Porky Pig and Daffy Duck, one of the greatest comedic duos in history, are making their hilarious return to the big screen in the sci-fi comedy adventure.

From Warner Bros. Animation, director Pete Browngardt, and the creative team behind the award-winning Looney Tunes cartoons, Looney Tunes: The Day the Earth Blew Up stars Porky Pig and Daffy Duck as unlikely heroes and Earth’s only hope when facing the threat of alien invasion. The movie unfolds a rich Porky & Daffy story that fans have never seen before: In this buddy-comedy of epic proportions, our heroes race to save the world, delivering all the laugh-out-loud gags and vibrant visuals that have made the Looney Tunes so iconic, but on a scope and scale yet to be experienced.

Looney Tunes: The Day the Earth Blew Up (Warner Bros./Vertigo Releasing)

The film is written by Browngardt with Darrick Bachman, Kevin Costello, Andrew Dickman, David Gemmill, Alex Kirwan, Ryan Kramer, Jason Reicher, Michael Ruocco, Johnny Ryan and Eddie Trigueros, with a cast that includes Eric Bauza, Candi Milo and Peter MacNicol.

That’s not all folks! Porky Pig and Daffy Duck, one of the greatest comedic duos in history, are making their hilarious return to the big screen in the first-ever fully animated Looney Tunes feature film created for a cinemagoing audience. The dynamic duo become Earth’s only hope when their antics at the local bubble-gum factory uncover a secret alien mind-control plot. Faced with cosmic odds, they must save their town and the world while not driving each other totally looney.

Looney Tunes: The Day the Earth Blew Up (Warner Bros./Vertigo Releasing)

Looney Tunes: The Day the Earth Blew Up comes to UK cinemas from February 13th

The post Looney Tunes: The Day The Earth Blew Up set for February 2026 UK release appeared first on Skwigly Animation Magazine.

During its ongoing festival run, which has included stops at Annecy, Encounters, Pictoplasma, Animator Festival, Etiuda & Anima, Imaginaria and our own Skwigly Screening at Manchester Animation Festival, the film recently qualified for Academy Award consideration with its Jury Award win at New Hampshire Film Festival. Skwigly took the opportunity to speak with Anne about this milestone and the journey of the film’s production.

Thank you for speaking with Skwigly today. To start with, I’d be keen to hear about what drew you to art and animation, and what your formative influences were?

Thanks a lot for your interest in my work. As a kid I loved drawing and sculpting weird creatures from clay and paper maché (I still do). I took a short detour in studying art history, where I was fascinated by surrealist painters and tribal art from around the world, but soon discovered that I enjoy making art much more than talking about it. When I attended an animation workshop in Poland I was immediately hooked, especially by stop motion animation. It felt like magic to make my creatures come alive. After this workshop l teamed up with two friends to make our first claymation short from scratch in their living room, and eventually endend up studying animation at the School of Art and Design in Kassel. One of the early influences during this time was the work of the Brothers Quay, which strongly changed my perspective on storytelling.

Can you tell us a bit about the animation (and, by extension, stop-motion) scene in Berlin? Is there a strong community and industry in that part of the world or does it feel like more of a niche?

There is a very supportive and strong community of independent animation artists. Berlin even has its own Animation Festival. If you want to meet fellow animation people, it’s a great place to be. But there is no big animation industry, especially not for stop motion. I’ve been lucky to work as a puppet maker for Germany’s iconic stop motion tv series Our Little Sandman over the last three years, but that’s a rare opportunity. Otherwise I mostly work for international clients.

Image: Anne Breymann

Following from this, the credits for Radix mention assistance from the German Federal Film Board and the Berlin Senate Department for Culture and Social Cohesion. Can you tell us a bit about these organisations and how they’re set up to assist artists such as yourself?

I’m very grateful for both their support. The Berlin Senate Department for Culture and Social Cohesion provided me with a four-month artist grant, which gave me the freedom to explore different ideas. The first drafts of the story and design for Radix were created during this time. The production was supported by the German Federal Film Board through reference funding. This is a system where your film collects credits every time it’s selected in certain festivals, and those credit points can be turned into funding for your next project. So the budget I had for Radix was generated through the festival success of my previous short film Nocturne. It was still a very small budget though. I submitted Radix to two more film funding institutions, but got rejected.

We’ve previously featured your film Nocturne on the site, a film that shares many aesthetic traits with your latest film Radix that also proved very popular. Looking back on the experiences of both projects, what are some of the main ways you’d say you’ve grown as an artist and storyteller in the intervening years?

It wasn’t my intention, but I feel like Radix is somehow a continuation of Nocturne. They’re both situated in a world that I’ve been creating in my head over a long time. I feel very much at home in this world, and sometimes I need to escape there from reality and surround myself with strange and magical creatures. The experiences of both projects were similar, I even mostly worked with the same small team (sound designer Michal Krajczok and cinematographer Björn Ullrich). But I think over the years I’ve learned to trust myself a little more and just follow my intuition, and also to let go of control and trust the amazing people I work with.

Cinematographer Björn Ullrich (Image: Anne Breymann)

Some of your other earlier work has used digital 2D and cutout animation; is this a medium you might return to at some point, or do you imagine yourself sticking with stop-motion films in the future (Ekke Nekkepenn, for example, appears to be a hybrid of stop-mo and 2D approaches)?

Most of my commissioned animations are done in digital cutout or hybrid techniques. This is mostly a practical decision to adapt to clients’ timeframes and budgets, and also to make it possible for me to work from anywhere. Ekke Nekkepenn, a short film about a dark Frisian folktale, was a commissioned film for De Kraak, a traveling multimedia exhibition featuring folktales from the sea. For this project I worked in a hybrid technique with handcrafted relief puppets from clay and paper, which I photographed, and then animated in the 2D animation program Moho. I don’t think I’ll ever stick to just one technique, maybe I’ll try live action puppetry next.

As well as animated films, you’ve produced stunning standalone pieces and posed illustrations using puppets. Does this go hand in hand with how you approach animated storytelling, or is it its own separate skillset to tell stories in single, static images?

It‘s my favourite way to tell a story in just one image, because it gives me so much freedom. I can create these photographs spontaneously, without the time, planning and budget I‘d need for an animated short film. I usually draw a very rough sketch, and then I just start creating. To me those puppet illustrations (I never really know what to call them) are like stills from a film that doesn’t exist. Maybe this sounds strange coming from a filmmaker, but I personally enjoy more looking at still than moving images, because I can take as much time as I want to discover all the details.

As mentioned, Radix continues in a similar vein to prior works in its embracing of folklore and mystic elements. Was the concept of its two main characters and their interactions rooted in any pre-existing mythology at all?

I’m very much inspired by mythology and folktales, but Radix isn’t based on any existing mythology, it‘s a rather personal story.

Image: Anne Breymann

It notably draws upon a recurring visual motif across your work wherein creatures and plant life appear to be biologically entangled – branches emerging from or within body parts, for example. Does this imagery hold any particular symbolism or weight to you personally?

My films are all created very intuitively, and sometimes I‘m surprised myself that I keep coming back to the same motives such as masks and roots. For me the branches stand for something rooted deep inside ourselves, something that changes and evolves, but is mostly hidden, and only comes out in certain situations. I‘m very much inspired by plants and animals, but also by everyday‘s human behavior and interaction.

When making this kind of film, do you pre-plan out the story in a traditional sense (script, storyboard) or is it more of a stream-of-consciousness approach? Or something different entirely?

It always starts with something visual, a drawing or a sculpture, which I create without a plan. The story and the characters develop simultaneously. I wish I could make the entire film this way, but once I get to the point where I apply for funding, I have to make a storyboard and precise plan. When animating I work with an animatic, but try to shoot as much chronologically as possible, so I can still be open to changes and new ideas.

From a technical perspective, I’d love to hear more about what goes into the crafting of the puppets themselves; do you use standard rigs and materials or do your films require something more bespoke?

The puppets of Radix are actually made from very simple materials. The armature is built from wire, balsa wood and brass, the feathers are made from paper, and the faces are sculpted from polymer clay with glass eyes. I prefer to use materials that I can spontaneously adjust during the making, as the characters’ design often evolves while I‘m making them. I like my puppets to be visibly tactile, with imperfections and rough textures.

Image: Anne Breymann

The interplay of light and dark – indeed, the use of light as a whole – is fascinating to observe within the film. The internal lighting effects read as though they were created in-camera as part of the puppet designs themselves, was that the case?

Most of the lighting effects are indeed created in camera. The glowing creature for example was made from white paper and transparent plastic with fairy lights and LED wires inside. The only lighting that was done digitally was the glowing of the leaves, because they were so tiny. I made them from paper and wire, and Jonatan Schwenk animated them one by one in stop motion, and later composited them into the film. The overall lighting of the film was done by cinematographer Björn Ullrich.

What sort of demands on your time and circumstances does a project like this have on you as an independent artist? Did you have access to a studio space/resources or was it a home setup?

I worked on Radix over the course of two years, while simultaneously doing commissioned work, and it was sometimes hard to juggle both. I’m very lucky to share a studio in Berlin with eight artist friends. Their company kept me sane while I was animating all day on my own behind black curtains.

Image: Anne Breymann

From screening the film for recent major UK events including the Encounters Film Festival and Manchester Animation Festival, I’ve been able to enjoy firsthand an enthusiastic response from audiences. How have you found Radix’s festival journey so far, and has it yielded any valuable interactions/opportunities?

I‘m happy to hear that, as I‘ve only managed to attend a few screenings in person, but I hope I’ll have more chances to travel and actually meet the audience. Radix is running very well in festivals and received some awards. I get kind messages from people who have seen it in a cinema somewhere around the world, which always makes me happy. One of the good interactions that happened is this interview with Skwigly

Having recently qualified for Academy Award consideration following its recent win at New Hampshire Film Festival, do you have immediate plans for Radix as far as keeping it in contention (upcoming screening dates etc)?

