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Moe Hican, the wealthy Native American, is having his daily hunt. This time with a hideously deformed moose. Unfortunately, the hunt doesn't quite go as planned, particularly with Moe's butler inadvertently getting caught in the middle of it.

Robert McKimson directed many excellent one-shots during his time with Warner Brothers (The Hole Idea being probably his most famous), but this has to be his funniest. The peppy Moe and his cynical butler are such great characters that I'm surprised McKimson never used them again. But they're nothing compared to the moose, who has to be one of the funniest "victims" ever in a WB cartoon. Seeing Moe's traps constantly turn on the butler is consistently chuckle-worthy, only strengthened by the Butler's increasing frustration with the Native's incompetence. And the ending, which I won't spoil here, will leave you rolling.

An easy 10/10.

Daffy Duck owns a "Mouseburger Cafe" in the middle of the desert. Because of his tight budget, he uses rubber mice rather than real mice for his burgers (perhaps an unintentional foreshadowing of where the fast food industry would be headed 30 years later). But when a Mexican bandito cat named El Supremo discovers this, he demands that Daffy brings him real mouseburger. Unfortunately for Daffy, the only mouse in the area is Speedy Gonzales.

Daffy/Speedy cartoons are typically very hit or miss. There's a mix of good and bad cartoons in the series. And fortunately, this cartoon falls under the "good" category. Daffy, for once, is actually a fairly sympathetic character with an understandable reason for going after Speedy (so that he can avoid being massacred by El Supremo - who, by the way, is a funny character in and of himself). He's not really a "good guy", per see. But he's considerably less evil and more sympathy-inducing than in other D/S shorts. There are plenty of solid gags, such as the garbageman mistaking Daffy hiding in a trashcan for "talking garbage." And while the ending's a bit of a downer, since Daffy winds up the loser when it really should've been El Supremo, it doesn't spoil an otherwise solid cartoon.

Overall, this cartoon stands with Daffy Rents and Snow Excuse as probably the three best cartoons in the Daffy/Speedy series. That, of course, isn't saying much. But when taken by its own merits, Daffy's Diner is a nice little cartoon. And a fine farewell to the DFE-era of WB cartoons.

Directly ripping off the plot of (the far superior) Bully For Bugs to a tee, this cartoon opens with a bullfighting contest in the middle of Mexico. After the matador loses the fight and everybody goes home, a crew of Mexican mice decides to take over the bullfighting arena with Speedy and Sylvester replacing the matador and bull respectively.

Speedy cartoons have always been very hit-or-miss, but this particular cartoon has to be one of his weakest (yes, even weaker than most of his cartoons with Daffy Duck). The plot has promise but is tarnished by stale jokes and growing sympathy towards the "antagonist." A lot of sadistic punishment is inflicted on Sylvester with Speedy totally unscathed. The jeering mice in the bleachers are only the icing on the cake. So expect to eventually be rooting for Sylvester rather than Speedy (it's hard to root for "the little guy" when he acts just as bad as the "big bully" ~ed.). What's more, most of these jokes are predictable and not at all funny. Especially the insanely convoluted (and mean-spirited) final gag.

Overall, there's very little to recommend about this cartoon save for Bill Lava's Spanish-flavored musical score. The animation is cheap and really downgrades the reused footage from the brilliant Bully For Bugs, the jokes are mean-spirited and unfunny, and the whole cartoon reeks of a team of tired directors simply "going through the motions."

Before about 1938, the Warner Brothers series of cartoons was generally split into two camps. There was the Looney Tunes series, generally starring Warner's biggest star at the time. And then there was the Merrie Melodies series, which consisted of largely music-oriented cartoons centered around one at-the-time popular folk song (which was also used as the respective cartoon's title).

This particular cartoon, as the title suggests, is based of the song Shuffle Off To Buffalo. Baby Central is the location, and the storks are busily delivering babies to families from all over the world while a crew of dwarfs busily prepares them for delivery. The song is sung throughout about two-thirds of the cartoon, with the children and dwarfs singing it (how a child could learn these song lyrics before even learning baby talk remains a mystery to me). There's also a brief cameo by Eddie Cantor, who keeps the song running throughout the remainder of the cartoon.

