
How Crunchyroll's Gita Rebbapragada Puts Anime Fans First
The 9th Crunchyroll Anime Awards are OTW and fans around the world are gearing up to see which show will take home the BIG "Anime of the Year" title for 2025.
With over 50 million votes casted and mountains of discussion online, it's really anyone's guess between Dan Da Dan, Delicious in Dungeon, Frieren: Beyond Journey's End, Kaiju No. 8, Solo Leveling and Apothecary Diaries. My bet's on Solo Leveling.
Anime is (and always has been) watched, adored and discussed around the world. Everyone has a connection to it, whether it be turning on the TV to a random episode of Pokémon as a kid, seeing friends collect trading cards/merch or being a diehard series viewer. The genre has grown up with us and continued growing into something HUGE. But how did it get to where it is now?
Ahead of the Awards, we sat down with Gita to answer this very question, chat about what's coming next and living in an anime world.
BFOZ: With the wild jump in Anime Awards votes from 30 million+ last year to 50 million+ this year, what do you think has made anime into the global phenomenon that it is today?
And I also think it's just deeply resonant with younger audiences and as they start to grow up and talk about it more and have financial independence of bigger allowances. You're also seeing that multi-generational viewing, which is also creating a lot of growth.
BFOZ: When you speak to the studios about what's on their slate for the upcoming year, what are the key indicators to success that jump out at you and figuring out what to put onto Crunchyroll next?
That is also telling stories from around the world that we think could be a good told in the art form of anime and the storytelling style of anime. We're always looking for those too. Isekai, for example, I think is really popular because the fluidity of different worlds is always very appealing, increasingly plays on gaming references, gaming territories. Solo Leveling, part of why it's so popular is it's a story of essentially leveling up, which I think is super interesting. I think horror also does surprisingly well. A lot of fans are like that. So I think it is a slate approach. It's not just action sequences. There's a lot of art house that does really well too. So it really depends.
BFOZ: Working in the anime space, do you have any all-time comfort anime shows or movies?
In terms of characters that I just find really endearing, my hero is definitely, especially when we're first introduced to some of the characters in the earlier seasons, found them really relatable. I'm watching One Piece now with my daughter, which is where I would say we're early days in that one. In terms of my favourite character? Might be Spy x Family. There so many, I mean, there's just a lot. I like them all, a lot of different shows for a lot of different reasons. I love Kaiju No. 8, which is, I'm not usually, it wouldn't be one you would describe, you would guess, but I don't know. There's something about it that I just found kind of gripping.
BFOZ: Stepping outside of the anime bubble for a moment, as a woman of power, how do you learn to trust and strengthen your gut in an entertainment industry that's ever-evolving and at the mercy of emerging technologies?
It's going to change. It has changed in the last five years. It's going to radically change in the next five years. And so being really clear about knowing what that evolution is, what they want, what they don't want, and also taking risks like we are at heart. This is a content. We deliver content. Content is a creative pursuit and making sure we're developing things or giving them things that are very, very exciting and not always playing it safe. I think that's the key.
BFOZ: What's the best business advice that anyone has shared with you that you still keep to you till this day, other than know your audience?
Because the reality is at the rate of innovation that's happening right now, every company is at the risk of . And so I think what we do as leaders is we have to really challenge ourselves to think, "How would we do things differently, if you started today?".I think I've definitely been in some high growth companies that have been very disrupted, and that's always very top of mind for me is there is someone who is going to have a really great idea and they're going to implement that idea with all the tools that are available to them today without any legacy thinking. So have your experience be your superpower, not your liability.
BFOZ: And finally, if there was one anime universe you could live in, which one would it be?
Which show do you think will take home "Anime of the Year"?
Tune into the Crunchyroll Anime Awards on Twitch and YouTube on May 25, 2025 — the pre-show kicks off from 6pm AEST.
