
Marvel Animation debuts first episode of 'Eyes of Wakanda' — and it's got a surprising cameo
Marvel's "Eyes of Wakanda" animated spin-off from the "Black Panther" franchise arrives on Disney Plus in just a few short weeks, but audiences at the Annecy Animation Festival got a special sneak peek of the first episode on Monday.
Director Todd Harris introduced the episode, titled 'Into the Lion's Den,' before a Q&A session on June 9. It's the first of four 30-minute-long episodes in the series, which spans Wakanda's 3,000-year-old history to spotlight some of the nation's bravest warriors. Harris, a long-time Marvel Studios storyboard artist who worked on "Black Panther" and its sequel, said the show follows an "anthology" adjacent format."
"We have the spark or impetus for the show: someone takes something that doesn't belong to them and like any person or institution, they make a concerted effort to get it back,' Harris told the audience via a Marvel press release.
'Wakanda is a 3,000-year-old society,' he continued. 'They have a very succinct self-identity, and they are preserving that. We get the chance to see the persistence and character of Wakandans. The premise of the show is: What's the kind of culture that builds the Black Panther? You see this even in their generals, their sergeants, everyday citizens.'
The show's first episode opens in Crete in 1260 B.C. with a Wakandan general (voiced by Cress Williams) who abandons his post to run a band of pirates. When he steals the nation's top-secret technological treasures to forge his own kingdom, a disgraced former Dora Milaje named Noni (voiced by Winnie Harlow) sets out to bring him to justice.
As she braves the seas and brawls her way through the tyrant's henchmen, she uncovers the Hatut Zaraze, a Wakandan secret service tasked with retrieving stolen Vibranium artifacts.
"Eyes of Wakanda," which premieres on Disney Plus on August 6, unfolds over different eras as Hatut Zaraze agents track down stolen artifacts throughout history, offering an unprecedented look at Wakanda's history.
Get instant access to breaking news, the hottest reviews, great deals and helpful tips.
'Everybody in Wakanda is like a physicist… you see their patience over centuries to see work, that they will never be able to see get finished but they believe in their mission as a culture, to see this work through," Harris said. "So we kind of hopscotch through time, as we see these people pursue the goals of their country, which is to preserve the secret of their technology and who they are.'
Notably, Harris revealed during the Q&A that Marvel characters we know and love will make appearances throughout the show, including Iron Fist, the subject of Netflix's spin-off series of the same name and a member of "The Defenders."
The "Iron Fist" show failed to impress fans, with many criticizing how Danny Rand's iteration rarely used his titular powers. Controversy also surrounded the character embodying "white savior" tropes, fueled in part by a white actor being cast in the role of a martial arts superhero.
Those problematic elements aside, "Eyes of Wakanda" marks a chance for Marvel to take the backlash to heart. And it seems like Harris has a distinctive vision for the character.
"The only thing I can tell you, which is what I was told to be able to tell you, is there will be an Iron Fist in here, and not the Iron Fist you'd expect," Harris said.
The character's legacy spans over a century in the comics, making the anthology format an ideal way for the MCU to revive Iron Fist and broaden his on-screen story.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
an hour ago
- Yahoo
Lucy Liu to Receive Career Award at Locarno Where She Will Launch International ‘Rosemead' Premiere
Lucy Liu will be honored with a career achievement award at Switzerland's Locarno Film Festival where the U.S. multi-hyphenate known for iconic roles in 'Kill Bill' and 'Charlie' s Angels' will present the international premiere of Eric Lin's 'Rosemead.' In 'Rosemead,' which just premiered at the Tribeca Film Festival, Liu reinvents herself as an immigrant widow in private turmoil over how best to deal with her son's mental health issues, as Variety Chief Film Critic Peter Debruge puts it in his review. Debruge praised the film for Liu's 'career-redefining performance' that 'explodes the slinky action-figure box that 'Charlie's Angels' and 'Kill Bill' built around her.' More from Variety 'Rosemead' Review: Lucy Liu's Revelatory Turn Is the Reason to See an Otherwise Downbeat Family Drama Inside Lucy Liu's 7-Year Journey to 'Rosemead': 'Gut-Wrenching From a Cellular Level' Emma Thompson to Be Honored by Locarno Film Festival Where Her 'The Dead of Winter' Will Bow Liu's career began with her breakout role in 'Ally McBeal' that earned her both Emmy and SAG nominations. Her subsequent credits include standout TV series like 'Why Women Kill,' 'Elementary,' 'Curb Your Enthusiasm,' 'Star Wars: Visions,' and 'A Man in Full.' Besides acting, Liu is a multifaceted artist who has directed episodes of Marvel' s 'Luke Cage,' 'Elementary,' 'Why Women Kill,' and 'American Born Chinese,' while also receiving acclaim for her documentary short Meena that tackled human trafficking. As a producer, she has championed impactful projects such as 'Freedom' s Fury' and 'Redlight,' and recently voiced and produced Emmy-nominated VR experience 'The Pirate Queen' which is expanding into a graphic novel. Liu will launch the international premiere of 'Rosemead' with the film's cast and crew in tow on Locarno's 8,000 seat open-air Piazza Grande venue on Aug. 14 and also hold an onstage conversation at the fest which is Europe's preeminent indie film event. 