Since most Merrie Melodies shorts, at the time, had little in the way of plot, the cartoons generally had to rely on both visuals and music to be entertaining. Fortunately, this short succeeds on both accounts. The animation is peppy and surprisingly fast paced, while the music is both fun and lighthearted. There's really little else to say about it (jokes, with the most memorable being the subtle Jewish reference in the beginning, are generally sparse) except that it's certainly a delightful cartoon and worth watching for those curious to see how WB cartoons were before Porky Pig was even conceived.

Speedy owns a nightclub which, unfortunately, happens to be right below Daffy's home. Disturbed by the constant racket Speedy and his friends are making, Daffy tries everything to (literally) put an end to it.

The Daffy/Speedy series is certainly a mixed bag. Some of its shorts are good/very good (Quacker Tracker, Chili Corn Corny), a few are great (Go-Go Amigo, Daffy Rents), some are average (Skyscraper Caper, A Taste Of Catnip), and some are horrible (Rodent To Stardom, See Ya Later Gladiator). Fortunately, this cartoon falls into the first category. Unlike many other Daffy/Speedy shorts (especially Moby Duck, Assault and Peppered and Well Worn Daffy), there's actually a logical reason behind Daffy's anger with Speedy, namely the constant noise he makes with his nightclub. Some of the measures Daffy takes to catch Speedy are quite amusing, especially the long-without-being-convoluted grenade gag. As is the cartoon's ending. The animation is a little disappointing (Speedy's nightclub is little more than a giant brown room) but not enough to hurt an otherwise solid cartoon.

Worth seeing.

After trying and failing to teach Wilbur how to play an old folk song on his fiddle, Honey telephones the drowsy Bosko and invites him to have a picnic with her. Of course, thanks to a rainstorm and Bosko's nosey dog Bruno, the picnic doesn't quite go as planned.

Long before Bugs Bunny, Daffy Duck, and pretty much every other familiar WB character, there was Bosko - WB's first star and answer to Mickey Mouse. Bosko represented pretty much every cartoon cliché at the time - an unrecognizable (and subtly stereotypical) character constantly getting into some form of mischief. The main criteria for a cartoon character's success at the time was his/her charm (rather than originality) - which Bosko, fortunately, had. The theatrically unreleased Bosko and Honey demonstrates this perfectly. Despite its dull plot and jarringly corny jokes (just wait until you see the ending!), the cartoon is reasonably fun to watch thanks to its peppy tone and lively animation. When evaluated critically, it's certainly below par (especially when stacked against the shorts WB would be producing just fifteen years later). But when simply watched, the cartoon is both fun and historically interesting.

If you're expecting something along the lines of Long-Haired Hare or Duck Amuck, you certainly won't find it here. This short is about as simple and inoffensive as they come. Nevertheless, it's certainly worth watching out of curiosity.

Psychiatric doctor Ben Crazy has a high number of cat patients due to Speedy Gonzales' annual visitation of his hospital. To get rid of the pest, he calls Daffy Rents. Daffy brings over his robot Herman to get rid of Speedy. Unfortunately, even he may be no match for "that dirty rodent."

Although by no means comparable with the classic WB shorts of the 40s and 50s, this is probably the best of the mid-1960s Daffy/Speedy shorts. The robot Herman's interaction with Daffy is funny (particularly their argument over who's payed how much for the job), as are some of their means to catch Speedy and the mouse's constantly successful attempts at thwarting them. Daffy is, for better or for worse, a little less bitter/nasty than usual in this cartoon (although he still has that cynical/greedy personality we all love about him) and Speedy's personality is put to surprisingly good use here. Clever plot too.

Overall, this is ultimately the best of the Daffy/Speedy series. That, of course, isn't saying a whole lot. But this is one case where "Best Of The Worst" is actually a more than dubious honor.

The Loco Crow makes a final appearance in a WB cartoon. This time as Speedy's friend. Unfortunately, their friendship is in serious jeopardy when both spot a corn field guarded by vegetable farmer Daffy Duck, who will go so far as to give his entire corn field to the crow as long as Speedy's done away with(!).

