Don’t Breathe repeats big scare with 15 million as big disappointments dampen audience sales; New episodes of the Powerpuff Girls air this month; South Park returns for season 20

The big scare is here to stay! I’m Realistic Fish Head. The last 2 films Touchstone and Disney’s The Light Between Oceans and Fox’s Morgan did a lot of damage this week, but both movies derailed audience sales nationwide. But that didn’t stop the big spooks in the box office as Sony’s Don’t Breathe stays on top with 15 million. Going into Labor Day weekend Gene, can the big scares continue?




Labor Day weekend is sending the Summer 2016 movie season out with more of a whimper than a bang, but that isn’t to say there aren’t performances that stand out. While the weekend’s two new wide releases—The Light Between Oceans and Morgan—failed to have much of an impact on the overall weekend, Sony’s horror/thriller Don’t Breathe became only the second horror film to top the weekend box office two weekends in a row since 2014. On top of that, Bad Moms has now crossed the $100 million mark domestically, Suicide Squad will soon top $300 million and The Secret Life of Pets moved up another notch on the all-time animated list while Finding Dory continued to pad its lead.

With an estimated $15.7 million three-day weekend Screen Gems’ Don’t Breathe finished atop the box office for a second weekend in a row with a drop of just 41% as its cume now sits just over $51 million after ten days in release. The film, which carries a budget just under $10 million, is looking to add another $3.7 million on Monday for a four-day haul of nearly $20 million and a cume approaching $55 million.


Dropping just 18% in its fifth weekend in release, Suicide Squad scored a second place finish with an estimated $10 million three-day weekend. The film is now looking to pull in another $3+ million on Monday as its domestic cume should cross $300 million by the end of the day Monday or early on Tuesday, becoming the eighth release of 2016 to cross that mark and making it the 15th highest grossing superhero release of all-time domestically, pushing ahead of Man of Steel ($291m).

Internationally Suicide Squad added another $11.8 million this weekend from 65 territories, pushing its overseas gross to $375.5 million and its worldwide gross to $672.9 million. The film is set to open in Japan this weekend.


A pair of family films came in third and fourth with Pete’s Dragon dropping a mere 13% in its fourth weekend in release for an estimated $6.47 million three-day and Kubo and the Two Strings fell just 17.6% for an estimated $6.46 million. Rounding out the top five was Sony’s R-rated animated feature Sausage Party with an estimated $5.3 million as its cume now stands at $88.4 million.

Sixth position is where we find the first of the weekend’s new releases, that being Disney’s release of the DreamWorks drama The Light Between Oceans. With an estimated $4.9 million three-day from 1,500 theaters the film came in well below expectations and is looking to finish around $6.3 million for the four-day weekend. The film received a “B+” CinemaScore from opening day audiences and the demographic breakdown for the weekend was 66% female vs. 34% male with 91% of the audience coming in over the age of 26. The Light Between Oceans stars Michael Fassbender and Alicia Vikander and carries a reported budget of $20 million.

The other new wide release of the weekend was Fox’s sci-fi thriller Morgan. Directed by Luke Scott, son of Ridley Scott, the R-rated feature finished in 17th position with an estimated $1.96 million opening weekend from 2,020 theaters. This is the seventh worst opening all-time for a film opening in more than 2,000 theaters, just behind last year’s box office bust We are Your Friends. Budgeted at just $8 million, expectation heading into the weekend was for a four-day haul around $6 million, right now it’s looking to finish around $2.4 million at best. Demographic information was not immediately available, but opening day audiences didn’t seem to take to it, scoring the film with a “C+” CinemaScore, which doesn’t bode well for its future prospects.

Moving back into the top ten, with an estimated $4.7 million for the three-day weekend, STX’s Bad Moms is now the 19th 2016 release to cross $100 million domestically. This is STX’s first $100 million domestic earner since the company started distributing movies just over a year ago with the release of The Gift last August.

In ninth position, CBS Films and Lionsgate’s Hell or High Water continues to pave its own way as it delivered an impressive $4.5 million over the three-day weekend from 1,303 theaters and is expected to finish around $5.8 million for the four-day holiday. This is the film’s first time in the weekend top ten after finishing just outside over the last couple weekends, but strong reviews and word of mouth have helped as it has now shown improvement over all four weeks of its release. The film debuted in just 32 theaters back in mid-August and has now grossed $14.6 million domestically.

