Original airdate: May 8, 2011

The premise: Discovering he has a natural talent for cutting hair, Homer opens up a salon, but quickly becomes fed up with his female clientele’s never-ending chattering. Meanwhile, Milhouse puts his heart on the line for Lisa and is promptly rejecting. When he quickly finds new affection, Lisa becomes suspicious, wondering if this new girl has an ulterior motive.

The reaction: I assume the impetus for this episode was one of the writers saying, “Hey, wouldn’t it be funny if Homer was great at cutting hair? Y’know, because he has no hair? Get it?” So not only is this yet another “Simpson becomes an instant success” episode, but it’s almost like a parody of itself, as Homer appears to be supernaturally gifted to the point that his crazy talent tortures him. It could have worked on an absurdist level if the premise hadn’t been so stupid. Let’s just go along with the fact that either Homer is insanely gifted or that every other hairdresser in town sucks, that women are literally throwing themselves through windows for Homer to do their hair. Super dumb, but alright, whatever. Then we get to why Homer gets fed up and wants to quit: women be gabbin’ so much that he just can’t cope with it! You know how women get, right, guys? Then, for some reason, all of the husbands are at Moe’s, and Homer is haunted by knowing about their character flaws and foibles from their wives? Why would that matter? He’s not friends with Lovejoy or Wiggum or Skinner, what does it matter that he knows this stuff? The story ends with Marge helping Homer weasel out of his predicament by showing up dressed to the nines at a big gala ball and convincing everyone that Marge’s jaw-dropping new ‘do was done by another stylist. Who could it be? Why, Julio, the flamboyant stereotype, of course! We just saw him earlier in the season, what happened to him? Maybe the episode could have featured him going to war with Homer after losing his customers. So what actually happened in this episode? Homer discovered he was naturally awesome at something, and then got tired of all the money and attention, and then stopped doing it. Exhilarating. This episode feels the farthest away from Homer’s initial characterization that I can think of: a dogged, none-too-bright everyman who gets spit in the face by life is now a gifted savant who is extremely popular and beloved, whose only conflict is his fame being too great. Blecccccchh.

Three items of note:
– Two discussion points for the B-plot. First, Milhouse’s new belle is Taffy, voiced by Kristen Schaal. This episode is sort of right at the cusp of her becoming big into voice-over; Bob’s Burgers had just begun, and Gravity Falls was but a year away. I absolutely, positively adore Kristen Schaal. She’s got an incredibly distinctive voice and personality, and is a phenomenal comic actress, and as happens to a lot of guest stars, she is absolutely wasted on a nothing character. Who is Taffy? Can anybody come up with one character trait she has? Why does she love Milhouse? Why does she randomly break up with him at the end? None of these questions are answered, as Taffy barely gets enough lines as it is. Remember girls like Allison or Alex Whitney? They were real people with specific personalities that made sense in their own stories. Taffy is just a utility to this Lisa-Milhouse will they-won’t they bullshit, and a criminal misuse of Schaal. So secondly, this whole thing between Lisa and Milhouse. Was their kiss supposed to be fan service? Is this just like the writing staff’s collective wish fulfillment, since they were probably all little Milhouses in their youth? (to be fair, so was I). Lisa has never been interested in him (except as a big sister, of course), definitively states that to him at the beginning of the episode, then at the end, she kisses him and says to never give up. I read this as more waffling to keep the status quo. It’s not like they’re going to explore Lisa’s conflicted feelings or anything, it’s just an exercise in futility. But look! He said the “Everything’s coming up Milhouse!” line! Remember that? Forget the fact that he was caught by a magical eagle for some reason! Remember that great line you fans love? Do you ‘member? Oooh, I ‘member!
– As usual with these shows, there are a lot of jokes that run twice as long, if not longer, than they need to. The whole bit at the start of the B-story of Milhouse discovering the real beginning to Finding Nemo is a really belabored joke, it feels like it takes too much explanation to get to the punchline. It also supposes you’ve seen Nemo, otherwise it makes absolutely no sense. Another mash note to Pixar, I guess. Also interminably long and ear-piercingly aggravating were Milhouse’s theremin ode to Lisa and Wiggum making his incredibly annoying noise.
– Let’s talk about the timeline of this story. Wiggum confronts Homer during the day about doing his wife’s hair for the policeman’s ball, which will take place that night, since he specifically says “tonight.” Homer has closed his shop for good, but I guess Wiggum made that annoying noise and it forced him to reopen. The next scene has Lenny walking in to a completely full store to talk to a despondent Homer. What, is Wiggum holding a gun on him? To not only do Sarah’s hair, but keep the business open… for some reason? After that, it’s nighttime, where Lisa is doing her digging on Taffy, and Marge helps Homer plan their scheme to get out of his predicament. After that, it’s daytime where we see Lisa stalking Milhouse and Taffy, which she does all the way into the night. And then after that is the policeman’s ball. So that’s not “tonight,” that’s the following night. It seems kind of nitpicky written out like this, but if the writers don’t seem to care about the natural progression of the story and things making sense, then why should I as a viewer?

