DOCSLIB.ORG

A Krusty Experience

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Krusty Experience Th e Th e m e d Ent ert a in m e nt Asso ci a tio n’s 15th Th e a Aw ards A Krusty Experience • Th e Sim pso ns Rid e a t Univ ersa l Stu dios Florid a a n d Univ ersa l Stu dios Hollyw o o d of the ride would be refreshed or new. "ey where Back to the Future – the Ride once stood. also applied green-building values through such Inside the show building is a “midway” lined measures as utilizing some 2,500 LED lights to with carnival booths manned by Springfield’s cut power usage by almost 75%. “finest” residents, ranging from Patty and Selma to Hans Moleman. Here, character videos seem "e Simpsons Ride is a perfect homage to to interact with each other creating a witty and b y Bri a n Sz a ks everything “D’oh!” "e ride sits within its own entertaining banter. unique environment: Krustyland theme park. he Simpson family hasn’t exactly been It is ostensibly owned by Krusty the Clown, A large monitor overhead begins the first pre- Tknown for flawless family vacations. It who has a knack for “sparing all expenses,” and show, drawing guests further into the storyline seems that every time Homer, Marge, Bart, Lisa has, as the story goes, opened his own property and evoking a sense of escapism into the Simpsons and Maggie embark on a trip, we can expect adjacent to Universal Studios. Guests are treated realm. Here guests learn that Sideshow Bob has something to go wrong. In fact, the family has to a facade that boasts a faux roller coaster and snuck into Krustyland in another attempt to kill never visited a theme park without causing themed carny games, and even a giant Krusty Bart (he has had numerous failed attempts in the mayhem in one form or another. head that guests walk through. past) and the guests have been invited to ride Krusty’s new “thrill-tacular” ride. Breaking up In the past, the family has triggered human- "e queue, which leads guests to three different into groups of six, guests are led into a second killing parade robots with the flash of a camera levels, houses monitors that play a mixture of pre-show room where they learn more about at Itchy and Scratchy Land, Homer has had classic Simpsons clips as well as new material, the ride, are pulled further into the story and his one-too-many-donuts stomach stuck in the including a fantastic short featuring Doc Brown watch a humorous safety video featuring Itchy H2WHOAH! waterslide at Mt. Splashmore that explains why Krusty built his theme park and Scratchy. Water Park, and even sweet innocent Lisa has gone on a drunk rampage through Duff Gardens after drinking the water from “Little Land of Duff” ride. Viewers of !e Simpsons TV episodes can be assured that the yellow (or canary and goldenrod) clan of five will be experiencing just under 30 minutes of comedy, action and mayhem. "ese factors made the concept of "e Simpsons Ride a natural fit for both Universal Studios Orlando and Universal Studios Hollywood. Of course, being a great fit does not mean a simple task. Universal Creative had to design and construct a ride that would not only fit inside of a preexisting ride building, but would also fit the brand: the overall theme and culture of !e Simpsons. "roughout the 1990s and well into the 2000s, the ride buildings on both coasts were occupied by the Back to the Future – the Ride simulator attractions. But in 2007, Universal Creative decided that Doc Brown had flown his last DeLorean, and it was time for something fresh... and yellow. Universal’s project team worked closely with vendors to ensure that every aspect The Simpsons Ride at Universal Studios Hollywood Brian Szaks ([email protected]) was the East Coast Editor of InPark magazine for over five years. He is now the Manager of Member Relations for the !emed Entertainment Association. 