5 Fantastic Things to Watch This Week

March 29, 2021

By Zach Johnson

This week has a little bit of everything, from globetrotting adventurers to pampered pooches—and for that, we couldn’t be more grateful! The week begins Monday when National Geographic debuts a brand-new season of Running Wild with Bear Grylls with celebrity guest Terry Crews, followed by the series premiere of Race to the Center of the Earth, a high-stakes competition reality series. ABC on Tuesday will debut the first episode of the dog-grooming competition series Pooch Perfect. The next night, the network will air the fifth season finale of American Housewife—and it’s chock-full of fan-favorite guest stars. Then, on Thursday, Hulu will add the beloved film That Thing You Do! to its library.

Running Wild with Bear Grylls—Monday, March 29, at 9 p.m. ET on National Geographic
Join Bear Grylls for the wildest season of Running Wild yet! All season long, high-octane celebrity guests will travel to new perilous locations and be brought to the very brink of what they think they can handle as they face the toughest challenges in the series’ history. Whether it’s heights, rattlesnakes, scorpions, or spiders, this season’s displays of courage are nothing short of amazing and awe-inspiring. In the season premiere, Grylls and his first celebrity guest, actor Terry Crews, get dropped atop an Icelandic peak to begin their quest.

Race to the Center of the Earth—Monday, March 29, at 10 p.m. ET on National Geographic
The epic seven-part series is an adrenaline-fueled global competition that pits four teams of three against one another in a nonstop sprint across the globe for a $1 million prize. Racing from different corners of the planet—North America, Russia, South America, and Southeast Asia—the teams will face untamed jungles, frozen arctic, arid deserts, bustling cities, treacherous mountains, and vast oceans to reach the location where all four routes intersect. The first team to arrive at the buoy claims it all. In the gripping series premiere, “Hit the Ground Running,” a steep challenge on the first day will test one team’s resolve.

Pooch Perfect—Tuesday, March 30, at 8 p.m. ET on ABC
Are you ready for a paw-some new reality competition series hosted by Rebel Wilson? The series premiere, “From Grotty to Hottie,” features 10 grooming teams facing off in the first Immunity Puppertunity challenge, in which groomers must turn a muddy mess of a dog into a prized pooch inspired by their “heart dog” to avoid elimination. Then, in the Ultimutt Challenge showdown, the teams must “unleash the beast” in their dog by transforming it into an entirely different animal. The teams will showcase their transformations on the dogwalk in front of judges Lisa Vanderpump, Dr. Callie Harris, and Jorge Bendersky, who will then vote on Best in Show and send one team home with their tail between their legs.

American Housewife—Wednesday, March 31, at 8:30 p.m. ET on ABC
In the hilarious season finale, “The Election,” Katie (Katy Mixon) pushes Cooper (guest star Logan Pepper) to share his passion for the culinary arts and his dream of becoming a chef with his autocratic father, Doyle (guest star Joel McHale). Meanwhile, Greg (Diedrich Bader) and Principal Ablin (Jerry Lambert) go head-to-head when the election results offer an interesting twist. And the whole Otto family—including kids Taylor (Meg Donnelly), Oliver (Daniel DiMaggio), and Anna-Kat (Giselle Eisenberg)—gets the surprise of a lifetime. Guest stars include Jake Choi as J.D., Peyton Meyer as Trip, Evan O’Toole as Franklin, Jim Rash as Walker, Holly Robinson Peete as Tami, and Matt Shively as Lonnie.

That Thing You Do!—Thursday, April 1, on Hulu
Tom Hanks proves he’s a triple threat as the director, star, and writer of this high energy 1996 comedy. He plays Mr. Amos White, the big-hearted manager of a small-town 1960s pop-rock group called The Oneders. After the band’s drummer, Chad (Giovanni Ribisi), breaks his arm, he is replaced by jazz enthusiast Guy “Shades” Patterson (Tom Everett Scott), who injects some much-needed life into their music. Although The Oneders are initially leery of his new groove, it ultimately helps them become an overnight sensation—thanks to a delightfully catchy chart-topper called “That Thing You Do!” Rounding out the film’s cast are Ethan Embry, Charlize Theron, Liv Tyler, Jonathon Schaech, and Steve Zahn.

WandaVision Creator Talks About Bringing Westview to Life as a Female Storyteller and Working Mom

March 26, 2021

By Michael Louie

As Women’s History Month comes to a close, no one will ever forget the iconic world viewers were transported to when the month first began: Westview, New Jersey.

Very few female-led stories have conjured such a magical spell on viewers like Marvel Studios’ WandaVision, an Original series now streaming all episodes on Disney+. With an elite ensemble of female characters including Wanda Maximoff (portrayed by Elizabeth Olsen), Agatha Harkness (portrayed by Kathryn Hahn), Monica Rambeau (portrayed by Teyonah Parris) and Darcy Lewis (portrayed by Kat Dennings), WandaVision showed the world just how strong women can be—both mentally and physically.

But creating a show like WandaVision that transcended decades—literally—was no small task. From bringing generational sitcom eras to life and working with an incredibly strong slate of female actresses and behind-the-scenes storytellers, to balancing Super Hero life with life as a working mom, Jac Schaeffer, series creator and head writer, recently sat down with Rebecca Campbell, chairman of Disney’s direct-to-consumer platforms, to talk about how she made the Marvel magic come alive.

Rebecca Campbell (RC): I’m so excited to be here and chat with you. WandaVision, as you know, has created an amazing buzz. It’s such a creative endeavor, and as I watched each episode, it’s truly unlike anything I’ve ever seen before. The genres, the decades, how that all came together—tell us about it.

Jac Schaeffer (JS): It has been the most spectacular creative endeavor of my career. I’ve worked on big projects before, but this show really seemed to be charmed from the beginning. It was [Marvel Studios president] Kevin Feige’s idea—blending Wanda, Vision, and sitcoms and to use it as an exploration of Wanda’s story of grief and loss. From my producer Mary Livanos, to the incredible writers room I assembled, to cast and crew and beyond, everybody who worked on this project really showed up with an enormous amount of enthusiasm for the unusual project we were putting together.

