Analysis of the film, “The Simpsons” and its Last Episode of “The Front”


Analysis of the film, “The Simpsons” and its Last Episode of “TheFront”

Analysis of the film, “The Simpsons” and its Last Episode of “TheFront”

Eversince its debut in 1989, The Simpsons has received a progressivelycumulative success and admiration inside American ethos. Also, as itsadmiration grew, the Simpsons got assisted significantly by the manydifferences that appeared early 1990’s. The show currently is inits 19th season and has set archives as the lengthiest running thedynamic prime-time show. It has also rapidly become an enormous showfor marketing entity. On the other hand, in the last episode of theSimpsons, “The Front,” which is the 19th episode of the fourthseason, has taken its publicity. In this essay, I will examine theunderstanding of semiotic examination that are provided in themultidimensional TV show, the Simpsons in the orientation tothe nineteenth episode of the show.

Tobegin with, the 19th-century television shows, like the current TVshows, challenge us with a dizzyingly rapid series of communication,through breaking down messages into modest and repeatable arrangementof the codes that is relatively easy to comprehend how these showsmake the implication. In the first place, the art of the Simpsonssomehow lies far-off from what structuralism can pronounce. The showalso attempts to intrude the unchanging, easy-interpretable fare ofthe metaphors, and ideas that the spectators understand, and that themedium tends to encourage (Smith et al., 2009). Also, because of itsfree playwrights from the physical and mimetic constraints embracethe use of live actors, the cartoon inspires both originality andinformational play. The show is also funny in the sense that when theBart asked the Grandpa of his second name, the grandpa replied…”You’re making my tombstone!?”.Additionally, the Grandpa claims the when he is confused, he justchecks his under wear, that, “Gramparemoves his underwear directly and consults it. His name is Abraham.And he doesn`t know how he removed his underwear without taking offhis pants.”(Lapidus, 1993).

Second, as a self-deliberately favorite show, The Simpsons canbe taken to be sensible of and to encirclement what is current.Family standards are hardly up-to-the-minute, so there is littlemotive to believe that The Simpsons would assume themwhole-heartedly. However, this is weak authorization at best as thecurrent show, The Simpsons could merely philander withhyper-irony without fully accepting it. After all, it is scarcelyoverexcited caustic to pledge commitment to any flag, comprising thestandard of hyper-ironic. Also, in addition to being aself-consciously modern show, it is also a demonstration that mustlive inside the restrictions of main-time American networktelevision. Separately, one could contend that these restraints wouldforce The Simpsons near a promise to some pleasant moraldeportment (Albert and Leaving, 2004).

In “And the Rest Writes Itself”: Roland Barthes Watches theSimpsons,” Arnold emphases on the intertextuality associationsin the show and look into them in the background of semiotics andstructuralism. He views the potentials of cartoon and the tightnessamong the animated style, and a pragmatist description determinationas certain services in whirling The Simpsons into such acaptivating reflect of modern philosophy. He narrates Roland Barthestheories to the symbol system of The Simpsons, which directscommunications that achieve much of their power from the battle amongour gratitude of the signifiers as highly interceded. Also, asimpractical and thoughtful that they nevertheless bring to mind thereality we differentiate (Freiherr von der Goltz, 2011). Besides, itsabundance of references to other works, but also its meta-reflexiveconsciousness of the procedures that outline its presence, turn theshow into an unforgettable illustration of postmodern intermodal ofopenness.

