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Primary production
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For other uses, see Primary production (economics).
Global oceanic and terrestrial photoautotroph abundance, from September 1997 to August 2000 as well. As an estimate of autotroph biomass, it is only a rough indicator of primary-production potential, and not an actual estimate of it. Provided by the SeaWiFS Project, NASA/Goddard Space Flight Center and ORBIMAGE.
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The maps above show Earth's monthly terrestrial net primary productivity from February 2000 to December 2013. The data come from the Moderate Resolution Imaging Spectroradiometer (MODIS) on NASA’s Terra satellite. Values range from near 0 grams of carbon per square meter per day (tan) to 6.5 grams per square meter per day (dark green). A negative value means decomposition or respiration overpowered carbon absorption; more carbon was released to the atmosphere than the plants took in. In mid-latitudes, productivity obviously interacts with seasonal change, with productivity peaking in each hemisphere’s summer. The boreal forests of Canada and Russia experience high productivity in June and July and then a slow decline through fall and winter. Year-round, tropical forests in South America, Africa, Southeast Asia, and Indonesia have high productivity, not surprising with the abundant sunlight, warmth, and rainfall. However, even in the tropics, there are variations in productivity over the course of the year. For example, the Amazon basin exhibits especially high productivity from roughly August through October - the period of the area's dry season. Because the trees have access to a plentiful supply of ground water that builds up in the rainy season, they actually grow better when the rainy skies clear and allow more sunlight to reach the forest.[1]
In ecology, primary production is the synthesis of organic compounds from atmospheric or aqueous carbon dioxide. It principally occurs through the process of photosynthesis, which uses light as its source of energy, but it also occurs through chemosynthesis, which uses the oxidation or reduction of inorganic chemical compounds as its source of energy. Almost all life on Earth relies directly or indirectly on primary production. The organisms responsible for primary production are known as primary producers or autotrophs, and form the base of the food chain. In terrestrial ecoregions, these are mainly plants, while in aquatic ecoregions algae predominate in this role. Ecologists distinguish primary production as either net or gross, the former accounting for losses to processes such as cellular respiration, the latter not.
Contents
[hide]
1 Overview
2 Gross primary production and net primary production
3 Terrestrial production
4 Oceanic production
4.1 Light
4.2 Nutrients
4.3 Iron
5 Measurement
5.1 Terrestrial
5.1.1 Grasslands
5.1.2 Forests
5.2 Aquatic
5.3 Global
5.4 Estimates
6 Primary Production and Plant Biomass for the Earth
7 Human impact and appropriation
8 See also
9 References
Overview[edit]
The Calvin cycle of photosynthesis
Primary production is the production of chemical energy in organic compounds by living organisms. The main source of this energy is sunlight but a minute fraction of primary production is driven by lithotrophic organisms using the chemical energy of inorganic molecules.
Regardless of its source, this energy is used to synthesize complex organic molecules from simpler inorganic compounds such as carbon dioxide (CO2) and water (H2O). The following two equations are simplified representations of photosynthesis (top) and (one form of) chemosynthesis (bottom):
CO2 + H2O + light → CH2O + O2
CO2 + O2 + 4 H2S → CH2O + 4 S + 3 H2O
In both cases, the end point is a polymer of reduced carbohydrate, (CH2O)n, typically molecules such as glucose or other sugars. These relatively simple molecules may be then used to further synthesise more complicated molecules, including proteins, complex carbohydrates, lipids, and nucleic acids, or be respired to perform work. Consumption of primary producers by heterotrophic organisms, such as animals, then transfers these organic molecules (and the energy stored within them) up the food web, fueling all of the Earth's living systems.
Gross primary production and net primary production[edit]
Gross primary production (GPP) is the amount of chemical energy as biomass that primary producers create in a given length of time. (GPP is sometimes confused with Gross Primary productivity, which is the rate at which photosynthesis or chemosynthesis occurs.) Some fraction of this fixed energy is used by primary producers for cellular respiration and maintenance of existing tissues (i.e., "growth respiration" and "maintenance respiration").[2][3] The remaining fixed energy (i.e., mass of photosynthate) is referred to as net primary production (NPP).
NPP = GPP - respiration [by plants]
Net primary production is the rate at which all the plants in an ecosystem produce net useful chemical energy; it is equal to the difference between the rate at which the plants in an ecosystem produce useful chemical energy (GPP) and the rate at which they use some of that energy during respiration. Some net primary production goes toward growth and reproduction of primary producers, while some is consumed by herbivores.
Both gross and net primary production are in units of mass per unit area per unit time interval. In terrestrial ecosystems, mass of carbon per unit area per year (g C m−2 yr−1) is most often used as the unit of measurement.
Terrestrial production[edit]
An oak tree; a typical modern, terrestrial autotroph
On the land, almost all primary production is now performed by vascular plants, with a small fraction coming from algae and non-vascular plants such as mosses and liverworts. Before the evolution of vascular plants, non-vascular plants likely played a more significant role. Primary production on land is a function of many factors, but principally local hydrology and temperature (the latter covaries to an extent with light, specifically photosynthetically active radiation (PAR), the source of energy for photosynthesis). While plants cover much of the Earth's surface, they are strongly curtailed wherever temperatures are too extreme or where necessary plant resources (principally water and PAR) are limiting, such as deserts or polar regions.
Water is "consumed" in plants by the processes of photosynthesis (see above) and transpiration. The latter process (which is responsible for about 90% of water use) is driven by the evaporation of water from the leaves of plants. Transpiration allows plants to transport water and mineral nutrients from the soil to growth regions, and also cools the plant. Diffusion of water vapour out of a leaf, the force that drives transpiration, is regulated by structures known as stomata. These structure also regulate the diffusion of carbon dioxide from the atmosphere into the leaf, such that decreasing water loss (by partially closing stomata) also decreases carbon dioxide gain. Certain plants use alternative forms of photosynthesis, called Crassulacean acid metabolism (CAM) and C4. These employ physiological and anatomical adaptations to increase water-use efficiency and allow increased primary production to take place under conditions that would normally limit carbon fixation by C3 plants (the majority of plant species).
