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Berkeley Breathed

Ack! 12 Things You Might Not Know About Bloom County

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Berkeley Breathed

While his contemporaries Bill Watterson and Gary Larson have largely stayed away from sequential art since they both retired in 1995, Berkeley Breathed surprised fans in July when he resurrected Bloom County and its full cast for his Facebook followers. For some, it was a re-introduction to the 1980-89 satirical strip that lampooned the cultural and political excesses of the decade. For others, it was something new.

Fortunately, penguins age well. Take a look at some pressing facts about Opus, Milo, and the rest of the gang:

1. It Was Inspired By To Kill a Mockingbird.

The small town featured in Bloom County was a rural, value-infused community that was home to frequent outbreaks of political hysteria. Breathed told an interviewer in 2009 that the setting was very much inspired by Harper Lee’s To Kill a Mockingbird and its Maycomb, Alabama. Opus, the dreamy-eyed penguin of the strip, was a reflection of Lee’s juvenile protagonist, Scout. “I will say that Opus is really Scout from Mockingbird in many ways,” Breathed said. “He’s a motherless innocent, adrift and wandering about in an adult world of confusion, betrayal, and incivility.”

2. Opus Was Meant to be a Throwaway Character.

Despite his literary pedigree, Opus wasn’t intended to become a fixture. At the time Breathed created the penguin—who would go on to become the breakout star of the strip—he thought he’d be good for an appearance or two and then shuffle off. But readers reacted strongly, and Breathed decided to keep him on.

3. Bill the Cat Started as a Parody of Garfield.

Breathed didn't read comics growing up and knew little about them. He was especially perplexed by the popularity of Garfield, the lasagna-snorting cat that some critics perceived as overly commercial. Breathed developed the hairball-spewing, gasoline-drinking Bill the Cat as a way to mock the character, believing he would be too repulsive to merchandise. Instead, he became a popular (if slightly ratty) plush collectible.

4. It Won the Pulitzer Prize.

After years of sharply skewering public officials and social issues, Breathed was awarded the Pulitzer Prize for editorial cartooning in 1987. With the exception of Doonesbury, few syndicated strips ever receive the honor. The recognition was opposed by Pat Oliphant, a political cartoonist who found the strip to be full of ”shrill potty jokes."

5. You Probably Haven’t Read Most of the Strips.

Collected comic strips in trade paperback became bestsellers in the 1980s, but Breathed was forced by the publishers to cut most of his strips from the collections, and he once estimated two-thirds of his output never left the comics pages. It wasn’t until IDW began offering a five-volume set in 2009 that the entire run of the series was offered. (To make sure it was complete, the publisher checked their compilation against the personal collection of a fan that had taken the strips and pasted them into binders as they were originally printed.)

6. It Got Mary Kay to Stop Animal Testing.

Little Brown and Company

Breathed ran a series of strips in the late 1980s that featured Opus trying to rescue his long-lost mother from an animal testing facility owned by Mary Kay Cosmetics. "When I drew a rabbit with clips pulling its eyelids open, it was effective precisely because of its accuracy," Breathed later told Time. Mary Kay sales representatives grew alarmed at the practice, which prompted the company to issue a moratorium on the testing.

7. One of the Book Collections Came with a Record.

Eager to lampoon the rock-star lifestyle, Breathed placed Bill the Cat as a frontman for a heavy metal band named Deathtöngue (later renamed Billy and the Boingers). When the strips were collected as part of the Billy and the Boingers Bootleg paperback in 1987, Little, Brown and Company inserted a flexible record into the book that featured two singles from bands that had answered an open call for tracks. Each won a prize of $1000, with Mucky Pup’s “U Stink But I Love You” taking the B side of the record.

8. Opus Was Sued Over Flying Toasters.

The winged, flying toasters of After Dark’s screen savers were ubiquitous in the 1980s—so much so that when the Delrina software company asked Breathed to design a screen saver of his own, he depicted Opus firing a rifle at the airborne appliances. After a lawsuit and 1993 court ruling, Delrina switched out the wings on the toasters for propellers.  

9. Bill Watterson Sent Breathed Original (Nude) Art.


At the time both of their strips were in newspapers, Breathed was in regular correspondence with Bill Watterson, the press-averse creator of Calvin and Hobbes. The two had disparate opinions on merchandising—Watterson had no regard for it, while Breathed was happy to profit from t-shirt sales—and their opposing views would sometimes be expressed in cartoons the two circulated privately. At a 2010 Comic Con appearance, Breathed briefly flashed some of Watterson’s unseen art, including a wall-mounted Opus and a bare-bottomed Ronald Reagan. (In return, Breathed once sent Watterson a drawing of Bill the Cat, Hobbes, and Blondie in a not-safe-for-work position.)