Finishing just outside the top ten with an estimated $3.65 million was Lionsgate’s release of No Manches Frida. The Spanish-language release debuted in just 362 theaters and received an “A” CinemaScore. This marks the second largest release for Lionsgate’s Pantelion label, behind only Instructions Not Included, which debuted with $7.8 million from 348 theaters back in 2013.

Elsewhere, with an estimated $3.5 million, Illumination’s The Secret Life of Pets has now grossed over $358.5 million domestically, making it the eighth largest animated release of all-time, moving ahead of Pixar’s Inside Out. Internationally the film is has brought in $403 million for a $761.5 million worldwide gross-to-date.

Speaking of animated films, Disney brought Finding Dory back into wide release and the film delivered an estimated $1.9 million three-day weekend and is expected to add another $700k tomorrow as its domestic cume climbs to over $482 million, widening its lead as the #1 animated film of all-time domestically.

Internationally, Star Trek Beyond debuted in China on Friday and hauled in an estimated $31.3 million over the three-day. By comparison, 2013’s Star Trek Into Darkness debuted on a Tuesday and brought in just $25.8 million in its first week of release. Beyond still has some work to do internationally as its current overseas cume sits at $131.1 million compared to the lifetime overseas cume of $238.6 million for Into Darkness. It has, however, now passed grossed more than Star Trek internationally, but it’s still more than $100 million behind the 2009 reboot’s domestic total.

In limited release Fox International debuted Naam Hai Akira in 71 theaters where it grossed an estimated $140,000; FilmRise’s White Girl brought in an estimated $36,000 from three theaters; and Paladin’s release of Max Rose, Jerry Lewis’s first starring role in 20 years, opened with an estimated $4,000 from one screen in New York. Max Rose expands next weekend in Los Angeles while also expanding throughout the Tri-state area.

Overall, the top twelve grossed just under $75 million this weekend, down 24% compared to last weekend and down 13% compared to the same weekend last year.

Next weekend sees the release of Clint Eastwood‘s Sully, which stars Tom Hanks and just received a standing ovation at the Telluride Film Festival along with the release of the delayed horror The Disappointments Room starring Kate Beckinsale, When the Bough Breaks with Morris Chestnut and Regina Hall and Lionsgate’s animated feature The Wild Life.

To recap, Don’t Breathe stays in 1st holding off Suicide Squad in 2nd, Pete’s Dragon in 3rd, Kubo in 4th, and Sausage Party in 5th heading towards Labor Day Monday.

It’s been a brutal battle this summer and as it turns out, sequel syndrome dominated summer movie season. As we found out last time, Universal’s The Secret Life of Pets and The Angry Birds Movie were the only blockbuster flicks that earned a sequel thanks to breaking worldwide box office records. Who survived the extravaganza and which studios have more work to do Angie?

Angie Angelfish (via Collider)-  What a summer. The first half was dominated by the talk of sequelitis doom. After some major sequels opened in May and early June to disappointing returns the industry and entertainment media was obsessed with the idea that audiences were looking for something new. Then The Conjuring 2 and Finding Dory opened and those naysayers quieted for a bit as clearly the quality of the sequels had something to do with their performance.


The second half of the summer season featured some major releases that dishearteningly underperformed and a few hits only a select few predicted (Bad Moms, Lights Out, Don’t Breathe). Overall though 2016 didn’t have the record setting box office we saw just a year ago with Jurassic Park, Avengers: Age of Ultron, Inside Out and Minions, among others, setting fireworks off around the world. No one was saying movies were over then, where they?

Before we take a look back at the summer of 2015 here are three important facts you should take into account when looking at theatrical receipts for a movie.

  1. In general, theater owners receive half of the box office grosses and the distributor or studio gets the other half. That’s pretty standard around the world except for China where Hollywood only earns around 25% of the receipts.
  2. Marketing movies in the summer is often inherently more expensive than other times of the year. A U.S. marketing budget for a tentpole summer movie can fall anywhere between $25-125 million per picture (some studios will spend even more). Marketing budgets for the rest of the world rarely fall below $50 million and can be substantially higher.
  3. Studios can make up losses in ancillary markets such as VOD, digital downloads, TV rights, etc. but those revenues are nowhere near where they were in the late ‘90s and early 00’s when a movie could break even or get into the black after brisk VHS or DVD sales (for example: the second Austin Powers had a substantially larger budget because of the first film’s success in the home entertainment market).

