The Remarried Empress series discount now live on WEBTOON. In addition, the first 7 episodes of the series are available for free. Published: November 3, 2026 WEBTOON has announced a discount for the entire The Remarried Empress series by Alphatart, to commemorate the premiere of the K-Drama adaptation on streaming. In addition, a spin-off series is also available on the WEBTOON service. Fans can now read the over 200 episodes of The Remarried Empress webtoon at a discount for a limited-time. The first 7 episodes in the webtoon are also available to read for free. The Remarried Empress: Spin-off recently launched on the service as well, with the first three episodes now available. Subsequent episodes will release every Friday. The K-Drama adaptation of The Remarried Empress is now streaming on Hulu and Disney Plus. Furthermore, Crunchyroll will release an anime adaptation of the webtoon series in 2027. TROYCA will be animating the series, which Tetsuya Yanagisawa will direct. Akiko Inoue will be in charge of series composition/script, Jun Nakai is the character designer, Yuuki Fukazawa is the composer, and HAYATE is in charge of production. The cast of the anime is as follows: * Yoko Hikasa as Navier * Ryohei Kimura as Heinrey * Sovieshu as Tomoaki Maeno * Reina Ueda as Rashta The WEBTOON website describes The Remarried Empress as follows: Navier Ellie Trovi was an empress perfect in every way - intelligent, courageous, and socially adept. She was kind to her subjects and devoted to her husband. Navier was perfectly content to live the rest of her days as the wise empress of the Eastern Empire. That is, until her husband brought home a mistress and demanded a divorce. "I accept this divorce... And I request an approval of my remarriage." In a shocking twist, Navier remarries another emperor and retains her title and childhood dream as empress. But just how did everything unfold?

One Piece officially adds all 1180 episodes for major region on Crunchyroll. Published Oct 31, 2026, 9:24 AM NY Time For an anime that has been sailing since 1999, catching up with One Piece is practically an adventure of its own. With more than two decades of storytelling and over a thousand episodes, finding the entire journey on one streaming platform has not always been straightforward for international audiences. That is finally changing for Indian fans. Crunchyroll has officially made all 1,180 episodes of One Piece available in India, giving viewers access to Luffy's journey from the East Blue Saga to the Elbaf Arc. The series returned in April 2026 and went on an extended break in September 2026 after the Elbaf Arc's first part. Crunchyroll India unlocks all 1,180 episodes of One Piece. Crunchyroll announced on Sunday, October 25, 2026, that the complete One Piece anime catalogue was now streaming in India. The announcement confirms that all 1,180 episodes are available to Indian viewers on the platform. This is particularly significant because the service had previously offered only portions of the series' extensive catalogue in the country. FandomWire may earn an affiliate commission from links on this page. As an Amazon Associate, FandomWire earns from qualifying purchases. In September 2026, Crunchyroll brought the first 325 episodes to India, giving newcomers access to the early adventures of Luffy and the Straw Hat Pirates. The subsequent catalogue expansion has now filled the gap, allowing viewers to follow the story through its latest available episode without switching between streaming services. Indian viewers can now begin with Luffy's childhood in Foosha Village, experience the emotional devastation of Enies Lobby and Marineford, witness the liberation of Wano, and continue through Egghead and Elbaf. There is no longer a need to hunt down older seasons elsewhere just to understand how the Straw Hats reached their latest destination. One Piece first premiered in Japan on October 20, 1999, and crossed the 1,000-episode mark in November 2021. Its catalogue now represents an extraordinary amount of television storytelling, with Eiichiro Oda's original manga continuing to fuel the anime's adventures. For Indian newcomers, that means getting the complete experience rather than being dropped into the middle of an already legendary voyage. Language availability, however, deserves a separate clarification. The September rollout of Episodes 1-325 included English subtitles and an English dub. Crunchyroll had also announced Hindi, Tamil, and Telugu dubs for the Egghead episodes, with regional-language releases covering Episodes 1089-1155. The later Elbaf rollout also received regional dub attention. The Japanese audio and available subtitles or dubs can vary between episodes. Which other countries have all 1,180 One Piece episodes released? While India's full-catalog expansion marks a historic milestone for Asian distribution, regional licensing remains a delicate game of maritime politics. The United States, Canada, Australia, and New Zealand have historically enjoyed full access to One Piece on Crunchyroll. However, across Europe, Latin America, and Southeast Asia, distribution deals vary significantly due to legacy television rights and local third-party licensing. * North America & Oceania: Complete access to all 1,180 episodes in both English subtitled and dubbed formats. * India: Full 1,180-episode catalogue fully unlocked for streaming (via Crunchyroll). * Europe (UK, France, Germany): Subtitled catalogues cover hundreds of episodes, but full dub parity varies by territory due to legacy broadcast contracts (via Crunchyroll EU). * Latin America: Expanding Batches, with Subtitled & Regional Dub Batches (via Netflix Regional Catalogue). Because licensing agreements expire and renew dynamically, availability isn't uniform worldwide. Indian fans finally have the entire voyage in one place. And considering how long it took Luffy to assemble his crew, perhaps waiting for the complete streaming catalogue was the least painful part of the adventure! Are you brave enough to start Luffy's journey from Episode 1, or are you jumping straight into your favorite classic arc? Let us know in the comments below! One Piece is streaming on Crunchyroll, Netflix, and Hulu.

