OUTSFL
Comedy Icon Bruce Vilanch Workshops New Show
By John Hayden
Jan. 27, 2026

Bruce Vilanch is like an elephant, they both have very, very long… memories.

The longtime Hollywood star and insider brought his new play, “Captain Show Biz,” to Gray Box Theater in Wilton Manors for a “table read.” The show is about his first year writing for The Oscars in 1989.

“I have fictionalized somewhat, it’s all about show business,” he said before the read.

When asked if the names in the play have been changed to protect the innocent or the guilty, he got playful.

“Vaguely. If they remember it, they’ll see what I’m doing.”

A handful of local performers joined him on stage to read various roles and Vilanch reads the role of the Oscars producer. Despite being a known Hollywood talent, that first year Vilanch was still trying to get the lay of the land. The Academy Awards, especially back then, was the most-watched non-sports event on TV.

“Captain Show Biz” had the audience laughing through most of the show. The crowd was filled with adoring, longtime fans. Many came up to take pictures and express their admiration for his work.

Vilanch says he could bring the full production back to Wilton Manors. But first he’ll take the feedback and likely first stage it in Southern California. Audiences there will be much more in tune with the “inside Hollywood” jokes.

The post Comedy Icon Bruce Vilanch Workshops New Show first appeared on We Got Bruce!.

Remind Magazine
Bruce Vilanch Pays an Emotional Tribute to Rob Reiner: ‘He Never Got the Auteur Crown He Deserved’
By Erin Maxwell
Dec 22, 2025

On December 14, legendary filmmaker Rob Reiner and his wife, Michele Singer Reiner, were found dead at their Brentwood home in what authorities have ruled a homicide. Reiner was a Hollywood legend whose career as an actor, writer, director, producer, and activist touched countless lives, leaving an indelible mark on the industry, peers, and the audiences who grew up with his work.

On December 19, writer Bruce Vilanch shared a touching tribute to Reiner on social media to pay tribute to the director, with whom he shared a friendship of 50 years. In the post, he gives insight into Reiner as a person, his inner circle, and why Vilanch considers him a “mensch.”

“I know I’m late to Rob Reiner, but 50 years of friendship might have bought me some time to think. He was one of the first people I met when I moved to Hollywood in 1975 to work on The Manhattan Transfer summer TV series,” wrote Vilanch in the post. “We were shooting at CBS Television City in Hollywood (and I still miss hearing the announcer intone that at the beginning of shows).”

“All in the Family was on the next stage, and I had gotten friendly with Jean Stapleton when I interviewed her for the Chicago Tribune, so I went over to say hello. She was sitting with Rob on the set during an ‘engineering five.’ We started talking and laughing, and then the five was over, and Rob said, ‘I’ll come get you when we break for lunch. I know a Chinese place.’ It was the one a few feet down Beverly Blvd from Fairfax, long gone — that’s not the name of the place, it’s what happened to it.”

“We had a very funny, high-caloric lunch, and that was the beginning. He was married to Penny [Marshall] then, and time spent with them was like being at the hippest comedy show in town,” continued Vilanch. “We worked in different areas of the business, but we grabbed opportunities as they came along, sometimes with Carl, whom I adored and revered — in that order.

“Rob never got his due from his peers — one Oscar nomination, and as a producer — and he never got the auteur crown he deserved, probably because he, like Sidney Lumet, was brilliantly adaptable and did not need to put his signature on everything he did. Not a judgment on those who do, just a fact,” wrote Vilanch.

“Rob (and Sidney) left a body of work that rivals anything any of the others did. Their range was astounding, a gift that hasn’t been bestowed on many since the studio system ended. beyond his work, Rob was what my people call a ‘mensch.’ A real man. A real person. Humble, humane and hilarious.

In a final note, the writer explained with a heavy heart why he was late on his tribute: “That the life of such an artist, such an activist, such a friend, should end so tragically is something that takes you a week to even approach.”

The post Bruce Vilanch’s Heartfelt Tribute To Rob Reiner first appeared on We Got Bruce!.

We Got Bruce
Yes, Bruce Vilanch has thoughts on the Oscars moving to YouTube: ‘People can get up now and drop F-bombs like crazy’
By Kevin P. Sullivan
Dec. 18, 2025

Every year at Gold Derby, no single event measures up to the cultural significance of the Oscars. That’s why when the Academy announced a partnership with YouTube, moving the ceremony to the streaming platform starting in 2029, it was clear that such paradigm-shifting news required the kind of sober and solemn analysis that the moment demands.

