out their own paths as “perras.” As the director told Animation Magazine soon after the short’s premiere:
“La Perra is a story about a mother who brings a female dog into the house to take care of her young daughter while she goes out to meet men. When the mother returns the daughter is already a teenager and now she wants to discover the outside world. When the daughter returns, the mother is getting old and the dog is about to die.
“When I was 11 years old, my parents separated and I went to live with my mother in a new house. They told me it was temporary and to fill the void and their instability, my mother gave me a puppy — Conga. She grew up with me, she was an accomplice of the transition from my childhood to adolescence, of the transformations of my body, of my first boyfriends, of my insecurities, of guilt. Conga died when I was 25 years old, at that time I stayed a lot at my boyfriend’s house and I felt that I had missed the last months of her life, it still gives me a little guilt.
“Conga’s death also made me think about my mother’s approaching old age and my grandmother, about time passing and my ties with the women in the family. Conga marked a stage, she was very important to everyone in the family and it was she who brought us a lot of love in the midst of sad times.
“The death of my dog was recent when I started writing this short film, I guess something in me needed to bring out everything that Conga symbolized and I ended up approaching motherhood, guilt, and how female sexuality is looked at. Everything was very spontaneous at the moment of writing La Perra because her absence made me reflect a lot on the passage of time and what it means to be a mother and a bitch: the animal and the woman.”
La Perra is produced by Franco Lolli and Capucine Mahé at Evidencia Films (Colombia) and Naomi Denamur and Julie Billy at June Films (France). In addition to Saldanha, the executive producers roster welcomes Claudia Chakmati and Gabriela Matarazzo, founders of Rhiza Films in Brazil.
“There’s something invigorating about witnessing a new wave of talent emerging with such force and vitality. Our continent is brimming with untold, singular stories, and La Perra embodies this in every frame,” Saldanha told Variety. “Carla Melo has crafted a visually striking narrative infused with an erotic sensibility that is as visceral as it is delicate. It’s both raw and refined, a perfect balance of harshness and sensitivity. It’s been a long time since a short film has moved me so deeply, and La Perra does so in ways I won’t soon forget.”
Melo reflected in her interview with Animation Magazine, “I think there is something very powerful happening today with animation, lately it is taking the importance it deserves and opening an important space in cinemas and as a way of expression. I feel that the world is becoming more and more interested in seeing that animation is not only for children or commercial … Latin American animation is also becoming more visible, it is a tool to think about the body, the image, cinema, whatever comes to mind. There are more and more short films that explore intimacy and femininity. With my colleagues in Colombia we are curating Latin American animation where we find impressive works, which reveal not only the inside of people but also touch on political and historical issues from deep places to reveal new layers without falling into stereotypes. That is why we celebrate that Latin American animation, sincere and human, is increasingly seen in big festivals.”
Read more about La Perra in Animation Magazine‘s Annecy Festival 2023 short film highlights here.
Last Sunday, December 8, the Los Angeles Animation Festival (LAAF) presented its Awards Night celebration to a packed hall at the Eastwood Performing Arts Center in Hollywood.
Triple winner The Mayfly, directed by Sue Perrotto, won awards for Character-based 2D, Best Director and Best of the Fest. First Place for Student Dramatic Short and Best Student Director went to USC filmmaker Ziyan Zhou’s 2D short Choice. Hunter Frye and Claudia Celio, of Chapman University’s Dodge College of Film and Media Arts, won Best First-Time Directors and Silver Student Dramatic Short for Forgive and Regret. All three were awarded software prizes from festival sponsor Toon Boom.
Jasmine
Haunted Cupcake
Other key prizes went to Brock Gallagher’s Haunted Cupcake, winner of Character-based CGI; Jasmine, Irish director Tom Caulfield’s timely Humanitarian Award-winning film about the Syrian Civil War as seen through the eyes of a child; and Best Comedy Short The Loving Couple from Canadian director Mhairi Kerr.
“Every year the standard of animation, both technically and artistically, gets better and better. But this year it was exceptionally high. It’s an honor to showcase such inspiring work,” states festival co-director Miles Flanagan.
Moon Girl and Devil Dinosaur – “The Gatekeeper” [Marvel/Disney]The recently launched Velma Awards, presented by The Rainbow Project (co-founded by Doc McStuffins creator Chris Nee) to recognize outstanding queer storytelling in children’s and youth media, announced their inaugural class of honorees. Notably, the pulled episode of Marvel animated series Moon Girl and Devil Dinosaur was recognized alongside other standout animated projects.
“Statistically, the number of characters who are LGBTQIA+ is incredibly small, but the feeling of it for people who are often, even in theory, allies is that there’s been so much material out there. It’s this world where a little bit more representation starts to feel like it’s everywhere — like there’s a lot — to people. But the dangers of losing this inclusive content are so clear,” Nee told The Hollywood Reporter. “LGBTQIA+ youth are not going away — they’re here as they’ve always been — and continuing to build shows where people who live in our world are baked into these universes is a deeply important part of continuing to make sure people are safe and welcome in this world.”
