Abridged Post-Classic Simpsons - REDUX

@B-Boy, Oh yeah, I forgot about 'My Fair Laddy' somehow, which I also quite like (and I do appreciate how it made the cut), but I'd still pick 'President Wore Pearls' over it, much due to the great work done with the plot (which is arguably the strongest of the show's musical episodes so far, maybe even over 'Simpsoncali' which has plot problems).

And like @Szyslak100 I am a little disappointed that 'It's The Grand Pumpkin, Milhouse' got snubbed for the 'Treehouse episode. I'm surprised it didn't make the cut despite its popularity and it deserved being on there, but like before, I respect your choices, @B-Boy.

I definitely don't hate it anymore but I'd pick The President Wore Pearls, The Star of Backstage, and even My Fair Laddy over it. Two things pissed me off from that episode: the songs and the shallow unfitting parody. The latter remains so I still don't think it's a truly good episode (but I would happily rewatch without judging it for being a musical)

It is nicethat you don't despise 'Simpsoncali' anymore, at least. Seems like I guessed correctly that you don't think it is a great episode but an alright one that you at least can watch without it making you so angry that you hate it.

(I don't want to derail the thread much more, but I would like to know why you find the parody is shallow and unfitting? How could they have made the 'Mary Poppins' spoof work without pissing you off? I am interested in knowing).
 
Sorry for my two-day-late and very thin answer, @CousinMerl. Basically, I think it's one of those cases where the show adapts itself to the source material, when it must be quite the opposite, sacrificing its essence and style to carry on the parody. And so, the episode is plenty of cheesy moments, Shary Bobbins is way too perfect for Springfield and I don't like how everyone praises her every time, some characterizations are exaggerated for the plot's convenience, and there are a bunch of cartoony moments.

All in all, I think it's unfitting because I feel I am watching a Disney Movie featuring The Simpsons characters, and not The Simpsons featuring Mary Poppins.
 
My apologies for not including Grand Pumpkin in the Halloween special. Totally my fault for not setting expectations when I asked for your input. I wanted to see what people thought of the options and those opinions could have influenced my final decision, but ultimately didn't. I really need to see the source material one of these days. I might think differently afterwards. Grand Pumpkin would have been my next inclusion so feel free to just switch out one of the other three if that's what you prefer.
 
Oh, I see. If I would have known beforehand that we were supposed to convince you I would have written three times more about the segment and another one saying why I don't like How to Get Ahead, hahaha. No seriously, it's fine as I said before.

Also, I wanted to know a bit about your abridged HD era, because now we are close to the end of the SD era and I started to look forward to it so I am getting curious. If I may make a few questions: Have you picked the episodes, diagrammed any thematic season, or anything (beyond the already mentioned finale season that you mention on the OP)? And also, what are your plans for episodes from the upcoming season(s)? Will you end the project while the series is still on the air, at least momentaneously? or will you make time to see if the show is eventually canceled in season 34 so your project is definitely concluded by then?
 
If I may make a few questions: Have you picked the episodes, diagrammed any thematic season, or anything (beyond the already mentioned finale season that you mention on the OP)? And also, what are your plans for episodes from the upcoming season(s)? Will you end the project while the series is still on the air, at least momentaneously? or will you make time to see if the show is eventually canceled in season 34 so your project is definitely concluded by then?
All great questions, some of which I don't have a confident answer to yet! I've almost finished re-watching up to the end of season 30 so I have a couple more seasons to go before I start finalising my selections. As you can imagine, it's a mammoth task and I've already long-listed nearly 150 episodes. Once I've caught up and finished that, I'll go through it and refine it further, creating a short-list. My current intention is to assemble six 25 episode HD seasons which means selecting 144 episodes in addition to six Halloween specials for a total number of 150.

I haven't even started thinking about how to sequence them yet. Well, except the final season, as you said. I've pretty much got that worked out already, but there could be changes/additions to it depending on episodes that air between now and when I eventually get around to it. Super keen for that one. You think I've written lots already? Just you wait! I'll be consciously toning down some if not most of the comments for the first 4 or 5 HD seasons for that reason. One thing I'll be keeping in mind though is Marge's voice. Going from a season 20 episode to a season 32 one would be jarring, right? So as a general guideline (but not a strict rule), I'll probably try to keep episodes from the early HD seasons up front. There are also some continuity things for me to keep in mind such as Marcia Wallace's death rest her soul.

With regards to upcoming season 33/34 episodes and beyond, I'll definitely be considering them as I continue work on this project, but I have no reason to believe that the show will end so I'll eventually have to settle for finishing this while it's still on the air. The most likely possibility is that I'll eventually compile a seventh season if, years from now, there are enough new worthy episodes to make a full season. We'll just have to wait and see what the future holds! :)
 
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That answer certainly cleared up my doubts. Thanks for taking the time to respond to them. Some interesting "news", to be honest. I didn't expect seasons of 25 episodes since I thought you would probably struggle to find the surprising amount of 150 worth watching episodes. That's almost like seven seasons of 22 episodes, which is a lot. And I am really expecting to see how the seasons look like and what you have to say about them (don't tone them down that much, haha). It's great to know the idea is to finish the project even if the show hasn't ended yet. I want to rewatch the classic era and, after that, I will start these seasons.

Regarding Marge's voice, is certainly a problem in the HD but I am not sure if a big one enough to limit experiments. I also thought there are quite a few continuity changes that will make it harder to change the order of the episodes (especially when the real show makes stuff like killing Alice Gilck but then bringing her back as if nothing happened).
 
I didn't expect seasons of 25 episodes since I thought you would probably struggle to find the surprising amount of 150 worth watching episodes. That's almost like seven seasons of 22 episodes, which is a lot.
It's still up in the air and could easily change once I start the process of refining things. The final season will definitely be 25 episodes, but the others could go back down to 22 each depending on how many are short-listed. I won't go above 25 though so either way you can expect between 135 and 150 episodes for my six HD seasons. That would represent about 45% of the entire HD era which seems about right to me. Remember, I'm not making a true best-of collection and I'm trying to avoid removing massive chunks of the show.
Regarding Marge's voice, is certainly a problem in the HD but I am not sure if a big one enough to limit experiments. I also thought there are quite a few continuity changes that will make it harder to change the order of the episodes (especially when the real show makes stuff like killing Alice Gilck but then bringing her back as if nothing happened).
Very true and I agree. I won't let Marge's voice be the determining factor in how I assemble and sequence the episodes. :)
 
Remember, I'm not making a true best-of collection and I'm trying to avoid removing massive chunks of the show.
Oh sure, I am aware of it. And I personally enjoy about a half of episodes by season so, for me, 45% seems like an accurate amount.

I just thought that a season of backstories could be amazing if there are enough episodes for that. Just a random idea that came to mind, haha. Anyway, thanks for answering!
 
I just thought that a season of backstories could be amazing if there are enough episodes for that. Just a random idea that came to mind, haha. Anyway, thanks for answering!
Cool idea! My final HD season may or may not have a high concentration of flashforward episodes. ;)
 
Oh, I see. If I would have known beforehand that we were supposed to convince you I would have written three times more about the segment and another one saying why I don't like How to Get Ahead, hahaha. No seriously, it's fine as I said before.

Well, I can certainly agree about that. Still, I don't think there's any need to apologize for that as it wasn't a mistake, but rather a bit of unclarity which can happen from time to time and with all of us, but yeah, the choice as is was fine.