That’s exactly why we called up Bruce Vilanch.

Few in Hollywood have as extensive a history with the Oscars as the 19-time writer on the show. Gold Derby spoke with Vilanch the day after the news of the YouTube deal broke to get his immediate reaction and reflect on how the ceremonies he worked on may have been different without network standards and practices.

Bruce Vilanch: I know! It’s kind of staggering, because it’s like saying, “Oh, by the way, the Statue of Liberty is being moved to Maryland.” What? Huh! But who’s gonna guard the harbor?

What was your initial reaction to the news?

Vilanch: It’s kind of the way of the world. When you look at who actually watches the thing, it’s an older demographic and going to YouTube will put [the Oscars] in place with an audience who probably doesn’t watch the show — unless you nominate Timothée Chalamet. So maybe you get a few million people who are interested in sleeping — I mean — his career. I don’t know if the Academy is getting the $100 million that Disney was paying them to be on ABC, but obviously they’ve gotten something. They’re not in a great bargaining position, because since I officially left the show in 2014, the ratings have plummeted. I don’t think it’s a causal. I don’t think people were tuning in to see my credit, but it’s just one of those things.

But you have to admit the correlation is pretty strong.

Vilanch: I’ll buy it. I’ll go for it.

Do you think this will make the show more accessible for audiences?

Vilanch: Certainly. And by 2029, it’ll be even easier for them. There’ll be more people figuring out how to use YouTube, which the core audience might not even have right now. But what’s really weird is, of course, that we live in the Oscar bubble out here, and this is gigantic news. But I don’t think in Dubuque, it’s gigantic news. It’s kind of like, “When do they do that again?”

Do you, Bruce Vilanch, watch YouTube on your TV?

Yeah! You kidding? First of all, I am also a sit-down comic. I do gigs. I perform a lot of benefit hosting and stuff, and there’s always somebody recording that. So periodically, somebody will say, “Do the cat joke.” And I have to go look up the cat joke, because there’s a video of me doing the cat joke somewhere, and it’s one of those jokes that you have to tell just the right way or you’ll screw it up. But yeah, sure, I have YouTube so I can see what I’m up to, and for all the other reasons. I mean, what I do on YouTube barely scratches the surface of what you can do on YouTube. I think there’s OnlyFans for that.

That requires a credit card, though.

I’m going to do one, but they first have to make an Imax version.

A lot of the speculation around what the Oscars on YouTube might look like imagines a ceremony with F-bombs. Did you feel hamstrung by standards and practices back in the day?

It was hard to feel like that because it was the way it was. It was always the way it was. There were network sensors, and there were sponsors. You knew you were going into that situation, because there was no alternative to it. With YouTube, I guess people can get up now and drop F-bombs like crazy. There won’t be a sensor sitting with a seven-second delay button in her lap, getting excited every time she gets to push it. I don’t know if YouTube is going to put some kind of disclaimer on it. I mean, do they know what they’re going to do? Talk about early days!

It’s an interesting question. Yes, the platform would in theory allow adult language, but does the Academy want to make anything other than a family show?

It’s a family show because it’s on television. You want to keep the sponsors happy, but as far as the Academy goes, they want to have the biggest possible reach. YouTube can develop standards and practices if they want. It would be controversial, but they could do it. What you won’t have is pressure from sponsors and pressure from the network as to what the content can be. I have a feeling that they are not unhappy about that at the Academy, because the networkers would always say, “Well, you have to do this, and you must do that.”

Is there a joke you remember getting rejected by ABC standards and practices?

Whoopi [Goldberg] hosting, and it was the year that Hugh Grant had a liaison with Divine Brown. Whoopi was going to say, “Divine Brown is one of the most famous people in Hollywood now. It’s a real Fellatio Alger story.” The network sensor Mrs. Futterman said, “We can’t say ‘fellatio.’ It’s on the list of words we cannot say.” We didn’t do that joke. Instead, we said, of course, “The biggest release in Hollywood this year was Hugh Grant.” That I think we got away with.

How much anxiety was there about appeal to the youth audience?

The last show I did was a tragic appeal. They partnered James Franco with Anne Hathaway, and it was a disaster. They had no chemistry. It was a blatant attempt to get younger viewers, and it backfired terribly.

