#the simpsons script

[syntheticsylvie]

The Simpsons x Real Life News Stories

SCENE 1

INT. SPRINGFIELD RETIREMENT CASTLE - GRANDPA'S ROOM - DAY

GRAMPA ABE SIMPSON sits in his rocking chair, dozing off. Suddenly, he spots a roach scurrying across the floor.

GRAMPA ABE SIMPSON (startled) What?! A bombay canary!

Abe leans forward, addressing the insect.

GRAMPA ABE SIMPSON Now listen here, you six-legged menace. Back in my day, we didn't have fancy bug sprays. We had to tell long, rambling stories to bore the pests to death. Oh sure, you could just squash 'em, but where's the sport in that?

As Abe speaks, he slowly reaches for his shoe.

GRAMPA ABE SIMPSON (quickly) And that's why I always keep a gun in my shoe!

Abruptly the shoe slips out of Abe's hands, flying at the roach.

GRAMPA ABE SIMPSON (smugly) Ha! Thought you'd get out of the story that easy, did ya? Not the most sporting method but-

It misses, hitting the wall.

GRAMPA ABE SIMPSON D'oh!

Then, a handgun falls out of the shoe, discharging upon impact.

The bullet ricochets and strikes Abe in the foot.

GRAMPA ABE SIMPSON (yelping) D'OH! Consarn it!

[powpowhammer]

All the Spy x Family Chairs as of March 27 2025

I got sick of not having a good reference guide updated to current. All the chairs are Modern, but some are identified with related/sub-movements. this will be very embarassing when door inevitably corrects me

Volume 1: Le Corbusier, LCF Grand Confort LC-2 (Cushion Baskets, 1928) wikipedia

Volume 2: Irving Harper for George Nelson for Herman Miller, Marshmallow Sofa (Marshmallow Love Seat #5670, 1956), MCM wikipedia

Volume 3: Charles and Ray Eames, Chaise Lounge (La Chaise, 1948/1991), MCM eames

Volume 4: Eero Aarnio, Ball Chair (1963), MCM/industrial wikipedia aarnio

Volume 5: Ludwig Mies van der Rohe and Lilly Reich, Barcelona Chair (1929), Bauhaus wikipedia knoll

Volume 6: Verner Panton for his Series K with Vitra and others, Heart Cone Chair (1958-1959), pop-art vitra panton bklynmsm

Volume 7: Charles Rennie Mackintosh, Willow Chair (Chair/Settle[sic] for Willow Tea Room, 1902-04/1973), Glasgow school glasgow

Volume 8: Charles and Ray Eames for Herman Miller, Eames Lounge Chair and Ottoman (1956), MCM wikipedia

Volume 9: George Nelson for Herman Miller, Coconut Lounge Chair ("Coconut" Chair, 1956-58), MCM bklnmsm

Volume 10: brutalism, whose name comes from the french 'beton brut' meaning raw concrete and frequently incorporates concrete and rebar as design materials, was in several ways a rejection of the modernist movement that could have been said to only have been made possible in part by post-war prosperity in 'allied' nations

Volume 11: Charles Rennie Mackintosh, Hill House Chair (Ladder Back Chair [for White Bedroom], 1902-04/1973), Glasgow school glasu

Volume 12: Harry Bertoia for Knoll, Diamond Chair (1952), MCM/industrial knoll wikipedia

Volume 13: Eero Saarinen for Knoll, Tulip Chair (Tulip Side Chair, 1955), industrial/proto-space age wikipedia knoll

Volume 14: Frank Lloyd Wright for The Robie House, Robie Chair (Dining Table Side Chair, 1907-1910) smartmsm

Volume 15: Hans Jørgensen Wegner for Johannes Hansen, Peacock Chair (Påfuglestolen/PP50, 1947) wikipedia

[crunchyapple33]

shifting to family guy and then the simpsons to see who is truly the worst family of them all

[marcaeltono]

A delightfully Swartzwelderian scene we had to cut from the table draft of "The Old Man and the Lisa" when Mr. Burns first moves into Smithers' apartment. - Josh Weinstein

[rainbowsuitcase]

Top Gun (etc.) Mentions in My Thesis Research - Part 1

From Reel Power: Hollywood Cinema and American Supremacy by Matthew Alford

1.

