* AdaptationDisplacement: Creator/BobClampett's adaptation of Creator/DrSeuss' ''Horton Hatches the Egg'' (1942) used the book itself as a storyboard with additional gag ideas (and Horton's "Hut-Sut" song) written in.
* AlternateCharacterInterpretation: It's been debated that Elmer Fudd in "Hare Brush" was [[ObfuscatingInsanity faking insanity]] and pretending to be a rabbit so he wouldn't get busted by the feds for tax evasion. This is further evidenced by Elmer's final line, after Bugs (in Elmer's clothes) is hauled off to jail: "I may be a screwy rabbit, but I'm not goin' to Alcatwaz..."
* ArchivePanic: Exactly 1,000 classic-era theatrical shorts, plus the SNAFU shorts and other bits of miscellanea--it's been estimated that watching a non stop marathon of them all would require a week without sleep. At least there haven't been new Looney Tunes shorts ''regularly'' made since 1969. That would make the series even more grueling to get through (both in viewing it and for Warner Brothers Studios to actually put out all the classics -- and not-so-classics -- on DVD and/or Blu-Ray).
* AwardSnub: Despite winning seven Oscars, almost no Looney Tunes productions has ever gained an UsefulNotes/AnnieAward, which is an award ceremony exclusively for animation. The biggest letdown would've had to be ''Film/LooneyTunesBackInAction'' losing to ''WesternAnimation/FindingNemo''.
** Then there was the famous incident in which ''WesternAnimation/AWildHare'', the first WesternAnimation/BugsBunny cartoon (and the one that pretty much established the kind of cartoons Creator/WarnerBros would put out in the years to come), as well as ''PussGetsTheBoot'', the first WesternAnimation/TomAndJerry cartoon, were passed up for an Academy Award for one of MGM's Happy Harmonies shorts, ''The Milky Way''.
** Happens in-universe in ''What's Cookin', Doc?'' Bugs loses the Oscar for "Best Actor/Actress" to Creator/JamesCagney. He spends the entire cartoon trying to convince everybody that he really deserved that Oscar (even playing footage from ''Hiawatha's Rabbit Hunt'' - a cartoon that was itself nominated for an Oscar but lost). The cartoon ends with [[spoiler: Bugs being given his very own Oscar just to finally shut him up]].
* BadassDecay: WesternAnimation/DaffyDuck changed from a CrazyAwesome prankster into a pompous StrawLoser for Bugs and other stars. Odd features remind us [[ForgotFlandersCouldDoThat he's still capable of being a crazy little black duck]], but he's still primarily a ButtMonkey nowadays.
** Milder case for Cecil Turtle. In his first two appearances, he was a clear cut AlwaysSomeoneBetter to Bugs, anticipating the latter's every move and having the full control usually adorned to the rabbit himself. In "Rabbit Transit" however, he is a more arrogant cheat, the short playing more as an EscalatingWar with Cecil even getting visibly frustrated at Bugs outsmarting him at times (Bugs actually beats him this time, though Cecil returns to form with a moral victory).
** Yosemite Sam started off as a WorthyOpponent for Bugs, to counter Elmer's pitiful streak, being more capable of genuinely menacing Bugs. As time passed however, the series' usual IneffectualSympatheticVillain formula took over him as well, and by the mid fifties he was actually ''less'' of a threat than Elmer (who could at least outsmart Bugs on rare occasions), just more of a prideful AssholeVictim about it.
* BizarroEpisode: "Porky In Wackyland" and "Dough For The Do-do" are extremely nonsensical, even by the standards of these cartoons.
** The second half of "Hare Brush," where Bugs' and Elmer's usual roles are reversed.
** "Rabbit of Seville". ALL OF IT. It's just a chain of [[BigLippedAlligatorMoment Big Lipped Alligator Moments]] that could even make the most creative and crazy of people go: "Huh?"
* DesignatedHero: Bugs Bunny. Bugs Bunny, BUGS BUNNY. It was for this reason that a more vicious villain was made as his foe in the mid-forties (Yosemite Sam), to occasionally replace Elmer Fudd (who's much more affable), because Bugs was looking like an outright bully towards him. Eventually, Yosemite Sam was looking like an IneffectualSympatheticVillain as well, and therefore Marvin The Martian was created, a character who's calm and polite but a competent villain who could still pose a threat.
* DesignatedVillain: Sometimes, Elmer Fudd (when outside antagonistic roles, keep that in mind) gets depicted as a villain simply for trying to get animals off his property for bothering him ''(Robot Rabbit, Designed For Leaving, Pests For Guests)''. Granted, he calls for rather extreme measures to do so, but it's a little understandable seeing as how annoying they can be.