I do think a significant part of loving the show over the years is — for better or worse — watching how the Academy and the producers try to adapt to the changing times. And YouTube is just the next instance of that.

I’ve written a play, actually, about the first Oscar show I did, which was produced by Alan Carr, who was very flamboyant, and it was the Rob Lowe-Snow White show. It’s called Captain Showbiz. We’re doing a stage reading of this thing in a few weeks, and I was thinking to myself, “Will any of this apply?” But I figured we have three years to run with it before the show is turned upside down. I’m already figuring out how to throw some YouTube lines in there.

Vilanch’s memoir It Seemed Like a Bad Idea at the Time is available now.

The post Bruce Vilanch Weighs In On Oscars Moving To You Tube first appeared on We Got Bruce!.

Gold Derby
Bill Plympton, Bruce Vilanch, Daniel Neiden, and Edward Jordon describe how Whale 52 came together
By Ethan Alter
Dec 8, 2025

The new animated short film “Whale 52” is inspired by two true stories. The first involves the titular aquatic mammal, commonly known as the planet’s loneliest whale as it traverses the oceans calling out a frequency that its compatriots can’t hear. The other is the story of Edward Jordon, a former teacher who dedicated his life to helping pupils, while also healing a hole in his own heart. Those narratives come together in the 10-minute short that finds a grieving teacher bonding with a young pupil whose own identity crisis has made them reluctant to speak lest they — like Whale 52 — also goes unheard.

Gold Derby spoke with the creative team behind “Whale 52” including legendary animator Bill Plympton, writer-director-producer Daniel Neiden, actor Bruce Vilanch and Jordon himself, who produced and wrote the animated short. Watch the video above and read their remarks about the making of the film below. (Note: Jordon left the panel early due to technical difficulties.)

Gold Derby: Edward, the credits indicate that this film is based on a true story inspired by your life. Tell us a little bit about the real story that inspired the film.

Edward Jordon: In my life, I’ve been an educator, a filmmaker — a little bit of everything. A lot of the film is autobiographical based upon some magical moments of connections with students. Daniel and I have been friends for maybe a quarter of a century, and he knows so much about my history. He came to me and said, “Why don’t we make a movie? But our budget will only allow for 11 minutes and 14 seconds!” [Laughs]

But I think that’s also the power of short films; independent of their running time, they resonate with audiences, and we’re lucky in that regard. Audiences are really responding to this very true story about the loss of my own partner, whose picture is actually in the film. I thank Daniel, Bill, and the entire team for making that happen.

I’ve worked with many students who have had selective mutism, so the character of Enam is a composite of several people, including myself because I experienced some gender dysphoria as a child. I’m also the old man in the piece who makes this magical connection with a student and it’s one of those moments that teachers are sometimes lucky enough to have where a student stays in your mind and in your heart.

Daniel, what spoke to you about Edward’s story?

Daniel Neiden: Edward wrote the initial script about a boy who was selectively mute, and the script won awards at different festivals. At first, we were figuring out how to make it in live action, but I was working with Bill on some of his other movies and I told him the story. He really liked it, because a lot of his characters are isolated in some way and yearning for communication. And it makes sense that it’s animated. There’s little moments where you watch the film … that are in the Plympton style and to be able to use that movie magic [was wonderful].

Bruce, you’re a character in real life, but you’re also a terrific character in the film. What was it like voicing the role of the teacher, Kaufman?

Bruce Vilanch: You know, it was acting … and I don’t get asked to do that a lot when it’s not funny. It was a serious and emotional role. A lot of my work was just guttural; Daniel wanted me to sob, so I was making a lot of noises, which I usually do after a meal! [Laughs] But this time, I got to put them to work, so that was fun. And this movie touches on so many things, including gender identity and the loss [of a lover], which so many gay people experienced during the AIDS epidemic. So this story hit all of my buttons in such an elegant, simple and magical way.

Bill, what images came to your mind as you read Edward’s script?

Bill Plympton: I’ve worked with Daniel on a number of projects and they’re always very fun. When he came to me with this idea, I realized this was a much more different story than I usually do — no crazy surrealism, or bodies blowing up or anything like that. There’s a real heart to it, and I don’t usually make films that have heart! But this one was screaming at me.

