Lifestyle
Before living in a pineapple under the sea, SpongeBob was born as an educational tool
Nickelodeon’s SpongeBob SquarePants made its TV debut 25 years ago on May 1, 1999 before the official series launch in July 1999.
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Nickelodeon’s SpongeBob SquarePants made its TV debut 25 years ago on May 1, 1999 before the official series launch in July 1999.
Nickelodeon
Finish this tune: Who lives in a pineapple under the sea?
If you answered correctly with “SpongeBob SquarePants!” you’ve likely heard of the square, sponge cartoon who made his TV debut 25 years ago on May 1, 1999 (before the official series launch in July 1999).
But before the “absorbent” and “porous” SpongeBob took over television and movie theater screens, he was actually Bob the Sponge in an educational comic book.
Here’s a look at the story behind SpongeBob.
From Bob the Sponge to SpongeBob
SpongeBob SquarePants creator Stephen Hillenburg attended Humboldt University majoring in marine science with a minor in art. After graduating in 1984, Hillenburg eventually began working at the Ocean Institute in Dana Point, Calif. While working as a marine science educator there, Hillenburg illustrated the flora and fauna of tidal pools in the form of an educational comic book called The Intertidal Zone. And the narrator of the comic book may look familiar: a sea sponge with sunglasses and a round face named “Bob the Sponge.”
In 1989, Hillenburg enrolled in the California Institute of Art’s Experimental Animation program. After completing the program, he gained more animation experience. Eventually, he was hired as a director on the Nickelodeon cartoon Rocko’s Modern Life, which aired from 1993 to 1996. While working on the show, he was encouraged to turn The Intertidal Zone into an animated format, something he could pitch to Nickelodeon.
Speaking to NPR’s Morning Edition in 2001, Hillenburg said he worked to develop his characters’ design and personalities, including Bob the Sponge.
He described the moment of inspiration: “It wasn’t until I drew a square sponge, like a sink sponge, that it really seemed to fit that character that I was looking for, that innocent, squeaky-clean I guess you could say, the square peg in the round hole.”
After approving Hillenburg’s pitch, Nickelodeon set up SpongeBob SquarePants to be the network’s first Saturday morning cartoon.
Fun for all ages leads to a multibillion-dollar franchise
SpongeBob SquarePants first aired as a preview after Nickelodeon’s Kids’ Choice Awards on May 1, 1999. The first segment of this preview, titled “Help Wanted,” is only eight minutes long, yet it introduces a robust coterie of residents in the fictional, underwater town of Bikini Bottom.
From SpongeBob’s best friend, a starfish named Patrick (voiced by Bill Fagerbakke); to Mr. Krabs, a greedy, red crab voiced by veteran character actor Clancy Brown; to a grumpy octopus named Squidward (voiced by Roger Bumpass); to two characters voiced by Tom Kenny: Gary, a meowing pet sea snail, and of course, the optimistic and overzealous kitchen sponge and titular character, SpongeBob SquarePants.
“Help Wanted” shows SpongeBob preparing for his dream job as a fry cook at the local greasy eatery owned by Mr. Krabs: “The Krusty Krab.”
In promotional art from Nickelodeon, SpongeBob (center) serves “Krabby Patties” to patrons: from left, Sandy Cheeks, Squidward, Mr. Krabs and Patrick.
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In promotional art from Nickelodeon, SpongeBob (center) serves “Krabby Patties” to patrons: from left, Sandy Cheeks, Squidward, Mr. Krabs and Patrick.
Nickelodeon
Tom Kenny, who worked with Hillenburg on Rocko’s Modern Life, took a unique approach to developing the voice for SpongeBob. Speaking with Fresh Air‘s Terry Gross in 2004 about the process, Kenny said:
“When it came time to come up with a voice, it was just a matter of finding a voice that was childlike and maybe childish, but not a child, non-age specific, enthusiastic and just kind of weird. And we finally settled on this elfish helium voice that SpongeBob wound up being.”
The first episode preview contained two more segments: “Reef Blowers” and “Tea At The Treedome”; the latter of which introduced a scientific squirrel who lives in a biodome named Sandy Cheeks, voiced by Carolyn Lawrence.
The series officially debuted on July 17, 1999. That same year, SpongeBob SquarePants beat out the popular Saturday morning cartoon Pokémon in average viewership ratings.
The Cast of Nickelodeon’s SpongeBob SquarePants: The Broadway Musical poses onstage during opening night on Dec. 4, 2017, at the Palace Theatre in New York City.
