#creative studio vancouver

[inhousecreations]

[jamesgabrielloppie]

I Bet It Was The Xentrix Studios Who Is Responsible For These CG/3D Specials

[robsheridan]

Very excited to finally tell you what's kept us so busy recently: I’ve had the unique honor of directing/creating the first-ever tour visuals for one of the greatest live rock bands of our generation and a hugely formative part of my Seattle youth: Pearl Jam.

I haven’t worked in tour production/design since NIN 2014, but I always said I would go back to it one day if the right artist and the right creative connection came around. There’s a short list of musicians I’d drop everything and rewire a year of my family’s entire life to make art with, and Eddie Vedder is absolutely one of them.

Ed and I hit it off immediately and discussed an inspiring, experimental approach to creating textural video art inspired by the Dark Matter theme using decidedly tactile and analog methods, with the the album’s light-painted artwork as a jumping off point (I wasn’t involved in the album art / promotions, that was all underway when I came on board). My wife and collaborator Steph, who produced the project, set up a raw studio space here in Tacoma and assembled a lean local camera crew, and we spent two months filming in the experimental, open-ended, DIY style that I like to work. With macro lenses and the 1000fps Ember slow-motion camera (made by fantastic local Washington company Freefly), we followed paths of inspiration through elements and states of matter: Light refractions, chemical reactions, fluid dynamics, incandescent projections (including an old overhead projector that ended up in the show) and other experimental setups tracing the connective tissue of the universe. It was prolific and intense, and wouldn’t have been possible without Steph’s rapid problem-solving and a talented camera, animation, and post-prod team.

A grueling month of editing/programming/rehearsals later, the Dark Matter world tour is out on the road now, with two shows under our belt in Vancouver last weekend.

I’ll have a lot more to say about this production, the unique analog practical VFX we employed, and of course videos to share as more people start to see the shows and I maybe get ten seconds to breathe. For now, I’m off to Portland - show number three is tonight!

[black-arcana]

EVANESCENCE To Enter Studio In November

During an interview with 89 FM A Rádio Rock at the Rock In Rio festival in Brazil on September 15, EVANESCENCE's Amy Lee was asked about the band's plans for the coming months. She responded (as transcribed by BLABBERMOUTH.NET): "We're in the creative process right now, but we're not deep in the throes of it yet. We've been doing a lot of creating, and we just have, like, tons of ideas. So we're gonna get serious and get in the studio in November for the first round. Round one."

EVANESCENCE will embark on its first headline tour across Canada in 15 years this fall. Produced by Live Nation Canada, the trek kicks off on October 15 in Vancouver, British Columbia, hitting cities nationwide before wrapping on October 29 in London, Ontario. EVANESCENCE will be joined by special guests, post-grunge/metal rockers HALESTORM across all stops. Alternative sister trio THE WARNING will open all shows.

Delivering a number of dynamic rock hits over the last two decades, EVANESCENCE recently celebrated the 20th anniversary of its landmark debut album, "Fallen", originally released in 2003. They recognized the milestone with a special anniversary edition of the smash album, which spawned gigantic rock hits like "Bring Me To Life", "Going Under" and "My Immortal", kickstarting a thriving career they're still carrying out today.

To date, EVANESCENCE has released a total of five studio albums, including the multi-platinum "The Open Door" (2004) and "Evanescence" (2011),both of which topped the Billboard 200. In 2021, the band thrilled fans with their first album of new material in a decade, "The Bitter Truth". Now 20 years on, EVANESCENCE continues to scale new heights. Featuring a lineup of Amy Lee (vocals, keyboards),Tim McCord (guitar/bass),Will Hunt (drums),Troy McLawhorn (guitars) and Emma Anzai (bass, backing vocals),the band continues to travel the globe, staging some of the most successful shows of their career, having wrapped a run of sold-out shows in Latin America, including Allianz Parque, a soccer stadium in Sāo Paulo, Brazil, which was the biggest headline show of EVANESCENCE's career to date, drawing 40,000 fans.

Shortly following its release in March 2021, "The Bitter Truth" rose to the top of the iTunes Album charts in 22 countries and also landed the top spot on Billboard's Top Hard Rock Albums chart.

EVANESCENCE first topped the Hard Rock Albums chart in October 2011 with its self-titled effort. The album stayed atop the list for three weeks.

"The Bitter Truth" was recorded during the pandemic and confronted the dark realities of the world head-on. Yet its resounding message was one of light: pushing through is better than giving up.

