Looney Tunes/YMMV: Difference between revisions
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* [["Grand Theft Auto" Effect]]: It's not uncommon to hear a song outside of Looney Tunes and immediately think of Looney Tunes, such as Raymond Scott's "Powerhouse".
** Because of this and [[The Weird Al Effect]], a lot of old tunes from the '30s and '40s are only remembered at all because they were sung in a ''Looney Tunes'' short.
* [[Growing the Beard]]: Initially, the Looney Tunes started as shameless ripoffs of Disney's success and Merrie Melodies was
* [[Hilarious in Hindsight]]: In "Tortoise Wins By a Hare," one of the headlines on the newspaper advertising the race between Bugs Bunny and Cecil the Turtle reads, "Hitler Commits Suicide." This cartoon was released in 1943, a mere two years before that actually happened. It would be [[Harsher in Hindsight]], but this is Hitler we're talking about...
** Some jokes unavoidably get this, due to inflation. Daffy complaining about paying 25 cents for cab fare in "Show Biz Bugs" is one of the funnier examples. Most people nowadays would kill for fare like this.
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* [[The Problem with Licensed Games]]: Averted with the Looney Tunes racing game for the Dreamcast, played perfectly straight with ''Looney Tunes: Acme Arsenal'', which was critically panned (but sold very well, unfortunately).
* [[Rooting for the Empire]]: Most of the shorts' antagonists are jerks, but utterly harmless and pitiful, usually getting maimed and humiliating to a sadistic degree by their far more competetant foes. Chuck Jones implemented this trope deliberately with Wile E Coyote and the Road Runner and even lampshaded it in ''Adventures Of The Road Runner''.
* [[The Scrappy]]: Buddy, the studio's main character from 1933
** A lot of people feel that the Roadrunner and Tweety deserve this title too, though they also have their fans.
** Also Pepe Le Pew due to how formulaic his shorts are.
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* [[Seasonal Rot]]: The period in which the quality of the shorts goes downhill varies for everyone, but it's generally agreed that when duties moved to DePatie-Freleng in 1963, things took a turn for the worse and, outside of a few exceptions, never really recovered.
** There are some who argue that while DePatie-Freleng's cartoons were a big step down from the studio's heyday, they were still better than 95% of what the other animation studios at the time were producing. However, even DePatie-Freleng fans generally admit that the quality of the cartoons totally disintegrated when the Warner Bros.-Seven Arts era began in 1967.
*** However, the series had major oscillations in quality early on. The Harman-Ising era is generally considered to be solid, but nothing particularly noteworthy, the Buddy era (1933-1935) is generally panned as downright insipid, the 1936-38 era is considered to be pretty strong and the 1938-41 era is seen as good, but also a bit too formulaic (due to Tex Avery doing his travelogue spoofs, Bob Clampett making Porky Pig shorts that had nowhere near the inspiration of his earlier ones and Chuck Jones struggling hard with his Disneyesque characters).
* [[Tear Jerker]]: You'd never expect it from these cartoons, but the ending to "What's Opera, Doc?" defiantly invokes this. But then again, who expects a happy ending from an Opera anyway?
** "Feed the Kitty" also unintentionally is a tear jerker for some. [[Chuck Jones]] said it was meant to be funny, but something about how heartbroken Marc Anthony the bulldog gets when he thinks his pet kitten is being baked into a batch of cookies (when the audience is shown that this is not the case) just kind of tugs at the heartstrings, as silly as the situation is.
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