Oceanic production[edit]
Marine diatoms; an example of planktonic microalgae
In a reversal of the pattern on land, in the oceans, almost all photosynthesis is performed by algae, with a small fraction contributed by vascular plants and other groups. Algae encompass a diverse range of organisms, ranging from single floating cells to attached seaweeds. They include photoautotrophs from a variety of groups. Eubacteria are important photosynthetizers in both oceanic and terrestrial ecosystems, and while some archaea are phototrophic, none are known to utilise oxygen-evolving photosynthesis.[4] A number of eukaryotes are significant contributors to primary production in the ocean, including green algae, brown algae and red algae, and a diverse group of unicellular groups. Vascular plants are also represented in the ocean by groups such as the seagrasses.
Unlike terrestrial ecosystems, the majority of primary production in the ocean is performed by free-living microscopic organisms called phytoplankton. Larger autotrophs, such as the seagrasses and macroalgae (seaweeds) are generally confined to the littoral zone and adjacent shallow waters, where they can attach to the underlying substrate but still be within the photic zone. There are exceptions, such as Sargassum, but the vast majority of free-floating production takes place within microscopic organisms.
Differences in relative photosynthesis between plankton species under different irradiance
The factors limiting primary production in the ocean are also very different from those on land. The availability of water, obviously, is not an issue (though its salinity can be). Similarly, temperature, while affecting metabolic rates (see Q10), ranges less widely in the ocean than on land because the heat capacity of seawater buffers temperature changes, and the formation of sea ice insulates it at lower temperatures. However, the availability of light, the source of energy for photosynthesis, and mineral nutrients, the building blocks for new growth, play crucial roles in regulating primary production in the ocean.[5] Available Earth System Models suggest that ongoing ocean bio-geochemical changes could trigger reductions in ocean NPP between 3% and 10% of current values depending on the emissions scenario.[6]
Light[edit]
A kelp forest; an example of attached macroalgae
The sunlit zone of the ocean is called the photic zone (or euphotic zone). This is a relatively thin layer (10–100 m) near the ocean's surface where there is sufficient light for photosynthesis to occur. For practical purposes, the thickness of the photic zone is typically defined by the depth at which light reaches 1% of its surface value. Light is attenuated down the water column by its absorption or scattering by the water itself, and by dissolved or particulate material within it (including phytoplankton).
Net photosynthesis in the water column is determined by the interaction between the photic zone and the mixed layer. Turbulent mixing by wind energy at the ocean's surface homogenises the water column vertically until the turbulence dissipates (creating the aforementioned mixed layer). The deeper the mixed layer, the lower the average amount of light intercepted by phytoplankton within it. The mixed layer can vary from being shallower than the photic zone, to being much deeper than the photic zone. When it is much deeper than the photic zone, this results in phytoplankton spending too much time in the dark for net growth to occur. The maximum depth of the mixed layer in which net growth can occur is called the critical depth. As long as there are adequate nutrients available, net primary production occurs whenever the mixed layer is shallower than the critical depth.
Both the magnitude of wind mixing and the availability of light at the ocean's surface are affected across a range of space- and time-scales. The most characteristic of these is the seasonal cycle (caused by the consequences of the Earth's axial tilt), although wind magnitudes additionally have strong spatial components. Consequently, primary production in temperate regions such as the North Atlantic is highly seasonal, varying with both incident light at the water's surface (reduced in winter) and the degree of mixing (increased in winter). In tropical regions, such as the gyres in the middle of the major basins, light may only vary slightly across the year, and mixing may only occur episodically, such as during large storms or hurricanes.
Nutrients[edit]
Annual mean sea surface nitrate for the World Ocean. Data from the World Ocean Atlas 2009.
Mixing also plays an important role in the limitation of primary production by nutrients. Inorganic nutrients, such as nitrate, phosphate and silicic acid are necessary for phytoplankton to synthesise their cells and cellular machinery. Because of gravitational sinking of particulate material (such as plankton, dead or fecal material), nutrients are constantly lost from the photic zone, and are only replenished by mixing or upwelling of deeper water. This is exacerbated where summertime solar heating and reduced winds increases vertical stratification and leads to a strong thermocline, since this makes it more difficult for wind mixing to entrain deeper water. Consequently, between mixing events, primary production (and the resulting processes that leads to sinking particulate material) constantly acts to consume nutrients in the mixed layer, and in many regions this leads to nutrient exhaustion and decreased mixed layer production in the summer (even in the presence of abundant light). However, as long as the photic zone is deep enough, primary production may continue below the mixed layer where light-limited growth rates mean that nutrients are often more abundant.
Iron[edit]
Another factor relatively recently discovered to play a significant role in oceanic primary production is the micronutrient iron.[7] This is used as a cofactor in enzymes involved in processes such as nitrate reduction and nitrogen fixation. A major source of iron to the oceans is dust from the Earth's deserts, picked up and delivered by the wind as aeolian dust.
In regions of the ocean that are distant from deserts or that are not reached by dust-carrying winds (for example, the Southern and North Pacific oceans), the lack of iron can severely limit the amount of primary production that can occur. These areas are sometimes known as HNLC (High-Nutrient, Low-Chlorophyll) regions, because the scarcity of iron both limits phytoplankton growth and leaves a surplus of other nutrients. Some scientists have suggested introducing iron to these areas as a means of increasing primary productivity and sequestering carbon dioxide from the atmosphere.[8]
Measurement[edit]
The methods for measurement of primary production vary depending on whether gross vs net production is the desired measure, and whether terrestrial or aquatic systems are the focus. Gross production is almost always harder to measure than net, because of respiration, which is a continuous and ongoing process that consumes some of the products of primary production (i.e. sugars) before they can be accurately measured. Also, terrestrial ecosystems are generally more difficult because a substantial proportion of total productivity is shunted to below-ground organs and tissues, where it is logistically difficult to measure. Shallow water aquatic systems can also face this problem.
Scale also greatly affects measurement techniques. The rate of carbon assimilation in plant tissues, organs, whole plants, or plankton samples can be quantified by biochemically based techniques, but these techniques are decidedly inappropriate for large scale terrestrial field situations. There, net primary production is almost always the desired variable, and estimation techniques involve various methods of estimating dry-weight biomass changes over time. Biomass estimates are often converted to an energy measure, such as kilocalories, by an empirically determined conversion factor.
Terrestrial[edit]
In terrestrial ecosystems, researchers generally measure net primary production (NPP). Although its definition is straightforward, field measurements used to estimate productivity vary according to investigator and biome. Field estimates rarely account for below ground productivity, herbivory, turnover, litterfall, volatile organic compounds, root exudates, and allocation to symbiotic microorganisms. Biomass based NPP estimates result in underestimation of NPP due to incomplete accounting of these components.[9][10] However, many field measurements correlate well to NPP. There are a number of comprehensive reviews of the field methods used to estimate NPP.[9][10][11] Estimates of ecosystem respiration, the total carbon dioxide produced by the ecosystem, can also be made with gas flux measurements.