RC: WandaVision is the first live sitcom taping in Marvel Studios’ history, and it’s such an homage to American sitcoms, which I grew up watching. How did you decide which sitcom era you wanted to use, and can you talk about what the live studio audience provided?

JS: Early on, when we were having in-depth conversations in the writers room about sitcoms, in occurred to us that shooting in front of a live studio audience would be such a dream. And at that time, we didn’t dare believe it would happen. With Marvel, there’s a level of secrecy that’s almost like espionage.

But as we got closer and director Matt Shakman came on and was onboard with that idea, we mobilized to do it. It required a Herculean effort to make it happen and keep it safe. But on the day, it was just a party. We encouraged the audience to dress according to the era. My mom was there with her little fascinator hat and her brooch. My dad was there in his three-piece suit. It was so special, and the cast talks about how it was like doing a play where they were bumping into each other behind the scenes. It was such a wonderful way to launch the production.

In terms of the sitcoms that we chose, there’s so many incredible television shows through the eras. I’ve always had a huge amount of respect for television. Our guiding light was very much aspirational family sitcoms. There was what we really zeroed in to make the narrative cohesive.

RC: The powerful characters on your show are portrayed by such strong, female actresses. What was it like working with women like Elizabeth Olsen, Kathryn Hahn, Teyonah Parris and Darcy Lewis—just to name a few.

JS: It was an absolute dream. These are women who are incredibly talented and committed to their craft. They have the same agenda that I do—which is to get representations of complex, fully-realized women on screen. They have questions. They want to know. They want to be involved.

Especially with Lizzie and Kathryn, a lot of that storyline was evolving as we were shooting. They had such terrific insight into the complexity of their specific relationship. In the comics, Agatha Harkness is a mentor, nanny, and mother figure. And even though we set her up to be a villainous force in the show, all of those aforementioned qualities are still there, because that’s what Lizzie and Kathryn wanted to do. They developed an incredible bond in the process of developing this show.

With Teyonah, she’s new to the Marvel Cinematic Universe (MCU). She takes the responsibility very seriously. Her character, Monica, has this deep center of sadness because of what she’s gone through in the immediate past of the show. But Teyonah is a bright light. She’s such a beautiful person inside and out. So it was great working with her to establish a new character and an origin story inside of the show.

Kat is jut the funniest person ever. It’s such a delight to still have her be funny and recognizable as the Darcy we love, but at the same time, it’s been eight years and the lady’s gotten a degree! She has a PhD and she’s a science expert! Working with her was just a dream.

RC: I heard you worked with some incredible women behind the camera as well?

JS: My producer, Mary Livanos, was my very first partner on the show, and partner throughout. She is an extraordinary talent. Creating something can be very frenzied and chaotic, and she had my back through everything. I’m lucky to have done this with her.

In my writers room, there were four female writers: Laura Donney, Mackenzie Dohr, Gretchen Enders, and Megan McDonnell—who is now writing Captain Marvel 2. And then of course, my assistant, Laura Monti, who was instrumental in helping me survive the process and in being a creative sounding board.

And then on the show, there’s Tara DeMarco, who does visual effects. I can’t even guess what percentage of the show is visual effects and she came at it from this place of realism. She wanted it all to feel real and lived-in. There’s also Mayes Rubio, who does wardrobe. Are there any words to describe how special her work is on the show?

And then of course, at the very top is Victoria Alonso, who is everything. She has made my time at Marvel so safe, and I have felt so honored to know her. She is my role model. Victoria shows how you can be authoritative in the workspace and also be a person, talking about family and uplifting other women. She’s everything.

RC: She is everything. I love her too. It’s so great to hear that you have such a support system. Throughout the show, not only did we see Wanda’s incredible strength and superpowers, but we also saw a lot of emotions and how she dealt with love and grief. And that’s something women of all ages go through. How important was it for you to put forth a story where female viewers, particularly young female viewers, could see themselves in real time on screen?

JS: It was vital to have a conversation about emotion and mental health with this show. I hired mostly younger writers because I’m so impressed with how that generation can speak so plainly about mental health issues. They were very motivated to treat Wanda’s experience seriously and with care.

My personal world view is that it’s all about empathy. Anything can be solved with empathy. So in storytelling, if you can fully tell what’s happening inside of a human, you can empathize. And then that opens your world view and softens your anger, resistance, prejudice, and bias.

That was our agenda. The heartbreaking moments in the show are few and far between, but they are so resonant because of all these conversations we had. We felt very tasked with bringing that authenticity to the show.

RC: As we think beyond WandaVision, the comic book genre is one that has been very heavily male-dominated. And as that narrative continues to change, due in large part to shows like this, can you talk about the importance of female storytelling in the comic book genre and today’s society as a whole?

JS: Female storytellers are needed in all genres. As are storytellers of color. We need all the perspectives.

Specifically in the superhero space, there are so many female superheroes, and historically, those storylines have been written by men, perhaps with a lack of full understanding. I think there are some tropes and clichés that have calcified over the years in the stories of female superheroes with characters like Scarlet Witch and Jean Grey, but lesser with Carol Danvers who’s had some fantastic writing for her series.

The hysterical women trope is the idea that if women have an enormous amount of power, they will not be able to control it. What I’m trying to put in the world is the story that a woman can be powerful, but she can also save herself. Or she can have connections with other women or other empathetic characters who can help her through the conflict.

We were not going to have Wanda freak out that she couldn’t control it. She was going to solve it.

RC: I know we’re both moms, and my daughter is a huge Marvel fan. She’s really excited that I have this opportunity to talk to you. I often talk to her about using our superpowers, and as a mom, what those are. I’m curious what is your superpower strength as a working mom?

JS: What a question! The thing I’m always trying to do is to be present. The hardest part about being a working mom is the balance of time. Wherever I am, whether I’m at work or with my family, I want to be there for that. And I am not always successful. Often I have a conversation with myself that the story point I’m noodling or the concern I have about shooting has to be set down so I can be with my child. That’s the mom superpower I’m always aiming for.

