#the voice is of Nonso Anozie

[quibble-auk]

@thebrokenmechanicalpencil you mentioned the voices in that little goofy video I made and I immediately had to share what I’ve mentally made Dropmix sound like.

So here it is. The other voice is not Jeopardy’s tho. I found someone else

[wearevillaneve]

While Netflix has yet to renew Neil Gaiman’s “The Sandman” for Season 2, it’s just given fans of the new hit TV series the next best thing by dropping a surprise “bonus” episode featuring guest stars Sandra Oh, James McAvoy, David Tennant and Michael Sheen.

Dropping Friday at 12 a.m. PT, exactly two weeks after the first 10 episodes launched, the new installment of “The Sandman” Season 1 is a live-action/animated hybrid episode adapting two fan-favorite stories from Gaiman’s “Sandman” graphic novels from DC Comics: “A Dream of a Thousand Cats” and “Calliope.”

“A Dream of a Thousand Cats” is the animated portion and stars Tom Sturridge in his leading “Sandman” role as Dream, as well as a guest voice cast members including Oh as The Prophet, Rosie Day as The Tabby Kitten, David Gyasi as The Grey Cat, Joe Lycett as The Black Cat, Gaiman himself as Crow/Skull Bird, McAvoy as Golden-Haired Man, David Tennant as Don, Georgia Tennant as Laura Lynn, Sheen as Paul, Anna Lundberg as Marion, Nonso Anozie as Wyvern, Diane Morgan as Gryphon, and Tom Wu as Hippogriff.

This is one hard-working woman.

[animentality]

Pretty much. The original cut of Disney’s ‘Artemis Fowl’ did have Butler be called ‘Butler’ — but all mentions were dubbed over with ‘Dom’ after the test screening audiences pointed out the unfortunate implication Butler being just called Butler had now that he was being portrayed by Nonso Anozie instead of being depicted as Russian-Japanese as in the books (and it was really not a good look for them, like even by standards of good look — like to the casting lady, I would say that should have occurred to her on Day One — that she really should have read the book). Holly was also white for some reason. And the person who voiced Opal also played the Ho Chi Minh City sprite in a deleted scene. It was not a good film.

It looked horrible from the trailer. I'm just amazed absolutely no one watched it, it was on Disney plus for fucks sake.

[geekcavepodcast]

Sweet Tooth Trailer

Sweet Tooth is based on Jeff Lemire’s Vertigo comic of the same name.The series is executive produced by Susan Downey and Robert Downey Jr. Jim Mickle and Beth Schwartz are serving as writers, co-showrunners, and executive producers. Mickle will also direct. 

The comic Sweet Tooth follows Gus, a deer/boy hybrid who leaves his forest home to find the outside world ravaged by some cataclysmic event. Gus joins a group of humans and other human/animal children in search of answers about the world and his origins. The series will stars Christian Convery, Nonso Anozie, Adeel Akhtar, and Will Forte, with James Brolin as the voice of the Narrator.

Sweet Tooth hits Netflix on June 4, 2021.

[boasamishipper]

Do you have fancasts for Sam and Dani's families? 💕

Not for Dani's family, no - I have yet to find any actors/models that match the Luis and Lydia (his parents) and the Jandro, Gabi, Javi, and Julia (Dani's older siblings) I have in my head.

For Sam's family, I have Nonso Anozie as Sam's father, Ola Obisanya (he already voices Sam's dad in the show); Kate Henshaw as Sam's mother, Adepero Obisanya (though I also lean towards Rakie Ayola, who played Toheeb's mother in Anthony); Dorcas Shola Fapson as Sam's older sister, Grace Adeyemi; and Winston Duke as Ben Adeyemi, Sam's brother-in-law.

[avaantares]

Artemis FOUL: A Disney+ Dumpster Fire

Soooo it had been a kind of rough week for a variety of reasons, and a few of my friends/family wanted to kick back and do something mindless over the weekend, so we ordered pizza from one of our favorite local places, I set up a screen and projector in the driveway, and we had an outdoor/socially-distant movie night. Since several of us had read the books, we decided to watch the new Artemis Fowl movie on Disney+.

We knew from the trailer and its 10% rating on Rotten Tomatoes that it was not going to be a good movie. But I had not been prepared for... uh... what is quite possibly the single worst film I have seen released in YEARS. I can’t imagine this insult to cinema having an actual theatrical release (which it was intended to, before the pandemic shut down theatres). I haven’t seen the Cats movie, but I imagine this aggregation of waterfowl* could give it a run for its money.

