Tom And Jerry

***Tom and Jerry*** is an American animated franchise and series of comedy short films created in 1940 by William Hanna and Joseph Barbera. Best known for its 161 theatrical short films by Metro-Goldwyn-Mayer, the series centers on the rivalry between the titular characters of a cat named Tom and a mouse named Jerry. Many shorts also feature several recurring characters.

In its original run, Hanna and Barbera produced 114 *Tom and Jerry* shorts for MGM from 1940 to 1958. During this time, they won seven Academy Awards for Animated Short Film, tying for first place with Walt Disney's *Silly Symphonies* with the most awards in the category. After the MGM cartoon studio closed in 1957, MGM revived the series with Gene Deitch directing an additional 13 *Tom and Jerry* shorts for Rembrandt Films from 1961 to 1962. *Tom and Jerry* then became the highest-grossing animated short film series of that time, overtaking *Looney Tunes*. Chuck Jones then produced another 34 shorts with Sib Tower 12 Productions between 1963 and 1967. Three more shorts were produced, *The Mansion Cat* in 2001, *The Karate Guard* in 2005, and *A Fundraising Adventure* in 2014, making a total of 164 shorts.

A number of spin-offs have been made, including the television series *The Tom and Jerry Show* (1975), *The Tom and Jerry Comedy Show* (1980–1982), *Tom & Jerry Kids* (1990–1993), *Tom and Jerry Tales* (2006–2008), and *The Tom and Jerry Show* (2014–present). The first feature-length film based on the series, *Tom and Jerry: The Movie*, was released in 1992, and 13 direct-to-video films have been produced since 2002, with an upcoming live-action/animated hybrid film set to be released in 2021. A musical adaptation of the series, titled *Tom and Jerry: Purr-Chance to Dream*, debuted in Japan in 2019 in advance of *Tom and Jerry*'s 80th anniversary.

## Plot

The series features comic fights between an iconic pair of adversaries, a house cat (Tom) and a mouse (Jerry). The plots of each short usually center on Tom and Jerry's numerous attempts to have the best of each other and the mayhem and destruction that follows. Despite Tom's clever strategies (whether they work or not), determined and energetic mindset, large size, and exceptional overall intelligence, he rarely succeeds in getting the best of Jerry, mainly because of Jerry's cunning abilities, luck, and his lack of tendencies in being a bit too reckless. However, on several occasions, they have displayed genuine friendship and concern for each other's well-being. At other times, the pair set aside their rivalry in order to pursue a common goal, such as when a baby escapes the watch of a negligent babysitter, causing Tom and Jerry to pursue the baby and keep it away from danger, in the shorts *Busy Buddies* and *Tot Watchers* respectively. Despite their endless attacks on one another, they have saved each other's lives every time they were truly in danger.

The cartoons are known for some of the most violent cartoon gags ever devised in theatrical animation: Tom may use axes, hammers, firearms, firecrackers, explosives, traps and poison to kill Jerry. On the other hand, Jerry's methods of retaliation are far more violent, with frequent success, including slicing Tom in half, decapitating him, shutting his head or fingers in a window or a door, stuffing Tom's tail in a waffle iron or a mangle, kicking him into a refrigerator, getting him electrocuted, pounding him with a mace, club or mallet, letting a tree or electric pole drive him into the ground, sticking matches into his feet and lighting them, tying him to a firework and setting it off, and so on. Because of this, *Tom and Jerry* has often been criticized as excessively violent. However, there is no blood or gore in any scene.

Music plays a very important part in the shorts, emphasizing the action, filling in for traditional sound effects, and lending emotion to the scenes. Musical director Scott Bradley created complex scores that combined elements of jazz, classical, and pop music; Bradley often reprised contemporary pop songs, as well as songs from MGM films, including *The Wizard of Oz* and *Meet Me in St. Louis*, which both starred Judy Garland in a leading role.

Generally, there is little dialogue as Tom and Jerry almost never speak; however, minor characters are not similarly limited, and the two lead characters do speak English on rare occasions. For example, the character Mammy Two Shoes has lines in nearly every cartoon in which she appears. Most of the vocal effects used for Tom and Jerry are their high-pitched laughs and gasping screams.