Animated winners include:
Legacy Award – Steven Universe (Cartoon Network)
Best Episode (Period!) That Also Never Saw the Light of Day – Moon Girl and Devil Dinosaur, “The Gatekeeper” (Disney Channel)
Best Episode for Storytime with Drag Queens – The Bravest Knight, “Cedric & the Three Ogres” (Hulu)
Best New Nonbinary Cast Member – The Fairly OddParents: A New Wish, “The Wellsington Hotellsington” (Nickelodeon) – Winn Harper (voiced by Iris Menas)
Best Guest Star Extravaganza – Monster High, “Monster Fest” Halloween Special (Nickelodeon)
Best Celebration of the Complex Queer Family Tree – Firebuds, “Balancing Act” (Disney Junior)
Best Requited Queer Crush – Primos, “Summer of Heart Eyes” (Disney Channel)
Best Queer Relationship That’s Just a Plain Ol’ Relationship – Jurassic World: Chaos Theory Season 2 (Netflix)
Best Wedding Before You and Your New Wife Go Fight Insurgents – The Dragon Prince: Mystery of Aaravos, “The Red Wedding” (Netflix)
Best Helping My Dad Propose to My Other Dad – Let’s Go, Bananas!, “The Big Pop / A Very Bananas Wedding” (Cartoon Network)
Ahead of the nationwide release of The Colors Within, GKIDS is bringing director Naoko Yamada’s previous acclaimed animated feature A Silent Voice back to theaters across more than 60 U.S. cities on December 15. The distributor announced in November it had acquired rights to this film as well as Liz and the Blue Bird; both films are directed by Yamada and produced by Kyoto Animation.
Based on the manga created by Yoshitoki Oima, A Silent Voice was originally released in 2016 and earned top awards from the Japanese Movie Critics, Japan Academy, Tokyo Anime Award Festival and Japan Media Arts Festival.
Synopsis: After transferring into a new school, a deaf girl, Shoko Nishimiya, is bullied by the popular Shoya Ishida. As Shoya continues to bully Shoko, the class turns its back on him. Shoko transfers and Shoya grows up as an outcast. Alone and depressed, the regretful Shoya finds Shoko to make amends.
A Silent Voice is a moving coming-of-age drama that depicts the struggles of adolescence through its memorable characters and beautiful animation.
Directed by Yamada from a script adapted by Reiko Yoshida (The Colors Within, Blue Period, The Heike Story), A Silent Voice is produced by Kyoto Animation, Pony Canyon, ABC Animation, Quaras, Shochiku and Kodansha, with animation production by Kyoto Animation.
The film’s creative team also included character designer Futoshi Nishiya, art director Mutsuo Shinohara, color key artist Naomi Ishida, settings by Seiichi Akitake, director of photography Kazuya Takao, sound direction by Yota Tsuruoka and music by Kensuke Ushio. The theme song “Koi wo Shita no ha” was performed by aiko; music production by Pony Canyon.
Independent Spanish animation producers Ánima Kitchent and Able & Baker have teamed up to establishMonkeys & Dinos, a cutting-edge animation service studio based in the Canary Islands.
Building on a history of successful collaborations, Ánima Kitchent and Able & Baker are combining their decades of industry experience to establish a studio focused on delivering world-class animation. The decision to join forces in forming Monkeys & Dinos reflects their shared vision and commitment to creating and delivering premium animated content and developing original IPs that will resonate with global audiences.
Monkeys & Dinos will capitalize on the Canary Islands’ highly competitive tax incentives on offer, the most notable being rebates of up to 50% on animation production. This financial incentive, combined with the region’s dynamic creatives and production infrastructure makes the Canary Islands a prime destination for high-quality animation production.
The new studio is already gearing up for several projects set to begin production in 2025. With a focus on innovation, creativity and global storytelling, the studio aims to position itself as a strategic player in the international animation landscape.
“We are thrilled and excited about this new venture,” shared Carlos Tschuschke, Founder & CEO of Able & Baker. “We have been actively exploring opportunities to establish our presence and start our activities in the Canary Islands and landing this agreement to join forces with Ánima is fantastic news for us.”
Angel Molinero, CEO of Ánima Kitchent added, “Monkeys & Dinos is the culmination of many years of working with Able & Baker on a variety of animation projects. Now is the perfect time to collaborate bringing the best of each company to the table and offering the market a high-quality service coupled with the tax advantages of the Canary Islands.”
Established in 2014, Ánima Kitchent is a 3D and 2D animation company based in the Canary Islands
and Madrid. One of its most prominent brands is Cuquin (formerly known as Familia Telerin and Cleo & Cuquin). The studio is also known for Lea & Pop, Titto Lizzardo and PINY Institute of New York.
Able & Baker is a Madrid-based animation studio founded in 2014. The studio gained recognition for its participation in Love, Death + Robots (Netflix), particularly with the episode “The Dump.” It has also contributed in the production of the feature film Dragon Rider and the Netflix original Bad Dinosaurs, which was released earlier this year.
An iconic animated duo is prepping for an action-packed big screen adventure in the new year, when Ketchup Entertainment brings the Warner Bros. Animation feature The Day the Earth Blew Up: A Looney Tunes Movie to theaters nationwide on February 28, 2025. To help fans prepare for the big day, a new batch of movie stills and posters dropped today!
Synopsis: Porky Pig and Daffy Duck venture to the big screen as unlikely heroes and Earth’s only hope when their antics at the local bubble gum factory uncover a secret alien mind control plot. Faced with cosmic odds, the two are determined to save their town (and the world!) … that is if they don’t drive each other totally looney in the process.
Featuring the voices of acclaimed actors Eric Bauza, Candi Milo, Peter MacNicol, Wayne Knight and Laraine Newman, the hand-drawn 2D adventure marks the first fully-animated feature-length film in Looney Tunes history.
The Day the Earth Blew Up is directed by Pete Browngardt, and reunites many talents from his Annie Award and Children’s & Family Emmy-winning Looney Tunes Cartoons series. Browngardt also served as executive producer alongside Warner Bros. Animation head Sam Register, and on the writing team with Darrick Bachman, Kevin Costello, Andrew Dickman, David Gemmill, Alex Kirwan, Ryan Kramer, Jason Reicher, Michael Ruocco, Johnny Ryan and Eddie Trigueros.
