The Imaginary

Studio Ponoc’s The Imaginary portrays the depths of humanity and creativity through the story of Rudger, a boy no one can see, imagined by Amanda to share her thrilling make-believe adventures. But when Rudger, suddenly alone, arrives at The Town of Imaginaries, where forgotten Imaginaries live and find work, he faces a mysterious threat. Directed by renowned animator Yoshiyuki Momose (Spirited Away), The Imaginary is an unforgettable adventure of love, loss, and the healing power of imagination.

Producer and screenwriter Yoshiaki Nishimura on the expansive possibilities of adapting a beloved work of fiction.

We live in a time of considerable division and disconnection. People are, more than ever, focused on almost frantically presenting themselves to the world, striving to live rich lives while no one really seems to care or pay attention. I had a desire to depict this idea on screen when I discovered the marvelous book The Imaginary by A.F. Harrold, richly illustrated by Emily Gravett.

The central character is an imaginary friend named Rudger, whose existence is akin to the ephemeral and often unnoticed lives of humans. Through Rudger and within a story about connectivity and trust, we were able to explore complex questions like what does it mean to live, and whether there is any meaning to a life that is destined to fade away.

We would be delighted if The Imaginary turned out to be a film that makes you want to hug your family, friends, and loved ones. We hope the film will cultivate kindness and appreciation for those who have even just a passing existence in your daily life.

• Incoming: July 5, 2024
• Director: Yoshiyuki Momose
• Producer: Yoshiaki Nishimura
• Voice Cast: Louie Rudge-Buchanan,
• Evie Kiszel, Hayley Atwell, Sky Katz,
• Jeremy Swift, Kal Penn, LeVar Burton,
• Jane Singer, Ruby Barnhill, Roger Craig
• Smith, Courtenay Taylor, Miles Nibbe

The Imaginary

THREE REASONS TO GET EXCITED

When founding his own animation company in 2015, producer Yoshiaki Nishimura borrowed the Croatian word for midnight, ‘Ponóc’, to signify the important moment of transition between what has come before, and the new day that is about to dawn. Staffed by world-class veterans of animation created in Japan, Studio Ponoc continues a time-honored tradition of creating absorbing, hand-drawn stories for audiences of all ages, while adapting to the contemporary landscape. The studio’s work to date has been dazzling and diverse, encompassing the spellbinding feature Mary and The Witch’s Flower, the eclectic and beautiful three-film anthology Modest Heroes: Ponoc Short Film Theatre, and the evocative short film, Tomorrow’s Leaves, commissioned by the Olympic Foundation for Culture and Heritage to promote the Olympic values.

Before he founded Studio Ponoc, Yoshiaki Nishimura cut his teeth at the world-renowned animation powerhouse Studio Ghibli. There he produced the magical and much-adored features The Tale of The Princess Kaguya and When Marnie Was There, both of which received Academy Award ® nominations for Best Animated Feature. He also formed a tight bond with veteran Studio Ghibli staffers who joined him at Studio Ponoc, including The Imaginary director Yoshiyuki Momose, one of the most talented animators of his generation, whose virtuosic touch has enriched some of the most revered animated films of all time, including Grave of the Fireflies, Princess Mononoke and Spirited Away.

Across their illustrious careers, Yoshiaki Nishimura and his collaborators have drawn deep inspiration from the world of English-language children’s fiction. From When Marnie Was There to Mary and The Witch’s Flower, they have shone a spotlight on great authors and stories by adapting them into awe-inspiring animation. Based on author A.F. Harrold and illustrator Emily Gravett’s Carnegie Medal-nominated 2014 adventure novel, The Imaginary is another perfect canvas for Studio Ponoc’s exceptional talents, with a story rooted in engrossing emotional themes of friendship and loss, and a glorious, vibrant fantasy world of creativity and imagination to explore.

Spellbound

Spellbound follows the adventures of Ellian, the tenacious young daughter of the rulers of Lumbria who must go on a daring quest to save her family and kingdom after a mysterious spell transforms her parents into monsters. Spellbound is directed by Vicky Jenson (Shrek) with original score from EGOT-winning composer Alan Menken (Beauty and the Beast) and lyrics by Glenn Slater (Tangled).

Director Vicky Jenson on our enduring fascination with myth and fantasy and how she parlayed that into her new movie, produced by Skydance Animation.

