Category Archives: Season 30

642. My Way or the Highway to Heaven

Original airdate: October 15, 2018

The premise:
Seeing a shortage of the population in Heaven, God and St. Peter decide to lower the bar for entry a bit, observing three tangential stories of non-traditionally virtuous Springfielders.

The reaction: I’ve never been fond of these “anthology” episodes. While the Halloween shows are (well, were) finely crafted horror parodies with a distinctly darker tone from the series itself, these episodes just felt like plug-and-play re-tellings of other stories with a few paltry jokes sprinkled throughout (Lisa as Joan of Arc, Bart as Batman, Homer as Paul Bunyan, etc.) We actually haven’t had a proper one in almost a decade (Season 20’s “Four Great Women and a Manicure”), and I can’t say I’ve missed them. These three tales aren’t exactly copying public domain or documenting historical figures like episodes past, but the inane, pointless feel of the segments are present all the same. The wraparound features God and St. Peter debating what sinless non-Christians they should allow into Heaven. First up is Ned Flanders, who tells of his prior debaucherous days as a door-to-door salesmen of kids trampolines which turned out to be incredibly dangerous. After saving a young Homer from getting struck by lightning, he has a vision of seeing Jesus and vows to turn his life around. He talks about his godless life performing depraved jobs like painting dots on dice and putting bikinis on mannequins, but he’s clearly uncomfortable about doing all of it in the flashbacks. He acts like the exact same Flanders, so what’s the purpose of the story? Next up is something about Marge’s French grandmother hiding American troops from the Nazis, which feels exactly like a “Simpsonized history” segment from the old anthology shows (a younger Abe and the barflies as the Americans, Rainier Wolfcastle as the head Nazi). Grandma Bouvier is an atheist, and she lets you know it (“Because I don’t believe there is a God above, we must make our own Heaven.”) They then stop the Nazis. Part three is Lisa telling a fantasy story about a princess who rejects her gross materialistic life to make peace with herself through Buddhist teachings. And in the end, she does. These last two stories are so, so boring. There’s no investment, no stakes, no subversion to the storytelling… it’s just so bland and meaningless. I always want to give this show a little bit of credit when they try to do something different, but it only really counts if they actually, y’know, try something once they decide on a non-traditional format.

Three items of note:
– We get to see Flanders’ hippie parents at the start of his story, indoctrinating him with their carefree, rule-breaking, color-outside-the-lines rhetoric. From “Hurricane Neddy,” we saw young Ned was a little hell raiser, why not lean into that in this story? You could make a whole episode about a young, amoral Flanders and how he eventually came to be one of God’s favorite apple polishers. But like I mentioned, he acts really no different in the segment than he normally does. In his near-death experience, Jesus proclaims him a sinner who, in his selfless act of saving li’l Homer, took his “first step” on the road to redemption. Wouldn’t this line hold more weight if he was a complete dick before this? It’s also revealed that Ned got a hideous scar above his lip from this event, which I guess gives us the answer to the question that Simpsons fans have been feverishly asking for decades: why does Ned have a mustache? Boy oh boy, what a treat for us fans. Wouldn’t he want to keep his lip bare if he viewed the scar as such an important marker of this divine intervention?
– I was really checked out of this one by the halfway point. The WWII segment was just so uninteresting. It ends with the Nazis getting beaten up in a big fight set to “Non, je ne regrette rien,” which I’m sure the show has used multiple times before in a French setting. And not even in any funny ways, unless you consider Abe shooting a photo of Hitler or Lenny opening up the Ark of the Covenant in the middle of the tavern to be hilarious jokes. Lisa’s segment features a grand song about her desire for less, but none of it seems like it’s trying to be funny. It’s sort of parodying Disney princess songs about wanting more from life (Lisa cutely titles her story, “The Princess-Not-Affiliated-With-Disney. Unless we’re now owned by Disney.”) But it just doesn’t go anywhere or do anything interesting with this set up. She sets off to find enlightenment, and then she does. That’s all.
– As much as I try not to think back to the classic era, an episode like this immediately makes me recall the likes of “Homer vs. Lisa and the 8th Commandment” or “Homer the Heretic.” Episodes like these were like morality plays, with characters discussing and debating serious questions about faith, humanity, and the difference between right and wrong. Homer stealing cable for the family made him grapple with real moral dilemmas, whittling away at his excuse making until he descended further and further into a paranoid panic before finally doing the right thing, saving his soul in his daughter’s eyes. What are the stakes in these stories? What are they trying to say? Two of them aren’t even technically about our characters, so why should I care what happens to these fantasy people? It’s not like the episode has given me any reason to.

