Complete with John Walsh hosting a recap that poured over the details
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America's Favorite Non-prehistoric Cartoon Family - The Simpsons Thread
- Thread starter Johnny Unusual
- Start date
Johnny Unusual
(He/Him)
Who Shot Mr. Burns - Part 2
Answers are not always as fun as the mystery. Its like anticipation: getting presents on Christmas morning is great but the waiting was more powerful. Knowing is cool but wondering fuels the imagination. If you create a mystery and are forced to create a resolution, it can be difficult, even if you know what the solution is. Its not just about having a solution, its about turning the answer into part of the story with moving pieces and all. And in a good mystery, it can't just be a series of facts. You must get pieces out to the audience so they too are going for a ride. Give them things that allow them to try to get ahead of the story. This is why I don't care for Scooby-Doo: in most incarnations, clues show up but I've never found them clever, satisfying or feel like the clues can be put in an order that make me feel like I should have figured it out earlier. My point: people complain about the ending to this one, but I think it legitimately works for me more each time I see it.
In this episode, Mr. Burns survives being shot but no one knows who the killer is. Smithers begins to suspect he did it while in a drunken stupor but after an investigation, it is revealed that Smithers merely shot Jasper's wooden leg. Lisa decides to help with the investigation and puts together a list of suspects for the police. But each suspect seems to have an alibi or at least sings a great song. The police then decide to check Burns' suit and find DNA evidence... Simpson DNA! Suddenly, Burns bolts upright and says "Homer Simpson" and Homer is immediately arrested. Even more damning, when the police come to arrest him, they find a gun under his car seat with matching fingerprints. Homer escapes arrest and Lisa continues to investigate, coming to the solution at the crime scene. The police corner Homer in Mr. Burns' hospital room where Homer is desperately trying to make Burns take back his confession. But Burns, who in actuality had ONLY been able to say the words "Homer Simpson" since waking up from his coma, reveals his shooter: Maggie Simpson. It turns out Burns tried to take literal candy from that baby, but during the struggle, Burns guns dropped out of his holster and into Maggie's hands, where it went off.
Seriously, while I'm sure they are some holes that can be poked, I actually really like the presentation of this mystery. First of all, there are lots of stuff going but the actual mystery isn't convoluted and in all honesty, not that ludicrous by mystery standards, even for a comedy. Of course, the first episode gave a lot of clues that work here, but they also intentionally made it unsolvable from that point simply by giving a lot of characters WS and MS named (note this story is where we first get Moe's last name). So in terms of the contest, its a partial cheat: Even as a kid it was easy to tell Burns was shot with his own gun so it stands to reason the shooter wasn't one of the gun owners and WS was a clue but there's nothing to link Maggie to the crime directly. But after the episode airs, thanks to the nature of the one-sided conversation Burns has, I really can't imagine another solution that would actually work for me. Within the episode itself, it still manages to have a bunch of clues that fit well-enough that even if it is a narrowed down guessing game, it is a good one and it makes sense in terms of upholding the status quo.
This episode is also an absolute delight besides. Even if you don't like the solution, I would have a hard time believing it ruined the episode for you, unless you were into the mystery so deeply, you forget what kind of show the Simpsons is, where they at this point can mock their own inconsistencies. Of course, the show certainly did want you to be invested and take you for a ride but the mechanics of the story are only a small part. The other is that it is a blast as comedy and a delight as adventure. There are a ton of references to popular mystery movies and TV shows (The Fugitive, Twin Peaks, Basic Instinct) but it never feels hackneyed, instead more as springboards for pretty good gags. Its a mystery that isn't just a parody, it feels like a love letter to the mystery genre, with clues and reveals as jokes.
I think its smart for this to be, again until very recently, the only two-parter episode of the show. I feel like if each season they ended on a cliffhanger TNG style, it would have been diminishing returns. The show would have some huge guest stars and notable episodes but I feel like its good that the show kept things to three capital "E" events: the unintended phenomenon of the first season, Who Shot Mr. Burns and the Movie. Even the return of Homer's mom, a very strong episode with a big guest star and a important canonical reveal, didn't quite feel as big. But I feel like if the show kept trying to push these big events, it might have lost track of its strengths... well, it would have EARLIER, at any rate. In my estimation, Who Shot Mr. Burns endures because while it recognized audiences wanted to know the answers, it also knew the comic potential of figuring out the funniest and most character specific ways to show its dead ends, red herrings and clues.
Jokes I missed before:
I missed this being a callback...
"He's getting a pretty good sound out of that guy."
Other Great Jokes:
I think generally the Dallas "last season was all a dream" reference is played out but shit this is a hilarious one.
"Dozens of people are gunned down in Springfield everyday but until now none of them were important."
A M E R I C A
"He was then transferred to a better hospital where doctors upgraded his condition to alive."
"BERSERK IS RIGHT!"
"Yeah, that's right, Smingers did it. Now where's my hat? I'm going to the outhouse."
"We don't have an outhouse."
"MY TOOLSHED!"
"Father, I'm not a catholic. Well, I tried to march in the St. Patrick's Day parade."
"OK, Colossus, you're free to go, but stay away from Death Mountain."
"But all my stuff is there."
"This sidewalk's for regular walkin', not for your fancy walkin'"
"Who shot who in the what now?"
"And with the prime suspect cleared and found completely innocent, we must ask ourselves, who could possibly be as bloodthirsty as Waylon Smithers."
"I never thought I could shoot down a German plane... but last year I proved myself wrong."
"Nancy Drew says that all you need to solve a mystery is an inquisitive temperament and two good friends and I've for an inquisitive temperament."
"I hope all the suspects are this much fun."
*smash cut to Skinner*
"I got it from Space Invaders in 1977."
"Oh, yeah, that was a pretty addictive video game."
"Video game?"
"You blame me for everything around here: Who put slippers in the dishwasher? Who threw a cane at the TV? Who fell into the China hutch."
"If you've ever handled a penny, the government's got your DNA. Why do you think we still keep them in circulation."
Somehow, this is a more acceptable answer to me than the truth.
This is both a great gag AND it moves the plot along quickly.
"That's what they all say. They all say d'oh."
"When I took your father's name, I took everything that came with it, including DNA."
"No jury in the world is going to convict a baby... maybe Texas."
Other Notes:
I just really like this animation.
I also love that while the sundial clue fits, Burns was never giving a clue.
This might be my favourite Simpsons song. Its not particularly funny, it just slaps.
Answers are not always as fun as the mystery. Its like anticipation: getting presents on Christmas morning is great but the waiting was more powerful. Knowing is cool but wondering fuels the imagination. If you create a mystery and are forced to create a resolution, it can be difficult, even if you know what the solution is. Its not just about having a solution, its about turning the answer into part of the story with moving pieces and all. And in a good mystery, it can't just be a series of facts. You must get pieces out to the audience so they too are going for a ride. Give them things that allow them to try to get ahead of the story. This is why I don't care for Scooby-Doo: in most incarnations, clues show up but I've never found them clever, satisfying or feel like the clues can be put in an order that make me feel like I should have figured it out earlier. My point: people complain about the ending to this one, but I think it legitimately works for me more each time I see it.
In this episode, Mr. Burns survives being shot but no one knows who the killer is. Smithers begins to suspect he did it while in a drunken stupor but after an investigation, it is revealed that Smithers merely shot Jasper's wooden leg. Lisa decides to help with the investigation and puts together a list of suspects for the police. But each suspect seems to have an alibi or at least sings a great song. The police then decide to check Burns' suit and find DNA evidence... Simpson DNA! Suddenly, Burns bolts upright and says "Homer Simpson" and Homer is immediately arrested. Even more damning, when the police come to arrest him, they find a gun under his car seat with matching fingerprints. Homer escapes arrest and Lisa continues to investigate, coming to the solution at the crime scene. The police corner Homer in Mr. Burns' hospital room where Homer is desperately trying to make Burns take back his confession. But Burns, who in actuality had ONLY been able to say the words "Homer Simpson" since waking up from his coma, reveals his shooter: Maggie Simpson. It turns out Burns tried to take literal candy from that baby, but during the struggle, Burns guns dropped out of his holster and into Maggie's hands, where it went off.
Seriously, while I'm sure they are some holes that can be poked, I actually really like the presentation of this mystery. First of all, there are lots of stuff going but the actual mystery isn't convoluted and in all honesty, not that ludicrous by mystery standards, even for a comedy. Of course, the first episode gave a lot of clues that work here, but they also intentionally made it unsolvable from that point simply by giving a lot of characters WS and MS named (note this story is where we first get Moe's last name). So in terms of the contest, its a partial cheat: Even as a kid it was easy to tell Burns was shot with his own gun so it stands to reason the shooter wasn't one of the gun owners and WS was a clue but there's nothing to link Maggie to the crime directly. But after the episode airs, thanks to the nature of the one-sided conversation Burns has, I really can't imagine another solution that would actually work for me. Within the episode itself, it still manages to have a bunch of clues that fit well-enough that even if it is a narrowed down guessing game, it is a good one and it makes sense in terms of upholding the status quo.