The film’s creative team also included line producer Michael Baum, supervising producer Alex Kirwan, composer Joshua Moshier, editor Nick Simotas, art director Nick Cross and production designer Aaron Spurgeon.
Read more about the making of this highly anticipated return of the Looney Tunes duo in Animation Magazine‘s interview with Browngardt here.
A whimsical new animated adventure is ready to whisk kids away when Isadora Moon makes its Max U.S. streaming debut on January 2. Based on the globally best-selling book series by Harriet Muncaster, the 2D seriesfollows the adventures of a half-vampire, half-fairy girl, her friends at human school, and her wider magical family.
Logline: Isadora Moon is not your typical child; she embodies the magic of both worlds — embracing the enchantment of fairies and sparkles, as well as the powers of her gothic vampire side. This charming series appeals to children and families alike, showcasing themes of self-acceptance, creativity and the beauty of being true to oneself.
Muncaster is the creator, author and illustrator of the Isadora Moon book series, which has sold more than 5 million copies worldwide since launch in 2016 and is available in 42 languages.
“Isadora Moon reminds us that feeling different is not just okay — it’s what makes us truly special. She may not fly as fast as other vampire children, or do magic as well as the fairy kids, but her unique blend of qualities is what sets her apart,” said Muncaster. “Just like Isadora, we all have our own special magic within us. Embrace your individuality, for there is one thing you can do better than anyone else in the world: be yourself!”
“Isadora Moon is more than just a story about a half-vampire, half-fairy girl; it’s a celebration of individuality and self-acceptance that resonates profoundly with children today,” adds Deborah Thorpe, showrunner of the animated series, which is created and produced by her company Kelebek Media. “This series will transport audiences to fantastical new places. Like Harriet, we hope to inspire children everywhere to feel comfortable and proud of being their authentic selves.”
Isadora Moon will premiere with 12 episodes (one 22 minutes long, the rest 11 minutes). Aimed at children four to seven years old, each episode takes viewers on a journey filled with fun, friendship and a sprinkle of magic, perfect for sparking the imaginations of young viewers.
Max is the first U.S. streamer to premiere the series, which is currently Sky Kids’ top rating show in the U.K. The series is also on air in Italy, Sweden, Norway, Israel and Canada.
Netflix today unveiled the official trailer and premiere date for Castlevania: Nocturne Season 2. The bloody new batch of eight 25-minute episodes will arrive on streaming on January 16, 2025, picking up on the chaotic new twist on the French Revolution which introduces a sinister vampire element to the fracas.
“When [series creator Clive Bradley] originally was talking about setting the story in the Revolution, the thing that resonated with me [was]: This is where vampires would be,” co-showrunner Kevin Kolde told TUDUM. “They’re parasites. They live off of other people.”
S2 Logline: Now joined by the legendary Alucard, Richter Belmont and his band of vampire hunters are in a desperate race against time. Erzsebet Báthory, the Vampire Messiah, who already seems invincible, seeks the full power of the goddess Sekhmet so she can plunge the world into endless darkness and terror.
The voice cast features Edward Bluemel (Persuasion, The Commuter) as Richter, Pixie Davies (The Magician’s Elephant, Mary Poppins Returns) as Maria, Thuso Mbedu (The Woman King, The Underground Railroad) as Annette, Sydney James Harcourt (I’m Not Gay: A Musical, Hamilton) as Edouard, Nastassja Kinski (Inland Empire, Cat People) as Tera, Zahn McClarnon (Reservation Dogs, Fargo) as Olrox, Franka Potente (Run Lola Run, The Bourne Identity) as Erzsebet Báthory, James Callis, Richard Dormer, Iain Glen, Elarica Johnson and Aaron Neil.
Castlevania: Nocturne is a standalone series inspired by the world of Netflix’s Castlevania anime series, which in turn is based on the media franchise created by video game developer Konami.
The series is created by Writers’ Guild of Great Britain Award winner Clive Bradley (Castlevania, Trapped, That Summer Day), who serves as showrunner alongside Emmy-winning executive producer Kevin Kolde (Castlevania, Adventure Time, Johnny Test). Executive producers are Bradley, Kolde, Adam Deats, Sam Deats, Fred Seibert and Adi Shankar. Writers are Bradley (episodes 201, 204, 205, 207, 208), Testament (202), Temi Oh (203) and Zodwa Nyoni (206).
Castlevania: Nocturne is produced by Project 51 Productions with animation by Powerhouse Animation.
The bittersweet sensation of moving on from a harmful relationship is explored with evocative hand-painted animation in Sweet Like Lemons, the 2023 short film from U.K.-based Finnish animator, director and illustrator Jenny Jokela. Following on from her Annecy Cristal-winning RCA graduate short Barbeque and colorful Finnish children’s show Hoppsorna, Sweet Like Lemons continues the artist’s exploration of ways to visualize complex emotions and challenging topics.
Sweet Like Lemons premiered at Annecy 2023 and has since screened in the official selections of OIAF, AFI FEST, Cinanima and Sitges, as well as being longlisted for the BAFTAs. As the short today makes its online streaming debut through Short of the Week, and has been selected as a Vimeo staff pick, we caught up with Jokela for a quick email interview about her personal and moving film:
Animation Magazine: Can you tell us how the inspiration for the short came about?
Jenny Jokela: Although the film does not directly depict me or the other person involved, the inspiration of the film was to create a therapeutic practice for myself where I could work through the emotions and struggles of coming out of a bad relationship.