'Lucy Liu's influence on both film and television is immeasurable. A master of reinvention, she has consistently delivered powerful performances that challenge the status quo,' said Locarno Artistic Director Giona A. Nazzaro in a statement. 'It is a true privilege to host Lucy Liu on the Piazza Grande and to present a project as intimate and transformative as 'Rosemead' – a testament to her ever-evolving artistry. Her fearless choices and groundbreaking performances continue to inspire audiences and redefine what it means to be an artist in the 21st century,' he added. The 78th edition of Locarno will run Aug. 6-16. Best of Variety 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week
Yahoo
2 hours ago
- Yahoo
Cartoon Network Studios Icons McCracken, Tartakovsky, Sugar, Quintel, Ward and Muto on The Studio, State of the Industry and What Inspires Them
In an intimate and candid discussion at this year's Annecy Animation Festival, the biggest names behind some of television's most iconic animated series met with Variety to talk legacy, change and the shifting landscape of the medium they helped define. Creators Craig McCracken ('The Powerpuff Girls' 'Foster's Home for Imaginary Friends'), Genndy Tartakovsky ('Dexter's Laboratory,' 'Samurai Jack'), Rebecca Sugar ('Steven Universe'), Pendleton Ward ('Adventure Time,' 'The Midnight Gospel') and J.G. Quintel ('Regular Show') and 'Adventure Time' executive producer and showrunner Adam Muto opened up about the origins of their work, a new era of creation and what it means to still be pushing boundaries after decades in the business. More from Variety Taicca and Gobelins Paris Announce Partnership at Annecy to 'Nurture Original Stories from Taiwan': 'Dream Bigger and Reach Further' 'Arcane' Producer Fortiche Teaming With ARTE France on Coming-of-Age Mini-Series 'Miss Saturne' GKIDS Acquires North American Rights to Hong Kong Animated Feature 'Another World,' Premiering at Annecy (EXCLUSIVE) The conversation ranged from nostalgic memories of Cartoon Network Studio's golden era – Annecy hosted a celebratory 25th anniversary panel for the studio on Tuesday afternoon – to bold speculation about the future of animation. At its core was the recognition that while technology, audience behavior and corporate structures have transformed dramatically, the creative spirit that fueled their iconic shows still drives the creators, and likely the next generation, too. 'There are people who are making independent animated shows themselves,' McCracken said, pointing to projects like Vivienne Medrano's hugely popular YouTube pilot-turned-Prime original series 'Hazbin Hotel' as evidence that a new wave is possible, though likely through free online platforms such as YouTube first, not television. 'You almost go the independent route first, get noticed, get an audience, and then the channels and the streamers.' Sugar and Muto were quick to praise Green Street Pictures' 'Scavengers Reign' and 'Common Side Effects' as other examples, the former having started life as a short that gained significant recognition online before resulting in a series greenlight. Tartakovsky wasn't so sure about the scalability or reliability of those models to result in long-term commercial successes, though. 'IP is the only word now,' he proposed, lamenting studios' current focus on rebooting existing franchises. 'It's harder for a new generation to break out like this again when [the studios] are just trying to do things that already exist,' echoing a plea Mudo made during the anniversary panel for studios and broadcasters to 'start greenlighting things, please.' Quintel added a silver lining: while short programs and incubators may be on pause, the mentoring tradition is alive. 'We're hiring people straight out of school. They've never done it, and they're learning on the show how to board, how to do premise-driven animation.' Several of the speakers emphasized that the animation industry has long been subject to cycles, and more original content could break through in the future. A recurring theme during the afternoon's discussion was how arbitrary past constraints now seem in the age of digital distribution. 'The reason our shows are 11 minutes is because that's how you divide 22,' McCracken said. 'But who says a show has to be seven minutes or 11 minutes? Why can't it be two minutes? Or an hour?' When it came to audience impact in the modern distribution ecosystem, the room was somewhat split between creative independence and audience-driven development. 