Jenny Anderson/Getty Images for Nickelodeon
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The Cast of Nickelodeon’s SpongeBob SquarePants: The Broadway Musical poses onstage during opening night on Dec. 4, 2017, at the Palace Theatre in New York City.
Jenny Anderson/Getty Images for Nickelodeon
SpongeBob SquarePants only grew in popularity. By 2002, the show had almost 56 million total viewers, with almost a third aged 18 to 49, the St. Petersburg Times reported that year. In 2004, its first theatrical release, The SpongeBob SquarePants Movie, grossed $141 million worldwide.
Hillenburg left as showrunner after the movie was released but remained credited as an executive producer on the series and co-wrote the story for 2015’s The SpongeBob Movie: Sponge Out of Water.
The Emmy award-winning series is in the midst of its 14th season. And the franchise has expanded to include another theatrical release in 2020, two spinoff television series, more than two dozen video games and even theme park rides.
A musical based on the underwater sponge and his friends took to Broadway in 2017 and had over 300 performances before closing in 2018. The New York Times reported the franchise had generated $13 billion in retail merchandise sales by 2017.
The staying power of SpongeBob
In 2017, Hillenburg announced that he had been diagnosed with ALS, a progressive neurodegenerative disease. He died a year later. As a tribute to Hillenburg, more than one million fans signed a petition for the show’s characters to perform at the 2019 Super Bowl halftime show.
Colleagues close to him credit much of the cartoon’s success to Hillenburg. Speaking with Fresh Air in 2004, Kenny said Hillenburg balanced attention to detail with the flexibility of the characters.
From left, actor Bill Fagerbakke, SpongeBob SquarePants creator Stephen Hillenburg and actor Tom Kenny attend the premiere of The SpongeBob SquarePants Movie on Nov. 17, 2004, in New York City.
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From left, actor Bill Fagerbakke, SpongeBob SquarePants creator Stephen Hillenburg and actor Tom Kenny attend the premiere of The SpongeBob SquarePants Movie on Nov. 17, 2004, in New York City.
Peter Kramer/Getty Images
“Steve Hillenburg definitely is the big kahuna and, a lot of times, just has every vocal nuance and eye blink and twitch mapped out to the nanosecond in his mind,” he said. “And then other times, he’ll just take you off the leash and go, ‘You know, I don’t know where this is going. Just take it where it feels funny.’ So you never know whether you’re going to be doing math or jazz. It’s kind of cool.”
Twenty-five years after its TV debut, the show continues. SpongeBob SquarePants was renewed for its 15th season last fall and another movie (this one featuring Sandy Cheeks) is planned.
More moments in history
The Kennedy Center, the facade of which remains covered with a tarp, is seen in Washington, DC, on June 28, 2026. A US federal judge asked on June 24 for an explanation for why a tarpaulin continues to cover the facade of the Kennedy Center where President Donald Trump’s name was recently removed. District Judge Christopher Cooper gave the board of trustees of the performing arts venue until the end of July to explain “the purpose for and status of the tarp and scaffolding that Defendants have erected on the front portico of the Center.”
ALEX WROBLEWSKI/AFP via Getty Images
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ALEX WROBLEWSKI/AFP via Getty Images
More than two weeks ago, President Trump’s name was removed from the Kennedy Center facade though it is still covered by a tarp and the legal battle continues.
On Monday, a U.S. Department of Justice filing on behalf of the Kennedy Center included some surprises. The document was submitted in response to issues raised by lawyers for ex-officio board member Rep. Joyce Beatty of Ohio who is suing to remove President Trump’s name from the center and stop its closure for renovations.
Among the revelations, the Kennedy Center admitted that, during a board meeting on December 18, 2025, Beatty had been “muted and prevented from speaking.” It was at that meeting that the board voted to add President Trump’s name to the center. The filing later acknowledges the congresswoman was “prevented from voicing her opposition.”
The John F. Kennedy Center for the Performing Arts is a living memorial to its namesake. The guidelines for how the theatre complex spends federal dollars are very specific. Among other rules, it states that “no additional memorials or plaques shall be designated or installed.” Beatty argues adding Trump’s name runs afoul of those rules and that any change requires approval from Congress.
According to one of Beatty’s filings, “There was no advance notice in the agenda that the Board would be considering a name change,” a statement the Kennedy Center now does not deny. The center admits that, prior to voting, there was “no discussion about potential risks or downsides of the vote to adopt a secondary name for the Center.” Nor was there a board discussion “about any potential conflict of interest that might result from the vote.”
The center’s lawyers previously contended that if Trump’s name were to be removed, it would “lose money from donors who support” him and “impede the Center’s fundraising efforts.”
