#qubic pictures

[ecrivainalene]

Leviathan Panel at Otakon 2024

I was OVERJOYED to be at the Leviathan panel during Otakon 2024! I'll do my best to recap it below, but if you want a more coherent play by play, this Twitter user did an excellent job.

I've got a handful of photos, recap of Sharp Gender Discussion, plus misc. things I remember.

Not everyone was up for the entire time, but I snapped this photo near the end when everyone was on stage! From left to right: Waki Kiyotaka (Studio Orange), Yoshihiro Watanabe (Studio Orange), Scott Westerfeld, Christophe Ferreira (Quibic Pictures), Justin Leach (Quibic Pictures), Katrina Minett (Quibic Pictures), and Diana Garnet (ending theme vocalist).

New concept art! Looks like Dr. Barlow, Klopp, Alek, and Sharp, right before the Germans attack the Leviathan.

More under the cut!

Alternative shot of that art bc I couldn't get my lighting right:

Clanker and Darwinist technology designs. Watanave explained that Studio Orange's early days were spent doing contract work on Gundam anime, so I can't wait to see how that translates to the Clanker machines.

Some more concept art:

By the way, the entire series is being adapted at once - so we'll get the complete story at once! That in mind, the second image here makes me think of that maneuver near the beginning of Goliath to pick up the cargo.

Sharp!!! Look at them!!!

I don't have much to say about these but I'm fairly sure I hadn't seen them before. I am wondering if they downsized Alek's crew for the sake of the story, or perhaps we just haven't seem Bauer and Hoffman yet.

We got some new character art! The panel was very cryptic about who the character designer is. Apparently they're pretty well known, but they can't share it yet!

Volger I am so sorry your photo was unfocused. Forgive me.

The panel jokingly described him as "Alek's dad," which feels accurate. And maybe I misunderstood, but it sounds like he plays an even more important role in the anime than he does in the books. I've always considered Volger to be a pretty important character, so I wonder what else he'll do in this new series.

Klopp looks exactly like how I pictured him in my mind!! They said if Volger is Alek's dad, then Klopp is like his mom. Which is very fair but also made me laugh a lot.

Dr. Barlow!! She looks amazing. There was a lot of talk about the dynamic between her and Volger and how they're often playing mental chess games with each other. I'm really glad they're leaning into that dynamic.

And one more concept art:

This looks like the visit to Istanbul, which I'm desperately hoping means we'll see my favorite chaotic bisexual, Lilit.

That's all of the photos I have! They also showed us a preview of the show plus a live performance of the ending song with Diana Garnet. No video recording was allowed and I don't break rules, but believe me when I tell you it was stunning. The world feels so full of life and adventure and I can't wait to see the final show.

Tbh I was too busy holding back tears of joy but one thing I remember distinctly is there's a shot of Sharp getting ready for the day, and we see a sheet of paper with a bunch of names written and crossed out before finally (I think) "Dylan" is circled.

Which actually brings me to the Q&A part. TLDR, between the use of "Sharp" for Deryn's name, Scott referring to Sharp as "she/he/they" during the panel, and the scene I mentioned earlier, I feel really hopeful about how they're approaching Deryn's gender and identity in this adaptation.

I asked a question about this at the Q&A and voice recorded it, so I'll try to transcribe it here as best I can because the audio is not great lol. I stumbled through my question so I trimmed it down here but I'll transcribe the response as clearly as I can!

Me: I just finished re-reading [the series] for the first time since I was probably in high school, and one of the things that interests me about this adaptation is the approach to Sharp's character... I guess I'm just interested, like, was there a lot of thought put behind, or what kind of thought was put behind how to approach their character in the anime, I guess as a chance to re-approach the story however many years after it was originally written.

Scott Westerfeld: Yeah, there's a lot to that. The "girl dressing as a boy" as a trope was something completely different in 2007 when I started writing this than it is now. And so we really approached Deryn's identity as what was at stake rather than just... rather than just her being in disguise, it's about their recreating themselves and becoming a different person and transitioning and, and so... but it's always been interesting to me that the words that I wrote back in 2009, 10, 11, y'know, as an old guy who grew up in Texas in the 70s - who was David Bowie fan! - but otherwise didn't have a lot of access into issues of gender, I'm amazed at how many people have been [able to?] adopt Deryn/Dylan as one of their own. I just got an email a week ago from a trans boy whose chosen name is Dylan. So it is amazing to me how whatever imperfections or whatever problematics there are in the text, people still find their way into what they need from a character. And as a writer, I can say that I always respected that character, I always respected their choices, I always respected who they were. I never tried to stick them into a dress and have everyone go "Ooh now you're pretty 'because 'cause you're in dress!" We didn't do that, and I think that what may be important for people and I think that's why it's still what's gonna work here, but it's been fun to be able to update it and everybody on the team's been really great about understanding that.