The moment David Ellison and Dana Goldberg of Skydance pitched the concept of Spellbound to me, I knew it had the potential to cover profound new ground in the realm of animation. It was a story that resonated with deep meaning about how family can weather great change as long as there is love. And while the film’s plot is seemingly very modern, it’s the emotional story within it that is universal in the ways our most enduring myths and fairy tales are.

The most resonant of these stories are those that help guide us as we move through the different stages of life. Some deal with the fears and dreams of childhood, some with coming-of-age milestones. Many explore personal triumph and the journey of finding the hero within. Our film builds on this tradition while also presenting something utterly fresh, unique and fun.

Because we crafted Spellbound in the shape of a classic tale, I believe audiences will feel this movie as much as they see and hear it. That feeling offers families the best that fairy tales have to give: the revelation and recognition of an unyielding truth in one’s heart.

• November 22, 2024
• Director: Vicky Jenson
• Writers: Lauren Hynek, Elizabeth Martin and Julia Miranda
• Producers: John Lasseter, David Ellison, Dana Goldberg, and Bruce Anderson for Skydance Animation
• Voice Cast: Rachel Zegler, Nicole Kidman, Javier Bardem, John Lithgow, Jenifer Lewis, Nathan Lane, and Tituss Burgess

Spellbound

THREE REASONS TO GET EXCITED

Spellbound follows the adventures of Ellian, the tenacious young daughter of the rulers of Lumbria who must go on a daring quest to save her family and kingdom after a mysterious spell transforms her parents into monsters. Spellbound is directed by Vicky Jenson (Shrek) with original score from EGOT-winning composer Alan Menken (Beauty and the Beast) and lyrics by Glenn Slater (Tangled).

Spellbound Director Vicky Jenson on our enduring fascination with myth and fantasy and how she parlayed that into her new movie, produced by Skydance Animation.

The moment David Ellison and Dana Goldberg of Skydance pitched the concept of Spellbound to me, I knew it had the potential to cover profound new ground in the realm of animation. It was a story that resonated with deep meaning about how family can weather great change as long as there is love. And while the film’s plot is seemingly very modern, it’s the emotional story within it that is universal in the ways our most enduring myths and fairy tales are. The most resonant of these stories are those that help guide us as we move through the different stages of life. Some deal with the fears and dreams of childhood, some with coming-of-age milestones. Many explore personal triumph and the journey of finding the hero within. Our film builds on this tradition while also presenting something utterly fresh, unique and fun. Because we crafted Spellbound in the shape of a classic tale, I believe audiences will feel this movie as much as they see and hear it. That feeling offers families the best that fairy tales have to give: the revelation and recognition of an unyielding truth in one’s heart.

• Incoming: Fall 2024
• Director: Vicky Jenson
• Writers: Lauren Hynek, Elizabeth Martin and Julia Miranda
• Producers: John Lasseter, David Ellison, Dana Goldberg, and Bruce Anderson for Skydance Animation
• Voice Cast: Rachel Zegler, Nicole Kidman, Javier Bardem, John Lithgow, Jenifer Lewis, Nathan Lane, and Tituss Burgess

THAT CHRISTMAS

Based on the charming trilogy of children’s books by beloved multi award-winning writer/director Richard Curtis (Four Weddings and a Funeral, Notting Hill, Love Actually, Yesterday), That Christmas follows a series of entwined tales about family and friends, love and loneliness, and Santa Claus making a big mistake, not to mention an enormous number of turkeys! This heartwarming comedy from Locksmith Animation marks Curtis’s first foray into animation, serving as the film’s writer and executive producer, and also the feature directorial debut of renowned animation veteran Simon Otto (Love, Death & Robots, How to Train Your Dragon films). Nicole P. Hearon (Moana, Frozen) and Adam Tandy (The Thick of It, Detectorists) are producers.

