The Cutprice Guignol

Sometimes, I have to take some time on this here blog to indulge myself after grinding myself over the Glee whetstone for hours on end entirely of my own volition. And what I would like to indulge myself in right now is talking about my favourite episode of The Simpsons.

I used to say I could never pick a favourite, but I’ve been re-watching the show lately (no, I will not disclose how many times through I have watched the first ten seasons) and one episode really stood out to me, one I’ve loved for a long time, but that I think might just have earned that coveted favourite title: Scenes from a Class Struggle in Springfield.

The fourteenth episode of the seventh season, Scenes is directed by Susie Dietter and written by Jennifer Crittenden – the first time in the show’s run till that point that an episode had both a female writer and director. And that makes sense, because this is a Marge-centric episode. As I’ve grown older, I’ve come to enjoy the Marge-focused stories much more, probably because she represents this part of adulthood that I think a lot of us hit at one point or another – searching for something new inside the bounds of what we’ve come to know life to be, even if the episodic set-up never really gives her a chance to escape.

Marge finds a Chanel suit for cheap, and wearing it, she winds up getting invited to join a prestigious country club as the other women assume her status based on her new outfit. It’s a simple set-up, but it’s one that taps into some of the really great stuff of the first ten years of The Simpsons; especially, the family’s status, and what it means for their lives in general. Marge wants more for her family, but she also wants more for herself, and this country club is exactly that – more, even if it comes at the cost of her family’s comfort, as Homer and the kids struggle to fit in. Even though she turns back to her family at the end, once again, she gives up on something she wants to do it.

I’m not saying The Simpsons is ever completely or even mostly focused on social issues, but I do like the earlier episodes where they take them on. You can understand why Marge wants more, surrounded by the kind of lifestyle she’s never had access to – seeing her in this beautiful Chanel suit in the Simpsons house is such a contrast, and I love how it seems to underline this new version of her. But, underneath it, there’s still the woman who wants to be a good wife or mother, even at the cost of her own joy. This scene is so perfectly put-together, a real credit to Deitter’s direction, as Marge, in her expensive replacement dress, turns away from the warm light of the country club and back to her family.

And it’s a really damn funny episode too, which isn’t saying much for the golden age of The Simpsons, but still. I really love seeing Lisa getting to act like an actual little girl this episode, and Homer’s golf subplot is an all-timer in goofy, unpredictable chaos. And, of course, this exquisite gag, which really captures the tone of the whole episode:

Not only have I quoted this – along with the six-second silence – more times than I would care to count in the face of mild inconvenience, but it’s that perfect blend of pathos and comedy that sums up why this episode is as good as it is. Marge’s attempt to find some good in the disappointment is exactly why I think so many people relate to her as they watch the show more. It’s as sad as it is funny, and a credit to the show’s deft ability to juggle tones, styles, and approach in theri storytelling.

I just love this episode so much, and I’d love to hear about some of your favourites and why they’ve earned that title – let me know in the comments below!

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(header image via The Simpsons Show)