[mostlysignssomeportents]

Hollywood is the single best example of mature labor power in America

This afternoon (May 6), I’ll be in Berkeley at the Bay Area Bookfest for a 3:30PM event with Glynn Washington for my book Red Team Blues; tomorrow (May 7), it’s an 11AM event with Wendy Liu for my book Chokepoint Capitalism.

Weds (May 10), I’m in Vancouver for a keynote at the Open Source Summit and a book event at Heritage Hall and Thu (May 11), I’m in Calgary for Wordfest.

The Writers Guild is on strike. Hollywood is closed for business. The union’s bargaining documents reveal a cartel of studios that refused to negotiate on a single position. This could go on for a long-ass time:

https://www.wga.org/uploadedfiles/members/member_info/contract-2023/WGA_proposals.pdf

If you’d like an essay-formatted version of this post to read or share, here’s a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/05/06/people-are-not-disposable/#union-strong

The writers are up for it. A lot of people are saying this is the first writers’ strike since 2007/8, but that’s not quite right. That was the last time the writers went on strike against the studios, but in 2019, the writers struck against their own talent agents — within the space of a week, all 7,000 writers in Hollywood fired their agents. They struck against the agencies for 22 months.

https://deadline.com/2023/04/hollywood-strike-writers-guild-studios-talent-agencies-1235333516/

The agencies had consolidated down to four major firms, two backed by private equity who loaded them up with debt that could only be repaid if the agencies figured out how to vastly increase their profits. They did so, by unilaterally switching the way they did business with their clients. Instead of taking a 10% commission on the creative wages they bargained for, the agencies started to take “packaging fees” from the studios for putting together a writer, director, stars, etc. These fees came out of the same budget that the talent got paid from, so the higher the fee was, the less the talent made. Soon, some showrunners were discovering that they were getting 10% and their agents were getting 90%!

The agencies weren’t done, either: they were building their own studios, and planning to negotiate with themselves on behalf of their clients. The writers said fuck this shit. They issued a code of conduct ordering the agencies to knock all that shit off. The agencies swore they’d never do it. Why should they? Every job these writers had ever done came through an agency, and the agencies were staffed with the toughest, most obnoxious negotiators on the planet.

They were sure the writers would cave. After all, the top tier of writers had been handled with kid gloves by the agencies and not ripped off to the same extent as their jobbing, workaday peers. They’d break solidarity and the union would collapse, right?

Wrong. Twenty-two months later, every one of the agencies caved on every single point. Bam. Union strong.

(Want to learn more? Check out Chokepoint Capitalism, Rebecca Giblin’s and my book about creative labor markets:)

http://chokepointcapitalism.com

Now the writers are back on strike and it’s triggered a predictable torrent of anti-worker nonsense (“striking writers will lead to public indifference to torture!) (no, really) (ugh):

https://www.readtpa.com/p/on-the-tv-writers-strike-dont-fall

One common theme in these bad takes is that writers aren’t real workers, like, you know, coal miners or Starbucks baristas. They’re coddled intellectuals, and haven’t the intelligentsia been indifferent to proletarian struggle since, you know, time immemorial?

This is wrong in every conceivable way. For starters, it’s ahistorical. Lord Byron and innumerable other toffs and poets and such were right there with the Luddites, demanding labor justice during the Industrial Revolution, as Brian Merchant writes in his outstanding, forthcoming history of the Luddites, Blood in the Machine:

https://pluralistic.net/2023/03/20/love-the-machine/#hate-the-factory

But you don’t have to look back to the stocking frame to find this kind of solidarity. As Hamilton Nolan writes in his newsletter, “Hollywood is the single best example of mature labor power in America”:

https://www.hamiltonnolan.com/p/the-coral-reef-of-humanity-encircling

The entire Hollywood workforce, from grips to carpenters, costumers to plumbers, teamsters to medics, is unionized. That includes writers and actors (I’m a member of IATSE Local 839, AKA The Animation Guild). I live in Burbank, the entertainment industry’s company town (fun fact! The “Hollywood” studios are largely over the city line, in Burbank). Walk down Burbank Boulevard, Magnolia Boulevard, or any of the other major roads, and you’ll pass many union halls.

Burbank is a prosperous place. That’s thanks, in part, to the studios, whose entertainment products are very profitable. But working in a profitable industry is not, in and of itself, a guarantee that you will get a share of those profits. Some of the most profitable industries in the world — e-commerce, fast food, logistics — have the lowest paid workforces.

