Nickelodeon and Paramount+ today released a sneak peek of the all-new Paramount+ Original Series Kamp Koral: SpongeBob’s Under Years during a special halftime presentation of the NFL Wild Card Game on Nickelodeon. The slime-filled football presentation featured one-of-a-kind kid-focused content and Nick-themed elements throughout, including guest reporters and original on-field graphics, virtual filters and more.
In the sneak peek of the series premiere, “The Jellyfish Kid,” a young SpongeBob is determined to catch his first jellyfish and his friends do whatever they can to help him. Produced by Nickelodeon Animation Studio, the series is coming soon to Paramount+, ViacomCBS’ upcoming subscription video on-demand service. Following the season’s run on Paramount+, the series will air on Nickelodeon later in the year.
SpongeBob Squarepants‘ first-ever spinoff, the CG-animated prequel follows 10-year-old SpongeBob SquarePants and his pals as they spend their summer building underwater campfires, catching wild jellyfish and swimming in Lake Yuckymuck at the craziest camp in the kelp forest, Kamp Koral.
Kamp Koral: SpongeBob’s Under Years features Tom Kenny (SpongeBob), Bill Fagerbakke (Patrick), Rodger Bumpass (Squidward), Clancy Brown (Mr. Krabs), Carolyn Lawrence (Sandy) and Mr. Lawrence (Plankton) reprising their iconic roles. Carlos Alazraqui (The Casagrandes) and Kate Higgins (Blaze and the Monster Machines) join as new characters Nobby and Narlene, narwhal siblings who live in the woods surrounding the camp.
Marc Ceccarelli, Vincent Waller and Jennie Monica (all SpongeBob SquarePants alums) are co-executive producers of the new series. Production of Kamp Koral: SpongeBob’s Under Years is overseen by Kelley Gardner, Vice President, Current Series Animation, Nickelodeon.
***This dossier originally appeared in the February ’21 issue of Animation Magazine (No. 307). The Academy has yet to issue an official list — if you have an animated short that has qualified for consideration and does not appear below, email info@www.animationmagazine.net***
In a year of global tragedy, stress and uncertainty, advanced technology and dedicated cinephiles around the world joined forces to help animation lovers enjoy 2020’s crop of artistic, thought-provoking (or just plain entertaining) films. While most festivals were held online, their Academy Award-qualifying prizewinners have an IRL chance at one of film’s most prestigious animated short honors:
1. Altötting
Germany Director: Andreas Hykade Produced by: Thomas Meyer-Hermann, Abi Feijó, Marc Bertrand, Julie Roy Qualifying Win: Cinanima Int’l Animated Film Festival Grand Prize Synopsis: In the small Bavarian town of Altötting, a mother takes her young son to visit a nearby chapel. The boy becomes entranced by the Shrine of the Virgin Mary inside the chapel and begins daily pilgrimages to see his beloved Madonna. His love, devotion, and passion for her continue to grow, until one day his world is crushed by the devastating secret behind her eternal beauty.
2. And Then the Bear
France Director: Agnès Patron Produced by: Ron Dyens (Sacrebleu Productions) Qualifying win: Aspen Shortsfest – Best Animation Synopsis: When a boy’s close bond with his mother is imperiled one night by the arrival of a mysterious stranger, matters of nature and nurture collide.
3. Any Instant Whatever
United States Director: Michelle Brand Qualifying Win: Raindance Film Festival – Best Animation Short Synopsis: A man. In a room. In a film. This is simultaneously the becoming of something and becoming in itself. And nothing is as solid as we believe… Any Instant Whatever explores our perception of time, bodies and objects, and our innate inability to comprehend the full reality of things.
4. The Beauty
Germany Director: Pascal Schelbli Produced by: Filmakademie Baden-Württemberg Qualifying Win: Student Academy Award – Animation (Int’l) Gold Medal Synopsis: What if plastic could be integrated into sea life? Take a deep breath and dive into a world, where feelings of guilt dissolve amongst the mysterious depths of the ocean. A world where we encounter bizarre creatures and discover eerily beautiful landscapes. Unfortunately, our air doesn’t last forever and we have to realize that nature alone can’t solve this issue. Read more
5. Ciervo
United States Director: Pilar Garcia-Fernandezsesma Produced by: Rhode Island School of Design Qualifying Win: Student Academy Award – Animation (Domestic) Gold Medal Synopsis: An emotionally haunting and visually beautiful experience, Ciervo tells the story of a young girl who holds violence, submission and independence in an uneasy balance as one morphs into the other.
6. The Coin
China Director: Siqi Song Produced by: Film Independent Qualifying Win: Chilemonos Int’l Animation Festival – Best Int’l Animation Short Film Synopsis: A young woman loses a jar on her journey to a new country, which contains the lucky coins she has been collecting growing up. Her life in a new country begins with a search to find the coin.
7. Cosmic Fling
United States Director: Jonathan Langager Produced by: Christian Hall & Sam Koji Hale Qualifying win: Santa Barbara Int’l Film Festival – Bruce Corwin Award Best Animation Short Film Synopsis: Cosmic Fling is the tale of Stan, an intergalactic garbage man who lives alone on an asteroid. To feed himself, he harpoons space debris and converts it into nourishment. To feed his soul, he dreams only of love. One day, he spots Beatrice, a fellow astronaut stranded on a passing comet. He falls instantly in love … but must wait for her comet to return. In order to be with her, he will need to resort to extreme measures.
8. The Cubicbird
Colombia Director: Jorge Alberto Vega Produced by: Marcos Mas, Ángela Revelo Qualifying Win: Bogoshorts – Best Animation Short Film National Competition Synopsis: Pedro is a bird who grew up in a birdcage. When he was one year old he had a dream of an owl, who told him to grow strong and break free. Pedro eats and eats, and starts to fill out the whole cage, he pushes it and breaks it up, but its shape forms him into the first cubic bird.
9. A Dark Day of Injustice
Argentina Director: Daniela Fiore Qualifying Win: Chilemonos Int’l Animation Festival – Best Latin American Animated Short Film Synopsis: Describing the last day of the life of writer Rodolfo Walsh, where he was captured and killed by ESMA under the Argentinian Dictatorship.
10. The Fabric of You
United Kingdom Director: Josephine Lohoar Self Produced by: Holly Daniel, Calum Hart, Ross McKenzie, Carolynne Sinclair Kidd, Reetta Tihinen, Paul Welsh Qualifying Win: Palm Springs Int’l ShortFest – Best Animation Short Synopsis: Unable to show his true identity, Michael, a grieving tailor mouse, recounts and reckons with the memories of a past lover. Read more
11. Freeze Frame
Belgium Director: Soetkin Verstegen Produced by: Akademie Schloss Solitude, Soetkin Verstegen Qualifying Win: Ann Arbor Film Festival – Chris Frayne Award for Best Animated Film Synopsis: Freeze frame: the most absurd technique since the invention of the moving image. Through an elaborate process of duplicating the same image over and over again, it creates the illusion of stillness.
12. Friends
Germany Director: Florian Grolig Qualifying win: Tribeca Film Festival – Best Animated Short Synopsis: The “small” one is, well, small, and the “big” one is definitely very big. They are friends.
13. Genius Loci
France Director: Adrien Merigeau Produced by: Amaury Ovise Qualifying wins: Go Short – Best European Short Animation, Bucheon Int’l Animation Festival Grand Prize, Vienna Shorts – ASIFA Austria Award Synopsis: One night,Reine, a young loner, sees the urban chaos as a mystical oneness that seems alive, like some sort of guide.
14. Giant Bear
Canada Directors: Neil Christopher & Daniel Gies Produced by: Neil Christopher, Emily Paige Qualifying Win: Canadian Screen Awards – Best Animated Short Synopsis: Giant Bear follows a hunter in the depths of starvation.The snow is thick, his dogs are mysteriously dying and food is nowhere to be found. A quest for answers leads him straight to a nanurluk, an iceberg-sized polar bear, setting up a kill or be killed battle that pits one man’s wits against a fearsome foe.
15. GNT
Australia Director: Sara Hirner & Rosemary Vasquez-Brown Qualifying Win: Sydney Film Festival – Yoram Gross Animation Award Synopsis: Glenn is a woman on an unwholesome mission, but just how far will she go to conquer the clique- and social media at large?
GNT
16. Grab My Hand: A Letter to My Dad
United States Directors: Camrus Johnson & Pedro Piccinini Qualifying Wins: New York Int’l Children’s Film Festival – Best Animated Short, Chicago Int’l Children’s Film Festival – Professional Jury First Place Animated Short Synopsis: A retelling of his dad’s relationship with his best friend, Grab My Hand is Camrus Johnson’s gift to his grieving father and a message to all to cherish every second you have with the ones you love while you still can.
17. Grandad Was a Romantic
United Kingdom Director: Maryam Mohajer Qualifying Win: BAFTA for Best British Short Animation Synopsis: My granddad was a romantic. He once saw a picture of my granny and realized that she was the love of his life, until one day he decided to go meet my granny. Read more
18. Hamsa
United States Directors: Daniela Dwek, Maya Mendonca & Chrisy Baek Qualifying Win: Student Academy Award – Animation (Domestic) Bronze Medal Synopsis: A young Israeli girl is oblivious to the historical conflict she lives in. On a trip to the market, her mother reinforces her fear of “the other.” However, when chaos strikes she finds that the people she was once afraid of are not so bad.
19. Have a Nice Dog!
Germany Director: Jalal Maghout Produced by: Karsten Matern Filmproduktion Qualifying Win: Uppsala Int’l Short Film Festival – Int’l Competition Grand Prix Synopsis: In Damascus, surrounded by war, an isolated man becomes increasingly lost in fantasies of escaping and the inner dialogues with his dog.
20. A Home for the Brave
Mexico Direction: Hugo Crosthwaite Produced by: Hugo Crosthwaite, Theresa Magario Qualifying Win: Morelia Int’l Film Festival – Best Animated Short Film Synopsis: A stop-motion animation that tells the story of a Mexican migrant family crossing the border into the United States.
