Abridged Post-Classic Simpsons - REDUX

[B-Boy]

Brake My Wife, Please is still awful for me even if Marge does what she does unconsciously. I can't buy she would try to kill Homer even if it is not on purpose. You don't try to kill your husband even if you are stressed or anything. The entire episode is uninspired and boring for me, beyond Marge's role, probably one of the weakest of the earliest Long's episodes that weren't that bad.

Totally fair! I knew it would ruffle some feathers.

 

[CousinMerl]

@B-Boy, Hey, there's no problem with you choosing 'Strong Arms' over 'Large Marge' (or any other Marge episode from these seasons) as yeah, these fan-made seasons are yours and I don't want to try an influence you, but say what episodes I probably would have chosen, considered alternates or swapped out and this was one of those instances.

And you are certainly correct about 'Brake My Wife, Please' in regards to Marge's subconcious doing (and her regretting and feeling bad about it does soften the fact that she still ran Homer over), but it still isn't an episode I prefer but consider to be a meh-ish marriage crisis that I don't really care for nor hate. It is just there, pretty much.

 

[Wile E. the Brain]

Brake My Wife, Please leaves me with an indifferent feeling for the most part. I also have a hard time buying Marge's subconscious wanting to deliberately hurt Homer, even if I do get what they were going for (the result of her stressful role as a car driver for everyone due to Homer's buffoonery can be seen as the last straw for her), and the rest of the episode isn't that bad, just bland and sort of "stuff happens" to me. (I still quote "I said bishop to queen four" to death with a friend of mine though.)

But hey, I do know what it is to like episodes that other people hate for similar reasons. If you're one of those nuts who like Brake My Wife, Please, I'm one of the nuts who like Alone Again, Natura-Diddily.

 

[CousinMerl]

@Wile E. the Brain, I too know bout how it is to like some episodes others really don't (and even though I'm not fond of 'Brake My Wife Please' I can see why some would like that, same with 'Strong Arms Of The Ma', despite it doing so many things wrong).

Also, I have to add that I was surprised to find out to find out that @B-Boy actually enjoy 'The Great Money Caper' (which I have a fondness for as I said previously) and enough to even having considered including it for his Scully seasons. That I did not see coming, considering how hated that one usually is (often mostly to the "surf's up!" ending which never bothered me. The story had concluded and I didn't need some in-depth explanations so I didn't mind the silly Scully nonsense end here).

 

[B-Boy]

Season 12

Part 1​

For the first few years under Jean, The Simpsons found a relatively benign rhythm. Season 13 signalled the start of an upward trend that peaked with the FAB production cycle after which the show permanently settled into a mindless, happy stupor. I won’t deny that nostalgia has coloured my perception of this era – I was between 12 and 16 years of age when seasons 15 to 20 aired, coinciding with my first exposure to and exploration of the show which is difficult to separate emotionally. 13 of the episodes I’ve selected are from seasons 15 and 16. The remaining 11 are plucked from seasons 14 and 17-20. I’ve made a conscious effort to give this season a theme – all but one of the episodes revolve around parent-child relationships.

1. My Mother the Carjacker

Original Season: Season 15

Director: Nancy Kruse

Writer: Michael Price

IMDB Score: 7.3/10

Personal Score: 4/5

Comments: We kick off the season with the momentous return of Mona Simpson. Make no mistake, My Mother the Carjacker doesn’t hold a candle to Mother Simpson. That’s okay though because no sequel ever could and to expect such a thing would be both unfair and unreasonable. On its own terms, it fares well although it doesn’t hit a home run either. The episode does a decent job of reintroducing Mona and the second act has some great material with Homer trying to relive his childhood as well as other moments of his life that Mona missed. On the other hand, it doesn’t cover enough new ground and the pacing is too brisk for my liking. There are also a few dubious details like Homer expressing distrust towards Mona during their reunion. Was it not a mutual decision that she had to go back on the run? It’s not inconceivable that he could develop resentment and trust issues, but it just doesn’t gel with where they left things off. I like the dramatic ending plus Homer is great from start to finish.

2. The Great Louse Detective

Original Season: Season 14

Director: Steven Dean Moore

Writer: John Frink & Don Payne

IMDB Score: 7.3/10

Personal Score: 3/5

Comments: Sideshow Bob returns in an episode I have mixed feelings about. Getting Bob to help Homer and the family track down a murderer and solve a mystery is a great idea conceptually, but the whole plot is contrived and nonsensical. The twist that Frank Grimes Jr. is the assailant is also really anaemic in its execution. There needed to be a stronger thematic link to the ideas underpinning Homer’s Enemy, but the only point it seems to serve is vacuous self-reference. Bob himself also lacks the vitality and pomp you expect from him. His characterization is quite flat and there are precious few moments where he displays the ostentatiousness and verbosity that he’s so well known for. The comedy he provides is mostly limited to slapstick (which is fine in small doses like in Cape Feare but shouldn’t take precedence). The writing is really phoned in, but Kelsey does the best he can with it. I get the impression Frink and Payne didn’t have a handle on the character.

That said, there are several things I enjoy about The Great Louse Detective. There are some decent lines and funny gags, for one. I also like the performances for I’ve Grown Accustomed to Your Face and the idea that Bob can’t bring himself to kill Bart anymore due to some type of fondness is okay (even though it was discarded as soon as the very next Bob episode). As tepid and ineffectual as the material is, Bob episodes are eminently watchable and so I’m inclined to be generous.

3. The Dad Who Knew Too Little

Original Season: Season 14

Director: Mark Kirkland

Writer: Matt Selman

IMDB Score: 7.3/10

Personal Score: 5/5

Comments: The Dad Who Knew Too Little is a wonderful episode and one of the best that Selman wrote during the standard-definition Jean era. It boasts an endearing characterization of Homer, some excellent father/daughter interactions, and perhaps the strongest humour for any Selman-penned episode. The film noir elements are beautifully captured, Dexter Colt is a memorable one-time character, and the ending is exquisitely executed. Even the tag is freaking hilarious. A winner.

4. Treehouse of Horror XI

Original Season: Season 15

Director: Steven Dean Moore

Writer: John Swartzwelder

IMDB Score: 7.6/10

Personal Score: 4/5

Comments: Personally, I think Treehouse of Horror XIV averages out to be the best Halloween special of the Jean era. Every segment sticks the landing – Frinkenstein is probably the weakest of the three for me, but the backstory it gives Frink and the carnage that unfolds is still good. I’m hard pressed to choose the first or third segment as my favourite, but I’m leaning towards the third because of it’s Twilight Zone roots. I’m really glad that Swartzwelder got another crack at one of these and especially pleased that it turned out well. Post-classic Halloween specials are rarely anything to get excited about and this was among the last that were truly effortful from start to finish, amounting to more than a glorified recap of the latest blockbuster or television phenomenon or pop-culture craze.

5. The Wandering Juvie

Original Season: Season 15

Director: Lauren MacMullan

Writer: John Frink & Don Payne

IMDB Score: 7.0/10

Personal Score: 4.5/5

Comments: Another slam dunk from Lauren MacMullan. I’ve always liked The Wandering Juvie – from the visual and directorial flourishes to the character dynamics and storytelling. Guest star Sarah Michelle Gellar gives a wonderful performance as Gina who is arguably one of the best and most interesting love interests Bart has had throughout the post-classic era. Furthermore, the pacing is pitch-perfect, the characterizations are great all round, secondary characters are put to excellent use (especially Cletus and Wiggum), and there are some really funny moments (“Sometimes I whittles da future”). It’s very telling that, despite its quality, this episode is probably the weakest Lauren directed in the Jean era. I don’t have many qualms – it’s just not quite as noteworthy or significant as her other contributions.

6. My Big Fat Geek Wedding

Original Season: Season 15

Director: Mark Kirkland

Writer: Kevin Curran

IMDB Score: 6.5/10

Personal Score: 1/5

Comments: My Big Fat Geek Wedding is the one anomaly in this list and one I wouldn’t include if I didn’t have to. I hate the decision to break up Skinner and Edna, but that’s the least of the episode’s problems. The characterizations are awful – Skinner is a fragile push-over and loses what remains of his dignity, Edna behaves poorly and I don’t think she ever truly recovers from this debacle, and Homer and Marge are self-absorbed assholes. On top of that, it tacks on a ridiculously contrived marriage crisis that shamelessly recycles A Milhouse Divided. This is the first disaster of the Jean era, but it has to make the cut because of the lasting changes it makes to a significant relationship.

7. Catch ‘Em if You Can

Original Season: Season 15

Director: Matthew Nastuk

Writer: Ian Maxtone-Graham

IMDB Score: 7.0/10

Personal Score: 4/5

Comments: I expect this will be an unpopular choice, but I think Catch ‘Em if You Can is an enjoyable little romp. Homer and Marge ditching the kids and getting chased around the country by them is definitely on the wacky side of things, but I’m not sure I’d criticise the episode for being mean-spirited. Rather, it’s playful and cheeky in tone – it doesn’t take itself seriously and the viewer isn’t supposed to either. I think what makes it work for me is that Bart and Lisa never come across as abandoned or neglected. On the contrary, they’re quite independent and self-sufficient (which is farcical in itself). I really like the game of cat-and-mouse – it’s fun to see Bart/Lisa and Homer/Marge team up against each other in a battle of wits. I could do without the Grampa stuff, but everything else is solid entertainment.

8. All’s Fair in Oven War

Original Season: Season 16

Director: Mark Kirkland

Writer: Matt Selman

IMDB Score: 6.9/10

Personal Score: 4/5

Comments: All’s Fair in Oven War is another successful Selman/Kirkland collaboration (though not quite as good as their previous effort). Marge episodes are notoriously dull, but this one stands out thanks to some interesting characterization choices and an engaging conflict that makes use of the mother/daughter dynamic which has generally been underutilised over the years. The Bart subplot is also fun, offering up a few good jokes including the really funny ‘birds and the bees’ conversation in the treehouse. The idealised and innocent perception that Lisa and Bart have of their mom and dad respectively is shaken in this episode, giving the two plots some connective tissue and thematic depth.