Burbank is prosperous because the unions made sure that everyone — the grips, the costumers, the animators, the actors, the writers, the teamsters and the pipefitters — gets a decent wage, decent health care and a decent retirement. My pal the set-dresser who worked crazy hours shlepping furniture around sitcom sets for decades? All that work did bad stuff to his joints, which meant that he needed a hip replacement in his forties — which was 100% covered, including his sick leave while he recovered. He was able to take early retirement in his late fifties, with a solid pension, with his health in excellent shape and many years of happiness with his partner stretching before him.

That’s what unions get you: a good job that might be hard at times, and the costs of your work are borne by the employer who profits from your labor. As Nolan writes, the point of unions is to “make sure that people! Are! Not! Disposable!”

Unions deliver the American dream. As Pete Seeger sang in “Talking Union Blues”:

Now, if you want higher wages let me tell you what to do You got to talk to the workers in the shop with you You got to build you a union, got to make it strong But if you all stick together, boys, it won’t be long You get shorter hours, better working conditions Vacations with pay. Take your kids to the seashore

http://www.protestsonglyrics.net/Labor_Union_Songs/Talking-Union.phtml

We tend to focus on wages in union discussions, but unions aren’t merely about getting better pay, it’s about making better jobs. When LA teachers went out on strike in 2019, wages weren’t at the top of their list — they bargained for greenspace for every school, replacing rotting portables with permanent buildings, ending ICE entrapment of parents at the school gates, social workers and counselors for schools…and wages.

I really like how Nolan puts this. The way that the studios make money has changed: streaming is clobbering ad-supported TV and movie theater tickets. The studios are adapting. The workers want to adapt, too. The studios would rather “treat[] their work force as a disposable natural resource to be mined, used up, and then abandoned, as business dictates.”

A union gives workers “the same ability to adapt to changing industries that companies already have.” The studios want to leave workers behind. Unions give workers the collective power to say, “No. You’re taking us with you.”

Union workers are wealthier than their non-union counterparts, but that’s not just because of higher wages. As Nolan writes, “Unions make sure that the people get to adapt to changing industries, and not just the investors and the business owners.”

[Union workers] have a far greater ability to build coherent, long-term careers, as opposed to a constant treadmill of unstable short-term gigs. In non-union industries, businesses can just act like ships cutting through a desperate sea of workers, scooping up whoever they want and then tossing them overboard as soon as it’s convenient. In a union industry, though, the companies are forced to deal with the labor force as an equal. The workers have their own damn boat.

Advocates for market capitalism insist that market forces increase prosperity for everyone. They say that, in the end, having corporations serve their shareholders results in corporations serving everyone.

But a comparison of unionized and nonunionized industries reveals the hollowness of that prospect. Hollywood is wildly profitable and it pays every kind of worker well. That’s because workers have solidarity across sectors and trades. Striking writers like jonrog1 are calling on supporters to donate to the Entertainment Community Fund:

https://twitter.com/jonrog1/status/1654168529728307204

The Entertainment Community Fund supports everyone else who is affected by the work-stoppage, all the other creative and craft trades whose work has been halted by the writers’ struggle. If you want to support these workers, make sure you select “Film and TV” from the drop-down menu when you donate (we gave $100):

https://entertainmentcommunity.org/

Because all the workers are in this together. As Adam Conover explains in this amazing CNN clip, David Zazlav, the head of CNN parent-company Warner-Discovery, made a quarter of a billion dollars last year, enough to pay all the demands of all the writers:

https://www.youtube.com/watch?v=aL-YwKO81go

And Carol Lombardini, spokesvillain for the studio cartel AMPTP, told the press that “”Writers are lucky to have term employment.” As John Rogers says, she “wiped out the doubt of every writer who wasn’t sure this negotiation really IS so important, that it actually IS about turning us into gig workers.”

https://twitter.com/jonrog1/status/1654506611086606336

The stakes in this strike are the same as the stakes in every strike: will workers get a fair share of the value their labor creates, or will that value be piled up in the vaults of $250,000,000/year CEOs? It’s not like the studios especially hate writers — like all corporations, they hate all their workers. The same tactics that they’re using to make it so writers can’t pay the rent today will be turned on every other kind of Hollywood worker tomorrow — and when the writers win this one, they’ll support those workers, too.

There’s a lot of concern about AI displacing creative labor, but the only entity that can take away a writer’s wage is a human being, an executive at a studio. As has been the case since the time of the Luddites, the issue isn’t what the machine does, it’s who it does it for and who it does it to.

