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Creator / Hanna-Barbera

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Joseph Barbera (left) and William Hanna (right) with plushes of some of their many characters and a couple of the Emmys their studio won over the years.note 

The partnership of William Denby "Bill" Hanna (July 14, 1910 – March 22, 2001) and Joseph Roland "Joe" Barbera (March 24, 1911 – December 18, 2006) began at MGM's animation studio, where the pair spent almost 20 years directing Tom and Jerry shorts. After MGM got out of the cartoon business in 1957, Hanna and Barbera founded their own studio, which came to dominate Western Animation on television for decades.

The studio's extremely prolific half-century-plus output included classic cartoon series like The Flintstones, The Jetsons, Yogi Bear, Scooby-Doo, Space Ghost, and The Smurfs; the Emmy-winning live-action Made-for-TV Movie The Gathering a handful of feature films, most namely a popular adaptation of Charlotte's Web; and the infamous live-action acid sequence KISS Meets the Phantom of the Park, as well as countless other projects.


Hanna-Barbera pioneered the use of many Limited Animation techniques, such as Ring Around the Collar, to produce cartoons on a low budget quickly enough to meet a television schedule. As a result a lot of Hanna Barbera shows put the emphasis more on the voice acting and the writing/gags then the actual animation process itself. These practice allowed them to continue producing works well into the 80s and 90s.

In the late 1980s, Hanna Barbera's parent company Taft Broadcasting/Great American Broadcasting faced a lot of internal and financial issues. This had a major impact on the fates of Hanna Barbera and its siblings. As a way of cutting costs, they began to look to sell off the studios. The first in 1988, when a buyout was reached for Hanna Barbera's Australian division. That entity becoming the Southern Star Group and taking the rights of the shows and specials produced by that sub-entity. The problems however still continued, as this lead to an exodus of 80s Hanna Barbera staff to go help revitalize the Warner Bros. Animation studio. In the early 1990s, GAB decided to put Hanna Barbera and sister studio Ruby Spears up for sale as well.


In 1991 a deal was struck between GAB and Turner that resulted in Turner purchasing Hanna-Barbera and its library. Turner also purchased the Ruby-Spears library but not the studio which also became its own entity again. It was here those libraries merged and the HB shows merged with the predecessor shorts Bill and Joe had done for MGM, but are legally not in the same library. note  Under the new age, everything that was on tap but not funded was put on hold, and in 1992 Turner launched Cartoon Network. The HB libraries and MGM libraries had been joined by the pre-1948 Looney Tunes library when Turner bought out MGM in 1986note . This combined library, along with some others made up a good chunk of the schedule at the dawn of the network. However, as the channel grew, so did the initiative to bring new original content to the channel. The studio at the time had an influx of younger talent that had been brought in to the fill the gap left by the earlier exodus. In 1994, Hanna-Barbera was internally reorganized as Hanna Barbera Cartoons and with a new sub-entity that began to refocus their efforts towards what was originally called "World Premiere Toons", essentially allowing many of the younger members of the studio to launch their own pilots in the hopes of becoming new original shows. The experiment proved successful; while other Hanna-Barbera productions were still being produced, the amount dwindled as more originals (which would go on to be called Cartoon Cartoons years later) were added to the pipeline.note 

In 1996 Time Warner purchased Turner in the AOL Time Warner merger, putting them on the same corporate roof as Warner Bros.. This reunited a few shows back to the HB library that had been in the hands of Warner Bros., as well as reunited the the post-1948 Looney Tunes with the rest of their library.note  From this point Hanna-Barbera was slowly merged into Warner Bros. Animation. Just before the then-imminent death of Bill Hanna in 2001, Cartoon Network programming and the units producing them were spun out into their own entity (Cartoon Network Studios) and Warner Bros. assumed the production of Scooby-Doo, the company's longest-running franchise and picked up all their legacy properties with Hanna-Barbera credited as the copyright holder. The earliest Cartoon Cartoons (including The Powerpuff Girlsnote ) stopped being associated with Hanna-Barbera as well.