This may very well be one of the oddest Daffy/Speedy shorts produced in the mid-1960s. Here, Speedy's speed takes a back seat to his admittedly bizarre "friendship" with The Loco Crow. The cartoon initially revolves around the duo trying to thwart Daffy's every attempts at (maliciously) throwing them out of the field. Afterwards, it takes a slight twist when Daffy offers one the entire field for killing the other. Unfortunately, it's never actually revealed why Daffy so desperately wants Speedy killed (these "plot holes" were one of the main problems with the Daffy/Speedy series), and it's a little strange that the Loco Crow was so quick to turn on Speedy just so he could have a quick bite to eat. Meanwhile, the ending is decent but very abrupt (although the writing on the crow's sign is pretty funny!).

As for the animation, it's about as good as any other Daffy/Speedy short produced at the time. The lower budgets of the 1960s show, though the corn field does breath a little life into the otherwise bland artwork. Meanwhile, the music is actually a step above that of most other Daffy/Speedy shorts. The little number heard in the cartoon's intro (AFTER the opening credits) is catchy, even though it is repeated throughout most of the short.

Overall, this is an okay if far from perfect short. Daffy more or less makes the cartoon, though, with his bitterness and bizarre-but-funny hatred towards Speedy. Otherwise, the promising jokes are just too abrupt to really work and Speedy's personality is given little chance to shine because of all the emphasis placed on the crow. Decent cartoon nonetheless.

Daffy's a Physicist's assistant assigned to clean the laboratory with the strict order of "not pulling the chain" (ie. setting off the physicist's time machine). In one of the lamest musical moments ever in a WB cartoon, he overhears Speedy and his Mexican folk band. To get rid of the pest, Daffy tries to trick Speedy into pulling the chain to send him back to 65 AD Rome. Unfortunately, the trick backfires and both wind up being sent back to 65 AD, where they are thrown into a coliseum as gladiators.

This was the last Daffy/Speedy cartoon produced (and, therefore, the last cartoon with "classic" WB stars), and unfortunately, it only works to reinforce what everybody hated about the series. The plot shows promise but is marred by sloppy writing (particularly the ending) and poorly timed gags - the only even remotely funny one being the lion's facial expression after his mane has been cut off and he looks in the mirror. The animation is poor even by 1968 standards. And the generic Mexican-style soundtrack is even more sloppily scored than in previous Daffy/Speedy shorts (it's just generic background noise with virtually no interplay with what's happening in the cartoon).

Overall, this is a sad swan song to an already maligned series of cartoons. While my personal feelings towards the Daffy/Speedy cartoons tend to be a little softer than most, several of them completely miss the mark. This is one of them.

Watch it strictly out of curiosity.

In perhaps Bugs's first reference to that "wrong turn at Albequerque," he instead finds himself in Scotland where he encounters a Scottish bagpipe player (whom he mistakenly presumes is an old lady being attacked by a monster - if that makes sense to you). After Bugs unknowingly destroys the Scotsman's bagpipes, he decides to settle the dispute by challenging the rabbit to a game of golf. Wackiness ensues.

Although nothing above the ordinary, this is still a pretty amusing Bugs Bunny short. The interplay between him and the Scotsman at the beginning is funny (particularly Bugs's portrayal of a Scottish landowner). As are several of the tricks Bugs plays on him when on the links. As far as characterization is concerned, Bugs is his usual tricky self (but no more) while the Scotsman is the stereotypical foreigner complete with a deliberately funny Scottish accent. With no other characters to speak of, this may be one of Bugs's most simplistic cartoons ever (not to be confused with "worst" mind you). The surprise ending is pretty funny too as it finally gives the Scotsman a fair come-uppance.

Perhaps the most interesting thing about this short is its animation. Despite being released in 1948, the cartoon both looks and sounds more like a 1950s short. By contrast, later shorts like High Diving Hare and Rebel Rabbit look and feel more like 1940s shorts. This just goes to show how ahead of his time Chuck Jones really was as his less cinematic style of animation was in the 70s and 80s imitated by almost every cartoonist in one way or another.

