document_title: Finding Dory

question_text: where is finding dory supposed to take place

text: Finding Dory

text: Plot[edit]

text: Dory, a regal blue tang, gets separated from her parents as a child. As she grows up, Dory attempts to search for them, but gradually forgets them due to her short-term memory loss. In the flashback of the previous film, Finding Nemo, she joins Marlin – a clownfish looking for his missing son Nemo – after accidentally swimming into him.

text: One year later, Dory is living with Marlin and Nemo on their reef. One day, Dory has a flashback and remembers that she has parents. She decides to look for them, but her memory problem is an obstacle. She eventually remembers that they lived at the Jewel of Morro Bay across the ocean in California, thanks to Nemo mentioning its name.

text: Marlin and Nemo accompany Dory. With the help of Crush, a sea turtle friend, they ride a water current to California. Upon arrival, they explore a shipwreck full of destroyed cargo, where Dory accidentally awakens a squid, who immediately pursues them and almost devours Nemo. Marlin berates Dory for endangering them. Her feelings hurt, Dory travels to the surface to seek help and is captured by staff members from the nearby Marine Life Institute after getting entangled in six pack rings.

text: Dory is placed in the quarantine section and tagged. There she meets a grouchy but well-meaning octopus named Hank. Dory's tag shows that she will be sent to an aquarium in Cleveland. Due to a traumatic ocean life, Hank wants to live in the aquarium instead of being released back into the ocean, so he agrees to help Dory find her parents in exchange for her tag. In one exhibit, Dory encounters her childhood friend Destiny, a nearsighted whale shark who used to communicate with Dory through pipes, and Bailey, a beluga whale who mistakenly believes he has lost his ability to echolocate. Dory subsequently has flashbacks of life with her parents and struggles to recall details. She finally remembers how she was separated from her parents: she overheard her mother crying one night, left to retrieve a shell to cheer her up, and was pulled away by an undertow current.

text: Marlin and Nemo attempt to rescue Dory. With the help of two sea lions named Fluke and Rudder and a disfigured common loon named Becky, they manage to get into the institute and find her in the pipe system. Other blue tangs tell them that Dory's parents escaped from the institute a long time ago to search for her and never came back, leaving Dory believing that they have died. Hank retrieves Dory from the tank, accidentally leaving Marlin and Nemo behind. He is then apprehended by one of the employees and unintentionally drops Dory into the drain, flushing her out to the ocean. While wandering aimlessly, she comes across a trail of shells; remembering that when she was young, her parents had set out a similar trail to help her find her way back home, she follows it. At the end of the trail, Dory finds an empty home with multiple shell trails leading to it. As she turns to leave, she sees her parents Jenny and Charlie in the distance. They tell her they spent years laying down the trails for her to follow in the hopes that she would eventually find them.

text: Marlin, Nemo, and Hank end up in the truck taking various aquatic creatures to Cleveland. Destiny and Bailey escape from their exhibit to help Dory rescue them. Once on board the truck, Dory persuades Hank to return to the sea with her, and together, they hijack the truck and drive it over busy highways, creating havoc, before crashing it into the sea, freeing all the fish. Dory, along with her parents and new friends, return to the reef with Marlin and Nemo.

text: In a post-credits scene, the Tank Gang from Finding Nemo, still trapped inside their (now algae-covered) plastic bags, reach California one year after floating across the Pacific Ocean, where they are eventually picked up by the same staff members from the Marine Life Institute.

text: Voice cast[edit]

text:
Ellen DeGeneres as Dory, a regal blue tang who suffers from short-term memory loss.

Sloane Murray as Young Dory. Murray is the seven-year-old daughter of producer Lindsey Collins.[12]
Lucia Geddes as Teen Dory.

Albert Brooks as Marlin, an overprotective ocellaris clownfish, Nemo's father and Dory's friend.
Hayden Rolence as Nemo, a young optimistic clownfish and Marlin's son.
Ed O'Neill as Hank, a cranky East Pacific red octopus who previously lost a tentacle.
Kaitlin Olson as Destiny, a near-sighted whale shark and Dory's childhood friend.
Ty Burrell as Bailey, a beluga whale who temporarily lost echolocation due to a concussion.
Diane Keaton as Jenny, Dory's mother.
Eugene Levy as Charlie, Dory's father.
Idris Elba as Fluke, a California sea lion.
Dominic West as Rudder, a California sea lion and Fluke's friend.
Bob Peterson as Mr. Ray, a spotted eagle ray and Nemo's schoolteacher.
Andrew Stanton as Crush, a green sea turtle.
Sigourney Weaver as herself, the announcer for the recorded messages broadcast over the institute's public address system.
Bill Hader as Stan, a kelp bass and husband fish.
Kate McKinnon as Stan's wife fish.
Alexander Gould as Passenger Carl, a delivery truck driver who works for the institute.
Torbin Xan Bullock as Gerald, a California sea lion who wishes to lie on the rock occupied by Fluke and Rudder.
Katherine Ringgold as Chickenfish, named Kathy.
Bennett Dammann as Squirt, Crush's son.
John Ratzenberger as Husband Crab (Bill).
Angus MacLane as Sunfish "Charlie Back-and-Forth".
Willem Dafoe as Gill, a Moorish idol, the leader of the "Tank Gang."
Brad Garrett as Bloat, a pufferfish.
Allison Janney as Peach, a pink starfish.
Austin Pendleton as Gurgle, a royal gramma.
Stephen Root as Bubbles, a yellow tang.
Vicki Lewis as Deb (& Flo), a four-striped damselfish.
Jerome Ranft as Jacques, a cleaner shrimp.

text: Production[edit]

text: Prior to work on Finding Dory, Disney had planned to make a Finding Nemo sequel without Pixar's involvement, through Circle 7 Animation, a studio Disney announced in 2005 with the intention to make sequels to Pixar properties.[13][14] However, due to the 2006 acquisition of Pixar by Disney, Circle 7 was shut down by Disney without ever having produced a film.[15]

text: In July 2012, it was reported that Andrew Stanton was developing a sequel to Finding Nemo,[16] with Victoria Strouse writing the script and a release date scheduled for 2016.[17] However, the same day the news of a potential sequel broke, Stanton posted a message on his personal Twitter calling into question the accuracy of these reports. The message said, "Didn't you all learn from Chicken Little? Everyone calm down. Don't believe everything you read. Nothing to see here now. #skyisnotfalling."[18] According to a report by The Hollywood Reporter published in August 2012, Ellen DeGeneres was in negotiations to reprise her role of Dory.[19] In September 2012, it was confirmed by Stanton, saying: "What was immediately on the list was writing a second Carter movie. When that went away, everything slid up. I know I'll be accused by more sarcastic people that it's a reaction to Carter not doing well, but only in its timing, but not in its conceit."[20] In February 2013, it was confirmed by the press that Albert Brooks would reprise the role of Marlin in the sequel.[21]

text: In April 2013, Disney announced the sequel, Finding Dory, for November 25, 2015, confirming that DeGeneres and Brooks would be reprising their roles as Dory and Marlin, respectively.[22] Following a long campaign for a sequel on The Ellen DeGeneres Show, DeGeneres stated:

text: I have waited for this day for a long, long, long, long, long, long time. I'm not mad it took this long. I know the people at Pixar were busy creating Toy Story 16. But the time they took was worth it. The script is fantastic. And it has everything I loved about the first one: It's got a lot of heart, it's really funny, and the best part is—it's got a lot more Dory.[22]

text: In a July 2013 interview with Los Angeles Times, Stanton spoke of the sequel's origin: "There was polite inquiry from Disney [about a Finding Nemo sequel]. I was always 'No sequels, no sequels.' But I had to get on board from a VP standpoint. [Sequels] are part of the necessity of our staying afloat, but we don't want to have to go there for those reasons. We want to go there creatively, so we said [to Disney], 'Can you give us the timeline about when we release them? Because we'd like to release something we actually want to make, and we might not come up with it the year you want it.'"[23]

text: In a 2016 interview Stanton stated how the film's story came to be; "I don't watch my films that often after they're done because I have to watch them so many times before they come out. So about 2010 when we were getting Finding Nemo ready for the 10-year re-release in 3D, it was interesting to watch again after all that time. Something kind of got lodged in the back of my brain and started to sort of stew. I started to think about how easily Dory could get lost and not find Marlin and Nemo again. She basically was in the same state that she was when Marlin found her. I didn't know where she was from. I knew that she had spent most of her youth wandering the ocean alone, and I wanted to know that she could find her new family, if she ever got lost again. It's almost like the parental side of me was worried." Stanton additionally stated: "I knew if I ever said Finding Dory or mentioned a sequel to Finding Nemo out loud, I’d be done, [T]here would be no way I'd be able to put that horse back in the barn. So I kept it very quiet until I knew I had a story that I thought would hold, and that was in early 2012. So I pitched it to John Lasseter and he was all into it. Then I got a writer, and once we had a treatment that we kind of liked, I felt comfortable calling Ellen."[24]

text: Stanton selected Victoria Strouse to write the screenplay. She later said, "It was always collaborative with Andrew, but really the screenwriting was me. Of course, Andrew would do passes, and he and I would brainstorm a lot together and then we would bring it to the group of story artists. People would weigh in and share ideas."[25] She pointed to Dory's forgetfulness as a challenge when writing the script, adding, "You don't realize until you sit down to write a character who can't remember things how integral memory is to absolutely everything we do, and that's what creates a narrative that people can follow. When a main character can't self-reflect and can't tell a story, that character is very difficult to design because she can't really lead. To get her to be able to lead and to get an audience to be able to trust her was the hardest thing to do."[25]

text: The fictional Marine Life Institute depicted extensively in the film is based on the production team's research trips to the Monterey Bay Aquarium, the Marine Mammal Center and the Vancouver Aquarium.[26]

text: The film's ending was revised after Pixar executives viewed Blackfish, a 2013 documentary film which focuses on the dangers of keeping orca whales in captivity. Initially, some of the characters were to end up in a SeaWorld-like marine park, but the revision gave them an option to leave.[27][28] On September 18, 2013, it was announced that the film would be pushed back to a June 17, 2016, release. Pixar's The Good Dinosaur was moved to the November 25, 2015, release window to allow more time for production of the film.[29]

text: Angus MacLane was one of the first people to whom Stanton revealed his idea for the sequel. Together, with Bob Peterson, they discussed about different ideas for places Dory would visit during her journey—one of those ideas was the touch pool sequence. Later, during the Brave (2012) wrap party, Stanton invited Angus to join him in his first co-directing duty. Stanton described Angus' role as a "jack of all trades," particularly utilising his experience in animation and story, as well as in production, having created a few short films himself.[30]

text: In August 2015, at Disney's D23 Expo, it was announced that Hayden Rolence would voice Nemo, replacing Alexander Gould from the first film, whose voice has deepened since reaching adulthood (Gould voiced a minor character in the sequel instead).[31][32] In addition to Rolence, Ed O'Neill was revealed to be the voice of Hank.[31]

text: To make the light more realistic, RenderMan was completely re-engineered, its biggest change in 25 years.[33]

text: Soundtrack[edit]

text:
Finding Dory

Soundtrack album by Thomas Newman

Released
June 14, 2016

Recorded
2015–16

Studio
DeepSleep Studios
Newman Scoring Stage
Sony Pictures Studios
The Village

Genre
Soundtrack

Length
68:20

Label
Walt Disney

Producer

Thomas Newman
Bill Bernstein

Thomas Newman chronology

Spectre
(2015)Spectre2015
Finding Dory
(2016)
Passengers
(2016)Passengers2016

Pixar film soundtrack chronology

The Good Dinosaur
(2015) The Good Dinosaur2015
Finding Dory
(2016) Finding Dory2016
Cars 3
(2017) Cars 32017

