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One line of dialogue at 5:07-5:12 still has the foreign dub. Other than that, it's great to see the last of the 28 Paramount Lulus finally available on line in English.

Like the Popeye "W'ere On Our Way To Rio", this was probably a hybrid cartoon, started in Miami and finished in New York (thou...

Done by Paramount in New York, but directed by legendary Disney animator Bill Tytla and supervised by another ex-Disneyite, Al Eugster. It's also about two minutes longer than your average Paramount cartoon, so Famous Studios really put a lot of effort into this one, and the restored Technicolor ...

@ParamountCartoons True about the delays in the Technicolor releases, which were similar to the problems Warners had in the 1947-49 period (I'm also wondering if a few UM&M titles from that period, like "Hector's Hectic Life" and "The Lost Dream" weren't released in Polacolor instead of Technicol...

All the color Popeyes through "Car-azy Drivers" had the AAP opening when they were sent out to stations on film starting in 1956; it was when they changed over to sending the cartoons out on videotape in the early 1980s and struck new prints that the ones with the original titles (mainly the 194...

Paramount cut the times of all their openings just after their cartoon was released, so we ended up with a revised and shorter version of the theme that everyone remembers (they also truncated the opening fanfares for the Popeye and Noveltoons shorts, and redid the Screen Songs opening to shorten...

Kind of a 'cheater' cartoon done just before Freleng left the studio, using a lot of rotoscoped footage from Friz's earlier cartoons, along with the rotoscoping of Fred & Ginger (the Schlesinger studio had just finished doing animation work for RKO on it's 1937 movie "What's Your Birthday?" and a...

The Lulus that pit her against an adult male authority figure generally are the funniest of the series, because they allow for a mix of cuteness and 1940s slapstick cartoon violence, though it did take a couple of cartoons to get the formula down (and the funniest Little Audrey cartoons from the ...

Also, head animator Al Eugster's desire to make his characters more angular, especially in the "one-shot" cartoons, makes this one look more modern than some of the cartoons later in the year and even in early 1956 from some of the other units (and given how bland Famous' timing had gotten by the...

Director Seymour Kneitel died in July 1964 while this was in production, and it was completed and released by Paramount almost two years later.

The titles here are slightly modified from the original 1950 ones for the Capser series to allow for the film to be shown in widescreen format, by cropping the top and bottom of the image. They'd further redo the opening titles for all the Famous Studio series less than a year later.

Just be glad Paramount made "Chew Chew Baby" in 1958 instead of 1948...

While Waldman was the designated head animator/director for the Fleischer/Famous "cute" cartoons, he did do several shorts that ended with death and/or grave gags -- along with this, there was "You Can't Shoe a Horsefly" in the Hunky & Spunky series, and "Cad and Caddy" in the Little Lulu series ...

I always figured with all that smoking in the house, it was just Katnip, but covered in grey cigarette ash...

This is the last to use the old Famous/.Paramount title credit style. The next cartoon in the series, "Dutch Treat" would debut the "modern" title card scheme (which would be reused by the studio for the title credits on "The Cat" series in the early 60s after the Casper theatricals ended).

Famous/Paramount kind of did their title adjustments in stages, since it would be another couple of months before the new "modern" title cards for all the series besides Popeye would debut. It also took them two cartoons to figure out the modified opening theme for the "Modern Madcap" series -- t...

This also was the second of a three part 30-minute storyline. "Snuffy's Song" was Part 1 and "The Hat" was Part 3. All three were released theatrically by Paramount in 1962, with Allan Melvia vocing Barney (Paul Frees would take over the voice for the remaining made-for-TV shorts). No word on whe...

Some pretty funny spot gags here, more in the line of what Avery was doing back at Warners than an actual "Captain & the Kids" short, since what plot there is is crushed into the cartoon's final 90 seconds (Freleng hated doing the series anyway, so just using the strip's characters as random peop...

Tex Avery HATED this cartoon, since it went against everything he was trying to do at the time to get away from the Disney-style cute influence by the end of 1938. Tex put it down in an interview as being something that Chuck Jones would have been trying to do at this state of his career (which w...

Aside from the Harry Shearer appearance, the other thing notable/unique about this episode was it was originally filmed in color -- the only episode of Jack's half-hour show done in color, even though the show would remain on the air for another decade (though syndication prints of the show have ...

About half a dozen episodes got this end title, with the sequence coming from the opening episode of Season 6, which was a parody on the 1964-65 Beatlemania craze (they'd debut The Great Gazoo the following week, which was the main gimmick Hanna-Barbera and ABC came up with to breathe new life in...

One of theee Warner Brothers cartoons released for television by AAP in 1956 that had their opening WB logo clipped off, similar to how AAP handled the Paramount openings on the Popeye cartoons ("Bars and Stripes Forever" and "Conrad the Sailor" were the other two cartoons to lose their logos un...

Even though it's not as manic as his later work either at Paramount or Terrytoons, Jim Tyer has a great scene from 4:34 to 5:08 with Popeye tying Shorty up and then the cop's expressions at being repeatedly bashed in the head by the falling furniture.

@JSmithBlog -- Visually, Hiawatha's facial design was actually a characture by Warners' artist Robert Givens of Disney animator Ward Kimball (who also was charactured three months later by his own studio in "The Nifty Ninties" as one of the vaudeville performers, so it's easy to match up and comp...

This was actually Part 1 of a three-part cartoon, with "The Method and Maw" and "The Hat" making up Parts 2 and 3. Co-writer Michael Ross went on to be a writer and producer for "All In the Family", "The Jeffersons" and "Three's Company" in the 1970s.

Pelvic thrust as a metaphor for sex. OK dances of the early 1940s in Latin countries, but a no-no in most of the U.S., which is what the "censored" gag is about.

@pstd72aug24 -- Do a YouTube search for Midnite Flight "Don't Turn Away" for the full disco version of the NBC Sports theme.

Actually, this was after the Linus show finished its run of original episodes. Those ran on CBS in the 1964-65 and 65-66 season, while this is a '66 production.

(The other interesting/ironic thing is it wasn't the violence in those episodes that got Linus yanked from Saturday mornings after 1968...

Second version of the Season 9 ending (the first version was only used in the first show of the season, and was modified slightly after a musicians' strike in Hollywood delayed post-production on the 1980-81 season's episodes)