This episode is also an absolute delight besides. Even if you don't like the solution, I would have a hard time believing it ruined the episode for you, unless you were into the mystery so deeply, you forget what kind of show the Simpsons is, where they at this point can mock their own inconsistencies. Of course, the show certainly did want you to be invested and take you for a ride but the mechanics of the story are only a small part. The other is that it is a blast as comedy and a delight as adventure. There are a ton of references to popular mystery movies and TV shows (The Fugitive, Twin Peaks, Basic Instinct) but it never feels hackneyed, instead more as springboards for pretty good gags. Its a mystery that isn't just a parody, it feels like a love letter to the mystery genre, with clues and reveals as jokes.
I think its smart for this to be, again until very recently, the only two-parter episode of the show. I feel like if each season they ended on a cliffhanger TNG style, it would have been diminishing returns. The show would have some huge guest stars and notable episodes but I feel like its good that the show kept things to three capital "E" events: the unintended phenomenon of the first season, Who Shot Mr. Burns and the Movie. Even the return of Homer's mom, a very strong episode with a big guest star and a important canonical reveal, didn't quite feel as big. But I feel like if the show kept trying to push these big events, it might have lost track of its strengths... well, it would have EARLIER, at any rate. In my estimation, Who Shot Mr. Burns endures because while it recognized audiences wanted to know the answers, it also knew the comic potential of figuring out the funniest and most character specific ways to show its dead ends, red herrings and clues.
Jokes I missed before:
I missed this being a callback...
"He's getting a pretty good sound out of that guy."
Other Great Jokes:
I think generally the Dallas "last season was all a dream" reference is played out but shit this is a hilarious one.
"Dozens of people are gunned down in Springfield everyday but until now none of them were important."
A M E R I C A
"He was then transferred to a better hospital where doctors upgraded his condition to alive."
"BERSERK IS RIGHT!"
"Yeah, that's right, Smingers did it. Now where's my hat? I'm going to the outhouse."
"We don't have an outhouse."
"MY TOOLSHED!"
"Father, I'm not a catholic. Well, I tried to march in the St. Patrick's Day parade."
"But all my stuff is there."
"This sidewalk's for regular walkin', not for your fancy walkin'"
"Who shot who in the what now?"
"And with the prime suspect cleared and found completely innocent, we must ask ourselves, who could possibly be as bloodthirsty as Waylon Smithers."
"I never thought I could shoot down a German plane... but last year I proved myself wrong."
"Nancy Drew says that all you need to solve a mystery is an inquisitive temperament and two good friends and I've for an inquisitive temperament."
"I hope all the suspects are this much fun."
*smash cut to Skinner*
"I got it from Space Invaders in 1977."
"Oh, yeah, that was a pretty addictive video game."
"Video game?"
"You blame me for everything around here: Who put slippers in the dishwasher? Who threw a cane at the TV? Who fell into the China hutch."
"If you've ever handled a penny, the government's got your DNA. Why do you think we still keep them in circulation."
Somehow, this is a more acceptable answer to me than the truth.
This is both a great gag AND it moves the plot along quickly.
"That's what they all say. They all say d'oh."
"When I took your father's name, I took everything that came with it, including DNA."
"No jury in the world is going to convict a baby... maybe Texas."
Other Notes:
I just really like this animation.
I also love that while the sundial clue fits, Burns was never giving a clue.
This might be my favourite Simpsons song. Its not particularly funny, it just slaps.
jpfriction
(He, Him)
When this first played my mom predicted they would pull a Dallas and when they started the fake-out she was quite smug. The look on her face as it morphed into speedway squad was priceless.
Wait... Is that one guy playing a loaf of bread?
Red Silvers
Pokemon Red w/ 1 Nidoran
It's okay, he was just very very sick.
Johnny Unusual
(He/Him)
Radioactive Man
I'd be lying if despite pretty much every major story warning people that fame kind of sucks (except Entourage, where the lesson is "its great and gets you pussy, dawg. OH YEAH! OH YEAH!"), I still would like to be famous. I feel like I would want to be beloved and respected. Which is weird because while I also like affection, it can make me feels skittish. I think I know objectively that I wouldn't like it as much as I desire it. But I still desire it. Yes, when I was teaching, I was generally getting EXACTLY from what I want from real fame: respect and love. And yet, more seems desirable. But either it wouldn't be enough no matter how much I get AND/OR my own fame would alienate me. And here's the other stupid truth about me: I still fantasize about getting "discovered" in some capacity just by existing. Like, I'm hanging around and someone goes "Hey, there's something about you." And THEN I finally start applying myself. Its dumb and immature but I would be lying if I didn't say it is still somewhere in my heart.
In this episode, a film of the comic book Radioactive Man begins filming in Springfield and is holding open auditions for the title hero's sidekick Fallout Boy. Bart auditions and despite it going well, Bart is rejected based on his height. Instead, Milhouse is chosen, leaving Bart jealous. But Milhouse didn't want to audition and immediately doesn't like the fame. Bart tries to reconcile his jealousy by supporting his friend but Milhouse hates the process of movie making and his fame and eventually is driven to run away from the set. Milhouse goes missing and Bart eventually finds him and he and Mickey Rooney try to convince him but Milhouse proves to be unyielding. The production shuts down and the filmmakers return to Hollywood.
Many Milhouse stories are about Milhouse dealing with his position as "Bart's sidekick" a role he often likes. though many episodes are about him moving away from it. Despite the crux of the episode being about Milhouse not wanting to be in the spotlight, this feels less like a conventional Milhouse narrative, because while he and Bart's relationship is key to the story, Milhouse isn't defining himself in his relationship to Bart. And though Milhouse is often cowardly, this also feels like an unconventional "character finds their spine" episode. See, Milhouse is dealing with a ton of pressure from his parents and the studio that he doesn't want. His big moment is saying "I don't want this" but though he does get a speech, it doesn't climax with that (though close). Instead, its about Milhouse, in a non-dramatic way, simply saying "No." when Bart wants him to continue. Milhouse makes the decision that tons of child stars probably wish they made: just saying no.
Quick note: this is more Milhouse's episode but I like the use of Bart. He's disappointed but I feel like because he's a kid, I buy it that he both genuinely tries to wish Milhouse well but also wants to bask in the surplus fame and perks of his friend. I think his speech to Milhouse, silly and cynical as it is, comes from a place where he's both trying to do what he thinks is right for his friend but also still wants to keep riding his gravy train.
Aside from taking on the nature of fame, the episode is also a parody of Hollywood excess, with a production where everything seems to go wrong, thanks to the director and producer's wrongheadedness and the town gouging the Hell out of the company. There's a knowing wink in here because more likely the case is that while a town like Springfield would benefit financially from a big production, these things can have other costs. The best example of this is Homer proclaiming that they get $50 a day for the movie to be shot in their house and immediately the company begins tearing shit down. Seriously, this reflects the reality I've heard that while you might be well paid, companies might do shit without asking that can be compensated financially but also might ruin things. Have something antique or just perfect you can't just rebuy? You might risk losing it. The episode ends with a silly bit in which Mickey Rooney (who kills it) admonishes Springfield's slick small town ways and them fleecing naïve movie folk.
Watching this one, I recognized immediately that there was something weird about the episode. I know it was basically that the show had a different look, which I attributed to a new animation company the show needed to use. Its not bad, but there is something that didn't work as well that I couldn't put my finger on. Doing research, it seems that it was the first episode to be digitally colored and it looks polished yet sort of subtly off. I guess people on the show didn't like it either: they would try it once more on the only clips show that can actually be considered a "classic" and then not again until season 12. I feel the episodes they chose for their attempt at digital coloring were the right ones, as both are comedies about artifice and showbiz, so if you are going to experiment with a slightly inorganic looking process, may as well use it with a topic about phoniness. Again, its weird but it didn't ruin my enjoyment of a classic episode in any way, a fine follow up after the big two-parter.
Jokes I missed before:
Other great jokes:
"I keep telling you, he's 72 years old and he's dead."
The henchman stumbling to their feet to dance is what makes this.
"They don't need a big ad or even correct spelling."
"Marge, do you have other men in this house? Radioactive men?"
"Which one were you? The ugly one? Were you the ugly one?"
I like how everyone is satisfied with Moe's comment in regards to his murder.
"And now is the winter of our discontent."
"Oh, no! Run!"
"What's for lunch tomorrow."
"Next."