After all, as Charlie Stross points out, a corporation is just a “Slow AI,” remorselessly paperclip-maximizing its way through the lives and joy of the flesh-and-blood people who constitute its inconvenient gut-flora:

https://media.ccc.de/v/34c3-9270-dude_you_broke_the_future#video&t=3478

Catch me on tour with Red Team Blues in Berkeley, Vancouver, Calgary, Toronto, DC, Gaithersburg, Oxford, Hay, Manchester, Nottingham, London, and Berlin!

[Image ID: Animators walk the picket-line during the Disney Animator's Strike in 1941.]

Image: LA Times https://commons.wikimedia.org/wiki/File:Screen_Cartoonist%27s_Guild_strike_at_Disney.jpg

CC BY 4.0 https://creativecommons.org/licenses/by/4.0/deed.en

[rashio-vibe]

twentysix

tattoo artist

bisexual

single

He is often assholish, but has a loving core. He lives out his creative streak in his profession as an oldschool tattoo artist. Cold beer, juicy burger and he is happy. He was born in Vancouver, CA and moved to New Brunswick, NJ, USA at the age of 22 where he opened his own studio.

[not-quite-normal]

Hey there, industry 3D animator here (television in vancouver)- you mentioned being on projects you didn't care about, how did you muscle through them?

hi fellow vancouver animator! if you're currently on a project that you don't care for then i'm very sorry, i know how exhausting it can be. especially if you feel like you don't have any other options. i've worked on a lot of projects, both tv and feature, that i didn't care for at varying degrees and it's never easy to make your way through them if you don't enjoy what you're doing. at one point it got so bad for me that i questioned if animation was even something that i wanted to continue doing because i was just churning out animation for a preschool show (which a lot of people enjoy and is very legit and stable work! it just wasn't for me). i ended up taking extra long lunch breaks and afternoon walks every day just to Not Work lol. it can be very tough. that was the only job i ever quit. luckily the next project i moved to reignited the animation fire in me and reminded me why i enjoy it

a few pieces of advice come to mind

make sure you take time for You. i know a lot of vancouver studios don't pay overtime; if they're not paying you then you don't owe them your time. decide what you have to do to make your work Good Enough to get you through your day and go home at 6

touch grass, and i mean this in a very genuine way lol. go for walks, explore new places, but mostly just get away from screens for a bit haha

keep your job options open. apply for jobs that start before your contract is up because you can leave that contract at any time, it's okay, you won't get blacklisted for it (as long as you give them two weeks notice). if it sucks, hit da bricks

if you have the means, try to work on saving up some money to take time off between projects. i know i'm speaking from a place of privilege on this one, but a couple months off can cure any level of burnout

work on your own personal projects! this can be hard to do if you're creatively burnt out though, i had to stop animating in my free time because animation was already taking up too much of my creative energy at work. i started doing a lot of writing while working on atsv and it was very refreshing to focus on something that was still creative but a completely different skill from animation

try to find the opportunity to learn something. even on projects that i didn't like, i still got something out of them. make your workflow more efficient by thinking about where you spend the most time and how you can make it faster (posing hands? create a hand pose library. counter animating the arms/head/spine? play with the rotation parenting on the rig. need a camera to do a big smooth sweeping arc? use a pivot point). think about common notes that you're given and set your scenes up that'll be easier to change if you get those notes. bonus, this will help you with #1 on this list and being a faster animator is always highly valued, even in feature anim where quota is sometimes one shot per... month

[doctorcurdlejr]

I'm going away forever now (sleeping) my message to the world: Riverdale is an American television series based on the characters of Archie Comics. The series was adapted for The CW by Archie Comics' chief creative officer Roberto Aguirre-Sacasa, and is produced by Warner Bros. Television and CBS Studios, in association with Berlanti Productions and Archie Comics. Conceived as a feature film adaptation for Warner Bros. Pictures, the idea was re-imagined as a television series for Fox. In 2015, development on the project moved to The CW, where the series was ordered for a pilot. Filming takes place in Vancouver, British Columbia.

[writingonleaves]

meet our oc - grace facciola

comedown au masterlist

**spoiler free!!**

The basics!

Grace Luna Facciola was born on April 19, 2000 in Vancouver, British Columbia. She grew up in North Vancouver before her family moved to LA when she was 13.