TLDR I don't want to get anyone's hopes up too high, but I'm really appreciative of the care that's being taken with Sharp's story and identity in this adaptation. It seems like Scott and the others on the team are taking that into account, and I'm excited to see how it plays out.

Other random things I remember:

THERE WAS AN ALEK COSPLAYER. I took a photo with them but I won't post it without their consent. Just trust that they looked fantastic.

Scott said one of the first things he was told was that Alek can't actually kill Nikola Tesla because he's too well loved by people in Japan, which I think is the funniest possible reason for a change to be made in an adaptation.

Diana Garnet (they/any) mentioned how much they love Sharp (don't we all) and also how they used to work at a Barnes and Noble and remembers selling lots of Westerfeld books!

Scott said his approach in writing Leviathan was taking everything he'd always wanted to write about and basically throwing it together, because he was just coming off of the success of Uglies and figured he could get away with it.

If I remember anything else I'll add on to this post! Overall, it was a wonderful panel and I'm incredibly excited for this project.

[geekcavepodcast]

The Leviathan Teaser

"In 1914, on the eve of war, a fugitive prince and a girl in disguise meet aboard a bioengineered airship, the HMS Leviathan, and change the course of history." (Netflix)

The Leviathan is based on the novels by Scott Westerfeld, illustrated by Keith Thompson. The series is directed by Christophe Ferreira. Studio Orange is overseeing animation production with Qubic Pictures producing. Music is by Nobuko Toda and Kazuma Jinnouchi with original songs by Joe Hisaishi.

The Leviathan will hit Netflix in 2025.

[newsintheshell]

📢 LEVIATHAN: LA SAGA STEAMPUNK DI SCOTT WESTERFELD STA PER DIVENTARE UNA SERIE ANIMATA, IN ARRIVO SU NETFLIX!

L'anime è in produzione presso lo studio Orange (Trigun Stampede, Beastars, Land of the Lustrous) e debutterà globalmente in streaming nel corso del 2025.

Sarajevo, 1914: dopo l’attentato all’arciduca d’Austria scoppia la Prima guerra mondiale. Ma se a combattersi fossero bestie e macchine? Allora sareste nel mondo di Leviathan, Behemoth e Goliath. Sareste nel mondo di Alek e Deryn. È come una guerra tra universi differenti. Da una parte, le potenze Cigolanti e le loro macchine. Dall’altra, gli alleati Darwinisti e le loro creature di sintesi. Carburante contro cibo, metallo contro pelle. Alek contro Deryn. Aleksander è il figlio dell’arciduca assassinato, in fuga da un impero di cui nessuno lo vuole erede. Deryn è una ragazza arruolata in vesti maschili nell’Aviazione britannica, decisa a vivere come vuole. Si incontrano per caso ma si alleano per scelta e affrontano il conflitto insieme: da Istanbul a New York, tra battaglie aeree e rivoluzioni, Alek e Deryn impareranno che cosa sono il caos e l’odio, ma anche l’amicizia e la speranza – forse addirittura l’amore.

Prima prova alla regia per Christophe Ferreira, che si cimenta con l'interessante mondo fantastorico e retrofuturistico immaginato dallo scrittore americano, la cui trilogia di romanzi per ragazzi (composta da Leviathan, Behemoth e Goliath) è edita in Italia da Einaudi.

[graphicpolicy]

Justin Leach has been added to the Otakon 2024 Guest List

Justin Leach has been added to the Otakon 2024 Guest List #otakon #otakon2024

Justin Leach will be a guest at Otakon 2024. He is the CEO and an executive producer at Qubic Pictures. Leach has over two decades of experience working in the animation industry in the United States and Japan. In 1997, he began his career as an animator at Blue Sky Studios, having worked on several award-winning commercials, shorts, and films. In 2001, he moved to Japan to work as a CG creator…

[pancake-breakfast]

Ok! Notes from the first Orange panel at AX 2024! They were discouraging photography and video so this will just be text (mobile Tumblr hates my photos, anyway). But first, a bit of a TL;DR.

