This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
The family was conceived by Groening shortly before a solicitation for a series of animated shorts with producer Brooks. He created a dysfunctional family and named the characters after his own family members, substituting Bart for his own name; he thought Simpson was a funny name in that it sounded similar to "simpleton".[4] The shorts became a part of The Tracey Ullman Show on April 19, 1987. After three seasons, the sketch was developed into a half-hour prime time show and became Fox's first series to land in the Top 30 ratings in a season (1989–1990).
On January 26, 2023, the series was renewed for its 35th and 36th seasons, taking the show through the 2024–25 television season.[6] Both seasons contain a combined total of 51 episodes. Seven of these episodes are season 34 holdovers, while the other 44 will be produced in the production cycle of the upcoming seasons, bringing the show's overall episode total up to 801.[7] Season 35 premiered on October 1, 2023.[8]
The Simpsons received widespread acclaim throughout its early seasons in the 1990s, which are generally considered its "golden age". Since then, it has been criticized for a perceived decline in quality. Time named it the 20th century's best television series,[9] and Erik Adams of The A.V. Club named it "television's crowning achievement regardless of format".[10] On January 14, 2000, the Simpson family was awarded a star on the Hollywood Walk of Fame. It has won dozens of awards since it debuted as a series, including 37 Primetime Emmy Awards, 34 Annie Awards, and 2 Peabody Awards. Homer's exclamatory catchphrase of "D'oh!" has been adopted into the English language, while The Simpsons has influenced many other later adult-oriented animated sitcom television series.
The main characters are the Simpson family, who live in the fictional "Middle America" town of Springfield.[11]Homer, the father, works as a safety inspector at the Springfield Nuclear Power Plant, a position at odds with his careless, buffoonish personality. He is married to Marge (née Bouvier), a stereotypical American housewife and mother. They have three children: Bart, a ten-year-old troublemaker and prankster; Lisa, a precocious eight-year-old activist; and Maggie, the baby of the family who rarely speaks, but communicates by sucking on a pacifier. Although the family is dysfunctional, many episodes examine their relationships and bonds with each other and they are often shown to care about one another.[12]
The creators originally intended many of these characters as one-time jokes or for fulfilling needed functions in the town. A number of them have gained expanded roles and subsequently starred in their own episodes. According to Matt Groening, the show adopted the concept of a large supporting cast from the comedy show SCTV.[14]
Despite the depiction of yearly milestones such as holidays or birthdays passing, the characters never age. The series uses a floating timeline in which episodes generally take place in the year the episode is produced. Flashbacks and flashforwards do occasionally depict the characters at other points in their lives, with the timeline of these depictions also generally floating relative to the year the episode is produced. For example, the 1991 episodes "The Way We Was" and "I Married Marge" depict Homer and Marge as high schoolers in the 1970s who had Bart (who is always 10 years old) in the early '80s, while the 2008 episode "That '90s Show" depicts Homer and Marge as a childless couple in the '90s, and the 2021 episode "Do Pizza Bots Dream of Electric Guitars" portrays Homer as an adolescent in the same period. The 1995 episode "Lisa's Wedding" takes place during Lisa's college years in the then-future year of 2010, the same year the show began airing its 22nd season, in which Lisa was still 8. Regarding the contradictory flashbacks, Selman stated that "they all kind of happened in their imaginary world."[15]
The show follows a loose and inconsistent continuity. For example, Krusty the Clown may be able to read in one episode, but not in another. However, it is consistently portrayed that he is Jewish, that his father was a rabbi, and that his career began in the 1960s. The latter point introduces another snag in the floating timeline: historical periods that are a core part of a character's backstory remain so even when their age makes it unlikely or impossible, such as Grampa Simpson and Principal Skinner's respective service in World War II and Vietnam.
The only episodes not part of the series' main canon are the Treehouse of Horror episodes, which often feature the deaths of main characters. Characters who die in "regular" episodes, such as Maude Flanders, Mona Simpson and Edna Krabappel, however, stay dead. Most episodes end with the status quo being restored, though occasionally major changes will stick, such as Lisa's conversions to vegetarianism and Buddhism, the divorce of Milhouse van Houten's parents, and the marriage and subsequent parenthood of Apu and Manjula.