One good line/moment: Wherein the show once again gloms onto the success of a more contemporary cartoon (Rick & Morty, Adventure Time), Homer is flung into the Bob’s Burgers dimension for the couch gag, viewing their opening titles from inside the restaurant, then attempting to hide when the Belchers turn around to observe him through the glass. This seems to have been animated by the Burgers crew as Homer looks and moves a little differently, and we get an amusing back-and-forth between the Belchers as they watch this crazed jaundiced man flounce about their restaurant (“If he’s robbing us, I feel sorry for him.” “No, don’t say that! We’re fun to rob!”) It’s just sad to go from this segment to the episode itself; the Belchers feel even more authentic, humorous and full of life when immediately followed by a sterile, shambling corpse. Even entering its 9th season, Bob’s Burgers is still a joy to watch, the closest to a spiritual successor to The Simpsons as we’re ever going to get, in my opinion.

Advertisements

641. Heartbreak Hotel

Original airdate: October 7, 2018

The premise:
Marge’s longstanding dream of competing on her favorite reality show is immediately dashed when she and Homer are the first to be eliminated. Homer tries to raise her spirits by helping her embrace their new temporary life at the fancy hotel they are required to stay in until production wraps.

The reaction: Even if you don’t keep up with them, reality competition shows are still alive and kicking; genre forefathers Survivor, Big Brother and The Amazing Race are still going strong with respectable ratings (on CBS, the only network to still actually get ratings). But reality show parodies really feel old hat to me, with every show and that show’s mother getting their shots in during the reality show boom of the early 2000s, including this show, with “Helter Shelter” in season 14. So even though the characters comment that their favorite show “The Amazing Place” is in its 48th season, none of their reality jokes feel like anything I haven’t already heard over a decade ago. But unlike “Helter Shelter,” which was all about parodying the current TV landscape, this episode isn’t really about that… I’m not sure what the message of it is, exactly. Marge is a huge “Amazing Place” fan and has submitted tapes to be on the show since the beginning, so Bart and Lisa convince the producers to accept her, with her sob story being a great marketable angle. Unfortunately, she and Homer fail the first challenge immediately on arrival and are eliminated. To keep the mystery of the competition show from being ruined, the two must stay at a swanky deluxe hotel for six weeks until filming is finished. Marge is despondent she failed to live out her dream, and just as she was getting over it, she discovers that Homer was responsible for failing the challenge and gets extremely bitter. When the show’s producer returns, announcing one final challenge for the losers provided they dump their partners for it, Marge immediately accepts, but ends up failing that too by her own fault. So what’s… the take away from this? The show ends with Homer basking in for once not being responsible a screw-up, rather than actually comforting her in some way, or Marge apologizing for him for how awfully she treated him and dropping him like a sack of hot rocks to be on the show one last time. She was a hue fan girl who blew her one big chance… and that’s about it. It’s one of those episodes I’m not sure how exactly to critique because I don’t know what I’m supposed to take away from it. Every season there are always a decent handful of episodes that feel more pointless than normal to just pad the season out; pretty surprising to see one already as show #2.