Singles from Finding Dory

"Unforgettable"
Released: May 27, 2016

text: The film's soundtrack entitled Finding Dory was composed by Thomas Newman and released on June 17, 2016.[34][35] Louis Armstrong's version of "What a Wonderful World" is played during the scene in which fish are released into the ocean as the truck Dory and Hank are driving crashes into the water.[36] On May 20, 2016, Sia performed a cover of Nat King Cole's "Unforgettable" on The Ellen DeGeneres Show following an announcement that it would be featured in the film.[36]

text: Track listing[edit]

text:
No.
Title
Performer
Length

1.
"Kelpcake"

0:46

2.
"Finding Dory (Main Title)"

0:55

3.
"Lost at Sea"

1:36

4.
"One Year Later"

2:24

5.
"Migration Song"

0:35

6.
""O, We're Going Home""

1:38

7.
"Jewel of Morro Bay"

2:00

8.
"Gnarly Chop"

1:39

9.
"Squid Chase"

1:28

10.
"Sigourney Weaver"

1:21

11.
"Hank"

3:19

12.
"Nobody's Fine"

3:29

13.
"Rebecca Darling"

1:54

14.
"Meet Destiny"

1:07

15.
"Joker at Work"

1:16

16.
"Becky Flies"

3:53

17.
"Hands!"

2:24

18.
"Almost Home"

2:01

19.
"Open Ocean"

3:18

20.
"Two Lefts and a Right"

3:57

21.
"Everything About You"

1:41

22.
"Quarantine"

2:41

23.
"Warp"

1:03

24.
"All Alone"

0:53

25.
"...Shells"

4:47

26.
"No Walls"

2:25

27.
"Okay with Crazy"

1:50

28.
"Hide and Seek"

1:51

29.
"Quite a View"

1:25

30.
"Unforgettable (End Title)"
Sia
3:17

31.
"Three Hearts (End Title)"

3:29

32.
"Loon Tune"

1:20

33.
"Fish Who Wander"

1:18

34.
"Release"

1:13

text: Release[edit]

text: Finding Dory premiered at the El Capitan Theatre in Los Angeles on June 8, 2016, and was theatrically released in the United States on June 17, 2016, in 2D, Disney Digital 3-D and RealD 3D.[5][6] It was also released to select IMAX 3D theaters.[37] In April 2016, it was announced that a new Pixar short, Piper, directed by Alan Barillaro and with music by Adrian Belew, would be shown in front of the film.[38] It had its UK premiere at the Edinburgh International Film Festival on June 18, 2016.[39][40]

text: The film was re-released for Labor Day weekend in 2016.[41]

text: Home media[edit]

text: Finding Dory was released by Walt Disney Studios Home Entertainment on Blu-ray (2D and 3D) and DVD in the United States on November 15, 2016, with a digital release on October 25. In addition to Piper, the bonus features also included a short film, titled Marine Life Interviews, featuring interviews with the inhabitants of the Marine Life Institute about their encounters with Dory.[42]

text: Reception[edit]

text: Box office[edit]

text: Finding Dory grossed $486.3 million in the U.S. and Canada and $542.3 million in other countries for a worldwide total of $1.029 billion, against a budget of $200 million.[4] It had a worldwide opening of $185.7 million, which is the second-biggest of all time for an animated film behind Ice Age: Dawn of the Dinosaurs ($218.4 million), and an IMAX global opening of $6.4 million.[43][44][45] On August 16, it became the fourth film of 2016 to earn $900 million in ticket sales,[46] and on October 9—its seventeenth weekend—it passed the $1 billion threshold, becoming the third film of 2016 after Captain America: Civil War and Zootopia to reach that mark, the second Pixar film (after Toy Story 3), the fifth animated film (after Toy Story 3, Frozen, Minions, and Zootopia), the twelfth Disney film (fourth Disney animated film), and the twenty-seventh film overall in cinematic history.[47][48]

text: Worldwide, it is the third-highest-grossing film of 2016 (behind Civil War and Rogue One),[49] the highest-grossing animated film of 2016,[49] the second-highest-grossing Pixar film ever (behind Toy Story 3),[50] the fourth-highest-grossing animated film of all time, and the 25th-highest-grossing film of all time. Deadline.com calculated the net profit of the film to be $296.6 million, when factoring together all expenses and revenues for the film, making it the fourth-most profitable release of 2016.[51]

text: North America[edit]

text: In the United States and Canada, Finding Dory opened on June 17, 2016, alongside Central Intelligence, with projections having the film grossing $110–120 million[52][53][54][55] in its opening weekend, with some estimates going as high as $130 million.[56][57] It received the widest release for a Pixar film (4,305 theaters, breaking Brave's record), of which 3,200 venues were in 3D, along with 425 premium large format locales, approximately 100 IMAX theaters and a handful of Dolby Cinema sites.[54] It was Fandango's top pre-selling animated film of all time, outselling the previous record-holder, Minions.[58] The film grossed $9.2 million from Thursday night previews, a record for both Pixar and any animated film,[59][60] and $54.7 million on its opening day, marking both the biggest opening day and single-day for an animated film. This also marks the first time that an animated film has grossed over $50 million in a single day.[61][62] It went on to gross $135.1 million in its opening weekend, finishing first at the box office and setting the record for the highest opening weekend for both Pixar (breaking Toy Story 3's record) and any animated film (breaking Shrek the Third's record), and became the third-biggest adjusted for inflation.[63] It is also the third-highest opening (excluding Marvel and Star Wars films) for Walt Disney Studios Motion Pictures behind Beauty and the Beast ($174.8 million) and Pirates of the Caribbean: Dead Man's Chest ($135.6 million), and is the studio's ninth-biggest debut overall.[43][64][65] It also became the fifth animated film and the fifth film of 2016 to open above $100 million.[66] Morever, its opening also marked the second-biggest for the month of June, behind only Jurassic World.[67] Its opening was 93.8% above Finding Nemo's $70.3 million debut.[68] It further broke the record for the biggest PLF and Cinemark XD opening for an animated film with $10.4 million and $2.6 million, respectively. In IMAX, it made $5 million from 211 theaters,[45] the third-best animated IMAX opening behind Zootopia ($5.2 million) and Toy Story 3 ($8.4 million).[69]

text: Following its record-breaking openings, it scored the biggest Monday for Pixar by grossing $19.6 million (breaking Toy Story 3's $15.6 million) and the best Monday in June for an animated film. However, among all animated films, it is ranked second—behind 2004's Shrek 2, which made $23.4 million on its first Monday,[70][71] and it is also the biggest Tuesday for an animated film with $23.2 million, besting Minions' $16.8 million.[72] It jumped 18.5% over its Monday gross, a rare achievement for a film.[73] It crossed the $200 million mark in its first seven days, becoming the first (and fastest) animated film to pass the said milestone in just a week.[74] It fell only 46% in its second weekend earning $73 million to record the biggest second weekend for an animated film (breaking Shrek 2's $72.2 million previous record), the biggest for Disney and 2016 (surpassing Captain America: Civil War's $72.6 million), and the eighth-biggest second weekend gross of all time overall.[75][76] This was despite facing stiff competition from newcomer Independence Day: Resurgence.[77] It crossed $300 million in 12 days—a new record for an animated film, surpassing the previous record held by Shrek 2 and Toy Story 3 (both of which took 18 days),[78] and became the second animated film of 2016 (after Zootopia), the fourth Disney film of 2016, and the sixth overall film of the year to cross the milestone.[79] It continued to dominate the box office for the third straight weekend, despite competitions from three new wide releases—The Legend of Tarzan, The Purge: Election Year, and fellow Disney release The BFG—after witnessing a 42% decline to $41.8 million in three days and $51.4 million in four days, respectively, during the Independence Day holiday frame.[80] This made it the second time in two years and just the third time since 1992, the July 4 holiday box office was topped by a film in its third weekend of release.[81] It broke another record as it passed the $400 million mark in 21 days, which is the fastest for an animated film, the fastest of 2016, the fastest for the studio, and the fifth-fastest of all time overall. Morever, it became the second film of 2016 (after Captain America: Civil War), the fifth animated film, the ninth film for the studio, and the twenty-fourth film overall to pass the milestone.[82][83] On the following day (July 8), it surpassed Civil War to become the biggest film of the year up until Rogue One took that title in January 2017.[84][85] It dropped out of the top ten in its eighth week.[86]

text: Although the film was finally overtaken by The Secret Life of Pets (and The Legend of Tarzan in second place) in its fourth weekend, it nevertheless passed The Lion King to become the highest-grossing Disney animated film of all time in the same weekend, surpassing the latter which held the record for 15 non-consecutive years.[87] In just 30 days, it overtook Shrek 2 ($441.2 million) to become the highest-grossing animated film of all time, breaking the latter's record of 12 years.[88][89] Four days later, on July 20, it became the first-ever animated film in cinematic history to cross the $450 million mark.[90] As with its predecessor Finding Nemo, the studio expanded the theater count for the film during the Labor Day weekend from 345 theaters to 2,075 theaters, an addition of 1,730 theaters. In 2003, Nemo was expanded from 838 sites to 1,053 locations.[91][92]

