15 Things You Didn't Know About DuckTales

Even if your life wasn't like a hurricane in 1987—no race cars lasers, or aeroplanes—you may have been a DuckTales fan. As fans await Disney's reboot of the series, which will premiere this summer with Danny Pudi, Ben Schwartz, Bobby Moynihan, and David Tennant, here are a few facts about Scrooge McDuck and his daring grand-nephews.

1. SCROOGE EARNED HIS LUCKY NUMBER ONE DIME BY GIVING A SHOESHINE IN HIS HOMETOWN OF GLASGOW WHEN HE WAS JUST 10 YEARS OLD.

That's according to Don Rosa’s Life and Times of Scrooge McDuck comic. And it’s not just any old dime—it is, specifically, a 1875 or 1857 (depending on which comic you read) Seated Liberty dime. Depending on which year it is and the condition it’s in, that dime would be worth up to $700 today. It's not much compared to Scrooge's massive money pit, but it's nothing to sneeze at.

2. ALAN YOUNG, WHO WAS THE VOICE OF SCROOGE, WAS ARGUABLY MORE WELL-KNOWN FOR HIS WORK WITH ANOTHER NON-HUMAN: MR. ED.

Alan Young played Wilbur Post, the famous talking horse's owner. Huey, Dewey, Louie, and Webby were voiced by Russi Taylor, who was also the voice of Minnie Mouse.

3. IF THE SHOW HAD FOLLOWED THE COMICS MORE CLOSELY, DONALD DUCK WOULD HAVE BEEN PART OF THE DUCKTALES GANG.

Disney producers decided that they really wanted the focus to be on the stingy Scot, so they took Donald out of the equation. (In the upcoming reboot, Donald is known as “one of the most daring adventurers of all time.”)

4. MARK MUELLER, THE MAN RESPONSIBLE FOR THAT OH-SO-CATCHY THEME SONG, ALSO WROTE THE CHIP ‘N’ DALE RESCUE RANGERS THEME SONG.

Ok, that makes sense. But how about this: He also wrote Jennifer Paige’s “Crush” and Amy Grant’s “That’s What Love is For.”

5. EXACTLY HOW BIG IS SCROOGE’S MONEY BIN? THREE CUBIC ACRES.

Which doesn’t make sense, of course, and I’ll let author and economic historian John Steele Gordon tell you why. This is what he noted to the Wall Street Journal in 2005:

“An acre is a measure of area (i.e. two dimensions). If you have a ‘cubic acre,’ you would have a four-dimensional space—a three-dimensional space existing in a specific time frame. Hell, add another dimension and you get a late-'60s soul/R&B singing group. A cubic acre, of course, is Carl Barks's wonderfully meaningless measurement of Scrooge's infinite wealth. Lewis Carroll would have loved it. But as a child I calculated that a cubic acre would have a side 208.7 feet long (square root of 43,560) and thus a volume of 9,090,972 cubic feet. So Scrooge's money bin would have been 27,272,916 cubic feet in size, an adequate piggy bank by any measure.”

A later story by Don Rosa, however, showed blueprints for the vault that pegged its size as 127 feet by 120 feet.

6. BEAGLE BOYS LEADER MA BEAGLE WAS MODELED AFTER THE INFAMOUS MA BARKER OF THE BARKER-KARPIS GANG.

An incomplete lineup of Beagle Boys includes Bigtime, Burger, Bouncer, Baggy, Bankjob, Bugle, Bebop, Babyface, Megabyte, Bomber, Backwoods, Bacon, Bullseye, Bulkhead, Butterball, Bombshell, Bankroll and Brainstorm.

7. DARKWING DUCK WAS INSPIRED BY THE DUCKTALES EPISODE “DOUBLE O' DUCK.”

In fact, Darkwing was originally called Double O' Duck, and would have starred wannabe spies Launchpad McQuack and Gizmoduck.

