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Just in time for catch-up viewing over the holiday break, The Pokémon Company International is offering even more accessible ways to enjoy Pokémon entertainment content.
Starting today, fans and those looking for a fun family-friendly activity this festive season can watch full episodes of the original Pokémon animated series — featuring the iconic Ash Ketchum and his Pikachu — on the brand-new Pokémon TV YouTube channel. The new channel will offer select Pokémon entertainment content at no cost, making it easy and accessible for fans around the world to watch Ash and his Pikachu’s adventures.
The channel has launched with the first batch of episodes from the brand’s debut animated series, Pokémon: Indigo League (1997). The series follows the adventures of 10-year-old Ash as he sets out from Pallet Town to pursue his dream of becoming a champion Pokémon trainer, exploring the world, making new friends and discovering new types of Pokémon with his strong-willed Pikachu by his side.
Fans can also catch up with the latest animated Pokémon adventures by streaming all of Season 1 of Pokémon Horizons: The Series — the first in over 25 years to introduce a new cast of characters in the franchise — on Netflix, ahead of the Season 2 premiere on February 7, 2025.
More information on where to watch Pokémon anime content can be found at pokemon.com.
Christian kids & Families content outfit Minno has acquired exclusive worldwide rights to exhibit and distribute The Dead Sea Squirrels, the new animated series created byMike Nawrocki and produced by Steve Taylor. Nawrocki is known for being the co-creator of VeggieTales (as well as the voice of Larry the Cucumber). Taylor is a recording artist, music producer and filmmaker.
This multi-year deal, in partnership with Wonder Project, encompasses global video streaming distribution and YouTube. The Dead Sea Squirrels series will make its exclusive debut on Minno in early 2025.
Synopsis: The Dead Sea Squirrels brings to life — literally — the tales of Merle and Pearl, a pair of squirrels who are old enough to have heard Jesus’ teachings in real time. Yet they are vibrant enough — thanks to their new human pal Michael — to go on hilarious adventures in America with a group of fifth-grade friends. Hijinks ensue as this salty couple reanimate and take their new friends on adventures full of action, humor, music and character building.
“As a parent, I know how important it is to find content that not only entertains our kids but also helps them grow in their faith,” said Erick Goss, CEO & Co-Founder of Minno. “That’s why we’re so excited to bring The Dead Sea Squirrels to Minno! Mike Nawrocki and Steve Taylor are incredible storytellers, and we can’t wait for families to laugh, learn and fall in love with Merle, Pearl, and the whole Dead Sea Squirrels crew. It’s a privilege to partner with such creative minds to offer kids content that parents can trust, and kids will love. We are also grateful to the Wonder Project team for providing the opportunity to partner with them on such a great show.”
Nawrocki commented, “We’ve been hard at work over the last several years bringing The Dead Sea Squirrels to life and are beyond excited to finally release Merle and Pearl into the wild! Since delivering my last VeggieTales episode 10 years ago, it’s been a dream to be able to launch a fun new series for families. We look forward to working with our great partners at Wonder Project and Minno to bring The Dead Sea Squirrels to kids everywhere!”
WildBrain has signed a partnership with Paramount to bring the hit series Sonic Prime to top kids’ entertainment channel Nickelodeon. The agreement will see 22 half-hour episodes and one hour-long special of Sonic Prime air Nickelodeon in the U.S. and Australia on December 7, followed by Italy (on FTA kids’ channel Super!) on December 23. The series will then launch in Germany, Austria, Switzerland, the U.K. and Ireland in 2025.
“SEGA’s Sonic the Hedgehog is one of today’s most popular entertainment brands. Sonic Prime is a huge hit with fans and a terrific example of how, at WildBrain, we are able to partner with IP owners to drive engagement for brands,” said Katie Wilson, VP of Global Sales & Acquisitions at WildBrain. “With their strong track record of Sonic content across highly popular live-action feature films and their Knuckles series, Paramount is the ideal partner to extend Sonic Prime’s popularity with new audiences around the world on Nickelodeon.”
Layla Lewis, Senior Vice President, Global Acquisitions and Content Partnerships at Nickelodeon, said, “The Sonic the Hedgehog universe has captivated the hearts of millions around the globe. We are thrilled to partner with WildBrain to bring the series to life on Nickelodeon channels, delivering an action-packed experience that will enthrall audiences around the world.”
Added Ivo Gerscovich, Senior Vice President and Chief Business and Brand Officer of Sonic, Head of SEGA Brands, “Sonic Prime captivated the Sonic community and audiences worldwide when it was released. Making our content as accessible as possible to our dedicated fanbase is something we always strive for and being able to bring Sonic Prime to more viewers worldwide is the perfect way to make that come to fruition.”
In Sonic Prime,the action-packed adventures of Sonic the Hedgehog go into overdrive when a run-in with Dr. Eggman results in a literal universe-shattering event. Desperate to piece his prime reality back together and save his old friends, Sonic races through the Shatterverse, discovering strange worlds and enlisting new friends in an epic adventure of a lifetime.
Co-produced by SEGA and WildBrain, Sonic Prime was animated at WildBrain’s Vancouver studio, with SEGA and WildBrain jointly participating across production, distribution and licensing. SEGA represents licensing for Sonic Prime in North America, LatAm and Japan, while WildBrain CPLG represents the brand in the rest of the world.
This month, we have the pleasure of tagging along with the amazing director Naoko Yamada, whose new movie The Colors Within (GKIDS) is generating early award season buzz. She has been very busy traveling the world to promote her special film, but she was kind enough to send us some of the fun pictures taken on her whirlwind tour:
During my recent trip to L.A. for the Animation Is Film festival premiere of the movie, I got the chance to visit the Griffith Observatory.
We had a live drawing day at Japan House Los Angeles.
During our L.A. promo day, I visited Freakbeat Records, where I got to go crate digging while talking about my favorite music. Of course, I also had to buy couple of records.
We held a Reddit AMA this day. The team put together a lot of snacks to have while answering everyone’s questions. I had to try some Takis and Hot Cheetos!
In November, I also went on a press trip to London and Glasgow, and I took some photos with a classic disposable camera. (These cameras are very popular again in Japan because of their retro look.)
We had a full-house screening of The Colors Within at the Scotland Loves Anime festival. Composer Kensuke Ushio and I enjoyed a wonderful Q&A with the audience.
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I had a great day of sightseeing at the Glasgow Necropolis.
I met some new friends during a visit to the Pollock Country Park in Glasgow! So lucky to have made so many amazing memories.
Becky and Joe won the BAFTA for television production design in 2023. [ph. provided by Blink Industries]Blink Industries and BAFTA Award-winning directors Becky and Joe have unveiled today the Don’t Hug Me I’m Scared website. The launch marks a return to the internet for the show, which started as a YouTube series 13 years ago.
The viral mixed media show’s YouTube channel now boasts more than 3.5 million subscribers and an average 10 million views per episode (315 million views total).
