#looney tunes rabbit run

[xinnamoon]

Listen you can have Space Jam Lola Bunny I don’t care, but please let me have Rabbit Run Lola Bunny I love her so much.

[martian-maundering]

Just watch Rabbits Run!

It made me appreciate Bugs & Lola’s relationship more, I’ve really wanted to enjoy their dynamic for a while now but nothing abt it there rly caught my eye, but they were super cute in the movie-almost made me wanna draw ship art, also Marvin’s there so ofc I enjoyed that part!!

Speaking of that part here’s fanart that body part swapping scene, two of my favorites mixed into one wowieee!!

[kyraxyrespace]

Day Twenty-Nine - Bugs Bunny/Lola Bunny, Bola (Looney Tunes)

[azcartoons]

ORIGINAL SCENE:

Another comic where Walter and Agatha re-enact a scene I find funny, this time it's that one scene from Looney Tunes: Rabbits Run (Underrated btw). Yes, Walter crossdresses once in a while, he just likes to look pretty sometimes

[radiodormouse]

The Looney Tunes Show holds a special place in my heart for how it revitalized the classic WB characters. While I grew up watching the beloved slapstick shorts, the show’s sitcom format appealed to me more as an adult, offering an opportunity to explore the personalities of Bugs and Daffy in more depth.

The series also completely reinvented Lola Bunny. In Space Jam, she was a bland, one-dimensional character with little to offer beyond a persona derivative of Jessica Rabbit and a stereotypically 90s tough gal attitude. But in The Looney Tunes Show, she was reimagined as a disturbed, delusional valley girl with a unique and compelling personality—one that made her not only my favorite version of Lola, but the only one I like.

The show portrayed Lola as an innocent, bubbly, almost childlike young woman, who gradually reveals herself to be a full-fledged psychopath, infamously obsessed with Bugs. The writers wisely leaned into this twist, blending the personality of a lovesick teenager with the intensity of a thriller villain—think Legally Blonde meets Fatal Attraction. This darker take on Lola was truly inspired, not only in the hilarious writing, but in Jessica Borutski's excellent redesign and Kristen Wiig's iconic performance. While Lola's unhinged antics were toned down in season two as Bugs started dating her, her psychotic distinctiveness remained intact.

When Rabbits Run was announced, with Lola as the protagonist, I was excited. The first two acts maintained some of the offbeat humor and kooky charm of her character from The Looney Tunes Show. Though I prefer Lola to be a more overtly unhinged character, I found the direction taken in Rabbits Run moderately entertaining, at least initially. As the film progresses, we see glimpses of her deranged side, though it’s often dialed down, leaning into the sweet, goofy gal she is on the surface.

The movie begins with a fun parody of Disney Renaissance I Want songs, where Lola trashes a perfume shop while singing about her dream to leave behind her mundane life and create a signature scent in Paris. Rachel Ramras is serviceable as Lola, but cannot match Kristen Wiig's acting range, nor her singing abilities. The plot escalates when it turns out that the flower used in her perfume gives her the power of invisibility, sparking a series of chase sequences between her and the government, inspired more by the Jason Bourne films than by WB's Roadrunner or Tweety shorts. Lola, oblivious to the perfume’s effects, believes rival artists want to steal her creation, setting off a madcap adventure with Bugs Bunny dragged into the chaos.

While the animation quality here falls short of the standard set by The Looney Tunes Show, there are larger issues. The film stumbles in its third act, where the pacing grinds to a halt. After a dramatic leap from a plane, Lola and Bugs are rescued by the Goofy Gophers, who give her a makeover during an unnecessary and distracting musical number. With only two songs in the film, both of which are placed at wildly different points, can we even call this a musical?

The segment, along with the sudden romance between Lola and Bugs, feels out of place. While the two characters do become a couple in The Looney Tunes Show, here their relationship feels rushed and underdeveloped. The film does little to justify their budding romance, while Lola's stalker tendencies and Bugs’ clear discomfort with her obsessive behavior are left unexplored.

By the time the narrative moves to Paris, Lola casts aside her artistic aspirations, leaving her without a clear objective. The film’s focus shifts to a short-lived sequence of Lola and Bugs dating in Paris, which doesn’t capitalize on the setting or their invisibility. This part of the story feels like a retread of The Looney Tunes Show’s Eligible Bachelors episode, but without the same comedic impact. As the film adds Marvin the Martian as a last-minute antagonist, it becomes clear that the plot has become a disjointed series of events rather than a cohesive narrative. The film's conclusion lacks any real resolution, leaving the audience with little sense of closure.