In 2016, Warner Bros. announced that there are plans to create a Shared Universe of animated films based on Hanna-Barbera properties, provided that the 2020 animated Scooby-Doo reboot does well. At present it seems this movie is still intended to lead to a greater presence for theatrical Hanna Barbera efforts, but the modern Shared Universe angle may be limited to general Hanna-Barbera crossovers instead of a modern world building attempt (likely due to the influx of flopped/troubled cinematic universe attempts, most notably WB's own DC Films universe).

See Ruby-Spears, Cartoon Network and Warner Bros. Animation for related entities, as well as Wang Film Productions, a Taiwanese studio established for outsourcing to (eventually expanding their services to other companies too).

The Other Wiki has more in depth about the duo, their history and their legacy. Also see Hanna Barbera Australia/Southern Star on the other wiki for the subsidy unit of the main Hanna Barbera. See also The Hanna-Barbera Wiki.

For a complete list of their shows, check out or TV Tome:

List of Hanna-Barbera works:

Hanna-Barbera as a company and its works provide examples of:

  • Animated Adaptation: A staple of their later work was adapting everything from Godzilla to Laverne & Shirley into a cartoon.
  • Animation Bump: While their regular TV shows relied heavily on limited animation, the studio would use a more lax schedule and substantial budget for all it was worth when it could get it. Most of their staff from Tom and Jerry migrated over to HB when MGM closed its cartoon unit, so they were plenty capable of full, classical animation. You mostly see this in their features and one-shot specials. The mid '60s also saw an influx of former Disney animators, resulting in some parts of episodes of The Flintstones being uncannily animated on ones. They'd move away from limited stuff for good by the '90s, after reconstructing their pipeline to allow for outsourcing.
  • Big Name Fan:
    • Michael Jackson was a big fan of the duo's work and even got to meet Joe Barbera during the production of Tom and Jerry: The Movie.
    • Linda Cardellini admitted in an interview that she watched Scooby-Doo all the way into college and would later go on to star in the first two live action films as Velma.
    • Ian Jones Quartey has frequently made references and crossover episodes involving the studio's catalog in OK K.O.! Let's Be Heroes; and has been on record saying that "K.O." has traces of Hanna Barbera in its DNA.
    • C. Martin Croker cited his reason for working on Space Ghost Coast to Coast saying that he always wanted to work on a Hanna Barbera show since he was a kid.
  • Book-Ends: Since the duo's first collaboration was with the Tom and Jerry short Puss Gets The Boot (1940), it's fitting that their studio's final production would be the TV short The Mansion Cat (2001). Taken further with Joe Barbera, who directed the final theatrical Tom and Jerry short, The Karate Guard (2005), before his death the following year.
  • Career Resurrection: Subverted. While the name "Hanna-Barbera" was retired in 2001, the studio (or what remained of its assets, at least) never officially went away so much as just being more limited until something triggered a bigger comeback. There are two especially notable examples of this.
    • After middling success in the 1980s, when their runaway hit was the Long Runner The Smurfs that nothing else matched, a shakeup in management, as well as a massive facelift of their production pipeline, led to the production of Cartoon Network's hugely successful Cartoon Cartoons, most of which were HB productions (or at least had their initial pilots produced by HB) and existed under the studio's umbrella until about 2001. Since that time, association between the two has been little to none.
    • As of 2016, while the company Hanna-Barbera operates in name only, Warner Bros. has made another more abundant attempt to jump-start the HB brand to bigger goals. This seems to be a culmination of several years of back catalog releases doing well to expanding the new Direct-to-Video movies to include more than Scooby-Doo and Tom and Jerry, increasing of other merchandise for sale, letting DC produce more comics with the characters and the intent of using the animated Scooby-Doo reboot feature to launch a whole film universe. 2017 had brought about another increase in promotion for the 60th anniversary of the studio.
