‘Rick And Morty' Bosses On Pulling Off Another Citadel-Centric Episode — This Time In The Form Of A Western: ‘That Was A Fun Challenge'
A still from 'Rick and Morty' Season 8, Episode 3: "The Rick, The Mort & The Ugly"
It's very hard to recapture lightning in a bottle, but the wild minds behind Rick and Morty hoped to do just that in the third episode of Season 8: 'The Rick, The Mort & The Ugly." Taking the form of a Western-style revenge story, the latest installment was conceived as 'a spiritual sequel' to Season 3's 'The Ricklantis Mixup," series co-creator, co-showrunner, and executive producer Dan Harmon reveals over Zoom.
The highest-rated episode of Rick and Morty to date according to IMDb, 'The Ricklantis Mixup' delivered a clever bait-and-switch, setting up one storyline for the titular duo (then voiced by co-creator Justin Roiland) before switching gears to something else entirely. Per Harmon, it was all about dropping 'the audience into this unexpected meta joke of, 'I bet you didn't know we were going to spend the entire episode focusing on this thing.''
The gimmick turned out to be a number of interconnected stories set against the backdrop of the Citadel, the former inter-dimensional stronghold inhabited by different Ricks and Mortys from across the multiverse prior to its destruction at the hands of "Evil Morty" at the end of Season 5. Written by Albro Lundy, James Siciliano, and Michael Kellner, 'The Rick, The Mort & The Ugly" picks up sometime after the fall of the Citadel and Rick's decision to reset his portal fluid, which caused all Rick and Mortys to return to their realities of origin. As a result, the only people left standing are the many clones who were bred on the Citadel to serve a multitude of purposes — from backup bodies to restaurant chain mascots. Left with almost nothing, these duplicates have built an Old West-style society from the rubble of their former existence.
'We got excited at doing something that was a Western and it felt like it brought out a lot of life when we tapped into the Citadel and all the human shrapnel that came with it,' explains co-showrunner and executive producer Scott Marder. "What is life [like]
A still from 'Rick and Morty' Season 8, Episode 3: "The Rick, The Mort & The Ugly"
The episode opens with the main Rick and Morty (voiced by Ian Cardoni and Harry Belden, respectively) cleaning up Citadel debris when their ship is damaged. They briefly land on the farm of a lone homesteader Rick, who then takes over as the main focus of the episode. After he's left for dead by Morty-kidnapping Rick marauders in the employ of a nefarious, Colonel Sanders-style Rick (he was specifically cloned to be the flamboyantly Southern face of a gumbo franchise), the farmer sets out for revenge alongside a pair of Mortys looking to find their kidnapped friends.
'We had this huge advantage [with 'The Ricklantis Mixup'] where the idea was like, 'Oh, it's life in the city genre, and it's going between all these stories; it's hustle and bustle.' This is almost the opposite in terms of that because it's a frontier story," Harmon concludes. "You're hyper-focused on these small stories and you're not cutting between…it's not Love Actually or Summer of Sam or something. So that became a big challenge because it's, 'We're going to do this again. We're going to drop the audience into a thing that's not our ongoing show, and then we're gonna do Unforgiven?' That was a fun challenge. It's like, 'How do we make this feel right and make the audience feel supported?'
New episodes of Rick and Morty Season 8 air on Adult Swim every Sunday night at 11:00 p.m. ET
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
41 minutes ago
- Yahoo
Why Caitlin Clark Refused to Sign Fan's Shirt on Saturday
Why Caitlin Clark Refused to Sign Fan's Shirt on Saturday originally appeared on Athlon Sports. Since her arrival on the women's basketball scene, going back to her time at Iowa, even before she was the No. 1 pick by the Indiana Fever in the WNBA draft in 2024, Caitlin Clark understood the value of connecting with fans. She struggled to get her head around her job as a role model, but she was diligent about seeing to that duty. Advertisement As she said early last year, "It's hard for myself to wrap my head around (being a role model). It's crazy the way people scream my name and really support us. I try to make time for as many of them as I can. That's something that never gets old.' Clark has always seen bringing people together, on and off the floor, as part of her role. 'This isn't an individual sport," she said. "I have four other people on the court with me at the same time, I have 10 other girls on the bench. ... I don't have to score a million points every single night and I think I find peace in that. When I'm having fun and just being Caitlin, that's when things are really successful.' Indiana Fever guard Caitlin Clark (22) applauds her teammates during the first half of a WNBA game against the Chicago Sky at United Center. Mandatory Credit: Kamil Krzaczynski-Imagn Images But while Clark remains known for being big-hearted, she does have some boundaries. She has been out for the past two weeks because of a quad injury--the first missed time because of injury in her career--but she has still been showing up at Fever games as she rehabs. Advertisement She was on hand at the United Center on Saturday night for the Fever's victory over the Chicago Sky, and spent considerable time before the game signing autographs and taking photos with fans who had come to watch her play. But she drew the line on one thing: She was not about to autograph Sky materials. That was shown in a video on X from Saturday in which Clark signed a string of autographs only to smile and pass on signing what appeared to be a Chicago Sky-colored shirt. A post from the account, "The Indiana Fever," noted, "Caitlin Clark refused to sign the Chicago Sky merch." The fan who had tried to get her to do so, it should be pointed out, laughed it off. Advertisement Clark is hopeful of returning to the court this week, with the Fever's next game coming Tuesday in Atlanta. This story was originally reported by Athlon Sports on Jun 9, 2025, where it first appeared.
