10 Fun Facts About Johnny Bravo

Cartoon Network
Cartoon Network

In the early 1990s, Ted Turner committed himself to building an animation empire. In 1991, Turner Entertainment purchased Hanna-Barbera, the animation house responsible for classic toons like Scooby-Doo, The Flintstones, Space Ghost, and countless others. And with the launch of Turner’s Cartoon Network in 1992, all of those classic cartoons would have a permanent home. That took care of the nostalgia crowd, but the network was also anxious to create unique, original content to get the younger generation hooked on this 24/7 world of animation.

On July 14, 1997, Cartoon Network debuted a show that would become a cornerstone of that move toward fresh content: Johnny Bravo. To celebrate the 20th anniversary of the muscle-bound greaser with the golden pompadour, here are 10 facts about Johnny Bravo.


Though it’s easy to assume that the name "Johnny Bravo" came from Greg Brady’s alter ego on The Brady Bunch, it’s actually a take on creator Van Partible’s full name, which is Efram Giovanni Bravo Partible.


When Partible told the eventual voice of Johnny Bravo, Jeff Bennett, that he wanted the character to sound like Elvis, Bennett only had one question: Old or young? Bennett explained that they’re basically two unique voices, with a younger Elvis sounding much faster and more energetic, while the elder Presley would require Bennett to deepen and “slow it down.”

Partible asked for something more in the middle, resulting in the signature Bravo voice. While Partible heard a lot of Elvis impersonators for the role, he said Bennett was the only one to go beyond imitation and become an actual character. 


After Partible’s initial pitch, Cartoon Network was going to pass on Johnny Bravo for not being “cartoony” enough. That is until three prominent women at the network—Ellen Cockrill, Janet Mazotti, and Julie Kane-Ritsch—fought for the show to get picked up.

It may sound strange for the chauvinistic Bravo to have their support, but as Partible mentioned in his blog, “I think it's because they know Johnny Bravos in their lives and can relate. They also enjoy watching him get his comeuppance.”


While studying animation at Loyola Marymount University, Partible created a short animated film for his senior thesis project called Mess o’ Blues. The short focuses on a character not too far off from an Elvis impersonator, who looks like a much thinner Bravo with jet black hair and one of The King’s trademark white jumpsuits.

The film was sent to Hanna-Barbera, which was on the lookout for new talent after the launch of Cartoon Network. After receiving acclaim from the studio, Partible was brought in to pitch a series based on the film. Partible expanded on the initial project, including a redesign and rebranding of the main character into Johnny Bravo.

To this day, there’s been no official release of Mess o’ Blues, though some snippets of footage do exist.


One of the most striking things about Johnny Bravo—especially when compared to its contemporaries—is its minimalist character designs. The lines and extraneous details are kept to a minimum—so much so that Bravo himself often has a face that consists of large black circles for sunglasses and a few simple lines for a nose. In Bravo’s world, mouths seem to come and go as needed.

This was all part of Partible’s vision, as he was inspired by the work of famed illustrator Al Hirschfeld, who was most famous for his caricatures of Broadway stars and big screen celebrities. In particular, Bravo’s head and trademark hair were a take on Hirschfeld’s caricature of actor Richard Davalos for an illustration he did in 1995 that looked back at Arthur Miller’s A View From the Bridge. The hairdo's vertical lift was the perfect complement to Bravo's faux-greaser panache. 


When Cartoon Network accepted Partible’s pitch for Johnny Bravo, there was only one problem: Partible had never worked on a full-fledged TV show before. “My new producer, Larry Huber, told me that this was going to be a type of graduate school where I was going to learn how to make cartoons from the ground up in the studio system,” Partible wrote on his blog.

The initial deal that Partible signed on for was a “step deal,” which he described as, “I was going to be under careful watch and evaluated after every step of production to see if they wanted to continue to go forward.”

The experience turned out to be a blessing. At the time, Cartoon Network was looking to experiment, and Partible’s youth and inexperience were something the network was willing to gamble on. Looking to capture the unique style of upstart creators, the company let Partible do the cartoon his own way. 


The goal for Hanna-Barbera during this time was to create new shows that still felt like the classic series the studio put out in the ’60s and ’70s. It’s pretty easy to achieve that when one half of the company’s namesake—Joe Barbera—agreed to take a hands-on approach to Johnny Bravo during the mid-’90s.

