“It’s ‘ow,’ like you stubbed your toe. ‘Lee,’ like Bruce Lee. Then, you add an ‘e.’ Auli’i Cravalho,” she explains (with bonus pantomimes) to PEOPLE in the above video.
“Though the details are still scarce, fans of the Cartoon Network series Young Justice are rejoicing after news broke that Warner Bros. Animation will be reviving the show for a third season. Despite a dedicated fan base during its initial run, the show was cancelled in 2013 after just two seasons. Premiering in 2010 and loosely based on the comic title of the same name, the show was praised for its mature content, character growth, and overarching storylines. Since then, the fans have been vocal about wanting the show to return. The voice actors and creators of the series have also spent the intervening years hinting that a revival, perhaps on a site like Netflix, was possible.
While we don’t yet know whether the new season will be back on Cartoon Network or will instead be produced by Netflix, it’s clear that fans’ enthusiasm and the fact that the show is regularly trending on the streaming platform had an impact on the company’s decision. The series showcased many DC characters over its 46 episodes, but there’s still a number of prominent comic book heroes who have yet to appear. With that in mind, here are 15 Characters We Want To See In Young Justice Season 3.
For a show that featured the Justice League and a variation on the Teen Titans, one of the most notable absences over the series’ two seasons was the hero Cyborg. While his prominence in the League during the New 52 reboot and his status in the now-burgeoning DCEU weren’t yet established when Young Justice premiered, his absence was still quite notable. Given his main role in the popular Teen Titans and subsequent Teen Titans Go! series, it does seem odd that some version of the cybernetic former athlete known as Vic Stone was never added to the Team’s roster…”
“The first time somebody said “Ask, and you shall receive,” the subject at hand wasn’t a third season of a fan favorite animated series, but it definitely applies in the case of the no longer short-lived superhero offering Young Justice. After three and a half years of waiting, fans can finally rejoice now that Young Justice Season 3 is finally happening, and there is no longer a need to keep petitioning and campaigning. (Maybe change “Season 3” to “Season 4” on the picket signs instead of throwing them away, though, to be safe.)
Warner Bros. Animation dropped the rather shocking announcement today thatYoung Justice Season 3 is currently beginning production. At this early point, a premiere date hasn’t been carved out yet, and more interestingly, there still isn’t a network attached. Young Justice spent its first two highly acclaimed and well-rated seasons on Cartoon Network, where it aired its last episode in March 2013, but it apparently won’t be headed back to that cable outlet for further adventures. Both seasons are currently available to stream on Netflix, a company known for embracing TV series’ surprise comebacks; perhaps a bigger relationship will blossom between the show and streaming service.
But while Young Justice‘s home may be changing, some things are staying the same, and the new season will see the return of creators and producers Brandon Vietti, who has since directed the fun feature LEGO DC Comics Super Heroes: Justice League vs. Bizarro League, and Greg Weisman, who is currently a writer/producer on Star Wars Rebels. So hopefully we don’t need expect any big shifts as far as story and tone are concerned.
Unfortunately, such early news necessarily means that not a lot of narrative details are floating around for Young Justice Season 3. The announcement only promised “new twists, turns and dangerous new threats,” but we could have already guessed that. It’s unclear just how The Team will change, if it will, from Season 2 to Season 3, but I have to assume that Vietti and Weisman have been thinking about future Young Justice stories since Season 2 was in production, so this could easily be the best season yet…”
“Disney is putting a live-action 3D Mulan film on the fast track for November 2018, building upon a tried and true strategy of taking already branded and beloved animated films and giving them new life for the big screen. This one also has a female protagonist, not unlike their box office hits Cinderella and Maleficent. The studio plans a worldwide casting search for the lead Chinese actress for the role. This is not the first time that the movie has been made into a live-action film. One was mounted by Chinese filmmakers in 2009 — Mulan: Rise of a Warrior.
The move is interesting, given the strength of the Chinese in the entertainment industry right now and the fact that the company just opened a major theme park in Shanghai so we expect a Mulan-themed adventure ride in the future there. Jackie Chan, the beloved Chinese actor, dubbed the animated musical Mulan for Disney in 1998 when the film was released in China.
The story follows the rise of Mulan during the Han Dynasty when this daughter of a legendary warrior impersonates a man to fight against a Hun invasion. The new live-action film is combining the story of the ballad of the legendary Hua Mulan with the highly popular 1998 animated film, which carried the same name and made a whopping $304M worldwide at the box office.
