An AI-assisted animated series is expected on Disney+ in December

According to Bloomberg, Ozzy Fox is coming to Disney+ in December. Animaj’s series uses AI within an animation workflow led by artists.

Following its YouTube debut this summer, the preschool musical series Ozzy Fox is expected to arrive on Disney+ in December 2026, according to a Bloomberg article published on November 13. Jointly developed by French studio Animaj and Disney Jr., the show uses AI tools to turn drawings and staging instructions into 3D animation. The release month comes from Bloomberg’s reporting; the official communications reviewed do not yet specify a launch date or a list of territories.

The first season consists of 26 episodes running approximately two and a half minutes each. Its main character, a five-year-old fox, joins his family in turning everyday routines into missions accompanied by original songs. The series was created by Jennifer Oxley, whose credits include Peg + Cat and Wonder Pets!, and developed by Guillermo García-Carsí, the creator of Pocoyo. The studio describes a development process involving writers, directors, and child development specialists.

The show began streaming on YouTube and YouTube Kids in July. In its November 3 announcement of FlipMove, the producer reported more than 25 million cumulative views since launch. That figure measures YouTube views rather than unique viewers. A second season is already in production, as confirmed in the Disney Accelerator Demo Day recap.

Bloomberg’s description of the series as “rendered by AI” condenses several production steps. The behind-the-scenes material published by Animaj begins with an animatic, an edited, roughly animated version of the storyboard, created by artists and approved by the directors. Animators establish the key poses, acting, and timing. Sketch-to-Motion then helps generate the intermediate poses connecting those decisions and prepare a 3D preview, before lighting, rendering, and final compositing. According to the studio, every frame ultimately receives an artist’s review and approval.

Presented at Disney Accelerator in early November, the FlipMove workflow connects previously separate tools. Drawing-to-3D pose conversion and motion in-betweening are supplemented by a scene preparation stage: positioning cameras, props, and characters based on the approved animatic. Other features translate a director’s feedback into changes to staging or poses. The results remain editable within a 3D scene that artists can inspect and revise.

For that revision step, Chief Technology Officer Antoine Lhermitte reports a turnaround of two minutes instead of twenty, with the result available for further editing in Blender. The comparison concerns turning a director’s note into an editable proposal. It does not measure the time required to produce an entire episode. The documents reviewed do not provide a detailed breakdown of the budget or labor devoted to Ozzy Fox.

The project accompanies broader AI adoption across the company led by Josh D’Amaro. Since October 2, the newly created chief technology officer position has been held by Karandeep Anand, the former CEO of Character.AI. His responsibilities include infrastructure, data, and AI platforms across the company. The multiyear alliance announced with Adobe also calls for Firefly Foundry models tailored to Disney’s characters, environments, and visual styles, along with early access to creative tools for its teams.

An earlier agreement announced with OpenAI in December 2025 included plans to license more than 200 characters for Sora and a proposed $1 billion investment. The announcement remained subject to definitive agreements and closing conditions. Sora’s discontinuation was subsequently announced in March; its web and mobile experiences shut down on April 26, followed by the API on September 24. Those dates distinguish the decision to discontinue the product from the actual shutdown of its different services.

Within Animaj’s production teams, integrating the tools also required changes to their design. An interview published on November 12 explains that an early approach required storyboard artists to draw directly inside a 3D environment. The artists found that setup too restrictive. The team retained their usual drawing process, requesting only certain additional spatial information, such as camera positions. Those details are then used to construct the scene for further refinement.