text: It became the second-highest-grossing film of 2016 (behind Rogue One),[93] the highest-grossing Pixar film,[50] the second-highest-grossing Walt Disney Pictures release (behind Beauty and the Beast), the highest-grossing Disney animated film, the highest-grossing animated film overall,[94] and the ninth-highest-grossing film of all time.[95]

text: Outside North America[edit]

text: Internationally, Finding Dory received a staggered release in a span of four months from June to September, with Germany being the last country. This was done in order take advantage of key holidays and competitive dates around the world.[96][97] It was released across 29 countries—which is 32% of its entire international release territories—the same weekend as its U.S. premiere. It made an estimated $50.7 million to take the No. 1 spot at the international box office.[45] In its second weekend, it added $38.7 million from 37 markets, falling in third place behind Independence Day: Resurgence and Now You See Me 2.[96] In the same weekend along with its $73 million take in North America, the film helped Pixar cross the $10 billion mark worldwide since Toy Story (1995).[96] By its fourth weekend, the animated film helped Disney push past the $3 billion mark internationally and $5 billion globally.[98][99]

text: It had the biggest opening for an animated film in Brazil ($7.1 million) and the Netherlands ($2.1 million),[97] and the biggest of all time for a Disney animated or Pixar film in Australia ($7.7 million), the Philippines ($2.1 million), Singapore ($1.3 million), India ($1 million), Indonesia, Peru and Central America, and in Russia it opened with $3.2 million,[45][97] and the second-biggest in the United Kingdom and Ireland ($10.7 million), Mexico ($9.4 million) and Argentina ($3.5 million), and that's despite amidst the latter country's Copa America soccer match, and Colombia ($2.1 million), behind Monsters University.[45][100][101] In the UK and Ireland, the film recorded the second-biggest animated opening of the year with £8.1 million ($10.7 million) from 580 theaters, behind only The Secret Life of Pets. However, if previews are excluded, Finding Dory is ahead. Moreover, it also posted the second-biggest Disney/Pixar opening, behind only Toy Story 3 (fourth-biggest if previews are included), and the seventh-biggest animated opening of all time overall based on pure Friday-to-Sunday gross alone.[101][102][103] It added an additional 43 theaters in its second weekend, after which it added another £3.98 million ($5.1 million) at the weekend, thereby passing the £20 million mark in just 10 days (among Pixar films, only Toy Story 3 reached £20 million faster). It made an impressive £8.15 million during weekdays, from Monday to Thursday resulting in a £2.03 million daily-average gross. According to The Guardian, this was because of the school holidays that prevailed on the weekdays. Otherwise, family films earn the vast majority of their takings on Saturday and Sunday, and showtimes typically reduce on weekdays.[104] It returned to the top of the box office in its fourth weekend[105] and went on to become the highest-grossing film of the summer that year.[106] In Brazil, in addition to recording the biggest Disney/Pixar opening ever, almost twice the previous record held by The Good Dinosaur, it also set a new record for an all-time animated opening, on par with Minions in local currency.[97] In South Korea, it had the biggest opening for a Pixar film with $7.1 million, which is also the second-biggest for a Disney animated film, behind Frozen.[98] In Japan, the film had a two-day weekend opening of $7 million on Saturday and Sunday from 511 screens on 571,000 admissions. For the entire three-day holiday weekend, including Marine Day on Monday July 18, the film earned $11 million on 922,000 admissions. This made it the top western release of the weekend and the biggest foreign opening-weekend in the country of that year.[100][107] It had further number-one openings in Spain ($4.9 million), France ($4.7 million), Hong Kong ($1.9 million; $2.8 million including previews), Taiwan ($1.9 million), Sweden, Norway, and Denmark.[96][98][100] It topped the box office in the Netherlands for three[100] and in Spain and Australia for four consecutive weekends.[98] In Italy, it scored the biggest animated opening of the year with $5.8 million.[108]

text: In China, where Pixar films have been struggling to find broad audiences and accrue lucrative revenues, the film was projected to make around $30 million in its opening weekend.[109] The film ended up grossing $17.7 million—the highest Pixar opening in the country's history—debuting in second place behind Warcraft.[45] It surpassed Monsters University in just seven days to become the biggest Pixar film there with $38.1 million.[97][98] It opened in Germany—its last market—on September 29, where the film delivered a robust opening of $8.4 million, the biggest for any film of 2016 in the country. The film continued to benefit from German Unity Day on October 3.[110] It went on to top the box office there for three straight weekends, tying with Inferno in its third weekend.[111]

text: It is now the highest-grossing Disney animated or Pixar film in Australia (where it is also the second-highest-grossing animated film of all time behind Shrek 2), Bolivia, Brazil, Central America, Colombia, India, Indonesia, New Zealand, Peru, the Philippines, and Trinidad.[98][100][112] It also became the second-highest-grossing Pixar release of all time in South Korea behind Inside Out.[113] Elsewhere, the biggest markets in terms of total earnings were Japan ($66 million), followed by the UK ($56.3 million), China ($38.1 million), Australia ($36.3 million), and Brazil ($34.5 million).[48]

text: Critical response[edit]

text: On review aggregator website Rotten Tomatoes, Finding Dory has an approval rating of 94% based on 287 reviews and an average rating of 7.6/10. The site's critical consensus reads, "Funny, poignant, and thought-provoking, Finding Dory delivers a beautifully animated adventure that adds another entertaining chapter to its predecessor's classic story."[114] On Metacritic, the film has a score of 77 out of 100, based on 48 critics, indicating "generally favorable reviews."[115] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[116]

text: Mike Ryan of Uproxx gave the film a positive review, saying: "I never thought I wanted a sequel to Finding Nemo, but here we are and I'm pretty happy it exists. And, for me, it was a more emotional experience than the first film. Finding Dory got me—it made me cry."[117] A.O. Scott of The New York Times said that while the film lacks "dazzling originality," he overall wrote, "it more than makes up for in warmth, charm and good humor."[118] In his review for Variety, Owen Gleiberman wrote, "It's a film that spills over with laughs (most of them good, a few of them shticky) and tears (all of them earned), supporting characters who are meant to slay us (and mostly do) with their irascible sharp tongues, and dizzyingly extended flights of physical comedy."[119] Joe Morgenstern of The Wall Street Journal said that "Finding Dory can be touching, sweet and tender, but it's compulsively, preposterously and steadfastly funny."[120] Peter Travers of Rolling Stone gave the film three-and-a-half stars out of four and said that the film "brims with humor, heart and animation miracles," despite lacking "the fresh surprise of its predecessor."[121]

text: Environmental controversies and issues[edit]

text: Conservationists warned that, very much like Finding Nemo, the film could lead to uninformed customers buying blue tangs for home aquariums.[122] Blue tangs cannot be bred in captivity and have to be caught in the wild.[123] They are related to surgeonfish and exhibit razor-sharp spines on both sides of the tail that can inflict formidable wounds.[124]

text: While promoting the film, actress Ellen DeGeneres reminded audiences that Nemo and Dory’s real-life home, the Great Barrier Reef, is under enormous threat,[125] mostly due to coral bleaching, a process induced by climate change, which has killed coral reefs on an enormous scale.[126]

text: Accolades[edit]

text:
List of awards and nominations

Year
Award
Category
Recipient(s)
Result
Ref(s)

2016
Alliance of Women Film Journalists
Best Animated Film
Andrew Stanton and Angus MacLane
Nominated
[127]
[128]

Best Animated Female
Ellen DeGeneres

British Academy Children's Awards
BAFTA Kids' Vote
Finding Dory
[129]
[130]

Critics' Choice Awards
Best Animated Feature
[131]

Hollywood Music in Media Awards
Best Original Score – Animated Film
Thomas Newman
[132]
[133]

San Francisco Film Critics Circle
Best Animated Feature
Finding Dory
[134]
[135]

St. Louis Gateway Film Critics Association
Best Animated Film
[136]

Teen Choice Awards
Choice Summer Movie
Won
[137]

Choice Summer Movie Star: Female
Ellen DeGeneres

Washington D.C. Area Film Critics Association
Best Animated Feature
Finding Dory
Nominated
[138]

Best Voice Performance
Ellen DeGeneres

Women Film Critics Circle
Best Animated Female
Finding Dory
[139]

2017
Annie Awards
Best Animated Feature
[140]

Outstanding Achievement, Character Animation in a Feature Production
Erick Oh

Outstanding Achievement, Storyboarding in an Animated Feature Production
Trevor Jimenez

Black Reel Awards
Outstanding Voice Performance
Idris Elba
[141]

British Academy Film Awards
Best Animated Film
Andrew Stanton
[142]

Cinema Audio Society
Outstanding Achievement in Sound Mixing for a Motion Picture – Animated
Scott Curtis, Doc Kane, Nathan Nance, Michael Semanick and Thomas Vicari
Won
[143]

Empire Awards
Best Animated Film
Finding Dory
[144]

Georgia Film Critics Association
Best Animated Film
Andrew Stanton and Lindsey Collins
Nominated
[145]

Golden Tomato Awards
Best Wide Release 2016
Finding Dory
7th Place
[146]

Best Animated Movie 2016
2nd Place

Houston Film Critics Society
Best Animated Feature Film
Nominated
[147]
[148]

2017 Kids' Choice Awards
Favorite Animated Movie
Won
[149]

Favorite Voice From an Animated Movie
Ellen DeGeneres

Most Wanted Pet
Nominated

#Squad
Ellen DeGeneres, Albert Brooks, Kaitlin Olson, Hayden Rolence, Willem Dafoe, Ed O'Neill, Ty Burrell and Eugene Levy
Won

NAACP Image Awards
Outstanding Character Voice-Over Performance
Idris Elba
Nominated
[150]

Online Film Critics Society
Best Animated Film
Finding Dory
[151]

People's Choice Awards
Favorite Movie
Won
[152]

Favorite Family Movie

Favorite Animated Movie Voice
Ellen DeGeneres

Producers Guild of America
Best Animated Motion Picture
Lindsey Collins
Nominated
[153]

Satellite Awards
Best Animated or Mixed Media Feature
Finding Dory
[154]

Saturn Awards
Best Animated Film
Won
[155]

Village Voice Film Poll
Best Animated Feature
7th Place
[156]

