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  • Oscars: Academy Reveals Full Lists of Qualifying Documentary, International and Animated Features

    A total of 201 documentary features, 86 international features and 35 animated features are eligible for Oscar recognition this season in the best documentary feature, best international feature and best animated feature categories, respectively, the Academy of Motion Picture Arts and Sciences announced on Friday.

    The only time more documentaries were deemed eligible — 238 — was the year in which the pandemic led to an extension of the period of eligibility from 12 to 14 months (Jan. 1, 2020 to Feb. 28, 2021) and docs that did not play in theaters were considered.

    This year’s list of eligible documentary features includes titles that have dominated at the doc community’s precursor awards, including Netflix’s The Perfect Neighbor and Apocalypse in the Tropics, Apple’s Come See Me in the Good Light and Neon’s Orwell: 2+2=5. It also includes two acclaimed films made by celebrities about their famous parents, HBO’s My Mom Jayne and Apple’s Stiller & Meara: Nothing Is Lost, which were directed by Mariska Hargitay and Ben Stiller, respectively. And there are several titles related to recent turmoil in the Middle East, including Hemdale/Metallux’s Torn: The Israel-Palestine Poster War on New York City Streets and the self-distributed Coexistence, My Ass!, Holding Liat and Put Your Soul on Your Hand and Walk.

    The most glaring omission from the list: The Eyes of Ghana, a documentary directed by the two-time Oscar-winning documentarian Ben Proudfoot, which is still seeking distribution. The Hollywood Reporter has confirmed that a late decision was made to hold the film for next awards season. Other high-profile docs that were expected to be on the list but are not, either because they were not submitted or because they failed to meet the eligibility requirements, include A24’s Marc by Sofia, Oscar winner Sofia Coppola’s portrait of Marc Jacobs, and Oscar winner Questlove’s Hulu film Sly Lives! (aka the Burden of Black Genius).

    The list of eligible international features includes five widely lauded films that are being distributed in the U.S. by Parasite backer Neon and could conceivably all earn nominations: Norway’s Sentimental Value, Brazil’s The Secret Agent, South Korea’s No Other Choice, Spain’s Sirāt and France’s It Was Just an Accident. It Was Just an Accident, which won the Cannes Film Festival’s Palme d’Or, was directed by Jafar Panahi, a filmmaker from Iran but does not reflect well on the country; as a result, Iran submitted the much lower-profile Cause of Death: Unknown, while France submitted It Was Just an Accident, on the basis that much of the film’s financing was French.

    Other countries that made interesting submissions include Japan (GKIDS’ Kokuho, a film about Kabuki performers, which is now the highest-grossing non-animated film in that country’s history); Iraq (Sony Classics’ The President’s Cake won two prizes at Cannes); Belgium (Music Box’s Young Mothers could bring the brothers Jean-Pierre Dardenne and Luc Dardenne the first Oscar noms of their distinguished careers); and Taiwan (Netflix’s Left-Handed Girl, which was co-written by Anora Oscar winner Sean Baker).

    Meanwhile, at least three countries submitted acclaimed documentaries for best international feature consideration: Ukraine (PBS’ 2000 Meters to Andriivka, a doc about a Ukrainian platoon’s fight to retake a city from Russian invaders, which was directed by Mstyslav Chernov, who won the best doc feature Oscar two years ago); North Macdeonia (Nat Geo’s The Tale of Silyan, from Tamara Kotevska, whose 2019 film Honeyland was nominated for best international feature and doc feature Oscars); and Denmark (Mr. Nobody Against, a film about Vladimir Putin’s propaganda efforts, which is still seeking U.S. distribution).

    And the list of animated features includes giant blockbusters like Crunchyroll’s Demon Slayer: Kimetsu no Yaiba Infinity Castle, which is now the highest-grossing Japanese film of all time and the highest-grossing international film in the U.S. of all time, as well as the fifth-highest-grossing film of 2025; streaming hits like Netflix’s KPop Demon Hunters, which is now that streamer’s most watched film ever; acclaimed indies like Neon’s Arco, a French-language critics’ darling that counts Natalie Portman among its producers; and highly-anticipated forthcoming titles like Disney’s Zootopia 2.

    Among the animated films that were expected to contend but are not on the list of eligible titles, either because they were not submitted or because they failed to meet the eligibility requirements, are A24’s Ne Zha 2, Sony’s Paddington in Peru and Paramount’s Smurfs.

    The documentary feature and international feature categories are winnowed down to shortlists before nominations, while the animated feature category goes straight to nominations. Shortlist voting will span Dec. 8-12, 2025, and the announcement of the shortlists will come on Dec. 16. Nominations voting in all categories will span Jan. 12-16, 2026, and the announcement of the nominations will come on Jan. 22, 2026.

    A full list of eligible animated, documentary and international features follows.

    Eligible animated features

    Thirty-five features are eligible for consideration in the Animated Feature Film category for the 98th Academy Awards. Some of the films have not yet had their required qualifying release and must fulfill that requirement and comply with all the category’s other qualifying rules to advance in the voting process.

    To determine the five nominees, members of the Animation Branch are automatically eligible to vote in the category. Academy members outside of the Animation Branch are invited to opt in to participate and must meet a minimum viewing requirement to be eligible to vote in the category. Films submitted in the Animated Feature Film category may also qualify for Academy Awards in other categories, including Best Picture. Animated features that have been submitted in the International Feature Film category as their country’s official selection are also eligible in the category.

    “All Operators Are Currently Unavailable”

    “Arco”

    “The Bad Guys 2”

    “Black Butterflies”

    “Boys Go to Jupiter”

    “Chainsaw Man – The Movie: Reze Arc”

    “ChaO”

    “Colorful Stage! The Movie: A Miku Who Can’t Sing”

    “David”

    “Demon Slayer: Kimetsu no Yaiba Infinity Castle”

    “Dog Man”

    “Dog of God”

    “Dragon Heart – Adventures Beyond This World”

    “Elio”

    “Endless Cookie”

    “Fixed”

    “Gabby’s Dollhouse: The Movie”

    “In Your Dreams”

    “KPop Demon Hunters”

    “The Legend of Hei 2”

    “Light of the World”

    “Little Amélie or the Character of Rain”

    “Lost in Starlight”

    “A Magnificent Life”

    “Mahavatar Narsimha”

    “Night of the Zoopocalypse”

    “Olivia & las Nubes”

    “100 Meters”

    “Out of the Nest”

    “Scarlet””Slide”

    “The SpongeBob Movie: Search for SquarePants”

    “Stitch Head”

    “The Twits”

    “Zootopia 2”

    Eligible documentary features

    Two hundred one features are eligible for consideration in the documentary feature film category for the 98th Academy Awards. Some of the films have not yet had their required qualifying release and must fulfill that requirement and comply with all the category’s other qualifying rules to advance in the voting process.

    Documentary features that have won a qualifying film festival award or have been submitted in the international feature film category as their country’s official selection are also eligible in the category. Films submitted in the documentary feature film category may also qualify for Academy Awards in other categories, including best picture. Members of the documentary branch vote to determine the shortlist and the nominees. The shortlist of 15 films will be announced on Tuesday, Dec. 16, 2025.

    “Abby’s List, A Dogumentary”

    “Ada – My Mother the Architect”

    “Afternoons of Solitude”

    “The Age of Disclosure”

    “Ai Weiwei’s Turandot”

    “The Alabama Solution”

    “All God’s Children”

    “The Altar Boy, the Priest and the Gardener”

    “Always”

    “Amakki”

    “American Sons”

    “Among Neighbors”

    “animal.”

    “Antidote”

    “Apocalypse in the Tropics”

    “Architecton”

    “Are We Good?”

    “Art for Everybody”

    “Art Spiegelman: Disaster Is My Muse”

    “The Art Whisperer”

    “Artfully United”

    “Assembly”

    “BTS ARMY: Forever We Are Young”

    “Becoming Led Zeppelin”

    “Being Eddie”

    “Below the Clouds”

    “Benita”

    “Between the Mountain and the Sky”

    “Beyond the Gaze: Jule Campbell’s Swimsuit Issue”

    “Billy Idol Should Be Dead””BLKNWS: Terms & Conditions”

    “Blum: Masters of Their Own Destiny”

    “Bodyguard of Lies”

    “Brothers after War”

    “Can’t Look Away: The Case against Social Media”

    “Caterpillar”

    “Champions of the Golden Valley”

    “Checkpoint Zoo”

    “Cheech & Chong’s Last Movie”

    “Child of Dust”

    “Chronicles of Disney”

    “Coexistence, My Ass!”

    “Come See Me in the Good Light”

    “Complicated”

    “Cover-Up”

    “Cracking the Code: Phil Sharp and the Biotech Revolution”

    “Cutting through Rocks”

    “Dalit Subbaiah”

    “The Dating Game”

    “Deaf President Now!”

    “Democracy Noir”

    “Diane Warren: Relentless”

    “Dog Warriors”

    “Drop Dead City”

    “The Duel We Missed”

    “El Canto de las Manos”

    “Elie Wiesel: Soul on Fire”

    “The Encampments”

    “Endless Cookie”

    “Europe’s New Faces”

    “Facing War”

    “Fatherless No More”

    “Fiume o Morte!”

    “Folktales”

    “Food Delivery: Fresh from the West Philippine Sea”

    “For the Living”

    “14 Short Films about Opera”

    “From Island to Island”

    “Ghost Boy”

    “Girl Climber”

    “Go to the People”

    “Goodbye Horses: The Many Lives of Q Lazzarus””Grand Theft Hamlet”

    “Heaven. Poste Restente”

    “Heightened Scrutiny”

    “Holding Liat”

    “I Know Catherine, the Log Lady”

    “I, Poppy”

    “I Was Born This Way”

    “If You Tell Anyone”

    “I’m Not Everything I Want to Be”

    “I’m Only Blind”

    “Imago”

    “In Limbo”

    “In Waves and War”

    “In Whose Name?”

    “Israel Palestine on Swedish TV 1958 -1989”

    “It’s Never Over, Jeff Buckley”

    “Janis Ian: Breaking Silence”

    “The King of Color”

    “The Last Class”

    “The Last Holocaust Secret”

    “The Last Philadelphia”

    “The Last Twins”

    “Li Cham (I Died)”

    “The Librarians”

    “Life After”

    “Lilith Fair: Building a Mystery – The Untold Story”

    “Liza: A Truly Terrific Absolutely True Story”

    “Love+War”

    “Mahamantra – The Great Chant”

    “The Man Who Saves the World?”

