Warner Bros. Discovery (WBD) has outlined its upcoming animation and adaptation strategies in their 2Q 2026 Shareholder Letter, revealing key release windows and highlighting recent critical success. https://s201.q4cdn.com/336605034/files/doc_financials/2026/q2/WBD-2Q26-Shareholder-Letter-08-06-26.pdf
Awards and Interactive Milestones
On the awards front, WBD's animation efforts continue to draw industry recognition, with the hit series Rick & Morty contributing to the Global Linear Networks division's impressive roster of Emmy nominations. In the interactive space, the company celebrated the launch of LEGO Batman: Legacy of the Dark Knight during the second quarter. The title has already made a significant mark, noted in the letter as the highest-rated LEGO game ever produced.
A Revitalised Theatrical Animation Slate
The newly revitalised Warner Bros. Pictures Animation (WBPA) is gearing up for a busy schedule over the next couple of years. The studio's debut feature, The Cat In The Hat, is officially slated for a theatrical release in the second half of 2026. WBPA will maintain this momentum into 2027 with two additional animated films joining the slate: Bad Fairies and Margie Claus.
Live-Action Adaptations on the Horizon
For fans of live-action adaptations of beloved properties, the shareholder letter provided some notable updates. A follow-up to A Minecraft Movie is scheduled to hit cinemas in 2027. Looking further ahead, WBD teased its slate beyond 2027, which notably includes a live-action adaptation of the classic Hanna-Barbera property, The Jetsons, set to star Jim Carrey.
Awards and Interactive Milestones
On the awards front, WBD's animation efforts continue to draw industry recognition, with the hit series Rick & Morty contributing to the Global Linear Networks division's impressive roster of Emmy nominations. In the interactive space, the company celebrated the launch of LEGO Batman: Legacy of the Dark Knight during the second quarter. The title has already made a significant mark, noted in the letter as the highest-rated LEGO game ever produced.
A Revitalised Theatrical Animation Slate
The newly revitalised Warner Bros. Pictures Animation (WBPA) is gearing up for a busy schedule over the next couple of years. The studio's debut feature, The Cat In The Hat, is officially slated for a theatrical release in the second half of 2026. WBPA will maintain this momentum into 2027 with two additional animated films joining the slate: Bad Fairies and Margie Claus.
Live-Action Adaptations on the Horizon
For fans of live-action adaptations of beloved properties, the shareholder letter provided some notable updates. A follow-up to A Minecraft Movie is scheduled to hit cinemas in 2027. Looking further ahead, WBD teased its slate beyond 2027, which notably includes a live-action adaptation of the classic Hanna-Barbera property, The Jetsons, set to star Jim Carrey.
Fandango has shared an exclusive clip from the upcoming film Coyote vs. Acme. Only in theaters from August 28, tickets are available to purchase. https://x.com/Fandango/status/2085365503107661912
Special interview with the production team behind Dino Ranch: Island Explorers, a new show coming soon to Cartoonito: https://drive.google.com/file/d/15jOnlWGRhZazYQp5gfxBUuP4KnFtmjLN/view?usp=sharing
Special thanks to both Warner Bros. Discovery EMEA and Industrial Brothers for the opportunity:
Matt Fernandes - creator, co-founder Industrial Brothers
Alan Gregg - executive story editor, writer
John Lei - director
Ken Golden - art director and production designer
Trevor Deane-Freeman - director
Q&A:
Q: What was the main reason for taking the Cassidy kids away from the ranch and dropping them into a completely new environment for the new series?
Matthew Fernandes: “We had done about 150 episodes of these kids on a ranch, and I think we told as many stories as we possibly could about a Dino Ranch. The kids were really excited and curious about what is beyond the ranch. We wanted to explore this world of humans and dinosaurs coexisting. We found kids really loved the action and the big dinosaur roars and the set pieces. We thought a lost world felt right and an island full of undiscovered prehistoric dinosaurs felt like the natural evolution. This was a chance for us to really feel like we were doing 'Jurassic Park' for preschoolers where we could actually feel like we were really stepping back in time in this lost world. Some of the references were 'King Kong' and 'Skull Island' where it felt like an unexplored world. With this series we really wanted to do more of an action series and push the level of jeopardy and adventure, while still having the charm of all our characters. Therefore, it felt like a natural progression. But one of the big things is kids had always been asking about water dinos and we had never done that in the three previous seasons. So, this was our opportunity to go under the ocean and explore the prehistoric depths and that was really one of the most exciting and challenging parts of the new series.”
Q: Are there any specific character arcs for Jon, Min and Miguel that you're particularly excited to explore in the new setting?
Alan Gregg: “As a preschool show, we generally don't do character arcs that spread over the whole series, although we do see growth across the characters. But a recurring theme throughout is that we have a very clear kind of definition of who the characters are. For example, Jon is the adventurer, Miguel is the sort of the tech guy, whereas Min is an expert at looking after dinos. I think where the show gets most interesting is when those expectations of themselves get challenged. So, Jon might always think that he can overcome everything with action and his way is best. But what I like about this show overall is that the three siblings learn from one another. They learn that their strengths all combined are what they need to complete the job. Therefore, I would say there probably are not overriding arcs for characters, but within individual episodes there are.”
Q: Dino Island promises mysterious locations and non-stop excitement. How did you approach directing the pace of action sequences compared to the more day-to-day setting of the original ranch?
Trevor Deane-Freeman: “The idea for this series was to elevate the action, the characters and the humour. My goal was to make every episode feel like it was about 6 minutes long. This just meant that we usually started on an action sequence and we trimmed down on the amount of exposition and dialogue happening with characters just standing around. Almost every episode there is almost nonstop movement from beginning to end, so it makes the shows a lot more exciting. We ensured to have lots of fun action sequences that felt different and infuse humour in those sequences as well to help keep them feeling light and fun at the same time. From this, we could put the characters in a fair bit of danger, but not make it feel dangerous because of the fun feel of what was happening and the humour.”