RC: I can’t imagine how proud they are going to be of you and all your accomplishments. Just you wait—that’s coming your way. On behalf of all of my colleagues at Disney+, I want to say thank you so much for entrusting your fantastic work on our platform. We’re thrilled so many people around the globe got to see it.

JS: Thank you for all of your work. I’m delighted to have the show on Disney+!

The Mighty Ducks: Game Changers—Disney+ Drops the Puck on an Inspiring Underdog Story

March 25, 2021

By Beth Deitchman

In the new Disney+ Original series The Mighty Ducks: Game Changers—which begins streaming this Friday, March 26—the team we came to know and love back in the ’90s has lots to quack about: When it comes to youth hockey, they’re as good as it gets. And for young players like Evan (Brady Noon), who work hard but are just too small, too slow, or too something? Well, the Mighty Ducks coach tells him, “At this age, if you can’t be great at hockey it’s like, don’t bother.” To say the least, this doesn’t sit well with Evan’s mom, Alex (Lauren Graham), who sets out with Evan to build a whole team of “don’t bothers.” Their mission leads them to the Ice Palace and Gordon Bombay (Emilio Estevez), who has also come a long way from when we last saw him in the third film of The Mighty Ducks franchise… but unlike the Ducks, not in a particularly good way.

During the recent Television Critics Association press tour, Estevez shared that he and Steve Brill (writer and producer of the original The Mighty Ducks) first discussed revisiting the franchise several years ago. He says he told Brill he would return to Bombay only “if we can capture the magic of the first films, the magic of the franchise; if we can create a cinematic experience and not just try to cash in on the nostalgia aspect of it. And I think that’s ultimately what we’ve done.”

For the new series, executive producer Brill teamed up with executive producer/showrunners Josh Goldsmith and Cathy Yuspa (The King of Queens, 13 Going on 30) to tell a story that’s relevant to kids playing hockey—or softball, or tennis, or any sport, for that matter—and their parents. Yuspa says, “One of the things that excited us about the project is that kids who grew up watching [The Mighty Ducks] now have kids of their own, and this can be a family experience.” Goldsmith and Yuspa aren’t just writing partners, they’re also a married couple with children who play sports, so they’ve experienced firsthand this shift in the level of competition in youth athletics. Yuspa shares, “We’ve had so many experiences with our kids, with parents out there who just put so much pressure on their kids, that’s what we felt was the heart of the show: Can’t kids play sports for fun anymore?”

“These kids these days: They have trainers. They specialize. They eat salads. They get flexor injuries very early in their sports careers,” Goldsmith adds. “We would look at ourselves and look at everyone and say, ‘Why are we living like this? No one here is going to go on and play professional sports. Maybe somebody will, but the odds are very small, so can’t we just have a good time?’”

“I just loved the message of the show, which is how to find your joy,” Graham says. Her character, Alex, is initially the driving force in building a new team of kids who are in it purely for the love of the game. But, Graham notes, “In the trajectory of my character, I don’t get it right all the time. I start with kind of a ‘kumbaya’ attitude, and then I get excited when we do well.” Alex has to consider what is her responsibility to Evan and the kids and, Graham emphasizes, “I just love the positivity of the show and love being part of the Ducks.”

Estevez admits that he likes seeing Bombay as a “truth teller” who puts into perspective for both the kids and the parents in The Mighty Ducks: Game Changers that the vast likelihood is that none of the young players will go on to have professional hockey careers. “The chances are a million to one; you have a better shot of winning the lottery,” Estevez says. It was a big shift, the actor says, going from “the coach that we wished we all had” to someone who is essentially hiding out when he’s reintroduced in the new show. But over the course of the season, Estevez says, “We see [Bombay] getting reengaged thanks not only to the kids and training them, but also through Lauren’s character drawing him out, drawing some truth out of him.”

As is the case with so many of our favorite sports movies—which, of course, includes The Mighty Ducks—the themes of the new series extend well beyond the area of play. “It’s not just sports where kids are feeling this pressure. It’s everywhere,” Goldsmith explains. “Sports is a great way to tell a story, but all of our kids—the characters that we’ve created for our team—they have issues that are not all just sports-related. They have issues at home. They have issues socially with friends. They’re all dealing with things in different ways, and sports help them get through and process their issues and come out the other side.”

Hockey, Brill points out, is a beautiful, fluid sport. “We also tried to do that as a theme, letting that sport itself, the true beauty of it and when you compete on a natural level, how that can be freeing and opening.” He also notes the importance of the team as a found family in The Mighty Ducks: Game Changers. “We bring this group together and they stick together and they fly together,” Brill says, just like the original Mighty Ducks.

Estevez and Graham are joined in The Mighty Ducks: Game Changers by a talented new team of up-and-coming-young actors including Noon, Maxwell Simkins, Swayam Bhatia, Luke Islam, Kiefer O’Reilly, Taegen Burns, Bella Higginbotham, and DJ Watts. The series is produced by ABC Signature, a part of Disney Television Studios. In addition to Brill, Goldsmith and Yuspa, executive producers include Michael Spiller, who is a director on the series; James Griffiths, who directed the pilot; and Estevez. Graham is on board as co-executive producer, with George Heller and Brad Petrigala of Brillstein Entertainment Partners and Jon Avnet and Jordan Kerner also serving as non-writing executive producers.

5 Fantastic Things to Watch This Weekend

March 25, 2021

By Zach Johnson

What in the worlds of Disney are you watching this weekend? We’re kicking things off Friday with a new episode of Raven’s Home on Disney Channel and following it up with the 2011 film Gnomeo & Juliet, which is joining the Disney+ library. On Saturday, a new season of Alaska Animal Rescue debuts on Nat Geo WILD. Then, on Sunday, rev your engines as Freeform airs Cars, Cars 2, and Cars 3 in succession. Cap off the weekend with a nail-biting episode of American Idol on ABC, as the remaining contestants compete for a Top 24 spot.