With That Christmas, I couldn’t have sometimes must be re-evaluated. dreamed up a better scenario for Regardless of whether you celebrate my first feature film as a director. Christmas or not, we hope that audiences will It is a rare opportunity in animation to be paired laugh at the family dynamics of the film and up with a project that has so many winning ingredients from the start. It has inherent audience appeal, but it’s also inspiring in its originality. It’s character-driven, brimming with funny and rich depictions of relatable moments. And the origin of the idea is quite personal to the writer, who just so happens to be one of the greatest comedy filmmakers of our time: Richard Curtis! As an animator, for every character I develop, I ask myself, “Would this be fun to animate?” This perspective combined so well with Richard’s approach to storytelling. His perspective has always been a refreshing and human one. As his work often reminds us, life is chaotic, relationships are messy and traditions identify with the universal truth behind most traditions, that it’s ultimately not about the rules and the expectations we put on these events. We tend to forget that what really matters is that we can be together with our loved ones. That Christmas aims to remind us of all of these joys and complexities.

• Incoming: December 2024
• Director: Simon Otto
• Producers: Nicole P. Hearon, Adam Tandy
• Writers: Richard Curtis, Peter Souter
• Voice Cast: Brian Cox, Fiona Shaw, Jodie Whittaker, Lolly Adefope, Alex Macqueen, Katherine Parkinson, Sindhu Vee, India Brown, Zazie Hayhurst, Sienna Sayer, Jack Wisniewski, Rosie Cavaliero, Paul Kaye, Guz Khan, Andy Nyman, Kuhu Agarwal, Bronte Smith, Freddie Spry, Ava Talbot, with Bill Nighy and Rhys Darby

THAT CHRISTMAS

THREE REASONS TO GET EXCITED

Over the last 21 years, star-studded rom-com Love Actually has remained an intrinsic part of the lead-up to the holiday season, reminding viewers that love is all around. Now, Oscar-nominated and BAFTA-winning writer-director Richard Curtis is serving an animated, family-friendly addition to the must-see yuletide schedule. Based on Curtis’s beloved children’s book series, That Christmas takes place in a charming seaside town where things get turned upside down. While Curtis is new to the world of animation, Simon Otto is a veteran of the industry. He worked for 21 years at DreamWorks Animation, was Head of Animation on the How to Train Your Dragon trilogy, and this is his directorial debut. Collective experience and enthusiasm go together like mistletoe and mulled wine.

Locksmith Animation is an independent producer of high-quality animated features for global audiences. With offices in London and Los Angeles, Locksmith brings together a team of accomplished studio leaders and top creative talent to tell contemporary stories that make people laugh, think, and feel. Their vision was first captured in Locksmith’s acclaimed 2021 debut feature, Ron’s Gone Wrong, and continues with the highly anticipated That Christmas, on which they are partnering again with DNEG Animation. With over 20 years of industry experience, DNEG is an award-winning studio, well known for their innovative collaborations.

As a casting choice, Santa Claus is a tough one, requiring a person of great stature and authority to step into those big red boots. So make way for Emmy-winning actor Brian Cox (Succession) who is voicing the red-suit-wearing icon. Joining Cox is an array of British acting royalty, including Fiona Shaw, Jodie Whittaker, and Love Actually alum Bill Nighy reuniting with Curtis. Other residents of the picturesque coastal town grappling with family, love, loneliness and a whole slew of Christmas traditions include Lolly Adefope, Katherine Parkinson, Sindhu Vee, and Rhys Darby.

Ultraman Rising

With Tokyo under siege from rising monster attacks, baseball star Ken Sato reluctantly returns home to take on the mantle of Ultraman. But the titanic superhero meets his match when he reluctantly adopts a 35-foot-tall, fire-breathing baby kaiju. Sato must rise above his ego to balance work and parenthood while protecting the baby from forces bent on exploiting her for their own dark plans.

When I was a kid, I loved sitting on understand my parents, my daughter, and the floor with my parents, watching myself, and that understanding began to work kung fu movies, Godzilla, and, its way into a story that would eventually evolve most of all, Ultraman. The image of a towering, into a film set inside the Ultraman universe, monster-fighting superhero was forever burned into my brain (and heart) and would eventually inspire this film, which is not only a celebration of an iconic superhero, but also an exploration of my experiences as both a son and a father. Before my daughter was born, I thought I had it all figured out. I had a job I loved, money in the bank, and I was pitching my ideas around town.

Then my daughter was born and my life was turned upside down. Kids don’t come with instruction manuals, and following weeks of sleepless nights, I called the only people I knew who could help—my incredible parents. Listening to their struggles in raising my brother and me was... was revealing. I began to better understand my parents, my daughter, and myself, and that understanding began to work its way into a story that would eventually evolve into a film set inside the Ultraman universe.