8. THE DUCKTALES VIDEO GAME HAD AN ALTERNATE ENDING.

If you managed to beat the DuckTales game but bankrupted Scrooge, you were one of a select few people who saw the alternate “Sad Scrooge” ending. Thanks to the magic of YouTube, you don’t have to manage that particular feat. Voila!

9. YOU CAN STILL PLAY THE ORIGINAL DUCKTALES GAME ONLINE.

You're welcome? (Just don’t blame me when your productivity plummets this weekend.)

10. ACCORDING TO THE EPISODE "DOUBLE O' DUCK," DUCKBURG IS HOME TO ABOUT 315,000 RESIDENTS.

That makes it roughly the size of St. Louis.

11. IT'S HARD TO SAY WHERE DUCKBURG IS, EXACTLY.

The comic books place the town in Calisota, a fictional state in the U.S. But Calisota itself seems to move about the country, depending on the artist, the storyline, and whether we're talking comic book or TV series. Various maps have showed it on the west coast, in Pittsburgh, and even somewhere near Virginia.

12. CARL BARKS TOOK HIS INSPIRATION FOR MAGICA DE SPELL FROM TWO ITALIAN ACTRESSES: GINA LOLLOBRIGIDA AND SOPHIA LOREN.

He was also inspired by Morticia Addams. “Disney’s always had witches who were ugly and repulsive,” Barks once said. “Why shouldn’t I draw one that’s not ugly, but outright sexy?”

Getty/Disney Wikia

13. CRITICS WEREN'T PARTICULARLY KIND TO DUCKTALES AT FIRST.

The Los Angeles Times believed the public was going to be hugely disappointed in the quality of the animation, and wondered why anyone would try to give Scrooge more dimension when people already loved him as a money-hoarding miser.

14. THE SHOW'S APPEAL WAS UNIVERSAL.

In 1991, DuckTales became the first American cartoon to be shown in the former Soviet Union.

15. WITHOUT THE ADVENTURES OF SCROOGE AND THE BOYS, INDIANA JONES MAY NOT HAVE EXISTED.

According to D23, the official Disney fan club, both George Lucas and Steven Spielberg have said that the gang's comic capers heavily influenced Raiders of the Lost Ark.

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Hulton Archive/Getty Images
The Star Trek Theme Song Has Lyrics
Hulton Archive/Getty Images
Hulton Archive/Getty Images

The Star Trek theme song is familiar to pretty much anyone who lived in the free world (and probably elsewhere, too) in the late 20th century. The tune is played during the show's opening credits; a slightly longer version is played, accompanied by stills from various episodes, during the closing credits. The opening song is preceded by William Shatner (as Captain Kirk) doing his now-legendary monologue recitation, which begins: "Space, the final frontier ..."

The show's familiar melody was written by respected film and TV composer Alexander Courage, who said the Star Trek theme's main inspiration was the Richard Whiting song "Beyond the Blue Horizon." In Courage's contract it was stipulated that, as the composer, he would receive royalties every time the show was aired and the theme song played. If, somehow, Star Trek made it into syndication—which, of course, it ultimately did—Courage stood to make a lot of money. And so did the person who wrote the lyrics.

WAIT... THERE WERE LYRICS?

Gene Roddenberry, the show's creator, wrote lyrics to the theme song.

"Beyond the rim of the star-light,
my love is wand'ring in star-flight!"

Why would Roddenberry even bother?

The lyrics were never even meant to be heard on the show, but not because the network (NBC) nixed them. Roddenberry nixed them himself. Roddenberry wanted a piece of the composing profits, so he wrote the hokey lyrics solely to receive a "co-writer" credit.

"I know he'll find in star-clustered reaches
Love, strange love a star woman teaches."

As one of the composers, Roddenberry received 50 percent of the royalties ... cutting Alexander Courage's share in half. Not surprisingly, Courage was furious about the deal. Though it was legal, he admitted, it was unethical because Roddenberry had contributed nothing to why the music was successful.