Raven’s Home—Friday, March 26, at 8 p.m. ET on Disney Channel
In the brand-new episode “Diff’rent Strikes,” school is interrupted by a Chicago teachers’ strike. It isn’t long before Booker (Issac Ryan Brown) has a vision and enlists his sister, Nia (Navia Robinson), and his friends Levi (Jason Maybaum) and Tess (Sky Katz), to help him start a home study group. If only he could’ve foreseen how quickly it spirals out of control…

Gnomeo & Juliet—Friday, March 26, on Disney+
Two neighbors compete over whose garden—both of which are decorated with tacky gnomes—is better. What they don’t know is that the gnomes come to life when they aren’t seen by humans! The gnomes in one yard, the Reds, are sworn enemies of the gnomes in the other yard, the Blues, and each group is constantly trying to outdo the other. But after a blue gnome, Gnomeo (voice of James McAvoy), and a red gnome, Juliet (voice of Emily Blunt), fall in love, they get caught up in the feud between neighbors—which soon becomes a war.

Alaska Animal Rescue—Saturday March 27, at 10 p.m. ET on Nat Geo WILD
In the season premiere, “Beast Friends Forever,” the animals are getting a little help from their friends! At the Sealife Center, two harbor seals buddy up and use the power of friendship to work through their rehab together. At Alaska Wildlife Conservation Center, an orphaned caribou searches for a herd to call her own. And over at the Alaska Raptor Center, a bald eagle may finally get his shot at freedom after four years of rehabilitation.

Cars Marathon—Sunday, March 28, at 8:35 a.m. ET on Freeform
Ka-chow! The network is airing three Disney and Pixar films—Cars (2006), Cars 2 (2011), and Cars 3 (2017)—back-to-back until 4:20 p.m. ET. The trilogy follows the adventures of racecar Lightning McQueen (voice of Owen Wilson) and his friends from Radiator Springs, including Mater (voice of Larry the Cable Guy), Sally (voice of Bonnie Hunt), and Doc Hudson (voice of Paul Newman). From competing in the Piston Cup Championship and the World Grand Prix to finding himself pushed out of the sport he loves, Lightning sets out to prove himself, time and again. He just needs to keep an eye out for those unexpected turns.

American Idol—Sunday, March 28, at 8 p.m. ET on ABC
The “Showstoppers” round marks the first time this season that the contestants will showcase their vocals by performing with a band. It’s their last chance to make it into the coveted Top 24, and their remarkable performances lead judges Luke Bryan, Katy Perry, and Lionel Richie to make some difficult decisions and share even more shocking results.

Disney Animation Makes Women’s History While Making Raya and the Last Dragon

March 25, 2021March 24, 2021

By Beth Deitchman

The spirit of Women’s History Month shines through in Walt Disney Animation Studios’ newest film, Raya and the Last Dragon. The movie tells the story of a young warrior who embarks on an epic journey in the fantasy world of Kumandra as she sets out to track down the legendary last dragon, Sisu, to further her quest to restore the fractured land and bring together its divided people. Raya is a skilled warrior and Sisu possesses a delightfully unexpected assortment of magical dragon talents, but between them, the heroes also share a wealth of superpowers that includes bravery, resilience, optimism, and hope. These strong women have been brought to the big screen and Disney+ by a talented team of writers, artists, and technologists at Disney Animation who have made new women’s history during the creation of the film.

Produced by Osnat Shurer, Raya and the Last Dragon was developed under the leadership of Disney Animation’s Chief Creative Officer, Jennifer Lee; with co-writer Adele Lim, head of story Fawn Veerasunthorn, and head of animation Amy Smeed among the women leading the creative charge on the film. Additionally, Raya and the Last Dragon has an all-female technical leadership team led by technical supervisor Kelsey Hurley, and associate technical supervisors Gabriela Hernandez and Shweta Viswanathan; as well as simulation supervisor Avneet Kaur and the first woman to serve as head of modeling on a film from Disney Animation, Alena Wooten.

The amazing women working “behind the camera” on Raya and the Last Dragon couldn’t help but be affected by the powerful women characters they were bringing to life on screen. “I think we inspired each other! I come from a family of strong women, as I know do many of the other women behind the scenes, and their inspiration is apparent in the powerful characters on the screen,” Shurer tells D23. “At the same time, Raya’s courage, not just as a masterful martial artist but even more so the courage she has to be vulnerable, to take the first step towards trust, towards bringing us all together—even in the face of betrayal, setbacks, and loss—is truly inspiring to me.”

In honor of Women’s History Month, we asked some of these groundbreaking women to share what inspired them to pursue their careers and offer advice to other young women who may also want to work in animation.

Osnat Shurer, Producer

Are there mentors you credit with influencing you as you’ve built a successful career in animation, and what specific advice would you offer to women at the Studio who are in the early stages of their own careers in animation?
I have learnt so much from so many people in my career, from directors such as Brad Bird, Andrew Stanton, John Musker & Ron Clements, and, most recently, Don Hall, as well as from great visionaries I was fortunate enough to work with, such as Ed Catmull and Steve Jobs.

When it comes to women who influenced me, the greatest of these was my mother, Sarah, who would be turning 100 this week—a freedom fighter for the independence of her country, an inspirational teacher to many generations for over 70 years, and a true believer in equality and the power of common sense!

To women at early stages of their careers I would say keep going. If you encounter setbacks along the way, take a moment to feel what you feel, and then get back into it. Your story, our stories, are valuable and important and need to be told, and your voice in shaping these stories is essential.

Is there something that you know now working as a woman in animation that you wish you’d understood at the beginning of your career?
Animation is an incredibly collaborative process. As I’ve had the opportunity to work on different projects, I’ve come to see that everyone working on the film has the same goal in mind—to tell a wonderful story for the ages, filled with heart and humor, about something that is important to us. So if you see something that could be better, or more sensitively or equitably handled on screen, find a thoughtful way to bring it up to the filmmakers. While there might be a slightly uncomfortable moment, it will pass, and the film—and the filmmakers—will be better for it, having gained deeper empathy and respect.