I didn't know we should have tried to sway you @B-Boy even more than what we did (and I should have voiced my dislike of 'Dead-vertising' especially) as I got the feeling that what we said and voted for 'Grand Pumpkin' would've been enough, but I guess not (and also, I didn't want to directly influence your choices too much as these are your fan-made seasons), though yeah, 'Grand Pumpkin' would have been a nice option (and I haven't seen the source material, but the segment still worked out nicely).

And as for that has been revealed about your HD seasons with your discussion with @Szyslak100 above, some really intriguing stuff has been revealed (and 25 episodes a season is really something I didn't expect, lol. Now that is quite the tast). I'm looking forward to the continuation even more now. Keep up with the great work done with these curated seasons (and your complete viewing of the series), B-boy!
 
Season 14

Part 2

12. Funeral for a Fiend

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Original Season: Season 19

Director: Rob Oliver

Writer: Michael Price

IMDB Score: 7.1/10

Personal Score: 2.5/5

Comments:
Funeral for a Fiend is one of the stupidest episodes of The Simpsons I’ve ever seen. I swear it makes no goddamn sense. So Bob wants to take revenge on the family for ruining his new life in Italy. Fine, okay, I mean vengeful Bob is stale and the way things played out in The Italian Bob was idiotic to say the least, but I can sympathise with his grievances because, yeah, y’know, he was kinda screwed over. Bob lures the family to a fake restaurant with a TV commercial which, errr, not sure why Bob thinks no one else in town will see it and want to check the place out and raise alarm bells, but turns out he’s right because it’s deserted on grand opening night. Guess no one else in Springfield likes ribs? I do and I’d totally turn up to put an onion in his ointment, but I’m sure Al Jean and co will step up to the plate and make a meal out of this soon enough. Okay, enough shitty food puns. The family falls for the trap, obviously, and they’re complete at his mercy. Wow, Bob, it’s not even the end of the first act and you’ve got them right where you want them. I’m shocked you’re not shocked at how well everything has fallen into place. Surely you can’t screw things up at this point, right?

Of course he can and of course he does and geez that was quick. It went from 0 to 100 and back to 0 again faster than it took me to write this sentence…which was actually quite a while. You guys don’t want to know how long it takes me to write a sentence sometimes. So what are we doing for the next 15 minutes? Maybe someone will actually build this rib restaurant? Bob you diabolical son of a diddly, I see what you’re up to. This was an elaborate scheme to get Homer to finish the restaurant and financially sink the family because clearly no one in town likes ribs! Well, if you can’t kill ‘em you may as well as try and bankrupt ‘em. Nah, that’s clearly way beyond Bob at this point because his real scheme is thoroughly baffling. Let me just make sure I’ve got this right. His ultimate plan is to lure the family into a trap…in order to let them go and lure one of them into another trap? I’ve got that right, right? Can anyone make sense of this gibberish? What the shit is the point of this shit? Has one too many thwarted schemes knocked a few screws loose in his head? He could have killed them all right at the start before anyone even knew he was back in the country!

I know, I know, Bob has always been ostentatious, but his schemes have never been brain-dead. You can’t chalk this up to his usual histrionics because the plan to ensnare Bart at the funeral home only works if Bob knows exactly what everyone around him is going to do and, yeah, no way. How does Bob know Lisa will correct him on his Shakespeare misquote? How can he know that Bart will grab the Nitroglycerin? How can he be certain that Bart will feel guilty about his death let alone want to visit the funeral home (alone, I might add) to make peace? Those aren’t the only questions. Why does he still only want to kill Bart when his grievances now extend to Lisa and the entire family? Nothing adds up and everything depends on the chess pieces acting in very specific and sometimes uncharacteristic ways. It’s just mind-boggling and yet, strangely, I still kinda like this episode? Yeah, I don't understand me either. The inanity makes the whole affair entertaining and it kind of works as a viewing experience in a defective sort of way when paired with The Italian Bob. Both episodes are slightly enhanced as a package and I like how this episode in particular plays out as the most direct sequel to a Bob story.

It feels appropriate to close out SD-era Bob with him raving and drooling in a strait jacket as all three of his episodes under Jean up to now have been varying degrees of deranged. Maybe he’ll fare better in the HD era? To quote Marge from The Shinning, “we’re just gonna have to wait and see”.

13. Any Given Sundance

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Original Season: Season 19

Director: Chuck Sheetz

Writer: Daniel Chun

IMDB Score: 7.1/10

Personal Score: 2/5

Comments:
Any Given Sundance isn’t a good episode even by the meagre standards of the era. If not for a couple of meta elements that are relevant to and suitable for this final SD season, I wouldn’t give it the time of day. I was more charitable when it first aired (as I was with most of season 19 in the afterglow of The Simpsons Movie), but with each subsequent viewing it’s gotten increasingly difficult to deny or ignore the incoherent and mean-spirited mess it is. This is an episode that attempts multiple things, none of which it pulls off successfully. Lisa discovers that she has a prodigious talent for film-making and submits a movie about her dysfunctional family to the Sundance Film Festival. That film turns out to be nothing more than a slideshow of isolated moments with no story or context that presents everyone in the worst possible light. There’s a token effort to examine the dynamics of the family through Lisa’s lens (both literally and figuratively), but it’s reductive at best and pernicious at worst. What do we learn? Homer is stupid and abusive? Bart is a destructive hell-raiser? Marge is neglected and left to pick up the pieces? Lisa is tone deaf and has no compunction exploiting this? I’m just not comfortable with the level of maltreatment depicted here.

We’re also inundated with lazy commentary and awkward gags about the independent film industry (Jim Jarmusch’s guest appearance is predictably awful) as well as a bizarre subplot about Skinner and Chalmers creating their own film production company (this pairing is creepier than Carl and Lenny at this point). The best part of the episode is Nelson’s film which, yeah, I know, is a pale imitation of Pukahontas, but it engages and moves me to an extent which is more than I can say about nearly everything preceding it. As a device to put things in perspective for Lisa and get her to admit her error in judgement, I think it does its job. The family reconciling and walking off together is a nice moment (the Simpsons Movie jab also gives me a chuckle), but even that’s spoiled by the John C. Reilley tag. Ultimately, the elements tumbling around in the washing machine never fall into place. I think this could have been done well under a team that exercised more care and restraint, but alas, it’s a late 2000s episode. I can just tolerate the entire affair if I squint hard enough, turn off my brain and treat it as a cursory curiosity in the context of this final SD season, but it sure is difficult not to think that it could and should have been far better.

14. All About Lisa

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Original Season: Season 19

Director: Steven Dean Moore

Writer: John Frink

IMDB Score: 6.4/10

Personal Score: 5/5

Comments:
All About Lisa gets written off as a carbon copy of Bart Gets Famous, but that’s not entirely fair. Sure, they’re both cautionary tales about the price of fame and the major plot beats are virtually identical (Lisa becomes an intern for Krusty, unexpectedly gets famous helping him with a skit on stage, soaks up the adulation, and then discovers that fame isn’t all it’s cracked up to be). However, Lisa and Bart have very different experiences. The latter is reduced to a catchphrase that’s repeated ad nauseam after which he realises the cruel transience of celebrity when the public gets bored and discards him. Lisa, on the other hand, discovers the addictive euphoria of audience adulation which warps her sense of self and erodes her regard for other people. Both episodes are essentially two sides of the same coin – one is about how fame can diminish the ego while the other is about how fame can inflate the ego. It’s not the first time that a chance at being popular has compromised Lisa's principles. Indeed, she’s always enjoyed being the centre of attention and has routinely shown a susceptibility to addiction which all comes into play here. Her arc is quite distinct and it’s reductive to focus only on the analogous surface-level elements of the two episodes to criticise this. I really like All About Lisa – the narration is wonderful (this is the best use of Sideshow Mel in the entire series), the framing of the story is executed well, and even the B-plot with Homer and Bart bonding amicably is pleasant filler (love Homer’s ruse to get the coin).