Radix is a self-produced film, and I don‘t have the means for a campaign or screenings beyond film festivals. I think it’s already great to be on on the longlist, and don’t have very high hopes for more.
I‘m planning to release Radix online soon though. The trailer gained a lot of attention on social media, and I know that many people have been waiting to finally watch the film.

Beyond Radix, are there any other projects you have out in the world, or in the pipeline, that readers should keep an eye out for?

At the moment I’m creating narrative sculptures and creatures for several exhibitions next year.

For more on the work of Anne Breymann, visit annebreymann.de

The post Radix | Q&A with Anne Breymann appeared first on Skwigly Animation Magazine.

Lumo the Lapland Reindeer (Lapland Studios)

Lapland Studios today announce a brand new animation series Lumo the Lapland Reindeer, a 30-episode series focusing on the story of Lumo and his discovery of the magical Lapland World. The series follows four characters, focusing on targeting pre-school children in a heartwarming display of curiosity, exploration and discovery. Designed to show children that every new experience, big or small, is an adventure and part of growing up.

The series production, led by Head Of Lapland Studios; Chris Battle, will air its first episode on Friday 12th December and drop 2 episodes weekly. The launch of Lapland Studios division marks a monumental year for The Lapland Group, with the launch of the Store and Foundation divisions, alongside the sell-out Live event which attracts over 400,000 families at sites in Ascot and Manchester, each festive season.

Lapland Studios represents a major step forward in our mission to bring the world of Lapland to more families globally. By expanding beyond the live experience, we are able to scale our storytelling to more children, in ways that were never possible before. Lumo The Lapland Reindeer is the first animation by Studios, and we are thrilled to begin this next chapter of growth.

-Chris Battle (Head of Lapland Studios)

Lumo The Lapland Reindeer, a direct to digital series which which will air via YouTube Kids, has been developed alongside TeamFalco, using audience affinity to form the concept for this platform. The creative was developed in-house at Lapland Studios under the direction of Chris Battle, Creative Production by Melissa Czaja, previously of WildBrain and James Baker, Chair of Lapland Studios, and previously President of Red Arrow Studios. The animation is by Kulfi Collective.

Our purpose has always been to nurture and celebrate belief in Father Christmas to make Christmas wondrous for families. There can be no belief without story, so expanding the Lapland Universe via Lapland Studios feels like a natural evolution. Lumo the Lapland Reindeer if the first of many stories that will help us share the magic with children everywhere.

-Mike & Alison Battle (Founders, The Lapland Group)

It’s exciting to work with a team that actually engages with the nuances. YouTube is crowded, so helping the Lapland creative team cut through the saturation for Lumo with our audience affinity insights and discovery-driven creative was exactly the kind of focused, YouTube-first work we like to do.

-Nico Lockhart (Managing Director, TeamFalco)

The post The Lapland Group announce the launch of Lapland Studios division with inaugural Animation Series ‘Lumo The Lapland Reindeer’ appeared first on Skwigly Animation Magazine.

With two weeks still to go until Christmas, there’s still time to pick up the perfect gift for that special animator in your life. Or, if you’re an animator yourself, maybe you’re already thinking about what to spend those gift vouchers on from your nan come the new year…

Skwigly has you covered! 2025 (and late 2024) has been a bumper year for the release of animation-related books. We have picked out 10 of the stand out titles. Read on for our list of Essential Animation Books of 2025, in no particular order:

Beryl (£22.75)

This book offers an in-depth look into the creative process of director Joanna Quinn and screenwriter Les Mills.
Through revealing and often hilarious anecdotes, you’ll learn about Joanna and Les’s creative backgrounds and how they develop their ideas. With comprehensive behind-the-scenes insights, you’ll see how they take the initial concept of an idea to final production.
Buy from Amazon.co.uk

Studio Ghibli: Architecture in Animation (£27.78)

Learn how Studio Ghibli brings its vibrant worlds to life through hundreds of pieces of concept art, sketches, and background paintings that illuminate the historical, architectural, and personal inspirations behind such iconic buildings as the bathhouse from Spirited Away, Howl’s moving castle, and Satsuki and Mei’s country home from My Neighbor Totoro.
Buy from Amazon.co.uk

The Art of Wallace & Gromit: Vengeance Most Fowl (£30.63)

Explore the world of Aardman’s 2024 film with The Art of Wallace & Gromit: Vengeance Most Fowl. This captivating book offers a behind-the-scenes look at the film’s creation, featuring concept art, Nick Park’s sketches, and interviews with key crew members. Explore the meticulous craftsmanship and boundless creativity that bring Wallace and Gromit’s latest adventure to life.
Buy from Amazon.co.uk

Intimate Animation (£37.49)

Join Skwigly’s very own Ben Mitchell and Laura-Beth Cowley (and of the Intimate Animation podcast) as they take you on a tour of the landscape of contemporary animated films that deal with themes of love, intimacy, relationships, anatomy and sexuality – and the incredible artists behind them.
Buy from Amazon.co.uk

Animation for the People: An Illustrated History of the National Film Board of Canada (£32.59)

A celebration of the influential and Academy Award–winning animators of the National Film Board of Canada. Featuring interviews with filmmakers and animators, behind-the-scenes insights, and original artwork from iconic shorts like The Sweater and Neighbours, this book reveals how the NFB became a hub of innovation, collaboration, and artistic freedom.
Buy from Amazon.co.uk

On the Animation Trail: 20 Years of Animation Festival History (£42.99)

Documenting more than 20 years of travels, this book will appeal to all those with an interest in animation. If you are a young animator and want to know what festival life is like, this is the book for you. If you are a seasoned veteran and want to bring back some memories of festivals past, this book should bring some smiles to your face. Read our review here.
Buy from Amazon.co.uk

ANIMATION ME: An illustrated memoir with Pencils, Pixels & Arnie (£14.61)

In ANIMATION ME, Tony – a British Academy Award-winning animator, author and teacher – tells his fascinating and unique life story – from art school and early career struggles, to becoming a recognized master animator in his own right. This is a perfect book for students, professionals, or anyone interested in how a great tradition was once practiced.
Buy from Amazon.co.uk

The Art of Elio (£23.59)

The Art of Elio presents the story behind the newest film from Pixar Animation Studios. It highlights the stunning artwork from the film’s creation, including character designs, storyboards, color scripts, and much more; plus, exclusive interviews with the creative team along with behind-the-scenes details.
Buy from Amazon.co.uk

Tim Burton’s The Nightmare Before Christmas: The Ultimate Visual History (£29.93)

What’s this?! Why, a tour through the story of Disney Tim Burton’s The Nightmare Before Christmas, featuring behind-the-scenes details about stop-motion animation, concept art, removable inserts, and more.
Buy from Amazon.co.uk

Disney The Art of Moana 2 (£20.99)

The Art of Moana 2 is a behind-the-scenes hardcover book showcasing the development art, character designs, storyboards, and color scripts from the Disney film, featuring exclusive interviews with the creative team, and offering deep dives into the artistry, character aging, and visual storytelling of Moana’s new voyage.
Buy from Amazon.co.uk

The post 10 Essential Animation Books of 2025 appeared first on Skwigly Animation Magazine.

From multi-Oscar-nominated and BAFTA-winning producers Magic Light Pictures, The Scarecrows’ Wedding is the latest festive adaptation of a Julia Donaldson and Axel Scheffler classic following in the footsteps of The Gruffalo, Room on the Broom, Stick Man, Zog, and last year’s Tiddler.

This year’s film tells the enchanting story of two devoted scarecrows, Betty O’Barley and Harry O’Hay, who dream of the perfect wedding. But when Harry sets off to fetch one last thing for the big day, a smooth-talking rival, Reginald Rake, swoops in with plans of his own leading to unexpected mischief, danger and a race against time.

The half-hour animated special features an all-star cast including Jessie Buckley (Wicked Little Letters, Wild Rose) as Betty O’Barley, Domhnall Gleeson (About Time, The Paper) as Harry O’Hay, and returning favourite Rob Brydon (Gavin & Stacey, The Trip) as Reginald Rake, all led by Sophie Okonedo (Slow Horses, Hotel Rwanda) as the Narrator.

The post Magic Light Pictures and the BBC reveal exclusive ‘The Scarecrows’ Wedding’ trailer appeared first on Skwigly Animation Magazine.

Magic Light Pictures

Magic Light Pictures have created three charming new idents exclusively for BBC One and BBC iPlayer commissioned especially for this festive season.

The idents feature much-loved characters from the magical adaptations of Julia Donaldson and Axel Scheffler’s picture books that have become the heart of the BBC’s Christmas offer.

This year’s animated film, The Scarecrow’s Wedding is celebrated with an ident starring lead characters Harry O’Hay and Betty O’Barley who receive a Christmas visit from Santa. The two other idents feature Zog, Pearl and Gadabout from Zog and the Flying Doctors and Witch from Room on the Broom; while the third features The Gruffalo and The Gruffalo’s Child with Stick Man and his family.

Magic Light Pictures

The idents will premiere on BBC One and BBC iPlayer following Strictly Come Dancing on Sunday 30th November and will appear throughout the Christmas period.

The idents are created by Magic Light Pictures with animation by Triggerfish Animation studios.

Kate Phillips, BBC’s Chief Content Officer, said:

Magic Light have done the BBC proud and created three unforgettable idents that beautifully capture the festive spirit. Featuring a selection of Julia Donaldson and Axel Scheffler’s most popular characters, I hope they will spread some extra joy and togetherness into homes across the UK.

Martin Pope, Joint CEO, Magic Light Pictures said:

It’s a real joy to see our much-loved characters returning to the BBC this Christmas. These new idents capture the heart of what makes the stories so special – imagination, warmth and wonder – and they also celebrate BBC iPlayer as the home of Gruffalo and Friends, where families can enjoy the entire wonderful collection of specials together.

