Noggin, Nickelodeon’s interactive learning service for preschoolers, has launched a new historical animated musical series, Rhymes Through Times, featuring original music and lyrics written and performed by award-winning actor/singer/songwriter/composer Christopher Jackson (Hamilton, Moana), and Nick’s fan-favorite preschool characters.
Available now on Noggin and the Nick Jr. YouTube channel, the three-episode short-form series celebrates the Black experience and showcases the contributions of Black people to American culture, focusing on civil rights and leadership, performing arts, and science.
The first episode of Rhymes Through Times, “Hero,” follows Ruby Bridges and Thurgood Marshall, portrayed by the Bubble Guppies’ Zooli and Goby, as they take a stand against segregation. Subsequent episodes — “My Best,” which celebrates Katherine Johnson (portrayed by Nella from Nella the Princess Knight) and Guion Stewart Bluford Jr.’s (portrayed by Goby) contributions to space exploration; and “Why We Dance,” which sees Nella as Katherine Dunham and AJ from Blaze and the Monster Machines as Alvin Ailey express themselves through dance — will roll out every week on Noggin and the Nick Jr. YouTube channel. The episodes will also air on the Nick Jr. channel.
Concurrent with the launch of their respective episodes, each of the songs from Rhymes Through Times will be available on over 200+ digital streaming platforms, including Apple Music, Spotify, iTunes, Tidal, Amazon Music, Pandora and more.
Rhymes Through Times
Character development, animation and design for Rhymes Through Times are by Lion Forge Animation, LLC (Oscar-winning short Hair Love), and Dr. Beverly Daniel Tatum served as educational consultant.
Rhymes Through Times incorporates a social and emotional curriculum, highlighting the value of kindness, perseverance and fairness. Aligning with Noggin’s learning approach that aims to help preschoolers build big hearts, strong minds and healthy bodies, the series is the latest addition to Noggin’s content slate which includes the recently launched series Noggin Knows, Kinderwood, School of Yum, Word Play and Imagination Trips, among others.
In Noggin, learning is led by the Nickelodeon preschool characters kids know and love, and developed by education and child development experts. The interactive service offers an ever-expanding library of books, learning games, activities, exclusive shorts and 1,000+ ad-free episodes of preschool favorites like PAW Patrol, Peppa Pig and Blue’s Clues & You!
Cartoon Network has released the third anti-racism PSA in a series of four developed by Emmy-nominated Steven Universe creator Rebecca Sugar and OK K.O.! Let’s Be Heroes creator Ian Jones-Quartey, aimed at providing kids and families with productive ways to disrupt the common narratives about racism.
The latest PSA, titled “See Color,” features Steven Universe’s Amethyst (voiced by Michaela Dietz) launched Tuesday morning on Cartoon Network’s YouTube channel and across the network’s social media platforms.
“See Color” was developed in partnership with Dr. Deborah J. Johnson, with additional consulting from Dr. Kira H. Banks and Dr. Allen E. Lipscomb. Dr. Johnson is a developmental psychologist who received her doctoral degree in Human Development and Social Policy from Northwestern University. Her research explores racially and culturally related development, parental racial socialization and coping, and cultural adjustment from early childhood through emerging adulthood, in both domestic and global children and youth.
“These PSAs offer a compact message of antiracism targeted toward messaging justice, fairness, inclusion and allyship based in research evidence,” explained Dr. Johnson. “The PSAs are bold, bringing the complex issues of society around race, gender, identity and inclusion, intensely into focus in a language and with images children can understand. If we can capture children’s attention and early learning around these issues, our society has a chance to make and maintain shifts in equity for the long term.”
Viewers can log on to www.crystalgemsspeakup.com for links to the PSAs, as well as social justice organizations and additional tools and information.
Calling all crew members, the ship is now preparing for take off. Keep an eye out for asteroids and black holes as Final Space season three lands Saturday, March 20 at 10:30 p.m. ET/PT on Adult Swim. The premiere announcement follows a first-look revealed in December, and comes with the news that seasons one and two will be available to stream on HBO Max starting March 1.
Picking up where things left off, season three brings unexpected twists and turns as Gary (voiced by series creator Olan Rogers) and the crew enter final space to rescue Quinn (Tika Sumpter). After discovering they are now trapped, the stakes get even higher as the crew must do whatever it takes to survive.
With Invictus (Vanessa Marshall) and Lord Commander (David Tennant) determined to capture Mooncake (Rogers) in an attempt to use him to grow even more powerful, Gary and the crew’s only hope is to team up with Earth’s sole survivor. Together they must find a way out before it’s too late.
The series also features the voices of Fred Armisen, Tom Kenny, Steven Yeun, Keith David, Conan O’Brien, Ron Perlman, John DiMaggio, Gin Torres, Andy Richter, Jane Lynch, and others.
Final Space is created by Olan Rogers and executive produced by Emmy Award-winner David Sacks (The Simpsons). The series is produced by Conaco and New Form. Animation is produced by ShadowMachine and Jam Filled.
Rémi Chayé’s (Long Way North) latest movie, Annecy Cristal winner Calamity Jane, will be the first animated feature film available for worldwide access through The Animation Showcase Streaming platform.
The platform created by Benoit Berthe Siward in 2016 has established itself as a major supporter of animated-short films during the Award Season, spotting and screening most of the nominated films and all the Oscar winners in its annual selection. The films are accessible via free registration for those in the film industry, allowing Calamity Jane to be screened by a wide network of animation professionals.
“I am thrilled to open The Animation Showcase Streaming Platform to an animated feature for the first time with Calamity Jane, one of the most beautiful films of the year,” said Siward. “We always tried to champion the best creations, it seemed natural to support this amazing feature in these challenging times where it has become impossible to meet in person with the studios and the rest of the industry.”
Chayé’s first feature was the 2015 sensation Long Way North, distributed worldwide. ‘Calamity Jane’ premiered in Annecy last year (as Calamity: A Childhood of Martha Jane Cannary) where it received the Cristal for Best Feature at last year’s reorganized hybrid festival edition. The film was released in France in October, grossing more than $1 million in box office before it was hit by cinema closures in its second week. (Cinemas have not reopened since.)
The film is now a contender for the Best Animated Feature Oscars as well as this year’s Annie Awards competition.
Henri Magalon and Claire La Combe, producers of the film at Maybe Movies, commented, “We are excited to team-up with The Animation Showcase and experience for the first time an innovative way of exhibiting films. We’ve put so much into the making of Calamity Jane these past five years that it is truly heartbreaking not to be able to share it more widely due to the COVID-19 situation. Benoit’s platform offers a unique opportunity to properly bring awareness on our work to the animation and motion picture community.”
Calamity Jane tells the story of 12-year-old Martha Jane, who must take charge of her siblings after her father is hurt in a serious accident while driving a large convoy to the West in search for a better life. Frustrated by the constraints of being a girl, Martha Jane decides to dress as a boy to better fulfill her duties and pursue her growing thirst for freedom and adventure outside of the constraints of the rigid convoy. One day, after being unfairly accused of theft, she runs away determined to prove her innocence. In the wild, she finds her true self as well as the world that will shape her and confirm her unique personality: that of the legendary and mysterious Calamity Jane.