Three items of note:
– A brief montage sequence of Lisa editing together Marge’s old audition tapes to make a new one to submit while Bart goofs around is set to library music frequently used in It’s Always Sunny in Philadelphia. I don’t know if the song is actually royalty-free or they had to acquire the license to used it, but that score is so intrinsically tied to¬†Sunny that there’s no way it was unintentionally used. So why is it there? Bart feeds Santa’s Little Helper marshmallows until he gets super fat while Lisa is on her computer… that’s it. It would make more sense if it were played at Moe’s as Homer and the gang are talking about something or plotting a scheme, at least the reference would make sense. Here, it’s just… random.
– I guess once they decided to name the show after the Elvis song, they figured they could have Homer sing a parody version of it, trying to sell Marge on the cushy lifestyle they could live up stuck at the airport hotel. He sings the first stanza with no music, then there’s a weird brief pause, and the music slowly starts to come in during his second stanza. It’s hard to explain without actually watching it, but the whole sequence feels halfhearted, like they didn’t want to fully commit to a music sequence, or just didn’t want to bother.
– Act two (I think?) ends with Marge discovering it was Homer’s fault they failed the first challenge. After commercial, we come back to an elaborate black and white sequence of the two returning to their hotel and proceeding to bicker back and forth with each other. It’s an elaborate three minute tribute to the 1966 film Who’s Afraid of Virginia Woolf? Castellaneta and Kavner channel Richard Burton and Liz Taylor as they banter back and forth, invite over guests (another couple voted off the show), Marge flirts with the other husband, and she and Homer argue some more. First off, who the fuck is this parody for? This is a fifty year old movie; I wouldn’t have known what they were doing if I hadn’t read about it first. But here’s the thing, they’ve done this parody before. In season two’s “War of the Simpsons,” during Lovejoy’s marriage counseling, we spend a moment with John & Gloria, a bitter couple (also voiced by Castellaneta and Kavner) who are based on the two leads of Woolf. But here, you don’t need to be familiar at all with that film to understand what’s happening and find it funny. Their angry yelling over each other is amusing (“Queen of the harpies! Here’s your crown, your majesty!!”) and the kicker of Lovejoy’s request for them to look into each other’s eyes immediately making them do a complete 180 on their attitudes and solving all of their problems is just perfect (as is Lovejoy calling at them as they leave to remember their eternal happiness when he passes the collection plate the following week). This scene takes about a minute, has a lot of jokes, and works within the plot, providing an absurdly positive marital contrast to the following scene with Homer and Marge. In this episode, it’s just Homer and Marge performing the script to Virginia Woolf. With some variables changed to match the episode’s plot, there are entire sections and lines taken verbatim from the film. The neighbor, Nick, is voiced by George Segal, playing the same character as he did in the film, which I guess the staff was tickled by? There’s no parody element to this, it’s just the character performing straight scenes from this movie for no reason. The only attempt at a unique joke is Marge and Nick doing a three legged foot race that’s supposed to simulate sex (Marge repeating “In! Out!” before they collapse on the bed). The whole sequence is just embarrassing and baffling, a complete time waster in place of actual character development. We already know Marge is upset with Homer, we don’t need a three fucking minute sequence devoted to elaborating on that fact.

One good line/moment: There were actually a few brief moments I chuckled at: some PAs pushing Homer in front of the camera when the crew arrives at the house to film Marge, the confetti being vacuumed back up into the sky after the bait-and-switch of Marge actually losing, and the sequence of Blue Haired Lawyer monitoring Marge’s call home to make sure she doesn’t reveal anything about the show wasn’t bad either.

Wherein I become a content creator begging for cash: After being asked about it in the past, and once recently, I decided to open a Ko-Fi for donations, which you can find at the bottom of the right sidebar. I’d considered a Patreon in the past, but I feel I don’t generate enough to content to justify people paying monthly. But if you’ve enjoyed my many years of suffering through Zombie Simpsons and want to give back any amount you’d like, I would greatly appreciate it. I’m really glad people have enjoyed my writing through this entire journey and comment to tell me so, and that’s really enough thanks for me and incentive to keep slogging through the muck; you shouldn’t have to feel obligated to contribute, but I figured having the option if someone wants to is no big deal.

640. Bart’s Not Dead

Original airdate: September 30, 2018

The premise:
Bart ends up in the hospital after being dared to jump off the Springfield dam. To keep from getting in trouble, he asserts he went to Heaven and met Jesus while in his coma, a story which catches the attention of Christian filmmakers looking to make Bart’s story into a movie.

The reaction: I’ve scrolled past a handful of articles on Twitter of entertainment sites commemorating the 30th season of the show, almost customary to acknowledge the milestone of the increasingly irrelevant series, as they previously had done with their Gunsmoke-breaking record last season. But my heart goes out to these writers, as well as anyone who has to actually cover these new episodes, because really, what the fuck is left to be said about this show at this point? I guess I should know more than anyone by now. I’ve seen the show attempt to buck convention, to try new things from time to time, but with very, very rare, fleeting exceptions, this show has been the same variety of ramshackle for the last decade plus, and I don’t really see them doing any major repairs any time soon. This premiere takes aim at exploitative Christian cinema when Bart BS’s a sob story about meeting our Lord whilst in a coma, catching the attention of money-hungry pious producers. The premise is cribbed from the novel-later-film Heaven is for Real (and its less fondly regarded cousin The Boy Who Came Back From Heaven), stories meant to inflame one’s faith with tales of present day, “real life” miracles. I’ve never seen one of these Christian films, but from what I’ve read of them, they seems like very ripe breeding ground for satire, but, per usual with this show, they seem as content as ever to keep things in first gear, with softball critiques like “They keep all the money for themselves and not the church!” There’s a personal component here of Lisa acting as Bart’s guilty conscience as his lie grows bigger and bigger, and Homer’s guilt for encouraging him to take the dare and encourage his initial lie in the first place, but it’s all very surface level and nothing we haven’t seen before (Homer’s insistence Bart follow schoolyard protocol felt reminiscent of “Bart the General” or “The Telltale Head,” except if you replaced human characters with cardboard cutouts.) So, yeah, nothing really flagrantly awful, but just a very bland episode with a good amount of missed potential. Again, there’s really only so much I can say that hasn’t already been exhaustively covered in the other six hundred and thirty nine reviews… but as long as this show keeps plugging away, I might as well keep on tailing this shambling, barely-functioning jalopy, inhaling and critiquing its noxious exhaust until I die. Onward, season 30!

