(originally aired November 19, 1992)
A lot of “Homer-gets-a-job” episodes seem to seem to find Homer in his new occupation kind of randomly. Not to accuse this episode to be guilty of that, but the decision to be a plowman wasn’t quite as built up or as memorable as the beginnings of “Deep Space Homer” or “Homie the Clown.” Groundwork is set, though: a blizzard at the start of the episode signals a need for someone to rid the roads of Springfield of snow, and when Homer ends up totaling both cars, he goes to an auto show where he’s suckered into buying a snow plow. The car show is our gag segment of the episode; it doesn’t run too long and has some great stuff, like the giggling car model, the Fourth Reich car manufacturers using not-so-fake crash test dummies, and of course, Adam West, in a fantastic guest appearance.

“Mr. Plow” is one of those renowned classic episodes: Mr. Plow, the Plow King and their respective jingles are pretty much show staples, and for a very good reason. Although for me, the episode isn’t as impactful to me as others this season. I felt there could have been some good material in Homer on the job, but we really only get one quick montage of him actually doing any work. The rest of the time is him raking in the accolades, which I guess was the point, since his fantasy in getting the plow to begin with was to be commended on high (in a great dream of him assisting President H.W. Bush). Then Barney becomes his plowing rival, who all of a sudden becomes an asshole. Shooting out Homer’s tires in the act break is funny, but then his vindictive commercial to follow just seemed like too much. It kind of came out of nowhere for me. I guess maybe it’s subtle payback for past events, which we see in perhaps the most tragic of all flashbacks, showing an ultra studious Barney getting his life ruined when Homer offers him his first Duff. Since that sequence was only there for a joke, their rivalry seemed to come only out of story obligation.

I don’t mean to sound like I’m down on this episode, it’s just I’ve seen this one on a lot of greatest episode ever lists, but compared to a lot of the other masterpieces I’ve seen so far, it doesn’t stack up as much to me. It’s still a great show; the third act of Homer tricking Barney, then his epic rescue mission is wonderful, as is the bizarre ending where God takes a hand in the situation and melts the snow out of nothing but pure spite. There’s a great Godfather reference in Bart getting pelted by snowballs, which is funny by itself, and also as a recreation of that famous scene with James Caan (it reminds me of later when they did it again many years later actually with Caan as a guest star and how not funny that was). I also like the strange element of Marge finding the Mr. Plow jacket a huge turn-on. It’s rather odd, but a really sweet touch and reminder of the strength of Homer and Marge’s relationship. In the end, while I don’t think it’s a perfect episode, it’s still got plenty of great gags and heart to make it more than a worthy watch.

Tidbits and Quotes
– Homer smashing the car in his own driveway is a great reveal, as is later when the insurance adjuster asks him what kind of establishment Moe’s is, leaving Homer to have to think fast (“It’s a pornography store. I was buying pornography.”)
– I love Crazy Vlaclav’s Place of Automobiles (“She’ll go 300 hectares on a single tank of kerosene.”) “Put it in H!” is a random line my friends and I would quote back in the day, best used whilst getting in a car.
– Classic Homer line when Marge gets upset that he bought the plow without telling her (“If you’re going to get mad at me every time I do something stupid, then I guess I’ll just have to stop doing stupid things!”) Also great is his usurping of the church alter to shamelessly promote his business.
– Gotta love the infomercial for Captain McAllister’s CD of sea shantys. He’s only been in two episodes so far and has more than proven himself to be a reliable secondary character.
– Great line from Homer before his commercial (“It may be on a lousy channel, but The Simpsons are on TV!”) The commercial itself is classic (“My prices are so low, you’ll think I suffered brain damage!”)
– As mentioned, Adam West is fantastic, particularly his second appearance when Homer shows up at his house asking if there was a job for him. With a tilted zoom, West muses, “There was, when I called you… forty-five minutes ago…” Such an intense read. Hilarious.
– Just like in “Blood Feud,” Homer puts on another horribly disguised voice in putting in the fake call to Barney, promising him a $10,000 bill for the job. Barney is unusually sharp, asking back what president is on it. Homer must perform an ass pull (“Uh… all of them. They’re having a party. Jimmy Carter’s passed out on the couch.”) Barney is sold.
– Similar to the swearing in scene in “Lisa the Beauty Queen,” we get another national tragedy reference in Kent Brockman announcing the avalanche trapping Barney mirroring Walter Cronkite finding that JFK has been assassinated.
– Kent Brockman gives a great outro line in giving a more scientific explanation for the melting snow than a mere act of God (“Could this record-breaking heat wave be the result of the dreaded Greenhouse Effect? Well, if 70-degree days in the middle of winter are the price of car pollution, you’ll forgive me if I keep my old Pontiac.”)

