Homer’s Phobia is the fifteenth episode in the eighth season of the American animated television series The Simpsons. It first aired on the Fox network in the United States on February 16, 1997. In the episode, Homer dissociates himself from new family friend John after discovering that he is gay. Homer fears that John will have a negative influence on his son Bart and decides to ensure Bart’s heterosexuality by taking him hunting.
It was the first episode written by Ron Hauge and was directed by Mike B. Anderson. George Meyer pitched “Bart the homo” as an initial idea for an episode while show runners Bill Oakley and Josh Weinstein were planning an episode involving Lisa “discovering the joys of campy things”. Oakley and Weinstein combined the two ideas and they eventually became “Homer’s Phobia”. Fox censors originally found the episode unsuitable for broadcast because of its controversial subject matter, but this decision was reversed after a turnover in the Fox staff. Filmmaker John Waters guest-starred, providing the voice of the new character, John.
Homer’s Phobia was the show’s first episode to revolve entirely around gay themes and received a positive critical response both for its humor and anti-homophobia message. It won four awards, including an Emmy Award for Outstanding Animated Program (For Programming One Hour or Less) and a GLAAD Media Award for “Outstanding TV – Individual Episode” in 1998.
Bean (Princess Tiabeanie Mariabeanie de la Rochambeau Grunkwitz) must step up her princess game amid royal plots, deepening mysteries, King Zøg’s increasing instability, and concerns about who will rule Dreamland.
Bean must step up her princess game amid royal plots, deepening mysteries, King Zøg’s increasing instability and concerns about who will rule Dreamland. Set in the medieval fantasy kingdom of Dreamland, the series follows the story of Bean, a rebellious and alcoholic princess, her naive elf companion Elfo, and her destructive “personal demon” Luci. Disenchantment stars the voices of Abbi Jacobson, Eric Andre, Nat Faxon, John DiMaggio, Tress MacNeille, Matt Berry, David Herman, Maurice LaMarche, Lucy Montgomery, and Billy West.
Treehouse of Horror is a series of Halloween-themed episodes of the Adult animated series The Simpsons, each consisting of three separate, self-contained segments. These segments usually involve the Simpson family in some horror, science fiction, or supernatural setting. They take place outside the show’s normal continuity and completely abandon any pretense of being realistic, being known for their far more violent and much darker nature than an average Simpsons episode. The first, entitled Treehouse of Horror, aired on October 25, 1990, as part of the second season and was inspired by EC Comics horror tales. Since then, there have been 30 other Treehouse of Horror episodes, with one airing every year. Episodes contain parodies of horror, science fiction, and fantasy films, as well as the alien characters Kang and Kodos, a special version of the opening sequence, and scary names in the credits.
Treehouse of Horror: The Raven
Matt Groening (2020)
Take a look, if you dare, at the episode that started it all: the original showcase of Hallowe’en goodies that have come to be know as The Treehouse of Horror, found in the Simpsons archives, season 2 episode 3. Following, I have included Edgar Allan Poe’s The Raven for reference to The Simpsons unique take on the classic poem.
Edgar Allan Poe (1845)
Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore— While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. “’Tis some visitor,” I muttered, “tapping at my chamber door— Only this and nothing more.”
Ah, distinctly I remember it was in the bleak December; And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow;—vainly I had sought to borrow From my books surcease of sorrow—sorrow for the lost Lenore— For the rare and radiant maiden whom the angels name Lenore— Nameless here for evermore.
And the silken, sad, uncertain rustling of each purple curtain Thrilled me—filled me with fantastic terrors never felt before; So that now, to still the beating of my heart, I stood repeating “’Tis some visitor entreating entrance at my chamber door— Some late visitor entreating entrance at my chamber door;— This it is and nothing more.”
Presently my soul grew stronger; hesitating then no longer, “Sir,” said I, “or Madam, truly your forgiveness I implore; But the fact is I was napping, and so gently you came rapping, And so faintly you came tapping, tapping at my chamber door, That I scarce was sure I heard you”—here I opened wide the door;— Darkness there and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before; But the silence was unbroken, and the stillness gave no token, And the only word there spoken was the whispered word, “Lenore?” This I whispered, and an echo murmured back the word, “Lenore!”— Merely this and nothing more.
Back into the chamber turning, all my soul within me burning, Soon again I heard a tapping somewhat louder than before. “Surely,” said I, “surely that is something at my window lattice; Let me see, then, what thereat is, and this mystery explore— Let my heart be still a moment and this mystery explore;— ’Tis the wind and nothing more!”
