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The Simpsons: Season 10, Episode 19: Mom and Pop Art

Looking Through the D’oh-Nut Hole

What is television? Or, more to the point; what place does television hold in relation to art? Is television an art in itself or simply a medium for the dissemination of art? TV is a controversial thing, in every way of which it can be regarded. Formulating commentary about television that accurately describes what meaning it holds as an artifact in current American culture is, as design critic Stephen Bayley put it when attempting to write on the subject of taste, “not so much difficult as impossible.”

Television does have something in common with art that cannot escape even the most casual observational comparison between the two. They both take up space. A painting, sculpture or television set are all meant to not only take up a measurable three-dimensional space, but also to serve as one of a room’s intended focal points. Especially now that television’s mimic the form of traditional art pieces, as the newly available flat-screens are meant to be hung on walls just like their once removed, antediluvian cousin paintings. Televisions like paintings serve a similar, utilitarian function in their service as an entertainment medium. They are both meant to be looked at.

But, does television fulfill a calling similar or identical to that of art? A television program that has helped to document and define culture much like great artworks of the past is The Simpsons. Throughout history artists have interpreted and depicted the Venus, the Virgin and the Holy Whore in a manner comparable to the way preachers and other representatives of Christian religion have interpreted the Bible. Similarly, The Simpsons has assisted culture in defining for all who have been exposed to it one very specific and important element of it; the provenance and function of women. Other animated shows like South Park, King of the Hill and Family Guy also seem to reflect upon the meaning of femininity. However, since The Simpsons was the forefather of this genre of TV show, and all the other shows mentioned can be viewed as its descendants in both form and function, this essay will concentrate on the feminine within the confines of Springfield.

From an observation of The Simpsons many things about culture as it exists currently in America can be inferred. Premier among them, and for the purpose of this essay, is that women are different from men. Perhaps this is a simplistic observation, but one that is surely accurate.

All of the male characters on the Simpsons, and on other animated shows that have taken inspiration from it, have one thing in common in that they can be viewed as lovable creatures that inspire the audience’s sympathy and sense of fairness. The female characters also contain a common strain. Almost all of them are unequivocally and without exception meant to be abhorred, only each in varying degrees. While the male characters are portrayed as flawed any imperfection seems to exist largely for comic effect or to personify through absurd exaggeration the harsh realities of life. The female characters seem to exist to present an almost always unflattering side of the feminine role in society and the toll it takes of the efficacy of masculinity. Every conception of all of the male characters on the show conjures sentiments that simultaneously connote both the good and the evil contained in the personage of mankind. Virtues such as loyalty, love, friendship, dedication, courage and kindness can be associated even with the most imperfect male Simpsons character; forever bumbling, blundering patriarch and walking, talking blooper, Homer Simpson. Simultaneously, a viewer would be hard pressed to associate virtue or any higher traits with most of the show’s female characters. It seems that every regularly featured female can be accurately described as a vile, poisonous witch very few if any redeeming qualities whatsoever. Even the most morally correct woman on the show Marge Simpson is not without her ugly moments. Left to her own devices, Marge’s concerned worry wart mommy image crumbles, giving way to unspeakable acts of cruelty and vice. In instances when she is unencumbered from the duties necessary to being an efficient, mindful housewife and mother Marge unveils a dark side that includes a gambling addiction and a moralizing holier-than-thou streak that presents itself in a reactionary guise, leading her to play the unwelcomed role of censor in many episodes of the show, sometimes simply as a result of the condition of her presence.

Portrayed as Homer’s “long suffering wife”, her virtues are amplified possibly because of the simple reason that she is the matriarch of the Simpson family, with which the audience is presumably meant to identify. While the writers of the show try to disguise Marge’s faults in an ordinary episode, one of her less than commendable traits almost never concealed is her lack of backbone. Frequently highlighting her dissatisfaction in her relationship with her husband, Marge is shown continually trying to ignore the embarrassment caused by Homer’s antics, which has become a normal part of her life. In short, Marge’s mission is, or has become trying to polish the turd that is Homer.

While Marge’s moral qualities are among the most favorable and admirable examples of such on The Simpsons, her female friends and neighbors are portrayed in a largely unfavorable light. Many if not all of the women in Springfield who show signs of self-assertiveness are almost without fail also shown as opportunistic, gossiping, morally bankrupt, back-stabbing harpies.

The only exception to this ugliness is in the guise of Maude Flanders, Ned Flanders’ “long suffering wife”. Maude is the only other female character who can be viewed as a non-shrew, mainly because the audience does not know very much about her. It looks as if she might simply serve as a carbon copy of Marge. From the given information it is apparent that Maude is the quiet, docile spouse of Homer Simpson’s friendly neighbor and arch-nemesis, bible-beating, church-going Ned, who also provides by way of antitheses a juxtaposition to Homer’s moral values and system of logic. While Marge carries the burden of Homer’s lack of impulse control, Maude as Ned’s wife is meant to tolerate her husband’s hyper-moralistic views and the effect that Ned’s Christian asceticism has on the Flanders family’s life, exemplified on one of the show’s episodes by Ned’s late-night phone calls to Reverend Lovejoy, expressing his worry that he might be coveting his own wife. Marge and Maude are very similar characters in that both wives must bear the brunt of their husband’s selfish and insecure behavior.

