New ‘Zootopia’ Exhibit Coming to Disney’s Animal Kingdom


Guests visiting Rafiki’s Planet Watch at Disney’s Animal Kingdom will soon be able to check out a new exhibit inspired by Disney’s Zootopia.

When making the film Zootopia, the filmmakers worked with animal care professionals from Disney’s Animal Kingdom to learn about animal behaviors, personalities, and movements. The artists working on the film incorporated this information into the animation.

The Zootopia exhibit will show guests how the film was made and what was learned at Disney’s Animal Kingdom.

Guests can also check out a sneak preview of Zootopia at One Man’s Dream in Disney’s Hollywood Studios and the Bug’s Life Theater at Disney California Adventure at the Disneyland Resort.


The new Zootopia exhibit opens January 29 inside Conservation Station.

Zootopia opens in theaters on March 4.

Comcast Says ‘Minions’ Is Universal’s Most Profitable Movie Ever


Minions,” the animated summer film starring three yellow creatures that don’t speak a discernible language, is the most profitable film in Universal Pictures’ history.
Steve Burke, chief executive officer of Comcast Corp.’s NBCUniversal division, told employees in a memo Wednesday that the picture was among three that each grossed more than $1 billion worldwide in 2015. That was also a first, he said.
The memo underscores the success of Universal’s relationship with Chris Meledandri, whose Illumination Entertainment produced “Minions,” the third film in his “Despicable Me” series. He uses animators in France and is known for delivering films at a lower cost than competitors.
“Minions,” which hit theaters July 10, took in $1.16 billion in worldwide ticket sales on a production budget of $74 million, according to researcher Box Office Mojo. Universal led the box office for the first time since at least 2000, buoyed by three megahits: “Jurassic World,” “Furious 7” and “Minions.”
Universal declined to comment on the memo.
Burke has previously said that 2013’s “Despicable Me 2” was the company’s most profitable ever.

How Disney Fixed a Huge Mistake With Zootopia, Just One Year Before Release

In November 2014, the team behind Disney’s Zootopia had a very bad day. After years of development and production, they realized a huge aspect of their movie didn’t work. There were two main characters, one primary and one secondary— and they had to be flipped for the film to make sense.


In Zootopia, which hits theaters March 4, a young bunny named Judy Hopps leaves home for a job as a police officer in the big city of the title. There, she must team up with a con-man fox named Nick Wilde to solve a crime. Nick, voiced by Jason Bateman, is jaded, sarcastic, and believes everyone is exactly who they are. Judy, voiced by Ginnifer Goodwin, is exactly the opposite. She’s cheery, optimistic and believes anyone can be whatever they want.

For years, Nick was the focus on the film, with Hopps playing a crucial, but secondary role. But on that fateful November day, a little over a year before the film’s release, director Byron Howard realized they had to make the switch.

“We’re telling a story about bias, and when you have the Nick character starting the movie, through his eyes the city was already broken,” Howard said. “He didn’t like Zootopia.”

Hopps, on the other hand, did. She loved it. And suddenly, everything became obvious.


“We asked ‘What are we saying with the movie?’ If we’re telling this movie about bias—something that is everywhere and in all of us, whether we want to admit it or not—the character that’s going to help us tell that message is Judy, an innocent, [who comes] from a very supportive environment where she thinks everyone is beautiful, everyone gets along,” Howard said. “Then let Nick, this character who knows the truth about the world, bop up against her and they start to educate each other. When we flipped that, it was a major flip, but it worked so much better.”

In retrospect, the flip may seem like the most simple thing ever. Have the positive character be the main one. But the reason something like that doesn’t happen immediately is that movies like Zootopia happen in an insanely organic, fluid way. When the film was first pitched, for example, there wasn’t much more than the idea of talking animals living together in a city. There was no story, no characters, just an idea, followed by an approval, and then the research begins. The hope is, through this research process, a story is arrived at organically, which is what happened.

It started with looking at animals behaviors, futuristic ideas for cities, and then a trip to Africa lit up a figurative lightbulb. “We looked at this situation around the watering hole,” Howard said. “Predators and prey are behaving because they both need something, water, and everyone’s cool. They’re kind of looking at each other cautiously, but people are behaving. That’s very much like our city. People are different in cities, and they have to get together to live, and what does that mean?”

