Reviews - Season 7
Season 7 saw the show continue the consistency of Season 6 while scaling back its focus, sending the characters through hectic, high-concept plotlines. The end result was a season that bridged the gap between the intimacy of Season 6 and the full-blown insanity of much of Season 8, with wonderful results. As well, the wrap-up of "Who Shot Mr. Burns?", the multi-threaded elegance of "22 Short Films About Springfield", and the sensitive treatment of religious material in "Bart Sells His Soul" proved that the writers had lost none of their sharpness. Season 7 provided an anchor in the middle of the show's most hilarious years.2F17 "Who Shot Mr Burns?" (Part Two)
This episode, like few in the history of the show, had upon it gigantic expectations of a masterpiece of television. I'm inclined to cut the writers some slack in a situation like this - but, thankfully, I don't need to. This episode lives up and even surpasses the lavish expectations people had of a worthy conclusion to the Monty Burns shooting. There's a red herring (and a massive one at that with Smithers), Homer in the sub-plot role he thrives in, and two great parodies of "Basic Instinct" and "The Fugitive" that had me in a state of amazement at how well-done they were. Lisa and Chief Wiggum make for an excellent crime-fighting team, and the dream sequence with Wiggum was at once both interesting and fascinating. The one-liners fly as well ("Kids, as far as Daddy's concerned, you're both potential murderers" quips Homer) and overall I couldn't be happier with the first 20 minutes of the episode. But the ending was what everyone came to see, and the writers gave an absolutely excellent conclusion... Maggie Simpson is so invisible, so innocent, that she probably never made a single list of who killed the Power Plant owner. Yet her choice makes perfect sense in that there are no consequences, and the final hospital-room scene is rife with excellence. Overall, the two-part saga of who shot Mr. Burns was "The Simpsons" at its finest.Grade: A+
When you look at Simpsons satire, which is greatly evident in Season 7, this is as good as it gets. This episode is built on, based on, and filled with send-ups of the movie industry, internet geek groups, small towns, and of course, Batman. Below the great one-liners in this episode, there's an overarching joke that plays out through the whole 22 minutes, and it makes this one truly superb. From the "one-million dollar" acid scene, to the hilarious spoof of 60's Batman serial movies, to the legendary guest apperance of Mickey Rooney, this episode serves as an almost play-by-play of how a great Simpsons episode should be. Bart and Milhouse are both in classic form, and Rainer Wolfcastle and Homer also add their contributions. Really, this episode doesn't have a single flaw I can see. Great stuff.Grade: A
The episodes filled with emotion on "The Simpsons" are some of the most satisfying pieces of television I've ever watched. On rare occaisions, the Simpsons manages to incorporate its trademark brilliant humor, and make me actually get caught up in the events of the characters' lives and the emotions they fell. This episode is one of the best Simpsons episodes ever in that regard, in that it managed to make me actually feel something watching a television show - yet it still made me laugh for most of it. The humor in this episode is well-done as usual for a Season 7 episode; however, marring this mostly-excellent episode is a few gags that made me wonder if I was watching a Season 12 episode. A few of the jokes with Homer and/or Moe were carried on just a little bit too far, a few of the joke ideas didn't come off too well, and I generally wish I could have laughed more - but this is all made up for by the great moments this episode gives. The entire sequence of Bart striving to get his soul back was wonderfully crafted - omages to classic film noir, a nice comedic bit with a derelict to lighten the mood somewhat, and a classic exchange with Milhouse's family to cap it all off. And the moment at the climax of the episode, with Bart's prayer, was one of the most touching things I've ever seen in a Simpsons episode. I am just amazed how the writers managed to cram every part of human drama into one small 22-minute cartoon. When you watch this, don't look for the laughs, they'll come as usual - just sit back and relax as your eyes are treated to pure feeling.Grade: A-
