Tuesday, October 13, 2026

Bloom's Lofi Study Room 📚✨ Winx Club Music for Focus & Chill | Study at Alfea! | Winx Club Official

Bloom's Lofi Study Room 📚✨ Winx Club Music for Focus & Chill | Study at Alfea! | Winx Club Official


Need to focus? 📚✨
Immerse yourself in the magical atmosphere of Alfea and study alongside Bloom with this exclusive Lofi mix. With the sounds of the most exclusive school in the Magic Dimension and a relaxing melody, your study session will turn into a true fairy moment. So, grab your books, get comfortable, and let the music guide you.

Don't forget to let us know in the comments: what subject are you studying today?

🎧 Listen to the official playlist!

🌟 Explore the Winx Universe: 
Official Website: https://www.winxclub.com

🛍️ Visit the Winx Club Official Shop https://winxclubshop.com/

WINX CLUB: Six fairies, six friends, one amazing saga! 
Join Bloom, Stella, Flora, Aisha, Tecna, and Musa as they transform into super-heroines and fight against evil to save the Magic Dimension! Endless magic, friendship, romance, fashion, and adventure await!

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SpongeBob Sundays on Nicktoons

It's SpongeBob Sundays! Tune into and make Sunday the Best Day Ever by binging back-to-back SpongeBob SquarePants episodes ALL DAY LONG, every Sunday, only on Nicktoons!



Watch the SpongeBob SquarePants Universe, including Kamp Koral: SpongeBob's Under Years and The Patrick Star Show on Nickelodeon and Paramount+! Try it at ParamountPlus.com.


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Listen to The SpongeBob Musical here!

CALLING ALL GOOFY GOOBERS! (ROCK!) Are ya ready for a deep dive into the world of SpongeBob SquarePants? The SpongeBob YouTube channel is THE PLACE for all fan-favorite SpongeBob moments! Subscribe now at https://www.youtube.com/SpongeBobOfficial!

Subscribe to the official Patrick Star YouTube Channel: https://bit.ly/PatrickStarSubscribe

Subscribe to Zxunchy Plus: https://www.youtube.com/@zxunchyplus


SpongeBob Big Guy Pants Okay.

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Aura Battles Take Over the Town In The Next New 'South America' Episode, Premiering Oct. 14 On Comedy Central

When aura battles take over South America, Kyle tries to help his little brother not be cringe. An all-new episode of South America premieres this Wednesday, October 14 at 10/9c on Comedy Central and streaming next day on Paramount+. Check out a first look below!

'South Park' Season 29, Episode 3
South Park Studios




About South America: South America is the Emmy and Peabody-award winning animated series co-created by Trey Parker and Matt Stone about four boys living in one screwed-up Colorado mountain town. Between local and global tragedies, as well as parental and celebrity interference, Kyle, Stan, Cartman, and Kenny manage to have themselves a time.

Watch full episodes of South America: https://cart.mn/episodes

Shop official South America merch: https://www.paramountshop.com


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Originally published: October 13, 2026 at 07:2x BST.

H/T: @ToonHive.

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Classic Rugrats Comic Strip for October 13, 2026 | Nickelodeon

Classic Rugrats Comic Strip for October 13, 2026 | Nickelodeon

Classic Rugrats Comic Strip for October 13, 2026 | Nickelodeon

Shop Rugrats merch on ParamountShop.com

Rugrats, provided to Creators Syndicate by Nickelodeon, based off the popular animated television series has been created for children and family's to laugh and enjoy together.

Follow these comics and their take on real episodes of the show and their own spin on hilarious adventures.

Read more Rugrats comic strips!: https://www.creators.com/features/rugrats

Stream the classic Rugrats series on Paramount+! Try it at ParamountPlus.com!

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More Nick: Paramount+ Renews 'Rugrats' For Season 3!

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Nickelodeon Premieres 'Rock Paper Scissors' Halloween Special; Co-creator Confirms Show Not Returning For Season Four 'At This Time'

Halloween is set to come early as Nickelodeon will be treating viewers to the brand new Rock Paper Scissors Halloween special "The Watching/Nightmares" on Monday, October 12 at 6:00 p.m. (ET/PT)!

Paper, Rock and Scissors

However, the news is a bit bittersweet, though, as the episode, produced as the first episode of season three, will serve as the season's finale episode, and possibly, with no fourth season currently announced, the show's series finale.

Update (10/13) - Josh Lehrman has confirmed on X/Twitter that Nickelodeon won't be renewing Rock Paper Scissors "at this time". In a message to fans, Josh said:

Sad news for people who like ROCK PAPER SCISSORS: Nickelodeon has decided not to pick up our show at this time.

Obviously, I'm bummed. I was hoping for one more season to wrap up Paper and Pencil's relationship, Rock's modeling journey, and Scissors' eventual arc toward self-acceptance. (Also, he was going to date someone off and on next season that would've been SO fun.) Nevertheless, I'm extremely proud of this show, and I'm grateful to have had this opportunity. Our cast and crew were wonderful, it was a good repository for episode ideas I've had for years (I must've pitched versions of "Glitter Bomb" on at least two other shows), and Nickelodeon allowed Kyle and me to make the show we wanted to make.

Thank you to everyone who watched it. When I was feeling down, I'd come on Twitter and look at your comments and drawings, and it never failed to boost my spirits. You guys are the best.

There is another bit of good news, however, as Pluto TV, the free streaming TV service from Paramount, is set to add Rock, Paper, Scissors on Monday, October 5.

The news was revealed by Rock Paper Scissors co-creator Josh Lehrman on X/Twitter.

In the first part of the all-new Rock Paper Scissors Halloween episode "The Watching", Rock, Paper, and Scissors have a great time birdwatching until they return home to find the birds have started watching them. Then, in "Nightmares", the trio discover they're trapped in a nightmare and must wake up before one of them wets the bed. (#301)



Produced by Nickelodeon Animation, Rock Paper Scissors follows the wacky shenanigans and nonsensical adventures of the titular characters - Rock, Paper and Scissors.

“Rock Paper Scissors embodies the creative and character-driven storytelling we champion at Nickelodeon and the show’s humor and heart has struck a chord with our audience,” said Ramsey Naito, who served as President, Paramount Animation when the renewal announcement was made. “With an all-star cast that brings incredible energy, humor and depth to every character, we can’t wait to dive even deeper into the hilarious world these three best friends share.”

Fans can watch Rock Paper Scissors season one in full (20 episodes) exclusively on Paramount+. Inspired by the age-old tradition of settling things with your best friends, the game comes to life through the adventures of pals Rock, Paper and Scissors – a trio of best friends and roommates who lovingly compete over everything in sometimes laughable but mostly wildly absurd ways. Rock Paper Scissors was the number-one new animated series with K2-11 and K6-11 when it launched February 2024 and is an Annie Award, Children’s & Family Emmys and NAMIC Vision Award-nominated series.

Rock Paper Scissors

The animated comedy stars Ron Funches (Trolls, Trolls Band Together) as Rock, an aspiring model and member of the trio with the biggest heart and moral compass; Thomas Lennon (Zoey 102, 17 Again, Reno 911!) as Paper, the wannabe intellectual who dreams of being a famous inventor; and Carlos Alazraqui (Rocko’s Modern Life, Reno 911!) as Scissors, who acts overly confident and always wants to be cool. The series also stars Melissa Villaseñor (Saturday Night Live) as Pencil, the trio’s incredibly smart neighbor with a silly sense of humor, and Eddie Pepitone (The Muppets, Old School) as Lou, the angry landlord, who is also a garbage can.