* DorkAge: Every cartoon produced [[http://looney.goldenagecartoons.com/miscelooneyous/1960sarticle.html in the 1960s]] after the WB animation studio initially closed its doors (Except for Norman Normal).
** Far earlier than that, the studio went through an early dork age during the period after HarmanAndIsing left during late 1933 to 1935, resulting in a huge downslide in quality, as well as the advent of the impossibly bland Buddy. Fortunately, Creator/TexAvery and FrankTashlin's arrival began pulling the studio out of this from 1936 and onward.
** And some of the cartoons made after Mel Blanc died and other voice actors were hired to replace him (that includes the TV shows like ''Baby Looney Tunes'', ''Loonatics Unleashed'', and ''The Looney Tunes Show''), like Greg Burson, Billy West, Jeff Bergman, Tom Kenny, ''etc''.
** Arguably this could include the batch of 75 black-and-white Looney Tunes that were previously part of the Sunset Films/Guild Films packages which WB had sent to Korea in 1967 to be redrawn and painted in color. The trace jobs were sloppy, color schemes were off key and synchronization faltered in spots.
* EnsembleDarkhorse:
** The mynah bird, despite only appearing in a handful of cartoons (many of which are banned for also featuring a stereotypical African boy named Inki), is somewhat popular as a MemeticBadass.
** Michigan J. Frog
** Daffy Duck, Bugs Bunny, Tweety, the Roadrunner... hell, any major character that wasn't in the lineup from the beginning.
** Penelope from the Pepe Le Pew cartoons garnered a following due to being a [[TheWoobie woobie]], pretty and genuinely liking Pepe but avoiding him because of his stink.
* EthnicScrappy: Some fans see Speedy as this (in his early years), due to his tendencies to yell "Arriba! Andale!" and chase around his opponents not completely unlike a {{Troll}}. Granted, he's a KarmicTrickster, but it can still be pretty annoying.
* FandomBerserkButton: The easiest way to annoy fans of the series is to misspell it as Looney ''Toons''; ironically, even some official art or descriptions make this mistake.
** Even mentioning post Golden Age material like SpaceJam or LoonaticsUnleashed is an easy way to piss off a hardcore Looney Tunes fan. Praising them only adds more fuel to the fire. Some diehards even hate the spinoffs, such as Tiny Toons or Animaniacs.
* FanonDiscontinuity: There are a large number of fans that tend to ignore most of the pre-1940's Looney Tunes shorts, as well as those who ignore most of the post-1964 shorts (though it's hard to ignore the cartoons made after 1964 when CBS and Nickelodeon used to air the Daffy Duck and Speedy Gonzales cartoons on their respective classic short block shows and you were alive when they were heavily featured).
** Many fans go as far as ignoring ''any'' post theatrical era Looney Tunes property, especially SpaceJam, TheLooneyTunesShow, Baby Looney Tunes and ''especially'' LoonaticsUnleashed. Not even the generally well recieved Back In Action is safe in some circles.
* FandomRivalry: Looney Tunes fans opposed to ClassicDisneyShorts fans, although there is a substantial bit of FriendlyFandoms thrown into the mix, as many cartoon fans love both of them.
* FoeYay: Bugs and Elmer (i.e., ''Rabbit of Seville'', ''Bugs' Bonnets'', ''What's Opera, Doc?''), Bugs and Yosemite Sam (i.e., ''Hare Trimmed'') ... Bugs and most of his adversaries at some point, really.
** Daffy and Porky:
-->'''Daffy Duck:''': Have you got a marriage license?
-->'''Porky Pig:''': G-g-gosh no, I'm not married.
-->'''Daffy Duck:''': Aha! Not married eh? Well -- *jumps into Porky's arms* -- whaddya say you and me go steady?
* FunnyAneurysmMoment: The Japanese getting bombed in "Tokyo Woes".
** Beaky's DisneyDeath in "The Bashful Buzzard" (complete with his mother fretting over him) has a slightly tragic undertone, given Beaky's voice actor, Kent Rogers died in action during the production of the short.
* GatewaySeries: When asking someone what was their favorite cartoons or what inspired them to do animation, and it isn't a more contemporary work, it '''will''' be either Looney Tunes or Disney, or both.
* GermansLoveDavidHasselhoff: Speedy Gonzales, despite being perceived as an EthnicScrappy by Cartoon Network and even banned from airing, was very popular with Latin Americans, Mexicans to be more specific.
