Red Ketchup’s origins go back more than four decades when Pierre Fournier and Réal Godbout developed the hard-nosed, short-tempered FBI agent as a supporting character in the Michel Risque comic series. Over time, Red Ketchup has increasingly been pushed into the spotlight, not only as an independent graphic novel series, but an award-winning Canadian institution. Red Ketchup is pitch-perfect espionage satire, but it’s also far more than that and the only series that meshes spy theatrics with aliens, clones, a Templar-based apocalypse, and the Titanic.
The road to adapting Red Ketchup to the screen has been just as fascinating as the series itself. Martin Villeneuve’s animated adaptation effortlessly captures the essence of its source material, but it’s broken records in Quebec as Télétoon La Nuit’s most-watched series, surpassing even the likes of The Simpsons. Red Ketchup’s roots may be Canadian, but it tells a universal story that’s connecting with international audiences. In celebration of the second-half of Red Ketchup’s first season, Martin Villeneuve graciously takes the time to open up on bringing this chaotic comic to life, the unique hurdles in such a diverse property, its many stylistic influences – from Futurama to La Dolce Vita to Harvey Birdman – and what audiences can expect in the series’ new episodes.
Daniel Kurland: Réal Godbout and Pierre Fournier’s Red Ketchup comic is a groundbreaking Canadian comic series, but what was your relationship with the property before adapting it for television?
Martin Villeneuve: I was immersed in the world of Red Ketchup from my childhood. Published in the Quebec magazine Croc, our equivalent of MAD Magazine, it featured four pages monthly. My father, an avid bande dessinée enthusiast, was a subscriber, and our family home’s bookshelves were adorned with a vast collection of specialized magazines and graphic novels, with Red Ketchup holding a prominent place. The character left a lasting impression on me, boasting a strong and iconic design reminiscent of figures like Grace Jones or Max Headroom. It was my first encounter, at the age of 10, with a comic that blended Hergé’s style with Crumb’s, delving into themes of violence, drugs, and nudity. Initially, I believed Red Ketchup originated from Europe or the U.S., as nothing in Quebec at the time could compare to its uniqueness.
Godbout and Fournier were true pioneers, and their groundbreaking work stood unparalleled in Quebec’s cultural landscape. In essence, they are the forefathers of our modern bande dessinée culture, laying the foundation for what we now take for granted. When I discovered they were Québécois, I was both amazed and proud. As a child creating my own comic books, I looked up to these artists. At the age of 24, after studying Graphic Design, I published my first graphic novel at La Pastèque, which had acquired the rights to Red Ketchup, reprinting it as albums. During their Christmas party, I found myself sitting in front of Réal and Pierre, whom I considered childhood heroes. It was then that I broached the idea of adapting Red Ketchup into an animated series. Little did I know that it would take us 20 years to turn this audacious idea into reality. Being at the helm of this series, overseeing every aspect, has been a tremendous honor for me, and a milestone in my career. Culturally, Red Ketchup holds immense importance in Quebec; it resonates deeply with many people, and I am, first and foremost, an ardent fan.
Daniel Kurland: Can you talk a little on the adaptation process and figuring out how to bring the series to television, while still staying true to the source material?
Martin Villeneuve: After releasing my first feature film, the lyrical sci-fi Mars & April, I ventured into the production of a short comedy film, Imelda, where I took on the role of my own grandmother. It was through these works that Réal and Pierre observed my ability to craft a visually compelling world on screen, coupled with a knack for comedy and mix of genres. Recognizing these essential components for a successful adaptation of Red Ketchup, they approached me in 2015, about two decades after their last exploration of the character, asking me if I was still interested in developing their property. In collaborative sessions with the original creators, we revisited the material, acknowledging the passage of time. While I aimed to retain the 80’s setting, certain elements felt dated, prompting us to embrace openness and introduce new aspects to the narrative.
Over the course of a few years, Réal, Pierre and I collaborated, brainstorming ideas, and establishing the foundational pillars that would later shape Red Ketchup, Season 1. Although there were discussions at some point about a live-action feature film, this direction didn’t materialize. Returning to my initial inclination, we envisioned an animated TV series. Sphere’s Jacques Bilodeau expressed interest and joined as Executive Producer, while Willem Wennekers from Toronto became our Lead Writer. When we pitched Red Ketchup to Teletoon, the outcome was a rare affirmation – they said, “we want the project exactly as you pitched it.” This endorsement signaled a creator’s dream, knowing that the production team and broadcaster were fully aligned in creating the same show we all envisioned. This achievement, however, was the culmination of years of dedication, starting in 2015 with Pierre and Réal. Unfortunately, Pierre passed away on November 12th, 2022, at the age of 72. Despite this sad loss, by that time we were in full production mode, with Réal leading the design team.
