Classy from top to bottom and parodic to the core, Chuck Jones opened the Second Golden Age of Looney Tunes with astonishing ideas about meta, opera, theater and the process of animation itself. This is no exception. This is a complete expectations surpasser that mocks the priorities of production studios for approving projects in the name of profit maximization despite the initial inherent quality of the original product and how, in the most Greek tradition, we still buy tragedies as successes.
Curiously enough, this is truer today than during Hollywood's Golden Age. Oh boy, the conservatism of the Academy and the western industry in general!
This caught me completely off guard.