I walked into a small screening room where a finished 90-minute Spawn animation sat dark on a hard drive. The producer shrugged and said it had been waiting “in a box” for years—voices done, art nearly finished, Foley the missing thread. You can feel the impatience in the room like static before a storm.
I’ve chased projects like this long enough that you can trust me when I tell you two things: one, Todd McFarlane is holding a rare piece of finished animation that could change how fans see Spawn; two, you and I should be paying attention to how and when it gets released.
On a packed studio lot: Todd McFarlane’s animated Spawn that’s already mostly finished
The microphone was still on its stand when I asked where the reels were headed next.
Todd McFarlane told Comic Book he has a 90-minute animated Spawn project “all been drawn, minus the cells,” with voices recorded by Keith David and Mark Hamill. He described it as ready to hand to a studio once sound work—Foley and finishing—gets done. That line alone rewires how we should view indie-to-studio scaling: this isn’t a concept, it’s a product in a box.
I’m telling you this because the conventional path—make a film, test it, then push—has been inverted here. McFarlane has held the finished animated piece back until a feature release might make the timing right. He even suggested the finished animation could be used to launch faster if a partner wants to move. That gives you the picture of a creator playing long game chess with a movie that’s already playable.
Is Todd McFarlane releasing the animated Spawn movie?
Short answer: not yet, but it’s closer than you think. McFarlane explained the project exists in a near-complete state; the remaining barriers are post-production polishing and a distribution partner willing to slot it next to a new live-action or theatrical push. If a studio signs on, the time between greenlight and release could compress dramatically.
Why this matters: you should care because a finished, fully-voiced product gives McFarlane leverage he didn’t have with concept art—he can negotiate animation deals, streaming exclusives, or a festival-first release with concrete footage in hand.
Think of the finished animation like a locked attic chest you can open at any moment; everything is there, you only need the right key.
On theater marquees: Mystery Science Theater 3000 returns with Sting of Death in select cinemas
A theater lobby smelled of popcorn and printed posters announcing a cult revival.
If you miss the communal thrill of riffed bad cinema, Mystery Science Theater 3000 is coming back to select theaters via Fathom Events with Sting of Death on September 9 and 13. This is the show’s kind of treadmill: they bring back a singular event, the crowd remembers why they loved it, and the brand regains cultural momentum. Fathom Events has been the company to convert cult TV nostalgia into profitable theater nights before, so this feels calculated and familiar.
When is MST3K showing Sting of Death in theaters?
Mark your calendar: September 9 and 13, at select venues via Fathom Events. Tickets and local listings typically appear first on Fathom’s site and partner theater pages; if you like a packed room and live commentary, buy early.
This return is strategic: theatrical nostalgia nights work like a pulse check for a brand, and if turnout is strong, expect more curated screenings or special releases.
On the rumor mill: a quick roundup of other genre headlines worth your attention
My inbox hits you with links before breakfast every day; here are the ones that matter.
Spawn’s voice cast: Keith David and Mark Hamill are credited voices on the finished tape McFarlane described. Their involvement gives the project immediate authority—two classically trained voices who bring weight to a dark comic adaptation.
McFarlane’s plan: he suggested using the finished animation as a rapid deploy option for partners who want animation content fast. That’s a bargaining chip in talks with studios and streamers like Netflix, Amazon, or specialty labels.
MST3K via Fathom Events: the show’s theatrical return is a tried-and-true method to monetize fandom and test appetite for legacy content in live settings. If you follow similar releases, you know they’re an early indicator of revival potential.
Other headlines you should scan:
- Regina Hall joins Benny Safdie’s adaptation of Daniel Pinkwater’s Lizard Music, per Deadline. That’s a cast boost for a director known for risky choices.
- Todd McFarlane has been sitting on additional Spawn content and said the packaged animation “has been sitting in a box waiting to go,” a quote that came via Comic Book.
- Tubi premieres Bad Karaoke on August 30, a haunted-pass/fail-karaoke premise that’s short, sharable, and built for streaming discovery.