Her mother, Ingrid, is of Norwegian descent and her father, Marciano, is of Italian descent 

Marciano is on the board of directors of Columbia Records. Ingrid works in a lab doing research at University of British Columbia. They are divorced, and Ingrid married Grace’s step-father David in 2019. David works as a landscaper.

She has one older brother, Chase Roman, who lives in Colorado with his fiance Kaylin. He’s an accountant. Grace is decently close with him, or as close as they can be with living in different states. He is three years older than her.

Attended the University of Southern California for two years (2018-2020) before deciding to leave and pursue her songwriting / producing career full time

Has written with notable artists including Harry Styles, Sabrina Carpenter, 5 Seconds of Summer, Gracie Abrams, Lizzy McAlpine, Holly Humberstone, Renee Rapp, Jeremy Zucker

Her most notable achievement (as of 2025) is that she was a co-writer on “Love of My Life” by Harry Styles on the album Harry’s House, which went on to win a Grammy Award for Album Of The Year.

Key character traits: daring, gracious, creative, sensitive, earnest

Clothing style: loves a pair of loose, flowy linen pants. fun earrings. different colored jackets. loves a good braid

Meets Luke Hughes when he comes up to her in a bar in New York where she was performing at an open mic night in February 2025. 

On that same night, she meets Jack Hughes, Nico Hischier, Dawson Mercer, Nate Bastian, Clementine Sandoval and Amelie Fishel. 

Through Luke and Jack, she meets Quinn Hughes in March 2025 after the Devils play the Canucks at the Prudential Center.

Random fun tidbits!

Grace gets compared to her friend Renee Rapp a lot in terms of her vocal ability. It’s a common sentiment throughout the music industry that Grace has one of the best voices in the game. She just thrives more behind a pen and paper or in the studio. But any note she sings is always worth stopping and listening to.

Can hold her alcohol scarily well. The only person who has ever come close to beating her is Nico, and that was one of the worst hangovers he ever had. 

She knows how to play a lot of instruments — if Grace sees a guitar she will at least strum it a few times no matter what — but her favorite is the piano with its elegance and its simplicity. Most of the songs she writes start out on the piano. 

Carries a notebook and pen with her at all times

Wine aunt energy

Loves a good croissant

A romantic at heart

[slafkovskys]

https://www.tumblr.com/norrisjosh/742229121724219393/babes-this-is-a-diff-anon-but-i-have-no-thoughts

Now Princess loves making clothes or styling them for Petey. And he absolutely loves it.

during the summer before her senior year, he asks if she would be interested in designing his suit for opening night and she asks if he’s joking. she spends the entire summer sketching and looking at fabrics, trying to finalize what he wants because he gave her complete creative freedom.

as soon as they’re back in vancouver, she spends every free second in the studio at her university sewing the pieces together. elias comes to bother her sometimes, bringing her dinner and making sure that she’s giving her brain a break from the long hours she’s been pulling, but it all pays off in the end.

she’s practically buzzing as he walks out of the door of their (yes, their. he had unofficially moved her in when they touched down from sweden and she just hadn’t bothered to leave) apartment on opening night in a three piece suit completely designed by her. one of the admins posts footage from walk ins and when elias says her name as the designer, she feels like she was going to be sick.

she had to mute notifications because her instagram page started blowing up after his little shoutout, mostly with questions on how one of vancouver’s best hockey players was donning a suit made by a designer who hadn’t even graduated yet.

but that was no one’s business but theirs.

[kylesvariouslistsandstuff]

More Pixar layoffs, because of upper Disney management blundering. 20% of their staff, though not imminent.

Apparently it's a lot of staff that were hired specifically for Disney+ projects, like DUG DAYS and the upcoming WIN OR LOSE. Pixar's scaling down again, and are probably just focusing on features and a handful of shorts. Like they always did.

The Walt Disney Company definitely went all-in on the Disney+ thing, like all these companies did. Streaming was the future be-all end-all, everything else is IRRELEVANT. Best Buy phasing out selling physical media in stores, David Zaslav erasing things, Disney initially withholding Marvel and Star Wars limited series from being shown *anywhere* else, the models for these shows clearly not working... It's like COVID-19 and the streaming blitz accelerated two entirely separate problems in movie-dom, and now we're seeing a sorry fallout of it all.

This is not dissimilar to Pixar opening a Vancouver unit in 2010, which would've handled shorts and specials, only for them to be closed down three years later and their entire staff (around 50-100 people) laid off. And it really sucks, because finding another job isn't all that easy, and being put in that position is stressful and anxiety-stoking to begin with...

