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Los Angeles Times
4 days ago
- Entertainment
- Los Angeles Times
How the animation studio behind ‘Big Mouth' and ‘Star Trek: Lower Decks' stays independent
It's hard to say what exactly defines the kind of irreverent animated TV show Titmouse makes. But you kind of know one when you see one. The L.A.-based studio, founded 25 years ago by husband-and-wife team Chris and Shannon Prynoski, is responsible for a wide variety of cartoon hits: 'Metalocalypse,' the stoner-friendly Adult Swim death metal cult comedy that helped put them on the map; Netflix's 'Big Mouth,' which debuted its eighth and final season this year; and 'Star Trek: Lower Decks' for Paramount+. As the animation industry has gone through massive up-and-down swings, including the streaming wars and their brutal aftermath, the company's leaders say they've weathered the challenges and expanded their audience by staying independent. That has allowed them to experiment with new ideas. 'It's still a job, but we're a little more masters of our own domain,' said Chris Prynoski in a recent video interview. 'We can take a big risk and move fast.' Titmouse is launching a Dungeons & Dragons-esque table-top drinking and role-playing game, in addition to a merch and collectibles delivery box service called Churp, lines of business that echo the company's origins as a side project selling T-shirts. It turned its Hollywood warehouse into a black box theater to host live events. Titmouse has more than 700 employees — with offices in Los Angeles, New York and Vancouver — down from the streaming highs but still considerable. The company expanded its L.A. footprint to Burbank several years ago. The bold bets continue on the animation side as well, including on the acclaimed science-fiction series 'Scavengers Reign' (canceled at Max after one season). Prynoski points to a popular episode the company animated for the recent season of Blur Studio's Netflix anthology series 'Love Death + Robots.' The episode, 'How Zeke Got Religion,' follows a World War II bomber crew that encounters a demonic enemy during an attack on the Nazis. 'We don't have a house style, but we have a bit of a house sensibility,' Prynoski said. 'It's just finding that thing in there, and it could be anything, but a lot of it is tone, comedy or being able to animate it really well — something that feels like we can be additive and make it better.' This interview was edited for length and clarity. The animation business has been through numerous boom and bust cycles. Where is it now? Chris Prynoski, president and founder: When I graduated in '94 there were, like, three adult animated shows, and that was considered a boom. And now, if there were three shows, it would be considered like a tragedy, right? So I think it's kind of back to like average, or slightly above average, as opposed to like three or four years ago, where it was so incredibly crazily above average that we knew it wasn't gonna last forever. Ben Kalina, chief operating officer: We look at the number of shows that we have, and right now it feels very similar to 2018 or 2019. At that time, we were like, 'This is a lot of work.' Then 2020 was a noticeable increase, and '21 was through the roof in terms of the number of projects happening. If you talk to people in video games or live action, I think they're experiencing the same thing. Shannon Prynoski, co-founder and vice president: The streaming platforms were really new. Netflix needed stuff. Hulu. Amazon. They all came out and they all needed content, and now they're all coming down. Have you had offers to acquire Titmouse, or invest in it? C.P.: All the time. Depending on who it's coming from and what it is, we'll consider it. We just haven't ever pulled the trigger. Maybe someday, who knows. But not yet. So you've never taken outside funding, other than crowdfunding for certain individual projects? How did you grow the company? C.P.: We were a married couple that was living in a small apartment. Our apartment was $800 a month, so we didn't have to make a lot of money and we could take risks, and we took some big swings back then when, frankly, I didn't know any better. S.P.: I had to learn about business loans and stuff like that. I was able to get an SBA loan and figure that out. What was one of the biggest swings? C.P.: When I started, I knew I didn't know anything about business. Shannon convinced me to quit my gig at Cartoon Network, where I was a showrunner, and man, you just don't quit those kinds of jobs. But she was like, 'Hey, if you quit that and focus on Titmouse, that will be how we make a living.' So that was a big swing. What show was your big break? C.P.: 'Metalocalypse' was the thing that really established us. Having worked on other shows, like 'Daria' and 'Beavis and Butt-Head,' you kind of know when a show has that feeling and that vibe, like, this could very well be a hit. And it worked out really well that that was our first series. S.P.: Everyone had to roll their sleeves up and do everything. We all did multiple tasks because that's how it was. But I think when we got 'Turbo FAST' and 'Motorcity,' those really started to elevate us. C.P.: 'Motorcity' was a big one. We'd been doing shows for Adult Swim, MTV and BET and the smaller cable networks, and we would have been fine staying in that lane. But then I sold 'Motorcity' to Disney, and based on that, we did 'Randy Cunningham: 9th Grade Ninja,' and that attracted the attention of the other bigger players. Then DreamWorks Animation did their big deal with Netflix, and we got a considerable amount of work with them. B.K.: Netflix stepping up their animation production was obviously big. 