“She’s beautiful. Say something clever!” – Bart’s Brain
“I fell on my bottom.” – Bart Simpson
“D’oh!” – Bart’s Brain
There are a lot problems with “Beware My Cheating Bart”. For starters, it’s kinda sexist and disturbing. Beyond that, it’s further evidence that Zombie Simpsons has turned its kid characters into empty, anti-human nobodies. And, of course, it manages to lack any kind of story coherence while doing all those things. What makes it all more glaring than usual is the way “Beware My Cheating Bart” so closely follows the plot, structure, and even jokes of the boundlessly superior “New Kid on the Block”.
One of the most handy things anyone ever told me about sexism was that the easiest way to gauge how sexist something is or isn’t was by reversing the gender roles and seeing how weird or fucked up it would seem. Applying that little rubric, “Beware My Cheating Bart” fails miserably compared to “New Kid on the Block”. In the latter, it would mean a ten-year-old girl developing a crush on the fourteen(ish)-year-old boy next door, showing him that his girlfriend was bad news, and then ending with them bonding as friends by making a prank call. A little unusual, maybe, but certainly not creepy. In Zombie Simpsons, it would mean a fourteen(ish)-year-old boy flashing a ten-year-old girl, then making out with her repeatedly, hanging around with her in little kid pizza joints, and running about town late at night. That is creepy, no two ways about it, and that means you might not want to be doing it at all.
Uh . . . yeah, please don’t do that again.
Leaving that unpleasantness behind us forever, the best way to shake off the weirdness of having a character the episode identifies as a “total pre-puber” getting hot and heavy in the privacy of the principal’s office is to remember that it’s been a long time since Bart was anything like a normal kid, and the same goes for Jimbo and everyone else in this episode. Just in that first scene in the movie theater, we get sitcom-tastic clunkers like this:
Dolph: We’re gonna to be checking out a delightful Hong Kong horror remake known as ‘Crawlspace’, based on Paxing Kongjian.
And this:
Jimbo: Shauna, food for thought, if we don’t watch movies about torture in crawlspaces, how will we know what to do if someone puts us in a torture crawlspace?
Kearney: Not if, when.
Shauna: Nah. I’m gonna go see one of those Jennifer Aniston movies where she rolls her eyes on the poster.
This kind of stilted, formulaic dialogue is hacktacular on a couple of levels. First of all, what little humor they’re trying to wring out of these fake movies dissolves away when you have your characters basically explain the jokes as they’re saying them, not to mention the movie posters behind them that do the same thing.
Ha! That’s what s/he just said. I get it now! I get jokes.
More importantly, nobody talks like this except comedy writers. None of the characters here act like actual characters, instead they’re little more than animated loudspeakers. The things they’re saying don’t work in the context of where or who they are; they only make sense if you’re sitting in a room with a bunch of people constantly hurling punchlines at one another. Zombie Simpsons may not have a laughtrack, but it’d be awfully easy to insert canned laughter into that. Observe:
Jimbo: Shauna, food for thought, if we don’t watch movies about torture in crawlspaces, how will we know what to do if someone puts us in a torture crawlspace?
[Short laugh]
Kearney: Not if, when.
[Longer laugh]
Shauna: Nah. I’m gonna go see one of those Jennifer Aniston movies where she rolls her eyes on the poster.
[Long laugh, with subtle amounts of “ooh”]
Each line is its own self contained piece of cheap fluff, and there’s hardly any interaction between them. Now, consider the first time we see some of the same characters in “New Kid on the Block”. Bart and Laura are sitting on the curb in front of Laura’s new house while their moms are inside talking. They don’t spit ungainly cultural references back and forth, instead they actually get to know each other as Bart tries out his little pranks and Laura impresses him by already knowing them.
Similarly, when Dolph and Kearney walk by, they don’t immediately crack some joke that’s intended for the audience instead of the other people who are supposedly right in front of them. They speak like there really is a girl sitting there, with Kearney trying one of those hideous pick up lines that only seem like good ideas to very naive teenage boys:
Kearney: Hey, baby, how ’bout putting your finger in my ear.
Laura: Well, I don’t know, your boyfriend looks like the jealous type.
Kearney: Hey, what the?
Dolph: That chick’s messing with our minds.
Kearney: Let’s get out of here!
Each line leads directly and necessarily into the next, so not only is this funnier, but it also works naturally with who these characters are and what each of them is trying to do. Laura continues to demonstrate how cool she is by effortlessly annihilating Kearney’s hapless pass at her, while Kearney and Dolph fail, panic and flee from a girl who’s clearly smarter and tougher than they are. On top of all that, the audience sees Bart’s crush on Laura deepen after he watches her defeat his tormentors.
Sigh. She’s dreamy.
This sort of thing can be seen throughout both episodes. In “New Kid on the Block”, Bart and Laura both act like kids their age. Laura babysits, plays video games at the Kwik-E-Mart, and completely overlooks Bart’s puppy love because she has no reason to notice it. Meanwhile, Bart falls head over heels, but has no idea how to go about it (in no small part because Homer gets drunk while failing to explain the facts of life to him). The jokes and humor (Two Guys from Kabul, Escape from Death Row) are inserted into natural interactions for two kids like them to have.
In “Beware My Cheating Bart”, the opposite happens. What jokes there are get blasted into weird situations, while Bart, Shauna, Jimbo, Lisa and everyone else act like dating weary adults. They give each other sophisticated relationship advice, know every cliche, and generally act like the same kind of one dimensional characters you’ll find in those eye rolling Jennifer Aniston movies. They couldn’t be less like real kids if they were played by hard bodied, thirty-something movie stars:
Shauna: I want to find out who I am. And that’s something only an inappropriately older man can tell me.
Bart: Well, that is one lucky, creepy guy.
By this point in the episode, I have no idea who these people are supposed to be, or even if they’re still people at all. When this happens, Jimbo has apparently been patrolling Bart’s back yard for hours on end, Shauna has realized out of the blue that she wants something else, and Bart drops his entire infatuation as though it never happened. There’s no connection between events, things happen because everyone’s been through this so many times before that, when it comes to what should be the climax of the story, they already know what to do.
By contrast, in “New Kid on the Block”, Bart thinks Laura is finally taking a shine to him when she confides in him that she’s started dating Jimbo. Bart doesn’t see this coming, and Laura doesn’t realize how much she just hurt him. Neither of them is really aware of what’s going on with the other because – again – they’re just kids. Check out Laura’s swooning description of what she likes about Jimbo:
Bart: How can you like that guy?
Laura: I don’t know. Maybe cause he’s an outlaw. You know that dead body they found behind the mayor’s house?
Bart: Jimbo killed him?
Laura: No, but he poked him with a stick.
Hey look! Characters emoting.
Just as with Laura’s dismissing of Kearney, everyone here is perfectly in character, and they sneak in that joke about Quimby murdering someone while keeping the dialogue very kid-like. On top of that, none of them knows where things are going to go from here. Laura likes Jimbo because she thinks he’s a good looking rebel who plays by his own rules. Jimbo likes Laura because she’s a cool chick who doesn’t mind when he takes his shirt off. And Bart schemes to break them apart because he knows that Jimbo is bad news. Instead of romance veterans who go through the motions, Laura, Jimbo and Bart all act like themselves right up to the end.
Zombie Simpsons took a bad romantic comedy template, grafted their characters onto it without the least bit of consideration as to why any of them would act like that way, and figured a few semi-clever asides would be enough to redeem it. The Simpsons knew how to create something better than that, because on that show they understood that having kids act like kids isn’t an impediment to having them be funny.