(originally aired November 12, 1992)
Some part of me wishes the writers had done more with Ruth and Laura Powers. Marge could have some modicum of life outside the house, Laura could get into mischief with the bullies or something… I guess in the end it wouldn’t work. Not only are they voiced by guest stars (Pamela Reed and Sara Gilbert), but something about the divorced mother and child seems too traditionally like a regular sitcom, and unless there was something tweaked about them, it wouldn’t feel very Simpsons-y. The main plot of Bart having a crush on an older girl feels like a well-worn story as well, but it’s given a wonderfully cruel twist, and also balanced by a totally ridiculous B-story involving Homer being the most gluttonous man on the planet. It’s an episode with little ambition, but that’s only because it embraces its smallness and does a fine job. It’s also the first show written by Conan O’Brien, so there’s that too.

The Winfields, the Simpson family’s other next door neighbor (remember? The old couple who laughed at Homer’s suicide attempt?) have finally moved out and have been replaced by Ruth Powers, single mother to teenager Laura, a smooth-voiced tomboy with a penchant for childish pranks. Needless to say, Bart is instantly smitten. Meanwhile, Homer is anxiously awaiting his night out to the Frying Dutchman’s for their All-You-Can-Eat special, and Bart leaps at this opportunity to volunteer Laura as a babysitter. As tenuous as these two plots connect, there’s at least a flowing relation between the two, unlike last episode where the “Boy Who Cried Wolf” story was completely divorced from everything else. Homer proves to be an insatiable pig, resulting in the restaurant throwing his ass out. Lionel Hutz in tow, Homer sues the establishment for false advertising. Every courtroom scene on the show is bound to have great material, like the shocking revelation that Captain McAllister (his first appearance) is not actually a real captain. Also great is Marge’s increasingly pathetic admissions to Homer’s rampant appetite, such as him eating an entire bag of flour. This actually may be one of the few times, if not the only, when Lionel Hutz is actually somewhat competent.

Meanwhile, Bart’s heart is shattered (or rather ripped out of his chest via a great dream sequence) upon hearing Laura is seeing teenage rebel (and one of his constant tormentors) Jimbo Jones. His resolution to this dilemma is pretty sharp: he prank calls Moe for the umpteenth time, then gives him Jimbo’s name and his own address. The sociopath Moe is, he arms himself with a rusty knife and dashes off to hunt down his tormentor. Now, here’s what’s odd about this ending. The idea here was to reveal that Jimbo isn’t a real man, which Laura basically says at the end when she breaks up with him. Meanwhile, the trigger for this was when a strange crazy man with a knife burst through the door and threatened him with it, Jimbo pleaded for his life. Who wouldn’t do the same? It’s funny all the same because of how over-the-top it is, and how petty Laura is for no reason. Also shocking is how despite Moe’s admission that he intended to stab this young boy, we still bear no ill will toward him. I guess in the same way we love Sideshow Bob even when he tries to murder Bart. But never mind that, happy endings for all as Laura tells Bart, “You know, if you were only old enough to grow a bad teenage mustache, I’d go out with you in a second.” Sweet ending to a sweet show.

