I could have written about many topics today such as US special ops troops in the Philippines, the victory of social democrat Jeremy Corbyn in Britain (which some have discussed at length), or the kerfuffle between Qatar and other Gulf autocracies, among a litany of other topics. Instead, I write here today a criticism of Matthew “Matt” C. Taibbi, a bourgeois writer who claims to care about “income inequality” or the effects of capitalism, while ignoring the system itself.
Tarzie has written about Taibbi before, who some call a “fake leftist.” While back in 2011 Taibbi was quoted in a supportive manner, when it came to criticizing neoliberal columnist Thomas Friedman, three years later, in 2014, that had changed. He described Taibbi as a Rolling Stone reporter who was “the latest trophy taken in Pierre Omidyar’s conquest of the fashionably leftish” and admitted that Taibbi’s work on Wall Street teaches him “things I don’t already know, in a style that frequently makes me laugh out loud” while the same is not the case for Glenn Greenwald (of course). He added that Taibbi has “crossed picket lines during a Writer’s Guild strike in 2008” to appear on late night TV, thinks Roe v. Wade should be overturned, feels that there shouldn’t be a “Federal ban on anti-LGBQT discrimination” and considers himself a libertarian. Furthermore, Tarzie quotes from Walter Glass, and notes that Taibbi glosses over the effect of the corporate sector on places like Camden, New Jersey, and says that Taibbi is a “rich dude telling tales on the worst-behaved members of his class, while pleading the case for their reformability” and is a perfect “fit for an oligarch, just as he is.” Later that year, Tarzie criticized Taibbi again, saying he would hold a “no-holds-barred discussion” for Greenwald’s book tour.
There are only two other articles, to my knowledge, in which Tarzie criticizes Taibbi. One of them says that Taibbi left First Look by writing a piece earlier that year that “looks unmistakably like a warning and a cry for help” and that “we” missed the signs of this. The final one is written the following year, in February 2015, notes how former First Look writer, Ken Silverstein complained about the latter’s handling of “Racket” which was planned to a “satirical newsmagazine” headed by Taibbi which folded shortly after he left, wasting millions of dollars, which he called “the greatest squandering of money and example of criminal ineptitude in the history of modern journalism.” He goes on to quote Silverstein as saying that Taibbi “is definitely more likable than Glenn” who he says has a troubling role in First Look.
It is there that his criticism of Taibbi ends. From this point, this article will expand and augment what Tarzie had to say with principled criticism.
Taibbi shills for empire
Three days ago, Joe Emersberger wrote an article for Telesur English slamming Taibbi for taking the side of U.S. imperialists by calling duly-elected (but embattled due to internal and external pressures caused by the murderous empire) President of Venezuela, Nicolás Maduro, a “dictator.” The article, reprinted on a pro-Chavista and respected news outlet, Venezuela Analysis. Emersberger notes how Taibbi attacked the Venezuelan government as a “dictatorship” by citing US-funded opposition figures like Julio Borges, president of the National Assembly, and Henrique Capriles, the opposition governor of the state of Miranda, who had run against Maduro in the election. Clearly, Taibbi forgets that these individuals are working for the empire, even as he alludes that Borges “has been using his position as head to the National Assembly to try to get economic sanctions implemented against Maduro’s government.” That’s not all.
Emersberger goes on to criticize Taibbi even more harshly. He notes how bourgeois media “has almost unanimously reported from the U.S.-backed opposition’s point of view” evidenced when a “prominent U.S. progressive like Taibbi chimes in from that perspective” (I think he is over-inflating Taibbi’s importance here). Then, he goes into an example about what he would think about direct Russian interference in the US political process. He adds that the government of Venezuela “has been very tolerant of U.S.-backed subversion” and that “protests dominated the coverage and that denunciations of the government…were given ample attention.” Hence, he notes that even Reuters admits that private broadcasters give “equal weight to opposition and government leaders and supporters in broadcasts.” He argues that this does “happen in a dictatorship” even though “serious criticisms can be made about Venezuela’s democracy” which I think it too much of a concession to bourgeois media. He ends by saying that “Taibbi should know better than to trust the establishment media within this imperial club to define who should be labelled a dictator.”