“Even when Nick was the main character, Hopps kept pushing through,” said head of editorial, Fabienne Rawley. “She’s the character she is. She just kept being the main character. And we kept saying that we wanted Nick to be the main character. And sort of because of that, forcing a round peg in a square hole sort of thing, she just came through. And finally we’re like, ‘Fine! Go do it.’ So then you start again.”


For a normal person, changing and scrapping so much hard work would probably be seen as a huge defeat. But this is Disney and, according to the people there, everyone embraced it

“We knew it was going to be a lot of work, but immediately hearing the idea no one said like, ‘Oh no! I’ve got to keep this thing.’ It was very much the opposite,” said co-director Jared Bush. “It was ‘This is really exciting. This is going to help the movie immeasurably. We just need to execute it, and we’re running out of time to do it.’ But it’s an amazing opportunity to make this movie really special.”

In changing the movie, Howard, Bush, Rawley and others found that they were better able to incorporate the film’s message of inclusion and harmony, along with a satisfying story.

“We never wanted this to be a message movie,” said Howard. “We always wanted it to be this great piece of entertainment, great emotion, great storytelling, but it’s never, ever supposed to be in-your-face with the message of the movie. Just letting Judy learn that and seeing her progress grow and grow, it became sort of a personal story between the two of them and helped us in a huge way.”


The other thing that helped in a huge way—especially when in executing such a major change—was adding Rich Moore as another director. When Zootopia was starting production, Moore was working on his own movie, Wreck-It Ralph, which was released in 2012. He then went to work on something we won’t see for several years, before his phone rang with the head of Disney Pictures, John Lasseter, asking him to come on board.

“When you’re in production for years, there are these kind of gear shifts that you can feel,” Moore said. “‘Okay, that’s ramping up. It’s going up another level.’ And [Zootopia] was just ready to go up another one. It was like jumping onto a fast-moving train.”

Moore’s main task at the beginning was helping Howard manage all the changes that switching lead characters from Nick to Judy meant for the movie as a whole, and Howard was happy for the help.


“It’s great to have partners on these films,” Howard said. “It’s great to have someone to do a gut check with.”

Oddly, while everyone making Zootopia has no problem balancing and checking each other, even when it becomes incredibly difficult, the president of Disney Animation Andrew Millstein claimed there’s one place they never ever look to make sure they’re on the right track.

“Well, we really don’t follow the competition all that much,” Millstein said. “When Byron and Jared wanted to make this film, talking animals in an animal world, we didn’t say, ‘Oh, Blue Sky is making that, Illumination is making one.’ There are so many ways to tell a talking-animal story, and what better challenge is there to differentiate yourself from whatever anybody else is making? So our standard is really a self-referential standard, cause we want to make it great. And let the chips fall where they may.”

Pokémon Center Kyoto to Offer “Apprentice Geisha Pikachu” Goods

Crunchyroll previously reported on the March 2016 opening of Pokémon Center Kyoto, the first of 10 Pokémon specialty stores to be established in the Kyoto region. Now the Pokémon Company is offering a sneak peek at one of the unique, Kyoto-themed character goods that will be available at this location: the Maiko Han Pikachu.


The Maiko Han Pikachu is a female Pikachu dressed in the make-up and clothing of an apprentice geisha, for which the Kyoto region is especially famous. This design represents a collaboration between Kyoto’s traditional crafts and modern pop culture, and will be used for character goods aimed at tourists to the Kyoto area.

‘Lego Movie 4-D’ brings back Emmet Brickowski — but what about Chris Pratt?

The new “Lego Movie 4-D: A New Adventure” film coming to Legoland theme parks around the world in early 2016 will seek to replicate the off-beat humor and firecracker wit that made the original animated movie a hit with both critics and moviegoers.


The 12-minute Legoland movie brings back everyman construction worker Emmet Brickowski for a new story that combines 3-D animation with wind, water, fog and lighting effects.