Closing for renovations
Earlier this year, Trump announced on social media that the Kennedy Center would close for two years for renovations. He wrote that he made the decision after “a one year review” with “Contractors, Musical Experts, Art Institutions, and other Advisors and Consultants.”
But, according to the center’s lawyers, Trump’s announcement “was made without presenting any plans, analyses, timelines, or funding information to his cotrustees and without any Board vote.”
The Kennedy Center has long denied reporting by The Washington Post that ticket sales plummeted after President Trump became the Center’s board chair. In Monday’s legal filing, the Center admits that, by October 2025, “nearly half of the Center’s tickets were going unsold.”
Paul Tremblay has made a career of pushing the horror genre – and the novel format – in strange and exciting new directions.
In his latest, Dead but Dreaming of Electric Sheep, the author offers an amalgamation of genre elements that can be best described as psychological-dystopian-science-fiction horror. It’s a mouthful, but the narrative does all of that and more in a way that defies categorization.
Julia Flang is a former semiprofessional gamer working two mediocre jobs she dislikes and living in a modest ranch house in a San Fernando Valley suburb with her retired uncle, whom she calls Uncle Fun. Julia likes movies and gaming but there’s little else going on in her life, so when her estranged mother, the CFO of a large tech company, contacts her with a possible job offer – a “once-in-a-lifetime thing” that pays handsomely just for doing the interview – she hesitantly agrees.
The job is relatively simple and perfect for someone with gaming skills: using a controller built into a phone to get a man, who is stuck in a vegetative state, from California to the East Coast. It will require her to learn how to control his body – walking, moving, sitting, standing, using his arms – so she can maneuver him out of the facility where he is located and into cars and planes and through crowded airports. A fan of movies, Julia decides to call the man Bernie – after the movie Weekend at Bernie’s. When the ethics of the job start to bother her, Julia realizes it’s too late and she must go through with it. However, she’s soon contacted by people interested in sabotaging the whole thing, people who, like her, don’t align with the shady interests of conglomerates and those set to make “gobs of money” from this new, somewhat inhuman technology.
As with every Tremblay novel, any synopsis barely scratches the surface. The novel’s chapters alternate between Julia and you (yes, you). Julia’s chapters are “normal” in the sense that they obey a chronological order and have action, basic descriptions of movement and places, and dialogue. The chapters in second person are like fever dreams from a shadow world; the desperate experiences of a man trapped inside his own body with no control of it, no clue what’s happening to him, and only a few fragmented memories of his life. Also, Tremblay uses a similarly fragmented style of storytelling (including words and sentences trapped in boxes and/or “moving” on the page) to keep things interesting but also confusing and creepy.
This novel operates on several different levels and – planes of existence? Bernie has a head full of AI that controls his body, but his consciousness is still there and struggling to regain control, struggling to remember things. There are monsters, leeches, mysterious rabbits, and eerie shadows in his world, but the true horror comes from the lack of control, from being moved around against his will and having no clue what comes next. Bernie is the embodiment of losing control to AI, and when taken together with the commentary of creativity and AI and the meta interludes in which the author takes a wrecking ball to the fourth wall and addresses readers, this is the best anti-Generative AI story horror has produced so far.
Despite the horror of it, this is a very funny novel. Julia is sarcastic and struggles to keep her comebacks in line, but the conversations she has and messages she writes are always entertaining. However, the humor is far from the crown jewel here. That title belongs to a plethora of big ideas Tremblay juggles. The nature of life, death, and consciousness, the evils of conglomerates, inhuman practices in the name of capitalism, and AI, and even what it means to be human are all explored here: “Is Bernie alive? Is he feeling pain? Is he experiencing everything as a prisoner looking through the bars of his body? Has his consciousness been winnowed to a metaphysical keyhole? Where does consciousness begin or end?” There are no definite answers here, but the way Tremblay infuses humanity, love, the importance of relationships, and humor throughout the narrative provides the kind of answers that can’t and don’t need to be spelled out.
A genre-bender full of big ideas that constantly switches between a world full of real or uncomfortably plausible nightmares and a bizarre hellscape in which loss of self, memory, and autonomy are only the tip of the proverbial iceberg, Dead but Dreaming of Electric Sheep is a horrific and terrifyingly disorienting novel that invites readers to consider a future that already started. Tremblay has always been an innovator, but this beautifully written collection of real and imagined grotesqueries cements him not only as one of the most original and exciting voices in horror but also as one of the smartest, most engaging authors in contemporary fiction.
Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at @Gabino_Iglesias.
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