In 2012, ‘The Simpsons’ was at its worst. Yeah, i know it seems like his worst moment is any since season 12, but the truth is that it has been a subtle comeback for a few years. It is normal that, as disgruntled exes, we do not want to give a second chance to the series that hurt us so much, but from season 33 we have seen a desire to improve.
However, in its twenty-fourth batch of episodes they could not raise their heads in any way and we all accepted that it was a zombie series: maybe that’s why they were all laudatory comments towards ‘Maggie’s Longest Day’.
simpson shot glass
Perhaps what was most talked about at the premiere of the fourth part of ‘Ice Age’ was the short film of ‘The Simpsons’ that was attached to him and that it showed an attempt at redemption by the series with a return to basics. Maggie, adventures, sight jokes. There was no need for surprise guests, ridiculous plots, forced references to current events or the return of classic characters. Sometimes all that was enough for us was a little fun.
And yet the series didn’t seem to learn anything from its second foray into film (being the first, of course, the most decent ‘The Simpsons: The Movie’). In 2020 they tried to repeat the play with ‘Playing with destiny’, which now it showed Maggie finding love for about five minutes both funny and uncomfortable to watch, but it was glued to ‘Onward’ which, if you remember, premiered just on the brink of the pandemic.
From then until today, chaos. Disney’s acquisition of 20th Century Fox It has been translated, from the point of view of the yellow family, into a lot of crossover shorts in which, for some reason, Disney+ continues to insist despite the fact that they only detract from the mother series, making it little less than that shirt your brother-in-law is wearing and in which Homer is dressed as Wolverine. ‘The Simpsons’, turned into a drawing by Qwertee or Pampling.
decline in springfield
From 2021 to today, Disney+ has released seven shorts from the Matt Groening series parodying without parodying (that is, with all the care in the world and without any bad milk) to ‘Star Wars’ or ‘Loki’, and joining them with Goofy, Úrsula, Billie Eilish, the Bocelli or Bad Bunny, among others. The prostitution of the brand taken to its maximum splendormuch as they have learned through these obviously contractual experiments that they would once scoff at to make exploitation somewhat less painful.
This is the case of Maggie’s latest short, premiered on Disney+ during the celebrations for Star Wars Day: ‘Almost Rogue One’. It’s by no means good, but it’s five minutes of shameless ‘The Mandalorian’ advertising that they try to go a little beyond the mere desperate crossover. Unlike most attempts in recent years, you can swallow it with a bit of sarcasm and imagining that this is not your favorite erstwhile series, but a substitute that tries but fails.
‘Almost Rogue One’ is an exercise in ruthless capitalism with some interesting visual gags (that childish control panel from Grogu) and a curious premise that immediately falls apart due to the need to include the rest of the inhabitants of Springfield. It does not reach the level of absurdity of ‘The good, the bad and Loki’, which in his eagerness not to lose the spark turned the whole town into Marvel characters (hitting very, very few jokes), but it is impossible to overlook here that there is no art, desire, hand, soul or heart.
Star Maggie
Disney has been trying to get the message stuck since minute one of the launch of its streaming all your franchises are together in the same place, and these shorts respond to the constant hammering of your sales message. However, the public does not generally see them as a new short of their favorite series, but as an advertisement that we have paid to see. Sort of funny, but announcement nonetheless.
Noticing how you notice that in its execution there is more desire for a management team than for a creative onethere are some moments that stand out on their own, such as the static drawings of the final credits, created, it seems, in moments of boredom and despair trying to square the crude humor of ‘The Simpsons’ with the very white jokes of which it must show off when mixing the rest of the Disney franchises.
It is sad to see the court jester licking his master’s feet, but at least while he’s at it, after a few embarrassing attempts, he’s learned to do a couple of capers to keep us entertained. It’s shameless advertising. a futile attempt to unite two series with no common link Through the most basic synergy possible and that comes just at the moment of comeback of the series, yes. But at the same time, he’s still kind of an extra, like when Bart was promoting Butterfinger. Only that was funny.
In Espinof | Multiply by zero, millennial: I think ‘The Simpsons’ is a thing of old