I wanted to use a different style that I hadn’t used for a long time, one that was much more delicate, poetic, and kind of realistic, but also dreamlike. The other difference between this film and my usual films is I made it in about two months! Daniel kept pushing; he’s like the perfect director, because he pushes the artist to their limits and the film turned out to be brilliant. I thought, “Wow, what an interesting way to make movies! I should try it sometime.” [Laughs]

Daniel, it strikes me that “Enam” is an anagram for “Name,” which certainly speaks to the film’s theme of identity. What was the intention behind that name?

Neiden: Edward would say that it’s a name in Ghana where the boy is from, and where it’s as common a name as John. But that’s a good observation! It wasn’t lost on us.

Vilanch: We’re all Whale 52 at some point, just trying to find somebody who is on our wavelength and our frequency.

Bill, the film ends with a wonderful crescendo of sound and image. Tell me about animating that sequence in particular.

Plympton: That was one of Daniel’s brainstorms, and I liked it. I thought it was very therapeutic; it cleansed the atmosphere with this giant wave washing away all the bad things in your life. I love drawing action, so the whale was the most fun character for me to draw. We put him in some strange situations, like underneath a table, jumping out of a table — stuff like that. I really enjoyed that.

Bruce, what was it like to watch the film as you were voicing it? Did you ever find yourself forgetting your lines and just watching Bill’s imagery?

Vilanch: No, Daniel’s a pretty harsh mistress! [Laughs] He was always saying, “Stay on point,” so I would be grunting and groaning and he’d be explaining the tenor of the groan he wanted at that point. It was very technical and challenging, but also a lot of fun. And the score brilliantly matches what’s going on onscreen and gets me every time.

Daniel, can you speak to the score? It’s definitely a key part of the film.

Neiden: My daughter went to Oberlin, and she had a job setting up spaces for incoming artists. Two young men who were both born in China came in: Qiujiang Levi Lu, who is more of a beatbox singer and does the voice sounds in the movie, and Scott Li, who plays the electric violin. I sent them a rough cut of what we had and got a call right back. And just for a bit of trivia, the cellist, Zuill Bailey, is an old student of mine. He came into the studio with his cello in a backpack and then handed it to me and said, “By the way, that instrument is from the year 1700!”

Bill, you’ve had a long and illustrious career that started in earnest forty years ago with the 1985 short BoomTown. Watching it again, it’s amazing to me how contemporary it still feels.

Plympton: That was the first film I ever did. I didn’t direct it or produce it, but I did all the animation; it’s the film where I learned how to do animation. Without BoomTown, I probably wouldn’t be here today. When I was younger, I would have died to work for Disney, because that was the best animation in the world. But by the time I did BoomTown, the whole independent movement had started with Sundance and all that stuff, so I said, “Why work for Disney when I could be my own Disney?” Today, I’m certainly not as big as Walt, but I make the films I want, I pay for them myself and I’m independent, and that’s why I love animation.

Neiden: Bill, can you say what film you turned down at Disney?

Plympton: I’ve told this story many times, but after I got nominated for an Oscar [for 1987’s Your Face], Disney called me up and sent a lawyer to my office here in New York. He opened his briefcase and pulled out a big, fat contract that said, “Walt Disney offers you a million dollars to come and work for us.” Back then, a million dollars was a lot of money! I said, “Can I make my own weird films on this weekend?” And he said, “Yeah, but we’ll own it.” I didn’t like the idea of somebody taking over my imagination so I said no. Sometimes I think that’s the stupidest idea I ever had! But every morning when I get up and go to my drawing board, I draw whatever the hell I want and no one’s telling me, “No, you can’t draw that.” To me, that’s worth more than a million bucks.

Oh, and they offered me Aladdin. The wanted me to draw the Genie, the Robin Williams character, because he changed shape so much. He made a lot of weird changes, and they thought I was good at that. [Laughs]

Daniel, I noticed that “Whale 52” is dedicated to Everett Quinton, the late theater artist. What’s the meaning behind that dedication?

Neiden: I had spoken with Everett about “Whale 52” before he died suddenly in 2023. He read it, and knew exactly who the teacher was. We were very close and he was always an inspiration. There’s a point in the film where the teacher isn’t afraid to engage Enam and kind of wakes up that trust between them. That was totally Everett, and Bruce embodies it well. It’s every teacher’s dream to gain the trust of a pupil and Everett had that with his fellow actors. He was your best friend onstage; if you were in a reading with him, he was right there with you.