Tidbits and Quotes
– I love Homer’s uncontrollable joy upon finding the absolute junk in front of the Winfield’s house, and his willingness to shove any medicine down his throat as long as it’s free (“C’mon, Marge! Maybe I’m not getting enough… estrogen.”)
– Odd that Marge reveals she’s allergic to seafood when she’s had fish twice before, at the Rusty Barnacle (“Homer’s Night Out”) and the Happy Sumo (“One Fish, Two Fish, Blowfish, Blue Fish.”)
– This show is all about extremes: a potential buyer of the Winfield’s house is pretty much sold (“Now, I don’t know much about haggling or bargaining, so why don’t we just agree to pay whatever the Winfields want”) but is immediately put off by the horrifying view out the window of a nude, drunk Homer in a wading pool eating hot dogs (soaking in said water.)
– Now why would you hire a company called Clumsy Student Movers? You basically know what you’re paying for.
– A particularly disturbing moment reveals that one of Bart’s former babysitters is apparently near catatonic after whatever trauma she may have endured. I like that the show has the balls to regularly pull out dark humor like this, even for the sake of a quick joke.
– Homer attempting to converse with Ruth is hilarious, with his delicate tip-toeing around mentioning her divorce (“I’m glad one of us remembered. That could’ve been embarrassing”) and his complete inability to read between the lines (“…we’re talking about sex, right?”)
– The Death Row arcade game is classic: the Change of Venue button leads you to a Game Over in Texas, with an 8-bit prototypical Rich Texan celebrating the convict’s execution.
– Hutz is brilliant right out the box (as always) upon hearing Homer’s case (“I don’t use the word ‘hero’ very often, but you are the greatest hero in American history.”)
– Homer’s advice about woman he gives his son is classic: after failing to compare them to a refrigerator, he instead compares them to a beer (“They smell good, they look good, you’d step over your own mother just to get one!”) He then proceeds to get drunk, leading to a great slurring nonsense performance, with a wonderful drawing of a bored, disillusioned Bart waiting patiently for his father to pass out.
– More great stuff at the trial: the Miracle at 34th Street homage with the bags and bags of letters, and the defense’s realization they might lose at the hands of an overweight jury.
– Amanda Huggenkiss is probably my favorite fake name. When Moe shouts, “Why can’t I find Amanda Huggenkiss?” Barney responds, “Maybe your standards are too high!” He also gets a great line when Moe leaves, telling him not to steal any beer (“What kind of pathetic drunk do you take me for? [gasps] Somebody spilled beer in this ashtray!”)

(originally aired November 5, 1992)
Homer’s only real contribution to the family is being the bread winner: despite him sleeping through most of the work day, he still brings home a paycheck to keep his family afloat. Meanwhile, Marge takes care of pretty much everything else in the household. The idea of Marge getting a job and taking over Homer’s seemingly one purpose in life seems full of potential. However, this episode only hints at the relationship, not really making it its focus. More time is spent with Mr. Burns pining for Marge, which is an odd story line, as well as a tacked B-story of Bart feigning sick to get out of tests. The episode begins, though, with the Simpson house listing, as in the entire left side is slowly sinking into the earth. Unable to pay the money to get it repaired, Marge takes an open position in the nuclear power plant, and ends up becoming the object of Burns’s affection.

I can’t tell if it’s me or the episode, but there seemed to be a weird flow for most of it. We start with Homer and Marge talking about the retirement party for one of his co-workers, then we have a huge chunk of time spent with the house sinking. By the time we get to the party, I’d forgotten they had discussed it. Then in the second act when we get Marge working at the plant, we inter-cut with the B-story with Bart. We never see Marge’s struggles in working at a brand new environment (aside from one quick joke), or much of her and Homer’s interactions in the workplace. It seems like there’s a bunch of material they could have mined. Instead we have the “Boy Who Cried Wolf” plot, which has some amusing bits, but is pretty forgettable. The Mr. Burns story at the end works, I suppose, but its wrap-up felt very rushed, with Burns going soft-hearted and forgiving upon realizing that Homer has love for Marge too, then holding a romantic concert for the two. A sympathetic Burns, while very uncommon, almost makes sense here… but I dunno, I just wasn’t feeling it.

I feel like I’m bagging on this episode a little too much… I think after five absolute gems in a row, this one falls a bit short. It still has a lot of great moments, though; I do love the idea of the house listing, which lends to some great animated bits of people and things sliding, like Homer angrily sitting on the couch, sliding to the end, spilling a bit of his drink and knocking the lamp off the end table. There’s foundation repairman Surly Joe, who is really anything but surly, but still agitates Homer to no end with his helpful advice and friendly candor. The retirement party is a great scene, with an excellent Citizen Kane parody, showing the event is actually all about Mr. Burns. Then of course there’s Tom Jones, who is such a great sport considering what they do to him over the course of the episode. It’s an enjoyable show overall, but one I feel had more potential if the main plot had been developed more.