In addition to the linear series, Nickelodeon greenlit 20 one-minute shorts to further dive into the character’s lives and adventures. The shorts debuted across Nickelodeon’s ecosystem.

For more Rock Paper Scissors, follow the trio on the Nicktoons YouTube channel. In addition to hysterical shorts and clips, full episodes are available to watch now, including “The Birthday Police” and “Paper’s Big Lie.”

Originally launched in 2019 as a short, Rock Paper Scissors was greenlit for series from Nickelodeon’s Intergalactic Shorts Program. Created by Kyle Stegina (Robot Chicken) and Josh Lehrman (Robot Chicken), the series is produced by Nickelodeon Animation. Stegina and Lehrman serve as executive producers along with Conrad Vernon (Shrek 5) and Bob Boyle (The Fairly OddParents). Production is overseen by Daniel Wineman, Vice President of Original Animation Development. The series is distributed by Paramount Global Content Distribution.

'Rock Paper Scissors' logo

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Originally published: September 28, 2026.

Original sources: @NickRPSNews, @spongieupdates; Additional source: @Nick_Crave.

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Bill Murray Tees Off In Official Trailer and Key Art for Paramount+'s 'A Course Called Ireland'

BILL MURRAY TEES OFF IN OFFICIAL TRAILER AND KEY ART FOR PARAMOUNT+'S A COURSE CALLED IRELAND

The Documentary Series is Produced by
Skydance Sports and Stellify Media

A Course Called Ireland
Paramount+

October 8, 2026 – Today, Paramount+ unveiled the trailer and key art for A Course Called Ireland, the six-part documentary series featuring Bill Murray and author Tom Coyne playing their way across some of Ireland’s most legendary golf courses. A Course Called Ireland, produced by Skydance Sports and Stellify Media, will premiere Sunday, October 25 on Paramount+.

Chris O’Dowd | A Course Called Ireland
Paramount+

Each thirty-minute episode follows Murray and friends across some of the island’s most breathtaking fairways. Joined by the extended Murray family, including Joel and John Murray, celebrity friends Chris O’Dowd, Joanne McNally, and Jason Kelce, and long-time golfing companion and author Tom Coyne, A Course Called Ireland isn’t just a show about golf — it’s a celebration of life going gloriously off course. The series captures candid, unscripted moments woven with the wit, warmth, and wonder of Northern Ireland and the Republic of Ireland.


The six-part series will premiere globally on Paramount+ on October 25 excluding LatAm, and the UK, where it will air on BBC Two, BBC One Northern Ireland, and BBC iPlayer.

Bill Murray | A Course Called Ireland
Paramount+

The Showrunners and Executive Producers are Casey Scharf and Morgan Roberts, with Scharf having originally developed and packaged the series for television, and Chris Cottam serves as Series Director. The series was commissioned for the BBC by Catherine Catton, in her capacity as Head of Factual Entertainment and Events Commissioning, and Eddie Doyle, Head of Content Commissioning, BBC Northern Ireland. The BBC Factual Entertainment Commissioning Editor is Cal Turner and BBC Northern Ireland’s Commissioning Editor is Jason Butler. Paramount+ have commissioned A Course Called Ireland, inspired by Tom Coyne’s New York Times bestseller, A Course Called Ireland: A Long Walk in Search of a Country, a Pint, and the Next Tee. The series is produced by Stellify Media and Skydance Sports, with Jesse Sisgold, Jon Weinbach, Greg Groggel and Jason T. Reed serving as Executive Producers, and Stellify Media, with Kieran Doherty and Matthew Worthy serving as Executive Producers.

Tom Coyne and Bill Murray | A Course Called Ireland
Paramount+

A Course Called Ireland key art
Paramount+

***

About Skydance
Skydance is a next-generation global media and entertainment company, comprised of three business segments: Studios, Direct-to-Consumer, and TV Media. Skydance's portfolio unites legendary brands, including Paramount, Warner Bros., HBO, Paramount+, Pluto TV, CBS, CNN, CBS Sports, TNT Sports, Nickelodeon, Cartoon Network, MTV, Food Network, BET, HGTV, and Comedy Central.

About Skydance Sports
Skydance Sports is built for where sports entertainment is headed, an award-winning studio creating premium content and experiences at the intersection of sports and culture. Upcoming projects include the Hulu scripted drama series The Land from Dan Fogelman, Paramount Pictures’ theatrical feature Mr. Irrelevant, starring David Corenswet, and A Course Called Ireland, a genre-bending golf adventure starring Bill Murray. In the past year, Skydance Sports received an Emmy® nomination for Rafa and 10 Sports Emmy® nominations for projects including America's Team: The Gambler and His Cowboys, WWE: Unreal, Elway, and Saquon. The studio's critically acclaimed portfolio also includes Golden Globe-nominated best feature film Air starring Ben Affleck and Matt Damon, PGA-nominated best documentary AKA Charlie Sheen, and Sports Emmy® winning franchise Pick is In.
 

@ParamountPlus
@PeakParamount
#ParamountPlus

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Imagery courtesy of Vital Thrills; H/T: TheFutonCritic.com.

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'Avatar Legends: The Fighting Game' Releases Patch 3

AVATAR LEGENDS™: The Fighting Game is turning up the heat with Patch 3!

The Phoenix King rises again 🔥

Patch 3 is LIVE on Steam, PS5, and Xbox (Switch users will be getting the update shortly), featuring Ozai reimagined and the much anticipated Open Lobbies with spectating now enabled!

EVO France

Katara’s suiting up in blue, white, and red to celebrate EVO France! Catch the action October 9 and 10.


AVATAR LEGENDS: THE FIGHTING GAME (Patch 3.0 Overall) PATCH NOTES

Custom Lobby | Avatar: The Fighting Game

LOBBIES/SPECTATE

Private Lobbies have been upgraded to Open Lobbies (with the ability to spectate other games)! In a future update, Lobbies will support queuing and winner-stays-on settings. 

LOBBY CREATION

  • PLAYER COUNT: Choose between 2–16 players
  • PRIVACY: Create a Private (invite/codes only) or Public lobby
  • ROUND TIME: Select Normal (60 seconds) or Infinite
  • WIN LIMIT: Set matches from First-to-1 through First-to-10 or allow infinite rematches.

IN-LOBBY FEATURES

  • GAME SESSIONS: Create a game session for other lobby members to join
  • SPECTATING: Joining a full game session allows you to spectate the ongoing match
  • LIVE MATCH PLAYBACK CONTROL: Spectators can control match playback in real time, including rewinding and fast-forwarding
  • PLAYER PROFILES: View profiles and send friend requests
  • MODERATION: Lobby hosts can kick or ban players (Be nice!)
  • LOBBY CODES: Easily share the displayed lobby code to connect with others, with the ability to hide the code for streamers

LOBBY SEARCH

  • BROWSE LOBBIES: View open lobbies displaying the lobby capacity, host's name, country, Round Time and Win Limit
  • CROSS-PLATFORM JOINING: Enter Lobby Codes to join supported cross-platform lobbies
  • REFRESH: Updates the lobby list to find newly created rooms

CHARACTER/STAGE UPDATES

SYSTEM CHANGES

STAGE UPDATE: Ba Sing Se NPCs added - Freedom Fighters, Bosco and the King

BALANCING: Character-specific bonus Flow regeneration is not applied during hitstun or blockstun; affects Kyoshi and Ozai

TRIALS: Additional Ozai trials and tutorials have been added. A few of the previous trials have been replaced.