Produced by Maybe Movies (Long Way North, Zombillenium) and Nørlum (Song of the Sea, Long Way North), Calamity Jane is sold by Indie Sales who is well-known in the animation world for selling films such as My Life as a Zucchini, the high-profile Oscar and Golden Globe nominee, and the 2018 Cannes selection Another Day of Life.
To watch Calamity Jane on The Animation Showcase, click through to the Activation Portal here. You will be asked to provide your email address and proof of work in the film/animation industry (Vimeo account, IMDb page, etc.).
Superprod Group announced the recent addition of Jean Duval to its animation team as well as the formation of a unit fully dedicated to animation project development. Duval is joining as Studio Director and will supervise all animation endeavors, including pilots and series. Patrick Ermosilla, Chief Creative Officer of Superprod Animation, will head the new Art Development Department, which already counts 15 new creatives.
A graduate of École Supérieure Estienne, Duval boasts over three decades of experience in film and animation. His career began in the Army Film and Photography Department (ECPA) during his military service. He then joined Disney Animation as a layout artist, assistant animator, storyboard artist, and later became Creative Director at Disney Consumer Products. In 2003, he directed the CG animation film Pollus – The Magic Roundabout, based on the popular franchise, for Pathé Pictures and Action Films. Duval’s career has continued to flourish, allowing him to contribute his talent and vision to numerous animated series for television. He recently directed the two seasons of the hit series Mini Ninjas (based on the Square Enix videogame) for TF1, RAI, Disney and many others, and the recently released Splat and Harry (based on the best-selling books by Rob Scotton) at Blue Spirit for TF1.
At Superprod Animation, Duval will oversee the development and production of all animated series (in-house productions and executive production services) and will work closely with the showrunners, directors and art teams of all projects.
“I’ve had a strong desire to work with the Superprod teams for a long time. I am proud and honored to finally be able to join them today,” commented Duval.
Under the leadership of Chief Creative Officer Ermosilla, Superprod Animation’s creative team has expanded since 2020 to include over 15 dedicated artists and will further expand in the future. The division is currently working on seven series in production at various stages and has a large development slate — including series and feature films.
“Our teams are able to exercise their talent on a wide variety of projects. They always aim to ensure high-end production value and artistic coherence, both for our own productions and for those of major clients such as Netflix, for whom we currently produce several series in our studios in Paris and Angoulême,” said Ermosilla.
Superprod Group founders Jérémie Fajner and Clément Calvet see these bold initiatives as a natural extension of the Group’s eager expansion: “Our studio is betting more than ever on its artists. Talents are key and we are proud that Jean Duval has chosen Superprod and can bring us his experience, his talent and his unique creative power. For his part, Patrick Ermosilla has assembled a team of outstanding talents to deliver unique projects and to serve the vision of our directors and clients.”
Founded in 2010, Superprod Group creates, produces, and distributes premium content for all media. Under its Superprod Animation label, the Group develops and creates kids and family animation series (Pat the Dog, Anna & Friends) for the international market and in association with all major TV networks and platforms. It also operates Superprod Studio, its own animation studios in Paris and Angoulême, and has a U.S. subsidiary based in Los Angeles. Among the movies produced by Superprod Films are White Fang, which was selected for Sundance and the Toronto Film Fest and nominated for the European Film Awards (EFA), and Song of the Sea, which was nominated for the Cesar Award, Oscar and EFA.
Tanjiro Kamado’s quest will continue in a sequel to the blockbuster anime feature Demon Slayer: Infinity Train (a.k.a. Demon Slayer -Kimetsu no Yaiba the Movie- Mugen Train), set to premiere on Japanese TV at the end of this year, according to distributor Aniplex. Details of the new film — including which broadcaster will do the premiere honors — have yet to be revealed.
Based on the manga created by Koyoharu Gotoge (published by Shueisha), Demon Slayer: Infinity Train continues the events of the hit anime series as avenging hero Tanjiro, his demon-turned sister Nezuko, Inosuke and Zenitsu board a train that they quickly learn isn’t quite as it seems. With help from Rengoku, the Flame Hashira, they sense a demon presence on board, and it’s up to the group to protect the train’s passengers and survive their trip. The movie is produced by series studio ufotable and directed by Haruo Sotozaki.
The film was a smash box office success in Japan, setting multiple records in rapid succession despite COVID-19 restrictions. In 73 days, Demon Slayer; Infinity Train grossed 32.48 billion yen (~$308.2 million USD) to become the highest-grossing film of all time in Japan, surpassing Hayao Miyazaki’s Spirited Away which held the record for 19 years. The film has exceeded 36.8 billion yen ($350.7 million USD) at the Japanese box office on the back of over 26.88 million tickets sold. Though it is now the second highest-grossing film in the country since the release of live-action romcom Loved Like a Flower Bouquet at the end of January, Demon Slayer: Infinity Train remains Japan’s top performing animated movie of all time.
Funimation Films and Aniplex of America are planning to release English subtitled and dubbed versions of Demon Slayer: Infinity Train in the U.S. this year. The pic is currently on the list of movies eligible for consideration in the Best Animated Feature category of the Academy Awards.
Us Again, a vibrant and original new theatrical animated short from director Zach Parrish that brings together dance, music, emotional storytelling and inspired animation, is set to debut exclusively in theaters worldwide beginning on March 5, playing on the same bill as Walt Disney Animation Studios’ newest animated feature, Raya and the Last Dragon.
The film is Disney Animation’s first new theatrical short since the 2016 release of Inner Workings, which accompanied Moana on the big screen. Us Again is scheduled to make its streaming debut in June on Disney+.
Parrish is an 11-year veteran of Disney Animation who served as head of animation on Big Hero 6 and director of the Short Circuit film Puddles, in addition to his numerous animation credits on features for the studio. Award-winning choreographers/dancers Keone & Mari (featured performers on World of Dance, and renowned for their collaborations with such top talents as Justin Bieber and Billie Eilish) and acclaimed composer Pinar Toprak (Captain Marvel) brought their unique talents to this experimental and musical fantasy. The film is produced by Brad Simonsen (associate producer on Big Hero 6, Zootopia and Ralph Breaks the Internet) and executive produced by Jennifer Lee, Chief Creative Officer, WDAS.
“We’re thrilled to be premiering our first new theatrical short in five years, Us Again, exclusively on the big screen alongside our incredible new feature, Raya and the Last Dragon,” commented WDAS President Clark Spencer. “Zach has tapped into elements from his personal life, and collaborated with the very best in the world of dance and music to create this very special film. We are so proud of what they have accomplished and look forward to sharing it with movie theater goers in March, and then in June on Disney+.”
