Ariana Grande has once again spoken out against the Trump administration for using one of her songs in a post on social media, this time for setting “We Can’t Be Friends (Wait For Your Love)” as the soundtrack for a post on the Team Trump TikTok account.
Team Trump posted a video earlier on Thursday of the President walking to a podium with text laid at the top of the clip: “Me and my truth we sit in silence… Men can’t have babies and should never compete in women’s sports.” The caption for the post reads, “This shouldn’t be controversial! #trump #arianagrande #maga.”
Grande took to the comment section to decry their use of her 2024 hit, writing, “Never use my music again. Also, your truth is false.”
This marks the second time in two months that Grande has fired back at the administration for using one of her tracks on socials. In June, the White House used a version of her 2024 song “Bye” in a TikTok post that depicted ICE agents arresting and handcuffing people. Grande commented, “Please do not ever use my music in relation to this barbaric, inhumane, heinous nonsense. Fck ice,” she wrote. Grande’s team had the sound removed from the post, though the one that uses “We Can’t Be Friends” still features the track.
Grande is among a long list of musicians who have either spoken out against or had their songs removed from White House and Trump posts. Taylor Swift and Bad Bunny recently had their tracks nixed from posts, while Noah Kahan took a more pointed approach in late July after the White House used the song “American Cars” on Instagram. “Would never approve of my music being used in support of you or this administration,” wrote Kahan.
A representative for the White House did not immediately return Variety‘s request for comment.
Michael Jackson’s nephew Jaafar Jackson says that while he doesn’t have much say in how the screenplay is written, he tells GQ Middle East that he hopes the sequel will give more insight into Michael’s perspective.
“It’s someone else’s story,” Jaafar Jackson said. “It’s someone else’s idea of what it is, and it’s mainly driven by an agenda. And that’s really the issue we’ve been having as a family – not having Michael’s voice being heard. I think that’s very, very important, especially in the late years.”
The biopic rocked the box office this summer, surpassing $1 billion in global ticket sales. But the film only chronicles the first half of the icon’s career. It ends with the 1987 release of “Bad,” before the singer received his first allegation in 1993. Jaafar Jackson says the two-part feature provides an opportunity for a deeper understanding of Michael and his circumstances.
“This first film focuses on Michael from his roots,” Jackson said. “So you get that idea of who he was before he had all the success and became the icon that people are familiar with, you understand who he was as a human being first, because at the end of the day, that’s who he was in the ’90s until he passed. He never changed that purity, that sense of always wanting to find the good in other people. And no matter all the stuff he went through, how he was treated, what things were said about him, he never stopped treating people with kindness. He never stopped believing in and wanting to look for the good in people… even though he was broken, his heart still stayed the same… I hope that this is felt in the second movie.”
Dave Bautista is officially taking up the mantle of the “God of War.” Variety has learned that the actor is now set to lead the Amazon Prime Video TV series based on the video game franchise in the role of Kratos.
Prime Video has given the “God of War” show a two-season order, with the two seasons set to shoot back-to-back. Filming originally began in Vancouver back in February. With Bautista now locked in as Kratos, production is expected to resume in the coming weeks. All scenes featuring Hurst will now have to be reshot.
As Variety previously reported, there are few better suited for the role of Kratos than Bautista. Aside from the fact he is an accomplished actor, he is one of few in Hollywood who could step into the role on short notice in the physical shape it requires. Kratos is known for his incredibly muscular physique in the games, and Bautista has been in remarkable shape throughout his career. Thus, he does not need months of prep time to prepare for the role.
He is repped by WME and Jackoway Austen Tyerman.
The series will pick up with the story of the two most recent “God of War” games, in which Kratos must raise his ten-year old son Atreus while battling gods of the Norse pantheon. Per the logline, “Father and son Kratos and Atreus embark on a journey to spread the ashes of their wife and mother, Faye. Through their adventures, Kratos tries to teach his son to be a better god, while Atreus tries to teach his father how to be a better human.”
Callum Vinson remains attached to play Kratos’ son Atreus. Additional cast members include Max Parker as Heimdall, Ólafur Darri Ólafsson as Thor, Mandy Patinkin as Odin, Alastair Duncan as Mimir, Danny Woodburn and Jeff Gulka as as brothers Brok and Sindri, and Ed Skrein as Baldur.
