Actor, comedian and singer Dan Aykroyd had one passion he had yet to bring to the screen:
the paranormal. Inspired by an article on quantum physics and parapsychology,
Aykroyd was determined to correct that. Wild with imagination, Aykroyd conceived
of an epic that followed a group of ghost exterminators with SWAT-like gear
across time, space and other dimensions to battle giant ghosts and demons. It
was meant to serve as another starring vehicle for him and his friend,
fellow Saturday
Night Live alum and bandmate John Belushi, to complement their 1980 hit, The Blues Brothers.
Presenting the script to director Ivan Reitman, Reitman realized that Aykroyd’s vision, in 1980s money,
would cost several hundred million dollars to create (remember, kids, this was
before CGI). At Reitman’s suggestion, Aykroyd paired up with Harold Ramis, with whom Reitman had worked with before, to help ground
the script in reality and tone down the more elaborate sequences in order to
secure a more realistic budget.
The result was a movie about three washed-up
scientists who discovered how they could capture and hold a supernatural entity
indefinitely. Losing their jobs at a prominent university led them to turn this
knowledge into a business and become the Ghostbusters.
Aykroyd and Ramis would play scientists Dr. Ray Stantz and Dr. Egon Spengler,
respectively. Following Belushi’s death in 1982, the role intended for him was
reconceived and fellow SNL alum and Reitman collaborator Bill Murray was cast as Dr. Peter Venkman. Ernie Hudson was brought in as the everyman Winston Zeddemore, to
whom the more technical elements could be explained for the audience’s benefit.
Rounding out the crew was Annie Potts as Janine Melnitz, the no-nonsense secretary with a
crush on Egon. Serving as the innocent victims the Ghostbusters must rescue
from the threat of model Slavitza Jovan’s Gozer the Gozerian were Sigourney Weaver as cellist Dana Barrett and Rick Moranis as accountant and Dana’s stalker-ish neighbor, Louis
Tully. Released by Columbia
Pictures, the film opened on June 8th, 1984 to
critical and commercial success, becoming the second highest grossing film of
the year behind Beverly Hills Cop.
During production of the movie, the existence
of Filmation’s live-action television show, The
Ghost Busters, was discovered. Alternate
names were considered up until the filming of the climax on Central Park West
with crowds chanting “Ghostbusters,” causing a frenzied push by the producers
to acquire the rights to the name. Along with the movie’s success, Columbia was
surprised at the number of younger fans the film had gained and contemplated
continuing the franchise with an animated spin-off. Filmation president Lou Scheimer proposed a series to Columbia, going so far as to
have initial designs for it produced. They passed. Undaunted, Filmation went
ahead with their own GhostBusters cartoon in order
to cash in on the popularity of the Ghostbusters name. The cartoon was based on
their earlier show and featured the sons of the main characters. Deciding not
to be outdone, Columbia eventually partnered with DiC to create their animated series. As they only had the
rights for the name for the movie--and as a little jab at Filmation--the title
became The Real Ghostbusters.
A short pilot was commissioned to give a
general idea of the look and concept of the series. The characters were
designed by Jim
McDermott, but instead of trying to acquire expensive
likeness rights, they went for the embodiment of the characters themselves. To
help differentiate between the three white, brunette characters in distance and
group shots, their hair colors were changed along with their bodies. Peter was
given brown hair and an average build, Ray was made a pudgy redhead, and Egon a
tall, slender blonde with a large hairstyle. To make them easier to animate,
the proton packs and Ecto-1 were streamlined. Set to a re-recorded version
of Ray Parker Jr.’s “Ghostbusters” performed by John Smith, the pilot
followed the Ghostbusters from their firehouse all across the city as they
battled random supernatural threats, including the green ghost they first
busted (dubbed Onionhead during the film’s production due to the awful smell of
the puppet used, but later named Slimer for the series) and the final big bad
from the film, Mr. Stay Puft (the only surviving giant entity from Aykroyd’s
original concept). The end of the pilot, using the finalized designs,
was reused as the end of the show’s original intro.