The major unaccounted pool is belowground productivity, especially production and turnover of roots. Belowground components of NPP are difficult to measure. BNPP (below-ground NPP) is often estimated based on a ratio of ANPP:BNPP (above-ground NPP:below-ground NPP) rather than direct measurements.
Gross primary production can be estimated from measurements of net ecosystem exchange (NEE) of carbon dioxide made by the eddy covariance technique. During night, this technique measures all components of ecosystem respiration. This respiration is scaled to day-time values and further subtracted from NEE.[12]
Grasslands[edit]
The Konza tallgrass prairie in the Flint Hills of northeastern Kansas
Most frequently, peak standing biomass is assumed to measure NPP. In systems with persistent standing litter, live biomass is commonly reported. Measures of peak biomass are more reliable if the system is predominantly annuals. However, perennial measurements could be reliable if there were a synchronous phenology driven by a strong seasonal climate. These methods may underestimate ANPP in grasslands by as much as 2 (temperate) to 4 (tropical) fold.[10] Repeated measures of standing live and dead biomass provide more accurate estimates of all grasslands, particularly those with large turnover, rapid decomposition, and interspecific variation in timing of peak biomass. Wetland productivity (marshes and fens) is similarly measured. In Europe, annual mowing makes the annual biomass increment of wetlands evident.
Forests[edit]
Methods used to measure forest productivity are more diverse than those of grasslands. Biomass increment based on stand specific allometry plus litterfall is considered a suitable although incomplete accounting of above-ground net primary production (ANPP).[9] Field measurements used as a proxy for ANPP include annual litterfall, diameter or basal area increment (DBH or BAI), and volume increment.
Aquatic[edit]
In aquatic systems, primary production is typically measured using one of six main techniques:[13]
variations in oxygen concentration within a sealed bottle (developed by Gaarder and Gran in 1927)
incorporation of inorganic carbon-14 (14C in the form of sodium bicarbonate) into organic matter[14][15]
Stable isotopes of Oxygen (16O, 18O and 17O)[16][17]
fluorescence kinetics (technique still a research topic)
Stable isotopes of Carbon (12C and 13C)[18]
Oxygen/Argon Ratios [19]
The technique developed by Gaarder and Gran uses variations in the concentration of oxygen under different experimental conditions to infer gross primary production. Typically, three identical transparent vessels are filled with sample water and stoppered. The first is analysed immediately and used to determine the initial oxygen concentration; usually this is done by performing a Winkler titration. The other two vessels are incubated, one each in under light and darkened. After a fixed period of time, the experiment ends, and the oxygen concentration in both vessels is measured. As photosynthesis has not taken place in the dark vessel, it provides a measure of ecosystem respiration. The light vessel permits both photosynthesis and respiration, so provides a measure of net photosynthesis (i.e. oxygen production via photosynthesis subtract oxygen consumption by respiration). Gross primary production is then obtained by adding oxygen consumption in the dark vessel to net oxygen production in the light vessel.
The technique of using 14C incorporation (added as labelled Na2CO3) to infer primary production is most commonly used today because it is sensitive, and can be used in all ocean environments. As 14C is radioactive (via beta decay), it is relatively straightforward to measure its incorporation in organic material using devices such as scintillation counters.
Depending upon the incubation time chosen, net or gross primary production can be estimated. Gross primary production is best estimated using relatively short incubation times (1 hour or less), since the loss of incorporated 14C (by respiration and organic material excretion / exudation) will be more limited. Net primary production is the fraction of gross production remaining after these loss processes have consumed some of the fixed carbon.
Loss processes can range between 10-60% of incorporated 14C according to the incubation period, ambient environmental conditions (especially temperature) and the experimental species used. Aside from those caused by the physiology of the experimental subject itself, potential losses due to the activity of consumers also need to be considered. This is particularly true in experiments making use of natural assemblages of microscopic autotrophs, where it is not possible to isolate them from their consumers.
The methods based on stable isotopes and O2/Ar ratios have the advantage of providing estimates of respiration rates in the light without the need of incubations in the dark. Among them, the method of the triple oxygen isotopes and O2/Ar have the additional advantage of not needing incubations in closed containers and O2/Ar can even be measured continuously at sea using equilibrator inlet mass spectrometry (EIMS)[20] or a membrane inlet mass spectrometry (MIMS).[21] However, if results relevant to the carbon cycle are desired, it is probably better to rely on methods based on carbon (and not oxygen) isotopes. It is important to notice that the method based on carbon stable isotopes is not simply an adaptation of the classic 14C method, but an entirely different approach that does not suffer from the problem of lack of account of carbon recycling during photosynthesis.
Global[edit]
As primary production in the biosphere is an important part of the carbon cycle, estimating it at the global scale is important in Earth system science. However, quantifying primary production at this scale is difficult because of the range of habitats on Earth, and because of the impact of weather events (availability of sunlight, water) on its variability. Using satellite-derived estimates of the Normalized Difference Vegetation Index (NDVI) for terrestrial habitats and sea-surface chlorophyll for the oceans, it is estimated that the total (photoautotrophic) primary production for the Earth was 104.9 Gt C yr−1.[22] Of this, 56.4 Gt C yr−1 (53.8%), was the product of terrestrial organisms, while the remaining 48.5 Gt C yr−1, was accounted for by oceanic production.
Scaling ecosystem-level GPP estimations based on eddy covariance measurements of net ecosystem exchange (see above) to regional and global values using spatial details of different predictor variables, such as climate variables and remotely sensed fAPAR or LAI led to a terrestrial gross primary production of 123±8 Gt carbon (NOT carbon dioxide) per year during 1998-2005 [23]
In areal terms, it was estimated that land production was approximately 426 g C m−2 yr−1 (excluding areas with permanent ice cover), while that for the oceans was 140 g C m−2 yr−1.[22] Another significant difference between the land and the oceans lies in their standing stocks - while accounting for almost half of total production, oceanic autotrophs only account for about 0.2% of the total biomass.