A Home for the Brave
21. Homeless Home
France, Spain Director: Alberto Vázquez Produced by: Nicolas Schmerkin (Autour de Minuit) & Iván Minambres (UniKo Estudio Creativo) Qualifying Win: Annecy Jury Award Synopsis: No one can escape their roots, however rotten they may be.
22. If Anything Happens I Love You
United States Directors: Michael Govier & Will McCormack Produced by: Gary Gilbert, Gerald Chamales Qualifying Win: Edmonton Int’l Film Festival – Animated Short FIlm Award Synopsis: An extraordinary emotional journey of two parents struggling to overcome the hurt left by a tragic event that leaves their family changed forever. The film juxtaposes the excruciating pain one can feel as well as the resilience of the human spirit. Watch on Netflix
23. I’m Here
Poland Director: Julia Orlik Produced by: Agata Golanska Qualifying Win: Dok Leipzig – Golden Dove for Int’l Short Animation Synopsis: She is the center of attention, but exhausted by life. An old woman in her final days, bedridden and too weak to speak to her husband and daughter. Her selfhood fades away while in the care of her relatives, who have problems of their own.
24. Just a Guy
Germany Director: Shoko Hara Produced by: Studio Sefz Qualifying Win: Animafest Zagreb Grand Prix Synopsis: Three women contemplate their relationship with convicted serial killer Richard Ramirez.
25. Kapaemahu
United States Director: Hinaleimoana Wong-Kalu, Dean Hamer, Joe Wilson Produced by: Dean Hamer, Joe Wilson, Hinaleimoana Wong-Kalu Qualifying Wins: Atlanta Film Festival – Best Animated Short Film, Animayo – Grand Jury Prize, Bengaluru Int’l Short Film Festival – Best Animated Short, Nashville Film Festival – Best Animated Short, Foyle Film Festival – Best Animated Short Film Synopsis: Kapaemahu reveals the healing power of four mysterious stones on Waikiki Beach — and the legendary transgender spirits within them.
26. The Kite
Czech Republic / Slovakia / Romania Director: Martin Smatana Produced by: Bfilm Qualifying win: Austin Film Festival – Animated Short Jury Award 2019 Synopsis: Late in the summer, Grandpa gives his grandson a kite. By autumn, the old man has grown frail and thin. A strong wind blows him away. In springtime, they meet again.
27. KKUM Director: Kim Kang-min Produced by: Open the Portal, Studio Zazac Qualifying Win: Ottawa Int’l Animation Festival – Nelvana Grand Prize for Independent Short Synopsis: My mother’s dreams have always been strong premonitions for important moments in my life. I rely on her dreams more than any religion. Read more
28. Lal
Turkey Director: Gökalp Gönen Qualifying Win: Izmir Int’l Short Film Festival – Best Nat’l Short Animation Synopsis: Born with a word from nothing, the creature must eat one of its own in order to survive. Even though this word the creature manages to utter brings it to friends, enemies and new prey, it is difficult to establish the balance. The big fight is inevitable and it will take a long time to get back to the beginning.
29. Little Hilly
Taiwan Director: Yun-Sian Huang Produced by: Chun Wei Hsieh Yan-Jie Wu Qualifying win: LA Shorts Fest – Best Animation Synopsis: Hilly is a 10-year-old silent Taiwanese girl, nobody was concerned about her depression and the pressure she suffered from everyday life. Hilly hates that she always oppresses herself, and also hates the world controlled by adults. What does Hilly really want to speak out to the adults?
30. The Little Soul
Poland Director: Barbara Rupik Produced by: National Film School in Łódź Qualifying win: Slamdance Film Festival – Jury Award for Best Animation Short Synopsis: A dead body became stuck by a river bank. Its decaying insides still hide a human soul — a miniature of the deceased. Rotting organs part and a tiny creature gets out. Standing on the river bank, it says goodbye to the corpse and sets off on a journey through the post-mortem land.
31. Loop
United States Director: Erica Milsom Produced by: Krissy Cababa and Michael Warch; Pixar Animation Studios Qualifying Win: SIGGRAPH Computer Animation Festival – Best in Show Synopsis: A non-verbal, autistic girl and a chatty boy are partnered on a canoeing trip. To complete their journey across an urban lake, they must both learn how the other experiences the world. Watch on Disney+
32. Madrid 2120
Spain Director: José Luís Quirós, Paco Sáez Produced by: Nicolas Matji Qualifying Win: Goya Best Animated Short Film Synopsis: In the year 2120, life in Madrid is divided by class and elevation. Nitrogreen, a highly unstable liquid capable of generating Instant Vegetation, is the most valuable contraband merchandise. After a smuggling operation gone wrong, an anonymous taxi driver faces the most important decision of his life: Settle on his level, or risk his life to get to the top.
33. Matches
Hungary Director: Géza M. Tóth Qualifying win: Light in Motion Award for Best Animated Short Film at the Foyle Film Festival (2019) Synopsis: Children’s fantasy is endless and capable of seeing something more in a simple object. We can catch their thoughts while they’re playing. The short is inspired by an interview with a seven-year-old child, who shares his honest and innocent thoughts. Finding joy and wonder in playing with colorful matchsticks, the young boy’s imagination becomes visible, while he complains about grownup rules and talks about his dreams, fears and hopes. His philosophy of life is portrayed with creativity and playfulness by bringing the most simple object to life.
34. Mime Your Manners
United States Directors: Kate Namowicz & Skyler Porras Produced by: Ringling College of Art & Design Qualifying Win: Student Academy Award – Animation (Domestic) Silver Medal Synopsis: An arrogant man named Julian is transformed into a mime. Given a taste of his own medicine, he must grow to be a better person to be freed. Watch on Vimeo
Mime Your Manners
35. My Galactic Twin Galaction
Russia Director: Sasha Svirsky Produced by: Alexander Gerasimov Qualifying Win: In The Place Int’l Short Film Festival – Best Animation Int’l Competition Synopsis: One day he receives an email that looks like spam: there is apparently trouble in a neighbouring galaxy that will soon threaten his own. His galactic twin, Galaction, asks him for help in the struggle against evil. Thus begins a boldly colourful adventure in which good and evil, utopia and dystopia, narrative and post-narrative compete to entertain the audience.
36. My Generation
France Director: Ludovic Houplain Produced by: Ludovic Houplain, Mirwaïs Ahmadzaï Qualifying Win: Cleveland Int’l Film Festival – Best Animated Short Synopsis: Disney’s big boss, Bob Iger, said, “Hitler would have loved social media.” He would have felt at ease in our time of soft totalitarianism (less and less soft actually). What if we put down our smartphones and opened our eyes wide shut? It is ironic that it should be an animated film which reveals the truth of a lobotomized society with the need for intensive care.
37. The Natural Death of a Mouse
Germany Director: Katharina Huber Produced by: Katharina Huber, Quimu Casalprim Qualifying win: German Short Film Award – Animated Films 1-30 min. Synopsis: Some days she imagines that by her sheer will she can make body parts fall off of people who seem vicious to her. And some other days everyone around her looks beautiful. And when she was little, she wished that flowers would grow out of her footprints
38. Night of the Plastic Bags
France Director: Gabriel Harel Produced by: Amaury Ovise Qualifying win: César Award – Best Animated Short Film, Odense Int’l Film Festival Animation Competition Synopsis: Agathe, 39 years old, has only one obsession: having a child. It’s decided: she will find her ex boyfriend, Marc-Antoine, who works as a DJ in Marseille. As she tries to convince him to get back together, plastic bags come to life and attack the city.
39. o28
France Directors: Otalia Caussé, Geoffroy Collin, Louise Grardel, Antoine Marchand, Robin Merle & Rabien Meyran Produced by: Rubika Qualifying Win: Hollyshorts Film Festival – Best Short Animation Synopsis: In Lisbon, a german married couple is about to get aboard the legendary No. 28 tramway, but how should you react when the brakes let go and embark you on a vertiginous race with a baby on board.
40. The Opposites Game
United States Directors: Lisa LaBracio & Anna Samo Qualifying Win: Florida Film Festival – Best Animated Short Synopsis: A classroom erupts into a war of words as students grapple with a seemingly simple prompt: what is the opposite of a gun?
41. Orgiastic Hyper-Plastic
Denmark / U.K. Director: Paul Bush Produced by: Lana Tankosa Nikolic (Late Love Prod.) and Paul Bush (Ancient Mariner Prod.) Qualifying Win: Odense Int’l Film Festival – Børge Ring Award for Best Animated Film Synopsis: An elegy to a love affair that has gone sour, a fond farewell to that most beautiful material that has subjugated our planet – plastic.
42. Petty Thing
China Director: Li Zexi Qualifying win: Riverrun Int’l Film Festival – Best Animated Short Synopsis: The summer afternoon was nothing special, until the kids in the village, playing war games, found a replica pistol. As the trigger was pulled, the whole forest was awakened.
43. Precious
France Director: Paul Mas Produced by: Je Suis Bien Content Qualifying Win: Black Nights Film Festival – POFF Shorts Grand Prix Animation Synopsis: Julie doesn’t manage to fit in at her school. The arrival of Émile, an autistic child, will change all that.
Precious
44. Purpleboy
Portugal Director: Alexandre Siqueira Produced by: Rodrigo Areias, Mickael Carton, Serge Kestemont, Thierry Zamparut Qualifying Win: Anima – Best Int’l Short Film, Rhode Island Int’l Film Festival – Best Animated Short Synopsis: Oscar is a child who sprouts in his parents garden. Nobody knows his biological sex but he claims the masculine gender. One day Oscar lives an extraordinary but painful adventure in an authoritarian and oppressive world. Will he manage to have the identity recognition he desires so much?
