document_title: The 100 (TV series)

question_text: where did they film the 100 season 5

question_tokens: where did they film the 100 season 5

root

text: The 100 (TV series)

text: Synopsis[edit]

text: The series is set 97 years after a devastating nuclear apocalypse wiped out almost all life on Earth. Over 2,400 survivors live on a single massive station in Earth's orbit called the Ark, built by connecting surviving pre-apocalypse smaller stations and spacecraft. After the Ark's life-support systems are found to be failing, 100 juvenile prisoners are sent to the surface in a last attempt to determine whether Earth is habitable. They discover not all humanity was destroyed and some survived the apocalypse: the Grounders, who live in clans locked in a power struggle; the Reapers, another group of Grounders who have become cannibals; and the Mountain Men, who live in Mount Weather, descended from those who locked themselves away before the apocalypse. Under the leadership of Bellamy and Clarke, the 100 attempt to survive the harsh surface conditions, battle hostile Grounders, and establish communication with the Ark.

tag: p

text: In the second season, most of the remaining 48 of the 100 are captured and taken to Mount Weather by the Mountain Men. It is eventually revealed that the Mountain Men are transfusing blood from imprisoned Grounders as an anti-radiation treatment. Medical tests of the 100 show an even more potent anti-radiation efficacy: their bone marrow will allow the Mountain Men to survive outside containment. Meanwhile, the inhabitants of the Ark have successfully crash-landed various stations on Earth and begun an alliance with the Grounders to save groups of people, naming the main settlement at Alpha Station "Camp Jaha".

text: In the third season, Alpha Station, now renamed Arkadia, comes under new management when Pike, a former teacher and mentor, is elected as chancellor and begins a war with the Grounders. An artificial intelligence named A.L.I.E. who was commanded to make life better for mankind, is revealed to have responded by solving the problem of human overpopulation by launching the nuclear apocalypse that devastated Earth. The AI takes over the minds of nearly everyone in Arkadia and Polis, the capital city of the Grounders. In the season three finale, Clarke manages to destroy A.L.I.E.

text: In the fourth season, hundreds of nuclear reactors around the world are melting down due to decades of neglect that will result in 96% of the planet becoming uninhabitable. Clarke and the others search for ways to survive the coming wave of radiation. When it is discovered that Nightbloods, descendants of first, original Nightbloods, including Becca – the creator of A.L.I.E. nad the first Grounder commander – can metabolize radiation, Clarke and the others attempt to recreate the formula, but their attempts failed. An old bunker is discovered that can protect 1,200 people for over 5 years; each of the twelve clans select a hundred people to stay in the bunker. A small group decides to return to space and attempt to survive in the remnants of the original Ark.

text: In the fifth season, which takes place six years after the meltdown of the nuclear reactors, a prisoner transport ship arrives in the only green spot left on Earth, where Clarke and Madi, a grounder girl who also survived the wave of radiation the swept the planet after the meltdown, have been living.

text: Cast and characters[edit]

text:
Eliza Taylor as Clarke Griffin
Paige Turco as Dr. Abigail "Abby" Griffin
Thomas McDonell as Finn Collins (seasons 1–2)[a]
Eli Goree as Wells Jaha (season 1; guest season 2)[b]
Marie Avgeropoulos as Octavia Blake
Bob Morley as Bellamy Blake
Kelly Hu as Callie "Cece" Cartwig (season 1)[c]
Christopher Larkin as Monty Green
Devon Bostick as Jasper Jordan (seasons 1–4)
Isaiah Washington as Thelonious Jaha (seasons 1–5)[d]
Henry Ian Cusick as Marcus Kane
Lindsey Morgan as Raven Reyes (season 2–present; recurring season 1)[4]
Ricky Whittle as Lincoln (seasons 2–3; recurring season 1)[4]
Richard Harmon as John Murphy (season 3–present; recurring seasons 1–2)[5]
Zach McGowan as Roan (season 4; recurring season 3)[6]
Tasya Teles as Echo (season 5; recurring season 4; guest seasons 2–3)[7]

tag: ul

text: Notes[edit]

text:
Jump up ^ McDonnell was credited as main cast for the first half of season two.
Jump up ^ Goree was credited as main cast for the first three episodes of season one.
Jump up ^ Hu was credited as main cast only in the pilot.
Jump up ^ Washington was credited as main cast for the first two episodes of season five.

tag: ol

text: Episodes[edit]

text: The 100 premiered on March 19, 2014.[8] On May 8, 2014, The CW renewed The 100 for a second season, which premiered on October 22, 2014.[9][10] On January 11, 2015, The CW renewed the series for a third season, which premiered on January 21, 2016.[11][12] On March 12, 2016, The 100 was renewed for a fourth season of 13 episodes, which premiered on February 1, 2017.[13][14][15] On March 10, 2017, The CW renewed the series for a fifth season, which premiered on April 24, 2018.[16][17] On May 8, 2018, the series was renewed for a sixth season.[1]

text:
Season
Episodes
Originally aired
Nielsen ratings

First aired
Last aired
Rank
Viewers
(millions)

1
13
March 19, 2014 (2014-03-19)
June 11, 2014 (2014-06-11)
150
2.59[18]

2
16
October 22, 2014 (2014-10-22)
March 11, 2015 (2015-03-11)
157
2.46[19]

3
16
January 21, 2016 (2016-01-21)
May 19, 2016 (2016-05-19)
165
1.94[20]

4
13
February 1, 2017 (2017-02-01)
May 24, 2017 (2017-05-24)
158
1.47[21]

5
13[22]
April 24, 2018 (2018-04-24)
August 7, 2018 (2018-08-07)[23]
182
1.61[24]

tag: table

text: Production[edit]

text: Post production, including ADR recording for the series, was done at the recording studio Cherry Beach Sound.[25]

text: David J. Peterson, who created Dothraki for Game of Thrones, developed the Trigedasleng language for The Grounders. Jason Rothenberg said it was similar to Creole English.[26]

text: After his constructed language work on Star-Crossed, Peterson was contacted by the producers of The 100 to create a language for the Grounders, an evolution of English. In the setting, around 250 years have passed since the apocalypse, which is a very short time for significant language change. Because of this, Peterson posited an accelerated evolution in which the early Grounders used a cant specifically to obfuscate their speech and to differentiate between friend or foe. Trigedasleng derives from that cant and evolved over several short generations of survivors of the apocalypse.[27]

text: Filming[edit]

text: Filming for the series takes place in and around Vancouver, British Columbia.[28] Production on the pilot occurred during the second quarter of 2013. After the show was picked up to series, filming occurred for the first season between August 2013 and January 2014. Filming for the second season commenced on July 7, 2014, and concluded on January 23, 2015. The third season was filmed between July 15, 2015, and February 2, 2016.[29] Filming for the fourth season commenced on August 2, 2016, and concluded on January 18, 2017.[30][31] Filming for the fifth season commenced on August 14, 2017, and wrapped up on January 27, 2018.[32][33][34]

text: Casting[edit]

text: In late February 2013, Bob Morley and Eli Goree were cast as Bellamy Blake and Wells Jaha, respectively,[35] followed a day later by the casting of Henry Ian Cusick as Marcus Kane.[36] Less than a week later, Eliza Taylor and Marie Avgeropoulos were cast in co-starring roles as Clarke Griffin and Octavia Blake, respectively.[37][38] Throughout March, the rest of the cast was filled out, with Paige Turco cast as Abigail Walters (now Abigail Griffin),[39] Isaiah Washington as Chancellor Jaha,[40] Thomas McDonnell as Finn Collins,[41] Kelly Hu as Callie Cartwig, and Christopher Larkin as Monty Green.[42]

text: For the second season, Adina Porter and Raymond J. Barry were cast in recurring roles as Indra and Dante Wallace, respectively, along with Alycia Debnam-Carey as Lexa.[43][44]

text: Broadcast[edit]

text: In Canada, Season 1 of The 100 was licensed exclusively to Netflix. The series premiered on March 20, 2014, the day after the mid-season premiere of Season 1 on the CW.[45]

text: In New Zealand, the series premiered on TVNZ's on-demand video streaming service on March 21, 2014.[46]

text: In the UK and Ireland, The 100 premiered on E4 on July 7, 2014.[47] The first episode was viewed by an average audience of 1.39 million, making it the channel's biggest ever program launch. Season 2 premiered on January 6, 2015, and averaged 1,118,000 viewers.[48] Season 3 premiered on February 17, 2016.[49][50]

text: In Australia, The 100 was originally scheduled to premiere on Go![51] but instead premiered on Fox8 on September 4, 2014.[52] Season 2 premiered on January 8, 2015.[53]

text: Home media[edit]

text:
Name
DVD
Blu-ray
No. of
episodes
Features

Region 1
Region 2
Region 4
Region A
Region B

The Complete First Season
September 23, 2014[54]
September 29, 2014[55]
December 3, 2014[56]
September 23, 2014[57]
December 3, 2014[58]
13

Creating the World of The 100
Commentary on "We Are Grounders, Part 2"

The Complete Second Season
October 13, 2015[59]
October 12, 2015[60]
October 14, 2015[61]
October 13, 2015[62]
October 14, 2015[61]
16

The 100: Unlocking the Mountain
The 100 Pre-Viz Stunts featurette

The Complete Third Season
July 19, 2016[63]
September 26, 2016[64]
September 28, 2016[65]
July 19, 2016[63]
September 28, 2016[65]
16

A Short Lived Victory: Unlocking the Season 3 Finale
Arkadia: From Wreckage to Salvation
Ice Nation: Brutal and Fierce
Wanheda: Clarke's Journey
Polis: Capital of the Grounders
The 100 Pre-Viz Stunts Season 3

The Complete Fourth Season
July 19, 2017[66]
July 24, 2017[67]
October 4, 2017[68]
July 18, 2017[69]
October 4, 2017[70]
13