Special thanks to both Warner Bros. Discovery EMEA and Industrial Brothers for the opportunity:
Matt Fernandes - creator, co-founder Industrial Brothers
Alan Gregg - executive story editor, writer
John Lei - director
Ken Golden - art director and production designer
Trevor Deane-Freeman - director
Q&A:
Q: What was the main reason for taking the Cassidy kids away from the ranch and dropping them into a completely new environment for the new series?
Matthew Fernandes: “We had done about 150 episodes of these kids on a ranch, and I think we told as many stories as we possibly could about a Dino Ranch. The kids were really excited and curious about what is beyond the ranch. We wanted to explore this world of humans and dinosaurs coexisting. We found kids really loved the action and the big dinosaur roars and the set pieces. We thought a lost world felt right and an island full of undiscovered prehistoric dinosaurs felt like the natural evolution. This was a chance for us to really feel like we were doing 'Jurassic Park' for preschoolers where we could actually feel like we were really stepping back in time in this lost world. Some of the references were 'King Kong' and 'Skull Island' where it felt like an unexplored world. With this series we really wanted to do more of an action series and push the level of jeopardy and adventure, while still having the charm of all our characters. Therefore, it felt like a natural progression. But one of the big things is kids had always been asking about water dinos and we had never done that in the three previous seasons. So, this was our opportunity to go under the ocean and explore the prehistoric depths and that was really one of the most exciting and challenging parts of the new series.”
Q: Are there any specific character arcs for Jon, Min and Miguel that you're particularly excited to explore in the new setting?
Alan Gregg: “As a preschool show, we generally don't do character arcs that spread over the whole series, although we do see growth across the characters. But a recurring theme throughout is that we have a very clear kind of definition of who the characters are. For example, Jon is the adventurer, Miguel is the sort of the tech guy, whereas Min is an expert at looking after dinos. I think where the show gets most interesting is when those expectations of themselves get challenged. So, Jon might always think that he can overcome everything with action and his way is best. But what I like about this show overall is that the three siblings learn from one another. They learn that their strengths all combined are what they need to complete the job. Therefore, I would say there probably are not overriding arcs for characters, but within individual episodes there are.”
Q: Dino Island promises mysterious locations and non-stop excitement. How did you approach directing the pace of action sequences compared to the more day-to-day setting of the original ranch?
Trevor Deane-Freeman: “The idea for this series was to elevate the action, the characters and the humour. My goal was to make every episode feel like it was about 6 minutes long. This just meant that we usually started on an action sequence and we trimmed down on the amount of exposition and dialogue happening with characters just standing around. Almost every episode there is almost nonstop movement from beginning to end, so it makes the shows a lot more exciting. We ensured to have lots of fun action sequences that felt different and infuse humour in those sequences as well to help keep them feeling light and fun at the same time. From this, we could put the characters in a fair bit of danger, but not make it feel dangerous because of the fun feel of what was happening and the humour.”
John Lei: “My approach was similar to Trevor, just consciously ensuring the pacing kept moving, nothing was lagging. Ensuring throughout each episode, every moment, every beat still maintained integrity of the story and where the characters were going in that story.”
Q: Can you discuss the visual design process for the new dinosaurs and how you made them feel distinct from the species in the main series?
Ken Golden: “I think for this series we added a whole bunch of water dinos and for even the general dinos to be just more special to the island. We would add patterns onto them that you would not see on the normal ranch and just the scale of everything is just gigantic. We made all the environments huge, so the dinos are huge to fit in there, just increasing the ante of the Dinos and making them feel like more exotic.”
Q: What was the most surprising creative hurdle the team had to overcome while making the spin-off series compared to the original?
Matthew Fernandes: “Water is always difficult in animation, so is lava. Also, the level of action, scale and the level of dinosaurs where you are getting action in water and out of water on the surface and below the surface. We really pushed the limits in this one, it was challenging but the team were up for the challenge, and I think they delivered tenfold on this series.”
Alan Gregg: “From the perspective of the writer's department, we often collaborate with the team to develop ideas and stories. As a story editor we must remain mindful that whatever is imagined must ultimately be feasible for on-screen production. We have to be careful about managing what we can do with the budget that we have. But from my experience on this show, almost anything that the writing team came up with the production team then found a way to do it. It was a really collaborative process, when we get on calls to discuss scripts, John, Ken, Trevor and Matt would be there and we would discuss the feasibilities of these ideas. But they always found a way, despite it may not be the exact way the writer originally thought of it, but we always find a way to do it and probably make it even better.”
Q: Can you tease one specific location on Dino Island that you're most excited for fans to finally see?
Alan Gregg: “Probably inside the volcano.”
Matthew Fernandes: “The headquarters is very cool. We designed the big headquarters, which Uncle Jack runs and it's very cool. The team put so much detail into it and it's so uniquely different than Dino Ranch. We get out of the old west and now bring in new tech into the world, so I think that's probably one of the coolest locations.”
John Lei: “I would say the ocean expanse and being underwater is a big part of why we are on the island as well. There are so many new sets that I think they are all really great to showcase. I think the kids watching at home hopefully will appreciate all of that and really get excited at seeing all these new things.”
Trevor Deane-Freeman: “I agree with the underwater set with the shipwreck every time we saw compositing deliveries from Jam Filled, we were always in awe of just how beautiful it looked.”
Q: With a whole island of undiscovered dinosaurs, how do you balance introducing new theories and mysteries about overwhelming the established character dynamics?