This year’s animated Christmas special will be The Scarecrows’ Wedding, an enchanting story about two devoted scarecrows, Betty O’Barley and Harry O’Hay, who are planning a wedding to remember. When Harry insists on leaving the farm to collect one last thing for their big day, a smooth-talking scarecrow named Reginald Rake swoops in with plans of his own. Chaos ensues, and soon Betty’s in danger and everything’s at risk. Can Harry get back in time and save the day? Full of heart, humour and adventure, this is the joyful tale about loyalty, love and learning that the most important thing isn’t a grand gesture – it’s simply being together.

The half-hour animated special features an all-star voice cast with returning favourite Rob Brydon (Gavin and Stacey, The Trip) voicing Reginald Rake, Jessie Buckley (Wicked Little Letters, Wild Rose) as Betty O’Barley, Domhnall Gleeson (About Time, The Paper) as Harry O’Hay, all led by Sophie Okonedo (Slow Horses, Hotel Rwanda) as the Narrator.

The Scarecrows’ Wedding is directed by Samantha Cutler and Jeroen Jaspaert, adapted by Steven Bloomer from the book by Julia Donaldson and Axel Scheffler, and produced by Barney Goodland and Michael Rose of Magic Light Pictures. Animation services by Red Star with assets and animation support by Triggerfish Animation.

The Gruffalo first enchanted BBC audiences on Christmas Day 2009. Since then, Magic Light Pictures and the BBC have brought to life thirteen award-winning animated specials based on the beloved books by Julia Donaldson and Axel Scheffler: The Gruffalo, The Gruffalo’s Child, Room on the Broom, Stick Man, The Highway Rat, Zog, The Snail and the Whale, Zog and the Flying Doctors, Superworm, The Smeds and The Smoos, Tabby McTat, Tiddler and this year’s The Scarecrows’ Wedding. All thirteen films will air on BBC One and BBC iPlayer throughout the festive season.

The post ‘The Gruffalo and Friends’ BBC idents unveiled for Christmas 2025 appeared first on Skwigly Animation Magazine.

Nollaí (TG4/BBC Northern Ireland/S4C)

TG4, BBC Northern Ireland and S4C are proud to announce Nollaí, their milestone first co-commissioned animated Christmas movie, created through a vibrant tri-nation co-production supported by Northern Ireland Screen’s Irish Language Broadcast Fund (ILBF), Screen Fund and Coimisiún na Meán.

This landmark festive special will premiere on 14 December, broadcasting in Irish on TG4 and Cúla4, on BBC Two Northern Ireland and on BBC iPlayer, and in Welsh on S4C.

Produced by Taunt Studios, the film invites viewers into a magical, heart-warming adventure led by Nollaig – or Nollaí as he’s lovingly known, an ordinary deer with an extraordinary secret.

About the Animation

Nollaig (or Nollaí for short) is just a regular, run-of-the-mill deer. A little tall for a deer, right enough, but he’s always been told he’s big boned. He’s been living the life since he was on the farm with his human family; best friend and sister, Sadhbh, and Daid. We first meet Nollaí on his birthday – or rather, the day that the family celebrates finding him. He came into Daid and Sadhbh’s lives one wintry night ten years ago, when they found him in the stone circle on the mountain. With none of his kin in sight, they take him in and he becomes part of the family. Years pass; Nollaí contends with his giant size in a human world but otherwise loves the community he lives in. Then, one day, everything is flipped on its head as he accidentally stumbles across a surprise that reveals he is quite possibly the last living Megaloceros giganteus (aka the extinct giant deer) in existence!

This discovery triggers adventure, with Nollaí and Sadhbh embarking on a quest back to the stone cairn in search of his origins. Along the way they bump into Stoca, a slightly chaotic Christmas-loving bat who is more than happy to join them on their journey. Together they arrive at the stone circle and discover a portal to another world – the realm of the giant deer! Nollaí passes through and meets a friendly giant deer who welcomes him home. But before he can find out more, the portal starts to close. Nollaí can stay in the land of the giant deer – the place he has been longing to find – but that means waiting a year before he can see his human family again. Sadhbh and Stoca, who are waiting on the other side, lose hope for his return but at the last minute Nollaí tears through the portal and reunites with them. He might not be able to explore the new found realm today, but he knows he can come back, when he’s ready.

Nollaí (TG4/BBC Northern Ireland/S4C)

Máire Uí Choisdealbha, Commissioning Editor, TG4:

We are absolutely delighted to commission TG4’s first-ever animated Christmas special, a truly exciting international co-production with our wonderful partners. This collaboration brings together an extraordinary blend of creative talent and cultural storytelling from Ireland and Wales, resulting in a festive film we believe will enchant families for years to come. It’s a milestone for TG4 and a celebration of the shared cultural imagination that unites our broadcasters. We can’t wait for audiences to experience the magic.

Karen Kirby, Commissioning Executive for BBC Northern Ireland:

This is the first collaboration of its kind for BBC Northern Ireland and BBC Gaeilge and we’re delighted to join with our broadcast and funding partners to bring this beautifully animated Christmas story to our audiences on BBC iPlayer and on BBC NI television. Nollaí is a delightful tale of love and belonging, a universal story which can be told in multiple languages and is brilliantly brought to life through the incredible acting talents of the cast, the animation team and musicians. I hope it will be a film that all generations can enjoy together over the Christmas period.

Sioned Geraint, S4C’s Content Commissioner – Children and Learners:

I’m delighted that S4C has been a part of Nollaí or Nolig in Welsh. This is a beautiful and endearing animated film which will resonate with so many of our viewers and be a highlight of our festive schedule for Children and families for years to come. It’s been great working with our Celtic friends again and build on the ever growing relationship between TG4 and S4C, and being able to launch this film in Irish and Welsh on the same day on both channels is perfect.

Rónán Ó Domhnaill, Media Development Commissioner at Coimisiún na Meán:

We are delighted to support the production of Nollaí through our Sound & Vision Funding Scheme which is all about supporting the creation of new, innovative Irish language content that will be enjoyed by audiences young and old.

Áine Walsh, Chief Language & Cultural Officer and Head of Irish Language Broadcast Fund at Northern Ireland Screen:

In our twentieth anniversary year, the Irish Language Broadcast Fund is proud to support Nollaí, the first ever Irish language animated Christmas special made in the North. It showcases the ambition and talent of our local creative teams, who brought skill and collaboration to every stage of the project. This festive story, steeped in Irish folklore, will delight young audiences and offer the whole family a shared Christmas experience in Irish. We’re thrilled it will be seen on BBC NI, TG4, Cúla4 and S4C, highlighting the strength of high-quality content being created locally for families across Ireland and beyond.

Tom Getty, Taunt Studios / Aisling McElroy, Taunt Studios:

All of us at TAUNT have had such a wonderful time creating our little film Nollaí. As a bunch of Christmas lovers, it was a dream come true to be able to spend the last year bringing this to life. None of this would have been possible without the support of BBC NI, TG4 and S4C, as well as our funders ILBF, Northern Ireland Screen and Coimisiún na Meán. We hope you all like it as much as we do.

Nollaí (TG4/BBC Northern Ireland/S4C)

Tom Getty, Director – Nollaí, Taunt Studios:

Nollaí first came into existence when our producer and writer at the time Grace Loughrey came to us with an idea for a Christmas short, about a young Irish Elk going on a journey of self-discovery. As huge fans of all things Christmas, we immediately loved it and worked together to brainstorm where we could go with the project. Fast forward a few weeks and we had a first draft of the script written by Grace and the ball really started rolling.

Taunt Studios were inspired by classic Christmas films, such as The Snowman, and wanted to bring some of that feel into a modern-day film. They created the animation using various different 3D softwares, and used ‘Unreal Engine 5’ to render the film. The decision to use Unreal, a real-time rendering game engine, allowed them to be at the forefront of the technological advancements in animation, and gain the benefits of that approach, allowing us to render the film much quicker and work more collaboratively on the production.

Taunt Studios worked with Dublin-based Little Moon Animation, who covered a wide range of pre-production tasks, notably the storyboarding, the majority of the character design, and additional world-building elements such as designing and building several of the 3D environments.

Voice Cast & Creative Team

Nollaí / Nolig:  

Jude Hartigan voiced the character Nollaí in both Irish and English, taking on the leading role with charm. An aspiring young actor, this project marks his first major screen credit, building on earlier experiences such as Paper Owl Films Sol animation. His work in Nollaí highlights his emerging talent and strong potential as a performer.

Osian Snelson voiced Nolig in Welsh, taking the lead role with warmth and charm. Nolig is Osian’s first voice acting role and he took to it like a duck to water.

Sadhbh / Siân 

Blaithín McCusker voiced the character Sadhbh in both Irish and English, the second lead role, bringing heaps of personality and depth to the character. She is best known for her role as Nóinín in Dar le Daideo, a TG4 Cúla 4 television series created by Zoogon, which is currently airing.

Marged Llwyd voiced Siân in Welsh, bringing her inquisitive, playful voice to the second lead role. Marged is best known for voicing Eli the hare in Y Ŵhŵs, which is currently airing on S4C and for the television series Fferm Fach.

Stoca / Siriol 

Comedian Mary Flanigan voiced the character Stoca in both Irish and English, bringing her trademark wit and vibrant comedic style to the role. Her screen and radio credits include BBC NI’s Soft Border Patrol (Series 3), writing and co-starring in Radio 4’s The Rest of Us, and most recently performing in Parish Matters.

Clare Hingott voiced Siriol in Welsh, bringing wit and fun to this wonderful character. Clare is an actress and Jazz singer who is known for her role as the dry-witted nurse Cheryl on Sky 1’s Stella, Clare recently voiced the Tiny Buds characters in Bumpy Box’s’ Tiny Buds/Egin Bach for ITVX and S4C.