45. Red Rover
United Kingdom Director: Astrid Goldsmith Produced by: Hank Starrs; Mock Duck Studios Qualifying Win: Sitges Int’l Fantastic Film Festival of Catalonia – Best Animated Short Film Synopsis: When a robotic rover is sent from Earth to drill for signs of life on Mars, it threatens the lives of the planet’s tiny native rock creatures. Trailer
Red Rover
46. Something to Remember
Sweden Director: Niki Lindroth von Bahr Produced by: Malade A.B., Kalle Wettre Qualifying Wins: Guanajuato Int’l Film Festival – Best Short Animation, Animator Grand Jury Prize – Golden Pegasus, Leeds Int’l Film Festival – World Animation Award Synopsis: A lullaby before the great disaster. Two pigeons visit a zoo without animals, a snail measures his blood pressure at the doctor, in the CERN laboratory something has gone terribly wrong. Trailer
Something to Remember
47. Song Sparrow
Denmark / Iran Director: Farzaneh Omidvarnia Qualifying Win: Lebu Int’l Film Festival – Best Int’l Animation Synopsis: A group of refugees tries to reach themselves to a safe country in search for a better life. They pay a smuggler to convey them across the borders in a refrigerated truck. However, the freezing temperature of the truck turns their hopes for a better future into a fierce struggle for survival.
48. Symbiosis
France / Hungary Director: Nadja Andrasev Produced by: Emmanuel-Alain Raynal, Pierre Baussaron, József Fulop, Orsolya Sipsos Qualifying Win: SXSW Film Festival – Animated Short Award Synopsis: A betrayed wife starts to investigate her husband’s mistresses. Her jealousy is gradually replaced by curiosity.
49. Tie
Portugal / France Director: Alexandra Ramires Qualifying win: Chicago Intl’ FIlm Festival – Gold Hugo Animated Short Film Synopsis: Two characters search for missing pieces of themselves in a gloomy, surreal landscape.
50. Tiger and Ox
South Korea Director: Seung-hee Kim Qualifying win: AFI Fest – Grand Jury Award for Animation Synopsis: What does divorce mean to women in Korean patriarchal society? Is a fatherless family a failure? In order to find the answer to these questions, a single mother and her daughter start a conversation.
51. The Tiger Who Came to Tea
United Kingdom Director: Robin Shaw Produced by: Camilla Deakin, Ruth Fielding; Lupus Films Qualifying win: Encounters Film Festival – Animated Encounters Grand Prix Synopsis: A mysterious tiger turns up unannounced and invites himself in for afternoon tea with a young girl and her mother.
52. To the Dusty Sea
France Director: Héloïse Ferlay Produced by: EnsAD Qualifying Wins: Austin Film Festival – Animated Short Jury Award 2020, St. Louis International Film Festival – Best Animated Short Synopsis: Left alone in the deepest of the summer, Malo and Zoe are trying their best to catch their mother’s elusive eye.
53. The Torture Letters
United States Director: Laurence Ralph Produced by: Laurence Ralph, Adam Ellick Qualifying Win: SPARK Animation – Best in Show Synopsis: One of Laurence Ralph’s first memories of the police is when a plainclothes officer harassed his family. Now a Princeton anthropology professor, Ralph traces his story to the entrenched practices of torture by the Chicago Police.
54. Tot
Ireland Directors: Tom Getty, Aimée Kirkham Priester & Fiona McLaughlin Produced by: Fiona McLaughlin, Tom Getty Qualifying Win: Galway Film Fleadh – James Horgan Award for the Best Animation Synopsis: After the death of her father, Tot roams through a mystical world carrying her grief with her as she searches for closure.
55. Traces
France Directors: Hugo Frassetto & Sophie Tavert Macian Produced by: Arnaud Demuynck;Les Films du Nord Qualifying Win: Hamptons Film: Indy Shorts Int’l Film Festival – Best Animated Short Synopsis: Thirty-six thousand years ago, in the Ardèche river gorge, when an animal was painted, it was hunted. When it is again time to go hunting and painting, Gwel is appointed head of the group of hunters while Karou the painter and his apprentice Lani set off to paint the walls of the great cavern. But they hadn’t counted on meeting a cave lion.
56. Umbilical
United States Director: Danski Tang Qualifying Win: New Orleans Film Festival – Best Animated Short Synopsis: An animated documentary exploring how a mother’s abusive relationship shaped the director’s own experiences in boarding school.
57. The White Whale
Iran Director: Amir Mehran Qualifying Win: Warsaw Film Festival – Best Animated Short Film Synopsis: Long years ago, a young man has lost his friends in an air attack on a big river. After 30 years, he is looking for their remains. A white whale is the only sign he has.
58. Yo
Spain Director: Begoña Arostegui Produced by: Fernando Franco Qualifyingwin: ALCINE – National Short Film Synopsis: For our protagonist, every day looks a bit alike. Or, rather, they are too much alike: the same routines are repeated over and over again with appalling monotony. However, something as simple as a sign that says “Park” is going to change everything.
59. Your Own Bullshit
Poland Director: Daria Kopiec Produced by: Ewa Jastrzębska, Jerzy Kapuściński (Munk Studio – Polish Filmmakers Association), Justyna Rucińska (Likaon Sp. z o.o) Qualifying Win: Krakow Silver Dragon for Best Short Animated Film Synopsis: Do family meetings always need to look like that? The father tells the son to find a good job and get married, the mother wants him only to be happy. The same platitudes repeated for years are like a tangled cassette tape — sometimes they make him choke, sometimes his ears bleed. Combining different animation styles, film genres and references to culture, this production is not only a caricature of a family dinner, but a satire on life in the shadow of social expectations. It is a drama in three acts: two dishes and a dessert – topped with a religious sauce, spiced with choral singing and served on grotesque tableware.
60. Burrow (Pixar Animation Studios) A young rabbit sets out to dig the burrow of her dreams — despite not having a clue what she’s doing. After hitting (bed)rock bottom, she learns there is no shame in asking for help. Two-time Annie nominated artist Madeline Sharafian directed this SparkShorts project, produced by Mike Capbarat. The short was originally set to open in theaters in front of Soul. Watch on Disney+ Read more
Burrow
61. Canvas (Netflix) Directed byFrank E. Abney III, the film blends 2D and CG sequences to tell the story of a grandfather who, after suffering a devastating loss, is sent into a downward spiral and loses his inspiration to create. Years later, he decides to revisit the easel, and pick up the paint brush … but he can’t do it alone. Produced by Paige Johnstone. Watch on Netflix Read more
62. Cops and Robbers (Netflix) Based on a poem written and performed by director Timothy Ware-Hill in response to the murder of Ahmaud Arbery, this production called on artists, students and studios around the world to create 30 unique visual interpretations of its segments. Ware-Hill and fellow director Arnon Manor deliver a powerful message about ongoing systemic violence against Black Americans. Produced by Lawrence Bender. Watch on Netflix Read more
63. Float (Pixar Animation Studios) Writer/director Bobby Rubio’s 2019 SparkShort explores familial acceptance through a father who discovers his son has the power to float in the air. To keep them both safe from judgement, Dad covers him and keeps him out of sight — but when his son’s ability becomes public, Dad must decide whether to run and hide or to accept his son as he is. Produced by Krissy Cababa, the short has been well received for its touching story and representation of Filipino-American characters. Watch on Disney+
Float
64. Lost & Crowned (Psyop) Inspired by Supercell’s “Clash” mobile games universe, Spanish writer-director Borja Peña Gorostegui’s tale of two skeleton brothers caught up in mad enchanted castle caper reminiscent of kid adventure classics like The Goonies racked up over 100 million views across all platforms in its first two months. Psyop’s Amanda Miller produced the finely crafted CG short.
65. Minor Accident of War (ww2shortfilm.com) This animated take on a true event centers on an event in the life of Lt. Edward Field, a navigator in the 8th Air Force during WWII, whose B-17 was shot down and crashed in the North sea in the dead of winter. Hanging on to one of the two rafts in the freezing cold water, a decision was made that to this day has affected Field, who is now 96 years old. The short was produced by his niece, Diane Fredel-Weis, who co-directed with animator Piotr Kabat. Winner of Best Animated Doc Award at the L.A. Animation Festival and Best Animated Film at the Big Apple Film Festival.
66. My Life in Versailles (Films Grand Huit/Miyu) Written by Clémence Madeleine-Perdrillat and directed by Nathaniel H’Limi & Clémence Madeleine-Perdrillat, this French TV special centers on a little orphaned girl who has trouble adjusting when she goes to live with her uncle, a caretaker at the Palace of Versailles. The family-friendly film has been well received in festivals around the world, scoring wins at Annecy (2019 Jury Prize for TV Special), Stuttgart (Tricks for Kids Award) and three awards at this year’s New York Int’l Children’s Film Festival, among others.
67. Once Upon a Snowman (Walt Disney Animation Studios) Discover the origins of Elsa and Anna’s heartwarming, ice-cold buddy Olaf as he magically comes to life and steps out to search for his identity in the snowy mountains outside Arendelle. Directed by Frozen II‘s Trent Correy (Olaf’s animation supervisor) and Dan Abraham (story artist), produced by Nicole Hearon and Peter Del Vecho.
68. The Snail and the Whale (Magic Light Pictures) Max Lang and Daniel Snaddon’s latest adaptation of children’s book maestros Julia Donaldson and Axel Scheffler follows a tiny snail (Sally Hawkins) who hitches a ride on a humpback whale (Rob Brydon) for an incredible journey, narrated by Diana Rigg. Produced by Martin Pope and Michael Rose. Read more
69. To: Gerard (DreamWorks Animation) Selected for a Tribeca Film Festival premiere, Taylor Meacham’s directorial debut is a CG animated love letter to his father which tells a heartfelt story about how life’s greatest magic is inspiring someone else to follow their dreams … even if you haven’t achieved your own. Produced by Jeff Hermann, the short features character designs by four-time Annie-winning artist Nico Marlet. Watch on Peacock
70. Umbrella (Stratostorm) Brazilian filmmakers Helena Hilario & Mario Pece directed this widely acclaimed short, based on a true story that happened to Hilario’s sister. An orphan who dreams of having a yellow umbrella unexpectedly meets a little girl who awakens memories of his past. Umbrella was selected for ShortsTV’s “Best of the Rest” 2020 screening and 19 Oscar-qualifying festivals.
