What’s the Road Runner series about?
The cartoons adhere to a formula: They’re set in a desert landscape in the southwestern US and have just two characters, Road Runner and Wile E. Coyote. Coyote is hungry; Road Runner is a (potential) meal. Coyote concocts schemes to catch Road Runner; some of these are elaborate; and some use equipment procured from the Acme Corp. All the schemes fail. Coyote has no particular animosity toward the Road Runner; nor Road Runner toward Coyote, though he does taunt him. The end.
Simple. But what’s it about? Take Coyote as a figure for human desire and Road Runner as a figure for the world at large. Desire wishes to bend the world toward its ends. All those elaborate, but failed, schemes are a figure for causality. Conclusion: causality operates according to laws that are independent of human desire. Ergo, there is a world out there, and it is independent of us.
Let’s consider an early example in the series, Beep, Beep (1951). Chuck Jones, the director, invokes a scientific frame of mind at the very beginning by giving us the scientific designations of the protagonists:
Jones enforces the sense of “science” by first presenting us with a blueprint for one of Coyote’s schemes:
We, of course, occupy the Coyote’s point of view; he’s a stand-in for us, and our desires. Notice the three-part explication of the plan. There’s a bit of a gap between steps two and three as a number of unnamed things must happen to transform a (presumably) squashed Road Runner into a burger. We might think of that gap as a figure for the gap between desire and reality.