10 Things You Might Not Know About Dennis the Menace

King Features Syndicate
King Features Syndicate

Beginning in 1951, cartoonist Hank Ketcham invited newspaper readers to feel a little bit better about the behavior of their own children. Dennis the Menace featured the misadventures of a five-and-a-half-year-old boy with a wild streak who is prone to calamitous encounters with delicate furnishings, pets, and his long-suffering neighbor Mr. Wilson. Adapted into movies and television, Ketcham’s character has become the reference point for the perils of hyperactivity. Check out some facts about Dennis’s real-life doppelgänger, the strip's unfortunate attempt to address race relations, and how Dennis tried to soothe tensions with the Soviet Union.


As Dennis lore goes, Ketcham was pursuing a career in cartooning in 1950 when his first wife, Alice, once interrupted him to share the news that their four-year-old son Dennis had just demolished his bedroom by playing with the fecal matter found in his underpants. Declaring him a “menace,” Alice stormed out, leaving Ketcham to ponder the fictional consequences of such a tiny terror. Within five months, 16 newspapers were printing Dennis the Menace, a number that would eventually grow to over 1000.


In a curious case of correlating creations, Ketcham’s Dennis debuted at virtually the same instant another Dennis the Menace was being unveiled in England. The UK Dennis was part of a weekly magazine called Beano and featured an older boy who was less of an accidental troublemaker and more of a highly-focused and intentioned one. To avoid confusion, the UK Dennis was later retitled Dennis the Menace and Gnasher. (Gnasher is his dog.)


Some two decades into the strip, Ketcham decided to contemporize Dennis’s neighborhood by introducing a black character named Jackson. Although Ketcham’s design was alarmingly stereotypical, he attempted to incorporate messages of tolerance into the strip, with Dennis exclaiming he has a “race problem” with Jackson because “he can run faster than me.” However well-intentioned Ketcham’s choices, readers were not happy about the caricature. In St. Louis, protesters threw rocks and bottles into newspaper windows; in Detroit and Little Rock, Arkansas, crowds gathered to complain. Ketcham apologized and retired Jackson.  


Many cartoonists look forward to having their strips collected in paperback because the book royalties can make for an appreciable boost in their income. Despite having sold millions of copies of Dennis strips, Ketcham took them off the market because he felt the paperbacks weren’t reproducing his artwork properly. “I backed out of the paperback business because the paper was so cheesy and the reproduction was so bad and the space allotted was ill-suited,” he told the Los Angeles Times in 1986. “I spend too much time on my graphics not to have them treated a little better.”


By and large, Dennis is an affably rambunctious kid—prone to making a mess, but generally not a total delinquent. That wasn’t entirely true in the early strips, when Ketcham depicted Dennis inciting physical fights between adults, tying swan necks into knots, hitting other kids with a shovel and laughing about it, and filling his sock with sand to use as a makeshift bludgeon. It wasn't until a few years into the strip that Dennis settled down.


In 1959, Ketcham and his wife were asked by the U.S. State Department to go on a tour of Russia as a part of a “humor exchange program.” With its modern, middle America depictions of appliances and cars, the strip was a perfect talking point to critique Communist regimes. The U.S. government also wanted Ketcham to doodle anything he saw as a kind of cartoonist subversive. But Ketcham was so paranoid about being caught by Soviet supporters that he wound up drawing over whatever sketches might have been useful. A U.S. government employee later told Ketcham they hadn't bothered sending any more cartoonists on missions.


Writer/director Hughes (The Breakfast Club, Pretty in Pink) was a regular reader of Dennis the Menace. Following the success of 1990’s Home Alone (which Hughes wrote) that featured a booby-trapping kid named Kevin, producers were eager to try and replicate its success with a feature adaptation of the strip. Ketcham went with Warner Bros. on the condition Hughes wrote the script. “He’d been reading it for years,” Ketcham said. “We spent a lot of time talking about the characters and I gave him all the books I have on Dennis.” Dennis the Menace, with Walter Matthau as Mr. Wilson, was released in 1993.


Dennis spent an astounding 30 years as a mascot for the Dairy Queen frozen treat chain, appearing in commercials and on packaging before the franchise decided he was losing his appeal among young consumers. He retired from ice cream endorsements in 2001.


A three-foot-tall Dennis statue erected in 1986 in Monterey, California became the target of a troublemaker in 2006, when an unknown person (or persons) stole the tribute from its perch in a city park known as Dennis the Menace Playground. It was missing for nearly 10 years before turning up in Florida—at least, that’s what authorities believed. A scrap metal company found it among a pile of material to be melted down and assumed it was the statue from Monterey: Dennis curators later discovered it was actually another statue that had been stolen from a Florida hospital. The Monterey statue remains at large.


Ketcham’s son may have outgrown his bedroom-destroying habits, but a series of misfortunes led to a life far more chaotic than his cartoon counterpart. Expelled from boarding school, Dennis Ketcham served in Vietnam and suffered from post-traumatic stress disorder. He and his father reportedly had little contact prior to the elder Ketcham’s death in 2001.