The incredible collection of folks who’ve come together to make Ultraman: Rising have poured their souls into this action-packed popcorn movie with a big, beating heart. It’s informed by our collective experience as children and parents—the struggles, the victories, the laughs, and the love. We hope you’ll tune in to see what happens when a gigantic superhero rediscovers the power of family thanks to a sweet, 35-foot- tall, fire-breathing baby kaiju. And, if you’re so inclined, we’d highly suggest you watch the film cuddled on the floor next to the people you love most.

• Incoming: June 14, 2024
• Director: Shannon Tindle
• Co-director: John Aoshima
• Writers: Shannon Tindle, Marc Haimes
• Producers: Tom Knott, Lisa M. Poole
• Voice Cast: Christopher Sean, Gedde Watanabe, Tamlyn Tomita, Keone Young, Julia Harriman

Ultraman Rising

THREE REASONS TO GET EXCITED

Ultraman is a big deal—literally. An influential pioneer in the wildly popular kyodai hero (giant hero) subgenre of Japanese storytelling, Ultraman and the expansive Ultra Series universe focus on characters who grow to enormous sizes to do battle with humongous monsters in spectacular fashion. Since its debut in 1966, Ultraman has been a pop-culture phenomenon both in Japan and around the world, with dozens of films and TV series, a Guinness World Record-holding number of spin-offs, and billions of dollars in merchandise sold. And now, Ultraman: Rising gives us a new entry point into this vast and thrilling mega-franchise.

After decades of dealing with monsters of all shapes and sizes, Ultraman is facing his greatest challenge yet in this timely take on the character. Tokyo’s latest superstar Ken Sato has his world turned upside down when he is tasked with protecting a 35-foot-tall baby kaiju from evil forces, all while balancing his life as an ultra-famous baseball player with his secret identity as Ultraman. This fresh spin on a global icon balances heart and spectacle, with animation courtesy of the legendary Industrial Light & Magic, who, from Star Wars to Jurassic Park and beyond, have learned a thing or two about bringing awe-inspiring monsters to the screen.

Director and screenwriter Shannon Tindle has worked at the forefront of the animation industry for decades. At Laika Studios, he conceived vivid and unforgettable character designs for the chilling children’s classic Coraline and was the creator of the spectacular, folklore-inspired epic tale, Kubo and the Two Strings, which were both nominated for Best Animated Feature at the Academy Awards®. Then, at Netflix, Tindle created the richly designed, emotionally resonant and multiple Emmy-winning series Lost Ollie in 2022. Ultraman: Rising reunites Tindle with co-director John Aoshima, another Laika veteran, who has since excelled at directing episodes for beloved and critically acclaimed animated series such as Gravity Falls and DuckTales.

Wallace & Gromit Vengeance Most Fowl

Gromit’s concern that Wallace is becoming too dependent on his inventions proves justified, when Wallace invents a “smart” gnome that seems to develop a mind of its own. When it emerges that a vengeful figure from the past might be masterminding things, it falls to Gromit to battle sinister forces and save his master... or Wallace may never be able to invent again!

For 35 years, audiences have delighted in the exploits of Wallace and Gromit. Their man and dog familiarity and undying (though oft-tested) loyalty to one another endure because of how relatable they are. Returning to them as storytellers and creators is like meeting up with family friends, and with Vengeance Most Fowl, it was a chance to bring an old favorite back into the mix as well.

As Nick Park explains, “I’d had the idea of a film about garden gnomes turning bad for more than a decade, but I could never work out what made them bad. It occurred to me that the single most- asked question I get when I meet fans is, will the penguin Feathers McGraw, Wallace and Gromit’s original antagonist from The Wrong Trousers 30 years ago, ever return?

We’ve had fun bringing him back in cameo capacities but now, three decades on, it felt like the right time. Then it hit me: What if Feathers was involved with these gnomes?

We’re hoping that this film will appeal to fans of “Gnome Noir” everywhere and that people will be gratified when they see what Feathers has been up to since The Wrong Trousers.“

Merlin adds, “While we’d love to revive the enthusiasm across our existing fan base, we also want this film to reach people who have never come across Wallace and Gromit before. Hopefully Vengeance Most Fowl is full of everything people love about Wallace and Gromit while introducing new themes to their ongoing story.”

