(originally aired April 11, 1999)
Homer gets another job. And acts like an arrogant, selfish insane wild man. And nobody seems to have a problem with it. Standard procedure this season. By all accounts I should hold this episode in more contempt than I do. But as I’ve said in the past, humor can absolve many a sin, and this episode has a fair amount of laughs, the most perhaps of any episode this season. Part of it may have to do with having gone through four years of art school, and this episode treads upon very familiar territory in mocking pretentious and snobby art types. And while it’s not perfect, I still like the core idea of story, that a buffoon like Homer could be praised for his unintentional masterpiece. A spectacularly failed attempt to build a barbecue ends up in the hands (or rather the car hood) of an esteemed art dealer, who heralds Homer as the hottest new name in outsider art. Homer embraces this new title, while in the meantime Marge becomes jealous of her husband’s fame given the artistic dreams of her youth.

All the stuff involving the art world really worked with me: the Eurotrash snobs, the visit to the art gallery, and various discussions of famous artists like Claes Oldenburg (“He must be a hundred feet tall!”) and Christo (“Killer umbrellas! Of course!”) I also kinda like the back half of the episode where Homer’s attempts to recreate his work is treated with mockery. It’s the same kind of work as before, and therefore it’s not interesting. A “piece” like his first one took raw emotional effort, whereas these new ones were calculated to emulate the original. It’s like he went commercial and sold out. But I think maybe now I’m bringing in too much art theory into this. And even though the ending is absolutely, positively stupid in every single logical way, part of me still likes the idea of Homer taking the idea from a William Turner painting to create the grand canals of Springfield. How it could possibly happen and why all the townspeople are seemingly not infuriated by this, it doesn’t matter, I still like it.

Alright, enough praise. Despite my kind words, Homer is as big of a raging ass in this episode as he’s been the rest of the season. Forcing Lisa to lay down the cement for his grill, answering the door with a shotgun, then placing it in Maggie’s crib, Homer is still a maniac, in more respects than one. You’ve got the scene where he sketches Lenny and Carl nude, which I don’t know what to make of. The joke is that he’s gay, I guess? He grows incredibly pompous due to his new success, and when his fame runs dry, he demands people fear his wrath, for some reason. We also get the running bit about Marge being jealous. Not only does Homer need to spell it out for the audience (“It’s like Marge’s dream come true… for me! Isn’t that great, Marge? For me!”), it doesn’t really go anywhere. They could have had Marge reinvigorate her past passion, but have her paintings be mocked for being trite, and then Homer come to her defense, or something. But no, Marge is upset, but then in the third act, she takes her husband to the museum to inspire his art. And then they kiss at the end. Again, it’s like all the other characters just become accessories to Homer’s madness in whatever capacity the scene calls for. This episode basically has the same share of problems as most of this season, but God help me I still liked it. Its consistent jokes and sharp jabs at the art community save this one.