"Chicken necks?"
"It wouldn't be fair to the children who filled out their application forms in full."
"That's as fast as Grandpa's shrinking."
"Milhouse, baby! Lionel Hutz, you're new agent, bodyguard, unauthorized biographer and drug dealer... keeper awayer."
The puffy directing pants joke is serviceable but I LOVE Quimby following it up with "I'm sorry."
"I've said jiminy jillikers so many times the words have lost all meaning."
"My eyes! The goggles do nothing!"
Was this a specific parody of the "editing techniques" of Forrest Gump?
"But will they just find Milhouse or will they find him and kill him?"
"Well, they'll... when they find him, they'll... hum mum mum mum."
"Excuse me, you didn't answer me, you just trailed off."
"I did trail off there, didn't I?"
The biggest box office draw from 1939-1940. Spanning two decades.
Other notes:
I don't know what "Nick" is but it's a guy smoking a cigarette with a hole through his torso, so I'm guessing a Vertigo book.
Apparently, Mickey Rooney was super game for playing his role. This makes me happy.
I'm curious if you found this episode as weird looking as I did? I can totally see if either you didn't notice anything or it didn't bother you.
I'd be lying if despite pretty much every major story warning people that fame kind of sucks (except Entourage, where the lesson is "its great and gets you pussy, dawg. OH YEAH! OH YEAH!"), I still would like to be famous. I feel like I would want to be beloved and respected. Which is weird because while I also like affection, it can make me feels skittish. I think I know objectively that I wouldn't like it as much as I desire it. But I still desire it. Yes, when I was teaching, I was generally getting EXACTLY from what I want from real fame: respect and love. And yet, more seems desirable. But either it wouldn't be enough no matter how much I get AND/OR my own fame would alienate me. And here's the other stupid truth about me: I still fantasize about getting "discovered" in some capacity just by existing. Like, I'm hanging around and someone goes "Hey, there's something about you." And THEN I finally start applying myself. Its dumb and immature but I would be lying if I didn't say it is still somewhere in my heart.
In this episode, a film of the comic book Radioactive Man begins filming in Springfield and is holding open auditions for the title hero's sidekick Fallout Boy. Bart auditions and despite it going well, Bart is rejected based on his height. Instead, Milhouse is chosen, leaving Bart jealous. But Milhouse didn't want to audition and immediately doesn't like the fame. Bart tries to reconcile his jealousy by supporting his friend but Milhouse hates the process of movie making and his fame and eventually is driven to run away from the set. Milhouse goes missing and Bart eventually finds him and he and Mickey Rooney try to convince him but Milhouse proves to be unyielding. The production shuts down and the filmmakers return to Hollywood.
Many Milhouse stories are about Milhouse dealing with his position as "Bart's sidekick" a role he often likes. though many episodes are about him moving away from it. Despite the crux of the episode being about Milhouse not wanting to be in the spotlight, this feels less like a conventional Milhouse narrative, because while he and Bart's relationship is key to the story, Milhouse isn't defining himself in his relationship to Bart. And though Milhouse is often cowardly, this also feels like an unconventional "character finds their spine" episode. See, Milhouse is dealing with a ton of pressure from his parents and the studio that he doesn't want. His big moment is saying "I don't want this" but though he does get a speech, it doesn't climax with that (though close). Instead, its about Milhouse, in a non-dramatic way, simply saying "No." when Bart wants him to continue. Milhouse makes the decision that tons of child stars probably wish they made: just saying no.
Quick note: this is more Milhouse's episode but I like the use of Bart. He's disappointed but I feel like because he's a kid, I buy it that he both genuinely tries to wish Milhouse well but also wants to bask in the surplus fame and perks of his friend. I think his speech to Milhouse, silly and cynical as it is, comes from a place where he's both trying to do what he thinks is right for his friend but also still wants to keep riding his gravy train.
Aside from taking on the nature of fame, the episode is also a parody of Hollywood excess, with a production where everything seems to go wrong, thanks to the director and producer's wrongheadedness and the town gouging the Hell out of the company. There's a knowing wink in here because more likely the case is that while a town like Springfield would benefit financially from a big production, these things can have other costs. The best example of this is Homer proclaiming that they get $50 a day for the movie to be shot in their house and immediately the company begins tearing shit down. Seriously, this reflects the reality I've heard that while you might be well paid, companies might do shit without asking that can be compensated financially but also might ruin things. Have something antique or just perfect you can't just rebuy? You might risk losing it. The episode ends with a silly bit in which Mickey Rooney (who kills it) admonishes Springfield's slick small town ways and them fleecing naïve movie folk.
Watching this one, I recognized immediately that there was something weird about the episode. I know it was basically that the show had a different look, which I attributed to a new animation company the show needed to use. Its not bad, but there is something that didn't work as well that I couldn't put my finger on. Doing research, it seems that it was the first episode to be digitally colored and it looks polished yet sort of subtly off. I guess people on the show didn't like it either: they would try it once more on the only clips show that can actually be considered a "classic" and then not again until season 12. I feel the episodes they chose for their attempt at digital coloring were the right ones, as both are comedies about artifice and showbiz, so if you are going to experiment with a slightly inorganic looking process, may as well use it with a topic about phoniness. Again, its weird but it didn't ruin my enjoyment of a classic episode in any way, a fine follow up after the big two-parter.
Jokes I missed before:
Other great jokes:
"I keep telling you, he's 72 years old and he's dead."
"They don't need a big ad or even correct spelling."
"Marge, do you have other men in this house? Radioactive men?"
"Which one were you? The ugly one? Were you the ugly one?"
"And now is the winter of our discontent."
"Oh, no! Run!"
"What's for lunch tomorrow."
"Next."
"Chicken necks?"
"It wouldn't be fair to the children who filled out their application forms in full."
"That's as fast as Grandpa's shrinking."
"Milhouse, baby! Lionel Hutz, you're new agent, bodyguard, unauthorized biographer and drug dealer... keeper awayer."
The puffy directing pants joke is serviceable but I LOVE Quimby following it up with "I'm sorry."
"I've said jiminy jillikers so many times the words have lost all meaning."
"My eyes! The goggles do nothing!"
"But will they just find Milhouse or will they find him and kill him?"
"Well, they'll... when they find him, they'll... hum mum mum mum."
"Excuse me, you didn't answer me, you just trailed off."
"I did trail off there, didn't I?"
The biggest box office draw from 1939-1940. Spanning two decades.
Other notes:
I don't know what "Nick" is but it's a guy smoking a cigarette with a hole through his torso, so I'm guessing a Vertigo book.
Apparently, Mickey Rooney was super game for playing his role. This makes me happy.
I'm curious if you found this episode as weird looking as I did? I can totally see if either you didn't notice anything or it didn't bother you.
I did notice the episode looking slightly off, but it's really only especially noticable on the heels of other episodes NOT looking slightly off
Also, I absolutely love the SLick Small Town is Admonished for Fleecing Movie Producers ending.
Also, I absolutely love the SLick Small Town is Admonished for Fleecing Movie Producers ending.
This is pretty much the thesis of the third part of Lindsay Ellis's video essay on the Hobbit films. New Zealand lawmakers essentially gutted protections for native actors and film crew in an effort to keep the studio from taking production elsewhere.
Gag I loved:
Dr. S telling us about the decline in Spirograph activity being linked to the rise in gang activity.
One thing I wanted to talk about, this episode was the one that I remember being when The Simpsons began doing more fake-out jokes. If that's even the right term. Like when the movie director says "You're our new Fallout Boy!!!...is what I would say if you were one inch taller." A few jokes a season I can take, but later seasons would do so many of these jokes that I built up an immunity, which is just one reason I stopped enjoying them.
But maybe I just don't like those jokes as much as other people, I'd like to hear what others say.
Dr. S telling us about the decline in Spirograph activity being linked to the rise in gang activity.
One thing I wanted to talk about, this episode was the one that I remember being when The Simpsons began doing more fake-out jokes. If that's even the right term. Like when the movie director says "You're our new Fallout Boy!!!...is what I would say if you were one inch taller." A few jokes a season I can take, but later seasons would do so many of these jokes that I built up an immunity, which is just one reason I stopped enjoying them.
But maybe I just don't like those jokes as much as other people, I'd like to hear what others say.
Johnny Unusual
(He/Him)
Home Sweet Homediddly-Dum-Doodly
Its hard to be a good parent. Despite that, I feel like the good ones outnumber the bad. Its not a miracle that good parenting happens but its amazing there's so much. But no parent is perfect. Childcare isn't an exact and perfect science and people are weak and make mistakes. Some of these mistakes can be discouraging and make you question your abilities. I'm not a parent myself but as someone who cares for kids, I've experienced this and have seen my sister and her partner do the same. Sometimes I'm having a hard day and I don't handle things the best. But I don't think occasional lapses and errors make you a bad parent. But I feel like a parental fear is that the wrong set of circumstances can reveal you as a negligent or terrible parent.
