GROEN DRAIN

An image of Milhouse surrounded by unused child designs.

Back in 2011, during a Twitter discussion about whether Milhouse’s design was inspired by Wonder Years actor Josh Saviano, Simpsons superdirector David Silverman dismissed that theory, mentioning Milhouse had originated from an unproduced Saturday morning cartoon Matt Groening had pitched to a network in the 80s, and his design was recycled for a Butterfinger commercial. I wrote about it at the time.

Silverman mentioned that cartoon again recently (the Wonder Years thing just won’t die!), and this time some more details have emerged.
Continue Reading →

BONGO BEAT

Bongo Comics Group

In a highly unexpected move, The Simpsons is ending… its business relationship with comiXology.

Bongo Comics Group, the publisher of Simpsons Comics, quietly took all their stuff off comiXology, the leading digital comics retailer owned by Amazon. Nobody seems to know what led to this decision, and both sides are remaining tight-lipped about it. Here’s what they told Tom Spurgeon of The Comics Reporter:

Chip Mosher of comiXology told CR, simply, “Bongo is no longer available on comiXology.” Susan Grode a partner at Katten Muchin Rosenman LLP, speaking on behalf of Bongo, said, “Thank you for your email. My client has no response regarding Comixology. Bongo has created the Simpsons Store app for its comics and trade books on iTunes, to be released shortly.”

It’s hard to say what’s a stupider name, comiXology or Simpsons Store.

Spurgeon says he was also told users who previously bought Bongo comics on comiXology will still be able to read their books, because that’s apparently a thing you have to worry about in the digital marketplace.

Bongo making their own app is a bold move for a company that didn’t even have a website until 2010. Grode’s terse statement does raise some concerns, though: she only mentions iTunes, with no mention of whether Simpsons Store will be available on Android, Windows Phone, or the web, like comiXology is. Also, calling it Simpsons Store (ok, maybe it’s a placeholder name?) leaves the digital fates of Bongo’s non-Simpsons output, like Futurama Comics and SpongeBob Comics, unclear. Because, come on, buying a SpongeBob comic from a Simpsons app would just be madness.

Ideally, the service would be under the Bongo name, and I’d love to see them digitally re-release stuff from their defunct Zongo Comics imprint, the underappreciated Heroes Anonymous, and maybe some uncollected Life in Hell stuff.

[The Comics Reporter]

RIP

Simpsons executive producer and animal rights activist Sam Simon died Monday at the age of 59 after a two-year battle with cancer.

Simon grew up in Beverly Hills and attended Stanford University, where he drew cartoons for the college newspaper as well as the San Francisco Examiner. He was later hired at Filmation Studios, where he worked on cartoons like Fat Albert and the Cosby Kids (recently, he alleged Bill Cosby “had two of the writers write his phd thesis.”). After submitting a Taxi spec script, he was promptly hired as a writer by executive producer James L. Brooks, and soon became showrunner. He later wrote and produced for Cheers, It’s Garry Shandling’s Show, and The Tracey Ullman Show.

Simon was hired by Brooks to help develop The Simpsons as it transitioned from a series of one-minute shorts to a half-hour series (Simon’s then-wife, Jennifer Tilly, had tried to talk him out of it.). As Brooks had his hands full with being a mega-producer and creator Matt Groening had limited television experience, it appears most of the day-to-day responsibilities fell upon Simon, who became the show’s first showrunner and head writer. In this role, Simon was a major architect of the show’s template and tone, even designing some of the secondary characters. He put together the legendary writing staff of the first few seasons; the show’s two most essential writers, George Meyer and John Swartzwelder, were allegedly plucked from Meyer’s underground comedy magazine Army Man, which was making the rounds in comedy circles (other Army Men contributors, including Ian Maxtone-Graham, Tom Gammill and Max Pross, would join the show in later years). In some respects, the hugely influential writer’s room Simon assembled became what Mad Magazine‘s “Usual Gang of Idiots” had been to an earlier generation.