## Characters

Main article: List of Tom and Jerry characters

### Tom and Jerry

Main articles: Tom Cat and Jerry Mouse

Tom (named "Jasper" in his debut appearance) is a gray and white domestic shorthair cat. ("Tom" is a generic name for a male cat.) He is usually but not always, portrayed as living a comfortable, or even pampered life, while Jerry (named "Jinx" in his debut appearance) is a small, brown house mouse who always lives in close proximity to Tom. Despite being very energetic, determined and much larger, Tom is no match for Jerry's wits. Jerry also possesses surprising strength for his size, approximately the equivalent of Tom's, lifting items such as anvils with relative ease and withstanding considerable impacts. Although cats typically chase mice to eat them, it is quite rare for Tom to actually try to eat Jerry, but only to hurt or compete with him as usual in a more intimidating strategy to just taunt Jerry (even as revenge), and even to obtain a reward from a human (including his owner(s)/master(s)) for catching Jerry, or for generally doing his job greatly as a house cat. By the final "fade-out" of each cartoon, Jerry usually gets the best of Tom.

However, other results may be reached. On rare occasions, Tom triumphs, usually when Jerry becomes the aggressor or he pushes Tom a little too far. In *The Million Dollar Cat* Jerry learns that Tom will lose his newly acquired wealth if he harms any animal, especially mice; he then torments Tom a little too much until he retaliates. In *Timid Tabby* Tom's look-alike cousin pushes Jerry over the edge. Occasionally and usually ironically, they both lose, usually because Jerry's last trap or attack on Tom backfires on him or he overlooks something. In Chuck Jones' *Filet Meow*, Jerry orders a shark from the pet store to scare Tom away from eating a goldfish. Afterward, the shark scares Jerry away as well. Finally, they occasionally end up being friends, although, within this set of stories, there is often a last-minute event that ruins the truce. One cartoon that has a friendly ending is *Snowbody Loves Me*.

Both characters display sadistic tendencies, in that they are equally likely to take pleasure in tormenting each other, although it is often in response to a triggering event. However, when one character appears to truly be in mortal danger from an unplanned situation or due to actions by a third party, the other will develop a conscience and save him. Occasionally, they bond over a mutual sentiment towards an unpleasant experience and their attacking each other is more play than serious attacks. Multiple shorts show the two getting along with minimal difficulty, and they are more than capable of working together when the situation calls for it, usually against a third party who manages to torture and humiliate them both. Sometimes this partnership is forgotten quickly when an unexpected event happens, or when one character feels that the other is no longer necessary. This is the case in *Posse Cat*, when they agree that Jerry will allow himself to be caught if Tom agrees to share his reward dinner, but Tom then reneges. Other times, however, Tom does keep his promise to Jerry and the partnerships are not quickly dissolved after the problem is solved.

Tom changes his love interest many times. The first love interest is Toots who appears in *Puss n' Toots*, and calls him "Tommy" in *The Mouse Comes to Dinner*. He is also interested in a cat called Toots in *The Zoot Cat* although she has a different appearance to the original Toots. The most frequent love interest of Tom's is Toodles Galore, who never has any dialogue in the cartoons.

Despite five shorts ending with a depiction of Tom's apparent death, his demise is never permanent; he even reads about his own death in a flashback in *Jerry's Diary*. He appears to die in explosions in *Mouse Trouble* (after which he is seen in heaven), *Yankee Doodle Mouse* and in *Safety Second*, while in *The Two Mouseketeers* he is guillotined offscreen. The short *Blue Cat Blues* ends with both Tom and Jerry sitting on the railroad tracks with the intent of suicide while the whistle of an oncoming train is heard foreshadowing their imminent death.

#### Tom and Jerry speaking

Although many supporting and minor characters speak, Tom and Jerry rarely do so themselves. One exception is *The Lonesome Mouse* where they speak several times briefly, primarily Jerry, to contrive to get Tom back into the house. Tom more often sings while wooing female cats; for example, Tom sings Louis Jordan's "Is You Is or Is You Ain't My Baby" in the 1946 short *Solid Serenade*. In that short and *Zoot Cat*, Tom woos female cats using a deep, heavily French-accented voice in imitation of then-popular leading man, actor Charles Boyer. At the end of *The Million Dollar Cat*, after beginning to antagonize Jerry he says, "Gee, I'm throwin' away a million dollars... BUT I'M HAPPY!" In *Tom and Jerry: The Magic Ring*, Jerry says, "No, no, no, no, no," when choosing the shop to remove his ring. In *The Mouse Comes to Dinner*, Tom speaks to his girlfriend Toots while inadvertently sitting on a stove: "Say, what's cookin'?", to which Toots replies "You are, stupid." Another instance of speech comes in *Solid Serenade* and *The Framed Cat*, where Tom directs Spike through a few dog tricks in a dog-trainer manner.