15. Home Away from Homer

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Original Season: Season 16

Director: Bob Anderson

Writer: Joel H. Cohen

IMDB Score: 7.1/10

Personal Score: 4/5

Comments:
Does Homer cross the line in Home Away from Homer? This isn’t the first time he’s taken pleasure in seeing Ned fail or embarrassed, but it’s certainly the most active role he’s played in precipitating it. Homer’s motivations have to be very clear and understandable for this to work. In the past, jealously and resentment has underpinned his contempt (indeed, that is or was a crucial element of their dynamic as neighbours), but here he just wants to “feel important” which I’m sure you’ll agree isn’t an endearing reason to be sadistic. By the halfway point, Ned has suffered a very public humiliation as a result of Homer’s callousness and the episode is teetering on the precipice of crashing and burning. What redeems Homer (and, by extension, the episode) is that he experiences real consequences for his actions. He’s physically and verbally bullied by Coach Roberts, getting a taste of his own medicine and developing a newfound appreciation for the “kindness and gentle spirit” of his former neighbour. His plea to Ned to return rings true and feels earned precisely because he was on the receiving end of the abuse for once. So, yeah, look, Homer is an asshole but at least he’s a repentant one so this is nowhere near as bad as it could have been. I’m actually pretty happy with it in the end.

16. Little Orphan Millie

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Original Season: Season 19

Director: Lance Kramer

Writer: Mick Kelly

IMDB Score: 6.6/10

Personal Score: 3.5/5

Comments:
I would describe Little Orphan Millie as akin to returning home and curling up under a warm blanket. It’s a safe, familiar and predictable episode featuring two very sit-commy and schmaltzy plots. That’s not the recipe for a great Simpsons episode (or even a good one necessarily), but benignity has value of its own and I think Little Orphan Millie is a good example of when the show does mediocrity well. That sounds like an oxymoron, I know, but I’m pretty much a walking oxymoron so no surprise there.

Kirk and Luanne getting re-married is a welcome change to the status quo, concluding a decade-long arc that began at the dawn of the post-classic era and effectively restoring a tiny facet of the golden age. The drama and comedy wrung from the animosity between them (along with the impact that had on Milhouse) was drying up in the end. Divorced parents can and sometimes do reunite (mine did) so this opens up opportunities to examine that aspect of domestic life and present a different dynamic in that household (whether the show actually does this going forward is up for debate). I have a couple of questions about this development though. When and how did they reconcile their differences let alone fall back in love? I know they briefly got back together in Milhouse of Sand and Fog (though I’m still unclear on why Luanne suddenly found Kirk desirable again in that episode), but wasn’t that short-lived when she thought he was having an affair with Marge? Sure, they could have worked things out afterwards, but I can’t recall seeing or hearing anything about that happening let alone rebuilding their relationship to such a point that they’re ready to re-marry. More connective tissue was needed between seasons 17 and 19 for this to be less jarring and confusing for me.

I commend the attempt to focus on Milhouse and present him in a less pathetic or pitiable way. The disappearance of his parents creates a powerful impetus for him to reflect on his infantile behaviour, leading to some radical yet believable personality changes. It takes long established character traits and does something with them. The emo route may not be the most interesting one to take, but I think it stays true to Milhouse (I like the girls swooning over him, but I wish Lisa and Nelson weren’t involved because it’s not consistent with their characters). Bart’s role in the story is mixed, the first act of which features some nice scenes of him having fun with Milhouse. The second is misguided – Bart being called the most popular kid in school and trying to reclaim that status from emo Milhouse doesn’t sit right with me. The third act is better and I like how his anxieties pivot to a fear of losing his best friend. The third act is messy though. Norbert is over-the-top and never seems like a real person, embodying many of the usual excesses of the Jean era. The ending is also stunningly rushed, lazy and contrived. They clearly ran out of time and had no idea how to resolve the story.

At the risk of destroying my credibility (if I even had any to begin with), I think the subplot is freaking adorable. It’s hackneyed and serves as nothing more than a frivolous diversion that plays out exactly how you expect, but it’s also quite wholesome and congenial to my (very) simple tastes. Homer acts clumsily at every turn, but constantly means well and I think it’s exactly the right characterisation for him in the post-classic era. The drama isn’t laid on too thick and not too much time is spent on it at the expense of the main plot which also goes in its favour. All the jokes are obvious (Homer not knowing their anniversary date), but I still find them funny and charming (especially the song). Yes, this has been done before many times over, but the interactions are affable and the execution agreeable.

Little Orphan Millie feels comforting and reassuring precisely because it’s easy and expected. There’s nothing challenging, confronting or controversial about it. That won’t satisfy anyone who wants this show to be sharp, edgy and incisive, but it works for me when I want something mild and modest.

17. Dial 'N' for Nerder

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Original Season: Season 19

Director: Bob Anderson

Writer: Carolyn Omine & William Wright

IMDB Score: 7.4/10

Personal Score: 4/5

Comments:
When they work together, Bart and Lisa are a force to be reckoned with, solving or achieving almost anything when they put their minds to it (writing Itchy & Scratchy scripts, reuniting Krusty with his estranged father, saving greyhound puppies from the tyrannical Mr. Burns, and thwarting a criminal mastermind on multiple occasions). So what happens when they team up for less noble reasons? What happens when they’re complicit in a cover-up? Dial ‘N’ for Nerder explores these ideas and the result is a good if imperfect inversion of a well-worn trope.

There are interesting role reversals in this episode. Bart, usually an unapologetic troublemaker who tries to avoid getting caught and punished, is wracked with guilt and wants to turn himself in. Lisa, usually a paragon of virtue, schemes to suppress the truth of their involvement. Nelson, usually an unrepentant bully who takes pleasure in tormenting Martin, takes on the role of suspicious sleuth to get justice for him (love his imitation of Columbo). It’s all decidedly unusual and risks compromising the characters, but the reasons and motivations that inform and underpin their actions stay true to who they are.

It’s hilarious how quickly Bart and Lisa crumble under the pressure, constantly overcompensating and drawing attention to themselves. Normally, they’re extremely competent and composed as a duo, but in this case they can’t handle the remorse or paranoia and fall right into Nelson’s trap. The explanation of how Martin survived the fall is a bit ridiculous (and not in a good way like Bart the Murderer), but I can live with it. As for the subplot, well, it’s very strange to say the least (I’ve never been as weirded out by The Simpsons as I was the first time I saw Homer with the spit of gyro meat in the motel room), but in fairness it's a decent send-up of Cheaters and I like how it’s thematically relevant to the main plot (the scene with Homer and the kids lying to each other is amusing).

Addendum (26/10/21): Rather than have you wait another week or so for the final 12 episodes, I thought I'd share the next six for you to chew on in the meantime.

The following changes have been made:

  • Minor and major edits and fixes to the comments for 'Any Given Sundance', 'Home Away from Homer' and 'Dial 'N' for Nerder'.
Six episodes to go! Can you guess what they are? I reckon three are obvious, but I’m curious to hear your predictions!
 