It appears history kinda repeated itself in 2024, a little over four years after Disney+ launched. I liked the idea of more Pixar short-form stuff, it's a good way to revisit characters/worlds without having to do more sequels, but streaming can only go so far and it's clearly not making the revenue Disney and shareholders want. And who gets hit the hardest? The creatives, the crews, the people who actually do all the hard work, while the execs - who could probably float to another gig unscathed - fuck around at the top. There were layoffs last year, too, among them Angus MacLane, Galyn Susman, and Steve Purcell. Some real heavy-hitters there...

Of course, the less-educated will immediately see "layoffs" and whine that Pixar should go back to letting only five nerdy white dads direct movies. And that one of those dads, a toxic misogynist who rightfully got Me Too'd, should be their leader again. What kind of animation fan are you? Even if I didn't like the latest movies made at that studio, even hated them... I wouldn't want the people who have to work hard to keep a roof over their heads to get laid off, nor blame their misfortunes on how much you didn't like the teen panda movie. And wanting someone who made many women uncomfortable to be their boss again. The hell is he running another animation studio for? The hell is wrong with ya??

Anyways... I hope those who will be affected find work without struggle.

[inhousecreations]

[kk]

Creativity in the Age of AI: Vancouver AI Community Meetup - June 2024 Highlights

AI Meetup or Avant-Garde Creativity Festival? Delve into Vancouver's surreal fusion of geospatial sound walks, cyborg art, and live beatboxing – a night that redefines the boundaries of creativity and technology.

Hey there, AI innovators and future-shapers, Kris Krüg here, reflecting on our last gathering and looking ahead to our next adventure in the Vancouver AI Community Meetup series. We’re building something special here, and I’m excited to share the journey with you all. June 27th: The Intersection of AI, Art, and Human Creativity Our June meetup at Future Proof Creatives studio was a testament to…

[disneytva]

The Walt Disney Company Leads Nominations On Animation & Puppetry On  Inaugural Children & Family Programming Emmy Awards.

The National Academy of Television Arts and Sciences  on Tuesday morning announced the nominations for the first annual Children’s & Family Emmy Awards, which will be presented on Saturday, Dec. 10 (Creative Arts) and Sunday, Dec. 11 at the Wilshire Ebell Theater in Los Angeles.

The Walt Disney Company lead the pack of the ceremony with over 38 nominations with 12 in Animation & 22 in Live Action and 4 with Puppetry across their multiple studios 20th Television,Disney Television Animation,Walt Disney Animation Studios Vancouver,Pixar Television Animation Studios,Disney Junior Educational Resource Group,Lucasfilm Animation & The Muppets Studio.

OUTSTANDING SPECIAL

 -Muppets Haunted Mansion

OUTSTANDING CASTING FOR A LIVE ACTION PROGRAM

 -Muppets Haunted Mansion

OUTSTANDING ART DIRECTION/SET DECORATION/SCENIC DESIGN

-Muppets Haunted Mansion

 OUTSTANDING SPECIAL EFFECTS COSTUMES, HAIR AND MAKEUP

-Muppets Haunted Mansion

OUTSTANDING MAIN TITLE AND GRAPHICS

 -The Ghost and Molly McGee

OUTSTANDING EDITING FOR AN ANIMATED PROGRAM

 -Ciao Alberto

 -Up’s Dug Days

 -Monsters at Work

-Frozen’s Olaf Presents

OUTSTANDING CASTING FOR AN ANIMATED PROGRAM

-Monsters at Work

 -The Proud Family: Louder and Prouder

OUTSTANDING SOUND MIXING AND SOUND EDITING FOR AN ANIMATED PROGRAM

-Ciao Alberto

-LEGO Star Wars Terrifying Tales

OUTSTANDING WRITING FOR A PRESCHOOL ANIMATED PROGRAM

-Muppet Babies

 OUTSTANDING WRITING FOR AN ANIMATED PROGRAM

-Amphibia

 -Up's Dug Days

OUTSTANDING DIRECTING FOR AN ANIMATED PROGRAM

-Ciao Alberto

-Up's Dug Days

OUTSTANDING DIRECTING FOR A PRESCHOOL ANIMATED PROGRAM

 -Muppet Babies

OUTSTANDING VOICE DIRECTING FOR AN ANIMATED SERIES

 -Amphibia

-The Proud Family: Louder and Prouder

OUTSTANDING ANIMATED SERIES

 -The Proud Family: Louder and Prouder.