Not only is it a bad adaptation of the books (and by “adaptation,” I mean they used a couple of names; the story and characters are utterly unrecognizable), but the script is like something a teenager would turn in for a class assignment. No, scratch that -- I’ve actually read better writing by teenagers. Plot points are explained to the audience three or four times by both characters and frame-story narrator (apparently the writers thought viewers were dumb and wouldn’t catch on?). There are missing connecting scenes. The villain is actually played by three different actors using a hood and voice modulation, because apparently they couldn’t decide whom to cast in the role. There are multiple significant plot threads that never get wrapped up. The pacing is a mess. The characters are devoid of personality or charisma. There is some truly hideous CGI.

But all of that is just (grossly) bad filmmaking. The film is worse than that -- in fact, in light of current events, it comes across as not only tone-deaf, but actively offensive.

I’m sure someone in an office somewhere thought it would be a good idea to mix up the casting of book characters a bit, to add some diversity. At first glance, this seems like a good idea: LEP Recon commander Julius Root has been switched to a female role, played by Dame Judi Dench, and Artemis’s bodyguard Domovoi Butler and his sister Juliet are played by Black actors Nonso Anozie and Tamara Smart, respectively.

Don’t get me wrong -- I am actively in favor of diverse casts and strong female roles. The problem here is 100% in the execution. Because I think we can all agree that bad representation can be even more harmful than no representation at all, and this is some bad representation.

For starters, Juliet -- a kickass martial artist in the books -- has been stepped back to being Butler’s Domovoi’s 12-year-old niece. (The movie is insistent that he is not to be called Butler, which might pass for awareness if not for the rest of the script. In the books, it’s actually a characterization point that he is only to be called Butler; in fact, Artemis doesn’t even learn his given name until book 3.) When this younger Juliet was first introduced, I thought, well, it’s a kids’ movie, maybe they want to include a younger female character to act as an active role model for girls watching? NOPE: Juliet has speaking lines in only about three scenes in the entire film. In two of them, she is bringing sandwiches to other characters. In another scene, we see her sitting alone in the kitchen while the rest of the characters are off doing plot-related things.

That’s right. Disney added a young Black girl to the cast just so she could serve food to her uncle’s rich white employer.

There is literally no other purpose served by her character in the film. She’s conspicuously absent from (and irrelevant to) key plot scenes, and the only thing she accomplishes in the entire movie apart from serving food is, in one scene, she looks at a monitor and reports on the weather conditions. That’s it. Honestly, it would have been better to leave her character out completely, rather than have this token appearance characterized by inactivity.

[Warning: Spoiler ahead!] And then there’s Domovoi himself. In the books, Butler (who possesses extensive martial and tactical training, as well as superhuman strength) earns the fear and respect of the fairies by singlehandedly holding off a rampaging troll. In the film, he is not only completely useless in the fight against said troll -- scrappy little Artemis gets more hits on the beast than Domovoi does -- but he is actually killed (temporarily, because magic) saving Artemis in the troll fight. In fact, he’s the only named character with an onscreen death in the course of the entire film.

Or, as my sister put it, staring at the screen with her jaw hanging: “Did they cast a Black actor just so they could have the Black guy die first?!”

To top off the dubious optics of both of those character choices, the apparently-progressive move of changing Root to a female character is undermined by the complete nerfing of the story’s female lead, Captain Holly Short. In the books, Holly is a whip-smart, no-nonsense officer who acts as a foil for the wily Artemis; in this film, she’s reduced to a novice recruit who technically has some agency, but her personal motivation (what little she has of it) revolves solely around her father, and is so poorly conveyed that our viewing group had an ongoing discussion trying to determine exactly what she was doing and why throughout the film.

The worst thing is that some middle executive somewhere is probably patting himself on the back for facilitating some “woke” casting, because look! There was a racially-diverse cast! And Strong Female Characters(TM)! when in fact the entire film was not only a crock of pure garbage, but insulting garbage. Both my intellect and my social sensibilities feel bruised after viewing.

I wish Disney+ had a “rate this film” feature, because I would leave a smoking hole where the star rating should be.