* GrowingTheBeard: Initially, the Looney Tunes started as shameless ripoffs of Disney's success and Merrie Melodies was just made to sell Warner Studio's sheet music (it's the 1930s version of the music video). That all changed after [[HarmanAndIsing Hugh Harman and Rudolph Ising]] parted ways with Leon Schlesinger, forcing him to assemble a new staff--many of them important in shaping the studios future. While the shorts still remained Disney like in nature, Tex Avery and Bob began going against the status quo of animation, starting with Tex's landmark short "Gold Diggers of '49" where he started taking advantage of cartoons being able to do anything and use them as vehicles for gags. It's generally agreed that things vastly improved as a whole when Tex Avery and Bob Clampett began to direct, as they were both a big part of shaping the Looney Tunes sense of humor we know today. However, it's the '40s that are often seen as the high point in the studio's history (ironically, Avery had left WB in 1941, but his influence had already been established).
* HilariousInHindsight: 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 HarsherInHindsight, but this is Hitler we're talking about...
** Some jokes about prices unavoidably get this, thanks 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.
** In 1990's "Box-Office Bunny", Daffy complains about paying ''seven dollars'' to see a movie. Compare that to today where it can cost more than ''twenty dollars'' for just one person to get admission!
** 1943's "Super-Rabbit" parodies the WesternAnimation/SupermanTheatricalCartoons of the 1940s, with Bugs as a CaptainErsatz version of Superman. A similar premise is used in "Stupor Duck" in 1956, only with Daffy instead of Bugs. Now, many years later, Superman and all of the other DC Comics superheroes are legal property of Warner Bros. This has enabled direct ShoutOuts in later cartoons such as ''WesternAnimation/TheLooneyTunesShow'', where both Bugs and Daffy claim to be Batman and the batsuit and bat-signal are both shown.
** Knowing the fact that Elmer Fudd always falls hard for Bugs in drag back in the day, and then everyone saying that Bugs makes an ugly woman in ''WesternAnimation/TheLooneyTunesShow'', is pretty amusing.
* IAmNotShazam: The title ''Looney Tunes'' does not refer to the characters, be it individually or as a group, just to the no-continuity cartoons themselves.
* IronWoobie: Wile E. Coyote and Sylvester.
* JerkassWoobie: Some see Daffy as this.
** Claude Cat in the Hubie and Bertie shorts. Wasn't a JerkAss in those shorts though.
* MagnificentBastard: Bugs Bunny, of course, but one character that really [[WorthyOpponent rivals]] him at this is Cecil Turtle.
* MemeticMutation: [[Memes/LooneyTunes Enough to get its own page.]]
* NoProblemWithLicensedGames: The Looney Tunes racing game for the SegaDreamcast, which was very well received. ''Desert Demolition'' and ''Bugs Bunny in Double Trouble'' are also fairly liked.
** ''LooneyTunesCollectorMartianAlert'' and ''Marvin Strikes Back!/Looney Tunes Collector: Martian Revenge!'' for the GBC are fun Zelda-esque Looney Tunes games which are also fairly well received.
* TheProblemWithLicensedGames: Many of the Looney Tunes tie-in video games range from mediocre (i.e. Bugs Bunny's Birthday Blowout) to outright terrible, most notably ''Bugs Bunny's Crazy Castle'' and ''Looney Tunes: Acme Arsenal'', the latter of which was critically panned (but sold very well, unfortunately).
* RecycledScript: Several early black-and-white shorts were later remade in color:
** ''Porky's Badtime Story'' (1937 with Gabby Goat) as ''Tick Tock Tuckered'' (1944 with Daffy Duck)
** ''Injun Trouble'' (1938) as ''Wagon Heels'' (1945)
** ''Scalp Trouble'' (1938) as ''Slightly Daffy'' (1944)
** ''Notes To You'' (1941 with Porky and unnamed cat) as ''Back Alley Oproar'' (1947 with Elmer and Sylvester)
** ''Porky's Pooch'' (1941) as ''Little Orphan Airedale'' (1947)
** ''Porky In Wackyland'' (1938) as ''Dough For The Do-Do'' (1949)
*** Friz Freleng's cartoons are notorious for recycling scripts from earlier cartoons (and recycling scenes).
* RootingForTheEmpire: 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''.
* SacredCow: People will open fire upon you if you openly declare your distaste for the 1940s shorts (or worse, say you ''like'' the post-70's shorts). That's not even getting into dislking the characters or any of the 90's television series directly descended from the theatrical series.