Ronald D. Moore is the writer, executive producer, and showrunner on “God of War” under his Tall Ship Productions banner.
Frederick E.O. Toye will direct the first two episodes of “God of War.” Maril Davis of Tall Ship also executive produces alongside Cory Barlog, Naren Shankar, Matthew Graham, Asad Qizilbash, Jeff Ketcham, Hermen Hulst, Roy Lee, and Brad Van Arragon. Joe Menosky, Marc Bernardin, Tania Lotia, and Ben McGinnis serve as co-executive producers on the series. The series is co-produced by Sony Pictures Television and Amazon MGM Studios in association with PlayStation Productions and Tall Ship Productions.
Prime Video has unveiled a landmark $2 billion-plus investment plan in Latin American entertainment spanning 2027 to 2030 in a concerted bid to increase viewership and engagement.
The move comes in what is considered the second fastest growing region for streaming in the world, with Netflix the clear frontrunner.
At an inaugural showcase event in Mexico City led by top execs, the streaming giant announced a massive commitment that entails doubling its original local programming by 2030, expanding its live sports coverage, digital stores and local creative infrastructure across Mexico, Brazil, Argentina, Colombia and Chile.
It also plans to grow third-party streaming subscriptions, rentals and purchases to six new territories – Costa Rica, Dominican Republic, Guatemala, Paraguay, Peru and Argentina – which will not require a Prime membership to purchase or subscribe.
Furthermore, it is also investing in behind-the-camera crew training via programs like “Brasil no Set” and a new physical/post-production skills initiative with Mexico’s SAE Institute.
“What’s happening in Latin America right now is extraordinary — the talent, the stories, the audiences. Today we’re matching that energy with more than $2 billion through 2030 across original and licensed programming and sports. What excites me most is the breadth; this isn’t a bet on one country or one genre. It’s an investment in the entire region, across every way fans engage with Prime Video. This region deserves this level of ambition and we’re delivering it,” said Kelly Day, VP of International, Prime Video.
The company plans more than 25 new titles in 2027 alone, including scripted series, films, unscripted and reality formats while in live sports programming, it has expanded its NBA coverage, bolstered its Brazilian football rights and clinched a flagship four-year deal for 38 home matches of the Mexico National Team starting in September.
“Our job is to find stories that are undeniably local and make them undeniably universal,” said Javiera Balmaceda, head of international originals for Latin America, Canada, and Australia, Prime Video & Amazon MGM Studios. “This slate — from a forbidden love story on the polo fields of Punta del Este to an unsolved crime that still divides Brazil — is proof that when you trust Latin American storytellers with ambition and resources, the world pays attention.” Among its recent bets was its most ambitious show to date, the Chilean limited series “The House of the Spirits,” directed by Francisca Alegria, Fernanda Urrejola and Andres Wood.
In Mexico, an alliance with By Invitation Only and leading acting schools brought together aspiring talent for a professional development workshop, giving participants the opportunity to perform directly for casting directors and agents. Scholarships were also provided to students from low-income backgrounds.
“We’re not just producing programming in Latin America, we’re investing in talent and creative partnerships that will help shape the future of Latin American storytelling,” said Tomás Tejero, regional lead, Latin America & Canada, Prime Video. “What we announced today goes beyond what audiences see on screen. It reflects a broader vision for the region and our long-term investment in everything that happens behind it.”
Upcoming 2026 releases include Argentina Original movie “Barreda,” the third season of “Betty La Fea: Más Fea Que Nunca,” both premiering Aug. 28; docuseries “Los Tinelli S2,” premiering Sept. 30; “El Juicio,” a Mexican thriller inspired by true stories, starring Eugenio Derbez and Pedro Alonso, premiering Sept. 11; Brazil Original docuseries “Marília Mendonça: Sentimento Louco,” premiering Oct. 16; as well as “LOL: Last One Laughing” Argentina S3, hosted by Marcelo Tinelli and “Lo Único que te pido,” a Chilean movie, both premiering later this year.
Neutrogena, the popular cosmetics and skin care brand, has issued a statement following the death of Hayden Panettiere, who served as a spokesperson and brand ambassador for the company for nearly a decade during the height of her career. Panettiere’s death ignited widespread backlash against Neutrogena across social media due to comments the actor made about the company wanting to fire her because she had spoken up about her battle with postpartum depression.
