Daffy-Speedys and Elles: Same debate

For a studio like Warner Bros. that had make its animated studio open for around four decades, the history of the Looney Tunes/Merrie Melodies is always challenging, by be faced with many trends and issues of their respective era. Several of the cartoons are even recognized by the National Film Registry due to their importance at animated film and art. But there still was an era when fans didn't wanna make any argue with: the 1964-69 era of Warner Bros. Animation, or so, the Daffy-Speedys series of shorts.

Mostly because for the fact that in the 1960s, Mexico claimed the characters of Daffy Duck and (Who else?) Speedy Gonzales at the most popular Warner stars to its audience, and by the growth popularity of Television, Warner Bros. deemed necessary to producing more Daffys, Speedys and for that matter, the Road Runners from Format Films, for be sells quickly to Television, even if it have first, to be seen in theaters. Already, a clear case of regression weary its fate. Chuck Jones was been fired four years back. And Friz Freleng gaining better chance by the shorts from its own studio by producing the Pink Panther and Inspector episodes among them. 

Now at chief director of the department, Robert McKimson having the inevitable task to producing these films, by even re-hired old alumnis from the past, like Norm McCabe (Whom have directed three 1942s Daffys in black-and-white before to join the Army) and Virgil Ross at easily one of the most recognizing Freleng animators.

The Daffy-Speedys, everything from them, are a slow-burn, artistically wise. Daffy Duck's personality is actually, there it does the biggest pains of all. Him, become not longer screwy, anarchic or greedy. But just a creepy asshole who only hate the presence of a mouse from anywhere. Yeah, some traits may be well-known to the later duck's shorts from the actual Termite Terrace studio, but it's all just peripheral. Even Mel Blanc, at its Post-1961s car crash, have lose little by little his talented vocals by be forced to says such lame line in screen ("You Miserable Mouse!" among them). And when Speedy Gonzales was first, using his speed for help his friends or someone in need, here, it's just a little out-of-touch with the fastest mouse we supposed to known. So much that in the few Format and Hendrick films, when Warner re-opened its studio back, the rodent become more menacing by put more sadistic pains to the duck than it ever deserved or need. It made a very tame conflict, like in the case of the Brandy & Mr. Whiskers pair that was the focus of this blog.

When Cable arriving back in the late-80s/90s, this series of films own a newer rise of popularity, through the so-media Bugs' Birthday Year and when enough contents were made for fit to schedules. Watching them today is like carrying me in the old Looney Tunes Video Show VHS-tape days and when the TVA of old reran plenty of these. At that time, I having no points to says these shorts were murky or mediocre if Internet and social medias didn't came up. It's only later, in my life, after years of absence, that my minds with these cartoons had changed. There was 26 of them in space of three years, but to the way they repeated it endlessly, it's as they have the double of what was actually producing. A much painful aftermath to what would be otherwise two fine stars from another era.

Daffy A**hole: 2025s version

And even so, all this negativism and hysteric reactions on social media and blogs to this unlogical pair are far more charitable than everything seen from Elles. A creation from Evelyne Stokart, that have declined in a trilogy of BDs from 2021-2023 and gaining quick reactions through readers, young and old. And sadly, looking at this, Elle never looked more than your mere Instagram profile picture than a real person. It just ripped the 1965s Daffy from the Depatie-Freleng era but in much superficial and awkward, at that point that it start to become not a joke, but a travesty. The many moods of the same lead-character is also stealing from the live-action Trop when it tackled the topicals of bipolarity with better directions than in this.

Nowadays, everyone want to be an author, a cartoonist or an artist without ever stepped to follow the rules or met others people. In the older days, you needed some class in order to improve your skills, even if that costs lots of money. I have beginning to drawn some still-life works for working better my compositions and also, for get me free of the overbearing nonsense of the creative chops of now. Elles is clearly like the Daffy-Speedys from sixty years ago, but in much awkward and with a female character that never looked real than someone trying to get attention from X (aka Twitter).

Like in the older shorts, Elles having a long three-years run with three individual books. It's enough for such of a series destined to be made for a so-Instagrammable world. Like the way Netflix have embraced Emily in Paris like a very crappy Infomercial to vaunting a France that don't longer existed today. (Like when the characters smoking in offices in the first season when it's banned since 2007.)

The Daffy-Speedy shorts and Elles are rather identical in terms of longevity and the way they have reacted positively when it was originally made. Just wait that in few years, everyone on any social medias going to claims Elles with the same bullshitting than have all suffered the Depatie-Freleng of WB shorts today, if they weren't that bad from my early times I watched them. (The Road Runners from Format didn't looked different to me than the ones from Jones, thought I have grow up since they've all quit the airs.) This is just getting me back to times!