Category: Cartoons

The modern Stone Age family has its golden anniversary
It was 50 years ago this month, on the evening of Sept. 30, 1960, that America met the Flintstones, television’s modern Stone Age family. That Friday night, kids couldn’t wait. Parents were curious. And the ABC network executives pondered their gamble patiently. TV’s first animated prime-time sitcom made history; well, they were history.
“I remember sitting and watching the premiere episode,” says actor Paul Reubens, who later starred in his own popular children’s show, “Pee-wee’s Playhouse.” “I think I was in fourth or fifth grade at the time. Just the whole idea of a cartoon in prime time was exciting and there was a lot of hype about it. I loved how they patterned some characters after real stars like Ann Margrock and Stoney Curtis.”
Set in the animated suburbia of Bedrock, Fred and Wilma Flintstone (voiced by radio veterans Alan Reed and Jean Vander Pyl) along with their genial neighbors Betty and Barney Rubble (Bea Benaderet and Mel Blanc), were meant as an amalgam of adult satire and children’s amusement.
“The Flintstones” was drawn to be a slice-of-life sitcom with a prehistoric twist. The show boasted several milestones: Quite possibly, Fred and Wilma Flintstone were the first sitcom couple to be shown sleeping on the same king-size, er, slab. And definitely a cartoon first. And until 1997 when “The Simpsons” surpassed their prehistoric predecessor, “The Flintstones” held the record as the longest-running prime time animated series.
John Stephenson, 87, who carries an undeniably familiar Hanna Barbera intonation in his speaking voice, is one of the last surviving cast members of the iconic show. Most notably, Stephenson portrayed Fred’s bombastic boss at the rock quarry, Mr. Slate, among multitudes of Bedrock citizenry throughout the program’s original six-year run.
“I think the show was successful because it was an adult cartoon and viewers associated it with ‘The Honeymooners,’ ” he says. “And with the Stone Age setting and some very good writing, audiences loved it. They still do.”
Created by animation legends William Hanna and Joseph Barbera, “The Flintstones” (titled “The Flagstones” in early development) became the flagship property for the cartoon factory the duo created for television production. After producing an Academy Award-winning slew of Tom and Jerry cartoons at MGM, Hanna and Barbera formed their own company and created such animated characters as Emmy winner Huckleberry Hound, Quick Draw McGraw and Ruff and Reddy. This time, however, they audaciously decided to redirect their efforts, wipe the slate clean, and twist their usual format: Their new TV series would extend the animation to a half hour and gamble on prime-time audiences. That was unheard of in 1960.
In the process, Hanna-Barbera reinvented the animation business, introducing a more efficient and economically feasible “limited animation” procedure that proved popular both with the network and with audiences. While many animation studios were closing in Hollywood, Hanna and Barbera were just opening their doors and enticing a pool of veterans to join them in their plunge. Some of animation’s greatest talents helped polish these precious ‘stones.’ With caveman characters designed by artist Ed Benedict and a talented team of animators, the unique cartoon took off, and fast. “The Flintstones” ignited a following with loyal audiences young and old, setting off a groundbreaking cascade that eventually paved the way for more prime-time favorites such as “The Jetsons,” “Top Cat,” and such current mega-hits as “The Simpsons” and “Family Guy.”
Stephenson credits Barbera’s talent for directing the cast as a key to the show’s charm, at least vocally. During those smoke-filled studio recording sessions (the show was sponsored by Winston cigarettes for a while), it was not uncommon to hear Barbera barking over the speaker, “I paid a lot of money for this script, so I want to hear the lines!”
The verbal gymnastics were always bold and lively. “Very seldom did he want anyone to talk in a moderate tone or conversational tone,” Stephenson explains. “He wanted it up there, right in your face, punctuated, laid out and hit!”
Over decades, “The Flintstones” spawned many reincarnations, including several new series attempts (even a proposed series titled “The Blackstones”) and in the 1990s Fred and Wilma became movie stars with a pair of live-action feature films for Universal Studios.
One spinoff in 1979 was a short-lived segment of “The New Fred and Barney Show” on NBC called “The Frankenstones,” which mixed “The Flintstones” talent with a touch of “The Munsters.” Paul Reubens, just getting started in his television career, provided a voice on the show.