Co-director William Hanna provided most of the squeaks, gasps, and other vocal effects for the pair, including the most famous sound effects from the series, Tom's leather-lunged scream (created by recording Hanna's scream and eliminating the beginning and ending of the recording, leaving only the strongest part of the scream on the soundtrack) and Jerry's nervous gulp.

The only other reasonably common vocalization is made by Tom when some external reference claims a certain scenario or eventuality to be impossible, which inevitably, ironically happens to thwart Tom's plans – at which point, a bedraggled and battered Tom appears and says in a haunting, echoing voice "Don't you believe it!", a reference to the then-popular 1940s radio show *Don't You Believe It!* In *Mouse Trouble*, Tom says "Don't you believe it!" after being beaten up by Jerry, which also happens in *The Missing Mouse*. In the 1946 short *Trap Happy*, Tom hires a cat disguised as a mouse exterminator who, after several failed attempts to dispatch Jerry and suffering a lot of accidents in the process, changes profession to *Cat* exterminator by crossing out the "Mouse" on his title and writing "CAT", resulting in Tom spelling out the word out loud before reluctantly pointing at himself. One short, 1956's *Blue Cat Blues*, is narrated by Jerry in voiceover (voiced by Paul Frees) as they try to win back their ladyfriends. Jerry was voiced by Sara Berner during his appearance in the 1945 MGM musical *Anchors Aweigh*. *Tom and Jerry: The Movie* is the first (and so far only) installment of the series where the famous cat-and-mouse duo regularly speaks. In that movie, Tom was voiced by Richard Kind, and Jerry was voiced by Dana Hill.

### Spike and Tyke

Main article: Spike and Tyke (characters)

In his attempts to catch Jerry, Tom often has to deal with Spike (known as "Killer" and "Butch" in some shorts), an angry, vicious but easily duped bulldog who tries to attack Tom for bothering him or his son Tyke while trying to get Jerry. Originally, Spike was unnamed and mute (aside from howls and biting noises) as well as attacking indiscriminately, not caring whether it was Tom or Jerry though usually attacking Tom. In later cartoons, Spike spoke often, using a voice and expressions (performed by Billy Bletcher and later Daws Butler) modeled after comedian Jimmy Durante. Spike's coat has altered throughout the years between gray and creamy tan. The addition of Spike's son Tyke in the late 1940s led to both a slight softening of Spike's character and a short-lived spin-off theatrical series (*Spike and Tyke*).

Most cartoons with Spike in them conform to a theme: usually, Spike is trying to accomplish something (such as building a dog house or sleeping) when Tom and Jerry's antics stop him doing it. Spike then (presumably due to prejudice) singles out Tom as the culprit, and threatens him that if it ever happens again, he will do "something horrible" to him (effectively forcing Tom to take the blame) while Jerry overhears; afterward, Jerry usually does anything he can to interrupt whatever Spike is doing while Tom barely manages to stop him (usually getting injured in the process). Usually, Jerry does eventually wreck whatever Spike is doing in spectacular fashion and leaves Tom to take the blame, forcing him to flee from Spike and inevitably lose (usually because Tom is usually framed by Jerry and that Spike just doesn't like Tom). Off-screen, Spike does something to Tom and finally, Tom is generally shown injured or in a bad situation while Jerry smugly cuddles up to Spike unscathed. Tom sometimes gets irritated with Spike (an example is in *That's My Pup!*, when Spike forces Tom to run up a tree every time his son barked, causing Tom to hang Tyke on a flag pole). At least once, however, Tom does something that benefits Spike, who promises not to interfere ever again; causing Jerry to frantically leave the house and run into the distance (in *Hic-cup Pup*). Spike is well known for his famous "*Listen pussycat!*" catchphrase when he threatens Tom, his other famous catchphrase is "*That's my boy!*" normally said when he supports or congratulates his son.