Q: Can you discuss the visual design process for the new dinosaurs and how you made them feel distinct from the species in the main series?
Ken Golden: “I think for this series we added a whole bunch of water dinos and for even the general dinos to be just more special to the island. We would add patterns onto them that you would not see on the normal ranch and just the scale of everything is just gigantic. We made all the environments huge, so the dinos are huge to fit in there, just increasing the ante of the Dinos and making them feel like more exotic.”
Q: What was the most surprising creative hurdle the team had to overcome while making the spin-off series compared to the original?
Matthew Fernandes: “Water is always difficult in animation, so is lava. Also, the level of action, scale and the level of dinosaurs where you are getting action in water and out of water on the surface and below the surface. We really pushed the limits in this one, it was challenging but the team were up for the challenge, and I think they delivered tenfold on this series.”
Alan Gregg: “From the perspective of the writer's department, we often collaborate with the team to develop ideas and stories. As a story editor we must remain mindful that whatever is imagined must ultimately be feasible for on-screen production. We have to be careful about managing what we can do with the budget that we have. But from my experience on this show, almost anything that the writing team came up with the production team then found a way to do it. It was a really collaborative process, when we get on calls to discuss scripts, John, Ken, Trevor and Matt would be there and we would discuss the feasibilities of these ideas. But they always found a way, despite it may not be the exact way the writer originally thought of it, but we always find a way to do it and probably make it even better.”
Q: Can you tease one specific location on Dino Island that you're most excited for fans to finally see?
Alan Gregg: “Probably inside the volcano.”
Matthew Fernandes: “The headquarters is very cool. We designed the big headquarters, which Uncle Jack runs and it's very cool. The team put so much detail into it and it's so uniquely different than Dino Ranch. We get out of the old west and now bring in new tech into the world, so I think that's probably one of the coolest locations.”
John Lei: “I would say the ocean expanse and being underwater is a big part of why we are on the island as well. There are so many new sets that I think they are all really great to showcase. I think the kids watching at home hopefully will appreciate all of that and really get excited at seeing all these new things.”
Trevor Deane-Freeman: “I agree with the underwater set with the shipwreck every time we saw compositing deliveries from Jam Filled, we were always in awe of just how beautiful it looked.”
Q: With a whole island of undiscovered dinosaurs, how do you balance introducing new theories and mysteries about overwhelming the established character dynamics?
Alan Gregg: “We are always keen to introduce a new version of dinosaurs, but we do not want to do it in every single episode because it can just become overwhelming. Even though our audience is probably more expert on dinosaurs than anybody else, we know there are certain dinosaurs that kids love. I think for me it is probably Stegosaurus, T-Rex and Velociraptors. But, we have seen this in the research and on the earlier version of Dino Ranch that these are probably the kinds of dinosaurs kids really want to see. This gives kids what they want and what they expect from a dinosaur show, but every so often introduce a new dino. There is a lot of dinos in this show that I had not even heard of before we started working on it. I think it's always quite exciting to introduce new dinos. I remember there is an episode, where they get shipwrecked on an island off Dino Island and they encounter a Spinosaurus that lives in a cave, and they think they can escape by water and then discover the dino can actually swim as well. While we do a lot of research on our dinosaurs, I like the freedom that we can speculate the same way as palaeontologists speculate as to how dinosaurs behaved. Sometimes we mix it up a little bit and have dinosaurs doing things that you are not expecting them to do.”
Q: Do you do your own research, or do you have any researchers on the show to help you with information about dinosaurs?
Alan Gregg: “I think we did have an expert early on in the creation of Dino Ranch, but most of the time we just rely on our own research. Although we cannot stand behind everything we say about the show, but we do try to be responsible about it and ultimately it is a cartoon. I think one thing that we have probably avoided mostly because of animation, is the theory that dinosaurs maybe had feathers. That seems to be fairly widely accepted now in the scientific community that they were feathered creatures. We do not do that partly because of animation, but also I think there is an expectation amongst the kids, so we have kept to a more traditional view of dinosaurs.”
John Lei: “The research is always growing and developing such as learning about feathers. But when I grew up, it was just speculated. It was early on about the Archaeopteryx and there were only a few fossils that they had discovered, but now we have a lot more research and a lot more science to discover that.”
Q: If the Cassidy kids could safely bring back one artefact or a new dinosaur friend from the island back to the main ranch, what do you think it would be?
Alan Gregg: “I would bring the Jungle Jetter because it would make my job on the ranch a lot easier.”
John Lei: “I think the geologist in me thinks they should bring back a piece of lava rock because the ranch would not have it. People around the ranch and other dinos would never have experienced being around a volcano so that could be something different.”
Q: Do you do your own research, or do you have any researchers on the show to help you with information about dinosaurs?
Alan Gregg: “I think we did have an expert early on in the creation of Dino Ranch, but most of the time we just rely on our own research. Although we cannot stand behind everything we say about the show, but we do try to be responsible about it and ultimately it is a cartoon. I think one thing that we have probably avoided mostly because of animation, is the theory that dinosaurs maybe had feathers. That seems to be fairly widely accepted now in the scientific community that they were feathered creatures. We do not do that partly because of animation, but also I think there is an expectation amongst the kids, so we have kept to a more traditional view of dinosaurs.”
John Lei: “The research is always growing and developing such as learning about feathers. But when I grew up, it was just speculated. It was early on about the Archaeopteryx and there were only a few fossils that they had discovered, but now we have a lot more research and a lot more science to discover that.”
Q: If the Cassidy kids could safely bring back one artefact or a new dinosaur friend from the island back to the main ranch, what do you think it would be?
Alan Gregg: “I would bring the Jungle Jetter because it would make my job on the ranch a lot easier.”
