The Simpsons
Year in Review
December 31, 2009
by David Krell
david@davidkrell.com
As 2009 turns into 2010, we take a look back at the year in television.
We saw Ziva David leave her role as a Mossad liaison in NCIS and return to the Mossad full-time under the reign of her father, Mossad Chief Eli David.
After she got captured during a mission in North Africa, the NCIS crew rescued her.
And Ziva returned to NCIS as a full-fledged member of the team, thereby abandoning any remaining and confusing loyalties to her father.
We met the team’s Los Angeles counterparts in a crossover appearance that set the stage for the spinoff NCIS: Los Angeles.
We saw Sarah Palin confront David Letterman in the media because of a joke about her daughter’s pregnancy.
And we saw David Letterman in another media controversy rooted in his extracurricular relationships with female staff members.
We saw Jay Leno move to 10:00 pm with the slogan It’s About Time. We saw Conan O’Brien move into The Tonight Show host position with a new studio at NBC Universal.
We saw Jimmy Fallon take over Conan’s old job as the host of Late Night.
We saw Julianna Marguiles return to network prime time as the scorned spouse of an adulterous Chicago politician in The Good Wife. Her character returns to the practice of law after a 15-year absence so she can support her children.
We saw a story line span all three CSI shows during the November sweeps period.
On Entourage, we saw Ari Gold merge his agency, Miller Gold, with the agency of his mentor and nemesis, Terrence McQuewick.
We saw Johnny Chase get his big break with a network holding deal for a television series to be centered on him.
We saw Eric fold up his small talent management company to take a job with a legendary talent management company.
We saw Turtle and Jamie-Lynn Sigler break up.
And we saw Eric and Sloane get engaged.
On cable news channels, we saw a balloon that looked like a huge Jiffy Pop container travel across Colorado and we feared that a six-year-old boy was inside the balloon.
We soon learned that no one was inside. It was a hoax so the parents could get media attention and pitch themselves for a reality show.
We saw Jon and Kate split up.
We saw Southland get cancelled before its second season even aired one episode because its content is suited for a 10:00 pm broadcast time slot, but NBC does not have that time slot available. TNT picked up the show.
We saw the return of sitcom favorites.
Courtney Cox in Cougar Town.
Ed O’Neill in Modern Family.
Kelsey Grammer in Hank.
Patricia Heaton in The Middle.
Ray Romano in Men of a Certain Age.
We saw Jim and Pam get married on The Office.
We saw the end of King of the Hill and the launch of its replacement -- Family Guy spinoff The Cleveland Show.
We saw The Simpsons begin its 20th season.
We saw the debut of Amy Poehler’s comedy, Parks and Recreation.
We saw Chevy Chase finally ready for prime time as part of the ensemble cast of NBC’s rookie comedy, Community.
And we saw America’s favorite high school football coach, Eric Taylor, begin the next chapter of his career in Friday Night Lights. Same town -- Dillon, Texas. Different high school -- East Dillon High.
We saw unknown Taylor Schilling capture our hearts as the lead character in Mercy, Veronica Callahan, a nurse at the fictional Mercy Hospital in Jersey City, New Jersey.
We saw Saturday Night Live begin its 35th season.
We saw a remake of The Prisoner, the revolutionary late 1960’s drama.
And we saw a Seinfeld reunion of sorts on Curb Your Enthusiasm.
We said hello to Royal Pains, White Collar, and Castle.
We said goodbye to Monk, The Unusuals, and Life on Mars.
We also said goodbye to icons of the 60’s, 70’s, and 80’s.
Soupy Sales, who entertained children of the 1960’s as an unofficial precursor to Pee Wee Herman.
Farrah Fawcett, who inspired women in the late 1970’s to wear their hair long and feathered.
And Michael Jackson, who helped launch MTV in the 1980’s with videos that told stories.
2010 is just around the corner. If it’s anything like 2009, it should take us on quite an odyssey in the world of television.
david@davidkrell.com
As 2009 turns into 2010, we take a look back at the year in television.
We saw Ziva David leave her role as a Mossad liaison in NCIS and return to the Mossad full-time under the reign of her father, Mossad Chief Eli David.