'When you put something online, you can see how the audience reacts and adjust based on the feedback… just sharing with the people viewing,' McCracken mused. Tartakovsky pushed back: 'Maybe this is an antiquated way of thinking, but if we follow the audience, it's really dangerous. I want to give the audience what I think is going to be good. I want to do something original and unique that can stand out.' The assembled artists acknowledged the massive transformation of global collaboration thanks to new tools and technologies as well as the prominence of social media platforms and portfolio sites. McCracken now runs almost his entire show, a preschool 'Foster's spinoff' out of London, working remotely from Los Angeles. 'It's exactly the same job. It's just remote. It's no different than being back at the studio,' he said. Tartakovsky's teams are similarly international. 'I have a running list of Instagram people I want to work with,' he said. 'That's how I found the studio that did 'Primal,'' he explained, surprising some at the table. 'They had a short film based on one of their comic books, and I didn't want to do things the old way, so I contacted them at their very small studio in Paris, and they agreed to do it. And what they did was incredible.' Most of the creators use social media and video platforms to find inspiration and potential collaborators, while Quintal and Sugar said they've made transformative connections at comic conventions. Muto argued that individual portfolio sites, popular in decades past, have been making a comeback, and Ward pointed out that 'the Women in Animation website is a great resource for finding artists.' But for all the changes, some things have stayed the same, especially the camaraderie that has kept this group linked for decades. 'You hook onto talent that you like,' said Tartakovsky. 'My art director from 'Samurai Jack' has done pretty much everything with me. I have a background designer who worked with me all the way back on 'Dexter' who I just started working with again. You love these people.' McCracken agreed. 'It takes a very special, insane brain to do this job… It's bananas that we do this,' he laughed. 'So if any of us pull it off, we're like, 'Great job,' and we want to work with those people again and again.' 'It's so hard to build a crew,' admitted Mudo. 'Every time you have to lay off everybody and completely reconstitute, which is something that is a bigger part of the modern streaming cycle, it feels like you have to make a new show, even if it's just a new season of the same show. That explains a lot about why we end up working with the same people.' Each having varying degrees of experience working on more mature productions, the creators celebrated the freedom that adult animation now offers. Sugar recalled, early in 'Steven Universe's' broadcast run, that she would often be told that smaller fandoms of her show were insignificant to the network, as it was more interested in capturing a wide TV audience of all ages and demographics. With adult animation, she argued, fandoms are now more important than ever, and smaller groups of dedicated viewers can have a much more significant impact on a show's success. 'It seems like now we can start something where that is what matters most,' Sugar said, referring to the specificity and passion of modern fandoms. 'That can matter the most.' Even with a billion-dollar global success like the 'Hotel Transylvania' films under a filmmaker's belt, in the case of Tartakovsky, getting original ideas greenlit remains difficult. 'Three 'Hotel Transylvania' movies, almost $2 billion, and I still have a hard time getting an original greenlit,' Tartakovsky said. 'Every time I pitch, I hear that they love it, but that somehow they also don't love it.' After three decades, these creators aren't just surviving in an ever-shifting industry. They're still experimenting, still mentoring, and still hungry for what's next. Best of Variety 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week
Yahoo
2 hours ago
- Yahoo
‘We Did Not Make ‘Animal Farm' for Any Algorithm': Director Andy Serkis on Animating Orwell
'Animal Farm' has always been, since its first publication in 1945 by British novelist George Orwell, both a timeless tale and a story of its time. It is no surprise, then, that Andy Serkis' animated adaptation feels so deeply rooted in our own contemporary world. Bringing the film to its global premiere at the Annecy Animation Festival yesterday, Serkis appeared moved and delighted to present 'Animal Farm' in front of a packed Bonlieu. The film features a star-studded cast led by Seth Rogen (voicing a rowdy/eerie version of Napoleon), Gaten Matarazzo (Lucky), Woody Harrelson (Boxer) and Laverne Cox (Snowball), along with talents such as Iman Vellani, Kieran Culkin, Glenn Close and Serkis himself. More from Variety Nickelodeon, Paramount Animation Smurf Up Annecy Crowds With Packed Slate and Exclusive SpongeBob SquarePants Preview Cartoon Network Studios Icons McCracken, Tartakovsky, Sugar, Quintel, Ward and Muto on The Studio, State of the Industry and What Inspires Them Taicca and Gobelins Paris Announce Partnership at Annecy to 'Nurture Original Stories from Taiwan': 'Dream Bigger and Reach Further' Back for the second year at an event that he, according to artistic director Marcel Jean, 'immediately fell in love with,' Serkis spoke with Variety about the film, decades in the making. Firstly, what compelled you to adapt this particular story? I have such strong memories of reading the book when I was around twelve. Along with the 'Hobbit' book, those were the two books that really