The cartoonist once commented he had some regrets about naming his creation after Dennis, saying it “confused” his son. Talking with People in 1993, Dennis said he wished his father “could have used something other than my childhood for his ideas.”

This App Lets You Download Free E-Books, Magazines, Comic Books, and Audiobooks From Your Library

boggy22, iStock via Getty Images
boggy22, iStock via Getty Images

Even if your local library is closed during the novel coronavirus outbreak, you can still use your library card in quarantine. As Thrillist reports, Libby is an app that works with local libraries to give you free access to audiobooks, e-books, comic books, and magazines wherever you are.

Libby, an app from the digital reading company Overdrive, is connected to 90 percent of public libraries in North America. To use the app, just enter the information from your library card and start browsing digital titles available through your local branches. If you don't have a library card yet, some participating libraries will allow you to sign up for a digital card in the app. That way, you don't have to leave home to start reading.

As more people are looking for e-books and audiobooks to pass the time at home, Overdrive has made it possible for multiple users to check out the same title at once. That means as more libraries shift to a 100 percent online loan system for the time being, it will be easier to meet their patrons' needs.

No matter what your current literary mood may be, you should have no trouble finding something to read on Libby. Downloadable titles from the New York Public Library currently available through the app include the e-book of Becoming by Michelle Obama, the e-book of Artemis Fowl by Eoin Colfer, and the audiobook of Little Women by Louisa May Alcott. After you download a book, you can send it to your Kindle device, and all items are automatically returned on their due date. Download the free app today to start browsing.

[h/t Thrillist]

How Did Casper the Friendly Ghost Die?

Universal Pictures
Universal Pictures

The star of dozens of animated shorts and specials, hundreds of comics, and one big-screen feature (which spawned a couple of straight-to-video follow-ups), Casper the Friendly Ghost has enjoyed a great deal of spooky success since he debuted in 1945. An affable spirit, the seemingly pre-adolescent blob of ectoplasm only wants to make friends. Unfortunately, people are consistently wary of his ethereal qualities. In the earliest shorts, he preferred to hang out by himself near a tombstone.

Does the tombstone belong to him? By virtue of being a ghost, doesn’t that mean Casper was once a real, live boy who suffered a tragic fate at a young age?

The Ghost With No Name

When Casper was created back in 1940 by Seymour Reit and Joe Oriolo, the question apparently didn’t come up. Reit and Oriolo planned to have Casper—who did not yet have a name—be the star of an illustrated children’s book, with Reit writing and Oriolo illustrating it. They never got the chance. The two, who worked at Fleischer Studios on animated shorts, were both drafted to serve in World War II. When they returned, Fleischer Studios had been purchased by Paramount, renamed Famous Studios, and wanted complete control over the intellectual property of work created by employees. The two sold Casper and other characters for a total of $200 to Paramount.

When Casper made his animated debut in the 1945 Famous Studios short “The Friendly Ghost,” he finally got a name, but no mention was made of his origins. The short references his “brothers and sisters” who enjoy scaring people but offers no other details of his private life.

A second short, 1948’s “There’s Good Boos To-Night,” shows Casper leaning on a tombstone while reading a book, with a “Love Thy Neighbor” sign hanging nearby. The ghosts in the cemetery are referred to as his “neighbors” and appear to rise from their respective resting places when it’s time to go haunting. This would imply Casper is relaxing at his own gravesite, though his name doesn’t appear on the tombstone. If so, it would support the idea he once occupied the land of the living.

As Casper moved into another medium, however, a case began to be made for his existence as something other than human. In 1949, St. John Publishing produced five Casper comics. In 1952, Harvey Comics took over the license. In an effort to expand Casper’s world, Harvey gave him a ghost family, including a mom and three uncles. None of them were named until 1955, when the uncles were dubbed Fatso, Fusso, and Lazo. What wasn’t clear, however, was whether Casper’s relatives were all deceased as well or whether the Casper mythology implies ghosts are simply "born" ghosts.

The Pneumonia Theory

When the Casper feature film starring Christina Ricci was released in 1995, producers apparently thought moviegoers would be confused by a lack of explanation, and so the Casper of that film was portrayed as a boy named Casper McFadden. He was said to have died of pneumonia at the age of 12 after staying out in cold weather for too long playing with a sled he had just received as a gift.

There is one alternative, and slightly darker, theory that was purportedly first floated by The Simpsons. In the 1991 episode “Three Men and a Comic Book,” Bart and Lisa speculate that Casper is the ghost of Richie Rich, another Harvey Comics icon. (The two bear a resemblance.) Lisa believes that his realization of “how hollow the pursuit of money really is” caused Richie to take his own life. Other observers have speculated that perhaps Richie’s parents killed their son for the insurance money.

This is, of course, virtually impossible, as Richie Rich wasn’t created until 1953, 13 years after Reit and Oriolo conceived of Casper.

So what is Casper—former boy or forever ghost? Given his comfort hanging around a tombstone and his pleasant nature preventing him from besmirching the grave of another, it seems likely he was once human. To date, only the 1995 feature has attempted to detail what led him to the afterlife. Considering Casper's appeal as a children's property, that's probably for the best.