731. Lisa the Boy Scout

Original airdate: October 9, 2022

The premise: A “Bart and Lisa in the scouts” plot is quickly interrupted by two cyber terrorists, who proceed to screen a montage of unreleased show footage, featuring story lines that were cut for being too outlandish, vowing only to stop if Disney pays them a hefty ransom.

The reaction: Well, I can certainly say this is the first time the show has genuinely surprised me in a long time. A minute into an impending story line about Bart and Lisa feuding in the scouts, the “transmission” is disrupted by two hackers, threatening to tank the value of The Simpsons by airing the most nonsensical unaired footage in show history unless Disney buckles to their demands. I’ve long talked about how a show that’s run this long should take more opportunities to just do weird shit for the hell of it, and this is definitely in line with that. It’s basically a fake clip show, something that Community and Clerks: The Animated Series have done brilliant episodes of. It’s an episode full of scattershot ideas, so it’s kind of hard to discuss on the whole. Continue reading “731. Lisa the Boy Scout” →

ReView Askew: Clerks (1994)

Filmmakers always put a little bit of themselves into their work. Why else create something if you’re not drawing from your own emotions, your own experiences, your point-of-view on the world? Even the biggest blockbusters, the successful ones anyway, have at least a little nugget of human truth to them, a specific voice by someone with something to say. Kevin Smith is an extremely clear example of this, as his movies, for better or worse, are populated with characters who represent himself, speaking from his perspective. The bedrock of this, of course, is Clerks, a movie he wrote and shot when he was 22 years old working at a convenience store… about a 22-year-old who works at a convenience store.

If you mention Kevin Smith to anybody on the planet, the first word out of their mouth would be Clerks. Almost thirty years later and it’s still Smith’s most identifiable calling card, one that he’s most certainly embraced. There’s definitely a sweetness to the respect he holds to his seminal film, acknowledging how it made his career and never losing sight of that fact. But then he’s made many a joke over the years about how he never really progressed past Clerks and it’s all downhill from there, almost to the point that it feels like a defense mechanism for him. But forget all that, let’s just focus in on just the movie by itself, this little indie darling made by some kid on a shoestring budget about a bunch of slacker twenty-somethings yakking about Star Wars and cursing about the jobs they hate. Continue reading “ReView Askew: Clerks (1994)” →

730. One Angry Lisa

Original airdate: October 2, 2022

The premise: Homer gets Marge a “Pedalon” bike, but he gets worried when she quickly becomes obsessed with it, and her handsome instructor. Meanwhile, Lisa is surprised to get a jury duty summons, and even more surprised when she actually ends up serving.

The reaction: I feel like I only know about Peloton bikes from people making jokes about them. I’m sure they’re really big with affluent people who work in entertainment, so I guess it was only a matter of time they’d be satirized on this show. Although there must be people all over the country who have Peloton bikes, so it might be a more recognizable subject matter than I think. Either way, the plot line is so basic, it’s not that hard to follow. Marge could have joined an in-person gym and it basically would be the same story. Continue reading “730. One Angry Lisa” →

ReView Askew: Reassessing the Cinematic Oeuvre of Kevin Smith

I think I first stumbled upon Clerks working at the library while I was in high school, and I became glued into the world of Kevin Smith pretty quickly after that. The nonstop pop-culture-laced banter, the boldly risqué humor, the snarky attitude… his filmography was prime fodder for a sarcastic 16-year-old kid to latch onto. But even beyond the films, Kevin Smith is an entertainment draw within himself. Starting with his message board and blogs, then his Q&A DVD specials, and now with his ten thousand different podcasts, the man has been talking our ears off for decades now with his thoughts on movies, behind-the-scenes industry stories, and how his wife’s genitals still pwn his dick after all these years. He’s kind of a polarizing figure, both as a filmmaker and a public personality, in that there seem to be two vocal camps that either love or hate him. Even though I don’t love all his movies (some of them I pretty much hate), I find it impossible to not kind of like the guy. He’s an affable stage presence, and throughout his career, he’s always seemed relatively down-to-earth, free of any sort of pretension about who he is. And despite any feelings I have over the trajectory of his filmography, I feel like I have to give him a bit of a pass thanks to the strong nostalgia I have over his first collection of movies, dubbed the View Askewniverse.