Rabbits Run is a difficult film to recommend. If you’re a die-hard fan of Lola's character from The Looney Tunes Show, you’ll find moments of joy in her antics, particularly in the first two acts. But if you haven’t watched the show, I’d advise starting there. The film falters in its structure and tone, playing it too safe with its characters and losing much of the quirky, unpredictable energy that made Lola’s earlier iteration so memorable.

That said, Rabbits Run is a lighthearted, kid-friendly adventure, with simple, straightforward humor that makes it accessible for younger audiences. But for adults who appreciated The Looney Tunes Show’s mature humor—drawing inspiration from sitcoms like It’s Always Sunny in Philadelphia and Seinfeld—the movie is bound to feel like a missed opportunity.

It’s especially disappointing that Rabbits Run may serve as the final bow for this unique version of Lola. In New Looney Tunes, she’s portrayed as little more than a derivative Bugs Bunny clone, and in Space Jam 2, she reverts to a bland, tokenized girlboss archetype. One can only hope that Kristen Wiig and Jessica Borutski will someday return to the character, with writers willing to lean back into the delightful, deranged qualities that made her so entertaining. Ideally, they could even explore Lola’s character further in a project aimed at adults—perhaps tapping into the dark, offbeat humor of The Cable Guy or the twisted, psychologically charged energy of Gone Girl.

While Rabbits Run isn’t the explosive send-off that this Lola deserves, it remains a serviceable, if flawed, film that younger viewers may enjoy.

[randomdoseofships]

i love how lola and bugs fell in love in pairs in both rabbits run and the looney tunes show

[acmenerdette]

A classic commercial from the 90s! If you lived in UK or Ireland, then you may have JUST seen this commercial many a time during commercial breaks! Great memories! I miss the Looney Tunes craze of the 90s so much!

[just-honey-dewd]

Looney tunes shitpost idea/au: Daffy gets turned into a hunk for insulting a witch. And now he and Bugs have to find that witch or he’s stuck like this. Which is bad. Cuz… Daffy Human sounds like a terrible name.

[hideawayfairy]

Millie: Okay, you know there are male flight attendants. Moxxie: Yeah but I like the height the heels give me.

[incorrectquoteslooneytuneslatino]

Correcaminos: Industrias Acme se complace al presentar la primera red electromagnética en el mundo.

Wile E. Coyote: Gran parte de esa red fue diseñada por mi.

Giovanni Jones: ¿Tú la diseñaste?

Wile E. Coyote: ¡Ajá, si!

Giovanni Jones: Cómo no, y yo soy Súper Conejo.

Wile E. Coyote: (jalando a Giovanni de la camisa) ¡Tú no eres Súper Conejo! ¡Él es Leo y usted es Sagitario! ¡Sí lo vuelve a usurpar le arrancaré su bonito peinadito! (lo suelta).

Giovanni Jones: Ya ve a trabajar.

Fuente: El Sorprendente Hombre Araña 2: La Amenaza de Electro (2014)

[logicaldreamer96]

I finished the looney tunes show....i need more. *eye twitch*

[wevelocityteampresents-blog]

I think this was one of the best songs in the movie. Not just because it's that good to listen to, but also because of the outfits Mac and Tosh wear. They really capture their more effeminate sides. Mac has the most prettiest clothes while Tosh's are more on the adorable side.

Mac in drag.

[wildechildwrites]

Looney Tunes

König/reader

Word Count: 1.2k

Warnings: N/A

No use of Y/N

Summary: You keep running into König in the elevator at your apartment building. He'd be incredibly intimidating, but he kind of reminds you of a cartoon character.

A/N: König is so serious with all his war crimes and intensity, and you are... not serious

AO3 Link: Looney Tunes

The man who steps on the elevator is giant, bigger than anyone you've ever seen in real life, and you can't help looking up at him, craning your neck. He's wearing a sweatshirt, the hood up and cloaking most of his face, disguising his eyes, but you see his nose point down at you, and you know he’s staring back at you.

"How tall are you?" You ask, before cringing at your own social awkwardness. It's silent for a moment, and you wonder if he heard you at all. The elevator dings for your floor and as you step off, a quiet, accented voice calls out.

“Two hundred centimeters.”