29 Th e Th e m e d Ent ert ain m e nt Asso ci a tio n’s 15th Th e a Aw ards Once the attraction doors open, guests filter into the loading area for the main show, designed to look like a station for a classic dark ride. "e cars, complete with faux dark-ride guide wheels on the back, are somewhat reminiscent of the original Back to the Future ride with their over the head “gull-wing” doors. Each car has 12 speakers that utilize an impressive 6.1 surround sound system. "ose, together with the 90 other speakers in the dome (including subwoofers) all assist in transporting riders into Springfield. As the cars begin to rise nine feet on their scissor- lift motion based platform, placing visitors inside the vast dome screen, the video starts and they are plunged into the animated world that literally surrounds them. Disbelief is readily suspended and from that moment on, the ride is a fastpaced, laugh-a-second romp through Krustyland as Sideshow Bob chases after Bart as the guests follow along. Hidden jokes, nods to the past and light-hearted jabs at numerous other theme park attractions and at Universal itself, are assisted with water squirts, flashes of light and a surprisingly effective baby powder scent. "e attraction leaves guests with a reminder why !e Simpsons is still going strong as the longest running sitcom after 20 years, why motion simulators are still effective and why details and creativity are essential to the creation of a successful immersive and compelling experience. 30 Th e Th e m e d Ent ert ain m e nt Asso ci a tio n’s 15th Th e a Aw ards The SImpsons Ride, Universal Studios Hollywood and Universal Studios Florida Th e a A w ard for O utst a n din g A c hievement: Attra c tio n Universal Parks & Resorts Gracie Films Maureen Johnston, Color Boards Tom Williams, Chairman & CEO Matt Groening, Creator and Executive Producer Mitchell Schneider, Concept Designer Mark Woodbury, Pres. & CCO, Universal Creative James L Brooks, Executive Producer Mike Marquez, Concept Illustrations Michael Silver, Sr. V.P., Business & Legal A!airs Denise Sirkot, Executive Vice President Erik Neergaard, !emespace, Inc., Concept Illustr. Charlie Gundacker, Sr. V.P., Attraction Dev. Matt Walker, Concept Writer Steve Blum, Sr. V.P., Engineering & Safety #e Cast Ryan Harmon, Concept Writer Dale Mason, V.P., Creative & Executive Art Dir. Nancy Cartwright: Bart Simpson, Maggie Brian Dudash, B. Dudash & Associates, Inc., Cost Dan Memis, V.P., Finance & Administration Simpson, Nelson Muntz, Ralph Wiggum, and Est. Brawner Greer, V.P., Business & Legal A!airs #e Happy Little Elves Frank Moynihan, Estimating Service Mike Kiddoo, Director, Engineering Dan Castellaneta: Homer Simpson, Krusty !omas Potter, H. W. Davis Construction, Inc., Justin Schwartz, Ride and Show Engineer the Clown, Grampa Simpson, Groundskeeper General Construction / Management Willie, Squeaky Voiced Teen, Hans Moleman, Jill Shargaa, Graphic Designer - Presentations Contract Administration Barney Gumble, Kodos, Repo man, and Mr. Andy Crabtree, Graphic Illustrator Karen Trauger, Michelle Hines, Kathy Wheeler, Freidman Raymond Keim, Graphic Illustrator Elan MacIntosh Julie Kavner: Marge Simpson, Patty Bouvier and Scott Wren, Graphic Illustrator Simon Hiracheta, Financial Analyst Selma Bouvier Wayne Clark, Miller Clarke Design, Graphics James Kirkpatrick, Senior Cost Analyst Yeardley Smith: Lisa Simpson Designer Katy Pacitti, Creative Resources Manager Hank Azaria: Chief Wiggum, Apu Nahasapee- David Morris, Illustrator mapetilon, Moe Szyslak, Professor Frink, Cletus Ryan Smith, Illustrator Executive O"ces Spuckler, O"cer Lou, the Sarcarstic Man, Snake David Tear, Management of Scenic Components Sonya Berish, Michael McGuire, Jen Bark, Jailbird and Pants-O! Johnson Eric Morgan, Eric L. Morgan, Architect, P.A., Carol Biagetti, Dianne Decker Kelsey Grammer: Sideshow Bob Onsite Design Support Michael McGuire, UP&R Rep. to THEA Pamela Hayden: Milhouse Van Houten Jonathan Douglas, VOA Associates, Inc., Retail Russi Taylor: Martin Prince Concept Designer #e Project Team Christopher Lloyd: Doc Brown Erik Neergaard, !emespace, Inc., Ride vehicle Michael A. West, Executive Producer Concepts Writers Scott Stewart, Project Director Je" Smith, Scope Writer Al Jean, John Frink, Tim Long, Daniel Mark Rhodes, Media Producer Tim Madison, Script writer Chun, Joel Cohen, Michael Price, Matthew Chris Lauren and Jennifer Sauer, Creative Directors Jason Townley, Second Shift Support Warburton, Matthew Selman Eric !omas, Attraction Designer Deborah Palmer, Show Set & CAD Designer Mike Esmonde, Technical Manager Directors Steve Mitchell, Show Set Designer Jay Kuiper, Technical Manager Richard Raynis, Matthew Selman David Morris, Show Set Designer Randy Mazely, Construction Manager Rich West, Show Set Designer Robert Frazer, Technical Coordinator 20th Century Fox Robert Michael Noles, Show Set Designer Deborah Witt, Project Coordinator Elie Dekel, Exec. V.P., Licensing & Merchandising Stephanie Girard, Show Set Designer Kathleen Parrish, Project Assistant Howard