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27-495: Crapston Villas is a British adult animated television series, written, created and directed by Sarah Ann Kennedy , in which the characters were made from plasticine and filmed with stop motion clay animation . It was a comedy satire on inner-city London life, directed at a mature audience. It featured a set of characters, living in a grim apartment building in the fictional postcode of SE69, who were plagued by various dilemmas. Foul language, sex and violence are present. It

54-450: A bias towards live-action and raunchy animated sitcoms, compared to early pioneers. However, the result is a new audience that is ready for narratively-sophisticated adult animated works and a new crop of creators exploring the adult animation space. This development allows creators to continue challenging the perceived limitations of animation. Many animators and adult animation fans, both international and non-Disney respectively, boycotted

81-575: A guest column in Variety criticizing the Academy for the remark and how Hollywood has been treating animation. The column commented that "no one set out to diminish animated films, but it's high time we set out to elevate them." Alberto Mielgo , director of The Windshield Wiper , later gave an acceptance speech for the Oscar: "Animation is an art that includes every single art that you can imagine. Animation for adults

108-615: A single 100 minute piece ("Crapston Villas – City of Slummington"), while Series 2 was similarly released, but on two videos ("Health Hazard" and "Culture Shock"). In the USA five episodes from Series 1 were released on DVD by the independent production/distribution company Troma Entertainment , but so far no DVD releases of either series have occurred in the UK. As of January 2012, all 20 episodes of Crapston Villas are available to watch on Channel 4's digital on-demand service 4oD (now called All 4 ). Reruns of

135-412: Is a fact. It's happening. Let's call it cinema. I'm very honored because this is just the beginning of what we can do with animation." They also suggested to the Academy that the category should be presented by filmmakers who respect the art of animation as cinema. Another factor is that numerous feature-length animated films have been made for older audiences or with ranges of PG-13 or more, starting in

162-699: Is mainly targeted and marketed towards adults and adolescents, as opposed to children or all-ages audiences. Animated media (includes animated films , television series , and web series ) in this medium could be considered adult for any number of reasons, which include the incorporation of toilet humour , nudity , sexual content (either explicit or suggestive), graphic violence , profanity , dark comedy , political themes, or other thematic elements inappropriate for children and/or younger viewers. Works may explore philosophical, political, or social issues. Some animated productions are noted for their complex and/or experimental storytelling and animation techniques,

189-533: The Academy over remarking that animation was synonymous with "kids" during the 94th Academy Awards in 2022. The award for the Best Animated Feature was presented by three actresses who portrayed the Disney princess characters in live-action remakes of their respective animated films: Lily James ( Cinderella ), Naomi Scott ( Aladdin ), and Halle Bailey ( The Little Mermaid ) . While introducing

216-579: The Adweek Blog Network, which was formed from the assets of Mediabistro . Related publications include Brandweek, Adweek Magazine's Technology Marketing (ISSN 1536-2272), and Marketing Week (ISSN 0892-8274). In 2018, the company produced the first Brandweek , event, a first-of-its-kind summit held September 23–25, 2018 in Palm Springs, Calif. Subsequent summits have been held in Miami. Brandweek

243-562: The Heron , officially rated PG-13 by the MPA . For the 22-year history since the inauguration , it became the first adult animated film to win the Academy Award for Best Animated Feature at the 96th Academy Awards ; all the previous winners were either rated G or PG. AdWeek As the second-largest advertising-trade publication, its main competitor is Advertising Age . Adweek also operates

270-528: The Series are also available to watch on G.O.L.D. late at night. This article relating to a comedy television series in the United Kingdom is a stub . You can help Misplaced Pages by expanding it . Adult animated Adult animation , also known as mature animation , and infrequently as adult-oriented animation , is any type of animated motion media that is catered specifically to adult interests and

297-410: The category, Bailey stated that animated films are "formative experiences as kids who watch them," as James put it, "So many kids watch these movies over and over, over and over again." Scott added: "I see some parents who know exactly what we're talking about." The remarks sparked controversy and with those working in the animation industry describing them as infantilizing the medium and perpetuating

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324-457: The evening, but they are not generally pornographic or obscene. AdWeek called adult animation "animated projects aimed at grown-ups, not kids." They also focus on issues that adults handle, and have cheeky, and occasionally crass, humor "that has no limits—bouncing between funny and offensive," while evoking a "balance of reality and fantasy". They may also contain violence or sexual themes. International animators and filmmakers were among

351-413: The incoming new head of Channel 4 Television, Michael Jackson , who then bought US import South Park to fill the late Friday night slot vacated by Crapston Villas . The show would be one of the first animated series on British television to present openly gay characters, specifically Robbie and Larry. Each series comprised ten episodes. Series 1 was subsequently issued on video , edited together as

378-456: The late-1990s with South Park: Bigger, Longer & Uncut , and for those future adult animated films including The Triplets of Belleville , Persepolis , Waltz with Bashir , Chico and Rita , The Wind Rises , Anomalisa , My Life as a Courgette , The Breadwinner , Loving Vincent , Isle of Dogs , I Lost My Body , and Flee . Most of them were nominated in various categories , though none have won until The Boy and

