Posts Tagged ‘Bart’s Friend Falls in Love


Compare & Contrast: Overprotective Fathers

Bart's Friend Falls in Love15

“Samantha!” – Mr. Stanky
“Dad!” – Samantha Stanky
“Noooooo!” – Mr. Stanky

As far as nothingburger girlfriend characters go, Kumiko is so empty that she makes the relatively one-dimensional Rene from Season 9 look like Katniss Everdeen.  Rene at least talked to Moe before dating him out of pity.  Kumiko apparently fell in love with Comic Book Guy without even so much as meeting him.  But even that vacuous characterization is rich and deep compared to Kumiko’s father, who shows up out of the blue and instantly becomes the focus of the episode despite failing, after his very first scene, to do what he said he was there to do.  And, of course, per standard Zombie Simpsons operating procedure, he doesn’t get a name.

Back in Season 3, the show gave us another father who didn’t want his daughter dating one of Springfield’s losers.  He also didn’t get a first name, but in that case it didn’t matter because by the time he was on screen for his one scene, he’d already been a shadow over their doomed romance from the beginning of the episode.  I speak, of course, of Samantha Stanky’s father, Mr. Stanky, in “Bart’s Friend Falls In Love”.

To understand how The Simpsons could make a better character despite his having only one scene on screen and just four lines, it helps to look side-by-side at how and when each of them is introduced and expanded.  Mr. Stanky (which is hard to type without giggling a bit) is mentioned for the first time in the middle of the first act, just three minutes into the episode, when Samantha, forced by Mrs. Krabappel to introduce herself in front of the class while being graded on grammar and poise, says:

We just moved here from Phoenix.  My dad owns a home security company.  He came to Springfield because of its high crime rate and lackluster police force.

Right there, with the man himself most of the episode away from even being seen, we can form a mental picture of the guy.  He owns a security company, and he’s willing to uproot his family and move across the country to a city with lots of crime because of it.  We know right away that he’s not a sentimentalist and probably isn’t someone you’d want to screw around with.

By contrast, Kumiko’s father doesn’t show up until twelve minutes into the episode, at what I guess is supposed to be the first or second act break (Zombie Simpsons makes it hard to tell).  Up to this point we hadn’t heard of him at all.  He didn’t rate so much as a toss off line from Kumiko or Comic Book Guy about her father maybe not wanting his daughter pulling up stakes and moving to America to live with some dude he’s never met.  They had eight minutes left to fill, so you knew something had to keep the new lovers from riding off happily into the sunset, but the episode is so poorly set up and written that it could just as easily have been an argument about Marvel vs. DC, the superiority of American or Japanese animation, or really anything, up to and including a meteor strike or General Zod showing up.  Having dropped in from nowhere, he and Homer proceed to recap the episode and explain who he is and why he’s there.  We don’t see him confront Comic Book Guy or Kumiko, he just stands there.

Two Men Talking (Part 1)

Men of action!

The next scene is Kumiko crying and walking out of the store, escorted by her father.  They proceed down the sidewalk and, for all intents and purposes, his story is completed barely a minute after he arrived on screen.  He came to get his daughter.  He got his daughter.  The end.  Naturally, Zombie Simpsons can’t drop things there, but whether they know it or not, that’s the story they just told us.

Compare that clumsy plot advance to the second time we hear Mr. Stanky mentioned, when Milhouse and Samantha are, as the old children’s rhyme goes, kissing in a tree.  Samantha puts a halt to things because:

Milhouse, I’ve gotta go.  My Dad thinks I’m having my braces examined.

Without the man himself so much as coming close to the screen, we know that he has no idea that some local kid in a city he probably doesn’t even like is kissing his precious baby girl.  We also know that if he did know, he wouldn’t approve, because otherwise, why would she lie to him about going to the orthodontist?

Bart's Friend Falls in Love14

She kinda, sorta is having her braces examined, but her father is unlikely to see it that way.

The next time he’s mentioned is at the end of what is very clearly the second act, when Bart has grown exasperated with being the third wheel and losing his best friend to a skirt.  Milhouse, desperate to continue his closed-mouth-kissing, pre-adolescent romance asks if they can still use Bart’s treehouse because:

If her father finds out, he’ll kill her.

This is tight as a drum storytelling.  Milhouse is making explicit what was hinted at earlier and giving Bart the crucial piece of information he needs to break them up, all in a single, eight word sentence.