The aspect of the "Treehouse of Horror" episodes that made them such a mainstay of the series is simple - enthusiastic creepiness. The writers really tried with each short to take a weird or scary concept and go for it completely, rather than paying lip-service to the "Halloween" theme and making safe, pleasant material. The best TOH shorts are grisly, twisted, affairs, and they're all the better for it. The quality of the shorts from episode to episode was also quite consistent, making the TOH episodes the most consistent thing in the Simpsons until only a few years ago. This sixth installment presents two smart and funny shorts, as per usual, before presenting a sublimse closing story. "Attack of the 50-Foot Eyesores" provides the goofiest segment, paying homage to old Gozilla flicks and a plethora of American advertising imagery before a Paul Anka guest appearance that makes very little sense - but it's Paul Anka, so that can be forgiven. A few inspired jokes keep the short funny throughout, especially a gag with Wiggum and mistaken identification that is hilarious beyond belief. The second, relatively weak short presents Groundskeeper Willie in the Freddy Krueger role in a take-off on "A Nightmare on Elm Street". The best humor comes in the first few minutes, with Groundskeeper Willie's death being hyped up despite the kids' complete obliviousness to the nature of the situation, and authority figures insinuating sinister happenings in response to non-existent questions. It's smart and subtle humor reminiscent of British comedy, and it works wonders. Once the rules of the game are set, however, the short loses a bit of steam plot-wise, although seeing Willie's gleefully vicious attacks on the students is entertaining. The final short is "Homer^3", or Homer Cubed. Ten years after the fact, having seen the short so many times, it's difficult to realize what an accomplishment it really is. Homer (and, briefly, Bart) are rendered perfectly in a 3D form, and the entire short has a sense of purpose and confidence neccessary to pull off the animation experiment. The math-filled third dimension that Homer stumbles into is a geeky work of art, and the inspired setting for Homer's bewilderment sell the concept perfectly. Even the efforts of the townspeople and Homer's family to understand his predicament - confused and hopelessly out of their league - ring true. The first two shorts are funny in the typical "Simpsons" manner of these seasons, but "Homer^3" is smart, funny, and classy enough to earn the title of a work of art. There's a lot to analyze in these brief minutes of computer animation. The third short propels the episode from run-of-the-mill excellence to a tie for being the best "Treehouse of Horror" of all time. This episode makes a strong case that challenging, twisted material can be as good fuel for comedy as more pleasant fare. Who says a comedy always has to just entertain?Grade: A
Even around Season 7 there were signs the show was starting to slip. In this episode, you get a tiny glimpse of a few of the problems that were magnified gradually until they became glaringly serious around Season 11 - namely, the debut of the new-and-definitely-not-improved "raging, childish, even more stupid" Homer. This episode has small doses of this, but it's enough to hurt it... however, it can't overcome the fact that this episode is from writers in one of the peak years of the show. This episode resorts to slapstick and "Family Guy"-like gags of flashbacks, fantasies, or other cuts away from the action to show something funny. While the slapstick is hilarious in almost every case (just thinking about the crate of cement blocks falling on the worker is enough for a smile) the quick-cut style isn't something the writers should have needed to resort to. Homer also gets old after a while in this episode, the underdeveloped sub-plot of the competence of obese people feels out of place, and a bunch of elements are way too cartoony - Homer driving along the side of the Nuclear Power Plant, for one. But who I am kidding, really? For every small flaw I can find in it, I could find a dozen other great, funny, moments - that's just the way episodes from this era are. Dr. Nicks' excellent (and still probably his most fondly-remembered) appearance, the ending scenes with Mr. Burns, and Homer trying to hurt himself inside of the plant are wonderfully done. Overall, there isn't much to criticize in this episode, in context - it's just that when put against the standard of the other fantastic episodes in this season, it pales.Grade: B+