The amoeba-action-packed adventures of Cottonwood Media’s Squish launched on HBO Max on Friday (Jan. 8), bringing all 52 episodes to the streamer.
Executive produced and developed by John Derevlany, the 2D animated series is based on the original graphic novels for kids published by Penguin Random House. Written by New York Times best-selling authors Jennifer & Matthew Holm, the series follows Squish, an optimistic, overconfident amoeba just trying to do what’s right in a rather complex world. (Take a look behind the scenes here!)
With characters based on real microscopic creatures, Squish aims to educate kids about the world around them while helping to better understand the things they may be afraid of. While only a single-cell himself, comic-book-loving, Twinkie-eating Squish is big enough to help kids tackle any fear and show that not all bacteria and viruses are bad. Combining friendship, science and the tools to figure it all out, this charming, animated comedy proves that amoebae have quirks just like us.
Set in the town of Small Pond, Squish and his best friends Peggy and Pod embark on hilarious adventures in hopes of finding their place in this weird, gooey world. In a town filled with amoeba and paramecium, bacteria, viruses and fungi are the easy part. Navigating social survival is the true struggle.
Global anime brand Crunchyroll has announced the production of a slate of dubs, streaming soon as a part of its winter season debuts, including ongoing hits and new Crunchyroll Original series.
The dub of the second course of JUJUTSU KAISEN, the popular dark fantasy series streaming exclusively on Crunchyroll, will continue to be available in English, Spanish, Portuguese, French and German. This latest season will introduce the students of sister-school Kyoto Prefectural Magic High School.
The dub of Re:ZERO -Starting Life in Another World- season two will be available in English and will follow Subaru as he tries to save Emilia and his friends from further doom.
The Crunchyroll Original series So I’m a Spider, So What? will be available in English, Spanish, Portuguese, French and German and will follow the journey of one high school girl who is reborn into an itsy bitsy spider and uses her positivity to survive as one of the lowest-ranked beasts!
BURN THE WITCH, based on the popular Shonen Jump manga series written and illustrated by Tite Kubo, will be available in English, Spanish, Portuguese, French and German. In this anime, a witch duo is tasked with protecting and managing the dragons in reverse London.
In the upcoming The Hidden Dungeon Only I Can Enter, the son of an impoverished noble family finds a hidden dungeon that allows him to improve his skills … at a price! The dub will be available in English, Spanish, Portuguese, French and German.
Bungo Stray Dogs Wan!, based on the official Bungo Stray Dogs spin-off manga, will be dubbed and available for audiences in English.
Crunchyroll is also producing the international dub for the newest season of Dr. STONE, which is based on the hit Shonen Jump manga of the same name. This latest season will be available for fans in Spanish, Portuguese, French and German and will follow the action of the coming stone wars between the Kingdom of Science and the Empire of Might.
We were saddened by the death of animation veteran Dave Creek at age 42, on Thursday after suffering injuries from a skydiving accident. Bento Box head of talent Brooke Keesling announced the news on social media. “100% devastated to lose wonderful, sweet, super-talented Dave Creek today,” she wrote. “Sending all my love to you. Fly free and I hope to see you again someday, on the other side.”
Creek was a talented character designer who worked on shows such as Central Park, Bob’s Burger and Brickleberry. His other animation credits include Happiness Is a Warm Blanket, Charlie Brown (2011), Youth in Revolt (2009) and The Price of Miracles (2008). He graduated from the California Institute of the Arts in 2005 and was also an adjunct professor at the school.
Bento Box and 20th Television remembered Creek fondly in a joint statement on his passing: “We are heartbroken at the tragic passing of Dave Creek, an extraordinary artist who had been with Bob’s Burgers from day one. He was not just an incredible talent but a beautiful person as well, and our hearts go out to his family, friends and all his colleagues at the show who loved him and are grieving today.”
As well as being a passionate skydiver, Creek also enjoyed constructing intricate miniature treehouses around bonsai, as seen in photos shared by Bob’s Burgers supervising director Bernard Derriman, alongside a photo of the late artist and one of his character creations for the show.
We lost a great artist and a great friend at Bobs today – our lead character designer Dave Creek. Here’s one of his many designs, Lady Tinsel, and one of his incredible tree houses. pic.twitter.com/5yX4fZ8ZiQ
Saturday during FOX NFL pregame coverage, FOX Entertainment and Emmy Award and Golden Globe nominee Denis Leary (The Moodys, Rescue Me) premiered two football-oriented animated shorts based on the Icebox series Poker Night, inspired by Cassius Marcellus Coolidge’s iconic 1900s art series, “Dogs Playing Poker.” Leary co-writes, executive produces and voices the lead character in each short, it was announced Friday by Michael Thorn, President of Entertainment, FOX Entertainment.
Created by, co-written and executive-produced by Emmy-winning writer-producer Jim Margolis (Veep, The Daily Show) and produced by FOX’s animation studio, Bento Box Entertainment, Dogs Playing Poker centers on five dog friends – Brownie (Leary), Daphne (Elaine Hendrix, Sex & Drugs & Rock & Roll), Ditka (Roy Wood, Jr., The Daily Show), Froyo (Bobby Kelly, Sex & Drugs & Rock & Roll) and Stan (Adam Ferrara, Rescue Me) – as they banter about football and other timely sports topics.
The first Dogs Playing Poker short aired Saturday, Jan. 9, during FOX NFL Pregame (watch it below). The second short will debut on Sunday, Jan. 17, when FOX NFL playoff coverage continues.
Dogs Playing Poker is part of Leary’s recent broadcast-direct deal with FOX to create, develop and produce comedy, drama and animated content for the network. Jack Leary (Sex & Drugs & Rock & Roll), Rob Greenberg (The Moodys, Frasier) and Howard Gordon (24, Homeland) will also executive-produce.
“If only FOX thought of spawning a new animated series from vignettes like this 30+ years ago … imagine the possibilities!” joked Thorn. “By pairing Dogs Playing Poker and FOX NFL, we have a unique opportunity to incubate content from top-tier talent in Denis, Jim, Jack, Rob and Howard, and introduce new characters of what might become the next building block of our iconic animation brand in a smart and strategic way.”
Leary added, “At long last FOX lets America find out what we dogs think about football. Spoiler alert: we’re very upset there isn’t a single NFL team named after a canine. Cats, horses, birds – even dolphins – all have their own teams. Not one dog! Throw us a bone, guys. Literally and figuratively.”
After their linear telecast during FOX NFL, longer versions of each Dogs Playing Poker short will be available on FOX-owned-and-operated digital platforms, as well as on select social platforms.
Dogs Playing Poker is produced by FOX Entertainment and Bento Box Entertainment. Denis Leary and Jack Leary, via their production company, Amoeba, executive-produce, along with Jim Margolis, Rob Greenberg and Howard Gordon.
Writer directors Will McCormack and Michael Govier’s simply illustrated 2D animated short If Anything Happens I Love You has received a lot of praise for the subtle way it handles a complex and tragic subject matter. The short, which debuted on Netflix in November, centers on the emotional journey of two grief-stricken parents who try to face life after they lose their young child in a school shooting.
The short was produced by Govier, Maryann Garger, Gary Gilbert and Gerald Chamales and exec produced by Laura Dern. Gilbert Films financed the short and produced it along with Oh Good Productions. We had a brief interview with McCormack and Govier about their powerful short.
Michael Govier & Will McCormack
Your short takes a very minimalistic approach to explore a tragic subject that has plagued our country in recent years. Can you tell us about how this project came to be?
Michael had an idea about telling a story through shadows. That the shadows represent the feelings that humans cannot reach in times of great agony. We wanted to illustrate and explore grief. The film, with its minimal style and leanness is designed to feel and look like grief — soft greys leaking into open white spaces. The negative space in the film is just as important. It has a feeling of the space that can be seen in Japanese calligraphy. What is not in frame is just as important to what is in frame.
How long did it take to finish the short, how many people worked on it and which animation tools did you use?
We began pre-production at the top of 2018 and finished in February 2020. We animated from April to Dec 2019. About 28 people worked on the film, but we only had three animators, all women — Youngran Nho (lead), Haein Michelle Heo and Julia Gomes Rodrigues. We used TVPaint, and it was edited on Adobe Premiere.
If Anything Happens I Love You
What was your ballpark budget?
When you build any film with very little money, you must get creative. In our case, we could not afford to reanimate sections multiple times, so we spent a year on the script to be precise about what we wanted to communicate. We had to make sure everything we used was on the screen. We could not waste a frame.
Do you think it’s easier to handle darker, serious topics in animation than in live action?
Animation can bring you closer to the characters. It can pull you deeper into the story more than live action could, which may distance you because of the seriousness of the material. Animation felt like the appropriate gateway for this film.
If Anything Happens I Love You
What do you hope audiences will take away from your short?
In times of great pain and loss, the most powerful tool we have is our presence, that we can be there for one another. We bond and grieve together, and that union can lead to growth, rebuilding and healing. If Anything Happens I Love You was created for the ones lost, and the ones left behind.
What do you love about working in short format animation?
We love the challenge of short form animation in storytelling. This format requires such specificity and leanness in style and structure. The parsimony of the medium is really appealing and exciting.
If Anything Happens I Love You
Can you address the importance of diversity and representation in animation?
It’s paramount. Our animators, composer and lead producer are all women. This is a wonderful time in animation where vital stories are being told and we are proud to be part of that movement.
Do you think there have been real advances in the field, especially in 2020, or has it been more lip service?