One good line/moment: The sign gag for the Policeman’s Ball (The Thin Blue Line-Dance) was pretty good.

Original airdate: May 1, 2011

The premise: Selma meets one of Springfield’s more notable residents at the DMV and the two are instantly smitten. Despite Marge’s hesitance about their relationship, the two get married. But then Selma finds out a terrible secret that shakes the foundation of… wait, why does this sound so familiar…

The reaction: Yeah, it would be impossible to watch this  and not compare it to “A Fish Called Selma,” one of the greatest episodes in series history. But even without the compare and contrast, this show would be a nonsensical mess. So Fat Tony meets Selma at the DMV. Why a powerful mob boss is there in the first place, I’m not entirely sure. They couldn’t come up with a joke reason for that? Anyway, Selma wins Tony over with her venomous insults and lack of fear about being killed… and I guess that’s it? Eventually they get married, and none of the Simpsons appear to have a problem with this. You’d think Marge would raise an objection to her sister being involved with a violent and dangerous man, but seemingly not. Her ire is only raised when she’s seated at a terrible table at the wedding, and at Selma’s constant haranguing of her about Homer. To win the affection of the Simpsons back, Fat Tony invites them out to his house out on the shore, where Marge and Selma bury the hatchet for no real reason. Selma just sits down next to her and says, alright, I guess I’m not mad anymore. With a scant three minutes to spare, we finally start getting to the ending, where Marge overhears Tony talking about Selma as his “goomar,” mafioso lingo for mistress. How does she know that? I guess she’s a big Sopranos fan. Confronting Tony about this, his wife conveniently crashes his car into the backyard, and he confesses that their wedding was a big lie; Selma is actually just his mistress, and the vows given in Italian confirm this. What a ridiculous and stupid ending. Also, didn’t we just have an episode this season where Tony is mourning at his dead wife’s grave? Although I guess that was Fat Tony, this is actually Fit Tony. Oh whatever. I really didn’t even want to directly compare this to “Fish,” because it’s so unfair. In that episode, Selma and Troy McClure felt like real people, and we understood what they both got out of their relationship. Even when she realizes their marriage is all a showbiz scam, Selma accepts it for a perfectly logical reason until the very end when it gets pushed too far and she leaves, again for a logical reason. There’s none of that in this episode. Selma marries Tony because at this point that’s the joke with her character, she gets married a lot, and they make several jokes about it here. And Tony I guess just wanted a broad to fuck on the side. We don’t care about either character in this non-relationship within this non-story. Just terrible.

Three items of interest:
– The B-plot is very dull, up until the end at least. Lisa discovers that Bart has a nose from sniffing out truffles in the woods, which restaurants will pay top dollar for. Such an odd premise. This leads to her working her brother like a mule to get as many as possible. But why? What’s in it for either of these two, what do they want with the money? Lisa gets so crazed that she blindfolds Bart and puts a muzzle and leash on him to lead her to her beloved truffles, which is pretty damn weird and disturbing. Ultimately, it’s revealed that she’s been eating them herself, and Bart gives the last truffle to Luigi’s overworked hunting pig. The twist of the pig going nuts and eating all the other truffles from Luigi’s diners was a bit unexpected, but besides that, the rest was just sweet, sweet innocuous time filler.
– At the wedding, we get one shot of Selma’s daughter Ling in Patty’s arms. I’d forgotten all about her, as I’m sure most people have. The show clearly isn’t interested in budging one inch outside the status quo, evidenced no better this season with Fat/Fit Tony, so it’s odd to me when they have episodes that create big changes like this, and then proceed to do absolutely nothing with them. Selma has a daughter, which must have filled at least some of the hole in her life to feel loved and needed. Her desperation to find a husband could have been linked to her wanting Ling to have a father figure, or perhaps Fat Tony would provide her financial security for her child. It could have given an interesting and human connection to the story. But no. If she’s remembered at all, Ling is essentially just a prop for Selma to hold in her arms, nothing but an afterthought.
– Once at the Jersey shore, Tony introduces the Simpsons to his niece and nephews, who are all facsimiles of the cast of Jersey Shore. This limp wristed parody involves making softball jokes about tanning beds, machismo behavior, and sub par MAD Magazine-level names like “The Occurrence” and “Tushie.” I’m almost surprised they didn’t just get the Jersey Shore cast to do the voices. Why not? The show is just a guest star vehicle at this point. Though part of me feels like they think that Jersey Shore is too beneath them, so they took their sick burns at their expense. I hope that’s not it, that would be far too sad. It’s as pathetic as the show normally is with its attempts to be topical. South Park had done a Jersey episode a year prior, in a much more inventive and scathing fashion.