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Lego Movie 4-D” finds Emmet invited to a Legoland-like theme park where all the rides are based on adventures from the original movie. But the fun soon ends when Emmet and his friends are thrust into the middle of an “evil secret plot” concocted by new villain Risky Business, the brother of Lord Business. Emmet’s nemesis will be voiced by comedian Patton Oswalt, best known for voicing Remy in “Ratatouille” and playing Spencer Olchin on “The King of Queens.”

The theme park movie reunites some of the celebrity voice talents from the original theatrical release, including Elizabeth Banks (Wyldstyle), Alison Brie (Unikitty), Nick Offerman (MetalBeard) and Charlie Day (Benny).

“Lego Movie 4-D” will be directed and co-written by Rob Schrab, who is also slated to direct the “Lego Movie” sequel set for a 2018 release. Schrab’s resume includes directing stints on “The Mindy Project” and “Community” as well as writing work on “The Sarah Silverman Project” and “The Monster House.”

Notably missing from the Legoland 4-D movie credits are the screenwriting wizards Phil Lord and Christopher Miller as well as the celebrity voice talents of Will Ferrell, Will Arnet, Liam Neeson and Morgan Freeman. It has yet to be determined if Chris Pratt — the voice of protagonist Emmet Brickowski — can squeeze the voice-over work into his busy schedule, Legoland officials said.


The new Legoland movie will be created by North Hollywood-based Pure Imagination Studios, which worked on the Angry Birds 4-D experience at the United Kingdom’s Thorpe Park and the Justice League: Battle for Metropolis 4-D interactive dark rides at Six Flags parks.

Lego Movie 4-D” debuts at Legoland Florida on Jan. 29 and at Legoland California on Feb. 6 (a.k.a. Super Bowl weekend). Legolands in England, Germany, Denmark and Malaysia will get the 4-D film in March when the parks open for the season. The 11 Legoland Discovery Centers in North America, Asia and Europe will also screen the movie.

In California, the new Lego movie replaces “Legends of Chima 4-D” and “Clutch Powers 4-D.”

‘Kung Fu Panda 3′ Is A Merely Good Entry In A Great Franchise

While visually gorgeous and generally entertaining, this third installment of the DreamWorks Animation DWA -4.00% franchise is a comedown from the first two superb entries.


The Box Office:

Kung Fu Panda 3 has the distinction of basically being the biggest movie ever to open domestically in the week of January. It was originally slotted for December 23rd of last year before being first shifted to March 18th of this year and then being bounced up to January 29th. The current release date is timed to the Chinese New Year. Said holiday falls on February 8th, and of course the best time to open a movie is the weekend before a holiday, since the presumption is that the holiday bump will lessen the second weekend drop.

The film is indeed opening day-and-date with China and a handful of other territories (Russia, South Korea, etc.) before opening over the rest of the world in early March. So the would-be box office narrative for this one won’t be written until long after its domestic debut. That’s tended to be a problem for DreamWorks. Be it Madagascar, Kung Fu Panda 2, or How to Train Your Dragon 2, DWA has had an issue where their domestic opening weekend has been blasted as unduly soft, to actual “their stock gets dinged” consequences, only to have said films become monster hits worldwide long after most of us have stopped paying attention.

Both Kung Fu Panda 2 and How To Train Your Dragon 2 were written off as domestic disappointments after earning well below the domestic totals of their predecessors only to handily top $600 million+ worldwide. I honestly don’t know to what extent audiences are still jazzing for another Kung Fu Panda movie over four years after the last one and with 79 episodes of Kung Fu Panda: Legends of Awesomeness running from 2011 to 2014, nor do I know how the January debut strategy will play out. But I do know that, especially considering this $140 million sequel is a Chinese co-production (DWA gets 40% of the Chinese box office instead of 25%, and there is basically a separately animated version specifically for China) and that it plays in much of the world six weeks after it opens in America, I’d advise all of us not to pull the fire alarm if this one doesn’t quite reach the $60m Fri-Sun/$48m Fri-Sun heights of its predecessors on its domestic debut.