  • Continuity Drift: Continuity in the Hanna Barbera brand is a difficult subject. As the many of the shows tend to operate on lax rules yet the studio never had a problem producing Crossovers and show off their characters inhabiting a Shared Universe. This creates a weird contrast as to how the shows reference one another but most of their shows operate on either this principle or Broad Strokes. In Hanna Barbera, sometimes continuity is there and sometimes it changes by the episode. One can't say Hanna-Barbera had a strict continuity, but also one can't say Hanna-Barbera had no continuity. From an out of universe reason a lot of this is a result of Rule of Fun. From an in-universe perspective, one might consider it a faulty timeline which really can be Hilarious in Hindsight as that gives an excuse to all the mistakes that happen from time to time.
  • Critical Research Failure:
    • Former HB employee John Kricfalusi was called out on this after claiming that Joe Barbera was apathetic about the Scooby-Doo franchise when he really wasn't. Although later he had added rumors that Joe felt this way about the numerous shows that followed Scooby's lead he co-produced, but none of which being confirmed either except of course from John K himself. note 
    • As a general rule, there are a lot of these often in discussions about Hanna Barbera and the various shows produced by them. Given how many there are, it is not surprising some smaller details get lost in the shuffle but at the same time it can also make one wonder if some people are Complaining About Shows You Don't Watch. For example anyone should be able to realize that Scooby-Doo and Jabberjaw have multiple things in common, but they should also realize they have multiple points of contrast. While it is understandable to call them similar and point out their Follow the Leader patterns, it is really a much larger stretch to claim that the show about "four amateur detectives and their talking dog unmasking fake ghosts" and the show about "a band and a talking shark foiling would-be world conquerors on gigs" can be "interchangeable" or are the "same". One other point raised a lot in more recent times is that some people seem to miss a lot of the news about the older properties and new productions based on them, even though they tend to make up a chunk of Warner Bros output each and every year.
  • Crossover/Loads and Loads of Characters: The studio made good use of its huge roster of popular characters. In the early days, characters would sometimes cameo in each other's shows or even passively name-drop them. The first true crossover was Yogi's Birthday Party the end special to Yogi Bear and followed by The Council of Doom arc on Space Ghost. Yogi's Gang became the first series built around the idea as a Massive Multiplayer Crossover, which itself followed off the Yogi's Ark Lark special. Many more series and movies of the like followed from this such as The Jetsons Meet the Flintstones, and Laff-A-Lympics.
  • Darker and Edgier: While in some corners of the web the studio isn't thought to be associated with this trope, they have crossed this line many times. Most earliest in the 60s with shows like Jonny Quest and Space Ghost being action shows where the weekly bad guys didn't always survive the episode.
    • Their action cartoons during the 80s and 90s began to take this route as well- the last couple seasons of Super Friends brought in Darkseid, for starters; the trend continued with Galtar and the Golden Lance, The Pirates of Dark Water, and SWAT Kats.
    • And in even more obscure corners, the studio also provided things such as The Last Of The Curlews and Rock Odyssey featuring some scenes that may launch into pure nightmare fuel.
    • DC Comics' Hanna-Barbera Beyond; a slate of comic reboots of H-B properties; while the above mentioned Future Quest aims at a retro aesthetic, the others provide these kind of what-if takes on the characters. These include Scooby Apocalypse (which takes the Scooby Gang into a world infected by a nanite virus), Wacky Raceland (which transplants the Wacky Racers into a Mad Max: Fury Road style environment), and The Flintstones comic that takes it back to its' roots about social issues in a prehistoric setting. This of course mirroring the multiple paths being taken in the modern animation projects.
  • Domestic-Only Cartoon: Justified, as the studio was founded well before outsourcing animation duty to foreign countries was possible, but even after it became the norm, the studio still had its cartoons animated in US, for better or worse. On the one hand, they proudly kept animation jobs going in America at a time when it was an otherwise suicidal career choice. On the other, it was not a practice conducive to creating shows of a quality higher than what they produced.
    • They would, however, outsource several shows out to their Australian branch or to Wang Film Productions during the late 70s through to the 80s to varying degrees of involvement.