Well, Christmas episodes on the Simpsons have long been hits or misses. You can get the mediocre "Grift Of The Magi", or you can get the excellent "Skinner's Sense Of Snow". But overall, "The Simpsons" have treated Xmas well, and "Marge Be Not Proud" is no exception. The entire episode centers around Bart shoplifting a copy of an expensive game called Bonestorm at the local Try-N-Save. After Marge finds out, the predictable anger and shame set in, and Bart has to try and win back her faith in him. Throughout the episode, there are lulls in the laughs, such as long stretches when Bart just mopes around, or the fairly stupid scene with Dan Brodka. But there are many hilarious gags and jokes that come up throughout, from Homer's Police Academy rant, to when a group of video game characters persuade Bart to shoplift. With many great moments, you can almost forget about the lulls in comedy - but you still notice them, and it grows annoying after a while. I'm all for legitimate emotion on "The Simpsons", but it's used much better when there's some satire and wit along with it. But overall, this episode is still a great one to watch.Grade: B+
"Two Bad Neighbors" is actually the consumation of a long brewing feud between the two families. Barbara Bush called "The Simpsons" trash, their were some blows exchanged, and then one of the best episodes of "The Simpsons" was spawned. Full of laughs, satire, insults of my least favorite family, and Homer being both stupid AND funny (gee I wish I could see that nowadays) combines for a great time. Plus, we get to see the first appearance for a now legendary character: Disco Stu. Created for a catch-line, staying for the laughs, Disco Stu's debut is part of one of the better scenes in the episode. The entire rivalry between Homer and George (reminiscent of Homer and Flanders) is hilarious, from Bush's afro to George's lame attempts to beat him at his own game. A great episode. Take that, former president, sir!Grade: A
3F09 "Scenes From The Class Struggle In Springfield"
Far be it from me to say that "The Simpsons" and satire do not mix. Satire about American society, religion, politics, sports, entertainment, and more is the background against which the show has painted some of its most brilliant moments. To say that satire is out of place on the show would be like demanding a Seinfeld episode with a single plot strand or a teen comedy with narrative drama. "Scenes From The Class Struggle In Springfield", however, may be the exception to the rule. A consistent problem with the episode's satirizing of the social elite is how incredibly noticeable it is - in a jarring way the episode makes it very, very clear what its comedic agenda is. With parody such straightforwardness is fine, but with satire to have the skewering made so obvious takes away a lot of the fun. The social commentary in this episode, rather than being the light-hearted, optimistic kind which is a hallmark of the show, is instead a surprisingly severe indictment of the shallow rich. The shallow rich can be deplorable, it is true, but to wallow in the lowest depths of human behavior isn't something in keeping with a comedic cartoon. The pokes and jabs cease to be funny mid-way through the episode, and the increasingly painful-to-watch scenes drag the latter half of the episode down greatly. The look at Marge's character early on is fantastic, showing how she simply wants to feel better about herself and her status in life, a feeling perfectly embodied in the Chanel dress. As the episode progresses, however, the sense of empathy with Marge is lost as it becomes more and more difficult to understand her reasoning. The episode is saved from becoming a depressing disaster by some light-hearted scenes with the Simpson family that are much more characteristic of the show. Lisa's pony obsession overcoming her jaded nature is a great reminder that she is an 8 year-old girl. Homer's golfing and his scenes with Mr. Burns and Tom Kite are funny in many ways, from elaborate puns to simple, hilarious slapstick. The scenes that don't involve Marge bring the episode up just enough in spirits to keep it above-average, and the humor is Grade-A throughout. But in a season where intelligence was displayed again and again without saddening the viewer, this episode falls woefully short.Grade: B
I get to see very few Simpsons episodes in syndication, in terms of frequency. The local Fox affiliate's shifting airing times and its favoritism for episodes from the double-digit seasons means that rare is the occasion where I actually sit down and watch a 30-minute episode from the golden era. Every time I do, almost every time I'm not suitably prepared for the genius comedy I'm about to experience. Classic episodes sometimes improve too much with nostalgia, it is true. And almost every episode from Seasons 4-8 was hilarious. But "Lisa The Iconoclast" is enduring and wonderful in a way that makes it fun to watch even after seeing it so many times. There's so many great jokes that I forget them, not ready for the rib-hurting bursts of hilarity which fly from the screen. George Washington's