In 2020, Channel 4 (U.K.) commissioned six episodes for TV, evolving the stories, characters and unique format established in the online series. Released in 2022, the television show was critically acclaimed, and received a BAFTA Award for production design in 2023. Now, the show is available worldwide through the new site.
In addition to presenting the uniquely humorous and bizarre world of Don’t Hug Me I’m Scared, the site will give fans an inside look with behind-the-scenes images from Becky and Joe and a page dedicated to fan’s creative responses to show. There will also be exclusive merchandise available for purchase, designed by Becky and Joe and a host of guest collaborators.
Bookmark www.dhims.tv to tune in to Don’t Hug Me I’m Scared (both the TV and web series) and stay informed about more surprises in store!
Independent animation purveyor Miyu Distribution has acquired global rights for The Great History of Western Philosophy, the feature film debut from Mexican animator Aria Covamonas. The director is known for her Dadaist collage-styled shorts like the Sundance selected Socrates’ Adventures in the Underground and Annecy Cristal nominee Hideouser and Hideouser as well as last year’s I Can’t Go on Like This, which playd at Vienna Shorts, Annecy, Anim’est, Fest Anca and GIFF.
Crafted with a mélange of public domain images and audio, The Great History of Western Philosophykicks off as a “cosmic animator” is tasked by the Central Committee of the People’s Republic to make a philosophical film under the supervision of Chairman Mao. But when the depressed filmmaker gives up before beginning, Mao imposes a sentence of death by firing squad. Through the intervention of Comrade Monkey (of Journey to the West fame), our hapless protagonist is spurred into a journey through the history of Western philosophy.
Luce Grosjean, Miyu Distribution Founder & President, told Variety: “Aria’s film is an incredible piece of art. I fell in love immediately with the visuals, the energy, the absurdity. The film has nothing to envy from ‘Ubu, roi,’ it is pure art and funny. We know that the public we know the best, festival audiences, will love it, and we cannot wait to this crazy journey with them.”
God’s Gang Ltd., the production company behind animation series God’s Gangled by former Disney Channels executive Nimrod Avraham May, today announces its new voice cast for upcoming episodes.
Actor and autism awareness advocate Atticus Baldwin (The Wright Turn, House of Masks) has been cast in the upcoming episode of God’s Gang, to be release online to their 2,000,000+ online community in early 2025. God’s Gang is working with Baldwin via Autism in Entertainment, an organization working to increase employment opportunities for autistic talent in the entertainment industry. Baldwin’s role in the series will be announced in the coming weeks, along with further news on additional neurodiverse cast and characters, as the God‘s Gang studio continues with its commitment to promoting inclusivity.
“I’m passionate about helping show people that any obstacle they face can be overcome,” Baldwin shared. “My character in God’s Gang fits perfectly with this and the series’ core message that the world needs more compassion, kindness and love is one that I hold closely. The desire to build greater inclusivity for neurodiverse people is a cause I care about deeply. Having the opportunity to spread that message to God’s Gang’s huge and growing audience is one I’m incredibly proud to have.”
Clio Award-winning actor, writer and director Cathy McAuley (Hard Time on Planet Earth, T.J. Hooker) also joins the voice cast. Having been made an Honorary Doctor of Fine Arts by the University of Hawaii, she is most recognized for her recurring role on Night Court, where she played Wanda the Matchmaker, Bull’s Wife. She is also known for Days of Our Lives, Quantum Leap, Dave Thomas Show, Murder She Wrote and the animated series Marsupilami. Her film credits include Beanstalk, The Rosebud Beach Hotel and her notable role as Faye in the Academy Award-nominated short film Bronx Cheers. She has also appeared in 20 stage productions, including three record breaking tours of The Odd Couple as Cecily Pidgeon with Tim Conway & Tom Poston. McAuley is a mentor at Spectrum Laboratory, where she mentors young adults on the autism spectrum as the Head of their Voiceover Department.
Actor Lauren Choo completes the new cast of God’s Gang, playing an upcoming new Buddhist character. She is known for voicing characters in Totally Spies! and Bit Wars as well as global hit games Final Fantasy VII: Rebirth, Goddess of Victory: Nikke and Black Desert Online: Land of the Morning Light. Born in Taiwan and raised in Singapore, Choo’s experiences come from multiple cultures which help her easily relate to and embody different characters.
“This is a huge moment for God’s Gang,” said series creator May. “Atticus’s talent and advocacy for autism awareness align with our mission to truly make a difference in the world. Through Autism in Entertainment and working with talented neurodiverse professionals and creatives like Atticus, we are committing to fostering a new production industry standard that promotes inclusion, raises awareness, and creates pathways for people with different needs and backgrounds to showcase unique skills and talents. In the episodes, we are reflecting meaningful themes of identity and overcoming fear in a way that inspires and entertains. We are thrilled to welcome Atticus, Cathy and Lauren into the God’s Gang family.”
Multi-award-winning independent animation studio Aardman has announced the appointment of three new members to its board of Trustees: Caroline Norbury OBE, founding Chief Executive of Creative UK; Deep Sehgal, Head of Creative Diversity at GroupM Motion Entertainment; and Laurence Green, Director of Effectiveness at the Institute of Practitioners in Advertising.
Aardman has had Trustees since co-founders Peter Lord and David Sproxton transitioned the company into Employee Ownership in November 2018 and Aardman was effectively sold to Aardman itself. Lord and Sproxton sold 75% of their shares to a trust set up to hold those shares for the benefit of the Aardman employees.
The role of the Trustees is to ensure Aardman is run in the interests of its employees, in accordance with its guiding principles, and to the standards and values of its employees and Aardman’s founders.
Key duties and responsibilities of the Trustees include supporting the Executive Board in the long-term strategic planning for the studio, ensuring that Aardman will continue to remain a world-class and award-winning independent studio for many years to come. Trustees are not involved with the operational day-to-day running of Aardman.
Caroline Norbury OBEstarted her career working in community arts before becoming a film and TV producer then going on to found Creative UK. A not-for-profit organization that supports the creative industries, Creative UK has leveraged over £100 million into creative businesses and projects across the country and uses its extensive membership and networks to advocate for a world where creativity is valued and recognized as a driving force of our future.
“Aardman’s global reputation for creative excellence is renowned, and a real example of the power and quality of the U.K.’s creative industries. I am honored to be joining this iconic organization, which has imagination, innovation — and sheer joy — at its heart,” said Norbury. “Their commitment to supporting emerging diverse talent in the UK is particularly close to my heart, and I’m looking forward to working with the team to help empower the next generation of creatives in Bristol and beyond.”
Deep Sehgal has had a long and varied career in documentaries, drama and comedy as a producer, director and executive producer for major global television networks and his films have won awards from BAFTA, Broadcast and the Royal Television Society. He currently serves as the Head of Creative Diversity at GroupM Motion Entertainment, one of the world’s leading media investment companies, where he leads a dedicated fund for under-represented producers in partnership with Channel Four.
“Aardman is amongst the most iconic brands in the world, and alongside the company’s astonishing creative output is all the incredible work it does to improve the lives of children here in Bristol and beyond,” said Sehgal. “They are a shining example of how creativity and humor can be harnessed as a force for good and I am truly honored to be joining them.”