How long did you work on it?
I started working on the film in 2018 at the Frontevraud residency (NEF Animation, France), so officially five years. However, I did a lot of commissioned work in between, so it was not a full time project. The majority of the film was animated in 2021 and painted in 2022.
How was the animation produced? Which tools were used?
The film is self-produced, with a €10,000 grant from the Swedish Cultural Foundation in Finland. (Now it’s distributed by Bonobostudio). I first animated it digitally using TVPaint, then printed out each frame and painted it by hand on paper using acrylic paint. The sections where the paper rips are also created by hand.
Style frames by Jenny Jokela
What was the toughest aspect of creating this short?
Traditional narrative does not come naturally to me, and my films therefore tend to focus more on taking the viewer on an emotional and symbolic journey. This film in particular is very personal to me and although I knew exactly what each color and figure symbolizes, I really struggled to put the sequences in order to create a storyboard. In the end I sent all my imagery, animated bits and rambling explanations of what I want to say to the writer Celia Hillo. She wrote her own text based on my material. I then in my turn rewrote her text, but used her version as a structure.
I had explained to Celia how the film is about needing to accept closure without actually feeling you have got all the answers that you need, and in her text she got this exact sentiment articulated by writing it in email format, which is something I then incorporated in the final movie. It ended up giving the film a much clearer structure.
What do you love best about the final result?
I love that I allowed myself to take the time I needed to make it look the way I envisioned it and did not rush it. I’m also very happy with the structure because it was an absolute headache to get it down. I love painting, and it’s fun seeing it all come together in motion.
How do you think your style has evolved over the years?
When I started animating I didn’t think I knew how to draw so I mainly did collage animation. Then I learnt the drawing bit but could only do it by hand which made my process very slow. Now I’ve learnt to draw digitally too, which has greatly expanded my practice. I also think my painting has become more precise and detailed.
Style frame/storyboard by Jenny Jokela
Who are your animation idols?
Although I later studied animation at Royal College of Art, I’m originally self-taught. I was studying fashion branding and had no idea about the world of independent animation when I first came across the work of Swedish animation artist Nathalie Djurberg. She was one of the main inspirations for me when first starting to learn how to animate and to this day I’m influenced by her work. Another current inspiration to me is Dash Shaw, I really like both his comics and films.
What is your take on the overall state of animation in 2024?
At least in Europe it seems that funding for independent animation keeps getting cut and harder to come by, but somehow people still keep managing to make really inspirational and creative work. With so many apps and AI auto generated animation I have found that on the counter side, there is also a growing appreciation for traditional animation that is harder to recreate automatically. That is very nice for someone like me who likes to spend my time painting.
Sweet Like Lemons is available to watch through Short of the Week and on Vimeo. Learn more about Jenny Jokela’s work at jennyjokela.com.
Everyone’s favorite musical pets are back and ready for some super adventures in the Big Apple. Fans of the award-winning series Wonder Pets!, which debuted in 2006 on Nickelodeon, will get a big kick out of the new show Wonder Pets: In the City, premiering this month on Apple TV+.
Developed by Emmy winner Jennifer Oxley, who was a writer and director on the original series and also created the award-winning PBS Kids series Peg+Cat, the new show centers on a trio of new main characters: Izzy the Guinea Pig, Tate the Snake and Zuri the Bunny. The terrific pets live in a kindergarten classroom in New York City and travel the world in their fantastic Jetcar and save other animals in musical, mini-opera-themed adventures. Oxley also serves as exec producer with Steve Altiere and Grammy and Emmy winner Jeffrey Lesser. Each episode features music by top composers such as Bobby Lopez, Jason Robert Brown, Tom Kitt, Matthew Sklar and Larry Hochman, accompanied by the FILMharmonic Orchestra.
Musical Friends: The new series features the voice talents of newcomers Victoria Scola-Giampapa as Izzy, Vanessa Huszár as Zuri and Christopher Sean Cooper Jr. as Tate.
Urban Adventures
Oxley tells Animation Magazine that she was very excited when she got the call to develop a spinoff based on the original show, which was quite near and dear to her heart. “I was surprised, thrilled, overjoyed and totally freaking out to be asked to create something that lived up to the charm and heart of the original, while bringing a fresh new take to today’s audience,” the talented creator recalls. “The concept for Wonder Pets: In the City sprung from the love and nostalgia for the original series. We wanted to create something that honored the spirit of the original but with a new trio of classroom pets, a jazzy new city location and deeper storytelling with diverse and inclusive themes — with the takeaway messages of teamwork, compassion, empathy, kindness and the importance of helping others.”
“We wanted to create something that honored the spirit of the original but with a new trio of classroom pets, a jazzy new city location and deeper storytelling with diverse and inclusive themes.”
— Executive producer Jennifer Oxley
The premise of the new show evolved from a simple question. “When dreaming up what our new spinoff could be, I thought, ‘What if our original Wonder Pets weren’t alone?’” recalls Oxley. “What if there was a vast network of singing, animal-saving, teamwork-loving classroom pets all around the world? And what if we get to meet a whole new team of Wonder Pets who live in a brand-new city location. This new series introduces Izzy (rocking guinea pig), Tate (lovable snake) and Zuri (silly bunny). Alone, these three classroom pets have no real superpowers, but when they come together and work as a team there’s nothing they can’t do!”
The show’s super team includes several talented creators who also worked on the original series, including musical director Jeffrey Lesser. “In our music-forward, mini-operetta format, we weave in and out of song and dialogue seamlessly, exposing kids to different styles of music that reflect the diverse location of the day’s adventure,” explains Oxley. “We also record with a live orchestra! It never gets old seeing our animation on screen while being accompanied by live musicians.”
