Season 33 Review
Introduction
A year ago, I dared to dream that season 33 might be the best season of
The Simpsons in many years. With Al Jean ceding the majority of his showrunning duties to Matt Selman, there was potential for the show to deliver greater quality and consistency than any other post-classic season to date. The most pertinent question was whether or not Selman could maintain his relatively successful track record with a significantly higher workload. Would he buckle under the strain?
Well, the season has finished airing and we can now appraise it in full.
So, did season 33 fulfil its promise?
For me, the answer is a confident yes. I believe this has been the best HD season and, arguably, the best season of the show
period in 24 years. It has certainly been the most consistently enjoyable and satisfying for me to watch since season 9 and I'm positively thrilled to say that. Having re-watched it in its entirety, I feel assured that my scores accurately reflect my opinions. That means my aggregate score rounds out at
3.6, eclipsing my previous frontrunner (season 15), which scores 3.5.
Let’s break things down by showrunner:
Al Jean’s Season
The divide in quality between Al Jean and Matt Selman remains as stark as ever. The former ran 7 episodes this season (only two of which I scored higher than 3), averaging a score of just
2.7. These were middling for the most part, squandering some of the season’s more interesting and fruitful ideas. This is my current ranking of and opinion on the Jean episodes this season:
- Pretty Whittle Liar – A surprisingly solid effort given its focus on the Spucklers. I think Joel H. Cohen wrote an atypically strong script that effectively humanised Cletus and Brandine for the first time since, well, ever. I found the character humour to be decent and the animation noticeably expressive. Even Homer and Marge’s subplot delivered some great moments, elevating what would otherwise have been extremely trite material (I especially loved the ending). The subplot was pointless filler, but it had barely any screen time so it wasn't a big deal. I don't think this needed to do more than it did and, casting aside anti-Spuckler/anti-Cohen/anti-Jean bias, I think it more or less hit its quality ceiling.
- Marge the Meanie – An episode with strong ideas that fell short of exploring them to the extent they demanded. The reveal that Marge was once a troublemaker was a genuinely good one, adding dimension to her character in a way that was consistent with who she is and even lined up with glimpses of a mischievous side we've seen over the years. Kudos to Amram and the team for not making this inexplicable, revisionist and/or out-of-character.
Unfortunately, her ensuing bond with Bart lacked sufficient depth. Their pranks targeted perpetrators of inequities and injustices, revealing the presence of a strong moral component in what drives them. The episode got tantalisingly close to exploring this and other ideas in more detail with respect to their characters, but didn't really bother in the end which was a missed opportunity.
The subplot was similarly shallow, failing to raise let alone answer questions about what Homer actually wants to pass down to his kids. It was very surface level stuff and one can't help thinking a lot more could have been mined from the premise. It was also odd to me that Homer and especially Lisa were seemingly unbothered by the revelation that Marge was once a troublemaker.
Despite a myriad of pleasant interactions and moments, there simply wasn't enough meat on the bone and the episode struggled to rise above 'Jean-isms' (Family Guy-style cutaway gags, stilted dialogue, haphazard editing, and shallow treatment of its subject).
- Mothers and Other Strangers – This had a few great moments and elements, but it's difficult to look past the glaring continuity issues (of which there were several). Jean made some inexplicable choices here, honouring some tenets of the established backstory while flagrantly ignoring and rewriting others. I’m not a stickler for strict or rigid adherence to continuity in The Simpsons (the show has always played fast and loose with its history and floating timeline), but the changes were arbitrary, unnecessary and jarring. Was there really any need for Homer to learn the truth about what happened to Mona or even encounter her at all for this story to work? Jean has a decent'ish track record as a writer, but this was sabotaged by these and other irksome anachronisms.
- A Made Maggie – A poor man’s Moe’s Baby Blues. The Maggie and Fat Tony pairing was a fairly interesting one with some cute moments interspersed throughout, but not much happened and the whole thing never quite took off. Despite some reasonably good character humour (I chuckled at a few of the mob-related jokes), the results were fairly languid and forgettable.
- The Sound of Bleeding Gums – Some good intentions, but the episode cannot (and does not) succeed on those alone. The overall execution was listless which is unfortunate because the show's first proper representation of deafness deserved better. There’s no excuse for this given the amount of painstaking effort that went into episodes like A Serious Flanders, Pixelated and Afraid and others from this season alone. Lisa was also unpalatable – her attempts to help Monk came across as obnoxiously meddlesome and she was routinely self-absorbed and self-important (even when apologising for being those things). I like the their arcs in theory, but the lack of modesty and energy in the writing sabotaged both, leaving me feeling quite empty and cold.