Roddenberry was unapologetic. According to Snopes, he once declared, "I have to get some money somewhere. I'm sure not gonna get it out of the profits of Star Trek."

In 1969, after Star Trek officially got the ax, no one (Courage and Roddenberry included) could possibly have imagined the show's great popularity and staying power.

Courage, who only worked on two shows in Star Trek's opening season because he was busy working on the 1967 Dr. Doolittle movie, vowed he would never return to Star Trek.

He never did.

THE WORDS

If you're looking for an offbeat karaoke number, here are Roddenberry's lyrics, as provided by Snopes:

Beyond
The rim of the star-light
My love
Is wand'ring in star-flight
I know
He'll find in star-clustered reaches
Love,
Strange love a star woman teaches.
I know
His journey ends never
His star trek
Will go on forever.
But tell him
While he wanders his starry sea
Remember, remember me.

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Universal Pictures Home Entertainment
The 10 Wildest Movie Plot Twists
Laura Harring in Mulholland Drive (2001)
Laura Harring in Mulholland Drive (2001)
Universal Pictures Home Entertainment

An ending often makes or breaks a movie. There’s nothing quite as satisfying as having the rug pulled out from under you, particularly in a thriller. But too many flicks that try to shock can’t stick the landing—they’re outlandish and illogical, or signal where the plot is headed. Not all of these films are entirely successful, but they have one important attribute in common: From the classic to the cultishly beloved, they involve hard-to-predict twists that really do blow viewers’ minds, then linger there for days, if not life. (Warning: Massive spoilers below.)

1. PSYCHO (1960)

Alfred Hitchcock often constructed his movies like neat games that manipulated the audience. The Master of Suspense delved headfirst into horror with Psycho, which follows a secretary (Janet Leigh) who sneaks off with $40,000 and hides in a motel. The ensuing jolt depends on Leigh’s fame at the time: No one expected the ostensible star and protagonist to die in a gory (for the time) shower butchering only a third of the way into the running time. Hitchcock outdid that feat with the last-act revelation that Anthony Perkins’s supremely creepy Norman Bates is embodying his dead mother.

2. PLANET OF THE APES (1968)

No, not the botched Tim Burton remake that tweaked the original movie’s famous reveal in a way that left everyone scratching their heads. The Charlton Heston-starring sci-fi gem continues to stupefy anyone who comes into its orbit. Heston, of course, plays an astronaut who travels to a strange land where advanced apes lord over human slaves. It becomes clear once he finds the decrepit remains of the Statue of Liberty that he’s in fact on a future Earth. The anti-violence message, especially during the political tumult of 1968, shook people up as much as the time warp.

3. DEEP RED (1975)

It’s not rare for a horror movie to flip the script when it comes to unmasking its killer, but it’s much rarer that such a film causes a viewer to question their own perception of the world around them. Such is the case for Deep Red, Italian director Dario Argento’s (Suspiria) slasher masterpiece. A pianist living in Rome (David Hemmings) comes upon the murder of a woman in her apartment and teams up with a female reporter to find the person responsible. Argento’s whodunit is filled to the brim with gorgeous photography, ghastly sights, and delirious twists. But best of all is the final sequence, in which the pianist retraces his steps to discover that the killer had been hiding in plain sight all along. Rewind to the beginning and you’ll discover that you caught an unknowing glimpse, too.

4. SLEEPAWAY CAMP (1983)

Sleepaway Camp is notorious among horror fans for a number of reasons: the bizarre, stilted acting and dialogue; hilariously amateurish special effects; and ‘80s-to-their-core fashions. But it’s best known for the mind-bending ending, which—full disclosure—reads as possibly transphobic today, though it’s really hard to say what writer-director Robert Hiltzik had in mind. Years after a boating accident that leaves one of two siblings dead, Angela is raised by her aunt and sent to a summer camp with her cousin, where a killer wreaks havoc. In the lurid climax, we see that moody Angela is not only the murderer—she’s actually a boy. Her aunt, who always wanted a daughter, raised her as if she were her late brother. The final animalistic shot prompts as many gasps as cackles.