    “A Man with Sole: The Impact of Kenneth Cole”

    “Marlee Matlin: Not Alone Anymore”

    “Meanwhile”

    “Men of War”

    “Mighty Indeed”

    “Mr. Nobody against Putin”

    “Mistress Dispeller”

    “Monk in Pieces”

    “My Armenian Phantoms”

    “My Mom Jayne: A Film by Mariska Hargitay”

    “My Undesirable Friends: Part I – Last Air in Moscow”

    “Natchez””The New Yorker at 100”

    “Night in West Texas”

    “1985: Heroes among Ruins – The Triumph of the People”

    “Norita”

    “Of Mud and Blood”

    “One to One: John and Yoko”

    “Orwell 2+2=5”

    “Our Time Will Come”

    “Out of Plain Sight”

    “Paint Me a Road Out of Here”

    “Paparazzi”

    “The Parish of Bishop John”

    “Pavements”

    “The Perfect Neighbor”

    “The Pool”

    “Predators”

    “Prime Minister”

    “The Prince of Nanawa”

    “Put Your Soul on Your Hand and Walk”

    “Rebel with a Clause”

    “Remaining Native”

    “Riefenstahl”

    “Rise Up! 14 Short Films about Alliance for Positive Change”

    “River of Grass”

    “The Road between Us: The Ultimate Rescue”

    “The Rose: Come Back to Me”

    “Row of Life”

    “Sanatorium”

    “A Savage Art”

    “Schindler Space Architect”

    “Secret Mall Apartment”

    “Seeds”

    “Selena y Los Dinos”

    “Sensory Overload”

    “76 Days Adrift”

    “Shari & Lamb Chop”

    “The Shepherd and the Bear”

    “Shoot the People”

    “Shuffle”

    “The Six Billion Dollar Man”

    “67 Bombs to Enid”

    “Slumlord Millionaire””Songs from the Hole”

    “Soul of a Nation”

    “Speak.”

    “Stans”

    “Steve Schapiro: Being Everywhere”

    “Stiller & Meara: Nothing Is Lost”

    “Stop the Insanity: Finding Susan Powter”

    “Story of My Village”

    “Strange Journey: The Story of Rocky Horror”

    “The Stringer”

    “Suburban Fury”

    “Sudan, Remember Us”

    “Supercar Saints”

    “Swamp Dogg Gets His Pool Painted”

    “The Tale of Silyan”

    “Thank You Very Much”

    “There Was, There Was Not”

    “Third Act”

    “This Ordinary Thing”

    “Through the Fire (The Eaton Fire: The Aftermath)”

    “Torn: The Israel -Palestine Poster War on New York City Streets”

    “Trade Secret”

    “Trains”

    “Twin Towers: Legacy”

    “2000 Meters to Andriivka”

    “Unbanked”

    “UnBroken”

    “Under the Flags, the Sun”

    “Unseen Innocence”

    “Viktor”

    “Viva Verdi!”

    “WTO/99”

    “Walk with Me”

    “Walls – Akinni Inuk”

    “We Were Here – The Untold History of Black Africans in Renaissance Europe”

    “Welded Together”

    “The White House Effect”

    “Who in the Hell Is Regina Jones?”

    “Wisdom of Happiness”

    “The Wolves Always Come at Night”

    “Worth the Fight”

    “Writing Hawa”

    Eligible international features

    Eighty-six countries or regions have submitted films that are eligible for consideration in the International Feature Film category for the 98th Academy Awards.

    An international feature film is defined as a feature-length motion picture (more than 40 minutes) produced outside the United States with a predominantly (more than 50 percent) non-English dialogue track.

    Academy members from all branches are invited to opt in to participate in the preliminary round of voting and must meet a minimum viewing requirement to be eligible to vote in the category. The shortlist of 15 films will be announced on Tuesday, Dec. 16, 2025.

    Albania, “Luna Park”

    Argentina, “Belén”

    Armenia, “My Armenian Phantoms”

    Australia, “The Wolves Always Come at Night”

    Austria, “Peacock”

    Azerbaijan, “Taghiyev: Oil”

    Bangladesh, “A House Named Shahana”

    Belgium, “Young Mothers”

    Bhutan, “I, the Song”

    Bolivia, “The Southern House”

    Bosnia and Herzegovina, “Blum: Masters of Their Own Destiny”

    Brazil, “The Secret Agent”

    Bulgaria, “Tarika”

    Canada, “The Things You Kill”

    Chile, “The Mysterious Gaze of the Flamingo”

    China, “Dead to Rights”

    Colombia, “A Poet”

    Costa Rica, “The Altar Boy, the Priest and the Gardener”

    Croatia, “Fiume o Morte!”

    Czech Republic, “I’m Not Everything I Want to Be”

    Denmark, “Mr. Nobody against Putin”

    Dominican Republic, “Pepe”

    Ecuador, “Chuzalongo”

    Egypt, “Happy Birthday”

    Estonia, “Rolling Papers”

    Finland, “100 Liters of Gold”

    France, “It Was Just an Accident”Georgia, “Panopticon”

    Germany, “Sound of Falling”

    Greece, “Arcadia”

    Greenland, “Walls – Akinni Inuk”

    Haiti, “Kidnapping Inc.”

    Hong Kong, “The Last Dance”

    Hungary, “Orphan”

    Iceland, “The Love That Remains”

    India, “Homebound”

    Indonesia, “Sore: A Wife from the Future”

    Iran, “Cause of Death: Unknown”

    Iraq, “The President’s Cake”

    Ireland, “Sanatorium”

    Israel, “The Sea”

    Italy, “Familia”

    Japan, “Kokuho”

    Jordan, “All That’s Left of You”

    Kyrgyzstan, “Black Red Yellow”

    Latvia, “Dog of God”

    Lebanon, “A Sad and Beautiful World”

    Lithuania, “The Southern Chronicles”

    Luxembourg, “Breathing Underwater”

    Madagascar, “Disco Afrika: A Malagasy Story”

    Malaysia, “Pavane for an Infant”

    Mexico, “We Shall Not Be Moved”

    Mongolia, “Silent City Driver”

    Montenegro, “The Tower of Strength”

    Morocco, “Calle Malaga”

    Nepal, “Anjila”

    Netherlands, “Reedland”

    North Macedonia, “The Tale of Silyan”

    Norway, “Sentimental Value”

    Palestine, “Palestine 36”

    Panama, “Beloved Tropic”

    Paraguay, “Under the Flags, the Sun”

    Peru, “Kinra”

    Philippines, “Magellan”

    Poland, “Franz”

    Portugal, “Banzo”

    Romania, “Traffic”

    Saudi Arabia, “Hijra”

    Serbia, “Sun Never Again”Singapore, “Stranger Eyes”

    Slovakia, “Father”

    Slovenia, “Little Trouble Girls”

    South Africa, “The Heart Is a Muscle”

    South Korea, “No Other Choice”

    Spain, “Sirât”

    Sweden, “Eagles of the Republic”

    Switzerland, “Late Shift”

    Taiwan, “Left -Handed Girl”

    Tunisia, “The Voice of Hind Rajab”

    Turkey, “One of Those Days When Hemme Dies”

    Uganda, “Kimote”

    Ukraine, “2000 Meters to Andriivka”

    United Kingdom, “My Father’s Shadow”

    Uruguay, “Don’t You Let Me Go”

    Venezuela, “Alí Primera”

    Vietnam, “Red Rain”

    Scott Feinberg

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  • Another Anime Movie Conquers the Box Office This Weekend

    Here’s what you need to know about Chainsaw Man – The Movie: Reze Arc.
    Photo: Tatsuki Fujimoto/Sony Pictures/Everett Collection

    This article originally ran on October 24. This weekend has seen Chainsaw Man beat estimates and top the box office this weekend.

    There’s yet another action anime blockbuster based on TV series based on a manga that has torn up the American box office this weekend. This one is called Chainsaw Man – The Movie: Reze Arc, and the Sony/Crunchyroll movie happens to be a fitting spooky-season release. Like Demon Slayer and Attack on Titan before it, the Chainsaw Man TV series, which is streaming on Crunchyroll and Hulu, is part supernatural horror, part coming-of-age story. The film serves as the latest chapter of the TV show, which is an adaptation of creator Tatsuki Fujimoto’s original manga. That made it a must-watch theatrical event for Chainsaw fans in the States and elsewhere. It dominated this weekend’s theatrical receipts, topping newcomers like Springsteen: Deliver Me From Nowhere and Regretting You as well the film that was expected to win this weekend, the still-hot Black Phone 2.

    So what is Chainsaw Man – The Movie: Reze Arc all about, and how did it conquer the box office like prior anime and anime-inspired animated films like Demon Slayer: Infinity Castle and KPop Demon Hunters? Here’s a quick rundown of the new film’s whole deal.

    Very: Latest estimates have it coming at $17.2 million for the weekend, which is about $6 million more than was anticipated by many observers before the weekend. For comparison, the popular, Blumhouse-produced horror sequel Black Phone 2 brought in a current estimated $13 million, per Deadline, while the new Colleen Hoover adaptation Regretting You is coming in a close third at $12.8 million. Meanwhile, the Jeremy Allen White-fronted Springtsteen: Deliver Me From Home is hitting its lower-end prediction with around $9.1 million.

    For starters, it’s a very literal title. One of 2022’s most exciting debuts and produced by the animation studio MAPPA, the anime is a hodgepodge of demonic violence, crude humor, and speculative fiction. In the world of Chainsaw Man, World War II never happened and now “devils” run amok. At the start of the series, the Chainsaw Devil meets a young man named Denji, and together they become the Chainsaw Man, a superpowered tough guy with spinning chainsaws that stick out of his hands and head, and join a squad of devil-hunting cops.

    Light spoilers incoming: After a bloody battle against a demonic villain called Samurai Sword (picture Chainsaw Man, but instead of chainsaws, he has samurai swords sticking out of his hands and head), the first season ended with a mysterious young woman cryptically wondering whether Denji would prefer to be a country mouse or a city mouse. Manga fans will know that that woman is Reze, a.k.a. the Bomb Devil, a girl whom Denji will fall for romantically — a series of events complicated by his prior attraction to his fellow devil hunter Makima. The trailer tees up his infatuation rom-com style before spinning into explosive action.

    In international markets, it has already earned $68.3 million since debuting on September 19, according to the theatrical tally the Numbers. While it’s unlikely to dethrone fellow Sony-released title Demon Slayer: Infinity Castle’s record-breaking box office, anime analyst Miles Atherton told Polygon it’s still among the most popular anime titles in North America. (Crunchyroll doesn’t share viewership numbers for its series.)

    Theatrical titles like Demon Slayer, Dan da Dan, and Attack on Titan all spun TV series into box-office moments, big and small. The release model has worked before for distributors Crunchyroll and Sony Pictures Releasing, which hold the international rights to Toho’s Chainsaw Man franchise. Similarly, the anime-inspired KPop Demon Hunters managed to make back the cost of nearly its entire production budget over just one weekend with a limited singalong theatrical event, despite being released straight to Netflix months earlier. That one is coming back to theaters for Halloween because it worked so well the first time around.