Nelson, V.P.,Worldwide Promotion Steve Mitchell, Show Set Designer Jim Dooley, Principal Music Production Paul Dennis, Show Set Support Peter J Lehman, Visible Sound Inc., Princ. Audio Mixing Blur Studios - CG Animation Pat Vogtli, Storyboard Art Tony Micelli, Sound Editor Al Shier and Debbie Yu, Producers Eric !omas, Storyboard Art and Illustration Yas Takata, Ride Director Mitchell Schneider, Storyboard Artist Universal Creative, Hollywood Leo Santos and Dan Rice, CG Supervisors Whitworth Stokes, !e Truly Dangerous Company, Chip Largman, Vice President, Universal Creative Andy Grisdale, Layout Artist Technical Consultant Frasier !ompson, Project Director Paul Kent, Electrosonic Systems, Inc., 3D Reel FX Entertainment - Additional CG Animation Chris Lauren, Creative Director Projection Study Nick Bliobenes, Executive Producer Bill Whitcomb, Technical Director Je" Bobbin, Show System Integrators, LLC, A/V Chuck Peil, Main Show Producer Paul Cuocco and John Dunne, Technical Mgrs.
Load more

Recommended publications
  • Premiere Props • Hollyw Ood a Uction Extra Vaganza VII • Sep Tember 1 5
    Premiere Props • Hollywood Auction Extravaganza VII • September 15-16, 2012 • Hollywood Live Auctions Welcome to the Hollywood Live Auction Extravaganza weekend. We have assembled a vast collection of incredible movie props and costumes from Hollywood classics to contemporary favorites. From an exclusive Elvis Presley museum collection featured at the Mississippi Music Hall Of Fame, an amazing Harry Potter prop collection featuring Harry Potter’s training broom and Golden Snitch, to a entire Michael Jackson collection featuring his stage worn black shoes, fedoras and personally signed items. Plus costumes and props from Back To The Future, a life size custom Robby The Robot, Jim Carrey’s iconic mask from The Mask, plus hundreds of the most detailed props and costumes from the Underworld franchise! We are very excited to bring you over 1,000 items of some of the most rare and valuable memorabilia to add to your collection. Be sure to see the original WOPR computer from MGM’s War Games, a collection of Star Wars life size figures from Lucas Film and Master Replicas and custom designed costumes from Bette Midler, Kate Winslet, Lily Tomlin, and Billy Joel. If you are new to our live auction events and would like to participate, please register online at HollywoodLiveAuctions.com to watch and bid live. If you would prefer to be a phone bidder and be assisted by one of our staff members, please call us to register at (866) 761-7767. We hope you enjoy the Hollywood Live Auction Extravaganza V II live event and we look forward to seeing you on October 13-14 for Fangoria’s Annual Horror Movie Prop Live Auction.
    [Show full text]
  • Planet Simpson: “Early Days” (1987-1991)
    Planet Simpson: “Early Days” (1987-1991) • Season 2- “Simpsons” moved air times to compete with “Cosby Show” • Proved popularity during competition with very well acclaimed “Cosby Show” • Became Top Rated Show in 1992 after “Cosby Show” went off air • Birth of the “mass cult” “Simpsonian Golden Age” (1992-1997) • Seasons 4-8 Continued to be popular • Entered syndication in the Fall of 1994 • Became popular on booming internet • Feb. 97’ aired 167th episode passing “Flintstones” and becoming longest running primetime cartoon in history • Won “Peabody Award” “Long Plateau” (1997- ?) • Show declined in popularity after hitting it’s peak • Won 20 Emmy Awards by mid 2003 • Received Hollywood Star in 2000 • Received first ever Golden Globe nomination for best comedy series in 2003 Ancestors of the “Simpsons” •1) Anthropomorphic Animals, Late Night Talk Shows and Such and Such…… Wide Range of Comedic Forms made show successful through use of minor characters •2) Boomer Humor Begets Egghead Humor Sick and deranged humor meets smarter, social, and political humor Ancestors… (Continued) • For Ironic Humor, Blame Canada Canadian references made throughout the show bring a different tone to the “Simpsons” comedy style and the ability to laugh more openly at American satires Reality TV: The Satirical Universe of the Simpsons • “Satire is defined as intellectual judo, in which the writer or performer take on the ideas and character of his target, and then takes both to absurd lengths to destroy them.” Tony Hendra • Satire only works if it is realistic • The Simpsons is based on reality; on the notion that they are realistic. This makes satire possible.