Now, keeping that in mind let’s take a deep dive into the hits and misses, shall we?



Horror Movies: Hollywood’s Summer Success Stories

It used to be that no one wanted to release a horror movie in the summer. Sure, there would be a surprise hit or two such as The Blair Witch Project or Freddy vs. Jason, but those were few and far between. You only released a horror flick in the summer if it didn’t play and you wanted to dump it in August to try and cut your losses. Horror usually made its money in the fall before Halloween or in the middle of winter after the holiday movie season winds down. Those two windows are still great times to open these flicks, but this summer proved Hollywood has learned that horror plays when its sunny out. Universal’s The Purge: Election Year ($79 million domestic, $105.6 million global), the third Purge film to open in the summer, became the franchise’s highest grossing installment to date. Warner Bros.’ The Conjuring 2 duplicated its predecessors’ summer success taking in $102 million domestic and $319 global (almost exactly what the original earned three years ago). Indie release The Darkness earned its $4 million budget back with a $10 million take and Screen Gems hit a home run with the critically acclaimed Don’t Breathe which opened to $26.1 million off just a $9.9 million production budget. The biggest surprise of the summer frame though has to be Lights Out with $65.4 million stateside and $125.6 million around the world. The New Line production cost just $4.4 million making it one of the most profitable pictures of 2016 overall. It goes without saying Hollywood won’t hesitate to release even more horror flicks next season.


The Warner Bros. Comeback No One Is Writing About

2015 was not a great year for Warner Bros. It’s highest grossing flick of the year (and the summer) was San Andreas which earned just $473.9 million worldwide and it was the first time in 15 years that the venerable studio didn’t release a $200 million grosser domestically. Warner’s 2016 isn’t on par with the eye-brow raising grosses Disney is pulling off on a regular basis or the history making 12 months Universal Studios experienced last year. It has, however, released an unexpected string of profitable flicks that few in the media are giving them credit for.

Admittedly, the summer got off to a rocky start as critics’ favorite The Nice Guys disappointed with just $36 million, but the studio only had U.S. rights and wasn’t on the hook for a majority of its $50 million prod budget. And, frankly, It’s been pretty smooth sailing ever since. The romance Me Before You cost just $20 million to make, but has earned an unexpected $196 million worldwide. We’ve already noted the success of The Conjuring 2 and Light’s Out, but Dwayne Johnson and Kevin Hart’s Central Intelligence became the comedy hit of the summer with $127.1 million in the U.S. and $212 million globally off just a $50 million budget (can you say new franchise?). The studio even surprised industry analysts who thought The Legend of Tarzan was going to be one of the biggest bombs of the year. With $352 million worldwide off a massive $185 million production budget it will be decades before David Yates’ passion project gets in to the black, but no one ever believed it could gross $125 million in the U.S. That marketing success was almost a win in itself. Unfortunately, there is one other eye sore: War Dogs. With just $42.6 million global to date it doesn’t look like Todd Phillips‘ dramedy will ever make back its $50 million negative cost. And, of course, there’s Suicide Squad. It wasn’t the mega-blockbuster the studio hoped for, but it wasn’t a bomb either (more on that later).

Disney Simply Can’t Lose…or Can They?

Walt Disney Studios has practically been printing money over the past few years thanks to hit after hit from Marvel Studios, Pixar, its Disney Animation Studios and, more recently, Lucasfilm. 2016 already provided unexpected smashes with Zootopia and The Jungle Book and summer started off strongly with Avengers 3, or should we say, Captain America: Civil War grossing $407 million stateside and $1.15 billion around he world. Pixar also delivered the highly anticipated Finding Dory with a fantastic $479.6 million and $929.1 million globally. The Disney marketing machine that stretches from television to theme parks is too good to fail, right?