9. Sleeping with the Enemy

Original Season: Season 16

Director: Lauren MacMullan

Writer: Jon Vitti

IMDB Score: 7.2/10

Personal Score: 5/5

Comments: With this episode, Jon Vitti and Lauren MacMullan ended their involvement with The Simpsons and it’s a real high note. Together, they assemble a story that effortlessly juggles and entwines three character threads – Marge, Nelson and Lisa – with a healthy smattering of Bart and sparing use of Homer. The three major strands never feel like they’re in conflict with each other for time or significance and the transitions between them on a narrative and comedic level are impressively elegant all the way through (the night-time scene downstairs is an excellent example). It’s a genuine ensemble piece and I dare say there are few other post-classic episodes with better craftsmanship.

Sleeping with the Enemy deals with some weighty issues – Nelson being abandoned by both of his parents, Lisa experiencing the vicious social pressures of being thin, and Marge feeling existential dread at the prospect of life after day-to-day motherhood. Just one of these could overwhelm our palates with a dreary heaviness or excessive schmaltz, but the episode strikes the right balance of gravity and levity in its execution of those ideas. The ending is especially brilliant – echoing the subversive roots of The Simpsons by openly mocking the clichés that dominated the 1980s family sitcom landscape. Nelson doesn’t pretend he’ll stop being a bully and Lisa refuses to humour her Dad's empty platitudes. There’s no character growth and nothing has been learned. That inconclusive cynicism is the perfect capstone and a great call back to the spirit of the show’s golden age (remeniscent of Bart's Inner Child in particular). It’s pure classic Simpsons and one of the best endings of the entire Jean era.

10. She Used to be My Girl

Original Season: Season 16

Director: Matthew Nastuk

Writer: Tim Long

IMDB Score: 6.4/10

Personal Score: 4/5

Comments: The FAB production cycle remains the best of the post-classic era and by a fairly significant margin. Even this episode, the last to be produced for that run and written by the notorious Tim Long, is a strong one with tight plotting, grounded interpersonal drama, and low-key yet effective character humour. The tensions between Marge and Chloe are very down to earth and true to life, building gradually and culminating realistically. When Marge lashes out at Chloe in the front yard, I totally buy it – Chloe is snobbish, boastful, and condescending right from the start and in a way that specifically targets Mage’s feelings of inadequacy and jealously. Kim Cattrall turns in an underrated performance, imbuing Chloe with sufficient charisma and glamour to be an attractive role model to someone like Lisa who similarly aspires to leave her hometown and be a success. Marge’s reactions are underpinned by her regrets, building gradually and organically until she cracks at which time Chloe reveals the real diva lurking beneath her flamboyant veneer.

This is, in many ways, a far superior version of It’s a Mad, Mad, Mad, Mad Marge and it ends nicely with Marge coming to terms with the decisions she made earlier in her life. There’s some truly top notch character work here and it doesn’t get enough credit. Homer is also in top form (his reassuring words to Marge is a lovely example of his good-intentioned yet bumbling self). Even the timely arrival of Barney at the end is an example of good craftsmanship – tying back to Chloe’s backstory and referencing continuity from a previous episode of the series. It’s not a laugh-out-loud episode and the story isn’t super memorable, but it’s competent and I’ve really warmed to it over time.

11. Fat Man and Little Boy

Original Season: Season 16

Director: Mike B. Anderson

Writer: Joel H. Cohen

IMDB Score: 7.0/10

Personal Score: 5/5

Comments: Episodes from season 16 onwards have increasingly thin narratives which live or die by the quality of their humour and character work. Fat Man and Little Boy is one such example and it’s a resounding success. There’s a lot going on in this episode and it could have turned into an incoherent mess, but it’s well-paced and cohesive with quite a bit of substance. The transition from the Bart-centric first half to the Homer-centric second half is seamless, displaying a grace that’s not all that common at this point. Bart and Homer are in top form (especially the latter who is at his clueless yet well-meaning best) and the episode delivers an impressive number of great lines and gags not to mention more than one heart-warming moment. The examination of Bart’s newfound maturity and how his success displaces Homer as the patriarch of the family gives the episode extra weight. It’s one I’m more than happy to watch over and over again.

12. Goo Goo Gai Pan



Original Season: Season 16

Director: Lance Kramer

Writer: Dana Gould

IMDB Score: 6.9/10

Personal Score: 3.5/5

Comments: Numerous post-classic episodes that permanently alter the status quo are awful (My Big Fat Geek Wedding and Alone Again, Natura-Diddily chief among them), but Goo Goo Gai Pan is one that I’m happy to include. It remains focused on telling a strong character story without relying too much on the empty sketch comedy that often dominate vacation episodes. It’s nice that Selma finally fulfils her dream and gets to be a mother - in fact, I think it might be her finest half-hour in the post-classic era. Lucy Liu also gives a good guest performance and I don’t even mind some of the more ridiculous stuff like Homer getting his heart ripped out and put back in (I guess because it doesn’t really play it straight unlike, say, the badger scene in the abominable A Tale of Two Springfields). Dana Gould doesn’t get enough credit for his work on The Simpsons and this was another solid effort.

Addendum (08/10/21): The following changes have been made:

• Cut down and refined the intro paragraph, removing extraneous details.
• Lowered the score of 'The Wandering Juvie' from a 5 to a 4.5.
• Extensively modified the sequence of episodes - with the exception of the premiere, every episode is now listed in the order of their original airdate.
• Swapped 'The Girl Who Slept Too Little' with 'Sleeping with the Enemy' which was originally included in my season 14. The latter has far more relevance to the theme of this season.
• A mixture of minor and major edits, fixes and re-writes to the comments for every episode.

Addendum (09/10/21): Added episode 12 - 'Goo Goo Gai Pan'.

 

[Financial Panther]

I have never liked “She Used to Be My Girl.” I also compare it ”Mad Marge,” but I find “Mad Marge”” to be much better, even if it’s not especially good in its own right. I found Marge’s behavior in “Mad Marge” much more understandable because of all the circumstances where she sees Becky seeming to harm her family. I can handle Marge’s lashing out toward Becky because of those misunderstandings much more than I can Marge’s actions toward Chloe. Yes, Marge is envious of Chloe and she gets angry that her daughter is idolizing Chloe. I don’t have a problem with a character displaying a flaw, but her actions seem a lot less reasonable and a lot more out of line than they did toward Becky.

 

[Szyslak100]

It shocks me that The Simpsons was on air for 33 uninterrupted years and never tried a thematic season. The show always restrained itself with experiments, but I thought it could have been fresh back in the early 2000s. Now it seems too late but who knows, I would be interested if they propose such an idea.

The topic of paternity presents a lot of variety as we can see so far in this season, and everyone could be interested in it and feel related to it in one way or another. So, I truly like this initiative (as I think I said in the older thread). The antecedent of four parent/child episodes in a row back in season 3 suggests this should be palatable.

There are some polemic/unpopular selections – The Great Louse Detective, Catch 'Em If You Can, She Used to Be My Girl – but I don't have big problems with any of them. I even liked the one from season 15, while the other two are mediocre at best but nothing intolerable for me. And, in any case, I think they would be better in this context of an experimental season. It's definitely a very strong start with more hits than misses.

On the other hand, My Mother the Carjacker, The Dad Who Knew Too Little, and Sleeping with the Enemy are modern classics for me, while the others oscillate between good to great.

Some little suggestions for your consideration:
• Swapping My Big Fat Geek Wedding, which loses the thread of paternity, with The Bart of War, which is not entirely a parent/child episode but has its moments. There wouldn't be continuity problems, I guess.
• Just in case you want to include B.I. Bartificial Intelligence (it's perfect for this season) and Heck House (it's not exactly a parent/child story but an adult teaching and tormenting kids might come close to it), I'd suggest chopping Treehouse of Horror XIV, maintaining Frinkenstein for this season, and pushing back Reaper Madness and Stop the World, I Want to Goof Off for the next season(s).
• I don't know what you have planned for the season finale, but as an episode where Homer and Marge escape from Bart and Lisa, I think Catch 'Em If You Can could work there.

 

[Wile E. the Brain]

Also, I have to add that I was surprised to find out to find out that @B-Boy actually enjoy 'The Great Money Caper' (which I have a fondness for as I said previously) and enough to even having considered including it for his Scully seasons. That I did not see coming, considering how hated that one usually is

It is ? I never minded this one either, in fact I always found it enjoyable myself. There are some things wrong with it (as usual in the Scully era), but it's fairly entertaining and has some clever writing here and there. The ending is nonsense but kinda works in the specific context of this episode. And even if it's over something wrong, Homer and Bart bonding together is always a plus to me.

@B-Boy, a 5/5 for Fat Man and Little Boy is something I did not expect. I'm pleasantly surprised though since I do like this episode (not to the point of calling it great but it's a good one for sure), and I agree with you when it comes to the transitions from one story to another. The structure revolving around one main theme (Bart growing up and Homer feeling he's not needed anymore) is actually well done and that's kind of a feat coming from a Jean era episode. I have to admit however that I have never been fond of Homer threatening to blow up the town, as well-intended towards Bart as he was.

 

[B-Boy]

I don’t have a problem with a character displaying a flaw, but her actions seem a lot less reasonable and a lot more out of line than they did toward Becky.

I'm surprised by this! I mean, Marge's initial envy of Becky is understandable, but it loses me as soon as she takes any notice of anything her sisters say. It's such a massive leap to go from resenting the hip young girl who's making you feel inadequate to thinking she's going to murder you. I personally don't see anything reasonable about it - just wild paranoid delusions. I guess it's confusing given we later learn that Becky was going to kill her and steal her family. Ugh, horrible episode.

Some little suggestions for your consideration:
• Swapping My Big Fat Geek Wedding, which loses the thread of paternity, with The Bart of War, which is not entirely a parent/child episode but has its moments. There wouldn't be continuity problems, I guess.
• Just in case you want to include B.I. Bartificial Intelligence (it's perfect for this season) and Heck House (it's not exactly a parent/child story but an adult teaching and tormenting kids might come close to it), I'd suggest chopping Treehouse of Horror XIV, maintaining Frinkenstein for this season, and pushing back Reaper Madness and Stop the World, I Want to Goof Off for the next season(s).
• I don't know what you have planned for the season finale, but as an episode where Homer and Marge escape from Bart and Lisa, I think Catch 'Em If You Can could work there.