Estimates[edit]
Primary productivity can be estimated by a variety of proxies. One that has particular relevance to the geological record is Barium, whose concentration in marine sediments rises in line with primary productivity at the surface.[24][25][26]
Primary Production and Plant Biomass for the Earth[edit]
Ecosystem Type
Area
(10⁶ km²)
Mean NPP
(g/m²/yr)
World NPP
(10⁹ tons/yr)
Mean Biomass
(kg/m²)
World Biomass
(10⁹ tons)
Tropical Rain Forest 17.0 2,200 37.4 45 763
Tropical Seasonal Forest 7.5 1,600 12.0 35 260
Temperate Evergreen Forest 5.0 1,300 6.5 35 175
Temperate Deciduous Forest 7.0 1,200 8.4 30 210
Boreal Forest 12.0 800 9.6 20 240
Woodlands & Shrublands 8.5 700 6.0 6 50
Savanna 15.0 900 13.6 4 60
Temperate Grasslands 9.0 600 5.4 1.6 14
Tundra & Alpine 8.0 140 1.1 0.6 5
Desert & Semi-Desert 18.0 90 1.6 0.7 13
Extreme Desert & Ice 24.0 3 0.07 0.02 0.5
Cultivated Land 14.0 650 9.1 1.0 14
Swamp & Wetland 2.0 2,000 4.0 12.3 30
Lake & Stream 2.0 250 0.5 0.02 0.05
-- Total Continental 149 773 115 12.3 1837
Open Ocean 332.0 125 41.5 0.003 1.0
Upwelling Zones 0.4 500 0.2 0.02 0.008
Continental Shelf 26.6 360 9.6 0.01 0.27
Algal Bed & Reef 0.6 2,500 1.6 2.0 1.2
Estuaries 1.4 1,500 2.1 1.0 1.4
-- Total Marine 361 152 55.0 0.01 3.9
---- Grand Total 510 333 170 3.6 1841
From R.H. Whittaker, quoted in Peter Stiling (1996), "Ecology: Theories and Applications" (Prentice Hall).
Human impact and appropriation[edit]
Human societies are part of the Earth's NPP cycle, but exert a disproportionate influence in it.[27] In 1996, Josep Garí designed a new indicator of sustainable development based precisely on the estimation of the human appropriation of NPP: he coined it "HANPP" (Human Appropriation of Net Primary Production) and introduced it at the inaugural conference of the European Society for Ecological Economics.[28] HANPP has since been further developed and widely applied in research on ecological economics as well as in policy analysis for sustainability. HANPP represents a proxy of the human impact on Nature and can be applied to different geographical scales and also globally.
The extensive degree of human use of the Planet's resources, mostly via land use, results in various levels of impact on actual NPP (NPPact). Although in some regions, such as the Nile valley, irrigation has resulted in a considerable increase in primary production, in most of the Planet there us a notable trend of NPP reduction due to land changes (ΔNPPLC) of 9.6% across global land-mass.[29] In addition to this, end consumption by people raises the total HANPP [27] to 23.8% of potential vegetation (NPP0).[29] It is estimated that, in 2000, 34% of the Earth's ice-free land area (12% cropland; 22% pasture) was devoted to human agriculture.[30] This disproportionate amount reduces the energy available to other species, having a marked impact on biodiversity, flows of carbon, water and energy, and ecosystem services,[29] and scientists have questioned how large this fraction can be before these services begin to break down.[31] Reductions in NPP are also expected in the ocean as a result of ongoing climate change, potentially impacting marine ecosystems and goods and services that the oceans provide [6]
See also[edit]
Biological pump
f-ratio
Productivity
Hydrogen sulfide (H2S)
References[edit]
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^ Jump up to: a b Vitousek, P.M.; Ehrlich, P.R.; Ehrlich, A.H.; Matson, P.A. (1986). "Human appropriation of the products of photosynthesis" (PDF). BioScience. BioScience, Vol. 36, No. 6. 36 (6): 368–373. doi:10.2307/1310258. JSTOR 1310258.
Jump up ^ Garí, J.A. (1996). "HANPP calculated from land cover as indicator of ecological sustainability" (PDF). Proceedings of the International Conference: Ecology, Society, Economy. Paris: European Society for Ecological Economics & Université de Versailles; Vol. I, Section V-E.
^ Jump up to: a b c Haberl, H.; Erb, K.H.; Krausmann, F.; Gaube, V.; Bondeau, A.; Plutzar, C.; Gingrich, S.; Lucht, W.; Fischer-Kowalski, M. (2007). "Quantifying and mapping the human appropriation of net primary production in earth's terrestrial ecosystems". Proc. Natl. Acad. Sci. U.S.A. 104 (31): 12942–12947. Bibcode:2007PNAS..10412942H. doi:10.1073/pnas.0704243104. PMC 1911196  . PMID 17616580.
Jump up ^ Ramankutty, N.; Evan, A.T.; Monfreda, C.; Foley, J.A. (2008). "Farming the planet: 1. Geographic distribution of global agricultural lands in the year 2000". Global Biogeochemical Cycles. 22: GB1003. Bibcode:2008GBioC..22.1003R. doi:10.1029/2007GB002952.
Jump up ^ Foley, J.A.; Monfreda, C.; Ramankutty, N.; Zaks, D. (2007). "Our share of the planetary pie". Proc. Natl. Acad. Sci. U.S.A. 104 (31): 12585–12586. Bibcode:2007PNAS..10412585F. doi:10.1073/pnas.0705190104. PMC 1937509  . PMID 17646656.
