zootopia

Animated movie “Zootopia 2” hopped to the top of the box office in a big weekend for family-friendly films.

The sequel to the 2016 film from Walt Disney Co. brought in $156 million in the U.S. and Canada over the five-day Thanksgiving weekend, according to studio estimates. The film’s production budget was estimated at $175 million to $200 million.

In total, “Zootopia 2” collected $556 million in global box office revenue, including $272 million in China, a once-massive market for Hollywood films that has cooled in recent years. The haul for “Zootopia 2” in China marked that country’s highest opening ever for a non-local, animated movie.

The movie likely benefited from its strong franchise recognition in China — Disney opened a “Zootopia”-themed land at Shanghai Disneyland in 2023 and embarked on an extensive marketing campaign before the film’s release. The original film had a total box office haul in China of $236 million.

Universal Pictures’ “Wicked: For Good” came in second at the domestic box office with a five-day total of $93 million.

The period between Thanksgiving and Christmas has traditionally been an important time for studios and theaters to attract moviegoers with family-friendly fare or big blockbusters, which can provide a big bulk of the year’s box office revenue.

“Zootopia 2” and “Wicked: For Good” were seen as two of the major films released toward the end of the year that could drive massive ticket sales. The third — Disney’s 20th Century Studios’ “Avatar: Fire and Ash” — will be released in theaters next month.

The reception for “Zootopia 2” and “Wicked: For Good” also points to the demand for family films. Though the overall box office has been uneven this year, films geared toward children and families have largely performed.

Disney’s live-action adaptation “Lilo & Stitch” brought in more than $1 billion in global box office revenue and Warner Bros.’ “A Minecraft Movie” wasn’t far behind, with nearly $958 million.

At the Beijing premiere of “Zootopia 2” last week, Walt Disney Animation Studios Chief Creative Officer Jared Bush encountered a wall filled with letters from people throughout China, all writing about what the original 2016 animated movie meant to them.

They highlighted the optimism of rabbit cop Judy Hopps and how they wanted to emulate her sunny outlook. They cited the unlikely friendship between Judy and her partner in crime, a fox named Nick Wilde, as hope that they could find common ground with different family members. It was a display Bush didn’t see at any other premiere.

“It’s more than just a story,” said Bush, who wrote and directed “Zootopia 2,” directing alongside Byron Howard. “A lot of the time, these characters have helped people through difficult moments of their life. They have a lot of love for these characters.”

To this day, the original “Zootopia” ranks as China’s highest-grossing Hollywood animated film, with a total box office haul there of $236 million. Marketing ahead of the new film has included promotions with 10 brands, as well as displays throughout the country, including in Shenzhen, Chengdu and Beijing.

But over the years, the China market for U.S.-made films has changed dramatically, leading to questions about whether “Zootopia,” which heads to theaters Wednesday, and its loyal following can break through the more difficult landscape that American movies face there today.

Once seen as a major — and lucrative — destination for big Hollywood blockbusters, the country now has a more robust local film industry that’s pumping out strong competitors. The fraying geopolitical relationship between the U.S. and China also hasn’t helped, nor has the increasing trend of younger audiences watching short-form content on their phones.

“It’s important to the industry that both ‘Zootopia’ and ‘Avatar’ work,” said Andrew Cripps, head of theatrical distribution for Walt Disney Studios, referring to the upcoming James Cameron-directed “Avatar: Fire and Ash.” “The overall industry needs some success at year-end, and I think this would be a tremendous sign of confidence in the marketplace.”

China was once seen as a gold mine for certain films — namely, big studio movies — that could get approval from its government for release.

A decade ago, Hollywood movies would regularly haul in more than $100 million at the Chinese box office, with massive blockbusters like 2015’s “Furious 7” and 2014’s “Transformers: Age of Extinction” drawing north of $300 million each. Some films with softer domestic debuts could count on China to supersize their box-office returns, like 2016’s “Resident Evil: The Final Chapter,” which grossed nearly $160 million in China alone, but just $26.8 million in the U.S. and Canada.

In 2016, the domestic Chinese film business saw a significant slowdown in box-office growth. As a result, revenue from imported films — largely those from the U.S., such as Universal Pictures’ “Warcraft” and Disney-owned Marvel Studios’ “Captain America: Civil War” — increased by 10.9%, said Ying Zhu, author of “Hollywood in China: Behind the Scenes of the World’s Largest Movie Market.”

Those foreign films accounted for 41.7% of the total market share at the time, up from 38.4% in 2015, she wrote in an email. To help boost year-end revenue, Chinese regulators even relaxed the so-called blackout on imported films during December, which was traditionally saved for local movies.

“Zootopia” opened in China to just $22 million at the box office, but momentum grew in subsequent weeks. Though a movie from the U.S. typically got a four-week run in China, Chinese regulators made an exception and added two extra weeks, said Bush, who co-directed and co-wrote the 2016 film.

“‘Zootopia’ was somewhat of a real surprise to us here in China,” he said on a video call from Beijing while on the film’s publicity tour. “We didn’t know that it was going to turn into this phenomenon here.”

Known in China as “Crazy Animal City,” the film’s dynamic between lead characters Nick and Judy and their imperfect but caring relationship appealed to Chinese audiences, as did Judy’s backstory of moving from a small town in the countryside to a major metropolis, Bush said. Animated films have also long been popular in the market.