The series was greenlit, and the final
revisions were made. To further distinguish the Ghostbusters, as well as make
them more appealing as toys, they were given new colored uniforms: Egon in blue
with pink trim, Winston in gray with red trim and Peter in brown with green
trim. Ray’s was largely kept the same from the movies and pilot. The equipment
was further streamlined and changed from black to blue. The pack designs from
the pilot, though, continued to live on as they were used as the basis for the
action figure line produced by Kenner. Slimer was also softened to look friendlier and became
the Ghostbusters’ live-in ghost mascot as a further draw for the kids. The
containment unit, where a captured ghost was stored, went from a small wall
panel to a massive room-sized device in the basement of the firehouse where the
Ghostbusters were headquartered.
While changes in a movie-to-television
adaptation are not unusual, what was unusual was the fact that most of
these changes were explained WITHIN the show. Specifically, the episode
“Citizen Ghost,” which took place in a flashback that immediately followed the
events of the first movie. It stated that the uniforms, covered in marshmallow
goop after the original defeat of Mr. Stay Puft, had become so infused with
spectral energy that they had to be destroyed. Luckily their new customized
uniforms arrived during all the chaos. Slimer was found while they were fixing
up the firehouse and Egon decided to keep him around as a guinea pig, much to
Peter’s chagrin (since Slimer slimed him when they first met, and would
continue to slime him throughout the series as a running gag). The episode
“Take Two” also established that the film actually existed in-universe, inspired
by the lives of the cartoon characters.
Ivan Reitman, Michael C. Gross and Joe Medjuck, the latter two producers on the film, served as producers
for the series. Ernie Hudson was the only actor from the movie to audition for
the role of his character, but somehow lost out to then up-and-coming comedian
Arsenio Hall. Hall also provided the voice for the commercial bumpers, spoken
through the ghost in the no-ghost logo. Maurice LaMarche, a known
impressionist, was asked not to impersonate Ramis when auditioning for Egon. He
did and got the part anyway, although he began the series with a much deeper
tone for the first few episodes than he would use for the remainder. Lorenzo
Music was cast as Peter, Frank Welker as Ray and Slimer, and Laura Summer as
Janine. Another unusual aspect of the show was that the cast recorded their
lines together to retain the ensemble feel of the film, whereas many shows had
their actors recording individually. Often, when someone was unable to make a
session, the other actors would have fun imitating them for the duration of the
recording.
The producers wanted to feature music in the
series much like was featured throughout the movie. Ollie Brown, a friend of Ray Parker, Jr., organized a duo called
Tahiti comprised of Tyren
Perry and Tonya Townsend. They were brought on board and provided songs in 10 early
episodes, which were later released as a soundtrack album for the show by Polygram Records. However, as the series began to pick up steam on its own,
they decided the added expense and effort was no longer needed and kept to just
using the standard series score by Haim Saban and Shuki Levy.
The series was simultaneously produced for
broadcast on ABC Saturday mornings with 13 episodes and syndication
with 65 episodes, leading to a whopping 78 episodes made during the first
season’s production—an unprecedented feat at the time. Writers Chuck Menville and Len
Janson were originally recruited to be the story
editors for the series, but became intimidated at the prospect of overseeing
both the network AND syndicated version simultaneously. Jean Chalopin, head of DiC, then recruited a fairly inexperienced J. Michael Straczynski (of Babylon 5 fame) for the
position. Straczynski loved the movie and was hoping to just write some episodes
for it. He met with the producers and the network and was brought on as story
editor and a writer for a number of episodes. Because the film was such a
success, and given that the network would benefit from having the show more
than the producers would, Gross and Mejduck were able to sidestep ABC’s
notoriously stringent Standards and Practices department and dictate the way
their show was going to be done. Given absolute freedom, Straczynski recruited
the best stable of writers he could which included Menville, Janson, Richard Mueller (who also penned one of the movie
adaptation novels and served as an uncredited
story editor at times), Michael Reeves, Pamela
Hickey, Dennys McCoy (both of whom would also write some of the tie-in comics),
Mark Edward Edens and his associate from his Filmation days, Larry
DiTillo, amongst others. They delved deep into
mythology, science fiction, obscure occult references and many other places
while embracing its movie roots; creating a very mature yet still kid-friendly
experience. And it worked, as The Real Ghostbusters met with
critical acclaim when it debuted on September 13, 1986 and became the number
one animated series on any network.