Deleted Scenes, From Outcasts to Leaders, Creating a Post-Apocolyptic World
The 100: Jasper's Journey
Battle Tested: The 100 Season 4 Stunts, Gag Reel
The 100: 2016 Comic-Con Panel

text: Reception[edit]

text: Critical response[edit]

text: On Rotten Tomatoes, the show's first season was certified "fresh", with 72% of professional reviewers reviewing it positively and the consensus: "Although flooded with stereotypes, the suspenseful atmosphere helps make The 100 a rare high-concept guilty pleasure." On Metacritic, the first season scores 63 out of 100 points, indicating "generally favorable reviews."[71]

text: The second season was met with more favorable reviews, holding a rating of 100% on Rotten Tomatoes and an average rating of 8.1/10.[72] On Metacritic, the season is assigned a score of 81 out of 100, based on 2 critics.[73] In a review of the season 2 finale, Kyle Fowle of The A.V. Club said, "Very few shows manage to really push the boundaries of moral compromise in a way that feels legitimately difficult. Breaking Bad did it. The Sopranos did it. Game of Thrones has done it. Those shows never back down from the philosophical murkiness of their worlds, refusing to provide a tidy, happy ending if it doesn't feel right. With 'Blood Must Have Blood, Part Two,' The 100 has done the same, presenting a finale that doesn't shy away from the morally complex stakes it's spent a whole season building up".[74] Maureen Ryan of The Huffington Post, in another positive review, wrote: "I can say with some assurance that I've rarely seen a program demonstrate the kind of consistency and thematic dedication that The 100 has shown in its first two seasons. This is a show about moral choices and the consequences of those choices, and it's been laudably committed to those ideas from Day 1."[75]

text: On Rotten Tomatoes, the third season received an overall rating of 89% with an average rating of 7.9/10.[76] On Metacritic, the season is assigned a score of 77 out of 100, based on 3 critics, indicating generally positive reviews.[77] Maureen Ryan of Variety wrote in an early review of the third season: "When looking at the epic feel and varied array of stories on display in season three, which overtly and covertly recalls "The Lord of the Rings" saga in a number of ways, it's almost hard to recall how limited the scope and the ambitions of "The 100" were two years ago, when a rag-tag band of survivors first crash-landed on Earth. In season three (which the cast and showrunner previewed here), the show is more politically complicated than ever, and the world-building that accompanies the depiction of various factions, alliances and conflicts is generally admirable."[78] In a review of the season 3 finale "Perverse Instantiation: Part Two", Mariya Karimjee of Vulture.com wrote: "Every moment of this finale is pitch-perfect: the choreography of the fight scenes, the plotting and pacing, and the stunning way in which the episode finally reaches it apex. "Perverse Instantiation: Part Two" elevates the season's themes and pulls together its disparate story lines, setting us up nicely for season four."[79] In another review of the season 3 finale and the season overall, Kyle Fowle of The A.V. Club wrote: "Before we even get to tonight's action-packed finale of The 100, it needs to be said that this has been a rocky season. The first half of it was defined by shoddy character motivations and oversized villains. The second half of this season has done some work to bring the show back from the brink, focusing on the City of Light and issues of freewill and difficult moral choices, bringing some much needed depth to the third season. That work pays off with "Perverse Instantiation: Part Two," a thrilling, forward-thinking finale that provides some necessary closure to this season." He gave the finale itself an "A-" rating.[80]

text: The fourth season is generally considered to be an improvement over the third season, receiving a 92% score on Rotten Tomatoes with an average rating of 7.3/10 based on 12 reviews.[81] On Metacritic, the season is assigned a score of 80 out of 100, based on 1 critic, indicating generally positive reviews.[82] The second portion of the fourth season has received better reception than the first portion, with the episodes Die All, Die Merrily and Praimfaya often cited as the two best episodes of the season. Die All, Die Merrily has a 9.5/10 rating from IGN, a perfect 5/5 rating from Vulture and a perfect A rating from The AV Club.[83][84][85] Praimfaya has a 9.0/10 from IGN and an A rating from The AV Club.[86][87]

text: The fifth season of currently has a 100% score on Rotten Tomatoes with an average of 8.7/10.[88] On Metacritic, the season is assigned a score of 80 out of 100, based on 1 critic, indicating generally positive reviews.[89] All episodes of the season received highly positive reviews, but the third episode Sleeping Giants has received particular high acclaim. The episode has a 4.5/5 rating from Den of Geek, a 4.5/5 rating from TVOverMind and a 5/5 rating from TellTaleTV.[90][91][92]

text: Brian Lowry of The Boston Globe said: "Our attraction to Apocalypse TV runs deep, as our culture plays out different futuristic possibilities. That's still no reason to clone material, nor is it a reason to deliver characters who are little more than stereotypes."[93] Allison Keene of The Hollywood Reporter wrote a negative review, stating: "The sci-fi drama presents The CW's ultimate vision for humanity: an Earth populated only by attractive teenagers, whose parents are left out in space."[94] Kelly West of Cinema Blend gave it a more positive review while noting: "CW's Thrilling New Sci-fi Drama Is A Keeper. CW's The 100 seeks to explore that concept and more with a series that's about equal parts young adult drama, sci-fi adventure and thriller. It takes a little while for the series to warm up, but when The 100 begins to hit its stride, a unique and compelling drama begins to emerge."[95] IGN's editor Eric Goldman also gave the show a more positive review, writing: "Overcoming most of its early growing pains pretty quickly, The 100 was a very strong show by the end of its first season. But Season 2 elevated the series into the upper echelon, as the show become one of the coolest and most daring series on TV these days."[96] Maureen Ryan of Variety named the show one of the best of 2015.[97]

text: In 2016, the year Rolling Stone ranked the show #36 on its list of the "40 Best Science Fiction TV Shows of All Time",[98] the episode "Thirteen" attracted criticism when Lexa, one of the series' LGBT characters, was killed off. Critics and fans considered the death a continuation of a persistent trope in television in which LGBT characters are killed off far more often than others – implicitly portraying them as disposable, as existing only to serve the stories of straight characters, or to attract viewers. A widespread debate among writers and fans about the trope ensued, with Lexa's death cited as a prime example of the trope, and why it should end.[99][100][101] Showrunner Jason Rothenberg eventually wrote in response that "I (...) write and produce television for the real world where negative and hurtful tropes exist. And I am very sorry for not recognizing this as fully as I should have".[102]

text: Ratings[edit]

text:
Season
Timeslot (ET)
Episodes
First aired
Last aired
TV season
Rank
Avg. viewers
(millions)
18–49 rating
(average)

Date
Viewers
(millions)
Date
Viewers
(millions)

1
Wednesday 9:00 pm
13
March 19, 2014 (2014-03-19)
2.73[103]
June 11, 2014 (2014-06-11)
1.68[104]
2013–14
150
2.59
1.1[105]

2
16
October 22, 2014 (2014-10-22)
1.54[106]
March 11, 2015 (2015-03-11)
1.34[107]
2014–15
157
2.46
0.9[105]

3
Thursday 9:00 pm
16
January 21, 2016 (2016-01-21)
1.88[108]
May 19, 2016 (2016-05-19)
1.31[109]
2015–16
165
1.94
0.7[110]

4
Wednesday 9:00 pm
13
February 1, 2017 (2017-02-01)
1.21[111]
May 24, 2017 (2017-05-24)
0.91[112]
2016–17
158
1.47[113]
TBD

5
Tuesday 9:00 pm (1–8)
Tuesday 8:00 pm (9–13)[23]
13[114]
April 24, 2018 (2018-04-24)
1.43[115]
August 7, 2018 (2018-08-07)[23]
TBD
2017–18
182
1.61
0.5[116]

text: An estimated 2.7 million American viewers watched the series premiere, which received an 18–49 rating of 0.9, making it the most-watched show in its time slot on The CW since 2010, with the series Life Unexpected.[117]

text:
Season
Ep. 1
Ep. 2
Ep. 3
Ep. 4
Ep. 5
Ep. 6
Ep. 7
Ep. 8
Ep. 9
Ep. 10
Ep. 11
Ep. 12
Ep. 13
Ep. 14
Ep. 15
Ep. 16

1
2.73
2.27
1.90
1.69
1.80
1.97
1.88
1.64
1.73
1.46
1.71
1.58
1.68
N/A

2
1.54
1.48
1.68
1.75
1.64
1.86
1.62
1.40
1.48
1.53
1.51
1.36
1.42
1.55
1.49
1.34

3
1.88
1.63
1.57
1.32
1.36
1.41
1.39
1.20
1.23
1.13
1.08
1.15
1.27
1.13
1.17
1.29

4
1.21
1.01
1.05
1.00
1.02
0.98
0.90
0.97
0.81
0.85
0.86
0.83
0.91
N/A

5
1.43
1.02
1.08
1.07
0.94
0.92
TBD
TBD
TBD
TBD
TBD
TBD
TBD
N/A

text: Accolades[edit]

text:
Year
Award
Category
Nominee(s)
Result
Ref.

2014
Primetime Emmy Awards
Outstanding Special Visual Effects
Andrew Orloff, Michael Cliett, Tyler Weiss, Kornel Farkas, Chris Pounds, Andrew Bain, Mike Rhone
(episode: "We Are Grounders, Part 2")
Nominated
[123]

2015
Golden Reel Awards
Best Sound Editing – Sound Effects and Foley in Short Form Television
Norval D. Crutcher III, Peter Austin, Peter D. Lago, Mitch Gettleman, Catherine Harper, Ellen Heuer, Marc Meyer
Nominated
[124]

Leo Awards
Best Production Design in a Dramatic Series
Matthew Budgeon
(episode: "Murphy's Law")
Nominated
[125]

Best Production Design in a Dramatic Series
James Philpott
(episode: "The 48")
Nominated

Best Costume Design in a Dramatic Series
Katia Stano
(episodes: "Many Happy Returns" & "Spacewalker")
Nominated

Best Guest Performance by a Male in a Dramatic Series
Richard Harmon
(episode: "We Are Grounders Part 1")
Nominated

MTV Fandom Awards
Ship of the Year
Alycia Debnam-Carey and Eliza Taylor
Nominated
[126]

Saturn Awards
Best Youth-Oriented Series
The 100
Won
[127]

Teen Choice Awards
Choice TV Actor: Sci-Fi/Fantasy
Bob Morley
Nominated
[128]

Choice TV Actress: Sci-Fi/Fantasy
Eliza Taylor
Nominated

Choice TV Show: Sci-Fi/Fantasy
The 100
Nominated

2016
Golden Reel Awards
Best Sound Editing in Television - Short Form: Dialogue & ADR
Norval "Charlie" Crutcher III
Nominated
[129]

Leo Awards
Best Production Design in a Dramatic Series
James Philpott, Alyssa King, Alex Royek
(episode:"Wanheda: Part 1")
Nominated
[130]

MTV Fandom Awards
Fan Freakout of the Year
Alycia Debnam-Carey
Won
[126]

