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Dexter's Laboratory

Dexter's Laboratory is an American animated television series created by Genndy Tartakovsky for Cartoon Network as the first Cartoon Cartoon. The series follows Dexter, an enthusiastic boy-genius with a hidden science laboratory in his room full of inventions, which he keeps secret from his clueless parents, who are only referred to as "Mom" and "Dad". Dexter is at constant odds with his older and more extraverted sister Dee Dee, who always gains access to the lab and inadvertently foils his experiments. Dexter has a bitter rivalry with his neighbor and classmate Mandark, a nefarious boy-genius who attempts to undermine Dexter at every opportunity. Prominently featured in the first and second seasons are other segments focusing on superhero-based characters Monkey, Dexter's pet lab-monkey/superhero, and the Justice Friends, a trio of superheroes who share an apartment.

Tartakovsky pitched the series to Fred Seibert's first animated shorts showcase What a Cartoon! at Hanna-Barbera, basing it on student films he produced at the California Institute of the Arts. Four pilots aired on Cartoon Network and TNT from 1995 to 1996. Viewer approval ratings led to a half-hour series, which consisted of two seasons totaling 52 episodes, airing from April 27, 1996, to June 15, 1998. On December 10, 1999, a television film titled Dexter's Laboratory: Ego Trip aired as the intended series finale, and Tartakovsky left to begin working on Samurai Jack.

In November 2000, the series was renewed for two seasons containing 26 total episodes, which began airing on November 18, 2001, and concluded on November 20, 2003. Due to Tartakovsky's departure, the last two seasons featured Chris Savino as showrunner along with a new production team at Cartoon Network Studios with changes made to the visual art style and character designs.

Dexter's Laboratory won three Annie Awards, with nominations for four Primetime Emmy Awards, four Golden Reel Awards, and nine other Annie Awards. The series is notable for helping launch the careers of animators Craig McCracken, Seth MacFarlane, Butch Hartman, Paul Rudish, and Rob Renzetti. Spin-off media include children's books, comic books, DVD and VHS releases, music albums, toys, and video games.

Characters

Dexter (voiced by Christine Cavanaugh in seasons 1–3; Candi Milo in seasons 3–4) is a bespectacled boy-genius who, behind a bookcase in his bedroom, conceals a secret laboratory, which can be accessed by spoken passwords or hidden switches on his bookshelf. Though highly intelligent, Dexter often fails to achieve his goals when he becomes overexcited and careless. Although he comes from a typical American family, Dexter speaks with an accent of indeterminate origin. Christine Cavanaugh described it as "an affectation, [a] kind of accent, we're not quite sure. A small Peter Lorre, but not. Perhaps he's Latino, perhaps he's French. He's a scientist; he knows he needs [a] kind of accent." Genndy Tartakovsky explained, "he's a scientist. All scientists are foreign and have accents...It's not really a German accent. It's just Eastern European." Tartakovsky later declared Cavanaugh's input for Dexter to be irreplaceable as he acknowledged her legacy.

Dexter conceals his lab from his clueless parents, addressed only as Mom (voiced by Kath Soucie) and Dad (voiced by Jeff Bennett), who never take notice of it. His hyperactive, carefree, older sister Dee Dee (voiced by Allison Moore in seasons 1 and 3 and by Kat Cressida in seasons 2 and 4) delights in playing haphazardly in the lab, wreaking havoc with Dexter's inventions. Though seemingly dim-witted, Dee Dee, a talented ballet dancer, often outsmarts her brother and even provides him helpful advice. For his part, Dexter, though annoyed by his intrusive sibling, feels a reluctant affection for her and will come to her defense if she is imperiled.

Dexter's nemesis is rival classmate Mandark Astronomonov (voiced by Eddie Deezen). Like Dexter, Mandark is a boy genius with his own laboratory, but his schemes are generally evil and designed to gain power or downplay or destroy Dexter's accomplishments. In revival seasons, Mandark becomes significantly more evil, becoming Dexter's enemy rather than his rival, and Mandark's laboratory changes from brightly lit with rounded features to gothic-looking, industrial, and angular. Mandark's unrequited love for Dee Dee is shown as a pivotal weakness, notably near the end of the Ego Trip television film.

Recurring segments
Every Dexter's Laboratory episode, with the exception of "Last But Not Beast", is divided into different stories or segments, each being 7–12 minutes long. Occasionally, a segment centers on characters other than Dexter and his family. Two segments are shown primarily during season one: Dial M for Monkey and The Justice Friends. Dial M for Monkey is the middle segment for six episodes of season one, and The Justice Friends takes its place until season one's end. After the first season, characters from extra segments were not as frequently seen, with one exception being the Dial M for Monkey segment, "Peltra", which aired in season two.

Dial M for Monkey
Dial M for Monkey shorts feature Dexter's pet laboratory monkey named Monkey (vocal effects provided by Frank Welker), whom Dexter believes is an ordinary monkey and nothing more. However, Monkey secretly has superpowers and fights evil as a superhero named Monkey. Monkey is joined by his partner Agent Honeydew (voiced by Kath Soucie) of Global Security, Commander General (voiced by Robert Ridgely in season 1, Earl Boen in season 2), and a team of assembled superheroes. Dial M for Monkey was created by Genndy Tartakovsky, Craig McCracken, and Paul Rudish. Monkey's superpowers include super-strength, telekinesis, flight, and super speed, among others.

The Justice Friends
The Justice Friends consists of Major Glory (voiced by Rob Paulsen) of whom Dexter himself is revealed to be a fan and collects Major Glory action-figures, Valhallen (voiced by Tom Kenny), and the Infraggable Krunk (voiced by Frank Welker), a trio of superhero roommates residing in an apartment called Muscular Arms. Their adventures deal less with superhero life and more with an inability to agree with each other; it is presented much like a sitcom, including a laugh track. Genndy Tartakovsky's inspiration for The Justice Friends came from reading Marvel Comics when learning how to speak English. Tartakovsky stated in a 2001 IGN interview that he was disappointed with how The Justice Friends turned out, saying, "it could have been funnier and the characters could have been fleshed out more."

Mini-segments
Between the three main segments in seasons one and two are brief mini-segments, which often feature only Dexter and Dee Dee. Other characters that star in these include "The Puppet Pals" – two live-action puppets named Puppet Pal Mitch (voiced by Rob Paulsen) and Puppet Pal Clem (voiced by Tom Kenny).

Production

Genndy Tartakovsky, the creator of Dexter's Laboratory, was born in Moscow, where his father, a dentist, served in the government of the Soviet Union. Although relatively wealthy and well-connected, his family feared racial persecution due to their Jewish heritage and moved to the United States when Tartakovsky was seven. Along with his older brother, Alex, Tartakovsky taught himself how to draw as a child by copying comic books.

After transferring from Columbia College Chicago to the California Institute of the Arts in 1990 to study animation, Tartakovsky wrote, directed, animated, and produced two student short films, one of which was a precursor to Dexter's Laboratory 's television pilot, "Changes". Described as a two-and-a-half-minute pencil test, this short film was included in a university screening for the producers of Batman: The Animated Series, who were impressed and hired Tartakovsky.

Later on, Tartakovsky joined the production team of 2 Stupid Dogs. His co-workers on that series, Craig McCracken, Rob Renzetti, Paul Rudish, and Lou Romano, had been classmates of his at Cal Arts and went on to collaborate with him on Dexter's Laboratory. Tartakovsky's last job before developing Dexter's Laboratory into a television series was to serve as a sheet timer on The Critic. During his time on that series, Tartakovsky received a phone call from Larry Huber, who had been a producer on 2 Stupid Dogs. Huber had shown Tartakovsky's unfinished student film to a then-nascent Cartoon Network and wanted Tartakovsky to develop the concept into a seven-minute storyboard.

Unhappy with his position on The Critic, Tartakovsky accepted Huber's proposal, and the resulting project, "Changes", was produced as part of Cartoon Network's animation showcase series, World Premiere Toons, debuting on February 26, 1995. Viewers worldwide voted through phone lines, websites, focus groups, and consumer promotions for their favorite short cartoons; Dexter's Laboratory was the first of 16 to earn that vote of approval. Mike Lazzo, then-head of programming for Cartoon Network, said in 1996 that it was his favorite of the 48 shorts that had been produced by that point, commenting that he and colleagues "loved the humor in the brother-versus-sister relationship".

Even after "Changes" premiered, Tartakovsky had no expectations that it would lead to an entire series. In 2018, he noted that his generation was the first in which people could become showrunners at a young age, saying, "Everybody before us were in their forties, at least, and so [our generation's experience] was a very different way to do something where we had no clue what we were doing and we were just trying to make each other laugh." When Dexter's Laboratory received a series greenlight, Tartakovsky became, at age twenty-seven, one of the youngest animation directors of that era. Speaking with the Los Angeles Times in 2002, Tartakovsky remarked about the network, "With Cartoon Network, they were looking for more undiscovered talent, people that may have had a hard time getting in.[...]It became a great opportunity to do something. And as I got into it, I realized that they were also offering the creative freedom. They were letting the creators make the shows."