The Simpsons takes place in a fictional American town called Springfield. Although there are many real settlements in America named Springfield,[16] the town the show is set in is fictional. The state it is in is not established. In fact, the show is intentionally evasive with regard to Springfield's location.[17] Springfield's geography and that of its surroundings is inconsistent: from one episode to another, it may have coastlines, deserts, vast farmland, mountains, or whatever the story or joke requires.[18] Groening has said that Springfield has much in common with Portland, Oregon, the city where he grew up.[19] Groening has said that he named it after Springfield, Oregon, and the fictitious Springfield which was the setting of the series Father Knows Best. He "figured out that Springfield was one of the most common names for a city in the U.S. In anticipation of the success of the show, I thought, 'This will be cool; everyone will think it's their Springfield.' And they do."[20] Many landmarks, including street names, have connections to Portland.[21]
When producer James L. Brooks was working on the television variety show The Tracey Ullman Show, he decided to include small animated sketches before and after the commercial breaks. Having seen one of cartoonist Matt Groening's Life in Hell comic strips, Brooks asked Groening to pitch an idea for a series of animated shorts. Groening initially intended to present an animated version of his Life in Hell series.[22] However, Groening later realized that animating Life in Hell would require the rescinding of publication rights for his life's work. He therefore chose another approach while waiting in the lobby of Brooks's office for the pitch meeting, hurriedly formulating his version of a dysfunctional family that became the Simpsons.[22][23] He named the characters after his own family members, substituting "Bart" for his own name, adopting an anagram of the word brat.[22]
The Simpson family first appeared as shorts in The Tracey Ullman Show on April 19, 1987.[24] Groening submitted only basic sketches to the animators and assumed that the figures would be cleaned up in production. However, the animators merely re-traced his drawings, which led to the crude appearance of the characters in the initial shorts.[22] The animation was produced domestically at Klasky Csupo,[25][26] with Wes Archer, David Silverman, and Bill Kopp being animators for the first season.[27] The colorist, "Georgie" Gyorgyi Kovacs Peluce (Kovács Györgyike)[28][29][30][31][32][33] made the characters yellow; as Bart, Lisa and Maggie have no hairlines, she felt they would look strange if they were flesh-colored. Groening supported the decision, saying: "Marge is yellow with blue hair? That's hilarious — let's do it!"[27]
In 1989, a team of production companies adapted The Simpsons into a half-hour series for the Fox Broadcasting Company. The team included the Klasky Csupo animation house. Brooks negotiated a provision in the contract with the Fox network that prevented Fox from interfering with the show's content.[34] Groening said his goal in creating the show was to offer the audience an alternative to what he called "the mainstream trash" that they were watching.[35] The half-hour series premiered on December 17, 1989, with "Simpsons Roasting on an Open Fire".[36] "Some Enchanted Evening" was the first full-length episode produced, but it did not broadcast until May 1990, as the last episode of the first season, because of animation problems.[37] In 1992, Tracey Ullman filed a lawsuit against Fox, claiming that her show was the source of the series' success. The suit said she should receive a share of the profits of The Simpsons[38]—a claim rejected by the courts.[39]
Matt Groening and James L. Brooks have served as executive producers during the show's entire history, and also function as creative consultants. Sam Simon, described by former Simpsons director Brad Bird as "the unsung hero" of the show,[40] served as creative supervisor for the first four seasons. He was constantly at odds with Groening, Brooks and the show's production company Gracie Films and left in 1993.[41] Before leaving, he negotiated a deal that sees him receive a share of the profits every year, and an executive producer credit despite not having worked on the show since 1993,[41][42] at least until his passing in 2015.[43] A more involved position on the show is the showrunner, who acts as head writer and manages the show's production for an entire season.[27]
The first team of writers, assembled by Sam Simon, consisted of John Swartzwelder, Jon Vitti, George Meyer, Jeff Martin, Al Jean, Mike Reiss, Jay Kogen and Wallace Wolodarsky.[44] Newer Simpsons' writing teams typically consist of sixteen writers who propose episode ideas at the beginning of each December.[45] The main writer of each episode writes the first draft. Group rewriting sessions develop final scripts by adding or removing jokes, inserting scenes, and calling for re-readings of lines by the show's vocal performers.[46] Until 2004,[47] George Meyer, who had developed the show since the first season, was active in these sessions. According to long-time writer Jon Vitti, Meyer usually invented the best lines in a given episode, even though other writers may receive script credits.[46] Each episode takes six months to produce so the show rarely comments on current events.[48]
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A grindhouse or action house[1] is an American term for a theatre that mainly shows low-budget horror, splatter, and exploitation films for adults. According to historian David Church, this theater type was named after the "grind policy", a film-programming strategy dating back to the early 1920s which continuously showed films at cut-rate ticket prices that typically rose over the course of each day. This exhibition practice was markedly different from the era's more common practice of fewer shows per day and graduated pricing for different seating sections in large urban theatres, which were typically studio-owned.
