PREMIERING FRIDAY, DEC. 8, ON NICKELODEON AND PARAMOUNT+NICKELODEON, PARAMOUNT+ AND PINKFONG REVEAL OFFICIAL TRAILER
BURBANK, Calif. /PRNewswire/ — Nickelodeon, Paramount+ and The Pinkfong Company today released the official trailer and key art for BABY SHARK’S BIG MOVIE, the first-ever feature-length original animated movie based on the globally beloved preschool property. The upcoming fin-tastic musical adventure is set to debut Friday, December 8, at 12 p.m. (ET/PT) on Nickelodeon and stream on Paramount+ in the U.S. and Canada, and the following day in the UK and Australia. The family-friendly film will debut in additional Paramount+ international markets, where the service is available, in 2024. In Korea, Southeast Asia and China, BABY SHARK’S BIG MOVIE is distributed by The Pinkfong Company. The film will be featured in the Paramount+ Holiday Collection that features fan favorite festive movies and iconic seasonal episodes from beloved series for the whole family.
Co-produced by Nickelodeon Animation and The Pinkfong Company and directed by Daytime Creative Arts Emmy® winner Alan Foreman (The Casagrandes, Welcome to the Wayne), the movie follows Baby Shark and his family as they move to Chomp City – the big city of sharks.
Fans will be able to sing and dance along to original songs from BABY SHARK’S BIG MOVIE, including the previously released “It’s Stariana!” and “Keep Swimmin’ Through” singles, with the release of the film’s official soundtrack on Friday, Dec. 8. Released through a partnership with Sony Music Entertainment UK’s Relentless Records, the BABY SHARK’S BIG MOVIE soundtrack album will be available globally on all music streaming platforms, including Apple Music, Amazon Music, Spotify, YouTube Music and more. Music for BABY SHARK’S BIG MOVIE was composed by Jon Chau. Songs were written and produced by Matthew Tishler, Andrew Underberg, Chen Neeman, Doug Rockwell, Tova Litvin and Pinkfong. The track list is as follows:
Baby Shark (Movie Version)
It’s Stariana!
Peak Fin-ship
Keep Swimmin’ Through
Dive On In
It’s Stariana! (Sea Me Now)
Peak Fin-ship Reprise
Oceans Apart
It’s My Ocean x Baby Shark (Finale) Mashup
Nothin’s Gonna Beat Our Fin-ship
Keep Swimmin’ Through x Baby Shark (Dance Remix)
It’s My Ocean
Baby Shark (Finale)
BABY SHARK’S BIG MOVIE features a jaw-some lineup of guest voice actors, including: actress, singer and producer Ashley Tisdale (Phineas and Ferb the Movie: Candace Against the Universe, High School Musical) as Stariana, a sharp-witted and manipulative, rising pop starfish who wants to take center stage with a splash hit; Aparna Nancherla (Mira, Royal Detective) as Gillie, a charmingly chaotic, bumbling boxfish and Stariana’s assistant; Ego Nwodim (Saturday Night Live) as Leah, a lantern shark and Mommy Shark’s best friend from college; Chloe Fineman (Saturday Night Live, Father of the Bride) as Lannie, Leah’s hyper, lovable daughter; ENHYPEN as an underwater powerhouse K-pop band of belugas; and Lance Bass as TV announcer Lance Bass.
The new voice actors join the swim-sational lineup of series regulars from Baby Shark’s Big Show!, including: Kimiko Glenn (Orange Is the New Black) as Baby Shark; Luke Youngblood (Harry Potter and the Sorcerer’s Stone) as William; Natasha Rothwell (Insecure) as Mommy Shark; Eric Edelstein (We Bare Bears) as Daddy Shark; Debra Wilson (MADtv) as Grandma Shark; and Patrick Warburton (Seinfeld) as Grandpa Shark. The film also features returning guest star Grammy®-winning, multi-platinum superstar Cardi B as rap icon Sharki B and her family: Offset as Offshark; Kulture as Kulture Sharki; and newcomer Wave as Wavey Shark.
In BABY SHARK’S BIG MOVIE, Baby Shark is forced to leave behind the world he loves after his family’s move to the big city and must adjust to his new life without his best friend William. When Baby Shark encounters an evil pop starfish named Stariana, who plans to steal his gift of song in order to dominate all underwater music, he must break her spell to restore harmony to the seas.
The first season (26 episodes) of the hit preschool series Baby Shark’s Big Show! is available now to stream on Paramount+. The series launched globally in 2021 across Nickelodeon-branded channels and platforms and is currently in its second season.