Daid

Conor Mac Neill voices the character Daid in both Irish and English, infusing this loving character with warmth and heart. A highly respected Northern Irish actor, he is known for major credits including Industry (BBC/HBO), The Sixth Commandment, The Tourist, Derry Girls, Oscar winning Belfast, and Outlander: Blood of My Blood.

Dion Davies voiced Dad in Welsh, infusing this loving character with warmth and heart. A stage and TV actor, Dion has appeared in a plethora of TV series, including S4C’s Pobol y Cwm. He’s known for children’s series Y Doniolis and Jen a Jim and has lent his voice to numerous animated series. He’s currently playing the Dame in Panto in Hereford.

Oisín / Osian  

Dannan Flynn voices the supporting character Oisín in Irish and English, bringing the role to life with tons of energy and playfulness. He is currently appearing in Dar le Daideo on Cúla 4. Other recent work includes the RTE animated short Pals, and the upcoming Cois Cladaigh on Cúla 4, which is set to air in 2026.

Albi Morgan voiced Osian in Welsh, bringing the role to life with tons of energy and playfulness. The youngest cast member at 8 years old, this is Albi’s first voicing project.

Giant Deer / Cawr-Garw –  

Niall Mac Eachmharcaigh voices the Giant Deer in English & Irish, a wise and guiding character that Niall brought calmness and ease to. A veteran of Irish language television, he is best known for his long-running role as John Joe Daly in Ros na Rún on TG4.

Dafydd Emyr voiced Cawr-Garw in Welsh, a wise and guiding character that Dafydd brought calmness and ease to. An author and performer, his credits vary from films such as Y Sŵn about the fight to establish S4C, to TV series such as BBC 1’s Casualty. He recently toured with the play Huw Fyw and is currently starring as the Dame, Bev Bifan in the Welsh language panto, Clustiau March.

Broadcast Information

TG4 & Cúla4 (Irish Language): on both channels – 14 December @ 17.05
BBC Two Northern Ireland and BBC NI iPlayer (Irish Language): Available from 14 December @ 18.40
S4C (Welsh Language): 14 December @ 17.05

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Piripenguins (Wild Child Animation)

Wild Child Animation is pulling back the curtain on the technical and creative innovations behind Piripenguins, the vibrant new children’s comedy created by Series Director Massimo Fenati (Quentin Blake’s Box of Treasures). Piripenguins is produced by Eaglet Films together with Red Monk Studio (Italy) and in partnership with Wild Child Animation and has been commissioned by BBC and RAI, alongside support from the UK Global Screen Fund – financed by the UK Government’s Department for Culture, Media and Sport and administered by the BFI. The series premiered on CBeebies in May 2025 and is now being distributed internationally by Banijay Kids & Family and PBS Distribution (North America).

Spanning 52 x 11-minute episodes, the show may look deceptively simple on screen, but achieving its distinctive style required bold creative and technical choices. The team pushed Unreal Engine into uncharted realms, bending real-time technology to create a uniquely stylised show.

I created the characters a few years ago as 2D, and I wanted to preserve the same streamlined design for its immediacy, but I feared that a 2D environment made of mostly ice and water could be too flat and repetitive, so I always thought that the characters should inhabit a 3D world with all its potential for texture, lighting nuances and a richer, more involving environment. So my vision for the show was to create a 2D/3D hybrid and Wild Child responded with enthusiasm to the brief and delivered a perfect match to what I had in mind.

-Massimo Fenati (Series Director, Piripenguins)

The challenge was clear from the beginning: translating the 2D illustrated charm of Massimo Fenati’s original designs into a fully realised on-screen series. Traditional compositing or layering 2D elements over static backgrounds would have undermined the potential of Unreal’s real-time lighting and dynamic camera tools, whereas a fully 3D character solution would have compromised the visual charm of the show.

Wild Child’s solution was a hybrid one, combining their 2D and 3D animation capabilities within a custom Unreal pipeline. The team used 3D environments and character bodies paired with 2D facial rigs, which gave the team full control over physical interaction with the sets. Characters could sit on furniture, pick up props, cast shadows, while still holding onto the illustrated aesthetic that defined the original design.

Preserving the integrity of the designs on Piripenguins while making it work technically meant constantly striking a balance. Every choice had to serve the illustrated aesthetic, the different teams in the pipeline had to work closely to make it all feel seamless across shots. What could have been a technical compromise became a deliberate visual signature, and added to Piripenguins’ distinctive style.

-Will Adams (Episodic Director, Piripenguins)

This approach also reshaped the animation process itself. Animators had to abandon standard 3D workflow assumptions and embrace a 2D mindset. It wasn’t about making the rigs behave, it was about making them feel illustrated, with every frame on model and every movement grounded in graphic intent. With nearly identical main characters, personality had to come partly from how the characters moved: a head tilt, a pause, a shuffle. Small gestures carried the weight of performance. Constraints sharpened the work and helped shape the style.

The Unreal Engine pipeline used on Piripenguins leveraged the Studio’s extensive experience in both 2D & 3D to build a robust, scalable real-time workflow, adaptable to the demands of the show’s unique style. The team also implemented USD to keep assets consistent across Maya and Unreal, eliminating continuity issues between departments and international partners.

While Unreal wouldn’t normally be the first choice for a show like this, we had been talking about doing a stylised 2.5D show for sometime and now we had the opportunity. We also weren’t starting from scratch. We had a proven Unreal pipeline, the right tools, and the 2D experience to pull together something unique. That gave us the confidence to support a highly stylised 2D/3D hybrid, at scale, without slowing down.

-Ron Henry (Chief Operations Officer, Wild Child)

Unreal’s real-time rendering wasn’t just about speed; it gave the creative team the flexibility to explore, iterate, and further develop the visual style. That immediacy helped define the show’s look and made the hybrid 2D/3D approach viable across 52 episodes.

The post Wild Child Animation’s Unreal pipeline behind Piripenguins’ hybrid 2D/3D style appeared first on Skwigly Animation Magazine.

When last we spoke, Clyde Henry had recently completed Cochemare. Having followed the work of the studio since Madame Tutli-Putli, it’s been fascinating to see the different directions you have gone with your work over the years, and the different approaches taken with mixed-media. Can you talk a bit about how the studio has grown in the past decade up to The Girl Who Cried Pearls?

Following Cochemare, which was an experimental stereoscopic film, we spent the best part of the next decade exploring virtual reality. The film, or experience, that came out of that process was Gymnasia which taught us a great deal about the power of puppets to elicit a strong emotional response, no matter the medium. And it became clear that the rest of our career would probably be defined by exploring the limits of puppets on screen.

Handmade puppet for The Girl Who Cried Pearls (Credit: Clyde Henry Productions)

The film has all the hallmarks of being adapted from an existing fable, but I gather it is an original story; what brought the idea about initially, did it stem from anywhere in particular?

The goal was a story that felt like it had existed for millennia. In truth, it only goes back as far as the making of Madame Tutli-Putli, where one night we came up with this idea of a poor girl crying pearls, and a poor boy who is torn between his desire for her and his desire to get rich. But we put it aside because we couldn’t solve the ending. That’s not unusual for us, we have dozens of half-baked ideas that never come out of the oven, for one reason or another.

Chris Lavis & Maciek Szczerbowski (Credit: Martin Gros)

I believe that production on the film went back to 2020 – did the pandemic throw things into disarray at all, or compel you to steer your approach in a way you might not have done otherwise?

The film’s production was defined by the pandemic. It affected every aspect, but it wasn’t all negative. The first few months of isolation allowed us to fully concentrate on the sculpting and building of the puppets instead of our original plan, which was to multi-task and work on the animatic, schedule, and editing all at once. The puppets definitely benefited from that singular focus.

The presentation of Montreal in the early 20th century is very nicely done. Was there much by way of research into how the city and architecture looked at that time to keep its representation authentic?

We love the research phase of any project, and we spent months gathering material on the neighborhoods, architecture, clothing and streetcars of the era. But the ultimate decisions were artistic ones, and we were happy to throw accuracy to the wind if it made for a better story.

Artistic Director Brigitte Henry on Set (Credit: Martin Gros)

On that note, the production design and set craftsmanship is impeccably detailed and immersive. Can you talk a bit about working with Brigitte (Henry, Artistic Director) and the talents who constructed the environments of the film (and did you yourselves get involved on that front)?

Brigitte Henry was intimately involved in the research phase, and during production her particular responsibility was procuring props from antique markets and websites, as well as scanning or creating objects for 3D printing. She was also involved in shooting the animatic and the sets. Special mention should go to Yso South, who helped design and build most of the costumes. As with all our films, we were responsible for sculpting puppets, designing and building sets and props, lighting, and for applying the final patina, dust, and dirt to every object and character that appeared on screen.

Chris Lavis on Set (Credit: Martin Gros)

I got the impression from the credits that performers were used for LAV (live action video) reference, which would account for how uniquely imbued with life the puppet performances are throughout the film. How much LAV would you say was used throughout, and was this an important part of achieving the quality of animation you had in mind for the film?

We use live action footage of actors for every scene. Our animatics take the place of storyboards, so we use them to reference gestures, camera, edits—the entire film exists in live action from beginning to end before we shoot a frame. We find this method creates, then preserves spontaneity in both the performances and the camera. For us the camera is as much an animated character as the puppets are.

To achieve this fluidity of performance, were there any special considerations or approaches when it came to the puppet armatures and materials themselves?

We have found that simple aluminum armatures are the best way to achieve fluid motion in our films. Our puppets tend to be light and quite bendable, in comparison to mechanical armatures.

Maciek Szczerbowski on Set (Credit: Martin Gros)

There are some inevitable comparisons I can’t help but draw with Madame Tutli-Putli, though it struck me as interesting that, while that film used mixed-media to give the characters’ eyes a striking sense of life, the eyes in The Girl Who Cried Pearls are almost static, yet they still feel alive. I’d be interested in hearing about what led to this approach and how you alighted on it.