“I’m a big fan of ‘The Flintstones,’ so when I worked on ‘The Frankenstones,’ it was really exciting,” he recalls. “The whole idea of going to a recording studio with Fred and Wilma Flintstone was unbelievable and a little intimidating. I worked with Mel Blanc and that was unforgettable. The first time I went in there, it was so amazing to hear those famous voices come out of real people’s mouths; and these grown people were taking their work so seriously. It amazed me and I couldn’t’ wait to go to work.”
The classic series, for now, is at home on Cartoon Network’s Boomerang channel and it continues to be a viable worldwide franchise for Warner Bros. Animation, the characters’ current owner. Just look on any grocer’s store shelves and you’ll see “yabba-dabba-delicious” Fruity Pebbles cereal and other sugary flavors plus colorful Flintstones vitamins within reach for all the kiddies.
Marking the show’s golden anniversary, Boomerang will air the first episode of “The Flintstones” on Sept. 30 at 8:30 p.m., 50 years exactly to the date and hour of its premiere. A 24-hour marathon of classic episodes will air on Boomerang beginning Oct. 2 at 6 a.m.
Arguably, “The Flintstones” was the best thing created by cartoon moguls Hanna and Barbera. The show may be five decades older, but fans of classic TV will attest: It’s still a gem.

Back to the future with new ‘Futurama’ episodes
LOS ANGELES ñ On the next edition of “Futurama,” Professor Farnsworth brings his doomed crew back to life with an experimental rebirthing technique.
“Oh, mahn, I’m dripping with placenta,” says Jamaican accountant Hermes Conrad, who just moments before had been a lifeless skeleton. “Good thing it’s casual Friday.”
Pretty much anything can happen in the year 3000, where “Futurama” resided on Fox for five hilarious seasons that ended in 2003. Now, thanks to Comedy Central, “Futurama” is itself reborn and back to its old new tricks. The animated sci-fi comedy returns for a season of 12 new half-hours, kicking off with back-to-back episodes Thursday at 10 p.m. EDT.
This, as Professor Farnsworth often says in his quavering tone, is surely “Good news, everyone!”
Comedy Central has committed to 26 half-hours in all.
“Futurama” follows the life of Philip J. Fry, a dimwitted pizza delivery boy who, by a quirk of fate, was cryogenically frozen in his native Manhattan of 1999 and thawed a thousand years later in the reconstituted city of New New York.
There Fry landed a job with the Planet Express Intergalactic package-delivery company. Planet Express is owned by Farnsworth (who at 160 years old is both a scientific genius and batty) and employs a sarcastic robot-reprobate named Bender; Dr. Zoidberg, a lobsterlike alien who serves as staff physician; and, perhaps most notably, Leela, a sexy, kickboxing mutant with a single large eyeball with whom Fry is hopelessly smitten.
“Futurama” was created by Matt Groening and developed with David X. Cohen, an executive producer. A few months ago, Cohen was presiding over his cast of voice artists in a plushly soundproofed Hollywood studio as they recorded the dialogue for a future episode.
The gathered ensemble, fanned around Cohen at his desk in a semicircle and perched in tall chairs, included “Married … With Children” and “Sons of Anarchy” star Katey Sagal, who voices Leela. There was also John DiMaggio (Bender), Phil LaMarr (Hermes), Lauren Tom (the spoiled, spikey-haired intern, Amy) and Maurice LaMarche (fielding no fewer than seven supporting roles in that day’s script).
But first among equals was Billy West, whose seemingly limitless repertoire includes Fry, Farnsworth and Zoidberg, as well as the preening, cowardly starship captain Zapp Brannigan.
With their scripts on easels in front of them, they began at Act 1, Scene 1 of “The Silence of the Clamps,” performing each scene in sequence.
Certain sections were repeated, lines were given multiple readings, words got different intonations, all courtesy of Cohen’s coaching, interspersed with eruptions of group wisecracking and chortles.
“It helps to riff with the other actors,” West had said beforehand. “We fool around a lot and we make each other laugh, and that promotes a good energy in the room. That’s what puts me in the mood.”
“It’s like a disjointed radio show,” said Sagal, “except with big breaks, because these guys, as you can tell, are very funny. So sometimes it takes us a while to actually get to the work ó but we get there.”
It’s part of the charm for a team that voiced some 70 “Futurama” episodes, then four direct-to-DVD movies (aired by Comedy Central), then, years later, reunited yet again for the reborn series.
