OTH: The Simpsons- "Guess Who's Coming to Criticize Dinner" / "Treehouse of Horror X"
mmmm, wanton violence.
Season 11, Episode 3
Aired October 24, 1999
Directed by Nancy Kruse
Written by Al Jean
Synopsis: Homer volunteers to chaperone Springfield Elementary’s field trip to the newspaper factory, where his insightful sense of smell introduces him to an office party with cake. This turns out to be the retirement party of the paper’s food critic, and Homer’s desirable palate inspires the editor (Ed Asner) to give him a chance to become the next food critic. All Homer has to do is write a sample review in 500 words, which proves to be a problem because, well, he’s Homer, and his first draft doesn’t cut the mustard. Lisa volunteers to help punch up his review, which receives the editor’s seal of approval. Homer soon earns a reputation for his words (still ghostwritten by Lisa) as he gives every restaurant in town a good review. This is good for Springfield’s economy, but his fellow critics think that Homer is playing softball and think he should be more discerning. Which to Homer means that he’s making every review as mean as possible, a move Lisa doesn’t agree with to the point that she eventually stops helping him write. While he struggles to come up with his own words, Homer is given one last chance to prove his worth with the town’s upcoming food fair. Unbeknownst to Homer, however, the restaurant owners of Springfield are plotting to get their revenge on his recent heel turn by having the French pastry maker serve him a poisoned eclair at the fair. All is going well so far until Bart catches wind of their plan and informs the family, who team up to make sure Homer doesn’t eat it. Lisa catches Homer just in time and convinces him to toss the eclair away, which ends up exploding. The two make amends just before the restauranters chase Homer to ensure his comeuppance.
You can tell when an episode is fluff when the commentary doesn’t offer much insight into its development. Not that “Guess Who’s Coming to Criticize Dinner” is devoid of noteworthy context- writer and former/future showrunner Al Jean notes how he went down to the LA Times for research on the episode’s news scene focus.
I do think the potential focus on how the internet had changed the newspaper landscape would be an interesting approach, but that’s more of a story for a post-Y2K world- The Wire will feature an (ultimately unfortunate) overwhelming amount of its last season- but it would have also been outside of the episode’s reach, which instead dedicates its time to Homer’s impact, which itself reverts to the importance of print before the implosion of the internet. Which itself makes sense, Springfield is a small town that fluctuates from being on the cutting edge to behind the times; if online culture was already shaping itself up at the turn of the century (which it was), it would make sense for the residents of Springfield to be plugged out. Notice how Homer forgets that they even have a computer with a fully-functioning keyboard and sticks to his typewriter that is missing the letter ‘e’.
The jabs at journalism feel slight, even with the addition of Ed Asner as the Springfield Shopper’s nameless editor, an otherwise perfect addition due to his voice acting pedigree and career-defining turn as Lou Grant. Asner has a little fun playing the straight man to Homer’s usual shenanigans, even if it’s hardly a role he’ll be remembered for. Frankly, I’m surprised that the crew even opted to get Asner at all considering how meager his material is, Hank Azaria would have done just fine as the editor.
I think that’s my main issue with “Guess Who’s Coming to Criticize Dinner”. It’s an entertaining and well-meaning episode, but one that ultimately feels unnecessary and doesn’t add to the show at large. We know that Homer struggles to write at a second grader’s level, let alone an adult’s, and that he’s too liable to get in over his head when anything remotely goes his way. There isn’t really any insight to his character here, or for Lisa, his partner in crime for the bulk of the episode, nor for the citizens of Springfield, who are famously quick to jump into mob mentality.
But does there need to be any insight in the first place? This is The Simpsons’ eleventh season, and while character traits can ebb and flow, everyone has an idea of what they like about the show and its cast. What can you say about a show that’s run for over a decade and two hundred episodes that has gone out of its way to change as little as possible?
That’s my challenge, however, and there are things to say. This is still a funny episode, as can be expected from past and future showrunner Al Jean, who at least knows to pepper his script with memorable bits throughout. Rather than Homer’s attempts to find something to say about his food (except for “chewy”- that’s perfectly delivered), the most memorable part of the episode to me has to be Springfield’s allegiance of restaurant owners. While certain stereotypes have understandably not aged well (ie Apu), one of the delightful elements about The Simpsons is when the show embraces its cartoony roots and allows for outlandish characters like the Sea Captain and Luigi to prosper. Treating them like part of a Springfield Restaurant Illuminati just sounds right, and while I can’t recall if this concept comes up again, I sure hope so.