    [Show full text]
  • Mediasprawl: Springfield U.S.A
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Iowa Research Online Iowa Journal of Cultural Studies Volume 3, Issue 1 2003 Article 10 SUBURBIA Mediasprawl: Springfield U.S.A Douglas Rushkoff∗ ∗ Copyright c 2003 by the authors. Iowa Journal of Cultural Studies is produced by The Berkeley Electronic Press (bepress). https://ir.uiowa.edu/ijcs Mediasprawl: Springfield U.S.A. Douglas Rushkoff The Simpsons are the closest thing in America to a national media literacy program. By pretending to be a kids’ cartoon, the show gets away with murder: that is, the virtual murder of our most coercive media iconography and techniques. For what began as entertaining interstitial material for an alternative network variety show has revealed itself, in the twenty-first century, as nothing short of a media revolu­ tion. Maybe that’s the very reason The Simpsons works so well. The Simpsons were bom to provide The Tracey Ullman Show with a way of cutting to commercial breaks. Their very function as a form of media was to bridge the discontinuity inherent to broadcast television. They existed to pave over the breaks. But rather than dampening the effects of these gaps in the broadcast stream, they heightened them. They acknowledged the jagged edges and recombinant forms behind the glossy patina of American television and, by doing so, initiated its deconstruction. They exist in the outlying suburbs of the American media landscape: the hinter­ lands of the Fox network. And living as they do—simultaneously a part of yet separate from the mainstream, primetime fare—they are able to bear witness to our cultural formulations and then comment upon them.
    [Show full text]
  • ICE - Volumes of Revolution
    A ICE - Volumes of Revolution In an episode1 of the popular television program, “The Simpsons,” Homer Simpson (see Figure 12) became the conductor of Springfield’s monorail. The episode began with Homer leaving his job at the nuclear power plant singing: Homer, Homer Simpson, He’s the greatest guy in history. From the town of Springfield, He’s about to hit a chestnut tree. After Homer’s car crash, Mr. Burns and Smithers were caught dumping toxic waste from the nuclear power plant. Mr. Burns was fined three million dollars. The Figure 1: Homer J. Simpson. people of Spingfield met to discuss how to spend this windfall, when fast-talking music man Lyle Lanley persuaded them to spend it all on a monorail. Lyle Lanley: Well, sir, there’s nothing on Earth like a genuine, bona fide, electrified, six- car monorail! What’d I say? Ned Flanders: Monorail! Lyle Lanley: What’s it called? Patty and Selma: Monorail! Lyle Lanley: That’s right – Monorail! (Crowd softly chants “Monorail” in rhythm.) Miss Hoover: I hear those things are awfully loud. Lyle Lanley: It glides as softly as a cloud. Apu: Is there a chance the track could bend? Lyle Lanley: Not on your life, my Hindu friend. Barney: What about us brain-dead slobs? Lyle Lanley: You’ll all be given cushy jobs. Abraham Simpson (Grandpa): Were you sent here by the devil? Lyle Lanley: No, good sir, I’m on the level. Chief Wiggum: The ring came off my pudding can. Lyle Lanley: Use my pen knife, my good man.