Laurence Green is an advertising strategist turned agency founderwho has started, grown and sold two highly regarded creative agencies, Fallon and 101, working along the way with some of the world’s best-loved brands: from start-ups and scale-ups such as innocent, Nando’s, Green & Blacks and Ben & Jerry’s through to the BBC, Cadbury’s, Skoda, and Sony. Laurence was strategy columnist for Campaign magazine for many years and advertising columnist at the Sunday Telegraph for three.
“I’m a great believer in the value of creativity in our cultural and commercial lives, and delighted to be part of the studio’s next chapter. Aardman’s characters and stories raise a smile and raise the bar wherever they go,” said Green.
Aardman’s existing Trustees are independent Chair David Pester, Aardman employees Dave Roberts and Carla Shelley,alongside co-founder David Sproxton. Caroline, Deep and Laurence join the board of Trustees, taking over from Jeremy Gadd and Mary Lowance, who will be finishing their terms.
“It is such a pleasure to welcome Caroline, Deep and Laurence to Aardman and to have their wealth of experience and knowledge at our disposal,” said Sean Clarke, Managing Director of the studio. “Aardman continues to go from strength to strength, with big ambitions for the future. We’re delighted to have such a capable and experienced trio join our Board of Trustees, who will help to support and guide us in delivering on these ambitions.”
Aardman’s latest feature film production, Wallace & Gromit: Vengeance Most Fowl will premiere on BBC iPlayer and BBC One in the U.K. this Christmas and will be available globally on Netflix from January 3.
Crunchyroll announced today at CCXP in Sāo Paulo that it has acquired the North American and select international theatrical rights including Brazil for the dark epic fantasy omnibus movie Attack on Titan: THE LASTATTACK, as well announcing as a flurry of new anime series and seasons of returning shows for its streaming lineup. Crunchyroll and Sony Pictures Entertainment will present the cinematic experience that combines the final chapters of the highly acclaimed anime series in one colossal film to theaters in early 2025 (no theatrical dates have been announced).
Acquired territories include:
North America: United States, Canada
Latin America: Brazil, Mexico, and other select Latin American countries
EMEA: Denmark, Finland, France, Germany, Italy, The Netherlands, Norway, Poland, Spain, Sweden, United Kingdom
APAC: Australia, New Zealand
Synopsis: Humanity lived quietly behind massive walls built to protect themselves from the threat of monstrous creatures called Titans. Their century of peace was shattered by an attack on their city that left a young child, Eren Yeager, motherless and vowing revenge on the titans.
Years after joining the Survey Corps, Eren finds himself facing a deadly foe, and ultimately gains a special ability that unveils a new truth about the world he knows…
After venturing beyond the walls and separated from his comrades, Eren finds himself inspired by this new truth and plots the “Rumbling,” a terrifying plan to eradicate every living thing in the world. With the fate of the world hanging in the balance, a motley crew of Eren’s former comrades and enemies scramble to halt his deadly mission. The only question is, can they stop him?
The Attack on Titan anime is based on the award-winning manga by Hajime Isayama. The award-winning series premiered in 2014 with four seasons, concluding in Fall 2023, and has won over fans and critics alike. Three of the seasons have garnered a 100% critic score and over 90% audience score on Rotten Tomatoes and has ranked #23 out of the top 250 TV Shows on IMDb (as rated by IMDb users).
The omnibus film is directed by Yûichirô Hayashi with character design by Tomohiro Kishi, art direction by Kuniaki Nemoto, chief animation direction by Daisuke Niinuma, editing by Masato Yoshitake and music by KOHTA YAMAMOTO and Hiroyuki Sawano; animated and produced by MAPPA.
During the Crunchyroll Industry Panel at CCXP, the streamer also announced the return of the Crunchyroll Anime Awards, taking place in Tokyo on May 25, 2025. Brazilian drag pop icon and musician Pabllo Vittar will appear as a celebrity presenter, alongside voice actress and idol Sally Amaki and entertainer Jon Kabira, who will return as co-hosts. Nominees will be revealed and fan voting will begin April 3, 2025. Category and eligibility information for the ninth edition of the show can be found on the Anime Awards Official website.
Crunchyroll also confirmed several titles coming soon to its streaming service
From renowned live-action film director Takashi Miike (Ichi the Killer, Audition,13 Assassins) comes Nyaight of the Living Cat, arriving on Crunchyroll in 2025. With animation production by OLM (The Apothecary Diaries,Pokémon), Miike will be overseeing the project as executive director, with Kamiya Tomohiro (key animation on Sing a Bit of Harmony) making their debut as series director. The new series will be based on the manga Night of the Living Cat written by Hawkman and illustrated by Mecha-Roots. The screenplay is being adapted by Irie Shingo (Orb: On the Movements of the Earth,Golden Kamuy Season 1).
A world premiere trailer was shared with the audience at CCXP in celebration of the news. Sony Pictures Entertainment will handle distribution for the title in Asia and Japan.
Synopsis: Run! The Adorable Cats Are Here. In 20XX, the world is dominated by cats. A virus which turns anyone who touches a cat into a cat has spread into a worldwide nyandemic. Cats rub against people, turning them into cats. Can humanity fight their urge to pet cats to survive in this cat-ridden world? The momentously catful comic is getting a TV anime in 2025!
Additional titles include:
Magic Maker: How to Make Magic in Another World – From director Kazuomi Koga (Rent-A-Girlfriend) and series composition writer Keiichiro Ochi (Go! Go! Loser Ranger!), based on the light novel Magic Maker ~Isekai Maho no Tsukurikata~ by Kazuki Kaburagi, the series is produced by Studio DEEN (KONOSUBA -God’s blessing on this wonderful world!) and will simulcast on Crunchyroll in January 2025.
Synopsis: On the night of his 30th birthday, one man’s dreams of wielding magic come true after he unexpectedly passes away. He wakes as Sion, a young child in another world. He and his elder sister, Marie, are the children of a lower-class noble family who govern their region. After receiving conflicting messages from their father, Sion and Marie set out on an adventure to uncover the magic.
Even Given the Worthless “Appraiser” Class, I’m Actually the Strongest– Based on the original novel series of the same name written by Ibarakino, the anime series will be directed by Kenta Onishi (Studio Apartment, Good Lighting, Angel Included) and series composition written by Touko Machida (Life Lessons with Uramichi Oniisan). The series is being animated by studio Okuruto Noboru (Tomodachi Game; Viral Hit) and will simulcast on Crunchyroll in January 2025.
Synopsis: Ein has been saddled with the job of “Appraiser,” the weakest and least fortunate of all the jobs one can be born with, as the only power it grants is the ability to appraise things. Treated cruelly by all and reduced to a litter collector by his peers, Ein has grown to hate himself and lives his days in spineless self-abasement. But when he meets Yuri, the spirit of the World Tree, and her protector, Ursula the sage, Ein’s fate takes a drastic turn. With the gift of a Spirit Eye from Yuri and the help of Ursula in learning how to use it, Ein grows stronger and stronger, until he’s ready to take Yuri on her long-desired journey to meet her World Tree’s sisters. He goes on to overcome all sorts of challenges, armed with his natural kindness and his new-found courage.
