Like when King Toot's Music Store shows up across the street from Moe's tavern for a single episode to facilitate a story line about Lisa getting a new saxophone. Without the noir-ish shadows and building orchestral music, we wouldn't be nearly as entertained when Burns says, "I'll kill you, you bloated museum of treachery!"īut again, those shadows were there for a reason, justified by the "flexible reality" of the "Simpsons" physical universe that Groening enjoys talking about. Burns are trapped in a cabin by an avalanche, dreaming up paranoid fantasies. Shadows actually show up on the TV show quite a bit, when they're needed to establish a particular mood - like when Homer and Mr. The inability to age.Īnd nothing - absolutely nothing - casts a shadow. Part of the brilliance of "The Simpsons" - which Time magazine, quite correctly, dubbed the best TV show of the 20th century - lies in Matt Groening & Co.'s creation of an elaborate consistent universe that resembles, but does not quite replicate, our own.īlue hair. The way, early and late in the day, they help me imagine what it would be like to be taller.Īnd yes, on occasion, the way they enhance animated programming.īut the good people of Springfield didn't need shadows tailing them any more than they needed a fifth finger. The way they slice through the summer heat. The way they announce the passage of a flock of pigeons overhead. There's no escaping it: "The Simpsons Movie" has shadows, and I find it very unsettling.ĭon't get me wrong - I love shadows. Have the townspeople of Springfield been plucked from their home planet - their universe, even - and deposited in some mysterious new place, where physical objects disrupt the path of projected light?
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