After the film’s success, Disney built the “Zootopia”-themed land in Shanghai Disneyland, which opened in 2023 and is the only such land in any Disney park. The studio recently held the movie’s Shanghai premiere at the themed land, as crowds of fans (both there and in Beijing) dressed up as characters from the film, including lesser-known ones like Fru Fru the shrew and Officer Clauhauser, a pop culture-obsessed cheetah.

But since 2020 and the COVID-19 pandemic, China has pulled back from its embrace of Hollywood films, particularly as its political relationship with the U.S. has chilled.

Earlier this year, China planned to reduce the number of Hollywood films it allows into the country, amid tariff tensions with the U.S. At the same time, China’s homegrown film industry has matured, leading to more locally-produced movies at the box office. A notable success was the animated hit “Ne Zha 2,” which raked in almost $2.2 billion worldwide, $1.8 billion of which was in China.

And similar to the U.S., the Chinese film market has also been dented by the growth of short-form content and increasing popularity of watching entertainment on phones and tablets, keeping theatergoers at home.

That’s all meant a less reliable haul for U.S. films. So far this year, the top-grossing American film in China was Universal’s “Jurassic World: Rebirth,” which brought in $79 million — a far cry from the massive returns some U.S. movies once commanded. The last Disney film that was released in China and made more than $100 million was 2024’s “Alien: Romulus.”

But there are still niches that appeal to Chinese audiences, including family movies, big blockbusters laden with special effects and animated franchises. Cripps said he was “cautiously optimistic” about the film’s reception in China, because of the franchise recognition and the themed land in Shanghai.

“Given what’s happened over the last two to three years, it’s hard to get overly excited until you see some actual data,” he said. “But certainly, it feels good going into it.”

Disney’s latest animated film, “Zootopia 2,” a sequel to its 2016 box-office juggernaut, isn’t exactly an adult political drama, though the stakes certainly feel grimmer. Members of Zootopia’s elite plan to expand their territory by displacing certain indigenous animals from an area they want to claim for themselves. And they will do so without pushback by convincing the rest of the population that their uprooted neighbors are dangerous. Any attempt by the victims of this injustice to reclaim their homeland and their dignity will be deemed a violent attack. In turn, anyone who sides with their cause will be labeled a criminal enabler, a disloyal pariah.

Meanwhile, tensions flare in law enforcement as pawtners Nick Wilde and Judy Hopps (voiced by Jason Bateman and Ginnifer Goodwin) — who in the previous film saved Zootopia from a power-hungry wolf in sheep’s clothing — have to prove their compatibility after their recklessness lands them in hot water with Chief Bogo (Idris Elba). Could their personalities be too disparate for them to make a dream team? Judy values justice above all things, while Nick prioritizes survival and comfort. In truth, the tie-wearing fox only became a cop because of his fondness for Judy, not out of a sense of dutiful conviction.

That push-and-pull tests the strength of their bond as they visit previously unseen areas of Zootopia, including a visit to the Marsh Market, where exiles live. These adventures occur as they search for Gary De’Snake (Ke Huy Quan), a fanny-pack-strapped viper, and Pawbert Lynxley (Andy Samberg), the socially conscious son of a wealthy family. They’re on a quest to find evidence that would clear the reputations of reptiles in Zootopia, all of whom have been forced to exist on the outskirts for decades.

Writer Jared Bush, who also co-directs with Byron Howard (both return from the first “Zootopia”), leans into Quan’s personal history as an immigrant whose family had to escape Vietnam to render Gary a resilient survivor with a noble soul. Leave it to Disney to make a giant snake look disarmingly adorable and to Quan to match that energy with his warm vocal performance. On top of the new characters, Judy and Nick’s emotional arc is adorned with cameos from fan-favorite minor players from the original (Flash, the sloth; Mr. Big, the shrew). The loaded narrative robs the picture of more time with Gary and Pawbert, even if Bush finds plot-effective ways to feature the supporting mammals.

Like its predecessor, “Zootopia 2” impresses visually, especially given the breadth of characters and environments it immerses the audience in. In the faces of new characters like the anxious Pawbert and friendly Gary, one can best appreciate the level of nuanced expressiveness that Disney’s animators, working at the highest level of 3-D CG technique, can achieve.

After several haphazard attempts with the “Frozen” and “Moana” franchises, “Zootopia 2” can take the title as Disney’s most effective animated sequel yet. In most regards, the formula that propelled the first one to hit status remains unchanged: an encyclopedia of animal puns, an upbeat tune by Shakira and a twist villain (in this case, an Elon Musk type desperate for approval that all the money in the world can’t buy). And yet, “Zootopia 2” arrives as an expansion with a punchier, more focused approach to its mature ideas. This is a movie where the antagonists are willing to kill for their nefarious goals, and where the heroes are willing to die in order to uphold what’s right.

The more one reads into the movie’s timeliness, though, the more obvious it becomes that there’s a dissonance between the artists making an animated feature such as this one and the company’s leadership, which continues to push artificial intelligence and capitulate to those who bemoan “wokeness.” Those people might certainly find “Zootopia 2” rather woke indeed. (Who knows, maybe in the next installment Judy and Nick will question their role in perpetuating the police state.) In our bizarro world, the “Zootopia” franchise serves as a vehicle for thought-provoking subjects disseminated by way of colorful anthropomorphic animals.