About the only people who didn’t know what to do with cartoons in the 1950s were the people who produced them. All the film companies knew h...

“Now, all’a you skunks clear out of here!” said Yosemite Sam. So they did. Gotta love Sam’s dead-eye look when he blasts at the skunk. Look ...

Spike follows his stretched tongue back into the frame in “The Counterfeit Cat” (1949). Nice brushwork here. Mike Lah, Walt Clinton and Gran...

For all the talk about flat characters in UPA cartoons, I was a little astonished to see a couple of things in the 1951 Jolly Frolic “The Wo...

You’ve heard her squealing voice in countless cartoons from the mid-1930s. Little girls and animals her specialty. Leonard Maltin calls her ...

Chuck Jones never divested himself of the Disney cuteness. Even while he was making some really funny cartoons with Bugs Bunny and Daffy Duc...

Jack Benny was victimised by things out of his control time and time again on his radio show. Events and people seemed to conspire against h...

The Walt Disney studio seems to have been as adept at publicity as making cartoons. Granted, the studio was continuously doing something new...

Staff and even management at the Warner Bros. cartoon studio sometimes found themselves plopped into animated shorts. Some were characters d...

Tex Avery called up some standard gags for Spike time and time again in his later MGM cartoons—being burned to a crisp, an explosion creatin...