You whip your phone out, googling the conversion almost immediately as the doors shut behind you. He’s huge, with shoulders so widely set it's almost comical. You marvel at it briefly, then he slips your mind.

The next time you see the man, he’s got his hood off, his long hair pulled back into a bun. He’s older than you’d thought he’d be, strands of gray catching the light, standing out against the auburn. You step into the elevator with a greeting he doesn’t acknowledge. You both stand in silence, listening to the quiet ding as you pass the floors.

You've developed a quiet rhythm with the elevator man, leaving in the mornings at the same time, your greetings always met by a silence that should probably deter you but doesn't. You're staring at his reflection in the elevator doors, noting the way he seems to slightly slouch into himself, when your unbidden thoughts cause you to giggle. His eyes shoot up instantly to meet yours.

“You remind me of the looney tunes monster,” you blurt suddenly, the aimless rambling of your inner monologue spilling out before you can stop yourself. The man beside you stiffens, before turning his body fully to look down at you. You try not to cower, unable to meet his eye.

“The… um… the orange one? Have you ever seen looney tunes?” you push on moronically. He’s glaring down at you, and you wonder if getting murdered in an elevator is really the way to go.

“What is ‘looney’ tunes?” He finally asks, his voice low and hoarse, as if he's not used to speaking.

"It's a children's show… there's a bunch of little characters and they have their own personalities…" You know your face is bright red, and you thank whatever deity is involved when the elevator chimes and you can step off, too embarrassed to say goodbye.

You consider taking the stairs when you see him again the next day. You give a quiet greeting that he doesn't acknowledge, so you hope you're forgiven for yesterday. You're scrolling through your phone when he speaks, startling you.

"You are der hase?" He asks.

"What?" You respond, looking up with wide eyes, off guard.

He huffs, looking at the ceiling.

"The— rabbit. That is you?"

You scrunch your nose in momentary confusion, then the realization hits you.

"Oh. Bugs Bunny, you mean?" You laugh. "I guess I could be him."

You two stand in silence for the rest of the elevator ride.

You forgot you could be this drunk, staring at the elevator buttons in a daze. You couldn’t quite remember which one you were supposed to press, only knew for sure this was your building because your friend had put your address into the uber. You don’t even hear the footsteps behind you, the irritated sigh as König watches you sway slightly. It’s only when he reaches around you, pressing the up button, that you startle.

“Jesus Christ!” you say, jumping back. An impossibly large hand grabs your arm, steading you. You tilt your head back, and the elevator man is towering over you. He’s in army fatigues, and as your inebriated mind processes that information, the door to the elevator chimes open.

He doesn’t wait for you to move, just picks you up like you weigh nothing before stepping inside. You blink upwards at him in a daze, and he glares down at you. He’s chastising you in his low voice, and it takes you a moment to realize the reason you can’t understand him is because he’s not speaking English.

“You can let me down now,” you interrupt, your voice quiet and slightly slurred. He somehow manages to look even more pissed, staring down at you, incensed, and you’re sorry for saying anything. He fumbles in his other language before finding the words.

“You can— You can not stand.” He says with finality. You relax against him, lapsing into familiar silence as the elevator shoots upwards. This close to him, you can hear his heart beating, and you wonder why it's thumping so fast.

He carries you to your door, and you're too distracted to think about how he knows which apartment is yours. He sets you down, plucking the keys out of your hand with ease when you fumble with them, watching as you sway slightly.

"I keep thinking about the cartoon." He says suddenly, abandoning the key in the lock. He’s leaning over you, shadowing you in the small doorway as you look up at him, your expression confused. His face holds a neutral expression, but his eyes seem to glint in an odd way.

“The monster, he wants to eat the rabbit.” He states, taking a step towards you, crowding you against your door. The wood is cool against your back, and you’re blinking up at him through your drunken haze, trying to figure out what he’s talking about.

"Looney Tunes?" You finally respond, remembering your last conversation. He nods and reaches out one large hand to tuck a loose strand of hair behind your ear. Your heart skips, and you wonder if he can hear it as he drags his fingertips along your jaw, cupping your chin softly.

“Does the rabbit want to be eaten?” He asks, his head cocked. His eyes are like molten steel, his voice so soft and deep it’s practically a purr. It feels like the oxygen has been sucked out of the hallway, leaving you lightheaded.

“Oh,” you breathe, your lips parting softly, what little mental clarity you had abandoning you. There’s a scar that runs up from the man’s chin, stopping just below his bottom lip, and you’re staring at the scar, staring at his mouth, when he bends down, guiding your chin up as you raise yourself unsteadily on your tiptoes.

