“What’s up, doc?” If those three words instantly conjure up images of wisecracking rabbits, explosive slapstick, and cartoon chaos, then you already know the magic of Looney Tunes. For nearly a century, Warner Bros.’ iconic animated shorts have entertained generations with their wit, artistry, and unforgettable characters—from the ever-clever Bugs Bunny to the explosive antics of Wile E. Coyote and the Road Runner. But with hundreds of classics to choose from, which ones truly stand out? Whether you’re a lifelong fan or just hopping into the world of Looney Tunes, this list rounds up the all-time greatest shorts that capture the humor, heart, and zany brilliance that made the series legendary. So grab your Acme gadgets, cue the orchestra, and prepare for a wild ride through the very best of Looney Tunes.
These are the 50 Greatest Looney Tunes Shorts of All Time.
40. Speedy Gonzales (1955)
For nearly 30 years, Speedy Gonzales has been the most controversial Looney Tunes character despite the fact he’s beloved in Mexico. Cartoon Network refused to play his cartoons for three years and a live-action movie was even cancelled for fears that he’s an offensive stereotype. Political correctness has kept this character sidelined even though he’s been a cultural icon since his debut 70 years ago. While a prototype version of the character appeared two years earlier in Cat-Tails for Two, this self-titled short redefined Speedy’s design and personality, turning him into a fan-favorite character.
The cartoon takes place near the U.S.–Mexico border, where a group of Mexican mice are desperate to get cheese from a nearby cheese factory. Unfortunately, the factory is guarded by Sylvester the Cat, who is determined to keep the mice out. The mice, frustrated by repeated failures, decide to enlist the help of their legendary hero—Speedy Gonzales, “fastest mouse in all Mexico.” Speedy Gonzales was a major success for Warner Bros., earning the Academy Award for Best Animated Short Film. Over the years, the character became a cultural icon, particularly in Latin American countries. Despite controversies around his portrayal, many fans have embraced Speedy as a rare example of a heroic and positive Latino character in mid-20th-century American animation.
39. A Tale of Two Kitties (1942)
Since they’re an iconic feuding duo, you’d be forgiven for assuming Sylvester was Tweety’s original antagonist but it was actually Babbit and Catstello, two cats that are an obvious parody of Abbott and Costello. In A Tale of Two Kitties, the bumbling pair try and catch a small, defenseless-looking bird perched high up in a nest. However, this bird is none other than Tweety, who is anything but helpless. While his design was different from the later, more polished version (he was originally pink and featherless, looking more like an unborn chicken fetus), his mischievous personality and cunning were fully formed from the start. I think Sylvester ultimately makes a better foil but I do wish Babbit and Catstello received another animal to pester. They were an entertaining pair of idiots who deserved more shorts.
38. Baseball Bugs (1946)
Baseball Bugs is one of those cartoons that truly shows the difference between Bugs and Mickey and why audiences have always preferred the former. Mickey’s appeal is the fact that he’s an everyman who steps up and accepts any challenge despite the fact that he’s scared or alternatively, he’s the straight man to Donald and Goofy’s shenanigans. Kids love Bugs because there’s no challenge he can’t tackle or foe he can’t embarrass. You would think a character who has almost no fear and can seemingly do anything, would be boring but that’s the brilliance of Bugs, he’s the ultimate unstoppable wise ass. After watching the team the Tea Totallers get their asses handed to them by the Gas-House Gorillas, Bugs decides enough is enough and jumps onto the field to single-handedly take on the Gorillas. What unfolds is a thorough ass beating from the greatest baseball player of all time. Mickey could never.
37. Drip-Along Daffy (1951)
Drip-Along Daffy is one of the defining cartoons of the Daffy-Porky duo, illustrating Daffy’s delusions of grandeur and Porky’s subtle, competent charm. Nasty Canasta, introduced here, would go on to appear in future Warner Bros. cartoons, cementing his status as one of the great Looney Tunes villains. The short is a brilliant parody of the Hollywood Western genre, showcasing Daffy’s overconfidence and Porky’s quiet competence in a humorous tale of law and order. The cartoon opens with a classic Western narration, introducing Daffy Duck as the self-proclaimed hero, “Western-type hero of the old West,” complete with a flashy cowboy outfit and an over-the-top entrance. Accompanied by his sidekick, the calm and collected Porky Pig, Daffy rides into a dusty town determined to clean up the place. They find out that the town is already dominated by the ruthless outlaw Nasty Canasta and the rest of the short follows Daffy’s inability to take him down. The short remains one of the most beloved Western parodies in animation history, influencing later depictions of Western-themed comedy.
36. Long-Haired Hare (1949)
In one of his most hilarious and clever battles of wits, Bugs Bunny must contend with an arrogant opera singer who proves to be as annoying an opponent as the hunters, aliens and cowboys he usually has to outsmart. Bugs Bunny is casually strumming a banjo and singing folk tunes outside his rabbit hole. Nearby, Giovanni Jones, a pompous and egotistical opera singer, is rehearsing for an important performance. Bugs’ singing interrupts his practice, and Giovanni, frustrated, repeatedly destroys Bugs’ instruments and roughs him up. Bugs then decides to get revenge the only way he knows how, wearing various disguises and causing mayhem. Long-Haired Hare showcases Chuck Jones’ signature style—meticulous timing, expressive character animation, and a sharp contrast between Bugs’ laid-back demeanor and his opponent’s escalating frustration. It’s influence can be seen in later Looney Tunes classics that pit Bugs against high culture, such as The Rabbit of Seville and What’s Opera, Doc?