Tyke is described as a cute, sweet-looking, happy and lovable puppy. He is Spike's son; but unlike Spike, Tyke does not speak and only communicates (mostly towards his father) by barking, yapping, wagging his tail, whimpering and growling. Spike would always go out of his way to care and comfort his son and make sure that he is safe from Tom. Tyke loves his father and Spike loves his son and they get along like friends, although most of time they would be taking a nap or Spike would teach Tyke the main facts of life of being a dog. Like Spike, Tyke's appearance has altered throughout the years, from gray (with white paws) to creamy tan. When *Tom & Jerry Kids* first aired, this was the first time that viewers could hear Tyke speak.

### Butch and Toodles Galore

Butch is a black, cigar-smoking alley cat who also wants to eat Jerry. He is Tom's most frequent adversary. However, for most of the shorts he appears in, he is usually seen rivaling Tom over Toodles. Butch was also Tom's chum as in some cartoons, where Butch is leader of Tom's alley cat buddies, who are mostly Lightning, Topsy, and Meathead. Butch talks more often than Tom or Jerry in most shorts.

Butch and Toodles were originally introduced in Hugh Harman's 1941 short *The Alley Cat*, but were integrated into *Tom and Jerry* rather than continuing in their own series.

### Nibbles

Main article: Nibbles (Tom and Jerry)

Nibbles is a small gray mouse who often appears in shorts as Jerry's nephew. He is a carefree individual who very rarely understands the danger of the situation, simply following instructions the best he can both to Jerry's command and his own innocent understanding of the situation. This can lead to such results as "getting the cheese" by simply asking Tom to pick it up for him, rather than following Jerry's example of outmaneuvering and sneaking around Tom. Many times Nibbles is an ally of Jerry in fights against Tom, including being the second Mouseketeer. He is given speaking roles in all his appearances as a Mouseketeer, often with a high-pitched French tone. However, during a short in which he rescued Robin Hood, his voice was instead more masculine, gruff, and cockney accented.

### Mammy Two Shoes

Main article: Mammy Two Shoes

Mammy Two Shoes is a heavy-set, middle-aged black woman who often has to deal with the mayhem generated by the lead characters. Voiced by character actress Lillian Randolph, she is often seen as the owner of Tom. Her face was only shown once, very briefly, in *Saturday Evening Puss*. Mammy's appearances have often been edited out, dubbed, or re-animated as a slim white woman in later television showings, since her character is a mammy archetype now often regarded as racist. She was mostly restored in the DVD releases of the cartoons, with an introduction by Whoopi Goldberg explaining the importance of African-American representation in the cartoon series, however stereotyped.

## History

"Tom and Jerry" was a commonplace phrase for youngsters indulging in riotous behaviour in 19th-century London. The term comes from *Life in London, or Days and Nights of Jerry Hawthorne and his elegant friend Corinthian Tom* (1823) by Pierce Egan. However Brewer notes no more than an "unconscious" echo of the Regency era original in the naming of the cartoon.

### Hanna-Barbera era (1940–1958)

In June 1937, animator and storyman Joseph Barbera began to work for the Ising animation unit at MGM, then the largest studio in Hollywood. He learned that co-owner Louis B. Mayer wished to boost the animation department by encouraging the artists to develop some new cartoon characters, following the lack of success with its earlier cartoon series based on the *Captain and the Kids* comic strip. Barbera then teamed with fellow Ising unit animator and director William Hanna and pitched new ideas, among them was the concept of two "equal characters who were always in conflict with each other". An early thought involved a fox and a dog before they settled on a cat and mouse. The pair discussed their ideas with producer Fred Quimby, then the head of the short film department who, despite a lack of interest in it, gave them the green-light to produce one cartoon short.

The first short, *Puss Gets the Boot*, features a cat named Jasper and an unnamed mouse, named Jinx in pre-production, and an African American housemaid named Mammy Two Shoes. Leonard Maltin described it as "very new and special [...] that was to change the course of MGM cartoon production" and established the successful *Tom and Jerry* formula of comical cat and mouse chases with slapstick gags. It was released onto the theatre circuit on February 10, 1940 and the pair, having been advised by management not to produce any more, focused on other cartoons including *Gallopin' Gals* (1940) and *Officer Pooch* (1941). Matters changed, however, when Texas businesswoman Bessa Short sent a letter to MGM asking whether more cat and mouse shorts would be produced, which helped convince management to commission a series. A studio contest held to rename both characters was won by animator John Carr, who suggested Tom the cat and Jerry the mouse after the Christmastime drink. Carr was awarded a first-place prize of $50. *Puss Gets the Boot* was a critical success, earning an Academy Award nomination for Best Short Subject: Cartoons in 1941 despite the credits listing Ising and omitting Hanna and Barbera.