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Part two of your season 14 is pretty decent overall. Got some good picks in there for sure with the likes of 'All About Lisa', 'Dial N For Nerder',
Little Orphan Millie' and surprisingly 'Home Away From Homer' (which never seemed like a fan favorite and not very liked, but I always thought it was pretty decent and memorable, actually. Not one of my favorites but still an interesting, entertaining one).

I was more charitable when it first aired (as I was with most of season 19 in the afterglow of The Simpsons Movie), but with each subsequent viewing it’s gotten increasingly difficult to deny or ignore the incoherent and mean-spirited mess it is.

You and me both, dude. I think there was something with 'The Simpsons Movie' that gave me a dose of optimism and goodwill with the following S19 and caused me to be a little too lenient with several of the episodes (and going back to check on my initial grades for a lot of them has been one of the few things on this board I feel so embarassed for. Rewatching part of season 19 from the start a while back really revealed that the season, despite some good stuff, is plagued by painfully weak & average episodes).

Anyhow 'Any Given Sundance' and 'Funeral For a Fiend' are both pretty meh episodes, especially the latter which makes no sense like you said. When I was rewatching it was only the family who answered the steakhouse commercial (of a large town fully of hungry individual), I knew it was gonna be a nonsensically written episode that relies too much on contrivances. That said, I do like some elements like the Terwilliger family reunion and Krusty's song for Bob (with him plugging a new product), but still a weaker one.
 
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I've always had kind of a soft spot for Funeral for a Fiend even though I know this is a very stupid and not-that-good episode, with the most convoluted plot Sideshow Bob came up with (yet ?), and considering his DNA plot which is almost equally ridiculous, that says something. But... I don't know, it's part of this episode's charm to me, it's unapologetically convoluted and off-the-wall, that somehow it's pretty entertaining to me (and Homer circling the funeral home while Lisa explains the plan always gets a good laugh out of me). It's almost as if the thing I buy the least in this episode, it's the town suddenly having a change of heart about Bob when he "dies", aha.
 
You and me both, dude. I think there was something with 'The Simpsons Movie' that gave me a dose of optimism and goodwill with the following S19 and caused me to be a little too lenient with several of the episodes (and going back to check on my initial grades for a lot of them has been one of the few things on this board I feel so embarassed for. Rewatching part of season 19 from the start a while back really revealed that the season, despite some good stuff, is plagued by painfully weak & average episodes).
I hear you man. I'm constantly embarrassed by what I've written in the past haha. On that note, I often forget how long you've been on here. Not many names from that time are still around and active. Glad you're still with us!

But... I don't know, it's part of this episode's charm to me, it's unapologetically convoluted and off-the-wall, that somehow it's pretty entertaining to me (and Homer circling the funeral home while Lisa explains the plan always gets a good laugh out of me).
Yup, me too. One of those strange and inexplicable things. Also love that bit with Homer circling the funeral home.
 
I'll too admit that 'Funeral For A Fiend', despite the really wonky and contrived script (and the amounts of filler in the first act that drives me nuts) still has its moments, but the problems I have with it do overshadow the good parts.. I wish that a story like that would've been done justice (I can imagine an at least decently good two parter with the Terwilliger clan plotting revenge on the Simpsons, but they wasted a big idea that deserved better on a normal, problem-filled episode. Oh well).

On that note, I often forget how long you've been on here. Not many names from that time are still around and active. Glad you're still with us!

I haven't really thought of it a lot, but it is true I'm one of those few from the first five-six years of the board's existence who's still around posting and that makes me feel kinda old around the big amount of newcomers from recent years, but I'm still proud to still have an interest in the show (and animation in general, of course) enough to still be here.

And speaking of 'The Simpsons Movie', I sometimes forget how so many joined after seeing it (many of which are still around). Even though the movie has sort of become a little forgotten, it still had quite the impact, especially as it created new fans.
 
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It's interesting how this experimental list takes more episodes from season 19 than anyone else. It's not often mentioned but it's pretty damn dark and has an eerie atmosphere for the most part. The season has a lot of deaths, crimes, mean-spiritism, and other weird stuff like Homer's dream in Husband and Knives or Lisa and a group of girls smoking. Just glance at the premises: Homer and Marge are both kidnapped, Milhouse's parents are presumed dead, Sideshow Bob and his family tries to burn Bart alive, Bart and Lisa are murderers. And a long et cetera, and that without mentioning little jokes or minor scenes. Some stuff are perturbing and feel out-of-place for this series, but some others feel distinct and they are sometimes successful. Dial 'N' for Nerder, for example, is great, despite the dark premise.

I like Any Given Sundance a lot so I am glad it was included even if by default. It tells an original story, it presents the Simpsons family from a different perspective (a harder one, but not less fair), the satires of these festivals and the industry in general are on-point, and some bits of it are really good, with Chalmers and Skinner being amusing all along and Nelson stealing the show with his film.

The other four episodes are all right, maybe slightly above average for me. But there is nothing outrageous and they don't clash with the thematic season. I've always found All About Lisa very forgettable despite being a gimmicky episode and a season finale, but it could work a tad better in this experimental season. Funeral for a Fiend could work as well coming immediately after The Italian Bob, almost as a one-hour special, but I dunno. You have already accurately pointed out their problems and I find them very expendable. Home Away from Homer is just another Homer and Ned's episode that I don't like as much as other fans do, a problem I got since the classic era and still exists. Little Orphan Millie is great when it studies Milhouse's character and evolution but the Van Houten's backstory brings it down.

Since you asked, my best guesses for the final run of the season are:
  • I D'oh-Bot.
  • Smart & Smarter.
  • Future-Drama.
  • Ice Cream of Margie (With the Light Blue Hair).
  • 24 Minutes.
  • Eternal Moonshine of the Simpson Mind.
 
I used to really enjoy ”Funeral for a Fiend,” even calling it my favorite of season 19 at one point. I’ve definitely soured on it, though, for the precise reasons you mentioned: The plot is simply too convenient in how everything works perfectly for Bob. I can’t suppress my disbelief in the episode, and it just doesn’t work because of that. It is still better than “The Italian Bob,” and I think Bob is still mostly a good character in it. I’d be a tiny bit more generous and give it a 3/5, but it’s definitely not the 5/5 I used to think it was.
 
Of @Szyslak100's guesses, I would be surprised if 'I D'oh-bot' (gotta have the last Lauren MacMullan episode, why not?), '24 Minutes' & 'Eternal Moonshine Of The Simpson Mind' doesn't make the cut, at least. I can also see the others being among them, especially 'Smart And Smarter' (always liked that one) but other than those and some a little more wacky episodes like 'The Fat And The Furriest', none that hasn't been chosen already stand out especially much of seasons 15 to 19.
 
Since you asked, my best guesses for the final run of the season are:
  • I D'oh-Bot.
  • Smart & Smarter.
  • Future-Drama.
  • Ice Cream of Margie (With the Light Blue Hair).
  • 24 Minutes.
  • Eternal Moonshine of the Simpson Mind.
Solid guesses!
 
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I have been paying attention to the hints lol. If it was six out of six, what's my prize? 🤣
 
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I have been paying attention to the hints lol. If it was six out of six, what's my prize? 🤣

Seems like you were right on the money with your guess. Those six do seem like some very probably choices even to me.
 
