Mikaela Hoover Joins One Piece Season 2 as Tony Tony Chopper, Check Out Fan-Favorite Character's First Look
Mikaela Hoover has lent her voice to this adorable character. The actress is known for starring in projects like Superman, Beef, and Guardians of the Galaxy Vol. 3.
The actress has flawlessly done facial capture for the character, who is a reindeer-human hybrid doctor.
Who else will be featured in One Piece S2?
Season 2 of One Piece will also feature Iñaki Godoy as Monkey D. Luffy, Mackenyu as Zoro, Jacob Romero as Usopp, Emily Rudd as Nami, Taz Skylar as Sanji, Jeff Ward as Buggy, Michael Dorman as Gold Roger, and Ilia Isorelys Paulino as Alvida.
Additionally, the venture will also reportedly star Joe Manganiello, Charithra Chandran, Katey Sagal, Lera Abova, Sophia Anne Caruso, Mark Harelik, Yonda Thomas, Sendhil Ramamurthy, Callum Kerr, Brendan Sean Murray, and many others.
More about One Piece
According to Variety, the show is based on Eiichiro Oda's manga and subsequent anime show, One Piece. As far as the storyline goes, the live-action venture revolves around Luffy and his team, who are determined to discover the legendary treasure, One Piece, and become the King of the Pirates.
The Tony Tony Chopper's casting news was reportedly announced during Netflix's live Tudum event held on Saturday. Godoy, Rudd, Mackenyu, and Skylar rolled the news.
Additionally, it was also revealed that the show's season 2 will see the light of day in 2026.
For the unknown, the beloved venture is created in collaboration with the One Piece animated show studio, Shueisha, and produced by Tomorrow Studios, which is an ITV Studios partner and Netflix, according to the outlet.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
&w=3840&q=100)
Business Standard
17 minutes ago
- Business Standard
In a first, Netflix dives into generative AI with new sci-fi series debut
In a first for the streaming platform, Netflix has used artificial intelligence (AI) to create parts of a television show, with company executives saying the move will help make production more affordable and efficient without replacing human creativity, The Guardian reported. The show in question is El Eternauta, a new Argentine sci-fi series, and it marks Netflix's official entry into AI-powered storytelling. Netflix's co-CEO Ted Sarandos announced the development while discussing the company's second-quarter financial results. He said that El Eternauta, which tells the story of a group of survivors navigating a deadly, toxic snowfall, used generative AI tools to create complex visual effects, such as a building collapse in Buenos Aires. 'Using AI-powered tools, they were able to achieve an amazing result with remarkable speed,' Sarandos said, as quoted by the report. 'That VFX sequence was completed 10 times faster than it could have been completed with traditional VFX tools and workflows.' AI to support, not replace, creative workers The use of generative AI in films and TV shows has raised concerns about job losses, especially among professionals in the visual effects and post-production industries. These concerns were central to the Hollywood writers' and actors' strikes in 2023, where workers demanded safeguards against AI replacing their roles, The Guardian reported. However, Sarandos stressed that AI was being used to support — not replace — real people working on these projects. 'This is real people doing real work with better tools,' he said. 'Our creators are already seeing the benefits in production through pre-visualisation and shot planning work, and certainly visual effects. I think these tools are helping creators expand the possibilities of storytelling on screen, and that is endlessly exciting.' Strong quarter for Netflix Netflix reported $11 billion in revenue for the quarter ending June, a 16 per cent rise compared to the same period last year. Much of the growth was credited to the popularity of the final season of the Korean thriller Squid Game. The company also noted that its advertising business, though still small, is growing quickly and is expected to double in size by the end of the year, the news report said. YouTube vs Netflix: Streaming giants battle for your TV screen Netflix once claimed its biggest rivals were not streaming platforms, but sleep and socialising. That narrative has now changed. YouTube has emerged as Netflix's strongest competitor, with both companies locked in a high-stakes battle for viewers' time on television sets, The New York Times reported. Together, YouTube and Netflix made up 20 per cent of all US TV viewing in May, according to Nielsen — YouTube led with 12.5 per cent, followed by Netflix at 7.5 per cent. Unlike traditional competitors, YouTube's lead has widened significantly in recent years, thanks to its vast, diverse content, the news report said. Both firms are now entering each other's territory. Netflix is courting YouTube creators like Ms. Rachel and the Sidemen, while YouTube continues to dominate in short-form, user-driven content. Each is becoming more vocal about the other, signalling an intensifying rivalry. As YouTube shifts from platform to studio and Netflix leans into creator-driven content, the battle for dominance on the biggest screen in the house is just heating up.