Overall, this is a fairly average Bugs Bunny cartoon. But understand that an average Bugs cartoon is still better than a top cartoon with most other cartoon characters. That alone makes it well worth watching.

After his failure to catch the Roadrunner in 1949's Fast And Furry-ous, Wile E. Coyote instead targets a new prey: Bugs Bunny. Unfortunately, his luck with catching Bugs isn't much better than it was with the Roadrunner three years earlier.

Although it's a little odd that Wile E. Coyote's sophomore cartoon was actually the first of five that paired him with Bugs Bunny (suggesting that Chuck Jones knew he had a popular character with Wile E. but wasn't quite sure of what to do with him after F&F), Bugs proves to be just as funny a foil for Wile E. as the Roadrunner was. In addition to discovering his name, we also discover Wile E.'s over-inflated ego. This, of course, is what ultimately does him in. The whole use of "modern science" to capture Bugs was a first at the time and a welcome departure from the usual "man with gun out to get Bugs" routine. Of course, the cartoon's novel presentation is put to good use with some very funny gags (my favorite being the mechanical bunny). Plus, at the end of the cartoon, we hear one of Bugs's most oft-quoted lines (which is already cited elsewhere on IMDb).

Overall, this is one of the funniest and most creative Bugs Bunny shorts ever released. It's a shame the remaining four cartoons couldn't quite live up to this one because, considering the potential the cartoon's formula had, Wile E. and Bugs could've easily become just as popular a pairing as Wile E. and the Roadrunner.

Bugs is happily reading when he spots the Easter Rabbit (notice he's deliberately referred to as "Rabbit" rather than "Bunny"), worn out from his many years of egg delivery, crying. Bugs happily offers to deliver the eggs for him only to find out the hard way why delivering Easter Eggs has become such a chore for the Easter Rabbit.

Being a late-1940s holiday-themed Bugs Bunny short, and a Bob McKimson one no less, we can logically expect that the holiday will be anything but "happy" for our favorite gray rabbit. As a matter of fact, this is probably one of Bugs's angriest and most cynical performances yet (again, this can be attributed to the cartoon's aforementioned director, who often portrayed Bugs as a blunt, impatient and almost mean-spirited character). Bugs's interaction with his two main antagonists, namely a redheaded bully and an angry Elmer Fudd, is great; as is his growing frustration with the lazy and selfish Easter Rabbit. What really makes this cartoon stand out, however, is its dialog. Particularly, Elmer Fudd's opening scene/line (which is quoted here for your viewing pleasure). Excellent punchline at the end, too (although just HOW that "bomb" got there is beyond me).

Overall, despite some inconsistencies (which can probably be attributed to McKimson's inexperience directing Bugs Bunny cartoons), this is a great holiday themed short that every WB fan must see. The perfect escape from a sometimes overly joyous occasion.

In one of Friz Freleng's earliest Sylvester/Tweety shorts we find Tweety taking a bath in a city park's birdbath when Sylvester (cleverly hidden behind a newspaper) spots him. Thus begins a classic chase through the park and into the city. Oh, and a feisty nanny spending an afternoon at the park with the baby she's watching somehow gets mixed up in the whole situation.

Being a 1950 cartoon, we see the deceptively cute Tweety at his most aggressive. The bird takes great pleasure in thwarting Sylvester's every attempt at catching him, resorting to everything from anvils to even getting a "guard dog" (in what has to be one of the most creative visual/musical moments ever in a Sylvester/Tweety cartoon). The best gag, however, involves Sylvester disguising as the Nanny's child.

The animation, particularly of the park scenery, is topnotch (and it's here that we really see Tweety develop visually), Carl Stalling's musical score is (as usual) excellent, and the ending is perfect (particularly, Tweety's final line after getting rid of Sylvester is hilarious).

Overall, this is easily among the finest Sylvester/Tweety cartoons. And considering the excellent quality of the two's shorts up until around 1960, that's certainly saying something.

After stowing away on a ship, Charlie Dog winds up in Venice to (once again) look for a master. Unfortunately for him, this means not only dealing with people who don't want a dog, but people who can't even understand his English (ironically, they themselves are just speaking English with an Italian accent). He spots a restaurant and decides that would be the most logical place to find a master. Unfortunately, the restaurant owner appears to think otherwise.