Ship of the Year
Eliza Taylor and Alycia Debnam-Carey
Nominated

Saturn Awards
Best Science Fiction Television Series
The 100
Nominated
[131]

Teen Choice Awards
Choice TV: Chemistry
Eliza Taylor and Bob Morley
Nominated
[132]

Choice TV Actress: Sci-Fi/Fantasy
Eliza Taylor
Nominated

2017
Saturn Awards
Best Science Fiction Television Series
The 100
Nominated
[133]

Teen Choice Awards
Choice Sci-Fi/Fantasy TV Actor
Bob Morley
Nominated
[134]

Choice Sci-Fi/Fantasy TV Actress
Eliza Taylor
Nominated

Choice TV Ship
Eliza Taylor and Bob Morley
Nominated

2018
Leo Awards
Best Stunt Coordination in a Dramatic Series
Marshall Virtue, Kim Chiang
(episode: "Die All, Die Merrily")
Nominated
[135]

Best Supporting Performance by a Male in a Dramatic Series
Richard Harmon
(episode: "God Complex")
Nominated

Saturn Awards
Best Science Fiction Television Series
The 100
Pending
[136]

Teen Choice Awards
Choice Sci-Fi/Fantasy TV Show
The 100
Pending
[137]

Choice Sci-Fi/Fantasy TV Actor
Bob Morley
Pending

Choice Sci-Fi/Fantasy TV Actress
Eliza Taylor
Pending


document_title: Popeye

question_text: who was the original voice of popeye the sailor

question_tokens: who was the original voice of popeye the sailor

text: Popeye

text: Fictional character and story[edit]

text: Popeye's story and characterization vary depending on the medium. Originally, Popeye got "luck" from rubbing the head of the Whiffle Hen; by 1932, he was instead getting "strength" from eating spinach.[9] Swee'Pea is definitively Popeye's ward in the comic strips, but he is often depicted as belonging to Olive Oyl in cartoons. The cartoons also occasionally feature members of Popeye's family who have never appeared in the strip, notably his lookalike nephews Peepeye, Pupeye, Pipeye, and Poopeye.

text: There is no absolute sense of continuity in the stories, although certain plot and presentation elements remain mostly constant, including purposeful contradictions in Popeye's capabilities. Popeye seems bereft of manners and uneducated, yet he is often depicted as capable of coming up with solutions to problems that seem insurmountable to the police or, most importantly, the scientific community. Popeye has, alternatively, displayed Sherlock Holmes-like investigative prowess (determining, for instance, that his beloved Olive was abducted by estimating the depth of the villains' footprints in the sand), scientific ingenuity (as his construction, within a few hours, of a "spinach-drive" spacecraft), or oversimplified (yet successful) diplomatic arguments (by presenting his own existence—and superhuman strength—as the only true guarantee of world peace at diplomatic conferences). Popeye's pipe also proves to be highly versatile. Among other things, it has served as a cutting torch, jet engine, propeller, periscope, musical instrument, and, of course, a whistle with which he produces his trademark toot. Popeye also on occasion eats spinach through his pipe, sometimes sucking in the can itself along with the contents. Since the 1970s, Popeye is seldom depicted using his pipe to smoke tobacco.[4]

text: Popeye's exploits are also enhanced by a few recurring plot elements. One is the love triangle among Popeye, Olive, and Bluto, and the latter'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 renounces Popeye for Bluto's dime-store advances. She is the only character that Popeye will permit to give him a thumping. Finally, Popeye usually uncovers villainous plots by accidentally sneaking up on the antagonists as they brag about or lay out their schemes.[citation needed]

text: Thimble Theatre and Popeye comic strips[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2015) (Learn how and when to remove this template message)

text: Thimble Theatre was cartoonist E. C. Segar's third published strip when it first appeared in the New York Journal on December 19, 1919. The paper's owner William Randolph Hearst also owned King Features Syndicate, which syndicated the strip. Thimble Theatre was intended as a replacement for Midget Movies by Ed Wheelan (Wheelan having recently resigned from King Features).[10] It did not attract a large audience at first, and at the end of its first decade appeared in only half a dozen newspapers.

text: In its early years, the strip featured characters acting out various stories and scenarios in theatrical style (hence the strip's name). It could be classified as a gag-a-day comic in those days.[10]

text: Thimble Theatre's first main characters were the thin Olive Oyl and her boyfriend Harold Hamgravy. After the strip moved away from its initial focus, it settled into a comedy-adventure style featuring Olive, Ham Gravy, and Olive's enterprising brother Castor Oyl. Olive's parents Cole and Nana Oyl also made frequent appearances.

text: Popeye first appeared in the strip on January 17, 1929 as a minor character. He was initially hired by Castor Oyl and Ham to crew a ship for a voyage to Dice Island, the location of a casino owned by the crooked gambler Fadewell. Castor intended to break the bank at the casino using the unbeatable good luck conferred by stroking the hairs on the head of Bernice the Whiffle Hen. Weeks later, on the trip back, Popeye was shot many times by Jack Snork, a stooge of Fadewell's, but survived by rubbing Bernice's head. After the adventure, Popeye left the strip but, due to reader reaction, he was quickly brought back.[4][10]

text: The Popeye character became so popular that he was given a larger role, and the strip was taken up by many more newspapers as a result. Initial strips presented Olive as being less than impressed with Popeye, but she eventually left Ham Gravy to become Popeye's girlfriend and Ham Gravy left the strip as a regular. Over the years, however, she has often displayed a fickle attitude towards the sailor. Castor Oyl continued to come up with get-rich-quick schemes and enlisted Popeye in his misadventures. Eventually, he settled down as a detective and later on bought a ranch out West. Castor has seldom appeared in recent years.

text: In 1933, Popeye received a foundling baby in the mail, whom he adopted and named "Swee'Pea." Other regular characters in the strip were J. Wellington Wimpy, a hamburger-loving moocher who would "gladly pay you Tuesday for a hamburger today" (he was also soft-spoken and cowardly; Vickers Wellington bombers were nicknamed "Wimpys" after the character); George W. Geezil, a local cobbler who spoke in a heavily affected accent and habitually attempted to murder or wish death upon Wimpy; and Eugene the Jeep, a yellow, vaguely dog-like animal from Africa with magical powers. In addition, the strip featured the Sea Hag, a terrible pirate, as well as the last witch on earth (her even more terrible sister excepted); Alice the Goon, a monstrous creature who entered the strip as the Sea Hag's henchwoman and continued as Swee'Pea's babysitter; and Toar, a caveman.

text: Segar's strip was quite different from the cartoons that followed. The stories were more complex, with many characters that never appeared in the cartoons (King Blozo, for example). Spinach usage was rare and Bluto made only one appearance. Segar would sign some of his early Popeye comic strips with a cigar, due to his last name being a homophone of "cigar" (pronounced SEE-gar). The success of the strip meant Segar was earning $100,000 a year at the time of his death.[5]

text: Thimble Theatre became one of King Features' most popular strips during the 1930s. A poll of adult comic strip readers in the April 1937 issue of Fortune magazine voted Popeye their second favourite comic strip (after Little Orphan Annie).[5] By 1938, Thimble Theatre was running in 500 newspapers, and over 600 licensed "Popeye" products were on sale.[5] Following an eventual name change to Popeye in the 1970s, the comic remains one of the longest running strips in syndication today. After Mussolini came to power in Italy, he banned all American comic strips, but Popeye was so popular the Italians made him bring it back. The strip carried on after Segar's death in 1938, at which point he was replaced by a series of artists. In the 1950s, a spinoff strip was established, called Popeye the Sailorman.

text: Artists after Segar[edit]

text: After Segar's death in 1938, many different artists were hired to draw the strip. Tom Sims, the son of a Coosa River channel-boat captain, continued writing Thimble Theatre strips and established the Popeye the Sailorman spin-off. Doc Winner and Bela Zaboly,[11] successively, handled the artwork during Sims's run. Eventually, Ralph Stein stepped in to write the strip until the series was taken over by Bud Sagendorf in 1959.

text: Sagendorf wrote and drew the daily strip until 1986, and continued to write and draw the Sunday strip until his death in 1994. Sagendorf, who had been Segar's assistant, made a definite effort to retain much of Segar's classic style, although his art is instantly discernible. Sagendorf continued to use many obscure characters from the Segar years, especially O.G. Wotasnozzle and King Blozo. Sagendorf's new characters, such as the Thung, also had a very Segar-like quality. What set Sagendorf apart from Segar more than anything else was his sense of pacing. Where plotlines moved very quickly with Segar, it would sometimes take an entire week of Sagendorf's daily strips for the plot to be advanced even a small amount.

text: From 1986 to 1992, the daily strip was written and drawn by Bobby London, who, after some controversy, was fired from the strip for a story that could be taken to satirize abortion.[12] London's strips put Popeye and his friends in updated situations, but kept the spirit of Segar's original. One classic storyline, titled "The Return of Bluto", showed the sailor battling every version of the bearded bully from the comic strip, comic books, and animated films. The Sunday edition of the comic strip is currently drawn by Hy Eisman, who took over in 1994. The daily strip began featuring reruns of Sagendorf's strips after London was fired and continues to do so today.