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Hi guys, I just wanted to give those who are waiting for the next post a heads up. It's been a very difficult week personally, but I've only got comments left to write for one more episode so, come hell or high water, the final six SD episodes will be posted later this week. 👍
 
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Season 14

Part 3

18. 24 Minutes

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Original Season: Season 18

Director: Raymond S. Persi

Writer: Billy Kimball & Ian Maxtone-Graham

IMDB Score: 8.1/10

Personal Score: 5/5

Comments:
I might run out of superlatives for this one. 24 Minutes is a tour de force and, arguably, the pre-eminent parody of Jean-era Simpsons. It sticks out from dozens of other mediocre and forgettable parodies for one very simple reason; those involved in putting it together clearly had extensive familiarity with and appreciation for the source material, deftly demonstrating a keen understanding of 24 from its tone and aesthetics to its conceits and motifs. In doing so, they not only succeed at delivering an accurate and affectionate tribute, but also a relentless and remorseless mockery.

I cannot overstate the sheer brilliance of translating 24 to The Simpsons using the setting and denizens of Springfield Elementary. It would have been easy to play the parody straight by writing a story about terrorists targeting the Power Plant and casting Homer as the hero who foils the plot. Instead, the focus is on the kids and the threat is nothing more than an elaborate prank to sabotage a school bake sale. That...is fucking perfect. That's a stroke of genius because it trivialises the gravity and urgency of 24's bleak storylines. The school has its own full-fledged C.T.U. to track down truants for chrissake, deploying massive resources just to stop a few kids from setting off a glorified stink bomb! It's so ridiculously silly, but it's also absolutely hilarious and exactly the right direction to take. Crucially, the characters still take it seriously; everything still matters and means something to them. They have real stakes in what happens, anchoring the farcicality of the story with an emotional core.

On that note, the transpositions are impeccable. Bart as the rogue agent, Lisa as the analyst, Skinner as the bureaucratic director, the bullies as the terrorists, and Martin as the mole is totally on point. The execution of other structural and stylistic elements is also exemplary. From the titles and the music to the split-screen boxes and the ticking clock, every distinctive detail is meticulously incorporated and lampooned. Even the pointless Homer C-plot pokes fun at the filler 24 was notorious for. In addition, the episode mocks many of 24’s biggest narrative clichés including the excessive use of phone calls, the over-reliance on physical intimidation as a means of obtaining information, the obtuse proclivity of characters failing to detect obvious dodgy behaviour in traitorous coworkers, and the tendency to talk or wait too long before revealing crucial information which gives villains time to intercept.

Head of nail squarely hit, Simpsons staff.

If I have one criticism, it would be the appearance of Jack Bauer and Chloe O'Brien. The cameos were unnecessary, drawing too explicit a link between the two shows and their respective universes. This was produced at the height of 24's creative and critical success so it's not exactly a shock that it's two most recognisable faces made an appearance, but I could have done without them. Fortunately, they're fleeting so no harm done. Aside from that, it’s completely bang on. As a big fan of 24, this is an absolute joy for me to watch. The grip on and mastery of the source material is exceptional and no other 24 spoof before or since has eclipsed it. Even if you're unfamiliar with 24, this is still an accessible and accomplished episode in its own right. I could wax lyrical about it all day.

Of all the parodies The Simpsons has done, 24 Minutes can stand alongside the best of them.

19. Smart & Smarter

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Original Season: Season 15

Director: Steven Dean Moore

Writer: Carolyn Omine

IMDB Score: 7.1/10

Personal Score: 3/5

Comments:
I struggle to reconcile my fondness for Smart & Smarter with its unassailable shortcomings. As with many other episodes of the mid-noughties, it aired around the same time I delved into the show for the first time. I was just 12 years old and that childhood nostalgia is impossible to extricate from my perception of it, doubtlessly accounting for my subsisting leniency. Honestly, there’s a lot to criticise and dislike particularly with regards to Lisa whose jealousy of and petulance at her infant sister is nothing short of bewildering. Her refusal to accept that someone else is more talented than her and her inability to deal with not being the centre of attention is reminiscent of Lisa’s Rival, but her reactions here are several orders of magnitude more extreme and less likeable. Alison was almost the same age and more or less her equal yet Lisa never had a crisis of identity. When had she ever demonstrated such an unstable sense of self before this? How could Maggie, a freaking baby for crying out glavin, cause such a profound disturbance? Lisa reduces everything she is to an IQ number, dismissing all the other things that make her unique including her moral values, philosophical beliefs, social conscience, and musical talents. It’s outrageously reactive and reductive on her behalf not to mention insulting how both Homer and Marge pretty much validate it by encouraging her to seek out a new identity. What shitty parenting.

The denouement is pure drivel. It strains my suspension of disbelief well past the breaking point that Lisa didn’t realise she was giving Maggie the answers and that everyone else was oblivious as well. I mean, presumably Henry was looking straight ahead at Maggie so Lisa was smack bang in the middle of his field of view. So is Maggie a genius or not? Didn’t she correctly answer Lisa’s cue cards or were those just lucky guesses? Also, she can play the saxophone fluently? I’m very confused about what Maggie can and can’t do of her own accord because the episode is constantly shifting the boundaries. There’s no consistency let alone internal logic so why should the audience care about what happens when the unreality of this world becomes so transparent and their immersion disintegrates as a result? This is what people mean when they say that Jean-era Simpsons is often just ‘stuff that happens’. Nothing matters or has meaning when anything can occur and one scene after another can disregard what precedes it. Don’t get me started on the unintelligible ‘butler Moe and maid Barney’ horseshit.

I should hate this episode, but even focusing on and articulating its problems doesn’t make me feel anything harsher than ambivalence. I have a soft spot for it mainly because there are few others that give Maggie so much screen-time and even fewer that focus on her relationship with Lisa or Bart. It still has novelty for precisely this reason and, I gotta say, she’s pretty frigging adorable from start to finish. The episode is also buoyed by some funny moments which act like duct tape to stop it from falling apart at the seams. Homer’s failed prank on Bart, Homer realising he can use the Phonic Frog to get out of work, and a few moments with the cops get a laugh out of me. I also like the final set-piece with the family getting stuck in the giant human body exhibit (“Well Marge, you can’t say I never take you anywhere”). That’s about it really. I won’t pretend I can rationalise my affection for this episode because Lord knows it requires more than a few concessions which it doesn’t earn or deserve, but I do and I’d take this over what remains on the cutting room floor.

20. I, (Annoyed-Grunt)-bot

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Original Season: Season 15

Director: Lauren MacMullan

Writer: Dan Greaney & Allen Glazier

IMDB Score: 7.3/10

Personal Score: 5/5

Comments:
Has there been a better Bart and Homer episode in all the years since I, (Annoyed Grunt)-bot? I truly can’t think of any that measure up to this one which is another jewel in director Lauren MacMullan’s crown. This is arguably the safest and least inspired episode she worked on in terms of story (which is a mishmash of Saturdays of Thunder and King of the Hill), but the animation is breathtaking from the atmospheric shadows and colour palette to the expressive motion of the characters. I personally think this episode represents her best work visually speaking and that’s saying something.