 OUTSTANDING SHORT-FORM PROGRAM

 -Ciao Alberto.

 OUTSTANDING DIRECTING FOR AN ANIMATED PROGRAM

 -Ciao Alberto

-Up's Dug Days

OUTSTANDING SOUND MIXING AND SOUND EDITING FOR AN ANIMATED PROGRAM

 -Ciao Alberto

-LEGO Star Wars Terrifying Tales

OUTSTANDING MUSIC DIRECTION AND COMPOSITION FOR AN ANIMATED PROGRAM

-The Wonderful World of Mickey Mouse

OUTSTANDING VOICE PERFORMANCE IN A PRESCHOOL ANIMATED PROGRAM 

-Eden Espinosa as The Queen of Hearts, Alice’s Wonderland Bakery

-Daniel Ross as Donald Duck, Mickey and Minnie Wish Upon a Christmas

[thelensofyashunews]

CAGE THE ELEPHANT’S NEW ALBUM, 'NEON PILL,' OUT NOW VIA RCA RECORDS

Today, Cage The Elephant, the GRAMMY® Award winning rock band release Neon Pill, their 6th studio album. Neon Pill finds the Kentucky-bred six piece—brothers Matthew Shultz [vocals] and Brad Shultz [guitar], Daniel Tichenor [bass], Jared Champion [drums], Nick Bockrath [lead guitar], and Matthan Minster [guitar, keys, backing vocals]— forging new musical ground, while maintaining their uncompromising creativity and wildly cathartic performances. “To me, Neon Pill is the first record where we were consistently uninfluenced, and I mean that in a positive way,” observes Matthew. “Everything is undoubtedly expressed through having settled into finding our own voice. We’ve always drawn inspiration from artists we love, and at times we’ve even emulated some of them to a certain degree. With this album, having gone through so much, life had almost forced us into becoming more and more comfortable with ourselves. We weren’t reaching for much outside of the pure experience of self expression, and simultaneously not necessarily settling either. We just found a uniqueness in simply existing.”

  Rolling Stone spoke with lead singer Matthew Shultz about the new album and upcoming tour and say the new music “sounds like a rich and matured version of Cage the Elephant.” Read the full interview here. The band also recently returned to Jimmy Kimmel Live! to perform the world debut of their song “Rainbow.”

The band recently shared “Metaverse,” the latest single off Neon Pill, which follows recent singles from the new album including “Good Time,” “Out Loud” and “Neon Pill,” which scored the band their 11th #1 song on Billboard’s Alternative Chart.

  Cage The Elephant’s 47-date North American US tour, produced by Live Nation, will kick off on June 20 in Salt Lake City with shows in cities including Seattle, Vancouver, Los Angeles, Chicago, Toronto and New York City (full dates below), with support from Young The Giant & Bakar on most dates.  Tickets and VIP available for all dates are on sale now here.  

On Monday, May 6, iHeartMedia hosted the iHeartRadio Album Release Party with Cage the Elephant in celebration of the new album Neon Pill. The show will broadcast across iHeartRadio Alternative Stations nationwide on May 20 at 8 p.m. local time and in VR on Meta Horizon Worlds at 8 p.m. ET/ 5 p.m. PT. 

  From their humble beginnings in Bowling Green, Kentucky, Cage The Elephant have gone on to become one of the generation’s premier rock bands. They have earned dozens of Gold, Platinum, and Multiplatinum certifications, tallied over 5 billion streams, and notched eleven #1 records on Alternative Radio and 5 #1 records on Triple A Radio. Their previous two albums Tell Me I’m Pretty [2015] and Social Cues [2019] garnered consecutive Best Rock Album GRAMMY® Awards. They are maybe most celebrated for their live show. The stage is their home turf, where they are most comfortable, and their performances, ecstatic and unchained, as well as cathartic and soul bearing are what Neon Pill achieves in documenting.    Neon Pill, produced by John Hill,materialized during sessions at Sonic Ranch in El Paso, Electric Lady in New York, Sound Emporium in Nashville, Echo Mountain in North Carolina, and at Hill’s own studio in Los Angeles, and alchemized a season of tragedy and turbulence into the twelve tracks on their sixth full-length album. Nine months into the pandemic, Matthew and Brad lost their father. The band weathered the back-to-back deaths of friends, while Matthew experience depression and a mental breakdown, culminating in hospitalization. Coming out on the other side, he learned quite a bit about himself, and gained a whole lot of strength and wisdom. Neon Pill came to life in the eye of the storm. 