  • Four-Fingered Hands: Played with. Shows which used exaggerated proportions for their human characters (e.g. The Flintstones, The Jetsons) used four-fingered hands, while shows which used realistically-proportioned human characters (e.g. Jonny Quest, Scooby-Doo) used five-fingered hands. Some shows had characters with both four-fingered and five-fingered hands, particularly those that had both more "cartoony" characters paired with more realistically-designed human characters (e.g. Dynomutt Dog Wonder, Captain Caveman and the Teen Angels).
  • The Friends Who Never Hang: Surprisingly, Bill and Joe's relationship was largely professional, and they very rarely interacted outside of the workplace. Tellingly, both of their biographies barely make any mention of their partner.
  • Friendly Enemy: With Ruby-Spears, both Ruby and Spears met at Hanna Barbera and split off to form their own studio. Despite doing so to create more competition for them they however shared a generally positive relationship with their old employer. (Given that they shared multiple employees this of course made some sense) Once Ruby Spears was sold to Taft in 1981 Hanna Barbera and Ruby Spears became sister studios and began producing shows together and co-marketing. The relationship is somewhat fuzzier since the Ruby Spears library was merged into the Hanna Barbera library.
    • Technical example with Southern Star Group (now a part of Endemol Australia) which was originally a sub entity of Hanna Barbera. Despite being divorced, Endemol is allowed to brand several of their dvds material with the Hanna Barbera name note  Warner seems to be on good terms with them to not raise a case about it.
  • He Also Did: While not all HB alumni found much fame outside the company, many of them were still involved with some notable works in the industry.
    • Before becoming the chairman of the studio, producer David Kirschner had a promising résumé with films like Child's Play and An American Tail, the latter of which he also co-wrote.
    • Mark Jones the writer/director of Leprechaun and some other quirky movies was also a writer at both Hanna Barbera and Ruby Spears. While his works are often a bit more adult, when watching his movies with this knowledge the influence is noticeable. And just to be clear, yes the man who created Leprechaun has some credits on Scooby-Doo.
    • Illustrator Clark Haas was the creator of Clutch Cargo and the founder of Cambria Productions. He spent the rest of his career with Hanna-Barbera after his studio's closure.
    • Warren Tufts had also previously worked for Cambria as a writer, producer, animator, and voice actor for Captain Fathom and tagged along with Clark when he moved to HB.
    • Animator Butch Hartman note  provided some early development art for Crash Bandicoot (1996) during his employment with HB.
    • Flintstones and Jetsons writer Joanna Lee is remembered for her role as the alien "Tanna" from Plan 9 from Outer Space.
    • In a meta example, the pilots for shows like The Grim Adventures of Billy & Mandy, Courage the Cowardly Dog, Codename: Kids Next Door, and Whatever Happened to... Robot Jones? were all produced under the Hanna-Barbera brand name until they were picked up by Cartoon Network.
  • Keep Circulating the Tapes: For most of the library, this is becoming less of an issue. Warner is vastly committed to releasing their holdings. However, odds of the ones not owned by Warner (e.g., The Harlem Globetrotters) are much lower and require some circulating.
  • Later Installment Weirdness: Fans feel that HB went through this in the mid-to-late 90's during the company's transition into Cartoon Network; considering how the bizarre, creator-driven content of the channel's shows heavily contrasted from the more wholesome and innocent nature of the studio's library.
  • Limited Animation: Pioneered many of the techniques in creating animation on a television schedule and budget, at least with what the technology would allow at the time. Of course, as mentioned on Animation Bump, give Hanna-Barbera a budget and they would use it for all it was worth.
  • Merchandise-Driven: Some of their 80's shows such as Challenge Of The Gobots and Sky Commanders.
  • Off-Model: This happens a lot with some of their works due to the budget. However, as under Animation Bump, they do avert this, too.
  • Parody Assistance: They helped animate The Beautiful South's music video for "How Long's a Tear Take to Dry?", which is an Affectionate Parody of Band Toons.
  • Playing Against Type:
    • Most of their live-action TV movies (on which Barbera was always keener than Hanna). As the name Hanna-Barbera is often associated with Western Animation, they did in fact attempt to branch out to include live-action material, some with animation components and some with none at all.
