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Brits Attack at Arras

Erik Sass is covering the events of the war exactly 100 years after they happened. This is the 273rd installment in the series.

April 9, 1917: Brits Attack at Arras 

The German withdrawal to the Hindenburg Line in March 1917 didn’t derail Allied plans for a massive offensive in mid-April, as drawn up by the new French commander-in-chief, Robert Nivelle, an ambitious artillery officer who had been promoted to the top spot because of his successes at Verdun, including recapturing Fort Douaumont and Fort Vaux (the previous French commander-in-chief, Joseph Joffre, was kicked upstairs with an honorary position of Marshal of France, while General Petain, the architect of the original defense of Verdun, was sidelined for the moment).

Disregarding growing concern among French and British officers and civilians about the advisability of the strategy, Nivelle planned a multi-phased operation by four armies, depending on heavy artillery preparation and particularly a “creeping barrage” by French artillery, creating a curtain of destruction in front of the advancing infantry. Similar tactics had met with success at Verdun, prompting Nivelle to exclaim, “We have the formula!” But on the much larger scale of the Western Front, it proved a formula for disaster. 

The British were to play an important role in the “Nivelle Offensive” at the Battle of Arras (actually the second battle of that name), a major attack by the British First, Third, and Fifth Armies on the defensive lines of the German Sixth Army under Ludwig von Falkenhausen in the Pas de Calais region of northern France. The British attack was scheduled for April 9, 1917, a week ahead of the French attack, in hopes of pinning down German troops to prevent them from sending reinforcements. It included the famous advance by the Canadian Corps on Vimy Ridge from April 9-12, 1917, a stunning but costly victory; Vimy Ridge would come to be remembered as a key moment in the formation of Canadian national identity in some ways comparable to the impact of Gallipoli on veterans and civilians in Australia and New Zealand (whose ANZAC troops also fought at Arras).

The initial infantry assault was preceded by an unprecedented 19-day-long bombardment of German positions along 20 miles of front, ultimately expending around 2.7 million shells, including one million from April 2-9 alone. Philip Gibbs, a British war correspondent, described the bombardment on the final night before the battle: 

It was a beautiful and devilish thing… All our batteries, too many to count, were firing, and thousands of gun-flashes were winking and blinking from the hollows and hiding-places, and all their shells were rushing through sky as though flocks of great birds were in flight, and all were bursting over German positions, with long flames which rent the darkness and waved sword-blades of quivering light along the ridges. The earth opened, and pools of red fire gushed out. Star-shells burst magnificently, pouring down golden rain. Mines exploded east and west of Arras, and in a wide sweep from Vimy Ridge to Blangy southwards, and voluminous clouds, all bright with a glory of infernal fire, rolled up to the sky.

Gibbs also described the huge logistics effort and concentration of troops massing in the darkness for the offensive near Arras: 

… and then onwards there was the traffic of marching men going up to the fighting-lines, and of their transport columns, and of many ambulances. In darkness there were hundreds of little red lights, the glow of cigarette ends. Every now and then one of the men would strike a match, holding it in the hollow of his hands and bending his head to it, so that his face was illumined – one of our English faces, clear-cut and strong. The wind blew sparks from cigarette ends like fireflies. 

The first infantry assault was timed for 5:30 a.m. on Easter Monday, April 9, 1917. Minutes before the men went over the top, the British, French and Canadian engineers unleashed one final surprise, as the German trenches were rocked by 13 mines exploding under Vimy Ridge. R. Derby Holmes, an American serving as a volunteer with the Canadians, remembered the detonations: 

Then came a deep rumble that shook the ground, and a dull boom. A spurt of blood-red flame squirted up from the near side of the hill, and a rolling column of gray smoke. Then another rumble, and another, and then the whole side of the ridge seemed to open up and move slowly skyward with a world-wrecking, soul-paralyzing crash. A murky red glare lit up the smoke screen, and against it a mass of tossed-up debris, and for an instant I caught the black silhouette of a whole human body spread-eagled and spinning like a pin-wheel. Most of our party, even at the distance, were knocked down by the gigantic impact of the explosion. A shower of earth and rock chunks, some as big as a barrel, fell around us.

Now along miles of front, under the faint, growing light of early morning the Canadian and British troops advanced into the blazing chaos behind the creeping barrage of artillery fire (below, a map showing the timing of the barrage). The infantry attacks had been carefully rehearsed at the battalion level using full-size dioramas, while officers had trained with a large-scale model of the entire battlefield, and the preparation paid off – as did the decision to arm the attackers with mobile Lewis machine guns, a move towards “storm troop” tactics.