Tartakovsky's former classmates McCracken and Rudish helped him design "Changes". This pilot went through several changes for a second cut, as Tartakovsky felt utterly dissatisfied with the score, the sound effects and the entire second half, which he chose to redo entirely. It was only then that producer Fred Seibert felt convinced that the concept for Dexter's Lab could be successful. Soon afterward, Tartakovsky helped McCracken create his own short film for World Premiere Toons/What a Cartoon!, which would eventually become the basis for The Powerpuff Girls. After finishing McCracken's project, the group proceeded to a second short film for Dexter's Laboratory, titled "The Big Sister". At the time, Tartakovsky was still not anticipating a series greenlight for Dexter's Laboratory. He went on to reminisce that, in those days, he was simply having fun working on short films with his friends. Tartakovsky and McCracken, who had been roommates shortly after college, went on to become regular collaborators on each other's series. Animation historian David Perlmutter noted a symbiosis between the two men, which he felt led to stylistic similarities between Dexter's Laboratory and The Powerpuff Girls.

In August 1995, Turner ordered six half-hours of Dexter's Laboratory, which included two cartoons of one spin-off segment titled Dial M for Monkey. In addition to Tartakovsky, McCracken, Renzetti, and Rudish, directors and writers on Dexter's Laboratory included Seth MacFarlane, Butch Hartman, John McIntyre, Robert Alvarez, and Chris Savino. McCracken served as an art director on the series. Perlmutter described McCracken's role on Dexter's Laboratory as that of Tartakovsky's "effective second-in-command".

Conception
Dexter's Laboratory originated with one of Genndy Tartakovsky's designs of a ballet dancer. While attending CalArts, Tartakovsky drew a tall, thin girl dancing and decided to pair her with a short and blocky opposite. These two characters would eventually develop into Dee Dee and Dexter respectively, although they went unnamed until Tartakovsky started expanding the concept for Cartoon Network. To further contrast the two characters, Tartakovsky determined that Dee Dee would be artistic, while Dexter would be focused on science. In an interview, Tartakovsky said, "Dee Dee came first. She was really the star of the show to me. She was so much fun. Later on, I started on Dexter and he took over."

The names Dexter and Dee Dee were both found in name books; "Dexter" caught Tartakovsky's attention for sounding scientific, while "Dee Dee" appealed to him because of its uniqueness and because he felt that it complemented that character's two pigtails. Before settling on these options, Tartakovsky had considered titling the series Dartmouth and Daisy. Explaining why he discarded this idea, Tartakovsky said that "Dartmouth doesn't exactly roll off the tongue" and that the name Daisy was already heavily associated with Disney. The title Dexter's Laboratory was not settled on until around midway through production of the series' pilot episode, "Changes".

The ages of Dexter and Dee Dee are meant to be nebulous. Although Tartakovsky suggested that Dexter is intended to be about six to eight years old and that Dee Dee is "a couple years older", he stressed that he would "never want" to specify Dexter's exact age. Tartakovsky wrote Dexter as a hardworking, unspoiled "Midwest kid" who loves food and explained, "I'm not saying he's from Chicago, but there's a reason he's got his own burrito palace, just like I had growing up in Chicago."

The sibling dynamic in Dexter's Laboratory was partially modeled on Tartakovsky's relationship with his older brother, Alex. Comparing himself to Dee Dee and Alex, who became a computer engineer, to Dexter, Tartakovsky acknowledged that he was most likely a "pest" to his older brother while they were growing up. Another time, he reminisced that as kids, he and his brother could each be a "pain in the ass" to the other. To illustrate one of the parallels between his childhood and the series, Tartakovsky noted that Alex had kept him from playing with "intricate" toy soldiers in those days, much like Dexter attempts to keep Dee Dee away from his inventions.

Tartakovsky determined that Dexter should have an accent because the character "considers himself a very serious scientist, and all well-known scientists have accents." During one interview, Tartakovsky suggested that viewers should decide for themselves whether or not the character's accent is an affectation, saying that "[n]obody knows" whether the character is "pretending to be a German scientist" or is speaking naturally. Although Tartakovsky noted in a separate interview that Dexter's accent is not meant to denote any specific nationality, he revealed in a 2012 Reddit AMA that it was partially inspired by "a funny French accent" done by his college roommate.

Tartakovsky drew inspiration from his experiences as an immigrant growing up in Chicago. He explained that, like Dexter, he had a "very thick accent" as a child—and even though he lived in a diverse neighborhood, children would tease him for this. Speaking with The Jewish Journal of Greater Los Angeles in 2001, Tartakovsky explained, "When I moved to America, I wanted to fit in and be American...We never tried to be too heavy-handed with Dexter's, but if you look at the underlying themes of the show, it's about a little kid trying to fit in." Tartakovsky noted that when he was a child, he was less confident than the character, telling The New York Times, "The one thing about Dexter, if he doesn't fit in, he'll start his own club. He's not afraid to be an outsider." With Dexter's Lab he continued the tradition of making "violent cartoons", explaining that "many people like them because they project themselves in the drawings and they laugh," while following the principles of older Hanna-Barbera cartoons.

Linda Simensky, who served as senior vice-president of Original Animation for Cartoon Network during the production of Dexter's Laboratory, wrote in 2011 that Dexter was designed "to be more of an icon in some ways"; she continued, "his body was short and squat and his design was simple, with a black outline and relatively little detail... Since Tartakovsky knew he was developing Dexter for television, he purposely limited the design to a degree, designing the nose and mouth, for instance, in a Hanna-Barbera style to animate easily." This simplistic style was influenced by UPA shorts, as well as by the Merrie Melodies cartoon The Dover Boys at Pimento University. Simensky noted though, that in contrast to those cartoons, Dexter's Laboratory is "staged cinematically, rather than flat and close to the screen, to leave space and depth for the action and gags in the lab". Tartakovsky was influenced by Warner Bros. cartoons, Hanna-Barbera, and Japanese anime.

Original run
Dexter's Laboratory premiered on TNT on April 27, 1996, and the following day on Cartoon Network and TBS. It became the first in a brand of Cartoon Network original cartoons, later including Cow and Chicken, I Am Weasel, Johnny Bravo, The Powerpuff Girls, Ed, Edd n Eddy, and Courage the Cowardly Dog, collectively known as Cartoon Cartoons. A second season was ordered, which premiered on Cartoon Network on July 16, 1997. This run of the series includes the episode "Dexter and Computress Get Mandark!", whose author was a seven-year-old boy from Long Island named Tyler Samuel Lee, who submitted his story to Tartakovsky as an audiotape. Tyler's recorded narration was used in the episode, and Tartakovsky (who often received letters and comments from other fans) said that Tyler had "a great understanding of the show and genuinely captured the imaginative kid perspective we're always striving for." Composers Thomas Chase, Steve Rucker, and Gary Lionelli provided the musical score for the series.

Dexter's Laboratory went on hiatus on June 15, 1998, after two seasons, with season two lasting 39 episodes. The series finale was initially intended to be "Last But Not Beast", which differed from the format of other episodes, in that it was a single 25-minute episode, rather than a collection of shorter segments. By this point, Tartakovsky was exhausted. His focus on the series had cost him two relationships, and he went on to joke that the process of running Dexter's Laboratory was like "giving birth to ten children." After putting the series on hiatus, Tartakovsky became a supervising producer on colleague Craig McCracken's series, The Powerpuff Girls; he directed episodes of that series and worked on The Powerpuff Girls Movie. After the movie, McCracken would later go on to create Foster's Home for Imaginary Friends for Cartoon Network. Both Hartman and MacFarlane left Cartoon Network altogether at this point; the former went on to create The Fairly OddParents and Danny Phantom for Nickelodeon while the latter went on to create Family Guy for Fox respectively.

In 1999, Tartakovsky returned to direct Dexter's Laboratory: Ego Trip, an hour-long television movie. It was his last Dexter's Laboratory production to be involved with and was intended to be its conclusion. Ego Trip was hand-animated, though character and setting designs were subtly revised. Its plot follows Dexter on a quest through time to discover his future triumphs. It premiered on December 10, 1999, at 7:00 PM with a repeat broadcast on January 1, 2000, at 12:00 AM.

Revival
On February 21, 2001, Cartoon Network issued a press release stating that Dexter's Laboratory had been revived for a 13-episode third season. The series was given a new production team at Cartoon Network Studios, and Chris Savino took over the role of creative director from Tartakovsky, who at the time was immersed in launching his next series, Samurai Jack. During season four of Dexter's Laboratory, Savino was promoted to producer giving him further control of the series, including the budget. Revival episodes featured revised visual designs and sound effects, recast voice actors, continuity shakeups, and a transition from traditional cel animation, which was used until Ego Trip, to digital ink and paint, which was used permanently beginning with season three's premiere.

Christine Cavanaugh voiced Dexter for early episodes of season three, but she retired from voice acting in 2001 for personal reasons. She was replaced by Candi Milo. Allison Moore, a college friend of Tartakovsky, was cast as Dee Dee. Moore's role was later recast with Kat Cressida. In season three, Moore briefly returned to voice Dee Dee before Cressida again assumed her role for season four. Character redesigns were handled with the help of one of Dexter's original model designers, Chris Battle, known individually for acting as character designer for Nickelodeon's Aaahh!!! Real Monsters and Cartoon Network's The Powerpuff Girls. Aaron Springer and Chris Reccardi are credited on the writing staff, as is Family Guy creator Seth MacFarlane.

In 2023, Tartakovsky said he was uninterested in attempting to reboot Dexter's Laboratory due to Cavanaugh's death in 2014.

Episodes
Dexter's Laboratory broadcast 78 half-hour episodes over 4 seasons during its 7-year run. Four pilot shorts were produced for What a Cartoon! that aired from 1995 to 1996, and were reconnected into season one in later airings. Fifty-two episodes were produced from 1996 to 1998, followed by Ego Trip in 1999.

Another 26 episodes were produced and broadcast from 2001 to 2003. "Chicken Scratch" debuted theatrically with The Powerpuff Girls Movie in 2002, and was later broadcast in season four.