    • This also happens with some of the obscurer productions. While everyone can remember types such as Funny Animal and You Meddling Kids cartoons from Hanna-Barbera, such as Devlin being a serious drama and Jokebook being a primetime adult sketch comedy show are so against what people consider Hanna-Barbera's type that you can change a whole course of conversation just by bringing them up.
    • The studio's "Bedrock Productions" subdivision was established in the early 90's to produced more adult-oriented content for TV such as The Dreamer of OZ and the infamous Poochinski pilot.
  • The Power of Friendship: A near constant theme in their shows, regardless of formula. Most have characters that will be best of friends and sometimes whole episodes are devoted to showcasing how friendship overcomes hardship. For a 50th anniversary, Bill and Joe led several of their star characters in a song about teamwork.
    • The studio itself survived decades thanks to its founders' teamwork, despite the two of them being polar opposites (Hanna was the quiet country type, Barbera was the fast-paced city type) and rarely fraternizing outside of work. Inside the studio the two worked in their own ways and complemented one another's talent to a tee.
  • Production Posse:
    • Most of the animators previously worked with Disney and Metro-Goldwyn-Mayer. Even some of them worked on Tom & Jerry when they were at MGM.
    • Composer Hoyt Curtin and music producer Paul DeKorte frequently worked on several shows together from the early 1960s until DeKorte's death in 1985 and Curtin's retirement one year later. They even worked on Battle of the Planets.
    • HB's productions usually had several voice actors who regularly worked alongside one another. Daws Butler, Casey Kasem, Don Messick, John Stephenson, Janet Waldo, and Frank Welker were among its regulars.
  • Promoted Fanboy: Given how the company produced several popular shows over the span of 44 years, it's no surprise to learn that many of its later alumni were fans of their shows as well.
    • Fred Seibert, who was head of television production from 1992 to 1993, and president of the whole studio from 1993 to 1996, instituted the What A Cartoon program, and a set of logos celebrating classic Hanna-Barbera characters.
    • As a longtime Scooby-Doo and HB fan, not only did Van Partible had the honor of writing a crossover episode with the mystery gang for Johnny Bravo and later story boarding for one of their many televised reboots, but he also had the chance to work with studio co-founder Joe Barbera himself during Johnny's first season.
    • Before Seth Macfarlane got his first break in TV with the studio, he grew up as a fanboy of both The Jetsons and Flintstones, and in his later career with Fox he tried to reboot the latter for a newer audience; which unfortunately never came through due to licensing issues.
    • Maxwell Atoms was another younger talent that came in as a fan to the company from his childhood. He also said in an interview Cartoon Network gave him some trouble when he still wanted to use some older characters for cameos in his shows. After departing Cartoon Network, Atoms would return to do some work for Warner Bros. Animation's Bunnicula which in premise clearly shows some favor to the special produced by sibling studio Ruby Spears as well.
    • Donovan Cook has often sited Secret Squirrel as one of his favorite shows growing up and as a key inspiration for his decision to enter the animation industry. So it wasn't a shock to many when he decided to revive the character as a side story between episodes of his first TV series.
    • Subverted with Genndy Tartakovsky. He had been a fan of Wacky Races and Scooby-Doo in his youth and helped himself to videos of them on his down time while working on 2 Stupid Dogs, but found them to be so unwatchably bad that he vowed never to watch them again so as not to spoil his happy childhood memories of them. That said, a lot of the comedy in his later works still retains some of the HB aesthetic and appeal, something he admits to still being a fan of.
    • Inverted entirely with John Kricfalusi, who gushes over the studio's golden age material on his blog and even sites the duo as two of his influences; yet he also has a history of bashing much of the their library and (supposedly) spreading lies about some of their shows to further discredit them.
  • Real-Life Relative: Joseph Barbera's daughter, Jayne, worked with Hanna-Barbera for several years, first as an ink and paint supervisor, and then as a production manager.