Click to enlarge Wikimedia Commons 

To the north, the four divisions of the Canadian Corps in General Henry Horne’s First Army surged forward and forced back the German defenders on Vimy Ridge again and again, occupying their first main objectives within an hour and had occupied the crest of the ridge by mid-morning – a remarkable success which left their commanders scrambling to maintain the momentum. 

The capture of Vimy Ridge gave the Allies possession of the strategic heights looking out over the plain of Douai to the east – a key advantage in the chess-like game of artillery and counter-artillery fire. The Canadians would ultimately advance almost four kilometers in places from April 9-12, but later attacks in the Battle of Arras would pit them against dug-in defenders; by the end of the battle the Canadians had lost 10,500 killed (a large figure in proportion to the dominion’s total population of around 7.9 million). 

As storm after storm descended dumped rain, sleet and snow on the battlefield, mud was inescapable, according to Gibbs:

In addition to the ordeal of battle they are enduring now a weather so abominable, when it is in the fields of battle, that men fight for days wet to the skin, lie out at night frozen stiff, and struggle after the enemy up to the knees in mud… Our men came back from this fighting like figures of clay, and so stiff at the joints that they can hardly walk, and with voices gone so that they speak in whispers. All over this lower slope of the Vimy Ridge is a litter of enormous destruction caused by our gun-fire. German guns and limbers, machine-guns and trench-mortars lie in fragments and in heaps in infernal chao of earth, which is the graveyard of many German dead. 

Meanwhile the British Third Army, attacking in the center, also scored a surprising victory from April 9-14, advancing up to three miles along a 15-mile front stretching on both banks of the River Scarpe – along with the Canadian advance, the single biggest advance in years of trench warfare on the Western Front. But the Brits soon ran into fierce renewed German resistance around the village of Monchy, as the defenders of the Bavarian 3rd Division dug in while German engineers worked feverishly on new defensive lines in the rear. 

Billy Bishop, a British pilot in the Royal Flying Corps, described the view from the air (often obscured by thick fog and snow) as British artillery fired at Arras on April 9: 

The ground seemed to be one mass of bursting shells. Farther back, where the guns were firing, the hot flames flashing from thousands of muzzles gave the impression of a long ribbon of incandescent light. The air seemed shaken and literally full of shells on their missions of death and destruction. Over and over again one felt a sudden jerk under a wing-tip, and the machine would heave quickly. This meant a shell had passed within a few feet of you. 

The British bombardment succeeded in splitting open barbed wire defenses and blowing enemy strongholds out of existence, according to Bishop, who next witnessed a shockingly easy advance by British troops: 

The waves of attacking infantry as they came out of their trenches and trudged forward behind the curtain of shells laid down by the artillery were an amazing sight. The men seemed to wander across No Man’s Land, and into the enemy trenches, as if the battle was a great bore to them… That is the way with clockwork warfare. These troops had been drilled to move forward at a given pace.

To the south the picture was much grimmer, however, as the troops of the British Fifth Army got their first harsh taste of German defenses at the Hindenburg Line. The offensive around the village of Bullecourt from April 10-11 got off to a bad start when some British units, not hearing about a last-minute delay, attacked early – suffering a bloody repulse and giving away any element of surprise. This battle later saw the second major attempt to employ tanks in offensive warfare, after the Battle of the Somme, but this time the Germans were expecting them – including new armor-piercing shells – and once again the new weapon proved prone to technical failures. 

Major W.H.L. Watson described the mixed performance of one section of tanks employed in the first attack: 

The first tank was hit in the track before it was well under way. The tank was evacuated, and in the dawning light it was hit again before the track could be repaired. Money’s tank reached the German wire. His men must have “missed their gears.” For less than a minute the tank was motionless, then she burst into flames. A shell had exploded the petrol tanks… Bernstein’s tank was within reach of the German trenches when a shell hit the cab, decapitated the driver, and exploded in the body of the tank. 

Although they captured the village of Bullecourt itself, the British otherwise mostly failed to advance in the south, frustrated by the new German tactics of “defense in depth” along the Hindenburg Line. Meanwhile chief of the general staff Hindenburg and his collaborator, quartermaster general Erich Ludendorff, were frustrated by Falkenhausen’s failure to grasp the tenets of the new defensive doctrine, and replaced him on April 23. To the north the British and Canadian advances soon slowed as well, leaving them in possession of Vimy Ridge and the lower Scarpe but still far from Lens or Douai, and the utter failure of the French Nivelle Offensive soon removed any reason to continue the attack.