Visual Effects Society
Outstanding Visual Effects in an Animated Feature
Chris J. Chapman, Lindsey Collins, John Halstead and Angus MacLane
Nominated
[157]

Outstanding Animated Performance in an Animated Feature
Hank – Jonathan Hoffman, Steven Clay Hunter, Mark Piretti and Audrey Wong
Won

Outstanding Created Environment in an Animated Feature
Open Ocean Exhibit – Stephen Gustafson, Jack Hattori, Jesse Hollander and Michael Rutter
Nominated

Outstanding Effects Simulations in an Animated Feature
Stephen Gustafson, Allen Hemberger, Joshua Jenny and Matthew Kiyoshi Wong

text: Possible sequel[edit]

text: In June 2016, director Andrew Stanton talked about the possibility of a sequel, saying that he would never exclude it because of the introduction of new characters, citing the Toy Story films as guides for how to expand a world through sequels.[158]


document_title: 2018 Asian Games medal table

question_text: india's medal ranking in asian games 2018

question_tokens: india 's medal ranking in asian games 2018

root

text: 2018 Asian Games medal table

text: Medal table[edit]

text: *   Host nation (Indonesia)[3]

tag: p

tag: table

text: NOCs without medal[edit]

text:
Bangladesh (BAN)
 Bhutan (BHU)
 Brunei (BRU)
 East Timor (TLS)
 Maldives (MDV)
 Oman (OMA)
 Palestine (PLE)
 Sri Lanka (SRI)
 Yemen (YEM)

tag: ul

text: Visualization[edit]

text: Change in medal standings[edit]

text: On 3 September 2018, it was announced that Pürevdorjiin Orkhon of team Mongolia had tested positive for Stanozolol in a urine test conducted on 20 August 2018. Violating the anti-doping rules, Orkhon was stripped of her gold medal.[4]


document_title: Tom and Jerry

question_text: when did the first tom and jerry cartoon air

question_tokens: when did the first tom and jerry cartoon air

text: Tom and Jerry

text: Plot

text: The series features comic fights between an iconic set of adversaries, a house cat (Tom) and a mouse (Jerry). The plots of each short usually center on Tom's numerous attempts to capture Jerry and the mayhem and destruction that follows. Tom rarely succeeds in catching Jerry, mainly because of Jerry's cleverness, cunning abilities, and luck. However, there are also several instances within the cartoons where they display genuine friendship and concern for each other's well-being. At other times, the pair set aside their rivalry in order to pursue a common goal, such as when a baby escaped the watch of a negligent babysitter, causing Tom and Jerry to pursue the baby and keep it away from danger.

text: The cartoons are known for some of the most violent cartoon gags ever devised in theatrical animation such as Tom using everything from axes, hammers, firearms, firecrackers, explosives, traps and poison to kill Jerry. On the other hand, Jerry's methods of retaliation are far more violent due to their frequent success, including slicing Tom in half, decapitating him, shutting his head or fingers in a window or a door, stuffing Tom's tail in a waffle iron or a mangle, kicking him into a refrigerator, getting him electrocuted, pounding him with a mace, club or mallet, letting a tree or electric pole drive him into the ground, sticking matches into his feet and lighting them, tying him to a firework and setting it off, and so on.[2] Because of this, Tom and Jerry has often been criticized as excessively violent. Despite the frequent violence, there is no blood or gore in any scene.[3]:42[4]:134

text: Music plays a very important part in the shorts, emphasizing the action, filling in for traditional sound effects, and lending emotion to the scenes. Musical director Scott Bradley created complex scores that combined elements of jazz, classical, and pop music; Bradley often reprised contemporary pop songs, as well as songs from MGM films, including The Wizard of Oz and Meet Me in St. Louis, which both starred Judy Garland in a leading role.

text: Generally, there is little dialogue as Tom and Jerry almost never speak; however, minor characters are not similarly limited, and the two lead characters are able to speak English on rare occasions and are thus not mute. For example, the character Mammy Two Shoes has lines in nearly every cartoon in which she appears. Most of the vocal effects used for Tom and Jerry are their high-pitched laughs and gasping screams.

text: Production

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2017) (Learn how and when to remove this template message)

text: Before 1954, all Tom and Jerry cartoons were produced in the standard Academy ratio and format; in 1954 and 1955, some of the output was dually produced in dual versions: one Academy-ratio negative composed for a flat widescreen (1.75:1) format and one shot in the CinemaScope process. From 1955 until the close of the MGM cartoon studio a year later, all Tom and Jerry cartoons were produced in CinemaScope, some even had their soundtracks recorded in Perspecta directional audio. All of the Hanna and Barbera cartoons were shot as successive color exposure negatives in Technicolor; the 1960s entries were done in Metrocolor. The 1960s entries also returned to the standard Academy ratio and format, too. The 2005 short The Karate Guard was also filmed in the standard Academy ratio and format.

text: Characters

text: This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (May 2017) (Learn how and when to remove this template message)

text: Tom and Jerry

text: Tom (named "Jasper" in his debut appearance) is a grey and white domestic shorthair cat. ("Tom" is a generic name for a male cat.) He is usually but not always, portrayed as living a comfortable, or even pampered life, while Jerry (named "Jinx" in his debut appearance) is a small, brown, house mouse who always lives in close proximity to Tom. Despite being very energetic, determined and much larger, Tom is no match for Jerry's wits. Jerry also possesses surprising strength for his size, approximately the equivalent of Tom's, lifting items such as anvils with relative ease and withstanding considerable impacts. Although cats typically chase mice to eat them, it is quite rare for Tom to actually try to eat Jerry. Most of his attempts are just to torment or humiliate Jerry, sometimes in revenge, and sometimes to obtain a reward from a human for catching Jerry. By the final "fade-out" of each cartoon, Jerry usually emerges triumphant, while Tom is shown as the loser.

text: However, other results may be reached. On rare occasions, Tom triumphs, usually when Jerry becomes the aggressor or he pushes Tom a little too far. In The Million Dollar Cat Jerry learns that Tom will lose his newly acquired wealth if he harms any animal, especially mice; he then torments Tom a little too much until he retaliates. In Timid Tabby Tom's look-alike cousin pushes Jerry over the edge. Occasionally and usually ironically, they both lose, usually because Jerry's last trap or attack on Tom backfires on him or he overlooks something. In Chuck Jones' Filet Meow, Jerry orders a shark from the pet store to scare Tom away from eating a goldfish. Afterwards, the shark scares Jerry away as well. Finally, they occasionally end up being friends, although within this set of stories, there is often a last minute event that ruins the truce. One cartoon that has a friendly ending is Snowbody Loves Me.

text: Both characters display sadistic tendencies, in that they are equally likely to take pleasure in tormenting each other, although it is often in response to a triggering event. However, when one character appears to truly be in mortal danger from an unplanned situation or due to actions by a third party, the other will develop a conscience and save him. Occasionally, they bond over a mutual sentiment towards an unpleasant experience and their attacking each other is more play than serious attacks. Multiple shorts show the two getting along with minimal difficulty, and they are more than capable of working together when the situation calls for it, usually against a third party who manages to torture and humiliate them both. Sometimes this partnership is forgotten quickly when an unexpected event happens, or when one character feels that the other is no longer necessary. This is the case in Posse Cat, when they agree that Jerry will allow himself to be caught if Tom agrees to share his reward dinner, but Tom then reneges. Other times however, Tom does keep his promise to Jerry and the partnerships are not quickly dissolved after the problem is solved.

text: Tom changes his love interest many times. The first love interest is Toots who appears in Puss n' Toots, and calls him "Tommy" in The Mouse Comes to Dinner. He is also interested in a cat called Toots in The Zoot Cat although she has a different appearance to the original Toots. The most frequent love interest of Tom's is Toodles Galore, who never has any dialogue in the cartoons.

text: Despite five shorts ending with a depiction of Tom's apparent death, his demise is never permanent; he even reads about his own death in a flashback in Jerry's Diary. He appears to die in explosions in Mouse Trouble (after which he is seen in heaven), Yankee Doodle Mouse and in Safety Second, while in The Two Mouseketeers he is guillotined offscreen.

text: Tom and Jerry speaking

text: Although many supporting and minor characters speak, rarely do Tom and Jerry so themselves. Tom, most famously, sings while wooing female cats; for example, Tom sings Louis Jordan's "Is You Is or Is You Ain't My Baby" in the 1946 short Solid Serenade. In that one as well as Zoot Cat, Tom, when romancing a female cat, woos her in a French-accented voice similar to that of screen actor Charles Boyer. At the end of The Million Dollar Cat after beginning to antagonize Jerry he says, "Gee, I'm throwin' away a million dollars... BUT I'M HAPPY!" In Tom and Jerry: The Magic Ring, Jerry says, "No, no, no, no, no," when choosing the shop to remove his ring. In The Mouse Comes to Dinner Tom speaks to his girlfriend Toots while inadvertently sitting on a stove: "Say, what's cookin'?", to which Toots replies "You are, stupid." Another instance of speech comes in Solid Serenade and The Framed Cat, where Tom directs Spike through a few dog tricks in a dog-trainer manner. Co-director William Hanna provided most of the squeaks, gasps, and other vocal effects for the pair, including the most famous sound effects from the series, Tom's leather-lunged scream (created by recording Hanna's scream and eliminating the beginning and ending of the recording, leaving only the strongest part of the scream on the soundtrack) and Jerry's nervous gulp.

text: The only other reasonably common vocalization is made by Tom when some external reference claims a certain scenario or eventuality to be impossible, which inevitably, ironically happens to thwart Tom's plans – at which point, a bedraggled and battered Tom appears and says in a haunting, echoing voice "Don't you believe it!", a reference to the then-popular 1940s radio show Don't You Believe It.[5][6] In Mouse Trouble, Tom says "Don't you believe it!" after being beaten up by Jerry (this also happens in The Missing Mouse). In the 1946 short Trap Happy, Tom hires a cat disguised as a mouse exterminator who, after several failed attempts to dispatch Jerry, changes profession to Cat exterminator by crossing out the "Mouse" on his title and writing "Cat", resulting in Tom spelling out the word out loud before reluctantly pointing at himself. One short, 1956's Blue Cat Blues, is narrated by Jerry in voiceover (voiced by Paul Frees) as they try to win back their ladyfriends. Both Tom and Jerry speak more than once in the 1943 short The Lonesome Mouse, while Jerry was voiced by Sara Berner during his appearance in the 1945 MGM musical Anchors Aweigh. Tom and Jerry: The Movie is the first (and so far only) installment of the series where the famous cat-and-mouse duo regularly speak. In that movie, Tom was voiced by Richard Kind, and Jerry was voiced by Dana Hill.