  • Recycled In Space: Definitely not the first to do this, but both the Trope Namer (with Josie and the Pussycats in Outer Space) and Trope Codifier for how this trope is currently used. As stated above, they were known for shameless recyling — if one show was successful, do another just like it. If one was not, do one like one of the more successful shows, rinse, repeat. If you're not too busy, check out this trope's page for western animation. About half of the above list is on there.
  • Reused Character Design: Inevitably, due to the sheer number of shows that the studio produced per-year and their short turn-around time. Some former employees claimed that it got the point that they would simply trace pre-existing model sheets to create new ones. Sometimes this went down to characters who look alike to the same designs being used in more than one show. However the studio wasn't immune to also having fun with this, The Super Globetrotters had so much fun reveling in this tropethat they clearly were trying to fit as many in as possible.
  • The Rival: Filmation during the '60s and '70s — the rivalry faded in the '80s as Filmation concentrated on syndication, and was eventually shut down by the end of the decade.
  • Screwed by the Lawyers:
    • Marvel Comics' Funtastic World of Hanna-Barbera comics are unlikely to be reprinted now that the Hanna-Barbera characters are owned by Warner Bros., parent of DC Comics. It was made even more unlikely when Marvel was bought by Disney.
    • The studio's sister company, Ruby-Spears, has received some of this by way of how the Turner buyout merged their library into the Hanna Barbera library. Some of their cartoons are branded in the Hanna-Barbera Classic Collection, some are not. However all claim Hanna Barbera as their owner in the legal crawl on the back, because legally now they are. note 
    • There were reportedly negotiations involving a DVD release of The Fantastic Four (1967) shortly before Disney bought Marvel Comics.
  • Screwed by the Network:
    • In its original run, the studio suffered from this in regards to Wait Till Your Father Gets Home, which was cancelled in response to the negative feedback it got from Moral Guardians who cited it as inappropriate for younger viewers.
    • Mark Evanier in one of his blog posts recalled how Joe Barbera had some instances where he clashed with the Network censors. Two often recalled examples being that he and Doug Widely failed to convince the network to let them do a darker-themed Godzilla show and another where Barbera and Evanier clashed with network people on Scrappy Doo being well too scrappy.
    • In later years, the history of the studio's catalog and Cartoon Network is a turbulent one, to say the least. As originally reruns of HB (and Ruby-Spears) made up a good chunk of the schedule, making it for some people a resource and even possibly the place they first ever learned about that huge list above. The major change in this is often pinpointed at 2001 a year that brought many changes to Cartoon Network. One of which was the decision to stop trying to merge Hanna Barbera and Warner Bros and instead making Cartoon Network Studios its own entity while Warner Bros continued on with the HB legacy properties. Then Throughout the early 2000s more and more HB shows lost their places on the network. Some were able to find semi reliable space on Boomerang while others did not. As a result, some shows on the main page were victims of the Keep Circulating the Tapes trope for over a decade and some still are.
      • Several of Cartoon Network's commercials from the above mentioned time seemed to have pointed some of this out. note  One of the earliest featured Yogi Bear not being allowed into the building without an ID, even though they featured his poster behind the scene. There was an ad promoting the Cartoon Cartoons that took shots at two HB series and one RS series. Another one had Ugh from Dino-Boy having to help Edd find the recording room of the office. He spends the whole time complaining that he has next to no work there anymore since it "got crowded". The most famous (and notable) one, though, had Scrappy-Doo making a similar rant, in which he outright snaps at the Cartoon Cartoons for them being treated like "the kings and queens of this network".
    • Some specific shows are cited as having been caught in the middle of the Cartoon Network situation. Cave Kids was a new show made for the network and it was cancelled after only a few episodes. Meanwhile, it is reportedly the reason why shows like 2 Stupid Dogs and SWAT Kats were cancelled as the studio wanted to shift their focus towards producing shows for Cartoon Network. In later years some of Warner Bros pitched ideas for Hanna Barbera legacy properties found themselves being thrown off the board due to CN not having any interest in green lighting them for Boomerang.