• Incoming: Winter 2024
• Creator of Wallace & Gromit: Nick Park
• Directors: Nick Park, Merlin Crossingham
• Story by: Nick Park & Mark Burton
• Screenplay by: Mark Burton
• Producer: Richard Beek
• Voice Cast: Ben Whitehead, Peter Kay, Lauren Patel, Reece Shearsmith, Diane Morgan, Adjoa Andoh, Muzz Khan, Lenny Henry

Wallace & Gromit Vengeance Most Fowl

THREE REASONS TO GET EXCITED

With three Academy Awards® between them, Wallace and Gromit are bona fide superstars of animation, but they don’t let it go to their heads. The long-standing appeal of this iconic man and dog lies in the cozy, everyday small-town settings for their adventures, which draw inspiration from creator Nick Park’s upbringing in the north of England. Theirs is a warm world of tea, cheese and crackers, and slippers by the fire. All is calm—at least until Wallace’s crackpot inventions inevitably throw everything into comic chaos. That’s the case in Vengeance Most Fowl, and, as always, it’s up to Gromit to set everything right.

Many great artists and filmmakers have distinctive styles, but only Aardman has their own visible fingerprint on every frame of their films. Such is the special texture and timeless quality of stop motion animation, with figures lovingly crafted from clay. It’s a technique that has made Aardman’s work stand out from the studio’s humble beginnings in 1976, right through to Vengeance Most Fowl. Simultaneously distinctive, charming, engaging, and welcoming, it’s the perfect fit for Aardman’s delightfully offbeat stories, their spirit of invention and innovation, and their utterly unique way of looking at the world.

For all their down-to-earth domesticity, Wallace & Gromit films have always been powered by thrilling, exciting, and hilariously off-kilter stories that run the gamut of genres from sci-fi to murder mystery to vegetarian movie horror. Over the years, Wallace and Gromit have traveled to the moon and back and have squared up against a Were-Rabbit, a baker serial killer, and a penguin criminal mastermind. Now, in Vengeance Most Fowl, Nick Park, with director Merlin Crossingham and screenwriter Mark Burton, turn their attentions to a whole new subgenre—the ‘Gnome Noir’—where Wallace’s endless tinkering with technology puts him once more in harm’s way.

Arcane League of Legends

Jinx's attack on the Council sets the stage for a dire escalation of the conflict between Piltover and Zuan.

As League of Legends players ourselves, we’re passionate about the popular video game’s characters and wanted to see all of their stories expand into areas that could afford deeper storytelling. So, we figured other players would want that, too. We were lucky enough to be a part of the Riot Games team when the characters of Vi and Jinx were created and introduced, so we’ve always known basic truths about them, including that they’re sisters with a lot of turmoil between them. Arcane was an opportunity to build that world out even more.

At the end of the first season, we left our characters at their lowest points. Season two centers on their reaction to their worlds being turned upside down. Vi finally becomes the champion we know her as in the game, the enforcer. She has to accept that her little sister, Powder, is gone, and the monster she created, Jinx, is the only thing that’s left. Caitlyn, meanwhile, starts to lean into her darker side, which we really haven’t seen yet. Ultimately, season two is about reunification, redemption, and the return of hope.

We hope League of Legends players feel like this next phase of Arcane does right by the champions they’ve known and played for so long, and that the arcs feel rewarding and earned. We also hope the series attracts new audiences to the story and that anyone who falls in love with it, but hasn’t tried out any of Riot’s games in the League universe, feels excited about the opportunity to explore the characters in that medium as well.

• Incoming: November 2024
• Created by: Christian Linke, Alex Yee
• Executive Producers: Christian Linke, Marc Merrill, Brandon Beck
• Voice Cast: Hailee Steinfeld (Vi), Ella Purnell (Jinx) and Katie Leung (Caitlyn Kiramman), among others to be announced

Arcane League of Legends

THREE REASONS TO GET EXCITED

Meet the cutting-edge studio behind Arcane, hailed as ‘the new French kings of animation’. Formed in Paris in 2009, Fortiche Production took its name from a French word used to describe someone at the top of their game—an ace, a hotshot—and their goal ever since has been to create stunning animation that blends 2D and 3D techniques with deft direction and a rich graphical style. After developing that unique approach across a series of high-profile music videos and commercial projects, they burst onto the scene in 2021 with Arcane. And the world is still catching up.