Can't swap My Big Fat Geek Wedding with The Bart of War at least not with the current sequence of episodes. The Wandering Juvie has a scene with Skinner and Edna talking about their upcoming wedding so that would throw the continuity out of whack. Otherwise, I'd totally have done this!

I find Bartifical Intelligence repulsive so that was never in the running. I have no intention of changing my next two Jean THOH episodes at this stage so Heck House isn't likely. I think the other two XIV segments have relevance to the parent-child theme if you squint hard enough. Stop the World shows what can happen when two kids are left to their own devices with no authority or even society to curb them. Reaper Madness is about Homer obeying and then defying God who I guess is the parent of all creation?

 

[Szyslak100]

I think the other two XIV segments have relevance to the parent-child theme if you squint hard enough. Stop the World shows what can happen when two kids are left to their own devices with no authority or even society to curb them. Reaper Madness is about Homer obeying and then defying God who I guess is the parent of all creation?

Haha, fair enough! I also remembered Frinkenstein makes a callback to Reaper Madness so the change would have been counterproductive now that I think of it.

Regarding The Great Money Caper, I think it is an unusual episode that works quite well while Homer and Bart work together even though their actions are contemptuous, but the outlandish third act is one of the worst examples of self-sabotaging in the Scully era. I don't think it's overhated now, few people seem to dislike it.

I am surprised to see that someone picks It's a Mad, Mad, Mad, Mad, Mad Marge over She Used to Be My Girl. Maybe Marge behaves similarly in both episodes, but there are differences between Chloe and Becky and between the behavior of the family that takes the balance to one side for me. Chloe has a well-defined facet and is coherent throughout the entire episode, while Becky has a very erratic behavior and undefined intentions that never are clear. And, well, what really destroys It's a Mad Marge is the cynical behavior of the Simpsons family, who never cared if Marge was insane and decided to roll a play in their home instead of looking for her, not to mention when Homer shots a dart to Marge.

 

[CousinMerl]

It is ? I never minded this one either, in fact I always found it enjoyable myself. There are some things wrong with it (as usual in the Scully era), but it's fairly entertaining and has some clever writing here and there. The ending is nonsense but kinda works in the specific context of this episode. And even if it's over something wrong, Homer and Bart bonding together is always a plus to me.

It has usually been brought up as being in the category of bad Scully episodes and it mostly seem due to that third act & especially the ending (which, again, I don't mind at all and actually like. The plot had already concluded and the basic answer had already been revealed so I was fine with it getting out-of-nowhere silly in the last minute).

Oh, and as for the first part of @B-Boy's season 12, it looks real good so far. I know that I previously (in the old, now closed thread) might have said that I might have been torn on the themed seasons, but I don't think so now. Instead I find it an interesting experiment and having this season centered on the relationships between parent & child is a neat idea and it shows with a nice selection. On the negative side, going with a theme like this might disqualify a lot of good to great episodes (so personally I'd have a bit more of a mix)

This time around, I have almost no real issues with any of the choices and they are well chosen and selected (really taking the parent-child theme to heart), aside from the necessity to have a despised episode on there ('Big Fat Geek Wedding') so if it had been my seasons and if I had disliked the episode that much (I recall it as just meh), I'd have replaced it with another episode (even though the continuity would suffer a little bit); if we're going with parent-child relationships, I can think 'Homer's Paternity Coot' could be an OK choice, but choosing more freely I'd probably have 'Simple Simpson' or 'Smart & Smarter' or something.

I liked that 'Treehouse Of Horror XI' is kept as is (it is a really good one to me as well. Nice they let Swartzwelder pen a 'Treehouse'. I think 'Reaper Madness' is one of the finer and funnier Jean era segments). 'The Dad Who Knew Too Little' and 'The Great Louse Detective' are nice to see on here (especially the former, which remains a strong episode); a little surprised that the latter only got a middling rating (as it usually is considered fairly good IIRC, but I can see how it doesn't work to some). 'The Wandering Juvie' is an obvious inclusion (though I like it more than you) and I hope to see the Lauren MacMullan collection completed (Only 'I, D'oh-bot' left).

To include 'Catch 'Em If You Can' doesn't bother me at all, even despite the exaggeration with the characterizations and plots, but I can still understand the common complaints it tends to recieve. I think the one scene where it took things too far was Homer & Marge laughing at the loving young couple wanting to have kids; I know why they would do it, but that made them look like jerks (at least to me). Still, it is an entertaining enough episode with a place in the season, for sure.

I am a little surprised the likes of 'She Used To Be My Girl' and Fat Man And Little Boy' getting fairly high ratings but I don't complain as I think they are both fine, especially the latter (which I interestingly always thought was a nice Homer-Bart story, plus that Willy Wonka parody guy is fairly memorable. I still find it interesting how he wasn't voiced by a guest star as these kind of characters usuall are) but the former too, which is a bit of an often forgotten Marge episode (which I can understand) but I think its fine and has an interesting plot, even though it is one I don't tend to think of that much at all.

As for 'It's a Mad, Mad, Mad, Mad, Mad Marge', I would never even compare that one to 'She Used To Be' since it is horrible and almost makes me gag. One of the worst episodes of the show and maybe bottom 5 of the Scully era. 'She Used To Be' is far from great, but infinitely better than 'Mad Marge' that has a terribly executed plot, everyone coming off horrible and with insulting humor: bits like Homer randomly stabbing his hand bloody with an ice pick or Bart trying to have the car drop Homer are "perfect" examples). But I digress.

 

[B-Boy]

Hey guys, just a heads up. I've added episode 12 to part 1 of season 12. I think it works really well as a mid-season finale. The reason for this is because I'm increasing the number of episodes this season from 22 to 24. Bit of a cheat, but you'll see why soon.

 

[Szyslak100]

Just as most travel episodes, Goo Goo Gai Pain is plenty of dumb stereotypes (this one maybe more than an average travel episode), but I quite like this one mainly because it's a strong Selma story, which is a plus because we don't have many of them.

I definitely agree Dana Gould is an underrated writer. He's probably one of the best throughout the post-classic era and the fact that Homer the Moe and this one are my least favorite from him says pretty much everything, because both are strong despite their problems.

 

[CousinMerl]

First off, it is surprising to see a late addition and revision (making the season 24 instead of 22 episodes).

Second, I guess 'Goo Goo Gai Pan' is a nice addition. I generally like (or is at least entertained by) the pre-HD era travel episodes, but this one isn't one of the better ones and relies too heavily on the national stereotype jokes (some of which are pretty cringe), but I like the premise (Selma desperately wanting to have a baby, roping in Homer in her plan & it is off to China to adopt), it has a lot of pretty funny moments throughout, even some of the sillier ones (among them the panda strangling scene), the guest star performance (Lucy Liu) & the change in status quo with Selma adopting a baby (Ling) and it being carried over in the following seasons.

That said, what kind of spoils it is the fact Jean did absolutely nothing with Ling afterwards (the only prominent bit I remember at the moment is that one scene with Selma forcing her to overachieve by juggling doing multiple tasks at once as she begs for help, which was another stereotype joke and pretty much a spit in the face to the plot of 'Gai Pan'). Sigh.

 

[Szyslak100]

That said, what kind of spoils it it is the fact Jean did absolutely nothing with Ling afterwards (the one prominent moment with her I remember at the moment is that one scene with Selma forcing her to overachieve by juggling doing multiple tasks at once at she begs for help, which was another stereotype joke and pretty much a spit in the face to the plot of 'Gai Pan'). Sigh.

Typical of The Simpsons, right? I don't know why this show is so reluctant to break the status quo and most of the few times they do it, the change is temporal or inconsequential. Situations like Krusty in the Senate, Selma as a mother, or Maggie hanging out with Hudson were modified but then forgotten. Characters like Nikki McKenna, Princess Penelope, or the very own Laura Powers (this problem affected the show since the first minute) were introduced and never returned. Stuck characterizations like Marge and Lisa needing friends or Moe being a bachelor are becoming derivative but they never progress.

The worst of it is that the aspects of the show they decided to change were mostly to the detriment of the show, like killing of Maude and impeding Ned to rebuild his life, making Apu and Manjula parents of eight kids, or separating Edna and Skinner definitely. Some changes were good (Comic Book Guy and Kumiko's love story goes on track and Lisa's two biggest permanent changes were positive, among other examples), but come on, writers. It's just a matter of keeping the things that work as they are and trying to find something innovative for things that don't, simply analyzing the consequences of the changes (Nedna was a decent idea with negative consequences). Is that really so hard?

 

[Wile E. the Brain]

I don't know why I hate the monks scene that much (I just remembered how much Homer suffers physically in this episode, aha), while the badger scene in A Tale of Two Springfields doesn't bother me that much, as gross as it is. As a matter of fact, I find Homer annoyingly stupid in Goo Goo Gai Pan, though I appreciate him being well-meaning, for Marge (reminds me the ending of Homer vs. Patty and Selma). As a whole, I always found this episode decent, but I too regret that it was an attempt to break the status quo that leads to nowhere after all, except a couple of lame stuff like that "joke" in The Changing of the Guardians. Nice and still kind of important and coherent pick.

 

[B-Boy]

Season 12

Part 2​

13. Mobile Homer



Original Season: Season 16

Director: Raymond S. Persi

Writer: Tim Long

IMDB Score: 6.7/10

Personal Score: 4/5

Comments: Tim Long has deservedly earned a reputation as one of the weakest writers for The Simpsons even relative to others who have only worked on the show in its post-classic years. However, as I always say, a broken clock is right twice a day and Tim is living proof of that axiom. For an episode that features another marital conflict and some questionable characterizations, Mobile Homer is better and funnier than it has any right to be. I like how it plays the situation mostly for laughs rather than faux drama and avoids some of the worst clichés. For example, Homer leaves the house on his own accord as opposed to getting kicked out. Plus, things never get to a point where Homer and Marge threaten to split up. It’s pretty much limited to petty bickering which is a relief.