Taibbi’s article is even worse (do not read this unless you really want to) than Emersberger makes it out to be. It is titled “Two Vile Names, One Sweetheart Deal: Goldman Bails Out Maduro” with the subtitle “The Vampire Squid rescues an infamous autocrat.” For a magazine like Rolling Stone which has basically lost most if not all of its credibility from the fake rape story to other problematic stories, it is not a surprise that he wrote this op-ed. His short piece makes it seem that Goldman Sachs AND Venezuela’s government are “amoral and corrupt institutions.” This is utterly false. While he makes a valid point that Goldman Sachs is the “symbol of international predatory capitalism,” he seems to miss the point that Venezuela is bad straits because of the murderous empire. He does call Maduro an “infamous left-wing dictator” but he also calls the government of Venezuela “authoritarian,” citing sources such as the New York Times, Forbes (which Taibbi admitted years earlier was “very bank-friendly“), The Telegraph, New York Post, Miami Herald, Times of London, and so on.
That’s not all. He seems to mock the idea that Venezuela’s problems are part of a US “economic war” and calls the government of that country “Maduro’s regime,” even though he is only one figure in the government. He then goes on to mock Goldman Sachs as well,and almost “legitimize” the protests against Venezuela’s government by saying “More than 50 people have died in protests over the past two months, with many more injured and arrested.” He also claims that Maduro’s action represents the “ultimate in cynicism, and one likely to have dire consequences for a country already on the brink.” He then snarls at this attempt by the Venezuelan government to save itself…
It’s a good thing Karl Marx is dead, because otherwise this metaphysical mind-loop of a news story would make his head explode. Is this a corruption of capitalism, a corruption of socialism, both, or neither? Maduro himself would probably say this transaction is a perfect example of the “savage capitalism” he says he despises.
Again, this should be no surprise coming from a man such as Taibbi who cannot seem to think beyond capitalism in any way, shape, or form. Saying he is glad Marx is dead is anti-communist in the fullest extent, there is no doubt. As a result, he probably has NOT read the Communist Manifesto and hence does not know this part of the manifesto:
…the Communists everywhere support every revolutionary movement against the existing social and political order of things. In each of these moves they bring to the front, as the leading question in each case, the property question, no matter what its degree of development at the time…they labor everywhere for the union and agreement of democratic parties of all countries.
In my interpretation, countries such as Syria, Venezuela, Bolivia, the DPRK, Zimbabwe, and Cuba would fall into a “revolutionary movement” which can be expanded to cover revolutionary governments. Hence, it would be a duty of comrades to engage in international solidarity with these states and any others that stand “against the existing social and political order of things” which does NOT include the snivelly “good” Kurds.
Of course, as Marx and Engels said in the Communist Manifesto, the bourgeoisie, represented by Goldman Sachs in this case, as the need of gaining an expanding market for its products and hence must “nestle everywhere, settle everywhere, establish connections everywhere.” Hence, countries like Venezuela, that resist US and Western imperialism, are not unaffected by global capitalism, so they end up making agreements like this one with Goldman Sachs for their survival. While some may cringe, rightly so, as the saying goes, desperate times call for desperate measures.
The Taibbi who you (should) love to hate
A skimming of his Rolling Stone contributor’s profile shows him as “pro-Democrat,” favoring the milquetoast “resistance” of Trump in more ways than one, especially by embracing the whole “Russiagate” cloud of nothingness which is a distraction from the other horrible events instigated by the Orange Menace. Furthermore, he seems to think Vladimir Putin is a horrible, nasty person, again, embracing the Russia hysteria, along with giving social democratic imperialist Bernie Sanders accepting him as “genuine.”
But there is more to Taibbi than that. Tarzie referenced this interview of Taibbi by the libertarian Reason back in 2007. Within this, Taibbi shows that he is a horrid libertarian and supportive of the capitalist system, along with not understanding socialism:
…I think Roe v. Wade should be overturned because I believe in the federalist model; I believe that states should be able to make their own drug laws. The more democracy you have, the more people can make decisions for their own communities, the more freedom people have…There’s more on-the-ground energy for Ron Paul than there is for the rest of the candidates combined…It’s [the war machine] not capitalism at all. It’s more like an authoritarian socialism. It’s forcibly extracting money from the customers and distributing the profits to companies that aren’t selected by market choice but government fiat. Critics call it the free market, but it’s not that at all…America is about getting the government off your back, a reprieve from having your life interfered with, and we keep forgetting that.
With this, not only he endorsing the capitalist ideology but he is also embracing the idea of American exceptionalism as some call it. Basically he is not OK with progressive efforts to stand against fast food industries or even moves that increase government control in a way to help people’s lives. Of course such governments are usually not socialist and these measures are reformist, but they are not inherently “evil” or “bad.”