* TheScrappy:
** Buddy, the studio's main character from 1933--1935. Unusually for a Scrappy, he wasn't that annoying. In fact, he wasn't really ''anything'' at all -- his problem was that he had absolutely zero personality, which was compounded by the dull, plotless cartoons that he starred in.
** A lot of people feel that Tweety deserves this title too, though he also has his fans.
** Pepe Le Pew due to how formulaic his shorts are.
** Henery Hawk from the FoghornLeghorn cartoons is practically the UrExample of a Scrappy in as much as he even share's Scrappy Doo's personality and physical traits (Mark Evanier admitted outright he used Henery's character as a basis for Scrappy). He's a belligerent, loudmouthed little pipsqueak who picks fights with other characters many times bigger than him.
** The series introduced a whole ''army'' of Scrappies in the late 1960s, when the [[TheGoldenAgeOfAnimation original creative staff]] was dumped and Alex Lovy took over the studio. In a desperate attempt to stay in the game, Lovy created some new characters to supplant the classic line-up, and we were treated to such memorable characters as Cool Cat, Merlin the Magic Mouse, and Bunny & Claude. The new characters proved unimaginative, unfunny and unmemorable, and it was soon game over for the original ''Looney Tunes'' series. One "Cool Cat" cartoon even went to the trouble to introduce "Spooky", a seriously dull ghost character, with a mention in the opening titles. A case of hitching your wagon to a sinking ship there. By this point the few original characters still present in the shorts were considered Scrappies as well. Daffy and Speedy in particular due to personality changes and a questionable teamup of the two, though granted outside this [[DorkAge era]] they are EnsembleDarkhorse[=s=] more than anything else.
* SeasonalRot: 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 bottomed out when the Warner Bros.-Seven Arts era began in 1967, and that while things did improve when Robert [=McKimson=] returned for one last spell during the studi's final year, it was too little too late.
* SeinfeldIsUnfunny: Given these are some of the popular, influential cartoons in the history of animation, it's very easy to take for granted just how groundbreaking and unique these shorts were for their time.
* SongAssociation:
** The theme songs for the Looney Tunes and Merrie Melodies were actually not made for them, but were originally standalone songs, ''The Merry Go Round Broke Down'' and ''Merrily We Roll Along'', but because of them being the themes of both series for decades and heard virtually nowhere else, they will ''always'' be associated with the Looney Tunes franchise.
** Likewise, Raymond Scott's "Powerhouse", a music track originally made in 1937, is a music cue that is often known because of its recurring use in Looney Tunes shorts.
* SuspiciouslySimilarSong: At the very end of "Hare Brush", Elmer does a victory dance to a tune that is very similar to the (then) recently-created "bunny hop" dance.
** The beginning and end of "The Last Hungry Cat" feature a melodic parody of the theme to "Alfred Hitchcock Presents", aka "Funeral March of a Marionette" by Charles Gounod.
** Bugs Bunny's cameo in the Paramount George Pal Puppetoon ''Jasper Goes Hunting'' is introduced with an ersatz rendition of the Merrie Melodies theme.
* TastesLikeDiabetes: The pseudo-Disney Looney Tunes made around the mid 30's, especially the Merrie Melodies of that period. They tried to emulate Disney's cutesy fare and failed miserably. The arrival of Tex Avery by late 1935 soon pulled them out of this phase.
** However, most of ChuckJones's early work (like the earliest Sniffles cartoons), made during the 1938-1941 period when he was still heavily influenced by Disney's Silly Symphonies shorts, tend to suffer from this. Sniffles the Mouse was one of Warner Bros' few attempts to create a cutesy Disney-like character.
* TearJerker: 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. Creator/ChuckJones 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.
*** "Feed the Kitty" was an exercise in personality animation and how Creator/ChuckJones could elicit emotions from audiences by using the characters' expressions. That, coupled with the music by Carl Stalling, was why that scene with Marc Anthony crying over his baked kitten was so heart-wrenching.
** "Porky's Romance" probably deserves mention, after a love struck Porky gets rejected by Petunia, he becomes heartbroken to the [[DrivenToSuicide point of suicide]].
* TheyChangedItNowItSucks: The Warner Bros.-Seven Arts regime in the late 60s axed all the original Looney Tunes characters -- save for Daffy and Speedy -- and introduced a bunch of new forgettable ones such as Rapid Rabbit, Merlin Mouse and Cool Cat. Needless to say, the new characters only lasted three years.