- Treehouse of Horror XXXII – Awful, but that’s been part and parcel of Jean Halloween specials for two decades (aside from some intermittent and noteworthy exceptions). The Barti and Poetic Interlude segments were passable, but everything else was complete shit which is a shame because Nightmare on Elm Street and Dead Ringer had ideas that could have worked 20+ years ago.
- The Wayz We Were – Not as overtly bad as THOH XXXII, but certainly the most disappointing episode of the season. Maya was stripped of her agency and many of her more distinctive traits. Her keen intellect, quirky humour, strong ideals, and underlying neuroses were virtually non-existent. This was immensely underwhelming if only because season 20’s Eeny Teeny Maya Moe was (and still is) one of the show’s best HD episodes. We got no insight into why she suddenly wanted Moe back and why she no longer seemed to care that he wasn't able to look past her stature. This was an episode that actually aggravated me so it’s at the bottom of my list. Maya has yet to reappear, but I hope she (and her relationship with Moe) is put to better use in the future.
Matt Selman’s Season – The First Half
Matt Selman was several orders of magnitude more successful. Counting
A Serious Flanders as a single entry, he ran 14 episodes (eclipsing his previous record of 10) and averaged an impressive score of
4.1. His output during the first half of the season was exemplary, consisting of ambitious and experimental episodes that played around with tone and genre with less focus on comedy in favour of drama played straight.
Pixelated and Afraid reigns supreme as the best episode the show has produced since at least
Halloween of Horror and quite possibly the end of the classic era in terms of its overall emotional resonance. Its success was predicated on an uncompromising realism and honesty, and it will almost certainly stand as one of the all-time greatest Homer and Marge stories with some of the most beautiful moments of the
entire series.
Coming in second is
A Serious Flanders with its ambitious send-up of
Fargo and prestige TV. I was thoroughly engrossed in the tone and drama of the story which, in addition to featuring the best use of Ned in many years, was superbly paced and animated. Of the three two-parters to air since season 28, this was well and truly the best.
Bart’s in Jail and
Lisa’s Belly were also entertaining and satisfying despite being a ‘Public Service Announcement’ and ‘Afterschool Special’ respectively. Personally, I don't need this show to be transgressive (or even that funny) anymore; I'm primarily invested in the characters, their arcs, and the little of kernels of truth they provide. Both had competent stories with themes and theses that resonated with me (particularly the latter).
That leaves
The Star of the Backstage and
Portrait of a Lackey on Fire, both of which were strong outings. The former was the best premiere since season 9, boasting great direction and some terrific musical numbers (
A Delicate Approach being my highlight) along with a good character arc for Marge. The latter was enjoyable for its straightforward and tactful exploration of Smithers as a gay man with an ending that hit just the right note of sweetness and closure.
The only stumble from Selman in the first half was an uncharacteristically weak script penned by the usually reliable Brian Kelley.
The Longest Marge is arguably Kelley's worst contribution to the show, though I admit my lack of familiarity with and appreciation for football could be getting in the way.
Matt Selman’s Season – The Second Half
Selman and the team didn’t quite reach the same heights during the second half of the season, but they continued to produce character-driven episodes of consistently good to great quality.
My Octopus and a Teacher and
Girls Just Shauna Have Fun were the best of them. The former was a sincere and grounded examination of childhood fancies, featuring an excellent guest performance and stunning animation to boot. The latter saw the best use of Shauna and the best work from Jeff Westbrook to date (it’s no coincidence that his three best episodes have been run by Selman).
Poorhouse Rock was a superlative finale (indeed, all but one in the last 5 years have been knockouts which has been a welcome trend to observe). It was decent if unremarkable until the musical sequence launched it into the stratosphere. The music and choreography was of the highest order, boasting some of the most scathing and incisive socio-political commentary the show has delivered in two decades. The satire might have been heavy-handed and overly didactic, but the relentless and remorseless mockery of our society more than made up for it, echoing the counter-cultural and subversive spirit of the show’s golden age. I think it’s the best script credited solely to Tim Long, surpassing even
Half-Decent Proposal.
Bart the Cool Kid grew on me with a re-watch once I was able to look past the modern pop-culture references (which were initially off-putting, but fairly tolerable on subsequent viewings) and the Mike Wegman cameo (which wasn’t as egregious as his first stint). It definitely brings past episodes (such as
Homerpalooza) to mind, but the elements were sufficiently reconfigured and I think the interpersonal stuff at the core of the story (along with its overall flow) worked well.