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Gizmodo
4 days ago
- Gizmodo
‘Dan Da Dan: Evil Eye' Brings Curses, Chaos, and Heart
Science Saru's theatrical preview prepares 'Dan Da Dan' for a genre-bending comeback before season 2 haunts your anime watchlist this July. When Dan Da Dan hit streaming platforms last fall, it wasted no time becoming the Johnny-come-lately must-watch anime of the year. With an absolute bop of an opening theme, a seamless blend of comedy, sci-fi action, palpable slow-burn romance, and evocatively bouncy and expressive animation, Science Saru's off-kilter anime quickly became the standout of 2024. It also doesn't hurt that the series recently won some Crunchyroll Anime Awards, adding to its growing acclaim and cementing its place as a fan favorite in a year of exceptional anime. Accolades aside, it'd be remiss not to note that Dan Da Dan's first season also left fans hanging in the most excruciating way possible–cutting to black right at the brink of its next big arc. Thankfully, the sting of that cliffhanger didn't last long, as the series was swiftly renewed for a second season. Now, GKids and animation studio Science Saru are teaming up once again to bring Dan Da Dan: Evil Eye to the big screen–a theatrical preview featuring the first three episodes of the new season. While the film introduces some new annoying pacing quirks typical of anime compilation releases, Evil Eye still sets the stage for an anime that continues to push boundaries with breathtaking animation, high-energy action, and emotionally charged storytelling. If its momentum holds beyond what Evil Eye showed us, season 2 is gearing up to exceed expectations when it premieres this July. Evil Eye picks up right after the events of Dan Da Dan Season 1, with Okarun, Momo Ayase, and Jiji Enjoji diving into the mystery surrounding Jiji's cursed family home. Their investigation uncovers not just one, but two terrifying forces lurking in Byakuja Village: a monstrous worm kaiju that emits blinding light, driving its victims to the brink of self-destruction, and the Evil Eye–a sinister yokai that grants Jiji immense power akin to Okarun's, but at the cost of his self control. As if these threats weren't enough, the trio must also contend with the Kito family, a chilling cult with jaundiced-eyed martial artists, responsible for generations of child sacrifices, believing it's kept the village protected from calamities. Evil Eye preserves Dan Da Dan's signature eccentricity, seamlessly blending horror and comedy with razor-sharp precision. One moment, Momo is locked in a harrowing battle with the Kito family, evoking the eerie menace that is characteristic of Junji Ito's work. Next, she's turning the tables in a bare-knuckle brawl straight out of a kung fu flick. Whether delivering tension or laughs, the film nails its timing, utilizing direction that goes beyond simple stylistic gimmicks to embrace anime's unique storytelling strengths fully. With dynamic flourishes reminiscent of a YouTuber's fast-paced editing, Evil Eye sharpens its emotional impact, drawing attention to key details, leaning into meme-like framing, and amplifying each heartfelt moment through swelling music and abstract, painterly animation. The result is a story that lingers long after the credits roll. One of Dan Da Dan's greatest strengths is its ability to add depth and texture to its cryptids and yokai—rather than using tragic backstories as fleeting emotional bait, it ensures they resonate beyond mere shock value. While many contemporary anime lean into dramatic pasts only to quickly abandon them for the next big arc, Evil Eye fully embraces the complexity of its supernatural elements, elevating them beyond surface-level tragedy. A prime example is its treatment of Jiji and his connection to the titular Evil Eye. Much like the series did with Acro Silky and Aira Shiratori, it takes a character once framed as comic relief and enriches them with poignant storytelling, recontextualizing Jiji's class clown nature while giving emotional weight to Evil Eye itself. Instead of feeling like a disposable antagonist, the entity becomes a compelling force within the narrative, allowing its presence to linger in a way that feels more poetic than performative. And Jiji isn't the only one stealing the show–Turbo Granny delivers some fantastic spit-take comedy as the group's petulant babysitter, Momo lands devastating kicks, and Okarun shines with his signature cool-guy monologues, complete with an unmistakable JoJo's reference. Evil Eye is the latest proof that Dan Da Dan is anime's ultimate genre chameleon, effortlessly shifting tones and styles in an instant. 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While neat in theory, this approach dulls the impact of what should feel like a feature-length event. Other GKIDS releases have excelled at diving right into the action, but Evil Eye takes nearly 20 minutes to commit, with an additional 10-minute interview with co-directors Fuga Yamashiro and Abel Gongora sandwiched at the end, further stretching out the experience in disengaging ways where a director interview would have sufficed. This echoes a past misstep from Dan Da Dan's previous theatrical promo, where behind-the-scenes footage was put at the start of the film, with a majority of its 'how the sausage is made' segments spoiling major reveals before audiences even what they were in store for. A mistake GKids had been good about not repeating with its other anime preview films! While the nostalgia is appreciated, it hasn't been that long since the series aired, and the extended recap feels more like unnecessary filler than a seamless setup. 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Evil Eye hits theaters across the U.S. June 6.