“When you’ve worked with each other for as long as we have, it all comes naturally. You always know something’s coming from the other guy ó but something unexpected,” DiMaggio said.
“It’s like when your uncle’s gonna tickle you, but you just don’t know where,” added LaMarche. The cast’s biggest challenge: not cracking up in mid-scene. “Early on, John learned to use whatever cushion was nearby to put over his mouth.”
As Groening’s big follow-up to “The Simpsons,” “Futurama” was always overshadowed by his brilliant first-born.
Who knows why? The verbal humor, sight gags, wicked cultural jabs and general irreverence that make “The Simpsons” great were always found full-strength on “Futurama.” What’s more, “Futurama” took a bold step beyond “The Simpsons” (based as it is in Homer Simpson’s hometown of Springfield) to take on the entire universe from a vantage point a thousand years removed.
“Futurama” premiered in March 1999 after Groening and Cohen, already a veteran “Simpsons” writer, had spent years contemplating what a sci-fi cartoon show should be like.
“I think Matt zeroed in on me as the nerrrrrd of the ‘Simpsons’ writers,” Cohen recalled, “though many people on that staff could have easily qualified.
“I got very excited, because my background was as an actual science student. I studied physics and computer science. I’ve always been very interested in actual science ó and also science fiction.”
The pair spent a lot of after-hours time hanging out, Cohen said, “talking about our favorite stuff in sci-fi, and what could we parody, and what could we outright steal.”
They also decided to factor in a hearty measure of character-oriented humor.
“Maybe the character is a robot, maybe he’s a giant lobster,” said Cohen, “but underneath we wanted them all to be people the viewers could sympathize with. We wanted to base our stories around actual emotions and themes that viewers could relate to.”
Even so, LaMarr argues that “most animated shows are just cartoon comedies, but I think it’s the sci-fi element that separates ‘Futurama.'”
That, plus a bit of twisted realism, imparted especially in the urban world of New New York.
“Unlike ‘The Jetsons,'” noted LaMarche, “you actually see our sidewalks.”
“And we walk on them,” DiMaggio laughed.

Rockers Def Leppard developing cartoon series
LOS ANGELES (Reuters) ñ British metal veterans Def Leppard are getting animated about their career.
The group has entered a wide-ranging deal with music publishing company Primary Wave, which is developing various marketing and branding opportunities.
Among them is a cartoon TV show, said Primary Wave CEO Larry Mestel. The project is still in the early stages, and has not been pitched to the networks, but it will depict the five members of the group in a fictional, adventurous setting, he said.
Primary Wave is also developing what Mestel called “unusual” videogame and cell phone applications.
Additionally, the company will administer Def Leppard’s music publishing, a task previously performed by Sony/ATV. The copyrights will continue to be owned by the songs’ various composers.
Def Leppard toured North America this past summer with Poison and Cheap Trick. There are no recording or touring plans in the works, a band spokesman said.
The group is now a free agent after fulfilling its contract with Universal Music. Its last album, “Songs from the Sparkle Lounge,” debuted at No. 5 on the U.S. pop chart in May 2008 — its best start since “Adrenalize” opened at No. 1 in 1992. In the U.K., it debuted at No. 10, its best showing for a studio album since “Slang” reached No. 6 in 1996.

Ben Wicks cartoons find home at York University
The archives of Canadian cartoonist Ben Wicks have found a home.
The Clara Thomas Archives & Special Collections at York University will house almost 2,500 cartoons drawn by Wicks in the late 1960s and early ’70s.
Wicks’s cartoons, once carried in more than 200 newspapers, featured his irreverent take on world events, including the Vietnam War and famine in Africa, and political figures including Pierre Trudeau, Joe Clark and Richard Nixon.
Wicks was born in London in 1926 and immigrated to Canada with his wife, Doreen, in 1957. He worked as a milkman and musician, and served in the Canadian Army before finding fame for his drawings. He died in 2000.
The collection of his cartoons had been mistakenly left behind when a Wicks family member moved homes in the 1990s. The collection became the subject of a legal battle between the family and the home’s buyers.
The Wicks family was awarded ownership of the cartoons and donated them to York.