Tidbits and Quotes
– I like the beginning with showing Homer’s abandoned home projects, painting the garage (with a note “Start here tomorrow 7/17/95,”) and the snake in the family piano.
– Mom & Pop Hardware is a great set piece right off the bat with “A Subsidiary of Global Dynamics, Inc.” mocking how gigantic corporations try to mimic a humble old-fashioned operation. Homer originally goes there to do some handiwork (“I’m planning some expert home repairs and I need a pair of bolt cutters, or wire cutters, or something to get the lock off my toolbox.”) He then comes across a video advertising an amazing do-it-yourself barbecue pit, albeit with some disclaimers (“Lighthearted apron not included. Snapping fingers may not make food appear.”) When he fails spectacularly, he brings the grill back later, and notes with a flashlight that he does have the box and receipt, just in many tiny pieces amidst the monstrosity of concrete and grill parts. Also great is Squeaky Voiced Teen as “Pop” trying to score with teen harlot “Mom,” which seems to have gone smoothly when Homer returns later.
– The Homer barbecue freakout is just way way too big. Although I do love the line, “Why must I fail at every attempt at masonry!” I saw a great Internet pic taking the scene of Homer looking at the perfect grill on the box against his disastrous attempt, comparing it to the writers looking at old classic episodes and looking at theirs (“Why doesn’t mine look like that?!”) Seems pretty apt to me.
– I hate hate hate Homer answering the door with a shotgun. Then Marge later comments, when she and the kids are hiding behind the house, “Is everything okay? I got worried when I didn’t hear any shots.” So this is a regular thing, that Homer apparently kills people who come to the door to sue him? And Homer can also spew out an average settlement from his many lawsuits against him. This show is officially a cartoon. And I mean that in terms of an absurd exaggeration of characters who are vaguely human, whereas before the show was a cartoon of an exaggeration of actual people.
– I don’t like how Homer knows who Jasper Johns is as he name drops him, but I do like that they made him into a kleptomaniac for some reason (“You squeal on me, I’ll kill you!”) Kind of like how they made Stephen Jay Gould an asshole.
– I love the bit with Burns before he buys Homer’s sculpture (“Years ago I blew the chance to buy Picasso’s ‘Guernica’ for a song! Luckily, that song was ‘White Christmas,’ and by hanging onto it I made billions.”)
– I like the Eurotrash (“We are a drift in a sea of decadent luxury and meaningless sex.”) My favorite line in the whole show is after the big letdown of Homer’s follow-up pieces (“You’ve gone from hip to boring. Why don’t you call us when you get to kitsch!”) Followed by a strained laugh. Hilarious.
– Even though the scene of them in bed has plenty I hate (like somehow Homer’s recently announced show is in Art in America), I do like Homer’s compliments of his wife’s art (“Your paintings look like the things they look like.”) It’s basically every non-art person’s reaction to art, their gauge on if it’s good or not depends how realistic it is.
– I like all three of Homer’s latest pieces, topped with his “thing de resistance,” “Attempted Birdhouse One,” complete with a squawking bird inside. No one offers a bid, save Moe (“I’ll give you two bucks for the bird if it’s still alive.”) Cut to the sculpture, where the bird is now silent.
– Homer’s trip to the museum to be inspired only serves to discourage him, which is a sentiment I’ve shared. Seeing others work is inspiring, but also is a bit intimidating if it’s work that’s really good. I’ve found myself quoting him in those situations (“These guys are geniuses. I could never think of something like soup or a pencil.”)
– The flood ending is fucking stupid, but without it, we’d never gotten that classic Milhouse line from him wearing flood pants (“Hey, they’re working! My feet are soaked, but my cuffs are bone dry! Everything’s coming up Milhouse!”)

And look at that! I’m officially at the half way point! Holy crap, I can’t believe I’ve got another 222 episodes left… Well, thanks to everyone who’s read this long, or those who are just checking in, but we’ve still got a long road ahead of us. But we’ll get through it. Together. Like a big happy Simpsons family.

(originally aired April 4, 1999)
Here we have the first non-Halloween anthology show, featuring three stories of similar subject matter. We’d get a lot more of them as time went on, with more and more tenuously connected themes (classic literature, historical figures, famous ships?) Now considering past Treehouse of Horrors have been fantastic, there’s no reason why these kinds of episodes can’t work, but there’s a big difference between something like a classic Halloween show and this episode. When taking a theme or a specific source material, you need to give it some kind of twist or new interesting angle to make it memorable on its own. Even something like their Nightmare on Elm Street parody, which played very close to the original movie, still felt original as it integrated itself so well into the Simpsons universe in making Willie into Freddy Kreuger, a perfect match. Here, there doesn’t seem to be as much thought put into things. It’s basically just Simpsons character re-enact stories from the Bible. You know how every story is going to play out the moment it starts. Not that that’s really bad, but it’s not really good either.

The wrap around story occurs during a scorching hot day at church, causing the Simpson family to doze off and dream about themselves in Biblical times. First is Marge, who imagines herself as Eve and Homer as Adam in the Garden of Eden. After that, Lisa dreams of Milhouse as Moses leading the Hebrews out of Egypt. And finally, Bart has himself as David facing off against Goliath’s son, Nelson. I honestly don’t have that much to comment on these specifically. There are jokes that work through all three segments, but as I said, it’s all just so banal. Though there’s something that kind of works in the Bart segment. The conceit of Goliath II, the training montage, “A Bart Simpson Dream,” it feels like a bombastic action movie, which is exactly how would Bart would dream, and want to interpret a Bible story like this. This theme isn’t flawless though, since I don’t think Bart is clever enough to come up with the twist at the end (or have his dream self arrested for that matter), but it gives an idea of how these stories could have had unique flair to them. This isn’t present at all with Marge and Lisa’s. So yeah, these episodes are pretty middle-of-the-road; nothing offensive, but nothing really special either. I’d be surprised to find if anyone called any of these anthologies their favorite episode.