The advance at Arras was still tremendous by the standards of the First World War, and British engineers were working feverishly to repair roads across newly-conquered territory behind the lines – in many cases, what used to be No Man’s Land. Coningsby Dawson, an officer with a British engineering unit, later recalled in a letter home: 

We ran across what had been No Man’s Land end entered the Hun wire… His frontline trench was piled high with dead. The whole spectacle was unreal as something that had been staged; the corpses looked like wax-works. One didn’t have time to observe much, for flames seemed to be going off beneath one’s feet almost every second and it seemed marvellous that we contrived to live where there was so much death. As we went further back we began to find our own khaki-clad dead. I don’t think the Huns had got them; it was our own barrage, which they had followed too quickly in the eagerness of the attack. Then we came to where the liquid fire had descended, for the poor fellows had thrown themselves into the pools in the shell-holes and only the faces and arms were sticking out.

As another icy storm swept the battlefield, Dawson felt a moment of sympathy for recently captured German prisoners-of-war, whose condition summarized all too clearly the human cost of the war: 

You never saw such a mess – sleet driving in our faces, the ground hissing and boiling as shells descended, dead men everywhere, the wounded crawling desperately, dragging themselves to safety. I saw sights of pity and bravery that it is best not to mention, and all the time my brave chaps dug on, making the road for the guns. Soon through the smoke gray-clad figures came in tottering droves, scorched, battered, absolutely stunned. They looked more like beasts in their pathetic dumbness. One hardly recognised them as enemies.

See the previous installment or all entries.

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12 Surprising Facts About Bela Lugosi
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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?

1. HE WORKED WITH THE NATIONAL THEATER OF HUNGARY.

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.

2. HE FOUGHT IN WORLD WAR I.

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.

3. WHEN HE MADE HIS BROADWAY DEBUT, LUGOSI BARELY KNEW ANY ENGLISH.

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.

4. UNIVERSAL DIDN’T WANT TO CAST HIM AS COUNT DRACULA.

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.

5. MOST OF HIS DRACULA-RELATED FAN MAIL CAME FROM WOMEN.

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.   

6. HE TURNED DOWN THE ROLE OF FRANKENSTEIN’S MONSTER.

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.

7. LUGOSI’S RELATIONSHIP WITH BORIS KARLOFF WAS MORE CORDIAL THAN IT’S USUALLY MADE OUT TO BE.

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.”

8. HE LOVED SOCCER.

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]

9. HE WAS A HARDCORE STAMP COLLECTOR.

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.

10. LUGOSI ALMOST DIDN’T APPEAR IN ABBOTT AND COSTELLO MEET FRANKENSTEIN—BECAUSE THE STUDIO THOUGHT HE WAS DEAD.

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.

11. A CHIROPRACTOR FILLED IN FOR HIM IN PLAN 9 FROM OUTER SPACE.

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.

12. HE WAS BURIED IN HIS DRACULA CAPE.

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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10 Far-Out Facts About Futurama
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20th Century Fox Home Entertainment

In 1999, Matt Groening followed-up the monumental success of The Simpsons with an idea for a sci-fi comedy that he’d been tinkering around with for years. With influences ranging from groundbreaking sci-fi movies like Blade Runner to shows like The Jetsons and pulpy ‘50s comics like Weird Science, Futurama proved to be yet another winner for the cartoonist. Characters like Fry, Bender, and Leela quickly became fan favorites, rivaling Homer, Marge, and the rest of Springfield for quotability. The show was also a hit with the critics, winning plenty of Annie and Emmy Awards along the way.

Never a ratings juggernaut to a larger audience, the show only lasted four seasons on Fox before being cancelled in 2003. Neither the production staff nor the series’ loyal fan base would give up on Futurama, though, and the series was revived for an additional three seasons on Comedy Central from 2008 through 2013. Here are 10 things you might not know about Futurama

1. THE SHOW’S NAME COMES FROM AN EXHIBIT AT THE 1939 NEW YORK WORLD’S FAIR.

Though Matt Groening’s Futurama takes a comedic look at what the future might hold for us, the name is based on a very real-world version of the world of tomorrow. At the 1939 New York World’s Fair in Queens, GM built a mammoth attraction called Futurama, which was a scale-model city showing off the predicted wonders of 1960.