John Lei: “I think the geologist in me thinks they should bring back a piece of lava rock because the ranch would not have it. People around the ranch and other dinos would never have experienced being around a volcano so that could be something different.”
New Cartoon Cartoons Short: Unlovable
Tammy, a small town high schooler who lives on the outskirts of coolness, is paired with the ultimate cool kid Kim to take care of a brick baby in Home Economics class. Living out her dreams of partying and cruising with Kim, Tammy must learn how to balance brick motherhood with her newfound social activities.
Created by Esther Pearl Wayson & Mark Todd
New Cartoon Cartoons Shorts every Monday!
https://youtu.be/zLtgp7GSpI4?is=uyKwj_HdQL25k0Vw
Tammy, a small town high schooler who lives on the outskirts of coolness, is paired with the ultimate cool kid Kim to take care of a brick baby in Home Economics class. Living out her dreams of partying and cruising with Kim, Tammy must learn how to balance brick motherhood with her newfound social activities.
Created by Esther Pearl Wayson & Mark Todd
New Cartoon Cartoons Shorts every Monday!
https://youtu.be/zLtgp7GSpI4?is=uyKwj_HdQL25k0Vw
Cartoon Network Veteran Vishnu Athreya Exits Warner Bros. Animation to Lead Spin Master:
Long-time animation executive Vishnu Athreya has formally departed Warner Bros. Discovery, bringing an end to a two-decade tenure across Warner Bros. Animation and Cartoon Network to take up the role of Executive Vice President and President at Spin Master Entertainment.
Athreya’s departure marks a significant shift for Warner Bros. Animation (WBA), where he most recently served as Senior Vice President of Content Strategy and Current Series. In that role, Athreya held creative oversight over a vast portfolio of key kids’ and adult animation franchises, guiding titles through development and production.
Leaving a Distinct Creative Footprint at Warner Bros.
During his time overseeing WBA’s current slate, Athreya was instrumental in shaping both mainstream superhero properties and acclaimed original IP. His departure leaves the studio as several major projects move through production, including:
Kid & Family Slate: Craig of the Creek, Batwheels, Bat-Fam, Adventure Time: Side Quests, and the upcoming anime series Yokoso Scooby-Doo!.
Adult Animation & Direct-to-Consumer: Adventure Time: Fionna and Cake and the multi-part Batman Knightfall animated trilogy.
A Two-Decade Legacy Across Cartoon Network
Athreya’s exit draws the curtain on a extensive career within the broader Turner and Warner Bros. ecosystem. Prior to taking on his strategy role at WBA, he spent years in key leadership positions across Cartoon Network’s international and domestic operations.
As Senior Vice President of Programming based in Atlanta, Athreya directed content strategy, scheduling, and acquisitions for both Cartoon Network and Boomerang, playing a central role in launching Teen Titans Go! into a global franchise. Earlier in his career, he operated as Executive Director of Programming in Hong Kong, steering Turner’s kids’ linear channels and content distribution across the Asia-Pacific region.
A Cartoon Network Executive Reunion
Athreya’s move to Toronto-based Spin Master Entertainment reunites him with former Cartoon Network President Christina Miller, who was appointed Chief Executive Officer of Spin Master’s entertainment division just over a year ago.
In his new position, Athreya succeeds Jennifer Dodge—who exited late last year to head Paramount Animation—and assumes full responsibility for global content strategy, development, and production across all platforms. He will now lead Spin Master's roster of major international IP, including its flagship preschool hit Paw Patrol, alongside series such as Unicorn Academy, Vida the Vet, and Bakugan.
https://www.c21media.net/news/spin-master-entertainment-appoints-cartoon-network-veteran-vishnu-athreya-as-president/
Long-time animation executive Vishnu Athreya has formally departed Warner Bros. Discovery, bringing an end to a two-decade tenure across Warner Bros. Animation and Cartoon Network to take up the role of Executive Vice President and President at Spin Master Entertainment.
Athreya’s departure marks a significant shift for Warner Bros. Animation (WBA), where he most recently served as Senior Vice President of Content Strategy and Current Series. In that role, Athreya held creative oversight over a vast portfolio of key kids’ and adult animation franchises, guiding titles through development and production.
Leaving a Distinct Creative Footprint at Warner Bros.
During his time overseeing WBA’s current slate, Athreya was instrumental in shaping both mainstream superhero properties and acclaimed original IP. His departure leaves the studio as several major projects move through production, including:
Kid & Family Slate: Craig of the Creek, Batwheels, Bat-Fam, Adventure Time: Side Quests, and the upcoming anime series Yokoso Scooby-Doo!.
Adult Animation & Direct-to-Consumer: Adventure Time: Fionna and Cake and the multi-part Batman Knightfall animated trilogy.
A Two-Decade Legacy Across Cartoon Network
Athreya’s exit draws the curtain on a extensive career within the broader Turner and Warner Bros. ecosystem. Prior to taking on his strategy role at WBA, he spent years in key leadership positions across Cartoon Network’s international and domestic operations.
As Senior Vice President of Programming based in Atlanta, Athreya directed content strategy, scheduling, and acquisitions for both Cartoon Network and Boomerang, playing a central role in launching Teen Titans Go! into a global franchise. Earlier in his career, he operated as Executive Director of Programming in Hong Kong, steering Turner’s kids’ linear channels and content distribution across the Asia-Pacific region.
A Cartoon Network Executive Reunion
Athreya’s move to Toronto-based Spin Master Entertainment reunites him with former Cartoon Network President Christina Miller, who was appointed Chief Executive Officer of Spin Master’s entertainment division just over a year ago.