“We are deeply saddened by Hayden Panettiere’s passing,” Neutrogena said in a post on Instagram. “For more than a decade, Hayden was a valued member of our Neutrogena community. We are proud to have partnered with her and understand that we made her feel unsupported during a very difficult time. This is not what Neutrogena stands for or who we want to be.”
The company statement continued: “Hayden’s courage in sharing her challenges helped inspire important conversations and awareness. We are making a significant investment to a long-standing community health partner to help give more women access to the support they need, including care for postpartum depression. We will share more details with this community when plans are in place.”
Panettiere alleged in her 2026 memoir, “This Is Me: A Reckoning,” and in several interviews promoting the book that Neutrogena tried to end their longterm partnership because she spoke publicly about the postpartum depression she endured after the birth of her child, Kaya. Panettiere explained on the “On Purpose” podcast that Neutrogena said discussing such a matter publicly violated their “morals clause.”
“Of all the things, too, that they would fire me over, this was the last thing I thought they would fire me over,” Panettiere said. “When I got that call that Neutrogena wanted to fire me over that, and my representative at the time said, ‘That’s illegal. You can’t do that.’ And even though she saved the day, that year, I knew that that was going to be it. I was not going to be invited back the next year.”
Panettiere’s death inspired calls on social media for a boycott against Neutrogena. The death is currently under investigation, with the DEA recently joining the probe. Police have said there were “not any signs of foul play or suspicious circumstances.”
Los Angeles Mayor Karen Bass urged California attorney general Rob Bonta and Paramount to resolve their differences and work “urgently” to find a resolution to the 12-state antitrust lawsuit that is blocking Paramount’s takeover of Warner Bros. Discovery.
“While there are varying perspectives on the proposed transaction, today we are united around one clear message: It is time for all parties to come to the table,” Bass said at a press conference Thursday.
She continued, “The continued uncertainty is not good for workers, not good for productions and not good for the future of this industry. Too many productions in L.A. are now at a standstill, which means Angelenos are out of a job and they’re not getting paid.”
Bass, a Democrat, said that any settlement among the parties “must include meaningful and enforceable commitments to keep Paramount and Warner Brothers Discovery in L.A. as well as maintaining jobs, productions and investments in L.A. and California.”
“This is not about taking sides,” the mayor said. “This is about fighting for Los Angeles, standing up for our union workers, keeping Paramount here, and protecting the future of this industry. L.A. has been home to the entertainment industry for generations, and we intend to do everything we can to keep it here.”
At Thursday’s press conference, Bass said, “As mayor, I cannot stand by while the job security of thousands of hardworking union members is being put at risk. That is why we are calling on Paramount, attorney general Rob Bonta, and all relevant parties to come together, engage directly and in good faith, and work urgently to find common ground and keep our vital industry in Los Angeles at a time when film and television production is already facing significant challenges.”
Not mentioned by Bass in her remarks: a report issued Wednesday by Los Angeles County that estimates the Paramount-Warner Bros. Discovery merger could eliminate about 4,500 film and TV jobs over three years. The report said the combination of the two companies would accelerate the downturn in L.A. production, which has already cost 52,000 jobs over the last four years.
Bass joins fellow Democrat Xavier Becerra, who is the frontrunner in the race for California governor. Becerra recently said a settlement between Paramount and the state AGs would be the best outcome in the current legal standoff. “I hope it settles” before the case goes to trial, Becerra said at a Politico conference on Aug. 11. “It is easier to stand in a conference room and settle than it is to stand in a courtroom.”
The 12 states, led by Bonta, sued in federal court in July to block Paramount’s takeover of Warner Bros. Discovery. The states allege the proposed merger will illegally reduce competition in the markets for theatrical and blockbuster films, as well as basic cable TV. Paramount agreed to pause the WBD merger until after the case goes to trial, which is scheduled for March 2, 2027. But Paramount wants to resolve the legal matter as soon as possible, not least of which is because it will being incurring a $7 million daily “ticking fee” payable to Warner Bros. Discovery shareholders starting Oct. 1 until the merger closes.
Last week, in a statement, Paramount CEO David Ellison said his company has “offered commitments and concessions and remain open to working constructively with the state AGs to find a path forward in the interest of our employees and the creative community in California and across the world.” Bonta, meanwhile, has said that the only acceptable terms of a settlement would be “structural” remedies (like divestitures or keeping certain business operations separate) rather than “behavioral” ones, such as Paramount’s pledge to release more than 30 movies to theaters with a 45-day window.