Daniel Kurland: Was it important to develop an art style in the animated series that captures the look of the comics? Did you consider or experiment with any other styles or was this always the show’s aesthetic?
Martin Villeneuve: From the outset, the decision was clear to produce the show in 2D rather than 3D, aiming to faithfully capture Réal Godbout’s graphical style. Many of the artists who joined the project, much like myself, held a deep appreciation for the comics and were eager to pay homage to them. Key contributors to this effort included our Art Director, Keith Simard Yard, Colorist Mario Gailloux, and 2D Artist Éric Thériault. Notably, some of our artists had studied bande dessinée under Réal at Université du Québec en Outaouais, making them intimately acquainted with his distinctive style, and their commitment to staying true to it was unwavering. My directive to the team was straightforward: “If we were to pause the animated series at any moment, I want each frame to look like a panel from the comics.”
Remarkably, they not only understood this vision but executed it flawlessly. Witnessing this level of dedication and success in meeting such a specific artistic goal was truly exceptional. It’s not every day that one has the opportunity to set such a high creative standard and provide a defined playground for the artists to revel in, making the entire process profoundly stimulating for all involved. It was a privilege to collaborate with Réal Godbout himself, who personally illustrated the rotations for each character and offered guidance on the settings. The Red Ketchup graphic novels served as our guiding principle for the animated series, influencing both the narrative and visuals. A gratifying aspect of our work was the opportunity to expand upon what was unseen in the books, exploring alternative camera angles and envisioning the broader settings.
Daniel Kurland: I know that there were various attempts to translate the series into a live-action medium, but why do you think an animated series was ultimately the best route?
Martin Villeneuve: The live-action adaptation faced challenges within the Quebec film industry, with concerns about its perceived costs. This perspective was shared by the former producer, Nicole Robert at GO Films, and the Canadian funding agencies, Sodec and Telefilm Canada. There was a lack of understanding and effort on their part to delve into the project’s intricacies and international potential, as they hadn’t thoroughly reviewed the script (co-written with Yves Pelletier, and entirely different from the one intended for the animated series) nor my directorial approach, which had been meticulously developed over the years. Similar challenges arose during the adaptation of my graphic novels, Mars & April, into a live-action sci-fi movie, where the response was labeled as “too expensive” and deemed impossible for Quebec. To make it happen, I took a different route, as outlined in my TED Talk, by reclaiming the rights and self-producing the project. When faced with a similar situation for Red Ketchup, rather than opting for the same route, I revisited my original concept for an animated series, which I believed aligned more closely with the spirit and style of the source material.
Ultimately, this proved to be the most suitable path, because it allowed more creative possibilities. However, it’s important to acknowledge that this decision wasn’t without its challenges. The prevalent sentiment of “It’s impossible, you cannot do that in Quebec,” a phrase often repeated by self-proclaimed experts, persisted. This cultural tendency, focused on pursuing “low hanging fruits,” where projects are only deemed feasible if they are straightforward and bureaucratic support is readily available, posed a hurdle. Fortunately, individuals with foresight and creativity, such as Jacques Bilodeau at Sphere and Hugues Dufour at Corus, recognized the potential and supported the project.
Daniel Kurland: On that note, was it a struggle at all to figure out how to structure the episodes in terms of a traditional A- and B-plot, with the latter usually focusing on Red’s sister, Sally, and more of the series’ rich supporting players?
Martin Villeneuve: Although we had established a robust story arc, the actual writing process truly started during the pandemic, led by Willem Wennekers. Our writing team expanded with the addition of three talented writers: Ivy Johnson, Emily Weedon, and Laurie Elliot. One of the challenges was to adapt Red’s inner monologues from the comics, which wouldn’t translate well to an animated series. We introduced Peter Plywood as Red’s partner, creating a dynamic ‘good cop, bad cop’ duo to tackle bogus FBI missions. The A-stories follow agents Ketchup and Plywood, showcasing the chaotic results of Red’s one-track-minded approach. Meanwhile, the B-stories delve into the lives of the rich supporting cast, including Red’s estranged sister Sally, the sinister Dr. K, the alluring Olga Dynamo, the misanthropic journalist Bill Bélisle, and the ambiguous Chief Sullivan. Peter Plywood, a Canadian-Japanese agent, contrasts Red with his strict adherence to rules.