Tidbits and Quotes
– Act one is pretty risqué for having Homer and Marge nude the entire time. Also, why is it acceptable to show a guy’s butt and not a girl’s butt on TV? It’s not like you can see any genitals. Towards the end when Marge lands on Homer after being expelled from the garden, her hair is completely stuck to her back to cover her ass, which makes no sense.
– I like Flanders as God, and this being the only situation where Homer would have to cow tow to his almighty neighbor-eeno (“Oh, Adam, you’re too kind.” No, you’re too kind, and wise, and righteous. I can’t believe you don’t have a girlfriend.”)
– I like the “general-interest” People magazine God gives to Marge having a picture of, who else, Adam and Eve.
– It’s kinda clever having Snake as… Snake, and Homer’s line, “You’re pretty uptight for a naked chick.”
– Great contrast of Milhouse’s quick and quieted “Letmypeoplego…” followed by Skinner’s loud repeat back “Let your people go?!”
– Great bit of Skinner dictating (“Giant eye, dead fish, cat head, cat head, cat head, guy doing this…”) I imagine in Egyptian times, it pretty much went like that.
– I’m not a big fan of the finale where the kids literally flush the Red Sea. It feels like something the Rugrats would do in their Passover special. But following that are two great bits, first with Skinner (“After them! In the temporarily dry sea!”) and then when they’re flooded with Wiggum, Lou and Eddie (“Hey, Chief, he splashed me!” “Hey, nobody likes a cry baby. You just splash him back!”) I also like the very end where Lisa struggles to skirt around the tumultuous future of the Jewish people (“It looks like we’re in for forty years of wandering the desert.” “Forty years? But after that, it’s clear sailing for the Jews, right?” Ummmm, more or less… hey, is that manna?”)
– I don’t get the King Solomon bit as to why Homer would want Lenny and Carl killed, but I love the People’s Court of Jesus Christ versus Checker Chariot. Jesus’s stern look as he straightens his file folder labeled “My Accident” cracks me up.
– Another shot of Mike Scully’s fucking kids in Jerusalem. Seriously, you can tell it’s got to be someone on or related to staff since they look more detailed than regular background characters. I remember Matt Groening (I think) talking about how annoyed he got when animators would insert themselves into shots. It’s the same thing with this.
– I like how Bart’s attempts to climb the Tower of Babel are thwarted, with the two times he throws his grappling hook, he ends up snagging a guard and pulling them down to their deaths.
– Nice homage to Fantasia with Nelson emerging from the fire like Chernabog in the final segment of the film.
– I’d be annoyed with the dumb deus ex machina of Ralph reappearing at the end with no explanation, but again, I think it works as a kid’s dream, and mimicking similar dumb third act twists in mainstream movies. But then, again, I’ll say no way Bart would fantasize of the end reveal being that Goliath was actually an incredibly competent king (“To us, he was Goliath the Consensus Builder.”) I’m also not bothered by the apocalypse ending, since this clearly isn’t a canon episode. It felt more lazy than anything, which is saying a lot since the episode up to that point was pretty lazy.

(originally aired March 28, 1999)
So Homer gets another job, huh? Even though I said the same thing back in “Lard of the Dance,” it really does feel like the writers are conscious about how ridiculous it is that Homer has randomly taken on all of these different professions. That’s another thing that seems to be clear with these episodes, and also through the few commentaries I listened to, that the writers seem well aware of the elements of the show that go too far, or make no sense, or are just dumb, but keep them in because they laugh at it for some reason. So yeah, this episode’s kind of more of the same with brain dead Homer, illogical plot points and a bombastic gravity-defying ending, but it didn’t irritate me as much as others this season have. The set-up of Homer taking this job at least makes a little sense. He enters an eating challenge at the new steakhouse with trucker Red Barcley, which Red ultimately beats him at, seconds before he dies of beef poisoning (restaurant shareholder Dr. Hibbert assures the diners “probably from some other restaurant.”) So Homer feels somewhat responsible for Red’s death and options to drive his rig for him. Okay, I can buy that. Then Bart comes along too with Marge not saying anything. Hmm. Maybe she didn’t notice.