Bass on Thursday said time was of the essence to find a path to allow Paramount and Warner Bros. to merge. “We cannot afford prolonged uncertainty that delays investment, puts production on hold, and creates greater instability for thousands of workers and families,” she said. “Any resolution must put workers and the long-term health of our entertainment industry at the center.”
Bass said, “It is not by accident that L.A. is the entertainment capital. We have unparalleled talent, unlimited creativity, a skilled workforce, and the highest amount of production space in the world. Today, we are speaking up to project to protect this legacy.”
The Writers Guild of America, which also has sued to block the Paramount-Warner Bros. merger, slammed Bass’s comments. The union accusing the mayor of joining “Paramount’s pressure campaign on public enforcers.”
“We are disappointed that Mayor Bass has chosen to join Paramount’s pressure campaign on public enforcers, to push through a merger that is being rightfully challenged as illegal and will lead to job losses in the entertainment industry,” the WGA said in a statement. “Her statement comes on the heels of a county report estimating thousands of jobs will be lost if the merger proceeds. Industry workers deserve a mayor who believes in upholding the law and protecting the working people of Los Angeles, not serving the interests of powerful corporations.”
The WGA statement continued: “Paramount has created a false choice for entertainment industry workers: The company argues that enforcing antitrust law hurts us by creating uncertainty, which is of their own making as the company attempts to dominate the industry. We reject the claim that beleaguered industry workers must choose the possibility of a job today, in exchange for the certainty of job losses tomorrow.”
Variety has reached out to Bass’ office for comment.
Meanwhile, Paramount filed a motion with the court on Monday seeking to force the states and the WGA to post a $1.88 billion bond to cover the company’s losses related to the WBD merger delay. Bonta’s office said Paramount was seeking a “do-over” on its agreement to delay the Warner Bros. Discovery merger until after the antitrust trial.
Longtime TV exec Chuck Saftler, who helped build FX into the powerhouse it is — having joined the company in 1993, prior to its before its June 1994 launch date — is departing the company after nearly 33 years. The well-regarded Saftler most recently served as head of acquisitions for Disney networks including ABC, Freeform, FX and Nat Geo.
Before that, he headed business operations for ABC, Freeform and FX Networks, while leading library and acquisitions for the group’s networks. He was also FX Networks president of programming strategy.
“After more than 32 years with Disney, I have made the decision to step down from my role as I consider a new professional chapter,” Saftler wrote in a memo to staffers on Thursday. “It’s hard to put into words what these three decades have meant to me. I had the extraordinary opportunity to help build FX from its earliest days and then to take on new leadership roles across Disney Entertainment Television. I’m incredibly proud of what we built, the stories we told and, most of all, the people I had the privilege of doing it with.”
Saftler first helped launch FX when it was focused on live, original programming under the “TV made fresh daily” banner. Soon, the network shifted gears and focused on acquisitions of popular dramas like “The X-Files,” and then turned to the original programming arena. Meanwhile, Saftler built up the network’s acquired film and TV libraries. He also helped launch the Fox Movie Channel, where he was general manager.
During the 2000s, Saftler focused much of his attention on buying the network window to theatrical features, as well as off-network series. In 2013, he struck a landmark $750 million cable syndication and VOD deal to bring “The Simpsons” library to FXX — while also building out a platform for viewers to find “Every Simpsons Ever.” That deal eventually led to the franchise finding a home on Disney+.
Before FX, Saftler was an executive with KTLA Los Angeles. Earlier in his career, as an exec with Columbia Pictures TV, he helped devise the blueprint for the TV syndication of “Seinfeld” and “Married … With Children.”
Beyond TV, Saftler is known for his love of live music — and his professional photography skills, documenting some of the biggest concerts and artists in the business.
Charles Melton is in close talks to play Kakashi Hatake in Destin Daniel Cretton’s upcoming “Naruto” movie, Variety has learned.
The news comes amid speculation at D23 that Melton would join the “X-Men” cast. The global casting search for “Naruto” began last month to find the live action versions of Naruto, Sasuke and Sakura. The manga follows an adolescent ninja Naruto, who dreams of becoming his community’s protector and leader known as the village ninja.
Variety has reached out to Lionsgate for comment.
