There are spoilers in this review of The Simpsons.
The Simpsons Season 34 Episode 4
Krusty the Clown, a poor guy, spent all his money on non-funny television shows. It’s a shame that The Simpsons exploited that joke because it’s not even the most offensive aspect of The King of Nice.
Marge, the most contented housewife Gummy-melatonin can calm, is poisoned by the well of kindness, posed as daytime TV discussion shows, and she falls for an old joke that is only a few years out of date. For a sitcom that has been on television for 34 seasons, memory and continuity are nebulous concepts.
Marge has previously collaborated with Krusty twice in season 30 alone. In the episodes, The Clown Stays in the Picture and I’m Just a Girl Who Can’t Say D’oh, she served as an assistant director for the movie Krusty made from the book “The Sands of Space” and directed the historical rap musical Bloody, Bloody Jebediah for live television.
Marge has an excuse this time. She’s being cordial. Even while she finally embodies their hidden slogan—where people with too much free time make decisions for everyone else—what its focus group participants do.
The configuration deviates from the norm. Marge would do anything to avoid going grocery shopping because Homer and the kids were ruining the experience for her. The idea is a reworking of the family’s entertainment industry endeavors. Marge accepts a position as a segment producer on a daytime talk program hosted by Krusty the Clown.
The lessons are old, you can keep your job but only at the expense of your soul, and there are a few minor issues you need to settle like parking rights. However, the strategy is sound, a tad innovative, and rife with inside jokes about the entertainment industry and rivalry among star handlers.
Krusty wins the job after performing at a kid’s party at Affluence Acres, a gated enclave for superstars who gained their money on American Idol, in a social commentary-tinged move. However, it pales in comparison to the money that can be made from syndicated talk programs, which are the slums of The Simpsons that need to be conquered. Krusty lands his ideal gig in front of a studio audience that enjoys being catered to.
It is really effectively done to depict Marge’s gradual decline into disillusionment. She leans into the growing toxicity of mid-management privilege as soon as she discovers that all the production assistants are named Jordan because it’s easier on the producers, retracing her steps ever-so-slightly. The segment, which is the only nightmare break the show needs, is the most terrifying sequence.
The usage of memes, which never gets old, keeps The King of Nice’s underhanded commentary on the issues the ellen show faced a few years ago current. Marge’s natural ability to rip off segment ideas, such as teens explaining TikTok to carpool parents, and candle-box opening and sniffing, is appropriate. Although Marge’s ideas are amazingly nice and absolutely safe for children to consume, the strain to produce so many of them feeds on Marge’s soul.
That might seem a little dramatic for a cartoon, but it fits with Homer’s predicament of being trapped in a store full of stuff he can’t consume. Actually, the family is quite helpful, and mostly for the correct reasons. During an intervention, Lisa challenges Marge’s assertion that she is a strong, accomplished woman by pointing out the conflicting messages in her videos on the best ways to display cleavage.
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Homer genuinely thinks a dream job is something that brings happiness to a person, and he doesn’t see it in Marge. He states in an extremely powerful personal paradox that is fully genuine to his nature, “I never imagined I would speak poorly of TV, but it’s destroying you.” Of course, Bart has the most logical response.
In the episode’s most self-referential passage, Bart compares The Simpsons to The Krusty the Clown Show. Why would a show with so many excellent episodes try to produce any more when he has over 700 legendary Krusty episodes to select from? Naturally, retaliation is the cause. The Simpsons can still challenge Fox from within and get compensated for doing so. Although they don’t say it aloud, they haven’t at all concealed their plan until this episode.
Krusty doesn’t care much about getting even right now, but he also doesn’t cover much of himself in his baggiest of slacks. Along with using stolen awards, he also broadcasts his con games. He is merely a clown who is attempting to maintain his seltzer water balance while keeping an eye on an infinite toilet.
Producer of the program and episode antagonist Lindsey Naegle is also candid about her hidden agenda. She tries to connect with Marge as a fellow professional woman, but she cautions her subordinate segment producer to be alert for any overarching concern about her motives. These are regular ironies for The Simpsons, which consistently and effortlessly blurs the lines between ethics and morality.
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Because it assumes the high ground, Krusty’s non-apologetic apology is a high point and a new low for the clown. For the first time in his life, Krusty is not accountable for the problematic set he manages. He is used to signing apology letters that don’t genuinely accept responsibility.
He seldom ever appears physically, and he never does so intellectually. He undoubtedly feels a little envious when he hears about stagehands tearing at their hair until it comes out in clumps. That would make a funny story.
So, when you hear him offer a sincere apology, keep in mind where his true heart is: in an untraceable offshore account with its own pacemaker in the Cayman Islands. He is the ideal fall man to take the stand when the opportunity arises to make money as a celebrity judge because it is true justice. We want him to deceive.
Renee Ridgeley plays Dr. Wendy Sage in the episode, while Drew Barrymore performs as herself, asking Marge to consult for The Drew Barrymore Show and leaving room for a crossover. The Ellen-Tensive Ward at Springfield’s psychiatric facility’s post-ending aftermath, where showbiz monsters discuss PTSD, Post Talk Show Disorders, is spooky-funny with a twist.
The King of Polite features The Simpsons not being particularly nice, which works in its favour but also results in missed opportunities. Marge has a pleasurable downward trajectory, especially given that she has the capacity to frighten herself with her actions, broadening the breadth of her persona in the process.
The programming’s overall toxicity, though, could have benefited from a stronger dose. When The Simpsons might have gone for the jugular, it felt like some punches were pulled. The episode is above average, if we’re being nice, because of the multitude of visual gags which pass by so fast it makes this installment one to be rewatched. So much goes on behind the scenes, in syndicated TV, and the animated stories they tell.
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