The Simpsons (Classic)

SIMPSONS SEASON 4 REWATCH THE FOURTH AND FINAL CHAPTER BY FORGETTING SARAH CONNOR ONLY ON THE COMMUNITY AV CLUB FORUM



Wait, why didn't Bart have to go to the hospital too?


18. "So It's Come to This: A Simpsons Clip Show" Written by Jon Vitti; Directed by Carlos Baeza

So it's come to this: a Simpsons clip show. I've never fully understood why clip shows exist. Sure, they're a lot cheaper to produce than a full new episode, but you know what would be even cheaper? Not making an episode at all and just airing a rerun! Oh well; this episode, for one, more than justifies its existence with its completely clip-free first act, which is classic Simpsons all the way. The first act culminates in a moment I certainly couldn't do without, when Bart, thinking he's pulled a harmless April Fools' Day (another of my least favorite "holidays") prank on Homer, can't even finish exclaiming "April Fools!" before being blown back by a gaseous explosion that consumes the kitchen and eventually sends beer gushing out of the chimney. Even anticipating that moment can't stop it from being hilarious, although the biggest laugh for me this time was Homer's Springfield Gorge exploit from a "Bart the Daredevil" clip. It's interesting to see clips from the first three seasons alongside the new Season 4 material; Season 1 already seems like a primitive version of the show we're watching. I enjoy Bart and Grandpa's meta calling attention to the fact that it's a clip show ("And there's one Itchy & Scratchy cartoon I know we'll never forget..."); if there's one other show that could have pulled off a "Paradigms of Human Memory," it's The Simpsons. It's nice to see great little sequences like "Land of Chocolate" that work out of context, although it's also a reminder that even Simpson cutaway gags aren't complete non sequiturs. The worst part of this episode is that they chose to center the reminiscing around Homer being in the hospital in a season that already had the fantastic "Homer's Triple Bypass." The clips of Homer connecting with his kids from "One Fish, Two Fish, Blowfish, Blue Fish" are touching, but the setups in the hospital ring false compared to a similar scene in "Bypass." Jesus, this got really long for being about an episode I thought I'd have less to say about! Why I laugh?

Visual: When Bark cranks the thermostat, the water in the fishbowl starts to boil, killing the fish, as melted vinyl oozes out of the record sleeves on the shelf.

Line: "It's a good thing that beer wasn't shaken up any more, or I'd have looked quite the fool. An April Fool, as it were."

Most fatherly: "Ahh! Kill it! Kill it!!"

19. "The Front" Written by Adam I. Lapidus (who is a real person and not a front); Directed by Rich Moore

There are only so many ways I can say "this was a great, classic episode." Although it's pretty obvious that this episode ran short and had to be expanded, and some cracks in the pacing appear, I wouldn't trade "The Adventures of Ned Flanders" epilogue for anything. It's actually oddly fitting as a button on an episode about writing short-form animation. ("Cartoons have writers?" "Ehh, sort of.") The story provides an excuse to see some good Itchy & Scratchy--"Screams From a Mall," where Scratchy is beaten down by PETA-type protesters for wearing his own fur, is one of the best ever--and again to see the animators try a couple different styles with those weird clips at the awards show. I feel like Homer admitting he never graduated from high school and having to retake Remedial Science 1A should be a bigger deal than is made of it here (he does it so he can rightfully claim his ridiculously mocking "awards" from the reunion), but it's also nice to have kind of a big thing remain a subplot. Was making Homer a high school non-graduate a nascent move into "Homer is too dumb" territory? After previous episodes spent some good time with the theme, Marge's disappointment with Homer is downplayed here. Engaging to some extent with the life trajectories of all three generations of Simpsons, this episode reinforces that Bart and Lisa are the real brains of the family, despite their relative lack of either education or life experience.

Visual: In a fantasy of Bart's early on, he steals Santa's sleigh at machine gunpoint and flies the reindeer off into the sky, and the way the jolly old elf turns away from the camera and looks up as Bart escapes with his sled is so goofily heartbreaking.

Line: "That's right; I did the Iggy!"

Most attentive: "Uh, sorry? I didn't catch any of that. And now I gotta go." Roger Meyers, Jr. cares about his writers.



"Merry Christmas, suckers!"