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Prior to the premiere of BABY SHARK’S BIG MOVIE, kids and families can also dive into this year’s 97th Macy’s Thanksgiving Day Parade® on Thursday, Nov. 23, to see Nickelodeon and Pinkfong’s Baby Shark float featuring an underwater seascape that includes members of the Shark family who will bring their own special brand of aquatic holiday cheer. Showcasing a special performance by ENHYPEN of their single “Keep Swimmin’ Through” from the movie, the 18-foot-long float will also be followed by a larger-than-life 25-foot-long Baby Shark balloon.
“Pinkfong’s Baby Shark” launched on YouTube in November 2015 and took the world by storm and became the world’s first-ever video to hit 10 billion views on YouTube, making it the most-viewed video in YouTube history. With music, characters, story and dance all combined together, the song earned RIAA Diamond certification (11x platinum), having sold more than 11 million units in the U.S. and spawned a viral phenomenon, #BabySharkChallenge, which generated more than 1 million cover videos around the globe.
BABY SHARK’S BIG MOVIE is executive produced by Gary “Doodles” DiRaffaele (Breadwinners), Tommy Sica (Breadwinners) and Whitney Ralls (My Little Pony: Equestria Girls), along with Minseok Kim, Ryan Lee and Bin Jeong for The Pinkfong Company. Ralls also serves as writer for the movie. Baby Shark’s Big Show! is executive produced by DiRaffaele, Sica and Ralls. Both BABY SHARK’S BIG MOVIE and Baby Shark’s Big Show! are produced by Nickelodeon Animation in Burbank, Calif., with production overseen by Eryk Casemiro, Executive Vice President, Nickelodeon Animation, Global Series Content. Miriam Ritchie serves as Nickelodeon’s Executive in Charge of Production for BABY SHARK’S BIG MOVIE and Max Goodman serves as Nickelodeon’s Executive in Charge of Production for Baby Shark’s Big Show!.
About The Pinkfong Company The Pinkfong Company is a global entertainment company that delivers content and entertaining experiences around the world. Driven by award-winning brands and IPs, the company has created and distributed a range of content across genres and formats including original animated series, world live tours, interactive games, and more. Believing in the power of entertaining and engaging content, The Pinkfong Company is committed to connecting people around the world and bringing joy and inspiration to worldwide audiences of all ages. For more information, please visit our website or follow the company onLinkedIn.
About Paramount+ Paramount+, a direct-to-consumer digital subscription video on-demand and live streaming service, combines live sports, breaking news and A Mountain of Entertainment™. The streaming service features an expansive library of original series, hit shows and popular movies across every genre from world-renowned brands and production studios, including BET, CBS, Comedy Central, MTV, Nickelodeon, Paramount Pictures and the Smithsonian Channel. Paramount+ with SHOWTIME®, the service’s cornerstone plan, is also home to SHOWTIME® content including scripted hits, critically acclaimed nonfiction projects, SHOWTIME SPORTS® (including industry-leading SHOWTIME Boxing®) and films. This premium plan includes unmatched events and sports programming through the local live CBS stream, including golf to basketball and more. All Paramount+ subscribers have streaming access to CBS News Network for 24/7 news and CBS Sports HQ for sports news and analysis.
About Nickelodeon Nickelodeon, now in its 44th 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 brand includes television programming and production in the United States and around the world, plus consumer products, digital, location-based experiences, publishing and feature films. For more information or artwork, visithttp://www.nickpress.com. Nickelodeon is a part of Paramount’s (Nasdaq: PARA, PARAA) global portfolio of multimedia entertainment brands.
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Many film historians see ‘Jaws’ as the first true summer blockbuster.
Steve Kagan/Getty ImagesJared Bahir Browsh, University of Colorado Boulder
“Da, duh.”
Two simple notes – E and F – have become synonymous with tension, fear and sharks, representing the primal dread of being stalked by a predator.
And they largely have “Jaws” to thank.
Fifty years ago, Steven Spielberg’s blockbuster film – along with its spooky score composed by John Williams – convinced generations of swimmers to think twice before going in the water.
As a scholar of media history and popular culture, I decided to take a deeper dive into the staying power of these two notes and learned about how they’re influenced by 19th-century classical music, Mickey Mouse and Alfred Hitchcock.
The first summer blockbuster
In 1964, fisherman Frank Mundus killed a 4,500-pound great white shark off Long Island.
After hearing the story, freelance journalist Peter Benchley began pitching a novel based on three men’s attempt to capture a man-eating shark, basing the character of Quint off of Mundus. Doubleday commissioned Benchley to write the novel, and in 1973, Universal Studios producers Richard D. Zanuck and David Brown purchased the film rights to the novel before it was published. The 26-year-old Spielberg was signed on to be the director.
Tapping into both mythical and real fears regarding great white sharks – including an infamous set of shark attacks along the Jersey Shore in 1916 – Benchley’s 1974 novel became a bestseller. The book was a key part of Universal’s marketing campaign, which began several months before the film’s release.