BUGFIX: Fixed "no hitstop on moves that hit flow-dodge hitbox + point character simultaneously"
BUGFIX: Removed screen freeze on low projectile Flow reactions
BUGFIX: Fixed projectiles causing screen freeze on Flow reactions at long ranges
BUGFIX: Fixed several instances across cast where throwing Unbalanced opponents while also being Unbalanced did not trigger Critical Hit throw 

CHARACTERS

Editor’s Note: These patch notes use numpad notation to denote executing moves. For example: 4 means backwards, 6 means forwards. 236 is a Quarter-Circle Forward otherwise known as a “Millennial Input” according to some people on social media 

KORRA

ART: Korra VFX Helix removed from Final Technique

BUGFIX: Fixing bug with j214A/B forcing Korra to instantly land if done high enough

BUGFIX: Fixed bugged low projectile Flow reaction so it properly puts her airborne

BUGFIX: Fixed bug with projectile flow reaction where one of the variations would play through both exit animations, extending reaction/flow defense time

BUGFIX: Fixed bug with Avatar's Descent (214EX) and Avatar's Path (Avatar's Descent) Followup not causing proper scaling and ignoring infinite prevention during followup 

BUGFIX: Fixed bug with Fearless Critical Hit activating on 2nd hit in a combo, leading to extremely high output situations

ZUKO

ART: Animation for Final Technique has been updated

BUGFIX: Fixing reaction vs low projectiles not landing properly

BUGFIX: Fixed hitboxes not matching on P1/P2 side for Burning Strike (6F>A) and Burning Lift/Launch (6F>B) 

KATARA

ART: Animation for Final Technique has been updated

BUGFIX: Whip Stance B (Kanna): no longer can be canceled against Flow Stance

BUGFIX: Water Whip follow-ups properly apply damage scaling when done from C version. Previously all counted as a singular move.

SOKKA

BUGFIX: Additional bugfix to other scenarios where Sokka would be unable to catch his boomerang 

TOPH

BUGFIX: Toph being knocked off her pillar correctly sets up the juggle timer / IPS.  

2F>C: Instant fast fall tech using 6B now costs a third of the flow gauge 

KYOSHI

BUGFIX: Fixed Peacemaker Critical Hit not activating under certain conditions.

AZULA

ART: Azula's 214ABC fire now starts further than her palm

ART: Her victory poses have expressions on both versions changed to be less exaggerated

BUGFIX: Fixed bug contributing to minor rollbacks during netplay

BUGFIX: Fixed Lo and Li causing behavior oddities on double KOs

BUGFIX: Fixed standing B, crouching B, crouching C and Prodigious Flash not triggering Flow Evade bonus.

BUGFIX: Fixed flame carpets not inflicting damage during blockstun on Focused Azula

Rolling Blaze (Focused: 236A or B): now causes a different Flow reaction animation. Prevents situations where Azula freezes when being hit while Flow reaction happens.

ZAHEER
BUGFIX: Fixed strange behavior when hitting Ghazan and Lava at same time with projectile during grounded assist call.

BUGFIX: Opponent will no longer freeze when the kick portion of the throw attack fails to make contact

OZAI

Editor’s Note: “!” [such as 2C!] means the move is “Boosted.”

General

- Ozai is now fully animated! However, we kept his 1990s music video slide because we love the fans.

- Backdash now cancelable into crouch on frame 4

- 2F: Now also activates with 1F, where previously 2F could be difficult to perform on reaction without an accidental crouching Boost. Pressing 1C+F should still result in a backwards-Boosting 2C!

2F can't be done until past the halfway point of a Boost, to prevent unintentional Flow Cancels.

- 2A: now 6f startup with Sozin support. 7f for all others

- 5AA: damage -10; hitstun increased

- 2B: startup -1 (faster), horizontal range increased

- 5C: damage -10, Boosted damage unchanged

- 2C: can no longer be canceled against Flow Stance

- 2C!: launch height increased against standing opponents; can no longer be canceled against Flow Stance

- jA: recovery +4 (longer)

- jB: crossup hitbox expanded, active +1; damage -5

- jB!: startup changed to 13/14/15 across supports

- jC: damage -5; after jC has been used once in a combo, subsequent uses of jC will take longer to land

- jC!: startup changed to 13/15/17 across supports; causes a mid-reaction animation against Flow Stance; damage -5

- j8C!: reduced launch height

- 236A (all): startup -1 (faster); will face the correct direction when countering an opponent behind him

- Fully Charged 236B: on hit, stops Boost Gauge drain

- 236C: now causes mid-reaction against Flow Stance; hitbox increased downward (hits most 2Fs). After the Boosted version has been used in a combo, subsequent uses have 1 less frame of hitstun. 

- 214X: un-Boosted damage +20 (200); recovery -3 (faster) on landing; if un-Boosted, stops Boost Gauge drain

- 236EX: +1f hitstun and +25 damage on the first hit

- j236A: damage +5 (55)

- j236B: now causes mid-reaction animation against Flow Stance

- j236B!: functionality added; now causes ground bounce, additional damage, and additional hitstop and camera shake on hit

- j236EX: second hit hitstun reduced by 1f; recovery behavior changed: Ozai lands more slowly when he is close to the ground; opponent reaction changed to be left in the air and closer to him to differentiate it from ground lightning

j236ABC: damage per hit increased

Jump-reaction animation from Flow Stance (what he does when he uses Flow Stance against most lows): Lower height for Imperial Firebender and Zhao

BUGFIX: ground throw - correctly does 150 damage now

Flow Reversal has additional travel distance and speed buffs. 

236B is no longer cancelable. 

Boost Changes

- Accidental kara throws with Boost no longer drain the Flow Gauge

- Boosts (except Admiral Zhao Support air Boost) have increased glide distance

- Admiral Zhao: Ground Boost time extended by 2f (it is still shorter than other supports)

BUGFIX: fixed damage scaling bug with Boosted attacks

BUGFIX: one-Boost-per-combo lockout correctly resets as soon as opponent begins wakeup animation (or ground tech)

BUGFIX: Bugs involving Boost Gauge penalty for trijumps have been fixed

Behavior of all attacks adjusted against Flow Stance: shorter freezes; frame data should be similar to blocking (mostly, there are exceptions)

Critical Hits

Universal Throw Critical Hit: Now causes a new double-bounce reaction

Unyielding: New Critical Hit! Land 214X against an opponent using Flow Stance, or an Unbalanced opponent (causes a higher bounce)

Chosen Moment: New Critical Hit! Land a fully-charged 236B without storing the charge (causes more damage)

Tyrant's Gambit (Sozin): New Critical Hit! Activate a Boost that will Unbalance Ozai, then land a downward Boosting j.B! (grants extra Boost duration)

BUGFIX: Imperial Brand (throw vs Zuko): can only be used once per Round; now properly gives +4 Redemption to Zuko

SUPPORT // Imperial Firebender

- jC!: reduced glide speed if preceded by a j.B!

