Reviews - Season 6
Season 6 was the apex for "The Simpsons", a year of such consistent genius that it bordered on the obscene. The writers trained their focus firmly upon the children of Springfield and the traditions and institutions of the town itself, unearthing great episode concepts and comedic opportunities in the process. The more intimate lens adopted by the showrunners during this season paid off, making for a positive contrast with the sometimes over-the-top Season 5. Never again would the show be so sweet or so sublime, but fans at the time probably found more than enough to appreciate merely in the season's constant supply of laughs.Grade: A
The reset button "The Simpsons" hits after every episode, wherein things magically turn back to "normal", is a staggeringly effective device for the show. Anything in the way of plotting, character change, or any other lasting changes have with few exceptions been erased from the series' larger continuity. What this allows is for the writers to do anything they want, so long as circumstances can be sorted out with a tidy conclusion. Of course, shows like "Aqua Teen Hunger Force" take even more liberties with the rest button, using it as an opportunity to demolish houses or kill off characters with no lasting effects, but for the largely sane proceedings of "The Simpsons" it is even more valuable. Where the singular existence of each episode truly shines is in episodes like this - largely character-based pieces that allow for new challenges and subtle growth with absolutely no need to consider future circumstances. The writers get to play around with Alison as a foil to Lisa and then abandon her near-completely for the next ten years with Lisa completely unaffected. It's marvelous. And it works. Very well. Lisa's reactions to Alison outdoing her at everything she takes pride in are perfect in tone. Alison's dad and the smug confidence of Alison herself are also well-calibrated to irritating both the audience and Lisa in tiny but not too-significant ways, and help us to sympathize with Lisa's decision. As for the sub-plot with Homer, the humor just comes with the concept - Homer discovers a mountain of sugar. The actual events are irrelevant once you realize that the set-up really is the whole point, and that no real twists are in the cards. As the two strands of the episode wrap up, the episode closeds elegantly. the final plot device of a project of "The Telltale Heart" serving as "the telltale heart" was clever; to then reveal that Skinner shallowly disliked both Alison's and Lisa's wonderful projects in favor of "Star Wars" collectibles is on another level entirely. The climax delivers a big laugh and a conclusion that doesn't feel tired, and the denouement ends the episode with a sense of satisfaction. As a final note, special mention should be made to the fact that this episode may be Ralph Wiggum's finest half-hour. "I bent my wookie" and "My cat's breath smells like catfood" in one episode is more than anyone deserves. That he could be written so well in this episode and only earn a mention in passing just goes to show that when it comes to top-notch golden era episodes, there's just no way to capture everything that makes them so wonderful.Grade: A
In many cases, a fantastic guest star or one-time character can make an episode fabulous. Many of Jon Lovitz's characters fit this bill, and the legendary appearances of celebs such as James Woods ("Homer And Apu") helped maked already excellent episodes great. But in all honesty, from someone who has seen all but one Simpsons episode, no guest star nailed their role so perfectly as Meryl Streep in this episode. She's a fantastic actress, and the energy and youthful mischief she brings to Bart's tormenting love Jessica is so astounding that it's impossible to even recognize that it's her. "Bart's Girlfriend" is a fantastic look at young love... but it would most likely fall apart if the newfound, mysterious object of Bart's affections weren't so ably portrayed. The resourceful Bart, who always has everything figured out, is completely at a loss when faced with love at first sight, and the episode touchingly portrays his schoolboy courtship with the gentle touch that episodes from Season 6 do so fantastically. The interplay between Bart and Jessica is hilarious, and the prematurely wise Lisa's advice to Bart about his predicament is entertaining. When you temper such a well-done focus of an episode, and then throw in hilarious interludes with Homer, Groundskeeper Willie, and assorted minor characters, it all adds up to a well-paced, excellent episode that perfectly dissects a murky subject.Grade: A
This is one of the few episodes where the sibling rivalry between Bart and Lisa really gets to shine. This is one of those rare instances where an episode can subtly build on a "sentimental" plot, while still bring laughs front and center. Whenever sports are brought into the picture, it seems "The Simpsons" gets it right (Bart Star, Homer At The Bat, etc.). As well as having perfect appearances, all true to character, from every family member, Apu and Chief Wiggum both get great chances to shine as opposing pee-wee hockey coaches. Great lines, great scenes, and an overall great episode.Grade: A-
2F07 "Grampa Vs. Sexual Inadequacy"