Tidbits and Quotes
– Another great Troy McClure appearance hosting the video, “The Half-Assed Approach to Foundation Repair” (which has a great cover of the title covering half of a donkey), in perhaps the only depiction of Troy actually being competent in one of his gigs. I could hear Phil Hartman narrate step-by-step on how to apply poly-vinyl foam insulation all day.
– Great little moment when Surly Joe puts a level on the almost 45-degree shelf, which falls and breaks immediately. Homer dumbly asks, “Did you see the bubble?”
– I do like the scene of Lisa padding and embellishing Marge’s resume, to include :curator of large animals” (on cue, a bulging hairy Homer walks in) and “worked for the Carter administration” since Marge voted for him twice (Marge tells Lisa to keep hush about that).
– One of the most insane dream sequences ever is Bart’s vision of Pierre and Marie Curie as giant monsters with laser eyes destroying a city. A very quotable line comes from the poorly dubbed fleeing husband (“It’s the Curies! We must flee!”)
– Homer’s advice to Marge on her first day is very helpful (“If something goes wrong at the plant, blame the guy who can’t speak English. Ah, Tibor, how many times have you saved my butt?”) He later laments about those who have been promoted before him, including Tibor.
– The Bart B-story does have its fair share of jokes, like Abe’s rattling off of old-timey diseases (and using a rectal thermometer on Bart), Krusty’s insanely loud secret word alarm that spooks the wolf (almost a la Pee-Wee’s Playhouse), and Willie’s consoling of the wolf after their big scrap (“Don’t feel bad for losing. I was wrestling wolves back when you were at your mother’s teat!”)
– The series of tubes sequence is beautifully animated, and has a great pay-off joke, with all the tubes being used by beavers to dam up a river.
– Marge’s suggestions for funny hat day and other themed days to boost moral is very true to her character, and gives us a great double-sequence of depressed employees before and after (the Angel of Death, now in propeller cap, wanders off to do his calling.)
– Classic sequence of Smithers’s dream of Burns flying through his bedroom window. As overt as this is about Smithers’s sexuality, it’s still not as glaring as gay jokes would later be toward him. He only has eyes for Burns; he’s the ultimate toady that has placed his boss on an idol-like pedestal.
– Poor Tom Jones,. Gassed, shackled and held at gun point, but for some reason, even after all this, we still don’t see Smithers, or Burns, as complete monsters. And we still laugh when Jones is hit over the head by a vertically closing trap door.
– Unbelievably disturbing line by Burns (“You don’t have to sue me to get my pants off,”) which is so out-of-character for him, but still funny because of it.
– Great brief appearance by Lionel Hutz, who swigs down some Scotch at 11:30am and runs off screaming from Burns’s crew of ten high-priced lawyers, leaving behind his suitcase full of shredded newspapers.
– I love Homer’s idea of giving Marge the time of her life (“Marge, we’re getting some drive-thru, then we’re doin’ it twice!”)

(originally aired November 3, 1992)
Bart is a truly incorrigible hellion, seemingly from birth as we’ve seen in some flashbacks. The reasons for his behavior are occasionally explored, but ultimately he’s just an out-of-control kid, doing whatever his sick little mind desires. This episode shines a light on Homer and Marge’s parenting, and why exactly Bart manages to get away with so much shit. A warning flag is put up during parent teacher night over Bart’s shenanigans, on that he doesn’t get enough discipline for his actions. It’s here we see a different shade to Homer;,one that seems to be overly forgiving to his son. Perhaps due to his laziness or ineptitude, Homer seems to find it difficult to punish Bart, no matter what horrible thing he’s done. Following the reckless destruction of Abe’s dentures, Bart is sent to bed without supper, with the boy calling the bluff. In a pivotal scene, later that night, Bart realizes they aren’t budging, but just before he reconsiders his life of sin, Homer sneaks him some pizza, his buckling starting the chain of chaos all over again.

Alongside Bart’s antics is extensive coverage and promotion for the upcoming Itchy & Scratchy movie, which is slated to be the biggest motion picture event ever (though it claims to only feature 53% new footage.) With this, we get a bunch of great animation parodies, starting with the pretty brutal portrayal of Korean studios as demoralizing workhouses. The earliest I&S cartoon “Steamboat Itchy,” obviously a “Steamboat Willie” parody, is amazing: it looks so much like the original cartoon, it’s astounding. Also fantastic is the riff on 1940s wartime cartoons where the cat and mouse, modeled in a cutesier Warner Bros. style, brutally kill Adolf Hitler, and a strong-chinned, grinning, able-bodied FDR comes to kick his corpse in the ass. Not only is it great to see different styles and looks of animation in the show, but it’s amazing how good it all looks; it’s a real treat to watch.