After she got captured during a mission in North Africa, the NCIS crew rescued her.
And Ziva returned to NCIS as a full-fledged member of the team, thereby abandoning any remaining and confusing loyalties to her father.
We met the team’s Los Angeles counterparts in a crossover appearance that set the stage for the spinoff NCIS: Los Angeles.
We saw Sarah Palin confront David Letterman in the media because of a joke about her daughter’s pregnancy.
And we saw David Letterman in another media controversy rooted in his extracurricular relationships with female staff members.
We saw Jay Leno move to 10:00 pm with the slogan It’s About Time. We saw Conan O’Brien move into The Tonight Show host position with a new studio at NBC Universal.
We saw Jimmy Fallon take over Conan’s old job as the host of Late Night.
We saw Julianna Marguiles return to network prime time as the scorned spouse of an adulterous Chicago politician in The Good Wife. Her character returns to the practice of law after a 15-year absence so she can support her children.
We saw a story line span all three CSI shows during the November sweeps period.
On Entourage, we saw Ari Gold merge his agency, Miller Gold, with the agency of his mentor and nemesis, Terrence McQuewick.
We saw Johnny Chase get his big break with a network holding deal for a television series to be centered on him.
We saw Eric fold up his small talent management company to take a job with a legendary talent management company.
We saw Turtle and Jamie-Lynn Sigler break up.
And we saw Eric and Sloane get engaged.
On cable news channels, we saw a balloon that looked like a huge Jiffy Pop container travel across Colorado and we feared that a six-year-old boy was inside the balloon.
We soon learned that no one was inside. It was a hoax so the parents could get media attention and pitch themselves for a reality show.
We saw Jon and Kate split up.
We saw Southland get cancelled before its second season even aired one episode because its content is suited for a 10:00 pm broadcast time slot, but NBC does not have that time slot available. TNT picked up the show.
We saw the return of sitcom favorites.
Courtney Cox in Cougar Town.
Ed O’Neill in Modern Family.
Kelsey Grammer in Hank.
Patricia Heaton in The Middle.
Ray Romano in Men of a Certain Age.
We saw Jim and Pam get married on The Office.
We saw the end of King of the Hill and the launch of its replacement -- Family Guy spinoff The Cleveland Show.
We saw The Simpsons begin its 20th season.
We saw the debut of Amy Poehler’s comedy, Parks and Recreation.
We saw Chevy Chase finally ready for prime time as part of the ensemble cast of NBC’s rookie comedy, Community.
And we saw America’s favorite high school football coach, Eric Taylor, begin the next chapter of his career in Friday Night Lights. Same town -- Dillon, Texas. Different high school -- East Dillon High.
We saw unknown Taylor Schilling capture our hearts as the lead character in Mercy, Veronica Callahan, a nurse at the fictional Mercy Hospital in Jersey City, New Jersey.
We saw Saturday Night Live begin its 35th season.
We saw a remake of The Prisoner, the revolutionary late 1960’s drama.
And we saw a Seinfeld reunion of sorts on Curb Your Enthusiasm.
We said hello to Royal Pains, White Collar, and Castle.
We said goodbye to Monk, The Unusuals, and Life on Mars.
We also said goodbye to icons of the 60’s, 70’s, and 80’s.
Soupy Sales, who entertained children of the 1960’s as an unofficial precursor to Pee Wee Herman.
Farrah Fawcett, who inspired women in the late 1970’s to wear their hair long and feathered.
And Michael Jackson, who helped launch MTV in the 1980’s with videos that told stories.
2010 is just around the corner. If it’s anything like 2009, it should take us on quite an odyssey in the world of television.
Harry Morgan
November 21, 2009
by David Krell
david@davidkrell.com
Before he was Colonel Potter on M*A*S*H, Harry Morgan was one of Hollywood’s cornerstone character actors. He shared the silver screen with legends.
Inherit the Wind with Spencer Tracy and Fredric March.
High Noon with Gary Cooper and Grace Kelly.
The Glenn Miller Story with Jimmy Stewart and June Allyson.
The Shootist with John Wayne.
Frankie and Johnny with Elvis Presley.
Support Your Local Sheriff with James Garner.