The Review:

It may read as an insult for me to compare Kung Fu Panda 3 to X-Men: The Last Stand or Spider-Man 3. But both respective comic book sequels had the misfortune of being merely okay installments that were proceeded by two critically-acclaimed predecessors. They have their issues (Spider-Man 3 is aggressively campy, X-Men 3 focuses on Wolverine instead of Cyclops), but taken on their own they were relatively enjoyable, occasionally ambitious popcorn entertainments. The biggest problem with Kung Fu Panda 3 is that Kung Fu Panda and Kung Fu Panda 2 were so obscenely good that this merely okay installment feels like a huge let down.

Some plot: The film picks up on Kung Fu Panda 2‘s cliffhanger, with the discovery that Po’s father (Bryan Cranston) survived the massacre of the panda clans and is now aware that his son (Jack Black) survived as well. Said reunion comes at an awkward time, with Master Shifu (Dustin Hoffman, once again the vocal MVP of this franchise) announcing his retirement from teaching and anointing Po as the new instructor of the Furious Five. But when the evil Kai (J.K. Simmons) escapes from the underworld and begins defeating various kung fu masters, Po discovers that only a kung fu warrior who is a master of chi can defeat this threat. Can Po embrace his newfound panda family and master the required skills necessary to defeat this new villain?

The film is a visual marvel, with DreamWorks once again proving that they are the absolute best when it comes to using 3D in animation to enhance their visual storytelling. It’s worth the price of 3D admission for the imagery alone. And with all of the talk about how various comic book movies and television shows are finally embracing the fantastical elements of their source material, it should be noted that Kung Fu Panda 3 is a movie that, with little hand-holding, begins with a blow-out fight between two warriors in the afterlife. The opening sequence is a corker, but it also highlights the film’s core weakness, which is that its villain is ill-defined and its arc will be merely a variation on what we’ve seen before.

The first two films had wonderfully fleshed out and three-dimensional villains. Ian McShane’s would-be Anakin Skywalker and his emotional beef with Dustin Hoffman’s would-be Obi Wan Kenobi added real oomph to the otherwise conventional “fish out of water becomes the proverbial chosen one” narrative. And Kung Fu Panda 2 basically beat We Need To Talk About Kevin to the punch, painfully humanizing a tormented peacock (Gary Oldman) whose parents were forced to cast him away after he committed an act of genocide. J.K. Simmons is fine as the ancient evil spirit who escapes back into the world and begins collecting the “chi” (souls) of the remaining kung fu masters, but he is barely fleshed out and comes off as a glorified villain of the week.

And said villain’s “slowly making his way to Po and his friends so Po better get ready” ticking clock scenario is basically a retread of the first film. It is clear that returning Jennifer Nelson Yuh and new co-director Alessandro Carloni, along with returning screenwriters Jonathan Aibel and Glenn Berger, have attempted to craft a lighter, less violent, and less psychologically nuanced picture, but the end result is one that retreads the general narrative of the first film (Po must get prepared before a rampaging villain arrives in his neck of the woods) while basically repeating Po’s emotional journey from the second film (Po’s attempt to master chi is an inferior variation on his quest for inner peace in the second film).

While Po’s search for inner peace had a narrative through line and satisfying conclusion (it was a natural byproduct of learning about his past and coming to terms with his tragic origins), this time around Chi is basically tantamount to Po learning new supernatural fighting skills. And what felt like a gut punch at the conclusion of the second film (Po’s biological father is alive) is played almost entirely for laughs. The notion of Po’s dad coming back to claim him should be heartbreaking due to our investment in his relationship with adapted father Ping (national treasure James Hong). But Ping’s displeasure with the possibility of losing his adopted son are played almost entirely for comic relief.


The film has some interesting nuggets here and there, such as the idea of the pandas basically embracing habits typically associated with slovenly westerners in order to “master” chi and the pay off to said thread. And there is at least one terrific scene in the third act when Po’s two dads share a genuine heart-to-heart that brings to mind the emotional honesty that usually typifies this franchise. But the enterprise has a sense of weightlessness to it, feeling less like the next defining chapter in Po’s journey and more like a three-part episode of Legends of Awesomeness.