    For now it’s only in theaters, but eventually, like most of the aforementioned anime titles, we can expect to see it on Crunchyroll. We can’t be certain when, though. (Remember the monthslong wait for The Boy and the Heron?) Unlike American live-action films and their now ubiquitous 30-day windows, anime titles tend to circle most of the globe internationally before they go to streaming release.

    It probably couldn’t hurt to dive deeper into the lore and relationships, but the movie is relatively self-contained. Chainsaw Man is generally pretty direct — did I mention it’s about a man with chainsaws for hands? — so if you’re worried you’ll be confused, don’t be. Or watch a YouTube recap or two beforehand. It’s worth a spin regardless.

    There is. We won’t say too much as that would risk getting too deep into the events of the film, but we will say: Don’t miss it. It doesn’t tee up the next season or anything, but it does put a nice capper on the events of the movie.

    Eric Vilas-Boas

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  • Joe Cappa Never Intended Haha, You Clowns to Be So Wholesome

    Handsome strong boys.
    Photo: Adult Swim

    A decade of “large adult sons” humor has been building to Haha, You Clowns. The new Adult Swim series from animator Joe Cappa follows a tight-knit family — three big beautiful boys (Preston, Tristan, and Duncan) and their buff dad — as they try to get by after the death of their mother. The show is based on a series of surreal shorts Cappa created for Adult Swim’s Smalls programming block in 2023, which he’s built out into a whole universe in this first season, giving Dad a job as a weatherman, casting June Squibb as Preston’s elderly co-worker, and adding professional pool player Jeannette Lee to the voice cast as a version of herself who lives next door to the boys and offers them sage advice from over the fence.

    Haha, You Clowns takes its animated-comedy ambitions from The Simpsons and story beats from Seventh Heaven and wraps it all in an outsider-art style reminiscent of an older, more experimental era of Adult Swim. Its goofy sweetness is summed up best by the comments section on the first episode, posted to YouTube ahead of the series’ October 19 TV premiere: “I love how giant the boys are and how often everyone cries it’s amazing.” The show’s proud father, Joe Cappa, spoke to Vulture ahead of its premiere.

    Tell me about the process of getting this to air.
    They have a thing called Smalls, where they let up-and-coming artists create shows. A year before my Smalls shorts, I started making short animations on Instagram and papier-mâché head videos, then one of those videos went viral on TikTok. It got to Smalls executive producer Dave Hughes, who asked if I could make a longer papier-mâché head video for Adult Swim and also told me about Smalls. All I had to do was pitch him an idea, and at that time, I was toying around with the idea of three boys who just really love their dad and think their dad is just the coolest. I thought there was something funny there. I learned who these characters were as I was making the shorts.

    What is it about three boys loving their dad that’s funny to you?
    When I made short animations before Adult Swim, people would say that my stuff is so “wholesome.” I never was trying to be wholesome; I just was reacting to a lot of adult animation that felt snarky and cynical — which is great, but I was getting bored of it. So I was just trying to do something different.

    Are there any differences between how you voice the three boys? It’s hard to tell.
    In the Smalls shorts, they all pretty much sound exactly the same. But in the show, I had to differentiate them a little bit. Duncan is a little bit higher and a little bit more innocent, Tristan’s always being a little bit silly, and then Preston’s pretty much [lowers voice] down here. He’s the leader. And the dad is really low. When I’m in the studio recording them, I usually start with Duncan, Tristan, Preston, and then end with Dad once my voice is all gravelly from voicing all day.

    When it was time to turn these little shorts into full-blown episode-length stories, how did you flesh out these characters? They all have the same build. I don’t even know what age they are.
    We don’t know. After all the scripts were turned into Adult Swim, Cam Tang, who runs development, was like, “So, how old are they?” It was so late in the process. I was like, “I don’t know. They’re in high school.” I would say Preston can drive. Duncan doesn’t know how to drive yet. I don’t think we’ll ever see them in any high-school experience or anything like that. They’re young and they love their dad, and that’s what the show’s about.

    There’s nothing quite like this on TV. What are your inspirations?
    In regards to the style, I’ve always thought that high-schoolers’ drawings in art class of celebrities is the funniest aesthetic out there — when it looks like the person’s trying to do a good job, but they’re not really nailing it. There’s a certain type of humor that’s being translated when something looks really polished, and when it’s not so polished, there’s another layer of comedy happening there that I’m trying to play with. As we’re onboarding artists, just so they can kind of understand the sensibilities of the show, we like to say that it’s like a live-action director was given an animated show, and they don’t know how to draw that well, and they have to somehow execute their idea. It’s trying to be sincere, but it’s stumbling along the way and looking a little bit crude.

    In the shorts, the mother’s spirit is a presence. In the show, she’s referenced, but there’s not this feeling of there being a ghost-mom. Why the change?
    I like horror movies where they really keep it subtle and don’t explain too much. For anything that’s paranormal, I think you have to play the long game. To keep a show relevant and interesting over the course of many seasons, you have to play it really slow.

    You share a writing credit with Dave Cappa. Is that your brother?
    Yeah. When we got the green light, they were asking for writers, and I could only think of my brother. I’d say the show is inspired loosely on my dad and my brotherly love with my brother. He lives in England, so it’s been great to have these opportunities to write scripts with him across the Atlantic.

    June Squibb is in the voice cast. How did she get involved with the show?
    I’ve been a big June Squibb fan ever since About Schmidt. Then Thelma came out, and I thought it was so good. I reached out to the director, and I was like, “Man, I would love to get you and Squibb on this show.” Then the people at Adult Swim reached out to June Squibb, and she said yes. I don’t know why she decided to do the show, but she would show up to the studio and do it in one take. She’s really that good. She was perfect for that role.

    I want to go back to people calling your work “wholesome.” I love this show’s depiction of these big straight men who are so sweet and emotionally open.
    I just think they’re very funny characters to write for. The way they see the world and how they interact with one another, I feel like a lot of people can relate to somebody like that in their life. They don’t have self-awareness, in a way, and they don’t seem to care that they might come off cringey. They really just care about being nice people, and from that, you’re going to have wholesome moments where they’re crying to one another.

    I think the dad cries every episode.
    His eyes definitely go red every episode.

    Has your dad seen it?
    I think he’s seen all the animatics. He’s very excited for his sons to be working on a show together and knowing that it’s loosely based on him. He’s very tickled by it all.

    Rebecca Alter

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  • The Simpsons Is Getting Another Movie

    Love is love!
    Photo: 20th Century Fox/Everett Collection

    Hey, we may not get more Spider-Man, but more Spider-Pig is always welcome. Disney and 20th Century Studios confirmed The Simpsons 2 with a poster on September 29. “Homer’s coming back for seconds,” it reads, and the “all-new movie” is set for release on July 23, 2027. Initially, that date was to be taken by a yet-untitled Marvel film — but now there’s nothing between 2026’s Avengers: Doomsday and 2027’s Avengers: Secret Wars, both of which were postponed to December from May.

    The first Simpsons movie was a global smash in 2007, bringing in $536 million worldwide, per Box Office Mojo. Now, 20 years later, the sequel is finally being made. Why would Disney want to green-light it now? Well, in 2024, former co-showrunner Al Jean told Screen Rant the Simpsons team was “really hoping for Inside Out 2 to do great this summer.” (That movie ultimately grossed over a billion dollars.) “I want to see the animation business completely returned to what it was before the pandemic,” Jean added. “And then, I think if that was the case, it would make sense to do The Simpsons theatrically. But I understand that it’s an issue above me about, ‘Where would you release it? And how would you release it?’” Asked and answered. Big yellow’s back to the big screen, baby.

    Jason P. Frank

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  • KPop Demon Hunters Is Shining As Netflix’s Most Watched Movie Ever

    Real.
    Photo: Netflix/YouTube

    KPop Demon Hunters has officially slain Red Notice. The animated film dominated the box office this weekend and officially became Netflix’s most popular movie ever. The streamer reports that the film has 236 million total views. And with a new sing-along version, the view count can only go up, up, up.

    That makes Red Notice Netflix’s second-most popular film, followed by Carry-On, Don’t Look Up, and The Adam Project. But does The Adam Project have Andy Samberg stanning it on Good Morning America?

    The musical hits also keep coming for KPop Demon Hunters. The movie has spawned yet another top-ten hit on the “Billboard Hot 100,” with “How It’s Done” coming in at number ten this week, followed by “Soda Pop” (No. 5), “Your Idol” (No. 2), and “Golden” at the top of the charts. Take that, Alex Warren! Demon Hunters now holds the record for most concurrent top-ten hits of any film soundtrack. The last time a film had four top-ten hits was Waiting to Exhale in 1995 to 1996, but those songs weren’t all charting simultaneously. And the last time a movie had three hits in the top five at the same time was Saturday Night Fever. Here’s hoping the inevitable KPop Demon Hunters sequel does better than Staying Alive.

    Bethy Squires

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  • The Jaw-Dropping Action in ‘Ne Zha II’ Had Even Michelle Yeoh Swearing Under Her Breath

    Ne Zha II, the animated sequel film produced by Chinese studio Beijing Enlight Media, is already breaking records as the highest-grossing animated film of all time, and will be re-released by A24 on August 22. To further boost the film’s dub rerelease, A24 tapped Everything Everywhere All at Once Academy Award winner Michelle Yeoh to add to its must-watch factor for audiences experiencing the film for the first time in English. 

    Ahead of its theatrical rerelease, io9 spoke with Yeoh about taking on the role as Ne Zha’s mother, Lady Yin, the power of animation as a cultural exchange, and what starring in the film means to her as the latest emotionally resonant milestone in her illustrious career.


    Isaiah Colbert, io9: What first drew you to the world of Ne Zha II? Was there something about Lady Yin—or the myth itself—that felt like it was calling to you?

    Michelle Yeoh: Oh, hell yes. Ne Zha is a mythological character that I’ve known since I was a kid. This fiery, rebellious young child. I think, as a kid, I sort of related to it. Everybody wants to fight back and be the one who can go out there and beat up demons and things like that. I saw the movie in its original form first, and I remember thinking, “This is such a cinematic gem.” The animation pushes all the boundaries; it’s spectacular. It’s so rich, it’s like a tapestry that just keeps evolving. All those stunning action sequences. Even I was totally blown away trying to imagine how the heck did they think of all these different realms: the heaven, the Earth, the underground, and the dragons in chains. It was just amazing.

    © A24/Beijing Enlight Media

    I felt I wanted to not read subtitles because my Chinese is not so good that I can understand in Mandarin all the way through. So I have to go down and understand “Who’s this? Ao Bing. Okay, Ne Zha. This is the dragon.” I think this was the one time I went, “I don’t want to take my eyes off the screen. I just want to watch the whole thing, but I need to understand what was going on.” I felt I needed to hear it, and my first language is English, thinking, “If only they could translate it well, that would be perfect.”