Amy Smeed, Head of Animation

Can you describe your role in bringing Raya and the Last Dragon to the screen?
In my role as Head of Animation, we work closely with the directors to make sure their vision for the acting and performance of our characters is seen onscreen.

What made you want to pursue your career? Are there any specific films or experiences that inspired you to want to work at Disney Animation?
My favorite subjects in school were always my art classes—I especially loved my painting classes. I loved “creating” in general, and that would come out in various forms. I grew up loving animated films and seeing all the Disney films, but it hadn’t occurred to me that people were actually creating all of the beautiful artwork and characters. I spent the first few years in college studying painting before ever taking an animation course. As soon as I took that first class, I instantly fell in love with creating characters and bringing them to life. Disney has always been incredible at creating stories and characters that audiences can connect with, so it has been an honor to be part of that storytelling today.

What words of encouragement would you offer to young women who would also like to pursue a similar career in animation?
Animation is a lifelong journey. I’m still learning something new with each scene I get. It takes years to master the principles of animation, and that’s just the start. Be patient and know that you’ll make lots of mistakes, but that’s OK—we all do every single day! Be determined, believe in yourself, and stay open to critiques. Our best animators are those who are constantly seeking out feedback and those who are always pushing themselves to learn new things. It’s an incredibly collaborative medium, and something I love about creating our characters and films.

Kelsey Hurley, Technical Supervisor

Can you describe your role in bringing Raya and the Last Dragon to the screen?
As Technical Supervisor, it’s my job to ensure we have everything we need from a technical standpoint to create the film. This ranges from making sure we have the toolsets needed, to making sure we have enough render capacity and disk space. Along with two Associate Technical Supervisors, Gabby and Shweta, we lead a team of technical directors (TDs) who provide troubleshooting support for artists as well as develop new tools for them. In conjunction with this, I lead collaboration with our engineering teams for larger development initiatives.

What made you want to pursue a career in animation technology? Any specific films or experiences that inspired you when you were younger?
As a child, I was always interested in art and computers, but growing up, I didn’t know a job like this even existed. Finally in college, I learned that there were jobs in this industry and in that moment everything I did was towards the goal of working in animation. While I love art, I’m not a strong artist, so when I found out that this job acts as a bridge between art and technology, I felt like it was the perfect fit.

What words of encouragement would you offer to women who are thinking of pursuing a similar path?
Be confident in yourself and find your voice. Those are the two things that have changed my life and let me go out for different opportunities, even when they scared me.

Gabriela Hernandez, Associate Technical Supervisor

Can you describe your role in bringing Raya and the Last Dragon to the screen?
I’m in the technical director department. In collaboration with artists and software engineers, technical directors develop pipeline tools and workflows that empower the artists to create the characters and environments in a movie. We also provide support and troubleshoot any technical issues the artists run into in their day-to-day. My role specifically on Raya and The Last Dragon was Associate Technical Supervisor for Characters. I managed the pipeline for anything character related such as Character Modeling, Look Development, Rigging, Simulation, Animation, Technical Animation, and Crowds. I had a great team by my side!

What made you want to pursue a career in animation technology? Any specific films or experiences that inspired you when you were younger?
I just love problem solving and creative environments. Being a TD at Disney is perfect for that. Every day there’s a new problem to solve.

What words of encouragement would you offer to women who are thinking of pursuing a similar path?
Don’t be afraid to speak up and take up space. Believe in yourself. We, too, deserve a seat at the table.

Shweta Viswanathan, Associate Technical Supervisor

Can you describe your role in bringing Raya and the Last Dragon to the screen?
My job title on Raya and the Last Dragon was Associate Technical Supervisor, focusing on Environments. I partner with my counterpart on the character side (Gabby, in this case), the technical supervisor (Kelsey), and work with the creative department heads and Technology to make sure that we have what we need to deliver the artistic and technical goals for the movie.

What made you want to pursue a career in animation technology? Any specific films or experiences that inspired you when you were younger?
I was always interested in art, though in hindsight I wasn’t very good. I grew up in India, where there isn’t a lot of focus on creative fields, although that is changing slowly, and went into Computer Science, which is the best way to find a job. But I still wanted to find something that would be a good mix of both and then I heard about the Technical Director role—and the rest is history. The Lion King will continue to be among my favorite movies. And I remember watching Tangled and thinking, “How cool would it be to do that?”

What words of encouragement would you offer to women who are thinking of pursuing a similar path?
From a technical aspect, this job is all about problem solving. A programming background is essential since we build a lot of tools for the artists. I’d also add: Be curious and open-minded and don’t be afraid to ask questions because that’s a great way to learn. Having mentoring, tutoring, and TA [teaching assistant] experience also goes a long way, since a lot of our day is people-facing and having good soft skills is a huge plus.

Alena Wooten, Character Modeling Supervisor

Can you describe your role in bringing Raya and the Last Dragon to the screen?
As a Character Modeling Supervisor, I provide direction and feedback to my team, as well as work closely with other department supervisors. I help translate 2-D drawings into fully 3-D models—similar to clay sculpting—but on the computer. I help my team create the shape language and visual appeal of the characters that become the characters we see on the screen. We set the foundation of the characters for all the other departments to build on top of in the character asset team, which includes Rigging, Simulation, Look, Technical Animation, and Animation. It’s a very collaborative process.

What made you want to pursue your career? Are there any specific films or experiences that inspired you to want to work at Disney Animation?
I grew up watching Disney films; they were a huge part of my life. I was the only artistic one in my family. While my sister was watching TV, I’d sit and draw any and all Disney characters. Granted, my drawings weren’t that great but the characters excited me and I was drawn to how magical they were. I became a huge fan of Disney maquettes later on, and as I went to college studying Business Management, I found my passion in traditional sculpting. After college, I spent a year practicing and learning how to sculpt. In fact, one character I was inspired by was Kuzco from The Emperor’s New Groove. I found a 2-D turnaround sheet online and sculpted the maquette! I started working at Blue Sky Studios in 2012 as a sculpting assistant, switched to digital shortly after, and found my way to Disney as a character modeler. It was a complete circle!