Despite their differences, they discover complementary skills and develop mutual respect. Sally Ketchup serves as a humanizing force, exposing Red’s true nature and contributing to the series’ emotional arc. Dr. K adds a Bond-villain touch, seeking global chaos for his experiments, driving the overarching plot. Olga Dynamo, the Russian counterpart, serves as both adversary and admirer, bringing an intriguing dynamic. Bill Bélisle, an independent journalist, adds a comedic element through his renewed romantic interest in Sally. Chief Sullivan, Red’s FBI boss, shares the goal of completing missions but remains enigmatic, leaving viewers questioning his true intentions. Maintaining the secondary characters’ grounded nature was crucial, providing a counterbalance to Red’s extravagance, regardless of how eccentric the situations became. Our approach consistently involved utilizing the characters and their motivations to propel the storyline, prioritizing a character-driven narrative over one centered solely on the plot. Additionally, we welcomed unexpected cuts and contrasting visuals between the A- and B-plots, enriching the overall storytelling experience.
Daniel Kurland: How did the casting process come together and was it difficult to bring to life these characters’ personalities from off the page?
Martin Villeneuve: The casting process, both in English and French, was an intricate and exhilarating undertaking because finding the right voices is when characters truly come to life. For the French version, Teletoon sought a Québécois dubbing with a typical French-Canadian accent, akin to The Flintstones or The Simpsons, adding to my excitement. I guided Casting Directors to prioritize original voices over stars, aiming for surprises and ensuring clear character descriptions. Proposals poured in, and during the selection, auditions were listened to blindly, focusing solely on talent. In the English version, Red Ketchup is voiced by actor Michael Kash, while in the French version, Benoît Brière, a popular TV figure in Quebec, brought a transformative touch to Red’s voice, going unrecognized by the production team. Peter Plywood drew inspiration from Maxwell Smart in Get Smart, voiced by Kintaro Akiyama in English and Gabriel Lessard in French, capturing the character’s essence in both versions. Sally Ketchup, known for her ultra-feminist attitude, is voiced by France Castel in French and Jana Peck in English, both claiming to embody the character during auditions and sharing the same voice.
Dr. K, Red Ketchup’s arch-nemesis, is portrayed by Benedict Campbell in English and Alain Zouvi in French, delivering a mix of humor and terror. Martin Roach voices Chief Sullivan, with Widemir Normil providing the French dub. For Olga Dynamo, the Russian counterpart, Nicole Bauman lends her voice in English, also serving as Production Manager at Sphere, while in French, Quebec actress Émilie Bibeau takes on the role. Lastly, I lend my voice to Bill Bélisle, a part I auditioned for, while in English, veteran voice actor John Stocker performs the role. Each casting decision prioritized talent and how well actors embodied the characters’ personalities, and I couldn’t be more thrilled with our choices. During the recordings, I was working hand in hand with Voice Directors Melissa Altro and Benoît Rousseau, and due to the show’s adult-oriented nature, we aimed for a tone resembling that of live-action movies rather than children’s cartoons.
Daniel Kurland: Music is another big component of the animated series that’s obviously not present in the original comics. How did the show’s retro, genre-bending sound come together?
Martin Villeneuve: Since music is one of the latest components to come into the mix, it only started in 2022. I was listening to a bunch of Demo Reels, and one stood out: Neil Parfitt’s. I emailed him with the subject “Looking for a Composer.” The brief was: “Adult Comedy, Spy, Action, 80’s, Drug-fueled FBI agent.” Neil answered immediately and dove into the opportunity. Before he knew it, he was on board as the Composer and Music Editor for the series. The music for Red Ketchup took on a life of its own from the get-go.
The first cue Neil crafted was infused with swanky 80’s sax, Bossa Nova vibes, and a touch of sexiness, setting the tone for the eclectic soundscape we aimed to create. From classic 80’s film adventure to synthwave, spycraft to Italian reggae, death metal to Russian classical, medieval romance to 80’s action movie testosterone, and even a dash of space adventure – the musical journey was a rich playground and an absolute blast. Serge Côté scored our fantastic Opening/Closing Theme, which Neil seamlessly integrated into various cues. Christopher Harris at Super Sonics Post-Production took on the crucial role of creating the Sound Design and Mixing for the series, ensuring the episodes sounded top-notch.