text: Spike and Tyke

text: In his attempts to catch Jerry, Tom often has to deal with Spike (known as "Killer" and "Butch" in some shorts), an angry, vicious but easily duped bulldog who tries to attack Tom for bothering him or his son Tyke while trying to get Jerry. Originally, Spike was unnamed and mute (aside from howls and biting noises) as well as attacking indiscriminately, not caring whether it was Tom or Jerry though usually attacking Tom. In later cartoons, Spike spoke often, using a voice and expressions (performed by Billy Bletcher and later Daws Butler) modeled after comedian Jimmy Durante. Spike's coat has altered throughout the years between grey and creamy tan. The addition of Spike's son Tyke in the late 1940s led to both a slight softening of Spike's character and a short-lived spin-off theatrical series (Spike and Tyke).

text: Most cartoons with Spike in it have a system; usually Spike is trying to accomplish something (such as building a dog house or sleeping) when Tom and Jerry's antics stop him from doing it. Spike then (presumably due to prejudice) singles out Tom as the culprit and threatens him that if it ever happens again, he will do "something horrible" to him (effectively forcing Tom to take the blame) while Jerry overhears; afterwards Jerry usually does anything he can to interrupt whatever Spike is doing while Tom barely manages to stop him (usually getting injured in the process). Usually Jerry does eventually wreck whatever Spike is doing in spectacular fashion and leaving Tom to take the blame, forcing him to flee from Spike and inevitably lose (usually due to the fact that Tom is usually framed by Jerry and that Spike just doesn't like Tom). Off-screen, Spike does something to Tom and finally Tom is generally shown injured or in a bad situation while Jerry smugly cuddles up to Spike unscathed. Tom sometimes can get irritated with Spike on some occasions (example is in That's My Pup!, when Spike forced Tom to run up a tree every time his son barked, causing Tom to hang Tyke on a flag pole). At least once however, Tom does something that benefits Spike, who promises not to interfere ever again; causing Jerry to frantically leave the house and run into the distance (in Hic-cup Pup). Spike is well known for his famous "Listen pussycat!" catchphrase when he threatens Tom, his other famous catchphrase is "That's my boy!" normally said when he supports or congratulates his son.

text: Tyke is described as a cute, sweet looking, happy and a lovable puppy. He is Spike's son, but unlike Spike, Tyke does not speak and only communicates (mostly towards his father) by barking, yapping, wagging his tail, whimpering and growling. Tyke's father Spike would always go out of his way to care and comfort his son and make sure that he is safe from Tom. Tyke loves his father and Spike loves his son and they get along like friends, although most of time they would be taking a nap or Spike would teach Tyke the main facts of life of being a dog. Like Spike, Tyke's appearance has altered throughout the years, from grey (with white paws) to creamy tan. When Tom and Jerry Kids first aired, this was the first time that viewers were able to hear Tyke speak.

text: Butch and Toodles Galore

text: Butch is a black, cigar-smoking cat who also wants to eat Jerry. He is the most frequent adversary of Tom. However, for most of the episodes he appears in, he is usually seen rivaling Tom over Toodles. Butch was also Tom's chum as in some cartoons, where Butch is leader of Tom's alley cat buddies, who are mostly Lightning, Topsy, and Meathead. Butch talks more often than Tom or Jerry in most shorts.

text: Both characters were originally introduced in Hugh Harman's 1941 short The Alley Cat, but were integrated into Tom and Jerry rather than continuing in their own series.

text: Nibbles

text: Nibbles is a small grey mouse who often appears in shorts as Jerry's nephew. He is a carefree individual who very rarely understands the danger of the situation, simply following instructions the best he can both to Jerry's command and his own innocent understanding of the situation. This can lead to such results as "getting the cheese" by simply asking Tom to pick it up for him, rather than following Jerry's example of outmaneuvering and sneaking around Tom. Many times Nibbles is an ally of Jerry in fights against Tom, including being the second Mouseketeer. He is given speaking roles in all his appearances as a Mouseketeer, often with a high-pitched French tone. However, during a short in which he rescued Robin Hood, his voice was instead more masculine, gruff, and cockney accented.

text: Mammy Two Shoes

text: Mammy Two Shoes is a heavy-set middle-aged mammy who often has to deal with the mayhem generated by the lead characters. Voiced by character actress Lillian Randolph, she is often seen as the owner of Tom. Her face was only shown once, very briefly, in Saturday Evening Puss. Mammy's appearances have often been edited out, dubbed, or re-animated as a slim white woman in later television showings, since her character is a mammy archetype now often regarded as racist.[7] She was mostly restored in the DVD releases of the cartoons, with an introduction by Whoopi Goldberg explaining the importance of African-American representation in the cartoon series, however stereotyped.

text: History

text: "Tom and Jerry" was a commonplace phrase for youngsters indulging in riotous behaviour in 19th-century London. The term comes from Life in London, or Days and Nights of Jerry Hawthorne and his elegant friend Corinthian Tom (1823) by Pierce Egan.[8] However Brewer notes no more than an "unconscious" echo of the Regency era original in the naming of the cartoon.[9]

text: Hanna-Barbera era (1940–58)

text: William Hanna and Joseph Barbera were both part of the Rudolf Ising unit at the MGM cartoon studio in the late 1930s. After the financial disaster of a series of MGM cartoons based upon the Captain and the Kids comic strip characters, Barbera, a storyman and character designer, was paired (out of desperation) with Hanna, an experienced director, to start directing films for the Ising unit. In their first discussion for a cartoon, Barbera suggested a cat-and-mouse cartoon titled Puss Gets the Boot. "We knew we needed two characters. We thought we needed conflict, and chase and action. And a cat after a mouse seemed like a good, basic thought," as he recalled in an interview.[10] Hanna and other employees complained that the idea wasn't very original; nevertheless, the short was completed in late 1939, and released to theaters on February 10, 1940. Puss Gets The Boot centers on Jasper, a gray tabby cat trying to catch a mouse named Jinx (whose name is not mentioned within the cartoon itself), but after accidentally breaking a houseplant and its stand, the African American housemaid Mammy has threatened to throw Jasper out if he breaks one more thing in the house. Naturally, Jinx uses this to his advantage, and begins tossing any and everything fragile, so that Jasper will be thrown outside. Puss Gets The Boot was previewed and released without fanfare, and Hanna and Barbera went on to direct other non-cat-and-mouse related shorts such as Gallopin' Gals (1940) and Officer Pooch (1941). "After all," remarked many of the MGM staffers, "haven't there been enough cat-and-mouse cartoons already?"

text: The pessimistic attitude towards the cat and mouse duo changed when the cartoon became a favorite with theater owners and with the Academy of Motion Picture Arts and Sciences, which nominated the film for the Academy Award for Best Short Subject: Cartoons of 1941. It lost to another MGM cartoon, Rudolph Ising's The Milky Way.

text: Producer Fred Quimby, who ran the MGM animation studio, quickly pulled Hanna and Barbera off the other one-shot cartoons they were working on, and commissioned a series featuring the cat and mouse. Hanna and Barbera held an intra-studio contest to give the pair a new name by drawing suggested names out of a hat; animator John Carr won $50 with his suggestion of Tom and Jerry, at the time best known as the name of a Christmastime mixed drink.[11] The Tom and Jerry series went into production with The Midnight Snack in 1941, and Hanna and Barbera rarely directed anything but the cat-and-mouse cartoons for the rest of their tenure at MGM. Barbera would create the story for each short while Hanna would supervise production.

text: Tom's physical appearance evolved significantly over the years. During the early 1940s, Tom had an excess of detail—shaggy fur, numerous facial wrinkles, and multiple eyebrow markings, all of which were streamlined into a more workable form by the end of the 1940s. In addition, he also looked like a more realistic cat early on; evolving from his quadrupedal beginnings Tom to become increasingly and almost exclusively bipedal. By contrast, Jerry's design remained essentially the same for the duration of the series. By the mid-1940s, the series had developed a quicker, more energetic and violent tone, due to the inspiration from the work of their colleague in the MGM cartoon studio, Tex Avery, who joined the studio in 1942.

text: Even though the theme of each short is virtually the same – cat chases mouse – Hanna and Barbera found endless variations on that theme. Barbera's storyboards and rough layouts and designs, combined with Hanna's timing, resulted in MGM's most popular and successful cartoon series. Thirteen entries in the Tom and Jerry series (including Puss Gets The Boot) were nominated for the Academy Award for Best Short Subject: Cartoons; seven of them went on to win the Academy Award, breaking the Disney studio's winning streak in that category. Tom and Jerry won more Academy Awards than any other character-based theatrical animated series.

text: Tom and Jerry remained popular throughout their original theatrical run, even when the budgets began to tighten in the 1950s and the pace of the shorts slowed slightly. However, after television became popular in the 1950s, box office revenues decreased for theatrical films, and short subjects. At first, MGM combated this by going to all-CinemaScope production on the series. After MGM realized that their re-releases of the older cartoons brought in just as much money as the new cartoons did, the studio executives decided, much to the surprise of the staff, to close the animation studio. The MGM cartoon studio was shut down on May 15, 1957, and the last of the 114 Hanna-Barbera Tom and Jerry shorts, Tot Watchers, was released on August 1, 1958. Hanna and Barbera established their own television animation studio, Hanna-Barbera Productions, on July 7, 1957, which went on to produce hit TV shows, such as The Flintstones, Yogi Bear, The Jetsons and Scooby-Doo.