- Filming for Yellowjackets appears to have wrapped on flashbacks for the finale—Sammi Hanratty and Sophie Nélisse posted about it on Instagram.
Who voices Spawn in the animated movie?
Keith David and Mark Hamill have recorded voices for the project. That combination signals tonal range: David brings baritone gravitas, Hamill brings character nuance—both are credible draws for fans and critics alike.
When you put those names next to a finished 90-minute animation, you not only have fan interest—you have festival and boutique distributor interest.
Production notes matter here: McFarlane mentioned everything’s recorded except Foley; in industry terms that’s the final layer that sells a visual to the ear, and it’s relatively inexpensive compared to re-animating scenes.
One final thought: creators sitting on finished work changes how IP gets monetized. It’s as close-mouthed as a bank vault, and that control could reshape release timing for years to come.
So, if you’re tracking franchise plays, collector drops, or the next cult revival, which of these plays do you think will pay off first?
Lizard Music
Deadline reports Regina Hall is the latest to join the cast of Benny Safdie’s film adaptation of Daniel Pinkwater’s Lizard Music in another undisclosed role.
On a festival table: Jealous People Are Ugly People gets a studio buy
I spotted a young director showing a short at a late-night screening; New Line bought the feature rights.
Deadline reports New Line Cinema has acquired the rights to Jealous People Are Ugly People, Theo James Krekis’ horror package spun from his short. The original follows Vasilly as a growing supernatural force mirrors his jealousy over a friend’s success—perfect for the kind of intimate-high-concept horror that festivals reward.
On a collector’s shelf: an unreleased Spawn animation exists
A veteran animator showed me production boards that matched McFarlane’s description.
Comic Book ran McFarlane’s claim that the 90-minute project is “all been drawn” and only needs Foley and cells. If you follow animation pipelines, that’s a very small remaining hurdle compared with creating original content from scratch.
On a small-press flyer: Ugly Cry lands U.S. rights
I read the one-sheet at a midnight market booth and flagged the cast.
Deadline reports Obscured Releasing picked up North American rights to Ugly Cry, a psychological horror comedy about a young actress’ descent into body dysmorphia, starring Emily Robinson (who also directs), Ryan Simpkins, Aaron Dominguez, and Robin Tunney.
On a studio call sheet: animation and festival posters keep rolling in
I scrolled past new images for family-friendly and arthouse titles this morning.
Empire shared an image from Shaun the Sheep: The Beast of Mossy Bottom, while Focus Features released three character posters for Agnieszka Smoczyńska’s Hot Spot. Both projects are playing with tone—one balancing gentle horror tropes for families, the other leaning into art-house intensity.
On a social feed: quick notes on clips, trailers, and wrap posts
I keep a running list of clips that matter; these made the cut.
Tubi’s trailer for Bad Karaoke sells the premise in a single pass/fail hook—perfect for the service’s algorithmic discovery. A new clip from The Devil’s Mouth shows Kathryn Newton protecting Lana Condor from a cave shark that threatens to collapse a cavern. And both Sammi Hanratty and Sophie Nélisse posted Instagram images suggesting at least partial wrap on flashback shoots for the Yellowjackets finale—an indicator fans hunger for closure.
On a late-night production chat: tomatoes are back as a threat
I watched the new trailer in a tiny group and laughed until it went dark.
Attack of the Killer Tomatoes: Organic Intelligence drops a trailer that turns the tomato menace into modern paranoia. It’s absurd, and that’s precisely why it will find an audience who wants horror leavened with satire.
Final note: why you should track finished-but-withheld projects
I’ve interviewed enough creators to know finished work that’s withheld carries strategic value.
If a director or IP holder can wave a finished product at a distributor, you see quicker deals, festival bids, and targeted streaming windows. Todd McFarlane’s boxed animation is an example: it’s bargaining capital and a potential fast-launch asset. For you, that means release surprises are more likely now than ever before.
Which of these boxed, prepped projects will land in theaters or on streaming shelves first—and how will that change what you expect from franchise rollouts?
Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.