(Transctiption: Tell that to Tom Cruise – ‘the world’s most powerful celebrity’ at the time, according to Forbes magazine – who lost his contract with Paramount in 2006 following a spate of manic public activity, including declaring his love for Katie Holmes whilst bouncing up and down on Oprah (the chat show, not the woman). End Transcription.)

2. Gotta love the behind the scenes

(Transctiption: Empire magazine reported that after one of their ‘animal nights’, the now notoriously focused Tom Cruise threw up over a car and on another occasion, Don Simpson – regularly wired on coke and not a swimmer – almost drowned when the stunt team threw him and Jerry Bruckheimer into the pool after a naked Kelly McGillis. The Pentagon acknowledged the film ‘helped with recruiting like crazy’. End Transcription.)

3. Can you imagine. Can you fucking imagine.

(Transctiption: Consequently, the Navy’s response to the script for ‘Top Gun II’ was ‘get the hell out of here’. A proposal too rich even for the Pentagon’s blood. End Transcription.)

[l-1-z-a]

Scripting and Sims2: Coding the Psychology of Little People / Making The Sims the Sims: How we make objects and Sims behaviors in Sims2. - Jake Simpson

A presentation at the 2005 Game Developer Conference by Jake Simpson. He was the lead engineer on simulation and tools for The Sims 2.

The presentation covers the following topics:

Definition of the concept of an "object" in Sims 2.

The process of determining what an object will be.

Tools used in object creation, including the Edith Object/Scripting/Debugging Tool.

Discussion of alternative approaches to script creation.

Demonstration of the object creation process. (not saved)

Acknowledgments to the object engineering team in Sims 2.

Description of the core content of objects in Sims 2.

The process of object creation, including design requirements, technical meetings, scheduling of models, animations, textures, and sounds.

Tools and processes used in object creation.

Exploration of the Simantics language used for object script development.

Pros and cons of Edith/Simantics in the object creation process.

Discussion of scripting approaches.

Specifics of object construction, including hierarchical script construction and exporting/importing settings for external modification.

The importance of profiling and debugging in the object creation process.

Demonstration of object creation using the Sims 2 object pipeline. (not saved)

Additionally, the presentation includes mentions of developers, acknowledgments, and the opportunity for questions.

Slides from the presentation:

Audio recording of Jake Simpson's speech:

Transcription of the audio recording - to read if it is difficult to perceive by ear, and to quickly find information from the speech. Only the answers to the questions turned out to be incomplete:

На русском языке:

[garbagequeer]

Can you help me im so confused how archie (and everyone listening to him) had those memories for his poem i thought everyone but betty and jughead forgot 😭

bobbyjean asked: Wait a second were those the good memories. the serial killer gene and jason’s corpse. and archie playing football in leopold and loeb juvenile detention center��…

well imo you can work with different theories so like

they dont remember these things as things they lived themselves but they remember them as things tabitha showed them the first time they saw the riverdale memories (so like if they'd watched themselves go through these things in tv but not as if they happened irl for them)

goodbye riverdale is back to jughead's narration and jughead is unreliable he's just making shit up (this also goes with the theory that what jughead showed betty was not real but was a fabrication he made up for her as her dying wish was to relive those days with everyone as they were + the fake reality had plot holes because to be fair jughead was like 86 when he died he cant keep track of who remembers the serial killer genes and who doesn't he's busy)

