Nelvana: A Fond Farewell (For Now)

The Canadian Studio That Drew Our Childhoods

It feels strange to type this, but Nelvana has paused production. After more than 50 years of bringing stories to life, the lights at Canada’s most famous animation studio have dimmed. Maybe (hopefully) not forever, but certainly for now.

If you grew up in Canada (and several other places in the world) chances are Nelvana shaped a piece of your childhood. That little polar bear logo was our signal to settle in for something special.

The announcement comes after years of financial strain at parent company Corus Entertainment, restructuring, and industry-wide challenges such as streaming wars, shrinking ad dollars, and the rise of AI animation. While Corus insists Nelvana is only “paused” as it pivots to managing legacy properties, many fans and insiders worry this is really a soft landing for what could be the end of active production.

Another tough blow to Canadian film and TV. The Nelvana layoffs hit hard—so many amazing artists affected. I was a part of that generation—the generation that watched. Saturday Morning cartoons were my comfort place as a child who loved to dream and create. Looking back at their shows, I realized how much they shaped me: Ewoks, Tintin, Inspector Gadget (still a hit with my kids), Beetlejuice (I own the DVD box set), Gargoyles, even Clone High. Saturday mornings were my safe place, sparking a lifelong love of storytelling and creativity.

I can’t change what’s happening, but I can keep these shows alive—by rewatching them, sharing them with my kids, and passing that magic to the next generation.

— Ryan

A Quick Stroll Through Nelvana’s Story

• Humble Beginnings (1971): Nelvana was born in Toronto, founded by Michael Hirsh, Patrick Loubert, and Clive A. Smith. Their first “studio” was a run-down apartment, with a camera literally rigged over a toilet. Not exactly Disney’s Burbank lot, but the scrappiness fit Canada’s indie spirit.

• First Big Break (1977): With A Cosmic Christmas, Nelvana proved it could hold its own. Soon after, George Lucas tapped them to animate the now-famous “Faithful Wookiee” segment in the Star Wars Holiday Special. Yes, Nelvana was the first to bring Boba Fett to screen.

• The 80s Glow-Up: The Care Bears Movie wasn’t just cute, it was a box-office smash that outperformed all non-Disney animated films of its time. From there came Strawberry Shortcake, Inspector Gadget collaborations, and a steady stream of specials that cemented the studio’s reputation.

• Global Reach (90s): By the time Babar and Franklin hit TV screens, Nelvana was no longer just “Canada’s animation studio.” Its shows were being broadcast in over 150 countries. Saturday morning cartoons had a distinctly Canadian heartbeat, even if you did not know it.

• Under Corus (2000s–2020s): Corus acquired Nelvana in 2000, and while the magic kept coming (Rolie Polie Olie, The Magic School Bus, Max & Ruby), the media landscape was changing quickly. By 2024, new productions were paused, and whispers of trouble grew louder.

Babar was one of my favourite cartoons in the 80’s it was simple and comforting to watch, it reminds me of no school that day and morning cereal on the weekends, when life was less adulting and you had all the time in the world as a kid.

— Jose

Why This Hurts

Nelvana wasn’t only making cartoons; it was proof that Canadian creativity could stand on the global stage. Children and adults everywhere looked forward to stories filled with kindness, adventure, and a little bit of wonderful weirdness (looking at you, Rock & Rule).

For many of us, that polar bear logo is a portal to childhood memories. Saturday mornings in pyjamas. VHS tapes on repeat. Learning life lessons from animated elephants and turtles. The studio’s pause feels like the end of an era, not only for animation, but for a certain kind of storytelling that was gentle, imaginative, and unapologetically Canadian.

The news hits hard as this affects family, too. There are so many Nelvana works I consider treasures: Redwall, Dog City, Eek! The Cat, Beetlejuice: The Animated Series (I was gifted a Beetlejuice animation cel straight from the director), The Magic School Bus, Free Willy (the cartoon), The Future is Wild, and so many more. But my favourite is Rock & Rule (known as Ring of Power outside North America) for it’s outstanding animation, famous musical lineup, and absolute originality. Thank you, Nelvana!

— Jess

The Design Parallel

What’s happening to animation is not so different from what we are seeing in graphic design. Both industries are navigating similar challenges. Just as animation studios are experimenting with AI-assisted storyboarding and backgrounds, designers are grappling with generative tools like MidJourney, Canva AI, and Adobe Firefly. Although these tools are faster and cheaper, they raise questions about originality, authorship, and value.

Canadian animation once thrived on local talent and subsidies; now, overseas studios can produce content at a fraction of the cost. Designers in the same way find themselves competing on global platforms like Fiverr and Upwork, where budget often outweighs craft. Despite Nelvana’s legacy, history, and cultural weight, those assets didn’t shield it from economic realities. The same can be said of long-standing design studios that suddenly find themselves outpaced by lean, digital-native competitors.

The hard truth is that in both fields, nostalgia and reputation cannot sustain a business model if the industry itself is evolving faster than you can adapt.

Stickin’ Around was one of my favourite shows growing up in the 90s. Its distinct animation style so perfectly conveys the show’s main theme: the joy of using your imagination.

— Emma

But Here Is the Positive

It’s not all doom and gloom for creatives. In fact, both animation and graphic design have an opportunity for revival.

Here’s the truth: AI can generate images, but it cannot interpret nuance. There’s no sitting in meetings to tease out the subtle emotions a client is trying to capture in a campaign. Forget about AI being able to navigate cultural context, humour, or empathy. Balancing competing business priorities with brand personality is a job best suited for human brains.

That’s where teams of creatives will always triumph. Although the tools may change, the need for people who can listen, understand, and translate ideas into something meaningful will never disappear. In the same way, audiences will always crave authentic storytelling in animation—something no algorithm can fully replicate.

And even for Nelvana, there’s a silver lining. Corus says the brand is not gone entirely. It’s “paused,” with a focus on managing its massive library of shows and characters. That means Franklin, Babar, The Magic School Bus, and yes, even Care Bears are not going anywhere. They will keep streaming, keep selling merchandise, and keep finding new generations of fans.

Nelvana quietly created some of the most iconic animations and commercials that my Gen X generation grew up on—they were a monster in the industry.

— Alan

Closing Words

We hope this is just a pause. Even if this really is the end of new Nelvana stories, its legacy is safe.

The lesson here is not just about animation, but about all creative industries. Technology will keep changing, industries will keep shifting, but the human spark that powers art, design, and storytelling will always be essential.

So farewell (for now), Nelvana. Thank you for the magic, thank you for the memories, and thank you for proving that even a little polar bear from Canada could leave giant footprints around the world.

And to every creative out there, whether you draw frames, design logos, or write copy: do not let a “pause” scare you. This is  just another chance to adapt, evolve, and remind the world why nothing can replace what people create together.