Yahoo
an hour ago
- Yahoo
Australia's Pixel Zoo Animation Studios Launches L.A.-Based Original IP Unit Pixel Labs (EXCLUSIVE)
Australia's Pixel Zoo Animation Studios, which has done service work for leading global brands such as Bratz and L.O.L. – Surprise!, is moving into original content production with the launch of a new division, Pixel Labs, and has tapped Emmy Award-winning kids TV veteran Josh Fisher to lead its development efforts. Fisher will oversee Pixel Labs from a new Los Angeles office, marking the Brisbane-based studio's first expansion into the U.S. The announcement was shared with Variety by Pixel Zoo founder and CEO Paul Gillett and head of studio Sebastian Gonzalez. More from Variety Adult Animation, Anime's Rising Influence Lead Women in Animation's 2025 Annecy World Summit Lineup (EXCLUSIVE) Dandelooo Cinéma Acquires Global Rights to 'My Life in Versailles - The Movie' Ahead of Annecy Premiere Live-Action 'How To Train Your Dragon' Among Additions to Annecy Lineup Known for its high-quality animation services for global clients, including Hasbro, MGA Entertainment, Spin Master, eOne and Moonbug Entertainment, Pixel Zoo is part of MGA Studios. The launch of Pixel Labs signals a shift toward creating its own intellectual property across film, television and digital platforms. 'We're excited to broaden our client business with the launch of Pixel Labs,' said Gillett. 'The new division, which encourages artists and storytellers to push creative boundaries to bring new original worlds and stories to life, furthers MGA Studios' vision of creating bold, global franchises that spark young kids' imaginations both on and off the screen.' Fisher brings more than two decades of experience in children's content. He previously worked at Netflix as Senior Manager, Kids and Family, where he oversaw series like 'Go, Dog, Go,' 'Daniel Spellbound,' 'Action Pack' and 'Super Monsters.' He has also held executive roles at WildBrain, Spin Master and Brandissimo!, where he led the NFL's global youth strategy. 'I'm thrilled to be partnering with Paul, Seb and the incredibly talented and nimble team at Pixel Zoo,' said Fisher. 'We're excited to be working with a variety of talent around the globe on a strong slate of film, television and digital/YouTube projects designed to reach young audiences wherever they engage.' Gonzalez added, 'We are delighted to be working with Josh, whose creativity and vision have been central to this new venture. We already have a handful of co-productions in the works which are a mix of our IP and projects that have come to us from other creators around the world.' Pixel Labs currently has several projects in development: 'The Secret Explorers,' A CG-animated action-adventure series for kids aged 4–7 based on the bestselling book series, co-produced with Spain's Liquid Rock. The show follows a global team of young heroes who use teamwork and tech to solve real-world problems. MGA Entertainment is developing a toy line and YouTube strategy. 'You Wish,' Based on Jeff Victor's IDW-published graphic novel, this story follows a girl who discovers she's half-genie and sets off on a magical journey to rescue her mother. Victor is consulting on the film and TV adaptations. 'Fixie Pixies,' Created by Corey Powell ('Do Re & Mi') and Aaron Simpson ('L'il Stompers'), this animated series follows three magical pixies who renovate miniature fantasy homes while solving quirky household dilemmas. 'Kitty Witch,' An original show from Australian creator Samuel Keene about a girl whose kitten turns out to be part of a secret coven of cat witches. Pixel Labs aims to grow its original slate through co-productions, content partnerships and adaptations of books and comics into screen formats. Best of Variety What's Coming to Netflix in June 2025 New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts?