TL:DR: While they talked about Trigun: Stampede, Beastars, and their new upcoming title Leviathan, they mostly focused on Leviathan since Stampede has its own panel later. (I'm not sure about Beastars since I haven't been following the show as closely.)

Ok, on with the notes!

(Edited to add links.)

Studio Orange Presents: Beastars, Trigun, and...

The panel guests were Kiyotaka Waki (producer at Orange) and Yoshihiro Watanabe (producer at Orange and also played translator for Waki), as well as Justin Leach (producer for Eden and Star Wars: Visions).

They started off the panel by noting that exactly zero of the people on the panel (including the mod) slept the previous night.

Then they showed a sizzle reel in honor of Orange's 20th anniversary, highlighting all the stuff they've done in that time. There were a lot of cheers for Trigun, Beastars, and Land of the Lustrous in particular.

After the reel, they talked briefly about the history of Orange, how they'd gone from animating mecha for other people's shows (like they did for Evangelion and Code: Geass) to doing entire properties themselves. They're particularly proud of how their studio has grown from 4 people to... I forgot how many. Much more than 4. And they can now work on multiple titles simultaneously.

On to Trigun! They didn't get into it much since it's getting its own panel at the con, but they did show some pages from the Trigun Bible on Plants, and Watanabe noted he'd post them up on the bird app later today. (Edit: You can find them here.) Watanabe also said they can't release the whole Bible yet, which may just have me thinking hopefully, but hey, there's a chance! He seems to genuinely love sharing pages from it, at least.

On to Beastars! They read a thank you letter from the director to the fans, and also showed a subtitled video that I'd guess was also a thank you from someone else, but I was too far back to read the subtitles. (An ongoing problem with watching anything subbed at this con is the subs being entirely blocked by other people's heads unless you're in like the first few rows... but I digress.) They also showed a new key visual (which I'm sure is gonna be floating around social media somewhere at this point) and noted the third and final season of the show will air on Netflix in December. Waki noted he started reading the manga in 2017, and he's thrilled to get to work on a full adaptation of the story since it's rare to get to do that.

On to Leviathan! I'm gonna break this one up a bit because it's long. This is Studio Orange's new upcoming title in collaboration with Netflix and Qubic Pictures (the studio that did Eden, which was a great story overall and I definitely recommend it). They also worked extensively with the author of the original work, Scott Westerfield, who helped keep them consistent with the characters and themes.

The story is a dieselpunk alternate world WWI story about a runaway Austrian Prince named Alec who meets this Scottish girl, Sharp, on a bioengineered airship, and the relationships these people from disparate backgrounds have with others and each other.

The German/Austrian side of the conflict is a faction known as the "Clankers," who focus on mechs and technology to conquer the world via machines, while the faction Sharp belongs to is called the "Darwinists," who focus on DNA modification of creatures as a way to connect with nature.

They showed a preview of it that honestly looked really cool, but again, no recording. It had flying whale ships. Like... whales they strapped a box to and fly around on.

Orange is excited to get to "go back to their roots" with this and work on a Mecha title again, especially since this title will be theirs this time.

They acquired/absorbed (I'm not sure on the details) a team that specializes in background art for this project, and yeah, the backgrounds are detailed and amazing.

They noted a lot of animators reflect their own lives in their work, and they feel Leviathan is no exception. The international collaboration (they also have people from Europe working on this) lends itself well to a story about people from disparate cultures coming together and realizing they have more in common and more similar passions and desires than they have differences.

They'll be talking more about Leviathan at Otakon in August.

That's all for now! I'll try to update on the other Orange/Trigun panels if I get into them!

[fabuloustripodfish]

Me, after watching Leviathan Anime Teaser (2)

Deryn sharp with long hair

Alek’s new cloth(+scarp)

Stylish Action scene

Wonderful trailer bgm

Cool Stormwalker

I’m thinking ‘bout trailer all day

Although there aren’t character’s voice but I’m happy

ORANGE(+QUBIC PICTURES) PLEASE RELEASE SECOND TRAILER AS SOON AS POSSIBLE AND MY LIFE IS YOURS!!!!

