When a first-time pop culture convention-goer asks a veteran where the real heart of the event lies, most will say Artist Alley. That’s where creators sit ready to talk about production schedules and how they broke into the business. This area is where writers, illustrators, and production artists can discuss what they have coming next. These conventions do not have to revolve solely around big-name celebrities.
While the fanfare has cooled for a certain Disney film shot in this city, I did wonder whether anyone who worked on TRON: Ares might quietly be attending Fan Expo Vancouver 2026. It was released in October 2025 and performed respectably. Spotting original art tied to that production for sale would have been a genuine thrill. Although Disney Parks currently holds a monopoly on certain product lines, I did manage to snag Mirka Andolfo’s Stitch #1 variant cover. It arrived on the final day. Because of the previously mentioned shipping mix-up (see part one), the merchandise floor felt uneven. Some comics appeared late; others never arrived at all.
With The Mummy 4 officially greenlit, there’s reason to celebrate. 
While looking for the latest word about when Ne Zha 2 will hit home video, and the next film, Ne Zha 3 will release, there are rumours suggesting it could arrive as early as this year. These expectations are far too optimistic. While the 2026 Chinese animation production schedule shows what’s being developed, not everything will be ready to screen until the following year, or much later.
Looking back, the last century feels like the moment genre television quietly defined its contract with the audience. Most of those early experiments arrived in short waves, and like the tides, they came and went. Some returned decades later on specialty stations or streaming platforms. And these days, nearly everything is being tucked into quieter shores. Every so often, the tropes that once defined a series are reskinned for a new generation, which is simply how television writing evolves.