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Even when craftier than usual, Pluto is still as likable as ever!

8/10
Author: TheLittleSongbird from United Kingdom
7 September 2013

While it is quite rightly set up in a straightforward way, from a story perspective T-Bone for Two is unexceptional with some of it feeling routine. And the gag with Pluto sitting on the horn and the horn getting stuck inside doesn't quite work, it's amusing but rather drawn out as well, Pluto is also at his least smart(in the short that is) in this gag which jars a bit. Apart from that, helped by the sprightly pacing the gags are funny and timed accordingly. Pluto's interaction with the horn and the ending stood out as being particularly effective in the laughs department. Pluto is also cleverer than usual with a smart and quite crafty side, he always was a cute, energetic and likable character- and still is actually in T-Bone for Two- but in other shorts of his he has displayed a somewhat dim-witted side. To see him being clever was a nice change of pace, he's had shades of it before T-Bone for Two and since but this is the most he's been. Anybody expecting the fluid, colourful animation and the lively and lushly orchestrated music will not be disappointed, both are just great here. Interesting to see a somewhat Looney Tunes/Merrie Melodies vibe at the beginning, different but not bad different, interesting different. To conclude, a fun and very good short, any fans of Pluto will find plenty of reason to like T-Bone for Two. 8/10 Bethany Cox

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A Pup Tale With Butch

10/10
Author: Ron Oliver (revilorest@juno.com) from Forest Ranch, CA
27 November 2002

A Walt Disney PLUTO Cartoon.

Pluto attempts to turn Butch's tasty snack into a T-BONE FOR TWO.

This is another formula Pluto film - fun, but without much to distinguish it from many other Pup cartoons.

Walt Disney (1901-1966) was always intrigued by drawings. As a lad in Marceline, Missouri, he sketched farm animals on scraps of paper; later, as an ambulance driver in France during the First World War, he drew figures on the sides of his vehicle. Back in Kansas City, along with artist Ub Iwerks, Walt developed a primitive animation studio that provided animated commercials and tiny cartoons for the local movie theaters. Always the innovator, his ALICE IN CARTOONLAND series broke ground in placing a live figure in a cartoon universe. Business reversals sent Disney & Iwerks to Hollywood in 1923, where Walt's older brother Roy became his lifelong business manager & counselor. When a mildly successful series with Oswald The Lucky Rabbit was snatched away by the distributor, the character of Mickey Mouse sprung into Walt's imagination, ensuring Disney's immortality. The happy arrival of sound technology made Mickey's screen debut, STEAMBOAT WILLIE (1928), a tremendous audience success with its use of synchronized music. The SILLY SYMPHONIES soon appeared, and Walt's growing crew of marvelously talented animators were quickly conquering new territory with full color, illusions of depth and radical advancements in personality development, an arena in which Walt's genius was unbeatable. Mickey's feisty, naughty behavior had captured millions of fans, but he was soon to be joined by other animated companions: temperamental Donald Duck, intellectually-challenged Goofy and energetic Pluto. All this was in preparation for Walt's grandest dream - feature length animated films. Against a blizzard of doomsayers, Walt persevered and over the next decades delighted children of all ages with the adventures of Snow White, Pinocchio, Dumbo, Bambi & Peter Pan. Walt never forgot that his fortunes were all started by a mouse, or that simplicity of message and lots of hard work always pay off.

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