The third time we hear from Mr. Nakamura (which isn’t funny at all, especially compared to Stanky), it’s when he’s inexplicable sitting in a Japanese restaurant getting drunk with Homer.  The last time we saw him he was walking off with his daughter and talking about taking her back to Japan.  Did she object or disappear?  Was the flight delayed?  Is she locked in his hotel room right now?  Why would he listen to Homer anyway, a man he barely knows who clearly knew his daughter was with the man he wholeheartedly disapproves of?  Who knows?  Zombie Simpsons doesn’t care about any of those questions and thanks you for not caring as well.

Nakamura’s next scene comes after he and Homer get into the hallucinogenic snake wine.  It’s the very pretty centerpiece to the episode wherein they cram as many Simpsons characters as they can into Miyazaki references.  This all ends with Nakamura coming face to face with one of the masked guys from Spirited Away and telling us all out loud that he now doesn’t mind Comic Book Guy marrying his daughter.  Like I said, it’s pretty, but it’s also gratutious filler that advances the already shambling story roughly two (very obvious) centimeters.

The fourth time Mr. Stanky comes up is when Bart narcs on Samantha and Milhouse’s little love nest.  Again, this is superb storytelling, as the threat he poses to the young romance, implicit at first and growing ever more explicit, is now approaching at full speed.  Hitherto he’d only been referenced, now he’s on the phone with Bart and bearing down on the treehouse like a parental hurricane.

The fifth and final time he’s part of the episode is the culmination of the previous four.  His abrupt and unexpected appearance at the treehouse shows us that he’s exactly who we’ve been told he is: a take charge kinda guy who doesn’t want his little girl anywhere near some punk kid she thinks is a good kisser.  He grabs Samantha (literally), tosses her in the car, and speeds her out of Milhouse’s life.  It’s the climax of the episode, with the remainder being Bart and Milhouse reconciling and the bittersweet ending with Samantha at the penguin house.

The last couple of times we see Mr. Nakamura, he’s expositing his new found approval of his daughter’s dumpy boyfriend, showing up to their wedding in a silver C-3P0 costume (the fuck?), and then getting drunk with Homer some more on an elementary school playground because those last thirty seconds aren’t going to fill themselves.  It’s a sticky sweet ending that’s no different than what was happening before he arrived, which isn’t surprising since he is, as most Zombie Simpsons characters are, more prop than person.  His reason to be there was so flimsy that no one even mentioned him for the first two thirds of the episode, and when he did show up it had little to do with his stated intentions and everything to do with Zombie Simpsons shoving some movie references into a previously blank spot on their storyboard.

Mr. Stanky, on the other hand, was a constant and growing off screen threat who did exactly what his daughter and her brief boyfriend knew he would.  Both of them were killjoys in their way, but one of them was good at it and lent the episode and the ending the kind of character, depth and complexity that make the jokes hit home and the story relatable.  The other was just there.


Quote of the Day

Hostage Negotiations

“Operator, I’d like to place an order for my husband.” – Marge Simpson
“Would he like to lose weight, stop smoking, learn the state capitals, master hostage negotiations . . .” – Subliminal Tape Operator
“Hmm, hostage negotiations . . .”
“Listen, Taboli, we’re ignoring all of your demands.  What do you say to that?” – Hostage Negotiator Homer
“Better give me the weight loss tape.” – Marge Simpson


Quote of the Day

Bart's Friend Falls in Love13

“Hey, Martin.” – Bart Simpson
“Bart?  This is the first time anyone has ever sat next to me since I successfully lobbied to have the school day extended by twenty minutes.” – Martin Prince


Quote of the Day

Bart's Friend Falls in Love12

“Americans have grown up with the image of the jolly fat man, Dom DeLuise, Alfred Hitchcock, and, of course, Santa Claus.  But in real life, Santa would be suffering from gall stones, hypertension, impotence, and diabetes.” – Kent Brockman


Quote of the Day

Bart's Friend Falls in Love11

“Samantha, I’ve always been suspicious of transfer students.  Other principals try to unload problem cases that way.  Lord knows I do.” – Principal Skinner


“Zombie Simpsons” Update

Bart's Friend Falls in Love10

“To those who doubt the power of the magic 8-ball, I say: behold my F!” – Bart Simpson

You may have noticed that since last weekend the “Zombie Simpsons: How the Best Show Ever Became the Broadcasting Undead” pages have undergone some revisions.  The text of the book here at the site is now completely updated to the official 1.1 version of the text.  In addition to that, the main page has been revised to account for the fact that the book is now completely up at the site and not being parceled out chapter by chapter. 