    [Show full text]
  • Memetic Proliferation and Fan Participation in the Simpsons
    THE UNIVERSITY OF HULL Craptacular Science and the Worst Audience Ever: Memetic Proliferation and Fan Participation in The Simpsons being a Thesis submitted for the Degree of PhD Film Studies in the University of Hull by Jemma Diane Gilboy, BFA, BA (Hons) (University of Regina), MScRes (University of Edinburgh) April 2016 Craptacular Science and the Worst Audience Ever: Memetic Proliferation and Fan Participation in The Simpsons by Jemma D. Gilboy University of Hull 201108684 Abstract (Thesis Summary) The objective of this thesis is to establish meme theory as an analytical paradigm within the fields of screen and fan studies. Meme theory is an emerging framework founded upon the broad concept of a “meme”, a unit of culture that, if successful, proliferates among a given group of people. Created as a cultural analogue to genetics, memetics has developed into a cultural theory and, as the concept of memes is increasingly applied to online behaviours and activities, its relevance to the area of media studies materialises. The landscapes of media production and spectatorship are in constant fluctuation in response to rapid technological progress. The internet provides global citizens with unprecedented access to media texts (and their producers), information, and other individuals and collectives who share similar knowledge and interests. The unprecedented speed with (and extent to) which information and media content spread among individuals and communities warrants the consideration of a modern analytical paradigm that can accommodate and keep up with developments. Meme theory fills this gap as it is compatible with existing frameworks and offers researchers a new perspective on the factors driving the popularity and spread (or lack of popular engagement with) a given media text and its audience.
    [Show full text]
  • Die Flexible Welt Der Simpsons
    BACHELORARBEIT Herr Benjamin Lehmann Die flexible Welt der Simpsons 2012 Fakultät: Medien BACHELORARBEIT Die flexible Welt der Simpsons Autor: Herr Benjamin Lehmann Studiengang: Film und Fernsehen Seminargruppe: FF08w2-B Erstprüfer: Professor Peter Gottschalk Zweitprüfer: Christian Maintz (M.A.) Einreichung: Mittweida, 06.01.2012 Faculty of Media BACHELOR THESIS The flexible world of the Simpsons author: Mr. Benjamin Lehmann course of studies: Film und Fernsehen seminar group: FF08w2-B first examiner: Professor Peter Gottschalk second examiner: Christian Maintz (M.A.) submission: Mittweida, 6th January 2012 Bibliografische Angaben Lehmann, Benjamin: Die flexible Welt der Simpsons The flexible world of the Simpsons 103 Seiten, Hochschule Mittweida, University of Applied Sciences, Fakultät Medien, Bachelorarbeit, 2012 Abstract Die Simpsons sorgen seit mehr als 20 Jahren für subversive Unterhaltung im Zeichentrickformat. Die Serie verbindet realistische Themen mit dem abnormen Witz von Cartoons. Diese Flexibilität ist ein bestimmendes Element in Springfield und erstreckt sich über verschiedene Bereiche der Serie. Die flexible Welt der Simpsons wird in dieser Arbeit unter Berücksichtigung der Auswirkungen auf den Wiedersehenswert der Serie untersucht. 5 Inhaltsverzeichnis Inhaltsverzeichnis ............................................................................................. 5 Abkürzungsverzeichnis .................................................................................... 7 1 Einleitung ...................................................................................................
    [Show full text]
  • Word Search Tiffany (Simon) (Dreama) Walker Conflicts Call (972) 937-3310 © Zap2it
    Looking for a way to keep up with local news, school happenings, sports events and more? February 10 - 16, 2017 2 x 2" ad 2 x 2" ad We’ve got you covered! waxahachietx.com How Grammy V A H A D S D E A M W A H K R performances 2 x 3" ad E Y I L L P A S Q U A L E P D Your Key M A V I A B U X U B A V I E R To Buying L Z W O B Q E N K E H S G W X come together S E C R E T S R V B R I L A Z and Selling! 2 x 3.5" ad C N B L J K G C T E W J L F M Carrie Underwood is slated to A D M L U C O X Y X K Y E C K perform at the 59th Annual Grammy Awards Sunday on CBS. R I L K S U P W A C N Q R O M P I R J T I A Y P A V C K N A H A J T I L H E F M U M E F I L W S G C U H F W E B I L L Y K I T S E K I A E R L T M I N S P D F I T X E S O X F J C A S A D I E O Y L L N D B E T N Z K O R Z A N W A L K E R S E “Doubt” on CBS (Words in parentheses not in puzzle) Sadie (Ellis) (Katherine) Heigl Lawyers Place your classified Solution on page 13 Albert (Cobb) (Dulé) Hill Justice ad in the Waxahachie Daily 2 x 3" ad Billy (Brennan) (Steven) Pasquale Secrets Light, Midlothian1 xMirror 4" ad and Cameron (Wirth) (Laverne) Cox Passion Ellis County Trading Post! Word Search Tiffany (Simon) (Dreama) Walker Conflicts Call (972) 937-3310 © Zap2it 2 x 3.5" ad 2 x 4" ad 4 x 4" ad 6 x 3" ad 16 Waxahachie Daily Light homa City Thunder.