Oxley says the new show pushes the boundaries of the “photo puppetry” animation technique created for the original. “Real animals are photographed, designed in Photoshop, then rigged and animated in After Effects,” she explains. “Our collaboration with Apple TV+ has enabled us to expand the visual style and storytelling techniques, resulting in richer animation and more dynamic environments.”
Although the photo sessions are one of the highlights of the production, working with temperamental animals proved to be a learning experience. “Sometimes photographing all the different angles and positions needed for animation can be a challenge,” the show creator admits. “Once we were photographing our little black bunny, and we needed shots of the underside of her feet. Well, this bunny wasn’t having it; she didn’t like having her feet off the ground. Every time we lifted her up, she kicked and flailed — it was a blurry mess! That’s when our animal wrangler, Carol, came to the rescue. ‘No worries,’ she said. ‘I’ll just hypnotize her.’ The photographer and I were baffled! ‘Hypnotize her?’ Carol then proceeded to sing and chant a mesmerizing tune while stroking the bunny’s fur, and in minutes the bunny was calm. We then gently moved the bunny around like a stuffed puppet. It was truly astonishing!”
Felix, Snoopy & Charlie Brown
When asked about her biggest animation influences, Oxley mentions a few other animated animals: Felix the Cat is the first cartoon she can recall from her early childhood. “However, the biggest influence for me was Snoopy,” she adds. “When I was a kid, I would cut out the Peanuts comics from the newspaper every week and glued them in my notebook. Then, when I saw the characters move for the first time in A Charlie Brown Christmas special, I knew in that moment that I wanted to be an animator.”
Oxley says there are many different elements involved in making an entertaining and educational children’s show. “Maybe it’s about pushing to create content that appeals to folks of all ages,” she says. “It’s important to tell smart stories that utilize inventive techniques that challenge audiences to think and learn. My tip for young people wanting to get into the business is to go to animation, TV and film events where you can meet and talk with real live people! Some of my favorites are the World Animation Summit, Kidscreen and the Ottawa International Animation Festival!”
Wonder Pets: In the City premieres on Apple TV+ on December 13.
When a young deaf girl discovers a mysterious mixtape, she sets out to change the course of humanity in a dark, dystopian world where creative expression is forbidden. That’s the cool premise behind Mello’s Funk, the new animated short directed by Stoopid Buddy Stoodio’s Mike Roberts and Eric Towner. We caught up with the two talented creatives who are behind this imaginative award season contender.
Animag: Can you tell us a little bit about the inspiration and origins of the short?
Eric Towner: Ever since we featured Marshmello in a Robot Chicken sketch, we’ve been talking about a bigger collaboration. Doing an epic sci-fi short film seemed like the obvious choice! The film couldn’t be further from our work on Robot Chicken, though. There’s definitely a lot of influence from sci-fi/adventure genre (Captain EO, anyone?), but at its core we’re addressing depression, isolation, and how the “noise” of social media can impact us.
When did you start working on the short and how long did it take to finish?
Eric: Getting it done was nothing short of a whirlwind experience. We were looking at projects to deliver as a part of our involvement of Nouns Fest, so the discussions with Mello picked up at the beginning of the year, as did the brainstorming and writing. Animation wasn’t set to kick-off until May with a September delivery, and thus began an action-packed 3 1/2 months of production! We couldn’t have pulled this off without our amazing producer, Chantal Hennessey, and our animation partners at Le Cube. We had a lot of people tell us this couldn’t be done, but they believed we could pull it off.
From left, Mike Roberts, Eric Towner
Can you discuss the visual style and influences of the project?
Mike Roberts: Eric and I had a pretty clear vision of what we wanted, but also remain very collaborative. It was easy to let Le Cube lead a lot with the visual style. People throw around the term “Western Anime” a lot. It’s a bit of a cliché, but that’s definitely the style we were going for as something that feels mature but aesthetically beautiful. I have a specific way I like to do compositing and storyboards and we were able to incorporate those techniques throughout. In the end it’s very hard to tell where everyone’s influence starts and ends, which is the sign of a great collaboration.
Eric: It’s not exactly what we’re known for at Stoopid Buddy, but we absolutely wanted it go give that “Western Anime” our own unique spin. Mike and I had a lot of discussions around treating the cameras a little like we were shooting stop-motion — so playing around a lot with textures, lenses, depth of field, and lighting that gave the world shape, mood, and depth.
Mello’s Funk
You are both veterans of popular animated shows (Robot Chicken, Super Mansion, MODOK, Ultra City Smiths and Crossing Swords, to name a few) How was this short a departure for you? What did you love about working on it?
Eric: The biggest departure for me given the background is stop-motion was diving into a 2D animation pipeline. Our bonkers schedule only allowed us one retake at most, but when you’re used to none, this was a bit of a luxury! I love visual storytelling and loved the challenge of telling this story with no dialogue, and letting the visuals, the music, and the sound lead the way.
Mike: I’ve worked on a lot of shows that are more polished like Hot Wheels, but then scrappy sketch comedy shows like TripTank. My career started with a short film with a similar scope so this kind of filmmaking is very familiar and I love it! Make something beautiful, in a hurry, with people who really care about making something great. The fast schedule didn’t feel like we had to make compromises and I think that’s down to everyone pouring their hearts out. We had a killer producer in Chantelle who kept us on track in spite of the chaos.
Mello’s Funk
What would you say were the toughest aspects of the project?