Due to these theaters' proximity to controversially sexualized forms of entertainment like burlesque, the term "grindhouse" has often been erroneously associated with burlesque theaters in urban entertainment areas such as 42nd Street in New York City,[2][3] where bump and grind dancing and striptease were featured.[4] In the film Lady of Burlesque (1943) one of the characters refers to one such burlesque theatre on 42nd Street as a "grindhouse," but Church points out the primary definition in the Oxford English Dictionary is for a movie theater distinguished by three criteria:[2]
Shows a variety of films, in continuous succession
Low admission fees
Films screened are frequently of poor quality or low (artistic) merit
Church states the first use of the term "grind house" was in a 1923 Variety article,[5] which may have adopted the contemporary slang usage of "grind" to refer to the actions of barkers exhorting potential patrons to enter the venue.[2]
Double, triple, and "all night" bills on a single admission charge often encouraged patrons to spend long periods of time in the theaters.[6] The milieu was largely and faithfully captured at the time by the magazine Sleazoid Express.
Because grindhouse theaters were associated with a lower class audience, grindhouse theaters gradually became perceived as disreputable places that showed disreputable films, regardless of the variety of films – including subsequent-run Hollywood films – that were actually screened.[7] Similar second-run screenings are held at discount theaters and neighborhood theatres; the distinguishing characteristics of the "grindhouse" are its typical urban setting and the programming of first-run films of low merit, not predominantly second-run films which had received wide releases.
The introduction of television greatly eroded the audience for local and single-screen movie theaters, many of which were built during the cinema boom of the 1930s. In combination with urban decay after white flight out of older city areas in the mid to late 1960s, changing economics forced these theaters to either close or offer something that television could not. In the 1970s, many of these theaters became venues for exploitation films,[4] such as adult pornography and sleaze, or slasher horror, and dubbed martial artsfilms from Hong Kong.[8]
Films shot for and screened at grindhouses characteristically contain large amounts of sex, violence, or bizarre subject matter. One featured genre were "roughies" or sexploitation films, a mix of sex, violence and sadism. Quality varied, but low budget production values and poor print quality were common. Critical opinions varied regarding typical grindhouse fare, but many films acquired cult following and critical praise.
By the mid 1980s, home video and cable movie channels threatened to render the grindhouse obsolete. By the end of the decade, these theaters had vanished from Los Angeles's Broadway and Hollywood Boulevard, New York City's Times Square and San Francisco's Market Street. Another example was the Jolar Theater in Nashville, Tennessee, on lower Broadway, which was active until it burned down on April 14, 1978.[9]
By the mid-1990s, these particular theaters had all but disappeared from the United States. Excerpts from Sleazoid Express, an exploitation aficionado newsletter that ran in the 1980s, were compiled into a book of the same title by authors Bill Landis and Michelle Clifford; the book discusses various exploitation subgenres as well as New York City's 42nd Street grindhouses themselves.
^ ab"Grindhouse". Archived from the original on August 5, 2010. Retrieved September 10, 2014.
^"Two-a-Day Policy Failure in Canadian Grind Houses". Variety. December 6, 1923. p. 19.
