Plot
Chief Wiggum pulls washed-up actor Troy McClure over for dangerous driving. Not wishing to be required to wear his glasses while driving, Troy goes to the DMV to get his license changed to remove the requirement. He offers to take DMV employee Selma Bouvier to dinner if she lets him pass the eye test, to which she agrees. After dinner, photographers notice Troy leaving with a human woman (rumors about a sexual abnormality concerning fish had essentially destroyed Troy's career) and the story hits the news. The next day, Troy's agent, MacArthur Parker, calls and says that he can get work again if he continues seeing Selma. Troy continues to date her and his career begins to recover. On his agent's advice, Troy asks Selma to marry him; overjoyed, she agrees.
The night before the wedding, a drunk Troy tells Homer the reason for his marriage: he plans to use Selma as a beard. Although Homer fails to act, Marge and Patty try to explain it to Selma, who accuses them of just being envious. She confronts Troy, who shamelessly admits that their marriage is a sham. Troy explains to Selma that even though their marriage is a sham, she has everything she could want and will be "the envy of every other sham wife in town". Selma has doubts, but accepts the situation because she fears being alone. Parker thinks he can get Troy the part of McBain's sidekick in McBain IV: Fatal Discharge, but concludes he will have a better chance if he has a family. Troy and Selma try to conceive a child, but neither feels comfortable with their situation, and Selma finally leaves after deciding that bringing a child into a loveless family is wrong. Troy turns down the role of McBain's sidekick to direct and star in his own film, The Contrabulous Fabtraption of Professor Horatio Hufnagel.
Read more about this topic: A Fish Called Selma
Famous quotes containing the word plot:
“The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.”
—Franz Grillparzer (1791–1872)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)