Broadcast
Dexter's Laboratory premiered on February 26, 1995, on Cartoon Network as part of What a Cartoon!. On December 31, 2000, Cartoon Network aired its "New Year's Bash" marathon featuring Dexter's Laboratory among other programs. On November 18, 2001, it broadcast a 12-hour "Dexter Goes Global" marathon in 96 countries and 12 languages. This marathon featured fan-selected episodes of Dexter's Laboratory and culminated by premiering two new episodes of season 3.

From 2005 to 2008, Dexter's Laboratory was rerun in segments on The Cartoon Cartoon Show with other Cartoon Cartoons from that era. From 2012 to 2014, it returned in reruns on the revived block, Cartoon Planet.

From January 16, 2006, to June 7, 2021, Dexter's Laboratory aired reruns on Boomerang.

Cartoon Network has aired reruns in Canada since its launch on July 4, 2012. This launch was commemorated by parent network Teletoon, which aired Cartoon Network-related programming blocks and promotions in weeks leading up to it, including episodes of Dexter's Laboratory.

Dexter's Laboratory currently airs in reruns on Checkered Past on Adult Swim.

Controversial episodes
"Dial M for Monkey: Barbequor", a season 1 episode from 1996, was removed from rotation after being broadcast in the United States. In later broadcasts and on its Season 1 DVD (Region 1), "Barbequor" has been replaced with "Dexter's Lab: A Story", an episode from season two.

"Rude Removal", a season 2 episode, was produced but not aired. It involves Dexter creating a "rude removal system" to diminish Dee Dee and Dexter's rudeness; however, it instead creates highly rude clones of both siblings. "Rude Removal" was only shown during certain animation festivals and was never aired on television due to characters swearing, even though all swear words are censored. Tartakovsky commented that "standards didn't like it." Linda Simensky, then-vice president of original programming for Cartoon Network, said "I still think it's very funny. It probably would air better late at night." Michelle Klein-Häss of Animation World Network called the episode "hilarious" after viewing it at the 1998 World Animation Celebration, although she predicted that it would "never be shown on television".

In October 2012, Genndy Tartakovsky was asked about "Rude Removal" during an AMA on Reddit, and he replied "Next time I do a public appearance I'll bring it with me!" Adult Swim later asked fans on Twitter if interest still existed with it, and fan response was "overwhelming". "Rude Removal" was finally uploaded on Adult Swim's official YouTube account on January 22, 2013.

Reception
Dexter's Laboratory was Cartoon Network's highest-rated original series in 1996 and 1997. Internationally, it garnered a special mention for best script at the 1997 Cartoons on the Bay animation festival in Italy. From 1998 to 2000, a Dexter balloon was featured in Macy's Thanksgiving Day Parade alongside other iconic characters, including the titular piglet from Babe whom Christine Cavanaugh voiced. The series was part of Cartoon Network's 20% ratings surge during mid-1999. On July 7, 2000, the series was the network's highest-rated original telecast among households (3.1), kids 2–11 (7.8), and kids 6–11 (8.4), with a delivery of almost 2 million homes. On July 31, 2001, it scored the highest household rating (2.9) and delivery (2,166,000 homes) for a Cartoon Network telecast for that year. Dexter's Laboratory was one of the network's highest-rated original series of 2002.

Critical reception
Dexter's Laboratory received positive reviews from critics. Betty Cohen, then Cartoon Network's president, called it one of her favorite animated programs, stating, "It shows little guys can be powerful." Rapper Coolio stated in an August 2002 Billboard interview that he is a fan of the series, stating, "I watch a lot of cartoons because I have kids. I actually watch more cartoons than movies."

Shortly after the premiere of its first season, Dexter's Laboratory was hailed as one of the best new series on Cartoon Network by Ted Cox of the Daily Herald. In the lead up to its second season, Dexter's Laboratory was called the most imaginative series on Cartoon Network by Nancy McAlister of The Florida Times-Union. Although McAlister critiqued the gender stereotyping of Dexter's parents, she acknowledged that she was only applying such scrutiny to the series because Dexter's Laboratory had helped convince her that "viewers should take animated programming seriously".

In 1997, Bill Ward of the Star Tribune named Dexter's Laboratory to his Critic's Choice list, recommending it for the "young of all ages". In a 2012 top 10 list by Entertainment Weekly, Dexter's Laboratory was ranked as the fourth best Cartoon Network series. In 2009, Dexter's Laboratory was named 72nd best animated series by IGN, whose editors remarked, "Aimed at and immediately accessible to children, Dexter's Laboratory was part of a new generation of animated series that played on two levels, simultaneously fun for both kids and adults." In his 2015 book Animation: A World History Volume III: Contemporary Times, Giannalberto Bendazzi called Dexter's Laboratory "visually and verbally innovative". He considered the series to be a groundbreaking work of pop art, likening its visual style to both street art and the designs of Takashi Murakami.

David Perlmutter wrote in his 2018 book, The Encyclopedia of American Animated Television Shows, that all three segments of Dexter's Laboratory (the main scenario, along with Dial M for Monkey and The Justice Friends) elevate stereotypical ideas through an approach that contains "verve and originality". Perlmutter called the series more "complex" than it first seems. He praised the staging of action sequences throughout the series and wrote that Dexter's Laboratory is "much more effective (and funny) than it would have been under a director less committed to the project [than Tartakovsky]."

Legacy
As affirmed by Giannalberto Bendazzi in Animation: A World History Volume III, Dexter's Laboratory, along with Craig McCracken's The Powerpuff Girls, helped define the style of Cartoon Network, both for being works "in which lines and colour are predominant", and for underlining their graphic aspect through limited animation. Television critic Robert Lloyd claimed that both artists were "at the forefront of a second wave of innovative, creator-driven television animation, whose first wave began in the 1990s with the likes of Ralph Bakshi's Mighty Mouse: The New Adventures and John Kricfalusi's The Ren & Stimpy Show." Tartakovsky reflected on this period in 2024, saying that he and his colleagues took full advantage of the freedom provided by the still-new Cartoon Network, but that the level of trust on young artists was "pretty much gone" 30 years later.

The show has been credited for kick-starting the channel's ascent and launching Tartakovsky's career, which later gave way to Samurai Jack and Star Wars: Clone Wars. To this, Gizmodo contributor Beth Elderkin added: "Since then, he's become a staple in children's and adult animation, responsible for everything from the Hotel Transylvania series to the powerful (and ultra-violent) Primal." Vulture called the first pilot episode "a testament to Tartakovsky's talent and commitment as a filmmaker and a proof of concept for the What a Cartoon! anthology format." For a while, the show's simplistic look was adopted by other American cartoons; in a 2021 interview with Syfy Wire, animator Butch Hartman said, "When I started making Fairly OddParents, I took cues from what Genndy did in terms of simplifying the designs and using bold colors and simple shapes."

Dexter's Laboratory has been subject to scholarly works that include a study on post-9/11 America by Media International Australia and a publication about how Mexican children react to references in the series by Comunicar.

Home media
Dexter's Laboratory first appeared in home media as a "bonus toon" on the Jonny Quest - Race Bannon in Army of One VHS and later in a limited-run, complete series Dexter's Laboratory DVD contest prize, both of which became available in 1999. Dedicated, wide-release home media for the series began with the Dexter's Laboratory: Volume 1 VHS in the United Kingdom in 2000 and the Dexter's Laboratory: Greatest Adventures VHS in North America in 2001. The made-for-television movie Ego Trip was released exclusively on VHS in North America in 2000 and in the United Kingdom in 2001. Episodes from the series have been included as extra content in other Cartoon Network series' home media releases or as part of Cartoon Network's compilation DVDs.

Warner Bros. Animation stated in a 2006 interview that they were "in conversations with Cartoon Network" for DVD collections of cartoons, among which was Dexter's Laboratory. Madman Entertainment released season one and part of season two in Region 4 in 2008. A Region 1 release of season one was released by Warner Home Video on October 12, 2010. It was third official release of a Cartoon Network series on DVD under the "Cartoon Network Hall of Fame" label. Dexter's Laboratory: The Complete Series was released on DVD in North America on June 25, 2024, by Warner Bros. Discovery Home Entertainment and includes all episodes along with the television film Ego Trip except for "Dial M for Monkey: Barbequor" and "Rude Removal."

Every episode, except for the television film Ego Trip and the banned "Rude Removal" episode, became available on iTunes in 2010. "Rude Removal" later became available on Adult Swim's official YouTube channel on January 22, 2013, but it has been prevented from being released on any home media for its obscenities. Dexter's Laboratory was formerly released on Hulu and is currently on Max and Amazon Prime Video as of January 2023. Cartoon Network Racing, a PlayStation 2 video game, contains the episodes "Dexter's Rival" and "Mandarker" as unlockable extras.

Music releases
Dexter's Laboratory has spawned two music albums: The Musical Time Machine and The Hip-Hop Experiment. Three Dexter's Laboratory tracks are featured on Cartoon Network's 1999 compilation album Cartoon Medley.

The Musical Time Machine is a soundtrack album released on May 19, 1998, on CD and cassette through Atlantic Records. It contains five songs taken from the series and one track exclusive to the album. Stephen Thomas Erlewine of AllMusic gave the album a positive review, writing, "It won't win any new fans, but those that love the show will get a kick out of this disc."

