Satire's Yellow Heart
1989 was a climactic year for many. The tension of the cold war had finally weakened; man had long since reached the moon, and the Soviet Union was loosening its grip on its citizens. On November 9th, the world broke out in applause, as the Berlin Wall so suddenly fell, trampled finally by those it held hostage so long. This was a great day for America, whose leaders had long promised the end of the Eastern influences. The American values that governed the nation had brought triumph, and were going to continue in shaping the world. On December the 17th, Simpsons Roasting on an Open Fire premiered. The Simpsons. Beloved Household icons. 33 seasons in, and there’s no sign of the show stopping. Why is that? In this piece I intend to explore the continual relevance of The Simpsons household, as comedy, satire, and cultural icon.
The Simpsons, a spin-off series from the Tracey Ulman show, was unique among television at the time. Despite being animated it was intended for children and adults alike, and despite being an American family sitcom, it was heavily critical of American culture. The Simpsons at its core is a satire, a comedic critique and exaggeration of the American zeitgeist. From school to work, work to society, The Simpsons highlights the absurdity in our systems. Homer’s boss, Mr Burns, is a millionaire who continually violates the rights of his workers in order to save a few dollars. The Mayor of Springfield, the show’s major setting, is corrupt and scandalous, with a voice that is a comedic impression of John F Kennedy.
The main characters themselves are not free from this approach. The main characters are an embodiment of the American family unit, which has been abstracted into a barely functioning household. Homer Simpson is the breadwinner of the family - an alcoholic slob who famously strangles his own son. Marge Simpson is the housewife, full of sound wisdom for her husband, but ultimately unfulfilled. As for their children, Bart is a troublesome brat, Lisa is a know-it-all, Maggie is a baby. Each character is a vehicle to dissect the American household, and this is used effectively throughout the series to create comedy. An example of this satire is Season 8’s Simpsoncalifragilisticexpiala(annoyed grunt)cious, which exemplifies this in its parody of Mary Poppins. The Simpsons family’s slobbishness and inability to change drives “Sherry Bobbins”, the Mary Poppins analogue, to day drinking and despair as the family refuses to change despite being at varying degrees of dysfunction and misery. This episode highlights the absurdity of The Simpsons family, while also displaying the contrast between the idealised world of Mary Poppins - in which all problems are solved by song - and the reality of our own human nature. Although we may know that “a spoonful of sugar makes the medicine go down”, cleaning isn’t exactly fun.
Nonetheless, The Simpsons are not only a tool for comedy. They’re multidimensional, emotionally nuanced, and heartfelt. Homer is often seeking enlightenment. Marge has an underlying tragedy to her, which has been extensively explored in a video essay by Lola Sebastion entitled the Absurd Horror of Marge Simpson. Bart is often remorseful for his actions, Lisa is a tortured artist who seeks companionship and knowledge, and Maggy is- still a baby, but with hints of intelegence and heart. The emotional depth of these characters creates a strong foundation for the stories in which comedy often derives. Season 8 episode 9 “The Mysterious Voyage of Homer” is an episode which entails the titular Homer searching for a soulmate, disillusioned with his marriage to Marge. This story has a complex emotional core, as Homer grapples with the fact that he may be alone in the universe, and thus seeks to find his spiritual companion. This episode is also funny, parodying the trope of “drug induced enlightenment journey” which is seen played straight in even modern shows, such as the Disney Plus series Boba Fett. The episode blends humour and heart to create a heartfelt and engaging episode. Many episodes do not even feel the need to rely on comedy for engagement, such as season one’s “Moaning Lisa” in which the plot explores Lisa’s depression and how the family attempt to support her. Episodes of The Simpsons, in particular between seasons 2 and 8, effectively utilised both emotional and comedic storytelling in order to deliver a quality episode.
As The Simpsons has gone on, many have decried the new seasons, feeling that the Fox network and now Disney are milking a dead cow. It is largely agreed among fans that season 10 of The Simpsons was the beginning of a decline, the show’s quality diminishing as more and more of the writers left, and that those that stayed lost their passion for the show. The Simpsons has now concluded season 33. It is one of the longest running western television series, and many fans and critics alike question the show’s continuation. Are they right?
When The Simpsons began it was cutting edge in its satire. The family unit it parodied was leading every sitcom. The social criticism was brutal at points, with episodes criticising the systems that went unchallenged, such as police, capitalism, religion. The characters spoke to the cultural zeitgeist, the youthful rebellion and the mockery of tradition. However, what was cutting edge in the 1990s isn’t the same as the 2020s. The sitcoms parodied are long cancelled, The Simpsons eclipsing their legacy. The systematic oppression that minorities face is being challenged, and activists question the hierarchies set up by the wealthy elite. Most importantly, the characters are behind the times. Marge Simpson the sad housewife is not a common trope, and there is little reason why she doesn’t divorce her husband. Homer is abusive and neglectful, and though he has always been this way, audiences have soured towards his physical abuse towards his son Bart, of whom strangling is a running gag. Though they have incorporated modern technology, The Simpsons have not adapted to the times.
“Panic on the Streets of Springfield” is a season 32 episode of The Simpsons. The title derives from a song by The Smiths “Panic on the Streets of London''. After finishing season 8 of the series I watched this episode, as a warning of sorts, wanting to preview the change I knew was coming as I watched through the series. I hadn’t seen a full modern episode of The Simpsons since 2017 or so, when I watched the show on television while we had a SKY subscription. The immediate juxtaposition of the voices was shocking. Marge and Bart’s voices were worn out, begging for rest beneath their lines. Dr Hibbert did not have his own voice but a new one, a strange adjustment for me to make do with. The episode’s plot follows two storylines: a B plot of Homer buying a truck and the A plot of Lisa learning about the smiths, or rather a Simpsons proxy, the smiffs. She imagines the Morrisey stand-in, Quilloughby, as her imaginary friend. The writing of the B plot felt off. Jokes going on for too long, the pace slow, as though the characters were waiting for the episode’s time restraints to be met. However, to my suprise, the A plot was good. The Quilloughby based jokes were funnier than anticipated, with care gone into the exaggerated movements he makes, the parody song he sings, and the cruel verbosity he imparts on Lisa. Lisa is a character I can very much identify with, and seeing her experience with Quilloughby mirrored my own experience with listening to Smiths - minus the delusion. The real Morrisey hated this episode, which attests to the quality of its parody. This episode, surprisingly to me, was fun.
The Simpsons is no longer what it used to be, and it likely never will be again. But that is fine. The strength of the characters can lead to great storytelling, and even mediocre episodes of The Simpsons are still good. The Simpsons maintains its relevance, simply by refusing to die. Every once in a while an episode releases which emotionally resonates with the viewer. Many have found that season 33 is better than much of the previous few, and with no stop in sight, I’m going to enjoy the ride. Though the heart of the show is withered, it still beats.