Production
"Guess Who's Coming to Criticize Dinner?" was written by Al Jean and directed by Nancy Kruse as part of the eleventh season of The Simpsons (1999–2000). American actor Ed Asner guest starred in the episode as the newspaper editor that hires Homer. The character is based on Lou Grant, the character Asner played in the series The Mary Tyler Moore Show and Lou Grant. The episode features several other references to popular culture. For example, the song Homer sings upon being given the food critic job is set to the tune of "I Feel Pretty" from the musical West Side Story. The restaurant Planet Springfield is a parody of Planet Hollywood, containing items such as the film script for The Cable Guy (1996), Herbie from The Love Bug (1968), a model of the RMS Titanic from Titanic (1997), an alien similar to those from Mars Attacks! (1996), models of a TIE Fighter, an X-Wing and C-3PO from Star Wars, as well as "the coffee mug" from the film Heartbeeps (1981) and "the cane" from Citizen Kane (1941), which is not a real prop.
Read more about this topic: Guess Who's Coming To Criticize Dinner?
Famous quotes containing the word production:
“The production of obscurity in Paris compares to the production of motor cars in Detroit in the great period of American industry.”
—Ernest Gellner (b. 1925)
“Constant revolutionizing of production ... distinguish the bourgeois epoch from all earlier ones. All fixed, fast-frozen relations, with their train of ancient and venerable prejudices are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.”
—Karl Marx (1818–1883)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)