TV writers playing with floor plans for fictional residences, The Simpsons edition

The depictions of residences on TV do not always line up with reality (examples here and here). Here is another example: the writers of The Simpsons played around with some inconsistencies in the home.

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Weinstein engaged with Twitter users after posting the photo, responding to comments about the rarely seen “rumpus room” on the main floor’s northeast corner, the “mystery door” in the entryway, and other inquiries…

“Simpsons” fans may notice the layout doesn’t include the basement — a frequent location for various Simpson shenanigans. Twitter users chimed in, noting the different spots the show has placed the basement staircase.

Here is my interpretation of this “flexible” floor plan. On one hand, television shows need a predictable set of spaces. The audience needs to be able to recognize quickly where a scene is taking place. The behavior of the characters connects to where they are. In many shows, a residence, whether a single-family home or an apartment, is one of the most important settings as this is where the characters eat, sleep, and interact.

On the other hand, a rigid floor plan limits what can be done. Most homes and apartments would make bad television sets due to walls and angles not conducive to filming and/or particular activities. Parts of the home of the Simpsons family are fixed and predictable: the TV is in the same place, the kitchen looks the same, the stairs go upstairs from the front door, etc. But, other portions allow for some creativity. A mystery room? A basement that can turn into all sorts of things (I am recalling what happened there in the episode “Homer vs. the Eightenth Amendment”). An animated show does not suffer from the same camera issues but it too could benefit from slight changes to the floor plan that enable all sorts of plot lines.

The Simpsons portrayed a (rare?) comfortable working-class family life

If television helps provide viewers reference groups to compare themselves with, The Simpsons suggests working-class Americans can have a decent life:

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The 1996 episode “Much Apu About Nothing” shows Homer’s paycheck. He grosses $479.60 per week, making his annual income about $25,000. My parents’ paychecks in the mid-’90s were similar. So were their educational backgrounds. My father had a two-year degree from the local community college, which he paid for while working nights; my mother had no education beyond high school. Until my parents’ divorce, we were a family of three living primarily on my mother’s salary as a physician’s receptionist, a working-class job like Homer’s…

The Simpsons started its 32nd season this past fall. Homer is still the family’s breadwinner. Although he’s had many jobs throughout the show’s run—he was even briefly a roadie for the Rolling Stones—he’s back at the power plant. Marge is still a stay-at-home parent, taking point on raising Bart, Lisa, and Maggie and maintaining the family’s suburban home. But their life no longer resembles reality for many American middle-class families.

Adjusted for inflation, Homer’s 1996 income of $25,000 would be roughly $42,000 today, about 60 percent of the 2019 median U.S. income. But salary aside, the world for someone like Homer Simpson is far less secure. Union membership, which protects wages and benefits for millions of workers in positions like Homer’s, dropped from 14.5 percent in 1996 to 10.3 percent today. With that decline came the loss of income security and many guaranteed benefits, including health insurance and pension plans. In 1993’s episode “Last Exit to Springfield,” Lisa needs braces at the same time that Homer’s dental plan evaporates. Unable to afford Lisa’s orthodontia without that insurance, Homer leads a strike. Mr. Burns, the boss, eventually capitulates to the union’s demand for dental coverage, resulting in shiny new braces for Lisa and one fewer financial headache for her parents. What would Homer have done today without the support of his union?

The purchasing power of Homer’s paycheck, moreover, has shrunk dramatically. The median house costs 2.4 times what it did in the mid-’90s. Health-care expenses for one person are three times what they were 25 years ago. The median tuition for a four-year college is 1.8 times what it was then. In today’s world, Marge would have to get a job too. But even then, they would struggle. Inflation and stagnant wages have led to a rise in two-income households, but to an erosion of economic stability for the people who occupy them.

This critique hints at broader patterns of how television depicts the working class. The 2005 documentary Class Dismissed: How TV Frames the Working Class discusses how television tends to minimize the difficulties of working class life. The Simpsons fits some of these patterns: Homer still somehow keeps working despite his mistakes and anti-intellectualism, the family does not really get ahead, and the family seems happy-go-lucky. Shows with working class characters rarely challenge the economic and social systems that constrain working class Americans.