Make no mistake though, the main plot is excellent. Greaney and Glazier come to the party with a polished script that delivers energy, hilarity and affection in spades. It also features an impressive number of fun and exciting set-pieces from Milhouse racing across the neighbourhood to the Simpson house and Bart trying to stay on his disintegrating bike to all the Robot Rumble fights (which have some great robot designs). Homer and Bart’s characterisations are phenomenal (they seriously rank among their very best in the post-classic era) and their interactions are totally on point comedically and emotionally. Their story maintains the perfect balance of cynicism and sincerity just as the show did so consistently and effortlessly in its heyday. It ends on such a sweet note with no joke, gag or tag to undercut it. Honestly, was this really so hard? It’s a season 15 episode that retreads multiple classic episodes and they still knock it out of the park because everyone clearly put in genuine effort.

What else can I say? Oh, yeah, the subplot. It’s very grim and mean-spirited, but I think I kinda like and admire the audacity? It’s really just filler that’s more pointless than usual, but I like the Marge and Lisa interplay and get a kick out of the Tamzarian jab. I don’t love it, but nor do I hate it and it has absolutely no impact on how much I enjoy the rest of the episode. Full marks, no hesitation.

21. Future-Drama

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Original Season: Season 16

Director: Mike B. Anderson

Writer: Matt Selman

IMDB Score: 7.3/10

Personal Score: 2/5

Comments:
As the only flash-forward episode of the SD Jean era, Future-Drama gets picked by De Fault (the two sweetest words in the English language). I can scarcely fathom that nearly 85% of the ratings for this episode on NoHomers are a 3 or higher. Was it due to the relative novelty of a flash-forward? Was it the Matt Selman writing credit? Was it because it’s not as bad as Bart to the Future? God knows, but I’m definitely not as magnanimous. In fact, I think this is one of Selman’s weakest pre-HD scripts. The plot is erratic and too easily sidetracked by an excess of wacky future-themed gags, cancelling out its interesting ideas and undercutting its emotional core. It’s unfortunate because there’s a valid sibling story buried somewhere beneath the schlock and it’s disappointing because it squanders one of the rare opportunities to see a snapshot of characters in the future who otherwise never age.

On that note, the story jumps forward eight years to when Bart and Lisa are graduating high school. Or so we get told. It looks and feels more like 18 or 28 years given just how much has changed around them. Garbage collection spaceships, underwater houses, quantum tunnels, laser guns, human cloning – it’s all a bit much for less than a decade, isn’t it? Some of this is fine in isolation and I realise it’s supposed to be a ‘What If’ scenario rather than an accurate forecast, but it’s a ceaseless barrage of outlandish future-isms that pummels you over the head until you’re dazed and confused. None of it feels real which means there’s no weight so I can’t bring myself to care about this possible future or any of its characters. It’s nothing more than a cartoon wherein the gags take precedence, smothering what could have been a nice story about Bart and Lisa transitioning into adulthood.

There are several jarring anachronisms as well. Why do some characters look decades older while others like Mr. Burns have barely aged a day? Why does an eight year old Maggie look like a giant version of her baby self and why is she in Alaska alone? Why are second graders like Ralph at the Prom? Why is the staff of Springfield High School exactly the same as Springfield Elementary? It’s hard not to notice the carelessness and lack of consistency on display which, in conjunction with a lot of dead air in terms of humour (like Nelson knocking up the twins and running off like his father which isn’t funny), cripple the episode and whatever potential it may have had.

There are a few things I like. One, it wastes no time getting things going and jumping into the future. Two, the means by which Bart and Lisa see the future is a nice variation on the show’s previous use of a fortune-teller and Native American, making good use of Frink. Three, a jacked-up adolescent Milhouse rings true to me and it’s quite a funny direction to take the character. Four, both Bart and Lisa generally sound and behave appropriately according to their age which is a crucial element. Bart’s attempt to find direction in life and his ultimate decision to save Lisa from a dead-end fate is solid stuff, but there needed to be more interactions between them and sincerity throughout.

Homer and Marge being separated is also an interesting revelation, illustrating how marriages can end when kids leave the nest. I really like the idea, but it’s also ultimately pointless because they get back together in the last scene which is so tacked on I assume someone in the writer’s room felt uncomfortable keeping them separated and had to intervene. There’s no good reason why Marge takes Homer back and the separation no longer rings true as a result, undermining the whole thing.

For this final SD season, Future-Drama has its place (and Jenda is a character that will return so it’s got some value continuity-wise), but it’s a hard sell and you have to make a lot of concessions to enjoy it even for what it is.

22. Ice Cream of Margie (with the Light Blue Hair)

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Original Season: Season 18

Director: Matthew Nastuk

Writer: Carolyn Omine

IMDB Score: 6.9/10

Personal Score: 4.5/5

Comments:
Contrary to popular opinion, Ice Cream of Margie (with the Light Blue Hair) is not a marriage crisis episode. It contains minor elements of a marital conflict, but they’re secondary to and in service of the real story being told which is about Marge wanting to do something for which she’ll always be remembered. Sure, she has three kids and is guaranteed to leave behind a legacy through them, but she realises that history won’t recognise let alone immortalise her for it and that she’ll eventually be forgotten. It’s a very relatable fear and an emotionally engaging existential crisis, underpinning what I consider to be one of the best post-classic Marge-centric episodes.

On a whim, Marge starts creating 1:1 sculptures of Springfield residents using the Popsicle sticks Homer brings home from his new job as an ice cream truck driver. This is a terrific development for more reasons than one. Firstly, it’s a very good way of giving Marge a renewed sense of purpose that recalls her passion for art. It just makes sense and I can absolutely see how her work (which looks totally believable despite being impractical and unrealistic) would attract attention to the point of getting her own exhibit. Secondly, it elegantly branches off from and crosscuts with what would otherwise be a disparate and perfunctory ‘Homer gets a job’ plot. I adore how he’s genuinely impressed by what Marge creates and offers support not only by encouraging her verbally, but also by continuing to supply her with Popsicle sticks.

The two plots converge in dramatic fashion when Homer races home for Marge’s exhibit, destroying all her work in the process. I get the sense that his recklessness and the ensuing conflict sours many viewers, but I’m going to mount a defence for it because I think it’s the linchpin of the episode. Yes, Homer behaves like a moron and, yes, Marge is extremely angry and upset which usually does not a good Simpsons episode make, but the context and execution makes all the difference. What Homer does is boneheaded, but it’s generally true to the character. He does what he does with the best of intentions but, in doing so, causes the very disappointment he tried so hard to avoid and prevent. I won’t deny it represents more post-classic injurious antics on his behalf, but it’s tolerable.

What really makes it work for me though is the follow-up scene. After the initial altercation, Marge withdraws to her bedroom and locks Homer out, refusing to engage with or respond to his multiple attempts at apologising. There’s no additional bickering or yelling back and forth let alone dramatic threats to storm out of the house or kick anyone out. It’s a quiet, subdued and grounded scene that accentuates the profound disappointment Marge feels. Homer is fantastic here – his apologies are clumsy and tactless, but earnest and amusing. He feels legitimate remorse and makes an honest-to-goodness effort to put things right. Marge just ignores him and that silence is the key to the scene’s success because it makes both characters sympathetic and neither of them a villain.

It’s also very realistic. I’ve been in situations like this wherein someone I care about is upset and has shut down because of something I carelessly or inadvertently did. I’ve locked myself away in my bedroom and let my anger or resentment run its course. There have been times when I’ve let it go on for hours longer than necessary due to a bizarre sense of pride. You know that as soon as you see their face and look into their eyes, what remains of the negative emotions you felt so acutely earlier on will recede and you’ll cave. It can be strangely difficult crossing that barrier, but that’s why Marge caves after she looks at the Polaroids of Homer’s guilt-ridden expression.

