To: Paramount Skydance, Nickelodeon, and IDW Publishing

For a lot of us, the news that Teenage Mutant Ninja Turtles: The Last Ronin was being shelved wasn’t just another industry headline—it felt like a punch to the gut.

We watched coverage roll in from Variety, IGN, and others saying that the R-rated, live-action/CG adaptation of The Last Ronin has been put on ice or effectively scrapped, while a new, kid-focused live-action reboot is now the main priority.

The reboot might be fun. But the message is clear: the serious, emotional story that fans rallied around—the one many of us have been waiting decades for—is being pushed aside.

Why The Last Ronin Matters

Teenage Mutant Ninja Turtles: The Last Ronin is not just another spin-off or “elseworlds” gimmick. It is:

• A five-issue IDW miniseries that jumps to a bleak future where only one Turtle remains, fighting to reclaim a devastated New York City.
• A top-selling graphic novel that quickly sold through initial printings and became one of the standout Western graphic novels of recent years.
• A story praised for its brutal stakes and emotional payoff, often compared to The Dark Knight Returns for the way it reframes a beloved hero mythos.

For many longtime fans, The Last Ronin reads like a spiritual closing chapter on the original Mirage/’90s era—a story that respects what came before rather than wiping it away with another clean-slate reboot.

Its impact has already:

• Sparked spin-off and sequel series like The Last Ronin – Lost Years and The Last Ronin II – Re-Evolution, expanding the “Roninverse” into a full sub-line of TMNT stories.
• Inspired a video game adaptation in development that embraces the mature, action-heavy tone instead of sanding it down.

This is not some untested experiment. Fans proved there is a real appetite for this kind of TMNT story—and we backed it with our money and our time.

Who This Petition Speaks For

This petition is for everyone who sees themselves in this story and this franchise:

• Fans who grew up on the 1990s live-action movies and saw The Last Ronin as the natural evolution of that legacy—something that could have carried that spirit forward rather than starting over yet again.
• People who are still kids at heart, but are old enough now to appreciate a darker, more painful, more honest story about loss, family, and consequences.
• Viewers who are tired of seeing heavily supported projects disappear without any meaningful fan input, even when the source material is a proven hit.
• Lifelong TMNT fans who believe this story is too important to throw into a drawer and forget.

Some fans even dreamed of bringing back original cast members from the classic films in cameo or mentor roles, tying decades of TMNT history together in one definitive, grown-up chapter. Whether or not that ever happened, the key point remains:

This film had the potential to carry the live-action TMNT lineage forward—not replace it with another reset aimed only at kids.

We’re asking you to reconsider that decision and treat The Last Ronin as the milestone it already is.

Industry Precedent: Comic Publishers as Real Producers (and Why IDW Is Different)

A common argument is: “IDW only publishes the TMNT comics. They can’t make a movie.”

That’s not how the modern industry works.

• Publishing rights and film/TV rights are separate, yes. Paramount / Nickelodeon / Viacom and Skydance control screen rights.
• But there is a real track record of comics publishers—especially those handling licensed IP—being brought in as legitimate production partners once the rights holders choose to involve them.

IDW Has Already Been in the Producer’s Chair

IDW isn’t “just” a comics imprint. It has a dedicated TV/film division: IDW Entertainment, under IDW Media Holdings, Inc., which is publicly traded on the OTC markets under the ticker $IDWM.

In public filings, IDW Media Holdings describes itself as a diversified media company with two main arms: IDW Publishing and IDW Entertainment. The entire business is set up to move stories from page to screen.

Two concrete examples:

• Wynonna Earp
  Originated as an IDW comic created by Beau Smith. The TV series Wynonna Earp was produced jointly by SEVEN24 Films and IDW Entertainment, with IDW executives serving as executive producers, and IDW at one point holding global rights with Dynamic Television distributing internationally.
• Dirk Gently’s Holistic Detective Agency
  A Douglas Adams property, not originally IDW’s. IDW licensed and developed it as a comic series, then, via IDW Entertainment, served as one of the producing partners on the TV adaptation alongside AMC Studios, Ideate Media, and others.

These are not situations where IDW just handed over a logo and walked away. They show that:

When rights-holders are open to it, IDW Entertainment can sit at the table as a genuine co-producer, even on properties the company did not create from scratch. Other Publishers Have Similar Deals

IDW isn’t the only one:

• BOOM! Studios
  Known for both original and licensed books (such as Power Rangers and Dune comics). BOOM! signed a first-look film deal with 20th Century Fox and later a first-look TV deal with Netflix, putting BOOM! in a packaging/producing role on adaptations based on its comics.