Unnamed Memory Season 2 – Making its way to Crunchyroll this January 2025, director Kazuya Miura (Uzaki-chan Wants to Hang Out!) returns alongside series composition writer Deko Akao (You Are Ms. Servant). The adaptation is based on the original novel series by Kuji Furumiya and original illustrations by Chibi, with animation production by ENGI (Trapped in a Dating Sim: The World of Otome Games is Tough for Mobs).
Season 1 Synopsis: Seeking to end a curse thwarting his lineage, Prince Oscar sets out on a quest that leads him to a powerful and beautiful witch, Tinasha, and he demands a unique bargain: marriage. Though unenthused by the proposal, she agrees to stay in his castle for a year while researching the spell cast upon him. But beneath her beauty lies a lifetime of dark secrets that soon come to light.
Grisaia Phantom Trigger – Produced by Bibury Animation Studio (The 100 Girlfriends Who Really, Really, Really, Really, Really Love You), the series is directed by Kosuke Murayama (Grisaia: Phantom Trigger the Animation Stargazer) and the screenplay is written by studio founder Tensho (Rewrite). Crunchyroll will simulcast the series starting in January 2025.
Synopsis: Several years after The Fruit of Grisaia… What was once “Mihama Academy,” a sanctuary for young girls, has now been transformed into a SORD (Special Organization for Research & Development) training school dedicated to fostering talent for national defense. Rena and Maki specialize in firearms, Tohka and Gumi excel at sniping, Chris handles explosives and data processing, and Murasaki is a skilled ninja for intelligence operations. Together, they take on cases too complex for the police or Self-Defense Forces, repeatedly facing dangerous missions. This is the story of these young girls, painted in blood and gunpowder.
Farmagia – Based on the video game of the same name with character and monster designs by FAIRY TAIL creator Hiro Mashima, the series will be led by first-time series director Akihiko Sano (chief animation director, FAIRY TAIL ZERO) with a series composition written by Toshizo Nemoto (Log Horizon). The anime is produced by the studio Bridge (FAIRY TAIL) and will simulcast on Crunchyroll starting in January 2025.
Synopsis: In Felicidad, farmers known as the Farmagia raise monsters under the peaceful rule of the Magus Diluculum. After the Magus passes, a power struggle erupts among forces using monsters to seize control. In the town of Centvelt, Farmagia Ten and his friends band together against the despotic new ruler, Glaza. Ten, his friends, and their home-grown monsters must stay strong to defend their freedom.
Teogonia – Scheduled for a 2025 simulcast on Crunchyroll, the anime series is adapted from the novel series of the same name by Tsukasa Tanimai. Directed by Kunihiro Mori (Mars Daybreak) and series composition written by Tomoyasu Okubo, the animation is being produced by Asahi Production (Gushing Over Magical Girls).
Synopsis: Humans fight to protect their land from invading demi-human tribes in relentless battles. As his world is engulfed by intense warfare, Kai, a village boy from Lag, joins the fight to defend all he knows. After Kai’s comrades fall one by one and he’s injured, he suddenly recalls memories from another life. A fantasy tale unfolds as a village boy explores a world of magic, mystery, and heroism.
Along with all the new acquisitions announced coming to Crunchyroll, fans were treated to exciting world premiere trailers of some highly anticipated anime series, which included the following:
Fire Force Season 3 – The final season of one of the hottest anime series will be split into two parts, premiering in April 2025 and January 2026. David Production (JoJo’s Bizarre Adventure) returns to produce the animation, based on the original manga of the same name created by Atsushi Ohkubo.
Series Synopsis: Tokyo is burning, and citizens are mysteriously suffering from spontaneous human combustion all throughout the city! Responsible for snuffing out this inferno is the Fire Force, and Shinra is ready to join their fight. Now, as part of Company 8, he’ll use his devil’s footprints to help keep the city from turning to ash! But his past and a burning secret behind the scenes could set everything ablaze.
ZENSHU – Animated by MAPPA, who is best known for Jujutsu Kaisen, Chainsaw Man, Attack on Titan Final Season and the remake of Ranma ½, the original anime series ZENSHU will be premiering in January 2025 on Crunchyroll. It is directed by Mitsue Yamazaki (Sleepy Princess in the Demon Castle; How Heavy Are the Dumbbells You Lift?) with a script written by Kimiko Ueno (Delicious in Dungeon, 2024’s Ranma ½).
Synopsis: After high school, Natsuko Hirose starts her career as an animator and quickly rises to director. Her first anime is a huge hit, earning her recognition as an up-and-coming genius director. But her next project isn’t going as well. It’s a romantic comedy, but she’s never been in love before! Struggling to grasp the concept, Natsuko can’t create the storyboard, bringing production to a standstill.
Lastly, a new teaser for To Be Hero X was shared, showcasing the various teams working on the project around the world. From studio BeDream and director Li Haolin (LINK CLICK, To Be Hero, To Be Heroine), the exciting new series will simulcast on Crunchyroll in 2025.
Synopsis: A world where outstanding heroes are applauded. Here, “trust” creates superheroes. If people believe “he can fly,” he will gain the ability to fly. Conversely, even if a hero has special powers, if he loses trust, he will also lose his powers. Trust is collected as data, and the ranking of heroes changes depending on the value. Once every two years, the top heroes gather to compete in a hero tournament. Their performance there updates their “trust value,” and the ranking is reconstructed. The absolute hero who stands at the top of the rankings, people call him “X”…
India is emerging as a global hub for media and entertainment, driven by its rich storytelling tradition, technological advancements and enabling policies. Shri Sanjay Jaju, Secretary, Ministry of Information & Broadcasting, is visiting the United States from December 3–6 to engage with key stakeholders from the media, entertainment and technology sectors.
The visit seeks to foster collaborations and promote the World Audio-Visual & Entertainment Summit (WAVES), scheduled for February 5–9, 2025 at Bharat Mandapam, New Delhi. WAVES, a flagship initiative of the Government of India, aims to position India as a preferred global destination for content creation and innovation. The Summit will bring together international creators, industry leaders and policymakers to explore trends, foster partnerships, and drive investment opportunities in India’s vibrant entertainment and media sector.
With its entertainment and media industry valued at $35 billion and poised for exponential growth, India offers compelling opportunities for international collaboration. Speaking on the visit, Shri Jaju said, “India is redefining the global media landscape. WAVES will showcase our potential and invite the world to partner with us on a journey of creativity and innovation.”
As part of the visit, Shri Jaju will participate in in-person meetings and two industry roundtables, one each at Los Angeles and San Francisco. Hosted by the Indian Consulate, the roundtables focus on India’s growing potential as a production and innovation hub, with the discussions emphasizing the country’s favorable market conditions, vast talent pool and advancements in areas such as generative AI, immersive media, etc.