Dragnet with Tom Hanks and Dan Aykroyd. In Dragnet, Morgan reprises his role of Bill Gannon from the television series of the same name in the late 1960’s and early 1970’s. Gannon has climbed the ranks to become a police captain.
Morgan played Pete Porter in the television series December Bride and its spinoff -- Pete & Gladys. He also played Judge Bell in the trio of 1990’s Incident tv-movies starring Walter Matthau -- The Incident, Against Her Will: An Incident in Baltimore, Incident in a Small Town.
But Harry Morgan’s role of the authoritative, compassionate, and wise Colonel Potter on M*A*S*H is likely the role most identified with Morgan. Potter is Morgan’s signature character.
Morgan had big shoes to fill. When M*A*S*H producers killed off Colonel Henry Blake in the spring of 1975, the creative decision sparked shock, dismay, and even outrage. Who ever heard of a show killing a major, beloved, and valuable character? Blake’s death offered no chance for a spinoff, return appearance, or revival.
While McLean Stevenson’s popularity soared as the affable, bumbling, and concerned Colonel Blake who was also one of the guys, Harry Morgan won the respect of fans by playing Colonel Potter with dignity, understanding, and a voice of experience.
Potter led Hawkeye, B.J. and the rest of the M*A*S*H 4077th, but he never talked down to them. He was a Regular Army style solider but he ignored the rules and regulations if they interfered with treating wounded soldiers.
Potter was a combat veteran who became a doctor. But he never forgot the courage of soldiers in the field.
In a vicious ocean of injury, violence, and death, Morgan’s Colonel Potter was the calm oasis of experience, wisdom, and compassion.
Harry Morgan actually made a pre-Potter appearance on M*A*S*H. In the third season premiere -- The General Flipped At Dawn -- he plays General Steele, a half-crazed general. Morgan received an Emmy nomination for his guest appearance in this episode that kicked off the 1975-76 season.
For his role as Colonel Potter, Morgan received eight nominations for Best Supporting Actor. He won once. He also received an Emmy nomination for Best Director.
Harry Morgan continued playing Colonel Potter in the sequel After M*A*S*H. The show is set in a stateside Veterans Administration hospital in Missouri. Jamie Farr and William Christopher joined Morgan to continue their roles as Max Klinger and Father Mulcahy respectively.
After After M*A*S*H, Morgan mostly enjoyed guest appearances on television shows -- The Jeff Foxworthy Show, Grace Under Fire, Third Rock from the Sun, and The Simpsons.
On The Simpsons, Morgan once again reprised his role of Bill Gannon.
david@davidkrell.com
Before he was Colonel Potter on M*A*S*H, Harry Morgan was one of Hollywood’s cornerstone character actors. He shared the silver screen with legends.
Inherit the Wind with Spencer Tracy and Fredric March.
High Noon with Gary Cooper and Grace Kelly.
The Glenn Miller Story with Jimmy Stewart and June Allyson.
The Shootist with John Wayne.
Frankie and Johnny with Elvis Presley.
Support Your Local Sheriff with James Garner.
Dragnet with Tom Hanks and Dan Aykroyd. In Dragnet, Morgan reprises his role of Bill Gannon from the television series of the same name in the late 1960’s and early 1970’s. Gannon has climbed the ranks to become a police captain.
Morgan played Pete Porter in the television series December Bride and its spinoff -- Pete & Gladys. He also played Judge Bell in the trio of 1990’s Incident tv-movies starring Walter Matthau -- The Incident, Against Her Will: An Incident in Baltimore, Incident in a Small Town.
But Harry Morgan’s role of the authoritative, compassionate, and wise Colonel Potter on M*A*S*H is likely the role most identified with Morgan. Potter is Morgan’s signature character.
Morgan had big shoes to fill. When M*A*S*H producers killed off Colonel Henry Blake in the spring of 1975, the creative decision sparked shock, dismay, and even outrage. Who ever heard of a show killing a major, beloved, and valuable character? Blake’s death offered no chance for a spinoff, return appearance, or revival.
While McLean Stevenson’s popularity soared as the affable, bumbling, and concerned Colonel Blake who was also one of the guys, Harry Morgan won the respect of fans by playing Colonel Potter with dignity, understanding, and a voice of experience.