Eric: In the storyline, our main character Vega is deaf, but has the ability to see sound waves with the help of her synesthetic glasses. It’s an important part of the story — experiencing music for the first time from her point of view. We needed it to feel like a transcendental moment, and the team at Le Cube really stepped up to the plate. As soon as we saw their first test, we were like “Yep, those hours of conversations really paid off. Let’s gooo!”
Mike: I think the biggest challenge was just having to measure twice and cut once, or risk it all falling apart. Productions don’t stop. They’re like trains. They either keep moving or they derail. Our time was tight so we just had to be extra extra careful about what we wanted. It really could’ve been a disaster, but Le Cube crushed it. They’re awesome. Marshmello was amazing too. The music could’ve become really complicated. But it’s fun when things are humming on a tight schedule and everyone is working hard. It feels spontaneous as much as stressful.
Mello’s Funk
Where was the animation produced and how many people worked on it?
Eric: We had teams based here in Los Angeles and Le Cube had teams in Argentina, Spain, and Mexico. It truly took a global effort to pull off something this ambitious in the time we had. The team size fluctuated throughout the process, but as you see in the credits, it took a small army. My guess is around 100 artists get their fingerprints on it!
Mello’s Funk
What do you hope audiences will take away from the short?
Mike: The film has a message and it’s a good one, but I think these kinds of films are more about the feeling it gives you, especially mixed with the original music from Marshmello. Hopefully it wows your eyes and ears.
Eric: I hope they find the world to be rich and engaging and the story to be entertaining and heartfelt. There’s a lot personally that inspired the story, so I hope audiences will give some thought about their relationships with social media and choose to ignore the noise. A single one-on-one interaction with another person can really make a difference. You never know what someone is dealing with behind the scenes. So let’s try to stay connected, we’re all in this human experience together.
CyberAgent, Inc. today announced the television anime adaptation of award-winning author Mokumokuren’s The Summer Hikaru Died (published by Kadokawa) will be coming soon to Netflix globally. Produced by CygamesPictures, the supernatural series has debuted a new teaser visual and trailer, alongside cast and staff announcements.
The Summer Hikaru Died is a hit horror manga series (available in English from Yen Press) about an ordinary high school boy named Yoshiki, who experiences various mysterious incidents in his life with Hikaru, a mysterious being who imitates his best friend Hikaru Indou.
Synopsis: In a certain village …
Since their childhood, they have grown up together. Yoshiki and Hikaru, childhood friends. The sun shining down on them. The chirping sound of a cicada. Ice cream on the way home. Laughing over trivial things.
One day in summer, no different from any other day … You’re not Hikaru after all, are you?
Half a year ago, Hikaru went missing in the mountains. A week later, he came back on a whim. The voice, the figure, the thing that looked like Hikaru. What was stirring inside…
“Hikaru is no longer with us … if that’s the case.” Starting the days with “something” in the form of a friend, The “same as usual” everyday life. But at the same time, Strange incidents begin to plague the village. Falling into the unknown “something” — The curtain rises on a coming-of-age horror story.
The series is directed and composed by Ryohei Takeshita (Jellyfish Can’t Swim in the Night, Eromanga Sensei, Pokémon: Paldean Winds, Monthly Girls’ Nozaki-kun), with character design by chief animation director Yuichi Takahashi and “dorodoro” ghostly effects animation overseen by Masanobu Hiraoka.
“When I first read the original work, I remember reading the pages with excitement, wondering what kind of expression I should use to express the frames of the original story in the animation,” commented Takeshita. “The entire staff has been working earnestly on the original work in order to skillfully animate not only the delicate emotions of Yoshiki and Hikaru, two young boys struggling to understand each other, but also the beautiful and innovative manga structure, so please look forward to the release.”
The voice cast is led by Chiaki Kobayashi as Yoshiki and Shuichiro Umeda as Hikaru.
“From the time of the audition, I was swept up in a jumble of emotions: I [as Yoshiki] shouldn’t be with [Hikaru], but I want him to be with me; I’m scared, but comfortable with him; and I’m not sure what to do,” said Kobayashi. “I will do my best to pull out all Yoshiki’s feelings and melancholy by mobilizing all my blood, flesh, and bones. Since various values are intermingled in today’s society, I hope that many people will watch this anime.”
Umeda noted, “It was a new experience for me to play the role of Hikaru, and at the same time, it was like looking into the darkness. I am uncertain about many things in my mind and body, but I am certain that I want to stay with Yoshiki, so I will play his role with a strong sense of that feeling. I went into the audition with that in mind.”
Miraculous Corp — the joint venture between Mediawan and ZAG formed earlier this year with a mission to accelerate the growth of the Miraculous franchise worldwide — continues to strengthen its global leadership team with two executive appointments. Former Mercury Filmworks and Gaumont creative executive Heath Kenny has been named Chief Content Officer, while former Paramount Pictures and Universal Studios executive Ashley Depp joins as Senior Vice President of Marketing & Franchise. Both will report directly to Andy Yeatman, CEO of Miraculous Corp USA and Global Operations.
As Miraculous prepares to celebrate its 10th anniversary in 2025, the brand continues to expand its reach and offerings. A second Miraculous feature film is already in the works, with a fourth Miraculous World animated TV Event airing this fall. Season 6 of the Miraculous – Tales of Ladybug and Cat Noir TV series will start to premiere in Q1 2025, with Season 7 in production for a 2026 launch.
The TV series airs on over 100 broadcast and streaming partner platforms around the world. Miraculous has also become a digital sensation with 42 billion+ views on YouTube and 760 million+ plays on Roblox. Miraculous has a thriving licensing and merchandising program with 400+ licensees across the globe and over $1.5B+ in lifetime retail sales.