When it premiered on Netflix in 2021, the first season of Arcane broke the mold and played a foundational role in kickstarting a whole new era for animation: one that moved away from ultra-realism and towards a vibrant hybrid style that is full of flair and personality. With its mix of computer-generated 3D models and gorgeous, hand-painted digital art, Arcane looks like a graphic novel brought to dynamic animated life. Its innovative mix of design aesthetics, from fantasy to futuristic sci-fi to steampunk, gives the series a rich, detailed world that simply looks like nothing else on our screens.

Great video games don’t always make for great films or series, but Arcane resoundingly broke ‘the curse of the video game adaptation’, hitting big with both hardened fans of the League of Legends source material and newcomers who had never ventured into the universe before. Developed in close collaboration with publisher Riot Games, Arcane focuses on compelling character-driven storytelling and epic sci-fi world-building, following the orphaned sisters Vi and Jinx, who find themselves on opposite sides of an escalating conflict. Its first season ended on a gripping cliffhanger. Now, after three agonizing years, the dramatic developments of season two have been well worth the wait.

Big Mouth

Creators Mark Levin, Jennifer Flackett, Andrew Goldberg and Nick Kroll weigh in on the challenges of making their glorious final season.

In most animated sitcoms, the characters remain the same year after year and season after season, but early in our Big Mouth journey, we realized that the show was all about change. And so, our characters must change and evolve. They must grow up physically and emotionally. They grew taller, sprouted boobs and pubic hair, learned lasting lessons, struggled to become better people, graduated middle school, and were thrust into high school where they encountered bigger, more mature teenage problems.

And over the past eight years, we—the writing staff, cast, and crew of Big Mouth— grew along with them (though most of us already had plenty of pubic hair). We got married, had babies, stuck together through a global pandemic, and a double WGA-SAG strike, learned lasting lessons about vulnerability, anxiety, shame, gratitude, love, and compassion, and struggled to become better people in a world that was also rapidly changing around us.

In the end, we were faced with the challenge of “How do you end a show where the main characters are kids who are just beginning their journeys?” Our answer was to write a finale that was thematically about how scary and uncertain, but also exciting and empowering, change and growing up can be, especially when you do it together with people you love. Ultimately, that is the story of Big Mouth, both in terms of the show itself and our incredible journey making eight seasons. Yes, it’s scary out there, but you are not alone.

Big Mouth is a half-hour edgy adult animated comedy from real-life best friends Nick Kroll and Andrew Goldberg about the glorious nightmare that is teenage puberty.

• Incoming: 2025
• Executive Producers: Nick Kroll, Andrew Goldberg, Jennifer Flackett and Mark Levin
• Series Regulars: Nick Kroll, John Mulaney, Jessi Klein, Jason Mantzoukas, Ayo Edebiri, Maya Rudolph, Fred Armisen, Andrew Rannells, and Jordan Peele

Big Mouth

THREE REASONS TO GET EXCITED

Nothing is too disgusting or raunchy for the Emmy- nominated Big Mouth creative team, showcasing every bodily change and the myriad of extreme thoughts that occur during puberty. Turning the spotlight on adolescence in all its awkward and anxiety-inducing glory means pimples, sex pillows, and periods—among many other bodily fluids and emotional states. Creators Andrew Goldberg, Nick Kroll, Mark Levin, and Jennifer Flackett also ensure that the teens don’t get trapped in the sex-crazed sandbox. After eight seasons, Big Mouth still grounds the more out-there scenarios with relatable issues like divorce, mental health, code-switching, sexuality, stress, and self-doubt, guaranteeing it is as hilarious as it is heartfelt without ever morphing into an After-School Special.

Premiering in 2017, Big Mouth’s ambitious and critically beloved debut opened the floodgates of possibilities, and they haven’t looked back. Eight Emmy nominations, including three wins for Maya Rudolph voicing Connie the Hormone Monster, underscore its ongoing success. Big-name stars keep on lining up to make an appearance— no matter how bizarre the role—from Paul Giamatti voicing Angry Poop to Hugh Jackman as a talking penis that looks like Hugh Jackman. Sure, it took the Bridgeton Middle School kids a long time to make it to high school, but it was worth the wait, and Season 8 promises more jaw-dropping surprises. With one last chapter, Nick and his friends have more obstacles to surmount on their final journey to adulthood.