This visit lays the groundwork for long-term global collaborations, cementing India’s position as
a key player in the media and entertainment ecosystem. WAVES 2024 invites the global industry
to “Come, sail with us” into the future of storytelling and innovation.
Technicolor Group, a global leader in creative technology and visual experiences, announces the appointment of David Conley as the new President of MPC (Moving Picture Company), reporting directly to Andrea Miloro, Chief Business & Strategy Officer, and Caroline Parot, Chief Executive Officer.
“David’s appointment embodies our commitment to delivering world-class visual experiences,” commented Miloro and Parot. “Renowned as a visionary creative leader, his passion for pioneering emerging technologies perfectly aligns with our mission to redefine the boundaries of possibility in visual effects.”
Conley brings over two decades of experience in the VFX industry to this post, having contributed to acclaimed films and television projects. Most recently, he served as the Executive Producer at Wētā FX, where he played a pivotal role in delivering groundbreaking visuals for projects such as Avatar: The Way of Water, The Last of Us series and Academy Award-winning animated short War Is Over!. His expertise in managing complex, large-scale productions while fostering collaboration between creative and technical teams has earned him a reputation as one of the most respected figures in the industry.
Conley has also held leadership roles at other globally recognized studios, spearheading initiatives to integrate emerging technologies into creative workflows delivering results that set new benchmarks for quality and innovation. His work has garnered numerous accolades, including Academy Awards, BAFTAs and Emmys, further highlighting his impact within the industry.
Under Conley’s leadership, MPC will look to expand its creative partnerships with filmmakers by combining creative excellence with advanced trends in technology to deliver innovative content. This announcement underscores MPC’s dedication to remaining at the forefront of the industry and delivering artistry and innovation that captivate audiences worldwide.
“I am honored to join MPC at such an exciting moment in its journey,” said Conley. “The team’s talent, passion, and ambitions to push creative boundaries are inspirational, and I look forward to collaborating with Andrea, Caroline and the entire team to shape the future.”
Writer and director Kris Kelly’s acclaimed new short A Wind and the Shadow tells a story of resilience and a mother’s love as she confronts her fears and faces her daughter’s illness through a fog of memories. The short, which has won the Irish Film and TV Academy’s award for Best Animated Short has also qualified for Oscar consideration this year. We recently had the chance to speak with the BAFTA-nominated director about his beautifully crafted and memorable short. Here is what he told us:
Animag: Congrats on the success of your recent project. Can you tell us a bit about how how you came up with the idea for the short?
Kris Kelly
Kris Kelly: After directing a documentary project in Prague for a number of years, I wanted my next film to be something I could both write and direct—a fictional piece, but still grounded in real-life experiences. Around the same time, I witnessed some family members navigating a particularly sensitive period. Observing this deeply moving dynamic inspired me. It made me want to tell a story that highlights the resilience and beauty of people in challenging circumstances, and that became the foundation for this project.
When did you start working on it, and how long did it take to finish?
Kris: We began working on the project around 2001, starting with the script drafting phase. Initially, we went through a development phase with the BFI, followed by a production phase, also in collaboration with the BFI. Altogether, the project took approximately four years from start to completion.
Which animation tools were used to create the stylized look?
Kris: The special look stems from my long-standing desire to merge real world classical techniques with computer-generated techniques to achieve a painterly, organic feel. This approach reflects my roots in working with tangible materials and my exploration of translating that into animation efficiently on a budget.
A Wind and the Shadow centers on the relationship between a mother and her sick daughter.
The process begins with loose pencil sketches, which are used as references for creating 3D assets that respect the proportions and style of the illustrations. We use Autodesk Maya with M-gear rigs for hand animation, allowing animators to create classically inspired sequences. For rendering, we primarily used Arnold, enhanced with custom shaders, layered passes, and compositing in Nuke to achieve a more organic look.
For added texture and an artisanal feel, inspired by films like The Old Man and the Sea, we took the animation into Photoshop for frame-by-frame hand painting. This balance between automated techniques and manual artistry was dictated by time, budget, and the desired aesthetic.
A Wind and the Shadow
Can you elaborate on how the specific visual style was created?
Kris: The foundation of this visual style came from an early experiment where I sketched an idea, animated it in 3D, and then reprojected the animation onto paper to redraw it in charcoal. That process revealed how the interplay between technology and hand-drawn techniques created a unique emotional resonance that purely computer-generated imagery couldn’t replicate.
For AWind in the Shadows, years of refining this approach helped me better understand the balance between CG elements and hand-drawn details. Faces and eyes, for example, are areas I often hand-draw frame by frame in Photoshop to ensure they capture the emotional depth I’m aiming for. In contrast, elements like cloth or backgrounds might rely more on shaders or filters created in Maya, Arnold, Nuke, or After Effects, using custom shaders to maintain an organic feel.
This balance is key. Faces demand precision and human touch, so I spent time illustrating our actors’ faces by hand to capture their essence and translate it to animation. Conversely, some areas benefit from looser visualization, reflecting the subjective and interpretative nature of the film’s themes.
Ultimately, this visual language prioritizes artistry over rigid realism, ensuring the emotional experience remains at the forefront. Achieving this has been a journey of experimentation, continuously exploring how to best integrate these techniques to serve the story.
How many people worked on the short with you?
Kris: The team consisted of about 15 to 20 people, spanning various roles from concept art and storyboarding to technical scene setup, rendering, lighting, and animation. This included both hand animation and 2D drawn animation overlaid later in the process. For example, creatures like the bird and crab were animated frame by frame in Photoshop, with additional painting over the frames toward the end. Each team member contributed to bringing the project’s intricate visuals to life.
Looking back, what would say were the toughest aspects of the project?
Kris: The project faced many challenges across different areas. The greatest was navigating a sensitive subject in a way that felt both tasteful and respectful, while also creating enough drama to keep audiences engaged. Striking that balance was the most significant challenge during the filmmaking process.
There were also technical challenges, such as assembling a team that fit the story’s needs. I was fortunate to have talented collaborators and strong producer support. Early on, integrating a textured, hand-drawn feel into 3D animation presented unique hurdles. I drew inspiration from directors like Alberto Miego, whose tone and European art house style influenced my approach.
A particularly difficult issue arose with rendering water and certain shots; the costs far exceeded our budget. This forced us to embrace a more stylized approach, leaning further into painting and an organic feel. While budget constraints are a common challenge in animation, we turned this limitation into an opportunity to create visuals that complemented the story’s tone and the subject’s sensitivity.
Who are your biggest animation influences?
Kris: My influences span a wide range of creators, often extending beyond the animation industry into visual art and filmmaking. On a contemporary level, I’m deeply inspired by Alberto Mielgo. His ability to use CG and 3D animation in a mature, European art house style is phenomenal. His work has not only influenced me but also given me the confidence to pursue the type of animation I want to see in the world.