After MGM gave the green-light for Hanna and Barbera to continue, the studio entered production on the second *Tom and Jerry* cartoon, *The Midnight Snack* (1941). The pair would continue to work on the series for the next fifteen years of their career. Early into the series, Jerry never started the conflict, and shorts typically involved Tom losing by the end. The composer of the series, Scott Bradley, made it difficult for the musicians to perform his score which often involved the twelve-tone technique developed by Arnold Schoenberg. The series developed a quicker, more energetic and violent tone which was inspired by the work of MGM colleague Tex Avery. Hanna and Barbera made minor adjustments to Tom and Jerry's appearance so they would "age gracefully". Jerry went on to lose weight and his long eyelashes, while Tom lost his jagged fur for a smoother appearance, had larger eyebrows, and received a white and gray face with a white mouth. He adopted a quadrupedal stance at first, like a real cat, to become increasingly and almost exclusively bipedal.

Hanna and Barbera produced 114 cartoons for MGM, thirteen of which were nominated for an Academy Award for Best Short Subject and seven went on to win, breaking the winning streak held by Walt Disney's studio in the category. *Tom and Jerry* won more Academy Awards than any other character-based theatrical animated series. Barbera estimated the typical budget of $50,000 for each *Tom and Jerry* cartoon which made the duo take "time to get it right". A typical cartoon took around six weeks to make.

As per standard practice for American animation production at the time, Barbera and Hanna did not work with a script beforehand. After coming up with a cartoon idea together, Barbera would flesh out the story by drawing a storyboard and provide character designs and animation layouts. Hanna did the animation timing - planning the music and temporal beats and accents the animation action would occur on - and subsequently assigned the animators their scenes and supervised their work. In addition, Hanna provided incidental voice work, in particular Tom's numerous screams of pain. Despite minimal creative input, as head of the MGM cartoon studio, Quimby was credited as the producer of all cartoons until 1955.

The rise in television in the 1950s caused problems for the MGM animation studio, leading to budget cuts on *Tom and Jerry* cartoons due to decreased revenue from theatrical screenings. In an attempt to combat this, MGM ordered that all subsequent shorts be produced in the widescreen CinemaScope format; the first, *Touché, Pussy Cat!*, was released in December 1954. However, the studio found that re-releases of older cartoons were earning as much as new ones, resulting in the executive decision to cease production on *Tom and Jerry* and later the animation studio on May 15, 1957. The final cartoon produced by Hanna and Barbera, *Tot Watchers*, was released on August 1, 1958. The pair were decided to leave and went on to focus on their own production company Hanna-Barbera Productions, which went on to produce such popular animated television series including *The Flintstones*, *Yogi Bear*, *The Jetsons* and *Scooby-Doo*.

Production formats
Before 1954, all *Tom and Jerry* cartoons were produced in the standard Academy ratio and format; in 1954 and 1955, some of the output was dually produced in dual versions: one Academy-ratio negative composed for a flat widescreen (1.75:1) format and one shot in the CinemaScope process. From 1955 until the close of the MGM cartoon studio a year later, all *Tom and Jerry* cartoons were produced in CinemaScope, some even had their soundtracks recorded in Perspecta directional audio. All of the Hanna and Barbera cartoons were shot as successive color exposure negatives in Technicolor.

### Gene Deitch era (1961–1962)

In 1961, MGM revived the *Tom and Jerry* franchise, and contracted European animation studio Rembrandt Films to produce 13 *Tom and Jerry* shorts in Prague, Czechoslovakia. All were directed by Gene Deitch and produced by William L. Snyder. Deitch himself wrote most of the cartoons, with occasional assistance from Larz Bourne and Eli Bauer. Štěpán Koníček provided the musical score for the Deitch shorts. Sound effects were produced by electronic music composer Tod Dockstader and Deitch. The majority of vocal effects and voices in Deitch's films were provided by Allen Swift and Deitch.