Starting in the fall of 1974, Zanuck, Brown and Benchley appeared on a number of radio and television programs to simultaneously promote the release of the paperback edition of the novel and the upcoming film. The marketing also included a national television advertising campaign that featured emerging composer Williams’ two-note theme. The plan was for a summer release, which, at the time, was reserved for films with less than stellar reviews.
TV ads promoting the film featured John Williams’ two-note theme.
Films at the time typically were released market by market, preceded by local reviews. However, Universal’s decision to release the film in hundreds of theaters across the country on June 20, 1975, led to huge up-front profits, sparking a 14-week run as the No. 1 film in the U.S.
Many consider “Jaws” the first true summer blockbuster. It catapulted Spielberg to fame and kicked off the director’s long collaboration with Williams, who would go on to earn the second-highest number of Academy Award nominations in history – 54 – behind only Walt Disney’s 59.
The film’s beating heart
Though it’s now considered one of the greatest scores in film history, when Williams proposed the two-note theme, Spielberg initially thought it was a joke.
But Williams had been inspired by 19th and 20th century composers, including Claude Debussy, Igor Stravinsky and especially Antonin Dvorak’s Symphony No. 9, “From the New World.” In the “Jaws” theme, you can hear echoes of the end of Dvorak’s symphony, as well as the sounds of another character-driven musical piece, Sergei Prokofiev’s “Peter and the Wolf.”
“Peter and the Wolf” and the score from “Jaws” are both prime examples of leitmotifs, or a musical piece that represents a place or character.
The varying pace of the ostinato – a musical motif that repeats itself – elicits intensifying degrees of emotion and fear. This became more integral as Spielberg and the technical team struggled with the malfunctioning pneumatic sharks that they’d nicknamed “Bruce,” after Spielberg’s lawyer.
As a result, the shark does not appear until the 81-minute mark of the 124-minute film. But its presence is felt through Williams’ theme, which some music scholars have theorized evoke the shark’s heartbeat.
Mechanical issues with ‘Bruce,’ the mechanical shark, during filming forced Steven Spielberg to rely more on mood and atmosphere.Screen Archives/Moviepix via Getty Images
Sounds to manipulate emotions
Williams also has Disney to thank for revolutionizing character-driven music in film.
The two don’t just share a brimming trophy case. They also understood how music can heighten emotion and magnify action for audiences.
Although his career started in the silent film era, Disney became a titan of film, and later media, by leveraging sound to establish one of the greatest stars in media history, Mickey Mouse.
When Disney saw “The Jazz Singer” in 1927, he knew that sound would be the future of film.
On Nov. 18, 1928, “Steamboat Willie” premiered at Universal’s Colony Theater in New York City as Disney’s first animated film to incorporate synchronized sound.
Unlike previous attempts to bring sound to film by having record players concurrently play or deploying live musicians to perform in the theater, Disney used technology that recorded sound directly on the film reel.
It wasn’t the first animated film with synchronized sound, but it was a technical improvement to previous attempts at it, and “Steamboat Willie” became an international hit, launching Mickey’s – and Disney’s – career.
The use of music or sound to match the rhythm of the characters on screen became known as “Mickey Mousing.”
“King Kong” in 1933 would deftly deploy Mickey Mousing in a live action film, with music mimicking the giant gorilla’s movements. For example, in one scene, Kong carries away Ann Darrow, who’s played by actress Fay Wray. Composer Max Steiner uses lighter tones to convey Kong’s curiosity as he holds Ann, followed by ominous, faster, tones as Ann escapes and Kong chases after her. In doing so, Steiner encourages viewers to both fear and connect with the beast throughout the film, helping them suspend disbelief and enter a world of fantasy.
Mickey Mousing declined in popularity after World War II. Many filmmakers saw it as juvenile and too simplistic for the evolving and advancing film industry.
When less is more
In spite of this criticism, the technique was still used to score some iconic scenes, like the playing of violins in the shower as Marion Crane is stabbed in Alfred Hitchcock’s “Psycho.”
Spielberg idolized Hitchcock. A young Spielberg was even kicked off the Universal lot after sneaking on to watch the production of Hitchcock’s 1966 film “Torn Curtain.”
Although Hitchcock and Spielberg never met, “Jaws” clearly exhibits the influence of Hitchcock, the “Master of Suspense.” And maybe that’s why Spielberg initially overcame his doubts about using something so simple to represent tension in the thriller.
Steven Spielberg was just 26 years old when he signed on to direct ‘Jaws.’Universal/Getty Images
The use of the two-note motif helped overcome the production issues Spielberg faced directing the first feature length movie to be filmed on the ocean. The malfunctioning animatronic shark forced Spielberg to leverage Williams’ minimalist theme to represent the shark’s ominous presence in spite of the limited appearances by the eponymous predatory star.