It's quite a shame Chuck Jones canned Charlie after this cartoon (excluding his brief cameo in 1958's Dog Tales) because this was probably his best cartoon yet. The set up is a nice break from Charlie's usual "waiting desperately in the city for a master" routine. And the way he interacts with the restaurant owner is great. Especially funny is the way Charlie just "Settles in" before the owner even realizes he's there, as well as his failed attempt at sucking up to the owner by taking over the restaurant while he's at lunch. Brilliant punchline at the end, too (and Charlie's response to the owner finally giving in definitely tells us something about his character).

Overall, this cartoon is a fine farewell to what is arguably one of the more underrated characters in the Termite Terrace. Definitely worth seeking out!

Daffy and his girlfriend are having a fun day at the beach when a giant muscle-bound duck (we'll use IMDb's name "Hunky Duck" from here on out) comes along and impresses his girlfriend. Not wanting his relationship to end like that, Daffy is conned by a salesman into taking "Atom-Col" (a bogus muscle-building formula). Thus begins a series of contests between him and Hunky to see who's the strongest.

At the time of this cartoon's release, Daffy was right in the midst of his transformation from crazy/loony Daffy to greedy/self-centered Daffy. Here, he's neither of the two. So as with other cartoons from this time period (Cracked Quack for example), he's given a somewhat dry role here. What this means is that the cartoon basically has to rely on its jokes to supply its humor (as opposed to its characters). Fortunately, most of them are reasonably funny. His constant defeat during Hunky's contests is funny, as is his interaction with his girlfriend. There are a couple jokes that don't really work (particularly the ending - which really doesn't make a whole lot of sense), but the ones that do work are solid.

This is by no means Daffy's best performance, but a good cartoon nonetheless and worth seeing for fans of the little black duck.

Two Mexican crows, via airplane, spot a corn field only to find the field is being guarded by a slick Elmer Fudd. Unfortunately, Elmer (for the first time since 1955's Rabbit Rampage) somehow gets the best of the duo.

By 1962, it became obvious that the Warner Brothers Animation Department was fighting an uphill battle to keep theatrical shorts alive. Many of the cartoons produced were on tight budgets and of notably inferior quality to what was produced in the 1940s and 1950s. This short, however, stands out particularly because of the way Elmer Fudd is used. The crows, after seeing his scarecrow, mistake the real Fudd for the scarecrow. Thus begins a hilarious identity crisis with Elmer Fudd constantly outwitting the two crows. As you can probably guess, Elmer is a bit out of character in this cartoon being that he is generally the fall guy in other shorts (he doesn't even speak here). But for once, the slight alteration works quite well.

The animation is surprisingly well done for the time period, and the music as (as usual) top notch. By no means is this one of the best Warner Brothers shorts, but for an early 1960s cartoon, it's certainly better than average.

The king (voiced by Arthur Q. Bryan) of a team of elves is worried about all the elves missing from his pack and sends one of his remaining elves to retrieve them. The elves are, of course, employed by "the shoemaker." He must somehow retrieve them, and get by the shoemaker's pet Sylvester at the same time. Meanwhile, the elven king drops by and literally gives the shoemaker a lesson in modern business management.

In the mid-1950s, Friz Freling was experimenting with pseudo-educational cartoon shorts in much the same vein as the shorts Disney was putting out at around the same time. Yankee Dood-It was probably the best of the bunch, but that's actually saying very little. Sylvester is the obvious comic relief of the cartoon, and aside from his constant attempts at taking advantage of the "Jehosefat" spell (saying "Jehosefat" apparently turns elves into mice), there are absolutely no jokes to speak of. A good third of the cartoon involves the king playing an educational slide show for the shoemaker to teach him how to run his business in the then 20th century. The cartoon's finale is so forced and predictable, it isn't even worth mentioning in "non-spoiler text."

Overall, this is a fairly pointless short that seems to be more about Freling trying to do something Disney did a lot better at the same time than doing what he himself does best - which is to make funny, non-PC, non-moralistic cartoons.