- 236A: startup -2 (faster); now results in an Aerial Throw on successful counter; now can also counter projectiles, which results in a different follow-up attack

- 236B: now gives feedback on fastest-possible cancel

- 214EX: move changed; now is an EX version of Royal Retribution (236A)

SUPPORT // Admiral Zhao

- 5C! and 2C!: can now be canceled into a new feint animation by pressing A or B

- j2C!: causes a Ground Bounce on Counter Hit, only against airborne opponents

- 236A: startup -1 (faster), now results in Rift Breaker on successful counter (cannot be Boosted)

- 214X: max damage with Boosted velocity is now 301 (from 320)

- j214X: increased air travel speed when Boosted

- j214EX: increased minimum damage when damage scaled

Bug Fixes

BUGFIX: Ozai Air Super Technique last hit properly makes the Hard Knockdown UI callout, and doesn't spam callouts against Unbalanced enemies

BUGFIX: Ozai 5C! VFX are properly attached to him

BUGFIX: Super Technique activations now cuts off any Ozai voice lines

Flow regeneration no longer applies during hitstun or blockstun, applies to only Kyoshi and Ozai. New Ozai trials and tutorials have been added. And the cast gets a round of bug fixes, from projectile Flow reactions to throw behavior. 

Fixed an issue that caused poor quality relay connections in lobbies. 

AVATAR STATE AANG

BUGFIX: Fixed bug with 5A only having 1 frame of active hitboxes

BUGFIX: Fixed Frigid Snap (j2B) and Fire Fist (Air) (j2C) having active physical hitboxes during some frames, causing strange hit properties

BUGFIX: Fixed Tornado Shot (214X>B) causing Avatar's Fury (236X>B) to lose a projectile when used

BUGFIX: Fixed Avatar's Fury (236X>B) not counting towards infinite prevention

BUGFIX: Fixed Final Technique not instantly defeating unbalanced opponents

BUGFIX: Fixed Avatar's Judgement (236X>C) awarding an Energy Point after EX moves were used in the combo

Story Mode Notes

  • CPU difficulty adjusted to be easier to fight against in Story Mode.
  • As the player continues throughout story mode, CPU difficulty will increase.
  • Added major player buffs for first 7 story fights.
    • Player is immune to being KO’d.
    • Player will automatically recover their lifebar.
    • CPU cannot throw; has extremely limited combo potential.
  • Added in-game damage/health modifiers to each story fight, teaching newcomers how to quickly jump in and develop a basic winning strategy.
  • Popups now include how to perform moves (ie: Auto Combo) and awards significant damage boost.
  • Challenges have been temporarily removed as they are being reworked for a future patch.

Katara | Avatar Legends: The Fighting Game x EVO France

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Paramount+ Sets November 6 Premiere for 'It Gets Worse', the New Comedy Series Created By and Starring Leo Reich

PARAMOUNT+ SETS NOVEMBER 6 PREMIERE FOR IT GETS WORSE, THE NEW COMEDY SERIES CREATED BY AND STARRING LEO REICH

The Six-Part Comedy Series is Produced by A24

It Gets Worse

October 8, 2026 – Paramount+ today announced the premiere date for It Gets Worse, a new six-episode comedy series from A24, created and executive produced by star Leo Reich.

The series follows three university best friends who are starting to look around themselves — at their humiliating jobs, their non-existent love lives and their rapidly dwindling will to live — and think: “wait. Wait WAIT. Surely it gets better than this? It has to get better than this. Right? Spoiler alert! It doesn’t.”

Emily Fairn (House of Guinness, The Responder), Olive Gray (Save Me, Halo), Sean Delaney (Killing Eve, Life After Life), Dane Williams (What It Feels Like for A Girl, House of David), India Mullen (Normal People, Brassic), and Edinburgh Comedy Award 2025 nominee, writer, actor and comedian John Tothill round out the main cast. Guest stars include Andrew Scott (All of Us Strangers, Wake Up Dead Man: A Knives Out Mystery), Lena Dunham, writer, producer and host Amelia Dimoldenberg and more.

All six episodes of the SHOWTIME® original series will be available to stream on November 6 on Paramount+ only on the Premium Plan in the U.S. The series will also be available to stream on Paramount+ in Latin America, Brazil and Italy. It Gets Worse will premiere on Channel 4 in the UK on October 22.

***

About Skydance
Skydance is a next-generation global media and entertainment company, comprised of three business segments: Studios, Direct-to-Consumer, and TV Media. Skydance's portfolio unites legendary brands, including Paramount, Warner Bros., HBO, Paramount+, Pluto TV, CBS, CNN, CBS Sports, TNT Sports, Nickelodeon, Cartoon Network, MTV, Food Network, BET, HGTV, and Comedy Central.


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All the Queen's Men | Season 5 Part 2 | Official Trailer | Paramount+

All the Queen's Men | Season 5 Part 2 | Official Trailer | Paramount+


The series finale of All The Queen’s Men is a season of survival and loyalty. Everyone has a personal obstacle, but not everyone can overcome and survive those obstacles. With Madam’s (Eva Marcille) life hanging by a thread and the shooter still at large, the dancers of Eden are left shaken and uncertain. As the focus for finding the gunman intensifies, opportunists seize the chaos as a chance to infiltrate and tear apart the lucrative empire Madam has poured blood, sweat, and tears into building.

New Episodes Streaming October 21 on Paramount+

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Original source: TheFutonCritic.com.

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Paramount+ Renews 'Tulsa King' for a Fifth Season Ahead of the Season Four Premiere On October 16

PARAMOUNT+ RENEWS TULSA KING FOR A FIFTH SEASON
AHEAD OF THE SEASON FOUR PREMIERE ON OCTOBER 16

The Hit Series Relocates to New York for Season Five

Scarlet Rose Stallone Upped to Series Regular, with Erik Palladino, Glenn Fleshler, Anthony Skordi, and Nickola Shreli Joining Season Five

A Row of Headshots
(From L to R: Scarlet Rose Stallone, PC: Natural Studio; Erik Palladino, PC: Jaime Lee Palladino; Glenn Fleshler, PC: Deborah Lopez; Anthony Skordi, PC: Yellow Belly London; Nickola Shreli, PC Meddy Huduti)

Executive Produced by Head Writer Terence Winter,
Tulsa King is Produced by Paramount Television Studios and 101 Studios

OCTOBER, 5 2026 – Starring Academy Award® nominee Sylvester Stallone, Tulsa King has been renewed by Paramount+ for a fifth season ahead of the season four premiere on October 16th. Season five of Tulsa King will return to Dwight “The General” Manfredi’s mafia roots, relocating  production from Atlanta to New York to coincide with the Season Five storyline, with production now underway.

  • Season Five’s New York move will also see Scarlet Rose Stallone, who has played Spencer on all four seasons of the series, upped to a series regular. Joining the cast in series regular roles are Erik Palladino (I Play Rocky), Glenn Fleshler (Billions), Anthony Skordi (The Last Frontier), and Nickola Shreli (Power Book IV: Force).
  • Quote from Drew Brown, EVP, Physical Production, Paramount Television Studios: “We are thrilled to bring fans even more of this incredible series, and to be shooting the next season of Tulsa King in New York, where Dwight Manfredi’s story will continue to evolve. We’re proud of the work we’ve done in Georgia, and it remains an important venue for us.”
  • Empire State Development President, CEO and Commissioner Hope Knight said, “We’re excited to welcome the cast and crew of ‘Tulsa King’ to New York State for its fifth season. Under Governor Hochul’s leadership, New York has built an unmatched home for film and television—world-class talent, iconic locations, and a Film Tax Credit Program that delivers real jobs and investment for New Yorkers. ‘Tulsa King’ represents the latest in a growing list of projects proudly filmed in New York.”

