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‘Anime is Niche No More': Crunchyroll EVP Mitch Berger Teases 2025 Slate at Annecy

‘Anime is Niche No More': Crunchyroll EVP Mitch Berger Teases 2025 Slate at Annecy

Yahoo14-06-2025
Crunchyroll, a global anime brand and streaming service that recently topped 17 million subscribers, is consolidating ever more as a major entertainment player.
As its platform now boasts the largest of dedicated anime libraries, Crunchyroll teams dedicate their energy to reaching new audiences via an immersive world of events, exciting theatrical releases, unique games, must-have merchandise, timely news, and more.
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Ahead of the simultaneous gigantic anime events that are Anime Expo in L.A. and Japan Expo in Paris, Crunchyroll's presence at Annecy is impossible to miss. From Bonlieu's main venues pillars with 'Demon Slayer' garments to Crunchyroll animes presented at the festival, the company is showcasing to professionals, students and animation enthusiasts alike their global hits as well as their new strategy.
'Anime is niche no more,' said Crunchyroll EVP of global commerce and head of theatrical Michel Berger as he introduced an Annecy Crunchyroll Studio Focus 2025 – a presentation that highlighted anime's meteoric growth and how Crunchyroll has fuelled that growth.
'Every time I'm able to come to Annecy, I truly feel at home,' he emphasized. 'It's an event and festival that not only embraces and celebrates the art of animation, but it's part of everyone's DNA.'
For Berger, anime – which has had to free itself from the same 'genre' etiquette animation still has in some circles – is a unique storytelling medium that speaks to fans worldwide, powered by dynamic characters, stunning visuals and amazing new worlds that make a really emotional connection with an ever-growing audience.
According to Crunchyroll's EVP, anime fandom will reach at least 1.5 billion by 2030, even without including Japan and China. And Berger isn't just looking into his crystal ball; he brought data to back it up.
Surveying nearly 29,000 respondents from ages 13-54 in seven global markets, the latest Crunchyroll study —conducted by National Research Group (NRG)— underscored anime's growing role as both a cultural foundation and emotional outlet for younger audiences.
According to the study, anime now stands shoulder to shoulder with the biggest icons in music and sports among Gen Z. 54% of Gen Z make their love for anime known, putting it ahead of Kendrick Lamar (48%), nearly on par with Beyoncé (56%), and just behind LeBron James (59%) and Taylor Swift (60%).
The connection is even stronger among teens, with nearly 60% of 13–17-year-olds identifying as anime fans. 44% of general entertainment consumers from 13 to 54 identify as anime fans, surpassing —per Berger— other global genres like K-dramas and Bollywood, with regional nuances indicating emerging growth in markets such as the United Kingdom.
Furthermore, social media platforms like TikTok, Instagram, and YouTube have transformed anime discovery and engagement. According to the study, 82% of fans discuss anime socially, with clips and reels now serving as Gen Z's primary discovery gateway.
'Anime isn't just something our audience watches', added Berger. 'It's something they feel.' With a four quadrant global fandom more and more diverse, anime faces a growing demand for stories that reflect a wide range of populations – including strong female leads, LGBTQ+ characters and narratives that can appeal to global audiences.
The same worldwide fans who cast their vote a few weeks ago for the Crunchyroll Anime Awards, hailed by New York Magazine as 'the Oscars of Anime,' this year, more than 51 million votes were cast, concluding in a Tokyo-based ceremony that fans could also watch online. 'Solo Leveling,' a Crunchyroll-Aniplex-backed project produced by A-1 Pictures, took away Anime of the Year.
Crunchyroll is now looking to expand its experience to offer their subscribers and fans more than just something to watch. From standalone games to music, collectibles, immersive events, and theatrical releases.
Theatrical is a dear topic to Berger. Coming out of COVID, Crunchyroll put 'Demon Slayer: Mugen Train' into theaters and made over $500 million at the global box office, a theatrical run holding today the record as the highest-grossing Japanese anime movie of all time. And —according to Berger— the momentum continues to grow as younger audiences love anime as much as they want to experience it together.
Earlier this week, Crunchyroll and Sony Pictures International announced they had acquired select international theatrical rights for the compilation film 'Jujutsu Kaisen: Hidden Inventory (Premature Death – The Movie')
This beloved TV series —animated by award-winning 'Attack On Titan' studio MAPPA— turns into a cinematic experience that will delight fans all over the world this summer, powered by Crunchyroll in select European markets, Latin America and Australia.
In the U.S., GKIDS releases the film on July 16.
Berger concluded his presentation by sharing footage from the upcoming 'Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle'. The film is scheduled to be released by Aniplex and Toho on July 18, 2025, in Japan. Crunchyroll will distribute the film in international markets through Sony Pictures Releasing, hitting U.S. theaters on Sept. 12.