    When I was given the opportunity to voice the mother of Ne Zha, it was like, she embodies the most amazing woman. She’s a warrior. She defends her city together with her husband, the general. She is the most loving mother, so it was a no-brainer ’cause it’s like my wish came true. I thought this is such a beautiful, great bridge from the Eastern world to the Western world, where the children who love Spirited Away, Coco, or Moana can come into our world. This will transcend boundaries. We’ll come and be able to embrace this crazy little demon god called Ne Zha and maybe relate to him in many ways. And then there’s Ao Bing.

    To be given that opportunity, I felt that I was presented with the prize of the year to voice this woman. When you’re doing an animation, you do it from scratch. You are working your way through all the different nuances. But here, the director and his team, who painstakingly worked five years on this incredible movie, had already laid out the nuances, wit, humor, anger, and the fierceness of this woman and her husband. How she protects the child, defends him, when she’s gentle with him, when she’s the ferocious warrior, and then to the heartbreaking part where they have to say goodbye.

    Ne Zha Ii 8
    © A24/Beijing Enlight Media

    io9: You’ve voiced characters across wildly different worlds—from Minions and Transformers to Kung Fu Panda 2 and ArkIn the first film, Lady Yin was voiced by Stephanie Sheh, known for her role as Sailor Moon. Her performance carried the same quiet strength and maternal depth that I found in your performance. Did you draw inspiration from her interpretation, or did you find your own emotional entry point to carry the baton forward?

    Yeoh: The most important thing is you have to find your own, even though there’s already an amazing interpretation, because you cannot mimic somebody else’s great performance. At the end of the day, it’s your own personal journey with the other characters. When you watch, you can hear [it]. There’s just no denying the realism or the actual emotion that you hear, which will help you to feel. It’s very superficial when you try and just copy what someone else has done.

    [Beijing Enlight Media has] done an amazing job giving me a great palette to work with. I work with the director, and he will, once again, go through with me the journey of this mother, of how she carried the baby for three years, the frustration. “Just get it out of me!” But, I think the one thing I wanted [was] to make her more charming at the beginning. You would hear a mother’s voice, ’cause I have quite a bass voice. My voice is kind of low and I so I want to bring her up a bit so I don’t sound like a man, or else I’ll be doing the general, too.

    As all actors do, we have to discover our journey with the character and bring to it, emotions that you see, you feel, and push the boundaries. And then under the guidance of the director who’s worked on it for like five years—they know it so well—the nuances will come when you understand the story that they are trying to tell.

    Ne Zha Ii 9
    © A24/Beijing Enlight Media

    io9: We’ve talked about the emotionality. But as we mentioned earlier, Ne Zha II is a visually impeccable film but it’s also a film that doesn’t hold back when it comes to its fierce action and devastating emotional beats. In my IMAX screening, adults, including myself, swore under our breaths in awe of the film. As a performer—especially when it comes to the action being pretty brutal—did you see that kind of raw intensity as part of what makes the film transcend its “children’s movie” label?

    Yeoh: That’s a very good question. Nowadays, especially when the children of the world [see] action, violence or whatever with video games and with so many things like that, they understand this is all magic. This is all mythical. There’s a monster that’s charging at me with eight tentacles. It’s like, “Yeah, I’m gonna chop it off,” you know. They bring that sense of fantastical to do it so it’s not like two humans brutally fighting with each other. These [fights] are with swords, with magic, with all these kinds of things. It is a different world. Nothing in that world is real.

    When you bring it in a sense of animation, it gives them a boundary where [kids] can sit back and go, “This is all pretend. This is funny and fun.” I think you sort of get away with it. I don’t want to use the word but then they’re so immune to it because they mix it with the humor. Even I am, like you say, swearing under my breath or going, “Whoa, how can that even happen?” The beauty of it is mind-blowing.

    We know our dragons to be the gods of the skies. [I] never imagined they would be all tied, chained up. The whole crowd of beautiful mythical creatures, all chained up underground like that. That whole scene of them when they surge out is breathtaking. Even though it’s very tragic, you go, “Wow, this is so beautiful to look at.” In that way, you are transported. Even as a child, I’m sure there must be some moments where they go, “Ah, it’s scary.” But then after that, you go, “Oh, wow, it’s kind of cool.” If you keep them in that mindset, then it’s a very different kind of magical world.

    io9: I wanted to take a moment to give you your flowers. You stand alongside icons like Bruce Lee, Jet Li, and Jackie Chan—in what I’d call kung fu cinema’s Mount Rushmore—not just for your artistry, but for the way you’ve championed Asian representation on the global stage. How do you see Ne Zha II contributing to the growing recognition that Chinese animation isn’t some new arrival, but a long-standing force that’s been evolving in parallel with Western animation and Japanese anime?

    Yeoh: Thank you for that. How do you convince… You can’t talk and say, “This is what we can do.” Now you can see exactly what it is.  I hope now that you go back and watch Ne Zha I.  There are so many more animations coming from my part of the world that deserve recognition. Don’t take my word for it. Go and watch it yourself. Then tell me, were you blown away or were you disappointed? Then you can say it.

    We have been waiting for an opportunity. It’s not as if you can demand that your audience likes it or not. Sometimes magic happens, and I truly believe Ne Zha II will be that magic ingredient so that they will be able to say, “Whoa, this was an all-Chinese effort.” Kudos to director Jiao Zi and his team, who painstakingly worked for five years to make a labor of love. They were like Ne Zha, saying, “We will not back down. We’ll keep going. We will keep demonstrating this is our self-worth. We can do this.”

    Anyone who does animation will understand the amount of time and effort that goes into it. And anyone who loves animation will be able to see that in Ne Zha II—everything that was poured into it. I hope that with the English voiceover, young children will be able to enjoy it as much as their parents or their uncles, aunties, grandmothers, and grandfathers.

    io9: That ties beautifully with my last question for you. At my screening, the theater was filled with Asian families—mothers, fathers, aunties, uncles—passing snacks, fresh from school pickups, turning rows of seats into something like a comfy living room. If you could speak directly to the young viewers watching Ne Zha II—especially those seeing themselves in Ao Bing and Ne Zha—what would you want them to carry with them after the credits roll?

    Yeoh: Was your audience mainly Asian?

    io9: A vast majority.

    Yeoh: That’s a very interesting thing. Honestly, I hope Ne Zha II will go out to the non-Asian society, especially the non-Asian society. But, having said that, a lot of our—what we call ABCs (American-born Chinese), the young children who were born in America don’t really know the mythology or the folklore that came from the East. For them, I hope this is an eye opener to be able to understand more of their own culture that’s been here for such a long time. And for them to be blown away by what they can offer to their friends as well. They embrace the Moanas and the Cocos when they watch it with their American friends, but I think this is a great opportunity for the exchange to be on equal terms.

    It’s like “show me yours and I’ll show you mine” sort of thing, which I think is very important in this day and age where we are embracing diversity. Not so much difference in cultures, but the similarities. I think the core message here is self-discovery, the journey with your loved ones and family, and standing up for yourself. I hope little kids, when they watch it, see the love their parents have for them and what parents will do for them. You know, when you’re young, you don’t really see it. You just get petulant when they don’t give you your iPad or your phone, or something like that. But when you watch Ne Zha II, you can see that whatever you do, your parents will always be there for you.


    Ne Zha II returns to theaters and IMAX on August 22.

    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

    Isaiah Colbert

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  • The Critical Role cast explores big wins and hard decisions on Vox Machina season 3

    The Critical Role cast explores big wins and hard decisions on Vox Machina season 3

    The third season of the animated series The Legend of Vox Machina is now streaming in full, and the Critical Role role-playing team is ready to talk about it — without digging into spoilers just yet.

    At the annual Fantastic Fest film festival in Austin, Texas, Polygon sat down at the table with Legend of Vox Machina writer-producer Travis Willingham (the voice of goliath barbarian Grog Strongjaw) and writers Marisha Ray (half-elf druid Keyleth), and Liam O’Brien (multiclass elf Vax’ildan) to unpack their personal “regerts” and wins from The Legend of Vox Machina season 3 — and consider how their approach to the show has changed over three seasons of growing involvement and growing confidence.

    This interview has been edited for clarity and concision.

    Image: Prime Video

    Polygon: By the time you started making season 3 of Legend of Vox Machina, how had the process or your level of input changed in terms of making sure the show got your characters right?

    Marisha Ray: We are deeply, deeply in the weeds — especially Travis and Sam Riegel, leading the charge every step of the way. The rest of us have full control over our character voices. A lot of times, we’ll go into the writers room — we start every season being like, These are the moments that it would be a dream to hit, with acknowledgement that we might not get there, but trying to honor a lot from the campaign as much as possible.

    I do feel like it’s gotten smoother, in the sense that the wheels are greased now. It’s much more seamless. The writers we work with, the artists as well, they’re getting to know these characters as deeply as we have. So I think the process has become a lot more of a well-oiled machine.

    Liam O’Brien: I think that Sam and Travis especially have layers and layers of experience now doing it, so nothing throws them. [To Travis] Well, I don’t know if things threw you — but you just are so experienced with it now that it’s that well-oiled machine Marisha talked about. Marisha and I have joined the fold as writers on the show, so we’ve just gotten more involved in that way. [Marisha and Travis applaud lightly]

    Travis Willingham: [Whispers] Golf clap. Golf clap.

    Vex the elf looks grim in season 3 of The Legend of Vox Machina

    Image: Prime Video

    O’Brien: And we’ve looked for ways which you’ll find in this current season — after the Vox Machina campaign ended on our channel, we continued to tell stories, and the world and history just ballooned outward and became more dense. And we’ve enjoyed finding little elements from other places to enrich the Vox Machina story. That history exists, so it makes sense that it would be in [the show].

    Willingham: Yeah, I think in seasons 1 and 2, we were trying to figure out how we would squish 25-plus hours of gameplay down into six hours, and we’ve figured that out now. So that’s good. And the cast — they are planted in the writers room like snipers. It is great to see them listen to ideas that are being thrown out, storyline changes that are being entertained, and then coming up with dialogue on the fly and other ideas. [It’s great] just watching that creativity spark back and forth across the room.

    But as Liam said, I think what’s most interesting about season 3 is that we’re starting to pull in other things from different parts of the universe, to really tee up where the new version of the story can go. I think season 1 and 2 were about delivering the Briarwood arc and setting up the Chroma Conclave arc in a way that was very close to faithful to the canonical representation from the livestream. And now we’re trying to unsettle our audience a little bit, trying to make ’em guess about where things are going.

    Can any of you think of anything you sniped? Have you pointed at a change or a line of dialogue and said, “Oh, I don’t think my character would do that, or say that”?

    [All three, overlapping emphatically: “Oh yes / yeah / definitely”]

    Willingham: All the time. All the time. I would say everyone is so dialed into their characters that as we’re exploring these things — it can be as small as a dialogue tweak or change. Taliesin Jaffe is probably one of the best at making his lines be as Percival de Rolo as possible. But we’ll also give arc notes, emotional notes, we’ll ask questions, give suggestions. We give action suggestions, sometimes: “My character wouldn’t fight up close like this, they’d want to stay farther away.” “Don’t forget about this thing that I used a lot in the game.” All sorts of stuff.

