(The best Simpsons bits somehow manage to be all of those things at the very same time.) Most of all, though, the show proved what televised animation was capable of-that it could be cosmopolitan and subversive and topical, that it was the perfect canvas for everything from deeply felt character work and incisive commentary to brilliantly dumb jokes. Then came The Simpsons, which revolutionized television in innumerable well-documented ways. theatrical shorts, were packaged as entertainment for kids when they started airing on TV, despite all those knowing winks from Bugs Bunny and the social commentary sandwiched into each segment’s inventive visual gags. ( The Flintstones may be a cultural touchstone, but it makes for a terrible viewing experience.) Even the best stuff often couldn’t escape the taint associated with the genre Looney Tunes, the classic Warner Bros. Disney’s work was art televised animation was broad, cheaply produced, and mostly aimed at an indifferent, younger audience. The painterly style of Walt Disney’s feature films introduced animation to generations of viewers-but for decades, the cartoons that aired on American TV were a lot dumber and sloppier than their big-screen counterparts.
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