Cultural References
During the scene when a car is about to fall off a cliff, Robin the Boy Wonder appears and attempts to save the people. However, upon arrival, he is criticized as he will not be able to save them: this is a reference to the portrayal of Robin from the 1960s Batman series. Throughout the episode, other references are made to fictitious super heroes. In total, three references were made to Star Trek, all of which involve Star Trek actor George Takei's character, Mr. Sulu. When Peter has a flashback about passing his college test he is running around with the song "I'm Free" by Kenny Loggins playing in the background. This is a reference to the movie Footloose. When Peter is recounting what Hartman did to him, he goes into a flashback in court, and everything turns black and white and grainy: this is a reference to The Accused, starring Jodie Foster. During one of the kitchen scenes, Brian teases Stewie singing "Stewie loves Lois!" Stewie retorts by singing, "Brian loves Olympia Dukakis!" To which he replies, "Oh yeah, I do."
When Stewie imagines how a holiday in Hawaii would be with Rupert he references the classic Calvin and Hobbes series.
Lois makes a reference to Barbara Bush after waking up from her dream of killing Stewie. She claims "I'm just like that Texas woman who gave her son brain damage by holding him underwater, I'm just like Barbara Bush". When the fisherman is telling Peter about the serious consequences of not getting a prostate exam, he shows Peter a picture of band Primus, to which Peter asks him why he carries such random pictures around with him.
The closing credits are a reference to All in the Family, an American sitcom that originally aired on CBS in the 1970s. At the beginning of the credits, the voice of Peter says "Family Guy was recorded on tape before a live audience" as 'footage' of the city of Quahog is shown.
Read more about this topic: Stewie Loves Lois
Famous quotes containing the word cultural:
“A culture may be conceived as a network of beliefs and purposes in which any string in the net pulls and is pulled by the others, thus perpetually changing the configuration of the whole. If the cultural element called morals takes on a new shape, we must ask what other strings have pulled it out of line. It cannot be one solitary string, nor even the strings nearby, for the network is three-dimensional at least.”
—Jacques Barzun (b. 1907)