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Costello then appeared in the next 24 Popeye shorts before he was fired by the Fleischers, allegedly over "bad behavior". [2] Although he never received onscreen credit, Costello knew of Popeye's international popularity and reputedly became difficult to work with, demanding more money and days off in the middle of a recording session.
One is the love triangle among Popeye, Olive Oyl, and Bluto (sometimes called Brutus), and Bluto's endless machinations to claim Olive at Popeye's expense. Another is his near-saintly perseverance in overcoming any obstacle to please Olive, who often (if temporarily) renounces Popeye for Bluto.
Popeye, a gruff but good-hearted sailor, arrives at the small coastal town of Sweethaven while searching for his missing father. He rents a room at the Oyl family's boarding house, where the Oyls plan to have their daughter, Olive, become engaged to Captain Bluto, a powerful, perpetually angry bully who manages the town in the name of the mysterious Commodore.
Popeye first appeared as a peripheral character in January 1929 in E.C. Segar's "Thimble Theatre" comic strip. He garnered such instant popularity that Segar eventually refashioned the strip ...
“It’s a trove! There are a dozen new Mickey cartoons — he speaks for the first time and dons the familiar white gloves,” said Jennifer Jenkins, director of Duke’s Center for the Study of the Public Domain. “There are masterpieces from Faulkner and Hemingway, the first sound films from Alfred Hitchcock, Cecil B. DeMille, and John ...
After graduation, Dooley went to New York City to try his luck in the entertainment industry. He initially found work as a clown for children's birthday parties. [6] In New York he soon found success as a regular on the stage. In the early 1950s, he made his debut on the New York stage and was discovered by Mike Nichols.
Castor Oyl is Olive Oyl's older brother, debuting in Thimble Theatre on January 14, 1920. While initially a minor character defined chiefly by his bizarre, paradoxical antics (often alleged by other characters to be a product of insanity), Segar progressively adapted Castor into more of an ambitious, enterprising everyman figure as the strip evolved into a serialized comedy-adventure style.
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