There’s more than enough to like about “Guess Who’s Coming to Criticize Dinner”, which makes it a filling meal, but still not quite the five star, high quality feast The Simpsons has been capable of in the past. We may be at the point where a delicacy that rewarding will be much less common, but I’d like to think it’s still possible.
Maybe it’s all the Sopranos talking, but Artie Bucco wouldn’t have to deal with this.
Season 11, Episode 4
Aired October 31, 1999
Directed by Pete Michels
Written by Donick Carey, Tim Long, Ron Hauge
Synopsis: Another year, another trio of spooks.
First in “I Know What You Diddily-Iddily-Did”, in which the family accidentally runs over Flanders during a foggy night, where it looks like they killed him. Rather than letting Marge take the blame, they decide to make it appear like Flanders died randomly at home, and it works. At least, that’s how it appears at first, but after the funeral, the Simpsons find their house adorned with “I know what you did” painted in red, just like in the movie being referenced. While they’re not sure who knows what, they soon find Flanders, who has survived his death… or rather undeath, as just before being hit by the Simpson family car, he was turned into a werewolf. It turns out that instead of running over an innocent man, the family ended up saving themselves from being ripped apart. At least, they did before werewolf Flanders grows hungry and tries again.
This is followed by “Desperately Xeeking Xena”, a simple post-trick-or-treat candy check turns dangerous when the police’s x-ray machine explodes and its radiation sprays Bart and Lisa, giving the siblings super powers. Bart becomes Stretch Dude, who has the same kind of elastic stretching ability as Mr. Fantastic or Plastic Man, while Lisa becomes Clobber Girl, who has Hulk-like super strength, and the two agree to use their powers for good, like chores and saving the world. Hence this week’s story, where Lucy Lawless (in full Xena gear) hosts a panel in town, only to be kidnapped by the Collector (the Comic Book Guy’s new alias), who intends to marry Lawless for himself. Stretch Dude and Clobber Girl see the actress being carried around town, which has the two chase the Collector down to his lair. After some fighting, Stretch Dude and Clobber Girl eventually stop the Collector, and are flown out of his lair by Lawless, who reminds the heroes that she isn’t Xena, who doesn’t fly.
And then we have “Life’s a Glitch, Then You Die”, which takes place during the (then) impending New Years Eve just before the new millennium, where everyone is relieved that they have nothing to worry about regarding Y2K… except this isn’t true, as Homer forgot to set his computer back at the power plant, which sets the end of the world into motion. Imagine the apocalypse times ten, as everything around the Simpson family turns to dust. While they try to find shelter, the family runs into a (supposedly) dying Krusty, who they’re able to pilfer an invitation for a flight to Mars from. It turns out that Lisa is actually on the flight list, but she’s only allowed to take one parent with her, so of course she picks Marge. And since there’s no way she’s going without Maggie, this leaves the Simpson men stranded on a desolate Earth, at least until Homer and Bart find a deserted rocket ship of their own. This isn’t so deserted, as it’s loaded with less desirable celebrities than the one Lisa and Marge are on. While they’re flying to Mars, this rocket is taking them to the sun. That flight to their impending death can’t come soon enough, as Rosie O’Donnell starts a singalong, leading Homer and Bart to eject themselves off and into space.
Another year, another spooky trilogy. It’s been a while, but it’s probably not a secret that I struggle to write about the Treehouse of Horror segments, but at least we’re still- mostly- at a point where there are still vaguely original concepts instead of almost always just ripping on popular (usually recent) films.
But we do still have that here to an extent, with the first segment being an obvious lift on memorable 90s slasher I Know What You Did Last Summer. Donick Cary, in his last Simpsons contribution (he’ll remain a reliable TV comedy contributor over the years, with credits ranging from Parks and Recreation to Silicon Valley and… Lil Bush) does a fine job of getting the gist of the film’s concept down without tying the segment down to references that only work if you’ve seen the movie.
The concept of the family hiding such a random act of violence from plain sight like running over Flanders is enough to build up for its own fun storytelling, right down to the image of werewolf Flanders. Maybe not as iconic as zombie Flanders was, but still effective and leads to a clever ending.