Lee added, “One of my priorities has been to bring back theatrical animated shorts and to give artists at our studio an opportunity to explore new ideas. Us Again has so much spirit and energy, and pushes the boundaries of our short form storytelling.”
Set in a vibrant city pulsating with rhythm and movement, an elderly man and his young-at-heart wife rekindle their youthful passion for life and each other on one magical night. The years fade away as the joy of dancing propels them across the exciting cityscape of their youth and revives fond memories and ambitions. Us Again is told entirely without dialogue and set to an original funk and soul musical score reminiscent of the mid ’60s.
“Working with Keone & Mari was the key to making this film work,” said Parrish. “From the very beginning, I knew that I wanted this film to be music driven. And I felt that dance is a universal language that can translate into any culture. I loved that their dance style felt like it was made for animation, and that there was this genuine, honest and organic connection between them because they were actually a married couple in real life. The story itself was inspired by my own grandparents, who faced getting older in different ways, along with my own physical limitations in playing sports resulting from getting older and injuries. I started thinking about how someone might look at the world differently as things change and they grow older.”
Simonsen added, “It was fascinating to see the process and the close collaboration between the music, the choreography and Zach’s vision for layout and animation. The film has a timeless and life-affirming message and an emotional resonance that is uniquely entertaining. Zach’s love of dance and animation, and his willingness to take chances as a filmmaker, made this a true labor of love.”
Keone observed, “Mari and I have always dreamed of having our particular style of movement being incorporated within animation. Our style is very new and young and we were like kids in a candy store working with Zach and the team to capture it and see our movements realized through the characters in the film.”
“From the first time we saw the storyboards, I was already tearing up,” added Mari. “The characters were easy to relate to and to empathize with. As a married couple, we tried to imagine being their age, and we also thought about our own grandparents in bringing the characters to life through dance.”
The multi-award-winning independent animation studio, Aardman, has greenlit a brand-new comedy series for 7- to 11-year olds titled Lloyd of the Flies. CITV (U.K.) has acquired a 52 x 11′ package, which will be created using a mix of CGI and 2D animation. The production will be a milestone for Aardman, as the first CGI series produced entirely from the studio’s creative hub at its Bristol HQ.
Lloyd of the Flies follows the adventures of Lloyd B. Fly, a housefly and the middle child of 453. Lloyd lives with his parents, his little sister PB and their 225 maggot siblings inside a compost bin they call home. In the series, Lloyd and PB are often accompanied by Lloyd’s best friend, Abacus Woodlouse, and eccentric tag-along, Cornea Butterfly. Together they explore the strange world beyond the compost bin, where there is no shortage of lessons for Lloyd to very nearly learn.
The series is created and directed by Matt Walker (winner of a jury award at Aspen Shortsfest, Jury Special Mention at Clermont-Ferrand and best graduation film at Annecy Int’l Animation Film Festival 2006). Aardman’s Sarah Cox will act as Executive Creative Director.
“Matt is such an exciting talent with a unique comic perspective, and we are thrilled to be working with him on Lloyd of the Flies,” commented Cox. “We think it is a show with real global reach that will ultimately be screened in as many territories as our hugely successful Shaun the Sheep. Lloyd and his misadventures will make both kids and their families laugh and we are delighted to have CITV as a partner – it’s the perfect home for these tiny, funny, colourful characters that Matt has created.”
Walker added, “I cannot wait to bring the witty and weird world of Lloyd to life. It is a life familiar to many of us – as Lloyd tries to prove his worth in a world he doesn’t fully understand, while dealing with friendship, family, the acquisition of food, and not being crushed or eaten. Born out of my love of insects and a punny title, Lloyd of the Flies is a comedy of entomology that draws inspiration from the insects we are used to seeing around the home and gives a glimpse of what they are up to when we are not paying attention.”
Darren Nartey, Acquisitions Manager at ITV, said, “We are absolutely thrilled to be working with Aardman to bring Lloyd of the Flies to CITV. It’s a great idea and our audience will love the dynamic British sense of humor.”
Lloyd of the Flies is the flagship project for the government-funded Young Audiences Content Fund (YACF), which is managed by the BFI and supports the creation of distinctive, high-quality content for audiences up to the age of 18. The Fund offers production funding for projects which have secured a broadcast commitment from a U.K. Public Service Broadcaster to make the program available to a U.K. audience on a free-to-access, Ofcom-regulated service.
Jackie Edwards, Head of the Young Audiences Content Fund, BFI, commented, “We are absolutely delighted to be able to help bring Lloyd of the Flies to screen. It’s such a fantastically fun animated series that mirrors contemporary life for children and families across the U.K. with a fresh British sense of humor.”
In a message sent out to participating category voters, the Academy revealed that Paramount/Nickelodeon’s The SpongeBob Movie: Sponge on the Run — which was pulled from theatrical release due to the pandemic and is slated to make its U.S. premiere on the new Paramount+ platform at launch on March 4 — has been pulled from the list of qualified animated features under consideration for nomination.
“Dear Animated Feature Voting Committee Member,
We hope you have been enjoying the submitted Animated Feature films. We wanted you to be aware of some submission updates:
The film titled Nos Ili Zagovor Ne Takikh has been updated to its English-language title The Nose or the Conspiracy of Mavericks.
The SpongeBob Movie: Sponge on the Run has elected to withdraw from consideration and will no longer be available to view on Academy Screening Room.”
The 26 animated features now under consideration are:
Sponge on the Run received a theatrical release in Canada last summer, and debuted globally outside North America on Netflix in November. You can read more about the film in Animation Magazine‘s feature article, including interview with director Tim Story, here.
Sentient doodles, skeptical robots, vicious attack-pizzas — it’s all in a lightyear’s work for the congenial cosmonaut heroes of FriendZSpace! Due to bring its intergalactic message of friendship to audiences across this planet in 2022, the 52 x 11′ CGI comedy-adventure for kids 5-9 is debuting its energetic, E.T.-packed teaser trailer through Animag today.
As co-creator Dan Clark, an animation veteran whose many credits include Alien Xmas, Team Smithereen, Tasty Tales of the Food Truckers, Yo Gabba Gabba! and The Save-Ums!, explains, “FriendZSpace follows the weird and wonderful adventures of three human kids and their half robot dog as they explore the supercluster of stars in an effort to seek-out intelligent alien life and make new friends. The series is driven by the act of friend making and all the crazy things that can go comically wrong, and sweetly right, when befriending exotic alien life. In the end our alien characters (there are over 50 new species introduced) are just like us.
“That’s the key to the storytelling: no matter how different people seem at first blush, we are all the same, we are all friend-able. Making friends with folks who are very different from ourselves involves some measure of risk. FriendZSpace explores that idea with comedy, adventure, and heart.”
Announced in August by prodution partners Studio 100 Group and T&B Media Global, FriendZSpace is a global effort. “We’re super grateful to be working with such talented teams spread out all across the planet; T&B Media in Thailand, Flying Bark Productions in Australia, Studio 100 in Germany, Mighty Animation in Mexico and Bangzoom here in L.A.” Clark notes.