What words of encouragement would you offer to young women who would also like to pursue a similar career in animation?
I think the one thing I would say to young women is, “You can do it! You always have!” Now is the time and place for you to be you and own your magic. Be true to yourself. Know you always have what it takes to do your passion and find your place; now you have the opportunity to shine. I feel this question should be, “What encouragement do I have to [all] young people?” as we are all one and all equal… It’s important to know we are united.

Avneet Kaur, Simulation Supervisor

Can you describe your role in bringing Raya and the Last Dragon to the screen?
I essayed the role of Simulation Supervisor on this film. My team was responsible for creating simulation setups for authoring cloth and hair performances for every character in the film. Character designs in this fantastical world of Kumandra were inspired by the many cultures of Southeast Asia. Realizing the unique wrapped clothing (like the sampot, dhoti, and wrap) was a new and interesting challenge in this film. My team and I collaborated very closely with other asset departments and character designers to bring our beautiful characters to life.

Raya and the Last Dragon is a fantasy action-adventure with themes of community and trust. Building upon this sense of community and supporting one another was the key in being able to accomplish the high level of artistry on the film. A sentence we used to describe the film is, “It takes more than a dragon to save the world; it takes trust and teamwork.” This became a living metaphor to describe how we all came together to accomplish the successful completion of the characters for this film, even when working from home.

On many fronts, this has personally been a very special film for me to work on. Having grown up in Asia, I am very proud of my heritage and I feel lucky to have gotten the chance to experience and synthesize the best of both worlds, which allowed me to bring a unique perspective to the table throughout the making of the film—from development through production. It’s truly been a dream come true to work on a Disney film that finds inspiration in the many cultures that are so close to my heart.

What made you want to pursue your career? Are there any specific films or experiences that inspired you to want to work at Disney Animation?
I always loved to draw as a kid. My family encouraged my passion for the arts and I studied architecture in India, which gave me a very well-rounded education—both in art and sciences. With a desire to advance my knowledge, I applied to the Masters of Visualization Sciences program at Texas A & M University, and it was while pursuing this program that I was exposed to the amazing world of creating animated features. I was completely intrigued by the amalgamation of the art and technology that went into making CG films. I had always loved films and had grown up watching all genres of Bollywood and Hollywood films, so I decided to pursue a job making animated movies, which allowed me to channel my passions and hobbies into a meaningful career. With an aspiration of working at Walt Disney Animation Studios, I joined the studio in 2005 and I feel blessed to be working here, every single day.

What words of encouragement would you offer to young women who would also like to pursue a similar career in animation?
If you have the willpower, grit, and resilience never to give up on your aspirations and dreams, you will surely find your way to fulfill them.

QUIZ: Can You Finish These Hannah Montana Lyrics?

March 24, 2021March 17, 2023

Sweet niblets! It was 15 years ago today that we first met Miley Stewart—average teenager by day, pop superstar singer by night—in the classic Disney Channel series, Hannah Montana, which ran from March 24, 2006 until January 16, 2011. The show marked a career-making debut for Miley Cyrus, who starred as the title character, a hugely successful pop singer with a wardrobe (and a closet!) to die for and an ever-growing list of hit records. But when Miley took off Hannah’s wig, she was just an “ordinary girl.” Who would’ve thought that a girl like her would double as a superstar? Usually no one, but there were a lot of close calls over Hannah Montana’s four seasons, which were filled with slapstick shenanigans and infectious songs we still haven’t gotten out of our heads 15 years later.

In honor of this milestone anniversary, we’ve got the best of both worlds: a celebration of the iconic series and a chance to see how your Hannah Montana memories stack up. Can you finish the lyrics to these hits? See how well you do, and then head over to Disney+ where all four seasons of Hannah Montana are streaming now.

1. “You get the best of both worlds. Chill it out, take it slow, then you ____ “
A. Go with the flow
B. Rock out the show
C. Just can’t say no
D. Can’t wait to go

2. “Gotta make this party grow… Together we can ____”
A. Make it blow
B. Let it go
C. Start the show
D. Make it glow

3. “Something’s been telling me, telling me maybe ____”
A. This could be true love
B. This might just be love
C. We could be in love
D. He could be the one

4. “So I’m moving on, letting go, holding on to ____”
A. My memories
B. Tomorrow
C. The future
D. What I had

5. “When you ask, ‘Do you want to dance, my _____ Cinderella?’
A. Lovely
B. Princess
C. Barefoot
D. Graceful

6. “I know where I stand, I know who I am, I would never run away when ____”
A. You get mad
B. It gets hard
C. I feel sad
D. Life gets bad

7. “Who said, who said I can’t be Superman? I say, I say that ____”
A. I know I can
B. I am that strong
C. I’m gonna fly
D. I’m made of steel

8. “Everybody makes mistakes, everybody ____”
A. Loses their way
B. Has to pay
C. Come what may
D. Has those days

9. “Sometimes I’m lazy, I get ____; I get scared, I feel ____”
A. Bored, ignored
B. Sad, so mad
C. Tired, inspired
D. Mean, unseen

10. “I know how you always seem to go for ____ instead of me”
A. The other girl
B. The movie star
C. The obvious
D. The heroine

Correct answers:

1. B, Rock out the show (“Best of Both Worlds”)
2. A, Make it blow (“Pumpin’ Up the Party”)
3. D, He could be the one (“He Could Be the One”)
4. B, Tomorrow (“Wherever I Go”)
5. C, Barefoot (“Barefoot Cinderella”)
6. D, Life gets bad (“I Got Nerve”)
7. A, I know I can (“Who Said”)
8. D, Has those days (“Nobody’s Perfect”)
9. A, Bored, ignored (“Ordinary Girl”)
10. C, The obvious (“If We Were a Movie”)

If you got…

1–4
Nobody’s perfect. You gotta work it again and again ’til you get it right. Better luck next time!