^Sanford, Jay Allen (February 17, 2010). "Last of the all-nighters – My life on downtown's Grindhouse Theater Row in the 70s and 80s". San Diego Reader. Archived from the original on March 25, 2017. Retrieved March 24, 2017. I spent my first night in San Diego sleeping in the back row of the Cabrillo Theater. In that pre-Gaslamp, pre-multiplexdowntown of 1978 or so, half a dozen wonderfully eclectic – if mildly disreputable – late night movie houses operated within a few blocks of each other. Each grindhouses was a colorful oasis, plopped down in the middle of a seedy urban sprawl perfectly suited to the sailors on shore leave and porn aficionados that comprised much of its foot traffic. A couple of bucks got you a double or triple bill, screened 'round the clock in cavernous single-screen movie theaters harkening back to Hollywood's golden age, rich in cinematic history and replete with big wide aisles and accommodating balconies. Horton Plaza had the Carbillo[sic] and the Plaza Theater, both operated by Walnut Properties, whose owner Vince Miranda maintained a suite at the Hotel San Diego (which he also owned).
^Hendrix, Grady (April 6, 2007). "This Old Grindhouse". Slate. Archived from the original on March 25, 2017. Retrieved March 24, 2017. Because grindhouse theaters were nasty places, full of nasty people, and most of us wouldn't be caught dead in one. The few folks who were there for the actual movies were either poverty tourists or cinephiles who didn't notice anything except the flickering screen, and, in many cases, their cinephilia had burned out their sense of discrimination, because a lot of the movies that showed in grindhouses were bad.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
Scooby-Doo was originally broadcast on CBS from 1969 to 1976, when it moved to ABC. ABC aired various versions of Scooby-Doo until canceling it in 1986, and presented a spin-off featuring the characters as children called A Pup Named Scooby-Doo from 1988 until 1991. Two Scooby-Doo reboots aired as part of Kids' WB on The WB and its successor The CW from 2002 until 2008. Further reboots were produced for Cartoon Network beginning in 2010 and continuing through 2018. Repeats of the various Scooby-Doo series are frequently broadcast on Cartoon Network's sister channel Boomerang in the United States and other countries. The most recent Scooby-Doo series, Scooby-Doo and Guess Who?, premiered on June 27, 2019, as an original series on Boomerang's streaming service and later HBO Max.
In 2013, TV Guide ranked Scooby-Doo the fifth-greatest TV cartoon of all time.[2]
In 1968, parent-run organizations, particularly Action for Children's Television (ACT), began protesting what they perceived as excessive violence in Saturday-morning cartoons.[3] Most of these shows were Hanna-Barbera action cartoons such as Space Ghost, The Herculoids, and Birdman and the Galaxy Trio, and virtually all of them were canceled by 1969 because of pressure from the parent groups.[4] Members of these watch groups served as advisers to Hanna-Barbera and other animation studios to ensure that new programs would be safe for children.
Fred Silverman, an executive for daytime programming at CBS, was then looking for a show that would both revitalize his Saturday-morning line and please the watch groups. The result was The Archie Show from Filmation, based on Bob Montana's teenage humor comic book Archie. Also successful were the musical numbers The Archies performed during each program (one of which, "Sugar, Sugar", was the most successful Billboardnumber-one hit of 1969). Eager to build upon this success, Silverman contacted producers William Hanna and Joseph Barbera about creating another show based on a teenage rock group, this time featuring teens who solved mysteries between gigs. Silverman envisioned the show as a cross between the popular I Love a Mysteryradioserials of the 1940s and the Archie characters or the popular early 1960s television series The Many Loves of Dobie Gillis.[5]