[soranatus]

hi hello thanks for posting the Leviathan anime visdev sketches. You're doing holy work. May I ask where you found them? Are they posted online?

No problem, I love sharing them with people! They’ve been posted on twitter on a few accounts: the director of the anime - Christophe Ferreira, Studio Orange, & Qubic Pictures

I’ve been posting them here in case people without twitter accounts had wanted to see them and keep up with project!

[animemakeblog]

“Leviathan” The Orange, Qubic Pictures Produce Anime for 2025

The anime version of Scott Westerfeld's novel Leviathan is being produced by Orange Animation Studio and Qubic Pictures, according to an announcement from Netflix Japan. The company also unveiled a major visual (shown above) and the core personnel. In 2025, the anime is expected to be available on Netflix globally.

[teragames]

Preparan un anime de las novelas Leviathan

#LEVIATHANAnime Studio Orange adaptará un anime de las novelas Leviathan de Scott Westerfeld para @Netflix.

El próximo proyecto de Studio Orange, la casa productora detrás de éxitos como Land of the Lustrous, BEASTARS y TRIGUN STAMPEDE, será un anime basado en Leviathan, la obra de Scott Westerfeld. El estudio unirá fuerzas con Qubic Pictures y la serie se estrenará en Netflix en 2025. Christophe Ferreira dirigirá con Justin Leach y Taiki Sakurai como productores. Además de la música de Nobuko Toda…

[iloveabunchofgames]

2/5/23 - Week In Review

#JakeReviewsItch Week In Review Archives

This week's reviews:

🧡🧡🤍🤍🤍 A Game of Changes 🧡🧡🧡🧡🤍 A Good Snowman Is Hard to Build 🧡🧡🧡🧡🤍 A Hole New World 🧡🧡🤍🤍🤍 A Kishoutenketsu in the countryside 🧡🧡🧡🤍🤍 A Light Long Gone 🧡🤍🤍🤍🤍 A Lullaby of Colors 🧡🤍🤍🤍🤍 A Magical Tale: Cavern Crawler

Game of the Week:

People think designing video games is hard. It's not hard. Just follow the recipe: A jumps; B shoots.

A Hole New World is a pastiche of several of the best NES games. It steals from Capcom and Konami's finest, and while it doesn't surpass or even match the classics, it carries over enough of their appeal to earn Game of the Week status.

If twitchy action isn't your speed, look instead to the laid back (but mentally demanding) puzzles of A Good Snowman Is Hard to Build. This week brought two very good games, and five... Well, there were two good games, and I'm calling that a success. Speaking of good games, check out January's Game of the Month awards if you missed it. If you still want more recommendations, Nintendo Switch owners are also advised to check out last week's post and scroll to the bottom for information on which games to scoop up before Qubic's massive $0.49 sale ends later this month.

DISNEY and WALDEN MEDIA Present C. S. Lewis' The Chronicles of Narnia: The Lion, The Witch, and the Wardrobe: The Official Game of the Major Motion Picture of the Novel Push By Sapphire, Now Available For Your Nintendo Dual Screen Portable Entertainment System (2005)

We don't need to get into details right now, but your boy has chronic brain problems and body problems. Some of my symptoms have been flaring, and I'm also on a new prescription that causes severe drowsiness, which is relevant to this video game Tumblog because I just can't keep up with fast-moving, involved games right now.

I have no attachment to Narnia or its Chronicles. Never read a page of any of those books. I remember a couple elementary teachers turning on the old animated movie on days when they needed a break. I think I saw the live-action Disney movie once. If I did, everything about it slipped out of my head the second the credits started rolling. Christian allegories don't do much for me.

But here was a DS game with no cultural impact or legacy, sitting at the oft mention retro store dollar bin alongside My Sims and Gold's Gym: Cardio Fitness. What was I supposed to do? Not buy it? As if.

It is an action RPG. There are wolves and ogre. You kill them. They drop experience points and a couple forms of currency. Level up; buy new equipment. Side quests are the typical "Kill 10 X in Y location" and "Fetch an item" fare. Walking until an enemy is in sight and tapping the A Button until it falls is a suitable strategy in most situations. This is one unremarkable, grind-y genre game with a license I don't care about slapped on top. In other words, it is exactly what I need right now.