resonated with me. Then I saw a theatrical production at the National Theatre in London in the 1980s, and I thought, wow, there's a way of telling this story visually as well. Smash cut to 2011, when I was working on 'The Rise of the Planet of the Apes,' and we were shooting the sequence where Caesar, the character I was playing, leads the apes to freedom in a sort of rebellion. And suddenly I realized that there hadn't been a cinematic representation of 'Animal Farm' for a long time. We started to work on it and did a lot of experimenting, which led us to realize that animation was the right medium for this adaptation. That allowed us to keep the innocence of the storytelling that the original book had, while being able to say much more than live action would allow us to do. In live action, such a story would necessarily have been darker from the outset. Whereas with an animated movie, breaking those ties with reality and keeping Orwell's book, which he described as a fairy tale, in that realm gave us much more freedom to still have emotional engagement with the characters, keep it innocent, and then progressively let the darker themes come in underneath that. Humor also plays a great part in your modern adaptation, especially through Napoleon's character. Why was it important to you? We didn't want to create a cardboard cutout sort of villain from the start, where it was obvious that he was scheming, plotting and planning. Our world is a lot more complex now. The notion of truth is almost destroyed so that we are blinded by what is happening. When we started writing Napoleon many years ago, there was already a sense that the world was changing and that the pillars of our society we took for granted were already being undermined and destroyed. Having a charismatic leader who leans on funny at the same time seemed to work for us. I've said it many times, but the book is 80 years old, and it still feels as fresh and relevant today as it ever was. How have your casting choices shaped this adaptation, if they have in any way? They definitely have. We spoke to Seth Rogen about 12 years ago, when it was still going to be a performance-capture live-action film, same for Jim Parsons and Glenn Close as well, and they remained loyal to the project even though it took such a long time to complete. When we decided to turn it into an animated movie and things started to ramp up, we wanted great actors who could really embody the roles fully. We brought Steve Buscemi, Iman Vellani, Laverne Cox on board. In truth, we felt so blessed because everyone wanted to do it because of the passion for the book they had. To whom did you create this film for? What audience did you have in mind when building this project? I would say this is a film for people of all ages. We've screened it for young kids, and they absolutely loved it, and I think it's because it's not patronizing to them. It actually asks them to put themselves in the central character's position. That was a big decision on my part, to find a central character that is innocent, becomes corrupted and realizes that he is corrupted. I wanted to take our young audience into that world where they have to do some adult thinking, and vice versa. Family films tend to either be patronizing to children or feel like they have to satisfy the adults, and it feels like it's just doing a job of ticking boxes. We did not make this film for any algorithm. We made it because we feel that this is the right way to tell a story. Orwell wanted to write for young inquiring minds who had to make tough decisions, and that guided us for this adaptation. How has working with the animated medium shaped your vision of cinema? I've always loved animation, back to my very first memories of watching Disney classics such as 'Snow White and the Seven Dwarfs' or 'The Aristocats.' It's the first time you get to experience emotions other than your own in a shared environment, and it transports you. Even though it didn't start as one, I'm so glad that this project ended as an animated movie, and I've learned a huge amount as a director. I'd definitely like to do more animation, but at the same time when we were into production, I thought I would never want to do animation again. Animation is a very long process, but in it you learn to value every single frame, because everything in them is thought precisely and woven carefully. Every decision has to be made because you're basically creating every single pixel on screen, and that's a beautiful thing. It makes you realize how valuable every moment is. Going back to Lucky's character: Around the end of the film, Lucky rouses all animals by asking them to remember what brought them together in the first place. As human beings, what would you want us to remember today? To really remember that truth is something to be valued. Honesty, selflessness as well. We have all become self-driven, and I think it's worth reminding ourselves that there is satisfaction to be had in working not for yourself but for the benefit of others. That all sounds very woolly and, in a way, utopian. But I do think that there are certain core human values that are slipping away, and I think that our story somehow questions that. Best of Variety 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week