For most characters, the faces are completely static. Not even the eyes move. We wanted to prove to ourselves that we could make a puppet emote without any tricks, to show that the inherent power of a puppet has nothing to do with technology. As Orson Welles said: “Puppets are ancient entertainers. They don’t just go back to the crib, they go back to the cave.”

A similarly interesting visual choice is the absence of lip-sync, but only in the flashback sequences; was this symbolic of anything in particular?

When we recall a conversation from decades ago, we may remember some words, but we certainly don’t recall details like blinks or moving lips. Memories are not recordings, they are impressions.

On the Set of The Girl Who Cried Pearls (Credit: Martin Gros)

Another subtle disparity between the present-day scenes is the more fleshy, organic quality of the puppets relative to those of the flashbacks, which appear almost wood-carved with cadaverous colouring. Can you elaborate on the reasoning behind this approach, and were there any specific artists or eras of filmmaking you wished to evoke with it?

They are meant to appear carved, recalling wooden church idols or well-worn marionettes. The intention was to invoke religious worship, a theme of the film, and to reinforce the idea that we are telling you a fable, the kind that may have been repeated by a puppeteer travelling from town to town.

Avoiding spoilers, the film concludes with something of a rug-pull for the audience. Was this always how you intended to go with the ending, or was it a decision that came later on in the writing process?

The decision came late. As we said before, we put the idea aside for more than a decade because we couldn’t find the ending.  The ending as is wasn’t tacked on, it was the eureka moment that made the film work—a story about the very nature of stories.

As is often the case with NFB films, an English language version was produced concurrently with a French language version. How was it to direct Colm Feore and James Hyndman as each respective narrator, and did they have any interaction with one another to ensure the character was portrayed consistently across both versions?

James Hyndman’s French version came before Colm’s, but really, that made no difference. Each actor defined the role in their own way, and each interpretation is unique to that version.  As for directing them, these are two absolute masters, we didn’t direct so much as nudge them a little this way and that, to make sure we had some options in the editing room.

Canadian actor Colm Feore lent his voice to the animated short The Girl Who Cried Pearls (Credit: Scott McQuarrie)

As an extension of that, and as a curiosity, were the scenes that involved lip-sync animated to one specific performance that the other actor had to then time his to?

Each actor got to do their own thing, as long as they kept to the length of the shot. The French and English mouths were animated separately, in post-production. It’s not a dub, but two separate films.

I thought the work that Patrick Watson brought to the film was really strong, and seemed to extend beyond a musical score to elements that played off of the sound design and specific, individual sound effects. Can you tell us a bit about your working relationship and what sort of back-and-forths you may have had to achieve this?

Patrick has been a wonderful collaborator over several films. There are instances where the music and the sound design are indistinguishable, which is a testament to the collaboration between Olivier Calvert, the sound designer, and Patrick, the composer. Ideally, that’s how it should work, you don’t feel the work of one or the other is dominant. Patrick also helped us make some crucial editing decisions during the process, suggesting we cut three short scenes to help streamline the story.

The film will next screen in the UK at Manchester Animation Festival this month, how have you found the festival and audience response to the film so far?

The response has been very positive. We are proud of this movie. It is, to the frame, exactly the film we wanted to make. Its flaws are our flaws, this is the best we could do. To see it resonate with so many people, and to see the film appreciated not just for the visuals, but for the story, has been wonderfully gratifying.

The Girl Who Cried Pearls plays as part of MAF’s Animation Mixtape 1 screening, both as an in-person event (Nov 12 8:30pm, HOME Cinema 2) and online (available Nov 14-30)

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If I Was God (Cordell Barker, Canada) | Interview

From Skwigly Screening 1: Existential Enticements (2015)

Oscar-nominee Cordell Barker’s highly-anticipated follow-up to 2009’s Runaway was a double-first for the director, who elected to produce the film both stereoscopically and in stop-motion. If I Was God, produced at the National Film Board of Canada (NFB), combines a variety of animation approaches in its semi-autobiographical remembrances of pre-adolescent existentialism as we meet a young Barker in contemplation of the sometimes-macabre delights that omnipresent power might yield.

The Meek (Joe Brumm, Australia) | Interview

From Skwigly Screening 1: Existential Enticements (2015)

A few years before Brumm would be a household name as the creator of the phenomenal Bluey, his Brisbane operation Studio Joho got some attention from the success of The Meek, an effective parable on the nature of addiction to toxic people, substances and/or circumstances with a deceptively chipper aesthetic. Two versions of the film would do the rounds, one with narration, another where the visuals speaks for themselves (we opted for the latter).

Wackatdooo (Benjamin Arcand, Canada) | Interview

From Skwigly Screening 2: Fetching Fascinations (2015)

This film always stood out for siphoning the best aspects of a specific era of animation – chiefly the liveliness, the compositional variety and freedom of design. A fantastic showcase of the abilities of Montreal director Benjamin Arcand, who’d go on to work on SpongeBob SquarePants and The Cuphead Show, Wackatdooo is an incredibly slick, musically vibrant piece that would become a major case study in my first book Independent Animation.

Love (Réka Bucsi, France/Hungary) | Interview

From Skwigly Screening 2016

Having already made a name for herself with her MOME student short Symphony No. 42, Réka Bucsi’s multi-award-winning Love would go on to achieve even wider acclaim, including screenings at Sundance and Berlinale. A quasi-abstract examination of how the definition of love itself can be interpreted across three chapters, the film takes us on a meditative tour of a curious landscape and menagerie of non-quite Earthly creatures.

Wednesday With Goddard (Nicolas Ménard, UK) | Interview

From Skwigly Screening 2016

Nexus director Nicolas Ménard had already established himself as a bit of a ledge with his previous shorts Somewhere and Loop Ring Chop Drink (screened the year previous). His poignant and witty micro-odyssey Wednesday With Goddard marked a shift in artistic approach, swapping a printmaking aesthetic with a satisfying juxtaposition of minimal character design work set against elaborately rendered pencil sketches by collaborator Manshen Lo.

Analysis Paralysis (Anete Melece, Switzerland)| Interview

From Skwigly Screening 2016

Following on from 2013’s much-loved The Kiosk, Latvian-born animator/illustrator Anete Melece‘s Analysis Paralysis both retained and expanded on its its predecessor’s charm and visual quirkiness in its intertwined tales of the solitary, over-analytical Anton, and a park gardener increasingly frustrated with vandals trampling her flowerbeds.

Le clitoris (Lori Malépart-Traversy, Canada) | Interview

From Skwigly Screening 2016

An enormous hit both at festivals and online, Lori Malépart-Traversy’s progressive mini-documentary used traditional 2D animation techniques to tell the story of the oft-misunderstood clitoris and how its standing in society has changed over the centuries, from the patriarchal attitudes of the Catholic Church to the dismissive theories of its ‘Enemy Number 1’ Sigmund Freud. A major case study in the Intimate Animation podcast and book, the film would serve as a springboard for Lori’s later series Magical Caresses, produced for the NFB several years later.

Catherine (Britt Raes, Belgium) | Interview

From Skwigly Screening 2017

Teaming up with Belgium’s Creative Conspiracy, animator and illustrator Britt Raes (who would eventually go on to create Luce and the Rock) made serious waves with her short film Catherine, a tragicomic tale of a cat-lady-in-waiting whose love for animals is at odds with her being something of a jinx; pets don’t last long in her care, until an affectionate (and, most importantly, durable) blue cat enters her life. With its blend of dark, bizarre humour and genuine heart, the film would prove an enormous festival hit, racking up over 50 awards.

To Build a Fire (Fx Goby, UK) | Interview

From Skwigly Screening 2017

Another noteworthy Nexus director to make an appearance in a Skwigly Screening, Fx Goby’s incredible body of work includes commissions for Gorillaz, the BBC, Google, Facebook and Smirnoff to name a few. On the heels of his elaborate, immersive Georges Méliès tribute Back to the Moon, To Build a Fire is a mini-masterpiece of high-tension short filmmaking, created to commemorate the 100th anniversary of renowned American writer Jack London’s death.

Haley and Joanna (Laura Jayne Hodkin, UK)

From Skwigly Screening 2018

Before Strange Beast director Laura Jayne Hodkin would delight the world with the fantastic Hot and Tasty, her earlier offering Haley and Joanna (created during her time at the RCA and animated to audio from the podcast Friday Night In) similarly encapsulates everything that appeals about her playful design sensibilities and loose, freeform animation approach, both of which would prove to be enormously influential on many subsequent up-and-coming directors in the years since.

Ooze (Kilian Vilim, Switzerland)

From Skwigly Screening 2018

Goofy, macabre fun and twisted in a manner that doesn’t alienate the viewer, Kilian Vilim’s Ooze shines a light on the pernicious malaise that comes from loneliness in its tale of a bellhop whose ostensibly mundane occupation presents him with an increasingly surreal and sinister hellscape. Visualised through stark black and white line work and increasingly inspired scenarios depicting the protagonist’s mental state, the film stood out as one of the highlights of that year.

Flipped (Hend & Lamiaa, UK) | Interview

From Skwigly Screening 2018

Established duo Hend Esmat and Lamiaa Diab have amassed an impressive body of work in a relatively short time, with noteworthy projects including commissions for SARSAS, Facebook, Google, Action Aid and Procreate (for which they also run courses). Their UWE graduation film Flipped is a testament to their rock solid talent and ability, standing out as one of the most impressive films produced by the university of that decade and demonstrating just how effective a simple premise – “What if kids and adults switched roles?” – can be when told well.

Creepy Pasta Salad (Lauren Orme, UK) | Interview

From Skwigly Screening 2019

Lauren Orme – longtime pal o’ Skwigly and founder of CAN, CAF, Picl Animation and the Planet Positive Animation Network – would also prove her chops as a filmmaker with her debut short Creepy Pasta Salad. The film, uniquely animated using Moho, produced at Winding Snake Productions and assisted by Ffilm Cymru Wales and BFI NET.WORK Wales, tells the story of “a werewolf with an anxiety disorder, a ghost with low self-confidence and a lonely witch” muddling through their everyday lives. Good wholesome fun.