I've played a little almost every day since I started is a few weeks ago. It's my relaxing bedtime game, and a big part of that is that it's always there. I have a 3DS within arms length of my bed, but I've been playing Narnia on a DS Lite. I love my 3DS, but it comes with so many distractions. I'm always one tap of the Home Button away from a dozen downloaded games. That temptation isn't present on the DS Lite. The Narnia cartridge hasn't come out once. I haven't turned off the power. I close the system when I'm done. I open it later, and my game instantly awakens from sleep mode, exactly where I left it. I believe in progress. I'm not against convenience and choice—we are right to strive for more—but I do believe they come at a cost. If I'd downloaded this game on my Switch, I would have dropped it in minutes. I want a little friction. There's value in the old ways, when sticking with a game that didn't immediately hook you was the most convenient option. How many of the DOS games and NES game that I love today would I have bothered learning to play if they hadn't been the only games I had? If I were just selecting ROMs from a menu instead of standing up to shuffle diskettes and cartridges. The future will always be better than the past, as long as the past can still be accessed in the future. And you don't need to play this Narnia game. My point—and perhaps the dominant theme of I Love a Bunch of Games—is that you never know what might be the right game at the right time. Be sensible with your time and money. Know your budget. If you don't like a game, don't punish yourself; just stop playing it. As long as it's within reason, though, take a chance. Contrive an excuse to really try something; to pick a game, not because it appeals to you, or because it's critically acclaimed, or because it had a big marketing push, but simply because it's there. Start a game, and don't put it down until you understand it. They won't all be winners, but stick with it, and some of them will.

(Just don't go as deep as me. I am seriously eyeing the GameCube version of DISNEY and WALDEN MEDIA Present The Chronicles of Narnia: The Lion, The Witch, and The Wardrobe. My GameCube and Wii both have faulty disc drives. I don't have any way to play GameCube discs. But I want it. It was also released on PC, though it's been pulled from digital stores. Piracy seems victimless in this case, but that's not my scene. The sequel, Prince Caspian, is no longer available on Steam or J2ME-compatible cell phones, but it is on DS, and my Wii U could play the Wii release... Hmmm... There might be a bad choice in my future...)

Submerged: Hidden Depths

Continuing the theme of low-impact games that suit my enfeebled state, I played a fair chunk of Submerged: Hidden Depths this week. If you keep up with the free games available each week on the Epic Game Store, check your library. You might already own it.

Submerged: Hidden Depths is easy to describe. It's one of these...

...plus a simplified version of The King of Red Lions from The Legend the Zelda: The Wind Waker. It has a motor instead of a wind-dependent sail, but no question, the handling and the treasure hunting mimic Zelda.

You know how all those Tomb Raider-derived, jump-and-climb-along-conspicuous-jutting-ledges games always feel the need to break up the action with a bit of mass murder? I like shooting dinosaurs and doing flips off of sand zombies, but it always feels like the platforming and the combat are at odd with each other. You're zipping around, finding an acrobatic route across crumbling ruins, and then STOP! It's murder time. S:HD (which I would like to abbreviate to Submerged, but that's the name of the previous game in this series) has no combat. There are no enemies. There are no ragdoll physics at the character when you misjudge a jump and land on neck-breaking jagged rocks, because there is no jump button and no way to step off a suspended platform.

This is the genre stripped down to its barest fundamentals, and it is a fascinating experiment. The routes are always prescribed, anyway. Why do we need a jump button if a level designer has already decided precisely where the jumps should take place? Why not make the characters jump on their own when they approached the spot where jumping must happen?

The answer isn't surprising: Diminished risk, diminished reward. You don't even need to see a ledge to advance in S:HD. Just bump into it and watch your character do the rest. You can't fall, so aimlessly walking along seeming pits is just as valid a strategy as swiveling the camera around to look for hidden handholds.

There are large islands that must be completed and optional small islands housing additional collectables. My compulsion to get everything has been tested by how useless most of it is: A snippet of backstory. A minor increase in how long the boat's rechargeable speed boost can be used. Unlockable hairdos, outfits, and paint jobs for the boat are the best rewards, and the most demanding—each large island contains nine hidden objects. Get 'em all; unlock one thing. Complete the island when you only have eight, and you're sent back to the central island. Do you want to try to remember which island it was, sail back, and walk through it again while searching for a glint of gold? I don't.