Unfortunately, with success came extra attention
and the old Hollywood adage: “if it ain’t broke, fix it anyway.” Parent groups
found the show a bit too scary for children and expressed their displeasure to
the network. As a result, ABC, in a stronger position than when they first
bought the show, brought in consulting firm Q5 to retool
and “improve” it
and the rest of their Saturday line-up. Their
suggestions included giving the Ghostbusters specific roles: Egon became the
brain, Ray the builder, Peter the comedic con-man, and Winston the driver.
Janine, perceived as too “harsh and slutty”, had her feisty personality toned
down so that she could become the den mother. Her design was altered to make her
short hair softened and lengthened along with her skirt, and her pointy glasses
were rounded as “sharp objects frighten children.” Summer was
replaced by Kath Soucie, who had a softer vocal performance. The story content
and subject matter was to be less scary and even more kid-friendly with a
greater focus put on Slimer. Slimer gained more intelligible speech patterns
and slowly worked his way to the center of stories since he was a “child
surrogate” that represented the audience. Peter also became less hostile
towards him, giving him the nickname “spud.” New recurring children characters
called the Junior
Ghostbusters were introduced to give the
intended audience characters they could relate to. The animation and character
designs were also altered slightly, with Ray becoming thinner and Slimer
gaining a tail. Under protest about these changes and many others that were
successfully shot down (such as eliminating Ray from the cast as superfluous), Straczynski
quit the show. Janson and Menville were promoted to story editors in his place.
Further changes came as the series progressed.
Music was replaced by comedian Dave Coulier (who would become famous as Uncle
Joey on Full
House) for the second season. Two reasons for
this persist: either Murray approached Reitman with the complaint that Peter
sounded like Garfield (who was also voiced by Music, and whom Murray
himself would go on to voice in two live-action movies) while the others
sounded like the film actors, or Medjuck himself wanted someone who could sound
more like Murray. This created some confusion for viewers as the syndicated
episodes aired alongside season 2 with Music and Summer still in their roles,
however several earlier episodes were re-recorded with Coulier and Soucie
replacing their characters’ dialogue. At the end of the season, Hall began
development on the highly-successful first incarnation of The Arsenio Hall Show and left the
series. He was replaced by Buster Jones, with Welker rerecording the commercial
bumpers in a Slimer-like voice. Thomas Chase and Steve Rucker would come to
replace Saban and Levy as the series’ composers beginning with the 6th
season, and animation duties were moved from Japan to South Korea.
For the third season, the show was extended to
an hour and retitled Slimer! And the Real Ghostbusters, complete
with a new Slimer-centric opening sequence that was later given a new recording of the theme
song. A regular Ghostbusters adventure would
precede two short Slimer adventures, done in a completely
different animation style that was more
rounded and cartoony. Slimer’s segments had an all-new supporting cast, such as
ice cream truck driver Chilly Cooper (Cree Summer), con-man Rudy (Jeff Marder)
and Scottish Terrier Fred (Welker), who resided at the hotel where Slimer was
first encountered. Slimer’s nemeses were a trouble-making alley cat named Manx
(Welker), and deranged scientist Professor Norman Dweeb (Jeff Altman) and his
dog, Elizabeth (Welker), who sought to capture Slimer and experiment on him. Dweeb
and Elizabeth would be the only Slimer segment characters to cross over into
the main show (although the other characters would be rendered in the main
style for the intro). Following the release of Ghostbusters II, Louis Tully (Roger Bumpass) was added to the cast in
season 4 and Janine’s hairstyle was changed to resemble her movie
counterpart’s. The mood slime from the second movie also made an appearance,
however colored
yellow instead of pink.