“It was my parents’ hope that the cartoons could be shared with as many people as possible, so we are thrilled that an institution such as York University was able to take on this collection for us,” daughter Susan Wicks said in a release. “York just felt right, like the type of place where my dad would want his work preserved.”

After Dora uproar, Nick and Mattel soothe moms
NEW YORK ñ When toy maker Mattel, working with Nickelodeon, announced earlier this month that a “tween” version of Nick’s beloved “Dora the Explorer” cartoon character would be unveiled in the fall, the response was overwhelming … overwhelmingly negative.
Dora the streetwalker. A sexed-up version of a children’s icon. A poor example for kids.
Those were just some of the terms tossed around the blogosphere after Mattel released a silhouette of the “new” Dora, whose image was drastically changed from the endearing tomboy look Dora fans grew to love, with her bowl-cut hairdo, T-shirt and red shorts. This new Dora appeared to have long flowing hair, and was wearing what seemed a scanty skirt, emphasizing her long, shapely legs.
“Did Mattel turn Dora the Explorer into a Tramp?” read one headline from The Huffington Post.
But not so fast.
Mattel and Nickelodeon both say there are two major misconceptions about the new Dora, which is not replacing the “Dora the Explorer” cartoon, but will be a new interactive doll aimed at 5- to 8-year-olds.
“People care so deeply about this brand and this character,” Leigh Anne Brodsky, president of Nickelodeon Viacom Consumer Products, says. “The Dora that we all know and love is not going away.”
“I think there was just a misconception in terms of where we were going with this,” Gina Sirard, vice president of marketing at Mattel, says. “Pretty much the moms who are petitioning aging Dora up certainly don’t understand. … I think they’re going to be pleasantly happy once this is available in October, and once they understand this certainly isn’t what they are conjuring up.”
Part of the confusion stemmed from the silhouette that was released, which made Dora look more like a Britney Spears or Lindsay Lohan than a young girl. For the record, the doll does not wear a short dress, but a tunic and leggings. And while she looks older (she’s supposed to be about 10), with longer jewelry and longer hair, she doesn’t have makeup and seems pretty much like a 10-year-old girl.
Nickelodeon and Mattel say that as part of unrelated research, they found parents wanted a way to keep Dora in their children’s lives and have their daughters move on to a toy that was age appropriate.
“The idea is Dora for more girls,” Brodsky says. “The whole point was this was created because moms said help us.”
But the new version is a significant switch from the Dora many preschoolers have known, aging her so the kids who tend to drop Dora once they hit kindergarten and first grade remain connected to the new character, who has a new group of girlfriends to go exploring with (Sorry, but Boots, the Map, Swiper and other characters from the show didn’t make the transition).
The doll, which comes with a USB port and is compatible with online story lines that take Dora and four friends on new adventures involving the environment, social action and more, still has, as Sirard called it, the “Dora DNA.”
“What would Dora be if she grew up? You’d have what you’d have before you: a very sweet, wholesome adventurous. … She’s a perfect role model in that regard.”
But as Coca-Cola infamously discovered when it trotted out “new Coke” almost 25 years ago and Tropicana recently found out when it changed ó then reverted to ó its famous cover design after public confusion and outcry, making any changes, or even additions, to a famous brand can upset consumers.
In this case, Dora is more than a just a cartoon character. The bilingual adventurer, praised for encouraging kids to explore and use their imaginations, is a not only a TV sensation, but a global brand that attracts millions of kids through dolls, clothes, touring shows, DVDs and other merchandising and events.
“A lot of people think of Dora as something for their small kids. And part of the reason people like Dora is because it teaches their kids to be inquisitive and curious in an educational way, because no one wants their kids to grow up fast,” says Jean-Pierre Dube, professor of marketing at the University of Chicago’s graduate school of business.
Dube says it’s not uncommon for children’s characters or products to evolve and mature with their age group, but Mattel and Nickelodeon may have complicated matters because instead of aging the actual character, they are introducing an extension of it.
“What we learned from this is people really cherish and value what Dora represents, and if you start trying to license that out or extend that brand, this is a really risky thing to do,” he says.
“We could certainly make a case that the public is overreacting and that they’re drawing conclusions that aren’t there, but there’s some important information there, and that is, ‘Don’t mess with this brand unless you’re very careful.'”

