Tom & Jerry: the fast and the furryious

Tried sketching then tracing over it on FlipaClip yesterday to have done for today for the 4th!
Also I do all my digital art with just my pointer finger, on my devices, iPhone, iPad, etc. I did this one on my phone btw. I’ve been doing that since I started digital art 5 years ago at 13! Anyways hope you like it and happy 4th of July! 🇺🇸🎇🎆🧨🐱🐭

Happy 4th of July!

Today, It's Happy 4th of July!!! Here's some scenes from 1950 Tom and Jerry cartoon, "Safety Second".

It would be really funny if he was the complete opposite of Tom.

Tom is brave against Jerry but afraid of Spike.

George is brave against Spike but afraid of Jerry.

A scene from the episode Mouse Cleaning (1948)

Getting creative with the caboose.

Based on the 1943 - 1946 title card.

I grew up from them

source
https://www.cbr.com/warner-bros-tom-and-jerry-reboot-confirmed/ (SnooPears5229) thank you for explaining what happen.

Tom and Jerry have been at each other's throats since February 10, 1940, when William Hanna and Joseph Barbera debuted their cat-and-mouse duo in the MGM short Puss Gets The Boot. That short earned an Academy Award nomination and became the crucible for Tom and Jerry, which went on to win seven Academy Awards, becoming the most Oscar-decorated animated series in history.

The genius of the Jones-McCormack pitch is that it identifies the one thing that the Tom and Jerry franchise has never done in the last 86 years, and frames it as an entirely new premise. The question, underneath it all, is -- Why are these two fighting? The original shorts never answered those questions, and they were never meant to, either. These cartoons were built entirely on physical action, musical timing, and the expressive intelligence of Barbera's characters, which were designed to look simple but allowed animators to express a surprising range of emotions.

The chase was the premise of these shorts, not the deeper, philosophical questions of why Tom and Jerry did what they did. And in that, they succeeded. However, the question, once asked, is hard to ignore and also a genuinely intriguing aspect of the story. The answer that Jones and McCormack have arrived at is that both characters are fundamentally driven by the desire to be seen and loved, reframing the entire 86-year history of the franchise in one fell swoop.

In their interview with Variety, the screenwriters revealed that the reboot revolves around Tom and Jerry being rescued by a pair of good Samaritans, who then fall in love. However, in an attempt to feel seen, the cat and mouse launch parallel smear campaigns to destroy each other's reputations and torpedo the budding romance. McCormack describes it as a rom-com in the style of La La Land, built around the biggest question that the franchise hasn't formally addressed, ever. The official logline states: "Love is worth fighting for."

If Tom is not chasing Jerry out of predatory instinct, but out of a need for recognition, and for someone to acknowledge that he matters, then every loss he suffers becomes something more than just slapstick. Similarly, if Jerry isn't simply running away but asserting his right to exist on his own terms as a smaller animal, and without being defined by Tom's pursuit, then the chase acquires a dimension that the original shorts were never interested in, but adds incredible depth to the lore of the franchise.

The rom-com framing is, in this context, quite deliberate, then, and also quite a sophisticated choice. A romantic comedy is essentially a story about two people who want the same thing -- connection, love, and recognition -- and cannot communicate that want directly. Thus arises conflict, misunderstanding, anguish, and increasingly erratic behavior that reads as opposition but might be something closer to love or friendship.

Tom and Jerry's dynamic maps onto that structure almost exactly, which is probably why McCormack reached for the La La Land comparison specifically. This is a film where two people who love each other cannot make it work, not because they are incompatible, but because they cannot find a way to express what they actually want. The new Tom and Jerry movie is not abandoning the laughs and thrills of the original but explaining it in a way that carries the franchise forward.

The Enduring Appeal Of Tom And Jerry

The case for Tom and Jerry as one of the greatest animated franchises of all time rests on the original shorts and their cultural ubiquity. There were 114 shorts produced by Hanna and Barbera for MGM between 1940 and 1958, and seven of those won Oscars, giving Tom and Jerry more Academy wins than other character-based animated series in history, tied only with Walt Disney's Silly Symphonies.

What made the shorts so accomplished was not just the exceptional quality of animation, but what Hanna and Barbera were able to create with the most unconventional elements. These characters didn't speak, and their movement and emotions were enough to keep generations engaged. Tom's perpetual humiliation, Jerry's gleeful cunning, and the occasional flash of genuine affection between the cat and mouse made the rare alliance between them feel even more special when it happened. None of this came from dialogue or exposition, but from the craft of animation and storytelling alone.

The franchise's durability across generations is also a function of something that seems obvious but is rarely discussed. Tom and Jerry requires no subtitles and no cultural context, making it one of the most translatable stories with minimal to no effort. The chase and the underdog winning over the big guy is universally appealing and crosses every language barrier and every era of childhood.

This is why the original shorts by Hanna and Barbera have never really left television, and why they remain appointment viewing for children who were born 50 years after the last MGM short aired. This immense likability of Tom and Jerry is also why this new revival film carries risks. There have been plenty of adaptations after the shorts, each with its own drawbacks and wins, but Jones and McCormack have a very different set of ambitions at play here.

A Tom and Jerry film built around emotional interiority and romantic comedy structure lives or dies on whether the audience accepts the cat and mouse as vessels for feelings rather than simply engines of physical comedy. The best version of this film will not abandon the chase, the frying pans, or the elaborate traps and gags that are the meat and potatoes of the original story, but continue these, along with an explanation about why Tom and Jerry do what they do.

After 86 years (and countless frying pans), Warner Bros. Animation has confirmed that a new feature film is in development, and it has an angle that no previous adaptation of Tom and Jerry has ever attempted. The screenplay is being written by Rashida Jones and Will McCormack, the duo behind On The Rocks and Toy Story 4, who revealed the unique premise of the upcoming film.

(sorry for shaky video)
I bought this from my Thailand Trip last year from a brand called `52 Toys`!

Tom and Jerry Comic Story, "Gangsters".

Share your comments and opinions at the bottom.

Tom and Jerry Comic Story: "The Tennis Club".