Potter led Hawkeye, B.J. and the rest of the M*A*S*H 4077th, but he never talked down to them. He was a Regular Army style solider but he ignored the rules and regulations if they interfered with treating wounded soldiers.
Potter was a combat veteran who became a doctor. But he never forgot the courage of soldiers in the field.
In a vicious ocean of injury, violence, and death, Morgan’s Colonel Potter was the calm oasis of experience, wisdom, and compassion.
Harry Morgan actually made a pre-Potter appearance on M*A*S*H. In the third season premiere -- The General Flipped At Dawn -- he plays General Steele, a half-crazed general. Morgan received an Emmy nomination for his guest appearance in this episode that kicked off the 1975-76 season.
For his role as Colonel Potter, Morgan received eight nominations for Best Supporting Actor. He won once. He also received an Emmy nomination for Best Director.
Harry Morgan continued playing Colonel Potter in the sequel After M*A*S*H. The show is set in a stateside Veterans Administration hospital in Missouri. Jamie Farr and William Christopher joined Morgan to continue their roles as Max Klinger and Father Mulcahy respectively.
After After M*A*S*H, Morgan mostly enjoyed guest appearances on television shows -- The Jeff Foxworthy Show, Grace Under Fire, Third Rock from the Sun, and The Simpsons.
On The Simpsons, Morgan once again reprised his role of Bill Gannon.
Three Blind Mice
October 02, 2009
by David Krell
david@davidkrell.com
In the 1980’s, America’s three television networks changed hands.
ABC to Capital Cities.
NBC to General Electric.
CBS to Loews.
Ken Auletta’s 1991 book Three Blind Mice: How the TV Networks Lost Their Way chronicles the takeovers, trials and travails of the players involved.
In a ratings game dominated by numbers, the 1980’s saw the rise of the Video Cassette Recorder and the increased attention paid to demographics.
Auletta goes through a tremendously detailed approach to bring the reader the thoughts, strategies, and fears of the media moguls in television’s executive suites.
In the chapter NBC: Tartikoff In His Sandbox, 1987, Auletta writes about a favorite son of the television industry -- NBC Entertainment President Brandon Tartikoff. Auletta zeroes in on the programming wunderkind’s observations of the obstacles for network television.
Nor was Tartikoff sure that with the explosion of buyers -- from cable, Fox, and first-run syndication, among others -- there was sufficient talent to stock a twenty-two hour prime-time schedule. Tartikoff knew that success in network television often came when a producer believed passionately in a project -- be it Norman Lear with All in the Family, James Brooks with The Mary Tyler Moore Show, or Steven Bochco with Hill Street Blues. But Tartikoff also knew the network television production system was a sausage factory.
In addition, the Big Three also faced the VCR, an affordable device by the mid-1980’s that allowed viewers to tape shows off the air and watch them at their leisure. No longer viewers tied to air times.
If viewers could shift the viewing times of their favorite shows, they would probably fast forward through the commercials. Consequently, advertisers become unhappy. Networks become worrisome about the prospect of ad dollars decreasing or disappearing.
In a world where viewers are no longer captive, advertisements can lose their impact.
The Big Three faced another challenge in the upstart FOX network. In its nascent days in the mid-1980’s, FOX did not have seven nights of programming each week. It did not have a network news division. And it did not have recognizable stars, save for one.
Its first programming attempt was The Late Show starring Joan Rivers in November 1986 followed by Sunday night programming in Spring 1987.
But it did have sister companies in other areas of media. A movie studio. A publishing house. Newspapers.
This synergy was attractive. And great ideas have to start somewhere. With the edgy sitcom Married With Children, the innovative cartoon show The Simpsons, and the funny sketch comedy program The Tracey Ullman Show, FOX began to make pinpricks in the armor of the Big Three. Their invulnerability proved to be a fallacy in the 1990’s when FOX attracted the highly valuable younger demographic of teenagers and twentysomethings with nighttime soap operas -- Beverly Hills 92010 and Melrose Place.
In the chapter ABC: More Sancho Panza Than Machiavelli, September to December, 1986, Auletta summarizes the impact of FOX chieftain Rupert Murdoch’s initial foray into network television.