text: Gene Deitch era (1961–62)

text: In 1961, MGM revived the Tom and Jerry franchise, and contracted European animation studio Rembrandt Films to produce 13 Tom and Jerry shorts in Prague, Czechoslovakia.[12][13][14][15] All were directed by Gene Deitch and produced by William L. Snyder.[12][15] Deitch himself wrote most of the cartoons, with occasional assistance from Larz Bourne and Eli Bauer. Stěpan Koniček provided the musical score for the Deitch shorts. Sound effects were produced by Tod Dockstader. The majority of vocal effects and voices in Deitch's films were provided by Allen Swift.[16]

text: Deitch states that, being a "UPA man", he was not a fan of the Tom and Jerry cartoons, thinking they were "needlessly violent".[17][18] However, after being assigned to work on the series, he quickly realized that "nobody took [the violence] seriously", and it was merely "a parody of exaggerated human emotions".[17] He also came to see what he perceived as the "biblical roots" in Tom and Jerry's conflict, similar to David and Goliath, stating "That's where we feel a connection to these cartoons: the little guy can win (or at least survive) to fight another day."[17]

text: Since the Deitch/Snyder team had seen only a handful of the original Tom and Jerry shorts, and since the team produced their cartoons on a tighter budget of $10,000, the resulting films were considered surrealist in nature, though this was not Deitch's intention.[13][18] The animation was limited and jerky in movement, compared to the more fluid Hanna-Barbera shorts. Background art was done in a more simplistic, angular, Art Deco-esque style. The soundtracks featured sparse and echoic electronic music, futuristic sound effects, heavy reverb, and dialogue that was mumbled rather than spoken. According to Jen Nessel of The New York Times, "The Czech style had nothing in common with these gag-driven cartoons."[19]

text: Whereas Hanna-Barbera's shorts generally took place in and outside of a house, Deitch's shorts opted for more exotic locations, such as a 19th-century whaling ship, the jungles of Nairobi, an Ancient Greek acropolis, or the Wild West. In addition, Mammy Two-Shoes was replaced as Tom's owner by Clint Clobber, a bald, overweight, short-tempered, middle-aged white man who was also much more brutal and violent in punishing Tom's actions as compared to previous owners, by beating and thrashing Tom repeatedly, stomping on his hand, searing his head with a grill, forcing him to drink an entire carbonated beverage, slamming his fingers with a lunchbox lid and even wrapping a shotgun over his head and firing it.

text: To avoid being linked to Communism, Deitch romanized the Czech names of his crew in the opening credits of the shorts (e.g. Stêpan Koniček became "Steven Konichek" and Vaclav Lidl became "Victor Little"). In addition, these shorts are among the few Tom and Jerry cartoons not to carry the "Made In Hollywood, U.S.A." phrase on the end title card; due to Deitch's studio being behind the Iron Curtain, the production studio's location is omitted entirely on it.[18] After the 13 shorts were completed, Joe Vogel, the head of production, was fired from MGM. Vogel had approved of Deitch and his team's work, but MGM decided not to renew their contract after Vogel's departure.[18] The final of the 13 shorts, Carmen Get It!, was released on December 21, 1962.[13]

text: Deitch's shorts were commercial successes. In 1961, the Tom and Jerry series became the highest-grossing animated short film series of that time, dethroning Looney Tunes, which had held the position for 16 years; this success was repeated once more in 1962.[15] However, unlike the Hanna-Barbera shorts, none of Deitch's films were nominated for nor did they win an Academy Award.[15] In retrospect, these shorts are often considered the worst of the Tom and Jerry theatrical output.[17] Deitch stated that due to his team's inexperience as well as their low budget, he "hardly had a chance to succeed", and "well understand[s] the negative reactions" to his shorts. He believes "They could all have been better animated – truer to the characters – but our T&Js were produced in the early 1960s, near the beginning of my presence here, over a half-century ago as I write this!"[20] Despite the criticism, some fans wrote positive letters to Deitch, stating that his Tom and Jerry shorts were their personal favorites due to their quirky and surreal nature.[21] The shorts were released on DVD in 2015 in Tom and Jerry: The Gene Deitch Collection.

text: Chuck Jones era (1963–67)

text: After the last of the Deitch cartoons were released, Chuck Jones, who had been fired from his 30-plus year tenure at Warner Bros. Cartoons, started his own animation studio, Sib Tower 12 Productions (later renamed MGM Animation/Visual Arts), with partner Les Goldman. Beginning in 1963, Jones and Goldman went on to produce 34 more Tom and Jerry shorts, all of which carried Jones' distinctive style (and a slight psychedelic influence).

text: Jones had trouble adapting his style to Tom and Jerry's brand of humor, and a number of the cartoons favored full animation, personality and style over storyline. The characters underwent a slight change of appearance: Tom was given thicker eyebrows (resembling Jones' Grinch, Count Blood Count or Wile E. Coyote), a less complex look (including the color of his fur becoming gray), sharper ears, longer tail and furrier cheeks (resembling Jones' Claude Cat or Sylvester), while Jerry was given larger eyes and ears, a lighter brown color, and a sweeter, Porky Pig-like expression.

text: Some of Jones' Tom and Jerry cartoons are reminiscent of his work with Wile E. Coyote and the Road Runner, included the uses of blackout gags and gags involving characters falling from high places. Jones co-directed the majority of the shorts with layout artist Maurice Noble. The remaining shorts were directed by Abe Levitow and Ben Washam, with Tom Ray directing two shorts built around footage from earlier Tom and Jerry cartoons directed by Hanna and Barbera, and Jim Pabian directed a short with Maurice Noble. Various vocal characteristics were made by Mel Blanc and June Foray. These shorts contain a memorable opening theme, in which Tom first replaces the MGM lion, then is trapped inside the "O" of his name.[22]

text: Though Jones's shorts were generally considered an improvement over Deitch's, they nevertheless had varying degrees of critical success. MGM ceased production of Tom and Jerry shorts in 1967, by which time Jones had moved on to television specials and the feature film The Phantom Tollbooth.[22] The shorts were released on DVD in 2009 in Tom and Jerry: The Chuck Jones Collection.

text: Tom and Jerry hit television

text: Beginning in 1965, the Hanna and Barbera Tom and Jerry cartoons began to appear on television in heavily edited versions. The Jones team was required to take the cartoons featuring Mammy Two Shoes and remove her by pasting over the scenes featuring her with new scenes. Most of the time, she was replaced with a similarly fat white Irish woman; occasionally, as in Saturday Evening Puss, a thin white teenager took her place instead, with both characters voiced by June Foray. However, recent telecasts on Cartoon Network and Boomerang retain Mammy with new voiceover work performed by Thea Vidale to remove the stereotypical black jargon featured on the original cartoon soundtracks. The standard Tom and Jerry opening titles were removed as well. Instead of the roaring MGM Lion sequence, an opening sequence featuring different clips of the cartoons was used instead. The title cards were also changed. A pink title card with the name written in white font was used instead.

text: Debuting on CBS' Saturday morning schedule on September 25, 1965, Tom and Jerry moved to CBS Sundays two years later and remained there until September 17, 1972.

text: Second Hanna-Barbera era: The Tom and Jerry Show (1975)

text: In 1975, Tom and Jerry were reunited with Hanna and Barbera, who produced new Tom and Jerry cartoons for Saturday mornings. These 48 seven-minute short cartoons were paired with Grape Ape and Mumbly cartoons, to create The Tom and Jerry/Grape Ape Show, The Tom and Jerry/Grape Ape/Mumbly Show, and The Tom and Jerry/Mumbly Show, all of which initially ran on ABC Saturday mornings between September 6, 1975 and September 3, 1977. In these cartoons, Tom and Jerry (now with a red bow tie), who had been enemies during their formative years, became nonviolent pals who went on adventures together, as Hanna-Barbera had to meet the stringent rules against violence for children's TV. This 1975-styled format was no longer used in the newer Tom and Jerry entrees.[22]

text: Filmation era (1980–82)

text: Filmation Studios (in association with MGM Television) also tried their hands at producing a Tom and Jerry TV series. Their version, The Tom and Jerry Comedy Show, debuted in 1980, and also featured new cartoons starring Droopy, Spike (from Tom & Jerry, and the same version also used in Droopy), Slick Wolf, and Barney Bear, not seen since the original MGM shorts. The Filmation Tom and Jerry cartoons were noticeably different from Hanna-Barbera's efforts, as they returned Tom and Jerry to the original chase formula, with a somewhat more "slapstick" humor format. This incarnation, much like the 1975 version, was not as well received by audiences as the originals, and lasted on CBS Saturday mornings from September 6, 1980 to September 4, 1982.[22]

text: Tom and Jerry's new owners

text: In 1986, MGM was purchased by WTBS founder Ted Turner. Turner sold the company a short while later, but retained MGM's pre-1986 film library, thus Tom and Jerry became the property of Turner Entertainment Co. (where the rights stand today via Warner Bros.), and have in subsequent years appeared on Turner-run stations, such as TBS, TNT, Cartoon Network, The WB, Boomerang, and Turner Classic Movies.

text: Third Hanna-Barbera era: Tom and Jerry Kids (1990–94)

text: One of the biggest trends for Saturday morning television in the 1980s and 1990s was the child versions of famous classic cartoon stars "babyfication" of older, classic cartoon stars, and on March 2, 1990, Tom and Jerry Kids, co-produced by Turner Entertainment Co. and Hanna-Barbera Productions (which would be sold to Turner in 1991) debuted on Fox Kids and for a few years, aired on British children's block, CBBC. It featured a youthful version of the famous cat-and-mouse duo chasing each other. As with the 1975 H-B series, Jerry wears his red bowtie, while Tom now wears a red cap. Spike and his son Tyke (who now had talking dialogue) and Droopy and his son Dripple, appeared in back-up segments for the show, which ran until November 18, 1994. Tom and Jerry Kids was the last Tom and Jerry cartoon series produced in 4:3 (full screen) aspect ratio.

text: One-off productions (2001; 2005)

text: In 2001, a new television special titled Tom and Jerry: The Mansion Cat premiered on Boomerang. It featured Joe Barbera (who was also a creative consultant) as the voice of Tom's owner, whose face is never seen. In this cartoon, Jerry, housed in a habitrail, is as much of a house pet as Tom is, and their owner has to remind Tom to not "blame everything on the mouse".

text: In 2005, a new Tom and Jerry theatrical short, titled The Karate Guard, which had been written and directed by Barbera and Spike Brandt, storyboarded by Joseph Barbera and Iwao Takamoto and produced by Joseph Barbera, Spike Brandt and Tony Cervone premiered in Los Angeles cinemas on September 27, 2005. As part of the celebration of Tom and Jerry's sixty-fifth anniversary, this marked Barbera's first return as a writer, director and storyboard artist on the series since his and Hanna's original MGM cartoon shorts, and last overall; he would die shortly after production ended. Director/animator, Spike Brandt was nominated for an Annie award for best character animation. The short debuted on Cartoon Network on January 27, 2006.