There’s not really much to Homer being a trucker, so the plot feels very thin, but sort of like him being a hippie, I can buy him in a job where all he has to do is sit on his ass. This is supported even more in the third act twist, where it’s revealed that truckers have an auto-driving system secretly installed in their rigs that drives the trucks for them. It’s kind of an interesting idea, and I like the fact that Homer is in awe that there are people even lazier than him. Then in the next scene he’s showing it off by lying on the hood of the self-driving truck and the convoy has to go after him. Then they escape by defying gravity and flipping their truck over a long line of vehicles and sticking the landing. Yep. Nothing wrong with that. Aside from that ending, and the general malaise feeling from the episode, I’m not so hot and bothered about this one. The fact that it seemed so conscious of itself being dumb kind of helped it, with the start of Marge’s insistence that Homer not go on another wacky adventure, since we’ve had a season full of them already, and Homer predicting the plot convenience of how he’ll get back to Springfield in the end by driving a train full of napalm.

During the “A” non-plot, we have a “B” non-plot starring Marge and Lisa, two characters who are seemingly not interesting enough to have an engaging story. Like “Sunday, Cruddy Sunday,” I guess that’s the joke, but it sort of undermines these two. They’re very entertaining if utilized properly, but since the series is gradually turning into “The Homer Show,” they’re sort of sidelined. The plot here is at least more entertaining that “Cruddy,” where Marge’s idea of walking on the wild side is buying a new doorbell, and her insistence that the first ring must occur naturally. Unfortunately the mechanism is broken and causes it to ring nonstop. I like that the tone is “Close To You” by The Carpenters, which has consistently been Homer and Marge’s love song throughout the series. Also great is Senor Ding-Dong, the Zorro-like magnanimous savior of the doorbell problem. Actually, now that I think of it, this story kind of had more working for it than the main plot. Maybe I just miss the more grounded stories. Anyway, there’s a lot here that doesn’t work as usual, but there’s enough that does and is funny enough to keep this hoisted above a lot of the slop heap this season.

Tidbits and Quotes
– Nice tasteful neon sign for the Slaughterhouse. Though, minor gripe, but if they just opened, how do they have a hall of fame for their renowned eating contest? Maybe it’s a chain or something.
– The bit with Homer not recognizing Red is kind of painful. They drag the joke more and more when from the first moment you know that the joke is him recognizing him as Tony Randall. And again, Homer is dumb, but can he really not tell that the guy he’s staring at and the picture on the wall are the same person?
– Homer meets his gluttonous match as he finds himself unable to finish the 256-ounce steak, and he’s none too happy with it (“What’s happening to me? There’s still food, but I don’t want to eat it. I’ve become everything I’ve ever hated!”)
– I like the personalized body bag from the Slaughterhouse, and the manager giving one to Marge for her husband, just in case.
– Act two has no real story, it’s just stuff that happens. But most of it’s pretty funny: Homer rocking out to the Spice Girls, wanting to ram a “punk” kid for doing the air horn gesture, then accidentally detaching his rig, and parking his truck at the drive-in blocking all the cars behind him. I don’t care for the bit at the diner where Homer daydreams how he can just divorce his wife and live at the truck stop though.
– Today of all days, no one will come to the Simpson door to ring the bell. Milhouse’s seed-selling venture is thwarted by birds, and two Jehovah’s witnesses have an impromptu change of heart (“Maybe we’re bothering people by trying to change their religion. What if we don’t have all the answers?” “You’re right, Noreen. Let’s go get real jobs.”) Marge calls in the big guns by ordering from Luigi’s, but the delivery guy ends up knocks on the door. I also love that she ordered a half-order of garlic bread, I’m sure the cheapest item on the menu, a small sacrifice to have her doorbell satisfaction.
– Some nice Homer logic that he can effectively balance out a bottle of pep pills with a bottle of sleeping pills. He fluctuates from super hyper to sleepy until he eventually passes out at the wheel.
– The climax is really fucking terrible all around. The shift from the truckers physically ambushing the truck to the row of trucks blocking Homer’s way is so abrupt, with only a Homer voiceover over the truck driving between the two. It’s like they struggled to come up with the ending and just threw this together.
– I like the reveal of what Red’s cargo was: artichokes and migrant workers. You never even thought about it through the entire episode, and that makes it even funnier. At least to me, anyway.
– Also, note, this episode aired before the series premiere of Matt Groening’s sister show Futurama. I can’t remember the exact point I started watching Simpsons episodes first run, but I know I watched Futurama from the start, so it must have been some time around here.