The future also belonged, some feared, to Rupert Murdoch’s scheme to make Fox a fourth network by acquiring stations in six of the top ten markets, lining up affiliated stations, and setting up a programming department, just as the three networks did.
Auletta delves deeply beneath the surface to get to the heart of the matter for television networks. Really, it is the heart of the matter for business. Money.
Auletta frequently writes about the costs of contracts and programming. He shows that programs may be part creativity, part talent, and part instinct. But it is part dollars and cents, too.
david@davidkrell.com
In the 1980’s, America’s three television networks changed hands.
ABC to Capital Cities.
NBC to General Electric.
CBS to Loews.
Ken Auletta’s 1991 book Three Blind Mice: How the TV Networks Lost Their Way chronicles the takeovers, trials and travails of the players involved.
In a ratings game dominated by numbers, the 1980’s saw the rise of the Video Cassette Recorder and the increased attention paid to demographics.
Auletta goes through a tremendously detailed approach to bring the reader the thoughts, strategies, and fears of the media moguls in television’s executive suites.
In the chapter NBC: Tartikoff In His Sandbox, 1987, Auletta writes about a favorite son of the television industry -- NBC Entertainment President Brandon Tartikoff. Auletta zeroes in on the programming wunderkind’s observations of the obstacles for network television.
Nor was Tartikoff sure that with the explosion of buyers -- from cable, Fox, and first-run syndication, among others -- there was sufficient talent to stock a twenty-two hour prime-time schedule. Tartikoff knew that success in network television often came when a producer believed passionately in a project -- be it Norman Lear with All in the Family, James Brooks with The Mary Tyler Moore Show, or Steven Bochco with Hill Street Blues. But Tartikoff also knew the network television production system was a sausage factory.
In addition, the Big Three also faced the VCR, an affordable device by the mid-1980’s that allowed viewers to tape shows off the air and watch them at their leisure. No longer viewers tied to air times.
If viewers could shift the viewing times of their favorite shows, they would probably fast forward through the commercials. Consequently, advertisers become unhappy. Networks become worrisome about the prospect of ad dollars decreasing or disappearing.
In a world where viewers are no longer captive, advertisements can lose their impact.
The Big Three faced another challenge in the upstart FOX network. In its nascent days in the mid-1980’s, FOX did not have seven nights of programming each week. It did not have a network news division. And it did not have recognizable stars, save for one.
Its first programming attempt was The Late Show starring Joan Rivers in November 1986 followed by Sunday night programming in Spring 1987.
But it did have sister companies in other areas of media. A movie studio. A publishing house. Newspapers.
This synergy was attractive. And great ideas have to start somewhere. With the edgy sitcom Married With Children, the innovative cartoon show The Simpsons, and the funny sketch comedy program The Tracey Ullman Show, FOX began to make pinpricks in the armor of the Big Three. Their invulnerability proved to be a fallacy in the 1990’s when FOX attracted the highly valuable younger demographic of teenagers and twentysomethings with nighttime soap operas -- Beverly Hills 92010 and Melrose Place.
In the chapter ABC: More Sancho Panza Than Machiavelli, September to December, 1986, Auletta summarizes the impact of FOX chieftain Rupert Murdoch’s initial foray into network television.
The future also belonged, some feared, to Rupert Murdoch’s scheme to make Fox a fourth network by acquiring stations in six of the top ten markets, lining up affiliated stations, and setting up a programming department, just as the three networks did.
Auletta delves deeply beneath the surface to get to the heart of the matter for television networks. Really, it is the heart of the matter for business. Money.
Auletta frequently writes about the costs of contracts and programming. He shows that programs may be part creativity, part talent, and part instinct. But it is part dollars and cents, too.
The Ultimate TV Network
July 21, 2009
by David Krell
david@davidkrell.com
If I created the ultimate television network, the prime time program lineup would probably look like this:
On Sunday, I would start with the legends. I Love Lucy at 8:00pm followed by The Jack Benny Program at 8:30pm.
The pairing makes sense since Lucille Ball and Jack Benny were not only show business icons, but also neighbors in real life. They lived next door to each other on North Roxbury Drive in Beverly Hills.