Boyz N the Highlands was decent enough, but fell short of Dan Vebber’s usual high standards. It was a tad messy, lacking careful consideration and development to truly sell the idea that Martin is buckling under the pressure of his parents. The episode was more interested in shock value than putting the necessary stepping stones in place, resulting in a lingering sense of opacity and dissonance about who Martin really is. How much of what we’ve seen over the years has been an accurate reflection of his interests, hobbies, and motivations? What does he actually want? Kudos to Grey Delisle though, whose performance as Martin in this episode was truly excellent.
That leaves two episodes, both of which were varying degrees of flawed. The worst of the two,
You Won’t Believe What This Episode is About – Act Three Will Shock You, was an unfocused mess with an odd blend of Selman, Jean and Scully characteristics. The satire was also impotent and cowardly, paying lip service to various aspects of current outrage and clickbait culture without committing to any particular argument or point of view. The episode played things safe with a laundry list of easy observations and references, all of which skirted around the edges of the issue without cohering into an incisive message. For me, there needed to be a much stronger and clearer thesis underpinning the commentary in the episode.
Finally, I feel ambivalent about
Meat is Murder. Having never seen
Succession, I’m not qualified to judge or comment on the efficacy of the parody. Then again, I’ve never seen
Fargo before and was able to appreciate
A Serious Flanders. The difference with this episode is that it was
too specific, failing to translate into the
Simpsons universe and alienating the viewer.
A Serious Flanders was more accessible, using recognisable tropes to couch its references. Additionally, the sudden reveal that Lisa and Grampa have a special bond felt forced (and overly exposited). Grampa himself also felt more like a background character in his own story (up until his role in the resolution at least) as Lisa and the Redfield family took centre stage. I credit the episode for its dense plotting, use of Krusty, and interesting final twist, but a broader pastiche and a stronger character core might have enhanced it.
General Observations
A few extra things about the season I want to point out and draw attention to:
- The HD animation was the best it’s ever been this season. Multiple episodes looked drop dead gorgeous and the characters were at their most expressive since the classic era.
- Homer was exceptional from start to finish. Truly, I don’t think the character has been this good since season 8. From trying to be a good dad (Lisa’s Belly; My Octopus and a Teacher) and a decent husband (Pixelated and Afraid; Pretty Whittle Liars) to expressing relatable anxieties (Mothers and Other Strangers; Bart the Cool Kid; Marge the Meanie; Poorhouse Rock) and helping others (The Wayz We Were; Portrait of a Lackey on Fire), Homer was consistently well-intentioned and lovable while still being characteristically lazy, selfish, and bumbling.
Even his less admirable moments (i.e. being a jerk to Grampa in Bart’s in Jail and screwing over Ned in A Serious Flanders) were tamer than usual and backed by strong motivations followed by acts of genuine repentance. Homer was at his weakest in Act Three Will Shock You during which his obstinacy and clumsiness was ratcheted up for the sake of the plot. Even then, he was a far cry from the obnoxious and destructive individual we’ve seen over the years. Homer was far less pervasive and more restrained this season without losing sight of his defining fundamental traits. I couldn’t be more thrilled with that.
- There was no shortage of ‘dysfunctional family’ material this season, but it was significantly more balanced relative to the depressing depictions we've seen at times over the past two decades. I’ve always found it uncomfortable when the show insinuates that the Simpsons are a broken and abusive family. They have their issues, sure, but they ultimately love and care for each other and this season demonstrated that on multiple occasions. Homer and Marge in particular have had a very healthy relationship with nary a fight and a complete absence of contrived marital conflicts. This has made the show feel more sanitised than ever, but I’m not opposed to such a shift given the pros far outweigh the cons.
- Lisa dominated the season (especially the second half) with decidedly mixed results. I usually roll my eyes at Lisa critics (whose arguments are often reductive and gendered), but I cannot deny that the writing has been inconsistent. Her best outing was Lisa’s Belly followed closely by My Octopus and a Teacher and Girls Just Shauna Have Fun, the writing for which found a good balance between her precocious intellect, neurotic tendencies, desire for kinship, and 8 year-old inclinations. I think all three episodes portrayed her in positive and thoughtful ways, reigning in her more objectionable characteristics.