Our company values and promotes diversity and representation and will continue to do so with each film we make.
What was the biggest lesson you learned working on this powerful short?
Connecting with others about their grief is powerful and essential to the human experience. Moreover, if you have a good story to tell, tell it! The only person stopping you is you. Tell your story! The world needs more voices.
You can currently watch If Anything Happens, I Love You on Netflix.
A new report on representation in Canadian children’s and youth TV animation released by Children’s Media Lab at Ryerson University’s FCAD this week shows some positive steps are being made in on-screen diversity in the medium. Titled “Examining Children’s Animated Television in Canada,” the data reveals that representation of people of color has increased overall, while female characters and disabled characters are still underrepresented.
The new report authored by Colleen Russo Johnson, Ph.D, Adrianna Ruggiero, M.A., Kim Wilson and Josanne Buchanan is a follow up to the popular “Landscape of Children’s Television in the U.S. and Canada,” a collaboration between Ryerson University and Rutgers University, distributed by the Center for Scholars and Storytellers at UCLA in Spring 2019.
“I’m excited to report that we’ve seen tremendous shifts in racial diversity in human animated characters with people of color representing half of all main characters. But I’m disappointed to say that we still have a long way to go in our gender representation, with males outnumbering females nearly 2:1. And characters with disabilities virtually absent,” said Colleen Russo Johnson, Ph.D, co-director of the Children’s Media Lab, adjunct professor at the school of creative industries at FCAD (Ryerson University) and co-founder and Chief Scientist of the OK Play app.
WGBH’s Molly of Denali is a groundbreaking series for Indigenous representation.
The percentage of POC human characters was found to be 49%, led by increased numbers of Black (14%), Latinx/Hispanic (11%) characters, more closely reflecting the racial/ethnic makeup of Canada today; East Asian characters also clocked 11%. However, Indigenous people are represented by just 6% of characters, with even fewer South Asian (5%) or Middle Eastern (5%) toons to be seen. The report points out: “In fact, out of the 121 main characters, the sample only included one Middle Eastern charanter, four Indigenous characters (which all came from the same show) and three South Asian characters (split between two shows).”
However, the increase in Black and Latin American representation is welcome news amid growing calls for equity and inclusion both on and off the screen. The report was inspired by think tank events hosted with Canadian broadcasters, and offers recommendations for greater diversity and inclusion in Canadian children’s media content such as diversifying writers’ rooms, creating complex characters and improving gender representation in animated characters as well as the visibility of neuro-diversity and characters with disabilities.
“Canadian children’s content producers are already recognized as major players globally. Research like this allows them to continue to think about equity and to challenge themselves to create content that addresses disparities like gender bias, even in non-human characters like animals and monsters. This is something that content creators can easily act on,” said Kim Wilson, co-director of the Children’s Media Lab, Director, OneFish TwoFish Consulting and kids’ media veteran who has led children’s content at both the CBC and TVO.
The star of JAM Media’s Becca’s Bunch is one of just 30% non-human female characters in the study.
Addressing gender, CML found that the majority of main characters were male (63%), with an even starker gender imbalance among non-human characters (animals, plants/objects, monsters/creatures, robots/machines). For human toons, 57% of characters looked at were male, while non-human characters were 70% male and just 30% female. The researchers also discovered what character designers and meme-crafting fans have long known: Eyelashes are overwhelmingly gendered as feminine in animation. Of the 26 (21%) main characters in the study with eyelashes, 25 were female (the majority children and youths) and one was a male baby.
Representation for neurodiversity and disability also has a way to go. The report found just 2% of main characters had a disability (9% even had glasses) and not one was represented as neurodiverse. The findings summary points out that 20% of Canadians live with one or more disabilities.
“Children’s television has the incredible opportunity to influence children’s views of themselves and others. We often focus on what we are portraying, but equal attention must be paid to what we are not showing,” Russo Johnson added. “Lack of diversity on screen, be it race, gender or disability, is damaging. It’s imperative that children see themselves accurately and positively reflected in the shows they watch. Children are our best hope for a more inclusive future, and we can help nudge them in the right direction through the content they consume.”
CML will follow the report with a Virtual Think Tank Event on March 10.
Animac, the International Animation Film Festival of Catalonia, organized by Lleida City Council and to be held from February 25 to March 7, celebrates its 25th anniversary this year by reviewing the best animations of the last 25 years with the TOP LIST ANIMAC 25, compiled with the help of key figures of the global animation scene. Top ranking films and filmmakers from this list will be highlighted at the 2021 festival, which has also announced it will bestow special awards on Joanna Quinn and Adam Elliot.
The TOP LIST ANIMAC 25 includes the 50 best animated feature films of the last 25 years, the 25 most outstanding animated short film directors, as well as the names of emerging talent, animators of the future, according to the curators, writers and scholars who have worked with Animac to create this top list.
Respected influencers who involved in compiling the ranking include noted historians such as Jayne Pilling and Giannalberto Bendazzi; directors of festivals and cinemas of reference such as Marcel Jean (Annecy, Cinémathèque québécoise); renowned academics such as Paul Wells (Loughborough University); the next generation of writers and critics like Alex Dudok de Wit (Cartoon Brew) and Olga Bobrowska (Zippy Frames), as well as former Animac director Isabel Herguera and current director Carolina López, among others.
The three lists — Top Feature Films, Top Short Directos and Top Emerging Talent — can be consulted at www.animac.cat/top-list-animac-25-en/ and on the festival’s social media feeds (TW: @Animac_Lleida, FB @AnimacLleida, IG @animaclleida).
Spirited Away
The Top Feature Films list is headed by Spirited Away(Sen to Chihiro no Kamikakushi, 2001), produced by Studio Ghibli (Japan), the fantastic story of a girl named Chihiro who arrives by chance in a spa full of spirits and spells, made by the master among masters of animation Hayao Miyazaki. The second position is occupied by the unforgettable French film The Triplets of Belleville (Les triplettes de Belleville, 2003) by the great artist Sylvain Chomet, with a story of intrigue and familial love mixed with the Tour de France and former music hall starlets. And the third most voted feature film is Mary and Max, the tender story of two marginal characters inspired by real people, created in stop motion in 2009 by the Australian filmmaker Adam Elliot.
The list of Top Short Directors, who have worked only or mainly over the last 25 years, are Theodore Ushev (Bulgaria), Koji Yamamura (Japan) and Regina Pessoa (Portugal). Ushev and Pessoa participated in the last Animac festival, screening some of their most recent shorts such as The Physics of Sorrow and Barcelona de foc by Ushev and Uncle Thomas: Accounting for the Days by Pessoa. All three directors have visited Animac over its 25-year history, providing insights into their work and giving unforgettable lectures.
Finally, the young animators Daria Kashcheeva (Czech Republic) and Martina Scarpelli (Italy) were the most voted individuals on the Top Emerging Talent list. Both directors were also present in the programming of the last edition of Animac, where the multi-award-winning short films Daughter by Kashcheeva and Egg by Scarpelli were screened.
Dcera (Daughter)
“What is most noticeable, firstly, is the diversity of origins, ages and gender of the curators, who have mainly valued the artistic and personal aspects of the films over any other consideration and, secondly, that they reflect the work carried out at Animac over the 25 years, as most of the directors and films listed have been present in the event in a commitment to creative and cultural diversity,” Animac festival director Carolina López assessed.
“It should also be noted that the most recurrent nationalities in the list of feature films are from Japan and France, countries boasting an important industry and also extensive support for culture, which becomes a major creative field. As for the directors, we note that Eastern European countries are a great pool of talent even today thanks to their great tradition in animation, but that, again and fortunately, there is a clear diversity of nationalities. And Spain, despite not topping the ranking, still occupies a place in these lists.
“In terms of genre, the feature film format continues to be male dominated (in terms of directors), while we find parity in more independent filmmakers, and in the Top Emerging Talent list most are women. Meanwhile, [traditional 2D is] the most valued technique, followed by stop-motion and 3D.”
Uncle Thomas
Animac 2021 will celebrate its 25-year journey both in Lleida and online (movies on Filmin in Spain only; lectures and meetings on YouTube) with special programming closely linked to the TOP LIST ANIMAC 25, including screening a selection of the ranking’s most outstanding feature films and shorts and a virtual roundtable featuring Ushev, Pessoa and other short filmmakers who made the list. This, of course, in addition to the festival’s yearly offering of the latest captivating animated shorts and features from around the world.
Organizers announced that the 2021 Honorary Award will go to British director, extraordinary artist, feminist and great humorist Joanna Quinn (Affairs of the Art), and the Animation Master Award will go to Oscar-winning Australian stop-motion director Adam Elliot (Mary and Max). During the event, two full retrospectives of their works will be shown on Filmin and the awardees will give a masterclass and a talk, respectively, exclusive to Animac Online, where they will explore their careers and upcoming projects.
Joanna Quinn
Joanna Quinn (U.K., 1962) is one of the most acclaimed figures in world animation. She is internationally recognized for her unique drawing skills, wonderful characterizations and humor. Quinn’s films and commercials have won more than 90 awards, including four Annecy prizes, a BAFTA film award, an Emmy and an Oscar nomination. She has received honorary scholarships and doctorates from four U.K. universities, including the Royal College of Art in London. The new film Affairs of the Art by Quinn and Les Mill will be released in January 2021. (Trailer)
Adam Elliot
Adam Elliot (Australia, 1972) is one of the most critically acclaimed independent stop-motion animated film directors. His films have won more than a hundred international awards, including the Oscar for Best Animated Short Film in 2004 for Harvie Krumpet. His pieces, which he calls ‘Clayographies’, portray marginalized characters as they have never been portrayed before in animation, and have been seen by millions of people and featured in hundreds of film festivals.
