Many people – myself included – remember Cartoon Network as their favourite TV channel to watch after school. Launched in 1992, Cartoon Network became a global cable brand, available in over 180 countries.
But while the channel had international recognition and commercial success with original hits such as The Powerpuff Girls (1998-2005) and Adventure Time (2010-2018), lately its iconic status has been diminished in the backdrop of the streaming platform wars.
In fact, Cartoon Network is an excellent case study for how the conditions of media conglomeration shape how media is made and curated. And in making a wide variety of animation available, Cartoon Network also helped make audiences think differently about animation.
The network’s story began in 1991, when media mogul Ted Turner bought the animated television titan Hanna-Barbera Productions. From the 1960s to the 1980s, the studio created more than 100 animated television series that dominated Saturday morning programming.
Turner bought Hanna-Barbera not for the studio itself, but for its impressive content library – which provided much of Cartoon Network’s initial programming. But while Cartoon Network began as a rerun channel, its programmers were ambitious for something more.
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In 1993, they went to Turner asking for money to produce original programming. Turner turned them away, telling them: “I bought you a library, now utilise it.”
So, in the face of these corporate budget restrictions, Cartoon Network programmers innovated. By reusing the corporate library of Hanna-Barbera cartoons, they created their first fully original television series, Space Ghost: Coast to Coast (1994-2008).
This series skewered the conventions of late-night talk shows through its characters’ surreal scenes and bizarre behaviour. It was made from the Hanna-Barbera content library itself, remixing the animations with new voices.
In my research, I argue that the series enabled Cartoon Network programmers to reflect on their own precarious place within Turner’s giant corporation. The series made fun of television conventions, with characters sometimes discussing the process of making television while working for a major media conglomerate.
Space Ghost: Coast to Coast is the first example of how Cartoon Network’s conglomerate ownership shaped its forms of production.
Cartoon Network continued to make original programming, beginning with What a Cartoon! in 1995. Created by former MTV executive Fred Seibert, the series comprised animated shorts, with the most popular ones then being green-lit to series. The show launched several original series, starting with Dexter’s Laboratory in 1996. These were precursors for the groundbreaking, adult-oriented cartoon series and brand, Adult Swim, in 2001.
Through this innovative approach, Cartoon Network helped revive television animation in the 1990s, giving emerging animators a platform to share their work.
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Animation for kids and adults
While the channel was initially aimed at kids, many of its series challenged typical expectations of children’s television.
Samurai Jack (2001-2004 and 2017) blended sophisticated storytelling with a unique aesthetic. Later series such as Steven Universe (2013-2019) and Infinity Train (2019-2021) blended heady science fiction and fantasy with deep, emotional stories.
And many series were just really, really funny. Johnny Bravo (1997-2004), for example, subtly undermined patriarchal norms through slapstick comedy.
Cartoon Network series also paved the way for queer representation in children’s media. Adventure Time and Steven Universe featured both implicit and explicit queer representation throughout. These series were immensely popular with children and adults alike, and paved the way for other series to represent queerness in animation.
Since its debut, Cartoon Network has always attracted a broad audience of adults. This is what prompted the launch of Adult Swim in 2001 – an adult-oriented programme block with edgy and subversive series, many of which were animated. Adult Swim pushed the envelope, creating animation that was crass, crude – and sometimes profound.
Much of the humour of early Adult Swim series was predicated on the contrast between the assumption that animation is “for kids” and the crass material depicted. At the same time, they helped push animation to be considered as a form for everyone, regardless of age.
Lost in the shuffle of media conglomeration
Built through the resources of Turner’s media conglomerate, Cartoon Network established itself in a competitive cable marketplace – and such corporate conglomeration has continued to shape the channel, its content and brand. But the sale of Warner Bros. to Discovery in 2022 and subsequent corporate strategy shifts has left the channel and its content lost in the shuffle.
During AT&T’s ownership of Warner Bros. (2018-2022), Cartoon Network was positioned as the central brand to reach kids and family audiences worldwide.
But in 2022, AT&T sold the company to Discovery, creating Warner Bros. Discovery (WBD). This merger produced turmoil in the media industry, as the newly formed conglomerate quickly announced layoffs and cut content, including animated content.
While WBD publicly committed to reaching family audiences, several animated works (kid-focused or otherwise) got the axe. These apparent discrepancies between the company’s content and business strategies have arguably produced brand confusion, with Cartoon Network caught in the middle.
Since 2024, most of Cartoon Network’s content has been cut from streaming libraries. What was once a prominent brand in the Warner Bros. portfolio seems forgotten. But as industry analysts note, kids content, animated or otherwise, remains an important component in any media portfolio. WBD should recognise the value Cartoon Network offers with its great animation and unique history.
Jacqueline Ristola receives funding from ASIFA-Hollywood’s Animation Educators Forum.
This article was originally published on The Conversation. Read the original article.