Similarly, The Simpsons falls into the mold of many sitcoms in television history where there are happy endings and the characters end with good relationships. Despite all the controversy about the show in its early years, the show is at its heart a typical sitcom. While the show does poke fun at many people and aspects of American life, at its basis is a loving nuclear family living in a single-family home with Homer having a steady job. The Simpsons is not a critique of working class life in the United States. Perhaps the portrayal of Mr. Burns best critiques the systems that keep the Simpsons in place.

One place for wiggle room in this critique may be the location of Springfield. The show has been very careful to not reveal where Springfield is within the United States. Homer’s income might be meager but cost of living does differ by region.

Finding the Simpsons home in the sprawl of Las Vegas

A subdivision in the Las Vegas suburb of Henderson features a home made to look like the Springfield home of The Simpsons:

SimpsonsHomeHendersonNV

Once upon a time, the house on Red Bark Lane wasn’t just another address in a sprawling suburban development: It was originally built as a nearly exact three-dimensional replica of 742 Evergreen Terrace, the Springfield residence of Homer, Marge, Bart, Lisa, and Maggie Simpson. Working on a short schedule, architects and builders de-fictionalized the home featured in The Simpsons for a 1997 giveaway that was intended to leave one lucky fan with the ultimate in cartoon memorabilia. No detail was spared, from a food dish for their cat, Snowball II, to Duff beer cans in the fridge.

But controversy soon erupted in this faux-Springfield mock-up. The homeowner’s association wasn’t keen on having a cartoon house that broke conformity requirements by being painted solar yellow. The sweepstakes winner rejected it outright. And the current owner had to learn to live with the property being a source of perpetual curiosity for fans of the show who brazenly turn her doorknobs and peer through her windows at all hours of the day and night. As it turns out, the reality of living in a fantasy can get a little complicated…

Once the project was approved, Woodley and Gonzalez pored over 100 episodes of the show and storyboards on loan from the production to try and discern a layout. “We took a floor plan we already had and did things that still had to meet building code but was reminiscent of The Simpsons,” Gonzalez says. “We never would have put in a rounded door or windows in the spots they were in.”

The team’s goal was to be 90 percent normal, with occasional lapses into cartoon continuity. Door frames were widened and lengthened to accommodate Marge’s hair and Homer’s girth. The stairs leading to the second floor were slightly steeper than normal. The downstairs floor was poured and painted concrete rather than hardwood or carpet, the better to mimic the show’s flat colors. Bart’s treehouse was erected in the backyard.

Like other homes on TV, the floor plan doesn’t exactly work. What makes this case interesting is that this is an animated show that does not have the same constraints as one with actors. With live actors, homes may not have walls or have rearranged features to allow cameras to have wide views. The proportions with live actors will also be different.

The interest from fans is understandable; TV shows offer few physical spaces where fans can connect to a show. Fans can go to studio backlot to see locations (I have toured a few and it is an interesting experience to see places that are on TV screens for seasons) or track down interior and exterior shots (for example, see a comprehensive list of locations on The Sopranos). But, many family shows revolve around the single-family home. The famous opening credits end with the family in front of the TV in the family room. The family regularly gathers in the kitchen for meals. The kids and parents talk in bedrooms upstairs. The garage, basement, and backyard are home to many scenes. The article asks why the contest winner did not accept the home and make money off tours; perhaps the better question is why someone has not recreated the house elsewhere and catered to Simpsons fans.

Finally, that the replica is located in Henderson, a fast-growing suburb in the desert outside Las Vegas is a fun contrast to the small town charm of Springfield. The show creators have famously kept Springfield’s location secret but it would difficult to imagine the home located in a neighborhood like that shown in the Google satellite image above.