Drone (Sean Buckelew, USA) | Interview

From Skwigly Screening 2022

Initially known perhaps for his work with GLAS and the Late Night Work Club (which would yield the impressive indie short Lovestreams), Sean Buckelew is currently part of Pasadena, CA-based Green Street Pictures, the animation studio that brought the world such jaw-dropping recent series as Scavenger’s Reign and Common Side Effects. His preceding film Drone is an astonishingly polished 15-minute endeavour about an AI drone who, in an instance of unforeseeable pareidolia during a test mission, develops a conscience and goes rogue, to the delight of the public. Though evocative somewhat of Charlie Brooker (and the occasionally good episodes of LD+R), it stands on its own as a truly unique piece of satirical modern storytelling.

Brunch (Marnik Loysen, UK) | Interview

From Skwigly Screening 2022

An incredibly slick stop-mo affair, UWE Bristol School of Animation grad and Aardman regular Marnik Loysen’s indie short Brunch is a self-funded labour of love dedicated to the pointlessness of intergenerational conflict, manifested as a young millenial’s desire for avocado on toast in the face of his elders’ derision and admonishment. A simple but effective skit that brings some shades of grey to what is often presented as a black and white argument.

Mr. Pete & the Iron Horse (Kilian Vilim, Switzerland) | Interview

From Skwigly Screening 2022

Kilian Vilim makes a second appearance in this top twenty list with Mr. Pete & the Iron Horse because…well, look at it, for crying out loud. An absolutely seamless pairing of frenetic music and animation, the film takes inspirational cues from early Walt Disney and Fleischer Studio shorts and serves as a thoughtful modern parable on the notion of ‘maximum economic performance’ in its tale of overworked coal-shoveler Mr. Pete and the insatiable demands of his baroness.

Dog Apartment (Priit Tender, Estonia)

From Skwigly Screening 2022

My heart breaks slightly that this one, a product of the wondrous Nukufilm (whose film The Little Other is part of this year’s selection), isn’t online in full yet, as sharing it with unsuspecting audiences is a true joy. This, to me, is stop-motion at its finest; when it’s telling a story that’s utterly uninhibited by realism or linear storytelling. And for those who’d reel at it and ask aloud what you’d just watched, I’d encourage you watch it again. And again. Eventually its own logic starts to make a strange kind of sense. Keep your eyes peeled for it when it eventually drops.

The Beatles vs. The Stones (Andrew Kelleher, UK)

From Skwigly Screening 2023

Another simple concept, but one executed with impeccable detail, timing and visual ingenuity. The age-old battle of which trailblazing musical outfit should be granted the crown of…trailblaziestness?…is visualised by the talents of Dog & Rabbit (Dog Judo, Modern Toss) via a run-through of their respective discography’s album cover art engaged in a collage-animated battle. Clever stuff and potentially a rights nightmare, so hat’s off to them.

The Final Nail in the Coffin (Conor Kehelly, UK) | Interview

From Skwigly Screening 2023

It’s always a pleasure to slip in a film that edges more toward the macabre, and Conor Kehelly’s darkly comic debut offering (following his studies at the Manchester School of Art) The Final Nail in the Coffin proved a big hit among that year’s crowd; subject matter such as household fatalities and infanticide is a tricky one to pull off and actually get laughs, but Kehelly has a keen sense of how to step up to (and occasionally over) the line without losing his audience.

Quota (Job, Joris and Marieke, The Netherlands) | Interview

From Skwigly Screening 2024

The opportunity to include Dutch trio Job Roggeveen, Joris Oprins and Marieke Blaauw in a Skwigly Screening was enthusiastically welcomed, having been a fan of their work for the past decade and change. Perhaps best known for their Oscar-nominated A Single Life, the group would shift their attention to entertaining, non-preachy ecological messaging with Quota, a darkly-comic cautionary tale in which every global citizen is mandated to participate in a program that tracks their CO2 emissions, which they ignore until it’s all too late. An absolute treat and a banger to end this selection on.

In the mood for even more animation? You can watch over 60 films included in the Skwigly Screening 2015-2025 via our special retrospective YouTube playlist:

The 2025 edition of the Skwigly Screening features new work from Gobelins, UWE Bristol School of Animation, Stephen Irwin, Jocelyn Charles, Andres Tenusaar, Diego Solano Flores and Anne Breymann. It takes place 7pm Wednesday November 12th at the Event Space in HOME as part of the Manchester Animation Festival.

The post 10 Years of the Skwigly Screening at MAF: A Retrospective appeared first on Skwigly Animation Magazine.

Welcome back to Hawkins in the stark winter of 1985, where the original characters must fight new monsters and unravel a paranormal mystery terrorizing their town in Stranger Things: Tales From ’85, an epic new animated series.

Spun-off from the long-established Netflix hit series Stranger Things, the new series takes place between the original show’s second and third season. Stranger Things: Tales From ’85 is animated by Flying Bark Productions and exec produced by Matt and Ross Duffer, along with Hilary Leavitt (Upside Down Pictures), Shawn Levy (21 Laps), Dan Cohen and Eric Robles. Robles will also serve as Showrunner.

Stranger Things: Tales From ’85. (L to R) Brooklyn Davey Norstedt as Eleven, Luca Diaz as Mike, Braxton Quinney as Dustin, Elisha Williams as Lucas and Jolie Hoang-Rappaport as Max in Stranger Things: Tales From ’85. Cr. COURTESY OF NETFLIX © 2025

The animated series will present a captivating new mystery, deeply rooted in the Stranger Things universe. It will propel beloved characters into an adventure that will stretch the limits of action, suspense, and horror, perfectly suited for animation.

– Eric Robles (Executive Producer and Showrunner, Stranger Things: Tales From ’85)

Also announced today is the primary voice cast, featuring Brooklyn Davey Norstedt as Eleven, Jolie Hoang-Rappaport as Max, Luca Diaz as Mike, Ej (Elisha) Williams as Lucas, Braxton Quinney as Dustin, Ben Plessala as Will, and Brett Gipson as Hopper. Odessa A’zion, Janeane Garofalo and Lou Diamond Phillips will also join the cast.

The post “Stranger Things: Tales From ’85” coming to Netflix in 2026 appeared first on Skwigly Animation Magazine.

Aardman/Barbour

Following two successful years of festive collaborations with Shaun the Sheep, Barbour is once again partnering with Aardman for its eagerly anticipated 2025 Christmas advert, this time starring the much loved duo Wallace & Gromit.

Accompanying this year’s advert, Barbour has created a limited-edition run of Re-loved Wallace & Gromit inspired wax jackets, with all proceeds going to Oxfam.

Both heart-warming and humorous in nature, the advert introduces viewers to Wallace’s latest contraption: the Gift-o-matic. Wrapped in Barbour’s festive Winterberry tartan, exclusive and limited for this season, the Gift-o-matic is a tartan-wrapped robot designed to make festive gift giving effortless, the machine can gift, wrap, unwrap and even pull a celebratory cracker.

Wallace and Gromit have always embodied warmth, eccentricity, and quintessential British charm, which makes them a wonderful fit for Barbour’s Christmas storytelling. The Gift-o-matic is a classic Wallace invention – brilliant but with a few hiccups – and we’re delighted to share this playful, festive tale with audiences this year, in hope that the love, craft, warmth and humour bring big smiles this Christmas.

-Nick Park, creator of Wallace & Gromit

We are excited to be continuing our partnership with Aardman for another year; a brand, like Barbour, that is renowned for its heritage, nostalgia, craftmanship and meticulous detail. This year’s film brings a light-hearted charm to Barbour’s Original and Authentic Tartans including the Classic Tartan Scarf and the exclusive, reimagined Winterberry Tartan wrapping Wallace’s ingenious Gift-o-matic. Whilst rooted in our British heritage, the story’s themes of generosity and togetherness resonate far beyond the UK, reflecting the universal spirit of the season.

-Paul Wilkinson, Barbour Group Deputy Managing Director

The post Wallace & Gromit star in Barbour’s 2025 Christmas Campaign appeared first on Skwigly Animation Magazine.

Wataru Takahashi’s film is a delight — dazzlingly and sincerely grappling with questions of love, limerence, and idealised identity. Takahashi is a veteran director at Shin-Ei Animation, a prolific studio best known domestically for a reliable stream of Doraemon and Shin-chan theatrical feature films. Takahashi has previously helmed Shin-chan features, and The Obsessed (Toritsukare Otoko) is his first directorial effort outside of that franchise. In recent years, Shin-Ei has produced exciting and fresh films such as Totto-chan and Ghost Cat Anzu. Much like those works, The Obsessed has a striking and distinctive visual style. Characters are drawn in thin lines filled in with block colour, their angular, wonky lines resembling shapes that you might arrange in Microsoft Paint on an idle afternoon. It’s a fitting look for a film that’s an ode to imagination and daydreaming.

Skwigly had the pleasure of sitting down with Takahashi during the Tokyo International Film Festival, where The Obsessed was screened. In our interview, which leaps from topic to topic much like Giuseppe, we discussed the many joys and challenges of animation, adaptation, and romance.

Where did the idea for this film emerge from?

It started out as a short story of the same name, by Shinji Ishii. We approached him to discuss adapting it.

Why adapt it into a musical?

I wanted to deliver joy that can only be experienced through cinema. Giuseppe is obsessed with all kinds of things, and it made sense for him to express that level of obsession in the film through song and music.

What was it about the short story that made you think this could be a successful film?

The actions this character takes, the way he behaves – these days we don’t really have a character like this. We tend to think about blending in and cooperating with others, whereas this Giuseppe goes his own way – he runs wild, possessed by all these passions. I thought it would be really fun to bring this character to life on screen.

Tell me about casting Masaya Sano as Giuseppe.