    • This last note is again to both HB and RS. While a good chunk of their shows appeared at some point on Cartoon Network or Boomerang, recent revelations by the Warner Archive proved some shows from both parts of the library have legally been theirs the whole time that never were shown on Cartoon Network or Boomerang. Why exactly these got the snub is still a mystery.
  • Shout-Out: Hanna Barbera used this in their shows about as often as they had a direct Crossover. It was quite normal to hear a character make a reference or turn on the tv to see another Hanna Barbera character.
    • In the earliest days of Cartoon Network originals (as Cartoon Network Studios was simply a subdivision of Hanna-Barbera), these and cameo appearances were common, but they started to slow down after the '90s. In an interview Maxwell Atoms had made mention Cartoon Network gave him a bit of a hard time when he had continued to use the older HB characters for cameos. However, even longer after H-B shut down, SWAT Kats merited a mention in the crossover episode between Steven Universe and Uncle Grandpa (likely because the Crewniverse and the creator, Rebecca Sugar, watched the show in the 1990s).
  • Spiritual Successor: Hanna Barbera itself was the successor to the MGM Animation studio. As when MGM shut them down, Bill and Joe went on their own and took a good chunk of their MGM staff with them.
    • There however is heavier debate which of two studios deserve to be the heir apparent. One is Cartoon Network Studios, which began it's existence as a sub entity to Hanna Barbera in 1994 before going on it's own. A lot of it's first shows were pet projects of younger HB employees who were originally hired to fill the void when a chunk of the 1980s Hanna Barbera staff went to the other studio. That studio being the Warner Bros. Animation Studio that was revitalized in the early 1990s after that exodus. The AOL Time Warner Merger ended up putting both of these entities back under the same umbrella in 1996. Corporate and ideologies allegedly clashed from the merger to the point where in 2001, the decision was made to split the corporate culture. Cartoon Network Studios got their cartoons and distanced themselves from the Hanna Barbera name. Warner Bros. Animation on the other hand got all the HB legacy properties and ever since have made up a good chunk of their yearly output.
  • Stock Footage: Hanna-Barbera often used this method when necessary, though at least it didn't get as bad or repetitive as Filmation's use of stock footage, in most cases.
  • Stock Sound Effects: H-B had a very popular and memorable library of sound effects, and not just the usual cartoony sounds, but more general effects as well. Most of them were released on CD by Sound Ideas, though it's a pretty expensive collection (as it's a professional royalty-free sound effects library.). In fact, many of their sound effects are still being used by sound editors today!
  • Strictly Formula: They are notorious for making a decades long career with over a hundred shows with a handful of similar concepts.
  • Take That!: Both William Hanna and Joseph Barbera really disliked their boss Fred Quimby. Now notice how pushy Fred Flinstone and Fred Jones (of Scooby-Doo) are....
  • Vindicated by Reruns: A lot of Hanna-Barbera shows only lasted one season, but it's near universal that HB shows were quite easy to get rerun slots, first on Saturday morning and so on. In the 1990s, Cartoon Network was mentioned as a larger source for rerunning a lot of these shows and no doubt a reason for their continued fandom building. For a library with a whole percent being one season shows, some of those social media reactions can be pretty notable.
    • Given that in recent time home media has overtaken cable as the thing to get if you like watching reruns of older programming, it is also evident that Hanna-Barbera is the area of Warner Bros. Animation's library that routinely gets the most releases each year.
    • The Hanna Barbera Diamond Collection in 2017 was a surprising move that cemented this. Warner Bros seemed to have been moving the majority of their older property sets into the Warner Archive over the previous years. While WB regularly re-releases discs to stores with new packaging, it is notable these were actually newly made discs which doesn't happen often for back-catalog animation.note  The idea they would take this risk only for a 60th anniversary and three years before the theatrical push really speaks to how much they feel in the HB brand as a whole.note 
  • What Could Have Been: Enough for an entire sub-folder.
  • The Wiki Rule: The Hanna-Barbera Wiki.