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The Simpsons - S16E05

Family . Comedy . Animation

Bart loses his last baby tooth in a spitball fight. Called the money tooth, Bart is suffering from what he calls a midlife crisis when the tooth fairy has given a gift in his name to the United Way, what his mother calls a "grown-up gift." Bart gives up on his childhood and Lisa suggests that he expresses his feelings in some way and Bart chooses to put them in the form of slogans on a T-shirt. When Goose Gladwell, a gag-gift entrepreneur, sees the slogans he forms a partnership with Bart that begins to make Bart a lot of money. Homer is suspended from work without pay and then decides to quit outright and live off of his son's earnings. Of course he loses his place in the family as breadwinner and starts to lose his self respect. A documentary by Declan Desmond on lions inspires Homer to start focusing on his relationship with Lisa. He decides to help her with her science project about nuclear power, which includes a scale model of the first nuclear power plant. Homer improves on her model by making it functional, something easily done after finding the instructions on the Internet. He sneaks into the power plant and get some plutonium. Meanwhile, Goose Gladwell has sold the rights to Bart's T-Shirts to Disney and Bart won't get a dime from it. To get back into his role as the alpha male of the family, Homer makes use of the working nuclear reactor to threaten Gladwell into giving his son what he deserves and few novelty items for himself. As to whether the reactor actually works or not, Homer decides to leave that up to the seagulls at the city dump to figure it out.

Episode Title: Fat Man and Little Boy
Airs: 2004-12-12 at 08:00 pm
  • Ken Tucker

    Groening has created a group of characters whose personalities and motives are more vivid and detailed than the vast majority of sitcoms featuring flesh-and-blood actors.

    Entertainment Weekly Full Review
  • Richard Zoglin

    [The show] has a good deal of savvy wit.... The Simpsons, however, is strangely off-putting much of the time. The drawings are grotesque without redeeming style or charm (characters have big beady eyes, beaklike noses and spiky hair), and the animation is crude even by TV's low-grade standards.

    Time Full Review
  • Howard Rosenberg

    Easily the the best, cleverest and nuttiest arrival of the 1989-90 season is The Simpsons...It's very small-scale, but perfectly conceived and executed. What we have here from creator Matt Groening is a rare confluence -- delightful writing, pictures and voices fitting like a Matisse. [12 Jan 1990, p.F1]

    Los Angeles Times Full Review
  • John Engstrom

    "The Simpsons" is both a challenge and a delight. It's also that rarest of TV fauna, a cartoon show with levels of mirth for every brain and pair of eyes in the family. [12 Jan 1990]

    Seattle Post-Intelligencer Full Review
  • Matt Roush

    A hilarious holiday package. [15 Dec 1989, p.3D]

    USA Today Full Review
  • John J. O'Connor

    There is, admittedly, a fine line between being hilariously perceptive and just plain, even objectionably, silly. While habitually teetering on that line, 'The Simpsons' has shown a remarkable ability to come down on the right side most of the time.

    The New York Times Full Review
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