FriendZSpace
“I’m proud that FriendZSpace is a character-driven adventure comedy for both girls and boys. This show is full of characters, stories and themes that allow all genders to invest in our world and join the fun,” series co-creator Oscar Covar tells us on the occasion of the teaser reveal.
Clark adds, “We made a point of using science fiction to broadly explore contemporary kid culture in true and funny ways,” Clark adds. “We’re kind of a Hitchhiker’s Guide to the Galaxy for five- to nine-year olds!”
Hosted by Escape Studios, The VFX Festival returns in 2021 and will celebrate the theme of ‘limitless creativity’ in the visual effects, animation, games and motion graphics industries.
The virtual festival will begin in March and will feature insight into award-winning productions, inspiring expert-led presentations, careers advice, as well as the latest trends, technology and innovation from around the world.
The 2021 Festival will feature speakers from some of the world’s leading studios: BlueBolt, Bluezoo, Framestore, Jellyfish Pictures, MPC, NVIZ, Rodeo FX, The Focus and many more.
Each year the festival brings together a leading creative community, allowing emerging talent to explore the best of the creative industries and gives opportunities for professionals to expand their knowledge. There are three exciting areas to this year’s festival:
The VFX Festival EDU | For school and college students who are excited to learn about the world of visual effects, animation, games and motion graphics. This part of the festival is free to attend and will feature talks and presentations with industry professionals, helping to inspire the new generation of creative artists.
The VFX Festival Emerging Talent | For students currently studying within Higher or Further Education and young professionals who are looking to kick start a career. The festival will be filled with inspiring talks, panel discussions, bite-size presentations, careers and recruitment opportunities. The ‘Marketplace’ which runs alongside The VFX Festival Emerging Talent will provide a great opportunity for attendees to meet studios and hear about their work, as well as open or upcoming vacancies.
The VFX Festival Virtual Series | A series of monthly events focusing on award-winning projects, trends, technology, development and innovation from around the world. This part of the festival consists of talks, presentations and workshops for everyone looking to increase their knowledge of VFX, animation, games and motion graphics.
“We’re thrilled to bring back the VFX Festival Virtual Series for 2021, and look forward to sharing this with our international community on the theme of ‘limitless creativity,’” said Dr. Ian Palmer, Director, Escape Studios. “In the last year our industry has become more creative than ever before. We’ve had to work in constantly changing circumstances and innovate to deliver ground-breaking projects. I’m excited to hear how studios have adapted to work in this new era of creativity within visual effects, animation, games and motion graphics throughout our VFX Festival calendar.”
A full program will be available soon at www.thevfxfestival.com. Tickets are available now.
In a newly premiered music video for “ABC Song with Blue!,” Nick Jr.’s beloved animated pup from Blue’s Clues & You hops through an illustrated book telling the story of all the uniquely special letters of the English alphabet. What makes this charming kids’ tune stand out is the overarching message of diversity and inclusivity to be found throughout the familiar lineup of letters, reflected in the refrain:
Every single letter is unique, don’t forget
We need all these different sounds to make our alphabet
Blues Clues & You
“E is Everyone” – Early in the ABCs, Blue’s picture book avatar poses with the ‘E’ page, populated by human figures representing all manner of skin tones, body types and visible disabilities, showing kids that everybody (and every body) has a place in our world.
Blues Clues & You
“P is full of Pride” – In addition to the black & brown and trans-inclusive LGBTQ+ rainbow represented on the ‘P’, the page features flags representing transgender, lesbian, bisexual, non-binary, genderfluid, intersex, pansexual and asexual pride. A simple and symbolic way to open up a talk about the broad human spectrum of gender, sex and romantic expression.
Blues Clues & You
And as the song wraps up, we get to hear that “‘U’ is what Unites us” … which may leave you hoping that Blue’s next clue is a box of tissues.
The family Belcher is back on air this weekend after a post-holidays hiatus, offering a sweet Valentine’s Day gift for animated comedy fans! Animag is feeling the love from our friends at FOX, who have shared an exclusive clip from this weekend’s special Bob’s Burgers episode for our readers.
Premiering this Sunday, February 14 on FOX (9-9:30 p.m. ET/PT), “Romancing the Beef” sees Louise convince her parents to cash in on the lucrative Valentine’s Day dinner business, even though it means putting Bob and Linda’s own Valentine’s Day plans on hold. Meanwhile, Tina attends Tammy’s Anti-Valentine’s Day party.
My Little Pony fans will be able to keep their cutie marks parked at home for the Mane Six’s next, as-yet untitled animated feature frolic. Previously slated for theatrical release September 24 through Paramount Pictures, the eOne/Boulder Media project has been hitched up by Netflix for global distribution — excluding China, which is covered by Hasbro’s eOne. A release date has not been revealed.
Little has been announced about the new MLP movie, which will once again be based on the smash hit Friendship Is Magic reboot created by Lauren Faust. The film is being directed by Emmy-nominated comedy writer Robb Cullen — co-creator/director/writer of the Spike adult toon Gary the Rat, starring Kelsey Grammer — and kids’ TV animation writer-director José Luis Ucha (Invizimals, Angus & Cheryl, Bernard), with Mark Fattibene (CG supervisor, Monsters vs. Aliens, Kung Fu Panda). Producers are Cecil Kramer and Peter Lewis.
As cinemas remain closed and audiences stay home to help mitigate the ongoing coronavirus pandemic, major theatrical releases have been jumping to VOD and streaming platforms. Netflix has been snapping up high profile animated feature projects to add to its robust originals slate, taking on international rights outside the U.S. & Canada to Paramount/Nickelodeons’s The SpongeBob Movie: Sponge on the Run back in November and announcing back-to-back agreements for Sony Pictures Animation titles Wish Dragon and The Mitchells vs. the Machines (re-retitled from Connected).
Both SPA pics are expected to make Netflix global debuts this year, alongside originals Arlo the Alligator Boy, Back to the Outback, Henry Selick’s Wendell and Wild, Guillermo del Toro’s Pinocchio and Nora Twomey’s My Father’s Dragon.
My Little Pony: Friendship Is Magic ran for nine seasons (228 episodes) from 2010 to 2019, spawning 2017 theatrical release My Little Pony: The Movie directed by series helmer Jayson Thiessen, which made $61.3 million at the global box office. This fall, a new chibi-style spin-off series My Little Pony: Pony Life (eOne/Allspark/Boulder Media) premiered on Discovery Family in the U.S.
In a blog post from series executive producer Christopher Keenan, Mattel Television announced its latest take on one of its most beloved franchises: Thomas & Friends: All Engines Go. Premiering this fall, the new series features a fresh creative approach brought to life in flash, colorful 2D animation produced in partnership with Corus Entertainment’s Nelvana.