5–8
Get up, get loud, start pumpin’ up the party now! You’re this close to an all-access pass. Watch a few episodes of Hannah Montana on Disney+ and give the quiz another try.

9–10
Everybody makes mistakes… but not you, when it comes to Hannah Montana lyrics. Congratulations—you’re the ultimate fan!

Women of Ink and Paint: Bea Tamargo

March 24, 2021

By Amy Opoka, Walt Disney Archives

Women have worked at The Walt Disney Studios since it opened in the 1920s. Here at the Walt Disney Archives, we love to shine a light on some of those amazing trailblazers!

Berta “Bea” Tamargo was born in 1928 in Havana, Cuba, but moved with her family to Miami when she was 10 years old. She started studying art in high school and fell in love with it.

When her family moved to Los Angeles, Bea decided to get a job at The Walt Disney Studios. She was hired as an Inker for the Ink and Paint Department in 1946. Her talent for drawing was soon recognized and she was promoted to Assistant Animator. She was one of a few women who worked in the Animation Department at that time.

Bea worked on the feature length films Cinderella (1950), Alice in Wonderland (1951), Peter Pan (1953) and Lady and the Tramp (1955). The Walt Disney Archives Photo Library is home to photos of Bea in action, including images of the artist working on Lady during the production of Lady and the Tramp in 1954.

Bea Tamargo sketches Lady from *Lady and the Tramp*.

Bea’s background and language skills were a valuable asset for The Walt Disney Studios as well. She was called in on many occasions to help interpret and translate for Spanish-speaking dignitaries and guests visiting the Studios. She also helped dub lines for cartoon productions with Latin American backgrounds, and even occasionally served as a live-action reference model.

With such a long list of talents, we are honored that Bea spent her formative years creating magic at the Walt Disney Studios! Thank you, Bea!

Remembering Jim Cora

March 23, 2021March 24, 2021

By The D23 Team

Disney Legend Jim Cora, who joined Disneyland Park as an attractions host in 1957 and retired as chairman of Disney International 43 years later, passed away Sunday after a brief hospitalization. He was 83.

“Very few people have a Disney legacy that reaches as far and wide as Jim Cora,” said Disney Parks chairman and former Disneyland resort president Josh D’Amaro, “His dedication to bringing Disney magic to people around the world was only matched by the passion he exuded throughout his career and for the many years that followed. I always loved hearing Jim’s thoughts about our business. He was one of our last connections to Walt Disney and he will be missed dearly.”

Cora credited his push from the Matterhorn Bobsleds to the Disneyland Administration Building to a fellow named Walt Disney. “He asked me if I had an interest in training,” Jim recalls. “[Future Disney Legend] Van France was just starting the University, and he was looking for five guys.”

A few years later, while working for Retlaw Enterprises (the Disney family-owned company), Jim was part of the opening team for Walt Disney’s Enchanted Tiki Room.

Jim graduated from California State University, Long Beach in 1962 with a Bachelor of Arts in English. He also attended a two-year executive management program at the University of Southern California.

For 10 years, Jim held positions of increasing responsibility in management at Disneyland. In 1971, he assisted in the opening of the Magic Kingdom at Walt Disney World, implementing the “Disney Way of Leadership” program. In 1974, as staff assistant to Dick Nunis, president of Walt Disney Attractions, Jim redesigned the Disneyland Park operating organization to the “area concept,” becoming one of three production directors for the Park, responsible for Fantasyland and Tomorrowland.

In 1979, Jim assumed the responsibilities of managing director of Operations for the Tokyo Disneyland Project. In this capacity, he was responsible for all operational planning and management training for Tokyo Disneyland.

In preparation for the opening of Tokyo Disneyland, Jim was promoted to vice president, Walt Disney Productions Japan, Ltd. He relocated to Japan and was instrumental in providing ongoing support and advice to Oriental Land Company (owner and operator of Tokyo Disneyland), as well as overseeing Disney’s operational and design standards. In 1983, Jim returned to California and assumed the position of vice president, Disneyland International.

In 1985, Jim was responsible for negotiating the agreements, master planning, and site research for the Disneyland Paris project. In 1987, he was promoted to executive vice president and chief operating officer for Euro Disneyland Corporation.

In 1995, Jim was promoted to president, Disneyland International, responsible for the development and creative direction of Tokyo Disneyland, in addition to directing the strategic and creative development of Tokyo DisneySea. In 1999, Jim was promoted to chairman, Disneyland International, where his primary focus was to develop and maintain the strategies that ensured the continued growth and success of the Tokyo Disney Resort. He retired from that position in 2001, after 43 years with Disney.

After retirement, Jim was heavily involved in volunteer work, including with Taller San Jose Hope Builders, and for years was on the board of directors of St. Joseph Hospital in Orange, where he passed away. He had recently completed his memoir, Not Just a Walk in the Park: My Worldwide Disney Resorts Career, which will be published later this year by Disney Editions.

Jim is survived by his wife, Mimi; daughter René Wong and her husband Kelly; his son Jim, and his wife, Bonnie; two grandchildren, Kayleigh and Joshua; and siblings Marilyn and John. Jim was preceded in death by his daughter, Michelle, in 1995.

Just Announced: Disney Media & Entertainment Distribution Reveals New Release Details for Upcoming Slate of Films

March 23, 2021

By Beth Deitchman

Mark your calendars! Disney Media & Entertainment Distribution today announced new release details for a number of titles on Walt Disney Studios’ upcoming slate of films, including Disney’s Cruella, Marvel Studios’ Black Widow, and Disney and Pixar’s Luca.

“Today’s announcement reflects our focus on providing consumer choice and serving the evolving preferences of audiences. By leveraging a flexible distribution strategy in a dynamic marketplace that is beginning to recover from the global pandemic, we will continue to employ the best options to deliver The Walt Disney Company’s unparalleled storytelling to fans and families around the world,” said Kareem Daniel, Chairman, Disney Media & Entertainment Distribution.