His lips are warm, scorching against yours, and you open your mouth, letting him deepen the kiss, whimpering when he presses his hard body against yours. His hand slides into your hair, his palm curling around the back of your neck, holding you steady. You shudder at the contact, and he breaks the kiss, pulling away, leaving you dazed and breathless. Everything is spinning, and you can’t tell if it’s because of the alcohol still coursing through your veins, or the fact that he’s still leaning over you, caging you in.

His pupils are blown wide, and you watch his chest rise and fall. He’s monstrous like this, a man at the brink of self control, his hands trembling at the effort to not touch you. He pushes away, creating distance, and you stare at him, stunned and confused. He’s muttering to himself again, and it finally cuts through your stupid, intoxicated brain that he’s speaking German.

He’s looking at you like he’d like to devour you. Instead he breathes, slow and deep, and takes another step back from you.

“Have a good night, häschen” He says, and then he turns, heading towards the elevator, away from you.

Part Two

[gerogerigaogaigar]

Phineas and Ferb fascinates me from a structural standpoint. I'll admit I haven't watched the show front to back, but I've caught the odd episode here and there and I certainly get the gist of it.

The first time I saw P&F it seemed charming but unremarkable, the second and probably third time it became obvious that it was a clever but formulaic show. At some point it clicked. Children's shows are usually formulaic, Dee Dee will destroy Dexter's invention, Elmer Fudd will fail to hunt the Wabbit, He-Man will defeat Skeletor, and Sisyphus will roll that boulder up that hill. Phineas and Ferb asks not just that we imagine Sisyphus happy, but that we imagine that he is ecstatic to see that boulder roll down the hill.

Where the status quo is an unspoken rule of older cartoons it is the explicit law of the P&F universe. There is a roadmap to every episode, you probably already know it but I will spell it out regardless. Phineas will say the phrase "I know what we're gonna do today" thus kicking off their project for the episode. Candace will try and fail to get them "busted". There will be a musical number. Meanwhile Doofenshmirtz will have made an -inator that Perry will be called upon to destroy. Perry will get caught, Doofenshmirtz will explain his plan, Perry will escape, destroy the -inator and the ensuing chaos will clean up Phineas and Ferb's backyard shenanigans just in time for their mom to get home. Ferb says something at the very end, often his only line in the whole episode. The end.

There are stock lines that must be said. "I know what we're gonna do today" "I wonder where Perry is" "Busted" "🎵Doofenshmirtz Evil Incorporated🎶". The show doesn't just have a cartoon status quo, the universe operates off of the laws of cartoon status quo to the extent that characters actively notice when the cycle doesn't complete correctly. The characters seemingly know that their world operates on cartoon physics, but to them it's just physics. In P&F a giant whirlwind carrying away a giant backyard amusement park is as natural as gravity.

Candace's place as the character who knows this is all insane must be a tortuous existence considering the whole world is conspired against her. Not out of a cosmic meanness but a deep thematic kindness. Candace is the only character whose intent is to cause purposeful harm and the universe will not let her get away with it.

Truly this is one of the most unerringly kind shows I've ever seen. It is unreal how much faith it puts into wordplay, running jokes, and raw absurdity to carry itself while never stepping into the realm of cartoon cruelty.

You know cartoon cruelty. It's why Tom gets punished for Jerry's actions and why the Trix rabbit can never eat his own damn cereal. At its best cartoon cruelty manifests as Ed, Edd n Eddy or the Looney Tunes short Duck Amok where there is catharsis in seeing the characters hoisted by their own petard. At its worst you get CatDog which is so intensely cruel to the character of Cat that I can't comprehend what the writers were going for.

The confident lack of irony is part of what makes Phineas And Ferb work. The show is a parade of cartoon cliches and dad jokes and it never it never winks at the viewer or lampshades how silly this is. It just has absolute faith that the corniest jokes ever really are that funny. And so they are. I actually laugh out loud every time they do the "Aren't you a little young for this?" "Yes, yes I am" bit. Maybe it's the delivery, maybe it's just the confidence in the bit. Probably a bit of both. I am smiling to myself just thinking of this dumb running joke.