One good line/moment: The couch gag was pretty good, with the abandoned video store being demolished. Although this was a few years prior, I also saw it a joint comment on the death of TV show box sets. The Simpsons themselves called it quits at season 17 because the market dried up, which is pretty convenient for them. I can’t imagine that many people are clamoring to scoop this season up on Blu-Ray. At least I hope not.

Original airdate: April 10, 2011

The premise: Lisa stumbles upon the home of the Great Raymondo, an old jaded magician who begrudgingly agrees to teach her his old tricks. Becoming a magic natural, Lisa learns the secret behind Raymondo’s greatest illusion, only to accidentally reveal it to competitor Cregg Demon, a Criss Angel type.

The reaction: Oh boy, another “Simpson becomes an instant expert” show. So much of this episode is just Lisa, or other magicians, performing tricks expertly with no mistakes. Where’s the entertainment in that? Lisa goes from doing a coin trick to causing Bart to cough up a giant pair of gardening shears in the same scene. I guess she’s just so smart that she becomes a seasoned professional in less than 24 hours. There’s no tension, no real investment to be had in any of this. Raymondo teaches Lisa his signature trick, and then the next scene, she does it effortlessly. When Cregg Demon (terrible name) ends up stealing it, like, who cares? Upon performing it, he ends up sabotaged by a cavalcade of other magicians who hate him, who are basically just tick marks for the total guest voice tally at this point: Ricky Jay, David Copperfield, and returning guests Penn & Teller. The joke here is Teller speaking, but the show already did that joke, and much better, before (“I’m gonna kill you!” “He’ll do it! I’m not the first Teller!”) So Demon is drowning in the giant milk can for at least two minutes when four grown men try to attack and kill a little girl before Raymondo thwarts them and ultimately saves Demon. The episode ends with Lisa performing the magic show, and of course she does every trick flawlessly. What fun. There’s also a runner involving Raymondo’s old assistant/lover who’s dead, and the actual ending is him inhaling enough ether that she appears before him and the two dance. Like, what is this? The episode has these moments that are so trite and cliche, but they’re playing 100% straight. Earlier, before revealing his secret trick, Raymondo laments he never had children, but he’s glad he’s found a surrogate in Lisa. It’s such melodramatic schmaltz, and again, with no subversion. The show is perfectly fine just going through these trodden motions and calling it a day. What a snooze fest.

Three items of note:
– I was shocked to find there was no theme song at all at the beginning, a first for this series. “Life on the Fast Lane” and “Sideshow Bob Roberts” went from the logo to the start of the episode, but this one just started at the first scene. This is especially surprising given how much useless padding are in these episodes that they couldn’t cut this one to time. But come to find out, it takes three and a half minutes to get Lisa to Raymondo’s house. The opening involves the Simpsons ending up picking too many peaches, and then having to eat nothing but peaches. Certainly we can’t cut this absolutely spellbinding plot from the episode. This is born from Homer not realizing that he had to pay for all the fruit they picked. So, why not just leave it there? There’s also padding within the padding with Jack McBrayer as a good ol’ Southern boy singing a song about peaches that goes on forever and is not funny at all. I love McBrayer, and they just completely wasted him.
– The episode is seemingly gearing up toward Lisa being told the secret behind the milk can escape trick, Raymondo’s greatest feat. So then when she learns it, she decides to make a grand debut of it… at the Springfield Elementary playground. And then she performs it flawlessly. They’re doing the cliche “child meets old person expert, learns stuff” premise, but there’s no intrigue whatsoever because Lisa is also shown to be an expert immediately. What’s the point of this story?
– The guest star roll call (a literal roll call, as Lisa names each magician as they appear) is pretty much at its laziest here. Each celebrity gets their isolated lines, all of which are feeble little softball jokes done at their expense. There’s not even any reason for them to be there at all; Cregg Demon could have botched the magic trick himself and gotten himself stuck, the conflict would have been exactly the same then. Maybe the writers all recently went to the Magic Castle in Hollywood and thought they should write a magic episode so they can meet all these people. Keep raising that guest star count!