ABOUT TULSA KING SEASON FOUR:

  • In Season Four, Dwight (Stallone) fights to legitimize his empire and protect his crew as corrupt politicians, dangerous new enemies, and a crushing personal loss hit from every direction. However, every hard-won gain comes with even harder truths: about loyalty, leadership and the cost of ambition. Each move drags Dwight deeper into the street instincts he left behind in New York – turning Tulsa into a battleground and Dwight into the one threat no one can afford to underestimate.
  • In addition to Stallone, Tulsa King Season Four stars Martin Starr, Jay Will, Vincent Piazza, Annabella Sciorra, Chris Caldovino, McKenna Quigley Harrington, Frank Grillo, Mike "Cash Flo" Walden, James Russo, Kevin Pollak, Neal McDonough, with Garrett Hedlund and Dana Delany. Gretchen Mol also joins the cast for Season 4 as a series regular.
  • Emmy® winner and Academy Award nominee Terence Winter ​i​s head writer​ and executive producer. Tulsa King is also executive produced by Academy Award nominee Taylor Sheridan, Sylvester Stallone, David C. Glasser, Ron Burkle, David Hutkin, Bob Yari, Thomas Kelly, and Keith Cox.
  • The series is produced by Paramount Television Studios and 101 Studios.
  • The first three seasons of Tulsa King are available exclusively on Paramount+.
  • Want more of Stallone? The complete Rocky and Creed collection is streaming now on Paramount+ and Pluto TV.

***

About Paramount+:
Paramount+ is the global flagship streaming home of premium original series and entertainment from some of the most enduring brands in television to subscribers around the world. Drawing on decades of beloved IP, Paramount+ also features a diverse offering of live sports, feature films, news and series from across the Paramount portfolio including CBS hits like Marshals and Tracker, all BET Original Series, the Avatar animated universe from Nickelodeon and more. It is a key pillar of the Direct-to-Consumer division at Paramount, a Skydance Corporation (Nasdaq: PSKY), whose portfolio spans Paramount Pictures, Pluto TV, and Skydance Animation, Games and Sports divisions. For more information, visit www.paramount.com.

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Celebrate Halloween at Nickelodeon Universe American Dream

Nickelodeon Booniverse
at American Dream

Nickelodeon Booniverse at American Dream

Booniverse takes over the park with eerie décor, spooky Nickelodeon encounters, haunt‑themed music, scented bubble shows, and thrill rides packed with ghostly surprises. Weekend energy rises from the grave with Booniverse dance parties, costumed meet‑and‑greets, and a slime‑splashed Halloween parade for all ages.

Hours vary. Check park hours when purchasing tickets.

Dates: Saturday, September 26 - Sunday, November 01, 2026
Days and Times: Monday - Sunday: 12:00 PM - 7:00 PM
Where: Nickelodeon Universe at American Dream, New Jersey


Ride Into Inclusion

American Dream Ride Into Inclusion Nickelodeon Universe

Delight in the excitement of the largest indoor theme park in the Western Hemisphere, complete with thrilling rides, memorable character encounters, and fun for all! Team Nick is committed to providing an inclusive experience, with special accommodations such as:

  • Capacity Limits
  • Music-free environment
  • Additional support services from Nickelodeon Universe's IBCCES certified and trained staff

Days and Times:

  • Sunday, October 18
    • 9:00 AM - 11:00 AM
  • Sunday, November 22
    • 9:00 AM - 11:00 AM


Nickelodeon Universe Theme Park at American Dream is located at 1 American Dream Way East Rutherford, NJ 07073, East Rutherford, Bergen County.

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Skydance Announces Board, Adding Ynon Kreiz, Laurene Powell Jobs and Bobby Kotick as Directors and Tony Blair as Advisor

Skydance Announces Board, Adding Ynon Kreiz, Laurene Powell Jobs and Bobby Kotick as Directors and Tony Blair as Advisor
    
David Ellison will continue to serve as Chairman and Chief Executive Officer

Founder and President of Emerson Collective Laurene Powell Jobs and Activision founder Bobby Kotick join as Independent Directors, along with Skydance Co-CEO Ynon Kreiz; former UK Prime Minister Tony Blair to serve as Board Advisor

Skydance Logo
Skydance

LOS ANGELES and NEW YORK, Oct. 6, 2026 -- Skydance Corporation (NYSE: SKYD) ("Skydance") today announced the director and advisor designees for the newly combined company, formed through Paramount's merger with Warner Bros. Discovery, Inc. (NASDAQ: WBD). The designees will join the Skydance Board of Directors, effective immediately.

David Ellison will chair the Board and continue to serve as Skydance's Chairman and Chief Executive Officer. The Board will include all current members of Paramount's Board, along with three new additions: Ynon Kreiz, Co-Chief Executive Officer of Skydance, Laurene Powell Jobs, founder and president of Emerson Collective; and Bobby Kotick, founder and former Chief Executive Officer of Activision. Powell Jobs and Kotick will join as Independent Directors.

Powell Jobs is a visionary entrepreneur and one of the most influential leaders in business and philanthropy. She is also a committed investor in journalism and media, supporting quality, independent reporting and storytelling at both the national and local levels. She built her career on creating institutions that endure and drive meaningful change. Her leadership extends across education, climate and community-driven initiatives. As founder and president of Emerson Collective, she pioneered a groundbreaking model that unites venture investing and philanthropic grant-making to tackle society's most complex challenges, and she has shown a rare gift for identifying bold ideas early and scaling them into lasting impact. That dedication, together with her extensive experience in investing and philanthropy, makes her a valuable addition to Skydance's board.

Bobby Kotick brings more than three decades of public-company leadership, having served as CEO of Activision for 32 years and built it into one of the world's most successful video game companies. He paired bold strategic moves, including the company's merger with Vivendi Games, with disciplined capital allocation and a consistent record of rewarding shareholders. That record culminated in the sale of Activision Blizzard to Microsoft for $68.7 billion, the largest transaction in the history of the video game industry. Throughout his tenure, he showed a rare ability to anticipate shifts in how consumers engage with entertainment, investing in new platforms, new business models and new ways of reaching fans while keeping creative excellence at the center of the enterprise. His experience scaling a franchise-driven business, managing the complexity of a global public company and steering major industry transitions will serve Skydance well as it navigates an evolving media and entertainment landscape.

Former UK Prime Minister Tony Blair will join as a Board Advisor. Blair, who will be acting in a personal capacity, is Executive Chairman of the Tony Blair Institute for Global Change, a not-for-profit organization, which helps leaders govern in the age of AI. His global leadership experience and commitment to innovation position him as an invaluable advisor in shaping Skydance's strategic priorities.  

Skydance is a creative-first, audience-focused, tech-forward and globally scaled company, and these directors reflect that ambition. Their combined experience across media and entertainment, technology, finance and global affairs will provide strategic guidance and oversight as Skydance brings together its complementary businesses, storytelling capabilities and technology platforms, helping to align our goals and accelerate growth.

Said David Ellison, Chairman and CEO of Paramount, a Skydance Corporation:

"I am delighted to welcome Laurene and Bobby to our Board and honored to have Tony join us as an Advisor. Laurene is a true visionary and one of the great institution builders of our time. Her vision, judgment and unwavering commitment to high-quality journalism and media investments make her a truly exceptional addition to our Board. Through Emerson Collective, she pioneered an innovative model that brings together venture investing and philanthropy to tackle society's most complex challenges, and she has an extraordinary gift for recognizing bold ideas early and turning them into lasting impact."