    [Show full text]
  • The Simpsons in Their Car, Driving Down a Snowy Road
    'Name: Ryan Emms 'Email Address: [email protected] 'Fan Script Title: Dial 'L' for Lunatic ******************************************************* Cast of Characters Homer Simpson Marge Simpson Bart Simpson Lisa Simpson Maggie Simpson Bart's Classmates Charles Montgomery Burns Wayland Smithers Seymour Skinner Edna Krebappel Moe Szyslak Apu Nahasapeemapetilon Barney Gumbel Carl Lenny Milhouse Van Houten Herschel Krustofsky Bob Terwilliger Clancy Wiggum Dispatch Other Police Officers Kent Brockman Julius Hibbert Cut to - Springfield - at night [theme from 'COPS' playing] Enter Chief Clancy Wiggum [theme from 'COPS' ends] Chief Wiggum This is a nice night to do rounds: nothing to ruin it whatsoever. [picks up his two-way radio] Clancy to base, first rounds completed, no signs of trouble. Enter Dispatch, on other side of the CB radio Dispatch [crackling] Come in, 14. Chief Wiggum This is 14. Over. Dispatch There's a report of a man down in front of Moe's bar. An ambulance has already been sent. How long until you get there? Chief Wiggum In less than two minutes. [turns siren on, and turns off CB radio] This will be a good time to get a drink in [chuckles to himself] [Exit] Cut to - Springfield - Moe's Tavern - at night Enter Chief Wiggum Chief Wiggum [to CB radio] Dispatch, I have arrived at the scene, over and out. [gets out of the car] Enter Homer Simpson, Moe Szyslak, Carl, Lenny, Barney Gumbel, and Charles Montgomery Burns Chief Wiggum What exactly happened here? Homer [drunkenly] We.saw.a.mur.der. Chief Wiggum Say again? You saw a moodoo? Homer Shut.up.Wig.gum.
    [Show full text]
  • MELBOURNE PROGRAM GUIDE Sunday 10Th January 2016
    MELBOURNE PROGRAM GUIDE Sunday 10th January 2016 06:00 am Toasted TV G Want the lowdown on what's hot in the playground? Join the team for the latest in pranks, pop culture, movies, music, sport, games and other seriously fun stuff! Featuring a variety of your favourite cartoons. 06:05 am Matt Hatter Chronicles G The Chaos Coin Matt has moved to live above his Grandpa's movie theatre, but this theatre is more than just a cool old building; it is a gateway to another reality known as "The Multiverse". 06:30 am Invizimals (Rpt) G The Alliance Part 1 Keni is a young, super­gifted scientific researcher that discovers the Invizimals during a routine experiment. Keni begins to collaborate with the Invizimals to develope completely new and pioneering technology. 07:00 am Toasted TV G Want the lowdown on what's hot in the playground? Join the team for the latest in pranks, pop culture, movies, music, sport, games and other seriously fun stuff! Featuring a variety of your favourite cartoons. 07:05 am Beyblade: Shogun Steel (Rpt) G The Ultimate Emperor Of Destruction: Bahamoote Seven years have passed since the god of Destruction, Nemesis met his end at the hands of a Legendary Blader. A new era of Beyblade has begun, bringing with it new Blades. 07:30 am Toasted TV G Want the lowdown on what's hot in the playground? Join the team for the latest in pranks, pop culture, movies, music, sport, games and other seriously fun stuff! Featuring a variety of your favourite cartoons.