Melton was recently Emmy nominated for his role in “Beef” alongside Oscar Isaac, Carey Mulligan and Cailee Spaeny. He received critical acclaim for his work in Todd Haynes’ “May December,” which released in 2023, and is also known for starring in “Her Private Hell,” “Warfare” and “Riverdale.”
Cretton is coming off of his box office smash hit “Spider-Man: Brand New Day,” which has grossed over $800 million domestically, becoming the fastest film to ever hit the milestone.
The “Naruto” director got his start working in the indie film space with “Short Term 12,” which released in 2013 and starred Brie Larson, LaKeith Stanfield, Rami Malek and Kaitlyn Dever. After directing “The Glass Castle” and “Just Mercy,” he made the leap to big-budget studio films with “Shang-Chi and the Legend of the Ten Rings,” which released in 2021.
Avi Arad, Ari Arad and Emmy Yu will produce for Arad Productions with Jeremy Latcham. Cretton is producing alongside Jeyun Munford through his company, Hisako. Back in 2014, there was an attempt to get a “Naruto” movie off the ground with Michael Gracey attached as director.
The Sussexes are coming home. In a shock announcement on Wednesday, it was revealed that Prince Harry and Meghan Markle are moving back to the U.K. for an “extended period” with their two young children after six years of living in California.
But after the pair’s dramatic exit from royal life in 2020, will England — and the rest of their family — welcome them back with open arms?
According to the BBC, Harry and Meghan’s decision to move back was made relatively recently, with King Charles only being informed of the news on Sunday. Their visit to the U.K. in July was a turning point, royal watchers believe, as they spent time with the King and also the family of Harry’s late mother Princess Diana, some of whom 7-year-old Archie and 5-year-old Lilibet met for the first time.
“I think they had a really good trip here in the summer,” Sky News royal reporter, Laura Bundock, tells Variety. “Harry isn’t homesick, but I certainly think he wants his kids to understand more about British history and his homeland.”
Their children’s education has also been a consideration for the move. The BBC said that Archie and Lilibet have both been enrolled in school in the U.K., and as most new terms start by mid-September, it’s expected that the family will settle in over the next couple of weeks.
Though the King has welcomed the move to spend more time with Harry and his family, the BBC reported that it was a surprise to him and he had no involvement in the decision. King Charles was diagnosed with cancer in 2024, and though his treatment is said to be going well, Harry admitted in a BBC interview last year that he wanted to reconcile with him, saying: “I don’t know how much longer my father has.”
Harry’s brother, Prince William, is a different story. The two’s relationship has been said to be severely damaged following the 2023 publication of Harry’s memoir, “Spare,” and the bombshell 2021 interview he and Meghan did with Oprah Winfrey in which they leveled allegations of racism and mistreatment against unnamed members of the royal family. “Their friendship circles and acquaintances overlap to some extent,” says Bundock. “But I think to say that this is a moment of great reconciliation between those feuding brothers is far from reality.”
Harry and Meghan’s announcement on Wednesday also made it clear that they will not be returning to their royal duties in any capacity now that they will be living in the U.K. They will live as private citizens — likely outside of London, according to the BBC — and continue their endeavors in production with Archewell as well as Meghan’s lifestyle brand As Ever. It’s possible they could expand these operations outside of the U.S., but they will stay headquartered in America. They also will not be selling their Montecito home, leaving the door open for an eventual return.
But as Bundock points out, when Harry is carrying out philanthropic endeavours in the U.K., it may not always be obvious to the casual observer that he is not technically there in a royal capacity. “When you’re looking at Harry, for example, on an Invictus [Games] engagement, it looks, to all intents and purposes, like a royal engagement. He is still a member of the royal family. He’s just not a working royal.” It’s a situation that may well cause tension within the royal households, particularly as the senior royals coordinate their diaries behind the scenes (to ensure no one steals the limelight from each other) in deference to the King.
While Harry and Meghan’s Hollywood ambitions were said to be a key reason behind their original move to California, Archewell Productions and its deal with Netflix has been the subject of scrutiny in recent years. Though the pact remains in tact, sources told Variety in a story about the couple’s deal with the streamer: “The mood in the building is, ‘We’re done.’” (In March, it was announced that the duo is developing a film adaptation of the Afghan war memoir “No Way Out: The Searing True Story of Men Under Siege” for Netflix.) Other lucrative opportunities have also fallen by the wayside, including a deal with Spotify reported to be worth $20 million that yielded just one show.