Then, we turn to the rural heavyweights. The Andy Griffith Show at 9:00pm and The Beverly Hillbillies at 9:30pm.
Sunday nights should be nice and easy, after all. And what's nicer and easier than our friends in Mayberry and the hillbilly transplants to the land of Rodeo Drive?
At 10:00pm, The Sopranos.
On Monday nights, I would pair The Dick Van Dyke Show and Mary Tyler Moore in the 8 o'clock hour, followed by M*A*S*H and Murphy Brown in the 9 o'clock hour.
At 10:00pm, St. Elsewhere.
Tuesday nights would start with family comedy. The Cosby Show and Family Ties 8:00pm and 8:30pm respectively.
Everybody Loves Raymond at 9:00pm and Two and a Half Men at 9:30pm.
At 10:00pm, Law & Order.
Wednesday nights would start with sophistication.
Frasier at 8:00pm and The Odd Couple at 8:30pm. I'm sure Felix Unger would have enjoyed talking wine, opera, and art with the Crane brothers.
The 9 o'clock hour would consist of You'll Never Get Rich starring Phil Silvers as Sergeant Bilko and The Twilight Zone.
At 10:00pm, Hill Street Blues.
Of course, Thursday nights would truly be Must See TV with Cheers, Taxi, Seinfeld, and Friends followed by ER at 10:00pm.
Friday night would be another family-friendly night, starting with The Brady Bunch at 8:00pm and The Wonder Years at 8:30pm.
At 9:00pm, Friday Night Lights, a depiction of a west Texas town obsessed with high school football.
At 10:00pm, The Wire.
Saturday night begins with cartoons.
The Simpsons at 8:00pm and King of the Hill at 8:30pm.
The Honeymooners at 9:00pm and Curb Your Enthusiasm at 9:30pm.
At 10:00pm, Homicide: Life on the Street, an undervalued, underrated, and underwatched program during its tenure on NBC in the 1990's.
Reasonable minds can differ.
Should Happy Days be in the lineup instead of The Brady Bunch?
What about L.A. Law, thirtysomething, Scrubs, or All in the Family?
What's the standard for making the linuep?
All good questions.
For now, it's merely instinctive.
Programs can be replaced.
Or I can start another network.
david@davidkrell.com
If I created the ultimate television network, the prime time program lineup would probably look like this:
On Sunday, I would start with the legends. I Love Lucy at 8:00pm followed by The Jack Benny Program at 8:30pm.
The pairing makes sense since Lucille Ball and Jack Benny were not only show business icons, but also neighbors in real life. They lived next door to each other on North Roxbury Drive in Beverly Hills.
Then, we turn to the rural heavyweights. The Andy Griffith Show at 9:00pm and The Beverly Hillbillies at 9:30pm.
Sunday nights should be nice and easy, after all. And what's nicer and easier than our friends in Mayberry and the hillbilly transplants to the land of Rodeo Drive?
At 10:00pm, The Sopranos.
On Monday nights, I would pair The Dick Van Dyke Show and Mary Tyler Moore in the 8 o'clock hour, followed by M*A*S*H and Murphy Brown in the 9 o'clock hour.
At 10:00pm, St. Elsewhere.
Tuesday nights would start with family comedy. The Cosby Show and Family Ties 8:00pm and 8:30pm respectively.
Everybody Loves Raymond at 9:00pm and Two and a Half Men at 9:30pm.
At 10:00pm, Law & Order.
Wednesday nights would start with sophistication.
Frasier at 8:00pm and The Odd Couple at 8:30pm. I'm sure Felix Unger would have enjoyed talking wine, opera, and art with the Crane brothers.
The 9 o'clock hour would consist of You'll Never Get Rich starring Phil Silvers as Sergeant Bilko and The Twilight Zone.
At 10:00pm, Hill Street Blues.
Of course, Thursday nights would truly be Must See TV with Cheers, Taxi, Seinfeld, and Friends followed by ER at 10:00pm.
Friday night would be another family-friendly night, starting with The Brady Bunch at 8:00pm and The Wonder Years at 8:30pm.
At 9:00pm, Friday Night Lights, a depiction of a west Texas town obsessed with high school football.