  Cage The Elephant Tour Dates  June 15 – Manchester, TN at Bonnaroo   June 20 – West Valley City, UT at Utah First Credit Union Amphitheatre^  

June 22 – Seattle, WA at Climate Pledge Arena^ 

June 23 – Ridgefield, WA at RV Inn Style Resorts Amphitheater^ 

June 24 – Bend, OR at Hayden Homes Amphitheater^ 

June 26 – Vancouver, BC at Rogers Arena^ 

June 28 – Edmonton, AB at Rogers Place^ 

June 30 – Spokane, WA at BECU Live at Northern Quest^ 

July 2 – San Francisco, CA at Bill Graham Civic Auditorium* 

July 3 – Santa Barbara, CA at Santa Barbara Bowl^~ 

July 5 – Phoenix, AZ at Talking Stick Resort Amphitheatre^ 

July 6 – San Diego, CA at Viejas Arena^ 

July 7 – Los Angeles, CA at Kia Forum^ 

July 9 – Albuquerque, NM at Isleta Amphitheater^ 

July 11 – Austin, TX at Moody Center^ 

July 12 – Houston, TX at  The Cynthia Woods Mitchell Pavilion presented by Huntsman^ 

July 13 – Fort Worth, TX at Dickies Arena^ 

July 15 – Rogers, AR at Walmart AMP^ 

Aug 2 – Alpharetta, GA at Ameris Bank Amphitheatre* 

Aug 3 – Raleigh, NC at Coastal Credit Union Music Park at Walnut Creek^ 

Aug 4 – Charlotte, NC at PNC Music Pavilion* 

Aug 7 – Noblesville, IN at Ruoff Music Center^ 

Aug 8 – Madison, WI at Breese Stevens Field^ 

Aug 10 – Winnipeg, MB at Canada Life Centre^ 

Aug 12 – Minneapolis, MN at Target Center^ 

Aug 14 – Chicago, IL at Credit Union 1 Arena at UIC^ 

Aug 16 – Grand Rapids, MI at Van Andel Arena^ 

Aug 18 – Saratoga Springs, NY at Broadview Stage at SPAC^ 

Aug 19 – Bridgeport, CT at Hartford HealthCare Amphitheater^ 

Aug 21 – Gilford, NH at BankNH Pavilion^ 

Aug 22 – Mansfield, MA at Xfinity Center* 

Aug 24 – Holmdel, NJ at PNC Bank Arts Center^ 

Aug 26 – Montreal, QC at Centre Bell^ 

Aug 27 – Toronto, ON at Budweiser Stage^ 

Aug 29 – Burgettstown, PA at The Pavilion at Star Lake^ 

Aug 30 – Cincinnati, OH at Riverbend Music Center^ 

Sept 5 – New York, NY at Madison Square Garden^ 

Sept 6 – Philadelphia, PA at TD Pavilion at the Mann^ 

Sept 7 – Lewiston, NY at Artpark Mainstage Theater^ 

Sept 9 – Cleveland, OH at Blossom Music Center^ 

Sept 10 – Detroit, MI at Pine Knob Music Theatre^ 

Sept 12 – St. Louis, MO at Hollywood Casino Amphitheatre^ 

Sept 13 – Des Moines, IA at Wells Fargo Arena^ 

Sept 14 – Kansas City, MO at Starlight Theatre^ 

Sept 16 – Omaha, NE at CHI Health Center Omaha^ 

Sept 18 – Denver, CO at Red Rocks Amphitheatre* 

Sept 19 – Colorado Springs, CO at Sunset Amphitheatre  Sept 27 – Ocean City, MD at Oceans Calling Festival  ^with Young The Giant and Bakar 

* with Bakar 

~Non-Live Nation Date 

[speedofsoundsketches]

Honestly tho even tho they ended up not being animated, I appreciate the Sonic Movies for using practical effects at a time where studios are too cheap to pay for them. Like how they actually made a ruined city block, and actually flipped over cars. They made part of Labyrinth zone be real even tho Robotnik is the only human in it, and made the compass thing a real prop even tho he's the only human to hold it. Part of the mushroom planet was an actual set too

Definitely agree! It's things like which make me get kinda sad thinking "Wow, many people on this team really tried to make this as great as they could even if it wasn't the best story."

I have nothing but respect for the main creative team doing cool stuff like that. It really did add to the action sequences. I wish I had a chance to visit some of the sites they were shooting in Vancouver before they finished up there.