* TheyWastedAPerfectlyGoodCharacter:
** Beans was the first real example of a ScrewySquirrel in the series, and a refreshing change from the characters who had gone before him. After his first few cartoons however, the animators started depicting him in much the same way as Buddy, meaning that while he at least outlasted some of the other characters from that period, in the long term he was completely eclipsed by Porky.
** Gabby Goat from the '30s, who was basically a CaptainErsatz of DonaldDuck, could have been a great star if they had bothered to have any chemistry between him and Porky.
** The series actually ran on this. The studio was constantly attempting to find new stars that the audience would take to, with many previous bit players or one shots given a test in center spotlight. Porky, Daffy and Bugs were among those that took on and became the series' {{Breakout Character}}s. The likes of Beaky Buzzard, Charlie Dog and The Three Bears however ran only a brief stint of shorts before beoming mostly forgotten extras.
* UnpopularPopularCharacter: Daffy.
* ValuesDissonance: A number of the old ''Looney Tunes'' shorts can't be shown on TV anymore, due to [[InnocentBigot overt racism,]] [[StayInTheKitchen sexism,]] [[EverybodySmokes smoking]], [[TheAlcoholic drinking]] or other topics that [[SocietyMarchesOn are no longer considered acceptable]] to show to young audiences. In particular, many of the old racial stereotype jokes [[FunnyAneurysmMoment are no longer considered funny]] [[UsefulNote/CivilRightsMovement in a post-Civil Rights world.]]
** Some of the racial stereotypes are so old- such as the reference to the [[{{Blackface}} "Mammy"]] scene from ''Film/TheJazzSinger''- that many modern audiences wouldn't realize it ''was'' a stereotype, much less [[MinstrelShow understand why they should be offended about it.]]
* WeirdAlEffect: A lot of the characters (particularly Pepe Le Pew and Foghorn Leghorn) are based on near-obscure celebrities that people these days wouldn't recognize without thinking of the Looney Tunes. Pepe Le Pew is based on French actor [[http://en.wikipedia.org/wiki/Charles_Boyer Charles Boyer]], while Foghorn Leghorn is based on [[http://en.wikipedia.org/wiki/Senator_Claghorn Fred Allen's "Senator Claghorn" character]]
* WereStillRelevantDammit: Much of WB's use of the characters from the 1970s to now can be seen as a form of this.
* WhatAnIdiot: It's a wonder Private Snafu wasn't declared 4F due to mental incompetence.
** A lot of Looney Tunes characters' behavior comes off as this, but only because the story wouldn't be funny or have much in the way of plot without the characters acting or doing something stupid (the Road Runner and Wile E. Coyote cartoons, the 1953 Pepe Le Pew cartoon "Wild Over You," and any cartoon where Bugs Bunny is hunted by Elmer Fudd or Yosemite Sam would definitely suffer if not for this trope and the IdiotBall)
* WhatDoYouMeanItsNotForKids: A lot of people (particularly the ones who grew up seeing the EditedForSyndication broadcasts of the Looney Tunes on Saturday morning TV, after school on weekday afternoons [or weekday mornings before school, depending on local station scheduling], or on Cartoon Network and have never seen the cartoons made before 1948, including the World War II-era shorts and the Private Snafu cartoons) will be surprised to discover that the Looney Tunes has a lot of humor that is either not appropriate for children or will fly over the heads of children and those who know nothing of the pop culture or history at the time. In that regard, the Looney Tunes can be seen as ''The Simpsons'' or ''FamilyGuy'' if either show was a 5-7 minute short shown exclusively in theaters before a feature film, right down to the fact that all three are or have been shown on TV [[EditedForSyndication with jokes and scenes cut for time and/or content]] and are readily available on DVD or online with these "offending" scenes intact.
** In interviews with each of the main directors when asked this question they reply that they never had kids in mind when making their cartoons.
*** The shorts originally played before anything in the WB library (which could include gritty crime dramas aimed at older audiences), so yeah, they weren't for kids. It's just that due to edgier material that has come out since its heydey (as well as the aforementioned airings on Saturday mornings), a lot of the content seems tame today.
* TheWoobie: The alien in "Martian Through Georgia".
** Penelope Pussycat, especially if you consider the hints that she actually does like Pepe.
** Porky Pig, while his abuse is usually PlayedForLaughs, there are sometimes you really have to feel sorry for him, especially considering, unlike most other Butt Monkeys in the series, he rarely brings it on himself. Taken to [[TearJerker poignant levels]] in "Porky's Romance".
** Beaky Buzzard tries to live up to his "Killer" moniker, however in reality he's a shy, clumsy imbecile, making him one of the most wrathless antagonists in the series.