In his new position, Athreya succeeds Jennifer Dodge—who exited late last year to head Paramount Animation—and assumes full responsibility for global content strategy, development, and production across all platforms. He will now lead Spin Master's roster of major international IP, including its flagship preschool hit Paw Patrol, alongside series such as Unicorn Academy, Vida the Vet, and Bakugan.
https://www.c21media.net/news/spin-master-entertainment-appoints-cartoon-network-veteran-vishnu-athreya-as-president/
C21media
Spin Master Entertainment appoints Cartoon Network veteran Vishnu Athreya as president
Paw Patrol producer Spin Master Entertainment has hired Cartoon Network and Warner Bros veteran Vishnu Athreya as its executive VP and president.
David Ellison has threatened to relocate Paramount—and potentially Warner Bros. Discovery—out of California starting October 1 if California Attorney General Rob Bonta refuses to negotiate a settlement in the multistate antitrust lawsuit blocking the companies' merger.
The October 1 deadline is critical because it marks the date Paramount begins accruing a $7 million daily fee payable to WBD shareholders, which could total $1.2 billion by the time the trial begins in March 2027. If settlement talks do not occur, Ellison plans to execute a board-approved, five-year exit strategy. The company's headquarters would move first, likely to a state offering strong tax incentives such as Georgia, Texas, or Tennessee, followed gradually by the majority of its studio operations. Bonta has thus far indicated that he will only accept structural concessions, such as divestments, to drop the lawsuit.
https://variety.com/2026/film/news/david-ellison-move-paramount-out-of-california-states-antitrust-lawsuit-1236831936/
The October 1 deadline is critical because it marks the date Paramount begins accruing a $7 million daily fee payable to WBD shareholders, which could total $1.2 billion by the time the trial begins in March 2027. If settlement talks do not occur, Ellison plans to execute a board-approved, five-year exit strategy. The company's headquarters would move first, likely to a state offering strong tax incentives such as Georgia, Texas, or Tennessee, followed gradually by the majority of its studio operations. Bonta has thus far indicated that he will only accept structural concessions, such as divestments, to drop the lawsuit.
https://variety.com/2026/film/news/david-ellison-move-paramount-out-of-california-states-antitrust-lawsuit-1236831936/
Variety
David Ellison Says He’ll Pull Paramount Out of California Starting Oct. 1 if States Refuse to Negotiate Settlement in Antitrust…
David Ellison is prepared to start moving Paramount out of California as soon as Oct. 1 unless the state's attorney general, Rob Bonta, agrees to settlement talks in the antitrust case seeking to block the Paramount-Warner Bros. merger.
EARLY PREVIEW: Robot Chicken [adult swim] 25th Anniversary Special | August 30
The Robot Chicken [adult swim] Special premieres on August 30, next day on HBO Max.
https://youtu.be/0vP51N4TcHE?si=L3ocvXGB-dClGkHo
The Robot Chicken [adult swim] Special premieres on August 30, next day on HBO Max.
https://youtu.be/0vP51N4TcHE?si=L3ocvXGB-dClGkHo
Genndy Tartakovsky’s animated series Primal has been recognised with two juried Emmy Awards for Outstanding Individual Achievement in Animation. The honours were awarded as follows:
Art Direction: Awarded to Scott Wills for his work on the episode "Vengeance of Death".
Storyboard: Awarded to David Krentz for his work on the episode "Kingdom of Sorrow".
https://x.com/warnerbrostv/status/2087689650408165860
Art Direction: Awarded to Scott Wills for his work on the episode "Vengeance of Death".
Storyboard: Awarded to David Krentz for his work on the episode "Kingdom of Sorrow".
https://x.com/warnerbrostv/status/2087689650408165860
The Warner Archive Collection has announced a Blu-ray release of Hanna-Barbera's The Quick Draw McGraw Show, originally broadcast between 1959 and 1960. This marks the first time the complete television run will be available in a single collection, with the release date set for 29 September 2026. The restoration features new 1080p HD masters, sourced from 4K scans of the original camera negatives.
The collection includes all forty-five original half-hour episodes, presented in their original triple-segment broadcast format. These segments feature Quick Draw McGraw and Baba Looey, Augie Doggie and Doggie Daddy, and Snooper and Blabber. The classic voice cast includes Daws Butler, Don Messick, and Doug Young, and a bonus featurette titled The Good, The Bad, and The El-Kabong is also included.
Regarding technical specifications, the release spans six BD-50 discs with a total runtime of approximately 1050 minutes and carries a suggested retail price of $39.98. The video is presented in colour with a 16x9 1.33:1 aspect ratio featuring side mattes, accompanied by DTS-HD MA 2.0 Mono audio. The set is unrated and includes English SDH subtitles.
https://x.com/TheExtrastv/status/2087639802455941525
The collection includes all forty-five original half-hour episodes, presented in their original triple-segment broadcast format. These segments feature Quick Draw McGraw and Baba Looey, Augie Doggie and Doggie Daddy, and Snooper and Blabber. The classic voice cast includes Daws Butler, Don Messick, and Doug Young, and a bonus featurette titled The Good, The Bad, and The El-Kabong is also included.
Regarding technical specifications, the release spans six BD-50 discs with a total runtime of approximately 1050 minutes and carries a suggested retail price of $39.98. The video is presented in colour with a 16x9 1.33:1 aspect ratio featuring side mattes, accompanied by DTS-HD MA 2.0 Mono audio. The set is unrated and includes English SDH subtitles.
https://x.com/TheExtrastv/status/2087639802455941525
X (formerly Twitter)
Tim Millard (@TheExtrastv) on X
THE QUICK DRAW McGRAW SHOW (1959-60) COMING TO BLU-RAY FROM THE WARNER ARCHIVE COLLECTION ON SEPTEMBER 29th! NEW 2026 1080p HD MASTERS FROM 4K SCANS OF THE ORIGINAL CAMERA NEGATIVES!
YIPPEE-I-O-KAY A! HERE COMES THE QUICK DRAW McGRAW SHOW! Hold your horses…
YIPPEE-I-O-KAY A! HERE COMES THE QUICK DRAW McGRAW SHOW! Hold your horses…
‘Smiling Friends’ Creators Discuss Surprise Emmy Nomination Following Series Finale: https://www.thewrap.com/creative-content/tv-shows/smiling-friends-creators-surprise-emmy-nomination-interview-2026/
Zach Hadel and Michael Cusack, creators of Adult Swim’s Smiling Friends, have expressed their genuine surprise at receiving their first Emmy nomination. The recognition places the independent mixed-media comedy alongside established industry titans such as The Simpsons and South Park.
The nomination highlights the season three episode, "Le Voyage Incroyable de Monsieur Grenouille," which features the chaotic Mr. Frog reuniting with his father (portrayed in live-action by Creed Bratton). In an interview with TheWrap, Cusack noted that the episode was designed as a parody of prestige television, deliberately slowing down the programme's typically frantic pace—a creative decision he described as "accidental Emmy bait."
This prestigious nod arrives shortly after Hadel and Cusack unexpectedly concluded the series due to production burnout, capping the run with a few bonus episodes rather than moving forward with pre-approved fourth and fifth seasons. While the nominated episode deals with Mr. Frog facing his own exhaustion at the top of the mountain, the creators maintain this thematic parallel was not a conscious reflection of their own fatigue, but rather a natural, planned conclusion to the character’s three-part story arc.
Reflecting on the show's cultural footprint—which recently included an unexpected reference on The Simpsons, though the creators humorously admitted they were hoping for a jab from Family Guy—Hadel and Cusack emphasised their pride in utilising the programme as a platform for independent internet animators. However, they acknowledged that the ambitious, multi-style format that defined Smiling Friends also contributed heavily to its demanding production cycle.
Zach Hadel and Michael Cusack, creators of Adult Swim’s Smiling Friends, have expressed their genuine surprise at receiving their first Emmy nomination. The recognition places the independent mixed-media comedy alongside established industry titans such as The Simpsons and South Park.
The nomination highlights the season three episode, "Le Voyage Incroyable de Monsieur Grenouille," which features the chaotic Mr. Frog reuniting with his father (portrayed in live-action by Creed Bratton). In an interview with TheWrap, Cusack noted that the episode was designed as a parody of prestige television, deliberately slowing down the programme's typically frantic pace—a creative decision he described as "accidental Emmy bait."
This prestigious nod arrives shortly after Hadel and Cusack unexpectedly concluded the series due to production burnout, capping the run with a few bonus episodes rather than moving forward with pre-approved fourth and fifth seasons. While the nominated episode deals with Mr. Frog facing his own exhaustion at the top of the mountain, the creators maintain this thematic parallel was not a conscious reflection of their own fatigue, but rather a natural, planned conclusion to the character’s three-part story arc.
Reflecting on the show's cultural footprint—which recently included an unexpected reference on The Simpsons, though the creators humorously admitted they were hoping for a jab from Family Guy—Hadel and Cusack emphasised their pride in utilising the programme as a platform for independent internet animators. However, they acknowledged that the ambitious, multi-style format that defined Smiling Friends also contributed heavily to its demanding production cycle.
TheWrap
'Smiling Friends' Creators on Their Surprise Emmy Nom: 'I've Never Won Anything. Like, Even at School'
TheWrap magazine: Zach Hadel and Michael Cusack break down their "accidental Emmy bait" sendoff to Mr. Frog on "Smiling Friends"
❤1
The Hollywood Reporter hails Coyote vs. Acme as a "hilarious delight" and a masterpiece of the live-action/animated genre.
The Cast: Will Forte excels as Wile E. Coyote's beleaguered lawyer, opposite John Cena's slick, profit-driven ACME counsel.
The Comedy: It perfectly captures the classic, rapid-fire Looney Tunes slapstick.
The Core: Beneath the anvil-dropping anarchy, the film surprises with genuine emotional depth and a sharp critique of corporate greed.
Ultimately, the review deems the film a triumphant love letter to the franchise and total vindication for a project that was almost permanently shelved.
https://www.hollywoodreporter.com/movies/movie-reviews/coyote-vs-acme-review-looney-tunes-will-forte-john-cena-1236671221/
The Cast: Will Forte excels as Wile E. Coyote's beleaguered lawyer, opposite John Cena's slick, profit-driven ACME counsel.
The Comedy: It perfectly captures the classic, rapid-fire Looney Tunes slapstick.
The Core: Beneath the anvil-dropping anarchy, the film surprises with genuine emotional depth and a sharp critique of corporate greed.
Ultimately, the review deems the film a triumphant love letter to the franchise and total vindication for a project that was almost permanently shelved.
https://www.hollywoodreporter.com/movies/movie-reviews/coyote-vs-acme-review-looney-tunes-will-forte-john-cena-1236671221/
The Hollywood Reporter
‘Coyote vs. Acme’ Review: Nearly Shelved Looney Tunes Film Starring Will Forte and John Cena Is One of the Best Live-Action/Animated…
Written by Samy Burch and directed by Dave Green, the movie also features Lana Condor, Luis Guzmán and a plethora of beloved cartoon characters.
EARLY PREVIEW: The Return | My Adventures With Superman | adult swim: https://www.youtube.com/watch?v=dQcHiywm_pY&feature=youtu.be
My Adventures With Superman airs Saturdays at midnight during Toonami on Adult Swim.
My Adventures With Superman airs Saturdays at midnight during Toonami on Adult Swim.