After attempting to develop his version of the show, called House of Mystery,[6] Barbera, who developed and sold Hanna-Barbera shows while Hanna produced them,[6] passed the task along to story writers Joe Ruby and Ken Spears, as well as artist/character designer Iwao Takamoto. Their treatment, based in part on The Archie Show, was titled Mysteries Five and featured five teenagers: Geoff, Mike, Kelly, Linda, and Linda's brother W.W., along with their bongo-playing dog, Too Much, who collectively formed the band Mysteries Five. When The Mysteries Five were not performing at gigs, they were out-solving spooky mysteries involving ghosts, zombies, and other supernatural creatures. Ruby and Spears were unable to decide whether Too Much would be a large cowardly dog or a small feisty one.[6] When the former was chosen, Ruby and Spears wrote Too Much as a Great Dane but revised the dog character to a large sheepdog (similar to the Archies' sheepdog, Hot Dog) just before their presentation to Silverman, as Ruby feared the character would be too similar to the comic strip character Marmaduke.[6] Silverman rejected their initial pitch, and after consulting with Barbera on next steps, got Barbera's permission to go ahead with Too Much being a Great Dane instead of a sheepdog.[6][7]
During the design phase, lead character designer Takamoto consulted a studio colleague who was a breeder of Great Danes. After learning the characteristics of a prize-winning Great Dane from her, Takamoto proceeded to break most of the rules and designed Too Much with overly bowed legs, a double chin, and a sloped back, among other abnormalities.[8][9]
Ruby and Spears' second pass at the show used Dobie Gillis as the template for the teenagers rather than Archie. The treatment retained the dog Too Much, while reducing the number of teenagers to four, removing the Mike character and retaining Geoff, Kelly, Linda, and W.W.[7] As their personalities were modified, so were the characters' names: Geoff became "Ronnie"[10]—later renamed "Fred" (at Silverman's behest),[11] Kelly became "Daphne", Linda "Velma", and W.W. "Shaggy". The teens were now based on four teenage characters from The Many Loves of Dobie Gillis: Dobie Gillis, Thalia Menninger, Zelda Gilroy and Maynard G. Krebs, respectively.[6][12][13]
The revised show was re-pitched to Silverman, who liked the material but, disliking the title Mysteries Five, decided to call the show Who's S-S-Scared?[14] Silverman presented Who's S-S-Scared? to the CBS executives as the centerpiece for the upcoming 1969–70 season's Saturday-morning cartoon block. CBS president Frank Stanton felt that the presentation artwork was too scary for young viewers and, thinking the show would be the same, decided to pass on it.[7][14]
Now without a centerpiece for the upcoming season's programming, Silverman had Ruby, Spears, and the Hanna-Barbera staff revise the treatments and presentation materials to tone down the show and better reflect its comedy elements. The rock band element was dropped, and more attention was focused on Shaggy and Too Much. According to Ruby and Spears, Silverman was inspired by Frank Sinatra's scat "doo-be-doo-be-doo" at the end of his recording of "Strangers in the Night" on a red-eye flight to one of the development meetings, and decided to rename the dog "Scooby-Doo" and retitled the show Scooby-Doo, Where Are You![7][15] The revised show was re-presented to CBS executives, who approved it for production.
Every episode of the original Scooby-Doo format contains a penultimate scene in which the heroes unmask the seemingly supernatural antagonist to reveal a real person in a costume, as in this scene from "Nowhere to Hyde", an episode of Scooby-Doo, Where Are You! originally aired on CBS on September 12, 1970.
The first episode of Scooby-Doo, Where Are You! "What a Night for a Knight" debuted on the CBS network Saturday, September 13, 1969, at 10:30 AM Eastern Time. The original voice cast featured Don Messick as Scooby-Doo, Casey Kasem as Shaggy, Frank Welker as Fred, actress Nicole Jaffe as Velma, and Indira Stefanianna as Daphne.[16] Scooby's speech patterns closely resembled an earlier cartoon dog, Astro from The Jetsons (1962–63), also voiced by Messick.[1] Seventeen episodes of Scooby-Doo Where Are You! were produced in 1969–70. The series theme song was written by David Mook and Ben Raleigh, and performed by Larry Marks.