20. "Whacking Day" Written by John Swartzwelder (celebrated author of How to Get Rich Writing Cartoons); Directed by Jeffrey Lynch

This is a singularly weird episode. It's certainly not the most bizarre the show would get during its golden years, but the material revolving around the titular holiday (May 10th, for all you calendar markers) makes for some odd, but very Springfield, content for a sitcom. However stupid the holiday may be, Homer's focused and macho dedication to it turns on Marge (of course!), who continues to shine, here homeschooling an expelled Bart and actually inspiring a zeal for learning in the boy. This comes to dovetail nicely with Lisa's attempts to put a stop to the Whacking Day festivities, not the first time she's stood in iconoclastic defiance of the majority, and not yet the best (that would be "Lisa the Vegetarian"). That story also wonderfully uses Barry "Anything, for a lady" White, who apparently asked to be in an episode. The show was good at taking a seemingly random guest star who had no reason to be in Springfield and making the most of their brief appearance, including, in this case, a very nice swirling shot around Barry's head while he's singing. Superintendent Chalmers makes his first appearance, and is a funny foil for Principal Skinner, one of my favorite characters, right off the bat (or Whacking Day club, as it were). Their chemistry, Willie finding a female counterpart to escort to his apartment building's pool, and Skinner locking the problem students in the basement make this a splendid Springfield Elementary episode, despite the short amount of time spent there.

Visual: The kaleidoscope of color and only-visible-for-an-instant "POW" when the tractor slams into Chalmers' ass.

Line: "Deformed?! Why didn't you say so? They should call this book Johnny Deformed!"

Most responsible: "Then we ride these bikes to Mexico. And freedom, Willie, freedom!"

21. "Marge in Chains" Written by Bill Oakley & Josh Weinstein; Directed by Jim Reardon

This is a masterpiece of simply breathlessly funny comedy from start to finish. It's also a pefect cap (give or take the flashy cavalcade-of-stars finale up next) to a sometimes Marge-centric season. When Marge is rather unjustly imprisoned for shoplifting, the Simpson household completely falls apart, predictably enough, but it's the way the whole town descends into utter chaos without her (and her marshmallow squares at the bake sale) that allows this to continue hilariously upping the ante late into the third act. Each act packs a lot of material in, and the opening with the whisper-quiet Juice Loosener and the unshootable Osaka Flu could have gone any number of directions. I Can't Believe They Invented It is a wonderful Troy McClure showcase, and, from talking to a bottle of bourbon (and his sponsor David Crosby), to removing his tie to "prove" Apu wrong, this may be the best episode ever for law-talkin' guy Lionel Hutz. Fittingly, Marge's brush with the law comes because she's being overworked by her ungrateful family. As nice as it is that the town rededicates a certain statue in Marge's honor, the most emotional moment comes earlier when Homer tells Marge how much he's gonna miss her while she's in prison. It's often easier to appreciate something or someone in their absence, as we all know. While Marge will never be as flashy as a Homer or Bart, there could be no Simpsons--or Simpsons--without her. To the Year of Marge!

Visual: Ten minutes after Lisa suggests that the three of them can keep the house tidy if they all pitch in, the kitchen is a disaster zone with, among other hazards, something falling from the ceiling and an unattended fire raging in the open oven. The mysterious El Barto has already made his mark on the fridge.

Line: "He's history's greatest monster!!" And not just out of obligation. That's an amazing moment.

Most conflicted: "I'm cured! I mean, ouch!" The satire of overreliance on medication to solve all ills is brief but biting.

22. "Krusty Gets Kancelled" Written by John Swartzwelder; Directed by David Silverman

And so my long, enjoyable, long journey of rewatching comes to a close. The season ends as it began, with Krusty, at whom the show loved to throw semi-deserved misfortunate, scrambling to do damage control. Luckily, this time no children's lives are in danger, although Krusty's pretty destitute himself. This episode's not as good as the last few, but it's still quite pleasant to see The Simpsons show off the clout they have in their ability to pull guest stars (and in much less time on the air than Krusty). Elizabeth Taylor returns for another one-word performance before she's finally allowed to say a whole sentence. Even Barry White's already back, and with his own sexy square on Springfield Squares. The Red Hot Chili Peppers are used and animated well. One thing I didn't catch until this time is Flea inexplicably raising his arms, throwing his head back, and screaming "MOOOE!" as if the man who had just tried to dupe them was an old friend. He's before my time, but I'm sure Johnny Carson deserves his zany portrayal as the world's greatest entertainer. Gabbo's ad campaign is a highlight as well, although you'd think some people would be disappointed that it turns out to just be a ventriloquist act. But he does have that hook, I suppose. We also get the animators yet again seamlessly aping another style. ("What the hell was that?!") As poignant and revelatory as the show can be, episodes like this serve to remind us what drew us in in the first place: pure dazzling entertainment. And the possibility that Luke Perry may smash his face into a brick wall.

Well, send in the clowns; that just about wraps these up for me. Thanks so much for reading! I am You are the wind beneath your my wings!

Visual: The animation on Johnny Carson spinning the 1987 Buick Skylark around and around above his head while he sings opera is extremely well done and almost CGI-looking.

Line: "Everyone can enjoy that!" RHCP clean up their act.

Most independent: "He'll tell us what to do!" Gabbo gives Homer something to believe in. (h/t to wallflower)

Final verdict: Yeah, Season 4 is better than Season 5. Although it's been a while since I've seen that whole thing. I'm gonna watch it next. (And not do write-ups of every episode!)



Worker and Parasite say "So long!"...I think.