One good line/moment: I enjoyed Martin Landau as Raymondo, but scanning back through the episode, I’m hard pressed to name any line I thought was particularly funny. Maybe I was just waiting the whole time for him to start screaming about Boris Karloff being a limey cocksucker like he did in Ed Wood.

Original airdate: March 27, 2011

The premise: After publicly humiliating Bart, Homer is forced to go to therapy, where he is taken to task for his penchant for strangling his son. He ends up becoming a more docile father, which ultimately leads to Bart taking advantage of him.

The reaction: Homer strangling Bart is one of those show hallmarks that is pretty iffy when you think about it. This is a cartoon with a lot of exaggerated elements, but when you stop to consider what you’re really watching, a father physically assaulting his ten year old son, it’s actually pretty horrifying. As such, it’s probably best to not hold a lens up to something like this, but I guess no stone can afford to be left unturned when you’re trying to come up with more story ideas when you’re fast approaching 500 episodes. The other dads in therapy understandably react in horror as Homer talks about strangling Bart, and the therapist goes into full-on serious mode. I half expected him to call up Child Protective Services and have his son hauled away. But no, it just leads to non-stop therapy involving Kareem-Abdul Jabbar throttling Homer’s neck for hours on end. So in this case, the strangling is funny? This eventually leaves Homer mentally scarred, envisioning Jabbar’s face threatening him every time he gets an angry impulse. Because of this, Bart proceeds to take full advantage over Homer, using and abusing him because he knows he won’t retaliate. So, I don’t feel any sympathy toward Homer or Bart in this episode at all, they both act incredibly terrible. This all leads to a final last ditch effort therapy to try to get Bart to show he cares about his father. Homer literally hangs from a noose, but Bart is too engrossed in his cell phone. So Bart doesn’t care that his father is dying right in front of him? This is all too much for the therapist, who proceeds to strangle Bart himself, which I guess vindicates Homer? You shine a light on this horrible act of child abuse, but by the end of it, you have to view it as A-OK, because you know Homer’s going to be strangling Bart once again in a future episode with no consequence. Almost all episodes nowadays are ultimately about nothing and saying nothing, so trying to take such a cartoony staple of the series and treat it realistically is way out of the show’s wheelhouse at this point.

Three items of note:
– So, let’s talk about the impetus of the story. At a basketball game, everyone goes nuts for the Jumbo-tron except for Bart. Attempting to get him to laugh, Homer continuously tickles Bart, who multiple times begs for his father to stop. His pleas are intercut with his laughter, but as it keeps going, it becomes more and more uncomfortable. This scene feels like more abusive behavior than the strangling to me. Anyway, Bart is stimulated so much that he ends up pissing himself, and the entire stadium laughs at him. Homer has just directly caused his ten-year-old son’s horrible humiliation, and all he can do is give a hollow apology inbetween trying to start a wave. We see him throwing his hands up and woo-ing throughout him talking to Bart, and then Marge butts in, “Homer, just because everyone else is doing the wave doesn’t mean you have to.” It’s basically her just setting Homer up for the joke about him trying to start the wave, rather than, you know, try to comfort her son who’s sitting there devastated with piss in his pants. It’s just awful.
– Bart’s reign of terror is pretty aggravating to watch. He rides a tractor through the school while he’s got Homer writing on the chalkboard (why?!), but there’s nothing explaining why Skinner or Krabappel or anyone else at the school isn’t doing anything to stop him. Hell, where is Marge during all this?
– I guess because they couldn’t pad the A-story out long enough, we get a bizarre side plot where Marge proposes a girl’s night with Lisa: sundaes, painting each other’s nails, and watching old horse movies, which leads to a show favorite: a list! I suppose when you’re a minute short, you have to add something. I’m shocked that humorless feminist prig Lisa didn’t cry foul at her mother’s adherence to established gender roles. You know, like an eight-year-old would do.

One good line/moment: I’m not a sports guy, but Kareem-Abdul Jabaar got in a few good lines (“When he told me what you do to your son, I was so disturbed, I only scored 172 points!”) Also, seeing him dressed as Homer in a bald cap shouting “Why you little!” while throttling Homer, I feel like I have to give the show some points for doing something so bizarre.