'Big Mouth' was a big step up for us, because we'd been doing a lot of adult-oriented content, but we hadn't tapped into the broader prime-time-style comedy. Did 'Big Mouth' feel like it was going to be a game changer for you when it first came through the door? C.P.: Not initially. I knew it was going to be funny. And I thought I knew what it was going to be — like an even dirty version of 'Family Guy.' That was my perception. But when I first started going to the table reads, I was like, 'This show is going to be much, much more than dick jokes. There's something deeper and better.' S.P.: Netflix really promoted it too. C.P: It was a good time that we kind of hit, because they wanted to get more into this space, so they were willing to really market stuff in a way that is rare now that they have so many shows. When I think of Titmouse shows, I think of a lot of the guys I knew in college who were into video games, weed, heavy metal, 'Star Wars' and 'Star Trek.' Has the audience expanded beyond that? S.P.: I think it has. 'Jentry Chau vs. The Underworld' was a great show about a female character, and we're doing a lot more female-run shows. Networks are opening up and saying, 'Oh, men and women will both watch these shows,' and that's been really helpful. And a lot of women are animating now, so it's a lot broader. People may not realize you've done some preschool material too, with 'Frog and Toad' on Apple TV+, for example, which is a coincidence because my kid is obsessed with those books. C.P.: There's an interesting story with 'Frog and Toad.' When you're developing the show, there's all the material from the books, but you have to expand it out. So the art director on that show did all the research on the area where the author grew up, and found that all the flora from the books was local. So they decided to research and only draw the plant life and vegetation from that area. What's the biggest risk out there for you? Is it AI? C.P.: This industry is full of risks. If you're looking for something safe, don't get into entertainment. It's not a blue-chip stock. It's so volatile and it always has been. We've always lived on that razor's edge of chaos. As far as AI goes, I don't know. We're not using it on any of our productions. We're always on the forefront of technology and trying to figure out that stuff, and even 'AI' is kind of a fuzzy word. Hopefully, there will be opportunities to use it as a tool at some point. To me, the most important technology we work with by far is talented artists. I don't ever want to get into a situation where we're supplanting that with a totally automated process. It was a rough weekend for Pixar as its latest film 'Elio' cratered at the domestic box office with $21 million in ticket sales, marking the Disney-owned studio's worst opening weekend to date. Despite pretty good reviews (84% on Rotten Tomatoes), the sci-fi tale underperformed Pixar's 2023 effort 'Elemental,' the previous holder of the dubious distinction with its $30-million debut. (The first 'Toy Story's' 1995 three-day opening weekend of $29 million doesn't count for a variety of reasons.) The movie is the most recent example of the challenges of releasing an original animated title into a fragmented marketplace dominated by established franchises. Pure misfires have included 'Ruby Gillman: Teenage Kraken' and 'Wish,' while 'Migration' and 'The Wild Robot' underwhelmed. Meanwhile, 'The Super Mario Bros. Movie' and 'Inside Out 2' were massive hits. It's harder to market an original family movie, especially when a character like Sonic the Hedgehog has been building his fan base for decades. Disney is hoping that 'Elio' will follow in the footsteps of 'Elemental' and recover at the box office before it goes to video on-demand and Disney+. Next up: Apple is hoping to finally get a theatrical box-office hit with 'F1,' while Universal and Blumhouse's 'M3gan 2.0' looks to generate big sales. The highly expensive 'F1,' distributed by Warner Bros., is expected to debut with around $40 million domestically, though there are much higher projections out there. The 'M3gan' horror sequel is likely to open with close to $20 million. Watch: Mike Birbiglia's latest special for Netflix, 'The Good Life.'