The View Askewniverse was the name given to Smith’s original five films, as they all took place within the same canonical timeline in or around New Jersey, with interconnected characters being referenced or appearing throughout, the most prominent of which being those wacky weed dealers Jay and Silent Bob. Seemingly inspired by Smith’s love of comics and the ongoing continuity within, I guess that kind of also makes him a film world forefather to the MCU and all the other failed studio attempts to make cohesive cinematic universes. After Jay and Silent Bob Strike Back, Smith would leave his world behind to create other movies, but ended up circling back to his original characters for three more films in the twenty-one years since. Unlike a lot of his later work, these movies feel more personally connected to Smith, inspired by where he was or what was occupying his mind while making them. Clerks of course was filmed at the convenience store Smith worked in, with him speaking through the main characters about how much their jobs suck and how they wanted more out of life but didn’t quite know what, while Dogma is his attempt to grapple with his complicated feelings on being raised Catholic. His two latest returns to his original playground are easily his most autobiographical, with him musing openly about fatherhood, his own near-death experience, and looking back over his life and career as a whole.

Clerks III just finished its limited theatrical run, and Smith is currently on tour across the country showing the film and doing a Q&A afterward, as he’s done with his last couple movies. I’m reminded how excited I was to see Clerks II in the theater sixteen years ago (obligatory “I feel fucking old” comment here), and while I’m certainly nowhere near as excited about the third installment (evidenced by me passing on seeing it in the theater), I’m still at least a little interested in seeing Dante and Randal again, and how this “saga” is going to conclude. Smith’s filmography has gone through a lot of different twists and turns between these two movies, which is possibly fodder for an entirely different series of reviews (although I don’t know if I have the strength in me to actually watch Yoga Hosers…), but I thought it would be interesting to revisit the View Askewniverse movies and see how they fare after all these years, many of which I haven’t seen in a long time, and some I’ve only seen once back in high school. So every Thursday, I’ll be analyzing a new View Askew film (and one TV series) leading up to Clerks III, which I am banking on getting a December digital release so I can cover it before the year’s over. So will my nostalgia fuel continue to take hold, or will these movies suck 37 dicks? In a row? I guess we’ll find out.

October 6: Clerks (1994)
October 13: Mallrats (1995)
October 20: Chasing Amy (1997)
October 27: Dogma (1999)
November 3: Clerks: The Animated Series (2000)
November 10: Jay and Silent Bob Strike Back (2001)
November 17: Clerks II (2006)
December 1: Jay and Silent Bob Reboot (2019)
December ??: Clerks III (2022)

729. Habeas Tortoise

Original airdate: September 25, 2022

The premise: On a family trip to the zoo, Homer is shocked to find his beloved tortoise Slow Leonard is missing. Suspecting something is afoot, he reaches out to other online weirdos, finding himself the head of a social group of crackpot conspiracy theorists, all throwing out their own out-there ideas about what really happened to their beloved reptile.

