Problem: Betty Boop is an animated cartoon character created by Max Fleischer, with help from animators including Grim Natwick. She originally appeared in the Talkartoon and Betty Boop film series, which were produced by Fleischer Studios and released by Paramount Pictures. She has also been featured in comic strips and mass merchandising. A caricature of a Jazz Age flapper, Betty Boop was described in a 1934 court case as: "combin[ing] in appearance the childish with the sophisticated--a large round baby face with big eyes and a nose like a button, framed in a somewhat careful coiffure, with a very small body of which perhaps the leading characteristic is the most self-confident little bust imaginable".

Betty Boop's best appearances are considered to be in her first three years due to her "Jazz Baby" character and innocent sexuality, which was aimed at adults. However, the content of her films was affected by the National Legion of Decency and the Production Code of 1934. The Production Code of 1934 imposed guidelines on the Motion Picture Industry and placed specific restrictions on the content films could reference with sexual innuendos. This greatly affected the Betty Boop cartoons. No longer a carefree flapper from the date the code went into effect on July 1, 1934, Betty became a spinster housewife or a career girl who wore a fuller dress or skirt. Additionally, as time progressed, the curls in her hair gradually decreased. She also eventually stopped wearing her gold bracelets and hoop earrings, and she became more mature and wiser in personality, compared to her earlier years. Right from the start, Joseph Breen, the new head film censor, had numerous complaints. The Breen Office ordered the removal of the suggestive introduction which had started the cartoons because Betty Boop's winks and shaking hips were deemed "suggestive of immorality". For a few entries, Betty was given a new human boyfriend named Freddie, who was introduced in She Wronged Him Right (1934). Next, Betty was teamed with a puppy named Pudgy, beginning with Betty Boop's Little Pal (1934). The following year saw the addition of the eccentric inventor Grampy, who debuted in Betty Boop and Grampy (1935). While these cartoons were tame compared to her earlier appearances, their self-conscious wholesomeness was aimed at a more juvenile audience, which contributed to the decline of the series. Much of the decline was due to the lessening of Betty's role in the cartoons in favor of her co-stars. This was a similar problem experienced during the same period with Walt Disney's Mickey Mouse, who was becoming eclipsed by the popularity of his co-stars Donald Duck, Goofy, and Pluto, not to mention Fleischer's biggest success, Popeye. Since she was largely a musical novelty character, the animators attempted to keep Betty's cartoons interesting by pairing her with popular comic strip characters such as Henry, The Little King and Little Jimmy, hoping to create an additional spin-off series with her pairing with Popeye in 1933. However, none of these films generated a new series. When the flapper/jazz era that Betty represented had been replaced by the big bands of the swing era, Fleischer Studios made an attempt to develop a replacement character in this style in the 1938 Betty Boop cartoon Betty Boop and Sally Swing, but it was not a success. The last Betty Boop cartoons were released in 1939, and a few made attempts to bring Betty into the swing era. In her last appearance, Rhythm on the Reservation (1939). Betty drives an open convertible, labeled "Betty Boop's Swing Band", through a Native American reservation, where she introduces the people to swing music and creates a "Swinging Sioux Band". The Betty Boop cartoon series officially ended with Yip Yip Yippy (1939). While "Yip Yip Yippy" appears at the end of the Betty Boop series, it is only a one-shot about a "Drug Store" mail-order cowboy "wannabe" without Betty. "Yip Yip Yipee" was written mainly to fill the release schedule and fulfill the contract.

So basically the production code ruined the show?

Answer with quotes: Much of the decline was due to the lessening of Betty's role in the cartoons in favor of her co-stars.

Question:
Jesse Donald Knotts was born in Morgantown, West Virginia, the youngest of four sons born to farmer William Jesse Knotts and his wife, Elsie Luzetta Knotts (nee Moore). His parents were married in Spraggs, Pennsylvania. His English paternal ancestors immigrated to America in the 17th century, originally settling in Queen Anne's County, Maryland. Knotts' brothers were named Willis, William, and Ralph.
Before he entered high school, Knotts began performing as a ventriloquist and comedian at various church and school functions. After high school, he traveled to New York City to try to make his way as a comedian, but returned home to attend West Virginia University when his career failed to take off. After his college freshman year, Knotts joined the United States Army and spent most of his service entertaining troops. He toured the Pacific Islands as a comedian as part of a G.I. variety show called Stars and Gripes. His ventriloquist act included a dummy named Danny "Hooch" Matador. In a TV Guide interview in the 1970s, he said that he had grown tired of playing straight man for a hunk of wood when he was in the Army. According to Knotts, he tossed the dummy overboard off a ship in the South Pacific. He swore that he could hear the dummy calling for help as the ship sailed on, leaving him bobbing helplessly in the waves. Knotts served in the United States Army from June 21, 1943 to January 6, 1946. Discharged in the rank of Technician Grade 5, which was the equivalent of a Corporal. During his military service, Knotts was awarded the World War II Victory Medal, Philippine Liberation Medal, Asiatic-Pacific Campaign Medal (with 4 bronze service stars), Army Good Conduct Medal, Marksman Badge (with a Carbine BAR) and Honorable Service Lapel Pin. Knotts returned to West Virginia University after being demobilized and graduated in 1948. He married and moved back to New York, where connections he had made while in the Special Services Branch helped him break into show business. In addition to doing stand-up comedy at clubs, he appeared on the radio, eventually playing the wisecracking, know-it-all character "Windy Wales" on a radio western called "Bobby Benson and the B-Bar-B Riders". Knotts got his first major break on television in the soap opera Search for Tomorrow where he appeared from 1953 to 1955. He came to fame in 1956 on Steve Allen's variety show, as part of Allen's repertory company, most notably in Allen's mock "Man in the Street" interviews, always as an extremely nervous man. He remained with the Allen program through the 1959-1960 season. From October 20, 1955 through September 14, 1957, Knotts appeared in the Broadway version of No Time for Sergeants, in which he played two roles, listed on the playbill as a Corporal Manual Dexterity and a Preacher. In 1958, Knotts appeared for the first time on film with Andy Griffith in the film version of No Time for Sergeants. In that film, Knotts reprises his Broadway role and plays a high-strung Air Force test administrator whose routine is disrupted by the hijinks of a provincial new recruit.
Answer this question using a quote from the text above:

What did he say about this dummy

Answer:
he said that he had grown tired of playing straight man for a hunk of wood when he was in the Army.