text: On January 1, 2009, 70 years since the death of his creator, Segar's character of Popeye (though not the various films, TV shows, theme music and other media based on him) became public domain[13] in most countries, but remains under copyright in the United States. Because Segar was an employee of King Features Syndicate when he created the Popeye character for the company's Thimble Theatre strip, Popeye is treated as a work for hire under U.S. copyright law. Works for hire are protected for 95 years from publication or 120 years from creation, whichever is shorter. Since Popeye made his first appearance in January 1929, and all U.S. copyrights expire on December 31 of the year that the term ends, Popeye will enter the public domain in the U.S. on January 1, 2025, assuming no amendments to U.S. copyright law before that date.[14]

text: Reprints[edit]

text:
Popeye the Sailor, Nostalgia Press, 1971, reprints three daily stories from 1936.
Thimble Theatre, Hyperion Press, 1977, ISBN 0-88355-663-4, reprints daily from September 10, 1928 missing 11 dailies which are included in the Fantagraphics reprints.
Popeye, the First Fifty Years by Bud Sagendorf, Workman Publishing, 1979 ISBN 0-89480-066-3, the only Popeye reprint in full color.
The Complete E. C. Segar Popeye, Fantagraphics, 1980s, reprints all Segar Sundays featuring Popeye in 4 volumes, all Segar dailies featuring Popeye in 7 volumes, missing 4 dailies which are included in the Hyperion reprint, November 20–22, 1928, August 22, 1929.
Popeye. The 60th Anniversary Collection, Hawk Books Limited, 1989, ISBN 0-948248-86-6 featuring reprints a selection of strips and stories from the first newspaper strip in 1929 onwards, along with articles on Popeye in comics, books, collectables, etc.
E. C. Segar's Popeye, between 2006 and 2011, Fantagraphics Books published six oversized hardcover volumes, reprinting all dailies and Sundays (in color, along with Sappo) featuring Popeye, plus various extras.
Vol. 1: I Yam What I Yam – covers 1928–30 (November 22, 2006, ISBN 978-1-56097-779-7)
Vol. 2: Well Blow Me Down! – covers 1930–32 (December 19, 2007, ISBN 978-1-56097-874-9)
Vol. 3: Let's You and Him Fight! – covers 1932–33 (November 15, 2008, ISBN 978-1-56097-962-3)
Vol. 4: Plunder Island – covers 1933–35 (December 22, 2009, ISBN 978-1-60699-169-5)
Vol. 5: Wha's a Jeep – covers 1935–37 (March 21, 2011, ISBN 978-1-60699-404-7)
Vol. 6: Me Li'l Swee'Pea – covers 1937–38 (November 15, 2011, ISBN 978-1-60699-483-2)

text: Comic books[edit]

text: There have been a number of Popeye comic books, from Dell, King Comics, Gold Key Comics, Charlton Comics and others, originally written and illustrated by Bud Sagendorf. In the Dell comics, Popeye became something of a crimefighter, thwarting evil organizations and Bluto's criminal activities. The new villains included the numerous Misermite dwarfs, who were all identical.

text: Popeye appeared in the British "TV Comic" series, a News of the World publication, becoming the cover story in 1960 with stories written and drawn by "Chick" Henderson. Bluto was referred to as Brutus and was Popeye's only nemesis throughout the entire run.

text: A variety of artists have created Popeye comic book stories since then; for example, George Wildman drew Popeye stories for Charlton Comics from 1969 until the late 1970s. The Gold Key series was illustrated by Wildman and scripted by Bill Pearson, with some issues written by Nick Cuti.

text: In 1988, Ocean Comics released the Popeye Special written by Ron Fortier with art by Ben Dunn. The story presented Popeye's origin story, including his given name of "Ugly Kidd"[15] and attempted to tell more of a lighthearted adventure story as opposed to using typical comic strip style humor. The story also featured a more realistic art style and was edited by Bill Pearson, who also lettered and inked the story as well as the front cover.[16] A second issue, by the same creative team, followed in 1988. The second issue introduced the idea that Bluto and Brutus were actually twin brothers and not the same person,[17] an idea also used in the comic strip on December 28, 2008 and April 5, 2009.[18][19] In 1999, to celebrate Popeye's 70th anniversary, Ocean Comics revisited the franchise with a one-shot comic book, entitled The Wedding of Popeye and Olive Oyl, written by Peter David. The comic book brought together a large portion of the casts of both the comic strip and the animated shorts, and Popeye and Olive Oyl were finally wed after decades of courtship. However, this marriage has not been reflected in all media since the comic was published.

text: In 1989, a special series of short Popeye comic books were included in specially marked boxes of Instant Quaker Oatmeal, and Popeye also appeared in three TV commercials for Quaker Oatmeal,[20] which featured a parrot delivering the tag line "Popeye wants a Quaker!" The plots were similar to those of the films: Popeye loses either Olive Oyl or Swee'Pea to a muscle-bound antagonist, eats something invigorating, and proceeds to save the day. In this case, however, the invigorating elixir was not his usual spinach, but rather one of four flavors of Quaker Oatmeal.[20] (A different flavor was showcased with each mini-comic.) The comics ended with the sailor saying, "I'm Popeye the Quaker Man!", which offended members of the Religious Society of Friends or Quakers.[21] Members of this religious group (which has no connection to the cereal company) are pacifists and do not believe in using violence to resolve conflicts. For Popeye to call himself a "Quaker man" after beating up someone was offensive to the Quakers and considered a misrepresentation of their faith and religious beliefs.[21] In addition, the submissiveness of Olive Oyl went against the Quakers' emphasis on women's rights. The Quaker Oatmeal company apologized and removed the "Popeye the Quaker man" reference from commercials and future comic book printings.[21]

text: In 2012, writer Roger Langridge teamed with cartoonists Bruce Ozella, Ken Wheaton, and Tom Neely (among others) to revive the spirit of Segar in IDW's 12-issue comic book miniseries, Popeye, Critic PS Hayes reviewed:

text: In late 2012, IDW began reprinting the original 1940s–1950s Sagendorf Popeye comic books under the title of Classic Popeye.

text: Theatrical animated cartoons[edit]

text: In November 1932, King Features signed an agreement with Fleischer Studios to have Popeye and the other Thimble Theatre characters begin appearing in a series of animated cartoons. The first cartoon in the series was released in 1933, and Popeye cartoons, released by Paramount Pictures, would remain a staple of Paramount's release schedule for nearly 25 years. William Costello was the original voice of Popeye, a voice that would be replicated by later performers, such as Jack Mercer and even Mae Questel. Many of the Thimble Theatre characters, including Wimpy, Poopdeck Pappy, and Eugene the Jeep, eventually made appearances in the Paramount cartoons, though appearances by Olive Oyl's extended family and Ham Gravy were notably absent. Thanks to the animated-short series, Popeye became even more of a sensation than he had been in comic strips, and by 1938, polls showed that the sailor was Hollywood's most popular cartoon character.[23][24]

text: In every Popeye cartoon, the sailor is invariably put into what seems like a hopeless situation, upon which (usually after a beating), a can of spinach becomes available, and Popeye quickly opens the can and consumes its contents.  Upon swallowing the spinach, Popeye's physical strength immediately becomes superhuman, and he is easily able to save the day (and very often rescue Olive Oyl from a dire situation). It did not stop there, as spinach could also give Popeye the skills and powers he needed, as in The Man on the Flying Trapeze, where it gave him acrobatic skills. (When the antagonist is the Sea Hag, it is Olive who eats the spinach; Popeye can't hit a lady.)

text: In May 1942, Paramount Pictures assumed ownership of Fleischer Studios, fired the Fleischers and began reorganizing the studio, which they renamed Famous Studios. The early Famous-era shorts were often World War II-themed, featuring Popeye fighting Nazis and Japanese soldiers, most notably the 1942 short You're a Sap, Mr. Jap. In late 1943, the Popeye series was moved to Technicolor production, beginning with Her Honor the Mare. Famous/Paramount continued producing the Popeye series until 1957, with Spooky Swabs being the last of the 125 Famous shorts in the series. Paramount then sold the Popeye film catalog to Associated Artists Productions, which was bought out by United Artists in 1958. Through various mergers, the rights are currently controlled by WarnerMedia's Turner Entertainment.

text: In 2001, Cartoon Network, under the supervision of animation historian Jerry Beck, created a new incarnation of The Popeye Show. The show aired the Fleischer and Famous Studios Popeye shorts in versions approximating their original theatrical releases by editing copies of the original opening and closing credits (taken or recreated from various sources) onto the beginnings and ends of each cartoon, or in some cases, in their complete, uncut original theatrical versions direct from such prints that originally contained the front-and-end Paramount credits. The series aired 135 Popeye shorts over forty-five episodes, until March 2004. The Popeye Show continued to air on Cartoon Network's spin-off network Boomerang.

text: While many of the Paramount Popeye cartoons remained unavailable on video, a handful of those cartoons had fallen into public domain and were found on numerous low budget VHS tapes and later DVDs. When Turner Entertainment acquired the cartoons in 1986, a long and laborious legal struggle with King Features kept the majority of the original Popeye shorts from official video releases for more than 20 years. King Features instead opted to release a DVD boxed set of the 1960s made-for-television Popeye the Sailor cartoons, to which it retained the rights, in 2004. In the meantime, home video rights to the Associated Artists Productions library were transferred from CBS/Fox Video to MGM/UA Home Video in 1986, and eventually to Warner Home Video in 1999. In 2006, Warner Home Video announced it would release all of the Popeye cartoons produced for theatrical release between 1933 and 1957 on DVD, restored and uncut. Three volumes were released between 2007 and 2008, covering all of the Fleischer era and the beginnings of the Famous era.

text: Original television cartoons[edit]

text: In 1960, King Features Syndicate commissioned a new series of cartoons entitled Popeye the Sailor, but this time for television syndication. Al Brodax served as executive producer of the cartoons for King Features. Jack Mercer, Mae Questel, and Jackson Beck returned for this series, which was produced by a number of companies, including Jack Kinney Productions, Rembrandt Films (William L. Snyder and Gene Deitch), Larry Harmon Productions, Halas and Batchelor, Paramount Cartoon Studios (formerly Famous Studios), and Southern Star Entertainment (formerly Southern Star Productions). The artwork was streamlined and simplified for the television budgets, and 220 cartoons were produced in only two years, with the first set of them premiering in the autumn of 1960, and the last of them debuting during the 1961–1962 television season. Since King Features had exclusive rights to these Popeye cartoons, 85 of them were released on DVD as a 75th anniversary Popeye boxed set in 2004.

text: For these cartoons, Bluto's name was changed to "Brutus", as King Features believed at the time that Paramount owned the rights to the name "Bluto". Many of the cartoons made by Paramount used plots and storylines taken directly from the comic strip sequences – as well as characters like King Blozo and the Sea Hag.[25] The 1960s cartoons have been issued on both VHS and DVD.

text: On September 9, 1978, The All New Popeye Hour debuted on the CBS Saturday morning lineup. It was an hour-long animated series produced by Hanna-Barbera Productions, which tried its best to retain the style of the original comic strip (Popeye returned to his original costume and Brutus to his original name of Bluto), while complying with the prevailing content restrictions on violence. In addition to providing many of the cartoon scripts, Mercer continued to voice Popeye, while Marilyn Schreffler and Allan Melvin became the new voices of Olive Oyl and Bluto, respectively. (Mae Questel actually auditioned for Hanna-Barbera to recreate Olive Oyl, but was rejected in favor of Schreffler.) The All New Popeye Hour ran on CBS until September 1981, when it was cut to a half-hour and retitled The Popeye and Olive Show. It was removed from the CBS lineup in September 1983, the year before Jack Mercer's death. These cartoons have also been released on VHS and DVD. During the time these cartoons were in production, CBS aired The Popeye Valentine's Day Special – Sweethearts at Sea on February 14, 1979. In the UK, the BBC aired a half-hour version of The All New Popeye Show, from the early-1980s to 2004.