The Kindle version has similarly been updated.  If you are one of the wonderful human beings who has already purchased it, you should be able to update to the 1.1 version by downloading the book again.  You already own the book, so you won’t be charged again, it’ll just replace the old version with the new one.  Amazon warned me it might take up to 48 hours for the update to fully propagate, but by this weekend it should be there.  If you experience any problems with this, please let me know. 

(For those of you waiting on the ePub and PDF versions, I must ask a little more patience.  It’s a bit of pain to update the text across different formats, so I’d like to give 1.1 a little time to see whether or not any other mistakes shake loose before I put it into two more formats.) 

Most of the revisions in version 1.1 are minor, correcting stray punctuation and the occasional overlooked error like referring to “A Streetcar Named Marge” as “A Streetcar Named Desire”.  However, there are now three additional footnotes, all of which are the direct result of feedback from you guys.  The smallest is a quick aside in Chapter 12, noting that Hank Azaria has not, in fact, been in every episode.  That was just a simple oversight on my part.  I knew that he hadn’t been, it just never occurred to me during all the times I looked at Chapter 12.  The other two are a bit more substantial, and I want to credit the three people who made them possible. 

The first comes at the beginning of Chapter 2, where I finally acknowledged the existence of Wait Till Your Father Gets Home, a syndicated Hanna-Barbera sitcom that ran in the early 1970s.  This one is wholly due to generalsherman67’s comment on the original book post.  There are quite a few episodes up on YouTube, and it’s about as forgettable as you’d expect.  It’s a standard mom-dad-kids setup, there’s lots of canned laughter, and the animation is much less detailed than The Flintstones or The Jetsons.  But it does exist, and now the book reflects that. 

The second is in Chapter 4.  On the original, Residents Fan mentioned that The Simpsons had been a big part of Sky One becoming a mainstream channel in the UK.  No sooner had I made a note to look into that than Wesley Mead came through with his remarkable guest post about the whole history.  Since that’s a vastly better job than I would have even considered doing, it’s now referenced directly in a footnote. 

My thanks to everyone who spotted something, and everyone who linked to the book.  We got a lot of traffic not only from blogs and the like, but just from people mentioning it on message boards and other places where people talk about pop culture.  Every link is appreciated. 

Finally, I can’t help but post this, which I grabbed a few days ago when I was first getting ready to write this post:

Screech and Cybill

Yup, that’s “Zombie Simpsons” wedged between the guy who played Screech and the woman whose formulaic show gave the world the “moment of shit”.  I’m not sure how to feel about that, but it’s too odd not to mention. 


Quote of the Day

Bart's Friend Falls in Love9

“Hello, I’m actor Troy McClure, you kids might remember me from such educational films as ‘Lead Paint: Delicious but Deadly’, and ‘Here Comes the Metric System’.  I’m here to provide the facts about sex in a frank and straightforward manner.  And now, here’s ‘Fuzzy Bunny’s Guide to You-Know-What’.” – Troy McClure

Happy 20th Anniversary to “Bart’s Friend Falls in Love”!  Original airdate 7 May 1992.


deadhomersociety (at) gmail

Subscribe to Our Newsletter

Twitter Updates

Useful Legal Tidbit

Even though it’s obvious to anyone with a functional frontal lobe and a shred of morality, we feel the need to include this disclaimer. This website (which openly advocates for the cancellation of a beloved television series) is in no way, shape or form affiliated with the FOX Network, the News Corporation, subsidiaries thereof, or any of Rupert Murdoch’s wives or children. “The Simpsons” is (unfortunately) the intellectual property of FOX. We and our crack team of one (1) lawyer believe that everything on this site falls under the definition of Fair Use and is protected by the First Amendment to the United States Constitution. No revenue is generated from this endeavor; we’re here because we love “The Simpsons”. And besides, you can’t like, own a potato, man, it’s one of Mother Earth’s creatures.


Get every new post delivered to your Inbox.

Join 462 other followers