We wanted to make a musical, so we needed someone who’s good at singing – that was the initial reason. This Giuseppe character is kind of a naive, innocent guy – but he’s also very open. He has this ‘trickster’ quality to him, and he’s very charismatic. So we got to thinking: “What kind of person could embody this character?”. I was recommended Sano-san. I remembered seeing him on television, where he’d crack jokes. And our film also has a comedic element. So I thought “Okay, he’s the right person”.

Tell me about the setting of the film and your visual approach to it. It feels somewhat indistinctly European. There are echoes of films like Ratatouille of course, but also the Professor Layton series and the Sylvain Chomet film Belleville Rendez-vous.

The protagonist’s name is ‘Giuseppe’, so he obviously comes from a foreign country. In the original story, where exactly was left up to the imagination of the reader. But I was envisioning the UK. And I thought it would be nice to create a town setting – indeed, much like we see in Belleville Rendez-vous. It looks how Japanese people imagine Europe to be.

©2001 Shinji Ishii / Shinchosha ©2025 The Obsessed Production Partners

There’s an angularity to the character designs in this film, and a charming scrappiness to its diversity of art styles. What was the starting point for the look of the film? That angularity reminds me somewhat of your work on the Shin-chan films.

Masatsugu Arakawa was responsible for the character designs – a first-class creator in the Japanese anime industry. He was involved in a series called Windy Tales (Fūjin Monogatari). So everyone in the industry knows him well. We thought it would be right to request his character designs, because this is in many respects a ‘fantasy’ story. And indeed, as you note, I do think I have been impacted and influenced by my past work on the Shin-chan films.

Looking back over Shin-chan and recent Shin-Ei efforts such as Totto-chan, Ghost Cat Anzu and this film, there appears to be no such thing as ‘conventional animation’ at Shin-Ei Animation – if indeed such a thing exists at all. Is there a design philosophy and culture at the studio where they strive to create original, atypical works?

I don’t think there’s really a set philosophy at Shin-Ei. They’re best known for characters such as Doraemon and Shin-chan, and those are both manga properties – and what that means is that Shin-Ei’s task is to replicate the mangaka’s world in film form. But with their original films, I do think that what they strive to achieve is a powerful uniqueness with each work.

Is this film hand-drawn, computer-animated, or a mix of both?

We drew it by hand, scanned it, then worked with the results on computers – that’s how the production process has evolved. We did have a tiny bit of 3D CG – the butterfly, and the falling leaves – but Masatsugu Arakawa was against it. He said it’s better to hand-draw.

You acutely and accurately capture romantic obsession in this film. Do you feel there’s something about cinema or animation specifically that lends itself well to exploring that subject?

Yes, I do. The original novel was very detailed in capturing how this guy – obsessed with so many things – begins to encounter romance. The writing was very straightforward about the way that he acts and open about the way that he thinks. Giuseppe is a straightforward character, and I thought that would look good in animation.

Who is your expected or intended audience for this film?

I feel it’s targeted at everybody. Shinji Ishii’s original work started out as a children’s picture book, but there was so much content to it that it became a novel. I think that evidences the fact that Ishii had so much to say – that there was so much emotion and power contained within his words.

©2001 Shinji Ishii / Shinchosha ©2025 The Obsessed

Would you describe yourself as “obsessed”?

Well, yes – I was obsessed with creating this film, The Obsessed. Now that it’s completed, I’m having more fun helping raise my kids.

What would you like your audiences to take away from this film when they leave the theatre?

Sometimes fiction can be more powerful than reality. Right now, around the world, war is going on. I don’t want people to lose against the feelings that that situation induces in us. I want to help support people mentally with films like this one – because film saved me.

The Obsessed screened at the 38th Tokyo International Film Festival. With thanks to Naomi Ikezawa for translating.

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With the catchy theme song, fun and appealing character designs, and a strong environmental message throughout its five seasons, the show resonated with so many children in Canada before it was eventually broadcast in a total of 180 countries around the world. Regarded today as one of the most iconic shows from the eighties and nineties, it’s also a staple in Canadian animation history, and with the talented team of animators and writers who worked on the show and its creator supporting his characters years after its production ended, it’s still an iconic show that has managed to remain recognisable and resonates with the themes of environmentalism today.

Bert Raccoon (centred) with Ralph (left) and Melissa Raccoon (right)

The Raccoons was created by Kevin Gillis, who worked on Celebrity Cooks during the late seventies, providing his singing talents for the show’s host, Bruno Gerussi. During this time, he also came up with the concept of a brand new show, and Gary Dunford, a writer who wrote an episode of the Canadian comedy series The Beachcombers, briefly joined to assist Gillis. Once the story and characters were cemented, Gillis pitched his idea to an Ottawa-based lawyer named Sheldon S. Wiseman, who saw potential in the idea. However, rather than starting out with a series, they agreed to produce a half-hour Christmas special called The Christmas Raccoons that would introduce everyone to the beloved characters as they try to save the trees of the forest from being sawed down by the greedy Cyril Sneer.

The Christmas special was followed by three other television specials, all of which were broadcast between 1980 to 1984. While Gillis would direct and write these specials, he was simultaneously the host of sports television show Yes You Can (1980 to 1983). Despite being busy juggling these two jobs within the television industry, Gillis’ efforts with his characters paid off as he and Wiseman finally decided the time was right to give the characters their own show. In order to get the budget to produce the series, though, CBC and the  Disney Channel made a deal to finance the over four million dollar budget, for the first season, and allow them to produce in Canada, but Disney was allowed to broadcast the show in America.

Kevin Gillis, the creator of The Raccoons (Photo Courtesy Run With Us Productions)

The animation would be handled by Atkinson Film-Arts, an Ottawa-based animation studio that was responsible for all four television specials, as well as adapting iconic toys and merchandise for their own specials, like Care Bears. As well as experienced animators to handle the new show from their previous efforts, the writing team also had some talented individuals who also worked on some episodes of The Care Bears and Babar that helped to create some of the storylines and including Mary Crawford and Alan Templeton. With this combination as well as Gillis’ shared credits with the catchy theme song Run with Us, the third week of the show’s initial airing saw it earn more than two million viewers alone and became the ninth most popular show in Canada in 1985.

The popularity saw it continue its production for another four seasons, but Atkinson Film-Arts was replaced after the first season with Hinton Studios, which Wiseman and Gillis set up to resume production. Despite the change of studios, the show’s popularity meant that the newly formed studio had a strong IP to work with and allowing animators to show off their talents. For six years, the show ran across sixty episodes and five seasons, before ending its run in early 1991.

Over thirty years have passed since that last episode aired, and during the global pandemic, Kevin Gillis contemplated the idea of reintroducing audiences, old and new, to his beloved creation after getting messages from adoring fans requesting a way to introduce it to their children, especially with the environmental themes still holding significance after all these years. Gillis kept the original 35mm footage for all episodes of the show as well as the four television specials after all these years and with his support, the show was restored for HD quality and would be re-introduced to long time fans and a new generation for streaming services around the world in 2023.

The Raccoons’ antagonist Cyril Sneer

While the television specials have introduced the characters five years prior, the show really cemented Gillis’ creation and demonstrated the many talented individuals that worked on the show who years later, should be proud of such a fun and entertaining series even after all these years that can still resonate with the environmental themes today. It stands out as not just a prime example of eighties Canadian animation, but a show that resonated with the generation worldwide.

The Raccoons is now available in 4K on ITV X.

The post The Raccoons: 40th Anniversary of the Beloved Canadian Classic appeared first on Skwigly Animation Magazine.

Where Dahl left his spiteful cold hearted characters in their own tiny world this latest Dahl adaptation takes the gruesome twosome and inflates their grim little fable into a sprawling, layered world full of new characters and universe expanding cameos in order to fulfil the promise of a wider Netflix/Dahl extended universe made up of the characters from his extensive library.

Whilst that might not immediately appeal to the purists, there is a lot to enjoy from this adventure. Where the titular twosome might fit well into an animated special or short, sustaining a feature would undoubtably be hard work, so the alternative of weaving them into someone else’s story works really well. The someone else in question are Beesha and Bubsy Balti (a nice linguistic nod to Charlie ‘Bucket’) orphans in search of a place to call home and placing this film under the category of grotesque adults clashing with sharper witted young adversaries. It’s refreshing to see South Asian leads in the form of two young characters who have clear autonomy and a mission. As a somewhat original character Beesha fits well into The Twits universe. While Bubsy ends up more as a sidekick to his sisters story and could have been given a stronger arc, both performances however bring needed energy and freshness.

The Twits. (L to R) Natalie Portman as Mary Muggle-Wump, Maitreyi Ramakrishnan as Beesha, Ryan Lopez as Bubsy, in The Twits. Cr. Courtesy of Netflix © 2025

Fans of Dahl’s original book will grimace at the sound of these changes. Not every classic gag makes the leap to screen played out like the book, which might feel like a missed opportunity. Yet the new additions feel thoughtful and with purpose presented to broaden the story and to make this feature-length world feel justified. In that sense, The Twits succeeds capturing the essence of Dahl’s cruel humour while giving it a modern pulse.

That modernity comes not only from the film’s expanded plot but also from its themes. Beneath the slapstick and slime lies a pointed commentary about the dangers of blindly following loud, deceptive figures, a note that rings depressingly true in the current era. It’s not subtle, but it works, and the satire sits neatly within the exaggerated, scuzzy world the film builds. Here is where the film shines and presents something with surprising substance, making use of fictions foulest felons.

The Twits. (L to R) Margo Martindale as Mrs. Twit, Johnny Vegas as Mr. Twit, in The Twits. Cr. Courtesy of Netflix © 2025

The animation itself showcases some adventurous moments. The camera swoops, jolts, and lurches with the grotesque energy of its subjects. With point-of-view shots, quick jump scares, and lingering close ups that give the film a tangible nastiness that feels perfectly Dahlian. In design terms, it leans closer to Laika than Illumination being gritty, textural, a-symmetrical and proudly weird. The Muggle-Wumps resemble something straight out of Missing Link, while Mr. Twit could easily wander into ParaNorman without anyone blinking.