Should Hollywood execs 'Forget Tom Cruise and Nicole Kidman' and rely on anime to save the box office, as Washington Post reporter Sonny Bunch suggested three years ago? Crunchyroll teams definitely think so.
Two of Crunchyroll's anime are represented in the TV Films category at Annecy this year. 'Metallic Rouge', a sci-fi action-packed series created by 'My Hero Academia' production company Bones, is competing alongside beloved adaptation 'Anne Shirley', based on the late 1900s novel series 'Anne of Green Gables' by Lucy Maud Montgomery.
The full NRG Crunchyroll study is available here.
More to come…
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On August 12, 2025, Drake's legal team filed two motions that start with a shot across UMG's bow: 'UMG is improperly shielding its CEO, Sir Lucian Grainge, from scrutiny in this litigation, despite his direct involvement in the publication and promotion of the defamatory recording, cover image, and video at issue.' The motions demand the court compel UMG to produce: 'The custodial files of Sir Lucian Grainge.' 'An unredacted copy of Kendrick Lamar's recording agreement with UMG.' 'Financial and contractual records relevant to Plaintiff's claims.' The filings accuse UMG of reversing its own statements about Grainge's role, pointing out that the company's narrative shifted from 'no involvement' to 'no meaningful involvement' without ever searching his files. Lucian Grainge: The CEO at the Heart of the Storm Drake's lawyers argue that Grainge is far from a distant corporate figurehead. They write: 'Grainge was physically present at the 2025 Grammy Awards celebrating 'Not Like Us' alongside Lamar's team and has made public statements about Plaintiff's stature in the industry, demonstrating his awareness of the impact of such a recording.' The motion points to Grainge's own words in 2022, calling Drake 'one of the biggest artists of today' as evidence of his awareness of Drake's market value. And in an especially pointed citation, Drake's team highlights Grainge's past warning that: 'A single lie can destroy a reputation of integrity… it can be ruined in five minutes.' They argue this shows the CEO understood exactly how damaging 'Not Like Us' could be. The 'Apex' Argument UMG Cannot Keep Straight UMG invoked the 'apex custodian' doctrine to block Grainge's inclusion in discovery, but Drake's attorneys counter: 'There is no blanket prohibition on discovery from high-level executives in this District. Where, as here, the executive has unique personal knowledge of relevant facts, courts routinely compel production.' They note UMG has offered three shifting rationales for blocking Grainge's files: 'no involvement,' 'no meaningful involvement,' and 'cumulative,' all without conducting a search. 'Modern e-discovery deduplication eliminates the concern of cumulative production. UMG's refusal to even search Mr. Grainge's custodial files is unjustified obstruction.' The Kendrick Lamar Contract: 'Virtually Unreadable' When UMG produced Kendrick Lamar's recording contract in June 2025, Drake's lawyers say it was gutted by black ink: 'The agreement produced is so heavily redacted as to be virtually unreadable and incomprehensible.' They believe the hidden sections likely contain clauses granting UMG editorial control over content, the ability to reject or alter songs and videos. 'A two-tier Protective Order, including an Attorneys' Eyes Only designation, already protects against competitive harm. UMG's 'relevance redactions' are improper and deprive Plaintiff of critical context.' Follow the Money: The Interscope and Republic Rivalry Drake's team argues that UMG's internal competition between labels like Republic Records (Drake) and Interscope (Lamar) creates financial motives for the alleged defamation. 'UMG's label executives are rewarded based on the performance of their label relative to others in the UMG ecosystem. Interscope CEO John Janick therefore had a financial incentive to see Lamar's success and Republic's decline.' To test this theory, they request: Janick's compensation structure for the past five years. 2024 incentive metrics for Interscope. Monthly revenue and profit reports for the last five-and-a-half years. The valuation of Lamar's catalog over the same period. 'These records will demonstrate the financial motives underlying UMG's decision to promote the defamatory recording rather than suppress it.' UMG's History of Censorship and Selective Enforcement The motions also demand records showing UMG's past censorship of rap lyrics. 