Vilanch: If you’ve seen [Cole Escola‘s] Oh, Mary!, you’re seeing Everett Quinton; that seed he planted has grown years later into things we never thought could be done on Broadway. That’s Everett’s influence.

What have you most enjoyed hearing from audiences when they see the film?

Plympton: As someone who makes comedies, I’ve never seen or heard people talk about crying at the end of a film like they do with this film. It somehow delivers a knockout blow to your emotions, and you really get caught up in the lives of these people. I couldn’t do it on my own; I think only Daniel can do it. If I tried to make a sad film, people would start laughing, so I’m going to stick with comedy, I think.

Vilanch: The reaction hasn’t always been the same. They don’t know what they’re seeing as it unveils, and when the big reveal happens at the end, they’re just quite taken with it. They suddenly realize what the movie is actually about and what the connection between Kaufman and Enam is. That’s a pretty thrilling thing to happen in 10 minutes!

This article and video are presented by Marni Films.

The post Bill Plympton, Bruce Vilanch, Daniel Neiden, and Edward Jordon describe how Whale 52 came together first appeared on We Got Bruce!.

Backstage
The 12th SOVAS Voice Arts Awards: Nominees List
By Suzy Woltmann
Nov 24, 2025

The nominees for the Voice Arts Awards are in! On Nov. 24, the Society of Voice Arts and Sciences (SOVAS) announced the performers and creatives being honored at the 12th annual awards, which will take place Jan. 18, 2026, at the iconic Beverly Hilton Hotel in Los Angeles.

The Voice Arts Awards recognizes excellence across the voice acting ecosystem, with a focus on performances that resonate across cultures and generations. This year’s nominees include household names and industry veterans alongside rising talent shaping the future of voice acting.

The event is “a tribute to the storytellers behind the mic,” explains SOVAS chairman-CEO Rudy Gaskins. This highly talented group includes “the voice actors, casting directors, audiobook publishers, writers, producers, and creative visionaries who shape how we feel, imagine, and understand the world.”

Among this year’s high-profile nominees are Auli?i Cravalho and Dwayne Johnson, both recognized for their voice work in Disney’s “Moana 2” in the Outstanding Animation Character – Motion Picture category. The Outstanding Audiobook Narration categories also feature an impressive lineup, including Matthew McConaughey for his collection “Poems & Prayers,” Stephen Fry for the classic “Great Expectations,” Bruce Vilanch for his memoir “It Seemed Like a Bad Idea at the Time,” and Martin Sheen for the nonfiction book “Ghosts of Hiroshima.” Additional notable nominees include Sutton Foster for “Pippi Longstocking,” Maya Hawke for “Slouching Towards Bethlehem,” and John Green for his author performance of “Everything Is Tuberculosis: The History and Persistence of Our Deadliest Infection.”

In advance of the ceremony, SOVAS will also present the 2026 Backstage Vanguard Award to legendary Barbadian-British voice actor Redd Pepper during the That’s Voiceover! Career Expo taking place Jan. 9–11, 2026.

Here are the nominees for over 25 of the 150 categories for the 12th Voice Arts Awards.

Voice Arts Awards nominees (selected categories)

Outstanding Animation Character – Motion Picture – Best Voiceover

Auli?i Cravalho, “Moana 2”
James Hare, “Fat Chance! the Movie”
Dwayne Johnson, “Moana 2”

Outstanding Audiobook Narration – Author Performance – Best Voiceover

Tanya Eby, “The Narrator’s Handbook”
John Green, “Everything Is Tuberculosis: The History and Persistence of Our Deadliest Infection”
Alison Larkin, “Grief… A Comedy”
Matthew McConaughey, “Poems & Prayers”
Bruce Vilanch, “It Seemed Like a Bad Idea at the Time”

Outstanding Audiobook Narration – Classics – Best Voiceover

Karen Commins, “Duskin”
Andrew Eiden, “Desolation Angles”
Sutton Foster, “Pippi Longstocking”
Stephen Fry, “Great Expectations”
Robert G. Slade, “Moby Dick”
Maya Hawke, “Slouching Towards Bethlehem”

Outstanding Audiobook Narration – History – Best Voiceover

Karen Chilton, “Misbehaving at the Crossroads”
Jack de Golia, “War of Supply: World War II Allied Logistics in the Mediterranean”
Stephanie Németh-Parker, “The Time of My Life: Dirty Dancing”
Martin Sheen, “Ghosts of Hiroshima”
Maxwell Zener, “Building the Worlds That Kill Us”