Well, yes and no. The studio released two of its biggest misfires in quite awhile this summer with Alice Through the Looking Glass ($294 million global, $170 million prod budget) and Steven Spielberg’s first real bomb in two decades, The BFG ($153 million global, $140 million prod budget). Neither film was very good, but that doesn’t explain why the exceptional Pete’s Dragon has also underperformed. Even with a 71 on Metacritic, an 87% on Rotten Tomatoes and an A grade from Cinemascore, Disney hasn’t been able to fully sell it to families. The remake has only earned $54 million stateside and $74 million globally to date. With a number of major markets to go overseas it still has a shot to break even theatrically, but it isn’t the word of mouth hit many believed it would be. When the Disney marketing machine can’t make a hit out of a very good movie should there be a bit of self-reflection? Probably, but don’t cry too long for the Mouse House. They still have expected moneymakers Doctor Strange, Moana and Rogue One: A Star Wars Story on the horizon.

It Took More than Cool Moms to Make ‘Bad Moms’ a Hit


STX took a massive hit with the Matthew McConaughey misfire Free State of Jones, but ended up with the biggest word of mouth hit of the summer, Bad Moms. The studio positioned the R-rated comedy as the next Bridesmaids (even down to the same marketing color scheme) and when it hits $100 million Labor Day weekend it will have quadrupled its $23 million opening weekend. Frankly, for a wide release that’s almost unheard of these days.

‘Star Trek Beyond’ Isn’t the Summer Savior Paramount Was Hoping For


Paramount announced this month it was appointing two new execs as co-presidents of marketing while the former president was banished to run marketing for home entertainment. When this sort of shuffle happens its because the power brokers at the top of the chain are unhappy with the studios’ box office performance (of course it never seems to be the fault of those same top execs who greenlight the pictures that bombed in the first place). The fact Paramount made a change somewhere wasn’t that surprising. Outside of 10 Cloverfield Lane and the recent mini-hit Florence Foster Jones (an Oscar player that should stick in theaters for quite awhile), it’s been a god awful 2016. The summer was supposed to turn things around, but things only got worse. Teenage Mutant Ninja Turtles: Out of the Shadows earned half of what the original reboot made in 2014. Then again Shadows’ $242 million global cume wouldn’t have been a disaster if the picture hadn’t cost $135 million to make. Paramount thought Star Trek had become a reliable franchise since J.J. Abrams re-launched it in 2009, but Star Trek Beyond’s fate looks almost as troublesome as TMNT. There are sill a number of major international markets left to open such as China, Mexico, Brazil and Japan, but the $185 million sci-fi adventure has taken in just $95 million overseas so far. That’s less than half of what Star Trek Into Darkness earned outside the U.S. three years ago. Moreover, it wasn’t as big a player stateside either grossing just $150 million which was off a staggering $78 million from Into Darkness’s return. Unless, China surprises with a miraculous gross Beyond proves that even a well-received Star Trek flick needs a better marketing or story hook to get audiences to see it in a theater.

Kate Beckinsale Proves Amazon Studios’ Model Can Work



She’s finally escaped the Underworld shadow. Trading skintight vinyl bodysuits for Victorian corsets, Kate Beckinsale surprised many with a critically adored performance in Whit Stillman’s Love & Friendship at Sundance this past January. What many didn’t expect, however, was for the Amazon Studios and Roadside Attractions release to become one of the biggest art house hits of the summer. Love & Friendship has earned $13.9 million in the U.S. off a $3.3 million production budget. That sort of profit margin is chump change to Amazon, but it proves their model of using different distributors for their releases can be successful. Of course, The Neon Demon (released through Broad Green) was a complete disaster, but it’s not like Jeff Bezos noticed, right? The good news is Love & Friendship and the upcoming Manchester by the Sea will provide a ton of awards season love to truly put Amazon on the map as a significant industry player.

Zac Efron’s Summer of Declining Returns


He may have made Olympian Simone Biles’ summer, but it’s been a troublesome few months at Zac Efron’s day job. Neighbors 2: Sorority Rising was a disappointment for Universal taking in just $107 million global after the original earned $207 million worldwide just two years ago. Efron’s second summer comedy, Mike and Dave Need Wedding Dates, has grossed only $66 million global off a $33 million production budget. Mike and Dave have a few more international markets on its release schedule, but 20th Century Fox won’t even break even on this one until ancillaries and even that is an optimistic forecast. Considering Efron has mostly starred in comedies the past two years (We Are Your Friends excluded) it might be in his best interest to branch out in other creative directions following the release of Baywatch next summer. Especially since that flick isn’t guaranteed to be a hit even with Dwayne Johnson in the mix (we’ve seen the CinemaCon footage, trust).