Gerhard Zeiler, President of International at Warner Bros. Discovery, will receive the International Emmy Directorate Award at the upcoming gala in New York on 23 November. https://screenmdm.com/news/news/gerhard-zeiler-to-receive-international-emmy-directorate-award/
Industry Impact: Bruce L. Paisner, CEO of the International Academy, praised Zeiler for his commercial acumen and his leadership in shaping the global television landscape during periods of profound change.
Career Highlights: A veteran of the global content business, Zeiler oversaw the international integration of WarnerMedia and Discovery, supported HBO Max's expansion into over 130 territories, and previously held senior roles at ORF, RTL Group, and Turner.
Zeiler's Statement: Acknowledging the honour, Zeiler emphasised television's unique power to connect distinct cultures and expressed his appreciation for the creative talent and partners who have inspired his career.
Additional Honourees: The event will also celebrate Netflix’s Bela Bajaria, who is set to receive the International Emmy Founders Award.
Industry Impact: Bruce L. Paisner, CEO of the International Academy, praised Zeiler for his commercial acumen and his leadership in shaping the global television landscape during periods of profound change.
Career Highlights: A veteran of the global content business, Zeiler oversaw the international integration of WarnerMedia and Discovery, supported HBO Max's expansion into over 130 territories, and previously held senior roles at ORF, RTL Group, and Turner.
Zeiler's Statement: Acknowledging the honour, Zeiler emphasised television's unique power to connect distinct cultures and expressed his appreciation for the creative talent and partners who have inspired his career.
Additional Honourees: The event will also celebrate Netflix’s Bela Bajaria, who is set to receive the International Emmy Founders Award.
ScreenMDM
Gerhard Zeiler to Receive International Emmy Directorate Award - ScreenMDM
Gerhard Zeiler, president of international at Warner Bros. Discovery, will receive the International Emmy Directorate Award at the International Emmy Awards Gala this November.
FIRST LOOK: The Terrors of Jordan Mendoza | Coming Soon | adult swim: https://www.youtube.com/watch?v=dtPMT85NgTs
The nightmare comedy of your dreams. The Terrors of Jordan Mendoza coming soon to Adult Swim.
The nightmare comedy of your dreams. The Terrors of Jordan Mendoza coming soon to Adult Swim.
EARLY PREVIEW: Finding The Louisiana Purchase Receipt | President Curtis | adult swim: https://www.youtube.com/watch?v=b4YXdM2Bxaw
President Curtis airs Sundays at 11:30pm on Adult Swim, next day on HBO Max.
President Curtis airs Sundays at 11:30pm on Adult Swim, next day on HBO Max.
Cartoon Network Updates Türksat Frequency: What Viewers Need to Know
Viewers in Turkey are advised that Cartoon Network is updating its broadcast frequency as transmissions move from the Türksat 3A satellite to newer infrastructure. The transition is scheduled to take place on the night of August 15, connecting into August 16.
For many users, the update process will be seamless. If your satellite receiver is equipped with the Türksat Channel Update System (TKGS), the channel settings will be adjusted automatically, requiring no further intervention.
However, if your receiver does not support TKGS or if you find that the channel fails to appear, you will need to manually refresh your settings. It is recommended to first attempt an automatic or network scan on your device. If the channel remains unavailable, a manual scan using the parameters below will be necessary:
Cartoon Network Türksat 4A Frequency Settings:
Frequency: 12245 MHz
Symbol Rate: 27500
Polarisation: Horizontal
FEC: 5/6
Modulation: DVB-S2 8PSK
Encryption Status: Unencrypted
https://www.yeniyolgazetesi.com/guncel/cartoon-networkun-frekansi-degisiyor/708691
Viewers in Turkey are advised that Cartoon Network is updating its broadcast frequency as transmissions move from the Türksat 3A satellite to newer infrastructure. The transition is scheduled to take place on the night of August 15, connecting into August 16.
For many users, the update process will be seamless. If your satellite receiver is equipped with the Türksat Channel Update System (TKGS), the channel settings will be adjusted automatically, requiring no further intervention.
However, if your receiver does not support TKGS or if you find that the channel fails to appear, you will need to manually refresh your settings. It is recommended to first attempt an automatic or network scan on your device. If the channel remains unavailable, a manual scan using the parameters below will be necessary:
Cartoon Network Türksat 4A Frequency Settings:
Frequency: 12245 MHz
Symbol Rate: 27500
Polarisation: Horizontal
FEC: 5/6
Modulation: DVB-S2 8PSK
Encryption Status: Unencrypted
https://www.yeniyolgazetesi.com/guncel/cartoon-networkun-frekansi-degisiyor/708691
Yerel ve Bölgesel Haber Merkezi
Cartoon Network’ün frekansı değişiyor
Türksat uydularında gerçekleştirilecek yeni nesil uydu geçişi kapsamında televizyon kanallarının yayın frekanslarında değişiklik yapılacak. 15 Ağustos’u 16 Ağustos’a bağlayan gece gerçekleşecek geçişin ardından Cartoon Network izleyicilerinin bazı uydu alıcılarında…
End of an Era: Cartoon Network Mexico Feed Poised for Closure:
The landscape of Latin American television is undergoing yet another significant shift. As of mid-August 2026, it appears that the dedicated Mexican feed of Cartoon Network Latin America is being phased out, marking the end of a thirty-year broadcast history for the specific signal.
A Quiet Transition
Reports confirmed this week that major Mexican cable operators—including Megacable (XView), Totalplay, and Izzi—have begun replacing the local Mexican feed with the Panregional signal. This Panregional feed, which operates on Colombian time, currently serves the vast majority of the Hispanic Latin American market.
The transition has been notably abrupt for some viewers. For Izzi subscribers, the shift occurred mid-broadcast at 00:09 on Thursday, August 13. An episode of Adventure Time was cut mid-stream, immediately replaced by the Panregional broadcast of The Amazing World of Gumball. Observers noted that for the first few moments of the switch, the secondary audio programming (SAP) track was active by default, allowing the programme to be heard in English.