Unlike other marital episodes, Bart and Lisa are more involved in the conflict. Homer and Marge use the kids as ammo in their game of one-upmanship, taking no notice of how their behaviour creates a lot of anxiety for them. This compels Bart and Lisa to steal the RV which is a decent plot development because their mature yet foolhardy attempt to remove the source of the discord contrasts well with the juvenile behaviour of their parents. Naturally, they lose control of the situation which forces Homer and Marge to put their squabbles aside, resume their proper parental roles, and save the day.

Make no mistake though, the episode has numerous flaws. The second act is easily the weakest – Homer is at his most obnoxious and the RV crew is similarly objectionable. The antagonism between Homer and Marge also borders on cartoony at times, but some of the snipes are funny. I enjoy the slapstick sequence at the start (although the follow-up bedroom window and paper shredder gags are gratuitous) and the freeway chase is a great action set-piece. Overall, it's a fun episode that doesn't take itself too seriously and not a bad way to spend half an hour.

14. The Heartbroke Kid

Original Season: Season 16

Director: Steven Dean Moore

Writer: Ian Maxtone-Graham

IMDB Score: 7.2/10

Personal Score: 4.5/5

Comments: The Heartbroke Kid is a really good episode vaguely reminiscent of the Mirkin era with its brisk pace, blink-and-you-miss-it sight gags, and snappy satire. Albert Brooks gives a typically memorable performance (not in the same ballpark as his classic-era appearances by any means, but still good). His mere presence elevates the energy of the episode, shifting everything into a higher gear. The story itself is engaging, successfully highlighting the harm that vending machines in schools can do and making Bart a sympathetic figure. I like how his eventual decision to take back control and quit his addiction is motivated by the sacrifices his parents have made for him. The altered take on the show’s iconic opening credits sequence is also fantastic as is the Itchy & Scratchy episode (which not only contains a great reference to past shorts, but is also thematically relevant to the episode just like the good ole’ days). My only issue with the episode is the stuff with the German backpackers who are mostly unamusing and the Krusty zipper gag which is, ugh, gross.

15. A Star is Torn

Original Season: Season 16

Director: Nancy Kruse

Writer: Carolyn Omine

IMDB Score: 6.7/10

Personal Score: 4/5

Comments: There are times when I’m willing to make a concession for Jerkass Homer. They’re decidedly rare occasions and come with several stipulations, at least some of which need to be satisfied. For one, he has to be good-intentioned. Second, his behaviour shouldn’t disregard his prevailing apathy or laziness. Third, his obnoxious and reckless antics shouldn’t dominate the episode. Fourth, he should be genuinely apologetic and repentant. Finally, the physical and/or emotional damage caused by his actions should be minimal or repaired. As far as I’m concerned, A Star is Torn meets all but the second criteria and, as a result, I’m happy to give it (and Homer) a pass. The satire on TV singing competitions and overzealous managers is trite but serviceable, the songs are decent, and the story makes good use of Krusty. The ending is also sweet though Lisa is definitely far too quick to forgive her dad and too willing to condone the sabotage of another contestant.

16. Milhouse of Sand and Fog

Original Season: Season 17

Director: Steven Dean Moore

Writer: Patric M. Verrone

IMDB Score: 6.9/10

Personal Score: 4/5

Comments: I reckon Milhouse of Sand and Fog gets a bad rap. The structure is almost identical to A Milhouse Divided except that some of the details are inverted. Marge hosts a party for kids rather than adults where Kirk and Luanne get together rather than break up. This precipitates a marital conflict which involves Homer accusing Marge of doing something wrong rather than screwing up and blaming himself. Where it differentiates itself is with the scheme that Bart and Milhouse devise to break up Kirk and Luanne which reveals a lot about them and how they differ from each other. Milhouse is disappointed that he doesn’t get lavished with money and toys anymore, preferring it when his parents were in conflict all the time and using him as a proxy for their squabbles. He’s reduced their love to purely materialistic terms and who can blame him when they show no interest at all in actually being good parents who are there for him emotionally. They seem even less interested when they’re together! Bart, on the other hand, is terrified by the possibility of his parents separating and goes to equally extreme lengths to ensure they stay together. His family is similarly dysfunctional, but they’ve always come together when they needed to and loved each other even when they drove each other nuts.

I know this episode features another ‘marriage crisis’ which is an instant turn-off for a lot of people, but that trope is not inherently a bad one. If we agree that The Simpsons was originally conceived to far more accurately reflect the lives and hardships of “upper-lower-middle class types” compared to other sit-coms of the 1980s and early 1990s, you have to accept that marriage conflicts and crises are part and parcel of that because they exist in real life all round us every single day. For as long as the show survives, Homer and Marge will have their difficulties. What matters is how well those sorts of stories are executed and how well the specific details are re-configured to stay interesting and up-to-date. I think it’s pulled off reasonably well here (there has been better, but there’s also been a lot worse ala Big Fat Geek Wedding). Homer losing trust in Marge is actually a neat subversion and I like how the scheme the boys come up with is rooted in childhood silliness and selfishness. There are some general editing problems that plague the episode (how on Earth did Marge find that rope and get it tied to the tree so quickly), but the jokes are above average and I quite enjoy it overall.

17. Marge’s Son Poisoning

Original Season: Season 17

Director: Mike B. Anderson

Writer: Daniel Chun

IMDB Score: 7.0/10

Personal Score: 4/5

Comments: Bart and Homer episodes are a dime a dozen, but Bart and Marge episodes are few and far between. It’s bizarre - the classic years had a couple of great episodes that mined their relationship for affecting and memorable stories (Marge be Not Proud in particular) and I wonder why they weren’t more common. Daniel Chun makes the attempt with Marge’s Son Poisoning and it turns out to be a decent one on the whole. Marge, who wants to share her newfound passion for tandem bikes, develops a lovely rapport with Bart both of whom are nicely characterised. I really savour the kindness and empathy Bart displays in this because it doesn’t happen very often even though it’s an essential part of his character. It’s not a perfect episode by any means though. It’s virtually devoid of laughs and Bart is perhaps too soft and wishy-washy. Plus, Marge encouraging his destructive behaviour is out-of-character and the My Sharona gag goes on far too long.

18. Homer's Paternity Coot



Original Season: Season 17

Director: Mike B. Anderson

Writer: Joel H. Cohen

IMDB Score: 6.6/10

Personal Score: 2.5/5

Comments: Classic-era Simpsons built its reputation on avoiding hackneyed sitcom and soap opera motifs like the plague or at least subverting and mocking them with ruthless contempt. Homer's Paternity Coot makes zero attempt to do either, playing the melodrama and sentimentality of the situation as straight as possible. Okay, not ideal, but I can swallow that. The problem is that the episode is still too lightweight and deficient even on those modest terms. Why is Homer so quick to renounce the only father he's ever known? There's a passing reference to Abe having been a bad father, but there are no flashbacks or interactions in the present that show their dysfunctional relationship. It seems Joel H. Cohen hoped that the audience would remember past examples throughout the series, but this is lazy at best. Also, why is Homer so smitten with Mason Fairbanks? Because he's rich and got a boat? This is woefully insufficient and the episode needed to do a lot more to build a plausible bond.

The underwater adventure Homer and Fairbanks embark on to find the lost treasure is fine (and reasonably well animated), but it's a blatantly obvious attempt to inject some life-or-death drama into the story and facilitate its restoration of the status-quo. The flashbacks with Homer remembering everything his father has done for him are actually really good on their own, but the episode simply hasn't done enough for them to feel earned. Again, these would have been enhanced with scenes earlier in the episode that showed the opposite. The 'twist' that Abe switched the samples is also poorly executed. For one, it doesn't make a lot of sense. There's no way Abe would be willing to give up his son to a strange man who stole his wife after seeing them chummy together for just a few minutes. It would have worked better if, say, Abe seemed happy to denounce his son on the surface, but was privately regretful of his parenting in the past and thought Homer deserved a better father.

The episode is fairly watchable overall, but it glosses over far too many important story and character beats. Plus, it offers no fresh insight into Homer's relationship with his father. I really wish the first act (which is entertaining, but pointless) had focused on the more negative aspects of that relationship to give the whole conflict and the ending more punch. Ah well.

Addendum (11/10/21): Needed to break up the second half into two smaller halves due to the forum's character limit. In addition, the following changes have been made:

• Modified the sequence of episodes again - every episode is listed in the order of its original airdate.
• Added 'Homer's Paternity Coot' - was previously lacking a Homer/Abe episode which is a pretty big omission for a season about parent-child relationships. Thanks @CousinMerl for mentioning it the other day and motivating me to re-evaluate whether or not to include it.
• Re-wrote the comments for 'Milhouse of Sand and Fog'.
• Lowered the score of ‘A Star is Torn’ from a 4 to a 3.5.
• Changed the screencap for 'Mobile Homer'.
• General edits and fixes.

 

[CousinMerl]

Well, I cannot say I have any immediate complaints or objections for your choices for part 2 of your season 12, @B-Boy . The episodes are well chosen and have good arguments for being there, plus I agree on the ratings for these so most are pretty good. For instance, I'm glad to see 'The Heartbroke Kid' getting some love since I always found it one of the better and most memorable ones from the SD Jean era.

I like that you added 'Homer's Paternity Coot' there at the end, despite it only being an squarely average episode (to me as well) and has some really wonky writing & being partially forgettable. It has some nice moments and humor & is an obvious choice for this parent-child themed season (and yeah, i guess a true Homer-Grampa episode was missing and I guess it is a suitable choice, as there aren't really that many of those from these seasons of the show that comes to mind),

Also, regarding Homer being so smitten by Mason, I do think it is very likely that it really is because the man's loaded and that's make for a dream father (as Homer is often a very shallow person. One example we have in the recent 'Bart's In Jail!' with him being so irrationally angry, petty and greedy at Grampa for having lost all the money that he (Homer) didn't even know the old man had and while this was dipping into Jerkass Homer territory, I think it explain things).

 

[Szyslak100]

Hmm, not a big fan of this delivery, to be honest. I despise two out of the six episodes there: Mobile Homer and Homer's Paternity Coot.