In this episode, Homer takes Marge out for a morning at the spa while the kids are at school and Grandpa watches the kids. But an unfortunate set of circumstances lead social services to the family's door and makes them look like bad parents. Until Homer and Marge can prove they are fit parents, the kids have to stay with the Flanders. Bart and Lisa find their new living situation unsettling, though Maggie seems to like it. Meanwhile, Homer and Marge take some classes to teach them to be better parents. They graduate but at the same time, Flanders learns the Simpson kids aren't baptized and decides to do it himself. Homer arrives in time to stop the baptism but it seems like Maggie accepts the Flanders... until she sees their mother and the family is reunited.
This episode feels like a common nightmare for parents, where someone takes an unexpected peek into your life and judges you inadequate in your care for your kids. Though Homer is no stranger to bad parenting decisions, the show is pretty quick to show that everything that damns them is unfortunate happenstance. Being seen as villains, they are treated with absolute disdain and when they are sacrificing their pride at parenting skills classes, they are condescended to in a humiliating fashion (for Marge, at least). I was actually a bit surprised at how emotionally effecting this one is this time around, with its most emotional moments in the middle. That said, there's also some poignant stuff in the climax, but said climax is also a ridiculous jokefest of silliness.
But lets get to the climax, which I think is great. In the last act, Flanders, who claims not to be judging Marge and Homer, is horrified to find that the kids are not baptized and Flanders feels compelled to do the deed himself and induct the kids into his family spiritually. Its the first time Flanders actually takes on a villain role. I feel like this is his first step towards Flanderization, where he becomes something of a zealot (compared to his early episodes where he's basically a friendly yuppie) but this turn really works in this episode. Flanders really means no harm but the act of trying to baptize the kids is kind of unsettling and its no wonder Homer and Marge are scared and pissed off (interesting its Homer who is scared and Marge who is pissed off). Like, its not malevolent but it definitely feels like a violation on the kids end to be inducted into a family against their will and on the kids end to see your kids claimed on a religious level by someone else.
Its interesting because in the broad sense of things, the stakes are not truly high in the literal sense. So the kids get splashed with water? They will go home soon anyway. But of course, the issue is Flanders symbolic claiming of the Simpsons kids, And that gives what could be small stakes some real weight. I'm truly invested in this climax thanks to the nature of the story so far, which has largely been vignettes of the kids feeling out of place and Marge and Homer missing the kids/taking those classes. Perhaps it effects me more because after my niece was born, my great aunt was upset she wasn't baptized and suggested to Mom that she secretly baptize her while my sister and her partner weren't around. My sister reasonably responded "I mean, its just water so if that makes her happy." but mom didn't want to, understandably. But frankly, that just pissed me off, as there would be so much symbolic unpleasantness in that action. I'm not religious and don't believe in the life hereafter but I consider having a spiritual side and, more importantly, put a lot of weight into symbolism and it just makes me enraged to think about. But I suspect even without this specific story, this climax works for most people. It helps that it is also very funny, treating the baptism with life or death seriousness and thriller level suspense.
Jokes I missed before:
A book on Flanders' shelf called "Who Begat Whom"
Other great jokes:
"Marge, there's a spider near my car keys."
"You did the right thing by telling me."
The specificity of these words is great. Though it probably feels like less of a gag in Australia where dangerous spiders are a for real deal.
"BEHIND YA!"
"EEEE! Don't do that!"
"Don't do that!"
Child welfare as Batman. I feel like the last few seasons had an obsession with the old Adam West series.
"Stupid babies need the most attention."
The act break reveal of the kids foster home is a perfect Simpsons joke.
"I don't judge Homer and Marge. That's for a vengeful God to do."
"Don't worry little girl. We'll get you some nice county dentures."
I don't even know what those are but I feel safe saying "ew!"
"Is your source on this reliable?"
"Why? Why? My only son!"
"I think I see Lisa, but it might be a starfish."
"SHUT UP, JUDGE!"
"I kept screeching and screeching at him..."
"Todd smells? I already knew that."
"I miss the way Bart would say something and then say 'dude'."
Flanders saying biblical things is good.
"The Bridal Feast of Beth Chadruharazzeb?"
"Ned, have you thought about any of the other major religions? They're all pretty much the same."
"Do you reject Satan and all his empty promises?"
"NOOOOOOOOOOOOOOO!"
"HAHAHA! Old painty can Ned!"
Other notes:
Hey, the guy who tried to beat up the Simpsons in Moe's bar can be a parent again. YAY!
I didn't find a spot for it in the main review, but I love the Simpsons remembering and recognizing specific things about each other. Things that aren't jokes but are silly and idiosyncratic like "microwaving underwear" and "Bart's ring". Its great at reminding us that its the specific things that matter to each other.
Its hard to be a good parent. Despite that, I feel like the good ones outnumber the bad. Its not a miracle that good parenting happens but its amazing there's so much. But no parent is perfect. Childcare isn't an exact and perfect science and people are weak and make mistakes. Some of these mistakes can be discouraging and make you question your abilities. I'm not a parent myself but as someone who cares for kids, I've experienced this and have seen my sister and her partner do the same. Sometimes I'm having a hard day and I don't handle things the best. But I don't think occasional lapses and errors make you a bad parent. But I feel like a parental fear is that the wrong set of circumstances can reveal you as a negligent or terrible parent.
In this episode, Homer takes Marge out for a morning at the spa while the kids are at school and Grandpa watches the kids. But an unfortunate set of circumstances lead social services to the family's door and makes them look like bad parents. Until Homer and Marge can prove they are fit parents, the kids have to stay with the Flanders. Bart and Lisa find their new living situation unsettling, though Maggie seems to like it. Meanwhile, Homer and Marge take some classes to teach them to be better parents. They graduate but at the same time, Flanders learns the Simpson kids aren't baptized and decides to do it himself. Homer arrives in time to stop the baptism but it seems like Maggie accepts the Flanders... until she sees their mother and the family is reunited.
This episode feels like a common nightmare for parents, where someone takes an unexpected peek into your life and judges you inadequate in your care for your kids. Though Homer is no stranger to bad parenting decisions, the show is pretty quick to show that everything that damns them is unfortunate happenstance. Being seen as villains, they are treated with absolute disdain and when they are sacrificing their pride at parenting skills classes, they are condescended to in a humiliating fashion (for Marge, at least). I was actually a bit surprised at how emotionally effecting this one is this time around, with its most emotional moments in the middle. That said, there's also some poignant stuff in the climax, but said climax is also a ridiculous jokefest of silliness.
But lets get to the climax, which I think is great. In the last act, Flanders, who claims not to be judging Marge and Homer, is horrified to find that the kids are not baptized and Flanders feels compelled to do the deed himself and induct the kids into his family spiritually. Its the first time Flanders actually takes on a villain role. I feel like this is his first step towards Flanderization, where he becomes something of a zealot (compared to his early episodes where he's basically a friendly yuppie) but this turn really works in this episode. Flanders really means no harm but the act of trying to baptize the kids is kind of unsettling and its no wonder Homer and Marge are scared and pissed off (interesting its Homer who is scared and Marge who is pissed off). Like, its not malevolent but it definitely feels like a violation on the kids end to be inducted into a family against their will and on the kids end to see your kids claimed on a religious level by someone else.
Its interesting because in the broad sense of things, the stakes are not truly high in the literal sense. So the kids get splashed with water? They will go home soon anyway. But of course, the issue is Flanders symbolic claiming of the Simpsons kids, And that gives what could be small stakes some real weight. I'm truly invested in this climax thanks to the nature of the story so far, which has largely been vignettes of the kids feeling out of place and Marge and Homer missing the kids/taking those classes. Perhaps it effects me more because after my niece was born, my great aunt was upset she wasn't baptized and suggested to Mom that she secretly baptize her while my sister and her partner weren't around. My sister reasonably responded "I mean, its just water so if that makes her happy." but mom didn't want to, understandably. But frankly, that just pissed me off, as there would be so much symbolic unpleasantness in that action. I'm not religious and don't believe in the life hereafter but I consider having a spiritual side and, more importantly, put a lot of weight into symbolism and it just makes me enraged to think about. But I suspect even without this specific story, this climax works for most people. It helps that it is also very funny, treating the baptism with life or death seriousness and thriller level suspense.
Jokes I missed before:
A book on Flanders' shelf called "Who Begat Whom"
Other great jokes:
"Marge, there's a spider near my car keys."
"You did the right thing by telling me."
The specificity of these words is great. Though it probably feels like less of a gag in Australia where dangerous spiders are a for real deal.