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DreamWorks Trollhunters
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DreamWorks Trollhunters
Promotional poster for its first season
Genre
Adventure
Action
Fantasy
Created by
Guillermo del Toro
Based on
Trollhunters
by
Guillermo del Toro
Daniel Kraus
Written by
Guillermo del Toro
Marc Guggenheim
Kevin Hageman
Dan Hageman
Aaron Waltke
Chad Quandt
A.C. Bradley
Voices of
Anton Yelchin
Kelsey Grammer
Ron Perlman
Charlie Saxton
Steven Yeun
Jonathan Hyde
Lexi Medrano
Amy Landecker
Fred Tatasciore
Theme music composer
Alexandre Desplat
Composer(s)
Tim Davies
Country of origin
United States
No. of seasons
1
No. of episodes
26 (list of episodes)
Production
Executive producer(s)
Rodrigo Blaas[1]
Guillermo del Toro
Marc Guggenheim
Kevin Hageman
Dan Hageman
Christina Steinberg
Producer(s)
Chad Hammes
Production company(s)
DreamWorks Animation TV
Double Dare You
Distributor
Netflix
NBCUniversal Television Distribution
Release
Original network
Netflix
Original release
December 23, 2016 – present
External links
Website
www.dreamworkstv.com/shows/dreamworks-trollhunters/
DreamWorks Trollhunters is an American computer-animated fantasy television series created for Netflix by Guillermo del Toro and produced by DreamWorks Animation and Double Dare You.[2]
The first two episodes of the series premiered on October 8, 2016, at the New York Comic Con.[1][3] It was released worldwide on Netflix on December 23, 2016.[4] The series was nominated for nine Daytime Emmy Awards in 2017, winning six including Outstanding Directing, Writing and Casting in an Animated Program. It was also nominated for four Annie Awards in 2017, winning three in the categories of Outstanding Achievement in Character Animation, Character Design, and Storyboarding in an Animated Television/Broadcast Production. On February 9, 2017, Netflix renewed the series for a second season of thirteen episodes,[5] which is scheduled for a December 15 release.[6] It will be adapted into a comic book by Marc Guggenheim and Richard Hamilton.[7]
Anton Yelchin will continue to be the voice of Jim Lake in season 2 as he recorded enough dialogue before his death.[8]
Contents
[hide]
1 Synopsis
2 Cast
3 Production
4 Episodes
5 Reception
5.1 Critical reception
5.2 Accolades
6 Tales of Arcadia
7 References
8 External links
Synopsis[edit]
Beneath the fictional town of Arcadia lives a secret civilization of trolls, which humans are oblivious to. The trolls' common enemy are the Gumm-Gumms, evil trolls from the Darklands, whom the trolls' chosen warrior, known as the "Trollhunter", is supposed to protect them from, among other dark miscreants.
Fifteen year-old James "Jim" Lake Jr and his friend Toby find a mystical amulet which grants him the Trollhunter mantle. He is shortly approached by his new troll mentors, Blinky and AAARRRGGHH!!!. Despite his initial reluctance of leading two difficult lives, he eventually accepts his role after discovering that neglecting the amulet will nevertheless lead to its return. During his visits to Heartstone Trollmarket, the presence of the first human Trollhunter stirs resentment, but he quickly gains their honor. Throughout his training and missions, he befriends a gnome (which Toby dubs "Gnome Chomsky") and discovers that goblins and Changelings (human-morphing trolls that replace humans to spy) are gathering for the completion of Killahead Bridge, which will be a portal for the Gumm-Gumms from the Darklands – the project is being lead by Bular, the son of the Gumm-Gumm's leader Gunmar, and the Changeling replacing Jim's high school teacher Mr. Strickler.
While discovering more mysteries, he is forced to reveal the truth about his life to Claire Nuñez when she becomes a target of the goblins. After he, Toby, Blinky, AAARRRGGHH!!! and Draal infiltrate the gathering and destroy the bridge, Jim is forced to battle Bular and eventually kills him. He returns to Trollmarket, where the citizens celebrate Bular's defeat.
Shortly afterwards, Claire proposes a quest into the Darklands to rescue her baby brother Enrique, who has been replaced with a Changeling who they dub NotEnrique. Blinky informs them that the only way out of the Darklands is to kill Gunmar – the only way to destroy him is with the three Triumbic Stones. After finding the first two, their enemy Strickler frees ancient troll assassin Angor Rot from his bonds – using Angor's ring, he forces him under his control. After Jim indirectly causes his ring to break, Angor goes on a rampage, attempting to kill Strickler and Jim – in the process, Strickler and Jim's mother are injured. Trollmarket's leader, Vendel, informs Jim that the only way to cure it is to break the binding spell that ties his mother's and Strickler's fates together – however, his mother's memories of the troll world are erased. Strickler hands Jim the last Triumbic Stone.
Angor Rot begins to invade Trollmarket after stealing the key from Toby and Claire. They defeat him. During his rampage, however, AAARRRGGHH!!! is killed, much to the grief of the group, especially Toby. Thinking that he was responsible for the death and the endangerment of his friends, Jim sets off to the Darklands alone, not wanting to lose any more of them.
Cast[edit]
Anton Yelchin as James "Jim" Lake Jr. / Trollhunter,[1][2] the first human Trollhunter and a reluctant hero under pressure of leading two difficult lives. He has a talent for cooking and sword-fighting, and cares deeply for his mother and friends.
Charlie Saxton as Tobias "Toby" Domzalski,[9] Jim's best friend and brother figure who aids him in his quests. He obtains a magical warhammer.
Jonathan Hyde as Walt Strickler,[9] Jim's teacher (truly a Changeling), who works alongside the Gumm-Gumms.
Kelsey Grammer as Blinky,[2] Jim's troll mentor whose head holds six eyes. Jim sees him as his surrogate father. A wise and scholarly troll with a heart of gold, Blinky is fascinated by the human world and takes full advantage of a period in which he is cursed into the form of a human to satisfy his curiosity. His secret desire has always been to drive a car.
Fred Tatasciore as AAARRRGGHH!!!,[9] Jim's ally who has a deep bond with Toby. He was born a Krubera troll but joined the Gumm-Gumm army – after his traumatizing experience there, he became a self-proclaimed pacifist and remains guilty about his past. Despite his peaceful demeanor, he will fight with all his considerable strength to protect those he cares about.
Lexi Medrano as Claire Nuñez,[9] Jim's friend and love interest. She is a feisty, kind, jolly, sarcastic, curious, and intelligent tomboy who enjoys books and is a talented martial artist and gymnast. She obtains the Shadowstaff, a staff capable of creating portals through the user's emotions.
Victor Raider-Wexler as Vendel, leader of Trollmarket. An ancient and wizened troll, Vendel is at first suspicious of Jim and seems a forever pessimist, but shows a softer side.
Ron Perlman as Bular,[2] the son of Gunmar. A hulking, powerful troll warrior, Bular was obsessed with freeing his father from the Darklands, so that they might be a family again.
Amy Landecker as Barbara Lake,[9] Jim's overprotective and suspicious mother. Her husband left her when Jim was five years old.
Steven Yeun as Steve Palchuk,[1] Jim's narcissistic bully.
Matthew Waterson as Draal, the son of previous Trollhunter Kanjigar. He is originally jealous and suspicious of Jim but later befriends him – he acts as Jim's fighting tutor. During the final battle with Bular, Draal sacrificed his lower right arm to save the Trollhunter amulet, and later attained a mechanical prosthetic. Draal explains that his father kept a distance from him as he grew up, and he had hoped to become the next Trollhunter that he might earn his father's approval.
