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David Poland

By David Poland poland@moviecitynews.com

Simpsons/Banksy

I apologize to those outside of the US who are not able to watch Hulu. This is the only place that Fox hasn’t kept from running the opening that Banksy did for The Simpsons.

And I encourage you all to click on and read The Exit Through The Gift Shop Diaries for more on Banksy…

I grabbed these three images for those of you who can’t see the whole thing…

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8 Responses to “Simpsons/Banksy”

  1. anghus says:

    awesome.

    oh, and don’t apologize to those who don’t live in the u.s. it’s not your fault they live in inferior, hulu-free nations.

  2. Jeffrey Boam's Doctor says:

    DP that link is everywhere if you want to google it. Its a great opening but not so different from some the regular team have created. The Korean sweatshop animation gags and self-aware stuff have been done before. The only real difference is the grim tone and pacing. I wonder what compromises were made if any. Perhaps a more scathing one would have been to show the decline in humour in the last two seasons apart from a few tiny highlights.

  3. MeekayD says:

    People have been claiming a decline in the show for about 14 seasons now. I challenge anyone who watches the “Flight of the Conchords”-featured 23rd season premiere to not enjoy themselves.

  4. anghus says:

    tis true.

    the whole ‘animators as slaves’ things was done on Clerks: The Animated Series. Complete with a diabolical mouse whipping the animators.

    original: no. entertaining: yes.

  5. The Simpsons peak years were seasons 4-9. Seasons 10-15 were iffier in comparison, but each ‘subpar season’ had a few classic episodes mixed in. Season 16 (2004/2005) was a return to form, perhaps a response to Family Guy’s return upping the ante. It’s been rock-solid ever since, and the two episodes I’ve seen this season (haven’t watched Sunday’s yet) were topflight stuff: funny, insightful, brutally honest and touching. Yeah sure, The Simpsons aren’t at their mid-90s peak, and it might not be all that relevant anymore, but it remains high-quality entertainment that works on all or most levels in most any given episode. I can’t imagine not having a new Simpsons episode to look forward to each and every week (of course, I used to say that about Law and Order… and no, L&O: LA is NOT Law & Order).

  6. cadavra says:

    Scott, have you checked out L&O:UK on BBC America? Not bad at all.

  7. Damian says:

    you have a terrific blog right here!

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

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My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
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“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon