BURBANK, CA (February 23, 2026) – Journey back to Westeros when Warner Bros. Discovery Home Entertainment releasesA Knight of the Seven Kingdoms: The Complete First Season on 4K UHD, Blu-ray™, and DVD June 16, 2026. Based on an adaptation of George R. R. Martin’s novella “The Hedge Knight,” the series brings to life the adventures of Ser Duncan the Tall and his young squire, Egg, in a sweeping tale set a century before the events of Game of Thrones. Fans can relive all six thrilling episodes from Season One along with exclusive bonus content, including never-before-seen featurettes and behind-the-scenes specials. Pre-order your copy today!
Set in an age when the Targaryen line still holds the Iron Throne, and the memory of the last dragon has not yet passed from living memory, great destinies, powerful foes, and dangerous exploits all await these improbable and incomparable friends.
A Knight of the Seven Kingdoms stars Peter Claffey as Ser Duncan “Dunk” the Tall, Dexter Sol Ansell as Egg, Daniel Ings as Ser Lyonel Baratheon, Bertie Carvel as Baelor Targaryen, Danny Webb as Ser Arlan of Pennytree, Sam Spruell as Maekar Targaryen, Shaun Thomas as Raymun Fossoway, Finn Bennett as Aerion Targaryen, Edward Ashley as Ser Steffon Fossoway, Tanzyn Crawford as Tanselle, Henry Ashton as Daeron Targaryen, Youssef Kerkour as Steely Pate, Tom Vaughan-Lawlor as Plummer and Daniel Monks as Ser Manfred Dondarrion.
Co-Creator/Executive Producer, George R. R. Martin; Co-Creator/Showrunner/Executive Producer, Ira Parker. Executive Producers Sarah Bradshaw, Owen Harris, Ryan Condal, and Vince Gerardis. Directors, Owen Harris and Sarah Adina Smith.
PRODUCT INFORMATION:
A Knight of the Seven Kingdoms: The Complete First Season– includes all 6 Season One episodes, plus (2) exclusive bonus featurettes:
“Building A Knight of the Seven Kingdoms”
“Welcome to A Knight of the Seven Kingdoms” (Extended)
Additional Bonus Features:
“A Knight in the Making” web documentary series (Episodes 1-6)
New York, NY— February 19, 2026 — Ten years ago, Rogue One: A Star Wars Story introduced the group of unlikely heroes who stole the plans to the original Death Star and set the stage for the Rebellion’s greatest victory. Announced earlier today at io9, Marvel Comics will celebrate the anniversary of the beloved film by publishing five one-shots spotlighting its key characters, starting in May with Cassian Andor, who went on to headline the film’s Emmy and Peabody Award-winning Disney+ prequel series, Andor. Returning to the grit and glory of a Rebellion on the brink of war, the all-new stories will be set just before the events of the film, revealing never-before-told backstories and adventures from this pivotal era.
“From the moment the first images of Cassian, Jyn, Saw, Baze, and Chirrut were revealed, fans have wanted to know more about the brave outsiders who risked everything to help combat the Galactic Empire and its terrifying superweapon, and to learn more about what Vader was doing before A New Hope,” Lucasfilm Senior Editor Robert Simpson told io9. “We always knew the end of Rogue One wouldn’t be the end of their stories, and we’re so excited for fans to get these glimpses into their pasts.”
STAR WARS: ROGUE ONE – CASSIAN ANDOR #1 Written by BENJAMIN PERCY Art by LUKE ROSS
CASSIAN ANDOR’S FINAL MISSION BEFORE HE MEETS HIS ULTIMATE HEROIC DESTINY!
Before the heist that shook the galaxy, a lone Rebel operative walks into danger. Cassian Andor infiltrates the lawless maze of Kafrene, racing against troopers, bounty hunters, and time itself in a tense espionage thriller.
STAR WARS: ROGUE ONE – JYN ERSO #1 Written by ETHAN SACKS Art by RAMON ROSANAS
A PRISONER OF THE EMPIRE. A CHANCE AT HOPE.
On the toxic Wobani fields, Jyn Erso’s brutal routine shatters when an unlikely crew begs the infamous slicer “Liana Hallik” to help pull off an impossible escape. Can Jyn outwit Imperial security droids, tower cannons, and incinerators long enough to crack the code—and keep a frightened young prisoner alive? Will a leap of faith heal old scars from Galen, Lyra, and Saw… or will Wobani claim Jyn’s future before the Rebellion ever can?
STAR WARS: ROGUE ONE – SAW GERRERA #1 Written by MARC BERNARDIN Art by GABRIEL GUZMAN
WITNESS THE ACT OF REVOLUTION THAT WAS TOO MUCH FOR THE REBELLION!
After proving himself in the Clone Wars, Saw Gerrera was a soldier for the cause of freedom and was willing to do anything to secure it — including leading a mission deep into Imperial territory. At stake: a source of information that would provide a tactical advantage that could shift the balance of power in the Rebels’ favor! But is the price for that information too high?
STAR WARS: ROGUE ONE – CHIRRUT & BAZE #1 Written by STEPHANIE PHILLIPS Art by KIERAN MCKEOWN
A STRIKE AGAINST THE EMPIRE…BUT AT WHAT COST?
Baze Malbus and Chirrut Îmwe attempt a covert mission to sabotage a kyber mine that has been overtaken by Imperial forces. But when something unexpected stands between them and their objective, the mission becomes far more complicated than they expected. To succeed, faith will be tested, and an impossible choice must be made!
STAR WARS: ROGUE ONE – DARTH VADER #1 Written by CHRIS CONDON Art by LUKE ROSS
WHEN NEGOTIATIONS FAIL, THE EMPIRE SENDS IN ITS ATTACK DOG – DARTH VADER!
Director Orson Krennic’s negotiations with the gem-rich planet of Harreld have hit a standstill. Its leader, Harqque, refuses to allow the Empire to mine its rare kyber deposits for use in the Death Star’s deadly super laser. But when the Emperor catches wind of Krennic’s failure, he sends his most trusted acolyte – Darth Vader – to ply the kyber from Harqque by any means necessary.
“This has been one of the most incredible Star Wars anniversary projects to work on!” Editor Mark Paniccia shared. “Just look at this roster of talent and these amazing covers by David Marquez! If you can’t get enough of these intriguing and memorable characters, this is for you! An absolute must for fans of Rogue One and Andor!”
New York, NY— February 19, 2026 — The last year of Marvel Comics storytelling, particularly the events of One World Under Doom and Chip Zdarsky’s Captain America, has been leading to a watershed moment in Avengers history. That turning point arrives this June in AVENGERS: ARMAGEDDON, a five-issue event series from Zdarsky, the superstar writer known for his defining and Eisner-nominated work on Daredevil, and rising stars Frank Alpizar & Delio Diaz, the artist duo behind Doomed 2099 and recent issues of Captain America.
Following key buildup in Captain America and Wolverine: Weapons of Armageddon, AVENGERS: ARMAGEDDON leads to a transformative shakeup of the team—the likes of which haven’t been felt since Avengers: Disassembled. The saga begins in Latveria, where Thaddeus “Thunderbolt” Ross, A.K.A. Red Hulk, claims Doom’s homeland for himself, igniting a global conflict. When the Avengers assemble against him, explosive escalations will force them to unleash a power that changes how the world views their mightiest heroes forever. This pivotal chapter will lead directly into a new era of AVENGERS starting later this year.
ARMAGEDDON HAS ARRIVED!
Red Hulk’s devastating tear across the globe must be stopped…but it will take a colossal gathering of Earth’s Mightiest Heroes to do it! Calling in the Avengers, the Fantastic Four, Wolverine and more…but who will survive this super-powered cataclysm?! There will be a pre-Armageddon Marvel Universe and a post-Armageddon Marvel Universe. Be here to bear witness to the transformation.
AVENGERS: ARMAGEDDON #1 Written by CHIP ZDARSKY Art by FRANK ALPIZAR & DELIO DIAZ Cover by DIKE RUAN On Sale 6/3
New York, NY— February 19, 2026 — This year, celebrate Pride Month with one of comics’ most iconic super hero families in WICCAN & HULKLING: RAID OF ULTRON #1, an all-new Marvel’s Voices one-shot hitting stands May 27.
The special spotlights fan-favorite couple Wiccan and Hulkling, along with their amazing—and complex—family, including Scarlet Witch, Vision, Speed, and Viv Vision. Bringing together an incredible lineup of superstar LGBTQIA+ talent and rising stars, WICCAN & HULKLING: RAID OF ULTRON #1 will feature stories by Wyatt Kennedy, Josh Trujillo, Marvel’s Stormbreaker Luciano Vecchio, Zoe Tunnell, Rachael Stott, and more! The saga will spotlight the importance of re-centering community in times of darkness as Wiccan and Hulkling join forces with their loved ones to defeat an evil villain bent on shattering their shared happiness!
WICCAN & HULKLING REUNITE WITH FAMILY…AND DANGER!
Wiccan & Hulkling gather their known & beloved friends and family to celebrate their wedding anniversary – but everything goes awry when Ultron arrives to reclaim Vision and Viv!
Here’s what readers can look forward to:
· The issue’s framing story by writer Wyatt Kennedy picks up where Wiccan: Witches’ Road leaves off as Wiccan and Hulkling host an epic anniversary party at their new home, but a certain megalomaniacal robot is eager to have a family reunion of their own and an Ultron army attacks the festivities!
· Returning from last year’s Marvel United: A Pride Special, writer Zoe Tunnell’s story sees Hulkling and his alternate universe half-sister Phyla-Vell together bond over their shared legacy, exchange advice, and combine their mighty Marvelous strength to take down Ultron’s forces!
· Acclaimed writer Josh Trujillo brings father and daughter together again as Viv deconstructs her own identity and how it interacts with being a synthezoid with her dad, Vision.
WICCAN & HULKLING: RAID OF ULTRON #1 Written by WYATT KENNEDY, JOSH TRUJILLO, ZOE TUNNELL & MORE Art by LUCIANO VECCHIO, RACHAEL STOTT & MORE Cover by RUSSELL DAUTERMAN On Sale 5/27
Movie Zyng, the online sales site which specializes in Warner Archive’s deep library and other manufacturing-on-demand films, is running a sale on its Universal Studios catalogue.
The sales site describes itself as “a next-generation DVD eCommerce platform. Available from Allied Vaughn, it is powered by a deep catalog of movie, film, episodic series and documentaries across all genres. Our title inventory can be curated and selected based on any metadata field(s). Movie Zyng is a full-service, turnkey platform that allows the retail owner to brand the storefront and manage its metadata and content supplied by Allied Vaughn. The reseller enjoys zero inventory costs, and the DVDs and Blu-Ray are manufactured on demand for direct-to-consumer shipping through our state-of-the-art fulfillment operation. Movie Zyng shares the benefits of an affiliate marketing network along with marketing insights, Google Analytics, and customer and site data. Join the more than 100 Movie Zyng-powered stores with one of your own.”
The Shadowed Circle Compendium Edited by Steve Donoso 180 pages/Renaissance Arts Press/$30 softcover, $50 hardcover)
There is no excuse for why this review is so late, and I owe editor Steve Donoso a major apology.
The Shadow has endured for 92 years, first as a radio voice, then in pulp magazine exploits, selling so furiously that it came out twice a month. He has been adapted for movie serials, feature films, and comic books. His influence endures and is acknowledged as one of the key inspirations for Batman. That’s what fans generally know about the character.
One of the last true fanzines, The Shadowed Circle, carries on the tradition of exploring the character in all his permutations with unbridled joy. The Compendium takes the best of its first seven issues and sprinkles in several new pieces to make for a fine collectible. It’s not the only contemporary publication to study the Shadow mythos, as author/historian Will Murray released last summer’s Knight of Darkness: The Legend of The Shadow, the third volume of his studies.
This review is so late that Donoso is about to launch a Kickstarter campaign for the second Compendium.
So, what do we find here? There is a foreword from Murray, followed by an introduction from former Shadow comic book writer Michael Uslan (who also has an article tracing his time as a Shadow scribe). We kick off with a fine essay from twentysomething fan Russell M. Moran, explaining how the cloaked vigilante remains relevant.
Nooks and crannies of history are explored, from the failed 1950s television pilot to the final radio broadcast on December 26, 1954. There’s also an index of all 325 magazine stories, crediting the authors all hiding behind the Maxwell Grant house name, as well as which volume of Sanctum Books’ facsimiles they were reprinted in.
One of the more imaginative pieces is Dick Myers’ posthumously published essay, written in the early 1970s—as Pyramid was reprinting selected stories under new Steranko covers—trying to figure out the economics of the Shadow’s operation from buying hats and cloaks in bulk to the cost of the automobiles and airplanes used and damaged in the cause of justice; from the stipends and salaries of his agents, and where did the money to fund the operation for decades come from.
Walter Gibson looms large over the entire volume, given his role as a radio narrator for Street & Smith’s detective stories and his ability to turn him into a captivating figure. Elements can be traced to other pulps and similar dashing tales, but there was enough of a twist and originality to make him wholly original. None of the other ghosts could add as much to the lore as Gibson, a former magician turned prolific writer, did. After all, not only did we get this crimefighting figure, but we got his network of agents, including Burbank, the first man in the chair, as detailed in Tim King’s essay.
If you’ve read some of the books, enjoyed the Alec Baldwin film, or comic stories, you might find this an enriching experience. The love and detail in each piece make for an enjoyable reading experience.
SYNOPSIS Expanding upon the world created by Danny Boyle and Alex Garland in 28 Years Later—but turning that world on its head—Nia DaCosta directs 28 Years Later: The Bone Temple. In a continuation of the epic story, Dr. Kelson (Ralph Fiennes) finds himself in a shocking new relationship —with consequences that could change the world as they know it —and Spike’s (Alfie Williams) encounter with Jimmy Crystal (Jack O’Connell) becomes a nightmare he can’t escape. In the world of The Bone Temple, the infected are no longer the greatest threat to survival—the inhumanity of the survivors can be stranger and more terrifying.
SPECIAL FEATURES
4K UHD, BLU-RAY™ & DIGITAL EXTRAS • Commentary with Director Nia DaCosta • Behind The Scenes: New Blood, The Doctor and the Devil, Beneath the Rage • Deleted Scene • Infected Takes: Bloopers 4K UHD & Blu-ray™ include a Digital code for the movie and bonus materials as listed above, redeemable via Movies Anywhere for a limited time. Movies Anywhere is open to U.S. residents age 13+. Visit MoviesAnywhere.com for terms and conditions.
DVD EXTRAS • Commentary with Director Nia DaCosta • Behind The Scenes: New Blood, The Doctor and the Devil, Beneath the Rage
CAST AND CREW Directed by: Nia DeCosta Produced by: Andrew MacDonald, Peter Rice, Bernard Bellew, Danny Boyle, Alex Garland Written by: Alex Garland Executive Producer: Cillian Murphy Cast: Ralph Fiennes, Jack O’Connell, Alfie Williams, Erin Kellyman, Chi Lewis-Parry
SPECS Run Time: Approx. 109 minutes Rating R: Strong Bloody Violence, Gore, Graphic Nudity, Language Throughout, and Brief Drug Use
4K UHD: 2160p Ultra High Definition/ 2.39.1• Audio: English Dolby Atmos (Dolby TrueHD 7.1 compatible) • English, French (Doublé au Québec), 5.1 DTS-HD MA, Spanish 5.1 Dolby Digital, English & French (Doublé au Québec) Audio Description Tracks 5.1 Dolby Digital Subtitles: English, English SDH, French, Spanish • Approx 109 Mins • Color Blu-ray™: 1080p High Definition / 2.39:1 • Audio: English, French (Doublé au Québec) 5.1 DTS-HD MA Spanish 5.1 Dolby Digital, English & French (Doublé au Québec) Audio Description Tracks 5.1 Dolby Digital • Subtitles: English, English SDH, French, Spanish • Mastered in High Definition • Color • Some of The Information Listed May Not Apply To Special Features.
DVD: Feature: 2.39:1 Anamorphic Widescreen • Audio: English, French (Doublé au Québec), Spanish 5.1 Dolby Digital, English & French (Doublé au Québec) Audio Description Tracks Stereo• Subtitles: English, English SDH, French, Spanish • Approx. 109 Mins. • Color Some of the information in the above listing may not apply to Special Features
PROGRAM DESCRIPTION The legendary folk hero is revived in sweeping and romantic adventure “Robin Hood,” available on March 30th on electronic sell-through from Lionsgate. Focusing on the relationship between Robin Hood and Maid Maraian while the heroic outlaw leads a rebellion against the Sheriff of Nottingham and avenges his father. “Robin Hood” will be available for the suggested retail price of $10.49.
OFFICIAL SYNOPSIS Robert of Locksley’s journey from forester’s son to outlaw leader begins. Rebellion ignites in Sherwood, intrigue builds, and a legend is born.
CAST Sean Bean The Lord of the Rings franchise, GoldenEye, TV’s “Game of Thrones” Connie Nelson Gladiator, Wonder Woman, Nobody Steve Waddington TV’s Slow Horses, Uncharted, Edward II Lauren McQueen Here, TV’s Masters of the Air, Hollyoaks Lydia Packham Nuremberg, Kingdom of the Planet of the Apes, “Cowboy Bebop (2021)” Marcus Fraser TV’s Foundation, Small Axe, The Book of Clarence
PROGRAM INFORMATION Type: TV Rating: TV-PG Genre: Drama Episodes: 10 Run Time: 56 min approx. per episode EST Closed-Captioned: Yes EST Subtitles: None EST Format: 16×9 (1.78:1) Presentation EST Audio: English 5.1 and 2.0 Stereo
New York, NY— February 17, 2026 — Joshua Williamson and Carmen Carnero’s new run of IRON MAN is a certified hit! The debut issue arrived last month to critical acclaim and will return next month with a much-demanded second printing. Today, fans can peek ahead with the reveal of issue six, on sale in May. Featuring art by guest artist Juann Cabal, the issue will guest star Spider-Man and Norman Osborn.
Praised for delivering a back-to-basics approach while also planting seeds for a riveting future, IRON MAN #1 ended with a startling cliffhanger. As Tony raced to confront A.I.M. for stolen tech, Captain America hosted an eclectic group, warning them to keep a watchful eye on Tony’s recent actions. Among the familiar faces were fellow heroes like Captain Marvel, lifelong best friends like War Machine, and former adversary Norman Osborn!
Norman and Tony’s bitter rivalry defined Marvel’s “Dark Reign” era, in which Norman led the Dark Avengers and S.H.I.E.L.D. as the Iron Patriot. Now, he struggles to find redemption in the pages of Joe Kelly, John Romita Jr., and Pepe Larraz’s Amazing Spider-Man. Can Spider-Man prevent Norman’s old feud from resurfacing, or will Tony cause Norman to prematurely slip back to his old ways? In addition to Ryan Stegman’s main cover, IRON MAN #6 will feature stunning variant covers, including a special foil cover by Salvador Larroca, an homage to Larroca’s Invincible Iron Man (2008) #7 cover during his run on the title with Matt Fraction, and the latest in Todd Nauck’s “Ironic” series spotlighting the Iron Patriot armor, which makes a comeback in the story.
SPIDER-MAN MUST SAVE NORMAN OSBORN… FROM IRON MAN?!
Tony Stark and Norman Osborn have history. They’ve known each other longer than you might know. And when the Iron Patriot armor is stolen, all signs point toward the former Green Goblin. Only problem is Iron Man has just one, little, tiny thing standing in his way to take down Norman: the AMAZING, SPECTACULAR, FRIENDLY NEIGHBORHOOD SPIDER-MAN!
“The response to our new Iron Man series has been tremendous and inspiring,” Williamson shared. “It’s great to see Marvel readers embrace our take on the Armored Avenger. And we’re just getting started. IRON MAN #6 is the first of our ‘Iron Man Team-up’ issues and follows up on the Norman Osborn tease from the first issue’s cover.”
“I’ve always been fascinated by the rivalry between Tony and Norman and how in a different world they could have been allies or maybe even friends,” he continued. “But Tony doesn’t trust that Norman has turned to the side of the angels, which puts them into conflict. With Spider-Man caught in the middle. This is my first time writing the wallcrawler, and it’s been a dream come true. But it’s not all fun and games…This issue will be key for the future of Iron Man!”
Here’s what critics had to say about IRON MAN so far:
Iron Man #1 is everything I was hoping for, and the future couldn’t be brighter for one of Marvel’s premier heroes.
– ComicBook.com
This is everything you could want in an Iron Man series.
– SuperHeroHype
Ol’ Shellhead is back with a run you can’t miss!
– Fanlight Zone
The entry point to Iron Man that Marvel has been looking for a long time.
When I started writing for the Tom and Jerry syndicated newspaper strip in 1990, I was given three rules:
1. Tom could chase Jerry but not catch him.
2. No violence! Not none, not never!
3. No puns.
The first two rules contravened fifty years of animated history, spanning more than 160 anvil-dropping, tail-chopping, dynamite-explosive shorts from MGM, Gene Deitch, and Chuck Jones. The third always sort of applied to the cartoons anyway, since they were largely pantomime and didn’t rely on dialogue or wordplay, but Tom and Jerry both spoke in the syndicated strip. The reason puns weren’t allowed wasn’t that anyone thought there was anything wrong with them per se, but because the majority of newspapers that carried Tom and Jerry were located outside the United States and published in languages other than English—it was very popular in Middle Eastern countries if I’m remembering correctly—and puns, of course, don’t translate.
The irony is that the original Tom and Jerry cartoons were violent. Very violent. Animated shorts from the major movie studios of the 1930s and 1940s weren’t produced for children. They were part of the larger entertainment package moviegoers of the era were offered along with their double features, so for the price of admission, they also got short features, two-reel comedies, newsreels, coming attractions, and cartoons. That’s not to say kids didn’t enjoy Bugs Bunny for the frenetic action and slapstick, but their parents, who paid for those tickets, were laughing at the double entendres and satiric social commentary.
It was only with the coming of television and the relegation of animated shorts to the cartoon ghetto of children’s after-school and Saturday-morning time slots that anyone began to worry about the content. The repurposed theatrical shorts featuring Bugs Bunny, Daffy Duck, Roadrunner, Woody Woodpecker, Tom & Jerry, Popeye, Mighty Mouse, and others that made it to TV were trimmed of perceived child-unfriendly bits.
Tom and Jerry wasn’t very high up on the list of must-see cartoons. At the top was Bugs and just about any of the anarchic Warner Bros. Looney Tunes and Merry Melodies shorts, and at the bottom was Mickey Mouse and just about any Disney cartoon, which I always felt were trying to teach me a lesson. And somewhere in between were the cat and the mouse.
I didn’t give cartoons much thought or watch many of them after college in the mid-1970s. Even when I started writing the Tom and Jerry newspaper strip in 1990, I didn’t really need a refresher course on the characters. The dynamic was simple enough: cat chases mouse, cat catches mouse, cat gets his ass kicked. But the strip had a different dynamic: no asses got kicked, and they spoke.
Then, in 2009, I was asked to review Tom and Jerry: The Chuck Jones Collection, the 34 shorts made between 1963 and 1967 by Jones’ Sib Tower 12 Productions for MGM. And Tom and Jerry, at least in the cartoons by Chuck Jones—the genius behind my favorite vintage Warner Bros. cartoons and The Grinch Who Stole Christmas—suddenly shot up my list.
Now, I get to go back to where this 86-year long feline vs rodent rivalry began with the Tom And Jerry: The Golden Era Anthology 1940–1958 DVD collection—which, I might add, is labeled as “intended for the Adult Collector and May Not Be Suitable for Children”—an 817 minute, or close to 14 hour collection of all 114 MGM cartoon shorts.
It could also have been called “Tom and Jerry: The William Hanna & Joseph Barbera Golden Age Era Anthology,” for one of Hollywood animation’s most productive partnerships during the period when short-form animation was a central component of the moviegoing experience. Hanna had trained as an engineer and worked his way into animation through the technical and story departments at MGM, developing a reputation for timing, structure, and efficient production. Barbera came from a more conventional artistic path, having studied art and working as a gag writer and layout artist. In the late 1930s, the large MGM animation unit was overseen by producer Fred Quimby, and its directors, writers, and animators were routinely paired and reassigned.
Their partnership began with one such routine pairing, the result of which was “Puss Gets the Boot” (1940), the prototype for all future Tom and Jerry shorts, starring a cat called “Jasper”and a nameless mouse. The short was a fine balance between Hanna’s emphasis on pacing and Barbera’s focus on visual storytelling. The story was simple: after breaking a vase while chasing the mouse, Jasper is under the threat of banishment if he does any more damage. The mouse turns the tables on his tormenter, and Jasper spends a large chunk of the cartoon’s eight and one-half minutes trying to save every dish and glass in the house from being smashed by the gleeful mouse.
That first Hanna-Barbera collaboration introduced a cat-and-mouse dynamic that proved endlessly adaptable, economical, and, most importantly, popular with audiences. MGM soon committed the team to a continuing series, all of which are included in the five-disc DVD anthology (the Blu-ray collection includes a sixth disc with featurettes and documentaries). It was during those years that Hanna and Barbera refined their production model, balancing high animation standards with tight schedules and budgets. Working with a stable group of animators, background artists, and composers—most notably Scott Bradley—the duo produced an average of six shorts a year, films designed for widescreen theatrical exhibition, with detailed backgrounds, expressive character animation, and carefully timed musical scores that carried much of the storytelling. The shorts were nominated for 13 Academy Awards for Best Short Subject: Cartoons and won seven, making them one of the most honored series in their field.
Tom And Jerry: The Golden Era Anthology gives lie to the often assumed repetitive formula nature of these cartoons. It’s true the central conflict rarely changed, but the shorts experimented with setting, period parody, and tone, moving from domestic slapstick to fairy tales, historical pastiches, and contemporary satire. The absence of dialogue emphasized the story’s pacing and rhythm, which, like the great silent comedies, proved animation’s ability to communicate across language barriers.
Academy Award-winning “The Yankee Doodle Mouse” (1943), produced during World War II, is a prime example of the adaptability of Tom and Jerry’s “formula.” Set in a basement transformed into a miniature battlefield, Tom and Jerry are opposing military forces, complete with improvised weapons and patriotic music, their violence escalating into outright demolition. Jerry rigs Tom with improvised explosives, detonating him multiple times with firecrackers and makeshift bombs. Tom is blown apart, blackened, and reduced to scattered parts before reassembling himself for the next assault, mirroring horrific battlefield imagery that would have been familiar to contemporary audiences.
In “Safety Second” (1950), the mayhem moves to a skyscraper construction site, where Jerry engineers a series of situations leading to Tom being sawed, smashed by girders, dropped from heights, and nearly chopped apart by industrial machinery. The violence is sustained and severe, using modern urban hazards as tools of dismemberment.
Even the introduction of culture couldn’t save Tom from extreme abuse. Academy Award winner “The Cat Concerto” (1947), perhaps one of the most famous of the series, places Tom at a concert piano performing Liszt while Jerry interferes from inside the instrument. While remembered for its musical sophistication, the physical comedy isn’t any less severe. Fingers are slammed, tails are crushed, and the piano itself becomes a blunt instrument. Time was no barrier to mayhem either, as in “The Two Mouseketeers” (1952), a period parody of Dumas, with Jerry and his cousin Nibbles (aka Tuffy) attack Tom with swords, cannon fire, and heavy weaponry, repeatedly stabbing, blasting, and reducing him to smoking remains, only to have him reappear for the next assault.
On the other hand, “Quiet Please!” (1945) flips the formula on its head. Built around Tom’s desperate attempt to avoid waking a sleeping bulldog, it plays with sustained tension rather than constant and frenetic motion for laughs, the humor coming from restraint, anticipation, and carefully timed bursts of violence when things inevitably go wrong.
I don’t know if Hanna and Barbera knew that “Tot Watchers” (1958) would be their final Tom and Jerry short, but it featured a rare truce between cat and mouse when they’re forced to work together, as they’d done only seven or eight times before in past shorts, to protect a wandering infant from danger while the babysitter is preoccupied on the telephone. Tom still takes a beating, but not at the hands of his usual opponent.
Tom and Jerry: The Golden Era Anthology restores these cartoons to their original context as theatrical shorts designed for adults. If the violence was excessive, at least it proved that there were an infinite number of ways a simple chase could be restructured through setting, music, pacing, and escalation. And from a contemporary vantage point shaped by Adult Swim, Rick and Morty, BoJack Horseman, and other explicitly adult animated fare, the hand-wringing that once accompanied the broadcast of unedited Tom and Jerry cartoons seems silly. Modern animation is a no-holds-barred exercise in graphic violence, nihilism, and verbal cruelty, marketed without apology to grown-up audiences. But it’s a matter of context: Hanna and Barbera’s cartoons weren’t intended as children’s programming until television repurposed them as such. But seen alongside today’s “anything goes” animation, the MGM Tom and Jerry shorts don’t seem so much transgressive as quaint.
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Contains information about the traffic source or campaign that directed user to the website. The cookie is set when the GA.js javascript is loaded and updated when data is sent to the Google Anaytics server
6 months after last activity
__utmv
Contains custom information set by the web developer via the _setCustomVar method in Google Analytics. This cookie is updated every time new data is sent to the Google Analytics server.
2 years after last activity
_gac_
Contains information related to marketing campaigns of the user. These are shared with Google AdWords / Google Ads when the Google Ads and Google Analytics accounts are linked together.