“Wonder Woman’s” Keri Russell is ‘a tourist’ with a tiara
One of Keri Russellís most vivid childhood memories is folding laundry while watching Lynda Carter twirl as Wonder Woman on television. And then there was her star-spangled Halloween costume when she was 4, a homemade outfit that for one night made her feel like a real Amazon princess.
“So you can imagine, the idea of playing Wonder Woman now, well, thatís pretty special,” said Russell, who gives voice to the most famous female superhero of them all in “Wonder Woman,” a PG-13 animated movie that hits stores Tuesday as a straight-to-video release on DVD and BluRay.
For Russell, there is “a certain feeling of responsibility” in playing a character that has been quite literally wrapped in the flag since her first appearance on newsstands in December 1941, the same month Pearl Harbor was bombed.
“She was the strong female among all these male heroes and for little girls she was an important symbol, so I do take it seriously,î said Russell, who won a Golden Globe for her starring work on the television show “Felicity” and has appeared in films such as “Mission: Impossible III” and “The Upside of Anger.”
Still, Russell chuckled when asked about the physics of Wonder Woman’s red, white and blue outfit (ìItís a bikini, and sheís jumping around and fighting? Iím glad it was a cartoon.”) and the somewhat startling experience of treading into the comic-book sector (“The fans are very, very passionate and obsessed in a way, and itís, um, interesting. Iím a tourist.”)
Wonder Woman has been portrayed through the decades in different ways. There were many times when she seemed like a super-powered Barbie look-alike but in the late 1960s she was also a groovy boutique owner and staunch champion of the feminist movement. This time, the 75-minute animated film, which is steeped in Hellenic legend, presents her as confident and powerful princess from an ancient tribe who is repulsed by plenty of what she sees in callow American culture.
The movie was guided by acclaimed animation producer Bruce Timm and isnít for kids ñ- at one point, the makers of the film were told their movie needed trims or it would be tagged as an R-rated feature. Even after trims there are still saucy scenes, such as the one where the heroine puts her truth-demanding lasso around Steve Trevor (Nathan Fillion, who worked with Russell in “Waitress”) and he feels compelled to comment on her breasts with a crass expression. Later in the film, Wonder Woman swings a sword in battle and, in a shocking moment, she beheads an evil opponent. This is not the “The Super Friends.”
The movie is part of a robust surge in direct-to-video animated movies featuring publishing-world heroes created by DC (“Justice League: The New Frontier,” “Superman: Doomsdayî), Marvel (ìHulk Vs.,î “Ultimate Avengers”) and Dark Horse (“Hellboy: Sword of Storms”). Sales have been steady if not spectacular but the relatively low production costs and the pop-culture momentum of superhero stories in Hollywood has studios willing to cultivate the sector.
Also, the quick voice work and the chance to channel iconic roles are appealing to plenty of established stars. For instance, “Wonder Woman” and its dark tale (much of it drawing on the Wonder Woman comics of George PÈrez in the 1980s) features voice work by Rosario Dawson, Virginia Madsen, Oliver Platt and Alfred Molina.
“It was two days’ work and you are part of this great story and production,î said Russell, who laughed about the need to grunt and bellow on command. ìYou get to be a superhero and whatís better than that?”

Family Guy beams in Star Trek: Next Generation crew
The cast of Star Trek: The Next Generation is beaming into Family Guy for a reunion, according to the Hollywood Reporter.
The Next Generation crew, including Patrick Stewart, Levar Burton, Gates McFadden, Michael Dorn, Wil Wheaton, Denise Crosby, Marina Sirtis, Brent Spiner and Jonathan Frakes, will lend their voices to the animated sitcom.
In an episode titled “Not All Dogs Go To Heaven,” Family Guy character Stewie builds a transporter and beams the entire cast into his bedroom so they can spend a day in Quahog, the fictional town where the series is set.
Fox has announced a March 29 broadcast date for the Star Trek-themed episode.
The Next Generation series, which ran for seven seasons beginning in 1987, starred Stewart as Capt. Jean-Luc Picard, commander of the Enterprise and Frakes as First Officer William Riker. It won 18 Emmy Awards and a Peabody award in its long run.

New Peanuts videos released online
NEW YORK – Barack Obama, John McCain … or Linus?
In a batch of 20 new webisodes, Charlie Brown and the gang have been brought back to animated life, much in the style of their classic holiday TV specials. But Lucy, Snoopy and others have been remade for the web in three-to four-minute videos taken directly from classic 1964 comic strips.