These two stories intertwine in Homer finally getting the gumption to punish Bart: he is forbidden to ever see the Itchy & Scratchy movie ever, ever. This is another example of how Homer, when motivated, can get really be firm and focused on something. He’s concerned for his son’s future, and believes that not budging from this punishment will be the first step to helping him. The I&S movie is a monster hit and the talk of the town, with Bart miserably sitting in the sidelines. Even Marge and Lisa think it’s gone too far, but Homer remains true to his guns, having faith it will be all worth it. And, in the end sequence, it does: future Bart is Chief Justice of the Supreme Court. I like to see this is an accurate future; I think that Bart is one of those kids who will grow out of his rambunctious youth to actually make something of himself, so I think the end, with him and elderly Homer finally watching the I&S movie (a double bill with Beauty and the Beast) is a really sweet and satisfying ending to a dynamite show.

Tidbits and Quotes
– “Star Trek XII: So Very Tired” is a great opening parody, with Hank Azaria doing an amazing Kirk and Sulu (“Again with the Klingons…”)
– Homer in Miss Hoover’s class is really great; for some reason being in an elementary school gives Homer free reign to behave like a kid and make armpit noises. The drawing of him with a vacant stare and innocent smile, his gut bulging from the small desk chair, is absolutely hilarious.
– Where Homer receives all praise for Lisa, Marge is raked over the coals about Bart. The progressive dark turns regarding his behavior get funnier as they get grimmer, from a hidden switchblade inside a Krusty doll, to a child witness pointing out where Bart stuck a firecracker in him on an anatomically correct doll.
– Homer exhibits an unusual knowledge of past Supreme Court Justices for some reason (“Mmmm… Warren Berger.”)
– The dream sequence of Bart as a disheveled pudgy male stripper may be one of my favorites of the whole show; it’s so disturbing, but in the best way possible.
– I love Homer’s thought process in punishing Bart: since he broke Abe’s teeth, he gets to break his. Abe’s eager willingness to do so is also wonderfully unsettling. As is later when Jasper holds a gun to Abe when he tries to swipe his dentures late at night.
– I think this is the first appearance of Bumblebee Man, star of Latino daytime TV. He’s proven to be one of the most bizarre secondary characters ever, with no real explanation for who this guy is, but that makes it all the funnier.
– Homer’s blind eye to Bart gets worse and worse, to when Marge comes home to find Bart tearing up the carpet as Homer vacantly stares at the TV (another hilarious drawing.) I like how cavalier both of them are about their roles: prompted to do something, Homer sends Bart to his room. Bart casually leaves (“See you in the funny pages!”)
– Desperate to get Homer to rescind his ban on the I&S movie, Bart pulls on his pants, preparing to be spanked. Homer shouts, “Don’t point that thing at me!”
– Absolutely perfect that during the moon landing, teen Homer is obliviously lounging in a bean bag chair listening to Ohio Express.
– Great heart-to-heart with Bart as Homer explains reasoning for the punishment (“You know, when I was a boy, I really wanted a catcher’s mitt, but my dad wouldn’t get it for me. So I held my breath until I passed out and banged my head on the coffee table. The doctor thought I might have brain damage.”) When asked what the point of the story is, he answers, “I like stories.”
– Nice swipe from Lisa talking about how Michael Jackson and Dustin Hoffman did uncredited guest spots in the I&S movie (“They didn’t use their real names, but you could tell it was them.”)
– I love the humongous-sized I&S movie novelization; considering what the show is, what could be in there to make it that long?
– The billboard for the movie is also amazing, as is the replacement following the end of its run for Springfield Barber College.
– Finally, I love that when we finally see the movie, one of universal acclaim and winner of nine Academy awards, it’s basically the same exact stuff we see in the regular cartoon. Still funny, but even funnier due to all the hoopla attached to this particular incarnation.

(originally aired October 29, 1992)
The Treehouse of Horror specials are always just so fun. The Simpsons universe is crazy enough, but there are still established rules to be followed. In the Halloween shows, all rules go out the window, and we’re treated to creepier and wilder stories involving everything from aliens to zombies. It’s hard to write analyses for these specials since there’s not much to really dissect, they’re just really funny. The first segment “Clown Without Pity” is a great parody of the old Twilight Zone segment with the killer doll, here being a Krusty doll hell bent on killing Homer. There’s the classic opening with the shopkeeper at the House of Evil (why exactly would Homer decide to look in there for Bart’s gift?) We have the great line from Patty after Homer runs naked through the kitchen (“There goes the last lingering thread of my heterosexuality.”) And we have the wonderfully dumb resolution of simply switching the Krusty doll from “Evil” to “Good.” It’s not one of the show’s most dynamic stories, but it’s so incredibly funny in its own right.