Mobile Homer seems to be produced in season eleven and pushed back until season sixteen, if you ask me. Homer is impulsive and reckless as he has been in his worst episodes, and this time he is also stubborn for never listening to Marge. It features a lot of physical humor including the "highlight" scene where Homer is attacked by spiders in the garage – an absolutely repulsive and unpleasant scene which only "merit" is putting Homer in pain, as if that is something that makes The Simpsons special. It also has a bizarre third act, with a forced conclusion, and many absurd moments. Only the fact that Bart and Lisa could drive such a monstrosity on a highway is ridiculous, not to mention everything else that happens in that act... Marge kissing Homer while she drives, Homer strangling Bart from his car, the motor home falling straight to the boat... It's desperately dumb for me, reminds me of those absurd Fast and Furious scenes.

Homer's Paternity Coot has the potential to be a great episode if the writers explored seriously and sentimentally the possibility of Homer getting a different biological father but they played it safely. And yet, it fails miserably. Sorry, I can digest how Homer replaced Grampa for a strange man so loosely and with no remorse only to live expensive experiences. It's one of the worst examples of one of the worst arcs of the show: Grampa being mistreated and forgotten by his family. Topping it all off, the episode is forgettable and lacks big moments despite counting with a great idea on paper.

I am fine with the other picks though the only standouts are The Heartbroke Kid and Marge's Son Poisoning – the latest remains as one of the sweetest Marge and Bart's episodes. Still, I would pick Marge Gamer over it from the SD era. Although that one might be an unpopular opinion.

Also, I have to ask: why are you keeping the order of episodes? It's working fine, don't get me wrong, but seems odd that suddenly they are in order.

 

[CousinMerl]

@Szyslak100, I am surprised to see you hate 'Mobile Homer' that much. While it was never one of my favorites from this era, I think it is an overall decent episodes with some good content (though it does get really silly and has a Scully-like quality written all over it, maybe especially regarding Homer) and it, to my knowledge, is usually considered good by fans. That said, I can understand your grievances since it has a lot of material and decisions that can appear really unfavorable to some.

As for 'Homer's Paternity Coot', I can more completely understand your dislike of that one since really, it has a lot of script problems and isn't so good at all & on the forgettable side, but I never really minded it despite everthing. It is just one of "those" episodes that are just there in season 17 (which has a quality problem as so many of the episodes are meh), but at least I remember the plot.

Also, I also don't get why you rearranged the order of episodes so they are in release order, @B-Boy. I'd rather prefer a mix with episodes from different seasons than an (aside from the season premieres) outright straight sequencing.

 

[Szyslak100]

[I am surprised to see you hate 'Mobile Homer' that much.

To be fair, I am surprised some fans enjoy that disaster, but I guess each one has their opinions, haha. I didn't know it still has a positive reception and I didn't think mine was an unpopular opinion. I barely can find some good stuff to prevent it from the 1/5, like the intentions of Lisa and Bart (not the absurd way they intervented), the readjust in the already overused problem of Homer and marge have marital problems, and some little gags, the return of Cowboy Bob (even though his previous appearance in The Call of The Simpsons was much better), and some gags like the imitation Homer makes of Marge.

Everything else just goes awry, failing on all the main fronts: the story is not repetitive and the way it is executed is not in The Simpsons style, the humor, again, has not the style of the show, being mostly physical and/or surreal, the satire is inexistent, and the characterization (of Homer, at least) is awful.

 

[CousinMerl]

@Szyslak100, Well yes, as I said I can understand that it does have a lot of material that is understandably objectionable to some so I get it, it is just that I don't think it is all that bad but pretty decent and memorable. Just my own weird opinion.

Something that I did have a problem with when I last saw it (which must've been years back) was that the marriage crisis got really unpleasant and almost un-Simpsons like, especially with Bart (and Lisa) running away (with the RV) due to Homer & Marge's infighting getting so bad and Bart forcing them to make up (during this Scully-esque final chase scene) despite not having resolved their conflict naturally. It's probably just me, but I felt it kind of left a bad taste in my mouth.

 

[B-Boy]

@Szyslak100 I can't argue with you, Mobile Homer IS desperately dumb and the characters are pretty awful. Makes you wonder how I can crap all over the Scully era one minute and yet find this one palatable the next? Beats me. I don't understand myself very well sometimes haha! It's just one of those rare cases where I can stomach a lot of the asininity and get quite a few laughs out of it.

As for keeping the original order of the episodes, it's simply because I really like how it looks. Seemed pretty balanced to me. This will probably be the last season I do it though.

 

[B-Boy]

Season 12

Part 3​

19. We’re on the Road to D’ohwhere

Original Season: Season 17

Director: Nancy Kruse

Writer: Kevin Curran

IMDB Score: 6.9/10

Personal Score: 3/5

Comments: We’re on the Road to D’ohwere is a bipolar episode if ever there was one, oscillating between really good material and absolute trash. It’s frustratingly hesitant to commit to its premise and frequently undermines or outright sabotages its best ideas. This is a straightforward road trip story with a bare-bones plot wherein the substance comes from the characters and dialogue. Or at least it should. I mean, it does to an extent and there are glimmers of excellence, but it doesn’t come close to reaching its potential for greatness which is really disappointing. Anyway, at its core, the episode is about Homer and Bart, examining their dysfunctional relationship. The stripped back nature of the story creates fantastic opportunities for them to freely interact without the stabilising presence of Marge or Lisa. There are, in fact, some great moments such as the conversation at the start of the trip where Homer vocalises his frustrations and Bart suggests that pranks are the only thing he’s good at. It's decent stuff, humanising both characters and getting them to make some frank admissions to each other.

Unfortunately, things start to go south when Bart sneaks away from the diner. The timing of his deceit is horrible because it immediately follows what had been a pleasant scene with the two of them seemingly bonding over their mockery of the cloying father and son nearby. Bart comes off as insincere and manipulative, taking advantage of Homer’s trust and goodwill. The subsequent pursuit leads to Homer nearly driving off a cliff which precipitates the worst moment of the episode when Bart threatens to let the car fall into an abyss. It’s awful for several reasons – firstly, it goes on far too long. Secondly, the danger of the situation is played too lightly in context. Homer’s life literally hangs in the balance, but Bart spitefully fools around with him. It’s not remotely funny and Bart's flagrant disregard for his dad undermines him as a sympathetic character, compromising the good work the episode has done up to this point (it’s reminiscent of the atrocious wicker basket gag from It’s a Mad, Mad, Mad, Mad Marge). Classic-era Bart would never have gone this far and it pretty much crosses into sociopathic territory.

The final leg of their journey salvages things a little. Bart argues he might be better behaved and adjusted if his dad simply enjoyed him more which, y'know, yeah, fair call. Homer has to take some responsibility and, to his credit, he takes those words to heart. He realises that dumping Bart at the behavioural camp won’t achieve anything except reinforce his bad behaviour. By spending time together, maybe they can forge a healthier relationship and put an end to a cycle of neglect and abuse that has allowed these issues to develop. Again, this is good, but it could have been far more effective and affecting if the episode had cut out the more unsavoury distractions and interludes. It also would have been better without the pointless subplot (including but not limited to the awful Flanders gag that eats up 45 whole seconds) which takes a significant amount of time away from what could been used for more scenes with Homer and Bart. That said, the subplot gave us the ending scene with Lisa getting the voice messages from Homer and Marge which is totally ridiculous, but also absolutely hilarious.

Ultimately, your mileage will vary on how much you’re willing to tolerate the shortcomings of this episode, but I think it has enough value to warrant inclusion.

20. Bart Has Two Mommies

Original Season: Season 17

Director: Mike Marcantel

Writer: Dana Gould

IMDB Score: 7.0/10

Personal Score: 5/5

Comments: Bart Has Two Mommies is a grossly underrated episode that examines how the Flanders clan has been affected by Maude's death. As a strongly conservative and religious person, Ned has always been wary. However, since losing his wife to a random and tragic accident, he's allowed fear and anxiety to dictate his parenting. The extreme extent to which he coddles Rod and Todd has very obviously constrained (perhaps even regressed) their social and psychological maturation. The two boys are sheltered from the real world and deprived of experiences that would help them build character, autonomy and self-confidence. Plus, they don't seem to have any friends aside from each other. Marge (who is at her very best here) finds herself babysitting Rod and Todd, briefly filling the gaping maternal hole in their lives. In doing so, she nurtures them in ways that Ned simply doesn't, opening up the scope of their world a little and giving them a small but significant glimpse of what life has to offer when they're not being insulated from it. She casts a light on some of the struggles they face as a result of being stunted by their father's understandable but irrational overprotective instincts. She encourages and challenges them, helping them to feel capable and accomplished and genuinely happy.

The B-plot might seem like nothing more than wacky and disposable filler, but there’s some strong connective tissue thematically. Marge spends less time at home with her own family and things rapidly deteriorate as a result. In one scene, Bart and Lisa wreak havoc at home while Homer sleeps on the couch and literally turns his back on his responsibilities. Her absence leads to Bart getting ape-napped under Homer's not so watchful eye, effectively illustrating and underlining the stability Marge provides to what would otherwise be a chaotic and negligent environment. The two plots ultimately converge in vintage Simpsons fashion when Rod, backed by belated encouragement from his dad, overcomes his fears and utilises the climbing skills he learned earlier in the episode to ascend the Church and rescue Bart from his predicament. It's a very satisfying conclusion, bringing all the elements together to complete a rock solid narrative and character arc. The "Mrs. Simpson made me gay' line is the perfect comedic capstone and we even get a lovely coda with Maude looking down from heaven with fondness and approval. I mean, what more can you ask for from the show at this point? Absolutely terrific.

There are some wonderful moments sprinkled throughout the episode including Marge eavesdropping on Rod and Todd's bedtime prayers and the scene where they pull up their dad on the effect his smothering has on them. I even like the slapstick sequence that opens the episode. Like marital conflict stories, Homer pain gags are abundant throughout the post-classic era and it can be tempting to dismiss all of them off-hand, but they're not inherently bad and there are times when they work. The execution of the material and the underlying motivations of the character can make all the difference. In this case, Homer has the very best of intentions (he just wants to help Marge win the duck race) and the whole sequence is really well constructed with great comic timing. From start to finish, Bart Has Two Mommies is an unequivocal triumph and remains by far the best example of the show addressing the consequences of killing Maude. I absolutely love it.