The changes made to the show proved unpopular
and viewership steadily declined. ABC had, at one point, asked Straczynski to
return as story editor and salvage the show, but he was busy with other
projects. He did, however, contribute several scripts to the show with the
proviso that he be allowed to do them the way they started out doing the show.
His contributions included “Janine, You’ve Changed” which gave an in-story
explanation to Janine’s constant redesigns. He also wrote the show’s only
prime-time special episode, “The Halloween Door.” The show managed to last for six seasons on ABC before
being cancelled in 1991.
All through the show’s production, Kenner
produced action
figures, vehicles, a firehouse playset and child-sized versions
of the equipment for North America,
Germany, Italy, France, the Netherlands and the United Kingdom. Internationally, the toys were produced by Estrela in Brazil, Jocsa in
Argentina, and Auriken in Mexio. Each wave of the line featured a series of
Ghostbusters with different paint jobs, accessories or actions. Janine was
featured in four of the waves before being replaced by a Louis figure for the
remainder of the line. Beginning in 2020, Hasbro, current owner of Kenner’s library, began releasing a
Kenner Classics line that reproduced the first wave of action figures and ghosts, some ghosts, Ecto-1 and the Ghost Popper toy. Aside from the figures, the show’s name was slapped
on almost everything imaginable: TV
tray tables, miniature
gumball machines, radios, yoyos, bath
products, shaving
kits, bedding, puzzles, board
games, watches and more.
In 1987, Data East produced a Real Ghostbusters arcade game that was a 360-degree top-down shooting game. It was
later ported to various home consoles. In 1988, Remco released
a handheld game that featured Peter having to repel a horde of ghosts as they
descended down on him. Remco also produced two electronic table-top
games. In 1993, a Game Boy game was developed by Kemco and
released by Kotobuki Systems in Europe and Activision in
America. The game had very little to do with the show or concept as it was
originally developed as a Mickey
Mouse game in Kemco’s Crazy Castle series of games called Mickey Mouse IV: the
Magical Labyrinth. In Europe, it
featured Garfield while the American version featured only Peter as he tries to navigate through an enemy-filled maze.
In 1988, licenses for a comic based on the show
were granted to Marvel’s United Kingdom division for international
publication while NOW Comics obtained the domestic rights. The Marvel books were magazine-sized and ran weekly until
its last few issues went monthly, featuring several short comic strips and a
prose story. Many prominent creators worked on the series, including Richard Starkings, Phil Hester, Dan Abnett, Andy Lanning and Al Williamson. Marvel also made a point of including many of the
vehicles, equipment and suits that only existed as toys in their stories. NOW’s
series featured a more mature tone than the Marvel books and typically had only
one story per issue. It was primarily written by James Van Hise with
art by future Mortal
Kombat co-creator John Tobias. Because of NOW’s monetary troubles, the original comic
series ended after 28 issues but was relaunched with a new series shortly
after, lasting four issues and two specials before ending once again. Occasionally
during their runs, Marvel and NOW would share stories and cover art, and both
books featured the only time the character of Dana would be rendered in The
Real style as she never appeared on the show. Both companies also
produced a short-lived Slimer! spin-off book, however the
Marvel version was typically a reprint of the NOW series. Both series outlived
the show, ending in 1993. In 2006, Titan Books reprinted
some of the Marvel UK strips in three digest-sized collections. In 2012 &
2013, current license holder IDW
Publishing released two omnibus collections of the first volume of NOW comics.
The last vestige of the series came from the
most unlikely place. In a promotional tie-in to the show, Hi-C began
production of a flavor called “Ecto-Cooler”: a green-colored orange and
tangerine drink that featured Slimer on the packaging. The drink lasted well
beyond the show, remaining unchanged until 1997 when Slimer was finally
removed. The flavor continued on and was eventually renamed “Shoutin’
Orange Tangergreen” in 2003—then “Crazy Citrus
Cooler” in 2006--before eventually being discontinued altogether. Along with
trying to petition Coca-Cola, the makers of Hi-C, to bring the flavor back, fans of the
drink have taken to figuring out the recipe for it and making
their own. Ecto-Cooler did return for a limited time (still without Slimer) in 2016 as part
of a promotion for Ghostbusters: Answer the Call. Other food items included a line of marshmallow cereals by Ralston, canned pasta and sauce by Heinz, and fruit
snacks by Kids Classics.