text: Popeye briefly returned to CBS in 1987 for Popeye and Son, another Hanna-Barbera series, which featured Popeye and Olive as a married couple with a son named Popeye Jr., who hates the taste of spinach but eats it to boost his strength. Maurice LaMarche performed Popeye's voice; Mercer had died in 1984. The show lasted for one season.

text: In 2004, Lions Gate Entertainment produced a computer-animated television special, Popeye's Voyage: The Quest for Pappy, which was made to coincide with the 75th anniversary of Popeye. Billy West performed the voice of Popeye, describing the production as "the hardest job I ever did, ever" and the voice of Popeye as "like a buzzsaw on your throat".[26] The uncut version was released on DVD on November 9, 2004; and was aired in a re-edited version on Fox on December 17, 2004 and again on December 30, 2005. Its style was influenced by the 1930s Fleischer cartoons, and featured Swee'Pea, Wimpy, Bluto (who is Popeye's friend in this version), Olive Oyl, Poopdeck Pappy and the Sea Hag as its characters. On November 6, 2007, Lions Gate Entertainment re-released Popeye's Voyage on DVD with redesigned cover art.

text: Popeye has made brief parody appearances in modern animated productions, including:

text:
A typical Popeye style rescue was spoofed in The Simpsons episode "Jaws Wired Shut".
In The Critic, Jay Sherman's father Franklin flashes back to saving his wife Popeye style with alcohol instead of spinach.
Popeye appeared in the Drawn Together episode "The Lemon-AIDS Walk", voiced by Billy West.
In the Family Guy episode "You May Now Kiss the...Uh...Guy Who Receives", Popeye's unique behavior and speech patterns are explained as being the result of a stroke, and his massive forearm muscles are actually cancerous tumors.
Popeye co-stars in a short from Seth MacFarlane's Cavalcade of Cartoon Comedy giving Bob Dylan a hard time about him not singing his hit song, "Blowin' in the Wind".
Popeye appeared in the Robot Chicken episodes "The Sack", "Squaw Bury Shortcake" and "Yancy the Yo-Yo Boy", voiced by Dave Coulier (which he was known to perform often during his co-starring role on the ABC sitcom Full House).
Popeye appeared in the South Park "Imaginationland" three-parter as one of the members of the Council of Nine. Popeye's appearance in one scene evoked that of the character Karl in the movie Sling Blade, as Popeye sharpened a blade, much as Karl sharpened a lawnmower blade near the end of Sling Blade.

text: Theme song[edit]

text: Popeye’s theme song, titled "I'm Popeye The Sailor Man", composed by Sammy Lerner in 1933 for Fleischer’s first Popeye the Sailor cartoon,[27] has become forever associated with the sailor. "The Sailor's Hornpipe" has often been used as an introduction to Popeye's theme song.

text: A cover of the theme song, performed by Face to Face, is included on the 1995 tribute album Saturday Morning: Cartoons' Greatest Hits, produced by Ralph Sall for MCA Records. A jazz version, performed by Ted Kooshian's Standard Orbit Quartet, appears on their 2009 Summit Records release Underdog and Other Stories.

text: Playground song parodies of the theme have become part of children's street culture around the world,[28][29] usually interpolating "frying pan" or "garbage can" into the lyrics as Popeye's dwelling place[30][31] and ascribing to the character various unsavory actions or habits[32][33][34][35] that transform the character into an "Anti-Popeye", and changing his exemplary spinach-based diet into an inedible morass of worms, onions, flies, tortillas and snot.[36]

text: Other media[edit]

text: The success of Popeye as a comic-strip and animated character has led to appearances in many other forms. For more than 20 years, Stephen DeStefano has been the artist drawing Popeye for King Features licensing.[37]

text: Radio[edit]

text: Popeye was adapted to radio in several series broadcast over three different networks by two sponsors from 1935 to 1938. Popeye and most of the major supporting characters were first featured in a thrice-weekly 15-minute radio program, Popeye the Sailor, which starred Detmar Poppen as Popeye along with most of the major supporting characters—Olive Oyl (Olive Lamoy), Wimpy (Charles Lawrence), Bluto (Jackson Beck) and Swee'Pea (Mae Questel). In the first episode, Popeye adopted Sonny (Jimmy Donnelly), a character later known as Matey the Newsboy. This program was broadcast Tuesday, Thursday and Saturday nights at 7:15pm. September 10, 1935 through March 28, 1936 on the NBC Red Network (87 episodes), initially sponsored by Wheatena, a whole-wheat breakfast cereal, which would routinely replace the spinach references. Music was provided by Victor Irwin's Cartoonland Band. Announcer Kelvin Keech sang (to composer Lerner's "Popeye" theme) "Wheatena is his diet / He asks you to try it / With Popeye the sailor man." Wheatena paid King Features Syndicate $1,200 per week.

text: The show was next broadcast Mondays, Wednesdays and Fridays from 7:15 to 7:30pm on WABC and ran from August 31, 1936 to February 26, 1937 (78 episodes). Floyd Buckley played Popeye, and Miriam Wolfe portrayed both Olive Oyl and the Sea Hag. Once again, reference to spinach was conspicuously absent. Instead, Popeye sang, "Wheatena's me diet / I ax ya to try it / I'm Popeye the Sailor Man".[38]

text: The third series was sponsored by the maker of Popsicles three nights a week for 15 minutes at 6:15 pm on CBS from May 2, 1938 through July 29, 1938.

text: Of the three series, only 20 of the 204 episodes are known to be preserved.

text: Popeye was recently featured on the Brad and John: Mornings on KISM "When Animals Attack" segment.

text: Films[edit]

text: Popeye (1980)[edit]

text: Director Robert Altman used the character in Popeye, a 1980 live-action musical feature film, starring Robin Williams as Popeye (his first starring movie role), Shelley Duvall as Olive Oyl, and Paul L. Smith as Bluto, with songs by Harry Nilsson and Van Dyke Parks. The script was by Jules Feiffer, who adapted the 1971 Nostalgia Press book of 1936 strips for his screenplay, thus retaining many of the characters created by Segar. A co-production of Paramount Pictures and Walt Disney Productions, the movie was filmed almost entirely on Malta, in the village of Mellieħa on the northwest coast of the island. The set is now a tourist attraction called Popeye Village. The US box office earnings were double the film's budget, making it a success.

text: Upcoming animated film[edit]

text: In March 2010, it was reported that Sony Pictures Animation is developing a 3D computer-animated Popeye film, with Avi Arad producing it.[39] In November 2011, Sony Pictures Animation announced that Jay Scherick and David Ronn, the writers of The Smurfs, are writing the screenplay for the film.[40] In June 2012, it was reported that Genndy Tartakovsky had been set to direct the feature,[41] which he planned to make "as artful and unrealistic as possible."[42] In November 2012, Sony Pictures Animation set the release date for September 26, 2014,[43] which was, in May 2013, pushed back to 2015.[44] In March 2014, Sony Pictures Animation updated its slate, scheduling the film for 2016, and announcing Tartakovsky as the director of Hotel Transylvania 2, which he was directing concurrently with Popeye.[45] On September 18, 2014, Tartakovsky revealed an "animation test" footage, about which he said, "It's just something that kind of represents what we want to do. I couldn't be more excited by how it turned out."[46] In March 2015, Tartakovsky announced that despite the well-received test footage, he was no longer working on the project, and would instead direct Can You Imagine?, which is based on his own original idea.[47] Nevertheless, Sony Pictures Animation stated the project still remains in active development.[48] In January 2016, it was announced that T.J. Fixman would write the film.[49] As of October 2018, there has been no further information about the movie.

text: Video and pinball games[edit]

text:
Nintendo created a widescreen Game & Watch called Popeye in 1981. The handheld game featured Popeye on a boat, and the aim was to catch bottles, pineapples, and spinach cans thrown by Olive Oyl while trying to avoid Bluto's boat. If Bluto hit Popeye on the head with his mallet or Popeye failed to catch an object three times, the game would end.
The Nintendo arcade game Donkey Kong was originally conceived as a Popeye video game by Shigeru Miyamoto. But due to licensing disagreements with King Features, this idea was scrapped.[50]
When Donkey Kong went on to enormous success, King Features agreed to license the characters to Nintendo to create a Popeye arcade game in 1982. It was later ported to the Commodore 64 home computer as well as various home game consoles: Intellivision, Atari 2600, ColecoVision, Famicom/NES, and Odyssey2. The goal was to avoid Bluto (referred to as "Brutus") and the Sea Hag while collecting items produced by Olive Oyl such as hearts, musical notes, or the letters in the word "help" (depending on the level). Hitting a can of spinach gave Popeye a brief chance to strike back at Brutus. Other characters such as Wimpy and Swee' Pea appeared in the game but did not greatly affect gameplay. A board game based on the video game was released by Parker Brothers.
A table top Game & Watch style game was also released by Nintendo in 1983, which featured Popeye trying to rescue Olive while engaging in fisticuffs with Bluto.
Nintendo created another Popeye game for the Famicom, Popeye no Eigo Asobi, in 1983. This was an educational game designed to teach Japanese children English words.
A different Popeye game was developed for the ZX Spectrum by Don Priestley and first released by DK'Tronics in 1985. The game achieved critical success due to its huge, colourful sprites; amongst the largest seen on the Spectrum platform.[51][52] This distinct graphical style was due to King Features' insistence that any game had to include fair representations of the central cartoon characters. The game was ported to Commodore 64 and Amstrad CPC in 1986. After releasing the budget version of this game, Alternative Software developed another two licensed games, Popeye 2 (1991) and Popeye 3: Wrestle Crazy (1992) on the same platforms.
Two Popeye games published by Sigma Enterprises were spawned for the Game Boy. The first Game Boy Popeye game, which was released exclusively in Japan in 1990, and Popeye 2 in 1991. Popeye 2 was also released in North America (1993) and Europe (1994) by Activision.
In 1994, Technos Japan released Popeye: Beach Volleyball for the Game Gear, and Popeye: Volume of the Malicious Witch Seahag (Popeye: Ijiwaru Majo Shihaggu no Maki) for the Japanese Super Famicom. A side scrolling adventure game that was mixed with a board game, the game never saw US release. It featured many characters from the Thimble Theatre series as well. In the game, Popeye had to recover magical hearts scattered across the level to restore his frozen friends as part of a spell cast upon them by the Sea Hag in order to get revenge on Popeye.
Midway (under the Bally label) released Popeye Saves the Earth, a SuperPin pinball game, in 1994.
In 2003, Nova Productions released a strength tester called Popeye Strength Tester.
In 2005, Bandai Namco released a Game Boy Advance video game called Popeye: Rush for Spinach.
Released June 2007, the video game The Darkness featured televisions that played full-length films and television shows that had expired copyrights. Most of the cartoons viewable on the "Toon TV" channel are Famous Studios Popeye shorts.
In fall 2007, Namco Networks released the original Nintendo Popeye arcade game for mobile phones with new features including enhanced graphics and new levels.