(originally aired February 28, 1999)
Waaaay back in the before time, in the episode “Lisa the Greek,” there’s a rather cruel moment where Homer has Lisa sit on the other end of the couch while watching a football game. It’s supposed to establish the distance between the two characters before they start bonding throughout the show, but it still feels pretty harsh, and is only saved by the fact that the rest of the episode is so fantastic. This episode feels like that uncomfortable moment for the entire twenty-two minutes. At some point the writers apparently felt it was hilarious to have Homer act like an insensitive dick, because he’s basically in flaming asshole mode from start to finish, made even more disconcerting that a majority of it is aimed toward Lisa. This has been a present problem in the Mike Scully years, but it seems even more accelerated here. Didn’t anyone notice how absolutely unlikeable Homer is when he’s abusing Lisa like this? That and there’s pretty much no story and no jokes. That also hurts the episode.

After Homer desecrates the Bill of Rights at the traveling Smithsonian exhibit, he ends up striking a deal to repay the damage with phone company/corporate sponsor OmniTouch by installing a cell tower on the Simpson roof. Homer ends up clearing out everything out of Lisa’s room to turn it into the operating station for the tower. I know Homer’s an idiot, but this is just incredible. Why would he think this is a good idea? And where are all of Lisa’s possessions? It’s absolutely horrible, and the worst thing is is that Homer doesn’t realize how upset his daughter is. That realization is what made these kinds of episodes work in the past: Homer realizes he’s failed one of his kids, then bends over backwards to fix the problem. And usually it’s for smaller stuff, like in “Lisa’s Pony” when he didn’t get her saxophone reed to her for her performance. Here he’s ripped her entire room apart with absolutely no sense of why she would be upset. Instead he acts as an absolute irritant toward Lisa, providing no answers to her concerns and being a raging dick (“Dad, why did you have to take away my room?” “Maybe you’d feel better if we watched some TV together.” “I just want to study!” “That’s no fun!” “It is to me.! “No it’s not!”) After an exchange like that, you just want to punch Homer in the face.

From all the stress at home, Lisa starts to fall ill. Yep, so now Homer’s behavior is physically damaging her daughter as well as emotionally, and he remains as thoughtless and callous as ever. It takes Lisa flat out telling him that they’re drifting apart for him to actually become conscious of the situation. The two go to a new age shop for some holistic medicine, and end up taking part in a sensory deprivation session, where they’re put in water-filled tubes to clear their minds and meditate. While Lisa has some deep introspection, Homer ends up hijacking more screen time when repo men raid the store and take his tank. It falls out of their truck on the road, and Homer is sent on an exaggeratingly cartoonish roller coaster ride as the tube is rolled down cliffs, buried, rushed through pipes and eventually spit out on shore, where it’s finally returned to the store by Chief Wiggum. It’s over-the-top and stupid, and it makes no sense why the tank never opened, or that Homer should still be alive after all that abuse. The shit kicker of an ending is that Lisa apologizes to her father. She has an out-of-body experience as him, and realizes he should be thankful for all the places Homer takes her that he hates. Well, that could make sense, except at the beginning of the show we see Homer whining and moaning about having to take Lisa out and that Marge basically forces him to do it. The point is that Homer is absolutely reprehensible for the entire episode and gets no comeuppance and learns nothing, and we’re given an ending of them reconciled and we’re supposed to go “aww” on cue like Homer-Lisa episodes in the past. Well those endings only worked when they were earned, and this time, it is absolutely not earned. Fuck this shit.