‘Independence Day: Resurgence’ Becomes the Poster Child for Waiting too Long to Greenlight a Sequel


Did America really want to revisit the nostalgia of the first ID4 this past Fourth of July? It appears not so much. Twenty years after the first flick took home $306 million domestically, Resurgence barely squeaked by the $100 million mark with $102.8 million in the U.S. The Roland Emmerich monstrosity did much better overseas ($279.4 million), but thanks to a massive marketing budget 20th Century Fox shouldn’t expect to recoup its reported $165 million production budget any time soon. If Will Smith returned would it have made a difference at the box office? Likely, but the bigger issue is that audiences were more invested in going to see a sequel 10 or 15 years ago. Not so much in 2016.

Three Blockbusters that Weren’t so Big Back Home


It used to be that movies that bombed in the U.S. could then make money overseas and turn a profit all the time. With the advent of day and date releases and global word of mouth through social media that usually isn’t necessarily the case anymore. Except this summer turned into a time warp for three unique pictures. 20th Century Fox’s Ice Age franchise has always done better internationally but the fifth installment – Collision Course– um, crashed in the U.S. with just $61.7 million to date ($100 million less than its predecessor). Overseas? Oh, just a profit making $305 million. Lionsgate’s Now You See Me 2 did about half of the original’s $117 million domestic take grossing only $65 million. Overseas? Oh, just $258 million including an astounding $97 million in China.* And, of course, we have Universal and Legendary’s Warcraft. The media saw it as a bomb months before its release and in many ways they were correct. A $47 million domestic gross off a “reported” $160 million production budget is usually disastrous. Overseas? A much different story as the Duncan Jones CG fantasy earned a mammoth $386.3 million based mostly on $220 million from China alone. Of course, as we mentioned earlier, Chinese quota laws mean Hollywood films only return on average 25% of box office receipts as opposed to 45-50% in other markets. Still, it was enough to unexpectedly squeak Warcraft into break-even status.

*It should be noted that Lionsgate often sells a significant portion of its foreign rights beforehand to cover as much of its production and domestic marketing costs as possible. It’s still unclear how that affected Now You See Me 2, but a third chapter is officially in the works so read into that what you will.


The Curious Case of ‘Ghostbusters’ and Sony’s Not-so-Bad Summer


It’s very hard to spin Paul Feig’s reboot as a box office success. The $124 million U.S. gross is strong for a summer event flick, but that’s less than the under hyped The Legend of Tarzan earned. The problem was that the $144 million budgeted action comedy took in just $92.6 million internationally. Yeah, unless it turns into a monster on other platforms a sequel seems like a longshot at best. The surprise for Sony Pictures is how well the rest of their summer went. Jodie Foster’s Money Monster will eventually break even after a $93 million global tally off a reported $27 million production budget. The Shallows was a major sleeper hit also taking in $93 million global, but off a more economical $17 million prod budget. Annapurna and Sony partnered on the $19 million adult animated comedy Sausage Party which is well on its way to making $100 million in the U.S. alone. And, as previously noted, Don’t Breathe is the last surprise hit of the summer. Maybe we should give Sony Pictures Chairman Tom Rothman some credit for once?


‘Suicide Squad’: The Hit Fans Loved and the Financial Disappointment Critics Railed Against


You can argue that Warner Bros. and DC Comics are playing with fire after the questionable quality of both Batman v Superman: Dawn of Justice and this August’s Suicide Squad, but the question remains: is the latter actually a hit? Currently on track for $300 million domestic, Suicide should reach a minimum of $675 million global if it can pull in $10 million from its Japan release next month (a reasonable assumption). If the reported $175 million production budget is true (and it may not be) and marketing costs were around $150 million worldwide (that may be conservative) it should break even theatrically. If those estimates are low then Suicide Squad may look like a hit, but turn out to be one only in the eyes of its hardcore fanbase. In either case, it’s not the smash WB was clearly hoping for.