-----------------------------------------------

* This is a term my sister and I coined to (politely) describe something that is a complete and total disaster. I’m sure you can parse its meaning when you consider that an aggregation of waterfowl might also be described as “clustered ducks.”

[dailyrdj]

After getting a pilot production order at Hulu in late 2018, the adaptation of DC Vertigo comic “Sweet Tooth” is no longer moving forward at the Disney-owned streaming platform. But Netflix has picked up the one-hour drama from Team Downey, the production company founded by Robert Downey Jr. and Susan Downey, in association with Warner Bros. Television.

Starring Christian Convery, Nonso Anozie, Adeel Akhtar and Will Forte, “Sweet Tooth” is a coming-of-age tale of Gus, a part boy, part deer who leaves home amid a cataclysmic world event, then joins “a ragtag family of humans and animal-children hybrids like himself in search of answers about this new world and the mystery behind his hybrid origins.” James Brolin has been cast as the voice of the narrator.

Team Downey’s Robert Downey Jr., Susan Downey and Amanda Burrell, as well as Linda Moran, will executive produce. Team Downey’s Evan Moore will serve as producer.

[aquitainequeen]

My friends, if you’re able, check out BBC Radio 4′s production of Neil Gaiman’s Norse Mythology! I only caught the second half, where everything goes to Hel and there’s Ragnarok all over the place, but I assure you it’s an utterly fantastic story. Colin Morgan (or at least his voice) is now my head-canon for Loki.

Diana Rigg, Derek Jacobi, Colin Morgan and Natalie Dormer lead a stellar cast, inviting us into these stories of old betrayals – and new hope.

We meet the trickster god Loki and his astonishing children – the giant wolf Fenrir, Jormungundr the snake that encircles the world, and Hel, the little girl who grows up to be Queen of the dead. We meet Odin the all-father, who sacrificed his eye to see the future, and Freya the understandably angry, most beautiful of the gods and always being gambled for by unwanted suitors. And the stories take us to the very end of the world, Ragnarok.

The stellar cast also includes Luke Newberry, Nonso Anozie, Rhashan Stone, Don Gilet, Nathaniel Martello-White, Tayla Kovacevic-Ebong, Lucy Doyle, Michael Bertenshaw, Lewis Bray, Alexandra Constantinidi, Cameron Percival, Saffron Coomber…. And Neil Gaiman himself.

[dwarfanonymice]

I did a quick research on Wikipedia and this is what I found:

"Dream of a Thousand Cats" features the voices of Sandra Oh as The Prophet, Rosie Day as The Tabby Kitten, David Gyasi as The Grey Cat, Joe Lycett as The Black Cat, Neil Gaiman as The Skull Crow, James McAvoy as Golden-Haired Man, David Tennant as Don, Georgia Tennant as Laura Lynn, Michael Sheen as Paul, Anna Lundberg as Marion, Nonso Anozie as the Wyvern, Diane Morgan as the Gryphon and Tom Wu as the Hippogriff.

That escalated quickly

Bonus:

[upyourgeek]

IN CASE YOU MISSED IT: Netflix has just released a two-part bonus episode of Neil Gaiman‘s The Sandman, featuring one animated short story and one live-action installment. The animated section, titled “A Dream of a Thousand Cats,” follows an independent arc from the Sandman comic book of the same moniker. The voice cast includes Sandra Oh, James McAvoy, David Tennant, Rosie Day, David Gyasi, Joe Lycett, Michael Sheen, Nonso Anozie, Diane Morgan, Tom Wu and Neil Gaiman himself. The latter half of the surprise-dropped episode, “Calliope,” stars Melissanthi Mahut and offers a live-action take on the namesake character, who was abducted by a 20th-century writer in the original comics. Aside from Mahut, the cast features Arthur Darvill, Nina Wadia, Souad Faress, Dinita Gohil, Kevin Harvey, Amita Suman and Derek Jacobi. Despite Gaiman’s original comics existing in the DC universe, the author, who serves as an executive producer on the show, recently explained why the series didn’t follow suit. “By the time The Sandman finished, it had its own aesthetic which really wasn’t the DC Universe anymore,” he said in an interview. “We didn’t want a TV show where you felt that you had to have read a whole bunch of comics published in 1988 and 1989 to understand what was going on.” Stream The Sandman‘s new bonus episode on Netflix now. #Netflix #TheSandman #BonusEpisode #NeilGaiman https://www.instagram.com/p/ChdELaKPgh-/?igshid=NGJjMDIxMWI=