Though he wasn’t a full-time member of the show’s staff, Partible described Barbera's role in his blog:

“So, once a week, we would get a visit from Mr. B, pick his brain, and come up with jokes. He seemed to enjoy the goofy banter we had in the room.”

Barbera became a literal part of the show when he briefly appeared in the episode “Bravo Dooby Doo” when Johnny, Scooby, and the gang team up to unmask the ghoul of the week. When Partible screened the episode for Barbera, the legendary cartoonist fell asleep, only to be startled awake when Bravo and Thelma screamed his name toward the end of the show.


The influence Johnny Bravo had on audiences is well documented, but the show’s production also helped launch the careers of two household names of animation: Family Guy’s Seth MacFarlane and The Fairly OddParents creator Butch Hartman.

MacFarlane was a writer and storyboard artist on Bravo during its first year, while Hartman performed the same duties but also directed 10 episodes of the show in 1997. MacFarlane and Hartman also worked on other Cartoon Network shows for Hanna-Barbera before going off to create their own series in the late ’90s and early 2000s.


In the episode “Johnny Bravo Meets Adam West,” the famed former Batman comes to Johnny's aid after Mamma Bravo goes missing (in reality, she's about one minute late getting home from grocery shopping). The episode was written by Hartman and MacFarlane, which is where the future Family Guy creator first met the man who would eventually become the mayor of Quahog.

The experience on Bravo—highlighted by West’s surreal, self-aware performance—inspired MacFarlane to bring the actor aboard Family Guy years later. In an interview with The A.V. Club, MacFarlane expanded on his choice:

"I wrote on a show called Johnny Bravo when I was at Hanna-Barbera, and he guest-starred as himself. He was so funny, and he's got this way about him. I think he likes playing into what he's known for, even on a casual basis. He's a really fun guy to work with, and genuinely gets comedy. It's not the type of situation where you just bring somebody in to make fun of themselves."


When Johnny Bravo was in the middle of its Cartoon Network run, Warner Bros. wanted to make the jump from animation to live-action with a movie adaptation of the show, and there were rumors that they wanted Dwayne “The Rock” Johnson as Johnny. The Rock is apparently a huge Johnny Bravo fan, which caught the attention of producers Marty Adelstein and Neal Moritz.

Plans obviously fell through, and since then, no serious news on a renewed effort to make a Johnny Bravo movie has surfaced. Moritz and Johnson have since teamed up on the Fast and the Furious franchise.

The First Full Trailer for The Crown Season 3 Is Here

Des Willie, Netflix
Des Willie, Netflix

Star Wars obsessives aren't the only people in for a trailer treat today: Nearly two years after the second season of The Crown debuted, the award-winning series about the early days of Queen Elizabeth II's reign is just weeks away from its return. And on Monday morning, Netflix released the first full trailer for The Crown's new season.

While we've known some of the basic details about the new season—like the time frame in which it takes place and that Olivia Colman and Tobias Menzies would be taking over the roles of Queen Elizabeth and Prince Philip—this is the first in-depth glimpse we've gotten at what's in store for season 3.

The role duty plays in the lives of the British royal family appears to be an overarching theme, with the trailer showing the country in distress but each of the characters putting on a smiling face for the public. While Elizabeth and Philip's relationship will continue to take center stage in the pricey period drama, Princess Margaret (now played by Helena Bonham Carter) will struggle with her role of being the Queen's sister. And Prince Charles (Josh O'Connor) will have to choose between his love for Camilla Parker Bowles (played by Killing Eve writer Emerald Fennell) and his duty as the heir apparent to the throne.

Netflix will debut The Crown season 3 on November 17, 2019.

10 Facts About the Beastie Boys's 'Sabotage' Video

Beastie Boys via YouTube
Beastie Boys via YouTube

With their raucous mix of rock and hip-hop, the Beastie Boys were a band everyone could love. They also made killer music videos, and their 1994 video for “Sabotage” is arguably one of the greatest in the history of the medium. Directed by Spike Jonze and inspired by ‘70s cop shows, “Sabotage” finds the Beasties in cheesy suits, wigs, and mustaches, cavorting around L.A. like a bunch of bootleg Starskys and Hutches. If you were alive in the ‘90s, you’ve seen “Sabotage” a million times, but there’s a lot you might not know about this iconic video.