Spacetoon, the family edutainment content creator, provider and broadcaster, is taking the influencing industry in the Arab world to a whole new level in collaboration with one of the most beloved families in MENA with its new original show, The Moshaya Family Animation, based on one of the most recognized families of YouTube creators in MENA (18 million subscribers). The series recently premiered on Spacetoon TV Channel and The Moshaya Family YouTube channel, recording over 1 million views in less than one day.
The Moshaya Family Animation is the result of its innovational creators, scriptwriters, and producers’ dedicated efforts to develop an animated environment to The Moshaya Family’s, who share their relatable stories with families all across the Arab world. This content is aimed at audiences who crave new stories and new characters relevant to their daily lives.
Spacetoon assembled a team of over 50 experts in developing the 13 x 10′ series. Each storyline in The Moshaya Family Animation presents different entertaining adventures and life lessons which give fans a new way to bond with caring father Mohamed and his four unique kids: young inventor Anas, popular girl Iman, prankster Yusuf and mastermind baby Jad.
“We are proud to collaborate with The Moshaya Family and to launch this show, which went viral on its first day and achieved wide success by taking Spacetoon’s audience to the next level of entertainment. Our main concern at Spacetoon has always been to develop local content that suits Arab families, and to meet kids’ needs and the surging demand for animation in MENA,” said Spacetoon’s Commercial Director, Ahmad Weiss. “In this show, we delivered a creative integration to the sponsors: STC, Almarai, and SAMACO TOY, to showcase their brands and help boost the brands’ visibility and awareness among the target audience.”
Mohamed Moshaya commented, “Spacetoon has helped us deliver entertainment in a new medium of 2D animation. We are very happy with the level of detail and professionalism involved. We believe the opportunities presented to us as partners are great and look forward to further ventures ahead.”
Spacetoon also announced it will soon roll out The Moshaya Family merchandise, taking the brand to the next step commercially and in market visibility.
The Moshaya Family Animation will debut new episodes every Monday on Spacetoon TV, and is available to watch any time on VOD service Spacetoon Go, in addition to The Moshaya Family and Spacetoon YouTube channels.
The Moshaya Family AnimationThe Moshaya Family Animation
redknot, a joint venture between Nelvana and Discovery, has greenlit a second season of their inaugural series Agent Binky: Pets of the Universe (52 x 11′). Season 2 will begin production in Spring 2021 and launch on Corus Entertainment’s Treehouse in Canada and Discovery Kids in LatAm later next year.
“Agent Binky: Pets of the Universe is a playful and imaginative series filled with witty, slapstick humor that has connected with audiences around the world,” said Pat Burns, Executive Manager, redknot. “The new season will feature even higher stakes, more developed character arcs, and expansion into the P.U.R.S.T. world.”
Based on the bestselling Kids Can Press graphic novels, written and illustrated by award-winning creator Ashley Spires, P.U.R.S.T. agents Binky, Gracie, Gordon, Loo and Nola are back on the case and ready to protect their human families from even more aliens, robots, and interstellar threats. Certified and ready for action, this fur-tastic team is determined to go where no pet has gone before! Equipped with even more gadgets, the agents set off on exciting adventures, exploring new locations and meeting new friends in Season 2. The new season will also feature more holiday-themed episodes.
“As one of our first projects with redknot, we are elated with the success the first season received both in Latin America and worldwide,” said Adriano Schmid, Senior Director of Production, Discovery Kids Latin America. “There was never any question to us that these space agents had more ‘tails’ to tell. So we look forward to bringing young fans and their families fun stories about how innocence and resilience can go hand in hand — or paw in paw, in their case.”
Agent Binky: Pets of the Universe launched on Treehouse in Canada in September 2019, and rolled out internationally in Spring 2020. The series airs on Treehouse (Canada), Discovery Kids (LatAm), Cartoon Network (EMEA), TF1 (France), SRC (French Canada), SENYU (China), Mediacorp (Singapore) and True (Thailand), and is set to launch on TVNZ (New Zealand) and TV8 (Lithuania) this Spring. Agent Binky: Pets of the Universe continues to garner strong ratings worldwide.
The first season was nominated for Kidscreen Awards’ Best New Preschool Series in 2020, and features a highly lauded Canadian voice cast including Paul Braunstein, who received a 2020 Canadian Screen Award nomination for Best Performance, Animation as Gordon, and Julie Lemieux, who received a 2020 ACTRA Toronto Award nomination for Outstanding Performance – Female Voice, as Amelia in “Happy PURSTgiving”.
Catch up on Season 1 of Agent Binky: Pets of the Universe on Treehouse On Demand and STACKTV, available on Amazon Prime Video Channels.
Animated Women UK has announced a mentorship program in partnership with Disney U.K. & Ireland for its members. This initiative will focus on fostering connection and engagement with female veterans of the VFX and animation industries, pairing them with the next generation of female talent.
AWUK members who are interested in participating in the mentorship program will be asked to fill out a questionnaire describing their industry experience. Membership is just £30 annually.
Powered through the Prospela professional network website, mentors will be paired with a mentee seeking advice and support. Through the use of a chat channel on the Prospela website, mentors and mentees will be able to exchange communication when it suits them best and in their own time.
“AWUK is very excited to be offering a mentor scheme, and have been able to do so by Disney’s sponsorship,” commented Louise Hussey, Co-Chair, VFX, Animated Women UK. “We love the way that this scheme, hosted by Prospela and pioneered by Access VFX, works. It enables communication through a digital platform that allows for Mentors to be able to respond as and when their schedules allow. In these times, support and help are welcomed by us all, so please do sign up!”
World-renowned global animation studio Snipple announces the launch of a brand-new U.K.-based, but internationally focused, division and team: Snipple Originals, devoted to the development of long-form animated content for global audiences. At the same time, the company announces that Snipple has secured a £6 million investment from BGF – the U.K.’s most active investor. BGF will take a minority share in Snipple.
Under the leadership of London-based CEO Kaine Patel along with co-founders, Studio Director Jonathan Tinsay and Creative Director Romy Garcia, Philippines-based Snipple Animation has worked consistently with some of the biggest broadcast networks globally. These include Warner Bros., Disney, DreamWorks, Nickelodeon and many more. Its portfolio of animation work boasts some of the world’s best-loved evergreens, such as Where’s Waldo?, Dora and Friends: Into the City!, Animaniacs, Green Eggs and Ham, DuckTales, Be Cool, Scooby Doo!, Phineas and Ferb and many more.
The company is now realising its ambition to launch an original production arm, drawing on its wealth of knowledge, talent and expertise, as well as its close relationships with global broadcasters and in-depth understanding of what they look for.
“It has been a dream for me to expand Snipple into the world of original content,” said Patel. “It’s the perfect expression of our creativity and heritage as a studio. Animation is really having a moment right now and I can’t wait to start talking to potential broadcast partners and bring them on our journey.”
Trippin
Snipple Originals will be led by award-winning producer Karina Stanford-Smith, appointed as Animation Development Director. Stanford-Smith’s 30 years’ experience includes working with industry giants Disney, Nickelodeon, Amazon, CBBC, CITV, Zodiak Kids, Milkshake and The Jim Henson Company. She will report directly to Patel.
“It is so exciting to draw on the huge talent and expertise of Snipple and to have the freedom to create and develop homegrown ideas,” said Stanford-Smith. “We have the perfect team in place to produce high-quality global hits that audiences will love!”
Award winner Vincent James has been appointed as Creative Director. His experience includes BBC, Nickelodeon, ITV, Children’s TV Workshop and DreamWorks. Simon Godfrey joins as Creative Development Producer, having worked with companies including Amazon, Coolabi, The Jim Henson company and Zodiak Kids.
Peeled Prawn & Shaved Sheep
Snipple Originals are open for business and ready to present their first content slate of five shows to potential broadcasters, streamers and IP partners:
Peeled Prawn & Shaved Sheep is a comedy-action-adventure series. Aimed at six- to 12-year olds, it stars a sheep and prawn combo who join forces to fight crime in Thousand Island City.
Snö is a magical adventure series for four- to seven-year olds set in the far, far North.
Cassidy’s Castle is a metaphysical mystery series for six- to 12-year olds about dreams, doors and destiny.
Wise Island Woohoos is an environmental edu-tainment series aimed at three- to six-year-olds.
Trippin’ is an 18+ comedy series based around a high octane and extremely offensive U.S. road trip.
“The Snipple Originals development team have been working together for 30 years in various guises. We have a chemistry that has allowed us to hit the ground running; now bringing a varied slate of projects to the table,” Stanford-Smith added.
“As a rapidly growing and highly profitable animation production business, Snipple is well-placed to capitalise on significant and increasing demand for new content from the likes of Netflix, Disney and Amazon,” commented BGF investor Tom McDonnell. “We’re thrilled to be investing in the business and have been particularly impressed by the strength of the management team and the creative calibre of its new hires. Animation has proved particularly resilient to the headwinds of COVID and this represents an exciting opportunity to invest in a business competing on a world stage.”
Denmark’s public broadcaster DR has dipped into some controversy with John Dillermand, a new stop-motion series aimed at children 4-8 about a man with the world’s longest penis. Styled with 19th century swimwear, the mustachioed star gets his save-the-day powers from his member, which can move on its own to perform chores, rescue missions, acts of mischief and even provide cringe-inducing transportation.
Strangely, not everyone is on board with the premise. In addition to spotlighting genitals, which is already beyond the pale for many of the channel’s Facebook commenters, and drawing some comparisons to the “tentacle porn” tropes of Japanese hentai anime, critics are calling attention to the messaging of a kids’ TV character whose penis has a mind of its own in light of the country’s growing #MeToo movement.
“It’s perpetuating the standard idea of a patriarchal society and normalising ‘locker room culture’ … that’s been used to excuse a lot of bad behavior from men,” Christian Groes, associate professor and gender researcher at Roskilde University, told The Guardian. “It’s meant to be funny – so it’s seen as harmless. But it’s not. And we’re teaching this to our kids.”