"BEHIND YA!"
"EEEE! Don't do that!"
"Don't do that!"
Child welfare as Batman. I feel like the last few seasons had an obsession with the old Adam West series.
"Stupid babies need the most attention."
The act break reveal of the kids foster home is a perfect Simpsons joke.
"I don't judge Homer and Marge. That's for a vengeful God to do."
"Don't worry little girl. We'll get you some nice county dentures."
I don't even know what those are but I feel safe saying "ew!"
"Is your source on this reliable?"
"Why? Why? My only son!"
"I think I see Lisa, but it might be a starfish."
"SHUT UP, JUDGE!"
"I kept screeching and screeching at him..."
"Todd smells? I already knew that."
"I miss the way Bart would say something and then say 'dude'."
Flanders saying biblical things is good.
"The Bridal Feast of Beth Chadruharazzeb?"
"Ned, have you thought about any of the other major religions? They're all pretty much the same."
"Do you reject Satan and all his empty promises?"
"NOOOOOOOOOOOOOOO!"
"HAHAHA! Old painty can Ned!"
Other notes:
Hey, the guy who tried to beat up the Simpsons in Moe's bar can be a parent again. YAY!
I didn't find a spot for it in the main review, but I love the Simpsons remembering and recognizing specific things about each other. Things that aren't jokes but are silly and idiosyncratic like "microwaving underwear" and "Bart's ring". Its great at reminding us that its the specific things that matter to each other.
Johnny Unusual
(He/Him)
Well, I don't know if there's a specific word for "fake out" jokes. I mean, its a pretty common trope and the verb used in describing them is misdirect. Though many of them are not "anti-comedy", they are in the same ballpark. Anti-comedy is a form of comedy based on subverting conventional comedy. This is subverting hoary old tropes rather than jokes. Anyway, for me its not the formula so much as the volume and execution. One of the many reasons that I don't like newer episodes is that a lot of it feels like it is one cruise control: certain jokes, fresh at the time, now are played out. I don't even mean conventional catchphrases, more a re-use joke that feels there to fill dead air. Like Homer responding indifferently "yeah, but what are ya gonna do" for the millionth time,
Not quite the same but I feel the Simpsons went a little overboard with its irony. To put things in perspective, when Bart says he is familiar with the works of Pablo Naruda, its funny because it is surprisingly divergent from Bart's character, who we have no reason to believe he would be interested in this man's works. But when it happens all the time and the characters are always behaving ironically opposed to who we expect them to be, its hard to completely grasp who they are anymore and it loses its effect. Don't get me wrong, I still maintain there are surprisingly strong episodes in later seasons, but its really "diamond in the rough" stuff. If you want me to cherry pick, I like "Holidays of Future Passed", "A Totally Fun Thing Bart Will Never Do Again", the Halloween episode that ISN'T an anthology (with Nick Kroll) and some of the guest-written episodes.
The return of the grim saga of the Skinners’ Bath Pillow
zonetrope
(he/him)
There's a very particular brand of Simpsons fake-out based around subverting cliches, like all of the sexually suggestive images in Grampa vs. Sexual Inadequacy turning out to be a stock footage festival. I think that type of gag feels more old hat now that dissecting pop culture tropes has basically become its own genre of humor, but the Simpsons really pioneered it.
Back on this subject...Yeah, I noticed. It looks like the black lines have kind of a shine to them with the digital paint job.
Johnny Unusual
(He/Him)
Bart Sells His Soul
Sometime when I was 12 or 13, I came to the conclusion that there was no God or afterlife. It was pretty hard for me to take after years of churchgoing but I never really discussed these feelings with my family and even continued to go to catechism and such while I stayed awake at night in mortal terror over my own mortality. It kind of messed me up for years before I felt ready to truly accept it as best I could. But while I am an atheist, I do have a spiritual side. I don't believe in a literal afterlife but I do feel that the intangibles and symbols play a key role in our lives. I don't believe in the Secret-style magical thinking that putting something out in the universe will get you the success you want but I do feel like having a healthy inner life and sharing good feelings and thoughts can spread in a way that is not quantifiable in any conventional fashion. Maybe there's no life after but maybe there is a great beyond, a world or worlds beyond all that we are in tune with, even if just in a symbolic fashion. Because perhaps even the unreal is as unreal as the real, just as nothing is, in fact, something. But man, would I feel a little more comfortable if I were going to a forever happy party in the clouds with a toga beard man named God.
In this episode, Bart has an argument with Milhouse over the existence of the soul and Bart decides to prove the ridiculousness of the belief by selling his own soul for five dollars. Bart sells his soul and feels like he's got the better deal but soon Bart starts noticing weird coincidences that make him feel like he's incomplete as a human. Bart soon becomes nervous and eventually desperate tries to get his soul back from Milhouse. After a cross-town quest, Bart finally finds Milhouse who reveals he sold it to Comic Book Guy for pogs. The next morning, Bart learns Comic Book Guy sold it to an anonymous party and goes home to pray for his souls return. It is then Lisa gives Bart his soul, having bought it the previous day. Meanwhile, Moe converts his family into a family restaurant, only to find that despite his promising business, his own nature isn't family friendly.
Bart Sells His Soul is a great episode of existential dread that is also unrelentingly silly. I feel in exploring Bart's feelings of fear, the writers felt embolden to do a lot of weird sci-fi/horror bits in an episode that is at its heart is an emotionally grounded, philosophical episode about the nature of the soul. In the episode, Bart sees the souls as a fantasy for dummies to control people and Milhouse thinks its your all-purpose perfect ghost. But as the episode goes on, for Bart he finds it being an integral part of him that he didn't know he missed. The writers have a lot of fun with literal interpretations of this: being unable to be detected by automatic doors, missing breath and eventually cat-like eyes. Even before the episode's main plot starts, there's hints at the weirdness, such as Milhouse being freaked out by a raven. But the world becomes increasingly off-kilter. I'm not even talking about Bart being a monster but just things like the weird ET riff when Bart goes to Milhouse's place.
In all honesty, these literal things should take away from what I feel like the message is: that the soul is more than some literal ghost. But it all works because while working with the increasingly elastic nature of the Simpsons' world, Bart's pain and fear is played seriously. I think some of Nancy Cartwright's best work is a pained prayer to God for the return of a piece of paper. Bart wandering the street, suffering and fearing for his existence is powerful stuff, even if its a series of goofy vignettes. I also love Bart trying to coerce Ralph into selling his soul because while it is very funny, it is also genuinely sort of creepy and made in a way that takes the best from horror film direction without feeling like a specific parody. Obviously, the show never comes up with a specific understanding of how a soul works but the kids seem to believe it is something and it is important, whether it be literal or metaphor. I also love the idea that Lisa discusses the former at the end, suggesting Bart forged his soul that night while Bart is so literal, he's eating the piece of paper that says "Bart Simpson's soul" to put it back into his body.
Also in the episode is a b-plot that is very different but also kind of similar. Moe doesn't sell his soul but he tries to do something that clearly isn't him because it will make more money. Moe's restaurant actually is pretty great and people seem to genuinely like it. Moe puts on the happy-go-lucky persona of "Uncle Moe" but in the end, Moe is going to be Moe, no matter how much money is at stake. In the end, Moe gets an unhappy ending, where he's stuck at square one but also lost a lot of money while Bart gets a happier one, realizing that the intangible parts of him are important to him. Bart can be a brat but I feel like episodes like these show us what makes Bart a character who we can truly root for despite his mischief. Bart's occasional vulnerability gives the character so much more weight and strength and makes the wacky catchphrase machine that he was sold as in the early years as something so much more.
Jokes I missed before:
There's a scene cut for syndication I think where Homer won't stop bugging Moe about his failed business.
Other great jokes:
"If I withhold the truth may I go straight to Hell where I will eat not but burning hot coals and drink not but burning hot cola."
Milhouse describing what the soul can do is great. Especially his smug pride when he says "Oh, it can swim."
"Anytime, chummmmmmmm...P."
The Texas Cheesecake Despository
"Ah, no, its dripping funny smelling water all over me!"
"Thank you, door!"
"I am familiar with the work of Pablo Neruda."
"Street signs? Indoors? Whatever!"
"Please take the fries off my head, kid, the basket is extremely hot."
"When Milhouse left, did you notice if he was carrying a piece of paper?"
"Oh, yeah, you don't forget a thing like that."
"Ow, my freakin' ears."
"I expect that kind of language at Denny's but not here!"
Love the deranged street cleaner. Also, I guess Springfield has a subway.
"You dial 91 and when I say so, dial 1 again."
"It contains a very rare Mary Worth in which she has advised a friend to commit suicide."
Other notes:
Why is Selma at the party. Is this a twin solidarity thing?