Disney’s live-action Cruella will launch simultaneously in theaters and on Disney+ with Premier Access in most Disney+ markets on Friday, May 28, followed by Marvel Studios’ long-awaited Black Widow on Friday, July 9, respectively. This comes on the heels of the successful release of Raya and the Last Dragon, which launched in theaters and on Disney+ with Premier Access on March 5.

Similar to the launch of Disney and Pixar’s Academy Award®-nominated Soul that delighted Disney+ subscribers during the holidays, Disney and Pixar’s Luca will stream directly in homes worldwide exclusively on Disney+ beginning Friday, June 18, as a special offering to kick off the summer season. In international markets where Disney+ is not yet available, the film will be released theatrically, with premiere dates to be announced.

Theatrical release dates also shifted for several additional upcoming films. New release dates include:

Free Guy on August 13, 2021
Shang Chi and the Legend of the Ten Rings on September 3, 2021
The King’s Man on December 22, 2021
Deep Water on January 14, 2022
Death on the Nile on February 11, 2022

Stay tuned to D23.com for news and more details about all of these films in the coming months.

Discover Megara’s Heroic Journey in this Excerpt from Go the Distance: A Twisted Tale

March 23, 2021March 22, 2021

By The D23 Team

What is the measure of a true hero? In the Disney animated film Hercules, the titular character strives to discover just that, ultimately achieving true hero status but turning away his chance to live as a god on Mt. Olympus so he can be with the woman he loves. But what if he had accepted the offer to become a full Greek god? In Go the Distance: A Twisted Tale, author Jen Calonita explores what would happen to Megara when Hercules ascends to Mt. Olympus and she can’t join him. Hera offers a solution: Meg has to rescue her ex’s current wife from the Underworld. You know, the ex-boyfriend who she saved by giving up her soul? The ex-boyfriend who then moved on to a new girl while Meg was trapped in the Underworld? Yeah, that’s a challenge only a true hero can face. Discover how Meg takes on this quest in an exclusive excerpt below. Go the Distance: A Twisted Tale is available for preorder now and hits shelves on April 6.

Go the Distance: A Twisted Tale [excerpt]

By Jen Calonita

“I have purpose and drive,” Meg said grudgingly, folding her arms across her chest.
“Do you?” Athena asked almost mockingly. “Is that why you played my flute so beautifully when given the chance? We both know you know how to play.”
“You do?” Phil questioned. “It kind of sounded like you didn’t. No offense.”
Meg’s cheeks colored slightly. “I don’t play anymore.”
“Not because you can’t, but because you have lost your will,” Athena pointed out. “Therein lies the problem.”
“Why don’t you play anymore?” Phil asked.
Meg brushed him off. “That’s not important.”
Athena’s eyes flashed. “On the contrary, it’s very important. You are going to war, Megara. And in war, one must have the will to fight for what they want or they will fall in
battle as swiftly as a sword cuts through the air.”
Meg stifled a sigh, careful not to offend the god in front of her. What do I want? she asked herself. I care for Hercules, but we’ve just started to get to know each other. How do I know I want to be with him forever? And how do I actually know I’d even make a decent god? That’s a pretty big commitment, too. When have those ever worked out for me?
“Good!” Athena nodded appraisingly. “Finally, we are getting somewhere. Without questioning where you’ve been, you’ll never understand where you must go.”
Meg tried not to look too shocked. So Athena could hear her thoughts. She supposed it made sense. She had prayed to the gods for answers before. One just happened to be standing in front of her now.
“Wait, did I miss something?” Phil asked.
Both women ignored him.
“But how do I know what I want without having the time to figure it out?” Meg questioned.
“War waits for no one,” Athena said. “You have a deadline. To find answers, you must look to both the past and future for guidance.”
Meg still wasn’t sure she understood. How was someone supposed to understand something like love? How would she know what she wanted out of Hercules, out of herself ?
How could she be a god like Athena when she did not know the answer to those questions?
“Yes, like that!” Athena said, again seeming to hear her thoughts. “The more questions the better! I want to see fire in your belly, Megara. I know you have it, or you would not
have been able to beat that Empusa.” The god studied Meg. “Perhaps Hera was right to put her faith in you. If you do as I say, you’ll do well on the journey ahead.”
Meg inhaled sharply. The next part of her quest! “What do I have to do?”
Phil, Pegasus, and Meg looked at Athena. Her dress blew softly in the light breeze and she seemed to consider the question. Finally, she spoke. “You must go to the Underworld
to retrieve a lost soul.”
Meg felt as if the earth beneath her feet had dropped out from under her. Her mouth went dry. “The Underworld?”
This had to be a cruel joke. Hera couldn’t expect her to travel to the land of death and be able to return a third time.
“But we just got her back from there!” Phil sputtered.
Exactly! Meg wanted to cry, but she was too afraid to speak.
“Quests are not for the faint of heart,” Athena said simply.
Hades did not just let souls come or go. Charon, the ferryman, only shuttled the dead, and even if one could get past him, there was Hades’s three-headed dog, Cerberus, at the entrance to the Underworld to keep mortals out. This was an impossible task. Meg rubbed the bandages on her arm and tried not to let her fear show. “Do you know whose soul I’m looking for? The Underworld, unfortunately, is a rather large place.”
Athena staked the tip of her sword in the dirt and squared her shoulders. “Her name is Katerina. I believe she captured the heart of someone you once loved.”
Meg felt the world start to spin. “Katerina?” She reached out for Peg. Her knees felt like they might buckle.
“Katerina?” Phil repeated. “Who is Katerina?”
Meg wasn’t sure she could answer that question without opening up an entire new can of worms. “He left me for Katerina.”
Phil scratched his right horn. “Hercules?”
“No!” Meg felt herself grow impatient. Her chest felt like it was constricting, and it was suddenly hard to breathe.
“Aegeus.”
“Who is Aegeus?” Phil asked, but Meg couldn’t speak.
Athena had to do it for her. “He’s the one Megara gave up her soul for.”