21. Marge Gamer

Original Season: Season 18

Director: Bob Anderson

Writer: J. Stewart Burns

IMDB Score: 7.3/10

Personal Score: 4/5

Comments: Marge Gamer is an episode about the tensions that arise when parents get involved in and intrude upon the activities their children are engaged in. Both the A and B plots examine this issue, crosscutting every now and again to give the overall package strong narrative and thematic cohesion. The episode is also nicely paced and neither plot distracts or detracts from the other. The sequence where they converge is terrific, giving Homer and Bart an opportunity to bond over their mirroring difficulties and get advice from Moe to reconcile them (the joke about this Moe being an imposter who has the real one tied up in an adjacent room is preposterous, but it totally works because it's so unexpected and it's never explained).

There have been criticisms about Lisa's willingness to cheat being out-of-character, but in her defence, she's only human and an 8-year old at that. There will be times such as this when she fails to live up to her lofty standards and ideals especially when success or peer approval is at stake (something she has in common with Bart in this episode which is another thematic link). I've got no issues with this whatsoever especially given that she ultimately admits fault and takes responsibility for her actions (she doesn't demand that Homer apologise either). I could have done without the Ronaldo guest appearance though which is awful and unnecessary (like so many other celebrities that appear on the show in the post-classic era).

As a gamer myself, the mocking references to games like World of Warcraft don't do much for me. Earthland Realms comes across less like an actual video game that people are playing and more like a simulation or alternate reality with Simpsons characters transposed into it. Parts of it actually remind me of medieval-themed shorts from other anthology episodes and, yeah, that's not a compliment. The aesthetics are especially uninspired, taking cues from a plethora of fantasy cliches. Fortunately, the Marge and Bart character stuff is great so I can look past the lack of subversion or imagination for the most part. In fact, I think it's really refreshing to see the two of them interact with each other on these terms and their story plays out nicely.

22. Midnight Towboy



Original Season: Season 19

Director: Matthew Nastuk

Writer: Stephanie Gillis

IMDB Score: 7.1/10

Personal Score: 3/5

Comments: Were it not for the pleasant Maggie subplot, Midnight Towboy would be nothing more than a perfunctory 'Jerkass Homer gets a job' episode replete with over-explained jokes and awkward gags. Maggie deserves the spotlight more often and, as usual, she's great here with a nice little arc about becoming less clingy and more independent which makes Marge feel unneeded. The two plots converge quite nicely with Maggie venturing out and rescuing her dad, concluding with a sweet moment that sees her reconciling with her mom and restoring their dynamic.

23. Lost Verizon



Original Season: Season 20

Director: Raymond S. Persi

Writer: John Frink

IMDB Score: 6.9/10

Personal Score: 3.5/5

Comments: When I think of Marge and Bart episodes, Lost Verizon never comes to mind even though it definitely qualifies as one. I rather dig it - from Bart feeling the effects of FOMO and wanting a cell phone to the mostly innocent pranks he pulls under the guise of Denis Leary and Marge subsequently placing a tracker on the phone to keep tabs on him. Even the wacky third act goose chase (or, should I say, bird chase) that Bart tricks his family into is okay for me insofar as it furthers and resolves the issues the episode raises. Lost Verizon is about the extent to which parents abuse technology to monitor their children and encroach on their privacy. In fairness to Marge, Bart is a loose cannon and has to be reigned in, but her draconian surveillance clearly isn't the answer. Trust and respect goes both ways and I think the two of them reach an understanding at the end. Marge realises she needs to give her son some slack and let him fend for himself a bit while Bart learns that total freedom isn't all it's cracked up to be and that he actually values the authoritative presence of his parents. I'm reasonably satisfied with how this plays out. On the downside, the episode is too expository (especially when Marge finds out about the tracking chip) and Denis Leary is yet another unnecessary celebrity guest star. Bart should have stolen the cell phone of a well-known Springfieldian instead (Skinner, Quimby, Wiggum, etc). Plus, Lisa continuing to fool her family is a bit questionable. Marge's dream is also an unimaginative and unfunny way to get her to reach her epiphany - seeing the adverse effects of surveillance on children in other families would have been better.

24. Mona Leaves-a



Original Season: Season 19

Director: Mike B. Anderson & Ralph Sosa

Writer: Joel H. Cohen

IMDB Score: 7.0/10

Personal Score: 3/5

Comments: We close out this season the same way we opened it - with a Mona story. I recall loving Mona Leaves-a the first time I watched it as a young and foolish 15 year old (I'm not so young anymore, but obviously just as foolish, I mean look at all the scores of 4 I'm giving out). However, in the intervening years, the flaws have become more noticeable and harder to overlook. It's a very polarising episode and understandably so for several reasons. For one, the sudden death of a beloved character is always unsettling and it's compounded by the dismay that Homer will never be able to reconcile with her. Secondly, most of the first act is utterly wasted while the third act is very questionable in its execution if not its concept. Last but not least, it has Mother Simpson (and, to a lesser extent, My Mother the Carjacker) to live up to. There's a lot going against this episode, but somehow it manages to stay afloat and I have to admit I'm still really fond of it. Or, more accurately, parts of it. Let's break down some of these points and examine them in more detail:

For a Mona episode, her lack of dialogue and screen time is very conspicuous. It needed more of her (even just another scene or two), but she dies mere moments after she returns. The intro at the mall is absolutely infuriating for this reason - it's even more pointless bullshit than usual and I simply cannot understand why anyone thought it was worth including this over more time with Mona. I mean, the family could have returned home from, well, anywhere to discover the front door ajar. Nothing changes if you cut the first five minutes. Anyway, Homer's joy at seeing Mona still alive quickly dissipates, turning to anger and indignation at her repeated desertions and dishonesty. It's actually totally fair and realistic - his distrust makes a lot of sense here (unlike their reunion in My Mother the Carjacker) and I don't at all blame him for initially spurning her. It's good, but man there should have been more of it. Instead, we have to settle for a meagre three minutes of interactions before Homer discovers her body.

Credit where it's due, the decision to kill off Mona was bold for what's normally a really safe show that's allergic to changing the status-quo. True, they've continued to use her sparingly (and ineffectually) in a posthumous capacity in the years since, but her death is still noteworthy because it effectively extinguished any number of potentially interesting stories. This isn't a criticism, just an observation. I actually like the flicker of ambition in the decision to kill her off and I reckon the episode could have been one of the all-time greats once upon a time.

Several more good scenes follow her death - Homer processing his grief and regret, the family watching her video, and Homer briefly eulogising her at the summit ("You never would have asked me to climb anything" makes me laugh), but things get weird thereafter. I don't necessarily object to the Bond-esque turn the story takes (I actually like the way it links things back to Mona's roots and her decades-long feud with Burns), but it's so out of left field and makes Mona seem a bit devious which I'm not sure was the intent. The whole thing is extremely rushed and shoddily edited which certainly doesn't help matters. That said, I like how Mona's gifts factor into the resolution and every member of the family contributes. I guess that's what frustrates me about this episode - the ideas and concepts are all fundamentally solid. It just fumbles the execution more often than not. The final montage is beautiful though and the refrain of Mother and Child Reunion by Paul Simon from My Mother the Carjacker is a great touch.

Addendum (12/10/21): The following changes have been made:

• Modified the sequence of episodes again - with the exception of the finale, every episode is listed in the order of its original airdate.
• Re-wrote the comments for 'We're on the Road to D'ohwhere', 'Bart Has Two Mommies', 'Marge Gamer', 'Midnight Towboy', and 'Lost Verizon'.
• Added 'Mona Leaves-A' - this was originally slated for part 2 of my season 14, but I've brought it forward to this one for its relevance to the parent-child theme. I really like how this season now begins and ends with a Mona episode, giving it a sense of coming full circle.
• Lowered the score of ‘We’re on the Road to D’ohwhere’ from a 4 to a 3.
• Changed the screencaps for 'Midnight Towboy' and 'Lost Verizon'.
• General edits and fixes.

 

[Szyslak100]

It's an excellent decision to start the season with My Mother the Carjacker and end it with Mona Leaves-a. Especially because it's a thematic season so it's beautiful that the beginning and the end of it are intrinsically connected. Kind of heartbreaking and depressing to end the season on that note, but I love it. Great job, @B-Boy

Edit: I just ended reading the comments of the episodes. Really thought-provoking observations of every episode, I enjoyed a lot reading them. I always liked Bart Has Two Mommies but you made me appreciate it more because I never thought of it as The Flanders dealing with the absence of Maude, and I never found that thematic connection between the main plot and the B-plot, that the problems of The Simpsons are originated in the absence of Marge. The only minor thing I disagree with is that, in my opinion, Denis Leary was a very good guest star in Lost Verizon. While I believe, just like you, that it would be better if Bart would steal the cell phone from a well-known character, I think Leary does a neat job and his character is well-written. It always kills me how he delivers the line: "My tarts!", and how he runs for them.

 

[CousinMerl]

I wouldn't say I like this last third of your season 12 as much as the previous two parts, as there are far too many blatantly average episodes here and not enough actually good ones, but still well argued and chosen episodes.

Good call on 'Marge Gamer' being one of those good ones & I am surprised to see some love for 'Bart Has Two Mommies' as that one rarely, if ever, is a favorite of fans like many of the S17 entires, but I agree that one has a strong and interesting story with Marge as a mother figure for Rod & Todd and I think it is a shame they never followed up on it as it did have some promise going forward, similarily to how Ling Bouvier was forgotten as I spoke of earlier. Typical post-classic Jean, I guess).

I agree on the thematic choice of ending with 'Mona Leaves-A' (what a lame pun title, btw) to tie in with the season opening with the previous Mona episode, though like you I am not really a big fan of the episode. It has a good first half at least with some good dramatic content and humor (and I like the abruptness of Mona just straight up having died suddenly, leaving her conflict with Homer unsettled) but I just think the last third with it turning into this Bond villain plot with Mr. Burns giant laser cannon or whatever was too silly. I do like that Mona had intended to even be a thorn in Burns' side when dead, but I really wish they would have gone with something less over the top.

