Always Kickin'

The theatrical run of Popeye the Sailor from 1933 to 1957 represents one of the most enduring and influential eras in American animation history. Spanning 231 shorts, this golden age of Popeye evolved across two distinct production studios: the boundary-pushing, gritty Fleischer Studios (1933–1942) and the more formulaic, brightly colored Famous Studios (1942–1957). Together, they transformed E.C. Segar’s comic strip character into a global cinematic icon, establishing formulas and animation techniques that altered the medium forever.

Popeye and Olive open a diner, singing the title song. Alas, their first two customers are Wimpy (who actually gets them to fall for the "gladly pay you Tuesday" schtick) and Bluto, who orders 6 sandwiches and refuses to pay for them. This leads, of course, to a fight, which Popeye needs his spinach to win.

More than just a landmark in superhero animation, Max Fleischer's Superman shorts were no less than the foundation for so many shows that succeeded it. Playing in theaters in 1941-42, only a few years after the Man of Steel made his debut in Action Comics, these 17 exciting films were produced by Fleischer and made famous the phrase "This looks like a job for Superman!" At 10 minutes, each film had just enough time to run the opening credits, establish the threat, let Lois Lane make a headstrong rush into peril, and allow Clark Kent to change to his alter ego and save the day. The films show a remarkably dynamic and atmospheric storytelling style that enables them to hold up for modern viewers. At first the films followed a science fiction-fantasy theme, but not unexpectedly for that time soon focused on wartime concerns.

Swee'pea is crying, so Olive calls on Popeye to cheer the baby up. Popeye and Bluto compete by doing various silly antics.

At an orphanage, the children are sad because they received used defective toys as gifts. Professor Grampy sees the children while passing by in his sled and has an idea on how to give them a merry Christmas.

Superman battles a criminal mastermind and his robot army.

Popeye takes Olive mountain climbing. Bluto sets various traps for them along the way.

When police interfere with a reckless scientist's experiment, it creates a deadly meteor shower only Superman can stop.

Superman comes to the rescue when a volcano erupts.

The boys arrive at Olive's house at the same time, but at different doors. They both come in, and whenever Olive isn't looking, they start fighting. She catches them, and tells them one will have to leave. Bluto tells Popey that whoever does the best trick can stay. As a result, they find ever more creative ways to abuse each other, much to Olive's merriment. Eventually, though, they start destroying her house, and Olive throws them both out, for a little while, anyhow.

Bluto dirties all of an office building's windows himself, to drum up business for his window cleaning service. When he gets to Olive's stenographer office, about ten floors up, she says no: Popeye's going to wash her windows. And the battle with Popeye is on.

Trouble starts when the queen's magic mirror says Betty Boop is fairest.

Betty Boop goes to see the fearsome Old Man of the Mountain for herself; he sings the title song and a duet with Betty.

Jack and Jill Rabbit get hitched in this classic Fleischer Studios cartoon (made a year before Bugs Bunny hit the scene).

After wrecking Popeye's ship and stealing away Olive Oyl, hero of Arabic legend Sindbad decides to test him and his ever-resilient new rival's strength in order to prove their supremacy as the "most remarkable, extraordinary fella" of Sindbad's menagerie island.

When things go wrong at the circus, it's up to Superman to stop the escaped animals.