Each of these episodes features Scooby and the four teenage members of Mystery, Inc.—Fred, Shaggy, Daphne, and Velma—arriving at a location in the Mystery Machine, a van painted with psychedelic colors and flower power imagery. Encountering a purportedly supernatural monster terrorizing the local populace, such as a ghost, they decide to investigate. The kids split up to look for clues and suspects, while being chased at turns by the monster. Eventually, the kids come to realize the paranormal activity is actually an elaborate hoax, and—often with the help of a Rube Goldberg-like trap designed by Fred—they capture the creature suit-wearing villain and unmask him or her. Revealed usually as a flesh and blood crook who used the costume to cover up their crimes, the villain is arrested and taken to jail, often with the catchphrase "if it weren't for those pesky/meddling kids". A few times though, the "villain" turns out to be innocent, such as a haywire robot or the owner disguised to scare away thieves. [17]
Scheduled opposite another teenage mystery-solving show, ABC's The Hardy Boys, Scooby-Doo became a ratings success, with Nielsen ratings reporting that as many as 65% of Saturday-morning audiences were tuned in to CBS when Scooby-Doo was being broadcast.[6][7] The show was renewed for a second season in 1970, for which eight episodes were produced. Seven of the second-season episodes featured chase sequences set to bubblegum pop songs recorded by Austin Roberts,[18] who also re-recorded the theme song for this season. With Stefanianna Christopherson having married and retired from voice acting, Heather North assumed the role of Daphne, and she continued to voice the character until 1997.[19]
The TV influences of I Love a Mystery and Dobie Gillis were apparent in the first episode. Of the similarities between the Scooby-Doo teens and the Dobie Gillis teens, the similarities between Shaggy and Maynard are the most noticeable; both characters share the same beatnik-style goatee, similar hairstyles, and demeanors.[6] The core premise of Scooby-Doo, Where Are You! was also similar to Enid Blyton's Famous Five books. Both series featured four youths with a dog, and the Famous Five stories often revolved around a mystery which invariably turned out not to be supernaturally based, but simply a ruse to disguise the villain's true intent.
The role of each character was strongly defined in the series: Fred is the leader and the determined detective, Velma is the intelligent analyst, Daphne is danger-prone, Shaggy is a coward more motivated by hunger than any desire to solve mysteries, and Scooby is similar to Shaggy, save for a Bob Hope-inspired tendency towards temporary bravery.[7] Later versions of the show made slight changes to the characters' established roles, such as showing the Daphne in 1990s and 2000s Scooby-Doo productions as knowing many forms of karate and having the ability to defend herself, and reducing her tendency towards being kidnapped.
In the fall of 1972, new one-hour episodes under the title The New Scooby-Doo Movies were created; each episode featuring a real or fictitious guest star helping the gang solve mysteries, including characters from other Hanna-Barbera series such as Harlem Globetrotters, Josie and the Pussycats and Speed Buggy, the comic book characters Batman and Robin (adapted into their own Hanna-Barbera series, Super Friends, a year later), and celebrities such as Sandy Duncan, The Addams Family, Cass Elliot, Phyllis Diller, Don Knotts and The Three Stooges. Hanna-Barbera musical director Hoyt Curtin composed a new theme song for this series, and Curtin's theme remained in use for much of Scooby-Doo's original broadcast run. After two seasons and 24 episodes of the New Movies format from 1972 to 1973, CBS began airing reruns of the original Scooby-Doo, Where Are You! series until its option on the series expired in 1976.[6]
The Scooby-Doo Show and Scooby's All-Star Laff-A-Lympics[edit]
Now president of ABC, Fred Silverman made a deal with Hanna-Barbera to bring new episodes of Scooby-Doo to the ABC Saturday-morning lineup, where the show went through almost yearly lineup changes. For their 1976–77 season, 16 new episodes of Scooby-Doo were joined with a new Hanna-Barbera show, Dynomutt, Dog Wonder, to create The Scooby-Doo/Dynomutt Hour (the show became The Scooby-Doo/Dynomutt Show when a bonus Scooby-Doo, Where Are You! rerun was added to the package in November 1976). Joe Ruby and Ken Spears, now working for Silverman as supervisors of the ABC Saturday-morning programs, returned the program to its original Scooby-Doo, Where Are You! format, with the addition of Scooby's dim-witted country cousin Scooby-Dum, voiced by Daws Butler, as a recurring character.[6] The voice cast was held over from The New Scooby-Doo Movies save for Nicole Jaffe, who retired from acting in 1973. Pat Stevens took over her role as the voice of Velma.
Then Joe Ruby and Ken Spears left again to start their own studio in 1977 as competition for Hanna-Barbera.[21] They would remain away for the rest of the 1980s.
For the 1977–78 season, The Scooby-Doo/Dynomutt Show became the two-hour programming block Scooby's All-Star Laff-A-Lympics (1977–78) with the addition of Laff-a-Lympics and Captain Caveman and the Teen Angels. In addition to eight new episodes of Scooby-Doo and reruns of the 1969 show, Scooby-Doo also appeared during the All-Star block's Laff-a-Lympics series, which featured 45 Hanna-Barbera characters competing in Battle of the Network Stars-esque parodies of Olympic sporting events. Scooby was seen as the team captain of the Laff-a-Lympics "Scooby-Doobies" team, which also featured Shaggy and Scooby-Dum among its members.