There are further viewpoints of Taibbi which are repugnant. For one, he admires Andrew Breitbart to an extent, apart from accepting the story of Trump-Russia collusion he thinks that the Attorney General would be “better” if there is a “career investigator, career law enforcement official in that job” which denies the fact that such individuals are just part of the capitalist system, moving it forward. This so-called “award-winning journalist” buys into the Sanders deception, describing him as a politician who is “completely honest….really interested in…standing up for regular working people” even though he has not done this just like other bourgeois progressives, praising the DOJ as having “political” and “talented and aggressive lawyers”and called Molly Crabapple Klein Crapple a “great artist” even though she doxxed someone  for supporting Russian intervention in Syria (which was done with the approval of the Syrian government unlike US-led coalition efforts). Crapple also supported white nationalist Weev/Andrew Auernheimer as OLAASM has pointed out on varied occasions (see here and here). Hence, this endorsement by Taibbi is disgusting to say the least.
This is only scratching the surface of his beliefs. He also grumbles about the “government interfering in a market process” (why is this bad?). Even more than that, he whitewashes slavery as the driving force of US capitalism:
You know, America used to be—especially the American economy was built upon this brick-and-mortar industrial economy, where we had factories, we built stuff, and we sold it here in America, and we exported it all over the world. That manufacturing economy was the foundation for our wealth and power for a couple of centuries…whereas the old manufacturing economy had the sort of negative effect of spreading around to the entire population
As Edward Baptist writes in The Half Has Not Been Told (scholarship which was started by Eric Williams in his book Capitalism and Slavery), slavery was tied to every aspect of the US economy, with almost a million enslaved laborers moved from the “Upper South” (like Maryland) to “Deep South” (Georgia and Louisiana) in coffles. Furthermore, the industrial workers in the North were making products out of cotton, the same cotton that enslaved laborers had worked all day to pick from fields under the whip of the White slavemaster who whipped them if they disobeyed. Hence, Taibbi is acting like slavery was not part of this, or even mentioning indigenous genocide as a further foundation for settler colonialism in the United States as the “enlightened” empire grew with its tentacles reaching across the continent.
There are other aspects of Taibbi that make one cringe. He seems to accept the “goodness” of corporations in and of themselves, endorses some austerity (“if someone has to tighten a belt or two, let’s start there”), and strangely called Mitt Romney “a revolutionary, a backward-world version of Che or Trotsky,” bemoaning the “roots of the radical economic changes” despite the fact that he is using the word radical incorrectly while portraying Romney in a weird way. He is also a person who has said that “private equity firms aren’t necessarily evil by definition” and seems to have a soft spot for “businesses that were America’s original industrial cornerstones” whatever that refers to. Apart from endorsing the Occupy movement despite its bourgeois nature (as we all know by now), he calls the high-ranking people at Bank of America “not bankers or capitalists, but a class of person that was never supposed to exist in America: royalty.” Again, his lack of class analysis and any semblance of radicalism means that he makes bizarre and worthless statements like that which are of no use to anyone. The same goes for his declaration that “we’ve just got to get the right people in the right jobs” if that will really change anything at all.
Taibbi and the past
To close out this article I’d like to look at a few articles looking at Taibbi’s past. The first is a 2010 Vanity Fair article titled “Lost Exile” focusing on the death of a Russian newspaper of the same name co-edited by Taibbi and Mark Ames (who now works for PandoDaily). The article notes that both of them would “prove the hardest-partying Moscow media celebrities of their time” and end up embodying post-Soviet Russia’s “hedonism.” It also claims that Taibbi was a “born journalist” but a person who speculated about a possible “connection” between “apartment-building bombings and Putin’s ratcheting up of the Chechen War” which is used by anti-Putin individuals to this day. The article goes onto say that Taibbi has earned a “reputation as the premier bullshit detector and absurdist on the campaign trail” among many, with some saying like Hunter Thompson he also hated politicians. Later, in response to the writer of the story asking Taibbi questions, he grew increasing agitated after they called his book crap, throwing his coffee over their face, which is actually a bit hilarious.
Farther back are a set of articles in 2005. One claims he has a “fairly sophisticated knowledge of the inner workings of Congress” while others criticize his article for the New York Press titled “The 52 Funniest Things About the Upcoming Death of the Pope” panned by organizations and politicians as “hate speech,” “ugly,” and “disgusting.” Maybe this isn’t a surprise for a person who is an “expatriate-journalist-turned-New-York-writer” who “identified with Russia and its writers Nikolai Gogol, M. Saltikov and Leo Tolstoy” growing up, while “Taibbis popularity” rose that year.