Then there’s the issue of security and privacy for the Sussexes while in the U.K. It has long been a sore spot for Harry that while in the country, he has not been given the official police protection afforded to working royals (Harry’s cousins do not get protection). In California, the family hired their own private security team.
Last year, Harry lost a legal battle for higher security protections in the U.K., and told the BBC: “I can’t see a world in which I would bring my wife and children back to the U.K. at this point.” Perhaps something has now changed, although U.K. Prime Minister Andy Burnham said on Thursday that he hasn’t been made privy to any decision on security matters — nor would he be as that is decided by the Royal and VIP Executive Committee, an independent body. “It’s a matter for Harry and for Meghan, and we wish them well in the move that they are making,” Burnham said (via BBC).
The couple’s move is also somewhat surprising as just last month Harry lost his long-running privacy case against Associated Newspapers, the publisher of the tabloid Daily Mail. He was among a group of high-profile figures, including Elton John and Elizabeth Hurley, who accused the publication of unlawful information gathering, including phone-hacking. Associated Newspapers strongly denied this, and ultimately a judge ruled that the plaintiffs failed to prove their claims. Along with the other claimants, he’s expected to have to pay a hefty sum, which will be decided at a hearing on a later date.
It’s one of several privacy lawsuits Harry brought against tabloids over the past few years concerning his treatment in the media, and with the couple back on U.K. soil, it’s possible that this could become an issue once again.
Bundock points out that the couple have not always helped themselves by airing their many grievances in public, whether it was their Oprah interview, their six-part Netflix series “Harry & Meghan” or Harry’s memoir, all of which contained deeply intimate details about life within the royal family, who for the most part remain beloved — or at least respected — in the U.K. “The way they’ve aired these very personal grievances so publicly caused absolutely catastrophic problems and created such suspicion and mistrust, not just within the family but within the wider public as well,” she says. “So they’ve got work to do, winning over everyone.”
“Naruto” fans will have access to the popular anime franchise’s first-ever digital card game with Thursday’s worldwide launch of the officially licensed “Naruto Ninja Cards.”
Described as “a gamified card-collecting experience,” “Naruto Ninja Cards” lets app users collect the series’ most iconic characters in card form, uncover exclusive artworks, and enjoy real-time strategic activities with friends.
While the offering, the only free-to-play “Naruto” app on the App Store and Google Play, may seem like a small-scale project, the game has been five years in the making for Paris and Tokyo-based indie studio Sekai.
After launching as an anime-focused startup in 2021 and a few rounds of brainstorming and development talks, the initial four-person Sekai team set out to land the rights to make a “Naruto” app from Japanese broadcaster TV Tokyo. (There have been many unofficial “Naruto” apps and projects launched over the years, but few approved by the IP owner.) The network not only ended up partnering with Sekai, but also invested in the studio, marking its first investment in a Western company since it backed Crunchyroll.
“We spent a year and a half in Japan convincing the IP’s owners to trust us, and became the first foreign studio ever licensed to build this,” Samy Therain, cofounder and CEO of Sekai, says. “We’re giving our soul to this project. Half a million fans felt it, and showed up before we ever asked. Today’s launch is theirs.”
TV Tokyo/Sekai
“The Sekai team’s genuine passion for ‘Naruto’ is what truly resonates with fans worldwide,” TV Tokyo head of global distribution Hiroaki Saiki says. “I trust that their care, patience, and deep understanding of the series’ core spirit will drive the success of this product!”
Sekai’s investors also include Mike Shinoda of Linkin Park (a band whose music is closely tied to the “Naruto” fan-edit community), NBA All-Star Rudy Gobert, Skycatcher, Makers Fund and Alexis Ohanian’s fund 776.
According to Sekai, since “Naruto Ninja Cards” soft launched Feb. 5 the app has seen 500,000 downloads, 93% of which it says is from organic search. The team credits its early success to “never-before-seen hand-drawn artworks, Easter eggs hidden for those who know the series by heart, and updates shaped by fan feedback since day one.”
Though today is the worldwide launch for “Naruto Ninja Cards,” just a few years ago the Sekai team was mourning the project before it even got off the ground.