Scooby's All-Star Laff-a-Lympics was retitled Scooby's All Stars for the 1978–79 season, reduced to 90 minutes when Dynomutt was spun off into its own half-hour and the 1969 reruns were dropped. Scooby's All-Stars continued broadcasting reruns of Scooby-Doo from 1976 and 1977, while new episodes of Scooby-Doo aired during a separate half-hour under the Scooby-Doo, Where Are You! banner. After nine weeks, the separate Where Are You! broadcast was cancelled, and the remainder of the 16 new 1978 episodes debuted during the Scooby's All-Stars block.[22] The 40 total Scooby-Doo episodes produced from 1976 to 1978 were later packaged together for syndication as The Scooby-Doo Show, under which title they continue to air.
The Scooby-Doo characters first appeared outside of their regular Saturday-morning format in Scooby Goes Hollywood, an hour-long ABC television special aired in prime time on December 13, 1979. The special revolved around Shaggy and Scooby attempting to convince the network to move Scooby out of Saturday morning and into a prime-time series, and featured spoofs of then-current television series and films such as Happy Days, Superman: The Movie, Laverne & Shirley and Charlie's Angels.
In 1979, Scooby's tiny nephew Scrappy-Doo was added to both the series and the billing, in an attempt to boost Scooby-Doo's slipping ratings.[23] The 1979–80 episodes, aired under the new title Scooby-Doo and Scrappy-Doo as an independent half-hour show, succeeded in regenerating interest in the show. Lennie Weinrib voiced Scrappy in the 1979–80 episodes, with Don Messick assuming the role thereafter.[23] Marla Frumkin replaced Pat Stevens as the voice of Velma mid-season.
As a result of Scooby-Doo and Scrappy-Doo's success, the entire show was overhauled in 1980 to focus more upon Scrappy-Doo. At this time, Scooby-Doo started to walk and run anthropomorphically on two feet more often, rather than on four like a normal dog as he did previously. Fred, Daphne, and Velma were dropped from the series, and the new Scooby-Doo and Scrappy-Doo format now consisted of three seven-minute comedic adventures starring Scooby, Scrappy, and Shaggy instead of one half-hour mystery. Most of the supernatural villains in the seven-minute Scooby and Scrappy cartoons, who in previous Scooby series had been revealed to be human criminals in costume, were now real within the context of the series.
This version of Scooby-Doo and Scrappy-Doo first aired from 1980 to 1982 as part of The Richie Rich/Scooby-Doo Show, an hour-long program also featuring episodes of Hanna-Barbera's new Richie Rich cartoon, adapted from the Harvey Comics character. From 1982 to 1983, Scooby-Doo and Scrappy-Doo were part of The Scooby-Doo/Scrappy-Doo/Puppy Hour, a co-production with Ruby-Spears Productions which featured two Scooby and Scrappy shorts, a Scrappy and Yabba-Doo short featuring Scrappy-Doo and his Western deputy uncle Yabba-Doo, and The Puppy's New Adventures, based on characters from a 1977 Ruby-Spears TV special. Despite the popularity, this was negatively hated by fans for how it dropped the mystery format and other main characters like Fred, Daphne, and Velma.
Beginning in 1980, a half-hour of reruns from previous incarnations of Scooby-Doo were broadcast on ABC Saturday mornings in addition to first-run episodes. Airing under the titles Scooby-Doo Classics, Scary Scooby Funnies, The Best of Scooby-Doo, and Scooby's Mystery Funhouse, the rerun package remained on the air until the end of the 1986 season.[24]
Scooby-Doo was restored to a standalone half-hour in 1983 with The New Scooby and Scrappy-Doo Show in 1983, which comprised two 11-minute mysteries per episode in a format reminiscent of the original Scooby-Doo, Where Are You! mysteries. Heather North returned to the voice cast as Daphne, who in this incarnation solved mysteries with Shaggy, Scooby, and Scrappy while working undercover as a reporter for a teen magazine.