10. The Strip Upset the National Federation for Decency.

When Breathed introduced a fundamentalist character named Edith Dreck in 1987, he wasn’t up to speed on his Yiddish translations—“dreck” is derived from ”excrement.” At least, that was according to Rev. Donald Wildmon, Chairman of the National Federation for Decency. Wildmon called for Breathed to be fired for “religious hatred and bias.” In a lesson why you should never pick fights with cartoonists, Wildmon's likeness ended up in the strip for a week.

11. Opus Starred In His Own Animated Special.


Though not precisely based on Bloom County, A Wish for Wings That Work was a 1991 animated special that aired on CBS. (It was an adaptation of a book Breathed had published that featured Opus asking Santa for a pair of operational wings.) Breathed disliked the end result and hoped to mount an Opus feature film, which went through several years of development without materializing.

12. Harper Lee Wrote Breathed a Fan Letter.

When Breathed ended his second spin-off strip, Opus, in 2008, he claims he received a letter of protest from an early inspiration: Harper Lee. Lee had written to him over the years expressing admiration for the strip and asked him to continue. “I should have begged her to bring Scout back,” he said. (She eventually did.)

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Brendon Thorne/Getty Images
30 Memorable Quotes from Carrie Fisher
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Brendon Thorne/Getty Images

Just days after suffering a heart attack aboard a flight en route to Los Angeles, beloved actress, author, and screenwriter Carrie Fisher passed away at the age of 60 on December 27, 2016. Though she’ll always be most closely associated with her role as Princess Leia in Star Wars, Fisher’s life was like something out of its own Hollywood movie. Born in Beverly Hills on this day in 1956, Fisher was born into show business royalty as the daughter of singer Eddie Fisher and actress Debbie Reynolds.

In addition to her work in front of the camera, Fisher built up an impressive resume behind the scenes, too, most notably as a writer; in addition to several memoirs and semi-autobiographical novels, including Wishful Drinking, Surrender the Pink, Delusions of Grandma, The Best Awful, Postcards from the Edge, and The Princess Diarist (which was released last month), she was also an in-demand script doctor who counted Sister Act, Hook, Lethal Weapon 3, and The Wedding Singer among her credits.

Though she struggled with alcoholism, drug addiction, and mental illness, Fisher always maintained a sense of humor—as evidenced by the 30 memorable quotes below.


“I am truly a product of Hollywood in-breeding. When two celebrities mate, someone like me is the result.”

“I was born into big celebrity. It could only diminish.”

“At a certain point in my early twenties, my mother started to become worried about my obviously ever-increasing drug ingestion. So she ended up doing what any concerned parent would do. She called Cary Grant.”

“I was street smart, but unfortunately the street was Rodeo Drive.”

“If anything, my mother taught me how to sur-thrive. That's my word for it.”


“As you get older, the pickings get slimmer, but the people don't.”


“Instant gratification takes too long.”


“People are still asking me if I knew Star Wars was going to be that big of a hit. Yes, we all knew. The only one who didn't know was George.”

“Leia follows me like a vague smell.”

“I signed my likeness away. Every time I look in the mirror, I have to send Lucas a couple of bucks.”

“People see me and they squeal like tropical birds or seals stranded on the beach.”

“You're not really famous until you’re a Pez dispenser.”


“There is no point at which you can say, 'Well, I'm successful now. I might as well take a nap.'”


“I'm very sane about how crazy I am.”


“Resentment is like drinking poison and waiting for the other person to die."


“Someone has to stand still for you to love them. My choices are always on the run.”

“I've got to stop getting obsessed with human beings and fall in love with a chair. Chairs have everything human beings have to offer, and less, which is obviously what I need. Less emotional feedback, less warmth, less approval, less patience, and less response. The less the merrier. Chairs it is. I must furnish my heart with feelings for furniture.”

“I don’t hate hardly ever, and when I love, I love for miles and miles. A love so big it should either be outlawed or it should have a capital and its own currency.”


“The only thing worse than being hurt is everyone knowing that you're hurt.”


“I envy people who have the capacity to sit with another human being and find them endlessly interesting, I would rather watch TV. Of course this becomes eventually known to the other person.”


“Acting engenders and harbors qualities that are best left way behind in adolescence.”

“You can't find any true closeness in Hollywood, because everybody does the fake closeness so well.”

“It's a man's world and show business is a man's meal, with women generously sprinkled through it like overqualified spice.”