 

[B-Boy]

Season 13

Part 1​

This season once again has a theme, but it’s a bit looser. Every episode involves members of Our Favourite Family trying to help other people or be of service to their community. The season consists of three episodes from season 15, five from season 16, three from season 17, seven from season 18, and three from season 19 plus a Halloween special.

1. Simple Simpson



Original Season: Season 15

Director: Jim Reardon

Writer: Jon Vitti

IMDB Score: 7.4/10

Personal Score: 5/5

Comments: Homer becomes the Pie Man in our season premiere! If Homer has to be the centre of attention and involved in wacky adventures, episodes like Simple Simpson are the way to do it. It’s a fun and respectable parody of Sam Raimi’s Spider-Man, lifting its themes and a couple of scenes with a mocking Simpsons twist. Homer is a far cry from his lazy and apathetic classic-era self, but when he’s this noble and well-intentioned I could hardly care less. Burns is also in top form as the main villain of the story. It’s among the best and most memorable episodes from season 15 in my opinion.

2. The Last of the Red Hat Mamas



Original Season: Season 17

Director: Matthew Nastuk

Writer: Joel H. Cohen

IMDB Score: 6.6/10

Personal Score: 3/5

Comments: The Simpsons has constantly reconfigured story ideas over the years – Marge wanting friends and an identity beyond the limited parameters of her life as a housewife is one of them. The Last of the Red Hat Mamas is an adequate if forgettable iteration of that motif, getting her involved with a group of ladies who are more scandalous than they first appear. The heist development isn’t too bad - I like how the group takes on a Robin Hood-like status and how Marge is torn between her loyalty to them and her upstanding ways. The episode also makes great use of Homer who races to stop her “from doing something reckless and irresponsible” (that line always makes me chuckle). It’s a funny role reversal and a fine example of self-referential humour that isn’t too on the nose. There’s also that lovely little moment earlier in the episode when Marge returns home to find him sleeping at the door waiting for her to return home. Very cute. Say what you will about Joel H. Cohen, but I think he got Homer’s characterization right more often than not during the SD Jean era. Unfortunately, the B plot is woeful. Milhouse teaching Lisa to speak Italian starts out okay, but it falls off a cliff when Milhouse is revealed to be a suave womanizer. It’s a decent episode otherwise, I reckon.

3. Girls Just Want to Have Sums



Original Season: Season 17

Director: Nancy Kruse

Writer: Matt Selman

IMDB Score: 7.2/10

Personal Score: 3.5/5

Comments: Even Selman couldn’t rise above the pervading mediocrity of the HAB production cycle. Girls Just Want to Have Sums isn’t a bad episode by any means. In fact, it features some typically astute character work and observational humor about gender roles and political correctness. However, these positives are offset by many of the same issues that are symptomatic of the time including a protracted intro, facile and cartoony satire, and a half-assed conclusion. It's disappointing (there’s that word again) because some of the fixes and changes seem obvious to me. Did the Itchy & Scratchy musical need to go for so long? It’s fine, I guess, but the story loses space to breathe especially in the second and third acts. Did Skinner's sexist comments on stage need to be so awkward and clumsy? No one talks like that in real life - the dialogue is unnatural and badly performed by Shearer not to mention there’s been no indication in the past that he’s had views like this. It’s just a blatantly contrived way of inciting the conflict and themes of the episode.

Fortunately, the subsequent school assembly scene is much better written. Skinner’s attempt to tiptoe around the issue and be diplomatic only angers the crowd further which leads to him losing his job. It’s quite effective at illustrating how emotionally charged social issues like these are beset by hypersensitivity and antagonism, the breakdown of empathy and communication, the desire to villainize and punish those with whom we furiously disagree, and the seductive appeal of outrage. All of which is even more relevant today than it was well over a decade ago. The second act is the strongest of the episode. The gender segregation elements are extreme and unsubtle, but they're effective at exaggerating and therefore mocking the common assumptions people have about boys and girls including their capabilities and inclinations. Lisa herself is in fine form though her ability to get away with pretending to be a boy stretches my suspension of disbelief. Why does no one in the girl’s section of the school notice that Lisa is missing for long stretches of time and how does she even get enrolled as a new student? It’s a contrivance, but I can stomach it.

Time constraints force the episode to wrap things up quickly and haphazardly. We don't see the school return to normal or Skinner regaining his position as principal. Selman wants the audience to assume that everything goes back to normal (as it always does), but it makes the episode feel distinctly unfinished. Even Lisa’s speech is shallow and overly moralistic, resembling a Saturday morning cartoon and neutering the issues at hand.

4. Treehouse of Horror XII



Original Season: Season 16, 19 & 17

Director: David Silverman / Chuck Sheetz

Writer: Bill Odenkirk / Marc Wilmore

Personal Score: 3/5

Comments: Of the remaining 15 pre-HD Treehouse of Horror segments to choose from, only two or three qualify for instant inclusion as far as I’m concerned. Of course, I have to select six which means settling for some mediocrity. The three segments for this special are from seasons 16, 19 and 17 respectively.

The Ned Zone is probably my favourite. The premonitions are unnerving and I like the tone it creates with Ned being unable to change fate. Homer is absolutely repulsive but, y’know, I dunno, nostalgia and rose-tinted glasses I guess? Give me a break, okay, I was 12 years old when I watched this. Have mercy on my Stockholm Syndrome-d soul.

E.T. Go Home has flickers of potential. It might be the best use of Kang/Kodos since, hmmm, a long time ago? I’m actually struggling to recall all the times they’ve been used post-Scully. I’ll get back to you on that. Or not. Probably not. I’m crazy enough as it is. Seriously though, it’s not an awful segment and I like the modest attempt to subvert the innocence of the source material, but it’s definitely very lightweight. As @tyler pointed out in his THOH thread, I think it would have benefited from having Lisa be more supicious (like she was in early THOH stories like Hungry are the Damned, Bart Simpson's Dracula, etc) and a
counterpoint to Bart's credulity.

I’ve Grown a Costume on Your Face is also very thin, but there’s a lot of cool visual material including the designs of the characters and the tantalizing glimpses of the chaos that ensues. Sadly, the short runtime hamstrings everything which is a pity because the concept is solid for a THOH segment and it could have been great if it wasn't rushed (or had been made during the classic era obvs).

5. The Haw-Hawed Couple



Original Season: Season 18

Director: Chris Clements

Writer: Matt Selman

IMDB Score: 7.2/10

Personal Score: 5/5

Comments: Over the past few years since I became active on NoHomers, you may or may not have noticed that I have a love-hate relationship with post-classic Simpsons. I still get excited about new episodes (and occasionally enjoy them for what they are), but I wait with bated breath for news that the show has been cancelled and I get a bizarre sense of satisfaction every time the ratings for a new episode fall to new lows. Dat cognitive dissonance ya’ll. I want the show to be put to rest because I like endings, but I’m in too deep and will stick it out for as long as either of us exists so might as well settle into that “mindless, happy stupor” Lisa warned us about several eons ago. From time to time, the stars will align and I’ll watch a genuinely great episode that gives me joy and makes it all worthwhile.

The Haw-Hawed Couple is one such episode. It’s a delightful character study that sheds light on and adds depth to Nelson more so than any other episode (including Sleeping with the Enemy). Selman writes a solid story that humanizes Nelson and explores what makes him tick, delicately balancing interpersonal drama with levity in the process. The craftsmanship is a cut above other contemporary episodes with excellent characterizations, pacing, editing, humour, and dialogue with few moments that make me cringe or raise my eyebrows confusedly. I really like how Nelson is so unpredictable and unstable because it allows the character to remain threatening yet still sympathetic. The Homer and Lisa subplot is also fabulous, containing lots of adorable interactions.

My only complaint is that the ****** joke didn’t need to be explained and the Harry Potter parody is weak (the visuals and references are as generic as they come). Aside from that, I’m a big fan of the episode. If only the rest of the JAB production cycle had maintained this standard of quality.

6. My Fair Laddy



Original Season: Season 17

Director: Bob Anderson

Writer: Michael Price

IMDB Score: 6.4/10

Personal Score: 4/5

Comments: My Fair Laddy is modestly successful as a belated showcase for Groundskeeper Willie. I haven’t seen the source material and can’t comment on the efficacy of the parody, but it certainly comes across as affectionate through the charming musical numbers and choreography. The story is formulaic and light on jokes, but it’s competent and buoyed by some excellent character work not to mention a sensational vocal performance by Castellaneta. I’m ambivalent about the subplot (though the pants commercial is hilarious) and the obnoxious bombardment intro gets on my nerves. Also, I wish Lisa came across as less opportunistic and that Willie’s longing for his humble shack had more impetus. Aside from that, it’s a nice episode and definitely among the best of season 17.

7. Papa Don't Leech



Original Season: Season 19

Director: Chris Clements

Writer: Reid Harrison

IMDB Score: 6.0/10

Personal Score: 3/5

Comments: Sequels to classic episodes of The Simpsons are inherently at a disadvantage. They inevitably draw comparisons to their golden age progenitors and almost invariably fall short. It seems counter-intuitive and self-defeating for the show to make explicit reference to and/or directly follow-up on past events because it accomplishes little beyond reminding us how much better the early years were. To be fair, after being on the air for so long, mining previous stories for ideas is hardly a shock. I suppose it makes for a good headline and promo. On rare occasions, we get a worthwhile and effortful sequel like Half-Decent Proposal. Most of the time, they’re just bad and exist only to capitalize on nostalgia. Sometimes, however, they come out closer to the middle and barely rise above or fall below mediocre. That’s where Papa Don’t Leech lands for me.