text: Warner Bros. era (2006–present)

text: During the first half of 2006, a new series called Tom and Jerry Tales was produced at Warner Bros. Animation. Thirteen half-hour episodes (each consisting of three shorts, some of them—like The Karate Guard—were produced and completed in 2003 as part of a 30-plus theatrical cartoon schedule aborted after the financial disaster of Looney Tunes: Back in Action) were produced, with only markets outside of the United States and United Kingdom signed up. The show then came to the UK in February 2006 on Boomerang, and it went to the U.S. on Kids' WB on The CW.[23] Tales is the first Tom and Jerry TV series that utilizes the original style of the classic shorts, along with the slapstick. The series was canceled in 2008, shortly before the Kids' WB block shut down. Tales is also the first Tom and Jerry production presented in 16:9 widescreen aspect ratio (which was aired on Cartoon Network in the United States) but cropped to 4:3 fullscreen aspect ratio (which was aired on The CW and Boomerang in the United States).

text: Cartoon Network, which began rerunning the Tom and Jerry Tales in January 2012, subsequently aired a second series consisting of two 11-minute shorts per episode that likewise sought to maintain the look, core characters and sensibility of the original theatrical shorts. Similar to other reboot works like Scooby-Doo! Mystery Incorporated and The Looney Tunes Show, several episodes the new series brought Tom and Jerry into contemporary environments, telling new stories and relocating the characters to more fantastic worlds, from a medieval castle to a mad scientist's lab. Titled The Tom and Jerry Show, the series is produced by Warner Bros. Animation, with Sam Register serving as executive producer in collaboration with Darrell Van Citters and Ashley Postelwaite at Renegade Animation. Originally slated for an undated 2013 Cartoon Network premiere[24] before being pushed back to April 9, 2014, this is the second Tom and Jerry production presented in 16:9 widescreen aspect ratio.[25]

text: In November 2014, a two-minute sketch was shown as part of the Children In Need Telethon in the United Kingdom, the sketch was produced as a collaboration with Warner Bros.[26]

text: Outside the United States

text: When shown on terrestrial television in the United Kingdom (from 1967 to 2000, usually on the BBC) Tom and Jerry cartoons were not edited for violence, and Mammy was retained. As well as having regular slots (mainly after the evening BBC News with around two shorts shown every evening and occasionally shown on children's network CBBC in the morning), Tom and Jerry served the BBC in another way. When faced with disruption to the schedules (such as those occurring when live broadcasts overrun), the BBC would invariably turn to Tom and Jerry to fill any gaps, confident that it would retain much of an audience that might otherwise channel hop. This proved particularly helpful in 1993, when Noel's House Party had to be cancelled due to an IRA bomb scare at BBC Television Centre—Tom and Jerry was shown instead, bridging the gap until the next programme.[citation needed] In 2006, a mother complained to OFCOM of the smoking scenes shown in the cartoons, since Tom often attempts to impress love interests with the habit, resulting in reports that the smoking scenes in Tom and Jerry films may be subject to censorship.[27]

text: Due to its lack of dialogue, Tom and Jerry was easily translated into various foreign languages. Tom and Jerry began broadcast in Japan in 1965. A 2005 nationwide survey taken in Japan by TV Asahi, sampling age groups from teenagers to adults in their sixties, ranked Tom and Jerry #85 in a list of the top 100 "anime" of all time; while their web poll taken after the airing of the list ranked it at #58 – the only non-Japanese animation on the list, and beating anime classics like Tsubasa: Reservoir Chronicle, A Little Princess Sara, and the ultra-classics Macross and Ghost in the Shell (in Japan, the word "anime" refers to all animation regardless of origin, not just Japanese animation).[28] Tom and Jerry also serve as long-time licensed mascots for Gifu-based Juroku Bank. Unlike some other Western cartoons such as Bob the Builder and Postman Pat, whose characters had to be doctored to have five fingers in each hand instead of the original four,[29] Tom and Jerry aired in Japan without such edits, as did other series starring non-human protagonists such as SpongeBob SquarePants.

text: Tom and Jerry have long since been popular in Germany. The different shorts are usually linked together with key scenes from Jerry's Diary (1949), in which Tom reads about his and Jerry's past adventures. The cartoons are introduced with rhyming German language verse, and when necessary, a German voice spoke the translations of English labels on items and similar information.

text: The show was aired in mainland China by CCTV in the late 1980s to early 1990s, and was extremely popular at the time. Collections of the show are still a prominent feature in Chinese book stores.

text: Even though Gene Deitch's shorts were created in Czechoslovakia (1960–1962), the first official TV release of Tom and Jerry was in 1988. It was one of the few cartoons of western origin broadcast in Czechoslovakia (1988) and Romania (until 1989) before the fall of the Soviet Union in 1989.

text: The Pakistani ice cream brand OMORÉ has launched a chocolate bar ice cream based on the show.[30]

text: Feature films

text: Tom and Jerry's first feature film appearance was in the 1945 MGM musical Anchors Aweigh, in which Jerry performs a dance number with Gene Kelly. In this scene, Tom also made a cameo as a servant. Filmmakers had wanted Mickey Mouse for the scene, but Roy Disney had rejected the deal, as the Disney studio was focusing on its own cartoons to help pay off its debts after World War II.[31] William Hanna and Joe Barbera supervised animation for the scene.

text: Tom and Jerry's second feature film appearance was swimming with Esther Williams in a dream sequence in another MGM big-screen musical, Dangerous When Wet (1953).

text: On October 1, 1992, the first international release of Tom and Jerry: The Movie arrived when the film was released overseas to theaters in Europe[32] and then domestically by Miramax Films on July 30, 1993,[33] with future video and DVD releases that would be sold under Warner Bros., which, following Disney's acquisition of Miramax and Turner's subsequent merger with Time Warner, had acquired the film's distribution rights. Barbera served as creative consultant for the picture, which was produced and directed by Phil Roman. The film was a musical with a structure similar to MGM's blockbusters, The Wizard of Oz and Singin' in the Rain. In 2001, Warner Bros. (which had, by then, merged with Turner and assumed its properties) released the duo's first direct-to-video movie, Tom and Jerry: The Magic Ring, in which Tom covets a ring that grants mystical powers to the wearer, and has become accidentally stuck on Jerry's head. It would mark the last time Hanna and Barbera co-produced a Tom and Jerry cartoon together, as William Hanna died shortly after The Magic Ring was released.

text: Four years later, Bill Kopp scripted and directed two more Tom and Jerry DTV features for the studio, Tom and Jerry: Blast Off to Mars and Tom and Jerry: The Fast and the Furry, the latter one based on a story by Barbera. Both were released on DVD in 2005, marking the celebration of Tom and Jerry's 65th anniversary. In 2006, another direct-to-video film, Tom and Jerry: Shiver Me Whiskers, tells the story about the pair having to work together to find the treasure. Joe came up with the storyline for the next film, Tom and Jerry: A Nutcracker Tale, as well as the initial idea of synchronizing the on-screen actions to music from Tchaikovsky's Nutcracker Suite. This DTV film, directed by Spike Brandt and Tony Cervone, would be Joe Barbera's last Tom and Jerry project due to his death in December 2006. The holiday-set animated film was released on DVD in late 2007, and dedicated to Barbera. A new direct-to-video film, Tom and Jerry Meet Sherlock Holmes, was released on August 24, 2010. It is the first made-for-video Tom and Jerry movie produced without any of the characters' original creators. The next direct-to-video film, Tom and Jerry and the Wizard of Oz, was released on August 23, 2011 and was the first made-for-video Tom and Jerry movie made for Blu-ray. It had a preview showing on Cartoon Network. Robin Hood and His Merry Mouse was released on Blu-ray and DVD on October 2, 2012.[34] Tom and Jerry's Giant Adventure was released in 2013 on Blu-ray and DVD.[35] Tom and Jerry: The Lost Dragon was released on DVD on September 2, 2014.[36] Tom and Jerry: Spy Quest was released on DVD on June 23, 2015.[37] Tom and Jerry: Back to Oz was released on DVD on June 21, 2016.[38] Tom and Jerry: Willy Wonka and the Chocolate Factory was released on DVD on July 11, 2017.[39]

text: On April 6, 2015, a new theatrical feature film was announced. It will be completely animated and will be "in the same vein" as the source material. Cate Adams and Jesse Ehrman will oversee the movie.[40]

text: Controversy

text: Like many animated cartoons from the 1930s to the early 1950s, Tom and Jerry featured racial stereotypes.[7] After explosions, for example, characters with blasted faces would resemble stereotypical blacks, with large lips and bow-tied hair. Perhaps the most controversial element of the show is the character Mammy Two Shoes, a poor black maid who speaks in a stereotypical "black accent" and has a rodent problem. Joseph Barbera, who was responsible for these gags, claimed that the racial gags in Tom and Jerry did not reflect his racial opinion; they were just reflecting what was common in society and cartoons at the time and were meant to be humorous.[10] Today, the blackface gags are often censored when these shots are aired. Mammy Two-Shoes' voice was re-dubbed by Turner in the mid-1990s to make the character sound less stereotypical; the resulting accent sounds more Irish. Three shorts in particular, His Mouse Friday,[a] the depiction of cannibals, in Casanova Cat, a scene where the face of Jerry is blackened by Tom with cigar smoke and Mouse Cleaning where Tom is shown as blackface has been removed from the Blu-ray DVD edition.

text: In Tom and Jerry's Spotlight Collection DVD, a disclaimer by Whoopi Goldberg warns viewers about the potentially offensive material in the cartoons and emphasizes that they were "wrong then and they are wrong today", borrowing a phrase from the Warner Bros. Golden collection. This disclaimer is also used in the Tom and Jerry Golden Collection: Volume 1 on iTunes.

text:
“
The cartoons you are about to see are products of their time. They may depict some of the ethnic and racial prejudices that were commonplace in the U.S. society. These depictions were wrong then and they are wrong today. While the following does not represent the Warner Bros. view of today's society, these cartoons are being presented as they were originally created, because to do otherwise would be the same as claiming that these prejudices never existed.
”

— Disclaimer by Whoopi Goldberg[41]

text: As of 2011, most shorts that feature Mammy Two Shoes, except Part Time Pal, are rarely seen on Cartoon Network and Boomerang. There are other shorts (The Lonesome Mouse[b] and Blue Cat Blues[c]) that are found inappropriate for the attended audiences rather than just having racist contents and are censored from the two channels as well.