Now if it seems like I’m being overly negative on the film, it’s because I happen to adore the first two Kung Fu Panda movies. The first film was a shining light of awesomeness, a triumphant follow-up to the better-than-expected Over the Hedge that signaled that DreamWorks had snapped out of its post-Shrek slump and was ready to stand tall alongside Pixar and Walt Disney DIS -6.45%. And Kung Fu Panda 2 was not only my favorite film of 2011 but was, along with the much-better-than-it-needed-to-be Puss In Boots, a sign that DWA was taking a shot at the proverbial title. I’ve waited nearly five years for the third film and I wanted something a little weightier.

Kung Fu Panda 3 is merely a pretty good animated adventure with some soaring visuals. The vocal performances are spot-on per usual, and the film does end with an interesting new status quo. I like that they didn’t turn Kate Hudson’s flirty female panda into a love interest. I like the idea that Po is constantly surprised that his journey has yet another step. And for those merely wanting to take their kids to a high-energy, high-quality animated spectacular, it fits the bill without any of the more challenging concepts from the second film. But two great films followed by a merely good one feels like a letdown, however unfair that may be. So when I call Kung Fu Panda 3 the Godfather part III of the franchise that’s not entirely an insult. In essence, it is about as good as we all expected the first one to be back in 2008.

Kung Fu Panda 3 Directors Alessandro Carloni and Jennifer Yuh

It was eight years ago that audiences first met DreamWork Animation‘s lovable Kung Fu Panda, Po, and five years ago that we last saw the character (voiced by Jack Black) on the big screen. On January 29th, Po is back alongside the Furious Five (voiced by Jackie Chan, David Cross, Angelina Jolie, Lucy Liu, Seth Rogen) and about to come face to face with his birth father (Bryan Cranston). Unfortunately, the “Dragon Warrior” is also about to become targeted by a dangerous new foe, Kai (J.K. Simmons), who has powers and abilities unlike anything Po has ever faced before.

kungfupanda1 got an early look at Kung Fu Panda 3 during a special press day on the DreamWorks Animation campus in Glendale, California. There, we had the opportunity to chat with directors Alessandro Carloni and Jennifer Yuh as well as producer Melissa Cobb. Read on for their thoughts about the continuing the Kung Fu Panda legacy and check back soon as we’ll be sitting down with the film’s cast for a behind-the-scenes look at the January 29 release.

CS: It feels like each chapter in the Kung Fu Panda series has a certain element of growth for Po. Is figuring out what that is going to be the first step in building the story?

Jennifer Yuh: I think it is.

Alessandro Carloni: Yes, it usually is, but it also sometimes reveals itself through the making. The franchise is always based on self-empowerment. Po has to defeat the villain, but he also has to find out who he is and how to become a better person. In each movie, that is accomplished in a slightly different way. How do you phrase it? How do you spell it out? That sometimes reveals itself through the movie-making process.

Melissa Cobb: Yeah, it’s definitely an evolution. We have an idea of what we think it’s going to be, but, as you get farther into making the movie, it starts to tell you what it wants to be.

Jennifer Yuh: And it always begins with a character question when we’re coming up with the idea. What does that character need? What does that character want? We may not be able to articulate it in a nice, succinct sentence yet, but that journey that that character has to go through is something that guides us every single time. It’s always based on “What does Po need in this particular moment? What would Po do if he was surrounded by pandas for the very first time?” That grows and his journey becomes something that guide us.


Melissa Cobb: We definitely started with something we knew, which was that his dad was going to come to this movie.

Jennifer Yuh: After the end of “Kung Fu Panda 2,” we knew the audience would be really mad if the dad didn’t show up.

Alessandro Carloni: Plus, coming face to face with your father connects to a universal theme about identity and about the search for self, which perfectly fits within the franchise.

CS: There’s also Po becoming a teacher, which seems like an important development for his character.

Jennifer Yuh: It’s also the thing that he’s the least suited to do. One of the things we love about Po is that he’s vulnerable. He’s someone that we can all identify with because he has those insecurities. He’s an outsider-feeling guy. He’s never comfortable in positions like that. You see him become this guy, this Kung Fu guy, and it’s important to ask, “What is that next step?” He’s always moving. When he becomes a teacher, he’s following a path spreads beyond himself.