Yahoo
an hour ago
- Yahoo
‘Olivia and the Invisible Earthquake' Director Irene Iborra on Helping Kids Understand Big Feelings and Life Changes in a ‘Luminous, Gentle Way'
As the 2025 Annecy International Animation Film Festival approaches, anticipation builds for the world premiere of 'Olivia and the Invisible Earthquake,' a poignant stop-motion feature directed by Spanish filmmaker Irene Iborra that charmed at the French festival with a Work in Progress presentation last year. Adapted from Maite Carranza's novel 'La Vie est un film,' the stop-motion feature – the first ever from Catalonia – follows 12-year-old Olivia, who, after her family is evicted, convinces her younger brother that their hardships are part of a movie they are starring in. This imaginative coping mechanism sets the stage for a luminous drama that explores themes of resilience, solidarity, and the power of storytelling in the face of adversity. More from Variety Laying the Foundation: How Catalonia Is Building a Global Animation Powerhouse Xilam and TF1 Team Up on Animated Series 'Turbo Twins' Ahead of Annecy, MIFA Dandelooo Cinéma Pre-Sells 'Born in the Jungle' to Several Key Territories (EXCLUSIVE) Iborra, making her feature directorial debut, brings a handcrafted aesthetic to the film, utilizing animated objects to create a tactile and emotionally resonant world. The film has been praised for its sensitive portrayal of complex social issues, such as housing insecurity and parental depression, making it accessible to both children and adults. Ahead of its Annecy debut, Variety sat down with Iborra to discuss the creative journey behind 'Olivia and the Invisible Earthquake,' the realities of making a stop-motion feature in Spain and the role of animation in addressing real-world issues. Variety: Did you realize you were making the first stop-motion feature film in Catalonia? Irene Iborra: Honestly, no. I didn't realize it was the first feature film in Catalonia until we were already in pre-production. For me, what really mattered was the story and telling it through stop-motion because of the textures and the poetry this technique brings, something you don't find in others. Only later did it dawn on me that it hadn't been done before here. But we already had a community; I'm a teacher in a master's program that's been running for 10 years. So people were already making short stop-motion films. This project felt like a natural evolution. The film is very grounded in Barcelona, even though it explores universal issues like the housing crisis. How did you approach the design of the characters and sets? We wanted to tackle difficult topics in a luminous, gentle way, making them visually pleasant. The characters were designed by Morgan Navarro, a French comic artist. They're stylized, but because their clothes are made from real textures, they feel close to us despite their abstract faces. For example, we used wool for the hair, a texture I had worked with in my short films. I also deliberately avoided the typical round shapes of children's animation. Instead, we went for more defined lines, especially in the noses, to break that mold while still keeping them appealing. The sets are highly realistic, including actual graffiti found around Barcelona. I took photos around the city with Morgan, and the set design team recreated them beautifully. There's a constant tension between stylized puppets and realistic settings, which helps us feel both immersed in the story and aware that it's a crafted world. Also, details like making the characters more saturated in color than the backgrounds were carefully planned to underline our concept that people shape the space around them. The film's portrayal of Olivia's anxiety is powerful. What influenced your depiction of her inner world? I really pushed some boundaries here. Themes like the mother's illness and Olivia's panic are hard to present to kids. So, while the ground opens up and she falls into darkness, what she finds is a more peaceful, inner space. The stress of the fall is balanced with calm lighting and gentle design as she descends. These decisions were made together with the cinematographer, using light to make the environment gradually more serene. In stop-motion shorts, mental health is a frequent topic, so it didn't feel foreign to me. For Olivia, I liked the idea that fear can send us inward, into a personal space filled with metaphors like the whale or the furniture. That's where solutions might lie. We debated a lot about sound design, too; we didn't want to terrify children. I hope I didn't go too far, though we'll see what age range responds best. The little brother is seven, but the film might be more suitable for eight or nine and up. Given that this is a family film, but also a social issue film, how are you approaching distribution? We always saw it as auteur cinema for children. It's an adventure film, fun, emotional, maybe even tear-jerking, but definitely adventurous. We have great distribution partners: Pyramide internationally, Filmax for Spain and strong support from broadcasters like Televisión Española, TV3 (Catalonia) and À Punt (Valencia). Belgian, Swiss and French TV are also on board. Despite the risks, many believed in the film's potential. What were the biggest production challenges, especially making your first feature film in stop-motion? We were passionate but inexperienced. It was my first feature, and [producer] Mikel [Mas]'s first stop-motion film of any length. That led to stressful situations. The budget, while high for a first film, was low for a stop-motion feature, which meant cutting corners. Sometimes we had to sacrifice quality or perfection in favor of practicality. That was hard for everyone, but I'm happy with the balance we struck. The arrival of more experienced French and Belgian producers helped stabilize things. But yes, we had to work under pressure, sometimes making tough calls like telling people, 'This isn't perfect, but it's what we can do with the resources we've got.' Do you think this opens the door for more stop-motion films in Spain? This is only the third stop-motion feature made in Spain, after 'O Apóstolo' and 'Pos eso.' So yes, it's rare. But this film has massively increased the experience level of the teams involved. Whether another project of this scale will happen soon, I don't know; it's not easy to gather five production companies from around the world again. But the talent and know-how are here now. What was the production setup like across so many countries? Initially, each production company had its own space, one for puppets in Barcelona, another for sets in Valencia, some decor and 3D face modeling from Chile, puppet work in France. Eventually, we centralized everything in a huge studio in Sant Martí for shooting. Post-production was spread out – some in Switzerland, France, Belgium – but the physical shoot was all in one place. Are you planning to travel with the film now that it's finished? Absolutely. I've been with this film since 2017, adapting Maite Carranza's novel, and I won't leave it now. I already have festivals lined up, including Annecy. I believe this film needs my presence. It's delicate, it touches on sensitive topics like anxiety and depression. As both executive producer and director, I feel a strong responsibility to support and explain it to audiences around the world. Best of Variety All the Godzilla Movies Ranked Final Oscar Predictions: International Feature – United Kingdom to Win Its First Statuette With 'The Zone of Interest' 'Game of Thrones' Filming Locations in Northern Ireland to Open as Tourist Attractions