Lauren Tom as Ms. Nomura, the changeling museum curator.
Jimmie Wood as NotEnrique, the Changeling replacing Enrique. He has a rocky but brotherly relationship with Claire.
Clancy Brown as Gunmar, the iron-fisted leader of the Gumm-Gumms who resides in the Darklands.
Tom Hiddleston & James Purefoy as Kanjigar the Courageous, the noble Trollhunter before Jim and Drall's father. His ghost tutors Jim and often worries of his team fighting, believing that to endanger his friends – this leads to Jim's guilt and venturing into the Darklands alone.
Ike Amadi as Angor Rot, a mysterious ancient troll assassin and wizard with an unknown past who hunts down Trollhunters' souls. In ancient times, Angor made a deal with the witch Baba Yaga, surrendering his own soul in return for his mystic powers.
Rodrigo Blaas as Gnome Chompsky, a Gnome with sharp teeth adopted by Toby.
Mark Hamill, Lena Headey, and David Bradley have been cast in undisclosed roles in season 2.[10]
Production[edit]
Initially, del Toro envisioned the idea as a live-action television series; however this was deemed impractical due to budgetary concerns, and as a result he instead turned the idea into a book. DreamWorks then planned to turn the book into an animated feature film, but eventually decided to instead turn it into a series.[11]
Del Toro modeled the show's sensibilities after shows he grew up with such as Johnny Quest, identifying them as "really earnest and emotionally beautiful".[12] To this end, he sought to make the main character of Jim "in that '70s mold," and "really a very good boy" with del Toro noting that this was a constant struggle for him to express to both writers and actors.[13] Eventually he came across Anton Yelchin, who embodied those qualities although by del Toro's estimate it still took him a few sessions to fully understand the character.[13]
When creating the show's narrative, del Toro noted that he wanted a "bittersweet journey" for the main character dealing with issues that most such "power fantasies" failed to address, telling indiewire "I wanted to say, 'Look, you can be in high school and you can have your problems. Then you get all these powers and then you have a different set of problems. There is not such a thing as a final, great outcome.'"[12]
The show serves as one of Yelchin's final projects as he died shortly after recording most of his character's dialogue.[14] Producer del Toro refused to replace his recordings,[15] which del Toro noted was a challenge for the show's recording engineers.[13] Of his decision del Toro stated that the actor "was proud of what he did, and we were so proud of how he did it." adding that his experience as a father and Yelchin's young age were also factors that led to the decision.[11]
Episodes[edit]
No.
Title
Directed by
Written by
Original release date
1
"Becoming: Part 1" Guillermo del Toro & Rodrigo Blaas Story by : Guillermo del Toro, Marc Guggenheim & Rodrigo Blaas
Teleplay by : Guillermo del Toro & Marc Guggenheim December 23, 2016 (2016-12-23)
Two trolls in an epic battle lead to consequences in the human world, especially for one boy.
2
"Becoming: Part 2" Guillermo del Toro & Rodrigo Blaas Story by : Guillermo del Toro
Teleplay by : Marc Guggenheim December 23, 2016 (2016-12-23)
Still reeling from discovering the amulet's power, Jim meets with his new mentors, and learns about the sacred responsibility he has been tasked with.
3
"Wherefore Art Thou, Trollhunter?" Rodrigo Blaas & Johane Matte Marc Guggenheim December 23, 2016 (2016-12-23)
Toby and Jim tour Heartstone Trollmarket, where Jim starts his training; the presence of a human Trollhunter creates resentment.
4
"Gnome Your Enemy" Elaine Bogan Story by : Dan Hageman & Kevin Hageman
Teleplay by : A.C. Bradley, Chad Quandt & Aaron Waltke December 23, 2016 (2016-12-23)
Jim gets a crash course in troll history, and is faced with problems, his first mission and a bully.
5
"Waka Chaka!" Elaine Bogan Story by : Dan Hageman & Kevin Hageman
Teleplay by : Chad Quandt & Aaron Waltke December 23, 2016 (2016-12-23)
During a field trip to a museum, Jim tries to get closer to Claire; Jim discovers that the museum curator has a surprising secret.
6
"Win Lose or Draal" Rodrigo Blaas & Johane Matte Story by : Dan Hageman & Kevin Hageman
Teleplay by : A.C. Bradley December 23, 2016 (2016-12-23)
Jim gets ready for a high-stakes rematch against Draal, who seems to be the amulet's rightful heir; a surprising partnership emerges.
7
"To Catch a Changeling" Simon Otto Story by : Dan Hageman & Kevin Hageman
Teleplay by : Marc Guggenheim December 23, 2016 (2016-12-23)
With the help of an ancient troll-hunting tool, Jim and Toby try to unmask the changelings living among them; Claire presents Jim with a tempting offer.
8
"Adventures in Trollsitting" Rodrigo Blaas & Johane Matte Story by : Dan Hageman & Kevin Hageman
Teleplay by : A.C. Bradley, Chad Quandt & Aaron Waltke December 23, 2016 (2016-12-23)
Draal gets accustomed to his new digs; Jim tries to find out if Claire's little brother is a changeling.
9
"Bittersweet Sixteen" Elaine Bogan A.C. Bradley, Chad Quandt & Aaron Waltke December 23, 2016 (2016-12-23)
Jim's birthday is full of surprises, including the arrival of a new species of troll that is immune to the effects of sunlight.
10
"Young Atlas" Andrew L. Schmidt Chad Quandt & Aaron Waltke December 23, 2016 (2016-12-23)
Draal gives Jim a totem to help lessen his anxiety about Claire; Jim's resulting overconfidence leads to a realisation.
11
"Recipe for Disaster" Elaine Bogan Story by : Dan Hageman & Kevin Hageman
Teleplay by : A.C. Bradley December 23, 2016 (2016-12-23)
Claire's suspicions grow; Jim's mother invites Strickler over for a tension-filled dinner.
12
"Claire and Present Danger" Andrew L. Schmidt A.C. Bradley, Chad Quandt & Aaron Waltke December 23, 2016 (2016-12-23)
The door to the Darklands still won't open, even though the Killahead bridge is complete; when Claire becomes a target, Jim must tell her the truth.