“Thomas & Friends is a brand with a deep content legacy that has resonated with families around the world for decades,” said Fred Soulie, Senior Vice President and General Manager, Mattel Television. “The creative evolution of Thomas & Friends, coupled with the franchise’s iconic characters, has transcended generations and we look forward to working with broadcasters across the globe to bring Thomas’ latest stories to existing and new fans alike.”
Thomas & Friends: All Engines Go – Nia
Key creative elements of this latest update to the Rev. W. Awdry’s trainyard heroes, which first delighted children through his books 75 years ago, include:
Stories Told from Thomas’ Point of View – As the hero of his own adventure, Thomas will be center stage and we will see the world through his young eyes. More playful and relatable than ever before, his competitive spirit will be readily apparent as he strives to be the Number One Tank Engine through play, trial and error, and just enjoying being a kid.
Purposeful, Playful Stories – The new Thomas content will continue to present age-appropriate themes and meaningful lessons in a comedic and playful way. In the first episode, Thomas keeps a promise to Gordon, even if it means forfeiting a race with competitive Diesel — for Thomas, the “high road” isn’t always the easy choice, but it’s making that choice that positions him as a role model for young viewers.
Thomas & Friends: All Engines Go – Diesel
A Penchant for Physical Comedy – 2D animation allows the creative team to bring these characters to life as we’ve never seen them before: Engines can shake, move and wiggle out of any wacky scenario, whether it’s an avalanche or simply avoiding a family of ducks that suddenly appears up ahead.
More Music Than Ever Before – Music has been a key element of Thomas & Friends, and All Engines Go will offer more original songs than ever before. Frequent songs advance the stories and invite viewers to sing along.
Thomas & Friends: All Engines Go – Kana
An Adventurous Cast – In addition to Thomas, the show features four additional young engines who make up the engine’s tight circle of friends:
Nia has an adventurous spirit. She loves to try new things and visit new places. She hails from Kenya, has traveled more than any of our friends and often has valuable insight into places Thomas has never been.
Percy is Thomas’ best friend and quite a jokester. He has a lot of hidden courage (that not even he’s aware of!) and will do anything to help his friends.
Diesel is Thomas’ competitive friend, always trying to one-up Thomas and inadvertently causes trouble for everyone in his quest to be “the real Number One Tank Engine.”
Kana is an all-new electric high-speed rail train from Japan. She crackles with electric speed, lets out a sonic whistle and often causes the trees and telephone poles to bend in her wake.
“Thomas & Friends: All Engines Go is a series 75 years in the making. We can’t wait for everyone to join us on this journey when we launch this fall,” Keenan added.
Thomas & Friends: All Engines Go will premiere on Netflix and Cartoon Network in the U.S. this fall. International broadcasters TBA.
The cat-and-mouse game continues as Warner Bros. ramps up to the release of Tom and Jerry — the first theatrical feature outing for the classic Hanna-Barbera duo in almost 30 years. In addition to new, exclusive artwork featuring Tom, Jerry and their human co-star Chloë Grace Moretz released today, fans can catch an exclusive sneak-peek of the new movie on Cartoon Network on Monday!
Tune in to Cartoon Network to catch the new footage reveal, immediately following the channel premiere of The LEGO Movie 2: The Second Part at 6 p.m. ET/PT on Mon., February 15.
Directed by Tim Story, Tom and Jerry is a Warner Bros. Pictures and Warner Animation Group presentation. The movie will hit U.S. theaters on February 26, and will be available on HBO Max for 31 days from theatrical release.
Synopsis: One of the most beloved rivalries in history is reignited when Jerry moves into New York City’s finest hotel on the eve of “the wedding of the century,” forcing the event’s desperate planner to hire Tom to get rid of him. The ensuing cat and mouse battle threatens to destroy her career, the wedding and possibly the hotel itself. But soon, an even bigger problem arises: a diabolically ambitious staffer conspiring against all three of them. An eye-popping blend of classic animation and live action, Tom and Jerry’s new big-screen adventure stakes new ground for the iconic characters and forces them to do the unthinkable… work together to save the day.
Read more about Tom and Jerry in Animation Magazine‘s March issue feature article here!
With over a decade of visual effects editor/supervisor credits on prestige projects under his belt, Brad Minnich (The Good Lord Bird, upcoming Zack Snyder’s Justice League) is now tackling an ambitious feature animation project of his own. Part sci-fi epic, part prison escape actioner, 2150 is conceived as a multifaceted narrative told through different visual styles supervised by a dozen directors and teams of artists around the world. The team Minnich has assembled includes Star Wars and Marvel concept artist Iain McCaig, Smallfoot director Jason Reisig, VFX supervisor John “DJ” DesJardin, Oscar-winning editor Mike McCusker (Ford v Ferrari), to name a few. We caught up with Minnich to hear more about how he’s bringing this sweeping concept to life as creator, exec producer, writer and director:
Can you tell us a little bit about the genesis of your new feature?
Brad Minnich: I have always loved the “prison escape” movie. Think about Shawshank Redemption, The Great Escape or the original Papillon: These films have ordinary characters thrown into an extraordinary situation. At this time, I was also thinking about space exploration and colonization. These two ideas started to converge and 2150 was born. In the future, convicts are sent to a lunar prison to work and die. When our lead characters arrive on the Moon, they have to become friends, overcome their harsh reality and escape back to earth.
Brad Minnich
When did you start working on it?
The idea first came to me in 1998. I thought of space colonization and what it would really take for humans to start living in space. Then I came up with the idea of lower orbit space casinos, similar to the way Las Vegas attracted people to the desert. I always say good ideas stick around. So, year after year, this idea kept coming to the surface until I just had to start working on it. The process was really slow – I would write and research and write some more. My first draft was years ago but the lightbulb really went off when I saw the Netflix show Love, Death + Robots. That’s when I decided to make it an animated feature using different animation styles.
Why did you decide on using 16 different styles in the project?
No one has ever done this before – telling a linear story with so many different animation styles. The recent film Spider-Man: Into the Spider-Verse combined different animation styles and it was a huge success. I want to take 2150 to the next level. The script has 16 different natural beats and I decided that each beat needed to have an obvious style change that would enhance the storytelling. For example, when the main characters Deakins and Xavier leave Earth and arrive at the Lunar Prison, that’s a natural beat break to tell a new story, so that is the beginning of a new animation style.
2150 – Earth concept by Giles Ketting
Where is the animation being produced? Ballpark budget?
2150 is global. There are 16 beats, 12 directors, eight different production companies in six different countries. We are trying to find the best talent and best animation techniques.
It’s hard to talk about numbers because it always changes, but it’s not a cheap movie. In the end, 2150 will be less expensive than traditional tentpole animation movies, because most artists are now working remotely and we are able to take advantage of tax incentives in various countries.
How many people are working it and when will it be ready for delivery?
As of today, there are a couple dozen people working on 2150. We are looking to start production in 2021 and are expecting completion in 12 -18 months.
What do you love about this new project?