[oftenofftopic]

Artemis Fowl (2020)

Director: Kenneth Branagh

Genre: Adventure, Family, Fantasy

Runtime: 95 Minutes

Main Cast: Ferida Shaw, Lara McDonnell, Josh Gad, Tamara Smart, Nonso Anozie, Joshua McGuire, Colin Farrell, Judi Dench

Plot:Artemis Fowl Senior has been kidnapped by…a hooded baddie with a raspy voice. This mysterious person wants Artemis Fowl Junior to find a magical object called the ‘Aculos’. Young Artemis is…

[mrmichaelchadler]

Guava Island

Filmed in secret in Cuba and released with little fanfare on Amazon this morning, “Guava Island” is a musical-romance-thriller from the team behind FX’s “Atlanta,” director Hiro Murai and its star, the unstoppable Donald Glover (known in his music persona as Childish Gambino). Glover casts himself as a man of the people in the film—a rebel with some Childish Gambino songs in his heart—and its inspired however slight storytelling makes for another great display of Glover’s many talents as an entertainer. 

In an opening animated sequence, “Guava Island” tells of how the title land was once intended to be without love and war, before being essentially colonized with factories by a company named Red Cargo. The script by Stephen Glover then takes place on a typical Saturday for two of its citizens, Demi (Glover) and his girlfriend Kofi (Rihanna). It’s a work day, where Kofi is in the factory stitching fabrics with other women like Yara (Letitia Wright), while Demi is shown singing on the radio (“Red’s Cargo is the best cargo”), offering jingles meant to calm the masses. Then, he’s out of there—with a guitar around his back, he dashes through crowds while ask people him about the festival he’s meant to perform tonight, which everyone on the island anticipates as a break from labor.  

Demi soon gets to his main job, where he can’t mute his voice of dissent. “We live in paradise but none of us have the means to actually live here,” he says to a peer. When a different coworker talks about moving to America, where things are supposedly different than the oppression on Guava Island, Demi breaks into Childish Gambino’s masterful “This is America,” joined by other workers in accenting the masterful song’s taunting, outraged nature. But then, boom—Demi is kidnapped, and brought to meet boss Red Cargo himself (Nonso Anozie). Demi is given a stern message—cancel the festival tonight or else, because the people of Guava Island would be too tired to work on Sunday like they normally do. Word spreads around the island fast: is Demi going to cancel the show? 

As much as the directorial credit goes to “Atlanta” director Hiro Murai, the credits are more accurate in that this is “A Childish Gambino Film.” More than a strong narrative or clear-cut message, (the ending is both sincere and silly), “Guava Island” functions to give Glover a lead role in a film and time to do what he does best, like his comedy bits when interacting with the people of the island (like masked kids who attempt to mug him, even though he has no money to lose), or the way he commands the screen like during an intimate song and dance number he does for Rihanna by the water. He’s an entertainer who is bursting to sing, dance, act, or make a joke, and it has always been one of his most infectious qualities. Mega-watt star of her own Rihanna does not get all that much to do in the story besides being a love interest, the film cheaply bargains, but at least we get to see a couple of scenes with him wooing her. 

Like how Austin Vesely’s recent “Slice” threw Chance the Rapper into a fun horror hodgepodge about gentrification, Hiro Murai’s “Guava Island” puts Glover and Rihanna in a storybook version of a paradise that's been taken over, with dominating reds and blues on-screen deepened by a grainy film look and contained in a classic aspect ratio. And like “Slice,” “Guava Island” sucks you in with that sense of world-building, despite the color red specifically being used here as a very broad symbol for corporate domination. But even the vivid imagery can’t make one forget just how clunky "Guava Island"'s anti-capitalist commentary can be: Amazon isn’t exactly the last company one thinks about when observing the exploited workforce and dominating presence of Red Cargo. 