    The member of Vox Machina stand outside a darkened prison cell, with various dubious or concerned looks on their face in The Legend of Vox Machina season 3

    Screenshot
    Image: Prime Video

    Ray: Yeah, I think we’re in a very unique situation — and the writers will tell you the same thing. It’s not often when working on an adaptation that you get not only the executive producers and creators of the story in the room, but also the people who created the characters.

    I think early on, there was probably a little bit of nerves from some of the writers on that, and being like, [long, nervous groan] I don’t want to mess this up. How much freedom do I have?? There was a learning curve for us as well, to know that some things that were very nuanced, or took an incredibly long amount of time to develop in the campaign, you kind of need to nail in one act of an episode.

    Willingham: And now [the writers are] just irreverent. They don’t care what we think!

    O’Brien: It was a learning curve. I remember early in the process of making the animated shows, going, Nnnnng! I’m holding my baby so tightly! But at this point, it’s proven, and the heart and the essence of the story is so beautifully wrought that I think all of us were able to relax into it. On the flip side, with the writers, I multiple times remember writers besides us saying, “It’s so great to have—” Well, at first it was, Oh my God, the creators are here. If you’re writing Snow White, you don’t typically have Snow White in the room going, “That’s not what I would do.” So it’s like having a creative Clippy in the room, which you can either listen to or—

    Willingham: Or “Shut up!”

    Ray: That [reference is] so 2005 of you.

    “You seem to be trying to write a romance between these two characters!”

    O’Brien: “Have you considered dying instead?”

    Various members of The Legend of Vox Machina’s support cast stand on a dark balcony with their backs to the camera, looking up at a starry sky with a blue moon, a pink moon, and a blazing comet

    Screenshot
    Image: Amazon Video

    In the spirit of killing your darlings, is there anything your character did in the campaign that you were sorry to lose in the adaptation?

    Willingham: We haven’t touched on it, and I don’t know if we will, but — Grog’s bag of holding from the campaign at this point had accumulated a grotesque number of body parts. There were orc limbs, there were all sorts of monster appendages and guts, different rocks for no reason, pieces of armor. And, y’know, it’s not refrigerated in there. So things would come out in, as Matthew Mercer likes to say, a slaw. We never quite found the right moment to make that bag as disgusting as it possibly could have been. It’s just an 80-gallon bucket of clam chowder.

    O’Brien: Because things are so condensed, there have been many guest players at our table over the years that we haven’t found a way [to get onto the show]. Like, Felicia Day as Lyra the wizard stands out in my memory. We’ve pulled in a few of those people, but there just is not a lot of real estate, so we’ve had to be economical with everything.

    Ray: Yeah, that’s probably the biggest tragedy. Same with NPCs. You can’t always fit all of ’em. Sometimes we try to combine NPCs, or moments, even. We haven’t gone into anything with the Trickfoots with Pike, and how they kind of came out of nowhere, and were not great people. So there’s stuff like that. Maybe we’ll see if we can honor it down the road. There are even lines — I was actually just talking about this with one of our writers the other day. There are a few lines, especially of stuff that Taliesin had said in-game, where you’re like, “We’ve gotta get that in there.” And sometimes even with individual one-liners, you’re like, “But how?” [Everyone laughs] “It’s not relevant!” You try to find it, though.

    O’Brien: Sometimes we try to capture something that took a couple of episodes or games to get through, and it’s just a single frame of animation. I’m just trying to give a nod to it.

    Pike, Grog, and Keyleth sit around a fire at night talking in The Legend of Vox Machina season 3

    Image: Prime Video

    What’s the flip side of that? What did your character gain in this season that you were excited about?

    Ray: I mean, I think the beauty of what we’re doing is, you can show a lot of perspectives or things that might’ve happened that we didn’t really act out in the game. In campaign one, there was a time where we kind of took an in-game yearlong break where the characters went off, did other things, accomplished some personal drives that they had, and we get to see that. So with Keyleth, you get to see her journey to the Earth Ashari, and go through her Earth Ashari trials.

    That was something in the campaign that we just kind of went, This happened! Now she can turn into an Earth elemental! Isn’t that cool? So I think being able to flesh out — when you’re playing Dungeons & Dragons and you level up, a lot of times, it’s picking a spell out of a book and writing it down and you’re like, I can just do that now. But the show allows us to explore how those characters get those abilities and grow. I think that’s always fun.

    O’Brien: I just like Vax’s continuing evolution in his relationship with the Matron of Ravens, and where he ends the season, where it’s less of a cat being dragged kicking and screaming into a bathtub, which was kind of season 2 for him, and more coming to terms with it.

    Willingham: The thing I love isn’t necessarily for Grog. But for Pike Trickfoot — Ashley Johnson wasn’t around very much [in season 2] because of her shooting on a show in New York. And so she was constantly in and out, and she would miss parts of the storyline. So we took an opportunity to pad her storyline [in season 3] and really bring her more into the way season 3 develops. In future seasons, we really tee her up nicely for a bit more of a meatier bone to chew. And she’s such a force of nature that putting the screws to Ashley is always going to be really fun to watch. So I think that’s the thing I like the most.

    O’Brien: I’ll also toss in that what I love about season 3, is the progression of the romantic threads, where they go, how they relate to each other. Where they end in this campaign is pretty incredible.

    Tasha Robinson

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  • What Does Creature Commandos Tell Us About the James Gunn DCU?

    What Does Creature Commandos Tell Us About the James Gunn DCU?

    When you get permission to rule over the DC Universe, what’s the first franchise to take up, up, and away? If you ask DC’s new boss James Gunn, the answer is, of course, Creature Commandos. Wait, creature what-now? Slated to premiere on Max on December 5, Creature Commandos is a new adult-oriented animated series based on a mighty obscure superhero team from DC Comics. On day two at New York Comic Con 2024, series creator James Gunn appeared on the main stage — along with members of the show’s cast — and revealed why Creature Commandos, of all things, is launching the “new” DCU – and what it might foreshadow about the DCU’s future.

    Gunn began work on the show entirely of his own volition after the success of his other DC series Peacemaker. “The truth is, I had talked to Max after Peacemaker did so well. I talked to Peter Girardi at WB Animation about creating an animated series,” Gunn explained. “I like the Creature Commandos. I love monsters. I love Frankenstein and Bride of Frankenstein. It just seemed like the perfect thing to do. I wrote the scripts without even having a deal, and I happened to get hired as the head of DC Studios. And I very graciously, thank you self, greenlit the show.”

    During the panel, a new two-minute trailer for Creature Commandos premiered to rapturous enthusiasm from the audience. With a vivid art and animation style with deep, bold colors, the trailer introduces each member of the Creature Commandos, voiced by David Harbour (as Eric Frankenstein), Indira Varma (as the Bride), Frank Grillo (as Rick Flagg Sr.), Alan Tudyk (as Dr. Phosphorus), Zoë Chao (as Nina Mazursky), and Sean Gunn (as both G.I. Brobot and reprising his Weasel from The Suicide Squad), as well as all their unique monstrous abilities. The trailer goes hard and heavy on the bloodletting, along with some cameos from other DC characters like Viola Davis’ Amanda Waller.

    “We want this to be very different from what Superman is going to be when that comes out,” Gunn said. “We want Peacemaker to be different from that.”

    Gunn also confirmed DC actors will portray their characters across live-action and animation productions. For example: Frank Grillo, who stars as Rick Flagg Sr., will reprise his Creature Commandos role in both Superman and Peacemaker season 2. (Grillo commented that his white hair as Rick Flagg conflicted with his shooting schedule for Paramount’s Tulsa King.)

    Name-dropping in-development projects like Supergirl and Lanterns and insisting they will be different too, Gunn clarified “it’s a connected universe, but we’re not imposing any sort of overall aesthetic. And Creature Commandos is definitely its own thing.”

    Eric Francisco

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  • Vox Machina’s biggest season 3 change hits hard, even for the Critical Role cast

    Vox Machina’s biggest season 3 change hits hard, even for the Critical Role cast

    The Legend of Vox Machina is a chance for the cast of Critical Role to revamp their first campaign. Sometimes that means characters who weren’t present for certain events now get to play bigger roles. Other times that means pulling in lore and mythology of Exandria that didn’t get fleshed out till after Vox Machina concluded its first run in 2017.

    In the case of the most recent episodes, that means turning a small gameplay hiccup into a huge emotional moment. And the cast was all for it.

    [Ed. note: This post contains massive spoilers for the newest episodes of The Legend of Vox Machina, as well as spoilers for the Vox Machina Critical Role campaign.]

    Image: Prime Video

    The seventh episode of The Legend of Vox Machina ends with gunslinger Percy de Rolo (Taliesin Jaffe) offering mercy to the devious Anna Ripley (Kelly Hu). And instead of taking it, she shoots him in the chest and he falls dead.

    There’s a similar moment in the campaign, but the rest of the party is able to quickly rush Percy to a temple and resurrect him. However, in the show, it looks like he’s going to stay dead.

    “In the campaign, we were able to bring him back very quickly, but I think that can be something that loses its gravity if you’re constantly able to revive somebody who has died over and over again,” explains Laura Bailey, the voice of half-elf ranger Vex’ahlia. “So in order to make us sit with it and experience that grief, I think it needed to be extended.”

    “And give it consequence,” adds Jaffe. “There are definitely consequences left over.”

    There’s no shortage of ways to bring back a fallen companion in Dungeons & Dragons. But while having a resurrection option is a great way to not totally lose morale when facing a tough enemy while playing with your friends around the table, in a television show, an easy revival cheapens the ever-increasing stakes.

    Anna Ripley smirking under a hood in The Legend of Vox Machina

    Image: Prime Video

    “We wanted death to feel consequential,” says Travis Willingham, who plays barbarian Grog and also writes for the show. “We wanted it to have weight, otherwise it would just feel flighty and not a big deal if a character goes down. And so this was really a time to get a gut check about what is important around these characters and really how fragile they can be and how temporary some of this stuff is, if you’re not careful.”

    Percy’s death sends an emotional shock wave throughout the entire party. And unlike other heavy moments throughout the show, which they had played through some version of before during the actual play campaign, this plotline was new and particularly raw. Since Vex’ahlia and Percy have a romantic relationship — which they finally acted on this season — Bailey found the grieving to be particularly satisfying to dig into, draining as it was.

    “We’d leave the sessions and then just feel terrible the rest of the day, but I think it was necessary,” says Bailey. “We started out the entire series and [Vex] is very standoffish, closed off from the get-go. That’s how it was in the campaign as well. She was harsh as a person because she felt she needed to be. But I wanted to make sure in the series that we got to explore why she was like that and really get to see those walls coming down. And through her grief and her regret of being closed off and not letting him know what he meant to her, she was able to grow as a person. I don’t think she would’ve gotten there had it not been for the trauma.”