New York Times
4 days ago
- New York Times
Dior's First Female Designer Says Farewell
The tenure of Dior's first female designer, Maria Grazia Chiuri, formally came to an end on Thursday with an announcement that she was leaving the brand after nine years. It had been rumored for months, so it surprised no one. Really it had ended two days before in Rome, with a cruise show. One that encapsulated all she had brought to the house. Even if she didn't admit it, she clearly had designed it that way. It's one way to have the last word. Indeed, the fog that drifted in over the manicured lawns of the Villa Albani Torlonia in Rome just as the show began lent what was already a surreal moment an extra-otherworldly air. Ms. Chiuri had requested that all of the female guests wear white, even Natalie Portman and Rosamund Pike; the men, black. As they entered the verdant inner courtyard of the private manse, with its collection of Greco-Roman antiquities, they walked past dancers posed like moving statuary. When the first models appeared, to the strains of a live orchestra, light rain began to fall. Along with the mist, it made the clothes, almost all ivory and often so light as to be practically transparent, seem ghostly (even for someone like me, watching through the computer screen): an ethereal stew of references in lace, silk and velvet — with the occasional tailcoat — to different periods in history and imagination. In a video call before the show, Ms. Chiuri said she had been after what she called 'beautiful confusion,' the phrase the screenwriter Ennio Flaiano originally suggested as a title for Fellini's '8½.' It was an apt description, not just of the collection itself, which seemed made for phantoms slipping from one era into the next, but also of what was then a question mark surrounding her own position. Ms. Chiuri had nominally brought Dior back to her home city to celebrate the romantic spirits that formed her (and helped shape fashion), from La Cinecittà to the director Pier Paolo Pasolini and Mimì Pecci-Blunt, an early 20th-century patroness of the arts who had built a private theater Ms. Chuiri recently restored. But she also brought herself and her audience full circle, back to the place she began. To do so, she enlisted a host of collaborators: the Tirelli costume house, the director Matteo Garrone (who made a short film in honor of the collection), the artist Pietro Ruffo, the Dutch choreographers Imre and Marne van Opstal. If that sounds like a lot to cram into what was essentially a 20-minute fashion experience, it was on purpose. At that point, no one was admitting that she was about to leave — not even her. When asked directly, Ms. Chiuri had simply said, 'Oh, I don't answer this question.' Now everyone knows the answer. Still, it's too bad no one had been willing to acknowledge it sooner. Because the lack of clarity about Ms Chiuri's future, combined with the actual fog, merely gave an ambiguous edge to what could have been a triumphant farewell. Turned it into a vaguely elegiac swan song. Maybe Ms. Chiuri, who has the thick skin and stubbornness of many pioneers, didn't want it to be nostalgic or sentimental. But while the collection was lovely and she got a standing ovation, it could have been so much more. It could have been an exclamation point at the end of what will surely be seen as a meaningful era in the life span of a major brand. A celebration of the contribution of the first woman to run the house. Such a farewell is not unheard-of in fashion, even if designers now turn over so often and so brusquely that it seems rarer than not. Tom Ford ended his Gucci period with a shower of pink rose petals, a standing ovation and 'Nothing Compares 2 U.' Dries Van Noten went out on a silver foil runway with a giant disco ball to commemorate the moment. There's nothing wrong with designers being recognized for what they brought to a brand, even if, as in this case, the decision to part ways doesn't seem to have been entirely mutual. (In the announcement of her departure, the decision was cast as Ms, Chiuri's.) Especially a designer like Ms. Chiuri, who both helped grow Dior to what is estimated to be close to $9 billion in revenue and expanded its identity more than anyone may have realized. She is quoted in the documentary 'Her Dior' — a study of Ms. Chiuri's work with female artists directed by Loïc Prigent and released in March (an early sign, perhaps, of legacy building) — saying she knew what she was doing. She did. As Delphine Arnault, the chief executive of Dior, said in the news release about Ms. Chiuri's departure, 'She has written a key chapter in the history of Christian Dior.' She used her power and position, the financial might of