Taking all of this into account, Taibbi no doubt has a developed ego which supports his self-promotion on places like Democracy Now! and other places. In those secluded areas, no one dare questions him. He is part of, as some have put it, the “Celebrity Left” or the professional left, individuals who are in a sense “above” others, in terms of criticism and status. Some, like Charles Davis (“Chuckles”) only aspire to this level, while others like Ta-Nahesi Coates and Snowden are already at this level.
There really isn’t much else I’ll say about Taibbi at this time. Some may say that an article like this is unnecessary. I disagree. I think it is important to criticize public personalities like this. Too often, these people are barely criticized and given a free pass. That is not OK under any circumstances. Everyone, including this writer should and can be criticized, but fairly and justly. Self-criticism is important for radical and revolutionary politics as the Black Panthers realized, as did Mao and students of Maoist thought. Perhaps I’ll write another criticism of Glenn Greenwald next (or even “The Intercept”), or about some international issue. But for now, I think this article will stand. As always, I look forward to your comments.
 The person who this seems to refer to is a woman named Taryn Fivek, a deserving comrade. Tarzie seems to have a beef with her. He first accused her of “smearing for Soros” calling her a “Twitter nuisance, shameless liar and justifiably failed citizen journo” (along with “outright troll”) and wanting to shut down debate on this topic of Soros’s influence on “the Left” in his view. He seems to have forgotten these later tweets (standing by his flawed analysis in another post), showing that Tarzie is having problems of his own with analysis without much of a basis:
so all people who discuss him are crackpots etc & its not a legit subject of discussion to some communists/leftists? strange …
Later, on Tarzie’s blog, one user describes Fivek is a “self professed red who I’ve not really known but from time to time posted at the same places…she wrote a book under a pseudonym (Emma Quangel) which was essentially a direct attack on Molly Crabapple. Crabapple responded by doxxing Fivek” and that in the fallout of this, someone said that she should “monetize it, leading to whatever this nebulous cesspits” and told Tarzie, “knock this stupid transparent bullshit off because we really don’t need this right now. You can, you know, actually work a job instead of hustling mentally ill people on the internet. And if you actually can’t see through the bullshit start reading everything here to start.” Tarzie responded by saying that “Fivek doesn’t need Hopkins because she knows better” and what she is doing looks “like a paid performance.” Hence, he is still stuck in the mud of Fivek. For a person who defended Fivek and then turns on her for saying the “wrong” things about Soros is cruel and pathetic. This is where Tarzie is wrong. He may have good analysis in other realms, but on Fivek he is completely and utterly wrong. Hence, I’d rather stand with Fivek than with Tarzie, with some saying she supports white nationalism (or something) although I have seen no evidence to support that claim whatsoever.
As reader may know, I’m an avid fan of animated sitcom, the Simpsons. I’ve cited it on this blog when mentioning that strange “human rights watcher” guy and how the show has mocked Apple (and addiction to online games) by calling it “Mapple,” the character of “Steve Mobbs” (Steve Jobs) declaring to Homer that he must “submit” to Apple’s control, and Bart dispelling the idea that Mobbs is a “genius,” saying he is self-absorbed while stirring up people’s homophobic urges. I’ve also cited the Simpsons as an example of better politics than Star Wars, Simpsons episodes about Cuba, the episode called “Simpsons Tide” as a comparison for recent Russophobic attacks on the Trump Administration, and mentioned it at the end of an article about the immigrant proletariat in the United States. This is only scratching the surface as my twitter account shows. By the time this is published, there will soon be another episode in the works, which isn’t worth watching. As it stands now, The Simpsons is going into the latter half of its 28th season, with plans of it continuing until Season 30, as announced last fall. I’m not trying to advocate on behalf of the Simpsons here, but look into this topic with a clear mind, since this show can be relevant culturally and politically, so this analysis is justified. This post aims to answer the question, is show dead and/or does it constitute the “Zombie Simpsons” as those over at Dead Homer Society argue?
Definitions and establishing terms
Before proceeding it is best to set forward a number of definitions. For the word dead, the Webster’s New World College Dictionary defines it as “no longer living; having died…naturally without life; inanimate…lacking positive qualities…without feeling…barren…time of greatest darkness, most intense cold…was alive but is no loner so.” As for zombie, the same dictionary defines it as “…a corpse…brought to a state of tracelike animation and made to obey the commands of the person exercising the power…a person considered to like a zombie in listlessness, mechanical behavior…a weird, eccentric, or unattractive person.”