'Def Jam, a UMG label, intervened to remove certain verses from Pusha T's 'The Story of Adidon' that were perceived as damaging to other artists. This selective enforcement is probative of UMG's intent and actual malice here.' By contrasting that intervention with their inaction on 'Not Like Us', Drake's lawyers say they can show UMG's choices were deliberate and targeted. A Timeline of Discovery Breakdown The declaration from attorney M. Annie Houghton-Larsen maps the collapse of cooperation: April 25, 2025: Drake proposes 28 custodians, UMG agrees to only five. May 2, 2025: UMG refuses Grainge's inclusion, invoking 'apex custodian.' June 2025: UMG produces the redacted Lamar contract. August 7, 2025: Meet-and-confer ends without resolution. August 12, 2025: Motions to compel filed. In one letter, Drake's counsel warns: 'Your refusal to even search Mr. Grainge's custodial files, coupled with your reliance on shifting and unsupported rationales, is an obstruction of discovery and contrary to Rule 26 obligations.' Beyond the Lawsuit: Hip-Hop's Long History of Corporate Power Struggles This case follows a decades-long pattern in which high-profile rap disputes have intersected with the business interests of the labels behind them. From Tupac vs. Biggie, where the East Coast and West Coast rivalry overlapped with Bad Boy Records and Death Row tensions, to 50 Cent vs. Ja Rule, where label rivalries shaped careers, the history of hip-hop is littered with beefs that executives quietly benefited from. What makes Drake v. UMG different is that it is pulling the executives directly into the legal crossfire, demanding their private emails, their financial records, and the contracts they have fought to keep secret. Lucian Grainge's Empire and the Kendrick Lamar Factor Since becoming CEO in 2011, Grainge has overseen billions in streaming-era growth, signed or retained megastars like Taylor Swift, Drake, Billie Eilish, and The Weeknd, and encouraged strategic competition between labels under the UMG umbrella. Kendrick Lamar, signed to Interscope through his company pgLang, is one of the most acclaimed rappers of his generation. His 2024 track 'Not Like Us' became both a chart-topping hit and a cultural flashpoint in the Drake feud. Drake's legal theory is simple: Grainge had the power to intervene, did not, and profited from the fallout. Rap Lyrics, Defamation, and the 'It's Just Entertainment' Defense UMG will likely argue that 'Not Like Us' is artistic expression, part of a tradition of exaggerated diss tracks that are not meant to be taken literally. Drake's counter is that the content was specific, tied to real-life allegations, and promoted in a way that blurred the line between art and fact. If the court sides with Drake, labels may become more cautious about releasing songs that could be construed as factual attacks, altering the way diss tracks are handled across the industry. Why UMG Will Fight to the Death on This Discovery Producing Grainge's communications could set a precedent that makes CEOs vulnerable to discovery in future litigation. Turning over unredacted artist contracts could weaken the company's bargaining position. Revealing executive incentive structures could spark shareholder scrutiny. Losing this battle could cost UMG far beyond this case, which is why the company is expected to mount an aggressive defense. The Legal Precedent Drake's Team Is Betting On Apex Custodian Discovery Chevron Corp. v. Donziger, 2013 WL 1896932 (S.D.N.Y. May 7, 2013) 'There is no blanket prohibition on the deposition of high-level executives. The burden is on the party seeking to prevent discovery to show that the executive lacks unique personal knowledge.' Reid v. Ingerman Smith LLP, 2012 WL 6720752 (E.D.N.Y. Dec. 27, 2012) 'Where the executive has unique personal knowledge of the issues in the case, discovery from that executive is appropriate.' How it helps Drake: Shows Grainge cannot be shielded if he has unique personal knowledge. Improper Relevance Redactions In re State Street Bank & Trust Co. Fixed Income Funds Inv. Litig., 2009 WL 1026013 (S.D.N.Y. Apr. 8, 2009) 'Relevance redactions are generally disfavored as they deprive the requesting party of context that may be critical to understanding the unredacted portions.' John Wiley & Sons, Inc. v. Book Dog Books, LLC, 298 F.R.D. 184, 186 (S.D.N.Y. 2014) 'The fact that certain portions of a document may not relate to the dispute does not justify unilateral redaction by the producing party.' How it helps Drake: Undercuts UMG's rationale for producing a blacked-out Lamar contract. Cumulative Evidence Claims New York v. U.S. Dep't of Commerce, 461 F. Supp. 3d 80, 93 (S.D.N.Y. 2020) 'The mere possibility of some overlap does not make the sought-after discovery cumulative. Duplicative material can be eliminated in production through standard deduplication methods.' How it helps Drake: Counters the claim that Grainge's files are duplicative. Scope of Discovery — Rule 26 Federal Rule of Civil Procedure 26(b)(1) 'Parties may obtain discovery regarding any nonprivileged matter that is relevant to any party's claim or defense and proportional to the needs of the case.' How it helps Drake: Confirms Grainge's files, Lamar's contract, and the financial records are relevant to his defamation claims. Bottom Line: If Judge Jeannette A. Vargas applies these precedents as Drake's lawyers argue, UMG may have to open the doors to its executive suite, its most guarded contracts, and its financial strategies, something no major label has ever been forced to do in a feud of this scale. The post Drake Demands Kendrick Lamar's Full Contract and Moves to Force UMG to Hand Over Lucian Grainge's Private Files in Explosive Lawsuit appeared first on Where Is The Buzz | Breaking News, Entertainment, Exclusive Interviews & More. Solve the daily Crossword

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