During the show’s development, Simon and Groening had gotten along just fine; they had even collaborated on one of Groening’s Life in Hell comics. Tension soon mounted after the show premiered and became a smash hit out of the gate. Groening had become the public “face” of the show, and seen as the sole auteur by the media and general public. Simon felt he wasn’t being given enough credit (in a 1991 interview, writer Jon Vitti theorized it was “because there’s no book of Sam Simon cartoons you can read”) and wasn’t being paid enough, particularly when merchandising took off and made Groening an instant millionaire.

As early as February 1990, reports of a feud between Groening and Simon had become public. In a Los Angeles Times article about the show, Howard Rosenberg noted, “One senses from talking separately to Simon and Groening in their Fox offices that the two are as incompatible and out of tune with each other as the Simpsons.” Simon condescendingly characterized Groening’s role as the show’s “ambassador.” The friction between them grew incredibly petty, some of which was detailed in John Ortved’s 2009 oral history of the show, The Simpsons: An Uncensored, Unauthorized History. Brian Roberts, a former editor on the show, recounted one instance:

When we’d do a screening, it was Matt, Sam, and I. And they were like two five-year olds not speaking. We’d be watching an episode and Sam would say, “Do this.” And Matt would say,
“Will you tell Sam Simon I think that’s the stupidest idea I’ve ever heard.” Sam would say, “Would you tell Matt Groening that he doesn’t know his ass from third grade.” We were all sitting shoulder to shoulder! It was extremely uncomfortable for me.

Allegedly, the Season 3 episode “Flaming Moe’s,” in which Moe takes all the credit for a flaming cocktail invented by Homer, was inspired by the acrimony between Groening and Simon.

One of their major disagreements was over the content and vision of the show. Generally, Simon wanted the show to be grounded and free from sitcom cliches. As Vitti said, “Thanks to Sam, Bart will never be hypnotized, there will never be a show with Bart lying in a hospital bed with cut-in clips from old shows, and nobody will ever get amnesia and have to be reminded of what happened by cutting different episodes together!” (Yes, these all happened later in some form or another.) Matt Groening, on the other hand, had some rather oddball ideas in the initial years. As Simon told Rosenberg:

“What really elevated ‘The Simpsons’ is that a lot of really talented people have come in from the Tracey show. Matt’s (creative) voice is certainly in ‘The Simpsons,’ but initially he was talking about a show where there’d be Martians and a lot of fantasy,” said Simon, grimacing. “I’m glad we rejected that.”

One of Groening’s ideas was that Marge Simpson was secretly a rabbit from Life in Hell, who was hiding her large rabbit ears in her hair. Simon firmly rejected the idea, but it appears Groening snuck the idea into The Simpsons Arcade Game without his awareness.

According to Ortved, Simon became increasingly difficult to work with, and his relationship with Brooks and his studio, Gracie Films, began to disintegrate. Eventually Simon reached a deal to leave The Simpsons, but keep his producer credit and all the money that came with it (an estimated $20-30 million a year). Since then, he made just a handful of contributions to the show: a self-portrait as an elderly recluse with really long fingernails in “The Simpsons 138th Episode Spectacular,” and changing his “spooky name” in recent Halloween episodes to “Simonsam@twitTERROR,” replacing the usual “Sam ‘Sayonara’ Simon.”

Nevertheless, the bitterness between Groening and Simon lingered for years afterward. In a November 2001 article in the New York Times Magazine, Groening called Simon “brilliantly funny and one of the smartest writers I’ve ever worked with, although unpleasant and mentally unbalanced.” Simon was more charitable: “When I see Matt now, I shake hands and say hello. I can’t lie and say that Matt did what he didn’t do, but I do appreciate him creating that family. Thanks to Bart Simpson I have a pretty good life.”

After his departure from The Simpsons, Simon worked on The Drew Carey Show and created a short-lived sitcom starring George Carlin. It appears Simon hadn’t become any easier to work with: “Lesson learned: always check mental health of creative partner beforehand,” wrote Carlin on his website. “We all knew Sam was crazy,” cast member Phil LaMarr confessed to the A.V. Club. “I would say that any show I’ve ever worked on, it turns me into a monster. I go crazy. I hate myself,” Simon explained in a 2007 60 Minutes profile.

Simon had a number of interesting hobbies. He participated in a number of poker tournaments, and for a time had a poker show on Playboy TV called “Sam’s Game.” He also coached champion boxer Lamon Brewster, and was named World Boxing Organization’s Manager of the Year in 2004.