Tidbits and Quotes
– I guess everyone must have their own threshold of how stupid Homer can possibly be. At the beginning of the episode, a radio program makes a napping Homer believe he’s gone back in time. I think that’s too far. Really, it’s just like the writers are saying, hey, he’s supposed to be dumb, we can do this joke. But there’s a difference between dumb and brain dead.
– Homer’s cruelty starts immediately when he whines like a baby at the prospect of doing something for her daughter, but there’s a few glimmers of humor to be had before the horribleness starts (“You agreed to spend one Saturday a month doing something with the kids.” “Quit complaining. It’s half the work of a divorced dad.” Yeah, but it’s twice as much as a deadbeat dad.”) Also the bit about Homer against book fairs (“I’m not falling for that again. If it doesn’t have Siamese twins in a jar, it’s not a fair.”)
– The beginning actually has some good things about it. I like that OmniTouch owns the historical artifacts, and that the government sold them off to save funding for what’s really important (“Anti-tobacco programs, pro-tobacco programs, killing wild donkeys, and Israel.”) Also great is that Lincoln’s stovepipe hat is just sitting out in the open, while Fonzie’s jacket is under laser-protected glass with armed guards, right next to the Bill of Rights. Then Homer breaks in and starts reading it and everything goes to hell.
– Couldn’t Lisa have just moved into Maggie’s room? Or better yet, gut the baby’s room and move her crib into Lisa’s room. In that case you’d have no real episode, but… well, that would be a good thing, so yeah. Then they open the Bart-Lisa angle to the story with having her in Bart’s room, then drop it almost immediately. I feel like they could have done something interesting with it, other than have Homer and Bart do clicky pen wars.
– I love that as horrible as Homer is in this episode, they pepper smaller bits of him being horrible in just to intensify it more, like Lisa mentioning her father taping over her favorite movie, The Little Mermaid. This is moments after the reveal of her room being destroyed. It’s just played off so sad. Like, this isn’t funny at all, this is childhood trauma.
– There’s also a subplot where the cell tower screws with the baby monitor, causing Marge to hear in on people’s cell phone conversations. It’s actually pretty amusing and a nice story, but honestly anything would have been a breath of fresh air compared to the A plot. I like Agnes’s disapproval of Skinner driving through tunnels (“I know what they represent!”) and Bart’s play acting as a killer apparently going to the house to trick his mother.
– Really, why didn’t that fucking tube open during Homer’s wild ride? Then at the end we see Lisa lifts it open with ease. The whole third act is a dead zone, apart from a few momentary smirks from the repo men (“The crystal says your baby shall be a girl!” “Hey, shut up!”) and Chief Wiggum (“I am so sick of companies dumping their crud in our ocean without a permit! It’s not like those permits are hard to get!”)

(originally aired February 21, 1999)
Marge is a demure, subdued person holding back a lot of passion, so episodes like this where she unleashes some untapped emotion are always interesting to see. But this is season 10 we’re talking about, so it’s not quite as developed or impacting as something like “Marge on the Lam” or “$pringfield.” The episode seems to be on fast-forward, moving past all moments of emotional resonance, all so we can get to the absolutely dumb action set piece ending that’s oh-so necessary. We open on a set piece of the faculty of Springfield Elementary doing a talent show. Is this for a charity of some kind? They don’t say, so apparently they’re just doing it for… whatever. These are people who bolt out of the school at the last bell faster than the students, they hate their jobs, but now they’re just permanently tethered to the school just so they can do something wacky for its own sake. When the crowd rushes out mid-show, Homer spots Krusty in his behemoth of a vehicle, the Canyonero. Why is Krusty at a school talent show? Was he a judge? Don’t think about tit, just more cramming in characters wherever. This may seem like nitpicking, but this is the kind of stuff the show usually put a lot of thought into. Now it’s just whoever we need at whatever time we need them.

Homer impulsively buys a Canyonero, but is mortified to find he accidentally got the F-Series for women (Lenny points out that instead of a cigarette lighter, it has a lipstick holder.) Not wanting to be seen driving a “girl’s” car, Homer takes Marge’s, leaving her to drive the beastly SUV. She slowly gets warmed up to it, with its extra space for groceries and polite GPS system, and before long she ends up with a severe case of road rage. The problem is we don’t really spend that much time on Marge’s condition. Bart encourages her to cut through a field to get out of gridlock, then we see her obsessing over the car at home, then the next scene we see her full blown raging while driving. Then Wiggum pulls her over and assigns her to the anger management class in ten seconds. It’s like a switch just turned on in her brain or something. If we got a scene or two more of her increasing frustration on the road that made sense for Marge, I would buy it. Also missing is the family’s response to this behavior. Compare this with “$pringfield” and the family’s, particularly Homer’s, views on Marge’s gambling, it’s a major part of the episode. Here, road rage isn’t even mentioned once by the family.