The general agreement is that there was a “Golden Age” of the Simpsons.  Some say it lasted from Seasons 1 to 8, others say Seasons 3 to 8, some say Seasons 4 to 10, and then there are those that say it lasted from Seasons 1 to 10, or maybe 11.  So, the term is very loose. This is why some media critics say it is a “fool’s errand to pinpoint when and how modern-day Simpsons diverged from its golden age,” while others say that the term is misleading because while it was “an extraordinary, even masterful thing,” over those years, it could be an overstatement even if the show would be, arguably, by seasons 10 and 11,in a “gaping valley [and]…never get anywhere near those heights again.” Then there are those who say that the show has not “overstayed its relevance” and that the show still holds up, with a “New Renaissance…and then a Postmodern period where they got self-reflexive about their own legacy.” While you could argue this has a bit of validity, it almost implies that the show was never off, its character didn’t change, whether it because of episodes like “The Principal and the Pauper,” or otherwise. 
You know the show has changed when it has averaged at approximately 5.53 million viewers per show since Season 21, until Season 28 (as of Feb. 25), but before then, during the “Golden Age” (Seasons 1 to 7 for this computation) the show averaged at 19.88 million viewers per show, much more.  This below chart shows the decline in viewership over the years, of the show. Despite the slight increase in viewership from seasons Seasons 12 to Season 14, it dropped again by the end of Season 15.
The Simpsons is a show that shows that cartoons aren’t just “a bunch of hilarious stuff” without messages, as Bart quipped in one episode. The information available at The Simpsons Archives shows, that there can be many interpretation of the episodes. Some say that fat, incompetent Homer is seen by some as a “homophobic hero” while others point to the show’s criticisms of consumerism (also see here) environmental destruction, and religious belief (also see here and here). Beyond this, some talk about allusions in the animated sitcom, masculinity, mocking the advertising of beer companies with “Duff Beer,” poking at the “ideal” nuclear family which the Simpsons family stereotypically represents, its satirical qualities, and ethics, among other subjects.
For the purpose of my analysis, the show is divided into three eras: the Golden Age (Seasons 1-8), the Silver Age (Seasons 9 to 12), and the Bronze Age (Seasons 13 to 28, possibly 30). For the Golden Age, there were varying showrunners, or head writers, ranging from season to season:
Matt Groening, James L. Brooks, & Sam Simon (Seasons 1 and 2)
Al Jean & Mike Reiss (Seasons 3 and 4)
David Mirkin (Seasons 5 and 6)
Bill Oakley & Josh Weinstein (Seasons 7 and 8)
Mike Scully (Seasons 9 to 12)
Al Jean (Seasons 13 to present)
Hence, you could call the “Silver Age” the Mike Scully era and the “Bronze Age” the Al Jean era.
Originally, when I thought of writing up this analysis, I was going to go through each Season and pick some of my favorite episodes, apart from its politics, however that is not sufficient for the task at hand. Instead, it is best to highlight the changing nature of the show from each era to the next. Let me make clear that I’m not trying or attempting to be nostalgic here either, it is just that the show has changed over time.
The Golden Age of the Simpsons
In Season 1, the show began with a bang, after 49 animated shorts on The Tracy Ulman Show. The pilot episode, Simpsons Roasting on an Open Fire, introduced the Simpsons family to American audiences, showing Homer, his wife Marge, and their child Maggie. Without going into a summary, the episode not only pokes at uptight Americans through the developing anti-authority nature of their son, Bart, but illustrates the class dynamics in society. Homer wants to “keep up the Joneses” and prove his worthiness “as a man” by getting a job as a mall Santa, as his ruthless boss, Mr. C. Montgomery Burns of the Springfield Nuclear Power Plant, refuses to give his workers a Christmas bonus. The latter shows that workers, the proletariat, are under the thumb of the big capitalists, that want to cut costs so they can profit off the back of wealth created by laborers. Finally, the losing dog, Santa’s Little Helper, for which he bets $13 dollars, Marge and Lisa, Homer and Marge’s daughter, say is the “best gift of all,” and brings the family together, reasserting his role as “man of the house.”
While it worth recounting the first episode, it is best to categorize the episodes into categories to show the social, personal and political themes among the seasons. Even though the first season was still the show in development, it began touching on many themes, along with being insightful and often funny.