As Chief Content Officer, Heath Kenny will oversee the creation, development and delivery of Miraculous content across all platforms. Based in Paris, he will focus on championing innovation, fostering a culture of creativity, and driving collaboration across teams and partners. Kenny’s leadership will aim to elevate the brand’s storytelling to new heights, delivering compelling, high-quality narratives that deepen fans’ connection to the Miraculous universe while aligning every project with the brand’s core mission and values.
“The world of Miraculous is a treasure trove of untold stories, and as a long-time fan I’m honored to collaborate with the brilliant creators and the exceptional international team who constantly deliver captivating content for our passionate global audience,” said Kenny. “We are already planning exciting new developments that will expand the adventures of Ladybug and Cat Noir, introducing new characters, and exploring spin-off series that will further enrich the Miraculous universe.”
As Senior Vice President of Marketing & Franchise, Ashley Depp will craft and amplify the brand’s narrative and voice, spearheading the development and execution of strategic franchise planning. She will design and implement comprehensive marketing strategies to increase global awareness, audience affinity, and revenues for the Miraculous brand. Under her leadership, her team will drive innovative campaigns and enhance cross-platform engagement, shaping the brand’s growth and ensuring its continued success in the global market.
“The Miraculous universe represents a commitment to storytelling that inspires creativity, courage, and connection — values at the heart of the Miraculous brand,” commented Depp. “I am excited to build on its incredible legacy as we chart an exciting path forward for Ladybug and Cat Noir to foster deeper engagement and enduring connections with fans around the world.”
Kenny and Depp join a powerhouse management team that includes Roz Nowicki, a former Mattel, Inc., Peanuts Worldwide, 20th Century Fox, Universal Studios and The Walt Disney Company executive who was recently appointed Global Head of Consumer Products; Maria Doolan, Head of Content Partnerships and Distribution, who has lead the brand’s content distribution initiatives for the past three years; Luc Schoumacher, Chief Financial Officer; and Ben Johnson, Head of Legal.
“Heath and Ashley bring a wealth of expertise, visionary thinking, and a deep passion for storytelling and brand innovation to Miraculous Corp,” commented Yeatman. “Their leadership reinforces our commitment to delivering engaging content and unforgettable experiences for fans worldwide. These new roles are pivotal to the continued success of the beloved Miraculous franchise, and we welcome Heath and Ashley to our management team.”
Kenny brings over 25 years of animation content development and production expertise to his role. He most recently served as Chief Content Officer for the Emmy, BAFTA and Annie Award-winning Ottawa-based studio Mercury Filmworks, joining the company in 2019 to spearhead its move into original programming. As the senior creative executive, Kenny oversaw the development and production of several acclaimed series. Previously, he served as Vice President of Creative and Executive Producer at Gaumont Animation where he shepherded many projects such as F is for Family for Netflix and Atomic Puppet for France Télévisions, Teletoon and Disney XD. Throughout his career, Kenny has also collaborated with other industry giants including Disney, DreamWorks Animation, Tf1 and RAI, showcasing a proven track record of creative leadership and innovation.
Depp brings nearly two decades of senior marketing expertise to her role. Before joining Miraculous Corp, she served for five years as Vice President of Global Marketing Strategy at Paramount Pictures, leading strategies for blockbuster releases like Top Gun: Maverick and Sonic the Hedgehog. Prior to Paramount, she built a 13-year career at Universal Studios, ascending to Vice President of Retail Development. In this role, she defined e-commerce and retail marketing strategies for iconic franchises like Jurassic World, Despicable Me and Trolls. Depp began her professional journey as an Advertising Account Director at Deutsch, TBWA\Chiat\Day, and DNA Studio.
Cretive toy-driven gaming studio Toikido, along with Custom Nuts, an animation studio led by Silas Hickey, and Lazy Sunday, the production label of award- winning filmmaker Artem Vasilyev, have announced a co-production partnership on Beep Boop. This new CG-animated series introduces kids to the electrifying escapades of four rogue vending machine robots navigating Tokyo’s iconic Electric Quarter.
“In partnership with Custom Nuts and Lazy Sunday, Beep Boop blends comedy, adventure and relatable lessons within Tokyo’s iconic culture,” said Darran Garnham, CEO & Founder of Toikido. “Each episode is a new opportunity for fans to explore and laugh along with our Beep Boops as they take on tech mishaps and discover their unique place in the world.”
Beep Boop follows the antics of four uniquely lovable robots — Sprinkle, the selfie-loving social media addict; Miao-Miao, a curious scientist with a talent for tech; Tochi, the fearless arcade hero wannabe; and Kirin, their often facepalming but loyal leader. Living in their secret Dojo nestled within Tokyo Town’s Electric Quarter, these expressive Beep Boops communicate through pixel screens and are always one click away from tech chaos.
Each episode of Beep Boop erupts with humor as the Beep Boops turn everyday tech moments into wild adventures — whether they’re taming rogue digital pets, making viral video blunders, or dodging the Clean-Up Crew intent on shutting down their unauthorized hideout. Through their distinct personalities, pixel-screen language, and hilarious mishaps, Beep Boop will not only captivate kids but also speaks to tech-savvy parents who appreciate wit, friendship-driven storytelling, and the hilarious pursuit of innovation.
“The Beep Boop universe is like no other, combining Japanese cityscapes with universal themes of curiosity, exploration and resilience,” said Custom Nuts’ Hickey. “Together with Toikido and the brilliant team at Lazy Sundays, we’re bringing to life a series that will connect with audiences globally, offering a fresh, laugh-filled adventure that’s both visually dynamic and full of heart.”