Pamela Hayden also kills it this episode. Unhinged Milhouse in the backyard is stellar.
Sometime when I was 12 or 13, I came to the conclusion that there was no God or afterlife. It was pretty hard for me to take after years of churchgoing but I never really discussed these feelings with my family and even continued to go to catechism and such while I stayed awake at night in mortal terror over my own mortality. It kind of messed me up for years before I felt ready to truly accept it as best I could. But while I am an atheist, I do have a spiritual side. I don't believe in a literal afterlife but I do feel that the intangibles and symbols play a key role in our lives. I don't believe in the Secret-style magical thinking that putting something out in the universe will get you the success you want but I do feel like having a healthy inner life and sharing good feelings and thoughts can spread in a way that is not quantifiable in any conventional fashion. Maybe there's no life after but maybe there is a great beyond, a world or worlds beyond all that we are in tune with, even if just in a symbolic fashion. Because perhaps even the unreal is as unreal as the real, just as nothing is, in fact, something. But man, would I feel a little more comfortable if I were going to a forever happy party in the clouds with a toga beard man named God.
In this episode, Bart has an argument with Milhouse over the existence of the soul and Bart decides to prove the ridiculousness of the belief by selling his own soul for five dollars. Bart sells his soul and feels like he's got the better deal but soon Bart starts noticing weird coincidences that make him feel like he's incomplete as a human. Bart soon becomes nervous and eventually desperate tries to get his soul back from Milhouse. After a cross-town quest, Bart finally finds Milhouse who reveals he sold it to Comic Book Guy for pogs. The next morning, Bart learns Comic Book Guy sold it to an anonymous party and goes home to pray for his souls return. It is then Lisa gives Bart his soul, having bought it the previous day. Meanwhile, Moe converts his family into a family restaurant, only to find that despite his promising business, his own nature isn't family friendly.
Bart Sells His Soul is a great episode of existential dread that is also unrelentingly silly. I feel in exploring Bart's feelings of fear, the writers felt embolden to do a lot of weird sci-fi/horror bits in an episode that is at its heart is an emotionally grounded, philosophical episode about the nature of the soul. In the episode, Bart sees the souls as a fantasy for dummies to control people and Milhouse thinks its your all-purpose perfect ghost. But as the episode goes on, for Bart he finds it being an integral part of him that he didn't know he missed. The writers have a lot of fun with literal interpretations of this: being unable to be detected by automatic doors, missing breath and eventually cat-like eyes. Even before the episode's main plot starts, there's hints at the weirdness, such as Milhouse being freaked out by a raven. But the world becomes increasingly off-kilter. I'm not even talking about Bart being a monster but just things like the weird ET riff when Bart goes to Milhouse's place.
In all honesty, these literal things should take away from what I feel like the message is: that the soul is more than some literal ghost. But it all works because while working with the increasingly elastic nature of the Simpsons' world, Bart's pain and fear is played seriously. I think some of Nancy Cartwright's best work is a pained prayer to God for the return of a piece of paper. Bart wandering the street, suffering and fearing for his existence is powerful stuff, even if its a series of goofy vignettes. I also love Bart trying to coerce Ralph into selling his soul because while it is very funny, it is also genuinely sort of creepy and made in a way that takes the best from horror film direction without feeling like a specific parody. Obviously, the show never comes up with a specific understanding of how a soul works but the kids seem to believe it is something and it is important, whether it be literal or metaphor. I also love the idea that Lisa discusses the former at the end, suggesting Bart forged his soul that night while Bart is so literal, he's eating the piece of paper that says "Bart Simpson's soul" to put it back into his body.
Also in the episode is a b-plot that is very different but also kind of similar. Moe doesn't sell his soul but he tries to do something that clearly isn't him because it will make more money. Moe's restaurant actually is pretty great and people seem to genuinely like it. Moe puts on the happy-go-lucky persona of "Uncle Moe" but in the end, Moe is going to be Moe, no matter how much money is at stake. In the end, Moe gets an unhappy ending, where he's stuck at square one but also lost a lot of money while Bart gets a happier one, realizing that the intangible parts of him are important to him. Bart can be a brat but I feel like episodes like these show us what makes Bart a character who we can truly root for despite his mischief. Bart's occasional vulnerability gives the character so much more weight and strength and makes the wacky catchphrase machine that he was sold as in the early years as something so much more.
Jokes I missed before:
There's a scene cut for syndication I think where Homer won't stop bugging Moe about his failed business.
Other great jokes:
"If I withhold the truth may I go straight to Hell where I will eat not but burning hot coals and drink not but burning hot cola."
Milhouse describing what the soul can do is great. Especially his smug pride when he says "Oh, it can swim."
"Anytime, chummmmmmmm...P."
The Texas Cheesecake Despository
"Ah, no, its dripping funny smelling water all over me!"
"Thank you, door!"
"I am familiar with the work of Pablo Neruda."
"Street signs? Indoors? Whatever!"
"Please take the fries off my head, kid, the basket is extremely hot."
"When Milhouse left, did you notice if he was carrying a piece of paper?"
"Oh, yeah, you don't forget a thing like that."
"Ow, my freakin' ears."
"I expect that kind of language at Denny's but not here!"
Love the deranged street cleaner. Also, I guess Springfield has a subway.
"You dial 91 and when I say so, dial 1 again."
"It contains a very rare Mary Worth in which she has advised a friend to commit suicide."
Other notes:
Why is Selma at the party. Is this a twin solidarity thing?
Pamela Hayden also kills it this episode. Unhinged Milhouse in the backyard is stellar.
The street sweeper is one of the perfect jokes in the series
And the jokes build on each other brilliantly.
Johnny Unusual
(He/Him)
Lisa the Vegetarian
I don't think I'll ever be able to give up meat. Don't get me wrong, there are countless wonderful meat alternatives. I was a picky eater as a kid but now I like to try all sorts of different things and novelty and weirdness that I would have turned up my nose at as a youth is now enticing. But there are also so many yummy meats to try and endless variations to try them in. But there's no getting around that the meat industry is kind of horrifying all around. Frankly, I get the choice to be a vegetarian, whether it is for ethical purposes or simply because the idea of eating an animal bothers you.
In this episode, the Simpsons go to a petting zoo and there Lisa plays with a cute little lamb. That evening, as the family is eating a lambchop dinner, it dawns on her that eating meat is upsetting to her and decides there and then to become a vegetarian. But soon she finds her family and her school doesn't understand her and is increasingly irritated by everyone's inability to try. Eventually, things come to ahead at Homer's huge BBQ and Lisa steals and disposes of Homer's roast pig. Lisa wanders Springfield upset with her meat obsessed society where she meets Apu, who shows her his private garden and special guest stars Paul and Linda McCartney. Lisa learns that Apu objects to some of Lisa's eating habits, like cheese, Apu teaches her that lashing out at everyone else does little to change the world. She finds Homer, apologizes and the two reconcile.
Watching the episode, I felt like "Oh, writer David S. (later X.) Cohen must be or have been a vegetarian" and sure enough, yep, he was at the time of writing the episode. Its not just because its about a vegetarian but it views the world of meat-eating. The episode isn't trying to shame anyone as Lisa tries to do but it does present the world that vegetarians face: one where (certainly during the 90s) there aren't a lot of decent options for people and having to live in a world where something they consider problematic or even horrifying is the norm. Lisa's journey is that she gets so frustrated by that, she becomes dismissive and condescending towards her family and she doesn't get to get re-oriented until she meets some like-minded people to confide in and amongst them learns there are difference and different ethical lines but that's OK and we can still care for each other.
Its an interesting lesson because in watching it, I was thought "this lesson is actually pretty good but it actually doesn't extend much further than what it is literally about." Like, differing religious beliefs, sure, but not so much differing political beliefs or bigger ethical deals because we are seeing there are times to get angry with people, regardless of what they say about the "discourse." It can extend mostly well to what we consume: maybe accepting that someone can still enjoy media or culture that is problematic or has problematic connections. But that's also differing in a lot of ways, such as the nature of the food industry being a very different animal in how is can be problematic in comparison to how entertainment can be problematic. But I think the message isn't "don't bother people" (even though Apu literally describing what Lisa does as "badgering") so much as "vilifying people who don't choose your beliefs isn't helping." It does sound in itself dismissive but I think that the show really is on Lisa's side for most of the episode, despite her mistake.