In a more classical sense, I’ve been influenced by works like The Old Man and the Sea and animators like Jan Švankmajer, who bring a grittier, experimental edge to their storytelling. I admire their honesty, willingness to explore abstract ideas, and their ability to create work that feels inseparable from the medium of animation itself.
Additionally, artists like David O’Reilly, who push boundaries by exploring simulation and other unconventional spaces, have also shaped my perspective. Across all these influences, I’m drawn to creators who challenge norms and explore the possibilities of animation as a powerful and expressive medium.
A Wind and the Shadow
What do you hope audiences take away from your short?
Kris: I hope audiences come away with a sense of honesty and strength, recognizing the incredible resilience and beauty in real people. These are the true heroes—not fictional characters in capes, but those who endure hardship, navigate difficult times, and find ways to hold it together with the support of those around them.
For me, these stories are deeply inspiring, and I hope the film encourages viewers to think about others, reflect on the world we live in, and understand the importance of sharing experiences to inspire and uplift one another.
What are you working on next?
Kris: Yes, I’m currently working on my next film, Bulls in Water. While this project falls primarily into the live-action category, it still incorporates my love for visual art and animation to convey certain emotions and explore parts of the story. I’ve always been drawn to films that are visually arresting and push boundaries, and as a filmmaker, I’m committed to continuing to try new things and explore subjects in unique ways. My hope is that my work resonates with audiences who appreciate this approach and enjoy the stories I aim to tell.
Following a highly competitive bidding process, Italy-based RIVA Studios has successfully acquired TeamTO, saving the French animation studio from bankruptcy. The acquisition was officially approved by the Tribunal de Commerce de Paris (Commercial Court of Paris) on today.
With a new executive team led by RIVA Co-Founders Marco Balsamo and Tara Sibel Demren, and DC animated universe veteran and Lex and Otis Studios Co-Founder Jay Oliva, the new owners plan to navigate TeamTO toward a brighter future as the studio approaches its 20th anniversary in 2025.
“TeamTO set a world-class standard for animation and this is a pivotal moment for the studio. Under this new direction, we’re not just continuing the studio’s legacy — we’re building a stronger, more ambitious company that’s ready to elevate that standard and redefine what’s possible. With our team’s vast experience, passion, and bold vision for the future, we’re ready to break new ground and shape the future of the industry that we all love,” said Balsamo.
Under this new leadership team, TeamTO will continue delivering acclaimed content, including Sony Pictures Television – Kids’ The Creature Cases as well as original hits Jade Armor and Angelo Rules. Additionally, they will focus on developing new original franchises, including Junichiro Jackson, Akira’s Flying Wheelchair, Yellow Cello, Cradle: Unsouled, Era: The Legend of Lugh and Corvus Belli’s Infinity: Paradise Lost.
“Opportunities like this are rare and I couldn’t be more excited to help lead TeamTO into a new era,” enthused Oliva, a director, writer, artist and producer whose recent credits include Twilight of the Gods, RAID: Call of the Arbiter, Trese and Jurassic World: Camp Cretaceous. “In today’s evolving animation landscape, this is a golden opportunity to expand the studio into uncharted territories that will push creative boundaries through innovative visual styles and immersive stories that will inspire audiences around the world. I can’t wait for everyone to see what’s next!”
Marco Balsamo, Jay Oliva and Tara Sibel Demren [photos provided by RIVA Studio]TeamTO will continue operating from Valence and Paris, retaining majority of its staff to ensure a seamless transition on all current and upcoming series and films. Studio founders Guillaume Hellouin and Corinne Kouper will continue as executive advisors while also serving as executive producers on current and upcoming projects. They will work closely with the new leadership team to ensure seamless collaboration on all productions.
“We couldn’t be happier as we know this leadership team will honor our two decades of creative excellence with a visionary plan that will ensure TeamTO’s success for another 20 years and beyond.” said Hellouin.
TeamTO shows continue to enjoy a healthy level of demand from global broadcasters and streamers. This week, distributor APC Kids announced it has secured key international sales for the action-comedy series Jade Armor, which has been nominated for the Unifrance TV Export Award for animation.
New deals for the 26 x 26’ series, produced by TeamTO in association with France Télévisions and Super RTL, with the participation of CNC, the support of Region Ile de France, Région Auvergne-Rhône-Alpes and Creative Europe MEDIA, include: PCCW (Hong Kong); MTVA (Hungary); Bell Media (Canada), and Mediacorp (Singapore). They join Téléquébec (Canada); WildBrain (Canada); RTBF (Belgium), and DR (Denmark) which are already on board.
The martial arts action-comedy series, aimed at 6-10 year olds, is currently airing on Cartoon Network (EMEA), France Télévisions (France), Super RTL (Germany); ABC (Australia), Youku Kids (China) and SRC (Canada) with a second season planned for 2025.
Writer/director Rob Edwards (The Princess and the Frog, Treasure Planet) has signed on to write, direct and produce the animated film version of Brown Sugar Fairies: Saroja’s Quest, the children’s fantasy book written and created by Aiysha Sinclair, illustrated by Joyceline Furniss and published by Stranger Comics. Sinclair will also produce alongside Stranger Comics President Sebastian A. Jones (creator of the Asunda/Niobe stories; writer for The Untamed, Erathune and more).
“When Sebastian presented the idea of Rob breathing cinematic life into my fairytale, to say I was excited is an understatement,” said Sinclair. “Rob is a creative force and visionary; I just know he is the perfect partner to help Brown Sugar Fairies take flight across the silver screen!”
Saroja’s Quest is the story of Peppa, an inquisitive 10-year-old girl who becomes best friends with a flower fairy named Saroja. The fairy is on a quest to find the sacred Lotus flower and return it to her Enchanted Land before her magical world is destroyed. When Peppa’s grandfather takes ill, she has a difficult choice to make -— to help her newfound friend save her home or use the last of its power to cure her grandfather. This is a story of compassion, bravery and the magic of friendship.
Aiysha Sinclair [ph: John Alexander]
Sebastian A. Jones [ph: Tyler Shields]
”Aiysha has created a community in the world of fairytales and is known for being a true pioneer of the Black Fae movement through her books and dolls,” shares Edwards. “Stranger Comics is known in both the comic and children’s book industry for its diverse heroes and backdrops in afro-fantasy inspired settings with emotional themes that resonate universally on a deeply human level. With my experience in animation and love of the story, the collaboration was inevitable. We’re hoping this movie will have heart, humor and endearing characters that will hold a place in people’s hearts for generations to come.”
Jones added, ”It is time to celebrate Aiysha, who inspires and uplifts all who read her book, and all who meet her. I am just incredibly honored to work with her and Rob on the next journey of Brown Sugar Fairies. Rob’s storytelling is both beautifully lyrical and yet grounded in such a human way that will make us all believers of Aiysha’s magical fairytale.”
Rob Edwards has written two classic animated films for Walt Disney Feature Animation, the Academy Award and Golden Globe-nominated The Princess and the Frog, and the Academy Award-nominated Treasure Planet. He also wrote and directed the award-winning animated short The Park Bench and consulted on Disney’s Tangled, Wreck-It Ralph and Frozen. In 2025, Edwards has three films being released: Marvel’s Captain America: Brave New World, Sneaks and animated feature The King of Kings. He is currently writing projects for Showtime, Sony and Mofac.