In its 55-minute running time, “Guava Island” touches upon bits of music, comedy, romance, and political violence, its mind focused on art as a form of freedom—whether that comes in the form of a beat, a melody, or a cinematic image. For a movie specifically meant to follow Childish Gambino's 2019 Coachella performance, that context of fleeting liberation adds a brilliant, bittersweet significance to some Childish Gambino songs that are played in part or in full here, like “Summertime Magic,” “Feels Like Summer,” and “Saturday” ("Saturday / All I want to do is make you dance, girl / And fall in line"). Glover and Murai accentuate how these songs are more anguished than their groove-ready nature suggests, in a way that both makes “Guava Island” exciting if not a little more frustrating, leaving you wanting more.  

from All Content http://bit.ly/2Z7nLtM

[geekcavepodcast]

Sweet Tooth “Comic to Screen” Featurette

Sweet Tooth is based on Jeff Lemire’s Vertigo comic of the same name. The series is executive produced by Susan Downey and Robert Downey Jr. Jim Mickle and Beth Schwartz are serving as writers, co-showrunners, and executive producers. Mickle will also direct.

The comic Sweet Tooth follows Gus, a deer/boy hybrid born after a pandemic who leaves his forest home. Gus joins a group of humans and other human/animal children in search of answers about the world and his origins. The series will stars Christian Convery, Nonso Anozie, Adeel Akhtar, and Will Forte, with James Brolin as the voice of the Narrator.

Sweet Tooth hits Netflix on June 4, 2021.

[artemisnightingale216]

I actually don't like the remakes because, sorry to say this, they're complete trash. I gave the CGI a chance and actually liked it (for the most part) because it brought my favorite Disney classics to a whole new level. These are just personal opinions, but here's the reasons I didn't like the live actions to date for one reason or another:

Let's start with Cinderella, since that was their first attempt: I really loved this movie, except for one huge problem: Lily James, aka Cinderella. I'm sorry, but the girl can't act (still a personal opinion). You can't come at me with a star studded cast like Cate Blanchett, Helena Bonham Carter, Stellan Skarsgaurd, Nonso Anozie, and Richard Madden but expect me to forgive the face that the lead of the story can't act worth shit. I was also very disappointed with what they did with her character; I really don't put much blame on Lily because this had more to do with the directors/writers than her, but what the ever loving Hell was up with that? Cinderella never had to remind herself to 'have courage and be kind'. She simply was. Sure, she threw a bit of shade every now and again (which I think was well within her right), but she never gave anyone dirty looks or any of the crap Ella tried to pull.

Let's move on to Maleficent: I can't really say anything bad about this one. I'm kind of on the fence about Aurora, but that one I can let slide because the movie was more about Maleficent than her.

The Jungle Book: And no, not the shitty Netflix adaptation (though that one I put more on the film makers seeing how the acting was superb). This movie gets an all around A+. Disney did right by this one.

Christopher Robin: I'm sorry, but who was this movie made for? I had trouble figuring that part out. It didn't really seem to be aimed at children, but the people who grew up on Winnie the Pooh weren't their target audience either. And I love Jim Cummings to death, one of the few reasons this movie is somewhat worth watching at least once, but the plot was all around slow for the most part, picking up much too quickly and then going back to slow for my tastes.

Tarzan: Another A+ right here. The fact that they completely changed the story can be completely forgiven for the simple fact that the story worked. It has been a while since I've seen the movie, but I can't really remember any plot holes and that's saying something.

Alice in Wonderland: Considering this fit with Lewis Carols original drug endused storyline, I'd have to give this another pass.

Oz the Great and Powerful: Eh. For a prequel story, I guess I can somewhat accept it, but there too many things wrong with this movie for it to get a passing grade.

Beauty and the Beast: This one I'd have to give a B, B- at the least. I love the story and a good deal of the acting is worth an A+, but there were a few things that make it overall less than worth an A. For starters, Emma Watson, who I'm a diehard fan of btw and would have picked her in a heart, or at least I would have if this had been anything other than a musical. I have no idea if Emma can sing or not, but it was plainly obvious that they had autotuned her voice, which I know is common in movies and even on CDs, but there was no attempt to hide the fact that they had. Maybe it didn't sound right when they tried to fix it or maybe the sound department had an axe to grind with Emma, idk, but it was anough to bring down the movie a letter grade.