The Hip-Hop Experiment is a compilation album released on August 20, 2002, on CD and limited-edition green vinyl record through Kid Rhino and Atlantic Records. It features various hip hop music artists and released alongside three music videos for "Back to the Lab" by Prince Paul, "Dexter (What's His Name?)" by Coolio, and "Secrets" by will.i.am. A fourth music video by They Might Be Giants for "Dee Dee and Dexter" was produced by Klasky Csupo. Upon Cartoon Network's request for the artist to write an original song for Dexter's Laboratory: The Hip-Hop Experiment, rapper Coolio, who provided the track "Dexter (What's His Name?)", stated, "I didn't really know what I wanted to do at first, but I knew I wanted it to be positive and lively."

Promotions
Wendy's promoted Dexter's Laboratory with five collectible toys in their kids' meals from mid-October to November 23, 1997.

Discovery Zone sponsored Cartoon Network's eight-week-long "Dexter's Duplication Summer" in 1998 to promote the series' new schedule.

A Subway promotion supported by Publicis & Hal Riney of Chicago lasted from August 23 to October 3, 1999, called "Dexter's Super Computer Giveaway", in which a computer, monitor, games, software, and an exclusive set of Dexter's Laboratory DVDs were given out as prizes. Subway promoted Dexter's Laboratory once again from April 1 to May 15, 2002, with four kids' meal toys.

Dairy Queen sold six kids' meal toys during an April 2001 promotion that was financed by a $3 million advertising and marketing budget.

That month, Perfetti Van Melle and Cartoon Network launched the "Out of Control" promotion, which included on-air marketing and a sweepstakes to win an "Air Dextron" entertainment center. The following April, a similar promotion featured Dexter's Laboratory-themed Airheads packs and an online sweepstakes.

Burger King sponsored Dexter's Laboratory toys beginning in September 2003 with kids' meals during a larger promotion featuring online games, Cartoon Orbit codes, and new episodes.

Kellogg's cereal boxes in the United Kingdom gave away the characters of Dexter and Dee Dee were as part of the Cartoon Network Wobble Heads in 2003.

Publications
Books set in Dexter's Laboratory were released by Scholastic and Little Golden Books.

Characters from Dexter's Laboratory are featured in a 150,000-print magazine called Cartoon Network, published by Burghley Publishing and released in the United Kingdom on August 27, 1998.

DC Comics printed four comic book volumes featuring Dexter's Laboratory. Characters from the series first appear in Cartoon Network Presents, a 24-issue volume showcasing Cartoon Network's premiere animated programming, which was produced from 1997 to 1999. In 1999, DC gave Dexter's Laboratory its own 34-issue comic volume, which ran until 2003. DC's Cartoon Cartoons comic book, which ran from 2001 to 2004, frequently includes Dexter's Laboratory stories. This was superseded by Cartoon Network Block Party, which ran from 2004 to 2009.

On February 25, 2013, IDW Publishing announced a partnership with Cartoon Network to produce comics based on its properties, which included Dexter's Laboratory. Its first issue was released on April 30, 2014.

Toys
Trendmasters released a series of Dexter's Lab figures and playsets in 2001.

A trading card series was published by Artbox Entertainment.

Race to the Brainergizer and The Incredible Invention Versus Dee Dee, two board games, were released by Pressman Toy Corporation in 2001.

Video games
Six Dexter's Laboratory video games have been released: Robot Rampage for the Nintendo Game Boy Color, Chess Challenge and Deesaster Strikes! for the Nintendo Game Boy Advance, Mandark's Lab? for the Sony PlayStation, Dexter's Laboratory: Science Ain't Fair for PC, and Dexter's Laboratory: Security Alert! for mobile phones.

Similar to Battle Chess, Chess Challenge is a chess video game that triggers battle animations each time an overtaking move occurs. Each capture is accompanied by the sequences set in Dexter's home depicting the piece's defeat. Those scenes are set in Dexter's home with magic attacks and Dee Dee's toys having an appearance. The completion of the puzzles will unlock certain game modes, including a two-player mode.

A Dexter's Laboratory combat-style action video game on PlayStation 2 and Nintendo GameCube was set to be developed by n-Space, published by BAM! Entertainment, and distributed in Europe by Acclaim Entertainment for a 2004 release, but it was canceled. On February 15, 2005, Midway Games announced plans to develop and produce a new Dexter's Laboratory video game for multiple consoles, but it was never published.

Dexter, Mandark, Dee Dee, Dexter's computer, and Major Glory, as well as items, areas, and inventions are featured in the MMORPG FusionFall. Dexter's Laboratory characters are featured in Cartoon Network Racing and Cartoon Network: Punch Time Explosion. Punch Time Explosion features different voice talent for Dexter (Tara Strong instead of Christine Cavanaugh or Candi Milo) and Monkey (Fred Tatasciore instead of Frank Welker).

title: Dexter's Laboratory


text:
Red Guards (disambiguation)

Red Guards largely comprised students during China's Cultural Revolution.

Red Guard(s) or Redguards may also refer to:

Communist and socialist groups

 * Worker-Peasant Red Guards, militia in North Korea
 * Red Guards (Russia), during the Russian Revolution and the Russian Civil War
 * Red Guards (Finland), during the Finnish Civil War
 * Red Guard Party, a militant Chinese-American civil rights group closely modeled after the Black Panthers
 * Red Guards (Bavaria), in the Bavarian Soviet Republic
 * Red Guards (Hungary), in the Hungarian Soviet Republic (1918–1919)
 * Red Guards (Italy), during the Biennio Rosso
 * Young Red Guards Cadet Corps, a paramilitary unit in North Korea
 * Red Guards (USA), American Marxist–Leninist–Maoist collectives
 * Red Guards (Ceylon), military wing of the Janatha Vimukthi Peramuna

Other groups

 * Red Guard of Senegal, a gendarmerie in charge of presidential security

Fictional uses

 * Red Guards (Emperor's Royal Guard), fictional elite Imperial corps of the Star Wars universe
 * The Red Guard (novel), a 1967 novel in the Killmaster series of spy novels
 * Redguards, a fantasy race of The Elder Scrolls universe
 * The Elder Scrolls Adventures: Redguard, a 1998 computer game based on The Elder Scrolls universe

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Red Guards (disambiguation)


text:
Talk:Lititz, Pennsylvania

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With regards to the Borden case, is it relevent that Ludwig and Borden were homeschooled? This is the only article that seems to think so. 24.4.248.59 03:50, 6 March 2006 (UTC)

 * Well, in the area it was played up by the media a bit. I don't know if it's relevant or not--I think the thing it adds to the article is the fact that not many of the public school students in the area really knew either of them personally. authraw 14:30, 6 March 2006 (UTC)

People section
I tagged the bit about Craig McKaige. (1) No source given. (2) I cannot confirm the film credit. (3) Even if true, a bit part is not notability. (4) No Google hits, once Wikipedia and its mirrors are eliminated. Please provide a source. Robert A.West (Talk) 05:01, 23 January 2007 (UTC)

Schools
Would it be relevant to list some of the private schools located in Lititz in the School section, such as Lindon Hall, and possibly the Lititz Watch Technicum?

~ UxP August 20, 2007 —The preceding unsigned comment was added by Special:Contributions/ (talk)

Some folks have been editing recently to include Lititz Christian School. This raises a few questions for me that i think need to be discussed here before making any changes:

1) Since this article is about Lititz, and not Warwick School District, should only the Warwick schools located in Lititz be included? Currently, all WSD schools are listed, even those like John Beck, which lies and schools students exclusively from outside the Borough. 2) If all WSD schools are included, then what about the private schools located in Lititz? Currently, none are listed. Also, consider that contrary to WSD schools, private schools are free to pull students from lots of locations, not just Lititz. 3) If we list private schools, do we list those in the Borough only, or do we list all those in the 17543 zip code? 4) Whether we choose to include non-Borough schools in this article should also dictate our inclusion or exclusion of other non-Borough information, such as the Borden Murders, as a matter of consistency, no?TheBigZzz (talk) 01:48, 9 May 2009 (UTC)

 * I'd be inclined to say that the article could include anything with a Lititz mailing address. After all, many Manheim Twp residents have Lititz mailing addresses. Additionally, the Borden murders do seem to fall into this category (even though the Bordens may have been murdered outside of Lititz Boro, Ludwig lived with his parents within the boro). On a side note, though, I'm not entirely sure that two murders committed by one man going on four years ago even makes the event notable enough to warrant a WP article, let alone inclusion in the Lititz article.Athene cunicularia (talk) 04:14, 9 May 2009 (UTC)

 * You've been on the deletion bandwagon regarding that for a while haven't you? :) It raises a good question though. At what point do the events of a place define that place? The Borden murders were national sensational news for an entire news cycle, and i am sure that when some people hear the name Lititz they immediately think of that story, even four years later. But what about the nincompoop who buzzed the White House the year before? Remember that? America doesn't, for the most part. He was from Lititz, 17543.

Everyone remembers Love Canal not for what a wonderful place it was to live but for the gross negligence by a company and a government in allowing contamination to cause illness. Same with Hinkley, CA, a town made famous by the sludge buried there by PG&E, and made infamous by the movie Erin Brockovich. Or what about Lockerbie, Scotland? Nobody had a clue it even existed until terrorists blew up an airplane overhead. And who could forget the events of Littleton, CO? Or Waco, TX?

I guess the question is what do we want our legacy to be? We have an opportunity to shape public perception of our place by choosing to include those things about Lititz we want everyone to know. Yes its true that history will show every edit and this discussion, but increasingly the media is turning to WP as a source of knowledge. A main article with stories about racism, minty water and murder might destroy the image of a quaint American town that many have worked hard to foster, just when we are looking for that image to bring us positive attention. (Well, minty water probably isn't so bad, is it?)