Daffy owns an electronics store and decides to not allow people to use his equipment without buying it (ie. no TV sets, radios, etc. can be left on in his store without paying). Meanwhile, it's Speedy's birthday and he must have music to keep the party going. Which means somehow tricking Daffy into letting him play a radio in his store.

This cartoon is yet another example of the mean/nasty Daffy (albeit not to the extent of other cartoons like Well Worn Daffy or The Astroduck), though here it makes a little more sense as Daffy is simply trying to run a legitimate business and doesn't want people using his equipment without buying it. The way he goes to such great lengths just to keep Speedy and his friends from listening to music at his store is pretty funny, and the cartoon as a whole is more well rounded and consistent than other Daffy/Speedy shorts. There's nothing jaw dropping or imaginative here, but on the whole it works reasonably well.

Overall, this stands as probably one of the best Daffy/Speedy shorts. That, of course, isn't saying a whole lot; but you can't argue with even mild success, can you?

Daffy Duck goes gold mining, only to encounter a gopher hole at the spot where he's supposed to be digging. The gopher hole happens to be inhabited by the over-polite Goofy Gophers, who do everything they possibly can to keep Daffy from finding his fortune.

This was the last of three cartoons during the DePattie-Freling years where Daffy was not paired with Speedy Gonzales. Unfortunately, the fact that it doesn't have this oft-maligned pairing does not necessarily make it a great cartoon. Most of the jokes are underdeveloped (how did the Gophers manage to pull Daffy's jeep apart like that anyway?), and Daffy is the same nasty/reckless character he was in his pairings with Speedy Gonzales. Really, this is essentially a Daffy/Speedy short with slightly better animation and Speedy replaced with the Goofy Gophers. Somehow, I still found the cartoon reasonably amusing because it does retain that classic WB charm (hence the 6-star rating), but it's certainly a good example of why the DePattie-Freling and Alex Lovy years are considered the worst in WB Cartoon history.

Watch it out of curiosity.

Sylvester is aghast when he sees that his son is fraternizing with (of all possible creatures) a blue jay by the name of Spike. Through his natural feline instincts, he does everything in his power to not only destroy this relationship, but destroy Spike as well.

I always found the earlier Sylvester/Sylvester Jr. cartoons to be more enjoyable than the later ones. In the earlier cartoons, Sylvester Jr. was quite sassy and straight-up compared to his more innocent persona of the late 50s and early 60s shorts. As such, they had quite a bit more spark. Unfortunately, this cartoon falls victim to being one of the latter shorts. Essentially, it is a Sylvester/Tweety cartoon with Tweety being replaced by the similar but less interesting Spike (who not only talks in whistles but also has that same "cute/innocent on the outside but sly and crafty on the inside" personality - albeit to less funny effect) and Sylvester Jr. simply standing there and watching. Save for may be the final gag, none of the jokes here are too terribly imaginative or funny, and the ending is too vague to really work as a punchline.

Overall, this is by no means a bad cartoon. It is, however, a clear example of the WB cartoon studio running out of creative steam, which of course lead to the closing of the studio just three years later.

Family Matters started out as a rather ordinary Cosby Show-like sitcom about an everyday African American family living in suburban Chicago. But then something happened. Next door neighbor Steve Urkel was introduced. And just like that, ABC's TGIF line-up would never be the same.

I'll agree with most and say that the first six seasons were very funny. Classic episodes included Steve playing the role of Laura's husband for a school project, Carl teaching Steve how to drive, the introduction of Stefan, and the obligatory trip to Disneyland. Unfortunately, after Season Six (ie. when Steve finally moved in with the Winslows) it was pretty obvious the series was starting to wear thin. The writers seemed to be running out of ideas, often having to rely on Steve Urkel himself and his inventions for all the comedy, his cousin Myrtle was re-introduced for no reason, and even Steve's own character cooled down to the point where by the last season, he no longer seemed like the clumsy, nerdy Steve Urkel we all knew and loved.

Essentially, Family Matters was a very funny show for a while, but also one that should have stopped while it was still at its prime, rather than being forced to end after two or so seasons of lousy ratings.