Deitch states that, being a "UPA man", he was not a fan of the *Tom and Jerry* cartoons, thinking they were "needlessly violent". However, after being assigned to work on the series, he quickly realized that "nobody took [the violence] seriously", and it was merely "a parody of exaggerated human emotions". He also came to see what he perceived as the "biblical roots" in Tom and Jerry's conflict, similar to David and Goliath, stating "That's where we feel a connection to these cartoons: the little guy can win (or at least survive) to fight another day."

Since the Deitch/Snyder team had seen only a handful of the original *Tom and Jerry* shorts, and since the team produced their cartoons on a tighter budget of $10,000, the resulting films were considered surrealist in nature, though this was not Deitch's intention. The animation was limited and jerky in movement, compared to the more fluid Hanna-Barbera shorts. Background art was done in a more simplistic, angular, Art Deco-esque style. The soundtracks featured sparse and echoic electronic music, futuristic sound effects, heavy reverb, and dialogue that was mumbled rather than spoken. According to Jen Nessel of *The New York Times*, "The Czech style had nothing in common with these gag-driven cartoons."

Whereas Hanna-Barbera's shorts generally took place in and outside of a house, Deitch's shorts opted for more exotic locations, such as a 19th-century whaling ship, the jungles of Nairobi, an Ancient Greek acropolis, or the Wild West. In addition, Mammy Two-Shoes was replaced as Tom's owner by a bald, overweight, short-tempered, middle-aged white man, who bore a striking resemblance to Clint Clobber. Just like Spike the Bulldog, he is also much more brutal and violent in punishing Tom's actions as compared to previous owners, often beating and thrashing Tom repeatedly.

To avoid being linked to Communism, Deitch romanized the Czech names of his crew in the opening credits of the shorts (e.g. Stěpán Koníček became "Steven Konichek" and Václav Lídl became "Victor Little"). In addition, these shorts are among the few *Tom and Jerry* cartoons not to carry the "Made In Hollywood, U.S.A." phrase on the end title card; due to Deitch's studio being behind the Iron Curtain, the production studio's location is omitted entirely on it. After the 13 shorts were completed, Joe Vogel, the head of production, was fired from MGM. Vogel had approved of Deitch and his team's work, but MGM decided not to renew their contract after Vogel's departure. The final of the 13 shorts, *Carmen Get It!*, was released on December 21, 1962.

Deitch's shorts were commercial successes. In 1961, the *Tom and Jerry* series became the highest-grossing animated short film series of that time, dethroning *Looney Tunes*, which had held the position for 16 years; this success was repeated once more in 1962. However, unlike the Hanna-Barbera shorts, none of Deitch's films were nominated for nor did they win an Academy Award. In retrospect, these shorts are often considered the worst of the *Tom and Jerry* theatrical output. Deitch stated that due to his team's inexperience as well as their low budget, he "hardly had a chance to succeed", and "well understand[s] the negative reactions" to his shorts. He believes "They could all have been better animated – truer to the characters – but our T&Js were produced in the early 1960s, near the beginning of my presence here, over a half-century ago as I write this!" Despite the criticism, Deitch's *Tom and Jerry* shorts were considered personal favorites by some fans due to their quirky and surreal nature. The shorts were released on DVD in 2015 in "Tom and Jerry: The Gene Deitch Collection".

Production formats
The 1960s entries were done in Metrocolor but returned to the standard Academy ratio and format.

### Chuck Jones era (1963–1967)

After the last of the Deitch cartoons were released, Chuck Jones, who had been fired from his 30-plus year tenure at Warner Bros. Cartoons, started his own animation studio, Sib Tower 12 Productions (later renamed MGM Animation/Visual Arts), with partner Les Goldman. Beginning in 1963, Jones and Goldman went on to produce 34 more *Tom and Jerry* shorts, all of which carried Jones' distinctive style (and a slight psychedelic influence).

Jones had trouble adapting his style to *Tom and Jerry*'s brand of humor, and a number of the cartoons favored full animation, personality and style over storyline. The characters underwent a slight change of appearance: Tom was given thicker eyebrows (resembling Jones' Grinch, Count Blood Count or Wile E. Coyote), a less complex look (including the color of his fur becoming gray), sharper ears, longer tail and furrier cheeks (resembling Jones' Claude Cat or Sylvester), while Jerry was given larger eyes and ears, a lighter brown color, and a sweeter, Porky Pig-like expression.