TheBigZzz (talk) 04:55, 9 May 2009 (UTC)

 * I see no reason the private schools shouldn't be included; the only reason I reverted them was because they were put under the school district. KV5  ( Talk  •  Phils ) 12:07, 9 May 2009 (UTC)

 * Let's be clear. I don't support the removal of content just because it "shapes the perception" in a negative way. Places like Love Canal are rightfully known for their disasters (and the good things like Superfund that came out of them). But mentioning one murderer doesn't really seem to have a whole lot of relevance in the grand scheme of things.Athene cunicularia (talk) 18:19, 9 May 2009 (UTC)

Lititz Water
Announcement of the group's effort was in the newspaper (see my citation). There is a section on Lititz water controversy in this article. Someone else already tried to add something about it. Seems notable to me. What's your reasoning for removing it?Athene cunicularia (talk) 16:50, 20 August 2008 (UTC)
 * As I mentioned in my edit, there are thousands of websites set up all the time about causes, it's not worth noting. Imaslee  pviking  ( talk ) 19:53, 20 August 2008 (UTC)
 * This one was noted by the local paper (which makes it notable) about a controversial matter that is listed in the page. I don't see how your reasoning applies.Athene cunicularia (talk) 20:05, 20 August 2008 (UTC)
 * Not only that, but the Intel article is dedicated entirely to the website's creation, it's not just passively mentioned. I don't know how you call that non-notable. I understand that in your opinion, the section is unnecessary. Do you have anything else to back up your claim?Athene cunicularia (talk) 20:14, 20 August 2008 (UTC)
 * I'm not saying the entire section's not-notable, it's just this website. Growing up in Lititz, I can say, who cares about the Intel. Look at any other wikipage and find me one that has such a specified and local website dedicated to one singular cause (other than basic town pages) that is relevant to the page. Newspapers do full articles on unimportant things all the time Imaslee  pviking  ( talk ) 01:51, 21 August 2008 (UTC)
 * I don't think that your personal assessment of an article in a reliable newspaper (see WP:Notable) is relevant. This is, so far, your only rationale. The onus is on you to find some Wikipedia policy that would show me otherwise.
 * Clearly the issue is important to some Lititzians or else it wouldn't have a section here. Clearly the Intelligencer Journal knows this, or else it wouldn't have published an entire article dedicated to this group's website. Why are you advocating the removal of information that is relevant to the issue?
 * You say "who cares about The Intel?". Is it some small-time newspaper, or is it the major one for the area?
 * You also say "growing up in Lititz." Is it possible that you have a conflict of interest?
 * Since you admit that the section is notable, why wouldn't information collected from a reliable newspaper have some relevance; it's recent news on the issue, is it not?
 * You need more than your personal opinion to support your actions. "Who cares about the Intel," "newspapers do full articles on unimportant things all the time" aren't enough. I will revert your edit on 8/22 if you don't come up with some Wikipedia guideline to back up your reasoning. Otherwise, I will report you as potential Conflict of Interest.Athene cunicularia (talk) 03:33, 21 August 2008 (UTC)

You can't really report me as the conflict of interest since I know the area and am better to report on it, how else can you improve a town, city or region's wikipage? COIs only arise if I were some competing company arguing against it or some member of the Lititz council trying to cover it up, since I no long have any interests in Lititz there's no COI here. Having said that, other than another source of information, I think that no paragraph should be dedicated to the creation of a website, rather than the website itself. I don't see how that is irrational? As to "clearly it's important to Lititzians" you put it in, and you're the one defending it. It's clearly important to you but as to speaking for all of the people in Lititz or even a majority of them that's out of bounds. Who knows how many people are involved here. Who knows if there are even any people from Lititz involved. I say there are not that many involved since Lititzians tend to be more conservative and not this environmental (I have this knowledge since I grew up there and have familiarity with the people). I think my arguments are more than enough to prove why this paragraph in and of itself does not need to exist. You're the one with more interest in keeping it and your track record of environmentalism edits on Wiki seem to back up your conflict of interest. Do what you want with your COI report but I know I'm clear. Imaslee pviking  ( talk ) 16:37, 21 August 2008 (UTC)
 * I am just trying to report the facts. My opinion was not included in my addition, but yours is in the removal. Someone had added the website to the page previously, but that didn't sufficiently meet WP standards, so I tried to find a reliable source in order to include something that might be relevant to the section. Voila! I quickly found a published newspaper article (which thus fit within WP's guidelines) that had been written about the website. I see absolutely no reason why it can't be permitted as a citation related to the section's content. I'm not opposed to shortening it, but so far, you've only expressed a desire to remove. Why?
 * In lieu of a compromise, how about if this is added at the end of the first paragraph on water quality:
 * "In 2008, the Intelligencer Journal reported that the nonprofit group League of Humane Voters created a website, Lititzwater.org, 'dedicated to the cause of monitoring issues surrounding the Lititz watershed.'"
 * Athene cunicularia (talk) 19:11, 21 August 2008 (UTC)

Borden edit
The section was reworded by someone else for the better, I supported that change, and it was still reverted. Why? It makes no sense to revert to a more poorly worded, less concise, and less accurate version.Athene cunicularia (talk) 21:27, 27 October 2008 (UTC)
 * Also, basic non-destructive edits like the one initially made don't need to be justified on the talk page as you requested.Athene cunicularia (talk) 21:29, 27 October 2008 (UTC)

Recent Edits
I lack the rollback feature, so it took me a couple of edits before i could get the page back to where it was. I don't know if Steve Palkovich is someone notable or not, and i really don't care. Once i see someone writes that Britney Spears lives here, it doesn't matter what they write afterward; it will still be considered horse crap.TheBigZzz (talk) 23:46, 24 February 2009 (UTC)

Oldest Independence Day?
Bristol, RI also claims this, and it claims to date back to 1785. Can someone illuminate the nature of Lititz' claim? PRRfan (talk) 13:30, 19 March 2009 (UTC)
 * I am honestly not sure. It's something that the town has always said (I've lived and worked here most of my life). They may be wrong. KV5  ( Talk  •  Phils ) 14:05, 19 March 2009 (UTC)
 * This might contribute to the issue. Bristol claims to have the "longest continuous-running celebration", but there are no records regarding the celebration from 1839 to 1850, and their parade was only in scattered years when it first started . KV5  ( Talk  •  Phils ) 14:10, 19 March 2009 (UTC)

Also, i question the date. Literature disseminated to Lititz businesses for advertising in this year's Program seem to indicate that 2009 will be the 192nd consecutive celebration, which would put the beginning at 1817, not 1813. TheBigZzz (talk) 13:48, 20 March 2009 (UTC)
 * Actually, that would put the date at 1818, and that may be correct. A 3 and an 8 can be easily confused and may have been miswritten. KV5  ( Talk  •  Phils ) 16:23, 20 March 2009 (UTC)

Racist Incident
Question whether this section is necessary. Is it really noteworthy that some hick threw a ball of paper at kid and called him a racist name? 70.15.112.168 (talk) 06:34, 23 September 2011 (UTC)
 * It's more related to the school but still notable. And considering the coverage it received around here (and should receive anywhere it happens in this country), it is certainly important, just maybe not to this article. — KV5  •  Talk  •  11:04, 23 September 2011 (UTC)

Trump server
Most pinged Trump server by Russian bank during 2016 election.--Wikipietime (talk) 02:55, 14 March 2017 (UTC)

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Victor
Wasn't Lititz the home of the world famous rodent snap traps? — Preceding unsigned comment added by 216.115.238.102 (talk) 21:27, 19 December 2017 (UTC)

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Talk:Marietta, Pennsylvania

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Martic Township, Pennsylvania

Martic Township is a township in southwestern Lancaster County, Pennsylvania, United States. At the 2020 census, the population was 5,237. Martic Township was organized in 1729. It borders Conestoga, Providence, Pequea and Drumore townships.

History
The Baumgardner's Mill Covered Bridge, Duncan Island (36LA60,61), and Shenks Ferry Site (36LA2) are listed on the National Register of Historic Places.

Geography
According to the U.S. Census Bureau, the township has a total area of 84.7 sqkm, of which 75.2 sqkm are land and 9.6 sqkm, or 11.28%, are water. Pequea Creek runs through the township and is home to the Baumgardener's Covered Bridge. Unincorporated communities in the township include Marticville, Pequea, Mt. Nebo, Rawlinsville, Erbs Mill, Drytown, Bethesda, Holtwood, and part of Martic Forge.

Demographics
At the 2000 census there were 4,990 people, 1,713 households, and 1,365 families living in the township. The population density was 172.0 PD/sqmi. There were 1,789 housing units at an average density of 61.7 /mi2. The racial makeup of the township was 98.32% White, 0.48% African American, 0.24% Native American, 0.16% Asian, 0.02% Pacific Islander, 0.20% from other races, and 0.58% from two or more races. Hispanic or Latino of any race were 1.36%.

There were 1,713 households, 40.3% had children under the age of 18 living with them, 68.9% were married couples living together, 6.1% had a female householder with no husband present, and 20.3% were non-families. 15.6% of households were made up of individuals, and 4.3% were one person aged 65 or older. The average household size was 2.90 and the average family size was 3.25.

The age distribution was 30.2% under the age of 18, 6.8% from 18 to 24, 32.4% from 25 to 44, 22.5% from 45 to 64, and 8.2% 65 or older. The median age was 36 years. For every 100 females, there were 107.7 males. For every 100 females age 18 and over, there were 105.6 males.