So you see, for me at least, the problem with live action movies and why I tend to nitpick them before I've even seen them (though I will at least give them a chance before outright blacklisting them completely) is because half, if not more, of the recent live action Disney movies have been either let downs or complete flops. I'm trying to keep an open mind about The Lion King and the others still to come, but its hard to do when I've been let down so many times.

hey so about The Lion King and Disney’s remakes, and why they’re not just fine, but good (at least some of them)

(to preface, this is coming from someone who adores and cherishes and prefers 2D animation and stylization and vibrant stuff and all that jazz)

y’all suck

y’all will really (albeit rightfully) decry the dismissal of 2D animation as a whole medium, then turn around and do the same damn thing to The Lion King for having a different visual style without a shred of self-awareness

‘cause that’s all it is: a different visual style. a different aesthetic, with a different nature. it’s not “shitty,” it’s not worse, it’s just different

is it as overtly visually expressive as the original? no, because hyper-detailed CG allows for subtler expressions of emotion that rely less on immediate readability of a still image and more on seeing the whole animation. same goes for the use of color; sorry the actual African landscapes don’t literally look like saturated, stylized paintings. Honestly, if you don’t think it still looks gorgeous, simply in a different way to the original, I don’t know what to say to you

and on that note, are y’all really gonna ignore the incredible feat of CG animation it is to create as realistic-looking animals as we’re seeing here? There is 100% artistic craft and beauty in this film, but because y’all got your nostalgia goggles strapped on tight enough to crack your skull, you won’t see it

or hear it, apparently, since y’all’s also ignoring the still-stunning cast this film’s got. Donald Glover, Chiwetel Ejiofor, Alfre Woodard, Florence Kasumba, James Earl Jones, Eric Andre, John Oliver, Billy Eichner, Keegan-Michael Key,  Beyoncé

and that ties into the other aspect of this movie you’re all sleepin’ on: black kids are gonna get a version of The Lion King where they actually get to hear black voices, and voices of people they’re likely to recognize, to boot. The same goes for Aladdin and Mulan; good of a movie as the original Aladdin was, a nuanced take on Middle Eastern-inspired fantasy, it was not. I’m not saying these are gonna be the pinnacle of authenticity, but bar for surpassing the originals in this regard is so low its on the dang floor. And surpassing the originals in this regard has innate value. Middle Eastern kids (and people of all ages) deserve a version of Aladdin that’s just as fun *and* more respectful (Mulan is more complicated, due to the contrasting receptions by Chinese vs Chinese-American audiences, but you can’t say there’s no value in a more authentic version of Mulan coming out of Hollywood)

and on top of all this, guess what? THE ORIGINALS ARE STILL RIGHT THERE. You love the original Lion King but have no interest in the direction of the new one? I suspect nostalgia goggles (or else a cold, shriveled heart that can’t even derive excitement from BEYONCÈ AS NALA), but whatever, go ahead, enjoy the original. No one’s dragging you to the theater, no one’s sneaking into your home and replacing your copies of the original with the new version. You lose nothing by these remakes being made. 

So why not just fucking let people enjoy them? Let people who prefer the look of the remakes enjoy them without leaping in to shout about how their tastes are somehow objectively bad. Let people appreciate having more authentic castings and portrayals of foreign cultures and fantasies.

Stop whining about how the new things are different from what you grew up with and let people who aren’t held back by nostalgia enjoy the new things.

(P.S.: I’m fully aware of what Disney’s executive motive for making these films is. That doesn’t change the value of the films as they exist.)

(P.P.S.: stuff like Dumbo has, obviously, far less value in existing than stuff like Lion King and Aladdin. I’m not gonna condemn its existence, both because actual people with artistic skill still worked on, and because media that isn’t continuing a story doesn’t need to justify its existence)

[thatiswhy]

I’ve been on a “watching horrible 2/3 CGI fantasy flicks ironically and/or because I love pain” kick lately, I’ve sat through a lot of shit, but Pan takes the fucking pisscake.

About twenty minutes in Nonso Anozie, that is Xaro Xhoan Daxos of Game of Thrones, sings along with a choir of what’s supposed to be a valleyful but sounds like a moderately rowdy classroom of stolen kids to Smells like teen spirit in the most wooden fucking voice imaginable, well, I hate to say it but I tapped out. And I got through the 2016 Pete’s dragon.

[citizensofeorzea]

Voice Claims

Faith Sauveterre - Emilia Clarke 

Maetikoel Syhrkoensyn - Colin O’Donoghue

Ashlyn Blake - Ali Larter

Simon Areobuck - Daniel Radcliffe

Nobutsune Naeuri -  Nonso Anozie

Winter Choir - Hellena Taylor

Romoka Diraoka - Jack Gleeson

S’Kenta Tia - Jason Momosa