To save the universe, he really will need to be… [slam to title card]
Invincible is an adult animated superhero series that revolves around 17-year-old Mark Grayson, who’s just like every other guy his age — except his father is the most powerful superhero on the planet, Omni-Man. But as Mark develops powers of his own, he discovers his father’s legacy may not be as heroic as it seems.
Invincible Season 4 arrives March 18 on Prime Video!
Led by CEO James Tynion IV, Tiny Onion is kicking off the production house’s robust adult animation slate with an adaptation of Tynion’s The Woods, based on the award-winning comic book series published by BOOM! Studios. The acclaimed sci-fi horror comics were co-created by Tynion and artist Michael Dialynas. To launch the animation slate, Tiny Onion is bringing aboard Casey Gonzalez as Director of Multimedia to oversee development for the company’s animated projects.
GLAAD Media Award-winning comic book series which debuted in 2014, The Woods tells the story of an ordinary high school in suburban Milwaukee, WI, which is suddenly transported into the midst of an alien forest in an uncharted corner of the universe. With no sign of why they were taken there, or what threats lurk in the dark woods surrounding their school, the story follows a group of students determined to figure out how to survive, and more importantly, how to get home. Tiny Onion has optioned the property from BOOM! Studios. The animated series will see Tynion and Dialynas executive producing for Tiny Onion. Stephen Christy and Mette Norkjaer will executive produce the series for BOOM! Studios.
The Woods will be Gonzalez’s first project as Director of Multimedia at Tiny Onion since joining the team in December. Previous to Tiny Onion, she spent a decade working alongside animation industry legend Fred Seibert (Adventure Time, Bee and Puppycat) as his VP of Development at FredFilms, where she developed original cartoons, including the viral short The Summoning, which is being adapted into a three book series for Oni Press.
Gonzalez began her career in publishing, editing bestselling graphic novels for First Second and helping launch the acclaimed Science Comics series while shepherding New York Times bestselling titles such as Eisner Award winner Battling Boy, Hugo Award nominated book The Divine, and Green Book Award winner Coral Reefs. She later transitioned into the role of Head Writer and Producer at Frederator, where she launched the popular anime vertical Get in the Robot, and subsequently at Crunchyroll, the world’s largest anime streaming service. At Tiny Onion, Gonzalez looks forward to uniting her love of comics with her experience shaping top tier shows.
The Woods is a part of an expanding adult animation slate that also includes an animated adaptation of Tynion’s Image Comics horror sci-fi series W0RLDTR33 in development at Netflix. Co-created by Fernando Blanco and colored by multi Eisner Award-winning colorist Jordie Belliare, W0RLDTR33 tells the story of a dark evil within the internet that may destroy humanity. Tynion and Blanco will serve as Executive Producers on the series with Ashley Cardiff (Fear The Walking Dead) set as Showrunner and Executive Producer. Sean Buckelew of Green Street Pictures (Common Side Effects, Scavenger’s Reign) will also serve as Executive Producer and the team has just brought on Guillaume Dousse of Æsten studio (Splinter Cell: Deathwatch, Flee) to lead visual development and art direction for the series.
Additionally, Tiny Onion is developing an adult animated comedy series The Tipsy Dragon with production company Irony Point. The series is being developed by Daniel Powell (Ugly Americans). RJ Fried, Mike Leech, and Zach Smilovitz (Our Cartoon President) are attached to write and help produce. An original concept from Tynion, The Tipsy Dragon is set in a tavern in a world where the age of heroes and legends is long past—and its barkeep and patrons couldn’t care less about their supposed role in an ancient battle between good and evil just outside their doorstep.