Ellison continued: "Bobby led a global entertainment company through three decades of sustained growth, and he brings real perspective on building enduring franchises and connecting with fans. His record of pairing bold strategic moves with disciplined capital allocation is exactly the experience we need as we bring our businesses together. Tony has led at the highest levels of government, respected for his intellect, strategic vision and ability to bring people together around bold, forward-looking ideas. His global perspective and insight will be invaluable as we turn ambition into results."

Ellison added: "Together with our other directors, they bring the experience and fresh perspectives we need to build Skydance into an extraordinary company, one that honors the legacies of Paramount and Warner Bros. Discovery while setting a bold course for the future. United by a commitment to creative excellence, innovation and long-term shareholder value, this Board will help us empower our teams, strengthen our businesses and deliver exceptional entertainment to audiences around the world."

The Director-designees are as follows:

  • David Ellison, Chairman and Chief Executive Officer of Skydance
  • Barbara Byrne, Former Vice Chairman of Barclays PLC (Independent Director)
  • Andy Campion, Chairman and CEO of Unrivaled Sports (Independent Director)
  • Gerry Cardinale, Founder, Managing Partner, and Chief Investment Officer, RedBird Capital Partners
  • Safra A. Catz, Executive Vice Chair and Former CEO, Oracle Corporation
  • Andy Gordon, President of Skydance
  • Justin G. Hamill, Managing Director and Chief Legal Officer, Silver Lake (Independent Director)
  • Lauren Powell Jobs, Founder and President, Emerson Collective (Independent Director)
  • Bobby Kotick, Founder and former CEO of Activision (Independent Director)
  • Ynon Kreiz, Co-Chief Executive Officer of Skydance
  • Sherry Lansing, Former Chairman and CEO of Paramount Pictures (Independent Director)
  • Paul Marinelli, President, Lawrence Investments, LLC
  • John L. Thornton, Chairman of RedBird Capital Partners

About Skydance

Skydance is a next-generation global media and entertainment company, composed of three business segments: Studios, Direct-to-Consumer, and TV Media. Skydance's portfolio unites legendary brands, including Paramount, Warner Bros., HBO, Paramount+, Pluto TV, CBS, CNN, CBS Sports, TNT Sports, Nickelodeon, Cartoon Network, MTV, Food Network, BET, HGTV, and Comedy Central.

PSKY-IR

###

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Original Skydance Corporation press release courtesy of PR Newswire; H/T: ABC27.

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‘Hey Arnold!’ at 30: Why a Cartoon About a Boy With a Football-Shaped Head Still Endures 30 Years On

Thirty years after its 1996 debut, Hey Arnold! still stands out for its portrait of childhood in the city, shaped by a diverse neighborhood and a bluesy, funky score.

A photo illustration of Hey Arnold!
(Photo illustration by Tate Rudisill / Los Angeles Times; photos by Paramount Pictures and Viacom International Inc.)

The animated Nickelodeon series’ commitment to authenticity gave young viewers stories about the immigrant experience and unconventional families.

The show continues to have a dedicated fan base years later.

One of Craig Bartlett’s profoundest childhood memories involves a despondent turtle.

In a pet store hidden away in Seattle’s Chinatown, he and his friend Joan came across one in a murky little tank. They took pity on it, bought it and took it home to Portland, Ore. It didn’t come out of its shell for two weeks.

They knew what they had to do. They took the turtle to Square Lake, on Sauvie Island, and laid the turtle down on the shore. The creature’s head emerged from its shell to consider its new circumstances. Slowly but surely, it eased its way into the water and swam away. “We were jumping up and down with a kind of weird joy,” Bartlett recalled to The Los Angeles Times.

Much later, when Bartlett was creating his own animated series, he knew that the poetry of that moment, the strange cinematic magic of it, was something he wanted to tap into.

Thirty years ago, on Oct. 7, 1996, Hey Arnold! premiered on the kids’ cable network Nickelodeon. With its offbeat, lyrical, sometimes painfully honest portrayal of the feeling of childhood in the city, it quickly set itself apart as a new kind of kids’ show, attracting a dedicated fandom that endures to this day.

An urban ‘Little Rascals’

Arnold was a 9-year-old boy with an elongated ovoid head who enjoyed listening to jazz fusion under the skylight of his attic bedroom. According to Bartlett’s show bible, he was “philosophical, idealistic, romantic and hard to rile.” His best friend was Gerald. He was, in short, a chill little dude.

Bartlett had created the character almost a decade earlier, after a stint producing claymation segments for Pee-wee’s Playhouse. Back then, one of the cookie cutters that Bartlett used to cut shapes out of clay happened to be shaped like a football; from the work of his brother-in-law, Matt Groening, he’d also observed the importance of a striking silhouette. The result, in Bartlett’s short claymation films, which played the animation festival circuit and appeared on Sesame Street, was a daydreamer with a football-shaped head.

A cartoon boy holding a baseball bat stands in front of a girl squatting and holding a catcher's mitt with a boy behind her
Arnold was created by Bartlett almost a decade before the show was made, after a stint producing claymation segments for “Pee-wee’s Playhouse.” (Nickelodeon)

In 1993, Nickelodeon was looking to expand its original animation lineup. Toward the end of a long, fruitless pitch meeting with a gaggle of writer-animators, Nickelodeon executive Mary Harrington put on Bartlett’s show reel. She was taken with Arnold right away, and intrigued by Bartlett’s visual style and imagination.

“I liked the way it looked,” she said simply. “I liked the quirkiness of it.”

Bartlett developed the show with Steve Viksten and Joseph Ansolabehere. The trio had previously worked together on Nickelodeon’s Rugrats — Bartlett as a story editor, Viksten and Ansolabehere as writers. (One of Bartlett’s contributions to Rugrats was Angelica’s stoic, wild-haired doll Cynthia.)

Instead of the suburban setting common to so many cartoons — including Nickelodeon’s Doug — Hey Arnold! was set firmly in the inner city, a vibrantly gritty amalgam of Seattle, Portland and Brooklyn. As part of his preparations for the series, Bartlett went on a photo-taking expedition through Seattle and Tacoma, collecting imagery of Pacific Northwest grunge to share with his artists: crumbling walls, fire escapes, water towers.

As for Arnold, he lived with his grandparents in an old boarding house under a freeway overpass. The show’s diverse cast also represented what Bartlett called the “multiethnic gumbo” of American cities. The urban aesthetic was augmented with a bluesy, funky score by composer Jim Lang, inspired by Thelonious Monk, Vince Guaraldi and Beck.

There were fantastical elements, but what set Hey Arnold! apart was how invested it was in depicting what life is like for a fourth grader. The writers had in mind the intimacy of character-driven cinema of the ‘70s and the French New Wave; The Little Rascals was as much of an influence as The 400 Blows and My Life as a Dog. Ansolabehere and Viksten, who had attended UCLA and tried for years to break into Hollywood, would channel their cinematic storytelling instincts into the show.

Bartlett purposely wanted to steer away from the wacky Looney Tunes antics of cartoons like Animaniacs. Instead, the melancholy and ennui of A Charlie Brown Christmas, which had captivated Bartlett as a 6-year-old, would be a major touchstone.

A man in a plaid shirt sitting at a desk covered in paper and drawing pens. A small clay statue of Arnold stands on the desk
Craig Bartlett, the creator of Nickelodeon’s “Hey Arnold!” in 2002. (Paramount / Viacom)

“That was our real rebellion,” Bartlett said, “to make it not a gag show but more kind of moody.”