Edwards is a 20-year veteran of television where he wrote and produced, several television shows, including The Fresh Prince of Bel-Air, Full House, A Different World, Studio 60 on the Sunset Strip, Roc and In Living Color. His graphic novel, Defiant, is a best seller in three categories on Amazon and is currently being made into a motion picture by Legion M. Edwards is an adjunct professor of screenwriting at the School of Cinematic Arts at USC and the Newhouse School at Syracuse University, where he also serves on the SUMA Advisory Council.
BAFTA-nominated animation studio THE LINE has released a new cinematic short for the video game Warframe: 1999, now live on the @playwarframe YouTube channel. Titled The Hex, the anime-inspired film helmed by Venla Linna (Heavenly Vessel; animation lead on Gorillaz’ “Song Machine”) in her commercial directing debut.
For The Hex, Linna focused on six Protoframes as they face off against a Technocyte infestation. The short offered the director a chance to delve deeper into the lore of the updated title from game developer Digital Extremes.
Taking cues from The Matrix and Ghost in the Shell, The Hex blends a muted color scheme with intense visuals and a moody soundtrack to take a more introspective angle on this story universe.
“I was really inspired by the wider Warframe universe, and above all, the dedication and love the Digital Extremes team has for their characters,” shared Linna. “I really wanted to meet this love with an equal amount, so I spent hours watching videos about the stories in the game. Both the client and I really wanted to represent these characters as human beings, not just Warframes. They are individuals with histories and emotions facing a future of losing themselves to the infestation, forced to work together with people they don’t necessarily trust.”
Eleanor model sheet
Lettie character layout
Quincy model sheet
Leading up to the short’s premiere on December 5, THE LINE and Digital Extremes kept fans updated with exclusive behind-the-scenes sneak peeks through their social media feeds. In the coming weeks, THE LINE will also share never-seen-before concept art and animation breakdowns across Instagram, X, TikTok, YouTube, LinkedIn and Facebook.
Ahead of the film’s nationwide rollout tomorrow (Friday, December 6) through Sideshow and Janus Films, cinephiles have been treated to a new behind-the-scenes video peek at Flow, featuring the European animated indie’s director, co-writer, co-producer, co-composer, cinematographer & editor, Gints Zilbalodis.
Flow will expand to more than 350 theaters in cities, including San Francisco, Seattle, Dallas, Chicago, Atlanta, Denver, Philadelphia, Boston, Houston and more.
Synopsis: A wondrous journey, through realms natural and mystical, Flow follows a courageous cat after his home is devastated by a great flood. Teaming up with a capybara, a lemur, a bird and a dog to navigate a boat in search of dry land, they must rely on trust, courage, and wits to survive the perils of a newly aquatic planet.
From the boundless imagination of the award-winning Gints Zilbalodis (Away) comes a thrilling animated spectacle as well as a profound meditation on the fragility of the environment and the spirit of friendship and community. Steeped in the soaring possibilities of visual storytelling, Flow is a feast for the senses and a treasure for the heart.
The film is eligible for nomination for the Academy Award for Best Animated Feature this year, and is also Latvia’s official Best International Feature entry. Just this week, Flow has been awarded Best Animated Film by the New York Film Critics Circle and National Board of Review, and was nominated for Best International Film at the Spirit Awards. It is also nominated for Best Film and Best Animated Feature at the European Film Awards. Previously, Zilbalodis’ sophomore feature was awarded the Grand Prize at Animation Is Film in L.A.
The Critics Choice Association (CCA) announced today the TV category nominees for the 30th annual Critics Choice Awards. The winners will be revealed at an awards gala hosted by Chelsea Handler, which will broadcast live on E! on Sunday, January 12, 2025 (7-10 p.m. ET/PT) from the Barker Hangar in Santa Monica. The show will also be available to stream the next day on Peacock.
Shōgun (FX/Hulu) leads this year’s contenders with six nominations, including Best Drama Series. Abbott Elementary (ABC), Disclaimer (Apple TV+), Hacks (HBO | Max), The Diplomat (Netflix), The Penguin (HBO | Max) and What We Do in the Shadows (FX) followed with four nominations each.
in the Best Animated Series race, preschool phenom Bluey (Disney+) vies against two adult-targeted super hero titles from Prime Video, Batman: Caped Crusader and Invincible, as well as long-running FOX animated sitcoms The Simpsons and Bob’s Burgers, and the nostalgia-fueled superhero action adventure X-Men ’97 (Disney+).
The full list of 2024 Critics Choice Awards television nominees is available at criticschoice.com.
Jeff Fowler (left) on set with star Jim Carrey [c/o Paramount Pictures]
‘We’re always just trying to go bigger every time and throw more scope and spectacle into the mix, but obviously, the most important thing is that we keep the heart and the emotion of these characters in the story.’
— Director Jeff Fowler
This holiday season’s eagerly anticipated Sonic the Hedgehog 3 movie marks a full-circle moment for its director. Jeff Fowler, who helmed the first two movies in the franchise, as well as the first episode of the Knuckles series, has the privilege of bringing to the big screen one of the most beloved characters in video game history — Shadow the Hedgehog. When working for VFX studio Blur in the early 2000s, Fowler brushed shoulders with the franchise that would go on to be central to his career.
“Blur got hired by Sega to create cinematics for Shadow the Hedgehog, which was the spinoff game they gave to Shadow after he debuted in Sonic Adventure 2 and was such a massive success,” Fowler tells Animation Magazine. “I did some of the camerawork in the layout, but I also got to animate some stuff. That was 2004, exactly 20 years ago, which is crazy. To be here now, and to get to do this big cinematic version of Shadow and tell his story, it’s an incredibly full-circle moment, and I feel very fortunate to have been given the opportunity.”
Bringing Shadow, a character with a dark backstory and immense power, into the mix of the Sonic franchise called for a narrative that balanced the big and small. “We’re always just trying to go bigger every time and throw more scope and spectacle into the mix, but obviously, the most important thing is that we keep the heart and the emotion of these characters in the story,” Fowler explains. “I think it’s very easy to get carried away with wanting to go bigger and have fun with the action choreography, but you’ve got be telling a great story.”
Recapturing That Sonic Style
Just like the Knuckles series, the team employed a “speedboat vendor” approach, which meant spreading the animation load across six studios; Rising Sun Pictures, Rodeo FX, ILM, Fin, Marza and an in-house team at Paramount. For animation supervisor Clem Yip, the challenge was getting all these teams on the same page. “With many established characters, whether you’re talking Mickey Mouse or whoever, there’s always a style that this character lives in, whether it’s a look or a pose or personality,” he explains to Animation Magazine. “And so if you have multiple vendors, you have multiple teams you have to bring up to speed, so initially there’s an extra level of work that has to be done. But once you do that, because the work is spread out, you do have that opportunity to go back and say, ‘Maybe we push this a little bit more or polish that performance a little bit more.’”