International anime producers discuss challenges and benefits of co-production at TIFFCOM. Sign up to get its news digest - delivered directly to your inbox twice a week. TOKYO, Japan - Recent years have seen more co-productions in anime, and there is clearly a growing curiosity about the potential for features to find extra support outside Japan. A session at TIFFCOM on Thursday, October 29, described international co-production as "anime's new frontier." The panel, moderated by Masao Kawano, program manager at Into Global, included Ervin Han, co-founder and CEO of Robot Playground Media and co-director of recent Annecy winner The Violinist; Foliascope CEO Ilan Urroz; and Salamander Inc. CEO Taiki Sakurai, a producer whose screenwriting credits include Ghost in the Shell: Stand Alone Complex. The talk was split into three distinct parts, covering the "key challenges and opportunities of international co-production," financing models and deal structures, and going to market. Han spoke first, mentioning that TIFFCOM was where he met a co-producer as well as the composer on The Violinist. He then discussed his aims for Robot Playground, looking to find "culturally-rooted stories from Asia and introduce it to a global audience." Han took a moment to introduce Robot Playground's new project, The Banquet for Hungry Ghosts, showing a trailer for one of the anthology's stories, Egg Fried Rice. Han noted that, somewhat similarly to The Violinist, Banquet will be a "majority Asian co-production with minority European components," with production across Singapore, Malaysia, Taiwan, and Ireland. "So the production studios are based around Southeast Asia," Han said, "and Ireland looks after music and audio posts as a minority partner." After Han's quick briefing on his ongoing projects, Urroz introduced Foliascope's work as well as the project the company would be pitching at the Tokyo Gap Financing Market, Back to Tomioka. Urroz highlighted co-production partners in Poland, Hungary, and Belgium, as well as creatives from Japan. "That's exactly what we want to achieve with this movie: mixing the culture, mixing the artists coming from France, from Europe, from Japan, living in a different country but sharing the same spirit; animation can be the medium to turn to any audience about feelings, about love, about friendship." Urroz noted that the company was already developing marketing around the film, with merchandise including a board game designed by Antoine Bauza. Foliascope has also sold the film's subscription streaming rights to Crunchyroll, with the companies working together to release a Japanese version. The Foliascope CEO pivoted to discussing French systems for co-production, which the panel moderator had described as "enviable" at the opening of the session. "We are super lucky in France," Urroz said. "We have public funding for lighting, development, production, also [innovation] funds for our studio or pipeline, we have also this incredible fund for foreign production cinematography. You can be from any country in the world: if you have a co-producer in France for a little part, you can ask for money from the French system." "Of course, with the internationalization of production, we have also the international tax credit. It's a tax rebate, but we have also this very very useful paper visa, talent visa," he continued. Urroz pointed out that in America, it is much more difficult to bring in a crew from another country to work for one to three years, and said the process in France is faster. "We made the stop-motion animation feature film The Inventor with Jim Capobianco, a veteran of Disney and Pixar," Urroz said, adding that the production used the international tax credit. Urroz also said these funds enable studios to embrace sustainable production. "With the French system, we are capable of transforming all our studios into positive generating solar studios, all our productions are made with solar energy," he said. "It's an incredible fund, an incredible system, but totally open for foreign co-production." Urroz also pointed to Creative Europe's MEDIA program. "We have 27 countries in the European space, but it's open to other countries around Europe," he said. "It's a system that directly helps the development of new feature films, up to 60,000 euros by co-producer, and you can have up to four co-producers [...] then after you can ask for an image fund that also provides some funds for distribution, for marketing, etc." "The very basic difference between financing in Asia and Europe is the fact that in Europe, as even a solution, you know, in some ways they are very fortunate to have a very established, structured system for financing, particularly within the EU, to the extent that a majority of the budget could be financed if it's you know, structured the right way through soft monies, incentives, and grants, and broadcaster pre-sales," Han said. "In Asia, most of it is private financing. This is a fundamental difference that I've actually found sometimes requires quite a bit of understanding for Asia to co-produce with Europe. In Asia, there is some amount of government financing, but by and large, I think it's maybe up to 20% at most, if you're lucky. And the majority has to be raised privately through structured financing, through private equity, sometimes specific private equity investors, family offices." Asked about the pros and cons of international co-production for anime, Sakurai said he felt Japanese animation was still viewed from a narrow perspective, which complicates funding when certain expectations are tied to the term "anime." At the same time, he has found a "high level of tolerance" when a project aligns with those expectations. Following the other panelists' points about government support, Sakurai highlighted that even the greatest successes are generally not made overnight. He referred to the success of Makoto Shinkai - a director he called a "genius" - who also needed many chances to break through and succeeded following 14 years of support from his producer. Han went on to say that one real challenge for many producers in Asia is securing support from broadcasters. "It's also why we have to go overseas. I mean, the whole idea of a [co-production] is that it's not just finding money; it's finding partners with complementary strengths and partners who believe in your story, in your film, in your tv series, in your project. To do it together because you cannot do it alone. You know, I think that principle is very important. Once their understanding is there, then we try to find a way." Just as TIFFCOM as a whole suggested a general interest in co-production, the panel showed the financial incentives driving that interest, alongside Japanese companies' hopes of deepening their connections with global audiences. Urroz and Han's observations highlighted a key attraction: the more extensive government support available in countries such as France compared with financing systems in Asia.