I talk a lot about the kid's perspective, and the benefits it conferred upon Season 6. Something about framing so many of the stories from the point of view of the younger Springfieldians unlocked something precious and brilliant that had been somewhat missing from the show. But in many ways it's not the specific attention on the children that is the secret to Season 6's success - it is the attention to being "real" that this viewpoint neccessitates. It's incredibly difficult to write children realistically - witness the endless parade of terribly stereotypical sitcom children on the major networks. The children in "The Simpsons" ring true because they are written honestly; children are presented the way children really are, full of their own foibles and unreasonableness, just on a smaller scale. That realness is on full display in this episode in the sub-plot of the children reacting to their parents' disappearance, and their confused attempts to explain the situation. The air of conspiracy and imagination in their meetings feels absolutely genuine and true-to-life. It isn't just putting the focus on the children; it's putting the focus on the children and doing it in a mature, realistic way. At the same time, however, there were many episodes where the main plot did not follow Bart, Lisa, or their schoolmates; yet the sense of true-to-life dialogue and realistic human decisionmaking and reactions remained. Even amidst the absurd premise (and the numerous absurd events) of the episode, Homer and Grampa's personalities and relationship remains true to the episode's internal logic. The episode kaleidoscopes from marital discord to father-son bickering to Homer refocusing on parenting his children to a memorable final reunion at the old Simpsons house in a seamless, natural manner, and through it all the characters never seem to act in a way that's contrived. That's why the whole ambitious exercise works. That's why an ending as silly as the house burning down due to simulatenous idiocy on the part of father and son still manages to be touching. That's why the episode can get away with making a joke as terrible as mentioning "Lake Flaccid" and still get a smile. Writing that respects the viewer's appetite for entertainment with a relationship to actual human interaction - rather than the overtly contrived situations and characters of so much else in television - is what makes this show special. This is a textbook example.Grade: A-
I feel silly sometimes handing out so many good grades to Season 6 episodes. Maybe if I were forced to limit the number of "A"s for a season, or to grade on a curve for one season, things would be turning out differently, but as is I cannot in good conscience give anything but an "A" to so many of these episodes. The quality of this season was unreal. The exceptional simply became routine. "And Maggie Makes Three" fits firmly in the mold of Season 6 in terms of quality. Enjoyably, in a season filled with Bart and Lisa episodes, its focus stays firmly on Homer. This episode came at a time before Homer-centric plots were an annoyance, so to keep the big guy front and center here works well. You can feel for Homer throughout, and the moments of him returning to the plant pull no punches. When the episode's not being serious, the humor is top-notch. There are a few wonderful comedic setpieces, such as Homer's intensive study of marketing leading to firing a shotgun in front of a bowling alley. The writers also should be applauded for injecting some life into the somewhat stale "flashback episode" format, using the assumptions of the audience to set up a few great gags involving memories of questionable veracity. Finally, special attention must be paid to the ending. I've never come close to crying at a "Simpsons" episode, but if there was ever a moment that would make me choke up, this is it. Good old-fashioned sweetness in a television show - real, earnest, genuine sweetness - is a precious commodity, and it's worked in beautifully here. Seeing the pictures of Maggie on Homer's wall is a wonderful moment, and it makes any discussion of the episodes flaws (extremely minor already) a completely moot point. There's nothing better to set an episode apart from the pack than a solid ending, and this episode goes out with one of the finest closings in the show's history.Grade: A
It's rare to see, but sometimes there are Simpsons episodes that get better throughout the episode, rather than simply trail off with an ending that's a little off-kilter or one that stays consistent throughout. "Homie The Clown" is a member of those rare few, and it's a dramatic change. What starts off for the first half of the episode as nothing more than a well-done slapstick-heavy episode morphs into a memorable quote machine as soon as Homer starts to become fed up with his clowing career. From then on, it's nothing but legendary scenes and moments - The Mafia's attempts to kill Homer, Krusty's bad gambling decision, and Homer's hilarious dialogue with Fat Tony and his accomplices after they finally capture him. All of it is dwarfed, however, by the fantastic ending setpiece, where Krusty and Homer run up against Don Vittorio and a number of fantastic Mafia jokes. When Krusty's head hits some glasses and the theme from "The Godfather" plays in the subtlest of references, the episode's excellence is clinched.Grade: A-
"Bart Vs. Australia" caused quite a stir when it first aired. It's not difficult to see why. The episode is a naked, very unfair, somewhat vicious, and absolutely gleeful attack on the nation in question, and intentionally so. The writers clearly knew that what made they made fun of had only the most tangential relation to the actual country, and that forms the requisite underlying meta-joke that later golden-era "Simpsons" episodes require: the satire is entirely off, and the true target of the episode is much more centered on American attitudes and values. It's an admirable gambit - intelligent, subtle enough to escape the notice of the hundreds who complained about the episode, and allowing for many jokes that draw on absurdity and social critique at the same time. But it's also a somewhat tiresome one, not at all helped with the passage of twelve years.