narrator jughead seems to be in control of this episode more than he was before (we see him corporeally and there's 2 jugheads in the end) so the characters' lives have been rewritten to fit the narrative jughead wanted to tell so they remember because he does too and the story belongs to him and not to them (to me jughead is always afraid of abandonment and change so he keeps his stories ones where his friends don't leave or grow + he has been shown to find it hard to come up with anything other than stories about his friends in riverdale in s5 and as bunker/god jughead). for me this also fits with the idea of the characters and angel tabitha trying to break free and narrator/god jughead(s) not allowing it -> town won

they loved these memories they love cults and killing and corpses and gay juvie. the bad memories were like archie not getting his high school diploma or something

from a doylist pov (boring) this meant nothing about the story and was just an homage to their most iconic moments in the show for the audience and the crew. you could twist this a bit to be meta and make something up about the characters behaving as characters and talking willingly to an audience because they exist only in our eyes if you wanted

which are all fun ideas to consider and theyre not mutually exclusive (like it could be jughead taking over the narrative but it could be in a world he makes up just for betty so all the other characters are in the real sweet hereafter but betty went to purgatory pop's because she does remember it all and this prevented her from being able to leave it behind. also archie for sure would remember some of gay juvie he loved the gay parts of gay juvie he told me. and fangs probably had god times at the cult i mean he dated human kevin maybe a love for cults is what they had in common)

to me it stood out as a moment where i was like oh jughead is lying to us for sure. awesome. one last jughead lying to us and trapping us in the cycle forever for the road yippee

[digitalsimpsonspark]

Sitting... Thinking about my au focusing on platonic tony/memphis...

I wanted to keep it to myself as I'm working on scripting a fancomic for it, but realistically, it will never be complete... PLEAAAAASE ASK ME QUESTIONS ABOUT THIS...

Memphis is a lot closer to Tony in this universe, the two meet on literally his second day in Springfield and they grow really close over time.

Tony is specifically manipulating Memphis into slowly growing more dependent on him in order to bring him into his society, he does so by doing shit like nearly getting him fired, then pulling strings and winding his boss in court the literal next week by planting evidence and making false accusations.

He's certain that he has Memphis under his spell, and when Memphis is suddenly laid off from his role at Springfield Power Plant, for good, he moves in and offers him a position within his ranks. Memphis then reveals that he's known all along; Tony immediately assumes his playing dumb was in order to get something out of their relationship and gets borderline violent, but Memphis confesses that he feels a really strong connection to the other man and was genuinely just trying to keep his favourite friend around.

Once the two give up playing dumb and hiding things from each other, their friendship only really grows stronger. Memphis becomes involved in the mafia in a very detached way; he's like Tony's lapdog, and shows up to a lot of low-stakes meetings and discussions. He still strongly refuses to take up an active role, however, and Tony has given up trying to convince him to do so (mostly).

There's more, but I'm leaving the real dramatic stuff out for now.

Aaaaalso, fun little intro excerpt from the comic script (called The Good Ones):

I’ve seen my fair share of the bad ones; The men and women who give up any pretense of morality they hold at the vaguest scent trail of their own carnal desires: Money. Sex. Power. As the years pass, their names and faces start to elude you…  They never last.  By virtue of their animal urges, they trap themselves in the survival of the fittest: prisoners of the social hierarchy, held captive by their own lack of self control. For those above, of course, the worlds they build are dependent on the beasts - entirely reliant on the little green army men who will throw their lives on the line for a taste at the tricklings of opulence, Who delude themselves into believing their static life is but an expected consequence of what they call loyalty. But it grows tiring, over time. As the prisoner grows bored of the food that sustains him, The head grows tired of the men slipping like sand through his fingers, almost as quickly as he can replace them.

[circusgoth-dotcom]

Homer the Ally

Ship: Keaton Hooligan & Homer (platonic), Keaton Hooligan x Krusty the Clown

Word Count: 592

Summary: Hey look a Pride fic. Homer really wants to be a good ally, but he's nervous!

Tag List: @canongf @rexscanonwife

Keaton was beyond ecstatic: he was about to have his first Pride experience with those he considered his found family. There was his boyfriend, Krusty, his friends, Homer and Marge, and his godkids, Bart, Lisa, and Maggie. Everyone was just about ready to leave for downtown Springfield.