Daniel Kurland: The Red Ketchup comics are of course the main influence on the TV series, but what are some other shows, movies, or media that you turned to for inspiration?
Martin Villeneuve: Inspiration for the animated series was drawn from a myriad of sources, encompassing daily news, magazines, movies, TV shows, theater plays, etc. Staying true to the comic’s essence, the animated version is set in 1986, initially unfolding against the backdrop of the Cold War. While maintaining the comic’s genre-blending nature, the series ventures beyond political satire, incorporating elements of science fiction, fantasy, adventure, and paying homage to iconic films like James Bond and Indiana Jones. In terms of animation, our creative wellspring included diverse influences such as the bold darkness of Aeon Flux, the classic hero style of comic artist Alex Toth, the modern vintage flair of Archer, the street-smart vibe of Axe Cop, and the layered storytelling reminiscent of BoJack Horseman, Harvey Birdman, Venture Bros., coupled with the adventurous spirit of Tintin.
A nod to animated favorites like Futurama and The Simpsons is also woven into the fabric of the show. Réal and Pierre have openly shared that Red’s physicality draws vague inspiration from Jack Lord of Hawaii Five-o and Michael Murphy in Brewster McCloud, and these references were thoughtfully incorporated. The overarching influence of 1980s American action films like The Terminator, Rambo, RoboCop or Commando shaped the character. We delved into the classics with nods to Battleship Potemkin, La Dolce Vita, Lawrence of Arabia, and even drew from Hitchcock’s masterpieces like Vertigo and North By Northwest. The ‘elevator pitch’ for the show was: let’s imagine a James Bond adventure directed by Tarantino, but with the visual style of Tintin. We paid homage to films like Kubrick’s Full Metal Jacket and Apocalypse Now, and referenced The Thing, The Silence of the Lambs, The Hunt for Red October, The Deer Hunter, etc. The sci-fi aficionado in me couldn’t resist infusing fantastical elements, taking inspiration from personal favorites: Back to the Future, Star Wars, Alien, Jurassic Park, The Fifth Element, and Blade Runner, just to name a few. Terry Gilliam’s visionary works like Fear and Loathing in Las Vegas and Brazil served as additional touchstones.
Modern influences from films like Train to Busan and The Wolf of Wall Street were also integrated. While Red Ketchup leans towards an antihero narrative, we explored the superhero world with a glance at Iron Man. Paying tribute to classics such as the 60’s Batman series and popular ’80s TV shows like Family Ties,Three’s Company, and Growing Pains, alongside modern gems like Breaking Bad, added layers to the series. It’s worth noting that some of these references were embedded in the original Red Ketchup comics years before they appeared elsewhere, affirming Réal and Pierre’s visionary prowess.
Daniel Kurland: Was it difficult to find a balance between sticking to the events of the comics and telling original stories in this universe? Would you like to do more of the latter over time?
Martin Villeneuve: Adapting Red Ketchup for the animated series posed its unique challenges, primarily centered around striking a delicate balance between honoring the essence of the original material and infusing innovative concepts that would resonate with a contemporary audience. The dynamic was to ensure a faithful representation while injecting fresh perspectives. Regarding the relevance of the Cold War setting to a 2023 audience, it’s remarkable how pertinent those themes remain. The Cold War backdrop, which one might think had concluded, surprisingly mirrors aspects of our current global landscape. Even references to Ronald Reagan within Red Ketchup still hold resonance today.
The thematic elements explored in the comic series have evolved to become a reflection of the contemporary world, mirroring the complexities of our present-day politics. Speaking of potential developments, if a Season 2 of Red Ketchup were to be produced, I’d eagerly embrace the opportunity. Albums 4 to 9 of the original comics remain largely unexplored, offering a wealth of untapped original material to draw upon. Moreover, the prolific Réal Godbout is actively crafting Red Ketchup’s tenth volume, titled “The Orange Agent,” which delves into the realm of Donald Trump. The release of this volume is anticipated later this year, adding another layer to the expansive universe we’d love to bring to life in future animated endeavors, while also crafting new stories.
Daniel Kurland: One of the things that I love most about Red Ketchup is that it toes the line between espionage, science fiction, fantasy, and even more. It feels like everything is possible in this series, but is there anything that you haven’t incorporated into the mix that you’d like to find a way to work in, whether that’s a greater horror influence or something like dinosaurs?