I love how unique the concept is – it is very different and no one has ever attempted to make a film like this before. I also love working with so many talented people like Iain McCaig, Sean Cushing, Bryan Hirota, Jason Reisig and Academy Award winner Mike McCusker. Looking at all the people attached, we have the best people in business, in art, in VFX and in animation. They have all worked on the biggest films and have proven track records. I love having creative conversations with them, problem solving and all of the collaboration. I also really love the idea of where 2150 can take us. Once this world is established there will be many areas to expand including, publishing, TV, comics, gaming, etc.
2150 – character concepts for Deakins, ReDro and The Warden
What is your biggest challenge?
The biggest challenge is the 16 different styles and selling this original idea to the people who can finance the production. It is the number one concern until I explain how each beat will be directed by a world class director in his or her distinct animation style which will be connected to the overarching narrative through character models, wardrobe, music, dialogue and environmental geometry.
You have worked on many hugely popular comic-based features in your career. How did that prepare you for 2150?
My previous work has prepared me for this project because I have met so many different people on many different sized projects. After so much work you begin to understand how to put a project as big as 2150 together. I have been able to learn visual storytelling after working with the best filmmakers in the industry. Every project is a learning experience. I try to absorb everything and I am ready to tell this story.
2150 – Earth concept by Marcin Rubinkowski
What is your take on the visual effects scene today? What are the biggest challenges facing the industry in 2021?
VFX is only getting better! We can tell any story we want to now. CGI, VFX and animation blend together so we can create whatever we want. The biggest challenge we are facing in 2021 is the state of the world which is forcing everyone to work remotely. COVID threw a wrench in production for obvious reasons. But, this challenge does create innovation. While we are all at home, we are learning how to problem solve and create different solutions. And that’s what’s so cool about 2150 – it is COVID-proof because all artists are already working remotely, and we do not need a big on-set production.
What do you love about working in animation?
I love working with artists and exploring ideas. The artistry is great. I actually can’t draw that well, but I get to discuss my ideas with the best artists in the world. Then those ideas evolve, and I can see them realized. For example, the slightest brush stroke around an eye will change the character – I love how exciting those little things are!
2150 – character concepts for Deakins and ReDro
Who are some of your favorite animated projects and creators?
As for animators, you have to love Brad Bird, the entire Pixar universe, and then there is Phil Lord and Chris Miller who are definitely pushing the boundaries. But really, I am inspired by great filmmakers. You have David Lean for scope, Quentin Tarantino for dialogue, Zack Snyder for shot construction, and Ridley Scott for everything.
What kind of advice would you offer newbies who want to get into the VFX and/or animation business?
There are creative people all over the world, but it’s really hard to work in a vacuum. If you are a creative person who wants to work in the business, you have to eventually work your way to the epicenters of creativity. Pack your bag and move — whether it’s Los Angeles, England, Mumbai or any other creative centers, get moving to where the action is. I grew up in Wilmington, DE. and I wanted to work in the industry, so I moved to Los Angeles. I did not know a single person. Was I scared? Absolutely. But that’s when my life changed forever and I began pursuing my dream. If I can do it, then you can too, but you have to take the big leap of faith. Show up, work hard, and make it happen for yourself.
This past month, Joe Cappa’s fascinating new short Ghost Dogsreceived a lot of attention when it was nominated for a Best Animated Short prize at Sundance. Cappa, who is a relative newcomer to the animation world, answered a few of our questions about his highly original short, which centers on a family’s new pet dog who’s haunted by the ghosts of all the other canines who lived in the house at one point.
Joe Cappa
Can you tell us the story behind Ghost Dogs? How did you get inspired to create this short?
Joe Cappa: I drew these dog characters with human arms and legs for an art show like a decade ago. At the time I hadn’t dabbled in fine art for years so the pieces were terrible, but I thought the characters were funny looking. About seven years later I purchased a drawing tablet to teach myself frame-by-frame animation on the computer. The first thing I animated were the humanoid dog characters crawling around on the floor, and I thought it was really interesting to watch!
So, I started storyboarding out a film with these ghost dogs. I was just building out the story with each panel of the storyboard. I knew I was making a horror film, and I knew one of the biggest horror tropes is when the family’s dog appears to be reacting to something unseen by the people in the house. It was then that I realized the story could be about a rescue pup being haunted by its owners’ deceased pets. I couldn’t believe a ghost story about dead pets had not been done before. It was then that I felt an urgent need to share this idea with the world.
Ghost Dogs
You created this short during the COVID pandemic … How long did it take to make and which animation tools did you use to make it?
Yeah, I started Ghost Dogs in 2018 with an upgraded Wacom tablet and the Adobe Suite. Since this was my first animated short I thought I could get it done in five months or so. Obviously that didn’t happen, so I had to find time to work on the short film between other gigs so I didn’t go broke. Two years later and I was nowhere near completion. Then the pandemic arrived and everything shut down. It was a weird time for me, because I was obviously very concerned about the state of the world, but I now had all this time stuck at home to complete Ghost Dogs. It’s amazing what you can accomplish with little to no distractions.
Who are some of your animation influences?
To be honest, I’m not a huge cartoon watcher. For me, the animations that inspire my work are Mike Judge creations and the internet humor of Marc M and Jarrad Wright. Their timing and reserved use of animation fascinates me. I think they are not so much masters of animation, but masters of using animation as a form of comedy and relatability. At least for me personally. If I had to choose an animated hero I guess I would say Finn and Jake. I think there’s a strong movement to have meaningful messages in films and shows right now, especially in children’s shows. Adventure Time does a great job of never being too on the nose about it. I think that show just teaches kids to be unique people, and the rest falls into place.
When did you know you wanted to work in animation?
I was doing video work for an ad agency in Oklahoma City. I was predominantly shooting and editing but I also had to learn motion graphics for commercials and web content. I enjoyed trying to make the motion and flow of objects look as professional as possible. I knew I wanted to do something more artful with it though. So I quit my job in 2013 and moved to Denver, Colorado to do my own thing. I was hired by a band to make a music video, and that was the first time I really “animated” something. I spent the next month in a dark basement shooting stop motion construction paper characters. By the end of that process I was amazed to discover I didn’t go crazy! I loved what I made and I was just excited to work on the next thing. That’s when I knew I wanted to focus on animation as a career.
Have you experienced a ghost dog in your own life?
For as long as I can remember I’ve had recurring dreams where I’m trapped in a haunted house. It’s such a vibe. The house is usually some place that I remember living in, but strangely foreign to me. There’s always a section of the house that just feels odd, like a static electricity feeling in the rooms. The need to recreate these haunted dreams in my work has really been the catalyst for the whole Ghost Dogs concept. Now that being said, I truly believe I was visited by a ghost in my last apartment (while working on the film). I came home to my dog wigging out. I’d never seen her so scared. Like she wouldn’t even leave the bedroom, and was even too scared to go for a “WALK!” Which has never happened in her entire life. Dogs love walks, right? Anyway, that’s when I noticed my record player was continuously spinning at the end of an album. I hadn’t listened to that record player in like a month.