Using the fortune he was earning from The Simpsons, Simon became a philanthropist. In 2002, he founded the Sam Simon Foundation, which rescues dogs and trains them to assist veterans and the disabled, provides spay and neuter services in the Los Angeles area, and provides vegan food for the poor. In 2012, he donated a $2 million ship to the Sea Shepherd Conservation Society, for their efforts against Japanese whalers. It was christened the SSS Sam Simon. He also donated to PETA (one of their headquarters buildings bears his name) and Save the Children. According to Inside Philanthropy, Simon wasn’t sure how much he had given away to charity.

In March 2013, Simon announced he had been diagnosed with terminal cancer and had been given only months to live. For the next two years, Simon provided his Twitter followers with a candid look at his chemotherapy and treatment with good humor, posting pictures of his nurses, the seemingly endless medical procedures he undertook, and the marijuana and paraphernalia friends had given him.

On January 22, he tweeted: “Btw, even if I die tomorrow, Which i wont, i have beaten cancer. The past two years have been the happiest of my life.”

ANNOYED GRUNTS

mad marge

As the 12-day FXX marathon enters into The Modern Age and all the goodwill turns into apathy and anger, let’s take a brief look at people and entities who are mad at The Simpsons this week.

The Parents Television Council recently sent Matt Groening an open letter shaming him for the rape joke(s…?) in the upcoming Family Guy/Simpsons crossover, which the Simpsons team apparently had little say over. President Tim Winter claims he’s been a fan of Groening’s work “as far back as the mid-1980s when [Life in Hell] appeared in the LA Weekly.” Yes, I can totally picture the head of the PTC picking up an alt-weekly and laughing at the antics of the frequently-nude gay twins Akbar & Jeff next to ads for escort services. [Parents Television Council]

Tapped Out players are getting fed up with the game and EA’s slowness in addressing the problems. “Gil cannot save Tapped Out,” a blogger dramatically proclaims. It’s always Gil’s fault, isn’t it? [TSTO game via Dead Homer Society]

Hologram USA claims the Homer hologram shown at Comic-Con violated their patent on a variation of the stage trick “Pepper’s Ghost,” which is also the title of my Blue’s Clues creepypasta. [The Hollywood Reporter]

Simpsons purists are annoyed because the “Every Simpsons Ever” marathon is being broadcast in a widescreen 16:9 aspect ratio, cropping out some funny visual gags and crucial murder mystery clues. Boy, sounds like FXX is really FXXing things up. Eh? Eh? No? Sorry. [The Verge]

EXCLUSIVE, GROEN DRAIN

Matt GroeningSimpsons creator Matt Groening added yet another company to his only robust portfolio last year, a mysterious entity known as “Bapper Entertainment.” Bleeding Cool suspects he’s “getting ready to reveal” whatever this new thing is. I wouldn’t count on it, though, because making new companies seems to be something of a hobby for him. Let’s take a look at some of the other companies he’s had over the years, shall we?

Continue Reading →

GROEN DRAIN

Matt Groening gave a brief interview with Rolling Stone about ending his long-running comic strip Life in Hell that’s worth reading. He reveals that it was only running in 38 papers, compared to its zenith of 250 or so, which is pretty sad. I did make an effort to check it out every week in the LA Weekly, but when they dropped it there were no other LA-based papers to pick up the slack (at least, as far as I could find) so I haven’t been able to read it on a regular basis for years. I did find out fairly late it was running in The Oregonian, though.

Some choice quotes:

Why pull the plug on Life in Hell now? Did you simply run out of jokes?

It’s pretty obvious that I ran out of jokes a couple of decades ago – but that doesn’t stop any cartoonist!

[A] TV producer sneered at the strip and said, “Why do you bother? Give it up.” Because of that, I dug in my heels and kept it going two decades longer than I might have. I also liked the idea of having one slice of my creative output being completely solo, unlike TV animation. It’s very satisfying to sit down at a drawing table by yourself and solve a puzzle with a deadline.

[Rolling Stone via The Comics Journal]

EXCLUSIVE

Bart and MilhouseBeloved cartoon character Milhouse Van Houten might have began life as part of an unsuccessful pitch for a Saturday morning cartoon.