“You good, Krusty?” Keaton asked as he rubbed sunscreen onto his partner’s pale cheeks. “You look like you’re about to fall asleep.”

“Mm-hm. Just admiring the view.~”

“D’aww...” He kissed his forehead, then looked up as Homer entered the living room. “Ready to—”

But with a single yelp, he’d disappeared upstairs again, making Keaton frown. “What’s up with him?”

Marge stood from the couch, looking concerned. “Well... can I be honest with you, Keaton?”

“What’s up??”

“A few years ago, Homer was very paranoid about Bart being gay. He’s come a long way since then, but I just have to wonder...”

“What, that he’s going backwards?” Krusty grumbled. Keaton put a supportive hand on his arm.

“Now, Krusty, he’s always been decent toward us any other time of the year. Maybe I should go talk to him, one-on-one.”

Krusty shrugged. “Fine, fine. But if he’s rude at all to you, I say we ditch him.”

Keaton nodded and climbed the stairs to the second floor of the Simpsons’ home. As a friend, he was worried. What if Homer really was going through a sudden streak of homophobia? He tried to imagine himself in his position as he knocked on the bedroom door. “Homer?? Is everything alright?”

“No. Go away.”

“Are you sure?”

“You should go have fun without me.”

Keaton’s frown increased. “I’m opening the door, now...” He opened it in a manner where Homer could close it on him if he wanted to, but he didn’t. He saw Homer sitting on the bed, looking extremely anxious and twisting a rainbow handkerchief in his hands. “Hey, whatever it is, I won’t judge you. Just talk to me, Homie.” They sat beside him. For a moment, he didn’t speak, only continuing to fidget.

“I really like you, Keaton. I don’t ever want to do wrong by you.”

“And for the most part, you haven’t. Even when you mess up, I know you’re never intentionally cruel. And you know I know that, right?”

Homer nodded, but his expression was still one of hesitation, and sadness, and confusion. “What if I say the wrong thing today?? It just seems to come so easily to everyone else! I’m trying to learn, I really am, but some of this stuff...”

“Hey, you don’t need to know everything about being queer, Homer. You’re not a gay encyclopedia,” Keaton smiled, “and I don’t expect you to be. All you’ve gotta do is relax, have fun, and correct yourself when people tell you you’ve made a mistake. And generally, that comes as easily to you as breathing, right? You don’t gotta get all worked up about this. Krusty and I... well, mostly me, will be right by your side, all day. And so will your family.”

Homer finally looked at him and Keaton offered his hand. He took it gratefully. “Okay. I can do this.”

“All I ask is that you give it a try.”

“Let’s slay this thing!” His expression was briefly triumphant, then blankly embarrassed. “Did I use that right??”

Keaton laughed lightly. “Well, I don’t think you used it incorrectly. C’mon, put your shoes on. We’ll be waiting for you.” He half-hugged him, then stood and went back downstairs.

“Well?” Krusty prompted.

“I think he’s going to be just fine.”

[icantbeperfect97]

Farei meglio ad esser morto?

sarei migliore se mi arrendessi?

[scholarlyshifter]

Please reblog with fun things you like adding to your script, or boring things, or things you change about yourself, or anything in your script, I need a reprieve from calc

[txttletale]

