Financial expert Mary Caraccioli travels across the country to meet families we can all relate to, from those who just can't seem to save, to folks on the verge of financial meltdown. With practical tips and her no-nonsense approach, Mary helps them get back on track to find financial freedom.
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We Owe What? - Media in The Simpsons - Netflix
Media is a recurring theme of satire on The Simpsons. The show is known for its satire of American popular culture and especially television culture, but has since its inception covered all types of media such as animation, journalism, commercials, comic books, movies, internet, and music. The series centers on a family and their life in a typical American town but the town of Springfield acts as a complete universe. The town features a vast array of media channels—from kids' television programming to local news, which enables the producers to make jokes about themselves and the entertainment industry. Most of The Simpsons media satire focuses on television. This is mainly done through three characters: Krusty the Clown, Sideshow Bob, and Troy McClure, performers in fictional television programs within The Simpsons. The Itchy & Scratchy Show is a show within a show, which is used as a satire of animation and in some cases The Simpsons itself. Topics include censorship, plagiarism, unoriginal writing, live-action clip shows and documentaries. Kent Brockman, Springfield's principal news presenter illustrates the glibness, amplification, and sensationalism of broadcast journalism. His tabloidization methods include making people look guilty without trial, and invasion of privacy by setting up camp outside people's homes. Using The Simpsons as an example of Media literacy education, Jonathan Gray discusses the role that television, and specifically television parody, might play in teaching the techniques and rhetoric of television to audiences.
We Owe What? - Music - Netflix
Michael Dunne analyzed the episode “All Singing, All Dancing” in his book American Film Musical Themes and Forms, and gave examples from it while explaining that singing and dancing performances are generally not seen as acceptable in the television medium. He notes that Homer calls singing “fruity” and “the lowest form of communication” during the episode. However, Dunne also notes the fact that Homer himself sings “his objection that musicals are fake and phony”. Dunne describes the frame narrative as establishing Marge as “..more favorably disposed toward musicals than the males in her house”. Dunne concluded that “musicals come out on top in this episode, but the victory is marginal at best.” Of the episode itself, Dunne wrote that “..the parodies contained in the show demonstrate that its creators are familiar enough with various forms of musical performance to echo them and confident enough that their viewers will catch the references.” In the episode “The Springfield Connection”, Homer and Marge went to a performation by the Springfield Pops orchestra. Kurt M. Koenigsberger analyzes Homer's comments about the Springfield Pops rendition of the Star Wars theme in Koenigsberger's piece: “Commodity Culture and Its Discontents: Mr. Bennett, Bart Simpson, and the Rhetoric of Modernism” published in the compilation work Leaving Springfield: The Simpsons and the Possibility of Oppositional Culture edited by John Alberti. Koenigsberger comments: “The joke in this opening scene involves a confusion of high and popular artistic production: Marge treats the Springfield Pops as 'culture' and expects that the usually boorish Homer will need to be drawn into the spectacle.” However, Koenigsberger notes that Homer actually regards Star Wars as a “classic”, implying that a “classic” work must have a musical composer that is deceased, and be devoid of light-shows or glitter balls. Koenigsberger uses this example to discuss Homer's application of “a strategy characteristic of literary modernism”.
We Owe What? - References - Netflix