text: In 2006, the British version of the Boomerang channel made plans to edit Tom and Jerry cartoons being aired in the UK where the characters were seen to be smoking. There was a subsequent investigation by UK media watchdog Ofcom.[27] It has also taken the U.S. approach by censoring blackface gags, though this seems to be random as not all scenes of this type are cut.

text: In 2013, it was reported that Cartoon Network of Brazil censored 27 shorts on the grounds of being "politically incorrect".[42] In an official release, the channel confirmed that it had censored only two shorts (The Two Mouseketeers[d] and Heavenly Puss[e]) "by editorial issues and appropriateness of the content to the target audience—children of 7 to 11 years".[43]

text: Other formats

text: Tom and Jerry began appearing in comic books in 1942, as one of the features in Our Gang Comics. In 1949, with MGM's live-action Our Gang shorts having ceased production five years earlier, the series was renamed Tom and Jerry Comics. The pair continued to appear in various books for the rest of the 20th century.[44]

text: The pair have also appeared in a number of video games as well, spanning titles for systems for the Sega Genesis plus also Sega Game Gear and the Sega Master System and their rival console around the 1990s, Nintendo Entertainment System and Super NES and Nintendo 64 to more recent entries for PlayStation 2, Xbox, and GameCube and also on the portable Nintendo consoles, Game Boy and Nintendo DS.

text: Cultural influences

text: Throughout the years, the term and title Tom and Jerry became practically synonymous with never-ending rivalry, as much as the related "cat and mouse fight" metaphor has. Yet in Tom and Jerry it was not the more powerful Tom who usually came out on top.

text: In January 2009, IGN named Tom and Jerry as the 66th best in the Top 100 Animated TV Shows.[45]

text: Appearances or influences in popular culture

text: This article appears to contain trivial, minor, or unrelated references to popular culture. Please reorganize this content to explain the subject's impact on popular culture rather than simply listing appearances; add references to reliable sources if possible. Unsourced material may be challenged and removed. (January 2017)

text: In 1945, Jerry made an appearance in the live-action MGM musical feature film Anchors Aweigh, in which, through the use of special effects, he performs a dance routine with Gene Kelly. Tom is briefly seen in Anchors Aweigh. He appears as a servant, offering King Jerry some food on a tray.

text: Both Tom and Jerry appear with Esther Williams in a dream sequence in another big-screen musical, Dangerous When Wet (1953).

text: In 1973, the magazine National Lampoon referenced Tom and Jerry in a violence-filled comic book parody, Kit 'n' Kaboodle.[46][47][48]

text: In The Simpsons, The Itchy & Scratchy Show is a spoof of Tom and Jerry—a "cartoon within a cartoon".[2][49][50] In an episode of the series titled "Krusty Gets Kancelled", Worker and Parasite, a replacement cartoon for Itchy & Scratchy, is a reference to Soviet-era animation.[51]

text: In an interview found on the DVD releases, several MADtv cast members stated that Tom and Jerry is one of their biggest influences for slapstick comedy. Also in the Cartoon Network show MAD, Tom and Jerry appear in three segments "Celebrity Birthdays", "Mickey Mouse Exterminator Service", and "Tom and Jury". Johnny Knoxville from Jackass has stated that watching Tom and Jerry inspired many of the stunts in the movies.[52]

text: Home media

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. (June 2009) (Learn how and when to remove this template message)

text: In the pre-video era, Tom & Jerry cartoons were a popular subject for 8mm home movies, with the UK-based Walton Films issuing dozens of titles as colour one-reel Super 8 films, in both silent and sound editions. Walton's agreement with MGM obligated them to release the films in slightly edited form, even though the single-reel format would have comfortably accommodated the cartoons' seven to eight minute running time.

text: MGM/UA released a series of Tom & Jerry laserdisc box sets in the 1990s. The Art of Tom & Jerry volumes 1 and 2, contain all the MGM shorts up to (but not including) the Deitch Era, including letterboxed versions of the shorts filmed in CinemaScope. The cartoons are all intact save for His Mouse Friday (dialogue has been wiped) and Saturday Evening Puss, which is the re-drawn version with June Foray's voice added. A third volume to The Art of Tom & Jerry was released and contains all of the Chuck Jones-era Tom and Jerry shorts.

text: There have been several Tom and Jerry DVDs released in Region 1 (the United States and Canada), including a series of two-disc sets known as the Tom and Jerry Spotlight Collection. There have been negative responses to Vol. 1 and Vol. 2, due to some of the cartoons included on each having cuts and redubbed Mammy Two-Shoes dialogue. A replacement program offering uncut versions of the shorts on DVD was later announced. There are also negative responses to Vol. 3, due to Mouse Cleaning and Casanova Cat being excluded from these sets and His Mouse Friday being edited for content with an extreme zooming-in towards the end to avoid showing a particularly race-based caricature.

text: There have been two Tom and Jerry DVD sets in Region 2. In Western Europe, most of the Tom and Jerry shorts have been released (only two, The Million Dollar Cat and Busy Buddies, were not included) under the name Tom and Jerry: Classic Collection. Almost all of the shorts contain re-dubbed Mammy Two-Shoes tracks. Despite these cuts, His Mouse Friday, the only Tom and Jerry cartoon to be completely taken off the airwaves in some countries due to claims of racism, is included, unedited with the exception of zooming-in as on the North American set. These are regular TV prints sent from the U.S. in the 1990s. Shorts produced in CinemaScope are presented in pan and scan. Mouse Cleaning and Casanova Cat are presented uncut as part of these sets.

text: Tom and Jerry: Classic Collection is available in six double-sided DVDs (issued in the United Kingdom) and 12 single-layer DVDs (issued throughout Western Europe). Another Tom and Jerry Region 2 DVD set is available in Japan. As with Tom and Jerry:Classic Collection in Western Europe, almost all of the shorts (including His Mouse Friday) contain cuts. Slicked-up Pup, Tom's Photo Finish, Busy Buddies, The Egg and Jerry, Tops with Pops and Feedin' the Kiddie are excluded from these sets. However, most of these cartoons are included in the UK version. Most shorts produced in CinemaScope are presented in pan and scan for showing on the 4:3 aspect ratio television screen.

text: Prior to 2015, the Gene Deitch-era shorts saw limited home media release outside of Europe and Asia. In Japan, all thirteen shorts were released on the Tom and Jerry & Droopy laserdisc and VHS, as well as on the bonus DVD for those who have purchased all the ten titles of the DVD collection series at its initial release. In the United Kingdom, the shorts are available on the second side of the Tom and Jerry Classic Collection: Volume 5 DVD. In the United States, The Tom and Jerry Cartoon Kit, Down and Outing, and Carmen Get It! were included on the Paws for a Holiday VHS and DVD,[53] the Summer Holidays DVD, and the Musical Mayhem DVD, respectively. On June 2, 2015, Tom and Jerry: The Gene Deitch Collection DVD was released in the United States, with all thirteen shorts as well as special features.

text: The Chuck Jones-era Tom and Jerry shorts were released in a two-disc set titled Tom and Jerry: The Chuck Jones Collection on June 23, 2009.[54] On October 25, 2011, Warner Home Video released the first volume of the Tom and Jerry Golden Collection on DVD and Blu-ray.[55] This set featured newly remastered prints and bonus material never before seen. The sets were aimed at the collector in a way that the previous "Spotlight" DVD releases were not.[56] A second set was due for release at June 11, 2013. in February 2013, it was announced by TVShowsOnDVD.com that Mouse Cleaning was not part of the list of cartoons on this release, as well as the cartoon Casanova Cat that was also skipped over on the 2007 DVD release. Many collectors and fans[weasel words] have posted negative reviews of the product on Amazon and other various websites to make Warner put Mouse Cleaning and Casanova Cat on the release.[57]

text: Theatrical shorts

text: The following cartoons won the Academy Award for Best Short Subject: Cartoons:[58]

text:
1943: The Yankee Doodle Mouse
1944: Mouse Trouble
1945: Quiet Please!
1946: The Cat Concerto
1948: The Little Orphan
1952: The Two Mouseketeers
1953: Johann Mouse

text: These cartoons were nominated for the Academy Award for Best Short Subject: Cartoons, but did not win:

text:
1940: Puss Gets the Boot
1941: The Night Before Christmas
1947: Dr. Jekyll and Mr. Mouse
1949: Hatch Up Your Troubles
1950: Jerry's Cousin
1954: Touché, Pussy Cat!

text: Television

text: Television shows

text:
The Tom and Jerry Show (ABC, 1975)
The Tom and Jerry Comedy Show (CBS, 1980–1982)
Tom & Jerry Kids (FOX, 1990–1994)
Tom and Jerry Tales (The CW, Cartoon Network, 2006–2008)
The Tom and Jerry Show (Teletoon, Cartoon Network, 2014–present)

text: Packaged shows and programming blocks

text:
Tom and Jerry (1960s packaged show) (CBS, 1965–1972)
Tom and Jerry on BBC One (BBC, 1967–2000)
Tom and Jerry's Funhouse on TBS (TBS, 1986–1989)
Cartoon Network's Tom and Jerry Show (Cartoon Network, 1992–present)

text: Television specials

text:
Hanna-Barbera's 50th: A Yabba Dabba Doo Celebration (TNT, 1989)
Tom and Jerry: The Mansion Cat (Boomerang, 2001)
Tom and Jerry: Santa's Little Helpers (Warner Home Video, 2014)[59]

text: Feature films

text:
#
Title
Release date

1
Tom and Jerry: The Movie
July 30, 1993

2
Tom and Jerry: The Magic Ring
March 12, 2002

3
Tom and Jerry: Blast Off to Mars
January 18, 2005

4
Tom and Jerry: The Fast and the Furry
October 11, 2005

5
Tom and Jerry: Shiver Me Whiskers
August 22, 2006

6
Tom and Jerry: A Nutcracker Tale
October 2, 2007

7
Tom and Jerry Meet Sherlock Holmes
August 24, 2010

8
Tom and Jerry and The Wizard of Oz
August 23, 2011

9
Tom and Jerry: Robin Hood and His Merry Mouse
September 28, 2012

10
Tom and Jerry's Giant Adventure
August 6, 2013

11
Tom and Jerry: The Lost Dragon
September 2, 2014

12
Tom and Jerry: Spy Quest
June 23, 2015

13
Tom and Jerry: Back to Oz
June 21, 2016

14
Tom and Jerry: Willy Wonka and the Chocolate Factory
July 11, 2017