Original airdate: March 13, 2011

The premise: When Cheech & Chong have a falling out during their reunion tour, lifetime fan Homer partners with Cheech, while Chong finds an unusual partner in a horribly unfunny Skinner. Meanwhile, Marge tries to help the Crazy Cat Lady with her hoarding problem.

The reaction: Being of a demographic too young to have experienced Cheech & Chong in their heyday, I only really know about their comedy through pop culture osmosis. As such, a lot of this episode had me really lost, for multiple reasons. Firstly, it seems incredibly reliant on the viewers being huge fans of the duo and being aware of their library of material. I know about “Dave’s not here,” but the bit with the headmaster? The long exchange about the van being made of pot, which is a reference to one of their movies? I hadn’t a clue what was going on. It was almost like fanservice, the writers paying tribute to a comedy act they love and respect by… just repeating their jokes? Secondly, Cheech & Chong haven’t been culturally active in quite some time now, outside of some choice appearances on late night shows and other one-off cameos. So why do this whole episode around them? This is yet another instance of a Simpson becoming instantly famous and revered, as Homer gets up on stage to take Chong’s place and do their comedy bits, and the crowd eats it up. Why would fans who have paid decent money to see these shows be thrilled that one half of their favorite comedy duo have been replaced by a nobody? It reminds me of “How I Spent My Strummer Vacation” when the crowd was more thrilled to see Homer on stage than the fucking Rolling Stones. The whole episode just seems filled with things that feel like inside jokes. Chong’s desire to reinvent his older bits and Cheech’s love of Latin art, I didn’t know what to make of any of it. And then at the end, the two reunite for no real reason. We don’t even see Homer confront Chong about mending fences, we just skip to the end, because that’s what’s supposed to happen. Why write scenes that connect story beats when you can just jump to the bare bones plot elements instead? Another sorry outing.

Three items of note:
– The subplot barely gets any screen time, and also makes no sense at all. Marge takes it upon herself to clear out the mountain of junk in Crazy Cat Lady’s house, which actually makes her lucid. So her hoarding problem was the sole cause of her mental disorder? But then Marge becomes enraptured by the pile of “treasures” and unloads them in the Simpson house. Bart and Lisa arrive to find the home full of garbage. Lisa surmises the only one that can help is Homer. Why? For what reason? And no reason is ever given for Marge being like this whatsoever. Is her obsessive compulsion related to her gambling problem? Homer arrives home with Crazy Cat Lady, still lucid, who I guess gives up her sanity to help Marge for some reason, becoming manic thanks to her beloved trash once more, and calling her army of cats into the Simpson house. Homer and Marge leave to wrap up the A-story, and that’s the end of it. We see so little of what actually happens in this episode that I didn’t even realize until writing this now, we end on the Crazy Cat Lady seemingly taking over the Simpson house with all of her cats and garbage. You’d think that would be something you would resolve, but why bother?
– Something that the show seems to love nowadays is lists. We get it with Lisa reading off the six comedy album titles, and then three separate occasions of Lisa, then Marge, then finally Crazy Cat Lady naming off items in the giant hoard pile. None of it is funny, and it all just stinks of the writers trying to kill time. Additionally, there’s Homer’s psychedelic 70s fantasy of him hanging out with Cheech that lasts a full minute which also seemingly exist just to run out the clock.
– When we got to Chong auditioning for replacements in the Springfield Elementary auditorium (why?!), I was really lost. We have Gil, Willie and then Skinner performing bits that may or may not be Cheech & Chong sketches, but I have no idea what the fuck they’re talking about. I felt like I was having a fever dream, I just could not understand what these characters were doing. Ultimately, Chong picks Skinner, wanting to turn the “Dave’s not here” schtick into some kind of bizarro performance art, which was equally as confusing. And we almost got away with a solo Skinner appearance, but Chalmers sneaks in right near the end shouting at Skinner in the audience. But, on another tangent, this whole conceit of a classic duo breaking up, with one wanting to just recycle the same material over and over, the other wanting to break out and do different things, reminded me a lot of the old South Park episode “Terrance & Phillip: Behind the Blow,” where the Canadian comedy duo have a falling out. An episode that aired ten years prior to this feels so much stronger and funnier than this slop.

One good line/moment: I honestly can’t come up with a thing. This episode is already extremely ramshackle, but put on top of that an extended tribute to a comedy team that I have basically no knowledge of, it just left me incredibly bemused for most of the running time.