But I do feel like this episode is one of the first major changes to Lisa. I feel like as the show goes on, the writer's take pleasure in dunking on Lisa in her preachiness. A few years ago, politician and astounding piece of shit Ted Cruz was making some stupid Simpsons/USA analogy and framed Lisa as the joykiller as opposed to show's moral compass. But with later seasons, I actually understand why someone like Ted Cruz might view things this way due to how they present Lisa. Like "isn't it funny that she's TOO woke?" I think the show is still more on her side than it isn't, but I did find it weird that they try to make her more of the preachy one. There are episodes that make this work like Lisa the Skeptic but I feel like this and that episode pave a bit of an unfortunate road for her down the line from writers who make choices I don't agree with. But this Lisa, despite some failings, is still sympathetic and good-hearted, just the way I like her.
Jokes I missed before:
Other great jokes:
"...That was good, but not great."
This is one of those line formula's I think gets overused but it works here. Also love how even Marge is disappointed.
The faulty sound on Mother Bear is spot on.
"Charmed... a-googily doogily."
"And after I painted those cool stripes all over your car."
I fucking love the one "good" thing Homer does for Flanders is this. Its something a four year old would think of.
"Oh, yeah, right, Lisa. A wonderful, magical animal."
"Why does it talk like a lamb?"
I love that the self-cannibalism build up NEVER factors into Scratchy's death.
This is so brilliant stem to stern, so to speak. Like, I feel like the entire best jokes list could be every line and moment of this. I guess I'll do some quick highlights: "Billy!" "Jimmy!", "Its not really a floor", the term "sluice through", food chain, scientician, ape v shark, EVERYONE YOU CARE ABOUT!, you're hurting me.
"BART NO!" "What?" "Sorry, force of habit. LISA NO!"
"THAT'S IT, GO TO YOUR ROOM!"
Great punchline used three times in three ways that are funny as individual jokes and great as a tapestry.
"SHE ADMITTED IT!" "She's going to marry a carrot!"
The bait and switch gag with Paul McCartney offering Lisa a song is very funny. Like, its been done before its still problematic because its punchline partially rooted in Apu having a "funny accent" but the fact that Apu flat out sucks as a singer and Paul and Linda are SUPER fucking into his rendition (he also makes some weird pronoun choices in i.e. "I hope I will enjoy my show") still makes me laugh.
Other notes:
Lisa, there are so many great vegetarian dishes that even in the 90s I feel you could have sold people on. Like falafel. Falafel is great. Gazpacho deserved to bomb as much as it did. You brought the most anti-BBQ thing to the BBQ.
I was actually asked to dissect a fetal pig but I objected, less for moral reasons and more because I found it too upsetting.
For some reason, I really could go for a lentil soup right now.
I don't think I'll ever be able to give up meat. Don't get me wrong, there are countless wonderful meat alternatives. I was a picky eater as a kid but now I like to try all sorts of different things and novelty and weirdness that I would have turned up my nose at as a youth is now enticing. But there are also so many yummy meats to try and endless variations to try them in. But there's no getting around that the meat industry is kind of horrifying all around. Frankly, I get the choice to be a vegetarian, whether it is for ethical purposes or simply because the idea of eating an animal bothers you.
In this episode, the Simpsons go to a petting zoo and there Lisa plays with a cute little lamb. That evening, as the family is eating a lambchop dinner, it dawns on her that eating meat is upsetting to her and decides there and then to become a vegetarian. But soon she finds her family and her school doesn't understand her and is increasingly irritated by everyone's inability to try. Eventually, things come to ahead at Homer's huge BBQ and Lisa steals and disposes of Homer's roast pig. Lisa wanders Springfield upset with her meat obsessed society where she meets Apu, who shows her his private garden and special guest stars Paul and Linda McCartney. Lisa learns that Apu objects to some of Lisa's eating habits, like cheese, Apu teaches her that lashing out at everyone else does little to change the world. She finds Homer, apologizes and the two reconcile.
Watching the episode, I felt like "Oh, writer David S. (later X.) Cohen must be or have been a vegetarian" and sure enough, yep, he was at the time of writing the episode. Its not just because its about a vegetarian but it views the world of meat-eating. The episode isn't trying to shame anyone as Lisa tries to do but it does present the world that vegetarians face: one where (certainly during the 90s) there aren't a lot of decent options for people and having to live in a world where something they consider problematic or even horrifying is the norm. Lisa's journey is that she gets so frustrated by that, she becomes dismissive and condescending towards her family and she doesn't get to get re-oriented until she meets some like-minded people to confide in and amongst them learns there are difference and different ethical lines but that's OK and we can still care for each other.
Its an interesting lesson because in watching it, I was thought "this lesson is actually pretty good but it actually doesn't extend much further than what it is literally about." Like, differing religious beliefs, sure, but not so much differing political beliefs or bigger ethical deals because we are seeing there are times to get angry with people, regardless of what they say about the "discourse." It can extend mostly well to what we consume: maybe accepting that someone can still enjoy media or culture that is problematic or has problematic connections. But that's also differing in a lot of ways, such as the nature of the food industry being a very different animal in how is can be problematic in comparison to how entertainment can be problematic. But I think the message isn't "don't bother people" (even though Apu literally describing what Lisa does as "badgering") so much as "vilifying people who don't choose your beliefs isn't helping." It does sound in itself dismissive but I think that the show really is on Lisa's side for most of the episode, despite her mistake.
But I do feel like this episode is one of the first major changes to Lisa. I feel like as the show goes on, the writer's take pleasure in dunking on Lisa in her preachiness. A few years ago, politician and astounding piece of shit Ted Cruz was making some stupid Simpsons/USA analogy and framed Lisa as the joykiller as opposed to show's moral compass. But with later seasons, I actually understand why someone like Ted Cruz might view things this way due to how they present Lisa. Like "isn't it funny that she's TOO woke?" I think the show is still more on her side than it isn't, but I did find it weird that they try to make her more of the preachy one. There are episodes that make this work like Lisa the Skeptic but I feel like this and that episode pave a bit of an unfortunate road for her down the line from writers who make choices I don't agree with. But this Lisa, despite some failings, is still sympathetic and good-hearted, just the way I like her.
Jokes I missed before:
Other great jokes:
"...That was good, but not great."
This is one of those line formula's I think gets overused but it works here. Also love how even Marge is disappointed.
The faulty sound on Mother Bear is spot on.
"Charmed... a-googily doogily."
"And after I painted those cool stripes all over your car."
I fucking love the one "good" thing Homer does for Flanders is this. Its something a four year old would think of.
"Oh, yeah, right, Lisa. A wonderful, magical animal."
"Why does it talk like a lamb?"
"BART NO!" "What?" "Sorry, force of habit. LISA NO!"
"THAT'S IT, GO TO YOUR ROOM!"
Great punchline used three times in three ways that are funny as individual jokes and great as a tapestry.
"SHE ADMITTED IT!" "She's going to marry a carrot!"
The bait and switch gag with Paul McCartney offering Lisa a song is very funny. Like, its been done before its still problematic because its punchline partially rooted in Apu having a "funny accent" but the fact that Apu flat out sucks as a singer and Paul and Linda are SUPER fucking into his rendition (he also makes some weird pronoun choices in i.e. "I hope I will enjoy my show") still makes me laugh.
Other notes:
Lisa, there are so many great vegetarian dishes that even in the 90s I feel you could have sold people on. Like falafel. Falafel is great. Gazpacho deserved to bomb as much as it did. You brought the most anti-BBQ thing to the BBQ.
I was actually asked to dissect a fetal pig but I objected, less for moral reasons and more because I found it too upsetting.
For some reason, I really could go for a lentil soup right now.
Johnny Unusual
(He/Him)
Treehouse of Terror VI
Computer generated animation has come a long way. We now live in an era where it is a norm for TV and computer generated movies outnumber traditionally animated ones. I remember the 90s when some of the first CG shows appeared, including Reboot and Beast Wars (strangely called "Beasties" in Canada, despite sounding like the most British or maybe Australian name possible), which I was a big fan of. Generally, I liked the shows animated by Mainframe but as time went on the quality of the programs seemed increasingly bad, with good shows like the aforementioned ones giving way to far worse shows like Weird-Ohs (their attempt to do a Big Daddy Roth-inspired splat and squish cartoon) and the rather dull Action Man. Last time I checked, whatever remains of Mainframe Entertainment was doing direct to video Barbie films in the mid-2000s. Shame, because that must have been the last time I had any interest in Canadian animation, save for Hilda, which is a British co-production. But in the 90s, it seemed like much more of a novelty, meaning a lot of attempts to get in on it aged poorly. Where does that leave The Simpsons' first dive into the medium?
Another Halloween anthology. In the first story, advertising mascots are brought to life and reek havoc on downtown Springfield until they are defeated by a counter-campaign. Then, in the second story, Willie is accidentally killed by Springfield's parents, so Willie's ghost begins attacking their kids in their dreams. And in the final story, Homer finds the door to an alternate universe in the house and finds himself trapped in a slowly disappearing world.