Three items of note:
– The bullies dare Bart to jump off the dam, which he does, plummeting hundreds of feet before smacking head first into the outcropped ledge below him. Now, the title may claim otherwise, but Bart should be dead… right? I know almost all realism has been completely thrown out the window at this point, but this feels like way too much. If falling from his treehouse in Bart of Darkness landed him with a broken leg, this stunt should have cracked his skull open. Last season finale he got struck by lightning and was in a coma for days, but here, he appears to be in no pain and awakens with no problem at all.
– Marge grills Bart for proof he’s not making up his come to Jesus story, so he tells her he also spoke to her father, Grandpa Bouvier. Overcome with emotion, Marge believes him, excusing herself. She then proceeds to remain absent for most of the rest of the episode until Bart reveals he lied, save one scene where she tells Lisa she coasts through life on blind faith and getting wine drunk. It’s a stretch to me, but if Marge really believes her son actually spoke to her dead father, don’t you think she would want to know more? That it would have really affected her? That she would have told her sisters? Even after 30 years, we barely know anything about Mr. Bouvier and his relationship with his daughters; an episode really examining Marge’s thoughts on her dad and learning more about him could be incredibly interesting. But that sounds pretty tough to write, so I’m certain they’ll never do it. But putting the Simpsons on another reality show? That sounds like a draft someone could bang out on their lunch break.
– I honestly and truly don’t go into these episodes trying to nitpick (do you really think I care enough to pay that great attention at this point?), but each episode usually has some “wrong” stuff that leaps out at me. Wonder Woman‘s Gal Gadot auditions for the role of Lisa, and they don’t even make a joke about how this full grown woman is auditioning for the part of an eight-year-old. Was it cut for time? Bart is played by what looks like a little person (he comes up to Gadot’s midsection), voiced by the 5’11” Jonathan Groff, so I don’t know what that’s about. Also, that framegrab above is from the finished movie, where we can clearly see the ceiling and stage lights of the sound stage. But it’s not a joke; we previously saw the exposed set in a previous scene during filming, so they probably just directed this scene the same way and either didn’t realize or just forgot. Again, these seem like nitpicks, but moments like these really stand out to me. Back in the 90s during the advent of VCRs, this show used to reward you for paying attention, where every line of dialogue, background sign, every element of the show was there to add to your viewing experience, not detract like in examples like these. I have no doubt the entire staff of this show works very hard, but somehow a lack of care seems to come out in the end that really baffles me.

One good line/moment: Two things I actually genuinely liked: Emily Deschanel auditioning for Marge doing her Julie Kavner impression (ruined slightly by the tortured running gag of Homer thinking she’s actually his wife), and Jesus beating up Bart in his dream, a well done use of shock humor.

Bonus (unrelated) thoughts:
Originally I thought I’d write a paragraph or two of my thoughts on Matt Groening’s new Netflix show Disenchantment, but five or six weeks since its release feels like an eternity to me now, and I don’t know how much care I have left to give about it. Sadly, the ten episode first season failed to make much of an impression on me. The show felt very much like season 1 Futurama, setting up this new fantasy world and establishing the core characters and their relations with each other, but unlike Futurama, doing it incredibly half-heartedly. The world of the series feels very static and uninteresting; from the trailer, I thought after escaping her arranged marriage, Princess Bean and her two new weird friends would travel the lands and she would try to find a sense of purpose, but instead, they just kind of bum about the kingdom doing fuck all, until the last three episodes decides it wants to be serialized, but by that point, the show hadn’t made me give much of a shit about its characters, so what’s the point? It’s not an awful show, I got sporadic laughs from it, most coming from Elfo, who was my favorite character, thanks to a great performance by Nat Faxon. But his refreshing characterization of his lovable naive openness to this strange, new world (“I like war, but I wouldn’t say I love it”) quickly takes a backseat to his unrequited crush on Bean, a boring and overplayed trope. There’s not enough about the show I liked to really recommend it, but I think it’s possible to be salvaged in its second season… but I wouldn’t hold my breath over it.