In the early 1950s up until the late 1960s, television was a colorless form of entertainment that many traditional American families so eagerly enjoyed together. Picture this, a father and mother lovingly sitting next to each other while their rambunctious children lay sprawled out in front of a boxed television set with unquenched enthusiasm. This is the image of a traditional, nuclear family—the epicenter of American values and way of life according to the mainstream media of the time. Likewise, it is also the trope of any situational comedy show. However, this charmingly picturesque image of idealistic expectations cannot be further from the truth of reality. Unlike its predecessors, contemporary television seeks to openly dissect and question
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These two elements, combined, function to create a snarky and meticulously crafted sense of humor that feeds into the postmodernist inclinations of contemporary television. Matheson explores this “sour” taste of comedy through his extensive analysis of The Simpsons. He argues that the show, “does not promote anything,” in this case, traditional family values. By extension, Matheson arguably demotes hyper-irony and deems it to be essentially depraved, “because its humor works by putting forward positions in order to undercut them.” While, yes, Matheson acknowledges the satirical nature of The Simpsons, he fails to fully grasp the immensity of its role within the show. According to Matheson, the nature of the show is relatively “depraved”— it does not promote the traditional family values of the past nor does it hold them to be sacred. The Simpsons, themselves, are a parody of the “McWASP” tradition of family sitcoms. However, this familiarity is an ingenious ploy—a device issued to closely dissect and criticize every facet of American culture. Rather than being the ideal picturesque family of the past, each member is uniquely flawed. This uncensored representation of family life initiates …show more content…
Episodes such as, “Homer’s Phobia” and “There’s Something About Marrying,” are a few prime examples of The Simpsons vehement support of the LGBTQ community. These episodes, clad in clever satire, aired at a time where stark opposition for the gay rights movement occurred. From the Defense of Marriage Act, Don’t Ask Don’t Tell, to even Ellen DeGeneres’ sudden upheaval from Ellen (1994-1998)—The Simpsons have always displayed an earnest sensibility toward gay life. This can be observed through the much beloved Waylon Smithers. His continual progress as a gay man is evident through episodes such as “Secrets of a Successful Marriage,” in where Smithers is notably closeted, to the more recent “The Burns Cage,” his final coming out segment. Thus, the success of Obergefell v. Hodges can also be attributed to contemporary televisions queer sensibility. However, this also extends into the ongoing immigration debate. The episode “Much Apu About Nothing,” deals with the issues surrounding nativism and anti-immigration activism. It aired as a clever response to California’s Proposition 187 (1994), a bill that proposed denying state-funded services and taxed-funded educational institutions to all illegal immigrants. Through the exploration of Apu Nahasapeemapetilon’s character—Kwik-E-Marts proprietor and resident illegal immigrant—the complexities of race, ethnicity, and
These two elements, combined, function to create a snarky and meticulously crafted sense of humor that feeds into the postmodernist inclinations of contemporary television. Matheson explores this “sour” taste of comedy through his extensive analysis of The Simpsons. He argues that the show, “does not promote anything,” in this case, traditional family values. By extension, Matheson arguably demotes hyper-irony and deems it to be essentially depraved, “because its humor works by putting forward positions in order to undercut them.” While, yes, Matheson acknowledges the satirical nature of The Simpsons, he fails to fully grasp the immensity of its role within the show. According to Matheson, the nature of the show is relatively “depraved”— it does not promote the traditional family values of the past nor does it hold them to be sacred. The Simpsons, themselves, are a parody of the “McWASP” tradition of family sitcoms. However, this familiarity is an ingenious ploy—a device issued to closely dissect and criticize every facet of American culture. Rather than being the ideal picturesque family of the past, each member is uniquely flawed. This uncensored representation of family life initiates …show more content…
Episodes such as, “Homer’s Phobia” and “There’s Something About Marrying,” are a few prime examples of The Simpsons vehement support of the LGBTQ community. These episodes, clad in clever satire, aired at a time where stark opposition for the gay rights movement occurred. From the Defense of Marriage Act, Don’t Ask Don’t Tell, to even Ellen DeGeneres’ sudden upheaval from Ellen (1994-1998)—The Simpsons have always displayed an earnest sensibility toward gay life. This can be observed through the much beloved Waylon Smithers. His continual progress as a gay man is evident through episodes such as “Secrets of a Successful Marriage,” in where Smithers is notably closeted, to the more recent “The Burns Cage,” his final coming out segment. Thus, the success of Obergefell v. Hodges can also be attributed to contemporary televisions queer sensibility. However, this also extends into the ongoing immigration debate. The episode “Much Apu About Nothing,” deals with the issues surrounding nativism and anti-immigration activism. It aired as a clever response to California’s Proposition 187 (1994), a bill that proposed denying state-funded services and taxed-funded educational institutions to all illegal immigrants. Through the exploration of Apu Nahasapeemapetilon’s character—Kwik-E-Marts proprietor and resident illegal immigrant—the complexities of race, ethnicity, and