However, John also has his supporters. Clinical psychologist Erla Heinesen Højsted opined to the U.K. news outlet: “John Dillermand talks to children and shares their way of thinking – and kids do find genitals funny … The show depicts a man who is impulsive and not always in control, who makes mistakes – like kids do, but crucially, Dillermand always makes it right. He takes responsibility for his actions. When a woman in the show tells him that he should keep his penis in his pants, for instance, he listens. Which is nice. He is accountable.”
According to RT World News, head of DR Morten Skov Hansen has clarified that child psychology experts were involved in the production of the 20 x 5′ series. “There are a lot of positive comments from parents who have used the series to talk to their children about the body,” he said. “It should be fun for them.”
You can judge for yourself by watching John Dillermandon DRTV online.
GKIDS will release Studio Ghibli’s highly-anticipated, first-ever CGI feature Earwig and the Witch in North American theaters and on U.S. streaming in early February, followed by a home entertainment release in the spring. The title will qualify for awards consideration.
Earwig will open theatrically on February 3, 2021, in both Japanese subtitled and English dub versions. The film will appear in select theaters nationwide with longtime partner, Fathom Events, as well as independent theater circuits. Starting February 5, it will be available to stream in the U.S. on HBO Max. HBO Max is the exclusive US streaming home of the Studio Ghibli catalog and Fathom Events has been a longtime partner in GKIDS’ annual Ghibli Fest events.
“We are thrilled to be bringing Goro Miyazaki’s magical new film to North American audiences next month,” said GKIDS president Dave Jesteadt. “Earwig and the Witch is the first new Studio Ghibli release in four years, and is the studio’s first foray into computer animation. Working together with HBO Max, Fathom Events, and other theatrical partners will enable GKIDS to bring this wonderful film to the widest possible audience.”
“Once again Studio Ghibli has created a visual and storytelling masterpiece, said Fathom CEO Ray Nutt. “Fathom is excited to continue our partnership with GKIDS, and bring the premiere of Earwig to theaters and fans nationwide.”
The latest film from Japan’s legendary Studio Ghibli (Spirited Away, My Neighbor Totoro, Princess Mononoke and more) is directed by Goro Miyazaki (From Up on Poppy Hill, Tales from Earthsea) and produced by studio co-founder Toshio Suzuki, with planning from Academy Award-winner Hayao Miyazaki. An official selection for the 2020 Cannes Film Festival, the film aired on NHK in Japan December 30, 2020. Based on the children’s novel by Diana Wynne Jones (Howl’s Moving Castle), the film marks Studio Ghibli’s first CGI animated feature and first feature film production in four years.
The recently announced English-language cast features the voices of Richard E. Grant (Can You Ever Forgive Me?, Gosford Park), Kacey Musgraves (Golden Hour, Same Trailer Different Park) and Dan Stevens (Eurovision Song Contest: The Story of Fire Saga, FX’s Legion), as well as Taylor Paige Henderson as “Earwig”. In addition to her debut voice acting role as “Earwig’s Mother,” six-time Grammy Award winner Kacey Musgraves sings the English language version of the film’s theme song, “Don’t Disturb Me.”
Synopsis: Growing up in an orphanage in the British countryside, Earwig has no idea that her mother had magical powers. Her life changes dramatically when a strange couple takes her in, and she is forced to live with a selfish witch. As the headstrong young girl sets out to uncover the secrets of her new guardians, she discovers a world of spells and potions, and a mysterious song that may be the key to finding the family she has always wanted.
The Producers Guild of America (PGA) today announced key dates for the Innovation Award for the 32nd Annual Producers Guild Awards. The PGA Innovation Award will be bestowed upon the production of a noteworthy, impactful new media program that significantly elevates the audience’s viewing experience. The winning submission will challenge the limits of standard formats and drive forward the industry’s perception and application of new media in an entertainment context.
The application period is open now and the deadline for submission is February 28, 2021. Programs released between January 1, 2020 and February 28, 2021 are eligible for the honor. For programs that cannot be viewed linearly via the existing submission procedure, a video demonstration may be submitted instead. Applications and more info available at www.producersguild.org/page/submitinnovaward.
Last year, the PGA awarded the inaugural PGA Innovation Award to the team behind Vader Immortal: A Star Wars VR Series – Episode 1.
“This award honors disruptive entertainment created with a clear purpose and vision, that meaningfully pushes the boundaries through the merging of technological innovation and effective storytelling,” said Jenni Ogden, VP of the PGA New Media Council, and Chris Thomes, New Media Council Delegate, who are also Co-Chairs of the PGA Innovation Award Committee. “The Producers Guild is proud to present this award in its second year, and we’re highly anticipating submissions from the inventive producers, artists and engineers that make immersive entertainment an amazing reality.”
The award will honor exceptional distinctiveness, inventiveness and impact of the submitted work in expanding the conventions of program format, content, audience interaction, production technique and delivery. Such work may reflect a reimagining or reworking of existing concepts and approaches in a new way, or may be an entirely novel type of experience.
Entries will be reviewed and voted on by a jury of blue-ribbon experts in the field of new media. The Innovation Award, along with other key awards, will be given out at the PGA Awards Breakfast prior to the Producers Guild Awards show. Confirmed details about that event, which will happen prior to the awards ceremony on March 24, are forthcoming.
The Producers Guild of America is a nonprofit trade group that represents and promotes the interests of 8,000-plus members of the producing team in film, television and new media. The Guild also supports education and advocacy efforts such as encouraging sustainable production practices.
Three familiar fairy tale princesses find themselves engaged to the same prince in the CG-animated feature Charming, which was directed by Ross Venokur (Game Over, A.C.O.R.N: Operation Crackdown), penned by Venokur and produced by Vanguard Animation founder and industry veteran John H. Williams (Shrek, Puss in Boots, Space Chimps). Featuring an all-star voice cast which includes Demi Lovato, Wilmer Valderrama, John Cleese, Sia, Nia Vardalos, Ashley Tisdale, G.E.M., Avril Lavigne, Dee Bradley Baker, Carlos Alazraqui, Tara Strong, Jim Cummings and Tom Kenny, the family-friendly feature had a great run around the world in 2018 and 2019. We caught up with Venokur in advance of the title’s debut on Netflix this Friday:
Charming
Can you tell us a bit about the development history of Charming?
Ross Venokur: I have three daughters, and while they were young, my wife and I averaged about three bedtime books a night for each of them. As much as we tried to keep things fresh and varied, there were a lot of repeat requests for fairy tales throughout those years. One night, I was reading another version of a familiar fairy tale to one of my daughters and it dawned on us that Snow White, Sleeping Beauty and Cinderella were all engaged to Prince Charming, so I asked, “Do you think it’s three different dudes with the same name, or do you think it’s the same guy?” And that was the genesis of the idea.
This was around 2008, just before the writer’s strike. The writer’s strike seriously impacted how I worked in the film industry. For nearly 15 years (at that point), I was a writer (primarily comedies, primarily live action, primarily features). Like so many other writers, I was making my living by coming up with ideas, pitching them to studios, and getting paid to go write the scripts. The writer’s strike really put an end to that.
Right on the heels of the strike, I went out with the two most promising pitches of my career (one had a major director attached, the other was based on the music catalog of one of the biggest bands in the world). The pitches were great. I was pitching presidents of studios, and everyone loved both of them. But no one made an offer.
I wasn’t quite sure what my next move should be, and I guess my wife finally had enough of my mopeyness, so she said to me, “Why don’t you call John Williams? You always liked each other, and you’ve always wanted to get back to animation. Maybe you guys can go make some films outside of the studio system.” I said sure, I’d email him. But she told me to sit my ass down and email him right then: It was 10 o’clock on Friday night, the last Friday before Christmas). I figured I’d hear back from John after the holidays. But he emailed me back at 6 a.m. the next day. I came down to L.A. to see him the first week back in January, and I pitched him two ideas for two animated films. One of those ideas was Charming. John said, “Let’s do them both!” We made a handshake deal, and I headed home and started writing.
When did the movie begin production and how long did it take to complete?
The movie began production around 2014 in Montreal. At the time, I was directing another movie that John was producing in Toronto (the first of the two ideas I had pitched him). My family and I had moved to Toronto to make that film, and our kids were in the middle of their school year. But due to the nature of the financing, we had to start on Charming right away. So, for seven months, I directed the first movie on Mondays and Fridays in Toronto, then I flew to Montreal and directed the movie on Tuesdays, Wednesdays and Thursdays. Once the kids’ school year ended, we all moved to Montreal full time.
The entire production took about 22 months from beginning to end. After the picture was locked, my family and I moved back to California, and I returned to Montreal a couple of times for color grade and the mix. I delivered the final film in time to screen at AFM, where it was received really well by everyone but a few of the financiers, who went ahead and decided to try their hands at filmmaking by going back in behind my and John’s backs and making changes to the film, but that’s probably a story for another time.
Charming
Where was the animation produced? What was the ballpark budget? How many people worked on it?
The animation was produced at Cinesite. We were the first film to come out of their Montreal studio, which they literally built around Charming. When I first showed up to Montreal, the entire floor that would become Cinesite was empty, save boxes and boxes of unbuilt desks. As the movie ramped up, they quickly built the desks and filled the seats, and there was suddenly an animation studio. They managed to bring in some great talent. I really loved the movie crew. In fact, one of the younger animators on Charming is now the animation director on my new film, The Silk Road Rally, which is being made down the street from Cinesite at Redefine, though this time I’m directing remotely from California!
Set in an anthropomorphic world, The Silk Road Rally is about a slow loris named Zhi who enters a road race across China to try to save his Granny Bai’s house from a clinically insane toad named Archie Vainglorious. Inspired by films I grew up loving like Cannonball Run and It’s a Mad Mad Mad Mad World,The Silk Road Rally has been brought to life by an amazing cast, including Jimmy O. Yang, Chloe Bennet, JK Simmons, John Cleese and Lisa Lu.
What did you love about this movie?