1. It all began with a photo shoot.

Spike Jonze met the Beastie Boys when he photographed them for Dirt magazine in the early 1990s. The band showed up with its own concept. “For years, Beastie Boy Adam Horovitz had been talking about doing a photo session as undercover cops—wearing ties and fake mustaches and sitting in a car like we were on a stakeout,” Adam “MCA” Yauch told New York Magazine. Jonze loved the idea so much he tagged along when the Beasties went wig shopping. “Then, while he was taking the pictures, he was wearing this blond wig and mustache the whole time,” Yauch said. “For no apparent reason.” So was born a friendship that begat “Sabotage.”

2. Spike Jonze filmed “Sabotage” without permits.

The Beasties weren’t big fans of high-budget music videos with tons of people on the set. So they asked Jonze to hire a couple of assistants and run the whole production out of a van. “Then we just ran around L.A. without any permits and made everything up as we went along,” MCA told New York. They’re lucky the real cops never showed up.

3. The Beastie Boys did all their own stunt driving.

After binge-watching VHS tapes of The Streets of San Francisco and other ‘70s cop shows, the Beasties knew they needed some sweet chase scenes. “We bought a car that was about to die,” Mike D told Vanity Fair. “We just drove the car ourselves. We almost killed the car a couple of times, but we definitely didn’t come close to killing ourselves.”

4. “Sabotage” inspired the opening sequence of Trainspotting.

Danny Boyle's 1996 film Trainspotting famously opens with Ewan McGregor and his buddies running through the streets of Edinburgh to the tune of Iggy Pop’s “Lust for Life.” In the DVD commentary, Boyle revealed that the scene was inspired by “Sabotage.”

5. Two cameras were harmed in the making of “Sabotage.”

“Sabotage” was supposed to be a low-budget affair—and it would’ve been, had Jonze been a little more careful with his rented cameras. He destroyed a Canon Scoopic when the Ziploc bag he used to protect the camera during an underwater shot proved less than airtight. He apparently told the rental agency the camera stopped working on its own, but he wasn’t as lucky when an Arriflex SR3 fell out of a van window. That cost $84,000, effectively tripling the cost of the video.

6. MCA crashed the stage of the MTV Video Music Awards to protest “Sabotage” being shut out.

At the 1994 MTV VMAs, “Sabotage” was nominated for five awards, including Video of the Year. In one of the great injustices of all time, it lost in all five categories. When R.E.M.’s “Everybody Hurts” won Best Direction, MCA invaded the stage dressed as Nathanial Hörnblowér, his Swiss uncle/filmmaker alter-ego. “Since I was a small boy, I had dreamed that Spike would win this,” MCA said as a confused Michael Stipe looked on. “Now this has happened, and I want to tell everyone this is a farce, and I had the ideas for Star Wars and everything.”

7. There’s a “Sabotage” comic book you can download for free.

After MCA’s death in 2012, artist Derek Langille created a seven-page “Sabotage” comic book in tribute to the fallen musician and filmmaker. You can download it for free here.

8. There’s also a “Sabotage” novel.

To celebrate the 25th anniversary of “Sabotage,” Oakland-based author and Beasties super-fan Jeff Gomez wrote a five-act novel inspired by the video. He spent months researching cop movies and real-life police lingo, and he watched “Sabotage” about 100 times, keeping a detailed spreadsheet of all the action unfolding onscreen. “They created a really great universe, and I just wanted to play around in it for a little bit,” Gomez told PBS.

9. There’s a “Sabotage”/Sesame Street mashup on YouTube.

In 2017, YouTuber Is This How You Go Viral, a.k.a. Adam Schleichkorn, created the video “Sesametage,” a reimagining of “Sabotage” made with edited bits of Sesame Street. It stars Big Bird as himself, The Count as Cochese, and Oscar the Grouch as Bobby, “The Rookie.” Super Grover, Telly, Cookie Monster, and Bert and Ernie also turn up in this hilarious spoof of a spoof.

10. “Sabotage” nearly became a movie—kind of.

Jonze and the Beasties had such a blast making “Sabotage” that they wrote a script for a feature film called We Can Do This. The movie, which they later abandoned, was set to feature MCA in two roles: Sir Stuart Wallace, one of his “Sabotage” characters, and Nathaniel Hörnblowér (whom he portrayed during that 1994 VMAs protest). Jonze told IndieWire the film would’ve been “ridiculous and fun,” which sounds like the understatement of the century. “There were no 1970s cops in it, but it was definitely in the same spirit,” he said.