In contrast, “King Homer” is very ambitious and spectacularly well done, one of the best in the series. It condenses the classic King Kong perfectly into a slim seven minute story, featuring Mr. Burns’s expedition to Ape Island to capture the giant beast known as Homer. Homer already has the appearance of a big, dumb gorilla, so the design of him as King Homer must not have been a huge stretch. The segment honors the original film, but also pokes at it, with Burns laying out the specifics of his new Broadway show (“Well, the Ape’s going to stand around for three hours or so. Then we’ll close with the ethnic comedy of Duggan and Dirschwitz.”) The segment looks great, done in black-and-white, of course, with all of the in-period characters and set designs looking fantastic. We also get our first fatalities in Treehouse of Horror history with King Homer eating Lenny, Smithers, and Shirley Temple (I love the small bit where her little shoes fall off as Homer picks her up to eat her.) The twist on Homer not being able to climb one story is great, as is the eventual wedding between him and Marge, the church divided by monkey and man.

“Dial ‘Z’ for Zombies” is sort of a riff on Night of the Living Dead. In the early 90s, zombies weren’t quite as ubiquitous in mainstream horror culture as they are now. This is another segment I can’t comment much about, but it has a lot of great bits in it. Bart wearing the Thriller record jacket on his head, the zombies acknowledging Homer is actually brainless, “To the book depository!” and of course, Homer shooting a zombified Ned Flanders (“He was a zombie?”) We also have a brief bit from Kang and Kodos, which is slightly out of place, but it wouldn’t be a Halloween special without them. Homer mows down George Washington, Albert Einstein and William Shakespeare, who I guess happen to have been buried near Springfield. I’ve not much to say about this one, other than it’s got plenty of clever, hilarious moments to cover the entire running time.

Tidbits and Quotes
– The wrap-around stories will soon be lost from these specials due to time constraints, but this one is definitely my favorite one, featuring a Halloween party at the Simpson house. There’s a lot of great jokes, like Homer eating the grapes and spaghetti (“It was an evil game,”) his failed attempt to tell a scary story, and Ned’s surprisingly gruesome costume.
– I noticed this episode has a large number of voice-over lines where the lip sync doesn’t match. The commentary reveals that they had an huge number of retake lines they did after the animation was complete that they had to cut from existing footage. But hey, the show’s hilarious, so it worked in the end.
– Great response from Abe on where he got all the money he gave to Bart (“The government. I didn’t earn it, I don’t need it, but if they miss one payment, I’ll raise hell!”) I also love later when he claims each present is evil because he just wants attention.
– The bottomless pit is a ridiculous set piece where Homer disposes of the Krusty doll, a mobster tosses a body, and some poor schmoe tries to get rid of a box full of nude photos of Whoopi Goldberg… only to have the pit toss it back up.
– One more inappropriate hold music gag (maybe the last?) where Marge calls regarding the killer Krusty doll, only to have “Everybody Loves a Clown” play on the other end.
– An early, absolutely brilliant hinting at Smithers’s sexuality, where he comments how he doesn’t think women and sea men mix. Burns snidely retorts, “We know what you think.”
– Barney gets two great moments during the Broadway show: when King Homer is first revealed (“Look at the size of that platform!”) and when the ape snatches all of his peanuts and he proceeds to kick his gigantic foot futilely (“I said one!!”)
– Burns is full of great lines in the “King Homer” segment: his lament in the hotel room after the fiasco (“I’m dreading the reviews, I can tell you that”) and his comments after Homer’s fall (“I remember when Al Jolson ran amok at the Winter Garden and climbed the Chrysler building. After that, he couldn’t get arrested in this town.”)
– Very biting sight gags of having ‘Capital Critters,’ ‘Family Dog’ and ‘Fish Police’ tombstones in the Pet Cemetery, referring to the incredibly short lived animated shows that sprung following the success of The Simpsons.
– Bart’s incantations of four similar items in a row are great, like “Collin, Rayburn, Nars, Trebek” being game show hosts, and oddest of all at the end, “Trojan, Ramses, Magnum, Shiek” being all brands of condoms.
– Willie’s cavalier attitude toward the zombies is hilarious. I occasionally still quote, “Pretty as a picture!” Also, Homer’s cavalier attitude about not having barricaded the door (“Why? …..oh right, the zombies.”)
– My favorite part of the show is probably the unusually cordial nature of the zombies upon re-entering their graves (“Excuse me, I’m John Smith.” “John Smith, 1882?” “My mistake!”)