But what this all amounts to is what every bit of fandom wankery amounts to. I am of course talking about shipping. For my money the best bit in the show is the romantic framing of Doofenshmirtz and Perry's rivalry. This is where the show's cartoon logic and unrepentant kindness synthesize perfectly. The homoerotic undertones of the spy/supervillain dynamic are an extremely tired observation and are usually only emphasized in an ironic sense to poke fun at pieces that never intended the gay subtext. P&F flips this joke by not being even a little bit ironic about it, but still adhering to the unspoken nature of the gag.

The end result is that Perry and Doofenshmirtz's status as a romantic couple is tacitly understood to be part of the shows status quo, but never commented on. The world of P&F is too inherently kind to be homophobic (homophobia being a key component of the joke) but it still has a joke shaped hole to fill. So it does the funniest possible thing and fills the hole with nothing. The joke is the lack of a joke. The expectation of a joke that is met with a shrug from the show's own internal logic. And that's really funny. An evil scientist and a platypus are in a loving relationship that happens to also be a hero/villain rivalry. Don't worry about it. It's not the weirdest thing happening in the tri state area I promise.

[saltyfilmmajor]

There isn’t even an official season 2 physical release what the fuck

Warner brothers just let me buy the entire looney tunes show series on bluray or dvd please I am BEGGING YOU

[ducktracy]

this feels like an insane question to ask but i feel like if anyone would know what the hell im talking about it would probably be you. in the day the earth blew up theres one particular sound effect that gets used several times that for whatever reason i noticed every single time it came up to a point where it was (very very mildly) grating. ik ive heard the sound effect used in other cartoons before and my brain associates it with more modern cartoons (ie i dont remember hearing it in classic looney tunes but i could be mistaken) but i have no idea where i’ve heard it before or how i could even begin to search for it, if theres a term for the sound effect or not. i dont even know how to describe it, its a sort of rubbery, lower-pitched “ploink” sound that usually accompanied a double-take or a character’s sudden realization that something stupid has occurred. do you have any idea what im talking about or are these the ramblings of a madman

SO THIS IS MY THIRD TIME REWRITING THIS ASK. because i've gotten it wrong all three times. i'm keeping what i had written because it's interesting and also i can't believe i've been wrong about this all these years i'm going to cry. bolding this so you know this is where you need to look! this is your correct answer (i think). i thought it was from Bob Clampett himself because it sounds very similar but, according to the sound effects wiki, it is not. my life is ruined. seems it was recorded by Jimmy MacDonald (who succeed Unca Walt as the voice of Mickey Mouse) and was first used in the 1941 Disney short Pluto's Playmate. i guess i still got it right in thinking it was a noise from someone's mouth but you got me way too invested in this rabbit hole

old draft of ask:

OKAY. SO. i was originally going to ask if you meant THE "boowomp" sound, because it does play and has that very strong "instant recognizability that takes you out of it" factor. i'm including it just as a back-up JUST IN CASE. it only plays once that i recall though and i feel like you'd maybe recognize it already

but skimming through. could you possibly be talking about the Bob Clampett "poit!" sound? it plays at the end of this clip here (spoilers, and also metaphorical jumpscare sorry) and i know it's become a bit of a "meme" sound effect and is used in other cartoons (including The Patrick Star Show!). i can't recall if it plays multiple times in the film because a) it's so ingrained to me and b) it actually makes perfect sense to!

SO! if this IS the sound you're looking for, that is indeed from classic Looney Tunes and is directly from the mouth of Bob Clampett himself!! it first can be heard in The Henpecked Duck, along with the more recognizable "beeeoo-wip!" iris out sound which he actually discussed the origins of in an interview:

“When I'd run the cartoon silent for Leon [Schlesinger], I would try to enthuse him about the cartoon, and I would [vocally mimic] the voices in as best I could, and the sound effects ‘Boinnnng’, and whatever - brakes squeal, y'know. Vocally, I was doing [the sound effects] every day in the story room, so I could do them pretty good then. But it so happened that when the iris would close, when I showed it to Leon silent, I started doing the ‘boowoop’ on the end, on the iris. Treg [Brown] heard me do that in a silent showing, and he said, ‘Hey, that would be a funny thing to hear in the cartoon,’ and it was his idea to record me and lay it in.”

...and, now after typing all of that and not bothering to double check, i realize the sound in Henpecked (and similar i've noted in other reviews) is a bit different, it's more of a BOING than a poit! and then that lead to the above realization.

this would be very funny if this wasn't the sound effect at all BUT IM PRETTY SURE IT IS? thank you for inviting me on a rabbit hole i never knew i needed