    There was one person who didn’t face a huge emotional challenge, however.

    “It was easy on my end,” says Jaffe.

    “You just close your eyes,” Bailey adds.

    New episodes of The Legend of Vox Machina drop every Thursday.

    Petrana Radulovic

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  • Filmmakers Are Worried About AI. Big Tech Wants Them to See ‘What’s Possible’

    Filmmakers Are Worried About AI. Big Tech Wants Them to See ‘What’s Possible’

    “You have to learn the fundamentals,” he says. “Technology will change, but storytelling won’t.”

    To make his short, “Mnemonade,” really sing, Meta Puppet says he focused on giving the story some emotional heft. “I don’t think AI films will go fully mainstream until we get emotional dialog,” he says. He played all the roles in his short, about the poignance of sense memory and an elderly woman’s loss of memory, using AI from Silicon Valley “unicorn” ElevenLabs to shift his vocal performance into each character’s range and voice.

    Maddie Hong, who went head-to-head with Meta Puppet in the Culver Cup finals, says that she understands Hollywood’s trepidation when it comes to AI. “There’s more potential for legal backlash and financial loss,” she says, referring to the danger of unintended (or even flagrant) copyright infringement during generation. The studios also have a “higher standard for image continuity,” Hong says, “given that they’re thinking about distribution on all types of platforms and screens.”

    That being said, Hong agrees with people like Luma cofounder Amit Jain, who says that gen AI filmmaking could give the traditional studio system some flexibility in terms of budget and diversity of product.

    “If you look at Hollywood today,” Jain says, “the majority of the high-budget productions are just recycling old franchises because it’s too tough to bet on a new idea or a new franchise .” It’s just safer, he says, to reproduce something than it is to imagine something new.

    In Jain’s (admittedly biased) view, making more projects, even with lower budgets, means more people will work and more money will come rolling in. “I would actually posit,” he adds, “that people will actually have far better careers that are more fulfilling and long-lasting when they’re able to produce things that people actually do want to watch.” If there’s going to be any job loss in Hollywood because of AI, he suggests, the people who are going to go will be the ones most resistant to AI.

    Recent research contradicts that notion. A survey of 300 entertainment industry leaders conducted earlier this year found that 75 percent believed gen AI had led to the elimination, reduction, or consolidation of jobs within their departments. It had also led to the creation of some jobs, but it was “not clear” if new jobs would offset jobs lost.

    Other studies have examined how the VFX world in particular might be affected by more AI in production, with artists typically reporting interest or excitement around tools that could streamline their sometimes tedious workflows, but concern about the ethical and financial implications of the technology. While it would be cool, as Jain suggests, to team up with 11 of your friends to “make a feature film about a Boston Terrier that has superpowers” for relatively little money, it remains to be seen what effect the impact of sweeping AI availability will have on the industry as a whole.

    For Meta Puppet, it comes down to skill, and who has it. “I liken gen AI to the piano,” he says. “Everybody knows about the piano. Not everybody is Mozart. Writing real masterpieces with AI, you have to wear a lot of hats, which is a good and a bad thing because if you have experience, that’s great. If you don’t, whatever you make is probably going to be bad.”

    Marah Eakin

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  • Where Lara Croft is headed in Tomb Raider season 2

    Where Lara Croft is headed in Tomb Raider season 2

    Tomb Raider fans, bless them, spend a lot of time wondering how the series all syncs up. If the Lara Croft we saw in the original ’90s games is the same one as the rougher-around-the-edges Lara from the Survivor trilogy, then what happened in between to have it all make sense?

    Luckily, answers appear on the horizon. Tomb Raider developer Crystal Dynamics has already paraded around a new design for Lara that incorporates her post-Survivor trilogy look with throwback costuming, a commitment to the “unified” timeline. But as far as the story goes, the new Tomb Raider: The Legend of Lara Croft is doing some major lift.

    Earlier this month, showrunner Tasha Huo told Polygon that her goal for the Netflix animated series was to chart the gap between the Survivor trilogy and classic games. But Lara doesn’t get there by the end of season 1, even after defeating the Light, finding closure over the death of Conrad Roth, re-bonding with his daughter Camilla Roth, hugging it out with Jonah, and accepting her first pair of dual pistols. That’s because Huo knew that if the show was a hit there’d be more stories to tell, and she didn’t want OG Lara to suit up quite yet.

    “I don’t want to just fast-track her to becoming classic Lara because it takes a lot to build that woman,” the showrunner says. “So season 2 will build upon what we’ve already seen and grow her even closer.”

    Specifically, Lara will set off on a search for Sam, her filmmaker friend who first appeared in 2013’s Tomb Raider. Sam was working on a job “overseas,” last Jonah heard from her, but a dropped phone call from the old friend is enough to put Lara on high alert. The ending of season 1 only teases a few scant details of where the adventure may lead her: in Sam’s apartment, Lara finds signs of a struggle — a broken coffee mug, a tipped-over chair, a shattered picture frame — and a yarn board tying some stolen artifacts to a shady tracksuit-wearing dude with a scar and photos of cocaine.

    Huo wasn’t ready to spoil any plot details, but says it’s carefully plotted so that Lara continues to grow and has room to venture on if Tomb Raider was to earn even more seasons. A top priority in season 2: Continue to draw out Lara’s sense of humor.

    “Maybe she finds it in Sam,” Huo says. “Sam has a lighter personality. There’s also just a lot more for Lara to learn. So in success and in these infinite seasons, we get to explore all the lessons and how those adventures actually challenge her to take those increasing steps closer to being the woman we remember from the ’90s.”

    For Huo, that classic version of Lara is also hyper-composed, in a way that she just isn’t at the stage of her life in which Tomb Raider: The Legend of Lara Croft is set. Yes, Lara Croft would rather raid a tomb than go to therapy — but Huo intends to help the character find her composure in the next archeology-fueled globetrotting mission. Just as the history-buff showrunner wants to inject Tomb Raider with tons of real history and culture specificity, she also wants to bang the drum for legit self-care.

    “So much of that comes from meditation, balance, having all of these messy things inside you yet still somehow finding a way through calmness and self-composure,” Huo says. “I’m a big proponent of therapy and self-analysis as a way to just grow as a human being. It’s fantastic. And I’m glad Lara can do it. She hates therapy! So using adventure as therapy is a really great way for Lara to learn how to be better.”

    Matt Patches

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  • ‘Moana 2’ Debuts First 30 Minutes as Sequel’s Team Promises “Epic Scale”

    ‘Moana 2’ Debuts First 30 Minutes as Sequel’s Team Promises “Epic Scale”

    The team behind Moana 2 is ready to welcome viewers back into the powerful world of the title characters and her fellow islanders.

    During a press event held Monday at Walt Disney Animation Studios in Burbank, Calif., the filmmakers debuted the first 30 minutes from the sequel to the 2016 animated feature. After screening the footage, co-directors David Derrick Jr., Jason Hand and Dana Ledoux Miller and co-writer Jared Bush took the stage to tease the new adventures for Moana that take place three years after the first movie.

    Hitting theaters Nov. 27, Disney’s Moana 2 will include five new original songs written by Abigail Barlow and Emily Bear, and the first 30 minutes of the film features two of the musical numbers. Reprising their voice roles from the original Moana are Auli’i Cravalho as the lead character and Dwayne Johnson as demigod Maui.

    “The opening song was really meant to be the biggest welcome back into the world of Moana,” Hand explained. “We really wanted to nail that energy. Obviously, the sound of the music is reminiscent from the first film, but also bringing us up to speed as to where Moana is at in her life now and where her island is at as well.”

    Moana 2

    Courtesy of Disney

    The sequel’s story focuses on Moana answering a call from her ancestors and assembling a small crew to set out on a treacherous ocean voyage to find a mysterious island. A later scene was also screened, showing Moana and her friends facing off against the dangerous but diminutive Kakamora tribe.

    “We really thought a lot about what it means to grow as a leader,” said Ledoux Miller. “As you mature, you learn that there are consequences to your actions. The things that you do, the choices you make, affect the people around you, and we really wanted to put Moana through her paces as a leader and have to see who she would have to be on the water when she had people with her.”

    That said, there is also time for playfulness on the journey. “We wanted to have fun, and what’s more fun than a bunch of people who don’t know how to be on the ocean, having to go up against the biggest tests possible?” Ledoux Miller added.

    The project was initially planned as a Disney+ streaming series until Disney chief Bob Iger announced that Moana 2 had instead evolved to become a feature film. The team discussed how the project changed over the course of its path to the theatrical release.

    “The main core characters and the main themes are the themes that we were setting up to tell with the series,” said Derrick. “But then we had to rightsize it in a very dramatic way to make sure it was servicing a feature format. So there were some things that didn’t exactly fit from the series to the feature. But for me, one of the things I love is that everything blends through Moana and her personal growth.”

    Bush agreed and added, “All of us felt like, it’s this unbelievable opportunity to tell this story on a very epic scale, which, in the world of Moana, is exactly what you want. The series version also had that epic quality, but knowing this version is going to be shown on the biggest screens in the world, it really allowed us to go all in on all of that.”

    The film’s team debuted the latest trailer last month at D23, where Cravalho and Johnson were involved in a musical presentation. Before that, Disney shared Moana 2 footage and behind-the-scenes stories during a presentation at the Annecy Animation Festival in France in June.

    “Maui is singing again — singing in keys that don’t exist,” Johnson told the D23 crowd. “And my hair looks fantastic in Moana 2.”

    Also returning from the original Moana voice cast are Temuera Morrison, Nicole Scherzinger and Alan Tudyk. Christina Chen and Yvett Merino serve as producers.

    Ryan Gajewski

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  • The Worldbuilding of Inside Out 2: New Emotions, Belief System, and a Sense of Self

    The Worldbuilding of Inside Out 2: New Emotions, Belief System, and a Sense of Self

    “Inside Out 2” introduces new emotions like Anxiety and Envy as Riley navigates the challenges of growing up and forming her sense of self. This heartfelt sequel naturally builds on the inner world of its predecessor, teaching important lessons in mental health for both children and adults.


    The original “Inside Out” (2015) was a monumental Pixar film that humorously depicted the chaotic inner world of emotions that we all have to navigate.

    In the first one, the young protagonist Riley had to learn that negative emotions like “Sadness” (a blue-colored character) aren’t something that have to be avoided at all costs, but are appropriate emotions to feel sometimes, and even a necessary function of a happy and healthy life. It was a powerful lesson in emotional intelligence that resonated with both children and adults alike.

    The sequel “Inside Out 2” (2024) continues to build off of these themes in a fun, organic, and intuitive way. Riley is now thirteen and about to enter high school. She starts to experience a new range of emotions (especially “Anxiety” and “Envy”), which start to influence her newly forming “belief system” and a “sense of self.”