Some of Jones' *Tom and Jerry* cartoons are reminiscent of his work with Wile E. Coyote and the Road Runner, included the uses of blackout gags and gags involving characters falling from high places. Jones co-directed the majority of the shorts with layout artist Maurice Noble. The remaining shorts were directed by Abe Levitow and Ben Washam, with Tom Ray directing two shorts built around footage from earlier *Tom and Jerry* cartoons directed by Hanna and Barbera, and Jim Pabian directed a short with Maurice Noble. Various vocal characteristics were made by Mel Blanc, June Foray and even Jones himself. These shorts contain a memorable opening theme, in which Tom first replaces the MGM lion, then is trapped inside the "O" of his name.

Though Jones's shorts were generally considered an improvement over Deitch's, they nevertheless had varying degrees of critical success. MGM ceased production of *Tom and Jerry* shorts in 1967, by which time Jones had moved on to television specials and the feature film *The Phantom Tollbooth*. The shorts were released on DVD in 2009 in "Tom and Jerry: The Chuck Jones Collection".

### *Tom and Jerry* hit television

Beginning in 1965, the Hanna and Barbera *Tom and Jerry* cartoons began to appear on television in heavily edited versions. The Jones team was required to take the cartoons featuring Mammy Two Shoes and remove her by pasting over the scenes featuring her with new scenes. Most of the time, she was replaced with a similarly fat white Irish woman; occasionally, as in *Saturday Evening Puss*, a thin white teenager took her place instead, with both characters voiced by June Foray. However, recent telecasts on Cartoon Network and Boomerang retain Mammy with new voiceover work performed by Thea Vidale to remove the stereotypical black jargon featured on the original cartoon soundtracks. The standard *Tom and Jerry* opening titles were removed as well. Instead of the roaring MGM Lion sequence, an opening sequence featuring different clips of the cartoons was used instead. The title cards were also changed. A pink title card with the name written in white font was used instead.

Debuting on CBS' Saturday morning schedule on September 25, 1965, *Tom and Jerry* moved to CBS Sundays two years later and remained there until September 17, 1972.

### Second Hanna-Barbera era: *The Tom and Jerry Show* (1975–1977)

In 1975, Tom and Jerry were reunited with Hanna and Barbera, who produced *The Tom and Jerry Show* for Saturday mornings. These 48 seven-minute cartoon shorts were paired with *Grape Ape* and *Mumbly* cartoons, to create *The Tom and Jerry/Grape Ape Show*, *The Tom and Jerry/Grape Ape/Mumbly Show*, and *The Tom and Jerry/Mumbly Show*, all of which initially ran on ABC Saturday mornings between September 6, 1975, and September 3, 1977. In these cartoons, Tom and Jerry (now with a red bow tie), who had been enemies during their formative years, became nonviolent pals who went on adventures together, as Hanna-Barbera had to meet the stringent rules against violence for children's TV. This format has not been used in newer Tom and Jerry entrees.

### Filmation era (1980–1982)

Filmation Studios (in association with MGM Television) also tried their hands at producing a *Tom and Jerry* TV series. Their version, *The Tom and Jerry Comedy Show*, debuted in 1980, and also featured new cartoons starring Droopy, Spike (from *Tom and Jerry*, and the same version also used in Droopy), Slick Wolf, and Barney Bear, not seen since the original MGM shorts. The Filmation *Tom and Jerry* cartoons were noticeably different from Hanna-Barbera's efforts, as they returned *Tom and Jerry* to the original chase formula, with a somewhat more "slapstick" humor format. This incarnation, much like the 1975 version, was not as well-received by audiences as the originals, and lasted on CBS Saturday mornings from September 6, 1980, to September 4, 1982.

### Tom and Jerry's new owners

In 1986, MGM was purchased by WTBS founder Ted Turner. Turner sold the company a short while later, but retained MGM's pre-1986 film library, thus *Tom and Jerry* became the property of Turner Entertainment Co. (where the rights stand today via Warner Bros.), and have in subsequent years appeared on Turner-run stations, such as TBS, TNT, Cartoon Network, The WB, Boomerang, and Turner Classic Movies.

