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Nickelodeon, Paramount Animation Smurf Up Annecy Crowds With Packed Slate and Exclusive SpongeBob SquarePants Preview

Nickelodeon, Paramount Animation Smurf Up Annecy Crowds With Packed Slate and Exclusive SpongeBob SquarePants Preview

Yahoo12-06-2025
Annecy crowds were in for a treat as Ramsey Naito, President of Paramount Animation and Nickelodeon Animation, and longtime festival supporter, opened the studios' 2025 showcase with a preview of the upcoming projects.
'PAW Patrol: The Dino Movie,' 'The Legend of Aang: The Last Airbender' and 'Teenage Mutant Ninja Turtles: Mutant Mayhem 2' are all in active development. 'PAW Patrol' is set to hit theaters July 24, 2026, followed by Aang's animated return on Oct. 9. Fans of pizza-loving martial artist turtles will need to wait until Sept. 27, 2027, for the next 'TMNT' bigscreen appearance — or will they? Read on to find out.
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Naito, one of the most prominent animation executives in Hollywood today, expressed her excitement about returning to Annecy. She also unveiled new additions to the cast of 'The SpongeBob Movie: Search for SquarePants.' Joining the regular cast and Mark Hamill are Regina Hall ('Scary Movie,' 'Girls Trip'), Sherry Cola ('Nobody Wants This,' 'Shrinking'), Arturo Castro ('Tron: Ares,' 'Matchbox'), George Lopez ('Lopez vs Lopez,' 'The Underdoggs'), and four-time Grammy-nominated, multi-platinum rapper Isis 'Ice Spice' Gaston, who also contributes an original song.
Before diving into SpongeBob, Naito turned attention to a tiny mushroom village in a magical forest, home to the most famous blue characters on Earth (apologies to Pandora).
Director Chris Miller returned to Annecy to present the first 20 minutes of his upcoming summer tentpole 'Smurfs,' ahead of its July 18, 2025 release. Last year, he showed early footage at MIFA. Now, with the film nearly complete, Miller spoke about the project's unique blend of CG and 2D animation.
'I'm delighted to bring the Smurfs back to the big screen with a project blending CG and 2D animation so closely,' said Miller. 'For me, animation isn't all about pixels and keyframes. It's about moving an audience and infusing every frame with the same heart, color and charm that Peyo put in his original ideas more than 60 years ago.'
Production is already underway on Season 4 of the CG-animated TV series. Nele De Wilde, CCO of Peyo Company, noted how closely the studio collaborated with Paramount, eight years after Sony Pictures Animation's 'Smurfs: The Lost Village.'
'Paramount were very respectful of our input,' said De Wilde. 'Friendship, helping each other and respecting nature are timeless values at the core of the Smurfs' identity. Paramount was committed to bringing these ideas to life in a modern, adventure-packed film.'
These values also spoke to Rihanna, who voices Smurfette. 'That's gangster,' said her partner A$AP Rocky to Variety earlier this year.
The film's musical energy and visually rich medieval-fantasy setting, powered by Cinesite Montreal's animation, promise to get kids 'Smurfin' all day long.' The story centers on a Smurf with no name who seeks to discover his unique identity, aided by Smurfette, Hefty and other classic characters. Gags like 'Quiet,' 'Soundtrack' and 'Shark-Taming Smurf' had the Annecy audience in stitches.
A standout moment introduced Razamel, Gargamel's equally inept brother, as a new villain. By the film's end, the Smurfs tumble through a multiverse portal into real-world Paris, to Grouchy's great dismay.
The film will premiere in Brussels on June 28, 2025, painting the city blue ahead of its global rollout.
Next up, director Derek Drymon shared a behind-the-scenes look at 'The SpongeBob Movie: Search for SquarePants.' A SpongeBob veteran, Drymon returned to the franchise after co-directing 'Hotel Transylvania 4' in 2022.
'We wanted to recapture the spirit of the first season,' said Drymon. 'I'm so thankful to Paramount for backing a creator-led project. What wins the day is being a kid, and that's what we infused in this feature.'
Audiences were treated to the first full act, in which SpongeBob finally grows tall enough to ride a rollercoaster but backs out at the last moment, only to be pulled into an even scarier pirate adventure with the Flying Dutchman. He then signs away his fate and plunges into the Underworld.
Blending 3D animation with cutting-edge 2D, this visually dynamic installment follows in the stylistic footsteps of 'The Mitchells vs. the Machines' and 'Spider-Verse.' It will hit theaters Dec. 19, 2025.
Following a brief Q&A with Miller and Drymon, moderated by Paramount SVP Emily Nordwind, audiences got one last surprise: two never-before-seen shorts.
'Order Up,' a dialogue-free SpongeBob short directed by Sean Charmatz ('Orion and the Dark'), will debut in front of 'Smurfs' in July. The slapstick comedy had been sitting in the Nickelodeon/Paramount vault for nearly a decade.
The second short, 'Chrome Alone 2: Lost in New Jersey,' is a 'Teenage Mutant Ninja Turtles' tale directed by Kent Seki. With a visual style similar to Jeff Rowe's 'Mutant Mayhem,' this installment takes a comedic look at artificial intelligence and will premiere alongside the new SpongeBob film in December.
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Paramount president Jeff Shell will cut $2 billion in ‘painful' belt-tightening after troubled Skydance merger
Paramount president Jeff Shell will cut $2 billion in ‘painful' belt-tightening after troubled Skydance merger