I loved working with the crew. I loved my creative partnership with the editor, Rob Neal. I loved working with Sia (The Half Oracle) and John Cleese (The Fairy Godmother and the Happy Executioner), who was such a big, vocal fan of the script (which was a dream come true for me). Also, Sia wrote two songs for the film! She performs one in the film, and Demi Lovato (Lenore Quinonez) performs the other. Fallout Boy also wrote our modern fairy tale anthem, “Trophy Boy,” which Avril Lavigne (Snow White), Ashley Tisdale (Cinderella) and G.E.M. (Sleeping Beauty) perform.
It’s unclear to me which cut of the film Netflix is releasing, but what I loved about my cut was how, even though the film respected basic film structure and fairy tale conventions, the core story between Charming and Lenore meandered in a dreamy way. It felt more European than North American in a lot of ways. I loved the thematic through-line about how sometimes our biggest blessings are also our biggest curses. In hindsight, I realize that this was in fact my experience of making this film. It was such a thrill and a blessing to have the chance to make this film which grew out of my relationship with my kids, but in the end, the secret re-cutting of the film and other related nonsense felt like a real curse for a long time. Thankfully, that’s ancient history now.
Charming
What would you say was the biggest challenge for you on this production?
The biggest challenge on the production was definitely the fact that the studio was being built around me and that, though I worked at the studio every day, I was not part of the studio. My production designer was fired early on without anyone consulting me, and he was never replaced. I had no art director. I had no head of layout or cinematographer until late into the layout process. I was also simultaneously directing the film and rewriting it constantly to accommodate notes from producers, financiers, would-be distributors, etc. But, unlike a big budget studio film, we didn’t really have the budget to properly address all the mid-production rewrites, so there was constant horse trading going on with the studio to figure out what we could cut from somewhere else to accommodate some new idea. All things considered, Cinesite and I walked that tightrope pretty well together.
Why do you think the movie performed so well in certain territories?
Look, as tired as the fairy tale genre may feel to some, there’s no denying the fact that humans are drawn to fairy tales. And the idea that Prince Charming was actually the dude-sel in distress all along (and that his charm is actually a curse) is funny and appealing. Plus, it opened up the opportunity to have a strong female lead in Lenore Quinonez. The character of Lenore is the antidote to the classic fairy tale princess. She’s an outlaw grappling with a curse of her own.
Of course, casting Demi Lovato, Avril Lavigne, Ashley Tisdale, G.E.M. and Sia also helped tremendously. They’re each huge stars in their own right, and they each have such loyal and amazing fans. It was amazing to me how many fans of our cast reached out to me over the course of making the film. They were persistent and excited and always wanting to know how they could help spread the word. Also, in addition to being funny and having some fun action, the movie also has a ton of heart. It really is a classic love story at its core, and I played right at that, because I love that stuff, too!
Producer John H. Williams: Early on, we decided to cast the princesses as singers and have them provide songs. Sia wrote two songs “Baladino” (which she also sings) and “Magical” (which Demi Sings) and they are extraordinary songs with extraordinary animation to go with it. We used Hitchcock’s iconic fantasy sequence in Spellbound as a reference for animators to work from and it is hallucigenically wonderful. That and the opening song and animation sequence written by Patric Stump and sung by Avril Lavigne, Ashley Tisdale and the top pop talent of China G.E.M. was written by Patrick Stump from Fall Out Boy and inspired by the classic fun openings of “Hard Day’s Night” and “Help” is super fun. All of these songs are worthy of going viral as stand alone music videos. I only hope they get out there very quickly to attract attention. We are working with talent and Netflix to accomplish that now. Demi Lovato was the lead female character’s voice in the movie and also the executive producer in charge of the music: She did a phenomenal job in both of those capacities.
Along the way of this production we had several major studios interested in Charming and contract offers from Lionsgate and the then viable Weinstein Company for financing and distribution of U.S. rights (which were turned down). The independent theatrical feature market has obviously dramatically shrunk so we were thrilled that Netflix picked this up and we expect it will strike a perfect note for the Netflix family audience.
Charming
Do you think there is a secret to mounting a new take on fairy tales for a new generation?
I think the secret is to find a simple, clever, new hook and lean into it. These stories are timeless for a reason. We all love them, despite the fact that the true original source material for all of them is pretty dark and twisted. Audiences are rooting for you to get it right when you roll out a new take on fairy tales. But they’re also pretty brutal when they think you didn’t nail it!
What is your take on the overall feature animation scene in 2021?
I think we’re all looking at theatrical animation (and theatrical features of all kinds) and wondering what’s going to happen next. Being in the indie animation world, we always move forward knowing that theatrical is far from a guarantee. Now, the big boys are suddenly grappling with the same thing, but with a lot more on the line. And to be honest, it is weird to me to suddenly be watching new Pixar movies in my living room. Having said that, have you seen Soul? Holy cow! That movie is incredible! Big screen, small screen, it doesn’t matter. Great movies are great no matter where you see them.
Finally, can you offer some expert advice to young animation professionals who want to make their own movies?
Persistence. Never stop honing your craft. Don’t ever take “no” personally. Take it as a road stop to a “yes.” As my dad has always told me, “No is just the beginning of the negotiation.” Remember that great movies are all about great story telling, not about big budgets. And be psyched! You’re operating in 2021 — there have never been more tools available to anyone and everyone to go and do what it used to take a whole studio to do.
Charming premieres on Netflix this Friday (January 8).
Canada’s Youth Media Alliance (YMA) and Toronto Animation Arts Festival International (TAAFI) are combining forces to establish the John Rooney Creator Fund to support emerging LGBTQ2S+ and underrepresented talent in the kids, youth and adult animation field. The Fund is named in honor of John Rooney, a friend and colleague to both organizations who passed away at age 50 last month.
Rooney was the Executive Director of TAAFI and a tireless supporter of animation and kids media. He is remembered by many as a kind, smart and exceptionally giving personality whose love of cartoons was infectious. He was also a passionate advocate for diversity, equity and inclusion and a champion of LGBTQ2S+ representation in programming.
As a friend to the Youth Media Alliance, Rooney most recently served on the Advisory Committee and as Jury President for the Awards of Excellence. The organization describes him as always looking to create bridges and access for marginalized voices — the quintessential caring connector, someone who always found time to support emerging talent because he understood that for the future to brighten, new voices needed to be heard.
Persons and organizations looking to contribute to Rooney’s legacy can contact YMA’s Chantal Bowen (cbowen@ymamj.org) for more information on the John Rooney Creator Fund.
LS Distribution (Mediawan group) has finalised a deal with producers Studio 58 securing worldwide distribution rights to Idefix and the Indomitables (52 x 11’), a premium Asterix-themed CGI animated kids series based on the adventures of Obelix’s beloved dog and his furry companions!
Commissioned by France Télévisions, other broadcasters already on board include M6, Super RTL Germany, Télé Québec and RTS Switzerland. For the first time ever, and marking a spin-off to the famous Asterix adventures, Idefix (a.k.a. Dogmatix) the adorable pooch featured in the legendary comic will have his very own TV series.
Based on an original idea by publishing house Editions Albert René, creators of the Asterix comic phenomenon, Idefix and the Indomitables targets kids 5-10 and is produced by Studio 58 and GMT Productions. The story is set in the year 52BC when, as we know, Lutetia (Paris) was entirely occupied by Romans. The indomitables, a group of four-legged revolutionary Gauls led by Idefix, are still fighting the town’s romanization. In the Louvre, a fortified Roman palace, General Labienus and his pet cat Monalisa must finish transforming Lutetia into a proper Roman city before they can return home to Rome, tasting victory at last. Luckily, Idefix and his furry friends don’t intend to sit back and watch it happen!
“We are delighted to join forces with Studio 58. This adorable, animated adventure is also ‘littered’ with magic and humor that will enthrall kids and families the world over!” said Emmanuelle Bouilhaguet, Managing Director, LS Distribution. “Idefix and his friends will add another incredible dimension to the amazing Asterix universe, and we are confident our buyers, some of whom may already be fans of the comics, will embrace this gem of a series.”
Studio 58 Producer Céleste Surugue added, “Idefix is an endearing nature-loving character that can also educate kids in a fun way on so many levels about ancient history, friendship, courage, respect, environmental protection, non-bullying and so much more. Bringing him to life in a dedicated series has taken the Asterix world to another level. This high-end 3D animation will have all the key ingredients based on the classic storytelling as featured in the Asterix comics plus new elements that all kids today can relate to today.”
The legendary Asterix characters were originally brought to life by cartoonists and illustrators René Goscinny and Albert Uderzo 61 years ago. Since then, the comic adventures have taken the world by storm, selling 385 million copies (each new album is printed at 5 million copies) 38 albums, and have been translated into 111 languages. Asterix has been a cinematic blockbuster with 10 animated and four live-action movies to date (with 400 million dollars taken alone for the live-action features that have been distributed in over 50 countries worldwide).
The Asterix universe also boasts a successful video games franchise since the ’80s, a wide range of on-going licensed products, as well as major theme park in France, Parc Astérix, that has attracted 160 million visitors
Fans in North America can revisit the classic comics in paperback and hardcover omnibus volumes available from publisher Papercutz.
U.S. pubcaster PBS KIDS announced via Twitter that is “saying goodbye to Caillou,” taking the longstanding yet polarizing Canadian series off the air. Running for five seasons (144 episodes), Caillou is based on the book series by Hélène Desputeaux and centers on the titular four-year old boy discovering the world around him with the help of his imagination. The series originally aired from 1997 to 2010 on Teletoon and Treehouse.
Despite getting the kind of generally positive, innocuous reviews one expects for colorful day-in-the-life children’s programs, Caillou has a notoriously vehement online hate-base of aggravated parents who are glad to bid the little bald boy goodbye and adieu. Caillou seems to be too realistic for parents of young kids, with common criticisms relating to his tantrums, whining and modeling bad behavior like hurting his baby sister.