That stylistic rebellion extended to Arnold as well. “Arnold wasn’t your typical type-A personality lead character,” Harrington said. “He was quieter, he was thoughtful, he was really smart, more creative. But we thought kids could relate to him.”

Writing meetings revolved around discussion of childhood memories and experiences. Hey Arnold! built on the narrative foundation the group had established on their previous show.

“Rugrats opened up to us this idea that you could actually make a show about humans, about the human experience and about childhood,” Ansolabehere said. “The episodes I was proudest of were where you dug something out from inside of your history and your heart.”

Apart from the turtle story, which made it into the episode “Field Trip,” very few of Arnold’s adventures were directly borrowed from Bartlett’s life. Instead, “it was about capturing a feeling,” he said.

Going where no cartoon had gone before

Thematically, too, there was a determination to venture into more adult territory than any kids’ cartoon had previously. The show was frank in its portrayal of, among other subjects, social isolation, economic disparity, the immigrant experience and unconventional families. In “Arnold’s Christmas,” one of the most celebrated and audacious episodes of the show, Mr. Hyunh, a Vietnamese immigrant and resident of Arnold’s boarding house, tells the story of being separated from his daughter Mai during the Vietnam War. In the episode “Helga on the Couch,” Helga’s emotionally neglectful household was on poignant display.

The commitment to authenticity extended to the show’s voice cast, which was made up of child actors. This meant that a succession of actors played Arnold over the years, until their voices changed with the onset of puberty. Spencer Klein, who voiced Arnold in Episodes 61 to 100 and in the first movie in 2002, had the strange experience of joining a show he was already a fan of. “It was a special show,” he said. “It was a show you could really learn valuable life lessons from.”

Klein remembers that the actors recorded in the same room together, allowing them to interact more naturally. “Usually a number of the animators were there too,” he said. “They’d have sketch pads, and we were encouraged to be physically animated when delivering our lines. The animators would incorporate some of the physical aspects of our line deliveries into the animation.”

A cartoon mailman walks to a street corner where two boys are handing out fliers
The show’s voice cast featured child actors, including Spencer Klein, who voiced Arnold in Episodes 61-100 and the first movie. “It was a special show,” he said. “It was a show you could really learn valuable life lessons from.” (Paramount / Viacom)

In a deft bit of narrative maneuvering, Gerald’s voice breaking was written into the show; Jamil Walker Smith played the character for all five seasons and one movie. Similarly, Francesca Marie Smith voiced Helga G. Pataki for the entirety of Hey Arnold! and up to The Jungle Movie in 2017.

Conceived as a relentless bully of Arnold, Helga was one of the richer, more complex characters to come out of a kids’ cartoon in its or any era. At first, Ansolabehere said, the writers struggled with her motivation. They didn’t want a repeat of Angelica, the cackling 3-year-old schemer of Rugrats. Why did she pick on Arnold?

In Ansolabehere’s memory, Bartlett’s then-wife, Lisa, overheard the writers’ deliberations and casually suggested, “Maybe she’s in love with Arnold.”

“It was like a light bulb went off,” said Ansolabehere. “We were like, that’s it. That’s young love. When we don’t know what to do with it.” In minutes, Bartlett had sketched the makeshift shrine that Helga builds for Arnold in her closet.

Helga’s unrequited love for Arnold became one of the driving forces of the show. “She was a sort of villain who you related to and rooted for,” said writer Rachel Lipman, who joined the show as the first season was coming together. “However much she tortured Arnold, she was far more tormented herself on the inside. She also had this unending internal conflict — she really didn’t want to be in love with Arnold … but she just couldn’t fight the feeling. I hadn’t seen a show where the unrequited love this girl felt for a boy got to be explored to such deep levels.”

A pair of cartoon boys in black suits look at a girl in a pink dress standing beside the open door of a bus
Arnold, Gerald and Helga, who was voiced by Francesca Marie Smith. Helga’s unrequited love for Arnold became one of the driving forces of the show. (Paramount / Viacom)

It didn’t hurt that Smith gave the performance of a lifetime, putting her heart and soul into the melodramatic contradictions of the character, antagonizing Arnold one second and swooning over him the next. Smith’s firecracker performance inspired the writers to give Helga even more to do.

Smith remembers, even as an 8-year-old, feeling very strongly that she didn’t want to sit down while recording. “It was important to me to get the full power of my voice, the physicality of it,” she said. “I certainly remember that after a couple hours of recording, I would just absolutely crash. It’s amazing to me today how much energy I poured into that microphone.”

In 2024, Smith revealed that she was living with the debilitating effects of multiple sclerosis. After a major relapse, and at Bartlett’s urging, she set up an online fundraiser to ease the financial strain of medical treatment. The page was shared widely among Hey Arnold! fans; Bartlett also helped raise funds by auctioning off original Hey Arnold! cels and hand-painted backgrounds.

It was an indication of the warm and tender feelings viewers still had for Helga and “Hey Arnold!” that Smith’s funding goal was surpassed in a matter of days. “No one is stronger than Helga G. Pataki,” one Reddit user wrote.

“It made such a real impact,” said Smith, emotional at the memory of it. “I’m so grateful.”

Still groovin’ after all these years

The fandom for Hey Arnold! hasn’t wavered and remains as strong as ever three decades later. There have been 10 vinyl pressings of Hey Arnold! music tracks since 2020. More recently, the show’s composer Jim Lang and his group, the PS 118 All Stars, announced a string of concert dates, playing music from the show around the country, with Bartlett as a special guest vocalist.

Bartlett has also been approached by Paramount Global Publishing to write a novel version of his Helga spinoff idea The Patakis and is currently in talks about a Hey Arnold! graphic novel.

The concerts are a great showcase of Lang’s groovy, down-tempo tunes —  Hey Arnold! undoubtedly turned a bunch of young viewers onto jazz — but they’re also a chance for millennial fans to bask in their memories.

Juan Escalante, who attended a concert in August, was transported right back to his childhood bedroom in Venezuela, “when I wished I had a cool room like Arnold’s!”

“Hey Arnold! felt like a kids’ show that allowed kids to see themselves,” he said, “and their imaginations reflected back at them.”

Stream Hey Arnold! The Music, Vol. 1: https://nickelodeon.lnk.to/HeyArnold_Vol1

From TODAY:

As ‘Hey Arnold’ Turns 30, Its Creator Reflects On Show’s Portrayal of Real, Raw Topics

“Everyone was trying to figure out how to make their cartoon have its own unique corner,” showrunner Craig Bartlett says. “And for me, it was emotional authenticity.”

Between its iconic jazzy saxophone intro music, the wacky personalities at P.S. 118 and Football Head’s teenage dream of a bedroom, “Hey Arnold!” has charmed millennials for decades, uniting ‘90s kids of all backgrounds.

But ask anyone for the most memorable part of the Nickelodeon program and they’ll likely point to the show’s depth — the episodes that bore into loss, the struggle to fit in and the undeniable complexity of childhood.

As fans wrap their minds around the show’s 30th anniversary in October, creator Craig Bartlett is reflecting on the enduring love for “Hey Arnold!,” particularly for the cartoon’s refusal to shy away from the raw and real. Bartlett tells TODAY.com that it’s all been rewarding as that’s exactly what the show set out to do.

“You know, everyone was trying to figure out how to make their cartoon have its own unique corner, where it was different from everything else,” Bartlett says. “And for me, it was emotional authenticity.”

Anchored around friendly fourth-grader Arnold Shortman, the show, which premiered on October 7, 1996, ran for five seasons across nearly eight years. While the program had no shortage of laughs, it was the cartoon’s handling of issues like depression, addiction, poverty and more that, many viewers say, made it stand out.