I used to dislike this, but I’ve come around to it a little in recent years. It’s got absolutely nothing on Colonel Homer (which is one of the best martial conflict episodes of the series), but it has some positive aspects. To its credit, the story doesn’t fall into the very obvious pitfall of turning into another redundant marriage crisis. As a matter of fact, Homer is very much on the periphery and Marge takes centre stage in her attempt to reconnect Lurleen with her estranged deadbeat father. Lurleen herself is sympathetic and her songs are all right. There are a few good gags as well from the Homer lookalikes and ‘Daddy’s Special Pair’ to Wiggum jumping off the roof (which had me in stitches the first time I watched it). As for the controversial dream sequence at the start, yeah it’s distasteful, but is it any worse than Lisa blissfully imagining herself impaling Bart on a Nobel peace prize or Homer imagining himself laughing while Ned is stuck in a burning house?

8. Mommie Beerest



Original Season: Season 16

Director: Mark Kirkland

Writer: Michael Price

IMDB Score: 6.8/10

Personal Score: 5/5

Comments: Mommie Beerest is more than the sum of its parts. Moe decides to renovate the bar? Yawn. Homer suspects Marge might be cheating on him? Groan. Homer and Marge reaffirm their love? Yawn and groan. The individual components that make up the episode sound vapid on paper, but there’s something about the way they all come together that makes the package unexpectedly cohere and work really well. For one, Moe and Marge working together is a refreshing dynamic. It’s also really funny (love the self-referential jab at Jerkass Homer). You’d think Homer’s concerns about Marge falling for Moe would be tripe and a chore to sit through, but the episode wisely chooses not to give his suspicions any credence. Sure, Marge is more absent than usual to work and spend time with Moe, but she never once displays romantic interest in him. Homer’s fears and insecurities concoct what is obviously an imaginary crisis which is fun to watch. It even has some classic era precedence, drawing parallels with his jealous and possessive attitude in Marge on the Lam. I thoroughly enjoy this episode and it’s easily one of the top five written by Michael Price.

9. Yokel Chords

Original Season: Season 18

Director: Susie Dietter

Writer: Michael Price

IMDB Score: 6.8/10

Personal Score: 3/5

Comments: Michael Price attempts to replicate the success of My Fair Laddy with Yokel Chords and the results are decidedly mediocre. As a musical, this is almost certainly the weakest of the pre-HD era with songs that barely register emotionally let alone stay in your head afterwards. The Spuckler kids are too indistinct as individual characters and, even as an ensemble, fail to rouse much interest. I can’t get invested in Lisa’s endearing but vain effort to educate and refine them (unlike with Willie). Cletus and his family simply aren’t compelling enough to carry an entire episode (later HD episodes corroborate this) and is best used in small doses. The Bart subplot is great though. His Dark Stanley prank (which is beautifully stylized and animated) vaguely recalls an earlier version of the character who was more of a harmless jester than a malicious sociopath. The subsequent therapy scenes with him and Dr. Swanson are also good, leading to a surprisingly insightful epiphany about his proclivity for pranks. I think the episode is worthwhile for this alone.

10. Kill Gil, Volumes I & II

Original Season: Season 18

Director: Bob Anderson

Writer: Jeff Westbrook

IMDB Score: 6.2/10

Personal Score: 2.5/5

Comments: Kill Gil, Volumes I & II was considered to be one of the worst episodes of the series when it aired. That's what I remember anyway. That distinction has been supplanted many times over in the years since and, now, this controversial Christmas episode seems quite tame and innocuous in the wake of the HD era. Actually, it attempts a couple of rather interesting and ambitious things. The first is giving Gil of all freaking characters the spotlight. He barely had a few minutes of cumulative screen-time before this and he’s never been well-liked either (personally, I’ve no strong feelings either way). It’s just a baffling choice, but I can’t help admiring how brazenly off-centre and unexpected it is.

The second is the bona fide effort to subvert the Christmas spirit. The cynicism of Gil overstaying his welcome faintly echoes the classic-era and even Scully-era Christmas episodes. The way the story flashes from one holiday to the next over the span of a year is also a unique and engaging structural device, giving it an experimental flavour. However, these strengths are also its weaknesses and it takes them way too far. It’s not remotely plausible that Marge or the rest of the family would let Gil squat in their home for so long out of fear of saying no.

Marge tracking Gil down after he leaves to achieve some sort of catharsis also rubs me the wrong way. I get what they were going for, but it’s so extreme. I suppose they thought that would make it funny, but it sure as hell doesn’t. Marge comes off looking really bad in this confrontation. Gil never intentionally took advantage of your generosity, Midge. He was just clueless, insensitive and selfish. Wait, we’re still talking about Gil, right? Pretty sure I just described Homer. I wonder if making Gil more aware of his parasitical actions and therefore more patently villainous would have made this ending land better. Sure, Gil would look even worse, but I’d take it over the current ending any day. A potentially fruitful idea again squandered by an absence of subtlety, restraint and acumen. And to think, this was written by Westbrook on one of his better days. Good Lord.

11. Thank God It's Doomsday

Original Season: Season 16

Director: Michael Marcantel

Writer: Don Payne

IMDB Score: 7.3/10

Personal Score: 4/5

Comments: Thank God It’s Doomsday is a reasonably amusing episode that pokes fun at doomsayers, calling attention to the thoroughly absurd and arbitrary methods they use to determine the time of the apocalypse, how easily they misinterpret random signs, and their tendency to confuse fiction with reality (as Homer does with Left Below). Some insightful and pertinent observations lurk on the fringes such as the harmful effects ridicule and scorn have on superstitious people. It ostracises rather than rehabilitates and shames rather than educates, sending them deeper into bubbles of fear and extremism. People don't like being wrong and they'll do everything they can to avoid the psychological distress of confronting that. That's partly why they double down on their beliefs or shift the goalposts so easily just as Homer does here. One of many things to ponder in the age of COVID denial and vaccine hesitancy. Anyway, why so serious B-Boy, did you forget this is a comedy show? The episode loses a bit of steam after the ‘rapture’, but I love that it avoids categorically revealing whether Homer actually went to heaven or dreamed the whole thing. The miraculous restoration of Moe’s adds to the ambiguity and the final shot parodying Da Vinci’s The Last Supper is brilliant.

Addendum (15/10/21): The following changes have been made:

• Modified the sequence of episodes, grouping some episodes into smaller thematic groups:
  • Episodes 1 - 3 feature characters taking on new identities and personas to fight against injustices
  • Episodes 5 - 10 feature characters trying to help and support others who are downtrodden.
• Modified the Treehouse of Horror - swapped 'Survival of the Fattest' and 'The Day the Earth Looked Stupid' with 'E.T. Go Home' and 'I've Grown a Costume on Your Face' respectively (both of which were originally included in my next season) as they suit the theme of this season better. Not sure I'll keep 'Survival of the Fattest', to be honest - I'll give that some thought ahead of the next season.
• Removed 'The Seven-Beer Snitch' and replaced it with 'Kill Gil, Volumes I & II'. The former is a nothing episode that barely met the criteria for the theme of this season. I know the latter is widely criticised and disliked, but it fits the bill and it's noteworthy for being a Christmas episode which this season previously lacked.
• Minor and major edits and fixes to the comments for every episode.

 

[CousinMerl]

So season 13 finally appears and it is definitely more of a mixed bag so far to me (which seem to mirror your thoughts here).

Some of the choices are really good and agreable (I love that 'Simple Simpson', the superhero movie parody, is the season opener as that one is a lot of fun, and 'Mommie Beerest' I always really liked though it often doesn't seem to be very beloved. 'The Haw-Hawed Couple', 'My Fair Laddy' & Thank God It's Doomsday' are all good choices as well.

I'm a little surprised to see a fairly scatching review of 'Girls Just Want To Have Sums' but I still cannot disagree with what you write about it, much as I do agree about the flaws and issues of the episode (which, while a good one, I'm not a huge fan of. It is a pretty decently good episode with a neat premise and a lot of great elements, but it has problems that do get in the way, maybe especially the lazy way it just ends with a lot of loose ends, which was annoying for an otherwise interesting plot).

Then there's a lot of episodes that are alright, mediocre or just pretty bad. 'Papa Don't Leech', 'Yokel Chords' & 'Kill Gil Vol I & II' are three I never really cared for but find pretty bad (I never hated these, but find them quite dull and shoddy, which seem to go for many late SD Jean episodes. I remember watching a more part of season 19, which I formerly enjoyed, and many of the episodes are blah). 'The Last Of The Red Hat Mamas' on the other hand is a pretty decent one, not too memorable but not bad.

As for the 'Treehouse Of Horror', I think Ned Zone is an obvious agreeable choice, but I disagree on 'E.T. Go Home' as I never was a fan of that one (a surface-level parody that gets a little too messy and rushed in the end) so I'd personally have either 'Survival Of The Fattest' or 'In The Belly Of The Boss' (both of which I remember as better movie spoofs). 'I've Grown A Costume On Your Face' is short but decent with some creativity in the plot so I guess it is a nice one to end the episode on.

I definitely get the feeling that it is harder to find and pick out actually good episodes the further into the post-classic SD Jean era one gets (which makes sense as it is not as good as seasons 13-15 and maybe 16) but I still find the choices generally well reasoned, even though there's more disagreements to be made so far in the thirteenth season.

 

[Wile E. the Brain]

Gotta love your dedication to stick to a theme for a complete season, even if it means to include episodes that aren't always that good (and to keep the ones that are "important" whether they're good or not).

Another interesting batch, albeit it does contain a couple of episodes that I personally consider stinkers (like Papa Don't Leech and Kill Gil), but still great to hear you reasoning. I have a lot of fondness for The Last of the Red Hat Mamas, one of H. Cohen's finest efforts in my opinion (even the subplot doesn't bother me that much, though I agree that the ending is almost laughably ridiculous). And The Haw-Hawed Couple remains one of my absolute favorite Jean-era episodes.

 

[B-Boy]

Thanks for your feedback guys. I truly appreciate that anyone at all is interested in my waffling.

@CousinMerl I actually like Sums more than my score or comments would suggest. Like you, I like the premise. As for finding it difficult to find and pick out good episodes from the SD Jean era, that's absolutely true especially given I'm compiling four seasons worth. If I were doing an actual best of the best of SD era Jean, I'd likely only have two seasons at most.

@Wile E. the Brain Just to clarify my modus operandi, I don't pick a theme first and then select episodes second. I shortlist all the episodes I want to include first and then work out interesting ways to sequence them. So most of these episodes would have been included one way or the other.