Setting aside the copyright discourse for a minute, what do you think is the real, actual wrong with ai? From what I can tell you're anti genAI but in a more rational way rather than going on personal vibes. I've mostly seen defensive posts about ai so I'm curious what you think are the actual harms we should be advocating against

have talked about this here. in general i think the most pressing things that are actually worth caring wrt genAI about are labour issues, both in the training of these models and in how they (like any meaningful advance in technology) are integrated into workflows in a way that immiserates workers (for example, attempts to turn writing credits into 'editing credits' by having writers work with AI-generated scripts that the WGA managed to put an end to). & i think the way to fight these things is, as i often repeat, through industrial collective action and not through yelling at people for generating 'mcdonalds simpsons porn room' lol

when it comes to other types of AI, i think that their role in essentially automating war crimes and providing clumsy cover for what are fundamentally indiscriminate massacres is also obviously deeply evil, but has less to do with any actual feature of the technology itself and more to do with its marketing -- this is the "AI"-as-social-object vs. generative LLM distinction i think people are bad at making. like, i don't think that "we need to bomb this family home because the computer said so" is fundamentally different to its analog version, "we're renditioning you to a concentration camp because our chart said so". the important technology here is the imposition of the aesthetic of technocratic managerialism over nakedly arbitrary violence and cruelty, not anything that the AI is doing per se.

[dduane]

“I can now say with absolute confidence that many AI systems have been trained on TV and film writers’ work. Not just on The Godfather and Alf, but on more than 53,000 other movies and 85,000 other TV episodes: Dialogue from all of it is included in an AI-training data set that has been used by Apple, Anthropic, Meta, Nvidia, Salesforce, Bloomberg, and other companies. I recently downloaded this data set, which I saw referenced in papers about the development of various large language models (or LLMs). It includes writing from every film nominated for Best Picture from 1950 to 2016, at least 616 episodes of The Simpsons, 170 episodes of Seinfeld, 45 episodes of Twin Peaks, and every episode of The Wire, The Sopranos, and Breaking Bad.”

😡

[unsolicited-opinions]

The Revolution Will Not Be Aestheticized

Being Gen X is weird. Mine will be the last generation to remember a world without the internet and was also the first to wholly embrace it.

Gen X knows what life was like before social media...but has still mastered the art of passive-aggressively liking posts as a form of communication.

We're a small generation, but I'd argue we have a unique perspective and I want to point out something which I think is more obvious, more visible to Gen X, than it is to Millennials and Gen Z.:

Enjoying pop culture used to be something you did. Now, it helps define who you are.

I was obsessed, as a kid, with Marvel comics, Dr. Who, and Babylon 5. Friends had weekly get-togethers to watch the X-Files or The Simpsons. Liking pop culture wasn't unusual. You could like it passionately, obsessively even.

But it wasn’t your identity.

If you outgrew an interest, it didn’t seem like a personal transformation to you or to your friends. It was just...what you're really interested in right now. The stakes were low.

Today, it seems like your fandom is often your flag. It’s in your bio next to your gender identity, orientation and neurotype. (A couple of those are in mine, too).

I'm trying to say that there is a very real difference between being really into the music of Taylor Swift and being a Swiftie.

There's still plenty of discussionabout what we love, but now it helps defines who we are.

I might be a Little Monster and in the BTS Army, right? And a Whovian Cumberbitch. These are signifiers not of interest, but of identity.

That shift from consumption to identity may seem subtle, but it has profound consequences.

It turns preferences into moral positions.

If your fandom defines who you are, any critique of it feels like a critique of you. And if your fandom’s antagonist gets a redemption arc which displeases you? That’s not character growth, that’s betrayal. (You've seen people behave this way in fandoms. It's a parasocial relationship with fictional characters.)

Now take that operating system - tribal, emotional, morally binary - and plug it into political activism. What do you get?

You get the US "Pro-Palestinian" movement circa 2024-25.

To be clear: Gaza is a humanitarian catastrophe. Palestinians deserve dignity, safety, and justice.

Critiquing how Americans engage with this issue is not a dismissal of its urgency. It’s just asking whether our engagement is real...or if it is performative roleplay and treated like a fandom.

(Below: This fanart would be just as absurd if Snape was holding an Israeli flag.)

Because much of what’s happening on social media and college campuses doesn’t look like activism. It looks like fandom.

And not in a metaphorical sense. I mean literally.