This is a pretty good collection of stories. All are funny but they also have other strengths throughout. The first, Attack of the 50 ft. Eyesores, is not quite a specific parody but is more of a pastiche of 50s monster movies. But really, its a parody of the nature of advertising, with the reveal that the monsters are sustained by the attention people give them. The ending has Lisa defeating the monsters with an advertising earworm. Its a fun, simple tale that's mostly an excuse for various visual gags involving the advertising monsters though the concept of a world destroying monster fueled by public attention is eerily relevant.
The second segment is a spoof of A Nightmare on Elm Street and being about nightmares that come to life has a lot of great visuals, though its other strength is its quips and one liners. While it's not remotely "scary", I think it does get cinematic in moments and a few camera angels. Willie works well in the Freddy role, dropping quips that, unlike the actual Freddy, are actually clever, if not laugh out loud funny. Its funny because Freddy is thought of as the quipping villain of the 80s but that really didn't happen in the first and almost only good one. Part 3 is full of them and is a half-way good movie with some impressive visuals compared to the rather dull Part 2, which is interesting due to it becoming an iconic gay film but misses the cool visuals of what a nightmare-based horror movie should be. But despite him being the most famous version of that character, I kind of don't like quipping Freddy. I don't find him funny and his sadism gets boring to me pretty quick. I much prefer the Freddy of the first movie who definitely says weird, threatening and mocking shit but they aren't really supposed to be taken as funny.
The final segment is probably meant to be the show stopper but its probably the weakest. Oh, its still pretty good. And the animation, certainly compared to a lot of programs of the era, haven't aged too badly. Yeah, it looks noticeably... 90s. And who needed to see Bart say "cool, man"... IN 3D! Seriously, it feels like it is a moment done for the promo and feels weirdly unnatural. But it looks good. This one is actually based on an old Twilight Zone called "Little Girl Lost" with a very similar premise: a child is lost in the walls of a house that turns out to be a path to another dimension. This take on it is clearly predicated on the excitement of Homer in 3D but its strongest bits are a lot of jokes animated within the Simpson house itself, with the 3D providing a bunch of eye candy and math references (which would be done better later in Futurama). Seriously, the non-CGI bits are largely gold and extremely quotable but what is intended as the meat of the segment feels like filler.
Jokes I missed before:
Not being a "sports guy" I missed the joke of Krusty's bizarre backwards explanation for a "forward pass".
Other great jokes:
"Good morning everyone. Panic is gripping downtown Springfield..."
"But what new product could justify such carnage? A cleanser? A fat free fudge cake that doesn't let you down in the flavor department like so many others--"
"He came to life. Good for him."
"OK, if it'll end horror."
"Don't you ever get tired of being wrong all the time?"
"These monsters are destroying everything and everyone we hold dear... and you kids should have jackets on."
"Guarantee void in Tennessee."
"Remember the story; we're newlyweds on our way to Earth Capital."
"Bart, is that you?"
"Yes."
"Take out the garbage."
"Now lets have no more curiosity of this bizarre cover-up."
"Not into the kindergarten!"
"Lousy Smarch weather."
"Do not touch Willie. Good advice."
That's a Hell of a one-two punch of great jokes
"Bart, do you realize what this means? The next time we fall asleep, we could die!"
"Eh, welcome to my world."
"There's a volcano waiting to erupt in the Pacific rim. Its name? Medium-term convertible debentures."
This show is so good about making something specific and boring.
"I'm somewhere where I don't know where I am?"
"Do you see towels? If you see towels you are probably in the linen closet again."
"Here is an ordinary square..."
"Whoa whoa whoa slow down, egghead."
"Take that, ya lousy dimension."
"There could be cubes in there the size of gorillas."
"Well, we hit a little snag when the universe collapsed in on itself..."
Computer generated animation has come a long way. We now live in an era where it is a norm for TV and computer generated movies outnumber traditionally animated ones. I remember the 90s when some of the first CG shows appeared, including Reboot and Beast Wars (strangely called "Beasties" in Canada, despite sounding like the most British or maybe Australian name possible), which I was a big fan of. Generally, I liked the shows animated by Mainframe but as time went on the quality of the programs seemed increasingly bad, with good shows like the aforementioned ones giving way to far worse shows like Weird-Ohs (their attempt to do a Big Daddy Roth-inspired splat and squish cartoon) and the rather dull Action Man. Last time I checked, whatever remains of Mainframe Entertainment was doing direct to video Barbie films in the mid-2000s. Shame, because that must have been the last time I had any interest in Canadian animation, save for Hilda, which is a British co-production. But in the 90s, it seemed like much more of a novelty, meaning a lot of attempts to get in on it aged poorly. Where does that leave The Simpsons' first dive into the medium?
Another Halloween anthology. In the first story, advertising mascots are brought to life and reek havoc on downtown Springfield until they are defeated by a counter-campaign. Then, in the second story, Willie is accidentally killed by Springfield's parents, so Willie's ghost begins attacking their kids in their dreams. And in the final story, Homer finds the door to an alternate universe in the house and finds himself trapped in a slowly disappearing world.
This is a pretty good collection of stories. All are funny but they also have other strengths throughout. The first, Attack of the 50 ft. Eyesores, is not quite a specific parody but is more of a pastiche of 50s monster movies. But really, its a parody of the nature of advertising, with the reveal that the monsters are sustained by the attention people give them. The ending has Lisa defeating the monsters with an advertising earworm. Its a fun, simple tale that's mostly an excuse for various visual gags involving the advertising monsters though the concept of a world destroying monster fueled by public attention is eerily relevant.
The second segment is a spoof of A Nightmare on Elm Street and being about nightmares that come to life has a lot of great visuals, though its other strength is its quips and one liners. While it's not remotely "scary", I think it does get cinematic in moments and a few camera angels. Willie works well in the Freddy role, dropping quips that, unlike the actual Freddy, are actually clever, if not laugh out loud funny. Its funny because Freddy is thought of as the quipping villain of the 80s but that really didn't happen in the first and almost only good one. Part 3 is full of them and is a half-way good movie with some impressive visuals compared to the rather dull Part 2, which is interesting due to it becoming an iconic gay film but misses the cool visuals of what a nightmare-based horror movie should be. But despite him being the most famous version of that character, I kind of don't like quipping Freddy. I don't find him funny and his sadism gets boring to me pretty quick. I much prefer the Freddy of the first movie who definitely says weird, threatening and mocking shit but they aren't really supposed to be taken as funny.
The final segment is probably meant to be the show stopper but its probably the weakest. Oh, its still pretty good. And the animation, certainly compared to a lot of programs of the era, haven't aged too badly. Yeah, it looks noticeably... 90s. And who needed to see Bart say "cool, man"... IN 3D! Seriously, it feels like it is a moment done for the promo and feels weirdly unnatural. But it looks good. This one is actually based on an old Twilight Zone called "Little Girl Lost" with a very similar premise: a child is lost in the walls of a house that turns out to be a path to another dimension. This take on it is clearly predicated on the excitement of Homer in 3D but its strongest bits are a lot of jokes animated within the Simpson house itself, with the 3D providing a bunch of eye candy and math references (which would be done better later in Futurama). Seriously, the non-CGI bits are largely gold and extremely quotable but what is intended as the meat of the segment feels like filler.
Jokes I missed before:
Not being a "sports guy" I missed the joke of Krusty's bizarre backwards explanation for a "forward pass".
Other great jokes:
"Good morning everyone. Panic is gripping downtown Springfield..."
"But what new product could justify such carnage? A cleanser? A fat free fudge cake that doesn't let you down in the flavor department like so many others--"
"He came to life. Good for him."
"OK, if it'll end horror."
"Don't you ever get tired of being wrong all the time?"
"These monsters are destroying everything and everyone we hold dear... and you kids should have jackets on."
"Guarantee void in Tennessee."
"Remember the story; we're newlyweds on our way to Earth Capital."
"Bart, is that you?"
"Yes."
"Take out the garbage."
"Now lets have no more curiosity of this bizarre cover-up."
"Not into the kindergarten!"
"Lousy Smarch weather."
"Do not touch Willie. Good advice."
That's a Hell of a one-two punch of great jokes
"Bart, do you realize what this means? The next time we fall asleep, we could die!"
"Eh, welcome to my world."
"There's a volcano waiting to erupt in the Pacific rim. Its name? Medium-term convertible debentures."
This show is so good about making something specific and boring.
"I'm somewhere where I don't know where I am?"
"Do you see towels? If you see towels you are probably in the linen closet again."
"Here is an ordinary square..."
"Whoa whoa whoa slow down, egghead."
"Take that, ya lousy dimension."
"There could be cubes in there the size of gorillas."
"Well, we hit a little snag when the universe collapsed in on itself..."
There could be cubes the size of gorillas!