Melissa Cobb: When you become a teacher, you’ve reached a point where you yourself have something to impart. For a character that’s so insecure, that’s a big step. To be good enough to teach others? That’s a big thing for him.

PAW Patrol: Meet Everest!

PAW Patrol is one of Nick Jr.’s most popular new shows aimed at the kindergarten and elementary school set, packed with all the harmless action and cornball jokes that kids and immature DVD reviewers can’t help but snicker at. Meet Everest is the fourth themed collection of PAW Patrol episodes, but I’ll be honest: I’m almost completely new to the series and first saw it on Paramount’s recent Celebrate Fall collection, though I’ve been aware of its existence for at least a year or so. Most episodes go like this: the six PAW Patrol canines (klutzy firefighter Marshall, aquatic expert Zuma, construction oaf Rubble, police officer Chase, recycling guru Rocky, and high-flying Skye) kill time until a citizen needs help, while ten-year old handler Ryder waits back at high-tech HQ to share a curiously quick animated breakdown of the situation before sending his pups to the rescue. At no point is it explained how their operation is funded, or why Marshall can heat up the siren on his fire engine just to look for a lost backpack.


Unlike the first self-titled collection, all recent DVD volumes of PAW Patrol have only included 7-8 adventures at 11 minutes apiece, barely scratching the 90-minute mark for total content. Meet Everest is no different: the lead-off episode is a full 22 minutes, while the other six half-episodes play nicely by themselves but are over much more quickly. So while the show’s lightweight, colorful format serves up a distinct “Saturday morning” vibe that favors simple entertainment over shoehorned education (which suits this material just fine), most parents might feel slightly ripped off by the price point of these brief, random collections. I’d even take “Season 1, Volume 1″ at this point.

Either way, PAW Patrol is as light and enjoyable as ever during these seven episodes, which introduces the cute li’l Husky in Season 2′s full-length adventure “The New Pup”. Two more episodes, “Pups and the Big Freeze” and “Pups Save the Deer” (which aired just a few weeks later and maintain the wintry theme) also contain appearances by PAW Patrol‘s newest member. The other four—”Pups Save a School Day”, “Pups and the Trouble with Turtles”, “Pups Make a Splash”, and “Pups Save a Flying Frog”—aired up to a year earlier and obviously don’t tie in at all, but they’re still breezy and entertaining enough in their own right. Still, this only reinforces my frustration with the odd release strategy of collections like these: PAW Patrol isn’t serialized storytelling like Teenage Mutant Ninja Turtles or The Legend of Korra, but themed, piecemeal volumes just attract and confuse impulse buyers while alienating the fans.


After a few ads, warnings, and logos, Paramount’s DVD opens with colorful menu designs that are easy to use…but honestly, do we really need four separate selection screens for seven episodes? This one-disc release arrives in an eco-friendly blue keepcase with a matching slipcover and two promotional inserts. No bonus features are included.

Since PAW Patrol was created in HD and is barely two years old, it’s no surprise that Meet Everest looks uniformly strong on DVD with bright colors, strong image detail and a pleasing amount of texture on the characters and backgrounds. All episodes are presented in their original 1.78:1 aspect ratios, which showcase PAW Patrol‘s eye-catching visual design and compositions. The stylized color schemes are replicated well with no obvious bleeding, while shadow detail and black levels are consistent from start to finish. Small amounts of banding can be seen along the way, but that’s expected for standard definition releases and may very well be a source material issue. Overall, this is easily one of the best-looking Nick Jr. DVDs in recent memory, and it’s almost a shame there’s no Blu-ray option.

‘Paw Patrol’ Renewed for Season 3 by Nickelodeon

NEW YORK – June 9, 2015 – Nickelodeon today announced the pickup of a third season of PAW Patrol, TV’s number-one preschool series. A co-production with Spin Master Entertainment, season three (20 episodes) will debut later this year and introduce preschoolers to all-new adventures featuring the beloved pack of heroic rescue pups, including the addition of a brand-new puppy. The series features a curriculum that focuses on citizenship, social skills and problem-solving. PAW Patrol airs weekdays at 12:30 p.m. and 1 p.m. (ET/PT) on Nickelodeon.