Homer’s final apology, delivered in a dishevelled and sleep-deprived state, is the clincher. He tells her that what he enjoyed most about being an ice cream man was seeing her smile as she turned those Popsicle sticks into art and, yeah, y’know what, I actually believe that. Dan’s emotive vocal delivery is exceptional and helps it stick the landing, but what really sells it is knowing Homer demonstrated that on multiple occasions. From expressing joyous surprise at and approval of her very first sculpture to maintaining a supply of Popsicle sticks and giving her affirmations the morning of her exhibit, Homer showed her (and us) that he truly cared. It rings true and that sincerity is never undermined by an inappropriate line or gag.

The loss of her sculptures and the time spent in her bedroom gave Marge an opportunity to reflect and think about what truly matters to her. She slips out of the house after Homer has collapsed on the floor from exhaustion and creates a gigantic Popsicle stick sculpture of her “perfectly imperfect” husband, telling him that “my most enduring creation is the life I’ve sculpted with you”. That might sound banal but, in the context of the episode, I think it’s the perfect resolution to her arc.

At the start, Marge defined herself purely as a mother and a housewife, but it dawns on her that the zeitgeist considers such women archaic. They’re characterised as conservative and unsuccessful not to mention judged for perpetuating harmful patriarchal values that impair the progress of women’s rights. Shows like Opal argue that the ideal woman is one who raises a family in addition to pursuing a livelihood, participating in culture, and contributing to one or more institutions. Marge is told that society expects more from women and succumbs to that pressure. She's led to believe that the ubiquity of mothers makes them mundane, compelling her to do something remarkable so that she receives more than token recognition and appreciation from society.

By the end, Marge has decided that she doesn’t actually want or need to do anything else except be a mother. She chooses to dismiss the pressures, demands and expectations that society has placed on her (and, by extension, other women). In doing so, she takes a stand for feminism in its most pure form. A woman can choose to be ambitious and career-driven with no desire to follow the biological imperative. That doesn’t make her unmaternal or loveless. A woman can choose to be a mother and nothing else. That doesn’t make her inefficacious or problematic. A woman can choose to be varying degrees of both. That doesn’t make her a superior or more ideal example in an arbitrary social hierarchy. Women can be and do anything that gives them true happiness, fulfilment and meaning.

That’s my takeaway, but maybe I’ve grossly overestimated or misinterpreted it (as a straight white male, that’s certainly possible). I’m fairly confident that this is what is what the episode is going for though (especially given it was written by one of the few female writers on the staff at the time). It raises a few interesting (even subversive) points about perceptions and expectations of motherhood in our society and in a way that comes across as extremely pro-feminism without being overtly feminist or preachy. If anything, it’s quite anti-media in its examination of how popular personalities can spread messaging that make women (indeed, all peoples) doubt themselves and feel worthless. I just walk away from this episode feeling really positive about the characters and what it has to say.

Just a couple of things prevent it from getting full marks and they both involve Homer. He effectively causes the death of Max, the original ice cream truck driver, which reminds me too much of Red from Maximum Homerdrive and other times he’s been indirectly responsible for someone’s demise. I also hate the bit with him forcing the lactose-intolerant kid to eat the ice cream cone. Just ugh.

Christ, the comments for this one sure ballooned. Maybe I should leave it there…

23. Eternal Moonshine of the Simpson Mind

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Original Season: Season 19

Director: Chuck Sheetz

Writer: J. Stewart Burns

IMDB Score: 8.2/10

Personal Score: 5/5

Comments:
There is a myth that Eternal Moonshine of the Simpson Mind was written to serve as a series finale in the event that The Simpsons became a casualty of the 2007-08 WGA strike. That’s improbable if only because it aired just one month after the strike began and would have been produced much earlier. However, the episode is decidedly unusual - not only in its ambition and experimentation, but also in its sense of finality. No other episode of the series (with the exception of maybe One Fish, Two Fish, Blowfish, Blue Fish) strikes me as sombre and contemplative as this one. Could this have worked as the last episode of the series? Possibly. Perhaps? I'm honestly not sure.

Something feels different about it right at the start when Homer, trudging home the morning after his latest bender, tells himself "no more drinking". Isn’t that immediately strange? Sure, Homer has tried to give up alcohol before, but always at the request and for the sake of other people first and foremost. When has he ever expressed a desire to give up alcohol of his own volition? There's also something about the way Homer expresses this. He sounds genuinely resolute and there's not a hint of flippancy I can detect. He also sounds thoroughly exhausted with himself. That's before he discovers that his family is missing and that he may have done something unforgivable in a drunken rage.

Homer explores his memories to discover what transpired, piecing together fragments of the previous night and interpreting them in the very worst possible light. Why does he so quickly and readily accept that he attacked his wife without considering alternative explanations? Well, because he saw the sum of his life in all those snapshots including the dozens if not hundreds of times he’s crossed a line. Homer has done increasingly awful things over the years, edging him closer and closer to this last and most terrible transgression of all. Of course he fears he might be capable of hitting Marge and the overwhelming despair of that realisation is a paradigm-shifting moment.

Naturally, Homer remembers what really happened and, by sheer dumb luck, survives the fall. Yet even though nothing sinister actually occurred doesn’t whitewash his sudden profound cognisance of all the selfish and destructive actions that laid the groundwork for such a monstrous possibility to not be unthinkable. Ostensibly, that's the point of the ending when he refuses to drink – after confronting the aggregate of his sins and vices, the allure of alcohol loses its power. He can’t go on being who he was and doing what he did. He can't bear to face those demons again. At the start of the episode, Homer resolves to give up drinking and he reaffirms that vow in its closing moments. It’s supposed to be sincere and it feels final in light of what Homer (and the viewer, by extension) has experienced. Not just in this particular episode, but across the entire series up to this pivotal point.

So, yeah, this certainly gives Eternal Moonshine a series finale-like quality though I’m not sure it would work as one for me. For me, it’s too Homer-centric and I think a last episode should focus on the entire core family as an ensemble. In any case, as my personal score should indicate, I have a high opinion of this one. It’s widely considered to be one of the best post-classic episodes and that reputation is well deserved for the most part. The story is engrossing, the visual and musical cues that denote the memories are lovely, and there are some excellent original flourishes such as the Forget-Me-Shot. I really like how the story plays out exclusively from Homer’s POV, allowing the viewer to really get inside his head and vicariously experience his confusion and fear. Homer himself is very likeable and full of humanity as he unravels the mystery of his missing family (whose absence up until the ending is quite unsettling).

There was a time when I thought Eternal Moonshine was a bona-fide classic and the best thing since sliced bread. However, with age and perspective, I can appraise it more fairly and honestly. It’s not quite as good as it seemed at the time and there are a couple of things that rub me the wrong way. Firstly, Patty and Selma shoving Homer off the bridge is a stretch too far. Secondly, I’m not entirely convinced by the editing and explanations after Homer lands on the boat. How did Patty and Selma get from the bridge to the boat? Why did Flanders not tell Homer something more reassuring about what happened the previous night if he knew about the surprise party? How could Homer anticipate his catastrophized interpretation of and suicidal reaction to his fragmented memories? That last one is completely absurd, but the leaps of logic in his thought process makes me laugh so, fine, whatevs.

Ultimately, this is a genuinely effortful, ambitious, considered, and successful episode. It would rank among the best post-classic episodes for me and serves as the perfect finale for my SD-era.