The franchise’s capacity for action has increased through its three films, with Sonic 3 promising to be the most creative to date. “With Sonic 2, we finally had two characters that have superpowers, and we could really have them go at it. We could stage really exciting action, and it freed us up in some really great ways. With this third film with Shadow, it’s very similar, because Shadow is obviously even more impressive and powerful as an adversary, and he’s going to challenge Sonic, Tails and Knuckles in ways we haven’t seen,” Yip says.
“We had a lot of help from Tyson Hesse, who often helps with the storyboards to stage our action,” adds Yip. “You need to have cool camera angles that feature all the different characters doing their thing without taking anything away. It’s just about coming up with fun ideas of what they can do in any given action scene.”
Shadowy Player: Actor Keanu Reeves brings a fan-faithful rendition of Shadow the Hedgehog to the third ‘Sonic the Hedgehog’ movie. The voice cast also includes Ben Schwartz, Colleen O’Shaughnessey and Idris Elba as Sonic, Miles “Tails” Power and Knuckles, respectively.
Adapting Shadow to the screen proved to be a completely different task than bringing Sonic from the video game realm. “In the games, Sonic is all confidence, all attitude, all swagger — a hero through and through. But for the films, we knew we needed to give him more of an arc,” says Fowler. “There was a vulnerability that we needed, and that’s something Ben [Schwartz] brought with his performance; whereas Shadow doesn’t say a lot, but when he does say something it has a ton of weight. Those two provided a yin and yang of hedgehogs. I also give Keanu [Reeves] a ton of credit, because he really did his homework before he came in. He wanted to understand who he was playing and be able to make decisions that were informed by all the stuff that fans love about the character.”
Reeves’ approach to the role also provided clarity on how to animate Shadow. “He’s less broad than the other characters and more reserved in the range we can go with him,” explains Yip. “Keanu has a very particular style of delivery, which is really cool, and it meshes with Shadow’s personality. It’s lower key, a little bit more serious. So that right away informs the character performance.”
Along with the speedboat vendors, the use of puppet stand-ins for CG characters was also transplanted from the Knuckles show. The technique is similar to what was executed on the TV series. “We really enjoyed Knuckles just as an experiment,” says Fowler. “For the most part, it was just Knuckles in most of the episodes, so it didn’t require us to create a whole troupe of puppets and have all the puppeteers around all the time. But in Sonic 3, we’ve got four characters that are animated, and so we did bring in puppeteers when all the characters would be present in a scene and really committed to it.
“For the returning cast, they’re all completely pros and so used to how we work, but that doesn’t mean we’re not always trying to find ways to make them even more comfortable, especially with [child actor] Alyla Browne, who plays Maria. She’s got a fantastic imagination and would have been fine with the tennis ball, but when we’re creating those scenes and images of [her and Shadow] becoming best friends, it felt more natural for her to have something to play off of. The puppeteers every now and then would ad-lib or do something really funny, and then next thing you know it’s in the movie.”
Puppets Save the Day
Yip says on-set puppetry has become the norm. “In the earlier days of CG characters, it was less common,” he says. “But I think what people have realized is having something to act against, even if it’s just a puppet, gives the actors something to play off of — if for nothing else than getting the eyeline correct. If they don’t have anything to look at, people’s eyelines tend to wander, and that makes it very hard to look convincing in post.”
As the franchise evolves, Fowler looks forward to telling different kinds of stories every time. “We have Jim Carrey playing two characters in this movie; if that was all we did, I would be like, ‘Oh my God, I’m there,’” he exclaims. “But to also bring in Shadow, those two things instantly got everyone excited about getting back out there and doing another film. I think you’ll see it when the film is out. We’ve launched into a whole different style of storytelling and taken on an interesting tone, and the action and all of the film’s different elements have really grown in awesome ways.”
Paramount unleashes Sonic the Hedgehog 3 in U.S. theaters on December 20.
The new supernatural anime feature Hell Teacher: Jigoku Sensei Nube— based on the manga series written by Shou Makura with art by Takeshi Okano, published by Shueisha — is gearing up for its premiere in summer 2025. REMOW Co., Ltd. has revealed the voice actor of the protagonist, Nube, and has debuted the first images and key art featuring hell’s messenger of justice.
Ryotaro Okiayu,known for playing Kunimitsu Tezuka in The Prince of Tennis, Kokushibo in Demon Slayer: Kimetsu no Yaiba, will star as Meisuke Nueno, known as “Nube”, who is a cheerful and kind teacher adored by his students. He fights to protect them from ghosts, evil spirits and other bizarre phenomena, though he sometimes has a clumsy, mischievous side.
The original Hell Teacher: Jigoku Sensei Nube manga was serialized in Shueisha’s Weekly Shonen Jump from 1993 to 1999. It went on to sell more than 29 million copies, achieving status as a fan favorite occult comic in Japan. Readers resonated with the manga’s story, based on classic ghost stories and urban legends, as well as the psychic teacher Nube’s moving dedication and courage in protecting his students from supernatural threats.
To celebrate the new announcement, “It’s Anime” powered by REMOW rolls out a limited time shikishi board giveaway campaign signed by Ryotaro Okiayu. This campaign is exclusively for fans outside of Japan. The giveaway will be held on the @ItsAnimeJP X account.
Offering a peek into some of this year’s visual holiday magic, Disney released a behind-the-scenes look at the making of A Disney Holiday Short: The Boy & The Octopus. Award-winning director Taika Waititi provides exclusive commentary, offering insight into his goals for casting, filming locations and the emotional connection he wanted audiences to form with this story.
Since its release last month on a variety of platforms, including YouTube and Disney+, The Boy & The Octopus has received over 75 million views worldwide and an overwhelmingly positive response from viewers celebrating the incredible storytelling.
“I was struck by just how magical and beautiful the story was. It’s a simple tale of a boy on holiday and he goes swimming and then meets an unexpected friend in the least expected place. I love the idea of these two characters from completely different worlds who are looking for connection,” said Waititi.
While the short was filmed in live-action, there was an incredible level of detail required of the VFX work to capture intricate movements and transformations to create an octopus character (unofficially dubbed “Blub Blub” by Waititi and the production team) that felt both realistic and emotionally expressive with eight tentacles that could move independently, shapeshift, and even change colors.
“Anytime that we’re making a character there’s always challenges. Aside from having eight tentacles, octopuses can shape shift, they can change color on their skin. We built in all sorts of crazy things,” said Adam Droy from Untold Studios, the VFX creative agency for this short.
The film combines footage from a beach in Mallorca, Spain as well as the historic city of Prague. This combination of live action and animated character work/VFX got an extra touch of Disney magic, backed by a melodic rendition of “Part of Your World” from Disney classic The Little Mermaid (1989), which was recorded by a 60-piece orchestra and mixed at the storied Abbey Road studio in London. Toby Williams of Leland served as music supervisor for the short.
Read more about the short and watch it in full in our previous post here.
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