Outstanding Casting – TV Animation – Best Casting Director

Paulette Victor Lifton, “From Old Country Bumpkin to Master Swordsman”
Paulette Victor Lifton, “Magilumiere Magical Girls Inc.”
Sara Jane Sherman, “Haunted Hotel”
Sara Jane Sherman, “Krapopolis”
Sara Jane Sherman, “Your Friendly Neighborhood Spider-Man”

Outstanding Casting – TV Commercial – Best Casting Director

Sound & Fury, Krispy Kreme
Sound & Fury, Nike
Sound & Fury, Starbucks
Stephanie Ugbeye, “The Rise of Appbility”
Susie Valerio, “Brawl Stars Ad – Juju”

Outstanding Commercial – TV or Streaming – Best Voiceover

J. Marcell Baker, “Guinness on Premise”
J. Marcell Baker, “Standis – Make Brands Work”
Jerry Beharry, Bethany White Group spot
Ellen Dubin, “Amor En La Cesta”
Matt Fogarty, Princess Margaret Cancer Centre – “Carry the Fire”
Gm Hakim, Apple – “Hey Son”
Julia Knippen, CVS – “Here for All of It”
Elsa Levytsky, Nespresso – “The Perfect Gift”
Jeremiah Mullins, IHOP
Peter Wicks, Patch Plants – “Plants Made Easy”

Outstanding Promo – TV or Streaming – Best Voiceover

Debbe Hirata, U.S. Women’s Soccer – “She Believes Promo”
Joey Iannitelli, Scholastic – “Bad Guys Recap”
Simon Kennedy, “Best Fest – Summer’s Most Wanted”
Simon Kennedy, “Big Kids Big Action”
Simon Kennedy, ABC Kids – “Pirates Aplenty”
Simon Kennedy, “The Strange Chores”
Uku Leili, Netflix – “Single’s Inferno: Choices – Official Game Trailer”
Jeremiah Mullins, “Sharkweek”
Keith Tan, “Blockbuster Sunday: Godzilla Vs Kong”
Torran Wakefield-Thompson, Pluto TV – “Many Faces of Eddie Murphy” Promo

Outstanding Promo Campaign – TV or Streaming – Best Voiceover

Chloë Elmore, “Olympics x Toyota: Memories of the Future”
Chris Fries, “NFL on CBS”
Debbe Hirata, Oscars 2025 Promo Campaign
Christian Lanz, “Disney on Ice” – National Promo Campaign
Torran Wakefield-Thompson, Pluto TV Campaign

Outstanding Toy Character – Best Voiceover

Erin Culpepper, Poe the Storytelling Bear
Vanessa Marroquin, Fisher-Price Laugh & Learn: Learn & Serve Coffee Café
Amanda Turen, Tonies Lalalinos – Bumbaloo Beats – Cosmo
Alaina Wis, Disney Princess meReaders

Outstanding Video Game Character – Best Voiceover

Harry Frost, “Wizard of Legend 2”: Hieronymous
Rae Lim, “Wuthering Waves”
Eduardo De Los Reyes, “Digimon Time Story Stranger”
Peter Wicks, “Among Ashes”
Shel Wyminga, “Mechwarrior 5: Clans – Ghost Bear: Flash Storm”

Outstanding Video Game Trailer – Best Voiceover

Chloë Elmore, “Path of Exile 2 – Dawn of the Hunt”
Weston Heflin, “How to Play US Aircraft Carriers – World of Warships”
Devon Irelan, “Eve Online: Equinox Expansion”
Alaina Wis, “Become the Ash That Ignites the Stars – Tower of Fantasy”
Kimberly Woods, “Wanderstop”

Outstanding Animation Character – TV or Web – Best Voiceover

I-Ling Chen, “Hamsters of Hamsterdale” – Nickelodeon
Wesley Eagle, “Wands Deep”
Chloë Elmore, “Loud & Proud”
Brandon Miller, “Paw Patrol: To the Rescue” – Mayor Humdinger
Azman Zulkiply, “LK: School Daze”

Outstanding Animation Character – Film or TV – Best African Voiceover

Simisola Gbadamosi, “Iwaju”
Jennifer Eniye Kanari, “Explore Our 2025 Impact Report – The Global Energy Alliance for People and Planet”
Jennifer Eniye Kanari, “Path of Exile: Risu’s Rescue”