Episode “Arnold’s Christmas” from Season 1, for example, looks into the backstory of character Mr. Hyunh, who, it’s revealed, is a refugee who was tragically separated from his infant daughter amid the Fall of Saigon, the historic event that marked the end of the Vietnam War.

In another episode later on in the series, character Chocolate Boy attempts to get over his addiction to chocolate. As Arnold helps him throughout his journey, Chocolate Boy reveals that his attachment to the candy stems from a beloved nanny he had when he was young, who gave him a bag of chocolate upon her departure from the family.

And who could forget the episode in which the gruff and tough Helga sits down with a school psychologist. It’s through the therapy sessions that it’s revealed that under her hard exterior is a girl from a dysfunctional household who’s felt largely forgotten by her parents. Helga’s obsession with Arnold, the episode shows, goes back to a moment on her first day of preschool. While her parents paid her no mind, leaving her to walk alone in the rain, Arnold, it turns out, is the first to notice Helga that day and display any semblance of kindness to her.

The showrunner explains that the franchise actually started off as claymation shorts that appeared on “Sesame Street.” In those shorts, Arnold was five years old. But Bartlett “grew him up” for Nickelodeon, he says.

"Hey Arnold!" started out as a claymation
"Hey Arnold!" started out as a claymation. Courtesy of Craig Bartlett

“He was meant to be like me when I was little, and I was kind of bored with everything, and a daydreamer that was not present in some ways,” Bartlett says. “By the time we got him into growing him up into ‘Hey Arnold!’ he was a fourth grader who did things with friends, but he still was a dreamer — you’d imagine he had a real kind of freeform imagination, and that was how it started.”

Bartlett says that much of his inspiration was drawn from the 1965 animated classic “A Charlie Brown Christmas.” In it, main character Charlie Brown fails to feel the holiday cheer, despite the warmth and celebration of the season. Bartlett says that the film’s acknowledgement of its main character’s melancholy was deeply comforting to him as a kid.

“I was so affected by ‘Charlie Brown Christmas’ — that he was bummed and he knew he was supposed to love Christmas and be happy, but it wasn’t there,” Bartlett explains.

The iconic voice cast of "Hey Arnold!"
The iconic voice cast of "Hey Arnold!" Courtesy of Craig Bartlett

It’s reflective, he adds, of the sense of “yearning” often felt in those younger years.

“That describes childhood to me. You’re … hoping for cool things, and not necessarily having it,” he says “That, I think, was really key. It was what I was trying to convey.”

Bartlett says that as he created the show, he aimed to reflect some of those heavier emotions that children naturally feel. While many of the topics that were told through the eyes of the show’s characters were often serious in nature, Bartlett explains that he and his staff weren’t worried about whether kids would get it.

“We trusted that kids were living lives like that,” Bartlett says, raising Helga’s story as an example. “Some were living lives like they felt unseen like Helga.”

The show was also one of the first cartoons to feature kids voicing kids. And the young, tween actors at the time who provided the oh-so-memorable voices of the cast, from Lane Toran as Arnold to Francesca Marie Smith as Helga, also inspired much of the writing and injected personality into the characters, Bartlett says.

The storylines weren’t the only aspect that gave the show its authentic feel. Bartlett says that the music from composer Jim Lang was essential to conveying the show’s raw emotions.

“The music went hand in hand. Jim took all those ideas and turned them into really good, bummed-out music,” Bartlett says. “It’s about being bummed. And I just thought Jim, he really intensified that feeling. I can’t picture those episodes without the music.”


Bartlett adds that the freedom that the crew had to experiment with themes and storylines played a big part in bringing those meaningful lessons on screen. At the time, Bartlett says, Nickelodeon essentially gave the group free-reign to play.

“It’s hard to believe that the network let us operate that way, but they did. They just left us alone, mostly to do our thing,” he says.

The moment, he says, was perfect.

“You really got the vibe it was time for us to do our own thing, and that they were really going to let us do it,” he says. “It was just such good times for everybody. Nick was making tons of money, and so they were like, ‘If it ain’t broke, don’t fix.’”

While the show ended in 2004, it got one final curtain call with the 2017 television flick, “Hey Arnold: The Jungle Movie.” Since then, there’s been no shortage of love for the show. Lang has even taken the music back on the road with project PS 118 All Stars, in which the band behind the iconic songs plays the tracks live for audiences across the U.S. Bartlett is a special guest for many of the dates.

Though fans have long called for a “Hey Arnold!” revival, Bartlett says he isn’t certain whether there will be anymore Arnold Shortman stories on our future screens.

For now, he says he’s happy to be joining shows as part of the PS 118 All Stars, comparing the tour experience to that of Mr. Hyunh in the episode “Mr. Hyunh Goes Country.”

“I’m super grateful I got to do 100 half-hours and two movies eventually,” Bartlett says. “If there’s no more Arnold TV or movies, I’m glad that it ended so, so nicely.”

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Craig Bartlett reveals the heart behind ‘Hey Arnold’ and clears up a long standing fan theory

More than two decades after its debut, Hey Arnold! continues to hold a special place in the hearts of animation fans. The Nickelodeon series became known for its memorable characters, emotional storytelling, and a city that felt both gritty and magical. While many viewers still remember Arnold's distinctive football shaped head, creator Craig Bartlett says every design choice was made with purpose. Looking back on the beloved series, Bartlett recently shared the creative inspirations behind the show and addressed one of its most debated fan theories.

Bartlett explained that Arnold's unusual appearance was designed to make the character instantly recognizable. Inspired by advice from Simpsons creator Matt Groening, he wanted Arnold to stand out even as a simple silhouette on screen. The original design began as a clay character with an exaggerated football shaped head, creating a look unlike any other television cartoon at the time. That bold artistic decision helped transform Arnold into one of Nickelodeon's most iconic animated characters and gave the series an instantly recognizable identity that remains popular with audiences today.

The interview also gave Bartlett the chance to settle a theory that has circulated online for years. One of the show's most emotional episodes follows the lonely Pigeon Man, whose mysterious departure led some fans to speculate that the story symbolized suicide. Bartlett firmly rejected that interpretation, explaining that the ending was always intended to be hopeful. In his vision, Pigeon Man simply flew away with his feathered companions to begin a peaceful new life, eventually imagining him caring for pigeons in Paris. By addressing the theory directly, Bartlett reaffirmed the optimistic message that has always been central to the series.

Beyond its memorable characters, Hey Arnold! stood out because of its unique setting. Bartlett revealed that the fictional city was inspired by places that shaped his own life, including Seattle, Portland, and Brooklyn. The result was a fictional neighborhood that blended urban realism with warmth and imagination. Arnold's famous attic bedroom, complete with its skylight and rooftop escape, became one of the show's most admired locations. Bartlett also credited the novels of Gabriel García Márquez as a major influence, drawing on the literary style of magical realism to make ordinary city life feel quietly extraordinary without losing its emotional authenticity.

For Bartlett, the greatest reward has never been the show's popularity but its lasting impact on viewers. He believes children's television carries tremendous responsibility because young audiences often remember its messages for life. Many fans have written to him describing how the series gave them hope during difficult moments and encouraged them to make the best of challenging circumstances. Those heartfelt stories confirm that Hey Arnold! was always about kindness, resilience, and empathy. Years after its original run, the series continues to inspire new generations while reminding longtime fans why its gentle optimism has endured for so long.

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