The blockbuster jumpy/climby/kill-a-man games are in no danger of being replaced by the Sumberged series, and I don't even think I'll finish this game, but I appreciate it. It's less an action game and more a casual, hidden object game in an action setting. (A gorgeous action setting.) If you're interested in the thought experiment of what brutally violent games might look like without violence or danger, or you just need a way to keep your eyes and hands busy while listening to podcasts, set sail. Submerged: Hidden Depths might be too shallow to hold my interest (writing game reviews is so easy, you guys), but I'm glad I took a leap of faith and spent a few hours getting lost at sea. It's not just treading water! (So easy.)

#JakeReviewsTwitch is a series of daily game reviews. You can learn more here. You can also browse past reviews…

• By name • By rating • By genre

[otakutale]

New Visual & Trailer Revealed for Netflix Original Anime Eden

https://wp.me/p4jiOt-chC

Media streaming platform and publisher Netflix has unveiled a new trailer and visual for their upcoming original anime Eden. The…

[galaxiarick]

Eden

[newsintheshell]

Annunciata “Eden”, una nuova serie originale in esclusiva per Netflix

L’anime sbarcherà sulla piattaforma nel corso del 2020.

Netflix ha svelato l’arrivo in esclusiva sulla piattaforma, nel corso del 2020, di una nuova serie animata originale intitolata “Eden”. Il progetto, di stampo sci-fi/fantasy e completamente finanziato dalla compagnia, è stato presentato durante la sessione Work in Progress del Festival internazionale del film d'animazione di Annecy e vede come produttori Taiki Sakurai, Justin Leach (Kick-Heart), Andy Tsao e You Shang.

A quanto divulgato, la serie sarà composta da quattro episodi, diretti da Yasuhiro Irie (Fullmetal Alchemist: Brotherhood, Scorching Ping Pong Girls) e sceneggiati da Kimiko Ueno (The Royal Tutor). Toshihiro Kawamoto (Cowboy Bebop, Noragami) è stato coinvolto come character designer, Christophe Ferreira (Hirune Hime: Shiranai Watashi no Monogatari) ha partecipato in qualità di concept artist, mentre i fondali sono ad opera di Clover Xie. La colonna sonora è stata composta da Kevin Penkin (Made in Abyss, The Rising of the Shield Hero).

Migliaia di anni nel futuro, il mondo è popolato da robot guidati solamente dalla loro intelligenza artificiale. Con i loro padroni ormai scomparsi tanto tempo fa, questi custodi meccanici hanno creato una società utopica, priva di crimine, povertà e ogni sorta di violenza. Durante un incarico di routine, due robot risvegliano accidentalmente dalla stati un bambino umano, mettendo in discussione tutto quello che gli era stato insegnato di credere.

L’anime sarà prodotto da Qubic Pictures - un nuovo studio fondato da Leach a Tokyo lo scorso settembre - e dalla compagnia taiwanese CGCG, in collaborazione con Nice Boat Animation e Wolf Smoke Studio, studi situati rispettivamente a Pechino e Shangai. 

SilenziO)))

[FONTE]

[graphicpolicy]

Katrina Minett is coming to Otakon 2024

Katrina Minett is coming to Otakon 2024 #otakon #otakon2024

Katrina Minett will be a guest at Otakon 2024. She is a producer at Qubic Pictures. Originally from the UK, Minett made the bold move to Tokyo in 2015, immersing herself in Japan’s vibrant animation scene. With roots spanning to Sri Lanka and Britain, Katrina’s multiracial background enriches her creative perspective and lends a distinctive voice to her work. She honed her craft at OLM, one of…

[animefagos]

Nuevo tráiler e imagen y tres voces más del anime original Eden

Nueva entrada publicada en https://www.animefagos.com/2021/05/12/nuevo-trailer-e-imagen-y-tres-voces-mas-del-anime-original-eden/

Nuevo tráiler e imagen y tres voces más del anime original Eden

Netflix ha publicado un nuevo tráiler del anime original titulado Eden. El anime se estrenará mundialmente en dicha plataforma el 27 de mayo. Versión en japonés Versión con subtítulos en español MENSAJE AUTOMÁTICO: No se han encontrado humanos empadronados en #Edén. Todos los episodios llegan el 27 de mayo. pic.twitter.com/57ZoZFNx1J — Netflix España (@NetflixES) May 12,…