Outstanding Commercial – Radio or Web – Best African Voiceover

Oluwaseyi Ajagbe, Action Against Hunger Ad
Olalekan Akinleye, “West Africa Economic Summit 2025 Commercial”
Eniola Keshinro, “Showmax – Bring Your Own Internet”
Eniola Keshinro, “Visa – Globetrotter”
Tolulope Kolade, Airtel 5G

Outstanding Dubbing – TV or Series – Best Arabic Voiceover

Habiba Bahaa, “Barbie Mysteries”
Weiam Dribaty, “Koroko”
Ibrahem Jalal, “Naruto”

Outstanding Commercial – TV or Web – Best Chinese Voiceover

Phoebe T. Lim, “Wall’s New Pop Cornetto – New Pop Cornetto”
Angelia Liu, “Project Be Brave: Early Detection for Breast Cancer PSA With Davey the Puppet” – Mandarin
Angela Liu, “Project Be Brave: Early Detection for Breast Cancer PSA” – Mandarin
Erika Huey Shiun Tan | Beauté Library Commercial
Hugo Sean Wong | “McDonald’s – Mushroom Season Drops At Mekdi!”
Xiè S?ngfàn | “UOB Bank ‘Doing Right by You One Bank’ for ASEAN”

Outstanding Body of Work – International – Best Voiceover

Yukiko Fujimura
Takayuki Kondo
Chilu Lemba
Tamara Linke
Noella Menon

Outstanding Radio Commercial – Best Japanese Voiceover

Taeko Mukumoto, American Airlines Spotify Spot
Natsuki Terauchi, “A Place That Supports the Growth of Engineers”

Outstanding Animation Character – Film, TV, or Video Game – Portuguese Language – Best Voiceover

Lucila Bach, “Vamos Brincar com a Turma da Mônica”
Andrei Duarte, “Jorel’s Brother”
Audrei Hüllen, “Pipas”
Jose Augusto Sendim, “O Coração Delator”

Outstanding Audio Description – TV or Film – Portuguese Language – Best Voiceover

Krysna Bezerra Dias, “Martinho E Zeca – Projeto Samba Rock”
Luciana Priami, “Maria E O Cangaço” – Disney+

Outstanding Dubbing – Video Games – Portuguese Language – Best Voiceover

Lucila Bach, “Poppy Playtime”
Dudu Fevereiro, “Destiny 2”

Outstanding Narration – E-Learning – Portuguese Language – Best Voiceover

Rafa Depieri, “Globo Gente – Um olhar para os pais contemporâneos”
Andressa Mello, “Seja curioso – TED-Ed – Tudo o que você precisa saber para ler ‘Frankenstein’“ – Iseult Gillespie
Carolla Parmejano, “Disney Junior – Mickey”

Outstanding Animation Character – TV or Web – Best Spanish Voiceover

Nicolas Daza, “Bakugan 3.1”
Natalia Rosminati, “Plim Plim”
Victor Ruiz, “Mejores Momentos de Catnap en Gametoons”
Demian Velazco Rochwerger, “Hilda – Tritón”
Ximena Viver, “Moomin Valley”

Outstanding Commercial – TV or Streaming – Best Spanish Voiceover

Javier Delgado, “ ‘Stretch’ – Premium Class Alaska Airlines”
Sara Delgado, “Guainía Ancestral”
Sara Delgado, “MiniMed 780G? Diabetes”
Belu Heredia, “Expresate mejor con BIC”
Pedro Labattaglia, “Clight – ‘Let’s prepare what’s good for us’ ”
Alfonso Lugo, Tostitos Esquites
Jose Paz, “Güitig – Emociónate Otra Vez”
Michael Rojas, “Perezoso invita a Madrid a visitar Costa Rica”
Memo Sauceda, “Silverdado Hermanos y Rivales”
Lizet Vásquez, “Delta y LATAM: Destinadas a Estar Juntas”

Outstanding Radio Commercial – Best Spanish Voiceover

Marly Figueroa, Kamala Harris 2024
Douglas Hernandez, Soy Hyundai
Maria Camila Peroni Franco, “Somos Selva” by Johnnie Walker Blue Label
Facundo Reyes, “Naranja X – Día de la madre”
Lizet Vásquez, “Maiz ‘El Poderoso’ ”

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