This version of the show lasted for two seasons, with the second season airing under the title The New Scooby-Doo Mysteries. The 1984–85 season episodes featured semi-regular appearances from Fred and Velma, with Frank Welker and Marla Frumkin resuming their respective roles for these episodes.
1985 saw the debut of The 13 Ghosts of Scooby-Doo, which featured Daphne, Shaggy, Scooby, Scrappy, and new characters Flim-Flam (voiced by Susan Blu)[25] and Vincent Van Ghoul (based upon and voiced by Vincent Price) traveling the globe to capture "thirteen of the most terrifying ghosts upon the face of the earth." The final first-run episode of The 13 Ghosts of Scooby-Doo aired in December 1985, and after its reruns were removed from the ABC lineup the following March, no new Scooby series aired on the network for the next two years.
Hanna-Barbera reincarnated the original Scooby-Doo, Where Are You! cast as elementary school students (a common trope in 1980s children's TV) for a new series titled A Pup Named Scooby-Doo, which debuted on ABC in 1988. A Pup Named Scooby-Doo was an irreverent re-imagining of the series, heavily inspired by the classic cartoons of Tex Avery and Bob Clampett, and eschewed the realistic aesthetic of the original Scooby series for a more Looney Tunes-like style, including an episode where Scooby-Doo's parents show up and reveal his real name to be "Scoobert". At the same time, the series returned to its original formula in that the group unmasked human villains in costume, as opposed to the supernatural monsters of the early to mid-1980s. The series also established "Coolsville" as the name of the gang's hometown; this setting was retained for several of the later Scooby productions. The retooled show was a success, remaining in production for four seasons and on ABC's lineup until 1991.
In 2002, following the successes of the Cartoon Network reruns, the direct to video franchise, and the first feature film, Scooby-Doo returned to Saturday morning for the first time in a decade with What's New, Scooby-Doo?, which aired on Kids' WB from 2002 until 2006. Produced by Warner Bros. Animation, the show follows the format of the original series but places it in the 21st century, featuring a heavy promotion of modern technology (computers, DVD, the Internet, cell phones) and culture.
Beginning with this series, Frank Welker took over as Scooby's voice actor, while continuing to provide the voice of Fred as well. Casey Kasem returned as Shaggy, on the condition that the character be depicted as a vegetarian like Kasem himself.[26] Grey DeLisle continued to voice Daphne, and former Facts of Life star Mindy Cohn voiced Velma. The series was produced by Chuck Sheetz, who had worked on The Simpsons.
In September 2006 a new show entitled, Shaggy & Scooby-Doo Get a Clue!, debuted on The CW's Kids' WB Saturday-morning programming block. In the new premise, Shaggy inherits money and a mansion from an uncle, an inventor who has gone into hiding from villains trying to steal his secret invention. The villains, led by "Dr. Phibes" (based primarily upon Dr. Evil from the Austin Powersseries, and named after Vincent Price's character from The Abominable Dr. Phibes), then use different schemes to try to get the invention from Shaggy and Scooby, who handle the plots alone. Fred, Daphne, and Velma are normally absent, but do make appearances at times to help. The characters were redesigned and the art style revised for the new series. Scott Menville voiced Shaggy in the series, with Casey Kasem appearing as the voice of Shaggy's Uncle Albert. Shaggy & Scooby-Doo Get a Clue! ran for two seasons on The CW.
Cartoon Network and Boomerang years (2010–2021)[edit]
The next Scooby series, Scooby-Doo! Mystery Incorporated, premiered on Cartoon Network on April 5, 2010.[27] The first Scooby series produced for cable television, Mystery Incorporated is a reboot of the franchise, re-establishing the characters' relationships, personalities, and locations, and expanding their world to feature their parents, high school, and neighbors. The series also borrowed pieces from many parts of Scooby-Doo's long history, as well as characters and elements of other Hanna-Barbera shows to form its back story and the bases of some of its episodes. Matthew Lillard was brought over from the live-action theatrical series as the new voice of Shaggy, while Welker, Cohn, and DeLisle continued in their respective roles. Patrick Warburton, Linda Cardellini, Lewis Black, Vivica A. Fox, Gary Cole, Udo Kie
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