Throughout the episode, there are flashes where overt, insincere parody of Australia and subtle, sincere American commentary overlap while remaining funny as jokes in themselves. Homer's impassioned, wildly illogical defense of Bart in the Parliament, Conover's explanation of "Americo-Australianian" relations, and Bart's Southern Hemisphere calling spree all hit the mark. The material more directly sending up the show's version of Australia, however, works less effectively, with a particular lack of energy to much of the Marge and Lisa explorations of the country. The Aussies-are-alcoholics jokes, once established, have to keep up throughout the episode, and while from time to time the repeated gag works for the most part it overstays its welcome. The booting and the climactic mooning, somewhat differently, work well the first time you see the episode, but have very little to offer on repeated viewing, working as much on novetly value as on any real comedic inspiration.
Exacerbating the difficulties in an episode that has to walk a careful satirical line - offering great opportunities but requiring set-up work to employ them - is a noticeably slow pace, with multiple gags running for extended periods. The energy of the episode is still high enough during Bart's funny but quite long Australian phone correspondence for the pace to recover, but Conover's speeches, extended booting gags, long stretches of Homer silliness, and a couple of particularly painful Marge interactions with the Australians keep the overall number of jokes low, and means the few outright misfires linger on for longer. In an episode gleefully throwing to the wind both realism or fairness, the choice to adopt a patient, measured tone with the material only undercuts it, and a few more scenes and some quicker editing while the family's in Australia would have injected the madcap high-concept with an appropriate amount of enthusiastic zaniness. As it stands, the energy flags at times, and does a wholly, intentionally, and forgivably not-at-all-serious episode an odd vibe of taking itself a bit too seriously.
Only a handful of elements in the episode emerge as undiminshed positives or outright miscues. Evan Conover, all respect to the very talented Phil Hartman, is a flat-out miscalculation. The general schtick is Lionel Hutz-style sleaze and shiftiness, which works far better in a character stupid enough to be passed off as unaware of his own transparency. With Connover, written to be intelligent enough to actually trick someone, the jokes mostly land with a thud. Also adding a bad taste to the episode is the sub-plot of the frogs decimating the Australian ecosystem, an idea probably going for a meta-funny "here's one my kick in the gut" for Simpson-ized Australia but coming off only as mildly depressing. As for unimpeachably excellent aspects, two come to mind. First, the punch-happy Marine, who delivers the two best laughs in the episode and hits all kinds of wonderful tones of commentary on the two nations. He also inexplicably shows up daintily sipping a coffee in a quick shot, which can't help but bring a smile. There's also the running fascination with the ways toilet bowls swirl, an inventive way to tie together the whole plot impetus behind the episode and the source of some wonderful moments of Bart and Homer moved to tears with American pride.
Short of some dated Bart antics "Bart Vs. Australia" is an episode I can respect and to some degree admire, but also one that suffers from its stately pace and its trouble in translating its high concept to directly enjoyable gags. It's an intelligent experiment, and one of the more careful pieces of satire I can remember the show deploying, but it is, for the most part, merely that, and amidst its distinguished Season 6 peers that's not enough.