The median household income was $52,106 and the median family income was $56,185. Males had a median income of $40,366 versus $24,853 for females. The per capita income for the township was $20,151. About 1.5% of families and 2.4% of the population were below the poverty line, including 0.9% of those under age 18 and 3.4% of those age 65 or over.

title: Martic Township, Pennsylvania


text:
Maytown, Pennsylvania

Maytown is an unincorporated community and census-designated place (CDP) in Lancaster County, Pennsylvania, United States. The population was 4,098 at the 2020 census.

History
Maytown is noted as the birthplace of 19th-century politician Simon Cameron, who served in the Cabinet of President Abraham Lincoln.

The Grove Mansion was listed on the National Register of Historic Places in 1983. William H. Strayer, born in Maytown in 1847, earned the Congressional Medal of Honor on May 22, 1872, along with William F. Cody and two others.

Geography
Maytown is located in western Lancaster County, in the western part of East Donegal Township. Pennsylvania Route 743 (Maytown Road / South River Street) passes through the center of town, leading north 6 mi to Elizabethtown and south 3 mi to Marietta. Pennsylvania Route 441 forms part of the southern edge of the Maytown CDP; it leads northwest 14 mi to Middletown and southeast 6 mi to Columbia. Lancaster, the county seat, is 15 mi east of Maytown via Routes 441 and 23.

According to the U.S. Census Bureau, Maytown has a total area of 9.5 km2, of which 2999 sqm, or 0.03%, are water. The community drains east and west to unnamed direct tributaries of the Susquehanna River.

Demographics
At the 2000 census there were 2,604 people, 917 households, and 751 families living in the CDP. The population density was 709.4 PD/sqmi. There were 962 housing units at an average density of 262.1 /mi2. The racial makeup of the CDP was 97.58% White, 0.69% African American, 0.08% Native American, 0.69% Asian, 0.27% from other races, and 0.69% from two or more races. Hispanic or Latino of any race were 1.96%.

There were 917 households, 45.1% had children under the age of 18 living with them, 70.3% were married couples living together, 8.2% had a female householder with no husband present, and 18.1% were non-families. 13.7% of households were made up of individuals, and 3.5% were one person aged 65 or older. The average household size was 2.83 and the average family size was 3.13.

The age distribution was 29.3% under the age of 18, 8.1% from 18 to 24, 37.7% from 25 to 44, 19.2% from 45 to 64, and 5.6% 65 or older. The median age was 31 years. For every 100 females, there were 99.4 males. For every 100 females age 18 and over, there were 96.0 males.

The median household income was $50,122 and the median family income was $55,216. Males had a median income of $36,761 versus $25,510 for females. The per capita income for the CDP was $18,181. None of the families and 1.0% of the population were living below the poverty line, including no under eighteens and 2.8% of those over 64.

Education
Maytown is part of the Donegal School District, which currently houses four schools. Grades K-2 attend Donegal Primary School. Grades 3-6 attend Donegal Intermediate School. Donegal Junior High School holds grades 7 and 8 while Donegal High School holds grades 9–12. Prior to renovations, Donegal School District had several other schools including the historic Maytown Elementary School. Maytown Elementary School was the oldest operational elementary school in Pennsylvania before being closed in 2012.

Notable people

 * James Cameron (1800-1861), Union colonel
 * Simon Cameron (1799-1889), United States Senator from Pennsylvania

title: Maytown, Pennsylvania


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Talk:Millersville, Pennsylvania

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St Benet's Abbey

St Benet's Abbey, also known as St Benet's at Holme or St Benet Hulme, was a medieval monastery of the Order of Saint Benedict situated at Cow Holm in Horning, Norfolk, England. It lay on the River Bure within the Broads. St Benet is a medieval English version of the name of St Benedict of Nursia, hailed as the founder of western monasticism. At the period of the Dissolution of the Monasteries the abbey's possessions were in effect seized by the crown and assigned to the diocese of Norwich. Though the monastery was supposed to continue as a community, within a few years at least the monks had dispersed. Today there remain only ruins.

The Abbey in Anglo-Saxon times
The early history of the monastery has to be told tentatively since it is difficult to reconcile the surviving sources with what is known of the bigger picture of the development of the area. It is said that St Benet's was founded on the site of a 9th-century monastery where the hermit Suneman was martyred by the Danes. About the end of the 10th century it was rebuilt by one Wulfric. A generation later, c. 1022, King Canute conferred on it his manors of Horning, Ludham and Neatishead.

Canute appears to have endowed at the same time another Benedictine monastery that was later Bury St Edmunds Abbey, at Beodricsworth, afterwards known as St Edmundsbury, where since the early 10th century, the relics of the martyred king, St Edmund had been venerated. With this new endowment, under the auspices of the Bishop of Elmham, the original community was reinforced or replaced by a party consisting of half of the monks of St Benet's Abbey under Prior Uvius or Ufi. They arrived bearing half of all the furniture, books, sacred vestments and other worship items belonging to St Benet's. Ufi became Bury's first abbot and governed until his death in 1043. He was blessed as abbot by the Bishop of London. His successor (1044–1065) was Leofstan, another of the former St Benet's monks.

Other early benefactors of St Benet's included Earl Ralf II of East Anglia and Edith Swannesha, concubine to Harold II.

In 1065 St Benet's Abbey was in good enough condition to establish a cell, later Rumburgh Priory in Suffolk. However, towards the end of the 12th century this became a dependency of St Mary's Abbey in York. This happened by means of a gift made by the patron, who was either Stephen of Penthièvre, Count of Tréguier, Lord of Richmond or his son Alan of Penthièvre, Earl of Richmond and Cornwall.

It was the first abbot of St Benet's Abbey, Elsinus, who procured stone to replace the wooden structure of the abbey's church. This must have been a notable operation since suitable stone does not occur in the vicinity. The work was completed by the second abbot, Thurstan, who when he died in 1064 is reported to have been buried before the altar in the chapel of St Michael within the abbey church.

At the time of the Norman conquest King Harold Godwinson put the abbot of St Benet's, in charge of defending the East Anglian coast against invasion. The involvement with military naval matters was naturally incumbent upon the abbot, as upon bishops and monastic superiors throughout England, in so far as he was a prominent public personage and landowner in the area and hence an integral element in the feudal system. The abbey was responsible for organizing a shipsoke or grouping of several hundreds which then had the obligation of providing a fighting ship. It is possible that the abbey did in fact provide the King Harold's ship.

The Abbey after the Conquest
After the Conquest, William the Conqueror pursued those seen as having supported the defeated Harold and Abbot Aelfwold was outlawed and exiled for a time to Denmark, and the abbey's estates suffered encroachments by neighbouring landowners and a general campaign of systematic harassment by the tenants of the upcoming Norman magnate Sir Roger Bigod,  whom the Domesday Book gives as holding 187 lordships in Norfolk and another 117 in Suffolk. The harassment was to continue for a long period of time. In the reign of Henry II (1154–1189) the church at Ranworth, which was the property of the abbey, was stolen bodily, and being a timber building, was dismantled and spirited away. It took a command from the King to have it returned.

John of Oxnead (de Oxenedes), a 13th-century monk of St Benet's, says in his Chronicle that Abbot Aelfwold was later able to return and resume his post, dying at the abbey as abbot on 14 November 1089. He was succeeded as abbot by Ralph, and Ralph in 1101 by Richard, who is credited with having completed the church's western tower and with having hung two large bells there.

The site was not immune to natural disasters and in the 13th and 14th centuries there were incidents where violent storms on the coast forced the sea to break through the dunes, causing damage to the abbey. In 1287 to save the horses, they had to be brought from the stables to shelter on higher land in the nave of the church. The abbey also remained vulnerable to hostile incursions by water and in 1327 by royal licence the site was enclosed by a wall with battlements, isolated traces of which still survive.

Surviving records from the 12th century show that at least some of the abbey's tenants paid their rents in kind or by means of service rendered. At Swanton Abbott the lease for a mill and a piece of land were four fat cocks a year, land at Potter Heigham was paid each year with a supply of beer for the monks, another stretch of land at Banningham was rented for eight measures of honey and a property in London for a pound of pepper and a pound of cummin, while two churches, one at Stalham and one in Norwich had to present the abbey annually with a pound of incense each.

Abbots with connections
That the abbey continued to have connections to the court may be shown by the fact that the man who became abbot in 1126 was Conrad, who has been identified with the monk who till then had been prior of Christ Church Cathedral Priory, Canterbury, and who had been confessor to King Henry I. Conrad is said to have brought with him two chasubles and a book that had been the property of St Dunstan, Archbishop of Canterbury, together with a chalice Dunstan himself had made. These objects were conserved at St Benet's as relics.

Later that same century another abbot with even stronger connections to power arrived to govern St Benet's. Hugh was an illegimitate half-brother to Cardinal William of the White Hands and to Count Henry I of Champagne who was married to Marie, elder daughter of King Louis VII of France. Hugh's half-sister was Adela, Queen of France and he was a nephew of King Stephen of England and of the King's brother Henry of Blois Henry of Blois, Bishop of Winchester.

Hugh became a knight and was wounded in battle about 1136. Cared for at Tiron Abbey in France, when he recovered he decided to become a monk there. Later he was made abbot of St Benet's (1146-1150) thanks to his uncle King Stephen (or Henry of Blois),  the appointment receiving  papal confirmation in 1147. To secure this post for Hugh, the previous abbot, Daniel, was deposed.