In a discussion on Twitter last week, Simpsons superdirector David Silverman clarified some things about Milhouse’s origins, shooting down rumors he’s just a rip-off of Paul Pfeiffer from The Wonder Years (come on dudes, he’s pretty much just Akbar/Jeff with hair and glasses). He also shared a little more behind-the-scenes information about his first appearance. It’s been known that Milhouse first appeared in a pre-series Simpsons Butterfinger commercial – in 2000, Simpsons creator Matt Groening told TV Guide he “needed to give Bart someone to talk to in the school cafeteria” – but until now it was believed he was created specifically for that commercial.

Continue Reading →

EXCLUSIVE, NOISELAND ARCADE, WHAA...?!

marge surprisedMatt Groening came up with the idea for The Simpsons, but that doesn’t mean all his ideas are winners. Like, for instance, Marge Simpson being an anthropomorphic rabbit disguised as a human.

*record scratch* Say wha–?!? Here’s Daria Paris, who was the assistant to former executive producer Sam Simon, as quoted in John Ortved’s The Simpsons: An Uncensored, Unauthorized History:

There were times in the room when Matt would come up with the stupidest ideas. And he had this one: we were going to do an episode where Marge finally lets her hair down, and Matt’s idea was that once she let it down the audience finds out she has rabbit ears, which was ridiculous. And Sam said no.

And here’s what Groening had to say about it on the audio commentary for Selma’s Choice, when writer David M. Stern brings it up and puts him on the spot:

That was the original – back in the – my plan, back in the very beginning, that she was actually a Life in Hell rabbit from my comic strip… but then it just seemed like a… I just said “oh, forget it, there’s no ears under there.”

“Ridiculous” is putting it lightly. Here’s how I’d like to imagine that transpired: the writers and producers are seated around a giant table in a Dr. Strangelove-like Situation Room. Matt Groening causally brings up his idea that Marge Simpson – loving wife, devoted mother, future Playboy centerfold – is a rabbit in disguise, a secret that would be revealed in the final episode. A long, awkward silence ensues, as the writers sit in stunned disbelief at the utter insanity their boss just uttered. Suddenly, Sam Simon starts yelling at Groening about what a stupid idea that is. After a big back-and-forth about the plausibility of the whole concept, Simon finally puts his foot down, and Groening shame-facedly retreats to his office, to console himself with money. And thus we were all spared from the horror of Marge’s closet rabbitness being An Actual Thing.

…OR WERE WE?!?!

Continue Reading →

RIP

Polly Platt was an Oscar-nominated production designer, producer, and screenwriter whose career spanned four decades, the first woman in the Art Director’s Guild, and a frequent collaborator of James L. Brooks. Her credits include The Last Picture Show, Paper Moon, Terms of Endearment, Broadcast News, and Bottle Rocket. But since this is a Simpsons website, I’ll just skip to a trivial footnote of her career.

By now, every Simpsons nerd knows the show’s origin: Brooks discovered struggling cartoonist Matt Groening, asked him to do some cartoons for the The Tracey Ullman Show; Groening feared the loss of his Life in Hell characters, so instead he designed a cartoon family, named after his own family; three years later The Simpsons was spun-off into its own show. Well, GET THIS: Polly Platt was the person who introduced Brooks to Matt Groening’s work. Here’s her remembering the story from John Ortved’s The Simpsons: An Uncensored, Unauthorized History:

I was nominated for an Academy Award for Terms of Endearment and I wanted to give Jim a thank-you gift. Matt did a cartoon called “Success and Failure in Hollywood.” So I called Matt and I bought the original.

[Jim] was thrilled! First of all, he loves to get presents. He really does. He just laughed and laughed and hung it on his wall in his office. It was a brilliant cartoon. Success and failure come out to exactly the same thing in the cartoon [i.e., death].

My suggestion to Jim: I thought it would be great to do a TV special on the characters that he [Matt] had already drawn. I never envisioned anything like The Simpsons.

So, had it not been for Polly Platt and her gift-giving skills, The Simpsons would’ve never existed. Kinda makes you think. [Los Angeles Times]