The Simpsons Satire

The Simpsons relatability extended beyond the main cast and it was this key addition that separated itself from any other sitcom at the time. The school tyrant Nelson, the authoritarian Principal Seymour Skinner, the cowardly Milhouse van Houten. These characters and many more separated The Simpsons from any other sitcom, as it was the extra cast that made it unique. These characters were fully fleshed out and like the Simpson family were also fundamentally flawed. Nelson was a bully because he was acting out after his father left, Principal Skinner was such a strict authoritarian because of his tyrannical and oppressive mother and Milhouse was a shy, insecure kid, dealing with the recent divorce of his parents. The extra characters allowed

Instead of embracing the virtues and values of the American family, Groening mocked them with dark and satirical humour that was grounded in the character. This new style of sitcom was an immediate hit being described as “a breakaway ratings hit, industry trendsetter, cultural template, and a viewing experience verging on the religious for its most fanatical followers” (Henry, 2012, pg. 1). The Simpsons was at its core a satire of the ‘idealised images of family life’. However, the show quickly evolved in what Simpson (2003) describes as ‘the discourse of satire’. This was the “complex interplay between social & political functions of satire, rhetorical and discursive methods of the satirist and the reception and interpretation of satirical text by the audience” (Simpson, 2003, pg.70). The Simpsons pioneered this type of sitcom. As it rose in popularity, The Simpsons began to comment on contemporary American society and culture, delving into many tabooed topics such as infidelity, bullying & religion. This was something never before seen in the sitcom

The second episode in the season titled ‘A streetcar named Marge’ and is a parody of the musical play ‘A street car named desire’. The episode theme is the concept of infidelity, something never before seen on television. Marge becomes sick of keeping up the household, without any appreciation from the family. So she decides to audition for the local play, in order to meet new people. Surprisingly cast as the lead, she begins to fantasize about co-lead Ned Flanders. This was in contrast the way Homer and the family had treated her. The episode ends with Homer and Marge reconciling, after Homer shows his appreciation for Marge and her performance in the play (Martin, 1992). According to Henry, The Simpsons “offers a blend of complex and traditional attitudes towards the female identity” (Henry, 2007, pg 81). This episode in particular explored the concept of Marge leaving her homemaker role, to explore other hobbies or interests. This is consist with how Henry describes the 1990’s as “an era of great ambiguity about women’s lives and widespread confusion over gender norms” (Henry, 2007, pg.81). This episode highlights a woman’s agency, and her ability to able to explore multiple interests. This could include the traditional homemaker or could extend to exploring other interests such as acting. The episode uses the idea of infidelity to highlight Marge’s role as homemaker and how it is taken