The spec, written by Lauren Hynek and Elizabeth Martin, was purchased by the studio last year and the project has been on the fast track ever since as they brought aboard Rick Jaffa and Amanda Silver (Jurassic World, Dawn Of The Planet Of The Apes, and the upcoming Avatar sequel) to get it into shooting shape…”
“Pearls, demons, and Arcade Fire jokes abound in the new multimedia story from Gorillaz. The virtual band debuted a short story on social media Monday called “The Book of Noodle” ahead of releasing new music.
In the story, protagonist Noodle has “drifted away from Plastic Beach” and accidentally allows an evil demon to escape from a magical pearl she found. Plastic Beach references the band’s 2010 album.
Unfortunately for Noodle, the demon is a shape-shifter and according the “The Book of Noodle,” locating a shape-shifter “is like looking for a beard at an Arcade Fire concert.” Noodle eventually tracks down the pesky demon, who is now a central figure in the criminal underworld. After disguising herself as a geisha, Noodle decapitates the demon.
Victory belongs to Noodle, but to avoid the demon’s lackeys she escapes in a crate to read some Herman Melville on her way to London…”
“Partway through Moana, an animated musical due out Nov. 23, the titular character’s traveling companion, a tattooed demigod named Maui (voiced by Dwayne “The Rock” Johnson), refers to her as a princess. “I am not a princess,” Moana says. “If you wear a dress and you have an animal sidekick, you’re a princess,” he counters. But Disney’s latest heroine, a 16-year-old Polynesian voiced by newcomer Auli’i Cravalho, puts an end to this mansplaining. She doesn’t do it with a witty retort; instead she does it by navigating the ocean, defeating a pissed-off lava monster and saving the world with a dimwitted pet chicken in tow.
The newest Disney character to join the ranks of Belle and Ariel is, in fact, just what she says she is: a heroine. That’s the point, say directors Ron Clements and John Musker, who helmed such classics of the genre as The Little Mermaid and Aladdin. “We saw this as a hero’s journey, a coming-of-age story, in a different tradition than the princess stories,” says Clements. Adds Musker: “I don’t know that any of the other princesses we’ve been involved with we’d describe as badass.”
The idea for an animated feature set in the Pacific Islands was conceived five years ago by Musker, who was inspired by the novels of Herman Melville and Joseph Conrad and paintings by Paul Gauguin. Recognizing that all of these perspectives on the region came through the eyes of westerners, he began a deep dive into Polynesian mythology, culminating in a trip, along with longtime partner Clements, to Tahiti, Samoa and Fiji.
During the trip, Musker and Clements rendezvoused with archaeologists and linguists, choreographers and village chiefs. By the time they left, a central theme was beginning to come into focus: navigation. “We learned about dead reckoning, where they sailed by their knowledge of the stars and the currents,” explains Musker. “It was very much a source of pride to them that they were the world’s greatest navigators in doing so…”
“Everything Floyd Norman says is worth writing down. The longtime Disney animator carries an impossibly sunny disposition, almost always speaking in complete sentences with enviable poise.
That’s not empty flattery. Norman’s colleagues seem to agree. For proof, see the new documentary “Floyd Norman: An Animated Life.”
Opening in limited release and premiering on VOD platforms this weekend, the movie traces its 81-year-old subject’s boundless devotion to Disney. In 1956, Norman became the studio’s first black animator, working alongside Walt Disney himself as a story artist on such classics as “Sleeping Beauty,” “Mary Poppins,” “The Jungle Book” and “Robin Hood.”
Norman left Disney after Walt’s death in 1966, instead capturing footage of the civil-rights movement and working on other animated properties, including “The Smurfs,” “Alvin and the Chipmunks” and “Fat Albert.” His devotion brought him back to Disney in the ‘90s, when he contributed to “The Hunchback of Notre Dame,” “Mulan,” “Monsters, Inc.” and more. But Norman was forced into retirement at age 65. He was understandably bitter, but Disney was home. Norman began showing up with his wife, who works at Disney Publishing, and his celebrity status around the campus grew. That led, inevitably, to more gigs, meaning he is, once again, employed at Disney.
The documentary, directed by Michael Fiore and Erik Sharkey, is a sweet take on a life devoted to merriment. That Norman broke boundaries along the way is, in his eyes, happenstance. I hopped on the phone with Norman earlier this week to gab about Disney’s history.
You arrived at the tail end of Disney’s golden days, and you left right as the quality waned in the ‘70s and ‘80s. Then you returned after the proverbial Disney Renaissance hit in the ‘90s. So you’ve pretty much only been there when the studio was thriving.
I never felt like I really left, though. Even though I wasn’t part of that ‘80s and early ‘90s renaissance, I was still nearby because I was working at Disney Publishing. So I was still able to watch it all firsthand…”