In one of them, Linus runs for class president, only to be bedevilled by a controversial skeleton from his past: his strident belief in his Halloween hero, the Great Pumpkin.
Linus pleads: “In my administration, children will be children and adults will be adults!”
The videos are all new, made with Flash animation and new voices for the characters. But even though it’s new technology, attention has been paid to maintaining the integrity of both the strip and its beloved animation specials.
“You’re not trying to change it,” said Jeannie Schulz, widow of Peanuts creator Charles Schulz. “You’re trying to keep it the same and freshen it.”
The score, for example, is reminiscent of Vince Guaraldi’s famous jazz that accompanied the “Peanuts” television specials.
Beginning Monday, for only a limited time, fans will be able to download two episodes of the series for free on Apple’s iTunes. Otherwise, two bundled episodes are available for 99 cents each, or the full season for $7.99.
The videos were made by Warner Bros.’ Motion Comics, which has previously brought strips of Batman, Superman and Watchmen to animated life. The Peanuts project was done with the involvement of the Schulz family and estate, which monitored the adaptation.
“Our interest was in keeping the integrity of the Peanuts strip,” said Jeannie Schulz. “They’ve done a very cute job of making it really look like the old animation, but better. Better in that it’s brighter, the voices are still cute and charming.”
She adds, though, that too much animation technology – like CG animation – wouldn’t be fitting for the simplistic style of the Peanuts strip and cartoons.
“CG doesn’t quite look right with them,” said Schulz. “I still love that funny way they walk along.”
But what would the Peanuts creator – who died in 2000 at the age of 77 – think of his old strips showing up decades later, fully animated on laptops and cellphones?
“I’m sort of glad that Sparky – Mr. Schulz – isn’t alive (to see it)” laughs his wife. “But even though he would not understand why people wanted to look at things on their telephone, he understood stories and telling stories.”

Fox ‘Toons Out King of the Hill
Los Angeles (E! Online) ñ The preening queens of The Hills? Reigning media darlings. The animated cast of King of the Hill? Out of a job.
Fox has finally called time on its Sunday-night staple, opting not to pick up any more episodes of the second-longest-running animated prime-time series in history, behind The Simpsons, after the end of its 13-episode 13th season.
Talk about unlucky. And familiar.
The network has more than flirted with canceling the show in the past, actually wrapping production on the Hank Hill-centric series before turning around and ordering more episodes.
And while Fox’s M.O. is apparently to never say neveróhaving revived both Family Guy and Futurama in recent yearsóit appears that 260 episodes out from its 1997 debut, the network is officially over the Hill.
Not that everyone’s on board.
“We’ve been here before,” exec producer John Altschuler told Variety. “When it’s time for King of the Hill to go, it will go. But I think with the ratings this good, and with the quality that doesn’t seem to be diminishing, it would be very odd for King of the Hill not to keep going.”
Odd, but seemingly natural.
Both of the series’ creators, Greg Daniels and Mike Judge, have moved on to other prime-time projects, namely The Office and ABC’s soon-to-launch The Goode Family, respectively.
King of the Hill revolved around the blue-collar Texas-based Hill family and featured the vocal talents of Brittany Murphy, Kathy Najimy, Stephen Root, Tom Petty and Judge himself.
Sadly, the show will taper out without a proper sendoff: No series finale has or will be made.
As for Fox, it’s wasting no time in filling the new animated-comedy hole in its lineup, with two new series, the Family Guy spinoff The Cleveland Show and Sit Down, Shut Up, already in production. It was also announced this morning that the network has ordered a fifth season of American Dad.

Looney Tunes good news and bad
Warner Home Video has been putting out fantastic sets with the Looney Tunes Golden Collection sets and will continue to do so with Looney Tunes Golden Collection 6 later this year.
The new set will contain a total of 75 shorts on 4 DVDs, set up through the categories Looney Tunes All Stars, Patriotic Pals, Bosko, Buddy & Merrie Melodies and Most Requested Assorted Nuts.
The bonus material has not been announced yet, but will likely continue in the tradition of the previous Looney Tunes Collections. The bad news? Volume 6 appears to be the final Golden Collection release from Warner Bros.
The final set arrives on October 21st and will retail for $64.92.