### Third Hanna-Barbera era: *Tom & Jerry Kids* (1990–1994)

One of the biggest trends for Saturday morning television in the 1980s and 1990s was the "babyfication" (child versions) of classic cartoon stars, and on March 2, 1990, *Tom & Jerry Kids*, co-produced by Turner Entertainment Co. and Hanna-Barbera Productions (which would be sold to Turner in 1991), debuted on Fox Kids, and also aired for a few years on British children's block, CBBC. It featured a youthful version of the famous cat-and-mouse duo chasing each other. As with the 1975 H-B series, Jerry wears his red bowtie, while Tom now wears a red cap. Spike and his son Tyke (who now had talking dialogue), and Droopy and his son Dripple, appeared in back-up segments for the show, which ran until November 18, 1994. *Tom & Jerry Kids* was the last *Tom and Jerry* cartoon series produced in 4:3 (full screen) aspect ratio.

### One-off productions (2001; 2005)

In 2001, a new television special titled *Tom and Jerry: The Mansion Cat* premiered on Boomerang. It featured Joe Barbera (who was also a creative consultant) as the voice of Tom's owner, whose face is never seen. In this cartoon, Jerry, housed in a habitrail, is as much of a house pet as Tom is, and their owner has to remind Tom to not "blame everything on the mouse".

In 2005, a new Tom and Jerry theatrical short, titled *The Karate Guard*, which had been written and directed by Barbera and Spike Brandt, storyboarded by Joseph Barbera and Iwao Takamoto and produced by Joseph Barbera, Spike Brandt, and Tony Cervone premiered in Los Angeles cinemas on September 27, 2005. As part of the celebration of *Tom and Jerry*'s sixty-fifth anniversary, this marked Barbera's first return as a writer, director and storyboard artist on the series since his and Hanna's original MGM cartoon shorts, and last overall; he would die shortly after production ended. Director/animator, Spike Brandt was nominated for an Annie award for best character animation. The short debuted on Cartoon Network on January 27, 2006.

Production format
The 2005 short *The Karate Guard* was filmed in the standard Academy ratio and format.

### Warner Bros. era (2006–present)

During the first half of 2006, a new series called *Tom and Jerry Tales* was produced at Warner Bros. Animation. Thirteen half-hour episodes (each consisting of three shorts, some of them—like *The Karate Guard*—were produced and completed in 2003 as part of a 30-plus theatrical cartoon schedule aborted after the financial disaster of *Looney Tunes: Back in Action*) were produced, with only markets outside of the United States and United Kingdom signed up. The show then came to the UK in February 2006 on Boomerang, and it went to the U.S. on Kids' WB on The CW. *Tales* is the first *Tom and Jerry* TV series that utilizes the original style of the classic shorts, along with the slapstick. The series was canceled in 2008, shortly before the Kids' WB block shut down. *Tales* is also the first *Tom and Jerry* production presented in 16:9 widescreen aspect ratio (which was aired on Cartoon Network in the United States) but cropped to 4:3 fullscreen aspect ratio (which was aired on The CW and Boomerang in the United States).

Cartoon Network, which began rerunning the *Tom and Jerry Tales* in January 2012, subsequently aired a second series consisting of two 11-minute shorts per episode that likewise sought to maintain the look, core characters and sensibility of the original theatrical shorts. Similar to other reboot works like *Scooby-Doo! Mystery Incorporated* and *The Looney Tunes Show*, several episodes the new series brought Tom and Jerry into contemporary environments, telling new stories and relocating the characters to more fantastic worlds, from a medieval castle to a mad scientist's lab. Titled *The Tom and Jerry Show*, the series is produced by Warner Bros. Animation, with Sam Register serving as executive producer in collaboration with Darrell Van Citters and Ashley Postelwaite at Renegade Animation. Originally slated for an undated 2013 Cartoon Network premiere before being pushed back to April 9, 2014, this is the second *Tom and Jerry* production presented in 16:9 widescreen aspect ratio.

In November 2014, a two-minute sketch was shown as part of the Children in Need telethon in the United Kingdom, the sketch was produced as a collaboration with Warner Bros.

In May 2016, WB Kids began releasing excerpts from various *Tom and Jerry* works to the online platform YouTube. By January 2017, compilation videos of the *Tom and Jerry* franchise began to be released by WB Kids on the platform.