At 10:00pm, The Wire.
Saturday night begins with cartoons.
The Simpsons at 8:00pm and King of the Hill at 8:30pm.
The Honeymooners at 9:00pm and Curb Your Enthusiasm at 9:30pm.
At 10:00pm, Homicide: Life on the Street, an undervalued, underrated, and underwatched program during its tenure on NBC in the 1990's.
Reasonable minds can differ.
Should Happy Days be in the lineup instead of The Brady Bunch?
What about L.A. Law, thirtysomething, Scrubs, or All in the Family?
What's the standard for making the linuep?
All good questions.
For now, it's merely instinctive.
Programs can be replaced.
Or I can start another network.
The Simpsons
April 11, 2009
by David Krell
david@davidkrell.com
The Simpsons began as cartoon shorts on The Tracey Ullman Show in 1987.
Different. Irreverent. Entertaining.
FOX expanded The Simpsons to a half-hour show in 1989.
The Simpsons got so popular that FOX moved America’s favorite dysfunctional family from Sunday to Thursday in 1990.
The rationale for the move: to take on America’s favorite upper middle class family, The Huxtables on The Cosby Show.
In the first episode of the 1990-91 season, Bill Cosby showed true class as Cliff Huxtable. When the Huxtables’ youngest daughter Rudy comes into the room wearing a Bart Simpson mask, Cliff chases her out. It was a tip of the hat to the competition.
Eventually, FOX moved The Simpsons back to Sunday night where it anchors the Sunday lineup.
The Simpsons rivals Saturday Night Live in the area of guest stars. Even just a sample is literally a Who’s Who!
Michelle Pfeiffer, Dustin Hoffman, Meryl Streep, Kirk Douglas, Donald Sutherland, Albert Brooks, Rodney Dangerfield, Martin Sheen, Danny DeVito, Jay Leno, Joe Namath, Alec Baldwin, Kim Basinger, Ron Howard, Jon Lovitz, and, of course, FOX chieftain Rupert Murdoch are just a few examples of the star power on The Simpsons.
Although it is definitely unique, The Simpsons recalls familiar situations.
First, Homer’s get-rich-quick schemes remind us of Ralph Kramden’s and Fred Flintstone’s varied, interesting, and unsuccessful attempts to become instantly wealthy. Must be something about overweight men and faulty financial plans.
Second, Mr. Burns’ management style reminds us of Spacely Sprockets boss Mr. Spacely. Mr. Burns teases, tempts, and lures Homer to work on projects that can only benefit Mr. Burns and potentially hurt Homer.
By comparison, Mr. Spacely offered the “Vice President” job to George Jetson just about every week if George did something for Spacely.
Third, the storylines rely on, poke fun at, and offer new takes on iconic popular culture.
Krusty the Clown’s back story used several elements of The Jazz Singer.
Homer is kidnapped and banished to an island similar to the island on the 1960’s classic, The Prisoner.
And, of course, the episode Who Shot Mr. Burns? paralleled the greatest television mystery of all time -- the 1980 whodunit plot, Who Shot J.R.? on Dallas!
But the uniqueness of The Simpsons shown like a beacon.
First, The Simpsons was the first prime time cartoon program in almost a quarter-century.
Second, The Simpsons flipped the sensibilities of prime time.
Authority figures were lazy, stupid, or foolish.
Wise cracking kids were championed, not lampooned.
Family values were mocked.
Even the first President Bush acknowledged the show’s impact when he said he wanted America to be more like the Waltons and less like the Simpsons.
Third, The Simpsons was on FOX, a new network that could take a chance with offbeat, irreverent, and potentially groundbreaking programs.
But somewhere along the line, The Simpsons gained sensitivity, warmth, and even a religious aspect.
In the episode Alone Again, Natura-Diddly, Springfield mourns the loss of Maude Flanders. And without his wife, Ned Flanders sees some cracks in his bedrock of religious faith.
He questions God about the wisdom of taking Maude from her family and then stays in bed to avoid his favorite weekly activity – Sunday church service.
But his faith isn’t shaken for long. Ned speeds to the church and gets there just in time to hear a Christian rock singer belt out a tune about finding her faith in God after some rough times.
