A little late to Friz Freleng's birthday, but I want to put my appreciation out there. Gifted with an incredible sense of musical timing, he's the least ambitious of the WB directors but arguably the one I find the funniest. When I just want to laugh myself to tears, I put on a Freleng.

#1 - Operation: Rabbit (1952) Not just the best Coyote cartoon, but one of the best cartoons PERIOD. Densely packed with hilarious gags. The character work is outstanding. Wile E. isn't dumb, just arrogantly underestimating. He's a refreshing antagonist for Bugs to play off of.

#2 - There They Go-Go-Go! (1956) A highly charming (though lengthy) opening leads into the greatest repertoire of gags in the Road Runner's history. Blasting through each scene at such a breakneck speed results in the punchlines seeming even more aggressive and brutal than usual.

#3 - Rabbit’s Feat (1960) Jones' return to Bugs' screwball roots, making him the perfect foil for the overly logical Coyote. Mostly a winner for the organised mania of the rifle scene, detailing both ends of the barrel to make the payoff's impossible subversion land even harder.

#4 - Gee Whiz-z-z-z-z-z-z (1956) Definitely a standout for Philip DeGuard's famously surreal depictions of the Southwest desert. What is already one of the series' greatest gag lineups doubles as an excuse to show off the strong uses of pinks and yellows within the backgrounds.

#5 - Fast and Furry-ous (1949) Not the funniest Road Runner, taking a little time to find its footing. But there's something about the zanier animation and score that keeps me coming back. This is best demonstrated via Wile E.'s homemade ski contraption (the most fun gag in the series).

#6 - Zipping Along (1953) This one places less emphasis on characterisation, in favour of brute forcing through a set of punchy jokes. A short where even the weaker moments still manage to get a howl out of me. The simple yet subversively illogical seesaw gag winds up being the best.

#7 - Whoa, Be-Gone! (1958) This could just be the trampoline and tightrope gags, and it'd still land in my top ten. Two of my favourite Road Runner moments that escalate wonderfully. The latter is the most baffling trap in the series. Destined to fail, but does so in the most unexpected way.

#8 - To Beep or Not to Beep (1963) I used to be less enthusiastic on this one, but it's really grown on me over time. Assembling all the strongest material from the unsold pilot makes for a tight package of winners. It helps that this includes the famous catapult montage. Escalation at its finest.

#9 - Beep, Beep (1952) Proving the Road Runner formula wasn't a one-time fluke, with stronger gags than its predecessor. Includes the best of the minimalistic chase sequences. All Jones needs are a set of coloured lights to represent the characters, and he can make even those physically expressive.

#10 - Stop! Look! And Hasten! (1954) By this point, Jones begins experimenting with the format. Trains punchlines were so familiar that all you needed to visualise them was a minimalist headlight. Superb layouts here by Maurice Noble, playing around with the vast depth of the canyons for this chase.

I'm gonna be honest, McKimson's early Sylvester design is my favourite for him. I just love how deranged he looks, with those big teeth and huge tufts of fur on his cheeks.

He was also responsible for the catchy music you hear throughout most of the episodes, giving the show one of its most defining qualities. No matter the tone (fun, dramatic, relaxed, poignant, etc), it always suited the on-screen mayhem perfectly. (2/2)

R.I.P. Bill Oddie. Each of the Goodies brought their own strengths to the show, and Bill definitely supplied their spontaneous energy. His finest hour is this violently madcap song that pushes just how far a live-action cartoon can be taken. (1/2)

Having seen those 5 Metrocolor prints so many times, I really appreciate the upgrades. They look phenomenal. As for the non-MC restorations, it's bittersweet. Again, they're incredibly done and blow WHV's colours out of the water (finally, Tom isn't overly blue). It just hurts we only got 4 of them.

I much prefer the Collector's Vault. The template is more interesting and the way the characters interact with the opening door at least has an ingenuity to it. It also just translates well to a menu.

They sorta had an evolution. Volume 1 & 2 were entirely stock art (with conflicting styles. Volume 3 & 4 featured frames from the included shorts. ...I don't know what happened with the complete collection. It's a mix of both, with random character art from modern reboots.

I do wish we could have artwork like this again. I've said it before and say it again but the covers from the Golden/Platinum Collections are "hang on wall" worthy.

The quality is definitely improved, though it's debatable how accurate the colouring/brightness is. I think it's entirely up to personal preferance. You could always get it but hang onto your DVD for "All That Jazz".

I haven't got it yet (it's on my list). From what I've heard and seen, it's mostly worth it but has some flaws. The biggest is that "All That Jazz" is actually missing a scene, due to a mastering error, though may have a replacement disc at some point. (Some DVD comparison shots)

With Volume 3 of the Collector's Vault just announced as greenlit, here's my wishlist. A combination of obvious inclusions, personal wants and general guesses. With how little is left from the 40s and 50s (mostly Tweetys), I'm intrigued in how later releases are gonna go.

Happy 20th anniversary to The Melancholy of Haruhi Suzumiya, one of the most imaginative, experimental and fascinating shows I've seen. Its 2nd OP (Super Driver) is easily a top 5 of mine. Stylised, colourful, loaded with personality and a lot of fun.

Same, the posing in these is so strong. I could honestly spend all day picking out screenshots. It's amazing just how consistently great it looks.

I love Soper's work so much (easily LTC's strongest aspect), so that's why I'm hesitant to call the Singapore look my favourite since Tales. But I adore it for trying something new. More T&J reboots should pull a Looney Tunes and play with the designs, instead of just emulating the 40s every time.

Love the sketchy, expressive style of this show. Potentially my favourite look for the characters in a while. Typically, when a style is changed so drastically, you risk losing the core personalities (like Jones' shorts, despite still enjoying their look) but these naturally feel like Tom and Jerry.

Here is my favourite scene in all of comedy, courtesy of Always Sunny. Masterfully written and performed. Not one of the actors feels overshadowed, all getting equal moments to shine. You can look at any of them at any point and they're always be doing or saying something funny.

Yeah, there was an attempt at brightening up SOME of the shorts that WHV messed up for the original Volume 2 (Texas Tom isn't great, though it's certainly an improvement) but some still look way too dark.

I think the only three to have them performing together the whole time were 'Mickey's Super Service', 'Moving Day' and 'Mickey's Trailer'. All great but I wish there were more like them. Though, this bit from 'Lonesome Ghosts' is a lot of fun. I have a feeling this inspired the Mouseworks stuff.

Oh no, my good POLE!