Bottom Line: Sony, Disney, and Universal survived summer’s big sweltering heat from intense competition, The Warner’s Suicide Squad was loved by moviegoers and critics, but not Wall Street, Fox took too long to debut ID4: Resurgence and flopped out on Ice Age 5, and Paramount found themselves in a big rut as TMNT 2: From Out Of The Shadows and Ben-Hur 2016 sank Philippe Dauman who fell victim to Sumner Redstone. Looks like Warner and Paramount need to pick up the pieces and do some repairs as we head to Fall movie season.


Fresh off the big news this summer, The Powerpuff’s are ready to save Townsville from the forces of evil once again since the team-up with the Teen Titans. The girls have this month to finish the job before the big cool down in October. Who’s joining alongside the Powerpuff’s Danny?


Danny Angelfish (via Animation World)- Cartoon Network is kicking off the school year with the return of the Emmy-nominated series The Powerpuff Girls. The series returns Thursday nights beginning Sept. 1 at 5:30 p.m. (ET/PT), with a full week of power-packed premieres following on Monday, Sept. 19


Coming this Labor Day on Monday, Sept. 5, tune-in for back-to-back episodes of The Amazing World of Gumball, followed by a half-hour episode of We Bare Bears, Teen Titans Go! and a special sneak peek at Cartoon Network’s upcoming series, Mighty Magiswords

Cartoon Network is kicking off the school year with the return of the Emmy-nominated series The Powerpuff Girls. The series returns Thursday nights beginning Sept. 1 at 5:30 p.m. (ET/PT), with a full week of power-packed premieres following on Monday, Sept. 19.

Coming this Labor Day on Monday, Sept. 5, tune-in for back-to-back episodes of The Amazing World of Gumball, followed by a half-hour episode of We Bare Bears, Teen Titans Go! and a special sneak peek at Cartoon Network’s upcoming series, Mighty Magiswords.


Here’s what’s in store this month:


The Powerpuff Girls

Returns Thursday, Sept. 1 at 5:30 p.m. (ET/PT) on Cartoon Network

Full Week of Premieres Begins Monday, Sept. 19

  • “Odd Bubbles Out”Thursday, Sept. 1, 5:30 p.m. (ET/PT) – When Donny the Unicorn visits, Bubbles becomes jealous of his new friend.


  • “Presidential Punchout” – Thursday, Sept. 8, 5:30 p.m. (ET/PT) – When Morbucks enters the Student Body President race, Blossom sinks to her level to secure the win.

Monday, Sept. 19 – Friday, Sept. 23

  • Monday, Sept. 19: “Fashion Forward” – When the Fashionistas launch a new line of brainwashing clothing, it’s up to the Powerpuff Girls to stop the fashion trend before it’s too late.
  • Tuesday, Sept. 20: “In the Garden of Good and Eddie”- When the girls try a quick-fix on their neglected veggie garden, they are left with a giant, mooching tomato worm they must care for.
  • Wednesday, Sept. 21: “Road Trippin’” – Realizing her and the Professor don’t have much in common, Bubbles schedules a road trip with just the two of them.
  • Thursday, Sept. 22: “The Big Sleep” – When the Professor’s latest invention wreaks havoc in the house, it’s up to the Powerpuff Girls to stop it before it escapes.
  • Friday, Sept. 23: “The Secret Life of Blossom Powerpuff” – When Blossom can’t join her favorite school club, she imagines what her life would be like if she joined other clubs.


The Amazing World of Gumball

‘The Amazing World of Gumball’

Back-to-Back Labor Day Episodes Premiere Monday, Sept. 5 at 5 p.m.



Premieres Continue Thursdays at 5 p.m. (ET/PT) on Cartoon Network

  • “The Disaster” – Monday, Sept. 5, at 5 p.m. (ET/PT) – When Rob purchases a universal remote from the Awesome Store, he discovers it can control the entire universe. He rewinds into the past and remembers Gumball had left him in The Void, leaving him scarred and in his current mutated shape. He uses the universal remote to destroy Gumball’s life, whilst Gumball has to figure out what’s going on before he’s ejected once and for all.


  • “The Re-Run” – Monday, Sept. 5, at 5:15 p.m. (ET/PT) – When we last saw Gumball, he was hitting rewind on Rob’s Universal Remote just in time to save himself from being trapped in The Void. The remote has now taken Gumball back to the beginning of that disastrous day. Armed with the knowledge of what this day has in store, he must try and stop Rob from destroying his life.