Speedy takes a mouse friend to a ghost town and shows him a piece of cheese from a local cheese mine. Daffy willingly overhears them, mistaking the cheese for gold. Thus begins yet another Daffy/Speedy chase through an abandoned saloon and into the "Cheese Mine."

Many consider this to be among the worst Daffy/Speedy cartoons. While it isn't bad compared to some of the other Alex Lovy directed shorts (See Ya Later, Gladiator), it's fairly mediocre. A poorly drawn Daffy essentially goes after Speedy for no real reason other than to get the cartoon started, the jokes are worn out and unfunny (save for may be the telephone gag in the middle), and the ending is so predictable you could probably guess what it is just by reading my plot description at the top. The horribly drawn backgrounds and cheesy Bill Lava music don't help matters much, either.

Don't spend nights on end tracking this one down.

Bugs is lying on a rock happily playing some folk music while opera singer Giovanni Jones is in "the house down the hill" (quite a modern looking house for 1949, no?) rehearsing. After being constantly disrupted by Bugs's music, Giovanni violently puts it to an abrupt end. Little does he realize what Bugs has in store for him during his performance that night...

Being a late-1940s cartoon, we see our favorite rabbit at his most aggressive (before the more "kid-friendly" Bugs of ten years later). As such, Chuck Jones' generally dark/violent humor is in full force here, and is very funny due to some clever jokes and excellent timing. My favorite being the sometimes cut-from-TV scene where Bugs dresses like a bobbysoxer asking for Giovanni's autograph, only to give him a stick of dynamite rather than a pen. Giovanni's pose when he was getting ready to sign his name was simply priceless! Highly recommended!

Note: The 7 is actually a rounded score. A 6.5 probably would have been more appropriate.

After being ridiculed for imagining a running TV program on a blown out TV set, a young mouse realizes the silliness of what he's doing and is depressed until Speedy comes and cheers him up by telling tales of the "Stupid duck" and the "Smart mouse." Thus resulting in a "clip show" through the broken TV set of previous Speedy/Daffy cartoons (from before they were paired, of course). Daffy, of course, oversees this and is eventually driven past his limit with Speedy's constant portrayal of him as stupid.

As my title suggests, Daffy/Speedy cartoons are a bit of a guilty pleasure for me. Sure, the lower budgets in animation and music stick out, the two characters don't really go together, and Daffy is generally a total jerk in most episodes (especially the earlier ones); but they still manage to be fairly amusing. Partially in a "so bad, it's good" way, partially because there are some reasonably funny jokes in these cartoons. As for Mucho Locos, it's really little more than a clip show with reanimated (yes, reanimated) versions of classic scenes from such shorts as Robin Hood Daffy and Tortilla Flaps (with an unintentionally hilarious example of lazy sound design when El Vulturo's writhing in agony). Admittedly, the whole stupidity of the plot made me chuckle, and Warner Brothers did choose some good "classic scenes." Plus, the ending for this cartoon is priceless.

Overall, not the best Daffy/Speedy short but not the worst either. It's pretty much what you'd expect from the series.

For once, you can believe the hype. Seinfeld is one of the best sitcoms ever to grace a TV set. But what made the show so great, you may ask. Did it have deep character development? Did its episodes have any sappy morals and "positive messages"? Did it have complex and borderline Shakespearian plots? No, no, and no. But this is where the magic of Seinfeld lies. It avoids all the sitcom clichés and convoluted theatrics in favor of a more down-to-Earth, reality-based sitcom. The result is humor in what seems like everyday situations for most people. As Jerry Seinfeld himself pointed out, the typical episode for your average sitcom involves a trip to the mall to buy clothes or whatever, and then looking for your car in the parking garage as a sort of side-joke. Seinfeld, however, had an entire episode devoted to just finding your car in that parking garage (we never got to see Jerry, Elaine, George, or Kramer actually shopping) - and the show, rightfully, got its first Emmy nomination for it. Other notable episodes include the more well known (The Soup Nazi, The Bizarro Jerry, The Chicken Roaster) and the oft-overlooked (The Chinese Woman, The Suzie, The Frogger). Anyway, if you haven't seen Seinfeld yet, crawl out of your cave and watch it. Even though the series ended seven years ago, age has not affected it one bit.