Open here I flung the shutter, when, with many a flirt and flutter, In there stepped a stately Raven of the saintly days of yore; Not the least obeisance made he; not a minute stopped or stayed he; But, with mien of lord or lady, perched above my chamber door— Perched upon a bust of Pallas just above my chamber door— Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance it wore, “Though thy crest be shorn and shaven, thou,” I said, “art sure no craven, Ghastly grim and ancient Raven wandering from the Nightly shore— Tell me what thy lordly name is on the Night’s Plutonian shore!” Quoth the Raven “Nevermore.”
Much I marvelled this ungainly fowl to hear discourse so plainly, Though its answer little meaning—little relevancy bore; For we cannot help agreeing that no living human being Ever yet was blessed with seeing bird above his chamber door— Bird or beast upon the sculptured bust above his chamber door, With such name as “Nevermore.”
But the Raven, sitting lonely on the placid bust, spoke only That one word, as if his soul in that one word he did outpour. Nothing farther then he uttered—not a feather then he fluttered— Till I scarcely more than muttered “Other friends have flown before— On the morrow he will leave me, as my Hopes have flown before.” Then the bird said “Nevermore.”
Startled at the stillness broken by reply so aptly spoken, “Doubtless,” said I, “what it utters is its only stock and store Caught from some unhappy master whom unmerciful Disaster Followed fast and followed faster till his songs one burden bore— Till the dirges of his Hope that melancholy burden bore Of ‘Never—nevermore’.”
But the Raven still beguiling all my fancy into smiling, Straight I wheeled a cushioned seat in front of bird, and bust and door; Then, upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking what this ominous bird of yore— What this grim, ungainly, ghastly, gaunt, and ominous bird of yore Meant in croaking “Nevermore.”
This I sat engaged in guessing, but no syllable expressing To the fowl whose fiery eyes now burned into my bosom’s core; This and more I sat divining, with my head at ease reclining On the cushion’s velvet lining that the lamp-light gloated o’er, But whose velvet-violet lining with the lamp-light gloating o’er, She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer Swung by Seraphim whose foot-falls tinkled on the tufted floor. “Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee Respite—respite and nepenthe from thy memories of Lenore; Quaff, oh quaff this kind nepenthe and forget this lost Lenore!” Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!— Whether Tempter sent, or whether tempest tossed thee here ashore, Desolate yet all undaunted, on this desert land enchanted— On this home by Horror haunted—tell me truly, I implore— Is there—is there balm in Gilead?—tell me—tell me, I implore!” Quoth the Raven “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if bird or devil! By that Heaven that bends above us—by that God we both adore— Tell this soul with sorrow laden if, within the distant Aidenn, It shall clasp a sainted maiden whom the angels name Lenore— Clasp a rare and radiant maiden whom the angels name Lenore.” Quoth the Raven “Nevermore.”
“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting— “Get thee back into the tempest and the Night’s Plutonian shore! Leave no black plume as a token of that lie thy soul hath spoken! Leave my loneliness unbroken!—quit the bust above my door! Take thy beak from out my heart, and take thy form from off my door!” Quoth the Raven “Nevermore.”
And the Raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door; And his eyes have all the seeming of a demon’s that is dreaming, And the lamp-light o’er him streaming throws his shadow on the floor; And my soul from out that shadow that lies floating on the floor Shall be lifted—nevermore!
Maggie Simpson in “The Longest Daycare” is a 2012 American traditionally animated 3D comedy short film based on the animated television series The Simpsons. In the film, Maggie Simpson is enrolled at a new daycare facility where she squares off with the foul-tempered Baby Gerald when she befriends a caterpillar. The short originated with Simpsons producer James L. Brooks, who enlisted long-time veteran of the series David Silverman to direct the film. The picture was written by producers Brooks, Al Jean, David Mirkin, writers Michael Price and Joel H. Cohen, as well as show creator Matt Groening.
The film premiered on July 13, 2012, where it was attached to screenings of the 20th Century Fox release Ice Age: Continental Drift. The film is the second Simpsons theatrical release. The short was re-released on February 15, 2013 and played before the film Life of Pi in selected theaters in USA. Reception has been positive, praising the storytelling and animation. The film was nominated for an Academy Award for Best Animated Short Film in 2013, losing to Paperman.