scenes, Homer as town crier, Ms. Hoover's attacks against Lisa's fight for truth, Quimby and the sniper - the jokes are too good to do justice. Donald Sutherland's guest character of Hollis Hurlbut is a sympathetic foil in the plot, making a good comparison to Lisa in terms of societal stances on our heroes. Homer himself is in his finest form; hilarious, loud, obnoxious... but above all caring and loving to his family. The writers did a great job of keeping him and his running gag from wearing thin. Everything about the plot and the characters is in perfect balance, and it all leads up to an ending that may be the best the show ever came up with. Lisa, after fighting so hard and so long, has a chance to prove she was right - and then passes it up for the good of the town and their own pride. It's an action that's a shining moment for Lisa, and an incredibly smart and touching way of showing how important legend can be. The show was in top form in this episode, and ones like these are so excellent that it's hard to remember how good they are until you see them again.Grade: A
3F16 "The Day The Violence Died"
"Seinfeld" was a brilliant television show, and in episodes like this, you get a glimpse of what it might have looked like if made into a cartoon. This episode isn't chock'full of one-liners - in fact, there were probably only a handful throughout the episode. No worries, though, from the viewer - this episode at its best points is one of the most hysterically funny episodes I've ever seen. The best gags are all simply sublime - a recurring one with the bum Chester and Grandpa, then with Krusty, that was brilliant slapstick; the poking of fun at old-fashioned cartoons with Chester; Roger Meyer's impassioned speech about stolen cartoon characters; and the "Amendment Song", a Schoolhouse Rock parody I've heard dozens of times that I'm amazed to find still brings laughter with it. The cream of the crop for the gags in this episode is the near-peerless ending with Lester and Eliza; the series manages to poke fun at old-time mystery solving, the series' own formulaic qualities, and more all in the span of two excellent minutes. This episode isn't the kind where you can repeat the best one-liners, and it's not the kind of episode where a five-second clip will elicit laughter. But the sophisticated gags and mockery make this one perhaps the best example of how intelligent "The Simpsons" can be.Grade: A
As you're viewing this episode, you probably could think of it as just a funny Homer-focused wacky adventure episode. And to an extent, it is. But beneath the surface, this episode on the whole is an absolutely stupendous satire of classic rock and modern music. Homer plays the part of the average Baby Boomer, replete with his knowledge of bands deemed "incredible" in his day that nowadays sound awful. The kids serve up some great moments talking about modern music, as well. The Hullapalooza pageant itself is one of the truly great moments in Simpsons history - the jokes and satire fly throughout. The icing on the cake for this episode is the guest stars, though. Cypress Hill, Peter Frampton, and the Smashing Pumpkins are just some of the great and hilarious music acts that show up. This one was truly a masterstroke. It might be too sappy, and a little too slapstick at times... but this is one of the best satire examples you will see on the show.Grade: A-
Lisa is easily the most underrated character on "The Simpsons". She always seems to vanish behind Homer and Bart, the unquestioned stars of the show, but in reality she is one of the single most reliable characters ever for churning out good episodes. I really can't think of a truly bad episode featuring Lisa, and this episode is no exception. Throughout this episode there is a wonderful blend of two styles - the heartfelt main plot with Lisa trying to become accepted, and every so often a glimpse of Homer. The reason this works beautifully is that at the exact instant the viewer starts to tire of Lisa, the writers turn to Homer, whether it be with a dating game, buying fireworks, or an exploding scene. The convenience store scene with Homer is one that will go down in history for Simpsons viewers as a moment that left them rolling on the floor laughing. But what it all comes down to is, this episode is Lisa's chance to shine, and the results are heartfelt. Lisa gives the show the emotion it really needs and sometimes lacks, and her final acceptance as well as her bonding with Bart make this episode something special. If there were a class on blending emotion and slapstick, this episode would be Exhibit A as the perfect way to attain it.Grade: A
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