As you might have guessed, I really like Don Hertzfeldt’s couch gag. I enjoy how deeply unsettling it is, dragging a 20-second couch gag into a long 2 minute demonstration of grotesque and absurd animations. Hertzfeldt turns Homer, Lisa, and Bart into caricatures of themselves who are only capable of saying bastardized catch phrases like “D’oh!”, “Don’t have a cow, man,” and “I am Lisa Simpson”. Maggie, who has very little personality at all in the show, simply becomes a vehicle for advertising Simpsons merchandise, and the entire kitchen-cube scene here seems to indicate that the quality and integrity of the Simpsons TV show will only decrease over time, eventually reaching such a low point as to become the absurd repetition of catch phrases. (On a side note, I dislike how Marge says “Praise the dark lord of the twin moons” — the line sounds cheesy and detracts from what Hertzfeldt has already presented.)
The future Homer then realizes that he “has memories,” and the couch gag launches into what is, in my opinion, the best part. We see Homer look back into post-modern snippets of “future” Simpsons episodes, each of which contain quintessential Simpsons themes. We see a robotic Homer and Marge standing on metallic stilts standing quietly on a jagged mountain range. Although robotic, the couple is still in touch with their core humanness, and Marge touches Homer and says, “Still love you, Homer,” a theme which is mirrored in many present-day episodes of the show. In the next scene, the Simpsons family is reduced to yellow, single-celled organisms, fluttering in a sea of liquid as if in a cohesive bacterial colony, declaring that they “are happy family.” Finally, in the far future, Homer and Marge are both warped into alien-like entities incapable of traditional speech, but even then they retain their fundamental selves. As the warped Marge Simpson speaks, a message appears on the screen: “I will never forget you.” — and as the two figures disappear, first Marge and then Homer, into an endless black void, Hertzfeldt beckons us to consider how meaningful such the promise can be.
Finished pondering, Homer looks at his family once again. The promise was broken. With the family reduced to robotic, characterless parrots only capable of talking in catch phrases, they have already forgotten Homer and themselves. Realizing this, Homer concludes the scene with a mournful “D’oh.”
This song is awesome. It’s catchy, has a lovely music video, and it’s philosophical. Watch it and share your thoughts.
“Common World Domination” is a modernist narrative about the fruitlessness of material obsessions. You can see this right from the beginning with the motif of the skeletons collapsing, which represents how no creature can escape from returning to skeletal dust. Meanwhile, the band-aid motif represents the superficial and artificial ways in which people try to escape from their problems. The narrator (whom I’ll just call “Miku”) is a classic modern intellectual filled with apathy and the burdens of consciousness, who compares and contrasts herself with “you”, the viewer.
I know what you’re thinking. Jonman, come on, Madoka came out what — ten years ago? And during those ten years it’s been completely uncontested as the greatest anime of all time. I’ve loved this show and made it part of my LIFE. I own the Madoka figurines. I buy the Madoka posters. I wear the Madoka t-shirts. If you cut me open and looked into the bloody guts spilling out of me they would spell out the words M A D O K A MAGICA. Uh, in Japanese, of course. In all of my years I haven’t seen a single good objection to Madoka Magica — not even one! — so why is your random blog post going to be different?
Okay, guy, you might have a point. But hear me out: Madoka Magica is entertaining, sure, but it’s philosophically incoherent. It’s like eating spaghetti with ketchup instead of tomato sauce. It’s like adding vinegar to your morning breakfast cereal. There are so many bits and pieces of the show that would probably stand reasonably well as independent stories, but when combined, they become an inconsistent mismash of incompatible and mutually exclusive moral messages. Spoilers follow, but I’m assuming that if you’re at this point in the reading that you’ve either seen the show already or aren’t concerned if I spoil it for you.