In 1997, Sony, now owner of
Columbia and its properties, sought to revitalize the Ghostbusters brand with a
new animated series entitled Extreme Ghostbusters (originally Super
Ghostbusters, both popular adjectives to add to the titles of things
throughout the 80s and 90s). The Ghostbusters had disbanded and Egon (LaMarche)
remained behind to monitor the containment unit with Janine (Pat Musick) and Slimer (Billy West,
whose casting was okayed by Welker due to other commitments) while he taught at
the university. Circumstances led to Egon’s only students—cynical slacker
Eduardo Rivera (Rino
Romano), intelligent and gifted Roland Jackson (Alfonso Ribeiro), brilliant goth Kylie Griffin (Tara Strong)
and wheelchair-bound jock Garrett Miller (Jason Marsden)--to
reform the Ghostbusters. While many things were similar to The Real,
the designs for the show were owned by DiC, necessitating some redesigns (some
explained in-story) as the show was now produced by Sony's own Adelaide Productions. The series, despite having some of the same writers and
producers from the previous show, failed to achieve the same success and was
cancelled after only one season. But, not before the original Ghostbusters
(portrayed by their Real actors) made an appearance in the
two-part series finale.
![]() |
The Real Ghostbusters complete series DVDs by Time Life. |
At the conclusion of Extreme, all
was quiet on the animated Ghostbusters front until two movie-centric episodes,
“Citizen Ghost” and “Patners in Slime”, were included as special features on
the 2005
re-release of Ghostbusters II. The following year, three bare-bones
collected DVDs were released with four
episodes on each. This was the first time The Real had been
available on home video since the original VHS
releases during the show’s run. Sales were
sufficient enough that Time Life produced a full-series collection in 2008, which
included steelbook cases (replaced with similar plastic cases in later
releases) with design sketches inside, an episode guide and a bonus disk of
additional content. Fans got the chance to vote for the set’s packaging: a slimed black box with some images on it, or a
reproduction of the firehouse (pitched using an image of the real New York
firehouse). The firehouse packaging won out, resembling the cartoon firehouse
with two lenticular holograms. The steelbooks within were later individually
released as season sets. The set was further
broken down in 2016 by Sony Home
Entertainment into 10
volumes, each containing a dozen or so episodes
and reusing some of the Time Life artwork. The first five volumes were put
together in a
box set at the time of their release, and in 2017
all 10 volumes were gathered together into a single
box. The pilot was restored and included as a
special feature on the limited edition 35th
anniversary re-release of both films.
![]() |
The RetroAction figures on display with the included Firehouse backdrop. |
In 2011, five sets of Minimates figures based on the series were made, while Mattel produced
a line of Reto-Action
action figures (7” dolls with cloth uniforms
modeled after Mego figures) and their Hot Wheels
division released a die-cast
animated Ecto-1 in 2015. Beginning in 2018, Diamond Select Toys released new action figures based on the cartoon as part
of their Ghostbusters
toyline; both with and without a piece of a
Firehouse diorama. Although the show has yet to return to its own comic series,
several references have been made to it in 88MPH’s Ghostbusters:
Legion and throughout IDW’s ongoing Ghostbusters series. IDW also had a couple of back-up features set in the animated
world and crossovers in Get
Real and 101. The 2022 first-person shooter video game Ghostbusters: Spirits Unleashed, developed and published by IllFonic,
received an update in early 2023 that allowed players to customize
their characters to resemble the Ghostbusters and
Janine from the animated series. In October, a 4th
wave of free downloadable content introduced the ghostly villain Samhain (Ryan Colt Levy), as well as
skins based on the Molecular
Destabilizing suit from “Xmas Marks the Spot” and the Screaming
Heroes Egon action figure.
Originally posted in 2014. Updated in 2023.
No comments:
Post a Comment