We Bare Bears

‘We Bare Bears’

Half-Hour Special “Captain Craboo” Premieres Monday, Sept. 5 at 5:30 p.m. (ET/PT)



New Episodes Return Thursday, Sept. 15

  • “Captain Craboo” – Monday, Sept. 5 at 5:30 p.m. (ET/PT) -The Bears are reunited with their pet crab, Captain Craboo. But after an unfortunate run-in with Nom Nom, the Bears may lose their pet forever. Special guest star Patton Oswalt returns as Nom Nom.


Teen Titans Go!

“Booty Scooty” Premieres Monday, Sept. 5 at 6 p.m. (ET/PT)

New Episodes Return Thursday, Sept. 8

  • “Booty Scooty” – Monday, Sept. 5 at 6 p.m. (ET/PT) – In order to save Titans Tower from some wealthy land developers, the Titans search for pirate treasure.

Steven Universe

Premieres Continue Thursdays at 7 p.m. (ET/PT) through Sept. 15


New Episodes Return Thursday, Sept. 29




South Park makes its return this week as Comedy Central unveiled its Wednesday night lineup. Last season, the town was confronted by an informant who turns out to be an alien being who sparked the biggest controversy in the show’s history. Cartman and the boys may’ve their hands full now that PC Principal is here to stay in South Park Elementary. Who joins with the boys Dan?


Dan Barry (via Animation World)-  Comedy Central’s fall schedule is jam-packed with returning fan favorites and new series and specials from the biggest names in comedy. The fall is highlighted by the historic 20th season of South Park and series premieres of Kevin Hart Presents: Hart of the City, following Kevin Hart as he travels to different cities to explore the local comedy scenes and introduces some of the newest voices in comedy today, and Legends of Chamberlain Heights, which centers on three high-school basketball benchwarmers: Jamal, Grover and Milk, three freshman friends tackling life with some wins and some losses.

The coming months also promise exciting new seasons of Drunk History, The Half Hour, The Meltdown with Jonah and Kumail, This Is Not Happening and Tosh.0, as well as original stand-up specials from Pete Davidson, Kyle Kinane and Jeff Ross. In addition, The Daily Show with Trevor Noah returns with new episodes after Labor Day and @midnight with Chris Hardwick takes over a new timeslot.

On the digital front, Comedy Central will premiere a new short form series Typical Rick, along with new seasons of Alternatino, Nothin’s Easy and Questionable Science, available for streaming on digital platforms including and the Comedy Central App. Comedy Central on Snapchat Discover also continues to roll out original content including Keepin’ a Brother Down, which breaks down how seemingly innocent things are keeping black folks down.

The season 20 premiere of South Park and Legends of Chamberlain Heights are both set to air on Wednesday, September 14. Check out the details below:



South Park (Season Twenty Premiere) – 10:00 p.m.

130 Countries. 30 Languages. 46 Million Facebook Fans. 5 Emmys. 4 Boys. 1 Town. South Park’s been there. The Emmy and Peabody Award-winning series’ kicks off its historic 20th season with 10 all-new episodes beginning on Wednesday, September 14 at 10:00 p.m. ET/PT. Tune-in to see what Cartman, Kyle, Stan and Kenny get into this season.


Legends of Chamberlain Heights (Series Premiere) – 10:30 p.m.

Legends of Chamberlain Heights is an urban animated series mixing raucous comedy and social commentary that centers on three high school freshman basketball benchwarmers: Jamal, Grover, and Milk. The three friends tackle life with some wins and some losses, but failure doesn’t faze them since they’re legends…even if it’s just in their own minds.


The Summer extravaganza may be over, but the box office hits keep coming! Here’s what in store this month:






Catch new episodes of The Powerpuff Girls, We Bare Bears, and Teen Titans Go! this Labor Day. Then, Gumball’s life is threatened by a former friend turned arch-enemy who wants our hero out of the void unless he stops him! The fun continues in 2 to 3 weeks with new episodes of The Powerpuff Girls, Gumball, We Bare Bears, Teen Titans Go!, Clarence, and Steven Universe as live-action shows officially return this week. More new episodes continue this weekend throughout September on Nick with Regal Academy, Ladybug and Cat Noir, and Power Rangers Dino Super Charge. This is Realistic Fish Head saying, it’s time to head back to school!

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