“It’s been great working with Spin Master Entertainment as a creative collaborator on the first two seasons of PAW Patrol,” said Russell Hicks, President, Content Development and Production, Nickelodeon Group. “Marshall, Chase and the entire pack will take their heroic adventures to new heights in season three, and we can’t wait to share these action-packed episodes with our audiences around the world.”

Nickelodeon has been an incredible partner for our team at Spin Master Entertainment and we look forward to deepening that relationship in 2016 and beyond,” said Chairman and Co-CEO Ronnen Harary. “PAW Patrol has quickly evolved into one of the biggest preschool franchises on the planet and we have no doubt that fans young and old will love what’s on tap for its third season.”

The PAW Patrol pups will take their adventures to the sky in season three with an all-new rescue vehicle, the Air Patroller, that can transport Ryder and the gang anywhere in the world. Each pup will now be equipped to fly with custom jet packs, hover boards and special wings, ensuring that no job is out of the reach of these canine rescuers. In addition to new vehicles and equipment, the third season will also introduce new adventures and friends including Tracker, a jeep-driving pup with super hearing who lives in the jungle with Carlos.

PAW Patrol is a hit CG-animated series starring a pack of heroic rescue pups–Chase, Marshall, Rocky, Rubble, Zuma, Everest and Skye–who are led by a tech-savvy 10-year-old boy named Ryder. Together they work hard to show the people of Adventure Bay that “no job is too big, no pup is too small!”

For additional pup-filled fun, PAW Patrol fans can head to, Nickelodeon’s award-winning website for preschoolers, and the Nick Jr. App to watch full episodes, play games and more.


About Spin Master Ltd.
A multi-category children’s entertainment company, Spin Master has been designing, developing, manufacturing, and marketing consumer products for children around the world since 1994 and is recognized as a global leader within the toy industry. Spin Master is best known for award winning, innovative brands including action phenomena Bakugan Battle Brawlers™, Air Hogs®, Spin Master Games™ and the 2015 Toy of the Year, Zoomer™ Dino. In 2013 Spin Master acquired the international Meccano™ brand and has re-launched the brand with the iconic Meccanoid G15 KS™, introducing robotics and embracing the global Science, Technology, Engineering and Math (STEM) movement. In 2015 the company expanded its reach within children’s media and entertainment, launching SpindoTV, a YouTube channel dedicated to broadcasting Spin Master Entertainment’s original television and media properties, including the hit animated preschool series, PAW Patrol™. Spin Master employs over 900 people with offices in Toronto, Los Angeles, London, Paris, Hong Kong, Mexico City, Munich, and Milan. Spin Master products are available through its eCommerce website:

About Nickelodeon
Nickelodeon, now in its 36th year, is the number-one entertainment brand for kids. It has built a diverse, global business by putting kids first in everything it does. The company includes television programming and production in the United States and around the world, plus consumer products, online, recreation, books and feature films. Nickelodeon’s U.S. television network is seen in almost 100 million households and has been the number-one-rated basic cable network for 20 consecutive years. For more information or artwork, visit Nickelodeon and all related titles, characters and logos are trademarks of Viacom Inc. (NASDAQ: VIA, VIAB).

Minnie’s Silver Screen Dine coming to Hollywood Studios

Hollywood & Vine Restaurant at Disney's Hollywood Studios

With Academy Awards season right around the corner, Minnie Mouse and her friends are celebrating the magic of the movies with a feast at the new Minnie’s Silver Screen Dine at Hollywood & Vine.
Dinner guests will walk the red carpet and get ready for their close-up with some of the biggest stars of the silver screen. Mickey, Minnie, Donald, Daisy and Goofy will all be there and dressed in their designer best.
Mickey will greet guests and pose with them for photographs before escorting them into the dinner party, where guests get the chance to meet Minnie, Donald, Daisy and Goofy as they enjoy classic cuisine, themed to old Hollywood. This new party is filled with décor, a musical score, food, activities and more.
Minnie’s Silver Screen Dine runs through March 20, 2016. Guests can make reservations by visiting or calling 407-WDW-DINE.