Grade: B
Reviewed: 31 August 2007
I enjoyed this episode for years without knowing it was a crossover with "The Critic", the short-lived, much-beloved animated series from Al Jean and Mike Reiss (a legendary pair in the show's history, the former even running the show for five years running). I'm not sure if it's the crossover's fault, but there is something very wrong in this episode. Certainly, if it aired today, this would be a welcome episode - extremely funny many times, and confident in its plot and execution. But for a golden-years episode, where higher standards apply, this is a startlingly inconsistent twenty minutes or so. The amount of botched jokes is uncomfortable. Much of the material relating directly to Jay Sherman (the aforementioned critic) either falls flat or is comparitively weak when considered next to the rest of the material. Additionally, jokes like Wiggum's "an excuse to wear make-up" and Moe's painfully awkward musical number move past the line separating hilarious awkwardness from actual discomfort. Granted, there is no shortage of wonderful material in the episode - the entire concept of the "football in the groin" film, its entry into the contest, and its eventual Hollywood reimagining is pure gold, with the writers taking the cheapest of slapstick jokes and making it funny in many other ways. Homer's quip about it working "on so many levels" certainly proves true. Burns' attempts at making a film are amusing, too, and many of the individual one-liners are gold - Krusty's clear sale of his vote, for instance. But this is Season 6. Good jokes were the bare minimum expected of an episode. Misfiring on more than a few occasions, in an episode already saddled with an uncomfortable crossover premise and a narrative that is slightly too absurd to care about, is hard to forgive. This wasn't dreck, certainly - this is a redeemable miscue in a season of near-perfection. Perhaps focusing so much on Homer and a Homer-like character in a season distinguished in its restraint regarding him was the key problem. Maybe a season and a half away from the show had made Al Jean and Mike Reiss rusty. But whatever the reason, "A Star Is Burns" is far more of a weakness for Season 6 than an accomplishment.Grade: B-
Before "Bart To The Future" sullied this episode's memory by ripping off its idea and removing its heart, "Lisa's Wedding" stood as a unique and entertaining glimpse into the future lives of the Simpson family. Lisa, the family member with the best chance for success, makes the perfect focus for the episode, and it's great to see how the writers and animators managed to make her instantly familiar and make her as likable as her younger self, while still giving her an air of maturity and experience. The futuristic setting is also a great set-up for jokes and moments with aging characters and a changing world, and the jokes almost all center around this. The scenes with Skinner, Smithers, Mayor Quimby, Martin, Moe, Kent Brockman, and more were great to see, as overall every effort was made to make the 2010 setting plausible while not delving into outright insanity. The jokes are all certified Season 6-quality, and they all managed to make me laugh, with the burning British flag and the still-stupid Homer being the stand-outs. Marge, surprisingly, was as funny as I've ever seen her on the show, giving a lot of great laughs as well. Perhaps the most inventive, intelligent, and entertaining idea in the entire episode was the treatment of an older Maggie - all the jokes about her still not talking were fantastic, and the animators did a great job of giving her a clear personality and demeanor without dialogue. Hugh Parkfield, guest-voiced by Mandy Patinkin, also serves well as Lisa's love interest without making the episode awkward. The bookend scenes with the festival in the present day also give a great comedic beginning and finish to the episode, as well as subtly reinforcing the episode's heartfelt theme of family togetherness. Season 6 episodes are almost a waste of my time to review, since they're all fantastic - but this episode, with its fascinating and funny look past the present lives of the citizens of Springfield, deserves special recognition.Grade: A
2F18 "Two Dozen And One Greyhounds"
Gentle parody throughout a whole episode is usually tough to pull off, and it can lead to awkward or weird television moments. But this episode manages to take "101 Dalmations" and give it a dose of Simpsons wit that takes a simple Disney story and makes it into a simple, funny, Simpsons episode. Deadpan humor and random bursts of cartoon insanity give you a smile to have for the entire episode. The jokes about telvision radiation, Burns's "brilliant plan" to take the Simpson puppies, The show-stopping "See My Vest" musical number, the ending gag with Homer's apparent hanging, and a bunch of really cute puppies combine to make an episode where the writers are clearly so sure of their wit that they don't even really have to try. The story writes itself, and the jokes seem to write themselves as well - and it makes for a nice, simple 22 minutes filled mostly with laughterGrade: A-