Her remaining roles varied wildly from adequate (Pixelated and Afraid; Marge the Meanie) and nondescript (Pretty Whittle Liars) to questionable (Boyz N the Highlands; Meat is Murder) and irksome (Treehouse of Horror XXXII; The Sound of Bleeding Gums). I’m ambivalent about her subplot in Boyz N the Highlands; the idea wasn't a bad one, but the show simply cannot convince me that Lisa is an overlooked middle child. I also found her forcefulness a bit exasperating (offset, at least, by Homer and Marge’s patience and willingness to satiate her). If she had been dialled down a bit, I might have been more entertained and convinced by the idea, but I can't help seeing it as a distraction from the infinitely more interesting main plot.
- The UAB production cycle introduced the concept of a ‘co-runner’ for Selman episodes. It remains to be seen how this new trend creates permutations in the style and direction of the show, but the early results are interesting and encouraging. Omine’s influence on the two episodes she co-ran (Pixelated and Afraid; My Octopus and a Teacher) is especially apparent. If nothing else, it ostensibly offsets Selman’s increased workload so, if it allows him to maintain his consistency, I’m all for it.
Looking Ahead to Season 34
Given the success of this season, I have high hopes for the next one. Selman will continue running just as many (if not slightly more) episodes and that fills me with cautious optimism. I’m under no illusion that Selman is perfect or that most of his episodes hold a candle to the classic era, but I’m undeniably partial to his modern take on the show and I enjoy his episodes more often than not.
I’m most excited for
Treehouse of Horror XXXIII which will be his inaugural Halloween special and the first since
XIII where each segment will be credited to a different writer. Selman has well and truly earned this opportunity after the success of
Halloween of Horror and
Thanksgiving of Horror.
In addition, I’m eagerly anticipating more episodes written/co-run by Carolyn Omine whose work in recent times has been superlative. I’ve also got my eye on upcoming Selman-run episodes written by Cesar Mazariegos (
Not It), Dan Vebber (
Step Brother from the Same Planet), and Dan Greaney (
Lisa the Boy Scout). I’m particularly intrigued by the latter following the recent tantalising tease from our very own
@Roger Myers III.
Conclusion
Am I a shameless Selman apologist? Have I erroneously convinced myself that this season was better than it was? Will I look back on this in the near or distant future and faceplam at the silliness of the praise I've bestowed? My opinions and viewpoints are in a constant state of flux – receptive to new insights and discoveries – so that’s certainly possible. I’ll be the first to admit I might be wrong. I might re-evaluate this season some day and change my mind, seeing it for what it is.
Not today though.
Season 33 is the crown jewel of post-Scully
Simpsons. It’s not a return to classic-era quality by any stretch of the imagination (such a feat is impossible and exists only in our dreams), but the show is no longer resting on its laurels under Matt Selman and there have been some admirable attempts to restore its liveliness without trying (and inevitably failing) to recapture its glory days.
The Simpsons is a
very different show now, but one that is starting to step out of its own shadow and grow in confidence with a new(ish) identity. It
works and it
means something again. That's the single greatest compliment I can give it and, if the show continues to maintain this standard for a little while longer, I will more than happily tune in for it.
See you all in September!
- The Star of the Backstage - 4.5/5
Bart's in Jail - 4/5
Treehouse of Horror XXXII - 1.5/5
The Wayz We Were - 2/5
Lisa's Belly - 5/5
A Serious Flanders - 5/5
Portrait of a Lackey on Fire - 4/5
Mothers and Other Strangers - 2.5/5
A Made Maggie - 3/5
The Longest Marge - 2/5
Pixelated and Afraid - 6/5
Boyz N the Highlands - 3.5/5
You Won't Believe What This Episode is About - Act Three Will Shock You! - 2/5
Bart the Cool Kid - 4/5
Pretty Whittle Liar - 4/5
The Sound of Bleeding Gums - 2.5/5
My Octopus and a Teacher - 5/5
- Girls Just Shauna Have Fun - 5/5
- Marge the Meanie - 3.5/5
- Meat is Murder - 2.5/5
- Poorhouse Rock - 5/5
Season Score - 3.64 / B
It has some similarities with 
In some episodes Marge was portraited as drinking loved. Sure it isn't 18 century, and nowadays every woman, every mother - every person has the right to drink whatever.
However I paid attention to Marge's case because it ruined her as character too much. Marge the lovable mother with her essential sceptical "Mrr" is much better, IMHO
The format was interesting, and made close 100th segment (in upcoming one), but NO!
…
. If seriously, social networking slightly was integrated into episodes and even was important part of story development. Is it good for the show? Sure, but it could be done much earlier (not like South Park level of actuality, but still).
. Then the WAR… and I've already used to original English on Monday evening (to distract myself), but later Ukrainian translation returned. Still super cool feelings during watching the season.
