Q: Who's the real brains behind "The Simpsons"? or: Who put the spring in Springfield?

A: The new Vanity Fair feature on The Simpsons is full of great details of the show's history and pre-history — among them:
- Producer James L. Brooks discovered Matt Groening when the production designer on Terms of Endearment bought Brooks one of Groening's Life in Hell cartoons she thought he'd appreciate. That cartoon was called "Success and Failure in Hollywood" (not available on the Interwebs, sadly), and the gist of it was that in Hollywood, success and failure both end badly. It's funny to think that if Groening hadn't drawn that cartoon — or if the designer hadn't come across it in an L.A. alt-weekly, or if Groening had already sold the original to someone else, or etc etc etc — one of the greatest works in TV history wouldn't even exist.
- Groening and original show-runner Sam Simon hated one another. Simon comes off as a kind of unbearably mad genius, but is credited with "taking Groening's crude characters from The Tracey Ullman Show and making them into the Simpsons that the world knows and loves," including literally redrawing them (he's a cartoonist himself, which I didn't know).
- Animator Gabor Csupo says Brooks originally conceived the Simpsons' segments on The Tracy Ullman Show to be black-and-white, as Groening had drawn them. So the characters' yellow skin and Marge's blue hair were added by the animators, not by Groening himself.
- Art Spiegelman, Maus author and current New Yorker toon editor, originally "pleaded" with Groening not to work with FOX. "'They're gangsters! They're gonna take your rights away!"' Spiegelman recalls telling him. "He's never let me forget it."
But elsewhere in the article, Mirkin and the show-runners who followed him are indirectly cited as partly responsible for the show's post-season-eight decline (before Al Jean returned in '01). So maybe the occasional network input wasn't as harmful as one might assume. [CORRECTION / CLARIFICATION: Mirkin ran the show's fifth and sixth seasons. The show may have been in decline by then, considering how strong the third and fourth seasons were, but it wasn't a huge dropoff.] Incidentally, Rupert Murdoch comes off as an okay dude (I don't really blame Murdoch for Fox News' existence, but that's fodder for a different post).

As to who provided the real brains behind the show, you could go a lot of different directions — Simon or the voice talent would both be solid picks there — but I was particularly struck by the degree to which former Harvard University nerds shaped the show.
I knew a lot of the more prominent early writers, like Conan O'Brien, were Harvard Lampoon vets, but I didn't realize the degree to which they dominated the writing room. Says writer/exec. producer Bill Oakley, "From Season 2 to Season 8, there was never a time that there were less than 80 percent Harvard Lampoon graduates on the staff."
Given that Seasons 2 through 8 is the show's golden age, maybe Hahhhvahd deserves more of the credit that I ever realized.
BONUS: From Season 9's "All Singing, All Dancing," here's the "We Put the Spring in Springfield" sequence.
Even the "down" years have their share of great bits.
DISCUSS: Is Harvard still pumping out funny people these days? I suspect it's a different type crowd there than it was 20 or 30 years ago.
(Oh, and Dear Lampoon staff: Maybe you should give a call to your peers over at MIT and ask them to build you a Web site that doesn't blow. Just a thought. Love, t.a.m.s.y.)