405-601: The latter with many distinct styles have defined such unique artistry. Adult animation is typically defined as animation that is aimed at an adult audience. It is also described as something that "formative youths should stay far, far away from" or has adult humor and comes in various styles, but especially sitcoms and comedies. Some have stated that it refers to animations with "adult themes and situations", which uses "explicit language" and make jokes that adults, and occasionally teens, are "more likely to understand" than others. On television, such animations often run in

432-472: The live broadcast; some speculations suggested that the speech played a role in the decision to not broadcast the award. The winner for the Best Animated Short award was The Windshield Wiper , a multilingual Spanish-American film which is considered adult animated, while another nominee in three categories: Best Animated Feature, Best Documentary Feature Film , and Best International Feature Film ,

459-449: The media, FishbowlNY , focused on New York City media, GalleyCat , which focused on book publishing, LostRemote , which focused on social television , PRNewser , which focused on public relations and SocialTimes , which covered social media platforms. The most notable member of the blog network is TVNewser , which focuses on the American news media and broadcast industry. The site

486-459: The middle of a cocktail party of all people who know what's going on in my business." Both MSNBC 's Dan Abrams and CNN 's Jeff Greenfield have lauded the site for being good at separating fact from fiction. Each year Adweek honors companies and individuals in the marketing and media industry by giving out several different awards, such as the Adweek 50, Brand Genius , Creative 100 , Agency of

513-750: The notables of adult animation works: Some television channels and their segments or blocks that focused on broadcasting adult animation: Several highly-acclaimed adult animated films and television series have received substantial recognition from critics. Thanks to Bakshi's Fritz the Cat , the film influenced animators and filmmakers over the course of the late-20th century and into the 21st century, catering such important artistic and narrative structures with mature subject matter. Conversely, several works have been largely ignored by many detractors for their depiction of graphic subject matter and sensitive topics, such as violence, race, gender, and sexuality. They still show

540-414: The site as being "read religiously by network presidents, media executives, producers and publicists ... because it provides a quick snapshot of the industry on any given day." Brian Williams , then anchor of NBC Nightly News , described the blog as "the closest thing to the bible of what's going on in [the news broadcasting] industry." CNN 's Miles O'Brien felt that the site "makes me feel like I'm in

567-469: The stigma that animated works are strictly for children, especially since the industry was credited with sustaining the flow of Hollywood content and revenue during the height of the COVID-19 pandemic . An addition to the controversy was that the award for Best Animated Short Film (the nominees for which were mostly made up of shorts not aimed at children) was one of the eight categories that were omitted in

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594-512: Was Flee , a PG-13 rated animated documentary about an Afghan refugee. Phil Lord , co-producer of one of the nominated films, The Mitchells vs. the Machines , tweeted that it was "super cool to position animation as something that kids watch and adults have to endure." The film's official social media account responded to the joke with an image reading: "Animation is cinema." A week later, Lord and his producing partner Christopher Miller wrote

621-413: Was also previously a weekly American marketing trade publication that was published between 1986 and April 2011. In 1990, Affiliated Publications Inc., which publishes The Boston Globe , agreed to acquire 80 percent of the outstanding common stock of A/S/M Communications Inc., which published Adweek . The magazine stabilized in the 1990s. In April 2008, Alison Fahey, Adweek' s editor of ten years,

648-574: Was announced as Chief Content Officer and Drew Schutte as Chief Revenue Officer. On January 15, 2015, following the acquisition of their previous parent, Mediabistro , by Prometheus Global Media, Adweek formed the "Adweek Blog Network"—which consists of several B2B blogs focusing on aspects of the mass media industry. They include AgencySpy , which focuses on advertising news, TVNewser , which focuses on cable and broadcast TV and streaming news and TVSpy , which focuses on local television news. Other sites included FishbowlDC , focused on politics and

675-507: Was founded as CableNewser by then– Towson University student Brian Stelter in January 2004, who maintained the site until joining The New York Times as a media reporter in July 2007. Former MSNBC producer Chris Ariens took on the role of editor in 2007 and is now Adweek's SVP and Editorial Director. TVNewser is highly-read within the broadcasting industry: The New York Times characterized

702-480: Was made by the Spitting Image Productions company and was originally broadcast on the UK's Channel 4 from 1995 to 1998. It was written by Sarah Ann Kennedy , who was also director (series 1) along with Peter Boyd Maclean (series 2). The music for the show was composed by Rowland Lee . Voices were provided by a range of British actors and comedians. The show was cancelled after its second series by

729-509: Was promoted to publisher and editorial director. She was replaced as editor by Mike Chapman, formerly of the Economist Intelligence Unit and eMarketer . On June 2, 2020, Los Angeles–based investment firm Shamrock Capital acquired Adweek from Canadian private equity firm Beringer Capital, which had acquired Adweek in July 2016. On July 26, 2023, Will Lee was announced as Adweek' s CEO. On November 30, 2023, Zoë Ruderman

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