Unless you're a Martian, and possibly even then, you watched Looney Tunes as a little kid. Here's a look back with one of Looney Tunes' greatest talents, Chuck Jones, explaining how he made so many short films everyone on the planet could relate to.

There are very few shows that remain in syndication half a century after they aired, and not just on TV Land or some other network aimed at the olds. Looney Tunes, I suspect, will be playing on humanity's TVs, computer screens, VR headsets, smartphones, and retina chips for as long as there are humans. Possibly even longer, since I highly recommend it to whatever alien or robot archaeologists end up studying our fossils. This retrospective by Every Frame a Painting including archival interviews with Chuck Jones (1912-2002) would be a good place to start.


Even more than most of us, when I say, "I grew up on Looney Tunes," I mean it. I read all of Chuck Jones's books and my bedroom walls were covered in my own attempts at drawing Yosemite Sam, Marvin the Martian, and other characters. To this day, Daffy Duck is the only thing I can draw freehand from memory. I learned who both Groucho Marx and Jimmy Durante were from Looney Tunes, completing my education of early-20th Century comedians who used cigars and eye waggles to punctuate their jokes. More importantly, I learned a lot about timing, how people talked, and what people thought was funny (and how that's changed—there's a reason a lot of them don't air anymore). If you ever need to learn how to tell a story, construct a joke, or just learn how communicate with humans (not my strong suit as a youth), you could do far, far worse than just watching Chuck Jones' Looney Tunes.

Sources: Every Frame a Painting