    [Show full text]
  • Udls-Sam-Creed-Simpsons.Pdf
    The Simpsons: Best. TV Show. Ever.* Speaker: Sam Creed UDLS Jan 16 2015 *focus on Season 1-8 Quick Facts animated sitcom created by Matt Groening premiered Dec 17, 1989 - over 25 years ago! over 560+ episodes aired longest running scripted sitcom ever #1 on Empire’s top 50 shows, and many other lists in entertainment media, numerous Emmy awards and other allocades TV Land Before... “If cartoons were meant for adults, they'd put them on in prime time." - Lisa Simpson Video Clip Homer’s Sugar Pile Speech, Lisa’s Rival, 13: 43-15:30 (Homer’s Speech about Sugar Pile) "Never, Marge. Never. I can't live the button-down life like you. I want it all: the terrifying lows, the dizzying highs, the creamy middles. Sure, I might offend a few of the bluenoses with my cocky stride and musky odors - oh, I'll never be the darling of the so-called "City Fathers" who cluck their tongues, stroke their beards, and talk about "What's to be done with this Homer Simpson?" - Homer Simpson, “Lisa’s Rival”. Comedy Devices/Techniques Parody/Reference - Scarface Juxtaposition/Absurdism: Sugar, Englishman Slapstick: Bees attacking Homer Hyperbole: Homer acts like a child Repetition: Sideshow Bob and Rakes The Everyman By using incongruity, sarcasm, exaggeration, and other comedic techniques, The Simpsons satirizes most aspects of ordinary life, from family, to TV, to religion, achieving the true essence of satire. Homer Simpson is the captivating and hilarious satire of today's "Everyman." - Brett Mullin, The Simpsons, American Satire “...the American family at its
    [Show full text]
  • Homer Economicus: Using the Simpsons to Teach Economics
    Homer Economicus: Using The Simpsons to Teach Economics Joshua Hall* West Virginia University Getting students to understand the economic way of thinking might be the most difficult aspect of a teaching economist=s job. The counterintuitive nature of economics often makes it difficult to get the average student to think Alike an economist.@ To this end, the need to keep students engaged and interested is essential when teaching economic principles and interdisciplinary approaches to engaging students are becoming increasingly common. For example, Leet and Houser (2003) build an entire principles class around classic films and documentaries while Watts (1999) discusses how literary passages can be used to teach a typical undergraduate course more effectively. I further extend this interdisciplinary approach to economic education by providing examples from the long-running animated television show The Simpsons that can be used to stimulate student discussion and engagement in an introductory course in microeconomics. Using The Simpsons in the classroom The bulk of this paper describes scenes from The Simpsons that illustrate basic economic concepts. While the examples are pretty straightforward, the difficulty in using The Simpsons lies in deciding: where to place the examples into the lecture and the best way to present the scene to the students. _____________________________ * The author gratefully acknowledges the financial support of The Buckeye Institute. One difficult feature of using any popular culture in the classroom, even a show that has been on the air for fifteen seasons and 300-plus episodes, is that students do not all have the same frame of reference, even in the most homogenous of classrooms.
    [Show full text]
  • Simpsons Comics - Colossal Compendium: Volume 3 Pdf
    FREE SIMPSONS COMICS - COLOSSAL COMPENDIUM: VOLUME 3 PDF Matt Groening | 176 pages | 26 Sep 2016 | Titan Books Ltd | 9781783296545 | English | London, United Kingdom Simpsons Comics Colossal Compendium: Volume 3 by Matt Groening Even a tyke-sized Homer tries his hand at some magical wishing, and Ralph Wiggum does a little role modeling. Finally, Simpsons Comics - Colossal Compendium: Volume 3 for your convenience, quickly cut and fold your very own Kwik-E-Mart! Simpsons Comics - Colossal Compendium: Volume 3 edit will also create new pages on Comic Vine for:. Until you earn points all your submissions need to be vetted by other Comic Vine users. This process takes no more than a few hours and we'll send you an email once approved. Tweet Clean. Cancel Update. What size image should we insert? This will not affect the original upload Small Medium How do you want the image positioned around text? Float Left Float Right. Cancel Insert. Go to Link Unlink Change. Cancel Create Link. Disable this feature for this session. Rows: Columns:. Enter the URL for the tweet you want to embed. Creators Matt Groening. Crab Dr. Hibbert Dr. Burns Mrs. Story Arcs. This edit will also create new pages on Comic Vine for: Beware, you are proposing to add brand new pages to the wiki along with your edits. Make sure this is what you intended. This will likely increase the time it takes for your changes to go live. Comment and Save Until you earn points all your submissions need to be vetted by other Comic Vine users.
    [Show full text]