2F21 "The Springfield Connection"
The most startling decline in "The Simpsons", once the golden years had passed, was in consistency. Only a few episodes from Season 10 were ever funny from front to back. Most had a strong act or two, but hardly any managed to avoid a few (or more often, numerous) awkward moments, bad jokes, or plot flaws. Not so here. "The Springfield Connection" is a wonderful example of how simple consistency can elevate an episode to great heights. Literally speaking, "The Springfield Connection" may be the most consistently humorous episode of the show to air, ever. Its jokes are often not outstanding, the plot is of the stock "character gets a new job/position" variety, and it wasn't a showcase for any of the noteworthy miscellany (musical numbers, dramatic moments, superb animation) that often come to define the best episodes. But "The Springfield Connection" manages the staggering feat of having next to no bad jokes. The episode consistenly aims for laughs, and achieves them without memorable exception. From the first funny-sign gag to Moe's "Aw crap, I fold" to close the episode, dead portions are nonexistent. The plot rolls forward capably. Even Marge's shortcomings as a comedic character, often made painfully clear when she is made the focus of an episode, are bilssfully compensated for. Those consistent jokes, too, are not pedestrian or cheap; many show a sophistication lacking in other episodes. Comedic misdirection abounds, as with Homer's "you did WHAT" turning out to be over a nail clipper, or with the cops laughing uproariously before delivering serious statements to Marge. And in a final act of good thinking on the part of the writers, the episode features Herman, perhaps the most under-utilized character in the show's history. From beginning to end, "The Springfield Connection" simply brims with justified confidence and clockwork-like competence. Unlike classics like "Deep Space Homer" or "You Only Move Twice", "The Springfield Connection" is a firmly grounded, small-scale episode; but it hits every humorous note perfectly, and succeeds in providing viewers an episode that will leave them without a single wince or slack expression. That's a rare feat, even for a show where great episodes were the norm for five years.Grade: A
This is, in the opinion of this site's owners, the greatest episode of "The Simpsons" ever! The plot is down-right hilarious, and many characters shine their brightest. This includes Milhouse with his whimsical quote: (tough)"Step over that line and say that! I'll kick your butt... at Nintendo"(timid). Another thing that's great about this episode is that you get an inside look at Springfields neighboring town, Shelbyville. It is revealed in this episode that the fire hydrants are yellow, they have a local bar called "Joe's," and they drink a beer called "Fudd." From Barts extremely funny argument with Shelby, to the escape from the Shelbyville impound lot, this episode is a true masterpiece and is worthy of much more appreciation.Grade: A+
2F16 "Who Shot Mr. Burns?" (Part One)
The two episodes that make up the saga of Mr. Burns' shooting easily make the case for "The Simpsons" having been a one-hour long comedy. One simple premise - an oil strike, and the writers managed to involve nearly every member of the cast in the plot. But, the two episodes have entirely different narrative drives, focuses, and overall vibes, and as such they have to be reviewed separately. Anyway, on to the first part of the duology. Season 6 was the greatest season "The Simpsons" had, and it certainly ended with a bang. This episode, like all Simpsons episodes usually do, picks satire in the constant choice between satire and humor, and it succeeds well. The general feeling I got when watching this episode, not unlike the feeling after watching an excellent episode of "Seinfeld", was not of a tired chest from laughing so much - it was a smile that had stayed on my face and never left. The episode doesn't set out to make you laugh, it sets out to constantly amuse, and this works just perfectly. Mr. Burns can easily carry an episode by himself, and when you throw in Willie, Skinner, Moe, Barney, Grampa, and even Tito Puente, you almost can't fail. The satire throughout this episode is almost unbelievably well-crafted, especially one hilariously wonderful play on Monopoly with Burns and Skinner. This episode, however, is not without its flaws, especially in the third act, when the episode loses its humor and doesn't replace it with any sentimentality to fill that void. And frankly, I might have dropped the grade some for the third act that just wasn't as entertaining as the first two. But all is forgiven by the funny, interesting, constantly-analyzed cliffhanger of the old man's shooting, and the excellent ending gag with Hibbert and Wiggum. This episode managed to make a cliffhanger, the hokiest of television conventions, new and exciting, and that in itself is greatness enough.Grade: A+
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