New York Post

time3 hours ago

  • New York Post

Paramount president Jeff Shell will cut $2 billion in ‘painful' belt-tightening after troubled Skydance merger

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‘Star Trek' Is Born on ‘Strange New Worlds'
‘Star Trek' Is Born on ‘Strange New Worlds'

Gizmodo

time3 hours ago

  • Gizmodo

‘Star Trek' Is Born on ‘Strange New Worlds'

A few weeks ago in Strange New Worlds' up-and-down third season, 'A Space Adventure Hour' delivered a deeply unsubtle paean to the creation of Star Trek. This week, Strange New Worlds does much the same: but this time the birth of Star Trek is within the text itself, making for a much more interesting lens on the birth of an the moment that it opens, it becomes clear that 'The Sehlat Who Ate Its Tail' (named for a Vulcan idiom that Spock uses later on) is not going to be a typical episode of Strange New Worlds. Not in that 'oh, something's going to be kooky and fun!' way that you might expect after last week's dire-stakes episode and the season's general back-and-forth in tone swaps so far, but because we do not open on the Enterprise, or with her crew at all: instead, on the personal log of Commander Kirk, aboard the U.S.S. Farragut. At which point the planet the Farragut was monitoring—and Kirk was butting heads with his captain, V'Rel (Zoe Doyle), over beaming down and surveying—explodes. Just like last week, everyone immediately locks in, especially Jim, when V'Rel is incapacitated by the extreme damage caused by the Farragut's proximity to an exploding planet. But things go somehow even more badly when, of course, the Enterprise beams to respond to the Farragut's distress signal—beaming over an assist team of Nurse Chapel, Scotty, Spock, and Uhura. As everyone races into action and Kirk begins slowly realizing that he's getting the command experience he's been waiting for at the worst possible time, the vessel responsible for destroying a planet in a single blast, a massive, tendriled junk ship comes flying along and gobbles the Enterprise up before promptly warping away. The Farragut is alone, and barely holding together, let alone capable of pursuit. It's operating on a skeleton crew, most beamed away to Enterprise before its abduction. And James T. Kirk is staring at a captain's chair, with Mr. Spock, Mr. Scott, Uhura, and Chapel at his side. If 'A Space Adventure Hour' was an episode talking about the metanarrative about the birth of Star Trek as a television show, then suddenly, you realize: this is an episode about the birth of Star Trek, the team that we know will go on to appear in the original series. At long last, the crucible that will one day forge one of the franchise's defining heroes has begun. So it's great then that 'The Sehlat Who Ate Its Tail' is really an episode about rocking Kirk's shit for 45 minutes. The episode splits between the Farragut and the captured Enterprise, disabled in the interior of the junk ship as its systems are drained of power, effectively doing one of Strange New Worlds' 'disaster on a spaceship' episodes twice over. Kirk has to rally a group of officers who don't really know, and don't really trust, him as he tries to figure out what kind of a leader he is in time to rescue Enterprise and stop this junker ship on a collision course with destroying another world called Sullivan's Planet. Pike, meanwhile, has to deal with shadowy infiltrators sucking his ship dry, a ticking time bomb that will kill both the Enterprise crew and the Farragut's wounded. The stuff aboard Enterprise is fun and definitely tense, even if it is also definitely the b-plot of the episode. Pike and La'an have the mystery of the junkers to solve, Carol Kane gets to ham it up and get everyone to wire up rotary telephones to overcome the ship's power loss and communications blockage. There's intrigue and whimsy, but still, the focus of 'The Sehlat Who Ate Its Tail' is clear: this is the making of Kirk's moment. It gives Wesley material that, for the most part up to now, he's lacked the chance to chew on. Most of Kirk's appearances on Strange New Worlds have been technicalities: alternate realities, through the lens of episodes like the musical or 'Space Adventure Hour' and its holodeck metanarrative (thankfully, Wesley does not go hard on the Shatnerisms as he was encouraged to then). This is Kirk, the man who is going to become Captain Kirk, and he has been thrust into an incredible challenge, with a team that he doesn't know yet and arguably before he may even have really wanted to be in it. Thankfully, Strange New Worlds realizes that it's important to not suddenly supercharge this character into the man that we already know. We see elements of the man we will come to love in the original Star Trek, his braggadocio and his desire to always challenge and take risks, but crucially, we also see the deeply human elements of Kirk that people often forget in their memories, especially amplified here in his younger self. This is a Kirk that doubts, and loses his cool, and is allowed to react to the stress of the situation he's found himself in, and react poorly, and fairly so given the circumstances. Likewise, this gives the proto-TOS crew that he finds himself leaning on to get the Farragut even remotely close to shipshape a chance to react to this Kirk, and begin to feel out the seeds of what will become their