Moral binarism:

Palestinians are coded as pure underdog heroes. Israelis are assigned the role of irredeemable villains. There's no space for Israeli trauma, Palestinian complexity, or the millions caught in-between. Just like fandom, nuance gets in the way of the story.

Costumes and catchphrases:

Keffiyehs are worn like people used to wear Hogwarts House scarves.

Slogans like "from the river to the sea" function not as political demands as much as they are ritual, social affirmations.

You chant them because they’re what you say to stay in good standing.

Canon enforcement:

Say the wrong thing (acknowledge Hamas's atrocities, quote an Israeli peace activist...) and you’re cast as a villain. Activist spaces now police ideological purity the same way fandoms used to (still do?) flame you for liking the wrong ship.

Emotional scripting:

TikToks from Gaza with moody filters and sad piano music mimic fan edits and commenters post, "I’m crying, I’m shaking," because that’s the expected affect. It's parasocial politics. And it's all about showing their feelings.

Lore and side quests:

Protestors debate which historical analogies are "correct" based on what's most satisfying. The create infographics that function like lore wikis, and design protest aesthetics with merch-tier detail. Some organizers even "brand" their encampments like pop-up installations.

Want a kiffiyeh with which to display your ideological alignment? Guy Christensen sells them through a link in his bio.

This is fandom logic in political form: it's identity-driven, emotionally performative, virality-optimized, branded and monetized.

The problem is that Fandom has no endgame. Fandom is forever. There’s no "solving" Game of Thrones - you just keep angrily resenting that awful final season.

Politics needs resolution. If you apply the fandom model to real-world conflict, peace becomes anticlimactic. Moral ambiguity feels like betrayal. Ceasefires don’t trend on social media.

Look at how the "pro-Palestinian" movement won't condemn Hamas regardless of the people of Gaza marching en masse to demand Hamas leave Gaza.

When the identity matters more than the cause, the cause becomes a backdrop.

Such "activists" center their feelings of righteousness rather than centering the lives at stake.

Performative grief displaces material action.

Sharing content becomes the work.

Listening becomes optional.

Look at how Irish protestors embraced the term “Paddystinian" - blending diasporic solidarity with performative identity. Or consider how Peter Tatchell was arrested at a pro-Palestinian march for opposing both Israel and Hamas - and was immediately denounced online not for being wrong, but for deviating from the script.

This isn’t activism. It’s cosplay with real-world stakes.

Real political work is boring, frustrating, and morally dissonant. It demands strategic thinking, coalition-building, and compromise. It doesn’t fit neatly into a feed, and it rarely makes you feel emotionally whole, but it’s the only thing that changes anything.

If you’ve grown up in fandom, you’re not broken or unserious. You’re just swimming in the water you were raised in.

What they need to ask themselves, though, is: Are we trying to help, or are we trying to feel right?

Because the people on the ground don’t need you to wear your Guy Christensen kiffiyeh and recite the ideologically approved positions you don't understand. They don't need your fan art. They don't need you to harass Jews online.

They need peace, they need dialogue, and they need all of us to stop treating war like content.

[lets-steal-an-archive]

For anyone wanting distraction...

A few general:

TV Writing

Script Slug

BBC Script Library

500+ Horror screenplays (1922 - present) [rebloggable]

over 100 Black film screenplays [rebloggable]

over 100 Queer film screenplays [rebloggable]

A few specific:

Charmed (1998) scripts

Doctor Who scripts: Classic Who, Whoniverse

Gilmore Girls scripts

Hannibal scripts

Highlander scripts

It's Always Sunny in Philadelphia scripts

Kolchack: The Night Stalker scripts

Lost scripts

MASH: Maddie's MASH archive; hhawkeys scripts; flintism scripts, topshelf2112-blog scripts

Rick and Morty scripts

The Simpsons scripts

Star Trek (TOS, TAS, TNG) DS9 VOY scripts

Supernatural scripts (TV Writing mirror)

Xena: Warrior Princess + Hercules crossover scripts (+ a few outlines too)

The X-Files scripts