Another thing that the audience knows about Maude Flanders is that the writers of the show saw fit to kill off her character, the implications of that decision being open to many interpretations. Once Maude is gone, Marge remains as the only woman who endures as the show’s weak bastion of moral fortitude and tolerance.

Which leads back to the original question: Is The Simpsons show misogynistic in nature, or is it at least a viable assumption to make when confronted with a portrayal of femininity on the show that is observably skewed in a negative direction? Additionally, is finding an answer to that question important? Does it make a difference either way?

Negative portrayals of women can be seen as illustrative of the general, maybe unconscious bias of the show’s creators and a simple reflection of the viewing audience’s opinions. In this case art might not be imitating life, but fulfilling a collective need for introspection.

Calling The Simpsons a misogynistic show, even with the use of a superbly constructed argument, would probably be inaccurate. Focusing more on the audience and trying to understand the welcoming popular reception of the show, if it is taken as a complex caricature of not only a collectively negative view of women but also of modern culture as a whole, might be a more productive, fruit bearing exercise. Endeavoring to answer any questions about misogyny in connection with representations of it in art and pop culture cannot be done without incurring a debt on any preexisting bias.

Ultimately The Simpsons can be viewed as a work of art, comparable in its form to Andy Warhol’s rendering of Marilyn Monroe, or his now cliché soup cans. Art takes up space and is meant for viewing. As paintings, mirrors also hang on walls and serve as conversation pieces. Like television, so too do mirrors, framed and displayed for the purpose of decoration and optical illusion, amplifying the size of the space they occupy, have something in common with TV sets. They are meant not only to be looked at but also into. The inevitable conclusion of this line of reasoning should already be apparent. Works of art serve the purpose of mirrors, where the looker engages in a probing narcissistic introspection of the reflected figure and the purpose of that figure’s existence. Television and particularly well made shows like The Simpsons are a reflection of the society they represent and entertain. It has become an American obsession, since the creation of TV culture, to engage in narcissistic introspection via the sublimation to television, similarly to the way Homer Simpson’s doughnuts, among many of his others obsessive vices, provide him with a nihilistic escape from the reality of reality, Homer’s love of this uniquely American breakfast pastry can be likened to the average American’s love of any object or practice that pacifies insecurities. Like baby Maggie Simpson’s trademark pacifier, used by her as a substitute for speech, the obsession over things that quell insecurities become a means of communication for those who employ them. If The Simpsons can somehow be viewed as a misogynist show that exaggerates the unflattering side of the weaker sex, it shouldn’t come as a surprise. The pondering self-revelry provided by artworks, television or other forms of expression through creativity intended for mass viewing in many cases unintentionally serve to quietly expose the shortcoming and insecurities of both audiences and the artists or entities that create them.

The Twilight Zone: The Night of the Meek
Season 2, Episode 11

Original Air Date: December 23, 1960
Starring: Art Carney

Currently re-decorating my blog. Will be up and running as usual again by Saturday. Thanks for being patient.

Russell Brand: On the Road Part I





Russell Brand: On the Road Part II




Russell Brand: On the Road Part III




Russell Brand: On the Road Part IV




Russell Brand: On the Road Part V




Russell Brand: On the Road Part VI




Russell Brand: On the Road Part VII

Global Gifts for UNICEF in San Pedro, California

The parts of this planet that are inhabited by art galleries and museums can appear to exist for the purpose of propagating a cult of shallowness and the vapid elevation of self serving vanity in the costume of artistic introspection. So, it’s nice to find a place where art is used for the purpose of good instead of evil. Global Gifts for UNICEF in San Pedro, California is just such a place. Equal parts curio shop, art museum and folk art exhibit with the added benefit of a social studies lesson, the UNICEF shop is a testament to the rare instances of human kindness that endeavor to make the world a better place.

Showcasing the multicultural diversity that is unique to a place like Los Angeles, the items available in the shop are just as beautiful and well made as those found in any gallery, museum gift shop or chic bric-a-brac boutique. The shop carries items such as hand-made furniture, African masks, Indian soapstone boxes, toy cars and airplanes made by Vietnamese children from cut up Coca Cola cans and a large collection of greeting cards perfect for any occasion.

Prices in the shop fit the capabilities of pockets of all depths and the volunteer sales staff, comprised mostly of adorable little old ladies, creates an unpretentious, caring atmosphere that makes visitors feel warmly welcome with the knowledge that this store truly is a labor of love. All the fun of a spectacular rummage sale plus all the beauty of a fine art gallery makes this shop one of the rare gems that gives residents of Los Angeles a reason to be proud.

Located at 531 W. 7th Street, San Pedro, California 90731, Global Gifts for UNICEF is open Tuesday through Saturday, 10am to 5pm. For more information about the store please call (310)548-1762.

Mario Mirkovich
Smoke Tree
Oil on Canvas
24" x 20"
2009

Artist's Website: http://www.mariomirkovichfineart.com

"The Alfred Hitchcock Hour"
Season 2, Episode 32, Runtime: 50:13
Body in the Barn (1964)
Featuring: Lillian Gish as Bessie Carnby
Directed by: Joseph M. Newman