Original airdate: May 20, 2018
The premise: After getting struck by lightning, Bart goes into a coma, where he is haunted by ghosts of the dearly departed, looking to him to sort out their unfinished business, the most insistent of all being Maude Flanders.
The reaction: I’d say the show gets points for trying a different type of story, but those points immediately get redacted since I didn’t understand the point of it or why any of it was happening. We open on Bart tricking Lisa with a screamer prank and posting her hilarious reaction online, basically just ripping off the Scary Maze Game, an OVER TEN YEAR OLD Internet meme. I guess next season will feature Bart first discovering ytmnd. When Bart tragically falls into a coma, Lisa gets her revenge by whispering in his ear to be surrounded by the dead. And so, in Bart’s head, first he encounters Maude Flanders, who is urgent to talk to him, and soon he’s doing the bidding of a bunch of other ghosts just because they tell him to. None of this feels like the extended dream of a child though, which made me keep forgetting this was all a big coma fantasy and ultimately nothing that happened mattered. The conceit reminds me of the Futurama episode “The Sting,” where Fry seemingly dies and Leela has to deal with her grief but also starts hallucinating due to the effects of space bee honey, but then it’s revealed that she was actually in a coma, and her visions were due to Fry at her bedside talking to her and keeping her brain active. This episode attempts that a few times with Lisa saying something and a character in Bart’s dream saying the same line, but that was barely an element of the show. Whereas Leela found herself going mad as reality seemed to bend before her eyes, Bart’s coma world feels just like reality except with ghosts in it. Anyway, Maude wants revenge on Homer, since he was responsible for getting her killed by the T-shirt cannons, so Bart recruits the bullies to ambush him with T-shirts. Then Homer shows up as a ghost and Bart has to deal with him not wanting his father to leave him… Wasn’t this a Bart-Lisa story? Shouldn’t the emotional crux be Bart feeling bad for humiliating her sister? We cut from Lisa apologizing for messing with Bart at the hospital to coma Bart begging ghost Homer not to go into the light? Is this meant to be symbolic? What’s Bart’s emotional arc? What’s the point? Again, part of me appreciates the show trying to tell a different kind of story, but if I have no idea what the purpose of it was, and considering another show already did it extremely competently fifteen years prior, I just wonder why the hell they even bothered.
Three items of note:
– We open with a transformer blowing and the family’s Internet goes out. We see a CONNECTION LOST message on the family room’s updated HD TV, Bart on the floor with his laptop with the Mac spinning rainbow circle, Lisa and Abe’s tablets don’t work… even after all this time, the Simpsons using modern technology still feels wrong to me. It gets even odder when Homer busts out his old VHS tapes, which absolutely mystify Bart and Lisa, leading to a sequence where they are stupidity by the sound of a rewinding tape and the concept of a corded remote. A big element of the pilot episode almost thirty years ago was Lisa being psyched about watching her favorite Happy Little Elves videotape, and here we are now, this show still alive and kickin’ (barely), with the kids not even knowing what a VHS is. This isn’t a criticism, it’s just really weird to see.
– We see a lot of familiar faces in the crowd of ghosts haunting Bart: beyond our beloved popular dead regulars like Marvin Monroe and Bleeding Gums Murphy, we also have Homer’s Vegas wife Amber, Rabbi Krustofski (Jackie Mason appearing again, aiming to rival Glenn Close for most posthumous repeated guest spots), Waylon Smithers Sr., that Fat Pride motor scooter guy, and then two or three other faces that seemed familiar that I didn’t recognize. I guess that had someone go on Simpsons Wiki and pull up the Deceased Characters page or something. Shary Bobbins also gets a line in, which why not, considering that got Maggie Roswell back for Maude. Speaking of which, the whole second act is building toward finding out what Maude wants from Bart, which turns out to be revenge on Homer for causing her death, and like… who cares. Like, really, who the fuck cares. “Alone Again, Natura-Diddly” was almost twenty years ago, does anyone give a flying shit about this? And I’d rather not be reminded of that episode, or of Homer’s gross behavior in it. They wedge in a (full frame) clip of her death in there in case people forgot, and you know what, as bad as that episode was, I would watch it over any episode over the last several years in a heartbeat.
– The episode was pretty much wrapping up eighteen minutes in or so, which was slightly confusing, but that left room for a lengthy, uninteresting tag depicting how and when the Simpsons and other Springfield denizens will die. It’s a “parody” of the ending of the series finale of Six Feet Under, complete with the same song scoring it, a show that went off the air thirteen years ago. I often bitch about the show making incredibly outdated references (I literally just did with the screamer videos earlier), but the show in its prime make a lot of references to TV and movies that were decades old. So what’s the difference? I feel like there are two big reasons. Firstly, as time goes on, and we get inundated with more and more media outlets spitting out more and more content at us, “big” pop culture moments tend to not have a lot of staying power. The series finale of M*A*S*H pulled in over a hundred million viewers in 1983, but flash forward to the Friends finale twenty years later and it had barely half the audience. With so many different viewing options out there, the audience is more fragmented than it’s ever been, and as such, big cultural moments aren’t quite as big and long-standing anymore. Six Feet Under was a pretty successful show, but now, over a decade later, it feels so completely irrelevant, because there have been thousands of other great dramas to take its place since then. Secondly, The Simpsons was born in an era where reruns were king; the major networks and basic cable would constantly run old shows and movies to fill up their airing slots, so when the show would lampoon Citizen Kane or The Godfather, not only are those classic films, there’s a pretty good chance a then modern audience would have seen the movie playing somewhere on TV. Nowadays, you’d be hard-pressed to find many channels running content that’s over a decade old, and that’s just on television. We’re living in a cultural landscape that is hyper focused on the now, an inevitability when everyone is connected on the Internet and can instantly make fun of whatever just happened that very day. It’s made The Simpsons‘ hallmark tradition of ripping on pop culture basically obsolete. We saw that clearly last season with their attempt to make a Pokemon Go episode, which came out nine months after the app went big, but most importantly, eight months and three weeks after every late night show, web cartoonist and Internet dweller had made ten thousand jokes and memes about it. Honestly, I really feel like the show should just retire pop culture jokes; between the poor writing and the outdated production schedule, they literally can’t be like they used to.
One good line/moment: The animation of Lisa getting stuck in Bart’s underwear and feebly struggling to get out was kind of fun. There have been a couple of fleeting fun animated moments this past season since they switched production companies, but not nearly enough for me to be crowing about what a tremendous difference it is or anything.
And there you have it, season 29 in the can. I’ll give it this, it wasn’t nearly as bad as season 28, which had some of the worst fucking episodes I’ve ever seen. But this is also the very first season I’ve watched and reviewed as it aired, so I’ve had a lot more time to completely forget almost all of it over the last nine months. “Singin’ in the Lane,” “3 Scenes Plus A Tag About a Marriage,” and “Left Behind” stick out as being particularly terrible, not to mention the tone-deaf Problem With Apu response from “No Good Read Goes Unpunished.” Most of the season I recall just being more dull than anything else. So, looks like I’m on hiatus until September then. I’d like to thank everyone reading this for sticking with the blog for another glorious season. I’m sure season 30 will provide even more wonderful, wonderful garbage for me to sift through. I’m so happy FOX canned Brooklyn Nine-Nine and The Last Man on Earth so we wouldn’t miss out on more episodes of this broken down pathetic hollowed corpse of a goddamn show. Fuck.
(and yes, I know NBC picked up Nine-Nine, before anyone chimes in to deliver that news.)