Programming and Operational Changes
While the Mexican feed technically remains active internally with programming loaded through the end of August, the writing appears to be on the wall. Unlike the Panregional and Brazilian feeds, Warner Bros. Discovery has not issued a programming grid for September, strongly suggesting that the feed’s operational life is drawing to a close.
For the Mexican audience, this migration brings both losses and gains:
Content Shifts: Popular series such as Ben 10 (2016) and Drama Island (2023) are not part of the Panregional feed and will consequently be removed from the local schedule.
New Additions: Conversely, viewers will gain access to series not previously carried in Mexico, such as Steven Universe and Clarence, along with a wider variety of broadcast slots for staples like Adventure Time and Regular Show.
Advertising and Compliance: Viewers will now be served the Panregional advertising blocks. A lingering question remains regarding local regulatory compliance; specifically, how the platform will handle age-rating banners, which were previously a legal requirement on the Mexican feed but are absent from the Panregional signal.
A Broader Strategy
This potential closure is not an isolated incident but rather the latest phase in a multi-year restructuring effort by Warner Bros. Discovery for its Latin American pay-TV portfolio. The strategy began in earnest on July 1, 2025, when the company reduced its five regional Cartoon Network signals—Argentina, Brazil, Mexico, and two Panregional feeds—down to just three.
Should the current migration reach its conclusion, Brazil will stand as the only country in the region to retain an independent, dedicated Cartoon Network feed, with the remainder of Hispanic Latin America consolidated under the Panregional banner.
This pattern of consolidation has already left its mark on other brands within the portfolio. During the 2025 restructuring, the Cartoonito channel saw its signals reduced from four to two, eliminating the independent Argentine and Mexican feeds. Furthermore, the pre-school brand is set to see additional changes on September 1, when it will switch to a 12-hour programming block that repeats throughout the day, adopting a scheduling model similar to that of Tooncast.
As Warner Bros. Discovery continues to streamline its operations, the regional television landscape in Latin America continues to shrink, moving toward a more centralized broadcast model.
https://www.tvlaint.com/2026/08/cartoon-network-latinoamerica-feed.html
The landscape of Latin American television is undergoing yet another significant shift. As of mid-August 2026, it appears that the dedicated Mexican feed of Cartoon Network Latin America is being phased out, marking the end of a thirty-year broadcast history for the specific signal.
A Quiet Transition
Reports confirmed this week that major Mexican cable operators—including Megacable (XView), Totalplay, and Izzi—have begun replacing the local Mexican feed with the Panregional signal. This Panregional feed, which operates on Colombian time, currently serves the vast majority of the Hispanic Latin American market.
The transition has been notably abrupt for some viewers. For Izzi subscribers, the shift occurred mid-broadcast at 00:09 on Thursday, August 13. An episode of Adventure Time was cut mid-stream, immediately replaced by the Panregional broadcast of The Amazing World of Gumball. Observers noted that for the first few moments of the switch, the secondary audio programming (SAP) track was active by default, allowing the programme to be heard in English.
Programming and Operational Changes
While the Mexican feed technically remains active internally with programming loaded through the end of August, the writing appears to be on the wall. Unlike the Panregional and Brazilian feeds, Warner Bros. Discovery has not issued a programming grid for September, strongly suggesting that the feed’s operational life is drawing to a close.
For the Mexican audience, this migration brings both losses and gains:
Content Shifts: Popular series such as Ben 10 (2016) and Drama Island (2023) are not part of the Panregional feed and will consequently be removed from the local schedule.
New Additions: Conversely, viewers will gain access to series not previously carried in Mexico, such as Steven Universe and Clarence, along with a wider variety of broadcast slots for staples like Adventure Time and Regular Show.
Advertising and Compliance: Viewers will now be served the Panregional advertising blocks. A lingering question remains regarding local regulatory compliance; specifically, how the platform will handle age-rating banners, which were previously a legal requirement on the Mexican feed but are absent from the Panregional signal.
A Broader Strategy
This potential closure is not an isolated incident but rather the latest phase in a multi-year restructuring effort by Warner Bros. Discovery for its Latin American pay-TV portfolio. The strategy began in earnest on July 1, 2025, when the company reduced its five regional Cartoon Network signals—Argentina, Brazil, Mexico, and two Panregional feeds—down to just three.
Should the current migration reach its conclusion, Brazil will stand as the only country in the region to retain an independent, dedicated Cartoon Network feed, with the remainder of Hispanic Latin America consolidated under the Panregional banner.
This pattern of consolidation has already left its mark on other brands within the portfolio. During the 2025 restructuring, the Cartoonito channel saw its signals reduced from four to two, eliminating the independent Argentine and Mexican feeds. Furthermore, the pre-school brand is set to see additional changes on September 1, when it will switch to a 12-hour programming block that repeats throughout the day, adopting a scheduling model similar to that of Tooncast.
As Warner Bros. Discovery continues to streamline its operations, the regional television landscape in Latin America continues to shrink, moving toward a more centralized broadcast model.
https://www.tvlaint.com/2026/08/cartoon-network-latinoamerica-feed.html
TVLaint
TVLaint: Cartoon Network Latinoamérica: feed México dejaría de operar como señal independiente
👍1
New Cartoon Cartoons Short: Unravel
An embroidered bilby unravels a piece of yellow thread.
Created by Alexis Sugden
https://www.youtube.com/watch?v=IarVMeWtFVU
An embroidered bilby unravels a piece of yellow thread.
Created by Alexis Sugden
https://www.youtube.com/watch?v=IarVMeWtFVU