5. THE USUAL SUSPECTS (1995)

The Usual Suspects has left everyone who watches it breathless by the time they get to the fakeout conclusion. Roger "Verbal" Kint (Kevin Spacey), a criminal with cerebral palsy, regales an interrogator in the stories of his exploits with a band of fellow crooks, seen in flashback. Hovering over this is the mysterious villainous figure Keyser Söze. It’s not until Verbal leaves and jumps into a car that customs agent David Kujan realizes that the man fabricated details, tricking the law and the viewer into his fake reality, and is in fact the fabled Söze.

6. PRIMAL FEAR (1996)

No courtroom movie can surpass Primal Fear’s discombobulating effect. Richard Gere’s defense attorney becomes strongly convinced that his altar boy client Aaron (Edward Norton) didn’t commit the murder of an archbishop with which he’s charged. The meek, stuttering Aaron has sudden violent outbursts in which he becomes "Roy" and is diagnosed with dissociative identity disorder, leading to a not guilty ruling. Gere’s lawyer visits Aaron about the news, and as he’s leaving, a wonderfully maniacal Norton reveals that he faked the multiple personalities.

7. FIGHT CLUB (1999)

Edward Norton is no stranger to taking on extremely disparate personalities in his roles, from Primal Fear to American History X. The unassuming actor can quickly turn vicious, which led to ideal casting for Fight Club, director David Fincher’s adaptation of the Chuck Palahniuk novel. Fincher cleverly keeps the audience in the dark about the connections between Norton’s timid, unnamed narrator and Brad Pitt’s hunky, aggressive Tyler Durden. After the two start the titular bruising group, the plot significantly increases the stakes, with the club turning into a sort of anarchist terrorist organization. The narrator eventually comes to grips with the fact that he is Tyler and has caused all the destruction around him.

8. THE SIXTH SENSE (1999)

Early in his career, M. Night Shyamalan was frequently (perhaps a little too frequently) compared to Hitchcock for his ability to ratchet up tension while misdirecting his audience. He hasn’t always earned stellar reviews since, but The Sixth Sense remains deservedly legendary for its final twist. At the end of the ghost story, in which little Haley Joel Osment can see dead people, it turns out that the psychologist (Bruce Willis) who’s been working with the boy is no longer living himself, the result of a gunshot wound witnessed in the opening sequence.

9. THE OTHERS (2001)

The Sixth Sense’s climax was spooky, but not nearly as unnerving as Nicole Kidman’s similarly themed ghost movie The Others, released just a couple years later. Kidman gives a superb performance in the elegantly styled film from the Spanish writer-director Alejandro Amenábar, playing a mother in a country house after World War II protecting her photosensitive children from light and, eventually, dead spirits occupying the place. Only by the end does it become clear that she’s in denial about the fact that she’s a ghost, having killed her children in a psychotic break before committing suicide. It’s a bleak capper to a genuinely haunting yarn.

10. MULHOLLAND DRIVE (2001)

David Lynch’s surrealist movies may follow dream logic, but that doesn’t mean their plots can’t be readily discerned. Mulholland Drive is his most striking work precisely because, in spite of its more wacko moments, it adds up to a coherent, tragic story. The mystery starts innocently enough with the dark-haired Rita (Laura Elena Harring) waking up with amnesia from a car accident in Los Angeles and piecing together her identity alongside the plucky aspiring actress Betty (Naomi Watts). It takes a blue box to unlock the secret that Betty is in fact Diane, who is in love with and envious of Camilla (also played by Harring) and has concocted a fantasy version of their lives. The real Diane arranges for Camilla to be killed, leading to her intense guilt and suicide. Only Lynch can go from Nancy Drew to nihilism so swiftly and deftly.

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