Pink Villa
17 minutes ago
- Pink Villa
Stray Kids beats ENHYPEN to become best-selling K-pop artist in US in first half of 2025, check Top 5 list
K-pop stars have solidified their global influence once again as they dominated a notable US chart. They secured 5 out of top 10 spots in the list of best-selling physical albums in the US during the first half of the year, according to a July 17 report by Luminate. Stray Kids, ENHYPEN and ATEEZ led the list, showcasing an inclination towards K-pop boy bands among the American consumers. Read to find out the other K-pop groups who made their mark in the nation by making it to the list. Stray Kids becomes best-selling K-pop group in US in first half of 2025, ENHYPEN closely follows Fourth gen ace Stray Kids tops the list of best-selling K-pop group in US in first half of 2025 with their 2024 HOP mixtape. Notably, they ranked second in the overall list, consisting of all eligible artists around the globe. HOP secured the feat with 149,000 equivalent album units sold. Following them closely, we have ENHYPEN at 2nd place among K-pop artists and ranking No. 3 overall, with 145,000 equivalent album units of DESIRE : UNLEASH sold. Additionally, HOP and Desire: Unleash claimed the 8th and 9th positions, respectively, on the U.S. Top 10 CD Albums chart, a ranking that combines physical album sales with digital downloads. Top 5 best-selling K-pop groups in the US in first half of 2025 The third K-pop group in the list of best-selling K-pop groups in the US in first half of 2025 is also a fourth gen boy band– ATEEZ. They ranked 4th overall with 116,000 equivalent album units sold. Both ENHYPEN and ATEEZ attained the feat with their latest albums– DESIRE : UNLEASH for the former and Golden Hour: Part. 3 for the latter. SEVENTEEN and LE SSERAFIM rounds off the top five list. Fourth-placed among K-pop groups, SEVENTEEN's Happy Burstday claimed the seventh spot overall with 79,000 units sold. LE SSERAFIM's HOT took the ninth position overall with 73,000 equivalent album units sold. The success of these K-pop groups demonstrated their global popularity, highlighting the genre's ability to transcend geographical boundaries and resonate with audiences worldwide.
Indian Express
an hour ago
- Indian Express
Vir Das Fool Volume review: Shah Rukh Khan-approved comedian struggles against contraints in self-deprecating and self-indulgent Netflix stand-up special
Throttled by his government and abandoned by his peers — inanimate objects and abstract ideas get more support than Indian comedians — Vir Das seems to be in conflict with his past. His sixth stand-up special for Netflix, Fool Volume, combines his trademark self-effacing delivery with his signature ambition. Fool Volume was filmed in Mumbai, London, and New York, at venues of different shapes and sizes, in front of crowds with different thresholds of tolerance. But the elaborate production and occasional filmmaking flourish isn't the most impressive thing about the one-hour special. It's the comedian's ability to spin a story, to structure a narrative that serves as yet another reminder of his skill. There isn't a dull moment in the hour-long set, which Das says was rewritten after he lost his voice, literally, six weeks before he was supposed to perform it. He abandoned the material that Netflix had paid him for, and, either by chance or by design, found himself gravitating towards the style of comedy that he does best. In Fool Volume, Das gazes inward; he glances at the world around him, and then, he gets down to business. The show isn't so much about a comedian finding his voice again as it is about a middle-aged Indian man finding a new voice. Also read – Kapil Sharma I'm Not Done Yet review: Indisciplined Netflix standup special is strictly for the comedian's hardcore fans Unwritten restrictions, in a way, are scarier than laws that have been institutionalised over decades. For instance, no one — including a career criminal — would risk running somebody over on the street in broad daylight because the law forbids it. The same person might think twice about posting something rude about the Prime Minister online despite Bharatiya Nyaya Samhita not expounding a word on it. Das doesn't entirely abandon the political humour that got him in trouble a few months before his last Netflix special, the Emmy-winning Landing, but he certainly seems to be distancing himself from that persona. There is, however, a great bit directed at the Indian middle-class for 'worshipping false heroes and celebrating a lack of