Marge goes to anger management, but still ends up getting her license taken from her. So the stage is set for the ending, something where she sees the dangers of reckless driving and learns her lesson? No, let’s do the opposite, but in the most ridiculous way possible. At the zoo, Homer inadvertently causes an incident that lets some incensed rhinos loose, leaving him and the kids stuck atop the roof of their car. Wiggum seeks out Marge’s help, under the thought that she’s the only one ruthless enough to corral the animals back into their pen. Makes no sense, yeah, but it does kind of make sense by Wiggum logic. So Marge drives the Canyonero and puts the rhinos back. But then there’s one more left who takes Homer off through the town. Then Homer breaks free. But then the rhino attacks him in the porta-john. Then Marge saves the day. Then I fall asleep. Such an overindulgent ending. When did they feel like they had to end every episode with a big action set piece? This would have worked a lot better as a smaller, more emotionally driven story. Instead it feels like they got stuck and just went with whatever they felt fit. Great work.

Tidbits and Quotes
– The talent show opens with them singing, “We’re proud to be teachers…” Yet we see Willie and Lunchlady Doris You’d think this event would be just for teachers, like faces the parents would recognize. I was shocked that there were one or two extras there, but I’m sure that’s only because they didn’t have enough named characters to complete the human pyramid. Anyway, the show has zero laughs in-universe and out. The only thing I smirked at was Chalmers muttering under his breath calling Skinner a “sexless freak” as he stormed off stage.
– Gil makes a good appearance. I love his absolute shock, then delight at Homer’s eagerness to buy a car, only for his sale to be swiped by a more savvy salesman. He then has to make a sorry call to his wife on a rotary cell phone (“Honey, you should have seen me with my last customer, I… no, but I came so close. This guy was… Whose voice is that? Is that Fred? Aw, you said it was over! No, don’t put him on… Hello, Fred, hi!”)
– Marge refuses to give Homer her keys, so he hot wires her car in two seconds and takes off with it. Yeah, so more of Homer being an asshole, and doing wacky things which totally make sense that he can do. The man can barely function a toaster, he’s gonna hot wire a car?
– Marge tests out her high-intensity halogen headlights, which seemingly can pierce through the walls of the house into the kitchen. Then more likeable Homer as he goes to scold Bart for rummaging through Marge’s purse, then proceeds to join him.
– I always took umbrage with Marge’s “Oh for God’s sakes, go back to New Jersey!” being a Jersey native myself. I take even more umbrage now living in Florida, where it’s ten times worse being on the road than in Jersey.
– Wiggum’s “Can the sweet talk, Thelma and Louise!” made me really wish I was watching “Marge on the Lam” right now…
– For the film “Road Rage: Death Flips the Finger,” right off the bat, you feel Phil Hartman’s absence. 100% this would have been hosted by Troy McClure, who has been replaced by a gruff cop voiced by Tress MacNeille. But it’s actually the highlight of the episode, full of great bits like the insane astronaut driver and the film’s final message (“Anger is what makes America great, but you must find a proper outlet for your rage. Fire a weapon at your television screen. Pick a fight with someone weaker than you. Or write a threatening letter to a celebrity. So when you go out for a drive, remember to leave your murderous anger where it belongs: at home.”)
– Nice bit with Eddie as Curtis E. Bear, the courtesy bear, where the students can release their anger on him via complimentary 2x4s (“Can I at least shield my crotch?” “Bears can’t talk, Eddie.”)
– Wiggum can’t tear up Marge’s license since it’s laminated, so he hands it to Marge to do it, who then tears it up into little pieces like it was paper. Is this too nit-picky? I dunno, I just noticed it.
– If the ending isn’t stupid enough, of course it’s started by Homer being a jerk and slingshotting a sleeping lemur against his daughter’s protests (“Daddy will fix that broken animal!”) Brain cells are dropping rapidly…
– There’s a shot of people running out of the zoo from the rhinos that looked kinda weird, like the characters seemed too specifically detailed. The commentary reveals it was Mike Scully, his wife and his kids. Scully comments, “Take that, No Homers!” Ugh.
– From the moment they threw Homer into the porta-john, I knew that after the rhino was subdued, they’d have a joke where he proceeded to take the opportunity to take a shit. Sometimes you can see a joke coming a mile away, but it’s still funny, but this… is not one of those times. And sure enough, they did it.
– I don’t know what to think about the whole NBC ending. It feels kind of strange and random, but it’s partially saved by the voice-over on the credits (“I’d like to read the following statement, but I do so under… [gun cock] …my own free will. It has come to my attention that NBC sucks. I apologize for misleading you and urge you to watch as many FOX shows as possible. So in summary, NBC: bad, FOX: good. …CBS great.” [multiple gun shots, body hitting the floor])