The reaction: As real life continues to outpace satire more and more, I really sympathize with any comedy that bases itself in social commentary. Online conspiracy theorists almost seem unable to be parodied, since the absolute insane shit they genuinely believe, and their reasonings behind it, are usually completely absurd on their own, so there’s no way you can really top that without seeming redundant. Thankfully the episode isn’t really about that, and more focused on Homer trying to find comfort in a group of peers who don’t look down on his lack of intelligence. We open on a town hall meeting where Homer is mocked for doing something foolish (suggesting Springfield build a library, forgetting the meeting is actually being held in a library), later bemoaning to his family that everyone thinks he’s dumb, which brings to mind the opening of “Secrets to a Successful Marriage,” and probably dozens of other episodes. Homer fretting that he’s stupid? The man’s been brain dead on TV as long as I’ve been alive, how many times does he have to be shocked at this “revelation”? Anyway, Homer finds kindred spirits with the likes of Comic Book Guy, Sideshow Mel, and others, all believing that there’s a greater conspiracy behind the disappearance of Slow Leonard, the 150-year-old tortoise. At one meeting, when CBG is about to criticize a suggested theory, Homer nips it in the bud quick, recalling his humiliation at the start of the episode, proclaiming, “There are no bad ideas. Nothing said here is stupid.” The conspiracy group becomes incredibly close-knit from this point, even leading to an engagement between Miss Hoover and Gil. But then the Simpson family discover something shocking: Slow Leonard walking into their kitchen. Homer explains that he accidentally uncovered the tortoise himself burrowed in a hole in the outskirts of the zoo. Him absconding with the animal is kind of glossed over, but it’s clear that Homer didn’t say anything because he doesn’t want to lose his new friends. Things are pretty quick to wrap up after this: at Miss Hoover and Gil’s wedding, the team’s ideas on how to squeeze info out of the zookeeper get way too radical and violent for Homer’s liking, and he finally reveals the truth, along with Marge, who arrives with Slow Leonard. The final resolution is kind of confusing: Homer keeps the group together by moving on to a new conspiracy (“What is calamari?”), but that doesn’t really address the problem with the group being quick to escalate to radical degrees. It’s just kind of unclear what the point of the episode is. Homer found comfort with people who spouted the same bullshit nonsense as him, but his opening goof about the library was more about him being forgetful and dumb, not believing in the kind of wackadoo stuff these other characters do. Homer’s vulnerability throughout was nice to see, but the story all culminated too quickly and ended all too nicely. Overall, a pretty soft, inoffensive season premiere.

Three items of note:
– I always find it weird when an episode will flip-flop between using real brands and fake ones. Marge says Homer can post his thoughts on “Facelook,” but then later namedrops Instagram and TikTok. I thought maybe it was because we actually see Homer using “Facelook,” but they could have easily just not shown a logo and had it be a generic-looking social media page. I feel like it must be some kind of legal concern. But then in a scene over the credits, we see a cooking TikTok Homer filmed, complete with a TikTok logo in the corner (not the actual one, but it actually says ‘TikTok.’) So why not just say ‘Facebook’ then? I don’t get it.
– The Slow Leonard group is comprised of different types of Springfieldians, from educators (Miss Hoover, Superintendent Chalmers), upper crust celebrities (Sideshow Mel, Drederick Tatum), to civil servants (Chief Wiggum), it felt a little like a missed opportunity to not show (or at least talk about) how their paranoid behavior influences their work life. Peppered throughout the episode are references to other popular conspiracy topics like flat Earth, 5G cell phone towers, and a veiled reference to COVID, which feels like easy writing, like they had a checklist of crackpot tropes to check off plugging into the script. Toward the end when Slow Leonard is revealed, the group initially doesn’t believe it’s really him, crafting more insane theories of what it really is. It almost feels like that could have been a better angle to take the episode: Homer supports the unhinged rantings of his new friends as to not undermine them like he experienced, but he ends up fostering a psychosis so far gone, he can’t even get them to believe the truth in front of their eyes. The group actually feels way too nice. Maybe they were afraid to push beloved characters like Wiggum or Gil too far in an extremist direction, but why not? The people of Springfield are no strangers to reactionary violence.
– Homer makes a hearty serving of paella to offer his guests at their first conspiracy meeting, and later, the episode ends with him giving a live cooking of the dish recorded for a TikTok. The initial joke, I guess, is that he’s putting in greater effort to create a complicated dish for his weird new friends than he ever would his own family, but I don’t know why they bring it back up again toward the end. It might be a personal thing, though, it still feels weird to me when the Simpsons are eating food beyond a relatively basic meal. Remember the early episodes when they would just be eating weird technicolor mush on a plate for dinner? Bring back the goop!