intelligence' because it is 'obsessed with consumption and a cult of power.' But, having built a career on the back of jokes directed at 'uncles', Das doesn't quite realise that he might be turning into one himself. Any time someone begins a sentence with, 'Here's the problem with your generation,' and ends it with, 'I don't want to patronise you,' you know they've gone over the bend. Or, at least, they've started to. Standing in his two shoes, wearing his perfectly tailored suit, his fade cropped to precision, Das makes the unforgivable mistake of invoking his past struggles. He tells a story about when he used to work as a dishwasher at a restaurant. In Chicago. As a Gully Boy once said, 'Jahan humare sapne poore hote hain, wahan inka struggle shuru hota hai.' In fairness, the point of this story, which is expertly told, isn't to remind audiences across three continents about the power of Brown people with a dream (and money). It is to illustrate the power of kindness. Read more – Ricky Gervais Armageddon review: Provocative comedian dusts off dated material in latest Netflix standup special Midway through the special, Das makes the stylistically inspired choice to turn the house lights off. In darkness, the crowd experiences something that it probably hasn't at a comedy show in a while: freedom. It's like a version of online anonymity, demonstrated with a resolute faith in humanity, not frustration directed at it. Those in power aren't afraid of what comedians say, Das tells the crowds; they're afraid of how the audience reacts. They sent their goons to vandalise venues and threaten artistes not because of what was said, but because of how it was received. Comedy shows are oddly comforting. For about an hour, you feel as if you've finally found your tribe, people who share similar anxieties and fears. You realise that, deep down, everyone wants the same thing. For about an hour, you feel empowered to laugh about stuff that you probably wouldn't laugh about in regular life. Perhaps you're policing yourself, or perhaps you're simply protecting yourself. It's slightly irrational belief, because the moment you walk out into the real world, the illusion breaks. There's some guy barking at you for standing in their way, or not driving as fast as they think you should. This is the world far removed from the cocoon of the Kedarnath Sahni Auditorium; this is where you can get killed for having grown a moustache that doesn't 'belong' to your culture. Read more – Aziz Ansari Nightclub Comedian review: Surprise new Netflix standup special is a minor work from a major talent Fool Volume is a relatively lighthearted special, though. Das does the Bollywood thing of name-dropping Shah Rukh Khan; the 'King' apparently told Das that he's proud of him, although the comedian doesn't specify what for. While you'd assume that it was for speaking truth to power, it could've honestly been for anything else. SRK beaming with pride at Das for having finished the meal that was served to him at Mannat can't entirely be taken off the table, can it? He also takes a pot-shot at Kangana Ranaut, by the way, but she'd probably need to utilise the collective intelligence of every person in her constituency to explain the joke to her. Fool Volume finds India's most gifted comedian — you cannot compare him to the casually misogynistic Zakir Khan or the casually cruel Samay Raina — throwing everything at the wall to see what sticks. It's an artistic representation of the stages of panic he went through when he lost his voice — he tried homeopathy, paid for an expensive therapist; he even tried praying. But he'll never know which strategy really worked. His voice just… came back one day. Fool Volume is Das in the throat-clearing phase of his recovery. He'll find his new voice soon enough. Throat-clearing isn't just a sign of hesitation, you see; it is also warning. Vir Das: Fool Volume Director – Vir Das Rating – 3/5 Rohan Naahar is an assistant editor at Indian Express online. He covers pop-culture across formats and mediums. He is a 'Rotten Tomatoes-approved' critic and a member of the Film Critics Guild of India. He previously worked with the Hindustan Times, where he wrote hundreds of film and television reviews, produced videos, and interviewed the biggest names in Indian and international cinema. At the Express, he writes a column titled Post Credits Scene, and has hosted a podcast called Movie Police. You can find him on X at @RohanNaahar, and write to him at He is also on LinkedIn and Instagram. ... Read More
