Production
Although the episode primarily mocks the Republican Party, the writers included several jokes at the expense of the Democratic Party, liberal and conservative politics, to try to be as neutral as possible. Writers Bill Oakley and Josh Weinstein were very interested in the Watergate scandal and based a lot of the second act on that. Mark Kirkland directed the episode.
The episode sees Kelsey Grammer return as Sideshow Bob for his fourth appearance. Clips from previous episodes featuring Bob were used to remind viewers who he was and what he had done. Bob's Cape Fear musical cue from the episode "Cape Feare" is also reused. Showrunner David Mirkin found directing Grammer "a joy". Dr. Demento also guest-starred, as did Larry King for the second time, while Henry Corden voices Fred Flintstone. One of the prisoners in Bob's campaign advert is a caricature of producer Richard Sakai. The "Les Wynan" joke was pitched by Mike Reiss. The episode does not feature a chalkboard or couch gag, cutting straight from the clouds to the TV. Some syndication edits have included a couch gag.
The episode contains the first usage of the word "meh" in the show. The word, which was later included in the Collins English Dictionary, is credited as being popularized by the show, principally following its usage in the season twelve episode "Hungry, Hungry Homer". In "Sideshow Bob Roberts", the word is used by the librarian who provides Lisa with the town's voting records, in response to her questioning their unclassified nature.
Read more about this topic: Sideshow Bob Roberts
Famous quotes containing the word production:
“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)
“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)
“From the war of nature, from famine and death, the most exalted object which we are capable of conceiving, namely, the production of the higher animals, directly follows. There is grandeur in this view of life, with its several powers, having been breathed into a few forms or into one; and that, whilst this planet has gone cycling on according to the fixed law of gravity, from so simple a beginning endless forms most beautiful and most wonderful have been, and are being, evolved.”
—Charles Darwin (1809–1882)