Onthe other hand, it is not my connotation to contend that the makersof TheSimpsonsenvisioned the show principally as an auditorium of unkindness,though I envisage that they did. Also, I want to submit that, asentertainment, its goal is to be entertaining, and we would read itin a manner that exploits its competence to be funny. Whileunderstanding it as a crazy but dangerous authorization of familystandards, it is assumable that the restrains is comedic possible.Consequently, the understanding of it as a display constructed uponthe same supports of negative funniness and the knowledgeableone-upmanship, the episode exploits its potential by disbursingconsideration to the structures of the demonstration that make uslaugh (Albert and Leaving, 2004). When Krusty discovers the wonder ofa live television in the Front episode, Lisa notes that, “Eh,I could pull a better cartoon out of my a…heheheh-hey! Whoa!Wasn`t that great, kids?” (Lapidus, 1993). Anotherimperative function is the gradation of quotations in the show, andas a bonus, it stalemates the show into an overriding tendency ofthought in the twentieth century.

Lookingat the Meta television representation, theSimpsonsheavily relies on the Meta references. In the first case, theanimation references, for example, Homer: reported that “they startbuilding a balloon for every flash-in-the-pan animation character,you`ll turn the procession into a farce.” Immediately, the BartSimpson balloon appears on TV (D Candia, 2005). Similarly, the momentwhen Homer got in and asked Bart, “What are you going to change thename when you grow up,” then Bart answered, Lisa (Lapidus, 1993).According to Plante (2015), each writer in theSimpsonstransports a fleshed-out minute or an incident pitch, which theyconvey with pleasure in a room full of hilarious individuals. On theother hand, culture is used. “TheFront”episode emphases on animation and comprises several in-jokes aboutTheSimpsonsand the cartoon industry in overall. For instance, when ‘Krustydiscovers the wonders of live television,’ “The Front.” Ina scene portraying the Itchy &amp Scratchy writer`s extension, eachof the dramatists exposed is a misrepresentation of somebody workingon TheSimpsonsat the time.

Another reason why The Simpsons massive conventional success, inspite of the oppositional belvederes is that, it interconnects withnumerous factors and also its aptitude to deliver performing forselfsame miscellaneous spectators. It also touches on differentsegments of the society such as school children, youths, culturallyinterested adults, and researchers. The common reason for that can befound in the comedy’s widespread use of intertextualityorientations to other national works, present political and communaldrifts or dissertations, and real life individuals. The playwrightsof the display also managed to blend references to other manuscriptsgracefully into the particular episode’s description flow,consequently, permitting the comedy on different levels.

Additionally, in the nineteenth episode, “The Front,” textures asophisticated series of orientations to the construction andparticularly the writing of animations, counting features of “TheItchy &amp Scratchy Show,” The Simpsons itself, andnumerous other dynamic programs. On the one hand, the episodehighlights the large capitals that stream into animation constructionsuch as “the Walt Disney Studios,” “Itchy &amp Scratchy Int.”(Freiherr von der Goltz, 2011) that operates the entire makingcampus, and they lease only the greatest talented talents withunresolved capacities and have numerous play writers to work on everyepisode.

In summation, as noted above, this paper examines the understandingof semiotic consideration that is provided in the multifaceted textlike the Simpsons in the orientation to the nineteenth episodeof the show. With the broad concept behind intertextuality in TheSimpsons than the absence of ground-breaking thoughts, thepurpose for an inexpensive laugh, or the frisky exhibitionism ofnational knowledge is achieved. Also, the play has combined asequence of orientations to the construction and particularly thewriting of animations.


Alberti, J., and Leaving S. (2004). The Simpsons and thePossibilities of Oppositional Television. Detroit: Wayne State UP.

D Candia, N. (2005). The Meta References on the Simpsons. TheSimpsons Archive, Facts, Guide, and Lists. Internet resource.

Freiherr von der Goltz, F (2011).Functions of Intertextuality andIntermediality in The Simpsons. Universität Duisburg-Essen

Lapidus, A. (1993). The Front: TV Guide and Synopsis. Episode 19: TheFront (9F16). Original airdate: 4/15/93. Writer: Adam I. Lapidus.Director: Rich Moor.

Plante, C. (2015). How an Episode of the Simpsons is made. TheVerge.

Smith et at. (2009). the Simpsons and the American Culture.Internet resource.