The first of these themes is Bart opposing the constraints of the schoolyard while also trying to maintain his “rebellious” social standing:
In Bart the Genius, he sprays graffiti mocking Principal Seymour Skinner of Springfield Elementary, utters the phrase “eat my shorts” which will later become his catchphrase, cheats on a test giving him a ticket into “higher” schooling and learning in which he cannot thrive since he isn’t really a genius at all and was “faking it.” By the end of the episode, everything is “back to normal” in the Simpson home.
In one episode, Bart leads kids to fighting back against those who bully him (Bart the General), with the episode even touching on the seriousness of war
Bart’s attempts to assert his “rebellious” social standing, the beginning of criticism of TV comedians/showbusiness with the introduction of Krusty the Clown, and the town defending its own insular identity after Bart decapitates the Jebeddiah Springfield statue in the center of town are manifested in The Telltale Head.
The next three episodes focus on Bart’s rebellious nature (The Crepes of Wrath), the Cold War tensions between Albania and the United States which results in this argument between Lisa and Adil
Bart shows that he wants to succeed enough to get a passing grade by working with the stereotypical nerd Martin Prince (Bart Gets an “F”)
In Radio Bart, he manipulates the town with his microphone, but the worthlessness of a funding campaign by celebrities which mimics “We are the World,” and that you should be careful what you wish for, with Bart saved after a massive digging effort with the wishing well as dangerous as ever.
Bart having a taste of authority with Lisa becoming rebellious but coming back to her usual self with the help of Bart (Separate Vocation)
Bart travels the open road with Milhouse, Nelson, and Martin, with them stranded out there (Bart on the Road)
The next category focuses mocks corporate propaganda, control, and/or focuses on struggles of those working in the nuclear plant, especially Homer:
In Homer’s Odyssey, shows that Bart continues to be disobedient, pokes at propaganda for nuclear power, and establishes Homer’s story, as he goes from being an incompetent buffoon to becoming safety inspector at the Nuclear Plant after his wide-ranging campaign for safety across the town of Springfield, cementing his job for the rest of the show. You could say that Mr. Burns made a concession to the protesters campaigning for safety by hiring Homer, which not gave Homer a job and saved Mr. Burns from scrutiny of the plant’s safety.
In There’s No Disgrace Like Home, which focus on family problems, introduce the Itchy and Scratchy show which mocks “Tom and Jerry,” the corrupt (and incompetent) police force in the town.
Homer rising up the executive ladder in the nuclear power plant by deceit and deception with hair growth product which he falsely paid for on the company health plan (Simpson and the Deliliah), showing that what Frank Grimes says many episodes later rings true while also showing that Marge will stand by him even as Homer is demoted to old job by the end of the episode, and that people discriminate against those who are bald, not taking them seriously.
The first episode of the season, Stark Raving Dad, shows the regimented, corporate control of the workplace for which Homer is targeted for wearing a pink shirt and put in a mental institution where he meets a man who claims to be Michael Jackson (this character is the guest appearance of Michael Jackson), who cheers up Lisa.
Krusty the Clown’s Jewish roots, perhaps poking at the number of Jewish comedians within Hollywood (Like Father, Like Clown)
corporate consolidation and the unforgettable daydream of Homer about the “Land of Chocolate,” with the power dynamics returning to “normal” when Mr. Burns buys his plant back from the Germans by the end (Burns Verkaufen der Kraftwerk)
Kamp Krusty is one of the best episodes to date, not only highlighting Krusty the Clown’s cost-cutting measures to “save” money and his fraudulence in that regard, but the naivety of Marge and Homer about the camp, along with the infotainment aspect of the news media represented by Kent Brockman’s report about the situation
Homer starting his own snowplowing business, Mr. Plow, moving up to the status as part of the petty bourgeoisie which doesn’t last very long at all.
Bart realizes he needs to testify, showing that Quimby didn’t beat up a waiter, going against everyone’s conceptions about the Quimby family, and that it was the waiter’s fault (The Boy Who Knew Too Much)
Springfield hosts a film festival with Hans Moleman’s funny short, “Man Hit By Football,” an insightful movie by Barney, and a propaganda film by Mr. Burns which everyone hates (A Star is Burns)
The Radioactive Man movie is filmed in Springfield, and the project quickly goes into disarray
Another major theme in the show is Lisa’s intelligence being undermined often while she also tries to impress people:
the importance of jazz as an art to express one’s emotions is manifested in Lisa’s saxophone playing (Moaning Lisa)
One of my favorite episodes, other than Bart the Daredevil, Itchy & Scratchy & Marge, Bart Gets Hit By a Car, Three Men and a Comic Book, and Blood Feud, to name a few, is Lisa’s Substitute, which I just rewatched. This episode shows Lisa’s fragile nature but also how she wants to be valued for her intelligence, admonishing her father for his aloofness and seeming “uncaring” nature, while she makes up with him by the end. Also, in a sub-story, Bart doesn’t get all he wants either as he thinks his popularity will push him forward to be class president, when everyone but him treats it like a joke, showing that his “popularity” is only constructed, not real, almost a facade, in a sense.