Los Angeles-based independent animation studio Titmouse is making its mark on series and film with Big Mouth, Star Trek: Lower Decks, the Giant Man sequence in Spike Jonze’s Her, and Dua Lipa’s “Hallucinate” music video. Exaggerating proportions is a Big Mouth signature, whether the emotionally expressive oversized eyes of its adolescent characters or the inanimate objects that spring to life. Playful and absurd go hand-in-hand in this world, and the heightened 2D animation follows in the footsteps of Beavis and Butt-Head, The Simpsons, and Family Guy (but with more talking genitals). Comedy springs effortlessly from a visual well that draws on personal experience and real-life best friends Andrew Goldberg and Nick Kroll have mined their youth for material.

Blue Eye Samurai

This provocative and visually stunning cinematic series immerses the viewer in a world of vivid adult animation with a live-action edge. Set in Edo-period Japan, Blue Eye Samurai follows Mizu (voiced by Maya Erskine), a mixed-race master of the sword who lives a life in disquise seeking the deliverance of revenge.

Creators and showrunners Michael Green and Amber Noizumi Bon the meticulous historical detail that goes into their hit series.

Blue Eye Samurai is a revenge story centered on a person who lives in Edo-period Japan four centuries ago, but it deals with themes of racism, gender, and body autonomy that resonate today. The idea and goal of racial purity is, unfortunately, still very prevalent in the modern world. There’s an internalized self-hatred that marginalized people feel, and that was our entry point for the character of Mizu, a mixed-race sword-master who has sworn herself to a quest for vengeance.

The Edo period was a rare time in history when a society successfully closed its borders to outside cultural and racial influences. The more we read about it, the more we thought it would be fascinating to imagine someone in that period who felt like an outsider. We wanted to tell the story in the realm of adult animation because it was the best way to apply the scope and scale of our vision, and it was also an opportunity to show audiences that animation isn’t just for kids. It’s not a genre. It’s a storytelling vehicle that can be used to convey stories of immense depth and complexity.

The series portrays a real time in history that will be immersive for audiences. We’ve been able to create it with a level of detail that you couldn’t do with live action, harnessing a 2D/3D hybrid, utilizing technologies of both 2D and 3D animation and a lot of filmmaking techniques that don’t always show up in animated series. We hope viewers get to feel that level of detail and feel Mizu’s story, feel what it would be like to live on the margins, feel her rage, feel her love, feel her drive and unyielding spirit.

• Incoming: Fall 2026
• Creators/Executive Producers/Writers: Michael Green and Amber Noizumi
• Executive Producers: Erwin Stoff, Jane Wu

Blue Eye Samurai

THREE REASONS TO GET EXCITED

Mizu tries to hide her vivid blue eyes behind tinted spectacles due to the stigma of being of mixed race during Japan’s Edo period. Married creators Amber Noizumi and Michael Green turn back the clock nearly 400 years while addressing contemporary issues and themes of identity, belonging, and prejudice. The series draws on the personal experiences of Noizumi, who is half Japanese, while showcasing a distinct and fascinating portrayal of this 17th-century landscape. Inspirations range from Kill Bill to Barbra Streisand’s Yentl, adding more layers to this depiction. Revenge does not rest, as Mizu’s mission continues in Season 2, where she travels to London to hunt down her potential fathers. The twists, turns, and tension increase, but the grounded elements remain.

Animation studio Blue Spirit marries 2D and 3D animation techniques to deliver a unique high-octane experience in which blood flies through the air with as much beauty as brutality. It is neither anime nor live-action, speaking to the duality of the character at the center of the action. Supervising director and executive producer Jane Wu has an animation and live-action background, including working as a story artist on Spider-Man: Into the Spider-Verse, the 2020 Mulan, and Thor: Ragnarok. A bespoke element captures the overall aesthetic and themes of Blue Eye Samurai, ensuring the quieter personal moments are just as vivid as a choreographed fight sequence.