Ghost Dogs
What made you make the jump from video production and VFX to the animated shorts universe?
Yeah, I went to school for film and envisioned myself being a DP on film sets, and then obviously I got into advertising after graduating. I pretty much abandoned that dream completely, because I A) didn’t have the initiative and B) wasn’t inspired by anyone around me. Anyway there’s a guy in Oklahoma named Mickey Reece who was making super, super low budget films with his friends. He had made something like 20 features at the time, which is just insane. I finally checked out one of his films because he posted it to YouTube and couldn’t believe how well written it was. It looked like crap, but it was clear Mickey was very talented and had this irrational passion to make movies. I sought him out, and shot his first Kickstarter film Mickey Reece’s Alien. Then went on to shoot Strike Dear Mistress and Cure His Heart. I think those experiences gave me the confidence to try my own hand at directing something.
The only problem is, I’m introverted and don’t want to beg people to work on my movies. Animation allows me to tell stories I want to tell, exactly the way I want to tell them with seemingly no budget. It’s an insane medium for a storyteller. I’m a half-way decent drawer, so I thought, why not chase the dream?
What was the most memorable reaction you got from your short?
Ghost Dogs premiered at the 2020 Fantastic Fest, which was a huge accomplishment for me and my producer JW Hallford. Because everything was virtual, organizers created a platform where people could live chat while watching the films, which is a unique experience for a filmmaker to see. I so wish I could watch Ghost Dogs with a live audience to gauge people’s reactions. I hope someday that will be a possibility. Anyway, there’s a pretty good joke in the film and it was fun to see the chat feed when all the “hahahaha”s came in!
Ghost Dogs
What was the biggest lesson you learned so far from the Ghost Dog experience?
I was teaching myself ‘cel animation’, so to speak, when I started Ghost Dogs so it was all just one big lesson after the other. I did a lot of things wrong. I think getting your character design nailed down is the biggest lesson I learned. Ghost Dogs took forever to complete because I kept going back in and changing how the ghost dogs actually looked. It’s frame-by-frame animation so going back to every file and changing the wrinkles, then going back and adding muscle lines, then going back and shrinking their eyes, then going back and making their eyes even bigger, then going back and giving them shading was an extremely laborious task.
What do you hope audiences (and their dogs) will get out of your short?
I hope people have fun. I think it’s a concept that lends to some pretty interesting gags. JW and I really wanted our film to look dated, like it was some late night cartoon unearthed from the
’90s. But I think the comedic sensibility of Ghost Dogs lends itself to that era as well. But I also want audiences to be terrified! Someone told me it’s a rollercoaster of laugh out loud moments and pure dread.
What’s your fave animated character of all time? Why?
After thinking about it for a good 30 seconds I think I’m going to go with Sassy from The Big Lez Show. He’s a sasquatch character with an Australian accent. He just bums around and surfs. One of those guys that doesn’t take life too seriously, and is always around if you just wanna waste the day away. I don’t surf, but I’d be down to get some Mexican food or something with him!
The visual effects industry can be a challenging and meticulous field to get into. While there are many twists and turns in every career, the industry can be rewarding, and being a VFX editor gives you the knowledge of different parts of the studio which can help open the door to individual career paths in the field.
1. Know the Technical Side
This is super important. Before entering the VFX industry, you will need to know the technical aspects of the software you work in. Since the studio I work in is a Nuke/Hiero-based studio, I have had to learn Hiero like the back of my hand. If you are aiming for the editorial side of VFX, make sure you know how to make EDLs, XMLs and online short-form projects. Make sure you know your way around the color pipeline as well. In time when all these aspects come together, your speed will follow and it will become second nature to you.
2. Have a Strong, Impactful Reel
Whether you are a VFX artist, a compositor, or a VFX/online editor, have a reel of your work and make sure you put all the strong work up front. Your reel should be about 90 seconds — and make sure you start and end with a bang! If you are an editor, make sure to nail those transitions and keep the reel interesting. If you are a comper or a VFX artist, add before and after transitions to show what you are capable of while working. Your reel will be the make-or-break for you to get hired. Normally when we see people’s work, we always look at the reel first and then the resume, to make sure they are as good as can be, which brings me to…
3. Get Attention and Make Connections
This is what will seal the deal. Do not be afraid to reach out to different studios or people in lead positions. They were where you are (and I was) once upon a time, and they will be understanding enough to help you and at least get you a connection with the right person or a toe hold in the industry. Keep your options open and you never know where one conversation will lead you to. In fact, the VFX job I am currently at, I got from a connection at this studio, and have been here for two and a half years. So make sure you make connections and know people, I can’t stress that enough!
4. Become a ‘Swiss Army Knife’
Once you are confident enough with your main niche, don’t be afraid to learn new things and expand your horizons. Work on your creative editing chops, learn multiple software and learn how to color, or composite — you never know when any of these skills will come in handy and will get you out of a pickle, or get you a promotion because you are so flexible.
5. Ask Questions! Make Mistakes!
You will make mistakes, but you will bounce back by asking questions and making sure you learn to not repeat them. The more you learn the better you get! So the only way to do that is to make mistakes, fail and become better. There is always room to become better, so be better.
Ashish Raisinghani has sustained and contributed significantly to projects across many genres and industries as a versatile VF Editor. A graduate of the Savannah College of Art & Design, he is currently a senior editor at Ingenuity Studios. He has worked with major brands such as Disney +, HBO, Hulu, NBA, PlayStation, ABC, AMC and Showtime and in close relation to Company 3 and Fuse FX as part of the editorial team at Ingenuity. Notable projects include Emmy-award winning television series The Walking Dead, Modern Family, Euphoria and This Is Us. His work has been featured by outlets such as FilmFare, VoyageATL, Post Magazine and Weekly Voice.
Quebec studio Happy Camper Media has announced a new seven-minute format or its two-time Canadian Gemini Award-winning animated series Super Agent Jon Le Bon! Based on the best-selling Adventure Press comic book, the 39 x 7′, 2D animated series is being produced in partnership with Radio-Canada and CBC Kids, as well as CBC/SRC Distribution and Zodiak Kids. Happy Camper has also secured financing for an additional 41 episodes, now in pre-production, meaning new adventures of the Agency’s best (or just luckiest) agent will continue to roll out into 2022.
“We are thrilled and excited to launch at Kidscreen, in partnership with our distributors Zodiak Kids, Radio-Canada and CBC. We know that kids around the globe will embrace the extended seven-minute format of humorous and adventure-filled stories featuring our clumsy, yet clever, agent. After conquering the hearts of more than 1.1 million readers with its comic book in Quebec, we are excited for new audiences to discover Jon and his wacky crew. At Happy Camper Media, we are in love with this universe filled with improbable missions, and we think that during these COVID-19 times Super Agent Jon Le Bon! will bring fun and laughter to many audiences in both linear and digital platforms”. – Renaud Sylvain, Executive Producer
The new longer format and package of 49 x 90″ shorts are being offered to buyers at the Kidscreen Summit. Super Agent Jon Le Bon! streams on both ici.tou.tv and GEM.