The story in John of Oxnead's Chronicle is that he was a capable and serious abbot but made powerful enemies who framed him by having a woman slipped into his bed and then sent armed men to punish the supposed crime by castrating him. After the violence, John of Oxnead says, Hugh's uncle King Stephen obtained for him the post of abbot of Chertsey Abbey (1149-1163) in Surrey and at St Benet's Abbot Daniel returned to his post. Subsequently, the death of King Stephen lead to a hostile climate in England for the family and Henry of Blois fled from England in 1155. Hugh followed, returning to Champagne and becoming once more a monk of Tiron Abbey. However, when trouble arose at Lagny Abbey, he was made abbot there (1163-1171). Though an active abbot, for some reason was deposed in 1171 and died shortly afterwards, being buried at the abbey.

Local cults
Despite elements of success, both material and spiritual, the abbey may have struggled to compete in religious prestige, lacking as it did the relics of an important saint. It seems that alongside a circumscribed veneration for the memory of the hermit Wulfric or Wulfey, who was said to have occupied the site before the abbey's foundation, in the 12-13th centuries the abbey tried to promote the cult of St Margaret of Holm, supposedly a girl killed in the woods at Hoveton St John on 22 May 1170, but this made little or no progress.

Benefactions
The abbey's life had substantially begun with benefactions and despite attempts both surreptitious and aggressive to snatch them away, the benefactions continued. It has been suggested that participation in 1075 of an early patron, Ralph Guader, Earl of East Anglia, in the failed Revolt of the Earls against William the Conqueror and his subsequent flight to Brittany may have caused later patrons to divert their benefactions to other monasteries. Nevertheless, benefactions there were, to the points that by the late 13th century St Benet's had property in 76 parishes.

One of the abbey's great benefactors was Sir John Fastolf, the inspiration for Shakespeare's Falstaff, who died at Caister and was buried at St Benet's in December 1459, next to his wife Millicent in a new aisle built by Fastolf himself on the south side of the abbey church. The bulk of his fortune passed to Magdalen College, Oxford, but his intention to establish a chantry at Caister Castle did not materialize.

Later ownership
After the Dissolution the greater part of the buildings at the site were demolished, with the exclusion of the gatehouse, which is now a Grade I listed building.

In the second half of the 18th century, a farmer built a windmill, later converted to a windpump, inside the abbey gatehouse, removing the second floor of the gatehouse in the process.

From the early 18th century, active attention was paid to drainage of the marshland around the site. From various surviving illustrations, it appears that a first windmill-powered land drainage was erected around the middle of the 18th century, and some decades later was replaced by another, attached to the front of the ruined gatehouse. By at least 1813, to facilitate movement of the windmill sails the upper floor of the gatehouse was removed to provide room for the sails to turn. The sails survived until at least 1854 but had been destroyed by 1863.

The wind-powered mechanism, which at time ceased operating and is itself now a ruin, is a grade II* listed building.

Between 1782 and 1886 just along the river from the gatehouse there was a wherryman's riverside pub called The Chequers.

In 1925 the site became one of Britain's first scheduled ancient monuments.

In 1993 the main part of the site was bought by the Crown Estate and in 2002 sold to the Norfolk Archaeological Trust which in 2004 purchased the gatehouse and mill from the Diocese of Norwich. The ruins of the church remain the property of the diocese, which has leased them to the Trust for 199 years. In recent years essential conservation repairs have been carried out on the ruins and visits to the site have been facilitated by the laying out of a new car park and access paths, while large numbers of volunteers undertook graffiti recording, molehill and wildlife surveys, and maintenance and provided guides. Aside from several scientific studies, the site has become the focus of intense local interest.

On 2 August 1987 a cross made from oak from the royal estate at Sandringham was erected on the high altar.

List of Abbots
The years listed are election dates.

Post-Reformation Abbot, Prior and Lay Monks of St Benet-at-Holme
During the Dissolution of the Monasteries the Vicar General was said to have noted the poverty in which the brothers of St Benet-at-Home committed to live in by contrast to the opulence of the Bishop of Norwich. It is unclear whether this was a deliberate choice to uphold principles of monastic asceticism or due to the high levels of debt the monastery was said to be in. Holding the abbey up as an example of protestant monasticism during the Reformation, Thomas Cromwell persuaded Henry VIII to spare the abbey, and unite it into the newly founded Church of England, and to elevate the Abbot of St-Benet's to the Bishops cathedra uniting the two roles. It thus became the sole abbey spared during the dissolution, and was protected in statute by an extraordinary act of parliament in 1536. The act stipulated that the Abbot be permitted to forever maintain a Prior and twelve monks at the abbey. This makes it arguably the oldest Anglican Order of St Benedict in England. By 1545 however the abbey had collapsed and the brothers had to abandon the site. The lands were leased to a succession of local farmers to pay down the debts. As the Bishops were enrobed amongst the Lords Spiritual, the power that prior to the dissolution came with being an abbot was eroded, and successive Bishops of Norwich saw little point in using the title. However since 1939 Bishops of Norwich have once again used the title of Abbot of St Benet's reaffirming their historic role. The Bishop in their role as Abbot appoints a local vicar as Prior of St Benet-at-Holme, who in turn appoints 12 lay monks to assist with his role. Every year on the first Sunday of August the Bishop of Norwich, in their role as Abbot, arrives at St Benet's standing in the bow of a wherry, to meet pilgrims, and preach an annual service amongst the ruins of the abbey. The service takes place at the alter beneath the cross. The service follows an anglican interpretation of the rule of Saint Benedict.

title: St Benet's Abbey


text:
Talk:Heightfield

Oops, sorry about that. Turns out I am the copyright holder. Thanks for bringing that to my attention.

Removed possible copyright infringement. Text that was previously posted here is the same as text from this webpage:
 * http://www.daylongraphics.com/products/leveller/hf.htm

To the poster: If there was permission to use this material under terms of our license or if you are the copyright holder of the externally linked text, then please indicate so on this page's talk. If there was no permission to use this text then please either replace this message with at least a good stub and an external link.

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 * I believe you when you state that you are in fact the copyright holder, but it would be nice to have some evidence, however meager, to support this claim. Approximately where and when you wrote it and posted it on the linked website would be more than enough for me. Thanks for bearing with us - copyright issues are a bit touchy with us. --mav

-

Essentially, a heightfield has two parts:

Its dimensions, expressed in terms of the number of samples across and down. The height values, arranged in a grid according to these dimensions. Each value is commonly called a sample, analogous to a pixel in a bitmap. And like a bitmap, a heightfield is said to have greater resolution the more samples it contains. The term elevation value or heixel is also used.

A water level is a hint to the renderer that height values below the level will be obscured (usually by a plane representing water, hence the name) and can be avoided for consideration when rendering the final image. A water level is optional, but it's worth using for just this reason.

How Heightfields are Rendered

Most renderers will display an untransformed heightfield so that it lies flat in the scene like a floor plane. The height values deform the heightfield so that it is stretched up and/or down. As in POV-Ray, the Y-axis is the vertical axis by default, so it is along this axis that height values relate to in Leveller.

The renderer determines the location of each 3D point in a heightfield by simply iterating over its width and breadth, and sampling the height value at each grid location. If the renderer is sampling the heightfield too finely, height values that lie between adjacent samples can be approximated by averaging.

The renderer will usually create a polygon mesh to describe the heightfield as a set of connected triangles. The samples in the heightfield determine the vertical aspect of the triangles' vertices, while the current sample location determines the triangles' location in the other two dimensions. The normal of a particular vertex is the average of the plane normals of the surrounding triangles. With the triangle vertices and normals computed, the renderer can draw the heightfield.

Smoother heightfields can be rendered by using nonlinear sampling. Instead of simply connecting adjacent elevation points into triangles, the points are used to compute spline patches. The slope and surface normal of the heightfield varies continually and smoothly, although more computation must be done to determine the patches. Renderman and BMRT, for example, support bicubic PatchMesh objects.

In POV-Ray (and most other renderers), heightfields are described in their own coordinate system which measures from the points (0,0,0) to (1,1,1). PatchMesh objects in Renderman are similarily described. The final size and orientation of the heightfield is determined by transforming space. Leveller, for example, will add scale and translate commands to make the heightfield occupy the coordinates in POV-Ray world space that the user expects.

How Sample Heights are Determined

For efficiency, each height value in a heightfield is described using some multiple of eight bits. POV-Ray, for example, supports both 8-bit and 16-bit heightfields. Leveller internally uses 32 bits when saving heightfields in its own TER format. USGS DEM files use human-readable text representations for height values, so their magnitude and precision depends to some extent on the system exporting and importing the file.

The more bits per sample, the smoother the terrain can look. With eight bits, there can be 256 distinct elevations in the heightfield. With sixteen bits, there can be up to 65,536. This range is sometimes called the heightfield's vertical resolution. In practice, eight bits tends to be insufficient -- some such heightfields suffer from a slightly terraced look.

The lowest and highest points in the heightfield are mapped to the vertical coordinate values of 0 and 1, respectively. Two untransformed heightfields will be the same thickness regardless of their component sample values, since both will be mapped into the 0...1 vertical space. If space has been scaled vertically tenfold, then the heightfields will be mapped into a 0...10 vertical space.

People often wonder how the color of a pixel in a bitmap relates to the height of a heightfield sample. The simple answer is, they don't. Although it's certainly useful to arrange a bitmap so that certain colors represent certain heights, this is merely convention on the user's part and has no bearing on how the renderer interprets the heightfield's sample values.