Herb forgiving Homer for ruining his auto business in “O Brother, Where Art Thou?” while showing that people can be forgiving even after people have been cruel to them in the past (Brother, Can You Spare Two Dimes?)
Selma trying to test her maternal instincts as Lisa gets drunk for the first time in the show, which is pretty hilarious to say the least, after Homer eats a spoiled sandwich which he treats like a person (Selma’s Choice)
Mona Simpson, Homer’s Mother, makes her debut in the series, with the backstory her her escape as a hippie in 1969 explained (Mother Simpson)
Selma marries Troy McClure, a reality show personality, but it doesn’t go as she thought it would (A Fish Called Selma)
One related theme is Marge being devalued, just like Lisa:
Homer seems to fall into the role of Marge as a mother (Homer Alone)
Others focus on how Marge is not being valued at home, threatening Homer’s social standing in the family, and mocking Ayn Rand’s ideas directly, represented by the daycare provider (A Streetcar Named Marge)
Marge getting her first job of the series other than homemaker as a worker at the nuclear plant (Marge Gets a Job)
A related theme is Homer trying to maintain his middle-class standing and status as a male rolemodel, “man of the house” for his children:
seductions of another man pulling Marge in but she still comes back to Homer, showing their lifelong bond, while Homer’s role as an effective “male role model” is clearly shown as a facade (Life on the Fast Lane)
This bond is challenged in Homer’s Night Out, which some people as I know from watching some YouTube video which claimed to tell the “worst Simpsons episode,” did not like, in which Marge doesn’t like the picture of Homer with Princess Kashmir because it says that Homer doesn’t respect women, which he makes up by the end of the episode.
When Flanders Failed shows that Homer has a redeeming quality despite the fact that he is still envious of the Flanders Family for seemingly being “better off” than the Simpsons.
Homer’s ineptness “saving” the day showing him an imbecile, “gaining” him a phrase and “entry” in the visualized dictionary, with this episode showing more about who Homer is as a person (Homer Defined)
Homer being tempted by pretty woman, Lureen Lumpkin, while also parodying country music effectively (Colonel Homer)
The one about Homer going to college (Homer Goes to College) is one of my favorites. I say that not only because it includes the great scenes about the mystery box but it shows how Homer doesn’t care about school at all, basically treating it like an utter joke. While I personally wasn’t that type of student, I did watch this one again after graduating last year, so it still has holding power.
Homer proves himself as a father figure (Boy-Scoutz ‘n the Hood) after Bart becomes a junior camper, saving the day by bringing a Krusty map with him, eating at a restaurant on an offshore oil rig
There’s the episode which seems to be the Simpsons version of Clockwork Orange, with Homer and others becoming a vigilante (Homer the Vigilante)
Homer helping Apu out after getting him fired, showing the former to be an utter jerk (Homer and Apu)
Homer going into space as an astronaut “by default” after Barney drank non-alcoholic champagne, along with the infamous line by Kent Brockman “welcoming our new insect overlords” showing him to be too hasty and sensationalized nature of the news media (Deep Space Homer)
Homer breaking from his usual routine of disliking Flanders to treating him as a friend, which Ned eventually detests so much to separate himself (Homer Loves Flanders)
When Homer is falsely accused of molesting a woman, he tries to defend himself, but the sensationalized media treats him like a perpetrator until someone unexpected comes to try and prove his innocence (Homer Badman)
Homer becomes the leader of the Stonecutters, but not everything goes the way that he would have expected it (Homer the Great)
Then there’s the running villain throughout the series, Sideshow Bob, along with other related themes like the evilness of Mr. Burns and funny “horror” episodes:
The introduction of the devious but foolhartedly Sideshow Bob is coupled with continued incompetent police and planned revenge against Bart in the future (Krusty Gets Busted)
The Season is unique in beginning the Treehouse of Horror, their Halloween hilarious “horror show” which continues to this day
Other episodes focus on capitalists trying to get their way in politics to protect their bottom line (Two Eyes in Every Garage and Three Eyes on Every Fish) with Mr. Burns of the Republican Party trying to run for governor against a presumed Democrat or independent, Mary Bailey, along with focusing on environmental pollution from the nuclear power plant
The deviousness of Mr. Burns which basically backfires from using his all-star team to using his “lousy” employees instead (Homer at the Bat)
Sideshow Bob comes back on the scene, trying to kill Selma (Black Widower)
in Cape Feare the bumbling villain of Sideshow Bob comes back to kill Bart but fails because he sings the entire score of the H.M.S. Pinafore.