The model was the brainchild of industrial designer Norman Bel Geddes and his team of hundreds of artists and builders. It spanned an impressive 35,000 square feet, and gave audiences a glimpse at what a city might look like in the next 20 years, with the highlight being a monolithic utopia peppered with mountainous skyscrapers and a web of superhighways for futuristic GM cars to travel on. Visitors would sit in chairs that moved on a conveyer belt around the model, showing off all the wonders they could look forward to.

To pay homage to its namesake, the first thing Fry hears when he’s defrosted in the future during the pilot episode is the bellowing sound of a lab worker proclaiming “Welcome to the World of Tomorrow,” which was one of the heavily advertised themes of the fair.

2. THE THEME SONG WAS INSPIRED BY A TUNE CALLED “PSYCHE ROCK.”

Futurama’s main theme, composed by Christopher Tyng, bears a striking resemblance to the song “Psyché Rock" by French electronic artist Pierre Henry. The songs are so similar that the Futurama theme basically acts as a remix to Henry’s work. The song has also been remixed by Fatboy Slim, which is even closer to the Futurama version. 

3. GETTING THE SHOW ON THE AIR WAS A DIFFICULT PROCESS FOR MATT GROENING.

Though Matt Groening and the team over on The Simpsons have the freedom to mostly govern themselves, getting Futurama off the ground was a different story. When asked by Mother Jones in 1999 about getting the show on the air, Groening said, “It has been by far the worst experience of my grown-up life.”

He further explained that, “The second they ordered it, they completely freaked out and were afraid the show was too dark and mean-spirited, and thought they had made a huge mistake and that the only way they could address their anxieties was to try to make me as crazy as possible with their frustrations.”

Despite the battles with the network, Groening and his team didn’t cave, saying, “I resisted every step of the way. In one respect, I will take full blame for the show if it tanks, because I resisted every single bit of interference."

4. CO-CREATOR DAVID X. COHEN IS A MATH WHIZ.

When Groening was developing Futurama into a pitch, he had one key Simpsons writer in mind to collaborate with: David S. Cohen. Cohen (who is credited as David X. Cohen for Futurama) was known for some of the most popular Simpsons episodes of the mid-‘90s, including "Itchy & Scratchy & Poochie," "Lisa The Vegetarian," and "Much Apu About Nothing."

“After I assembled a few hundred pages of ideas, I got together with David Cohen, one of the writers and executive producers on The Simpsons, who is also a lover of science fiction and has a great knowledge of science and mathematics,” Groening told Mother Jones.

The emphasis on mathematics may sound odd, but it became a hallmark of the series. Dealing with sci-fi plots allowed Cohen to bring a certain authenticity to some of the more complex episodes; he was also able to sneak in all sorts of esoteric mathematical jokes for the like-minded viewers. This is similar to how math played a role on The Simpsons for years without ever becoming distracting to casual viewers. 

Cohen’s mathematical background goes far beyond the norm. He graduated from Harvard with a degree in physics, and from the University of California, Berkeley, with an M.S. in computer science. This knowledge gave way to plenty of in-jokes, including the creation of a numerical-based alien language and countless background gags that only the brainiest viewers would have a shot at deciphering.

5. ZAPP BRANNIGAN WAS GOING TO BE VOICED BY PHIL HARTMAN.

The character of Zapp Brannigan was originally written with actor Phil Hartman in mind for the voice, but he was tragically killed before he would have begun recording. The role then went to Billy West, who also voices Fry and Professor Farnsworth. In an interview with The New York Times, West says he based his Brannigan on disc jockeys from the ‘50s and ‘60s. There's also a bit of Hartman's signature, Troy McClure-esque sound in there. 

6. JOHN DIMAGGIO ORIGINALLY AUDITIONED FOR PROFESSOR FARNSWORTH USING BENDER’S VOICE.

Figuring out what Bender would sound like wasn’t an easy task for the folks in charge of Futurama. Would it be a human voice, or something more synthesized like Robby the Robot from Forbidden Planet? The crew auditioned dozens and dozens of voice actors in an attempt to find the perfect Bender, with no luck.