Take an 8-bit bitmap, for example. Each pixel is an 8-bit value ranging from 0 to 255 that refers to a palette of colors. A pixel with a value of twenty will refer to the color occupying the bitmap's twentieth palette position. That color could be anything: black, red, yellow, whatever. All the renderer cares about is that the pixel has a value of twenty, and therefore a height value of twenty.

Heightfield Pros and Cons

Most scenes requiring terrain will use a heightfield. This is because a heightfield is the most efficient way to describe the numerous tiny undulations of a typical landscape at design time. When a heightfield's design is completed, it can be converted to a more efficient polygon mesh, but not all heightfields benefit from this conversion (e.g., those containing only a few connected areas of similar slope).

But heightfields have their limits. By ommitting specific width and breadth information, (leaving only height values), each height value must occupy a unique 2D location when viewed from above. The important corollary to this is that no 2D location in the heightfield can have more than one height value associated with it. This effectively rules out using heightfields to model rocks, asteroids, bridges, caves, or terrain with slopes equalling or exceeding ninety degrees. Some objects, however, can be convincingly modelled with two or more heightfields carefully placed.

Although this fact makes heightfields unsuitable for many types of objects, it also makes heightfields very easy to work with, since the height values can effectively be treated using standard bitmap-editing interfaces that work with 2D images.

This feature also makes it easy to paint heightfields by mapping bitmaps onto them. All that's required is to project the bitmap onto the heightfield's groundplane, and every point on the heightfield will be textured.

Texturing Issues

Such straightforward mapping of an image to a heightfield, however, is problematic when slopes in the terrain became significantly greater than about thirty or forty degrees. The distance between adjacent height values becomes much greater in three dimensions than it does in two, and the pixels in the image are noticeably stretched in order to provide coverage.

These are some solutions to the problem:

Use a procedural texture. Increase the resolution of the image bitmap. Unfortunately, areas of moderate slope will be 'overpainted' with 'more' pixels, still making the stretched appearance of steeper slopes noticable. Texture each final polygon in the heightfield by mapping to its slope instead of to its groundplane. Most games do this, and the results tend to be adequate for that usage, but the edges where polygons meet are usually quite noticeable. Provide the renderer with a separate list of polygons to describe the steep areas, and have them textured separately. Again, polygon edges will tend to show. Provide the renderer with a list of the heightfield points in all three dimensions, oversampled, and texture the terrain with individually painted polygons or other objects. Although this produces visually stunning results, the description of additional numerous objects can significantly slow rendering down.

Gridding in Linearly Sampled Heightfields

Another important problem with triangle-mesh (i.e., linearly sampled) heightfields is what's commonly referred to as gridding, i.e., the blocky or aliased appearance of slopes, usually those nearest to the viewer. The problem tends to be even worse in areas of significant change in slope, where the fact that the heightfield is composed of discrete samples becomes particularly obvious.

Phong shading is commonly employed to overcome gridding. Each component triangle is lit by averaging the normals of its vertices across its surface, and using the result to accurately determine the amount of reflected light. This approach fails, however, when the triangles are significantly larger than the pixels of the device being rendered to.

The inherent problem is that the heightfield really is composed of discrete samples, and any digital image viewed close enough will exhibit such 'jaggies'. The ultimate solution, therefore, is to increase the heightfield's resolution. A good rule of thumb when choosing a resolution is to base it on the expected highest resolution of the device the heightfield will be rendered to.

One also needs to take into account how closely the heightfield will be viewed. It does little good to use a high resolution if the viewer is so close that each sample point is many device pixels apart. In such cases, the rest of the heightfield will not be visible (because it will be outside the field of view), and it becomes practical to use a separate, smaller heightfield for the 'close-up shot'.

Another popular solution is to use nonlinear sampling. Renderman PatchMesh objects, for example, treat elevations as node points in spline curves, forming smooth spline patches instead of flat triangles. However, since triangles must be fed to the renderer for rasterization, the spline patches must be tesselated, slowing things down.

A similar technique (used by Terragen and World Construction Set) is to use fractal subdivision. This breaks up each heightfield triangle into more and smaller triangles. This not only gives the illusion of greater surface detail, but for terrain images, the resulting surfaces often look convincingly like rock. Again, this slows rendering down, because of the tesselation.

Both of the preceding methods are variations on displacement shading, which creates more geometry than actually exists. Unlike bumpmapping, which gives the illusion of wrinkled surfaces, displacement shading actually makes extra triangles for the rasterizer to draw. The thing to note is that you only have full control over the elevations in the heightfield -- any extra geometry is being created dynamically by the renderer, and thus can only be indirectly controlled using settings that apply (or tend to apply) globally to all the heightfield pixels.

The fractal subdivision technique, for example, looks good for rocky surfaces but makes sand and snow regions look too hard. The workaround is normally some kind of material map, which is usually an auxiliary texture map that says what material (snow, ice, rock, grass, mud, etc.) each heightfield pixel is covered with. Assuming the renderer has tesselators/shaders for each material, the resulting rendition can look very good. The best renderers are able to blend their material shaders smoothly, so that the material in adjacent heightfield cells transitions evenly (and logically) between coverings. In some older games (and even some new ones) you can see paved roads exhibiting jagged edges. In Bungie's combat simulator Halo, for example, you see very good transitions.

Efficient Rendering of Heightfields

Much work has been expended (and continues to be expended) on drawing heightfields quickly. For the person needing interactive (or simply prompt) display of heightfields, there is almost an embarrasment of riches in terms of rendering technique. They all pretty much emphasize a two-step program: drawing only that which is truly visible (visibility determination) and level-of-detail management (LOD rendering).

LOD management exploits the fact that heightfield cells which are farther from the eye occupy fewer screen pixels when drawn. If you approximate several distant cells with just one that covers them all, the illusion often holds (especially for action games where the camera is often in motion). Although cameras in flight simulators often have long steady moments, such programs tend to use realistic terrain which is mostly flat, and LOD techniques work well for such heightfields.

The classic visibility determination algorithm is the quadtree. This simply builds up a hierarchical set of bounding boxes where the heightfield's overall bounding box is recursively subdivided into four smaller boxes, over and over again, until the smallest boxes each contain only four cells. If you know that a given box isn't visible, then you know that all of its child boxes (and therefore the heightfield cells within them) aren't visible either. You simply test the visibility of the largest box and recurse through its children, skipping over the invisible ones. In the worst case scenario, all of the boxes intersect the viewing frustum, but if you employ limited visibility (e.g., a fogged horizon), then this never happens.

Quadtrees also make LOD management possible. If you need to draw the cells in a distant box, you can opt to draw just a few polygons representing the box's corners instead.

The downside with quadtrees is that they take an enormous amount of memory, often some multiple of the heightfield itself. Quadtree LOD rendering also suffers from noticeable "popping": triangles abruptly changing size and position as you move nearer and farther from an approximated set of cells. Poor quadtree LOD implementations also suffer from gapping, where the edges of adjacent triangles fail to meet correctly.

Other methods offer adjustments to quadtree rendering or take different approaches altogether. The goals can be varied: some focus on the reduction or elimination of popping; others try to keep memory usage down. I haven't yet seen a method that works perfectly in all situations, because the demands of each often produce conflicting solutions

The changing hardware landscape also makes some approaches more reasonable. With sufficient rasterizing speed, for example, LOD optimizations aren't needed -- it's more efficient to just send all the triangles to the screen. On the other hand, that may not be true if you want to draw something else that's very complex, such as finely detailed characters or buildings.

Another common approach is to not use the heightfield data directly. Instead, the heightfield is converted to an irregular polygon mesh where areas of similar slope can be safely replaced with large triangles. The main drawback is that it's hard (or impossible) to do any dynamic surface effects (like the Thumper weapon in Activision's Battlezone, which sends a visible seismic wave rippling through the ground). The main benefit is that the mesh often has a memory footprint orders of magnitude smaller than the heightfield.

The ROAM (Real-time Optimally Adapting Meshes) technique tries to tesselate the heightfield into the minimal number of triangles for the current camera location. It was developed by Mark Duchaineau et al at the Los Alamos National Laboratory.

Using a precomputed bintree (each triangle recursively refers to two smaller triangles), and dynamic split-and-merge operations, ROAM can automatically split triangles into smaller ones as they come closer and vice versa. Since the only time triangles are merged and split is when the camera moves, performance remains constant despite heightfield size (although this would be true of any good automatic LOD scheme). The triangles are always right triangles, which makes the bintree fairly easy to compute, and the split/merge operations are likewise easier to perform. Gapping is also easier to deal with: if you split a triangle, there's only one neighbouring triangle to consider, and cracking it to fit properly with is straightforward. Memory usage is still pretty high, but popping is somewhat easier to control, and it's even possible to support dynamic terrain changes.

Good illustration
There's a good image located here: http://www.povray.org/documentation/view/3.6.1/279/ Maybe you could get permission to use it? -SharkD 06:10, 17 October 2006 (UTC)

title: Talk:Heightfield


text:
How Hill

How Hill is a hamlet on the River Ant within The Broads National Park in Ludham parish, Norfolk, England.

How Hill House, completed in 1903, was designed by Thomas Boardman, son of the architect Edward Boardman; he was Mayor of Norwich in 1905–1906. Since 1984 the house has been the home of How Hill Trust, an educational charity.

The How Hill Nature Reserve is administered by the Broads Authority.

Toad Hole Museum is a former marshman's cottage and also houses the Broads Information Centre.

Boardman's Windmill is a trestle or skeleton windpump, and Clayrack Drainage Mill is similar, only smaller. Just south of How Hill is Turf Fen windpump.

title: How Hill