The first season was hailed as one of the best series in 2023 by The Hollywood Reporter and The Atlantic (to name a few). Audiences and critics alike are drawn to the unique animation style, immersive sound design, stunning score by Amie Doherty, and impressive voice cast (including Maya Erskine, George Takei, Randall Park, Masi Oka, Cary-Hiroyuki Tagawa, Brenda Song, Darren Barnet, Ming-Na Wen, Stephanie Hsu, and Kenneth Branagh). The engrossing first season ended with a tense finale: the city of Edo burns to the ground, and Mizu hops aboard a ship to London, where her next adventure awaits.

Twilight of the Gods

The animated series brings Zack Snyder's daring and spectacular vision of ancient Norse mythology to life, and features the voices of Sylvia Hoeks, Stuart Martin, Pilou Asbaek, John Noble, Paterson Joseph, Rahul Kohli, Jamie Clayton, Kristopher Hivju, Peter Stormare, Jamie Chung, Lauren Cohan, and Corey Stoll, among others.

Series creator Zack Snyder on mining the epic, prescient themes from the age-old stories of Norse mythology.

The stories of Norse mythology are incredible and, like all mythology, have both informative wisdom to impart and exciting journeys to convey. I wanted to explore these stories in the realm of animation and, as I talked through the idea with Jay Oliva, a fantastic animation director who has played a key role in bringing some of my previous films to life as a storyboard artist, we couldn’t wait to dig in.

Twilight of the Gods is a heroic story packed with epic themes of loss and revenge. All of the characters are searching for some sort of catharsis along the way. They’ve all lost something and they’re looking to find some kind of retribution while hopefully coming out the other side having made peace with the demons that sent them on this quest to begin with.

We embarked upon a long, exhaustive process of design as we searched for the right style to interpret this story. The limitations (in a good way) of 2D, hand-drawn animation really helped us focus on a style of sophisticated fantasy, something that is complex through its simplicity, which is apt for a story set in the realm of adult animation. We hope both the technique and the storytelling draw viewers into this world and they end up experiencing these characters on a personal level as they see them through to the end of their giant adventure.

• Incoming: September 19, 2024
• Created by: Zack Snyder, Jay Olivia, Eric Carrasco
• Executive Producers: Zack Snyder, Deborah Snyder, Wesley Coller, Jay Oliva
• Directors: Zack Snyder (101 & 108); Jay Oliva (102 & 107); Tim Divar/Andrew Tamadl (103 & 105); Dave Hartman/ Andrew Tamadl (104 & 106)

Twilight of the Gods

THREE REASONS TO GET EXCITED

The plights of the gods have long offered meat for juicy drama, and Norse mythology continues to excite filmmakers and audiences alike. Thor, Odin, Loki, and Hel are all deities with starring and supporting roles in various books, movies, and TV shows, but there is always room for more wider interpretation. Legendary fantasy writer J.R.R Tolkien drew on many sources (including the Bible and English folklore) for his tales of Middle-earth and beyond, and the creatures featured in his stories also have Scandinavian beginnings. Similarly, George R.R. Martin was influenced by rituals from this Norse region. Now, Twilight of the Gods continues this rich Viking tradition with an explosive tale of sex and violence that sees Sigrid, a child of a giant, teaming up with a seer and a dwarf in a unique vengeance quest.

Graphic novels have provided the source material for some of auteur Zack Snyder’s most successful and distinctive projects, including 300, Watchmen, and Man of Steel. Snyder’s signature aesthetic combines a heightened color palette, bringing comic book panels to life, and alters the speed of the action to increase tension. Additionally, Snyder’s live-action artistic vision resembles animation in how he bends time and space, making him an ideal filmmaker for Twilight of the Gods. Snyder co-created the series with Jay Olivia and Eric Carrasco, and the Zack Snyder’s Justice League director helms two episodes.

Renowned French major animation player Xilam joins forces with Zack and Deborah Snyder’s production company, The Stone Quarry, which they run alongside their producing partner Wesley Coller. Xilam has risen to the challenge of capturing Snyder’s signature action and battle sequence flourishes in state-of-the-art 2D animation. Xilam has a slew of success stories across all age and genre categories, mixing new and veteran voices: Kids’ titles like Oggy and the Cockroaches, Zig & Sharko, Chip ‘n’ Dale: Park Life, the teen horror comedy The Doomies, and Academy Award®-nominated adult animation fantasy I Lost My Body.

Incoming