At the same time, voice actor John DiMaggio was auditioning for a role on the show against his agent’s wishes, who worried about both the money and contract being offered. At first he auditioned for the role of Professor Farnsworth, using a boorish, drunken voice he partially based on Slim Pickens. The voice didn’t work for the professor, but according to the DVD commentary for the show’s pilot, the producers asked him to try it out for Bender. The voice instantly clicked, leading to the creation of the show’s breakout character.

7. THE NIXON LIBRARY EVENTUALLY CAME AROUND TO HIS HEAD BEING IN A JAR.

Richard Nixon famously proclaimed that the media wouldn’t have him to “kick around anymore” back in 1962; little did he know the jabs would keep coming for decades in the real world, and centuries into the fictional future as a nightmarish version of the former president with his head preserved in a jar was proclaimed President of Earth in Futurama.

With Billy West providing the jowly voice of the former Commander-in-Chief, Nixon became a villain for a whole new generation. And the Richard Nixon Library wasn’t very happy about it at first.

“[E]arly on in the show the network got a letter from the Richard Nixon Library saying they weren’t pleased with his portrayal and would we consider not doing it,” Cohen told WIRED.

But a few years later, things changed.

“We didn’t really stop, however, because we liked it, but the strange thing is that … a few years later we got another letter from the Nixon Library saying can we provide some materials because they’re going to do an exhibit about Nixon in popular culture and they’d like to include Futurama, so they came around.”

8. WRITER KEN KEELER INVENTED A NEW THEOREM JUST FOR THE SHOW.

In addition to Cohen, Futurama is staffed by a roster of Ivy League graduates with backgrounds in science and math. But while writing one episode, the staff had created a plot so complex that the crew soon found itself stumped.

The episode was “The Prisoner of Brenda” from the sixth season, and it involved a brain-switching machine that could swap the minds of any two people that stepped into it. There was only one problem: once used, the machine couldn’t be used twice to swap the same two minds back to normal. This means numerous pairs of other characters would have to use the machine in a roundabout plan to restore everyone’s mind to their proper body.

Though the idea sounded like a winner to the writers, Cohen recalled that they soon realized they had to create a mathematical explanation that could get everyone’s mind back. It was like a nightmarish SAT problem for the staff. That is until writer Ken Keeler, who has a PhD in mathematics, created a completely unique theorem that proved this plot was possible.

“Ken comes in the next morning with a stack of paper and he said, ‘I’ve got the proof,’ and he had proven that no matter how mixed up people’s brains are, if you bring in two new people who have not had their brains switched, then everybody can always get their original brain back, including those two new people,” Cohen told WIRED. “So I was very excited about this, because you rarely get to see science, let alone math, be the hero of a comedy episode of TV.”

In the episode, the mathematical heroes that solve the problem are none other than the Harlem Globetrotters, who are among Earth’s elite intellectuals in the 31st century.

9. THE SHOW’S USE OF FORESHADOWING IS INTENSE.

Futurama touts more than just science and math cred; the show is also one of the more intricately plotted animated series of the past 20 years. The show is notorious for leaving morsels of foreshadowing in episodes that pay off weeks, months, or even years down the road.

Plot points like Fry being his own grandfather and Leela’s mutant heritage were all hinted at before they became reality, but the most obscure piece of foreshadowing came right in the pilot episode. It happens right as Fry is leaning back in the chair that would “accidentally” topple over and send him into the cryogenic chamber, leaving him thawed out in the 31st century. For a brief moment, a shadow flashed across the screen with no explanation—at the time, it likely went unnoticed by many viewers.

Fast forward to the season 4 episode “The Why of Fry,” and we learn that the shadow belonged to Nibbler, who had traveled back in time to 1999 to push Fry into the chamber because he was the key to stopping an alien invasion in the 31st century. It's just one example of the type of intricate world-building that the writers of the show poured into every episode.

10. EACH EPISODE TOOK ABOUT A YEAR TO COMPLETE.

Every episode of Futurama is a labor of love, with each joke and frame of animation put under intense scrutiny. Because of this, there is a lot of work involved in the show—about a year’s worth for each episode.

“It's usually somewhere in the vicinity of a year from the beginning of a Futurama episode to the day when you can see it on TV,” David Cohen told The Atlantic.

This starts with a story idea, which is then assigned to a writer for an outline and first draft. From there, the first draft is dissected in the writers’ room on a “word-by-word, scene-by-scene basis.”

Then it’s recorded by the actors—like an old-timey radio show, according to Cohen—and then it’s given to the animators. That process involves animatics and final animation, which can take around six months to finalize. 

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