Historically, outfits like Harvey Entertainment and the Valiant/DMG setup have also operated as hybrids—publishers and production entities—using their catalogs and licenses to drive TV and film projects.

The pattern is the same everywhere:

The publisher only becomes a co-producer when the IP owner brings them in or grants broader rights—but when that happens, it works. Why IDW Is the Natural Partner for The Last Ronin

So, when we talk about The Last Ronin, the ask is not unrealistic:

• IDW already has the production infrastructure through IDW Entertainment.
• IDW already knows how to partner on someone else’s IP in TV (Dirk Gently) and to drive its own comics to screen (Wynonna Earp).
• IDW built the “Roninverse” through the original miniseries and its sequels/spin-offs.
• As a publicly traded company (IDWM), IDW Media Holdings is accountable not just to fans but to shareholders—people who want to see the company fully capitalize on proven hits like The Last Ronin.

Fans aren’t asking for something impossible. We’re asking:

Use the structure that already exists. Bring IDW in as a real co-producer, like you already have on other projects, instead of burying the adult-focused TMNT story that clearly works. The Problem

Right now, everything we’re seeing says:

• The R-rated Last Ronin film is shelved.
• A new, kid-aimed live-action reboot led by producers associated with the Sonic the Hedgehog movies is the main priority for the franchise.

Nobody is saying you should stop making content for kids. TMNT has thrived for decades because it can speak to children and adults.

What hurts is the idea that the story that finally gave older fans the serious, hard-hitting chapter they’ve been waiting for is being sidelined in favor of yet another reset.

Our Proposal: If Paramount Won’t Do It, Let IDW Lead

We fully recognize that Paramount, Nickelodeon, and Skydance control the film and TV rights to TMNT. But IDW Publishing and IDW Entertainment are the ones who:

• Developed and published The Last Ronin, working with the creative teams that made it such a phenomenon,
• Expanded the “Roninverse” across multiple titles, and
• Already have a track record of co-producing TV series from comics.

So we’re asking for a realistic, specific outcome:

1. If Paramount/Skydance will not actively move forward with an R-rated Last Ronin film, formally invite IDW to spearhead or co-produce a screen adaptation.
   • This could be a limited series, streaming movie, or event-style project.
   • IDW could partner with a studio or streamer comfortable with TV-MA/R-rated content for adult audiences.
2. At minimum, commit to a serious exploratory process where IDW Entertainment and the core comic creators are brought into the conversation in a meaningful way—not just as a courtesy credit.
3. Acknowledge publicly that there is sustained demand for a faithful Last Ronin adaptation, rather than letting the project quietly disappear.

Why This Is Good for Everyone

For Paramount Skydance / Nickelodeon

• You retain full ownership and control of TMNT and The Last Ronin.
• You gain a prestige, adult-focused project that can sit alongside your kid-friendly reboot rather than competing with it.
• You reinforce TMNT as a multi-generational franchise, not a one-tone brand.

For IDW Publishing and IDW Media Holdings (IDWM)

• You turn one of your most successful modern stories into the screen project fans already see in their heads.
• You show investors and the market that when a comic hits big, IDW can turn that success into multi-platform growth.

For Fans

• The younger audience still gets new, fun TMNT content.
• The longtime fans who supported The Last Ronin get the chance to see that story honored on screen instead of consigned to “what might have been.”

Our Ask

We, the undersigned, respectfully call on:

• Paramount Skydance to either:
  • Bring Teenage Mutant Ninja Turtles: The Last Ronin back into serious, active development as a faithful, R-rated (or TV-MA) adaptation,
  • or empower IDW Publishing and IDW Entertainment to take the lead or co-lead on a screen adaptation with a studio/streamer partner that embraces its mature tone.
• Nickelodeon and IDW Publishing / IDW Entertainment to publicly advocate for a Last Ronin adaptation that stays true to the graphic novel’s emotional core and respects the fans who made it a hit.

TMNT is big enough for Saturday morning energy and late-night heartbreak. We’re not asking you to choose one over the other.

We’re asking you to let The Last Ronin live—and if you won’t make it yourselves, let IDW, as a publicly traded media company with a proven entertainment division, co-lead the adaptation with partners who believe in it.

If you believe The Last Ronin deserves to exist on screen—not as a rumor or a canceled project, but as a real film or series—please sign and share this petition.