October 16, 2021


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‘The Simpsons’ Musical Season 32 Premiere, Crazy Ex Girlfriend Reunion

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When former “crazy ex-girlfriend” writer Elizabeth Kirnan Avaric joined the staff of “The Simpsons” a few years ago, she knew she would eventually be called upon to write a musical episode. That episode premiered Sunday’s season 32, “Star of the Backstage,” where Merge revived his high school musical, “Y2K: The Millennium Bug.”

At first, Marg then recalled that she had worked as a stage manager for the show. But when he decides to start a high school reunion of actors and revive “Y2K”, he soon realizes that those pink memories weren’t consistent with reality – that he was considered somewhat expelled, then and now. That’s when he started thinking about what it would be like to be in the spotlight as a star actor. For that fantasy sequence, Kristen Bell provided Marge’s singing voice. (Scroll down to see an exclusive clip.)

“If you have a voice like Marge, with a little pebble in your imagination, who do you want to sound like? It’s Kristen Bell,” said Everick. “She has the most beautiful Disney Princess voice, and it’s light and airy and the pitch is perfect.” We were lucky enough to get him. ”

Coincidentally, he was watching the Disney Plus copy series “Encore” hosted by Everick Bell, whose show reunites high school friends decades later to re-stage their high school drama productions. “It was a really fun idea to think about,” Avaric said. “And since I’m on the 20-year high school reunion mark, it was a lot of fun to say, OK, now Merge, she’s 38.

Hate a “Crazy X-Girlfriend” reunion behind the episode, Jack Dolzen, an ex of the show, wrote the music for the episode and Kat Burns য who won two Emmy choreographies for the CW musical comedy series এছাড়াও also choreographed. “

“It was really exciting to get Jack Dolzen to come and write music and write lyrics with him, he has a unique ear and he’s so good at writing comedy songs like this,” Everick said. “And with Kat Burns, the animators saw the choreography and it matched perfectly.”

“The Simpsons” has been known for its original music for many years, and has done music-heavy episodes in the past, such as season 8’s “Mary Poppins” parody “SimpsonCalifragilistixPayala (annoying Grant) clever.” But the rare occurrence of an entire episode of “The Simpsons” was written with an entire musical arc.

“It took on the shape of a musical instrument from the start,” Avaric said. “And the songs come from an emotional place. Because if you can’t talk, you sing, and then if the emotion is too much, you dance. ‘The Simpsons’ always like to make music, and they make it so good and fun. But this is the first time we’ve been like, ‘This song is going to be a plot, and it’s taking the story forward.’

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The episode has about seven songs, one of which is a “Y2K” musical-in-a-musical. Everick said there was no time to write more music for “Y2K”, but what they did, “5-4-3-2000”, was to send “Asons of Love” (from “Rent”). “There was really time for us,” he said.

Also starring in the episode is Sarah Chase (“Integral Kimi Schmidt”) who left Broadway as Springfield High Alum and returned home to republish her “Y2K” lead. Chase’s character immediately matches up with his former customers, making Marge feel even more outcast.

“I went to college with Sarah,” Avaric said. “I always loved his voice but he was also very funny. The truth is that we have Kristen and Sarah who can both [sing and be comedic] Was really lucky. ”

Executive producer Matt Selman, meanwhile, knows that fans of “The Simpsons” who have been caught up in every change in the show’s timeline canon, may have been teenagers again in Homer and Marge 2000, when the show actually began in 1989.

“I hope this episode will make fans who were angry with Homer and Marge in their teens in the 90s, like the previous generation, angry with people who were teenagers in Homer and Marge in the 80s,” he said. “They’ve been teenagers every decade, and everyone’s angry that we’ve rewritten it.”

Considering “The Simpsons” on television for more than three decades, Selman said the show’s writers continue to challenge themselves to find new twists in storytelling.

“If you do episodes that at least don’t seem a bit new, or you’re trying to do something different, it’s annoying,” he said. “You want each show to have a unique identity. One of our main goals is to give each episode a big idea, a big visual thing, a big emotion, a big character thing. ”

Among the first episodes written in the early days of the Covid-1 lockdown lockdown was “Star of the Backstage” and this ambitious episode was a challenge to create from afar.

“It was an incredible amount of work,” Selman said. “Remote recording, there are eight different people in different parts of this musical. And none of them have ever sung together. The huge amount of production work for Elizabeth and Jack was to take the actors into the headspace.

For Covid’s presence, or even mentioned in “The Simpsons”, Selman said it was not considered. “It’s kind of hard to include,” he said. “People don’t want to see animated characters with masks not masks or fighting over masks. We can create a little alternative reality. ”

For “Star of the Backstage”, the producers are still determining how and when the music may be available to stream or download. But Selman also has a dream of the show’s long-term impact: “My fantasy is that a high school will put them in this episode of‘ The Simpsons ’as a high school drama,” he said.

Below, an exclusive clip of “Star of the Backstage”, as well as some posters made for the episode, a parody of the top Broadway drama.

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“The Simpsons” does “Music Man”
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“Simpsons” does “Chicago”
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“Simpsons” makes “evil.”
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