As Williams continued his legendary career, he would deploy a similar sonic motif for certain “Star Wars” characters. Each time Darth Vader appeared, the “Imperial March” was played to set the tone for the leader of the dark side.
As movie budgets creep closer to a half-billion dollars, the “Jaws” theme – and the way those two notes manipulate tension – is a reminder that in film, sometimes less can be more.
Jared Bahir Browsh, Assistant Teaching Professor of Critical Sports Studies, University of Colorado Boulder
This article is republished from The Conversation under a Creative Commons license. Read the original article.
The culinary world is reeling from the sudden and tragic loss of beloved chef and television personality Anne Burrell, who was found dead in her Brooklyn, New York, home on the morning of Tuesday, June 17. She was 55 years old.
According to a statement from the New York City Police Department, officers from the 76th Precinct responded around 7:50 a.m. to a report of “an unconscious and unresponsive 55-year-old female.” Emergency medical services arrived shortly after and pronounced her dead at the scene. While police did not formally release her name pending family notification, public records and the address provided in the police statement confirm that the residence belongs to Burrell.
A cause of death has not yet been determined. The city’s Office of the Chief Medical Examiner will conduct an autopsy to clarify the circumstances surrounding her passing.
Burrell’s representatives confirmed the heartbreaking news in a release obtained by People magazine, marking a devastating moment for fans, friends, and fellow chefs who admired her bold personality, bright red hair, and fierce culinary skills.
Best known for her work on Food Network shows like Secrets of a Restaurant Chef, Worst Cooks in America, and Iron Chef America, Burrell was a standout in the food television landscape. A classically trained chef and graduate of the Culinary Institute of America, she blended expertise with an infectious enthusiasm that made her a favorite among viewers and a mentor to many aspiring cooks.
Tributes from across the food and entertainment communities have begun pouring in as the industry mourns the loss of one of its brightest and most unique stars. More details are expected in the coming days as the investigation continues and the autopsy results are released.
Anne Burrell’s legacy will live on through the meals she inspired, the careers she helped shape, and the joy she brought to countless kitchens around the world.
STM Daily News is a vibrant news blog dedicated to sharing the brighter side of human experiences. Emphasizing positive, uplifting stories, the site focuses on delivering inspiring, informative, and well-researched content. With a commitment to accurate, fair, and responsible journalism, STM Daily News aims to foster a community of readers passionate about positive change and engaged in meaningful conversations. Join the movement and explore stories that celebrate the positive impacts shaping our world.
This year saw a staggering 130,145 attendees—a new high for the event . That massive turnout speaks volumes about the guest lineup, community spirit, and post-pandemic resurgence.
Legendary Panels & Guest Moments
The Lord of the Rings crew—Sean Astin, Elijah Wood, Dominic Monaghan, and Billy Boyd—dazzled with hilarious anecdotes and audience games .
Simon Pegg delivered a masterclass in storytelling, offering behind‑the‑scenes glimpses into franchises like Star Trek and Mission: Impossible.
Anthony Daniels (C‑3PO) meandered through the crowd answering fan questions, bringing warmth and surprise to his panel .
Community-Led Panels Shine
Fan-run sessions like the raucous Jar-Jarpardy (a Stars Wars–themed trivia panel) won praise for creativity and laughs .
The Not-So-Great
⏰ Panel Time Chaos
Hayden Christensen’s much-anticipated Q&A started an hour late. While some panels remained on schedule, this one left attendees waiting negatively .
🚶♂️ Overcrowded Vendor Hall
The surge in attendance made vendor aisles nearly impassable at peak times—great for sales, tough on foot traffic .
👮♀️ Security Tightening & Restrictions
Enhanced security measures limited cosplay props and banned food/drink items. The 18+ late-night parties, now with stricter checks, were less freewheeling and more controlled .
Mixed Bag Moments
Hayden Christensen Mania
Christensen’s debut appearance in Phoenix was a huge draw. But the set-up—separate ticketing, line-clearing between panels, and delays—created a mixed fan experience .
Heavy Panels Hit a Somber Note
Jonathan Rhys Meyers, present only on Friday, steered his panel toward serious topics like AI’s impact on film and personal reflections—a shift in tone after more light-hearted sessions .
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Final Thoughts
Phoenix Fan Fusion 2025 soared to new heights with record attendance, crowd-pleasing celebrity panels, and electrifying fan energy. But with that growth came growing pains—long waits, tight crowds, and tighter rules.
If history holds, 2026 will bring refinements—better crowd control, smoother scheduling, and more fan-focused fun. Until then, here’s to the highs, the quirks, and the memories made under the Phoenix convention center lights!
Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at STM Entertainment and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/
Hal Machina is a passionate writer, blogger, and self-proclaimed journalist who explores the intersection of science, tech, and futurism. Join him on a journey into innovative ideas and groundbreaking discoveries!
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