“Stay afraid, but do it anyway. What’s important is the action. You don’t have to wait to be confident. Just do it and eventually the confidence will follow.”


“I don’t want life to imitate art. I want life to be art.”

“No motive is pure. No one is good or bad-but a hearty mix of both. And sometimes life actually gives to you by taking away.”

“If my life wasn't funny it would just be true, and that is unacceptable.”

“I shot through my twenties like a luminous thread through a dark needle, blazing toward my destination: Nowhere.”

“My life is like a lone, forgotten Q-Tip in the second-to-last drawer.”


“You know what's funny about death? I mean other than absolutely nothing at all? You'd think we could remember finding out we weren't immortal. Sometimes I see children sobbing at airports and I think, 'Aww. They've just been told.'”

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12 Surprising Facts About Bela Lugosi
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Mabel Livingstone/Hulton Archive/Getty Images

On October 20, 1882—135 years ago today—one of the world's most gifted performers was born. In his heyday, Bela Lugosi was hailed as the undisputed king of horror. Eighty-five years after he first donned a vampire’s cape, Lugosi's take on Count Dracula is still widely hailed as the definitive portrayal of the legendary fiend. But who was the man behind the monster?


To the chagrin of his biographers, the details concerning Bela Lugosi’s youth have been clouded in mystery. (In a 1929 interview, he straight-up admitted “for purposes of simplification, I have always thought it better to tell [lies] about the early years of my life.”) That said, we do know that he was born as Béla Ferenc Dezső Blaskó on October 20, 1882 in Lugoj, Hungary (now part of Romania). We also know that his professional stage debut came at some point in either 1901 or 1902. By 1903, Lugosi had begun to find steady work with traveling theater companies, through which he took part in operas, operettas, and stage plays. In 1913, Lugosi caught a major break when the most prestigious performing arts venue in his native country—the Budapest-based National Theater of Hungary—cast him in no less than 34 shows. Most of the characters that he played there were small Shakespearean roles such as Rosencrantz in Hamlet and Sir Walter Herbert in Richard III.


The so-called war to end all wars put Lugosi’s dramatic aspirations on hold. Although being a member of the National Theater exempted him from military service, he voluntarily enlisted in the Austro-Hungarian Army in 1914. Over the next year and a half, he fought against Russian forces as a lieutenant with the 43rd Royal Hungarian Infantry. While serving in the Carpathian mountains, Lugosi was wounded on three separate occasions. Upon healing from his injuries, he left the armed forces in 1916 and gratefully resumed his work with the National Theater.


In December 1920, Lugosi boarded a cargo boat and emigrated to the United States. Two years later, audiences on the Great White Way got their first look at this charismatic stage veteran. Lugosi was cast as Fernando—a suave, Latin lover—in the 1922 Broadway stage play The Red Poppy. At the time, his grasp of the English language was practically nonexistent. Undaunted, Lugosi went over all of his lines with a tutor. Although he couldn’t comprehend their meaning, the actor managed to memorize and phonetically reproduce every single syllable that he was supposed to deliver on stage.


The year 1927 saw Bela Lugosi sink his teeth into the role of a lifetime. A play based on the novel Dracula by Bram Stoker had opened in London in 1924. Sensing its potential, Horace Liveright, an American producer, decided to create an U.S. version of the show. Over the summer of 1927, Lugosi was cast as the blood-sucking Count Dracula. For him, the part represented a real challenge. In Lugosi’s own words, “It was a complete change from the usual romantic characters I was playing, but it was a success.” It certainly was. Enhanced by his presence, the American Dracula remained on Broadway for a full year, then spent two years touring the country.

Impressed by its box office prowess, Universal decided to adapt the show into a major motion picture in 1930. Horror fans might be surprised to learn that when the studio began the process of casting this movie’s vampiric villain, Lugosi was not their first choice. At the time, Lugosi was still a relative unknown, which made director Tod Browning more than a little hesitant to offer him the job. A number of established actors were all considered before the man who’d played Dracula on Broadway was tapped to immortalize his biting performance on film.


The recent Twilight phenomenon is not without historical precedent. Lugosi estimated that, while he was playing the Count on Broadway, more than 97 percent of the fan letters he received were penned by female admirers. A 1932 Universal press book quotes him as saying, “When I was on the stage in Dracula, my audiences were composed mostly of women.” Moreover, Lugosi contended that most of the men who’d attended his show had merely been dragged there by female companions.   