With Mike Scully coming to the fore in Season 9, the beginning of the Silver Age which lasted to Season 12, the Simpsons began its decline. Some, like the Dead Homer Society which was mentioned earlier, say that by Season 12, the Simpsons became the “Zombie Simpsons,” without a pulse. Instead of going into detail about this in the main text, I think it is best to put what I wrote into a footnote. 
With the end of the Silver Age or Mike Scully era, there was the inauguration of the Bronze Age or Al Jean era, lasting from Seasons 13 to Season 28 (present). Since the Simpsons went downhill for so many episodes, it isn’t worth mentioning all the bad episodes. Instead, I’ll just put some of them in a footnote.  Even if there are some that are redeemable like She of Little Faith, Moe Baby Blues, My Mother the Carjacker, and Mona Leaves-a. There are a number of episodes I listed in in footnote 5 which are “passable” but not redeemable. Hence, these episodes should not be taken as an indication that the Bronze Age episodes were “good” or “brilliant” but that there are some better than others. Then we get to The Simpsons Movie which is redeemable because many of the writers from the Golden Age came back to work on the movie, making it much better than the seasons up to that point.
A defense of the Simpson “Golden era” and why the current show stinks
The Dead Homer Society is completely right. The show has become inanimate, barren, cold, listless, mechanical, and weird. It has become a “Zombie Simpsons.” Even the Consequence of Sound site, in listing the “top 30” episodes of the series, chooses episodes that ALL fall within the Golden Age of the Simpsons (Season 1-8), calling the other seasons “bad” by comparison. Roughly the same goes for the “10 Most Heartfelt Moments” although they choose one from Season 12. Many YouTubers I’ve watched put it perfectly: the show has become hollow and run out of ideas, what you could call stale.
Recently, I watched a list of YouTube videos listing the movie references across the Simpsons history. There is no doubt that the Treehouse of Horror, even into the Silver and Bronze eras, continues to pay homage to cinema, but beyond that, there is much more.  Even the Simpsons Movie has its share of movie references. The tribute to cinema is rich in the early seasons. In the Treehouse of Horror episodes from Season 1 to 6, they hit many of the classics.  Looking at these movie tributes, there is an average of over seven per episode, which may even be low since many more likely exist:
I could go on and mention the interviews with the voice actors from the Simpsons which I watched recently or a host of other videos here, but it should be clear to any reader with some sense that the Golden Era of the Simpsons was the best they have offered, much better than episodes in the Silver or Bronze eras.
I could go on with this, but I think you get the point. While I still think that The Simpsons can be cited, I personally refuse to watch any episode made after Season 13 ever again, and encourage those fans of the Simpsons to do the same. There is no reason to watch something which is dead and has no pulse. Why not take heed from what Bart says in Itchy & Scratchy and Marge when asked about watching the rest of the “cute cartoons” by Marge: “Nah…Maybe there’s something else to do on this planet.” Other than that, with the Simpsons going to Season 30 and beyond, it is worth watching episodes in the Golden Age or Silver Age (cumulatively up to Season 12), but anything beyond that is not worth anyone’s time. That’s the reality. I know that some may have found this post unnecessary but I think it needs to be discussed. I look forward to your comments as always.
 The link to never off is a forum where one user says that “to me its not so much one episode that ends the Golden Age really, its more like the flow and feel of the season that determine it. The tenth season overall just felt off compared to past years. On my list I like to separate the show into three simple Ages: The Golden Age (1-9), The Bronze Age (10-12), and The Silver Age (13-26).”
 The exact numbers are 5.533676767676767225 for the average of millions of viewers for seasons 21 to season 28, 19.889416215144713675 for the average of millions of viewers for seasons 1 to 7. The most recent episode to surpass 20 million viewers was “Homer and Ned’s Hail Mary Pass” in 2004, THIRTEEN YEARS ago.