her company, not just to assert a somewhat hackneyed feminism (who could forget the slogan tees or the weird playsuits under princess dresses?), but also to support a variety of female artists as well as a panoply of artisans. To insist on the radical idea that craft belonged on the same level as couture. And, perhaps most significantly of all, to break the stranglehold of the New Look. In 'Her Dior,' Ms. Chiuri said she told the Dior executives when she was hired that the brand's most signature silhouette, with its cinching and constriction of the female figure, was not for her. To look back at her collections is to see her methodically dismantling it. She did so first by going through the motions of loosening the stays — figuring out how to preserve the shape without the restrictive underpinnings — and then by eschewing it entirely. Her strength as a designer wasn't in the giant productions that surrounded her collections but in the internal magic she worked with construction and material. It's why her work often seemed more enticing in previews, experienced up close, than on the runway, where it could look banal. It is worth noting that there was not a single bar jacket in the whole cruise show. Or a high heel. As an alternative, it was strewed with Easter eggs that suggested a finale: references to Chiuri-isms past (to the short film she and Mr. Garrone made during Covid and to the dancers she had included in other shows); to a possible future (her work with the Roman theater); to the last show of her colleague, the former Dior men's wear designer Kim Jones, who resigned in January. (As in that show, some of Ms. Chiuri's models were wearing blindfolds.) Even the inclusion of 31 couture looks among the ready-to-wear seemed a goodbye of sorts. Couture is the next season on the women's wear schedule, and it would have been Ms. Chiuri's next collection, if there actually were one. Instead there was just the cruise show's closing look: an extraordinary gown micro-beaded to resemble a trompe l'oeil heroic torso. Or a relic, perhaps, of what is now officially a time gone by.


Buzz Feed
4 days ago
- Buzz Feed
Kacey Musgraves Teases Australian Tour At Anime Awards
The win sparked some debate with fans, following Solo Levelling's eight other awards across multiple categories. One user in the r/SoloLeveling Reddit thread said they were "genuinely surprised" at the sweep, with another defending it — "Let's not pretend that Solo Leveling isn't a fun watch". Country music heavy hitter, Kacey Musgraves hit the stage to announce the award of the night, in a Sailor Moon-inspired outfit no less. Kacey's love for anime isn't known to everyone but listeners of her most recent album, Deeper Well would be familiar with the song "Anime Eyes" — where she references famous Japanese animator Hayao Miyazaki and fan-fave, Sailor Moon. The track is inspired by the exaggerated, animated reactions you'd see from anime character in love. Ahead of her Anime Awards appearance, we sat down with the "Rainbow" singer to dive into where her anime obsession started, coming back to her roots at Lost Highway Records and Australian touring plans. BFOZ: Why was it important for you to come to Tokyo and present at the Crunchyroll Anime Awards? BFOZ: Speaking of coming back, you've recently returned to your roots at Lost Highway Records. What can fans expect from the move? Kasey: That was my first label home, and then it got shut down shortly after. So for it to be resurrected and me being a big part of that and recording a song that was written in the 40s, and my grandpa was speaking on the song, it was really special. BFOZ: Some people might find that country music and anime are worlds apart — does it ever feel strange bringing those two universes together? BFOZ: You mentioned this on stage during the Deeper Well tour but we'd love to dig a little deeper. What was the inspiration behind your song "Anime Eyes"? Kasey: I think that American animators tend to, how do I say it? I think they tend to, what the fuck is the word? underestimate. I think American children programs can underestimate the viewer, and I love that with Japanese animation there's just so much emotion and put in moments between moments. It's hard to explain, but it's just so delicate and nuanced and I don't know. It's just special. And I just fell in love with that and yeah, it's awesome. BFOZ: Coming into the anime world very young, what role does it play in your life now? BFOZ: Are there any particular favourites that you gravitate towards to get that escape? BFOZ: And finally, if it were somehow possible to go and live in an anime universe, which one would it be? What were your thoughts on the 2025 Crunchyroll Anime Awards?