text: Marketing, tie-ins, and endorsements[edit]

text: From early on, Popeye was heavily merchandised. Everything from soap to razor blades to spinach was available with Popeye's likeness on it. Most of these items are rare and sought-after by collectors, but some merchandise is still being produced.

text:
Mezco Toyz makes classic-style Popeye figures in two sizes.
KellyToys produces plush stuffed Popeye characters.

text:
Popeyes Louisiana Kitchen (aka Popeyes Chicken & Biscuits), a fast food restaurant chain, is not named after Popeye the Sailor but after the character "Popeye" Doyle from the film The French Connection (1971), who was in turn named after real police detective Eddie Egan, who was called "Pop Eye" because of his keen observational skills. The restaurant chain would later obtain a license for use of the cartoon character and advertise the name as Popeye's after Popeye the Sailor, causing some confusion as to the source of the name. Popeyes Louisiana Kitchen locations in Puerto Rico make extensive use of Popeye the Sailor and associated characters.[53]
Wimpy's name was borrowed for the Wimpy restaurant chain, one of the first international fast food restaurants featuring hamburgers, which they call "Wimpy Burgers".[54]

text:
Allen Canning Company produces its own line of spinach, called "Popeye Spinach", in various canned varieties. The cartoon Popeye serves as the mascot on the can.[55]
In 1961, Buitoni Pasta marketed Popeye-shaped spinach macaroni.
Popeye appeared in a 1979 Dr Pepper commercial during the "Be a Pepper" campaign (possibly as a tie-in for the movie, going so far as to modify his traditional catchphrase to "I'm Popeye the Pepper-man").
Since 1989, "Popeye's Supplements" has been a chain of Canadian Sports Nutrition Stores.[56]
In 1989, Popeye endorsed Instant Quaker Oatmeal, citing it as a better food than spinach to provide strength.[20] The commercials had the tagline "Can the spinach, I wants me Quaker Oatmeal!" The Religious Society of Friends (also known as the Quakers) was offended by the promotion given the physical aggression from "Popeye the Quaker man" and also the excessive submissiveness of Olive Oyl.[21]
In 2001, Popeye (along with Bluto, Olive, and twin Wimpys) appeared in a television commercial for Minute Maid Orange juice. The commercial, produced by Leo Burnett Co, showed Popeye and Bluto as friends (and neglecting Olive Oyl) due to their having had Minute Maid Orange Juice that morning. The ad agency's intention was to show that even the notable enemies would be in a good mood after their juice, but some, including Robert Knight of the Culture and Family Institute, felt the commercial's intent was to portray the pair in a homosexual romantic relationship—while there is nothing wrong with that, it is a suggestion that Minute Maid denies. Knight was interviewed by Stephen Colbert on Comedy Central's The Daily Show about this issue.
World Candies Inc. produced Popeye-branded "candy cigarettes", which were small sugar sticks with red dye at the end to simulate a flame. They were sold in a small box, similar to a cigarette pack. The company still produces the item, but has since changed the name to "Popeye Candy Sticks" and has ceased putting the red dye at the end.
In 2013, McLean Design produced a packaging design using licensed characters and artwork for a Popeye branded energy drink. The drink is launching in the US with two flavors.[57]

text: Starting in 1940, Popeye became the mascot of Flamengo (Rio de Janeiro – Brazil), the most popular soccer team with almost 50 million fans around the world. The mascot of the soccer club is currently a cartoon vulture.[58]

text:
In 1979, salsa singer Adalberto Santiago releases Adalberto Santiago Featuring Popeye El Marino. Fania Records JM 536.
During the 1960s, Popeye appeared in advertising for Crown gasoline.
In 1987, Stabur Graphics commissioned artist Will Elder to paint "Popeye's Wedding" as oil on masonite. Released was a stamped, numbered and signed Limited Edition lithograph, edition size of 395. The lithograph shows Popeye and Olive Oyl in front of the preacher (Popeye slipping a lifesaver-ring onto Olive's finger) along with Nana Oyl, Alice the Goon, Swee'Pea (cradled in Popeye's free arm), Wimpy, Granny, Eugene the Jeep and Brutus (holding a large cauldron of steaming, cooked rice). Twenty-one other characters watch from the pews. The litho is titled "Wit Dis Lifesaver, I Dee Wed!" and is pictured on page 83 of the book "Chicken Fat" by Will Elder (Fantagraphics, 2006).
In 1990, Popeye appeared in an advertisement warning of the harmful effects of coastal pollution. Bluto is laughing as he carelessly dumps garbage over the side of his boat, to which Olive reacts in horror as seagulls and other sea creatures are caught in six pack ring holders. Popeye punches out Bluto and cleans up his garbage; however, when some more plastic garbage sails by Popeye's boat, he says unsurprisingly, "I can't do it all meself, you know!"
In 1995, the Popeye comic strip was one of 20 included in the Comic Strip Classics series of commemorative U.S. postage stamps.
From 1996 to 1999, the Darien Lake theme park in Western New York operated a "Popeye's Seaport" in the park. It was rebranded as "Looney Tunes Seaport" after Darien Lake came under the Six Flags banner.
In the film Alien Resurrection (1997), John Vriess (Dominique Pinion) whistles the Popeye theme song.
In 2006, King Features Syndicate produced a radio spot and an industrial for the United States Power Squadrons featuring Robyn Gryphe as Olive and Allen Enlow as Popeye.
In October 2007, to coincide with the launch of the Popeye mobile game, Namco Networks and Sprint launched a Popeye the Sailorman sweepstakes offering the authorized edition four-disc Popeye the Sailor: 1933–1938 Vol. 1 DVD set as grand prize.[59]
In Universal Studios Orlando Resort's island theme park, Universal's Islands of Adventure, there is a river rafting water ride, Popeye and Bluto's Bilge-Rat Barges, themed after Popeye the Sailor saving Olive Oyl from Bluto.

text: Cultural origins and impact[edit]

text: Local folklore in Chester, Illinois, Segar's hometown, claims that Frank “Rocky” Fiegel (b. January 27, 1868) was the real-life inspiration for the character Popeye. He had a prominent chin, sinewy physique, characteristic pipe, and a propensity and agile skill for fist-fighting.[60][61][62] Fiegel died on March 24, 1947 never having married. His gravestone has the image of Popeye engraved on it.[63] The town of Chester erected a statue of Popeye in Fiegel’s honor, which still stands today.[64] According to Popeye historian Michael Brooks, Segar regularly sent money to Fiegel.[65][66]

text: Separate hometown residents of Chester also are claimed to have served as inspiration for two other Segar characters including Dora Pascal, an uncommonly tall, angular lady who ran a general store in town. She even donned a hair bun close to her neckline. William “Windy Bill” Schuchert, a rather rotund man who owned the local opera house, was the seed for the character J. Wellington Wimpy. He would even send out his employees to purchase hamburgers for him between performances at a local tavern named Wiebusch’s, the same tavern that Fiegal would frequent and engage in fistfights.[61][67]

text:
In 2015, businessman Greg Morena refuted the claim that Popeye originated in Chester, Illinois. Instead, he stated that Santa Monica, California was the birthplace of the character and that a Norwegian sailor by the name of Olaf “cap” Olsen served as the impetus for the character.[68]
Research presented in Jim Harris’ 2009 “Santa Monica Pier: A Century of the Last Great Pleasure Pier” raised the idea that while living in Santa Monica, Segar based the physical attributes on Olsen; even though Harris never made a definitive claim.[69]

text: Cultural influences[edit]

text: Culturally,[70] many consider Popeye a precursor to the superheroes who would eventually come to dominate US comic books.[71]

text: Such has been Popeye's cultural impact that the medical profession sometimes refers to the biceps bulge symptomatic of a tendon rupture as the "Popeye muscle."[72][73] Note, however, that under normal (non-spinach-influenced) conditions, Popeye has pronounced muscles of the forearm, not of the biceps.

text: In 1973, Cary Bates created Captain Strong, a takeoff of Popeye, for DC Comics,[74] as a way of having two cultural icons – Superman and (a proxy of) Popeye – meet.[75]

text: The 1988 Disney/Touchstone film Who Framed Roger Rabbit featured many classic cartoon characters, and the absence of Popeye was noted by some critics. Popeye (along with Bluto and Olive Oyl) actually had a role planned for the film. However, since the Popeye cartoons were based on a comic strip, Disney found they had to pay licensing fees to both King Features Syndicate and MGM/UA. MGM/UA's pre-May 1986 library (which included Popeye) was being purchased by Turner Entertainment at the time, which created legal complications; thus, the rights could not be obtained and Popeye's cameo was dropped from the film.[76]

text: The Popeye Dance[edit]

text: The Popeye was a popular dance in the dance craze era of the late 1950s and early 1960s. Originating in New Orleans around 1962, the Popeye was performed by shuffling and moving one's arms, placing one arm behind and one arm in front and alternating them, going through the motion of raising a pipe up to the mouth, and alternate sliding or pushing one foot back in the manner of ice skating, similar to motions exhibited by the cartoon character. According to music historian Robert Pruter, the Popeye was even more popular than The Twist in New Orleans.[77] The dance was associated with and/or referenced to in several songs, including Eddie Bo's "Check Mr. Popeye," Chris Kenner's "Something You Got" and "Land of a Thousand Dances," Frankie Ford's "You Talk Too Much," Ernie K-Doe's "Popeye Joe," Huey "Piano" Smith's "Popeye," and Harvey Fuqua's "Any Way You Wanta." A compilation of 23 Popeye dance songs was released in 1996 under the title "New Orleans Popeye Party." [78]

text: Spinach[edit]

text: Initially Popeye's chief superhuman characteristic was his indestructibility, rather than super strength, which was attributed to his having rubbed the head of Bernice the Whiffle Hen numerous times after being shot. Popeye later attributed his strength to spinach.[79][80] The popularity of Popeye helped boost spinach sales. Using Popeye as a role model for healthier eating may work; a 2010 study revealed that children increased their vegetable consumption after watching Popeye cartoons.[81] The spinach-growing community of Crystal City, Texas, erected a statue of the character in recognition of Popeye's positive effects on the spinach industry. There is another Popeye statue in Segar's hometown, Chester, Illinois, and statues in Springdale and Alma, Arkansas (which claims to be "The Spinach Capital of the World"), at canning plants of Allen Canning, which markets Popeye-branded canned spinach. In addition to Allen Canning's Popeye spinach, Popeye Fresh Foods markets bagged, fresh spinach with Popeye characters on the package. In 2006, when spinach contaminated with E. coli was accidentally sold to the public, many editorial cartoonists lampooned the affair by featuring Popeye in their cartoons.[82]

text: A frequently circulated story claims that Fleischer's choice of spinach to give Popeye strength was based on faulty calculations of its iron content. In the story, a scientist misplaced a decimal point in an 1870 measurement of spinach's iron content, leading to an iron value ten times higher than it should have been. This faulty measurement was not noticed until the 1930s.[83][84][85] While this story has gone through longstanding circulation, recent study has shown that this is a myth,[86][87] and it was chosen for its vitamin A content alone;[88] see Spinach: Popeye and iron.