Addendum (11/11/21): Nothing much to say here except that this concludes my abridged SD-era. As you can see, @Szyslak100 was bang on with his guesses. The HD-era and 150 more episodes awaits, but I have no ETA on that beyond a very vague 'soon'. I'm glad to have finally reached this milestone and, as always, I hope you've had some fun following along thus far. Are there any SD Jean-era episodes you think I missed and should have included? Share your thoughts! Want to call me a Zombie Simpsons apologist and say I know jack shit? Get in line.
 
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@B-Boy, well, first off I had no doubts either of what the last six of the season would be (after going through the listings on Wikipedia and none of the episodes so far not chosen stood out except these) and this batch closed the last part of your seaspn 14 off very well.

'24 Minutes' remains a solid parody for me as well (and I haven't even watched the original 24 show or have any interest in it): The cameos of the actual characters weren't necessary but I understand it as they felt it warranted some "star power" due to that's obviously what a more part of the 24 audience tune in to see. Still, a very good episode nonetheless (and I don't really see it as non-canon).

I'm a little surprised of you tearing into 'Smart And Smarter' like that, but you explain your gripes and nitpicks well and make your negative feelings understandable. I still quite like this episode and have no issues buying Lisa being pettily jelaous, immature and competitive (I like how she acts like an actual child here) and those other small plot issues I can overlook, as this is one of those Jean episodes where the good overshadows the bad for me (and the climax setpiece is one of the oddest, yet most fun of the era). Nice one IMO.

As for 'Future-drama', I never really cared for that one a whole lot despite it ofte being chosen as one of the better future-themed episodes of the show. While it has some good moments and interesting stuff (such as Bart & Lisa's plot threads and Homer & marge having divorced at some point) like many of the following future episodes it relies too much on silly and wacky future jokes, inconsistencies & anachonisms that do hinder its full potential (at least Bender makes a pointless cameo to make up for it). It's just okay to me.

I definitely think that 'I, D'oh-bot' (yeah, still using that simplified title) is an obvious choice (not only as leaving out one of the MacMullan episodes feel like sacrilege, but also as it is a great Homer-Bart story, even though it isn't as "special" as the former episodes by Lauren) & 'Ice Cream Of Margie' is a respectable choice and a very good little episode (also, I really like your in-depth take on it, the marriage crisis and Marge's overall portrayal. It might even have made me look at it a little differently from now on).

'Eternal Moonshine of The Simpson Mind' is for sure one of the most intriguing episodes of the SD Jean era and a perfect season finale (as well as closure to the pre-HD era tenure). It has a great Homer-centric story with some solid drama, good jokes and gags & interesting twists and turns as well, leading up to a really nice surprise ending. It has some problems (such as Patty & Selma appearing to really have intended to kill Homer, which was awful) but it remains a good one and one of the best of S19.

Keep up the great work & looking forward to the eventual foray into HD 'Simpsons'.
 
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Before anything else, congratulations on finishing with the SD era. I sometimes think how colossal this task is. Just the idea of rewatching every single episode is overwhelming (if extremely exciting and entertaining, it needs a lot of dedication), so I can't imagine how heavy it's to come up with coherent and thematic seasons, balancing the screentime of the characters, and taking into account continuity aspects, and also delivering insightful comments on the choices (each time longer, which I truly appreciate). Honestly, I really, really like this thread and admire your work here – I am saying it as someone who wanted to review every episode of BoJack Horseman and failed in the attempt, haha.

Season 14 is my new favorite season of the project so far. Not much to say about this season that I haven't said before, when parts 1 & 2 were released – most of these episodes try something the classic era missed or couldn't do, and proves that even if the legacy of the show was damaged by some shitty post-classic episodes, there are a lot of others that enriched it. I am more than happy to live in a world where Eternal Moonshine of The Simpson Mind exists. Words are worthless for that one. Definitely, it's my favorite episode of the SD era and it's undoubtedly in my TOP10 of all-time, despite some editing problems you accurately pointed out. It's one of the most meaningful episodes of the series and one of the best Homer-centric stories ever done in my opinion. 24 Minutes is another amazing full-parody format-bender episode that succeeded in everything it tried.

I'd also like to share my thoughts about Future-Drama. I think it is a decent futuristic episode. You said that nothing of it feels real, but I am not sure if we are supposed to feel it real. I am very open-minded when we are talking about anachronistic jokes and diffuse continuity when the futuristic story is presented as a forecast someone does in the present (Lisa's Wedding, Bart to the Future, this one, and Mother and Child Reunion). I think the fact that it's just a forecast does the errors and absurd futuristic jokes more plausible. I wouldn't be fine if we see a submarine house in an episode like Barthood or Mr. Lisa's Opus (which I rather believe are "canon" since there is no rebuttal evidence), but here, everything is just a prediction of an arguably flawed machine created by Frink, so I am up for crazier or wackier stuff. Obviously, a framed story is not a blank check to do nonsensical or stupid things, but I don't think this episode surpassed any reasonable limit and its exaggerations are not a problem for me in this context.

I am definitely missing some episodes in the SD era, to be honest, including two of my absolute favorite of this year. Maybe I will prepare a post to mention them and to explain why I love them.
 
I am definitely missing some episodes in the SD era, to be honest, including two of my absolute favorite of this year. Maybe I will prepare a post to mention them and to explain why I love them.

I would really like to see such a post. At the time of writing this, I still cannot think of an SD Jean era episode that definitely feels like it is missing (as I feel the standouts, including the best, have been picked already).
 
I'll make the obvious disclaimer that I fully respect @B-Boy's opinions and preferences and in no way I am trying to influence him or change his choices. But, yeah, I am admittedly missing four episodes that I'd personally rate with a full mark. Not only that, but they also have a positive reception around the fanbase as far as I am concerned and they would fit in one way or another in the thematic seasons so it's hard to believe that they were removed along with another 53 episodes that in most cases I definitely agree they don't quite measure up. I have written in the rate & reviews threads because I went very overboard with my commentaries.

1. The Father, the Son, and the Holy Guest Star
https://nohomers.net/forums/index.p...y-guest-star-gabf09.19172/page-6#post-1896312

2. The Mook, the Chef, the Wife, and Her Homer
https://nohomers.net/forums/index.p...nd-her-homer-habf15.23796/page-9#post-1896314

3. Springfield Up
https://nohomers.net/forums/index.p...ringfield-up-jabf07.24709/page-9#post-1896316

4. Sex, Pies, and Idiot Scrapes
https://nohomers.net/forums/index.p...diot-scrapes-kabf17.29394/page-7#post-1896317

I also like the next episodes and I think they are worth watching even though I am not quarreling about their absences.
The Fat and the Furriest is a very underrated one in my opinion. It's plenty of amusing gags, it gives a truly excellent message, and Homer is quite well-portrayed there.
The Monkey Suit is an interesting episode that explores the never-ending war between science and religion from a humorous perspective and it has that sharp satire that characterizes most of the efforts of J. Stewart Burns.
Apocalypse Cow is another episode that brings a positive pro-animal message and it also contains the best main appearance of a Spuckler in the entire show.
Regarding Margie is a nice Homer and Marge episode that, yeah, could have been extremely better but it was actually nice for what it is. It's inventive, original, and tells a truly nice story.
Stop Or My Dog Will Shoot! has some remarkable stuff despite the stupid humanized characterization of Santa's Little Helper – I think Bart has a special chemistry with his pets, and Lou got screentime which I appreciate. It's a good episode overall in my opinion.
 
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