The second segment might be my favorite, but this comes from a personal bias, as I always enjoy seeing Bart and Lisa paired up. The siblings work well together, especially as superheroes right down to a catchy theme song. Similarly, the Comic Book Guy makes for a welcome villain, as he seems to enjoy playing the delectably devilish Collector.
The real star of “Desperately Xeeking Xena”, however, has to be Xena herself, Lucy Lawless. The New Zealand actress does some brilliant voice work as she shows off her comedic chops, holding her own with the legendary Simpsons cast. They all fit the vibe of this throwback-inspired segment, which reads like a nod to Adam West’s Batman and Lynda Carter’s Wonder Woman. Not exactly spooky or bloody, but if anything, this helps to make this year’s installment feel like part of a silver age comic book company’s monthly inventory. You’ll get a super hero story in between schlocky horror and science fiction.
The latter is represented in “Life’s a Glitch, Then You Die”, a gleeful take on the end of the world that ultimately comes up a little unoriginal. For one thing, we’ve already seen a similar take on the end of the world in last season’s “Simpsons Bible Stories”, and that had Homer pulling Lisa down from heaven like Mary Poppins. Here, he has no problem with Lisa, Marge and Maggie leaving him and Bart to perish. Still funny, but an obvious gap.
Personally, I find this to be the weak link of the three segments, even if it’s not a total wash. Tom Arnold in particular does a fine job of self-deprecating here, while Dick Clark… also plays himself, although that is one problem I have. We’re already well past the point of The Simpsons casting random celebrities into the show for any particular reason beyond the fact that they can. This has been a feature of the show for years now, to be upset with random celebrity cameos is almost like being upset with the show being animated. Still, the ship full of misbegotten celebrities at the end feels like a cheap shot, one that does goes against the show’s ethos from its earliest years- be timeless, not timely. Or if you need to go timely, at least make it worth the investment. Replacing Bill Clinton and Bob Dole for Kang and Kodos, that’s great. Easy jokes about how annoying Rosie O’Donnell and Spike Lee are, nah.
Still an entertaining half hour, I can see “Treehouse of Horror X” be a worthwhile investment for the Simpsons fans who only tune in for these nowadays, even if we’re not at the show’s finest work.
“Treehouse of Horror X” won CINE’s prestigious Golden Eagle Award, and was nominated for a Golden Reel Award for Sound Editing in Television Animation, losing to a new show at the time, SpongeBob SquarePants. Hmm, that’ll never last.
Homer’s Bar Tab:
No chlakboard gag for “Treehouse of Horror X”, but the former ep has a cute one- “I am not the last don”.
Couch Gag Wars- Matt Groening appears to autograph the frame vs. the family dressing up in previous TOH designs. Damn, they’re both good!
Homer and Nelson are an underrated pairing, I’m surprised we don’t see them interact more.
I love Lucy Lawless’ explanation for any errors in Xena- a wizard did it.
Apparently the reason the Collector offered Lucy Lawless a Rolo is because the writer’s staff were given free Rolos during this point in time. Not Butterfingers?
The list of celebrities in line to be saved are mostly those who already appeared on the show- Stephen Hawking, Mark McGwire, Paul McCartney, Mel Gibson, Ron Howard. Two exceptions we see are Michelle Kwan, who’ll eventually voice herself in the 16th season, and Jimmy Carter, who has been memorably referenced (he is history’s greatest monster, after all), but never appeared as himself on the series. Oh, and Bill Gates, which sure, we’ll count him.
it’s a small world: You probably know the late, unforgettable Ed Asner from many things, but his most significant role will always be Lou Grant, the gruff yet lovable manager of WJM News on The Mary Tyler Moore Show, who later spun off into his own headlining series. This isn’t the first time former alumni from James L. Brooks’ previous works have appeared on the series- Cloris Leachman and Betty White also appear from Mary Tyler Moore, as well as Danny Devito from Taxi and Albert Brooks from Broadcast News, just off the top of my head- but Asner in particular is always a delight, being voice acting royalty.
Meme Time: To prove that this show is the gift that keeps on giving, we have a more recent entry- Lisa’s blunt “wait a minute, there is no cane in Citizen Kane” has become a bit of a sensation on Twitter (will not type out its new name), with users photoshopping in notable comparisons… although I want to share my personal favorite.
Next Time: Homer flees town and starts a new crop and then bowls a perfect game. What an exciting week!