After months of grinding at licensing expos and networking events, a chain-reaction of high-profile introductions (including meetings with Reddit founder Alexis Ohanian, Crunchyroll founder Kun Gao and former Toei Animation boss Kanji Kazahaya) Therain says Sekai had its first sit-down with the TV Tokyo team in January 2022. Over the course of a year and a half living in Japan and months of discussion and negotiations and relationship-building with TV Tokyo, Therain says Sekai was “ghosted” by the network and didn’t know why.
TV Tokyo/Sekai
From here, Sekai plans to not only grow the “Naruto Ninja Cards” app, but also expand into additional anime-inspired AAA games and even live events.
“When they don’t reply to one email, you know something is wrong, and so that’s what happened. And for a month, we had no news,” Therain tells Variety. “So that’s why I flew. I flew again to Japan, and I wanted to get a chance to go to them. That’s why my hotel room was across the street from their office because I knew, when I’m there, I need to be available if they want to talk to me. I’m right across the street, and so we went there with two of my co-founders and we waited a bit.”
The rain says the Sekai team received guidance from industry insiders that this turn of events likely meant the deal was going to “fade away.” Then they learned “Naruto” author Masashi Kishimoto had not signed off on the project.
Sekai leadership team/Courtesy Sekai
“And then I get a call telling me it’s over,” Therain says. “Then I’m like, what can we do? It’s either we start with another IP from the ground up, and so it’s going to take a lot more time, or I don’t know — find something, do something.”
The Sekai team was at a loss, and Therain recalls calling his wife crying in the lobby of a hotel in Tokyo.
“The dream is over. It’s over. It’s just over. And she’s like, ‘What? Why? What happened?’ So I tell her, ‘The author said no,’” Therain says. “And you can’t talk to the author. You can’t get an audience with him. Once he says no, goodbye. And she’s like, ‘That’s great news!’ I’m like, ‘What didn’t you understand? The author said no.’ And she reminded me that the entire adventure was under the, let’s say the protection of Naruto, and our motto as a company was ‘Live your own shonen adventure’ or ‘Live like a shonen,’ which literally means when something goes bad, just fight for it.’”
The rain says his wife inspired him to keep trying and “so I just went home, and I wrote a letter to the author of ‘Naruto,’ not knowing if he would get it or read it or anything, I just put it on paper.”
“Because that’s what Naruto does. Naruto is famous for what we call talk no jutsu, which is literally the power of words,” Therain says. “And so, whenever he beats an enemy, it’s never with his fists. It’s after they exhausted all the weaponry and the magic and all this stuff. That’s when they start talking, and he turns the bad guy into a good guy because in ‘Naruto,’ no bad guy is bad entirely. You can turn anything into anything else. So I wrote on paper what ‘Naruto’ meant to me, every reason why I loved him, and how he changed my life, how he was there all the time, every time. And I ended it with [a part] which was exactly like Naruto: “I don’t know if you’re going to say like ‘Sorry, yeah,’ but no matter what happens, basically I will try again and again and again. Akiramenai, I will never give up because this is my ninja way. And this is what you taught me with ‘Naruto,’ Sensei.’”
The rain says he can’t disclose what exactly happened from there, but notes that after he sent the letter to TV Tokyo, the deal was approved by “Naruto” author Masashi Kishimoto.
“It was a beautiful loop, in a way, because I was in this moment where everything seemed lost, and I felt like Naruto, and I was listening to the music and I was crying because I was like, this is just reality matching with the dream,” Therain says. “So after that, the dream came true, basically.”
“Until the end of this year, it’s mainly two things: product iterations, to bringing more and more and more. On Discord, we have almost 1,410 people, and we’re known to reply to everyone to take into account what they ask for, to steer the product into the direction of what people really want, so there’s a lot of product shipping,” Therain says. “Obviously, we’re shipping a new set of cards every three months, and that’s a lot of work. So shipping more cards so that more people see their favorite characters that they can have, and they and they are happy about that. And then communication.”
The next part of the plan is “doing more stuff around ‘Naruto’ because our IP deal covers more.”
“So one of them is live events in stadiums like no one has ever seen before, and so we’re already working on that with people from Hollywood and backers,” Therain says. “But we really want to create events that will feel to people after they participated in these events that they can’t go to any other type of event ever again. We call that the ‘Super Bowl of Anime.’ So we really, really want to bring the epicness that we feel when we watch a Naruto fight to a real live stage, and that obviously involves pyrotechnic effects, holograms, and things like that. That’s very important to us.”