Tynion and BOOM! Studios are also teaming up with iconic horror production company Blumhouse for an adult animated television series and a live-action feature film based on Tynion and Werther Dell’Edera’s record breaking, award-winning, and global best-selling series Something is Killing the Children. Set in a world where children can see monsters, but adults cannot, Something is Killing the Children tells the story of Erica Slaughter, a monster hunter from a mysterious organization more concerned with keeping the secret of monsters from the world than saving their victims. The animated series will be adapted and executive produced by Tynion, with Dell’Edera serving as Co-Executive Producer and visual development consultant. Stephen Christy will executive produce the series for BOOM! Studios, with Mette Norkjaer and Adam Yoelin serving as Co-Executive Producer.
Tiny Onion is backed by a seed investment from Lyrical Media, the Los Angeles and New York-based company that develops, produces, and finances unique stories across multi-media formats, including film, television, video games, and graphic novels. It was recently announced that Lyrical Media has launched Lyrical Animation to tap into global demand for adult animation, with an emphasis on animated features. Lyrical Animation is headed by seasoned Animation industry veterans Jacob Robinson, Daniel Dominguez, and Brad Graeber, and has many projects in development including an adaptation of the video game Death Stranding. Tiny Onion will be working closely with Lyrical Animation on its animation slate.
The results of the 2025 officers and executive board election for the Animation Guild, IATSE Local 829 have been announced.
The following Guild members were elected as officers:
The following 11 Guild members were elected to the Executive Board, in order of vote count:
The following three candidates received the most votes and are therefore appointed as Trustees:
The officers and executive board members will be sworn into office on December 2, 2025 and begin their three-year term.
After receiving a mysterious letter from The Joker, Batman and Robin must infiltrate the infamous Arkham Asylum. Once inside they come face to face with their most fearsome foes, including Bane, Killer Croc, Poison Ivy, and more! Perhaps some surprise visitors will help even the odds…
Just in time for Day 3 of New York Comic Con 2025, Lion Forge Entertainment has dropped an exclusive sneak-peek clip from Season 2 of Iyanu, the Cartoon Network and HBO Max animated series inspired by Yoruba mythology. It was also announced that Season 2 of Iyanu will premiere in spring 2026 on Cartoon Network and HBO Max, promising new battles, new wonders, and more secrets of Yorubaland.
The clip teases The Chosen’s next great trial, as Iyanu (voiced by Serah Johnson) and Team
Chosen face the return of Zaza and the People of the Deep, the most dangerous faction in all of Yorubaland — led by the formidable and charismatic Queen Adura. But this time, Iyanu is guided by her knowledge of the Divine Ones, empowered by new abilities, and disciplined through training in the Way of the Golden Leaf, a dynamic fighting style inspired by Capoeira and taught to her by Olori (voiced by Adesua Etomi-Wellington). Every lesson and every battle has prepared her for this moment.
Based on the graphic novel series Iyanu: Child of Wonder by Roye Okupe, who also serves as creator, showrunner, and executive producer of the series, Iyanu follows a teenage orphan who discovers her divine powers and her destiny to save the ancient kingdom of Yorubaland.
Produced by Lion Forge Entertainment, a leading Black-owned entertainment studio in North America, the series has become a breakout hit: it’s a Top 10 Kids and Family title on HBO Max, it was No. 1 in the Kids 6–12 category during its first month on Cartoon Network in April, and remains the #1 Kids and Family title on Showmax across 44 African countries. It’s also running on ITVX in the UK and streaming on ABCiview in Australia.
Season Two will return with 10 new episodes where we’ll see Iyanu continue to master her divine powers as she finds herself in the midst of a fierce conflict between Elu and the People of the Deep, led by the formidable Adura. With various factions of Yorubaland vying for powerful divine artifacts that have reemerged, Iyanu strives to find a way to end the battle and restore peace. As Team Chosen reunites and tensions rise between old allies and foes, Iyanu must confront even more powerful threats from the Age of Wonders including secrets buried deep within her own past.
Fans can revisit the story that started, all of Season 1 including the season-finale movie special
Iyanu: The Age of Wonders, which is streaming on HBO Max (U.S.). In addition, the official Iyanu Shop is now open at shop.iyanutheseries.com, offering fans exclusive apparel, and collectibles.
Warner Bros. Animation, DC, and Warner Bros. Home Entertainment have announced the next DC animated films, Batman: Knightfall, a multi-part animated event bringing to life one of the most iconic and beloved runs in the rich history of Batman comics.
The announcement was made at New York Comic Con following the conclusion of the Warner Bros. Animation panel “The Art Knight: Batman in Animation,” an in-depth exploration of the artistry, creative processes, and inspirations that have shaped the Studio’s interpretations of one of the most iconic characters in comics and pop culture.
Currently in production, Batman: Knightfall Part 1: Knightfall will be coming in 2026.
Batman: Knightfall Part 1: Knightfall – When the mysterious behemoth known only as Bane frees Batman’s entire Rogues Gallery from Arkham Asylum, the Caped Crusader is pushed to his mental and physical breaking point.
Based on characters from DC and the DC Comic Book Event Batman: Knightfall, by Doug Moench, Chuck Dixon, Alan Grant, Dennis O’Neil, Peter David, Jo Duffy, Jim Aparo, Graham Nolan, Norm Breyfogle, and Jim Balent.
Batman: Knightfall Part 1: Knightfall is directed by Jeff Wamester and written by Jeremy Adams. Rick Morales serves as Supervising Producer alongside Producers Jim Krieg and Kimberly S. Moreau. Sam Register and Michael Uslan are Executive Producers.
Everyone’s after his chainsaw heart.
For the first time, see Chainsaw Man – The Movie: Reze Arc exclusively in movie theatres October 24.
Aztec Batman: Clash of Empires is a bold reimagining of the Batman legend unfolds within the vibrant and fierce culture of 16th century Mesoamerica.
In the time of the Aztec empire, tragedy strikes Yohualli Coatl, a young Aztec boy, when his father is murdered by Spanish conquistadors. Yohualli escapes to Tenochtitlán and trains in the temple of the bat god Tzinacan with his mentor, developing equipment and weaponry to confront the Spanish invasion and avenge his father’s death!
Watch the trailer available in English and Spanish!
In a continuation of the “Fantastic Flops” series, I’m going back and re-evaluating the 1994 and 2006 Fantastic Four cartoon as well as the 1998 Silver Surfer seriesand various crossovers and seeing if they’re a “Flop”, “Bop”, or “In-Between”.
The 1990s are seen as somewhat of a golden age for superhero cartoons with such classics as Batman: The Animated Series and X-Men: The Animated Series as well as Superman: The Animated Series and Spider-Man: The Animated Series. One show that doesn’t seem to get as much love of these is the 1994 syndicated Fantastic Four cartoon that aired with episodes of Iron Man as part of The Marvel Action Hour. In fact, contemporary Fantastic Four comic book writer Tom DeFalco made fun of it in Fantastic Four #396 where replacement team member Scott Lang roasts the show while ribbing The Thing.
Fantastic Four‘s animation is nothing to write home about with the exception of some cool monster designs for Namor and Mole Man’s denizens as well as a very Jack Kirby-accurate Blastaar. Mr. Fantastic’s powers definitely will always look better in this medium. On the writing and story side, showrunner Ron Friedman and his cohorts Elwin Ransom (So cool that they have the same name as the protagonist of C.S. Lewis’ Space Trilogy) and Don Segall’s scripts fluctuate from poignant adaptations of the source material to chaotically humorous (See “The Mole Man”, especially Johnny Storm’s rap because voice actor Brian Austin Green wanted to have a hip hop career.) or intelligence insulting (Both Skrulls episode.) This is a show that jokes about Prince Charles dating Roseanne Barr and features guest spots from Dick Clark and Gary Owens in the two part pilot, but also the solution to defeating various villains comes up in unrelated conversations between Mr. Fantastic and other members of the team. It also loves a running gag and catch phrase, which makes sense for the team that brought you “Flame on” and “It’s clobberin’ time”, but I swear if I have to hear the Thing say “One for the money, two for the show”, I might cancel my Disney Plus subscription. (I do enjoy the Thing’s obsession with Wayne Newton, and how he fights with Johnny Storm when he tries to burn them up.)
The mediocre “Mask of Doom” three-parter is the Fantastic Four show in a nutshell. It begins with the Thing poorly following a TV yoga workout and follows with 2 episodes of he, Mr. Fantastic, and the Human Torch dodging various Dr. Doom death traps while he mansplains his origin story to the Invisible Woman. The third part is an anachronism-filled time travel caper set in 4th century BCE Greece that has big Bill and Ted energy, especially when the Human Torch romances a Greek oracle. The extended theme song, credits, and “previously on” recaps really eat into the runtime of the episode, and important plot points like Victor Von Doom’s relationship with Reed Richards as a college student is quickly glossed over so the team can run around in creepy passageways. Dr. Doom’s origin story should have been the A-plot, and the action hijinks should have been the B-plot, but Friedman and Ransom flip that dynamic. One thing I will say about the Fantastic Four cartoon is that your never more than a few minutes away from the Thing punching something and generally crashing out.
I briefly mentioned the two Skrulls episodes as being the low points of Fantastic Four, and they are along with “Behold the Negative Zone”, which shows that Annihilus and Blastaar are more interesting in their own world than on Earth. Despite having a vast invasion fleet and a warrior with all the powers of the Fantastic Four plus hypnosis, the Skrull never come across as a threat. Friedman, Ransom, and Segall would rather do a cheap imitation of basically Mars Attacks (Which hadn’t come out at the time of the cartoon.) than dig into Marvel’s rich cosmic tapestry. The most memorable moments from this episode are finding out that the Thing didn’t vote for Bill Clinton in the 1992 presidential election, and that he has bars. Seriously, he spends the entire “Super Skrull” episode trying to film a rap rock video for MTV, one of his many attempts throughout the season to capitalize on his fame as a member of the Fantastic Four to make money.
The high point of Fantastic Four other than the utter silliness of “Mole Man”, which also features Reed Richards and Human Torch/his spoiled girlfriend Melinda and Sue Storm and the Thing working as pairs, is the “The Silver Surfer and Coming of Galactus” two-parter. The scene where Alicia Master senses the Surfer’s humanity and kindness and compares it to Ben Grimms is played beautifully by Pauline Lomas and Robin Sachs. Also, Alan Oppenheimer and Shakespearean actor Tony Jay bring a real direness and grandeur to the episode as Uatu the Watcher and the Devourer himself with the Fantastic Four facing their greatest threat yet. And while this is going on, they’re facing eviction from their landlady Ms. Forbes in a take-it-or-leave-it performance from Joan Lee, who did a much better job as Madame Web in Spider-Man: The Animated Series. Dealing with every day struggles while facing the end of existence and finding the good in antagonists is Marvel at its finest, and these plus the YouTube clip of Johnny Storm rapping are the episodes of this series you should watch.
The framing narrative of the two-part pilot of Fantastic Four set at a Dick Clark telethon reminded me a lot of how Fantastic Four: First Steps told the team’s origin. Even though the film was set in the 1960s and the show was set in the 1990s, it hops right to the adventures with the Fantastic Four being a known entity with recurring foes, a relationship with the US government (And a nagging landlady), and as public figures. The 2025 film handles these elements in a much more interesting way, but it’s also a PG-13 blockbuster film and not hamstrung by the need to sell toys to cereal eating children and maybe a stoner or two. I really wanted to give a “Mid” score to Fantastic Four Season One, but am choosing to get a “Flop” instead because there is definitely potential for improvement as evidenced by a season finale that balances pathos (Silver Surfer must doing something heroic without his abilities.) and humor (A few meta jabs at their Action Hour compatriot Iron Man). If anything, the theme song is an ear worm!
Overall Verdict: Flop
Every mission shapes a legacy. On August 1, stream all four episodes of Marvel Animation’s Eyes Of Wakanda, only on Disney+.