35. The Stupor Salesman (1948)
This short is a prime example of Daffy’s manic energy and unbreakable determination, as he refuses to take no for an answer, even from a dangerous criminal. Slug McSlug, a notorious gangster, fleeing from the police and hiding out in an abandoned house. Just as he thinks he’s safe, Daffy Duck arrives, eager to sell him an assortment of household goods. Despite McSlug’s clear lack of interest and increasing hostility, Daffy refuses to give up. He persistently pitches various items, each attempt more outrageous than the last. Whether it’s an unbreakable glass window (which breaks instantly) or an electric fan that blows McSlug away, Daffy’s sales tactics range from annoyingly persistent to completely absurd. No matter how much McSlug tries to chase him off, Daffy always finds a way back inside, escalating the chaos. The short perfectly captures Daffy Duck’s wild, unrelenting energy. His over-the-top persistence and refusal to accept defeat drive the comedy, while McSlug’s increasing frustration makes for a perfect contrast. The short plays on the classic theme of the unstoppable force meeting an immovable object, with hilarious results.
34. You Ought to Be in Pictures (1940)
Notable for its innovative mix of live-action and animation, You Ought to Be in Pictures stars Porky Pig and Daffy Duck and is a meta-commentary on Hollywood, ambition, and the dynamics between these two classic Warner Bros. characters. The short takes place within the Warner Bros. studio, where Porky Pig is a successful animated star. Daffy Duck, jealous of Porky’s fame, convinces him to quit cartoons and pursue a live-action film career.
Naïve but eager for bigger opportunities, Porky takes Daffy’s advice and asks studio head Leon Schlesinger for a release from his contract. After Schlesinger casually grants his request, Porky ventures into the real Hollywood world, only to face rejection and frustration at every turn. You Ought to Be in Pictures is one of the earliest Warner Bros. cartoons to integrate live-action footage with animation, a technique later perfected in films like Who Framed Roger Rabbit? The real-world interactions between the animated characters and their live-action environment give the short a unique, almost surreal quality.
33. The Big Snooze (1946)
As Bob Clampett’s final Warner Bros. cartoon, The Big Snooze is often seen as a culmination of his wild, unpredictable style. His departure marked a shift in Looney Tunes’ direction, with other directors like Chuck Jones and Friz Freleng refining Bugs’ character in a more calculated manner. He laid the groundwork for others to build upon and deserves more respect. The Big Snooze is a wild, surreal send-off packed with the director’s signature exaggerated animation, rapid-fire gags, and boundary-pushing humor. After being outsmarted by Bugs once again, Elmer Fudd finally gives up, tearing up his contract with Warner Bros. and deciding to quit cartoons altogether.
Frustrated by Elmer’s departure, Bugs refuses to let him go so easily. As Elmer falls asleep on a park bench, Bugs enters his dream to show him what life without him in cartoons would be like. The dream sequence quickly turns into a surreal, psychedelic nightmare filled with bizarre visuals and over-the-top antics. The Big Snooze is one of the most visually inventive Looney Tunes shorts, embracing a dreamlike logic that allows for impossible physics, shifting perspectives, and outlandish imagery. Clampett’s animation style is at its most exaggerated, with characters stretching, morphing, and defying reality in ways rarely seen in other Warner Bros. cartoons.
32. Baby Bottleneck (1946)
There’s a massive shortage of storks due to overwhelming demand for babies across species. To cope with the overload, Porky Pig is appointed as a manager of the baby delivery system, turning the whole affair into an assembly-line factory. Daffy Duck is enlisted as his right-hand delivery man, though his erratic behavior and overconfidence soon lead to chaos. What follows is a slapstick rollercoaster of baby mix-ups, conveyor belt gags, and mistaken deliveries—most famously, a gorilla ends up with a human baby while a human mother receives a crocodile. The cartoon culminates in Daffy and Porky being mistaken for babies themselves and wrapped up to be delivered to a perplexed Mrs. Pig. Though made nearly 80 years ago, Baby Bottleneck still resonates with audiences thanks to its humor, timeless animation style, and sharp commentary. It stands as a testament to the innovation and irreverence that defined Warner Bros. cartoons during their heyday.
31. A Wild Hare (1940)
A Wild Hare not only introduced Bugs but also established the foundation for the classic rivalry between Bugs and Elmer Fudd. This landmark short follows Elmer Fudd, the bumbling hunter, as he stalks a “wabbit” in the woods. Unbeknownst to him, the rabbit (Bugs Bunny) is far more clever and mischievous. What unfolds is a comical game of cat-and-mouse (or hunter-and-hare) as Bugs repeatedly outsmarts Elmer with verbal wit, clever disguises, and physical comedy. A Wild Hare received an Academy Award nomination for Best Animated Short Film, and its success launched Bugs Bunny into stardom. It paved the way for the golden era of Warner Bros. cartoons and remains a cultural touchstone, marking the beginning of one of the most beloved animated characters of all time.
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What is your favorite Looney Tunes short? Do you think it will crack the Top 10?