    The creators of the Inside Out franchise have a team of psychologists that help them illustrate key concepts in an imaginative way, which makes this film both enjoyable and educational. This article will explore some of the new concepts in the film and how the mental world-building in the franchise continues to expand.

    New Emotions

    Inside Out 2 introduces a bunch of new emotions into Riley’s inner world. In addition to the original line-up (Joy, Sadness, Fear, Anger, Disgust), they also include:

    • Anxiety (orange): The focus of the film. Anxiety is always thinking ahead and wanting what is best for Riley, but also overworks and overworries her. The main narrative of the film shows Riley wanting to become the best hockey player she can possibly be; anxiety tries to help her achieve this by motivating Riley to constantly push herself forward, wake up early to train more, and work harder. However, too much anxiety distracts her from other core values in life, such as kindness and friendship, and also hurts her ability to just have fun and enjoy the game of hockey. At the climax of the film, Anxiety works itself up into such a frenzy that it freezes and has a panic attack (this scene has resonated with a lot of people who have experienced similar attacks, including myself). Riley must learn that while anxiety can be a powerful motivator it also needs to be balanced with feelings of acceptance, relaxation, and joy.
    • Envy (cyan): This emotion is always admiring others, looking up to them, and wanting what they have. When Riley first meets her hockey idols, she becomes envious of how “cool” and “successful” they are, so she strives to become just like them by mimicking them and copying their behaviors, including at one point dying her hair the same way to be more like them. Like all emotions, envy and jealousy can be insightful emotions with the right perspective: they can show us what we want or value in life. However when our lives are completely run by these feelings, we end up trying to be something we’re not.
    • Embarrassment (pink): A big goofy emotion that looks away and covers his head in a hoodie whenever something shameful or embarrassing happens to Riley. It’s interesting to note that many of the new emotions added have a social component to them. This makes sense as Riley comes of age and begins to balance her self-perception with how she is perceived by others.

      inside out 2 emotions characters
      All of the emotions in Inside Out 2 (both old and new). One cool thing about each emotion is that it is naturally paired with a specific color. Sadness is blue, Anger is red, Joy is yellow, Disgust is green, and Anxiety is orange.

    • Ennui/Boredom (purple): A humorous emotion with a stereotypically snobby French accent that constantly pretends to not be interested in anything. They will often deflect serious or uncomfortable situations with sarcasm, irony, or feigned disinterest. This character cleverly shows how many people use sarcasm as a defense mechanism when they are too afraid to be honest or sincere about their true thoughts and feelings. It reflects a common attitude among teenagers and young adults where it’s perceived as “lame” to care too much about anything.
    • Nostalgia (beige): This emotion is a side character that pops up a couple times throughout the film. Each time the other emotions humorously tell “Nostalgia” that she is arriving too soon, and that Riley has to at least wait for her first date, first kiss, or graduation before she starts reminiscing on the past. Perhaps Nostalgia will be the main character in Inside Out 10, when Riley is much older and has already lived the bulk of her life.

    The original creator Pete Docter conceived of between 5-27 emotions that could be added to the Inside Out world, so it’s likely newer emotions will continue to be introduced if the series keeps going. Check out different classifications of emotions here, the original five in the movie are based on Paul Ekman’s model (excluding “surprise”).

    Belief System and Sense of Self

    One of the most interesting new features added to the Inside Out world is the idea of a “belief system.”

    In the first movie, they introduced the concept of a “core memory” as a highly emotionally charged event that is then stored in Riley’s brain. Now these core memories can be brought to the “belief system” and turned into a belief (or recurring thought pattern). For example, when Riley fails an important exam at school, that core memory may be turned into the belief, “I’m not good enough” or “I’m not smart enough.”

    Here’s how the belief system is visually represented, it looks similar to a bunch of neurons in a brain. Each ray of light represents one specific belief:

    All of these beliefs come together to create Riley’s “sense of self.” This is depicted in the movie as a type of “electric tree,” with its roots representing each core belief.

    At first the character Joy takes complete control over Riley’s “sense of self.” It only feeds positive memories and positive beliefs into her belief system, and tries to protect her from negative memories by throwing them into the “back of the mind” where they can be ignored forever.

    When the emotion Anxiety takes over, only negative beliefs are fed into the sense of self, such as “I’m not good enough” or “I need to be better.” The “sense of self” changes color and shape to reflect these changes in how Riley sees herself.

    After Riley suffers from a panic attack during a hockey game due to being completely controlled by Anxiety, the character Joy intervenes and gets Anxiety to “let go” of the controls.

    In the outside world, Riley practices a grounding technique by making note of her five senses and taking deep breaths to bring herself back to the present moment. She then does the right thing by apologizing to her friends for being so mean and distant toward them.

    Finally Riley “calls” Joy back to her and allows herself to have fun playing the rest of the hockey game with her friends.

    By the end of the movie, Riley forms a completely new “sense of self” that accepts all of her thoughts and feelings, even when they can be conflicting or contradictory at times. Riley’s emotions come together and realize that she needs all of them.

    No single emotion gets to determine who Riley is – they all contribute in helping Riley become the best version of herself.

    Conclusion

    Overall Inside Out 2 is a worthy sequel that builds off of its predecessor in an organic and intelligent way that is bound to resonate with both children and adults. Make sure to put it on your watchlist this year!


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    Steven Handel

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  • Huh, we’re getting a Twilight animated series from Edward Cullen’s perspective

    Huh, we’re getting a Twilight animated series from Edward Cullen’s perspective

    Apparently, there’s an animated Twilight TV show on the way — but there’s a twist.

    Netflix announced on Wednesday that it’s working to adapt Midnight Sun, the Twilight novel written from the point of view of vampire heartthrob Edward Cullen, played in the live-action movie series by Robert Pattinson. This book, where Edward chronicles his perspective on his romance with human paramour Bella Swan (Kristen Stewart in the movies) is a particularly infamous part of the Twilight story: The first 12 chapters of the manuscript leaked online in 2008, ahead of publication, and author Stephenie Meyer was so annoyed by the experience that she posted those chapters online herself, declaring that she wouldn’t finish the book. She eventually changed her mind, and the actual official Midnight Sun novel was released in 2020.

    In the interim, she also wrote and released Life and Death: Twilight Reimagined, a gender-swapped version of Twilight. Where’s that animated series, Netflix?

    Meyer is slated as one of the executive producers on the project. Sinead Daly (Tell Me Lies) will executive produce and write the series. There’s no further casting information, release date, or details on what studio will be tapped to produce the animation. But one thing’s of the utmost importance: Animated Edward has really gotta sparkle.

    Petrana Radulovic

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  • The Action-Goth Masterpiece That Never Got Its Due

    The Action-Goth Masterpiece That Never Got Its Due

    Video: Discotek Media

    Every Wednesday in August, Vulture will choose a film to watch with readers as part of our Vulture Movie Club. This week’s selection comes from Vulture editor Eric Vilas-Boas, who will begin his screening of Vampire Hunter D: Bloodlust on Wednesday, August 21, at 7 p.m. ET. Head to Vulture’s Twitter to catch the live commentary.

    In Latin, animātiōn may mean the “bestowing of life,” but in Vampire Hunter D: Bloodlust, it delivers ecstatically drawn death. In the film’s first shot, a monumental moon presides over a decrepit castle and a cobblestoned, cross-laden town. We don’t immediately see the demon that rides through the streets, but the camera tracks his lethal progress: He leaves flowers desiccated and fountains frozen in his wake before spreading sinewy wings and spiriting a maiden from her bed.

    That opening teases the rest of the film’s style. Unlike the original 1985 Vampire Hunter D — a low-budget, direct-to-video effort — 2000’s Bloodlust is opulently produced, a postapocalyptic action epic stuffed with black leather, red lips, and supernatural bloodletting. It’s brutal but also sexy as hell, like many of the defining entries of the goth cinema canon. It’s also, weirdly, still underappreciated. Its director, screenwriter, and storyboard artist, Yoshiaki Kawajiri, isn’t nearly as celebrated in the United States as his peers Hayao Miyazaki or Mamoru Oshii, but his films are arguably as influential. Bloodlust is his finest work, one of the last great features from anime’s seductive video-store era that Kawajiri’s ultraviolent titles like Ninja Scroll and Wicked City helped shape.

    Bloodlust is approachable by design, an adaptation of author Hideyuki Kikuchi’s Demon Deathchase novel in the ongoing D saga. After that opening sequence, we meet the anti-hero D, a half-vampire-half-human bounty hunter, who takes on a contract to rescue the maiden from her vampire captor, Meier Link. That mission gets complicated once other bounty hunters join the chase and we learn that the victim, Charlotte, is actually in love with Meier. Along the way he tangos with rival bounty hunters and powerful demons — including one naked, reanimated zombie vampire queen drenched in approximately a hogshead of blood. Like the spaghetti westerns that influenced it or its spiritual cousin Mad Max: Fury Road, Bloodlust’s plot is simple but never boring. It’s essentially a two-hour chase, and Kawajiri’s visuals are always the focus.

    That starts with the characters. We often see D framed in the distance, a lone figure in a barren landscape. Originally designed by Yoshitaka Amano and translated to the film by Yutaka Minowa, D is a slender, soft-spoken swordsman dressed perpetually in black — as if Timothée Chalamet were spliced with Yojimbo and given a massive wide-brimmed chapeau. D is canonically “gorgeous,” according to the books. His dhampir parentage (“dunpeal” in the bowdlerized English dub) means he is shunned and feared by society; ergo, even hotter. His goth beauty is underscored by a belt, sword hilt, and horse saddle adorned with matching skulls. In almost every shot, his face is obscured in shadow, and we almost never see both of his eyes open at the same time.

    Photo: Discotek Media

    His supporting cast offers contrast but never ugliness. Next to D’s Timothée, Meier is giving a pale-blue Sting from the original Dune — Byronic menace and agonizingly edged sexual desire, plus spiky swept-back hair, jewelry, and a winged demon form. Meier doesn’t want to damn Charlotte to a vampire’s existence; he adores her. When he’s not caressing her body, he’s risking oblivion by walking into burning sunlight for her. Charlotte’s wardrobe is stocked with corsets and flowing Victorian lace, her neckline perpetually exposed. The gun-toting bounty hunter Leila’s design delivers a different kind of femininity: She wears lipstick and heels but also armored shoulder pads, and she carries a gigantic pistol and a telescoping bazooka that she fires from atop a motorized unicycle. Even the gruesome monsters — a scantily clad tree demon, a werewolf with a gnashing mouth popping out of his chest, a bounty hunter who shoots up drugs and astral-projects an exploding ghost — are polished to perfection. None of these designs are as soft as something you’d see in a Studio Ghibli movie, but that isn’t the point. They look fine as hell in the context of Kawajiri’s dark world.