It’s enough to capture Ned’s attention.
After the service, he tells her about his recent rough times. When she asks Ned if he’d like to grab a cup of coffee, she senses his uneasiness. But she leaves the door open for when she returns from the Monsters of Christian Rock tour.
Ned’s good cheer returns in full when he declares, Maybe we can. My name’s Ned Flanders and I’m here every week, rain or shine!
david@davidkrell.com
The Simpsons began as cartoon shorts on The Tracey Ullman Show in 1987.
Different. Irreverent. Entertaining.
FOX expanded The Simpsons to a half-hour show in 1989.
The Simpsons got so popular that FOX moved America’s favorite dysfunctional family from Sunday to Thursday in 1990.
The rationale for the move: to take on America’s favorite upper middle class family, The Huxtables on The Cosby Show.
In the first episode of the 1990-91 season, Bill Cosby showed true class as Cliff Huxtable. When the Huxtables’ youngest daughter Rudy comes into the room wearing a Bart Simpson mask, Cliff chases her out. It was a tip of the hat to the competition.
Eventually, FOX moved The Simpsons back to Sunday night where it anchors the Sunday lineup.
The Simpsons rivals Saturday Night Live in the area of guest stars. Even just a sample is literally a Who’s Who!
Michelle Pfeiffer, Dustin Hoffman, Meryl Streep, Kirk Douglas, Donald Sutherland, Albert Brooks, Rodney Dangerfield, Martin Sheen, Danny DeVito, Jay Leno, Joe Namath, Alec Baldwin, Kim Basinger, Ron Howard, Jon Lovitz, and, of course, FOX chieftain Rupert Murdoch are just a few examples of the star power on The Simpsons.
Although it is definitely unique, The Simpsons recalls familiar situations.
First, Homer’s get-rich-quick schemes remind us of Ralph Kramden’s and Fred Flintstone’s varied, interesting, and unsuccessful attempts to become instantly wealthy. Must be something about overweight men and faulty financial plans.
Second, Mr. Burns’ management style reminds us of Spacely Sprockets boss Mr. Spacely. Mr. Burns teases, tempts, and lures Homer to work on projects that can only benefit Mr. Burns and potentially hurt Homer.
By comparison, Mr. Spacely offered the “Vice President” job to George Jetson just about every week if George did something for Spacely.
Third, the storylines rely on, poke fun at, and offer new takes on iconic popular culture.
Krusty the Clown’s back story used several elements of The Jazz Singer.
Homer is kidnapped and banished to an island similar to the island on the 1960’s classic, The Prisoner.
And, of course, the episode Who Shot Mr. Burns? paralleled the greatest television mystery of all time -- the 1980 whodunit plot, Who Shot J.R.? on Dallas!
But the uniqueness of The Simpsons shown like a beacon.
First, The Simpsons was the first prime time cartoon program in almost a quarter-century.
Second, The Simpsons flipped the sensibilities of prime time.
Authority figures were lazy, stupid, or foolish.
Wise cracking kids were championed, not lampooned.
Family values were mocked.
Even the first President Bush acknowledged the show’s impact when he said he wanted America to be more like the Waltons and less like the Simpsons.
Third, The Simpsons was on FOX, a new network that could take a chance with offbeat, irreverent, and potentially groundbreaking programs.
But somewhere along the line, The Simpsons gained sensitivity, warmth, and even a religious aspect.
In the episode Alone Again, Natura-Diddly, Springfield mourns the loss of Maude Flanders. And without his wife, Ned Flanders sees some cracks in his bedrock of religious faith.
He questions God about the wisdom of taking Maude from her family and then stays in bed to avoid his favorite weekly activity – Sunday church service.
But his faith isn’t shaken for long. Ned speeds to the church and gets there just in time to hear a Christian rock singer belt out a tune about finding her faith in God after some rough times.
It’s enough to capture Ned’s attention.
After the service, he tells her about his recent rough times. When she asks Ned if he’d like to grab a cup of coffee, she senses his uneasiness. But she leaves the door open for when she returns from the Monsters of Christian Rock tour.
Ned’s good cheer returns in full when he declares, Maybe we can. My name’s Ned Flanders and I’m here every week, rain or shine!