Lazy Sunday’s Vasilyev added, “Beep Boop is the kind of bold and entertaining series that we’re excited to bring to life. The potential to combine humor, adventure and meaningful storytelling in this series is limitless, and we can’t wait to start creating memorable experiences for kids worldwide.”
The anime-inspired series Gabriel and the Guardians has officially unveiled its first trailer at the Asia TV Forum & Market. Fans can now experience a glimpse of the epic world of Ara and the celestial guardian, Gabriel, as he embarks on a journey to protect the mortals below.
Creator Colossul Studios also announced a co-production agreement with Singapore-based Robot Playground Media for the series.
“It is our distinct honor and pleasure to work with the incredibly talented artists and leadership team of Robot Playground Media,” said Al Moore, Co-Founder & Executive Producer of Colossul Studios and Qayinara Animation. Their work and dedication to this project is truly exceptional and inspiring. We look forward to bringing Gabriel and the Guardians to life with such a talented group.”
Ervin Han, Co-founder and CEO of Robot Playground Media, added, “We couldn’t be more excited to be part of this groundbreaking animated series from the visionary mind of creator Jason Moody, whose inspiration drives our team to bring his extraordinary vision to life. The innovative storytelling and exceptional creative talents of everyone at Colossul Studios make this project truly remarkable.”
About the show:
Gabriel and the Guardians draws inspiration from ancient Hebrew and other Mesopotamian traditions through a gripping tale of courage, sacrifice, and destiny. The series blends rich narrative depth with breathtaking world-building, reminiscent of beloved fantasy classics like Lord of the Rings, while adding its own distinct anime flair. The stakes are high as Gabriel and his fellow guardians strive to protect the mystical world of Ara from those who would use its power for evil.
The show’s pilot episode is set to officially premiere worldwide on January 29, 2025 on Angel Studios Guild.
“Gabriel and the Guardians has such a meaningful spot in Angel Studios’ future because we look at this show as one of the most innovative and exciting shows coming out of Angel Studios,” said Jordan Harmon, President of Angel Studios. “We’re so excited to bring this show to the world in a very powerful way.”
Following this morning’s Golden Globe nominations announcement, the creatives behind this year’s animation contenders are sharing their reactions to the good news!
“On behalf of the entire cast and crew of The Wild Robot I wish to extend our heartfelt gratitude to the members of the Golden Globes, a group of people from all over the world, for their recognition of this story of a lost robot whose relentless kindness and compassion changes everything. Your four nominations for our film, incredible score, and song, mean so very much to everyone who lent their precious talents and time to a movie that struck out into uncharted territory. For all of us, it was the film of a lifetime.”
— Chris Sanders, writer-director, The Wild Robot
“We are honored and humbled to be considered among such diverse and powerful films in what has been an extraordinary year for animation. The Wild Robot has been a career defining moment for all involved and we are grateful to the members of the Golden Globes for this incredible recognition of our film — and music — in which nature and technology find an unlikely balance through kindness, empathy and community.”
— Jeff Hermann, producer, The Wild Robot
“Thank you to the Golden Globes for this incredible honor. To Chris Sanders, thank you for this beautiful world, your trusting collaborative spirit, and for making music a character in this story. And thank you to Jeff Hermann, DreamWorks, and Universal for believing in me and this music to help bring your beautiful story to life.”
— Kris Bowers, composer, The Wild Robot
“On behalf of my fellow writers, we are absolutely over the moon that our heartfelt song, ‘Kiss the Sky,’ has been nominated for a Golden Globe Award! In a year filled with such extraordinary music in film, being recognized among so many inspiring songwriters is truly an honor. We’re so grateful for this incredible acknowledgment and very proud to be part of this unforgettable musical journey with DreamWorks Animation’s The Wild Robot.”
— Maren Morris, “Kiss the Sky” from The Wild Robot, performer and co-songwriter
“On behalf of my producer Liz and I, Sarah, Kodi, Jacki and all the many artists here in Australia who worked on the film, we are all tickled Pink that our little blobby snail film has been nominated for a Golden Globe. Grace Pudel looks forward to meeting you all on the red carpet in January.”
— Adam Elliot, writer & director, Memoir of a Snail
“I couldn’t be more thrilled and excited and proud of this film and proud of the entire team that worked so hard to make it. We can’t help but have all of our collective Joys at our consoles. These movies take years … and you really form a bond with the people that you’re with … There’s so many talented, wonderful, humble, kind human beings behind this film, and this crew in particular was really special.”
“I know how hard [the team on fellow animated feature nominee Moana 2] worked. I feel very connected to that film because we’re both following up a beloved film, and doing the second film in such a short amount of time, I’m just so proud of them.”
“I’ve gotten to know [Cinematic and Box Office nominee Alien: Romulus director Fede Alvarez] at some of the conferences, and I’m so excited to see that he was nominated right along with us.”
“Chee Hoo! Moana 2 is about the power of connecting to community, and it took a community of talented artists at Disney Animation to create this film. Enormous gratitude to each of them and to the Golden Globes!”
— David Derrick Jr., Jason Hand & Dana Ledoux Miller, directors, Moana 2
Nick Park and Merlin Crossingham ph. c/o Netflix]“It’s an absolute honor to see our film nominated for a Golden Globe, and to be recognized alongside some of the most prestigious names in animation. We are really proud of the whole crew and team in Bristol.”
— Nick Park & Merlin Crossingham, directors, Wallace & Gromit: Vengeance Most Fowl
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