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#YOINK DOT ADIOS BACKSLASH LOSERS SIMPSONS SERIES#

Now we all have iPhones with Internet access and can tweet from the screening or some shit. – Amusing to see Internet spy Comic Book Guy get tossed out of the screening with his giant “portable” computer. Also it feels too self-conscious and lazy. But this is a cartoon where they could have discussed it in the car. Wouldn’t they have talked about it in the car ride home? Well they had to get back to the standing set since there is no car. In sitcoms, something could happen at another location, but characters have to wait until they get back home to discuss it. – I get what they were trying to do with Homer and Marge’s bedside back-and-forth about not opening the envelope. Nessie, Godzilla, mermaids, whatever, it’s a cartoon, fuck you. We get a fart joke from Marge, more braindead Homer thinking he can drive underwater, and find out that apparently mermaids exist in this universe. Then the rest of the prelude before the screening is pretty dead. – The opening commercial for the Elec-Taurus is surprisingly joke-free. And I apologize for sounding pessimistic, but at this point I can’t really help it. We’re one episode in and I think this one’s the worst, but I know there’s a lot more awfulness to come.

#YOINK DOT ADIOS BACKSLASH LOSERS SIMPSONS SERIES#

He wrote such great shows as “Lisa on Ice” and “Two Dozen and One Greyhounds,” and now we have this slop: a series of dumb easy jokes and insider set pieces, serving as a 22-minute blowjob for Mel fucking Gibson. It’s pretty astounding to just see how far not only the show has fallen, but Scully. This was the season premiere, but last in the production season of season 10, and it was written by Mike Scully.

So much of this episode just feels so lazy and wrong the opening with the electric car, the family’s sight-seeing, the executive banter, none of it seemed to work at all. So what do we do? Have a fucking action chase sequence. The studio execs, expecting this to be their big award picture, are not happy with this. It also plays to the Gibson we know now, considering the sadomasochistic nature of his later films. The cheesy action catchphrases, Homer’s dumb cameo, the over-the-top blood and gore it’s just so wonderfully ridiculous. The only thing I like about this episode is the revised ending they make, and how absolutely stupid and gratuitous it is.

It’s not really funny when you fear your main character may either have bipolar disorder or have severe brain damage. The moment Lisa questions Homer’s sudden turn from hate to love regarding Gibson and Homer tells his daughter to shut up, the episode tanks. But, oh wait, Gibson asks Homer to help him, and all of a sudden he’s the guy’s best friend and we get to laugh it up at his insane suggestions to make the film in fast forward and include a villainous dog with shifty eyes. Homer starts out resistant to help Gibson, then find that they have a similar interest in mindless bloodshed and violence, and he slowly warms to the guy. And when Gibson needs Homer’s help, it’d be neat if he were kind of pressured into it by his family, who’d love a chance to see the sights in Hollywood. It’s a more interesting role for Homer to play. A Hollywood pretty boy serious actor whom his wife has the hots for makes a lot more sense than getting buddy-buddy with Alec Baldwin and Kim Basinger. Now, Homer starts out with a dissatisfaction towards Gibson. Gibson takes his comment to heart, and flies him and the family to Hollywood to fix his film. Starstruck when they discover Gibson is at the screening, all the citizens of Springfield give glowing feedback, save a terminally bored Homer. Smith Goes to Washington, starring Mel Gibson. Homer and Marge score tickets to an advance screening of the remake of Mr. Which is okay since there’s plenty more to hate here. So while seeing Marge and the citizens of Springfield fawn over this man is a little disconcerting now, I can’t hold these uncomfortable-in-hindsight moments against the episode. In this case, it’s made even more bizarre that said celebrity is Mel Gibson, who at the time was a well-respected and admired Hollywood hunk, and not the anti-Semitic misogynist religious wacko nutcase that he is now. Cut from similar cloth of “When You Dish Upon A Star,” here’s a show centered around a celebrity, featuring bits that instead of poke fun at them, serve only to put them on a higher pedestal and kiss their already lipstick-smeared ass even further.

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