14 times The Simpsons took on famous architecture

Curbed put together a short list of times The Simpsons has lampooned architecture:

Frank Gehry crumples up a piece of paper, tosses it to the ground, and suddenly becomes inspired to build a similar-looking concert hall for Springfield, hometown of The Simpsons. Rem Koolhaas, with his eyes closed, teaches nine local children about “Lego architecture” using a model of OMA’s CCTV tower in Beijing. Since The Simpsons began airing in 1989, there have been countless references to landmarks and architects, new Dwell-reading neighbors and postmodern malls filled with identical Starbucks stores…

Dialogue from an episode aired in 2003:
Lisa: I’m impressed that you drew up blueprints, but these are for a go-cart track.
Homer: Did Frank Lloyd Wright have to deal with people like you?
Lisa: Actually, Frank Lloyd Wright endured a lot of harsh criticism.
Homer: Look. I have no idea who Frank Lloyd Wright is.
Lisa: You said his name two seconds ago.
Homer: I was just putting words together.

Some fun moments here. In fact, I suspect there is an interesting dissertation or book to be written about how The Simpsons presents spaces, from homes to Springfield (which really is a zany community) to broader geographic and social contexts. What if a two-dimensional animated show ended up offering one of the most astute mass market analyses of our spatial lives?

College courses tackle The Simpsons

Continuing the trend of the media showing interest in college students getting credit for classes involving pop culture, here is a brief overview of college courses tackling The Simpsons:

He currently teaches a course about the Broadway theater and how “The Simpsons” have embraced various musicals and plays. Next semester, he shifts to an online literature course titled “The D’oh of Homer” that includes readings from Edgar Allan Poe’s “The Raven” and “The Fall of the House of Usher,” and Charles Dickens’ “A Christmas Carol” — all referenced in “Simpsons” episodes…

According to the SUNY Oswego website, “Sociology of ‘The Simpsons'” is still an accredited course at the Central New York school. Sociology professor Dr. Tim Delaney published a book in 2008, “Simpsonology: There’s a Little Bit of Springfield in All of Us.”…

Jean acknowledges a theme in many episodes is the comparison of the C. Montgomery Burns character — the miserly owner of Springfield’s nuclear power plant — to the lead character in the movie “Citizen Kane,” Charles Foster Kane…

“They need to reach students however they can. And using ‘The Simpsons’ to grab their attention, I think, is brilliant,” she says. “Fighting against pop culture isn’t going to do anyone any good.”

For those skeptical of such classes, here is my brief defense of using The Simpsons:

1. It is the longest-running American sitcom. That alone means it has a unique place among television shows. It has never been the most popular show but it clearly has staying power.

2. Television may seem irrelevant to the college classroom but given that the average American adult watches 5 or so hours a day (the figures do vary by age), it is a powerful force.

3. The Simpsons has a particular way of critiquing many aspects of American society. Perhaps it is the writers, perhaps it is the animated format that allows for a different kind of humor. I recently used the episode “Lisa the Skeptic” (Season 9 Episode 8) in class to illustrate the debate between religion and science. This episode lays out the two sides and then in the end skewers both by suggesting the real issue is rampant consumerism.

Vatican newspaper says Homer J. Simpson is a Catholic

The Vatican’s newspaper recently said that they consider Homer Simpson to be a Catholic:

But in an article headlined “Homer and Bart are Catholics”, the newspaper said: “The Simpsons are among the few TV programmes for children in which Christian faith, religion, and questions about God are recurrent themes.”

The family “recites prayers before meals and, in their own peculiar way, believes in the life thereafter”…

“Few people know it, and he does everything he can to hide it, but it is true: Homer J Simpson is a Catholic,” insists L’Osservatore Romano.

This must be a very loose definition of what a Catholic is or how one should act. In fact, it strikes me as a very American sort of idea: Homer’s Catholicism is a grab-bag of practices and beliefs of his own choosing. Is Homer’s approach to religion really much different than many Americans?

But one point the newspaper makes seems accurate: the Simpson’s portray “old-fashioned family values” in a way that few other shows do today.