13
"The Battle of Two Bridges" Rodrigo Blaas & Johane Matte Dan Hageman & Kevin Hageman December 23, 2016 (2016-12-23)
Two battles unfold when Strickler and Bular make Jim unlock the portal and free Gunmar and his army from the Darklands.
14
"Return of the Trollhunter" Elaine Bogan Story by : Dan Hageman & Kevin Hageman
Teleplay by : A.C. Bradley, Chad Quandt & Aaron Waltke December 23, 2016 (2016-12-23)
Claire sees the Heartstone Trollmarket for the first time; Jim receives a summons; Strickler rouses an ancient assassin.
15
"Mudslinging" Rodrigo Blaas Story by : Dan Hageman & Kevin Hageman
Teleplay by : Marc Guggenheim December 23, 2016 (2016-12-23)
Jim looks for a way to destroy Gunmar so Claire can bring her brother home; a power-hungry Strickler comes back to Arcadia.
16
"Roaming Fees May Apply" Andrew L. Schmidt Story by : Dan Hageman & Kevin Hageman
Teleplay by : A.C. Bradley, Chad Quandt & Aaron Waltke December 23, 2016 (2016-12-23)
The heroes go on a dangerous quest in search of the first Triumbric Stone; Angor Rot creates a charm that links Barbara and Strickler's fates.
17
"Blinky's Day Out" Elaine Bogan Story by : Dan Hageman & Kevin Hageman
Teleplay by : A.C. Bradley, Chad Quandt & Aaron Waltke December 23, 2016 (2016-12-23)
An unrecognizable Blinky experiences the highs and lows of being a human; Angor Rot marks Jim for a fate that is worse than death.
18
"The Shattered King" Rodrigo Blaas & Johane Matte Story by : Dan Hageman & Kevin Hageman
Teleplay by : A.C. Bradley December 23, 2016 (2016-12-23)
As the heroes look for the second Triumbric Stone, they wind up in unfamiliar marshlands. Claire wants Jim to be her dance partner.
19
"Airheads" Andrew L. Schmidt Story by : Dan Hageman & Kevin Hageman
Teleplay by : Chad Quandt & Aaron Waltke December 23, 2016 (2016-12-23)
Toby and Claire are constantly fighting because Claire got the Shadow Staff and Toby feels slighted. Toby and Claire tackle a Trollhunter task so Jim can win a Spring King challenge. In the process, they master new weapons.
20
"Where Is My Mind?" Elaine Bogan Story by : Dan Hageman & Kevin Hageman
Teleplay by : A.C. Bradley December 23, 2016 (2016-12-23)
When a horde of pixies descends on Arcadia Oaks High, the students are sent into a tailspin; Angor Rot has a surprising proposal for Jim.
21
"Party Monster" Rodrigo Blaas Story by : Dan Hageman & Kevin Hageman
Teleplay by : Chad Quandt & Aaron Waltke December 23, 2016 (2016-12-23)
The changeling posing as Claire's brother throws a party for the trolls of Arcadia; Jim and Toby want to take Strickler's ring.
22
"It's About Time" Andrew L. Schmidt Story by : Dan Hageman & Kevin Hageman
Teleplay by : Chad Quandt, Aaron Waltke & Marc Guggenheim December 23, 2016 (2016-12-23)
Every second counts when Jim uses a time-stopping Kairosect to take Strickler's ring and find the second Triumbric Stone.
23
"Wingmen" Elaine Bogan Story by : Dan Hageman & Kevin Hageman
Teleplay by : A.C. Bradley December 23, 2016 (2016-12-23)
A troll queen arrives and a devastating secret is revealed; Strickler asks for Jim's protection.
24
"Angor Management" Rodrigo Blaas Story by : Dan Hageman & Kevin Hageman
Teleplay by : Chad Quandt & Aaron Waltke December 23, 2016 (2016-12-23)
Jim reluctantly joins forces with Strickler to keep Barbara alive; Gnome Chompksy returns with important news regarding Enrique.
25
"A Night to Remember" Andrew L. Schmidt Story by : A.C. Bradley, Dan Hageman & Kevin Hageman
Teleplay by : Marc Guggenheim December 23, 2016 (2016-12-23)
Jim races to break a spell that bonds Barbara and Strickler; Angor Rot attacks Claire and Toby.
26
"Something Rotten This Way Comes" Elaine Bogan Story by : Dan Hageman & Kevin Hageman
Teleplay by : A.C. Bradley December 23, 2016 (2016-12-23)
The heroes brace for Angor Rot's invasion and get ready for the fight of their lives; Jim finds the last Triumbric Stone.
Reception[edit]
Critical reception[edit]
Trollhunters has received positive reviews from critics. The review aggregator website Rotten Tomatoes reported a 93% approval rating with an average rating of 7.81/10 based on 15 reviews for the first season. The website's consensus reads, "Trollhunters manages to capture del Toro's enthusiasm for telling monster stories, in a youthful and more colorful fashion that may well earn him a new generation of fans."[16] On Metacritic, the season has a normalized score of 69 out of 100 based on 7 critics, indicating "generally favorable reviews".[17]
In 2017, it received six Daytime Emmys, more than any other television program, animated or live action, that year.[18]
On January 30, 2017, Trollhunters writers Kevin & Dan Hageman stated that it is the most successful Netflix original show to date that is targeted at a younger audience.[19]
Accolades[edit]
Year
Award
Category
Nominee(s)
Result
Ref.
2017 Annie Awards Outstanding Achievement, Character Animation in an Animated Television/Broadcast Production Mike Chaffe for character Blinky in "Becoming, Part 1" Won [20]
Outstanding Achievement, Character Design in an Animated TV/Broadcast Production Victor Maldonado, Alfredo Torres and Jules Rigolle for "Win, Lose or Draal" Won
Outstanding Achievement, Music in an Animated TV/Broadcast Production Alexandre Desplat and Tim Davies for "Becoming, Part 1" Nominated
Outstanding Achievement, Storyboarding in an Animated TV/Broadcast Production Hyunjoo Song for "Win, Lose or Draal" Won
Saturn Awards Best Animated Series or Film on Television Trollhunters Nominated [21]
Daytime Emmy Awards Outstanding Individual Achievement in Character Animation Mike Chaffe, "Becoming, Part 1" Won [22][23]
Outstanding Individual Achievement in Character Design Victor Maldonado, "Win, Lose Or Draal" Won
Outstanding Special Class Animated Program Guillermo del Toro, Rodrigo Blaas, Marc Guggenheim, Chad Hammes, Christina Steinberg, Dan Hageman, Kevin Hageman, Lawrence Jonas Nominated
Outstanding Performer in an Animated Program Kelsey Grammer, for Blinky Won
Outstanding Casting for an Animated Series or Special Mary Hidalgo, Ania O'Hare, CSA Won
Outstanding Writing in an Animated Program Marc Guggenheim Won
Outstanding Directing in an Animated Program Rodrigo Blaas, Guillermo del Toro Won
Outstanding Main Title and Graphic Design Rodrigo Blaas, Andy Erekson, Jonathan Catalan, Dai Weier, John Laus, David M.V. Jones Nominated
Outstanding Sound Mixing – Animation Matthew Thomas Hall and Carlos Sanches, CAS Nominated
Tales of Arcadia[edit]
On November 6, 2017, show creator Guillermo del Toro announced that Trollhunters will be expanded into a trilogy of animated series known as Tales of Arcadia.[24] The trilogy will be continued by a sci-fi animated series known as 3 Below, which will center on two royal aliens and their bodyguard who escape from their home planet and crash-land on Earth in Arcadia, where Trollhunters also takes place. There, the aliens adjust to human culture and try to fix their spaceship to return and take back their home planet, which is being overruled by an evil dictator. 3 Below will premiere on Netflix in 2018. The trilogy will then be concluded with the animated series Wizards, which will premiere on Netflix in 2019.[24]
References[edit]
^ Jump up to: a b c d Milligan, Mercedes (September 22, 2016). "DreamWorks TV to Premiere 'Trollhunters' at NYCC". Animation Magazine. Retrieved September 25, 2016.
^ Jump up to: a b c d Andreeva, Nellie (June 15, 2016). "'Trollhunters': Anton Yelchin, Kelsey Grammer & Ron Perlman To Lead Cast of Guillermo del Toro Netflix Animated Series". Deadline. Retrieved June 18, 2016.
Jump up ^ Lesnick, Silas (September 22, 2016). "DreamWorks Animation and Netflix Head to New York Comic-Con". ComingSoon.net. Retrieved September 25, 2016.
Jump up ^ Patten, Dominic (October 8, 2016). "'Trollhunters' Sets December Debut Date on Netflix, Drops New Trailer & Key Art – NY Comic-Con". Deadline. Retrieved October 8, 2016.
Jump up ^ Snetiker, Marc (February 9, 2017). "Guillermo del Toro announces Trollhunters season 2". Entertainment Weekly. Retrieved February 11, 2017.
Jump up ^ Trumbore, Dave (November 3, 2017). "'Trollhunters' Season 2: Jim Descends into the Darklands in the First Trailer". Collider.com. Retrieved November 3, 2017.
Jump up ^ "Guillermo Del Toro's Trollhunters To Be A Comic Book From Marc Guggenheim And Richard Hamilton #C2Ccon2017". Bleeding Cool Comic Book, Movie, TV News. March 4, 2017. Retrieved 2017-03-14.
Jump up ^ http://www.slashfilm.com/trollhunters-season-2/
^ Jump up to: a b c d e Agard, Chancellor (September 30, 2016). "Trollhunters: Guillermo del Toro previews one of Anton Yelchin's final roles — first look". Entertainment Weekly. Retrieved October 1, 2016.
Jump up ^ "'Trollhunters': Mark Hamill, Lena Headey & David Bradley Set To Recur In Season 2". deadline.com. October 6, 2017. Retrieved October 6, 2017.
^ Jump up to: a b Mancuso, Vinnie. "Guillermo del Toro Talks 'Trollhunters': 'The Best Creative Experience I've Ever Had'". Observer. Retrieved January 29, 2017.
^ Jump up to: a b Miller, Liz Shannon. "Guillermo del Toro: How Netflix's 'Trollhunters' Reconnected Him With the Joy of Childhood (And 'Fraiser')". indiewire. Retrieved January 29, 2017.
^ Jump up to: a b c Miller, Liz Shannon. "Guillermo del Toro on Losing Anton Yelchin, And What That Means for 'Trollhunters' Season 2". Indiewire. Retrieved January 29, 2017.
Jump up ^ "The mangled gate which Star Trek star Anton Yelchin, 27, was pinned against by his two TON Jeep when it rolled backwards and killed him in freak accident". Daily Mail. Retrieved October 10, 2016.
Jump up ^ "New York Comic Con: Guillermo Del Toro refuses to nix late Anton Yelchin's voice work in his 'Trollhunters'". New York Daily News. Retrieved October 10, 2016.
Jump up ^ "Trollhunters: Season 1". Rotten Tomatoes. Retrieved December 31, 2016.
Jump up ^ "Trollhunters: Season 1". Metacritic. CBS Interactive. Retrieved February 15, 2017.
Jump up ^ http://www.cartoonbrew.com/awards/trollhunters-tops-tv-programs-6-creative-arts-emmys-150505.html
Jump up ^ https://www.youtube.com/watch?v=iqb2goy__dI&t=641s
Jump up ^ "Annie Awards Nominees". Annie Awards. Retrieved November 28, 2016.
Jump up ^ McNary, Dave (March 2, 2017). "Saturn Awards Nominations 2017: 'Rogue One,' 'Walking Dead' Lead". Variety. Archived from the original on March 3, 2017. Retrieved March 2, 2017.
Jump up ^ "THE NATIONAL ACADEMY OF TELEVISION ARTS & SCIENCES ANNOUNCES NOMINATIONS FOR THE 44TH ANNUAL DAYTIME EMMY® AWARDS" (PDF). Emmy Awards Official Site. March 23, 2017. Retrieved March 23, 2017.
Jump up ^ "THE NATIONAL ACADEMY OF TELEVISION ARTS & SCIENCES ANNOUNCES WINNERS FOR THE 44TH ANNUAL DAYTIME CREATIVE ARTS EMMY® AWARDS" (PDF). April 30, 2017. Retrieved April 30, 2017.
^ Jump up to: a b "'Trollhunters' Universe Will Expand Into The Trilogy Series 'Tales of Arcadia'". Cartoon Brew. November 7, 2017. Retrieved November 7, 2017.
External links[edit]
Wikimedia Commons has media related to Trollhunters panel at WonderCon 2017.
Official website at DreamWorks TV
Trollhunters on Netflix
Trollhunters on IMDb
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