Yahoo
21-06-2025
- Entertainment
- Yahoo
‘Lazarus' Creator Shinichirō Watanabe On Modernizing His Action Anime Series & Teases Upcoming 'Ghost Story'
In Adult Swim's Lazarus, the latest anime action series from Cowboy Bebop creator Shinichirō Watanabe, one man aims to free the world of pain at a catastrophic price. The year is 2052 when an era of peace and unbridled indulgence reigns supreme. The reason for this? Humankind has been freed from sickness and pain after a Nobel Prize-winning neuroscientist, Dr. Skinner, invented a miracle cure-all drug with no apparent side effects called Hapuna. However, after society grows an unhealthy dependence on the pills, Dr. Skinner vanishes. Three years later, Dr. Skinner returns only to bring a message of doom. He announces that Hapuna, while vital to those hooked on it, has a short half-life, and everyone who has taken it will die in approximately thirty days since its release. A group of ragtag individuals forms a task force to locate Dr. Skinner and persuade him to develop a vaccine at the risk of humanity's impending global extinction. More from Deadline 'Legend of Mecha Scholars' Gets Global Distribution In Ad Astra, DRock Cultural Exchange Initiative 2025-26 Awards Season Calendar: Dates For Tonys, Emmys, Oscars & More 'Big Mouth' Creator Nick Kroll On Animating Puberty & Destigmatizing The Experience: "It's All Weird And It's All Normal" Here, Watanabe speaks to Deadline about the creation of the series. DEADLINE: SHINICHIRŌ WATANABE: I always wanted to make an anime like 007 or Mission: Impossible. The reason our project kicked off was because I got an offer from Cartoon Network. The inspiration for Lazarus specifically came from watching foreign news, where the topic often revolved around the opioid crisis. I thought that this isn't something that's really covered or touched upon in action movies. So, I thought it would be a great topic. Opioids are not illegal; you can get a legal prescription for some of them, but people will still get addicted to them, and people do die from them. I thought that maybe you could make a drug that would be similar in the way that it would be like an opioid but also designed to kill people in a certain amount of years. Whenever I talk about this, people ask if this is a metaphor for the opioid crisis, but it is not really like that. This is just media and entertainment, and it's set in the future, so it's nothing like that. DEADLINE: John Wick WATANABE: It's been a while since I've made an action anime—about roughly 20 years, to be exact. So, I can't just make the same type of action anime I made before. I needed to modernize. So, the best person to reach was Chad. DEADLINE: WATANABE: In the past, anime production budgets were very low, so there wasn't much wiggle room for what we could actually make. There was no way we would have been able to call on Chad's team in the past due to budget constraints. Now, while the budgets are bigger, there's a lot more we can do, and there's a lot of work that needs to be done, but there aren't enough people in the industry to get the work done. We can't just add more people willy-nilly; the animators are artisans and craftspeople, so they take a long time to train. That's the reason we have a shortage now. This goes to directors, too. They take a lot of time to train and a lot of skills and experience to have a good director direct a series. DEADLINE:Lazarus? WATANABE: There are a lot of themes. But the biggest one is pain. Dr. Skinner does say in the beginning that not feeling pain is the same as dying, and for him, it's a question of whether pain should be moved completely, both physically and mentally. DEADLINE: WATANABE: I'd like to make a series based on a ghost story in the future. I've been consuming a lot of ghost-related media lately—specifically, movies where evil ghosts make an appearance. Oh, and I recently watched The Exorcist. [This interview was conducted through an interpreter add has been edited for length and clarity.] Best of Deadline 'Poker Face' Season 2 Guest Stars: From Katie Holmes To Simon Hellberg The 25 Highest-Grossing Animated Films Of All Time At The Global Box Office The Movies That Have Made More Than $1 Billion At The Global Box Office
The Independent
18-06-2025
- Entertainment
- The Independent
Where to watch Rick and Morty season 8 in the UK
It's been nearly two years since the last season of Rick and Morty was fresh on our screens, and we'd been eagerly awaiting the reappearance of the eccentric duo. Season 7 ended with a post-credits portal-gun cliffhanger that was destined to cause trouble in this new season. Lucky for us, we can find out what happens next, as season 8 has already started. New episodes of Rick and Morty are airing in the US every Sunday at 11pm ET/PT on Adult Swim, starting back on 25 May, and wrapping up on 27 July 2025. We're not too far behind in the UK, just one week, with the first episode having premiered on 1 June. Though we're only midway through the new season, we can say for certain that it won't be the end of the grandfather and grandson duo. Last year, Adult Swim renewed the hit series until at least season 12, so we've got a good few years of family hijinks left. Where to watch Rick and Morty in the UK New episodes are released every Sunday on E4 (the home of Adult Swim content in the UK) at 9pm. That's a week later than they air in the US, so be sure to avoid social media spoilers. Right now, E4 is the only place you can stream the series for free, but if past seasons are anything to go by, we're speculating that the series may migrate over to Netflix after a period of exclusivity on Channel 4. While streaming on Channel 4 is free, if you're planning on a Rick and Morty binge and want to skip the ads, you can sign up to Channel 4+ and stream shows ad-free for just £3.99 a month, or £39.99 annually. If you've not registered for premium access before, you can get a 7-day free trial.
Business Upturn
18-06-2025
- Entertainment
- Business Upturn
Is ‘Common Side Effects' returning for season 2? Everything we know so far
By Aman Shukla Published on June 18, 2025, 18:00 IST Last updated June 18, 2025, 11:00 IST Adult Swim's Common Side Effects has taken the animated world by storm with its unique blend of dark humor, conspiracy-driven storytelling, and surreal visuals. Since its Season 1 premiere in February 2025, fans have been buzzing about the possibility of a second season. Here's everything we know so far. Common Side Effects Season 2 Renewal Confirmed Adult Swim officially renewed Common Side Effects for a second season on March 28, 2025, just before the Season 1 finale aired. The announcement came as no surprise, given the show's critical acclaim, strong viewership on Adult Swim and Max, and enthusiastic fan support on social media. Season 2 Release Date Speculation While Adult Swim has confirmed the renewal, an official release date for Common Side Effects Season 2 has not been announced. Based on the production timeline of Season 1, which took roughly 18 months from its June 2023 announcement to its February 2025 premiere, industry experts speculate a potential release in late 2026, possibly around September or October. The intricate animation style and serialized storytelling require significant production time, typically 12–18 months for high-quality animated series. However, recent updates from the Annecy International Animation Film Festival in June 2025 revealed that the first script for Season 2 is complete, and the team described the upcoming season as 'tight,' suggesting progress is underway. Where to Watch Common Side Effects Season 1 of Common Side Effects is available to stream on Max and airs on Adult Swim, with encore broadcasts on the Toonami programming block. Ahmedabad Plane Crash Aman Shukla is a post-graduate in mass communication . A media enthusiast who has a strong hold on communication ,content writing and copy writing. Aman is currently working as journalist at
Vogue Singapore
17-06-2025
- Entertainment
- Vogue Singapore
Kai of EXO on trying out new sounds in his new album 'Wait on Me'
The last time South Korean heartthrob Kai was in Singapore, it was six years ago and he was joined by his fellow members as part of EXO's Exploration Tour. Since then, a few things have changed—he gained a sassy moniker of 'Mr. Rover' with the viral release of his solo hit 'Rover' and fulfilled his mandatory military service. Now, returning as a solo artist to our shores, the EXO member is psyched about his upcoming show this week at the Star Theatre. 'Unfortunately, I can't spoil anything but once you see the show, you'll know why I couldn't say more. And once I get to Singapore, I look forward to trying out more of the local food and if I have the time, I hope I get to explore the city more.' Assuredly, it will be a sizzling show to remember, especially with his recent album release Wait On Me , a comeback that's made even more special after a two-year hiatus in the military. Within the seven-track mini album, lies different facets of Kai. The title track 'Wait On Me', mired with a sensual trance beat, sings of desire and longing whilst the catchy electro number 'Adult Swim' serves up a cheeky bop of the summer. Kai, alone in a crop tee is proof of that. Below, the EXO member shares more about the making of Wait On Me , trying out different sounds and the reactions his members had to the album. 1 / 5 Tell us more about the concept of this album. It is the first album after my military service, so it naturally dealt with the theme of waiting–or more precisely, the art of waiting. There are many ways to interpret it, but as I mentioned above, it can be a message to my fans, and the album itself is almost like a gift after the long wait, even for me. 2 / 5 With regards to the name 'Wait on Me', was that intended for your fans who have been eagerly anticipating your return from the military? Yes, it is definitely a message to my fans who've stayed by my side all this time, but there can also be multiple interpretations. For instance, it could also be about the longing to be back on stage. 3 / 5 The songs within the album seem to have many influences—from afrobeats to trance, tell us what it was like trying this new sound. I actually got to explore a lot of interesting sounds while working on this album. And as a result, I think every song in the tracklist ultimately has its own unique mood. Working with new sounds opens up my perspective every time, and it can be really inspiring! 4 / 5 Just like past performances from Kai, this album shows off plenty of cool, new dance choreography. Which track had to be your favourite to dance to and why? I like all the choreography, but I think the title song 'Wait On Me' has to be my favourite. It might be a hard dance for fans to follow, but I think the mood of the song and the choreography go really well together. It gives off a powerful and sexy vibe. Courtesy of SM Entertainment 5 / 5 We're curious to find out how your EXO members reacted to your album and music videos. How were the reactions so far? They all gave me positive feedback, and they're all really supportive. When they saw the 'Wait On Me' MV, they were like, 'Ah, yes this is the classic Kai!'