Released in 1931, Dracula quickly became one of the year's biggest hits for Universal (some film historians even argue that the movie single-handedly rescued the ailing studio from bankruptcy). Furthermore, its astronomical success transformed Lugosi into a household name for the first time in his career. Regrettably for him, though, he’d soon miss the chance to star in another smash. Pleased by Dracula’s box office showing, Universal green-lit a new cinematic adaptation of Mary Shelley’s Frankenstein. Lugosi seemed like the natural choice to play the monster, but because the poor brute had few lines and would be caked in layers of thick makeup, the actor rejected the job offer. As far as Lugosi was concerned, the character was better suited for some “half-wit extra” than a serious actor. Once the superstar tossed Frankenstein aside, the part was given to a little-known actor named Boris Karloff.

Moviegoers eventually did get to see Lugosi play the bolt-necked corpse in the 1943 cult classic Frankenstein Meets the Wolf Man. According to some sources, he strongly detested the guttural scream that the script forced him to emit at regular intervals. “That yell is the worst thing about the part. You feel like a big jerk every time you do it!” Lugosi allegedly complained.


It’s often reported that the two horror icons were embittered rivals. In reality, however, Karloff and Lugosi seemed to have harbored some mutual respect—and perhaps even affection for one another. The dynamic duo co-starred in five films together, the first of which was 1934’s The Black Cat; Karloff claimed that, on set, Lugosi was “Suspicious of tricks, fearful of what he regarded as scene stealing. Later on, when he realized I didn’t go in for such nonsense, we became friends.” During one of their later collaborations, Lugosi told the press “we laughed over my sad mistake and his good fortune as Frankenstein is concerned.”

That being said, Lugosi probably didn’t appreciate the fact that in every single film which featured both actors, Karloff got top billing. Also, he once privately remarked, “If it hadn’t been for Boris Karloff, I could have had a corner on the horror market.”


In 1935, Lugosi was named Honorary President of the Los Angeles Soccer League. An avid fan, he was regularly seen at Loyola Stadium, where he’d occasionally kick off the first ball during games held there. Also, on top of donating funds to certain Hungarian teams, Lugosi helped finance the Los Angeles Magyar soccer club. When the team won a state championship in 1935, one newspaper wrote that the players were “headed back to Dracula’s castle with the state cup.” [PDF]


Lugosi's fourth wife, Lillian Arch, claimed that Lugosi maintained a collection of more than 150,000 stamps. Once, on a 1944 trip to Boston, he told the press that he intended to visit all 18 of the city's resident philately dealers. “Stamp collecting,” Lugosi declared, “is a hobby which may cost you as much as 10 percent of your investment. You can always sell your stamps with not more than a 10 percent loss. Sometimes, you can even make money.” Fittingly enough, the image of Lugosi’s iconic Dracula appeared on a commemorative stamp issued by the post office in 1997.


The role of Count Dracula in this 1948 blockbuster was nearly given to Ian Keith—who was considered for the same role in the 1931 Dracula movie. Being a good sport, Lugosi helped promote the horror-comedy by making a special guest appearance on The Abbott and Costello Show. While playing himself in one memorable sketch, the famed actor claimed to eat rattlesnake burgers for dinner and “shrouded wheat” for breakfast.


Toward the end of his life, Lugosi worked on three ultra-low-budget science fiction pictures with Ed Wood, a man who’s been posthumously embraced as the worst director of all time. In the 1953 transvestite picture Glen or Glenda?, Lugosi plays a cryptic narrator who offers such random and unsolicited bits of advice as “Beware of the big, green dragon who sits on your doorstep.” Then came 1955’s Bride of the Monster, in which Lugosi played a mad scientist who ends up doing battle with a (suspiciously limp) giant octopus.

Before long, Wood had cooked up around half a dozen concepts for new films, all starring Lugosi. At some point in the spring of 1956, the director shot some quick footage of the actor wandering around a suburban neighborhood, clad in a baggy cloak. This proved to be the last time that the star would ever appear on film. Lugosi died of a heart attack on August 16, 1956;  he was 73 years old.

Three years after Lugosi's passing, this footage was spliced into a cult classic that Wood came to regard as his “pride and joy.” Plan 9 From Outer Space tells the twisted tale of extraterrestrial environmentalists who turn newly-deceased human beings into murderous zombies. Since Lugosi could obviously no longer play his character, Wood hired a stand-in for some additional scenes. Unfortunately, the man who was given this job—California chiropractor Tom Mason—was several inches taller than Lugosi. In an attempt to hide the height difference, Wood instructed Mason to constantly hunch over. Also, Mason always kept his face hidden behind a cloak.


Although Lugosi resented the years of typecasting that followed his breakout performance in Dracula, he asked to be laid to rest wearing the Count’s signature garment. Lugosi was buried under a simple tombstone at California's Holy Cross Cemetery.


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