The Sliding Subplot
Although exaggerated, the "Editorials" section could probably be renamed the "Problems with the Show" section with little added confusion. And while those problems mostly revolve around issues present since Springfield Weekly's inaugural year on the web, few editorials discuss new, recently identified flaws. Prelude aside, a relatively new concern, sprouting somewhere between the 2004 January 11th episode "I-D'oh-Bot" and February 15th episode "Milhouse Doesn't Live Here Anymore", has become even more prevalent in recent seasons. I am referring of course to the lost-art and then poorly recovered art of the subplot. Let's analyze:
I-D'oh-Bot: Lisa's cat dies → Lisa buys a new cat → the new cat dies → Lisa buys another new cat → the second new cat dies → the crazy cat lady gives Lisa one of her extra cats
This may not be the most complex storyline, but there is a developed introductory conflict, character development, and a conclusion.
Milhouse Doesn't Live Here Anymore: Homer realizes he hasn't bought Marge an anniversary present → Homer is mistaken for a homeless man and begins earning money → Homer uses that money to buy a gift for Marge → Marge is impressed by the alternate source of income
"What's the difference?" you may be asking. Being the first noticeable shift from subplot by its true definition to subplot as "a series of scenes unrelated to the main storyline", the variation is subtle. Nevertheless, when stripped to its essentials, the open-ended subplot is simply Homer acting crazily while begging for money. There is no conflict, no structure, and certainly no ending to affirm the story's conclusion. The show's crew may cite the lengthened commercial time allotted to new episodes, restricting their space for creating an elaborate complimentary story to explain recent woes. The excuse bears merit, and although it doesn't excuse the absence of conclusions or conflicts, it at least attempts to explain their inability to write a captivating subplot. The pride of the Simpsons staff may disallow it, but they again must look to "South Park" for guidance. In the season 9 episode "The Losing Edge" - an episode restricted by similar airtime shortages - an interesting storyline and subplot intertwine in a conclusion that would make Larry David blush. Though deflected, the truth isn't that The Simpsons can't make provocative subplots, but rather, that they've forgotten how. "How does one spoiled subplot make this "problem" an "issue"?" you ask in disgust. Well, here are a few more prominent examples:
All's Fair in Oven War: Bart finds Homer's old Playdude magazine with pictures cut-out → Unaware of what had been cut, Bart decorates his tree house with the cutout frames → Homer educates Bart about Playdude → Bart shares their conversation with other children
Marge's Son Poisoning: Homer buys a dumbbell → Homer shows off his strength to Moe → Moe takes Homer to compete in an arm-wrestling event
The Last of the Red Hot Mamas: Lisa untruthfully tells Principal Skinner that she speaks Italian → Milhouse volunteers to be her tutor → Lisa becomes furious upon witnessing Milhouse with another client
We're on the Road to D'ohwhere: Lisa and Marge hold a yardsale → they can't sell anything → they unknowingly sell expired medicine pills
Some subplots appear to lead viewers towards a resolution, but when the credits roll, onlookers are left wondering "that's it?" Subplots can no longer be classified as stories; that would entail a beginning, middle and end. Not once this season has a subplot met those basic requirements. They are simply events - scattered scenes of loose connection to allow a passage of time between the primary storyline. In seasons 10-14 we begged for subplots, discussed why they had been stripped from the show's format. But now, as our nagging has been heard and addressed, we must question what we've resurrected. Pacing has been a problem since season 10, and as they try to shift focus by cramming unrelated scenes into the mix, they're ruining their chances at a successful main or subplot. Subplots can compliment episodes with a touch of emotional relief and comedic appeal and certainly no show has achieved that feat more than "The Simpsons". However, if they're simply relying on "Subplots for dummies" for instruction, they should recognize their weaknesses and concentrate on one, focused, developed storyline - that alone has proven to be a difficult concept to manage.
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