Though retconning the Muggle-Wumps as magical creatures from Loompa Land works well enough, less successful are the “fuzzball” side characters who appear and seem clearly designed with merchandising in mind. They add little to the plot and feel like an attempt to conjure a new line of Minions. It’s a cynical touch and a trap that a lot of features fall into.

The Twits. Johnny Vegas as Mr. Twit in The Twits. Cr. Courtesy of Netflix © 2025

Johnny Vegas delivers a standout turn as Mr. Twit, balancing grotesque buffoonery with flashes of genuine menace. You get the sense the actors were encouraged to improvise, and that looseness pays off, there’s a brilliantly silly gag about confusing “diarrhoea” with “diorama.” There’s also a moment involving a dead father’s watch, which lands exactly the way you’d expect from a seasoned comic like Vegas.

Mrs. Twit, meanwhile, is as vile as ever, though one might wish for a bit more of her book counterpart’s twisted inventiveness as opposed to the ambitious uber-Karen we are delivered. The southern states American drawl of Margo Martindale and St Helens own Johnny Vegas make quite the odd couple. The relationship between the Twits is still gloriously toxic though, and the film milks it where it can, gross, frequently funny, and always unpleasant in exactly the right way.

The Twits. (L to R) Margo Martindale as Mrs. Twit, Johnny Vegas as Mr. Twit, in The Twits. Cr. Courtesy of Netflix © 2025

The Twit’s is a bold, messy, and unapologetically weird attempt to expand the world of Dahl using some of his best known characters. It might not be the definitive adaptation of the authors work, but it’s one of the more entertaining ones. It respects the story’s spirit while expanding it in service of the promise of a wider universe without forgetting the purpose of the original story, offering a grotesque morality tale that’s both timely and timeless.

The Twits is out on Netflix from the 17 October

The post The Twits – Review appeared first on Skwigly Animation Magazine.

Following a deal earlier this year that saw WildBrain partner with British commercial broadcaster/streamer ITV to bring new kids’ series Badjelly to UK audiences, the series is set to drop this month in the lead-up to the Halloween season.

Based on the beloved book, Badjelly the Witch: A Fairy Story, by renowned comedian Spike Milligan, and starring a stellar voice cast including Miriam Margolyes, Rhys Darby, Ava Diakhaby and rising star Malachi Hall, the series delivers a fresh take on this classic story for today’s kids, all while preserving the crazy humour, bizarre situations and quirky characters from the original tale. Distributed by WildBrain, Badjelly is produced by New Zealand’s Mukpuddy Animation, the UK’s Cantilever Media and Canada’s Sphere Media. To mark the release of the series, Mukpuddy have put together a special series of behind-the-scenes videos detailing how Milligan’s book was adapted to animation.

Badjelly | Behind the Scenes | Casting

Co-writer/directors, Tim Evans and Alex Leighton, talk about casting Miriam Margolyes after seeing an appearance on Graham Norton, how Jo Wilkinson’s casting changed the character of Dulboot into the lovable gentle giant and creating a series favourite and embracing their ongoing relationship with Rhys Darby as he practically cast himself as tree goblin, Binklebonk.

Badjelly | Behind the Scenes | The Music

Co-writer/director Tim Evans talks about wanting Badjelly’s music to be different from other cartoons, capturing the feeling of being swept up in a big adventure, through composer, Guy Michelmore’s amazing custom score. Given the daunting task of emulating the emotional depth of a John Williams score, Guy stepped up and delivered a musical journey that perfectly encapsulated the feeling of the films the team grew up with.

Badjelly | Behind the Scenes | The Themes

Co-writer/directors, Tim Evans and Alex Leighton, discuss Badjelly’s embodiment of the reluctance to change. So hellbent on keeping things as they were, she’s willing to burn the world to keep her power, Badjelly’s desperation builds, leading her to destruction. Tim and Alex talk of lead characters, Rose and Tim’s need to embrace change as their relationship evolves, while Badjelly and her ‘lackey’, Dulboot navigate a toxic situation. Adapting a short 22 minute story into 13 episodes, the team found ways to delve deep into the characters’ relationships.

Badjelly | Behind the Scenes | Iconic Book Moments

Ryan Cooper, head writer and co-director, discusses the importance of honouring the original Spike Milligan story. As New Zealand is filled with rabid fans, who quote the book/audio play, each with their favourite lines or moments. Ryan talks of trying to leave no Milligan stone unturned, finding even the smallest moments of imagination, to bring the story to life.

Badjelly premieres on ITV October 16th.
For more on the work of Mukpuddy, visit mukpuddy.com

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Stan & Gran (Banijay Kids & Family)

Co-produced by Tiger Aspect Kids & Family (part of Banijay Kids & Family), Jollywise, and Xentrix Studios, the CG-animated series is distributed by Banijay Kids & Family Distribution. It follows the mystery-busting adventures of Stan Breakwater, a curious and excitable young nature lover, and his fun-loving, dynamic Gran, as they investigate the strange goings-on in the fictional British coastal village of Porthole. Blending humour and intrigue with factual entertainment, Stan & Gran highlights themes of discovery, exploration, nature, science, and inter-generational relationships. Comedy legend, Alison Steadman (Life Is Sweet, Secrets And Lies, Here we Go, Gavin & Stacey), will star as the curmudgeonly shopkeeper Grumblestunk, who often adds a dash of mischief to each mystery. She stars alongside Charlie Oscar and Julie-Ann Dean, who respectively voice the investigating titular characters, Stan and Gran.

I’ve had a lifelong passion for wildlife, I can spend hours watching the birds in my garden. So, when Stan & Gran came along, I just fell in love with Porthole and the funny and relatable characters – especially Grumblestunk and her somewhat nefarious ways! The show’s all about being outside and celebrating nature, what’s not to love about that!

-Alison Steadman, OBE

It is such an honour to be working with the very talented Alison Steadman to bring Stan & Gran to life with her unique blend of fun and energy that perfectly captures the character of Grumblestunk. It’s a brilliant performance that is sure to captivate our Milkshake! audience and we simply can’t wait to share it with them!

-Louise Bucknole (SVP, Kids & Family UK & Ireland, Paramount)

I’ve long admired Alison Steadman’s talent, from her standout role as Candice Marie in Nuts in May to iconic characters like Beverly in Abigail’s Party and Pam in Gavin & Stacey. When casting for the show, Alison was at the top of our wish list and we were thrilled when she accepted the role of village bad-girl, Grumblestunk. Watching her inhabit the role with such gusto has had us in stitches during voice recordings – she delivers pure magic.

-Jon Mason (Series Creator/Founder, Jollywise)

The 52 x 11’ series, created by Jon Mason, is written by Howard Read (Danger Mouse, Horrible Histories, Deep in the Bowl), produced by Peter Griffiths (LEGO: Nexus Knights, Rosie’s Rules, The Ocean Calls), and directed by Simone Giampaolo (Only a Child, Bad Dinosaurs, The Legends Family Adventure, Obki the Eco Alien). Natalie Adams and Jon Mason serve as Executive Producers.

Stan & Gran is set to launch on Milkshake! 10^th November and on Nick Jr. UK in 2026

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The Scarecrows’ Wedding (BBC/Magic Light Pictures)

Adapted for BBC iPlayer and BBC One from the beloved picture book written by Julia Donaldson and illustrated by Axel Scheffler, The Scarecrows’ Wedding marks Magic Light’s 13th animated special of their work.

Academy Award nominee Sophie Okonedo (Slow Horses, Hotel Rwanda) narrates the half-hour special, joined by a stellar voice cast including Jessie Buckley (Wicked Little Letters, Wild Rose) as Betty O’Barley, Domhnall Gleeson (About Time, Alice and Jack) as Harry O’Hay, and Rob Brydon (Gavin and Stacey, The Trip) returning for his thirteenth Donaldson and Scheffler adaptation as the rotter, Reginald Rake.

Rob Brydon, voicing Reginald Rake, says:

I’ve been lucky enough to appear in every Julia Donaldson and Axel Scheffler adaptation so far, and Reginald Rake has to be one of the most enjoyable characters yet. He’s vain, charming, and utterly unreliable – a proper cad! Playing him has been enormous fun.

Domhnall Gleeson, voicing Harry O’Hay, says:

Harry is such a warm-hearted character, loyal, loving, and determined to make the wedding perfect for Betty. I loved bringing him to life, especially when his devotion is tested and he has to prove he’s the real hero of the story. I also loved the process of developing Harry, and I’m so happy to be working with this team and voice cast. It’s a thrill to be part of something made especially for kids at Christmas.

Sophie Okonedo, narrator, says:

What I love about The Scarecrows’ Wedding is that it feels timeless, it’s a story about love, loyalty, and finding out what really matters. Narrating it has been a joy, and I can’t wait for families to enjoy it together this Christmas.

Jessie Buckley, playing Betty O’Barley says:

I love this story. The film has so many beautiful little moments but I love the scene where the first glimmers of love get expressed between Harry and Betty – the anxiety and the tentativeness around that. They’re both edging closer and closer to being in the relationship, realising that they want to be together… we’ve all been there. It’s all about young love, and recognising what’s important to you in life.

Last year’s adaptation, Tiddler, was seen by 7.3 million viewers within 28 days and secured the highest Christmas Day audience share for a Magic Light Pictures film since The Gruffalo in 2009. It has now been watched by 11.3 million viewers.

The Scarecrows’ Wedding is directed by Samantha Cutler and Jeroen Jaspaert, written by Steven Bloomer, and produced by Barney Goodland and Michael Rose of Magic Light Pictures. Animation services by Red Star with assets and animation support by Triggerfish Animation. 

Magic Light’s earlier adaptions of Julia Donaldson and Axel Scheffler’s works are available to stream on BBC iPlayer.

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