*The first Zootopia didn’t just entertain—it became a cultural touchstone, winning an Academy Award and grossing over $1 billion worldwide. Nearly a decade later, Disney Animation is diving back into the animal metropolis with Zootopia 2, and the creative team promises a sequel that’s bigger, funnier, and layered with details you’ll need multiple viewings to catch.
EURweb’s Jill Munroe spoke with producer Yvett Merino and Co-Head of Story David VanTuyle, who gave an inside look at how the sequel balances spectacle, heart, and sly cultural commentary.
One of the unique processes on Zootopia 2 was the introduction of “story jams”—freeform sessions where artists could experiment with gags, visual jokes, and scene ideas. According to VanTuyle, those sessions weren’t just warm-ups; they changed the movie.
“So many gags came out of the story jams, and so many survived all the way through,” he explained. “Even the little things—something an artist tossed out casually—somehow made its way into the back of Marsh Market or the gala sequence. Especially with Gary [De’Snake], we found so much we could do just by playing with how he moves or interacts with Nick and Judy.”
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VanTuyle says those touches give Zootopia 2 its rewatchable quality. “You’ll see background details and think, ‘Wait, that’s from a random sketch session years ago.’ It’s kind of wild.”
The sequel expands Zootopia beyond its mammal roots, introducing semi-aquatic animals like walruses and sea lions.
VanTuyle admits the final product exceeded even the story team’s imagination.
“From the early days, we were sketching sea lions and walruses, but when I saw the final frames, it blew me away,” he said. “The Marsh Market world is like nothing we’ve done before—it’s above water, below water, and completely its own thing.”
For producer Yvett Merino, the challenge was making sure this expanded city still felt clear and accessible to a global audience.
“When we expand new worlds, we always filter them through Judy and Nick’s experience,” she explained. “Marsh Market has no real human equivalent, so we asked, ‘What would it be like to live under and above the water?’ Our artists just ran with it, and it makes the discovery feel authentic for audiences.”
Merino says her “non-negotiable” wasn’t about rules but culture. “I wanted people to have fun making this film. When people are relaxed and enjoying the process, that’s when we get the best work. So from day one, we focused on building a creative environment where ideas could flow.”
VanTuyle notes that the movie opens with a high-octane chase—a deliberate nod to 80s action classics like Beverly Hills Cop and True Lies. “In the first film, we had the Godfather wink. Here, we wanted to honor that tradition but in a different genre. Kids get the chase, adults catch the reference.”
But even with spectacle, both he and Merino agree the sequel only works if Judy and Nick’s partnership stays central.
“The theme is about partnerships,” VanTuyle said. “Everyone can relate to figuring out how to work with someone new, learning strengths and differences. That universality is what makes the story broad enough for kids and adults.”
For Merino, one of the joys is in the background.
“Our crowds department did an amazing job making the cities feel lived in. If you watch closely, even during the ‘Hey, bub’ scene, you’ll see a ship going by with people dancing at a party. Those little stories in the background are some of my favorite things to rewatch.”
Jill Munroe is a Los Angeles-bred entertainment journalist, producer, and host. Follow her socials @StilettoJill or visit JillMunroe.com. Catch her live M-F on KBLA Talk 1580 from 6PM to 7PM.
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