Panda and Krash
Leading Russian animation company Riki Group has secured multiple deals for its flagship series all across the globe.
Da Vinci Media will broadcast The Fixies on multiple territories including South Africa, India, U.K., Ireland, Turkey, Spain, Germany, Portugal and Brazil in English and local languages. The agreement was secured by the series’s sales agent Play Big. Based in Berlin, Germany, Da Vinci Media offers fun educational content for kids 6-12 and families through its 24/7 television channel, Da Vinci TV, as well as its curated Da Vinci Kids App; available in 18 languages to more than 40 million subscribers over 100 countries.
PlayKids has picked up The Fixies for U.S., U.K. and Ireland, Australia and New Zealand.
Panda and Krash will soon be available in Brazil as Riki Group continues its cooperation with Globosat — which also acquired the rights to the third season of BabyRiki. Panda and Krash premiered in China this January, followed by broadcasts in Russia starting in February. It was jointly created by Riki Group and China’s FUN Union and CCTV Animation Group. The 52 x 12′ CGI 3D series follows the adventures of Chinese panda HeHe and the rabbit Krash from the Kikoriki animated series.
Tina & Tony has commenced broadcast on TiJi, which will launch the series in Russia, CIS and Israel.
Tralala will present Tina & Tony on YouTube worldwide in Romanian dubbing.
Epic Story Media, an exclusive distributor of the English and French versions of Tina & Tony for the U.S. and Canada, has sent the project to Kidoodle TV.
Hong Kong-based TVB has picked up PinCode to launch on the Jade and J2 channels and myTVSuper and TVB Anywhere platforms this spring.
Berry Bees
Atlantyca Entertainment’s award-winning children’s animated seriesBerry Bees is heading to Asia. New distribution and multi-platform deals, inked by co-production and distribution partner Cosmos-Maya, will see the 52-episode series running on: FPT Telecom Platforms (Vietnam); Muse Communication Digital Platform (China); IN10 Gubbare Channel (India); Wow Kidz Network on Amazon and Facebook (India), launching this month; and Astro (Malaysia, Singapore, and Brunei), premiering in June.
Berry Bees (52 x 12′) is a high-energy spy comedy about a trio of elite kid agents. When the world’s top-secret villains unleash mayhem and the adult spies are simply not suitable for the case, Bobby, Lola and Juliette become mistresses of disguise, secret undercover agents, astute mentalists and rad martial arts experts who also use awesome berry-themed gadgets to save the day. Co-produced by Atalntyca, Cosmos-Maya, SLR Productions and Telegael with the participation of RAI Ragazzi and NINE Network.
Bat Pat
Atlantyca has also recently partnered with Future Today, the only full-stack streaming solution that packages branded channels and delivers audiences to watch them, to distribute the first season (52 episodes) of Bat Pat on its flagship kids and family channel HappyKids, bringing the scary-comic adventures of the lovable Bat to young audiences throughout the U.S., U.K. and Canada.
Bat Pat follows the spooky and comical animated adventures of Bat Pat and his friends Martin, Leo and Rebecca Silver as they unravel mysteries and cross paths with supernatural creatures of the night that lurk, haunt, shriek and dig themselves up in every dark corner of their home of Fogville – a small town that seems to be the center of all things weird in the world, a veritable magnet to ghosts, mummies, witches, creatures, werewolves and things that go bump in the night, but just because they need help! The first season, produced with the participation of Rai and RTVE, has sold ot more than 100 countries.
Weird Waters
9 Story Distribution Int’l picked up three new children’s series for international distribution ahead of the Kidscreen Summit, including live-action music comedy Andy and the Band, CGI series Weird Waters and hybrid show Bad Nature.
Weird Waters (60 x 7′; kids 4-7). Produced by Wayletta Productions, Meticulous Media and Moondog Animation Studio, and represented by Courageous Artists, the series follows three Best Fish Friends Forever (BFFFs). Two tropical fish, BZ and I.M. Tiger, accidentally find themselves in the deep end of a magical pond. Along the way, the duo becomes friends with Jam, who sweeps them away on a series of unbelievable adventures. Through hidden realms, crazy monsters and ancient mysteries these friends learn that growing up is the wildest ride of all. 9 Story has acquired worldwide distribution and merchandising rights.
Bad Nature (25 x 5′; kids 6-11) Through a unique hybrid of live-action animals and state of the art CGI animation, Bad Nature answers all of the wonderfully weird questions about animals. The series follows Marv the Mandrill, Gloria the Puma and a madcap menagerie of misfits. Bad Nature delves into all the disgusting and yet amazing things animals do. Produced by Bristol-based Rebel Television for Sky Kids, the series shares the remarkable journey that brings viewers into the hideous world of Bad Nature. 9 Story acquired worldwide distribution rights, excluding the U.K.
Pablo
London-based kids’ entertainment specialist CAKE has signed a deal with Italian public broadcaster Rai (Italy) for the first season of ground-breaking preschool animated series Pablo — the first children’s series to feature a central character with autism. The deal finalized by CAKE’s Head of Sales Bianca Rodriguez sees Rai joining key public broadcasters including TVE Spain, RTP Portugal, Czech TV, NRK Norway, TV Brazil and RTS Switzerland as well as Netflix in multiple territories. The series will launch on February 20 on the Rai Play platform and on March 1 on the Rai Yoyo channel.
Pablo features a smart and artistic little boy, whose imaginative drawings come to life enabling him to face the Real World with confidence. Pablo is 5½ and on the autism spectrum. Using his magic crayons, Pablo bravely turns his life challenges into fantastic adventures and his feelings into colourful characters with a voice. With the help of his Art World friends, Llama, Noa, Mouse, Draff, Tang and Wren, Pablo is better able to make sense of his 5½ year old world. The series is produced by Paper Owl Films for CBeebies and RTEjr, in association with Kavaleer Productions and Ingenious with funding from Northern Ireland Screen and BAI.
Bibi & Tina
Kiddinx Media GmbH, owner of German evergreen properties Benjamin the Elephant and Bibi Blocksberg, has tasked bRAND-WARD Services with developing and executing a strategy to take its Bibi & Tinabrand to a global audience. The story started as a radio play spin-off and then a TV series on ZDF and a range of other audiovisual productions following Bibi, a girl with special powers, her best friend Tina and their horses Sabrina and Amadeus.
Celebrating its 30th anniversary in 2021, Bibi & Tina has sold over 20 million storytellers, 5.6 million videos and 1.7 million books, generated a No. 1 soundtrack album, 54-episode TV series, live-action Amazon Prime series, four feature films, and 105 million streams per month across major online platforms. The 100th episode of the radio play launched in January.
![Christopher Jackson [Photo: Jenny Anderson]](https://www.dev.animationmagazine.net/wordpress/wp-content/uploads/Christopher-Jackson.jpg)