Martin Villeneuve: Pierre Fournier’s extensive knowledge of all things related to Frankenstein is palpable in the comics, making horror a genre that could seamlessly be integrated into the mix. We’re far from exhausting the depths of Red’s character and world, and I’d envision an emotional journey that focuses on self-discovery and unearths unexpected connections from his past. On a lighter note, I’d relish the chance to showcase Red at his hairstylist in Washington, a scene that would bring out a different side of him and highlight his meticulous nature, especially regarding his sacred haircut. Another intriguing avenue could involve Red reluctantly attending therapy, a condition set by Sullivan for his reintegration into the FBI ranks.
In Season 2, I see potential in giving Sullivan, a somewhat underdeveloped character in the first season, a more prominent role, perhaps exploring the idea of him as a double agent or an adversary of Red, adding depth to the narrative. The evolving partnership between Red and Plywood is a storyline I’d like to delve into. Drawing inspiration from the graphic novel “Red Ketchup Goes to Hell” opens up a unique storyline, with Red encountering Lucifer and facing malevolent entities, injecting a dark and fantastical element into the series. Introducing new characters like the time-traveling shaman Juan-Two-Tree, or Bennie Quick, Sally’s ex-husband, could bring chaos and new fantasy elements.
Season 2 could also unveil Red’s “Origin Story” during his first mission for the FBI, infiltrating Raul Escobar’s cartel, providing a glimpse into Red’s past and setting the stage for new adventures. Olga’s character development offers an opportunity to explore her fascination with Red and delve into her allegiances and motivations. Conveying that Noxi-Corp is a sprawling multinational corporation presents a chance to investigate its societal ramifications, uncovering the unseen world of this powerful organization. As you can see, the possibilities are endless, promising unexpected twists, rich character development, and a continued exploration of the show’s signature blend of humor, drama, and fantasy.
Daniel Kurland: Exaggerated violence is a huge part of the original comics and it’s certainly not toned down at all in the TV series. Was this something that you were eager to heighten and push even further into parody or was there any pressure to tone it down at all?
Martin Villeneuve: There was never any pressure to tone down the violence in the show; I had remarkable creative freedom. Violence was even encouraged by the broadcaster when it served the plot. However, animating violence poses unique challenges, especially with character interactions like fighting or chasing each other. Red Ketchup, being a violent show, required a shift in mentality for the artists, many of whom came from a children-oriented animation background. It took a few episodes to totally nail the style. Animators faced challenges with continuity and had to ensure seamless scenes during fights. We formed a specialized fight team of animators passionate about handling the violence. Blood content in the first episode – such as the iconic penguin massacre from the graphic novel – required adjustments to strike the right balance.
Conversations about explicit content, including discussions on genital rigging and drug use, were part of the process, showcasing the show’s unique and bold approach. Despite the challenges, the experience highlighted our ability to tell big stories with simplicity, finding visual solutions for sometimes ambitious scripts. I could always count on a devoted team of the highest caliber, led by Logan Schinbeckler (Animation Supervisor), Diego Sierra (Animation Director) and Cory Tibbits (Lead Effects Artist).
Daniel Kurland: The animated series stays true to Red Ketchup’s character and develops him beyond simply being a raging stereotype. Was it important to you to build upon the character’s depth and make sure that there’s a clear arc with him?
Martin Villeneuve: This was a central focus for me. I not only wrote the first and last episodes but also provided a clear directive to the other writers to expand Red’s story arc and his journey throughout the series. The 20th episode delves into Red’s stolen childhood, aiming to reconnect our antihero with the inner child that existed before the unresolved traumas shaping him into the Red Ketchup machine.
Before his illness, I had a final conversation with Pierre Fournier to discuss the animated series’ conclusion, recalling ideas we had exchanged with Réal Godbout during years of project development. Pierre endorsed it, saying, “It seems quite fitting. Make sure it ends like that.” I kept my promise to Pierre. On a personal level, I felt a responsibility to honor the original creators’ legacy, to do justice to the material, and bring the character’s journey to a full and meaningful circle.
Daniel Kurland: What can you tease about the first season’s second-half and how the story is set to change?