text: Word coinages[edit]

text: The strip is also responsible for popularizing, although not inventing, the word "goon" (meaning a thug or lackey); goons in Popeye's world were large humanoids with indistinctly drawn faces that were particularly known for being used as muscle and slave labor by Popeye's nemesis, the Sea Hag. One particular goon, the aforementioned female named Alice, was an occasional recurring character in the animated shorts, but she was usually a fairly nice character.

text: Eugene the Jeep was introduced in the comic strip on March 13, 1936. Two years later the term "jeep wagons" was in use, later shortened to simply "jeep" with widespread World War II usage and then trademarked by Willys-Overland as "Jeep".[89]

text: Events and honors[edit]

text: The Popeye Picnic is held every year in Chester, Illinois on the weekend after Labor Day. Popeye fans attend from across the globe, including a visit by a film crew from South Korea in 2004. The one-eyed sailor's hometown strives to entertain devotees of all ages.[90]

text: In honor of Popeye’s 75th anniversary, the Empire State Building illuminated its notable tower lights green the weekend of January 16–18, 2004 as a tribute to the icon’s love of spinach. This special lighting marked the only time the Empire State Building ever celebrated the anniversary/birthday of a comic strip character.[91]

text: Thimble Theatre/Popeye characters[edit]

text: Characters originating in the comic strips[edit]

text:
Popeye the Sailor Man
Olive Oyl
Ham Gravy (full name Harold Hamgravy, Olive Oyl's original boyfriend)
Castor Oyl (Olive Oyl's brother)
Cole Oyl (Olive Oyl's father)
Nana Oyl (Olive Oyl's mother)
Bernice (The "Whiffle Bird" in 1960s King Features TV shorts)
Sutra Oyl (Olive's cousin)
Motor Oyl (Sutra Oyl's punk husband)
The Sea Hag
Salty the parrot
Ghost Island's ghost
the doomsday doll
The Sea Hag's vultures, specifically Bernard
J. Wellington Wimpy
George W. Geezil (the local cobbler who hates Wimpy)
Rough House (a cook who runs a local restaurant, The Rough House)
Swee'Pea (Popeye's adopted baby son in the comics, Olive's cousin in the cartoons)
King Blozo
Misermites (A race of thieving dwarves)
Toar (a 900-pound caveman living in the modern age)
Bluto/Brutus
Goons, specifically Alice the Goon
Poopdeck Pappy (Popeye's 99-year-old long-lost father; also a sailor)
Eugene the Jeep
Saddarn Shahame (dictator of Bananastan)
Barnacle (Salty) Bill (a fellow sailor and old friend)
Oscar
Pooky Jones (dwarf and Poopdeck Pappy's best friend/partner in crime)
Horace (Native American guide and friend of Popeye)
Bolo (Humanoid slave of the Sea Hag)
General Bunzo
Patcheye the Pirate (Popeye's ancestor)
Oscar Wimpy (A.K.A. the nicest man on earth)
Sir Pomeroy (explorer and later archaeologist friend of Popeye)
Liverstone (Popeye's pet seagull)
Mary Ann (Popeye's adopted daughter for a few strips)
Jhonny Doodle (pilot friend of Olive)
Bill Squid (rival of Popeye)
Bullo Oxheart and his mother (boxer rival of Popeye)
Davy Jones
Snagg and Baby Doll (Spinachovian criminals)
Battling McGnat (Popeye's boxing manager)
B. Loony Bullony (depressive cartoonist)
Georges the Giant
Dufus (the son of a family friend)
Mars men (coming in various forms)
Mr. Sloppy (Co-owner of the Rough House Cafe)
SweetHaven short supremascist
Granny (Popeye's grandmother and Poopdeck's mother)
Professor O. G. Watasnozzle[92][93] (a character with a large nose, as his name indicates)
Otis O. Otis, "The world's smartest detective"[94] as well as Wimpy's cousin filmmaker Otis Von Lens Cover[95][96]

text: Characters originating in the cartoons[edit]

text:
Pipeye, Pupeye, Poopeye, Peepeye (Popeye's identical nephews)
Shorty (Popeye's shipmate in three World War II-era Famous Studios shorts)
Diesel Oyl (Olive's identical niece, a conceited brat who appears in three of the 1960s King Features shorts)
Popeye, Jr. (son of Popeye and Olive Oyl, exclusive of the series Popeye and Son)
Tank (son of Brutus, exclusive of the series Popeye and Son)

text: Filmography[edit]

text: Theatrical[edit]

text:
Popeye the Sailor (1933–1942, produced by Fleischer Studios, 109 cartoons)
Popeye the Sailor (1942–1957, produced by Famous Studios, 122 cartoons)

text: Television[edit]

text:
Popeye the Sailor (1960–1962, ABC; produced by Larry Harmon Pictures, Rembrandt Films, Halas and Batchelor, Gerald Ray Studios, Jack Kinney Productions, Paramount Cartoon Studios and Corona Cinematografica for King Features Syndicate, 220 cartoons)
The All New Popeye Hour (1978–1981, CBS; produced by Hanna-Barbera Productions, 134 cartoons)
The Popeye and Olive Comedy Show (1981–1983, CBS; produced by Hanna-Barbera Productions, 27 cartoons)
Popeye and Son (1987–1988, CBS; produced by Hanna-Barbera Productions, 26 cartoons)
The Popeye Show (2001–2003, Cartoon Network; repeats of 135 cartoons)

text: Television specials[edit]

text:
Popeye Meets the Man Who Hated Laughter (1972, ABC; produced by Hal Seeger Productions)
The Popeye Show (1978, CBS; produced by Hanna-Barbera Productions)
The Popeye Valentine Special: Sweethearts at Sea (1979, CBS; produced by Hanna-Barbera Productions)
Popeye's Voyage: The Quest for Pappy (2004, Fox; produced by Mainframe Entertainment for Lionsgate Entertainment and King Features)

text: Live-action feature film[edit]

text: Popeye (1980, produced by Paramount Pictures and Walt Disney Productions, directed by Robert Altman)

text: DVD collections[edit]

text:
Popeye the Sailor: 1933–1938, Volume 1 (released July 31, 2007) features Fleischer cartoons released from 1933 through early 1938 and contains the color Popeye specials Popeye the Sailor Meets Sindbad the Sailor and Popeye the Sailor Meets Ali Baba's Forty Thieves.
Popeye the Sailor: 1938–1940, Volume 2 (released June 17, 2008) features Fleischer cartoons released from mid-1938 through 1940 and includes the last color Popeye special Aladdin and His Wonderful Lamp.
Popeye the Sailor: 1941–1943, Volume 3 (released November 4, 2008) features the remaining black-and-white Popeye cartoons released from 1941 to 1943, including the final Fleischer-produced and earliest Famous-produced entries in the series.
Popeye – 75th Anniversary Collector's edition (released April 27, 2004) features 85 cartoons from the Popeye the Sailor 1960s series.
Popeye and Friends: Volume 1 (released June 17, 2008) features a collection of eight cartoons from The All New Popeye Hour. A second volume containing cartoons from Popeye and Son was scheduled, but it was cancelled before being released (it was subsequently released in the UK and Australia).


document_title: Kingdom of Israel (united monarchy)

question_text: charismatic military leaders of early israel before they had a king were called by what term

text: Kingdom of Israel (united monarchy)

text: Sources[edit]

text: According to standard source criticism, a number of distinct source texts were spliced together to produce the current Books of Samuel.[8] The most prominent in the early parts of the first book are the pro-monarchical source and the anti-monarchical source. In identifying these two sources, two separate accounts can be reconstructed. The anti-monarchical source describes Samuel as having thoroughly routed the Philistines, yet begrudgingly accepting the people's demand for a ruler, subsequently appointing Saul by cleromancy.[citation needed]

text: The pro-monarchical source describes the divinely appointed birth of Saul (a single word being changed by a later editor so that it referred to Samuel instead), and his leading of an army to victory over the Ammonites, resulted in the clamouring of the people for him to lead them against the Philistines, whereupon he is appointed king.[9]

text: Textual critics also point to disparities in the account of David's rise to power as indicative of separate threads being merged later to create a Golden Age of a united monarchy. David is thought by scholars to have been a ruler in Judah, while Israel, comparatively immense and highly developed, continued unfettered. Modern archaeology also supports this view.[6]

text: Most scholars believe the Books of Samuel exhibit too many anachronisms to have been a contemporary account. For example, there is mention of later armor (1 Samuel 17:4–7, 38–39; 25:13), use of camels (1 Samuel 30:17), cavalry (as distinct from chariotry) (1 Samuel 13:5, 2 Samuel 1:6), and iron picks and axes (as though they were common) (2 Samuel 12:31). The historicity of the conquest described in the Book of Samuel is not attested, and many scholars regard this conquest as legendary in origin, particularly given the lack of evidence for the battles described involving the destruction of the Canaanite peoples. Most scholars believe that Samuel was compiled in the 8th century BCE (rather than the 10th century when most of the events described take place) based on both historical and legendary sources, primarily serving to fill the gap in Israelite history after the events described in Deuteronomy. This gap in the historical record is characteristic of the Late Bronze Age collapse; cultural memories of times before the disaster often became embellished as stories of a "lost golden age", as in the Trojan Epic Cycle.[citation needed]

text: Biblical narrative[edit]

text: Origin[edit]

text:
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text: According to the Book of Judges, before the rise of the united monarchy the Israelite tribes lived as a confederation under ad hoc charismatic leaders called judges. Abimelech the first judge to be declared king by the men of Shechem and the house of Millo,[10][unreliable source?] reigned over Israel for three years before he was killed during the Battle of Thebez.[11][unreliable source?]