    In spite of its dynamism, enthralling visuals, and obviously high production value, Bloodlust’s theatrical take capped out at $151,086 in the United States, across just 12 theaters. The story goes that the unusual choice to distribute the film in the States first was a bet by veteran producer Mataichiro Yamamoto that action anime could work on the big screen in North America. Vampire Hunter D: Bloodlust was animated by Madhouse in Japan, but its final print was mastered under the California sunshine, at Skywalker Ranch. Unlike most Japanese anime, its original audio track is the English one. Yamamoto’s Urban Vision Entertainment eventually went out of business, but with Bloodlust, he was ahead of his time. The film arrived before Miyazaki won his Oscar for Spirited Away, before channels like Adult Swim imported mature anime, and many years before GKIDS started earning acclaim for its packaging of international animation releases. Bloodlust’s underwhelming release proved a melancholy fate for a film about beings doomed to lust eternally but never to live or be understood.

    Bloodlust has long been a home-video favorite among anime fans, most recently thanks to the Blu-ray sellers at Discotek Media, though it’s not (legally) available to stream. For those hoping for a wider re-release, a distributor like GKIDS may hold the most promise: The shop is sending Kawajiri’s Ninja Scroll to over 500 U.S. theaters in September. Until Bloodlust’s day comes, some of you might find it on the Internet Archive or other dark corners of the Internet where unlicensed anime persists. Like its demonic specters, Vampire Hunter D: Bloodlust endures in the dark, safely packed in boxes available for purchase and waiting for unsuspecting lovers to savor its unearthly delights.

    Eric Vilas-Boas

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  • He Made a Movie About Humans Rising Up Against AI. Now He’s Doing the Real Thing

    He Made a Movie About Humans Rising Up Against AI. Now He’s Doing the Real Thing

    When I interviewed writers and actors at the picket lines of the WGA and SAG-AFTRA strikes last year, there was a mix of sentiment around AI, which, while largely negative, encompassed anxiety, uncertainty, equivocation, and anger.

    The crowd in Burbank was the most uniformly and passionately anti-AI I’ve ever witnessed. Asked for his thoughts on how AI was impacting his industry, one animator said, “AI can fuck right off.” I asked the storyboard artists Lindsey Castro and Brittany McCarthy for their thoughts on AI, and both simply booed.

    A year after the WGA strikes, AI was not, to the animation workers I spoke with, something to be questioned or experimented with—it was something to be opposed. An animation worker walked by with a sign referencing the master animator Hayao Miyazaki’s comment that using AI in the arts is “an insult to life itself.”

    It was sweltering, even at 5 pm, as Rianda took the stage to emcee. He introduced a series of writers, directors, and animation legends like Rebecca Sugar, Genndy Tartakovsky, and James Baxter, as well as union leadership, politicians, and rank-and-file workers. “We’re not going to let your job be taken away by some computer, some soulless program,” said California assemblymember Laura Friedman. The mayor of Burbank, the president of IATSE, and the actor and podcaster Adam Conover took turns at the mic.

    Organizers and speakers remarked on the size—“I’ve never seen so many animation people in one place before; we like to stay in our dark caves,” one remarked—and halfway through Rianda declared it the largest rally in the history of the animation industry. Rianda kept the energy level high throughout the afternoon, belting out jokes and chants, his pale skin turning pink under the sun and the strain.

    Hundreds of animators cheered along; it was easy to see these “indoor kids,” as a number of different animation workers there referred to themselves, as the lovable underdogs, up against bosses who wanted to use a cutting-edge technology to erase them. They really were, in a comparison Rianda encouraged at the rally, not unlike his Mitchells, who were at first caught unawares by the cartoonish robot apocalypse, but were then able to stop it.

    “I’m trying to do this stuff because I’m so concerned that if people aren’t educated about what could happen, just the worst thing is going to happen,” Rianda told me. “I see it starting and it’ll be really soft at first like it is with kiosks at supermarkets. All of a sudden everyone in town can’t work. They’re like, ‘What the fuck is going on? Why can’t I get a job?’ I literally do think thousands of jobs will be lost.”

    Like so many of his fellow artists and creative workers, Rianda has come to see artificial intelligence as a technology that’s not intrinsically without merit—but is being used for the wrong reasons, by the wrong people. That, ultimately, is why he fights, he says. To try to ensure that AI stays in the right hands.

    “The concept of AI is great: Use it to solve climate change and fix cancer, and fucking do a bunch of other weird shit,” he says. “But in the hands of a corporation it is like a buzzsaw that will destroy us all.”

    Brian Merchant

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  • New Parenting Course App and Original Preschool Animated Series ‘Zip and the Tiny Sprouts’ Launched by Tiny Souls Media

    New Parenting Course App and Original Preschool Animated Series ‘Zip and the Tiny Sprouts’ Launched by Tiny Souls Media

    Press Release


    Jul 18, 2024 09:00 EDT

    Preschool Series Produced by Children’s Education Company Tiny Souls Media and Animation Studio K Love You Bye Unveils Accompanying Parenting Course App That Supports Caregivers and Children Learning Together

    Tiny Souls Media Inc., a start-up specializing in children’s media and educational resources for caregivers, launched its first episodes of an original preschool animated series entitled Zip and the Tiny Sprouts last month on YouTube. The series is written and directed by K Love You Bye’s Peter Johnston and Kyle Logan with Chris Bennett (Bluey) as animation director. Zip and the Tiny Sprouts aims to entertain young audiences while supporting their learning and social-emotional development. The series will feature 26 seven-minute episodes set in the whimsical Harmony Hollow, released every other weekend on YouTube and the YouTube Kids app. Additional content such as sing-alongs and craft videos are also featured on the channel to help families learn and grow together.

    Each episode features meaningful stories and original music on themes like patience, perseverance and gratitude, and is grounded in established curriculum frameworks and developmental psychology research. Lacey Mason (Sesame Workshop, Dodo Kids), Head of Development and Production at Tiny Souls Media, shared, “Each episode of Zip and the Tiny Sprouts is thoughtfully crafted with humor and heart. We have an extremely talented art and animation team making the Sprouts and their world come to life in fantastic, endearing and relatable ways.”

    “We are thrilled to launch this unique animated series alongside a robust offering of resources and activities that empower caregivers and educators of young children to learn about important themes that can create a solid foundation for their well-being,” said Shadi Toloui-Wallace, founder and Chief Creative Officer of Tiny Souls Media. 

    The show has already become a YouTube sensation with the first five episodes garnering over 1.5 million views within the first month of its release. “The reception to it has been just wonderful. But there’s no time to rest. Our journey is just getting started and we’ve got lots of funny, heartfelt and thoughtful stories to share,” said Animation Director and writer Chris Bennett.

    Unique to many of its competitors, Tiny Souls offers educational content for both caregivers and young children, all informed by developmental psychology research. Earlier this year, Tiny Souls Media launched the Caregiver Companion Series of parenting courses available on its website and app, featuring expert advice, purposeful activities and games, songs and more.

    Source: Tiny Souls Media

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  • Warner Bros. Sets Animated Musical ‘Bad Fairies’ for 2027 Release

    Warner Bros. Sets Animated Musical ‘Bad Fairies’ for 2027 Release

    Bad Fairies is flying toward a 2027 release from Warner Bros.

    The studio announced Tuesday that the animated feature hailing from Warner Bros. Pictures Animation and Locksmith Animation is set to hit theaters July 23, 2027. The movie from director Megan Nicole Dong, known for creating and directing the Netflix animated musical series Centaurworld, is currently in production in London.

    Warner Bros. Pictures Animation and Locksmith Animation also announced that Toby Marlow and Lucy Moss — who co-created the Tony-winning musical Six and the new musical Why Am I So Single, premiering on London’s West End next month — will write the songs for Bad Fairies. Additionally, Grammy-nominated musician Isabella Summers (Florence and the Machine) will compose the score and produce the songs.

    Bad Fairies is billed as a subversive musical comedy set in present-day London and focusing on a rule-breaking group of badass fairies. Dong directs the feature from a script by Deborah Frances-White, host of podcast The Guilty Feminist. DNEG Animation serves as digital partners for Bad Fairies. A voice cast has not been announced.

    “Warner Bros. Pictures Animation and Locksmith Animation are excited to welcome this extraordinary dream team of musical talents, Toby Marlow, Lucy Moss and Isabella Summers into our Bad Fairies family,” said Warner Bros. Pictures Animation president Bill Damaschke and Locksmith Animation CCO Mary Coleman said in a joint statement. “Together they will bring vibrant and unforgettable dimension to the story, and we cannot wait to share it with audiences around the world in 2027.”

    Carolyn Soper produces the film, while Rikke Asbjoern and Chris Garbutt serve as heads of story. Sim Evan-Jones is editor on the project, with Uwe Heidschötter serving as cinematographer and Uwe Heidschötter handling character design.

    Ryan Gajewski

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  • Pixar Put an Easter Egg for Its Next Movie in ‘Inside Out 2.’ Did You Catch It?

    Pixar Put an Easter Egg for Its Next Movie in ‘Inside Out 2.’ Did You Catch It?

    With Inside Out 2, practically everyone at Pixar (and Disney) is breathing a sigh of relief.

    After a few years of less-than-stellar reviews and movies that were sent straight to Disney+, Pixar seems to be returning to its former glory with the second installment in the Inside Out series. It has grossed nearly $800 million worldwide at the box office, making it 2024’s highest-grossing movie to date, and critics and audiences seem pleased.

    Inside Out 2 also has something else familiar to fans of the animation studio’s movies: Easter eggs, quotes, and references to Pixar’s past catalog. In this case, however, there is also a particular reference to a film coming in the future.

    As is often the case in animated productions, it is easy to litter scenes with nods to other works, a way to tease the viewer’s attention and invite them to unearth every possible link. Inside Out 2 is no exception.

    In the scene where Riley’s emotions run through her future career hypotheses, for example, there is a quick glimpse of Pixar’s iconic Luxo ball. Look closely at the boy band posters on Riley’s wall and you’ll catch a glimpse of one for 4*Town, the musical group beloved by the kids in Turning Red. When Joy has Sadness observe the new configuration of the Islands of Friendship and Family in Riley’s mind, she hands her a pair of binoculars that look like Lenny from Toy Story.

    But the movie contains more than just glimpses of the past. Inside Out 2 also features a character who will join the Pixar family in 2025: the protagonist of Elio, its feature about a young boy who is mistaken for Earth’s ambassador to alien races and then “summoned” to deal with the future of the galaxies.

    During Inside Out 2‘s sarcasm scene—though not the “sar-chasm” one—there are several memory spheres and one is dedicated to Elio, the movie’s namesake. It’s easily missed but also something of an odd premonition. Elio was originally slated to hit theaters earlier this year, before Inside Out 2, but got postponed to June 2025. Did you catch it?

    Paolo Armelli

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