Martin Villeneuve: In the second half of the season (Episodes 11 to 20), viewers can expect an exhilarating ride as agents Ketchup and Plywood embark on a globe-trotting adventure to uncover the mythical Seven Cups of the Apocalypse. The stakes are raised, and each episode presents a unique challenge for our fearless protagonists. From facing a lunatic Templar knight on the Titanic’s ocean floor to encountering a supernatural protector in Toronto, the series takes unexpected twists and turns. We delve into Red’s escapades in Vietnam, the dark side of the Moon, and even a medieval world-domination plot. The narrative explores diverse settings, from underground art spaces to the enigmatic Bermuda Triangle. What I can tease is that every episode in the second half contributes to a grand culmination in Episode 20, “Ketchup on Fire,” bringing the overarching storyline to its thrilling conclusion.
Daniel Kurland: I think the whole season stands tall, but is there a particular episode that you’re especially proud of that you think nails the series’ energy?
Martin Villeneuve: Each episode carries its own unique ‘vibe’ while contributing to the overall cohesion of the series. We experimented with different approaches in each episode, avoiding a predictable recipe. Creative risks were not only allowed but embraced at every turn. While I have genuine affection for all the episodes, if I were to highlight three from the latter part of the season, they would be Episode 11: “Red Templar,” where Red is enlisted by the Solemn Order of Templars in a quest for the Seven Cups starting in the Amazon jungle; Episode 15: “The Guardian of the Ketchupalypse,” where Red returns to Toronto to obtain the 5th Cup but discovers a supernatural protector; and Episode 20: “Ketchup on Fire,” where Red unleashes mayhem with the seven cups. These three episodes, in terms of writing, acting, visuals, effects, editing and score, stand out as exceptional examples of the series’ energy.
Daniel Kurland: I know that you’re not anywhere near the 10th album of the comic series, but are you interested at all in touching upon the upcoming Orange Agent story that’s supposed to deal with Donald Trump? Would that be fun and rewarding material to explore in the animated series?
Martin Villeneuve: “The Orange Agent” story is intriguing material, and I’ll most probably be the first one in line to buy the album! The 9th album concluded with Red being put into cryogenic sleep by Dr. K, only to be awakened around 2015. While Réal has been discreet about the content of the 10th album in the comic series, the prospect of delving into a narrative centered around Trump is captivating. It opens opportunities for satirical commentary and exploration of contemporary themes, aligning with the tradition of Red Ketchup tackling socio-political elements. I always thought Trump was straight out of a Red Ketchup comics! Once again, reality catches up to fiction.
Given the relevance and the unique lens through which Red Ketchup interprets such figures, I believe it would be a compelling addition to the animated series in a possible Season 2. Speaking of “The Orange Agent,” it’s worth highlighting that Réal hasn’t crafted another album of Red Ketchup in almost three decades. The animated series served as the inspiration for rekindling the character on the page. It’s truly the greatest compliment our entire team behind the animated series could ever receive – the revival of the original creator, going back to his drawing table to continue telling further stories.
Daniel Kurland: Now that you’ve tackled Red Ketchup , are there any other Quebec or French comic properties that you’d also be interested in adapting? I’m quite partial to Blueberry and Asterix .
Martin Villeneuve: Among other projects, I’m currently immersed in the adaptation of Aquarica, based on the graphic novels by European masters François Schuiten and Benoît Sokal, two other childhood heroes of mine. This project has been in the works for over ten years, originating from my collaboration with Schuiten after my feature film debut, Mars & April, on which he served as Production Designer. Aquarica unfolds the tale of a young woman embarking on a quest to rescue her ailing home world from the perils of climate change. As a fantasy animated feature film, I’ll be directing, with Schuiten once again acting as Production Designer.
Despite the setback caused by Sokal’s unfortunate passing a few years ago, his legacy lives on within the project. Rue de Sèvres has released Aquarica in two volumes to stellar reviews, and the movie is currently in development at ON Animation studio. Given my intense focus on Red Ketchup in recent years, another writer is currently crafting a new draft, and we’re optimistic about bringing the movie to life in the upcoming years. I want to extend my thanks to the entire Red Ketchup team. Everyone on board understood and felt the importance of this long-time passion project of mine. It’s been an incredible journey, and I’m grateful for the collaboration and exploration that made this series an unforgettable experience, on all levels!
Season one of ‘Red Ketchup’ is currently streaming on Adult Swim Canada, Amazon Prime Video’s StackTV, Fubo, and Global TV
Image Credit: Sphere Animation / Corus Media / Teletoon / Adult Swim © 2024