relationships. It's fun to watch Martin Quinn's Scotty absolutely hate working with this guy, a thickheaded commander who wants to push systems an engineer knows can't be pushed, just as it's fun to watch Kirk's relationship with Uhura, and the trust they already established together last season, flourish even further as that bond deepens. It is, of course, also fun to watch the early days of Spock and Kirk's understanding of each other begin to coalesce. That becomes crucial here when the stress does get to Kirk when his plan to juice Farragut's engines almost literally blows up in his and Scotty's faces, leaving the ship dead in the water between the junker ship and its next target at Sullivan's planet, which is home to a pre-warp civilization. Kirk blows up, needing to get off the bridge, and his more senior fellows among the Enterprise crew realize that the young commander is in a very precarious moment. It takes Spock confronting and comforting him, removed from an emotional response to the stress everyone is feeling, to get Kirk to rearticulate and find the confidence he needs to deal with the setbacks and pressure the situation has demanded of him. It's a wonderful moment between the two as they start feeling each other out, how comfortable they can be even in this nascent phase of their relation, what boundaries there still are, and what can be bonded over to create a friendship that we know will span lifetimes. Again, crucially, Strange New Worlds understands here that it cannot just speedrun these characters into their original Trek selves just yet. We can see glimmers of those bonds, but just as it's vital for this episode to give us a Kirk that is flawed and still learning, and willing to both make and accept his mistakes, it's just as vital that we come out of this episode feeling that the crew that will one day serve aboard the Enterprise together are still not yet that crew. They're just closer than they were an episode before. This is the most important thing 'The Sehlat Who Ate Its Tail' arguably needed to nail, and so when the day is saved by some Kirkian ingenuity (and some assists from Scotty, Uhura, Spock, and Chapel) to free the Enterprise and destroy the junker ship before it can consume Sullivan's Planet, we can perhaps forgive that the last twist the episode makes doesn't quite land as effectively as the rest of it does. Amid the destruction of the junker ship, Spock manages to confirm, right as Pike and La'an do, ridding the Enterprise of its last infiltrator, that the mysterious foe they faced was a colony ship of 7,000 human beings, life signs blinking out as the junker ship tears apart. It turns out, as the Enterprise discovers during debrief, the vessel was, in its core form, a ship sent from Earth just after the end of World War III, staffed with scientists who believed that Earth may not be able to recover, and humanity's hope lay in the stars. Whatever happened to them in the generations since to transform their descendants into monstrous, planet-and-ship-devouring scavengers is left unsaid as Kirk's first victory in the chair is tinged with the discomfort that he is responsible for having to have slaughtered thousands of people to save millions, and both the Farragut's interim commander and the Enterprise crew find themselves humbled by the revelation. While it does again build on this episode as not being about the establishment of the legend of Jim Kirk but the flawed and deeply human man that he will come to be (and always was beneath our memory of that legend), what sits as odd in this final twist is the sudden swerve Strange New Worlds has to take to serve it. Would the climax of the episode have labored this consternation if this crew of disenfranchised descendants were early Vulcans, or Romulans, or another Federation species? What if they were some other alien species that we either knew or didn't know? Or is the point meant to be that our deeply human heroes are now touched and aggrieved at the revelation that they have had to kill other humans, specifically, before they could kill them? After all, up to the moment of this revelation 'The Sehlat Who Ate Its Tail', both through its characters and the narrative itself, framed these mysterious junkers as explicitly monstrous, just as this season did with the Gorn in its premiere. They had destroyed worlds, killed countless crews of ships whose vessels were consumed in its growth, and were on the precipice of indiscriminately extinguishing a population in the millions. The fact that it suddenly wants Kirk and the rest of the characters to wrestle with remorse because the perpetrators of these atrocities were human raises some uncomfortable questions about who and what gets to be treated with sympathy on the show that the episode simply does not have time to answer, saving this moment for its very end. But again, for the worse this time, that was never meant to be the focus of this episode. From beginning to end, 'The Sehlat Who At Its Tail' is about the genesis of the unit that would go on to become the original Star Trek, forging them together amid a grand trial. There, at least, it delivers one of the season's best episodes yet, albeit in a slightly compromised form. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what's next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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