text: According to the biblical account, the united monarchy was formed when there was a large popular expression in favour of introducing a king to rule over the decentralised Israelite confederacy. Increasing pressure from the Philistines and other neighboring peoples is said by the Bible to have forced the Israelites to unite as state following the anointing of Saul by Samuel. The Bible treats the notion of kingship as having been anathema, it being viewed as the placing of one man in a position of reverence and power that ought to be  reserved for God.[citation needed]

text: Civil war[edit]

text: David and Saul become bitter enemies, at least from Saul's point of view, although sources describe Jonathan, Saul's son, and Michal, Saul's daughter, as assisting David to escape Saul, ultimately leading to a brief reconciliation before Saul's death.[citation needed]

text: According to the Second Book of Samuel, Saul's disobedience prompts God to curtail his reign and hand his kingdom over to another dynasty. Saul dies in battle against the Philistines[citation needed] after a reign of just two years.[12] His heir, Ishbaal, rules for only two years before being assassinated. David, heretofore king of Judah only, ends the conspiracy and is appointed king of Israel in Ishbaal's place. Some textual critics and biblical scholars suggest that David was actually responsible for the assassination and that David's innocence was a later invention to legitimize his actions.[13]

text: Israel rebels against David and appoints David's son Absalom king, forcing David into exile east of the Jordan.[citation needed] David eventually launches a successful counterattack that results in the loss of Absalom. Having retaken Judah and asserted control over Israel, David returns west of the Jordan. Throughout the remainder of his reign, he continues to suppress rebellions that arise among the people of Israel.[citation needed]

text: This section of the biblical text, and the bulk of the remainder of the Books of Samuel, is thought by textual critics to belong to a single large source known as the Court History of David. Although reflecting the political bias of the kingdom of Judah following the destruction of Israel, the source remains somewhat more neutral than the pro- and antimonarchical sources comprising earlier parts of the text. Israel and Judah are portrayed in this source as quite distinct kingdoms.[citation needed]

text: Golden Age[edit]

text: Prior to the ascension of Saul, the city of Shiloh is seen as the national capital, at least in the religious sense, a claim that from an archaeological standpoint is considered plausible. Throughout the monarchy of Saul, the capital is located in Gibeah. After Saul's death, Ishbaal rules over the kingdom of Israel from Mahanaim, while David establishes the capital of the kingdom of Judah in Hebron.[citation needed]

text: Following the civil war with Saul, David forges a strong and unified Israelite monarchy, reigning c. 1000 to 961 BCE[14] and establishing Jerusalem as his national capital in 1006 BCE.[15] Some modern archaeologists, however, believe that the two distinct cultures and geographic entities of Judah and Israel continued uninterrupted, and that if a political union between them did exist, it possibly had no practical effect on their relationship.[6]

text: In the biblical account, David embarks on successful military campaigns against the enemies of Judah and Israel, defeating such regional entities as the Philistines to secure his borders. Israel grows from kingdom to empire, its sphere of influence—militarily and politically—expanding to control the weaker client states of Philistia, Moab, Edom and Ammon, with Aramaean city-states Aram-Zobah and Aram-Damascus becoming vassal states.[16][unreliable source?] The imperial border is described as stretching from the Mediterranean Sea to the Arabian Desert, from the Red Sea to the Euphrates River. Some modern archaeologists believe that the area under the control of Judah and Israel, excluding the Phoenician territories on the shore of the Mediterranean, did not exceed 34,000 square kilometres (13,000 sq mi), of which the kingdom of Israel encompassed about 24,000 square kilometres (9,300 sq mi).[citation needed]

text: David is succeeded by his son Solomon, who obtains the throne in a somewhat disreputable manner from rival claimant Adonijah, his elder brother.[citation needed] The reign of Solomon (c. 961 to 922 BCE)[14] proves to be a period of unprecedented peace, prosperity, and cultural development. Solomon embarks on an aggressive campaign of public building, erecting the First Temple in Jerusalem with assistance from the King of Tyre, with whom he has maintained the strong alliance forged by his father.[citation needed] Like the palace of David, Solomon's temple is designed and built with the assistance of Tyrian architects, master craftsmen, skilled labourers, money, jewels, cedar, and other goods obtained in exchange for land ceded to Tyre.[citation needed]

text: Solomon goes on to rebuild numerous major cities, including Megiddo, Hazor, and Gezer. Some scholars have attributed aspects of archaeological remains excavated from this sites, including six-chambered gates and ashlar palaces, to this building programme. However, excavation teams at Meggido later established that these structures are from different time periods. Yigael Yadin subsequently concluded that the stables once believed to have served Solomon's vast collection of horses were actually built by King Ahab in the 9th century BCE.[17]

text: End[edit]

text: Following Solomon's death in c. 926 BCE, tensions between the northern part of Israel containing the ten northern tribes, and the southern section dominated by Jerusalem and the southern tribes reached boiling point. When Solomon's successor Rehoboam dealt tactlessly with economic complaints of the northern tribes, in about 930 BCE (there are differences of opinion as to the actual year) the United Kingdom of Israel and Judah split into two kingdoms: the northern Kingdom of Israel, which included the cities of Shechem and Samaria, and the southern Kingdom of Judah, which contained Jerusalem; with most of the non-Israelite provinces achieving independence.[citation needed]

text: The Kingdom of Israel (or Northern Kingdom, or Samaria) existed as an independent state until 722 BCE when it was conquered by the Assyrian Empire, while the Kingdom of Judah (or Southern Kingdom) existed as an independent state until 586 BCE when it was conquered by the Neo-Babylonian Empire.[citation needed]

text: Biblical chronology[edit]

text: Many alternative chronologies have been suggested, and there is no ultimate consensus between the different factions and scholarly disciplines concerned with this period, as to when it is depicted as having begun or when it ended.[18][19][20]

text: Most bibical scholars follow either of the older chronologies established by William F. Albright or Edwin R. Thiele, or the newer chronology of Gershon Galil, all of which are shown below. All dates are BCE. Thiele's chronology generally corresponds with Galil's chronology below with a difference of at most one year.[21]

text:
Albright/Thiele dates

Galil dates

Common/Biblical name

Regnal Name and style

Notes

House of Saul

c. 1021–1000

c. 1030–1010

Saul

Shaul ben Qysh, Melekh Ysra'el

Killed in battle, suicide

c. 1000

c. 1010–1008

Ishbaal(Ish-boseth)

Ishba'al ben Shaul, Melekh Ysra'el

Assassinated

House of David

c. 1000–962

c. 1008–970

David

Dawidh ben Yishai, Melekh Ysra’el

Son-in-law of Saul, brother-in-law of Ish-boseth

c. 962–c. 922

c. 970–931

Solomon

Sh'lomoh ben Dawidh, Melekh Ysra'el

Son of David and Bathsheba

text: Archaeological record[edit]

text: In contemporary scholarship the united monarchy is generally held to be a literary construction and not a historical reality, due to the lack of archeological evidence for it. It is generally accepted that a "House of David" existed, but many believe that David could have only been the monarch or chieftain of Judah, and that the northern kingdom was a separate development. There are some dissenters to this view.[citation needed]

text: Oded Lipschits wrote in the Jewish Study Bible that

text: the premonarchic period long ago became a literary description of the mythological roots, the early beginnings of the nation and the way to describe the right of Israel on its land. The archeological evidence also does not support the existence of a united monarchy under David and Solomon as described in the Bible, so the rubric of "united monarchy" is best abandoned, although it remains useful for discussing how the Bible views the Israelite past.[5]

text: According to Israel Finkelstein and Neil Silberman, authors of The Bible Unearthed, ideas of a united monarchy are not accurate history but rather "creative expressions of a powerful religious reform movement," possibly "based on certain historical kernels."[6] Finkelstein and Silberman do accept that David and Solomon were real kings of Judah about the 10th century BCE, but they cite the fact that the earliest independent reference to the Kingdom of Israel dates to about 890 BCE, while that for the kingdom of Judah dates to about 750 BCE.[22] This is supported by Jonathan Tubb, who argues that the story of the united monarchy was fabricated as a Golden Age tale during the Exile. He accepts the historicity of David and Solomon but cautions that "[t]hey must be seen . . . as local folk heroes and not as rulers of international status."[23]

text: On the other hand, while Amélie Kuhrt does acknowledge that "there are no royal inscriptions from the time of the united monarchy (indeed very little written material altogether), and not a single contemporary reference to either David or Solomon," she concludes that "[a]gainst this must be set the evidence for substantial development and growth at several sites, which is plausibly related to the tenth century."[7] Kenneth Kitchen reaches a similar conclusion, arguing that "the physical archaeology of tenth-century Canaan is consistent with the former existence of a unified state on its terrain."[24]

text: Excavations at Khirbet Qeiyafa, an Iron Age site located in Judah, found an urbanized settlement radiocarbon dated well before scholars such as Finklestein suggest urbanization began in Judah, supporting existence of a Judahite kingdom. The Israel Antiquities Authority stated: "The excavations at Khirbat Qeiyafa clearly reveal an urban society that existed in Judah already in the late eleventh century BCE. It can no longer be argued that the Kingdom of Judah developed only in the late eighth century BCE or at some other later date."[25] The techniques and interpretations used to reach some conclusions related to Khirbet Qeiyafa have been criticized by some scholars, among them Finkelstein and Alexander Fantalkin of Tel Aviv University.[26]

text: In August 2015, Israeli archaeologists discovered massive fortifications in the ruins of the ancient city of Gath, supposed birthplace of Goliath. The size of the fortifications show Gath to have been a very large city in the 10th century BCE, perhaps the largest in Canaan at the time. The professor leading the dig, Aren Maeir, estimated that Gath was as much as four times the size of contemporary Jerusalem, casting doubt that David's kingdom could have been as powerful as described in the Bible.[27]