I'm a huge "South Park" fan as are most of my younger, more with-it co-workers. But lately a couple of them, who evidently still see the child underneath the gray salt and pepper hair, have been trying to convince me of the "genius" they perceive in "The Family Guy." They send me email snippets of scripts and insist I watch video clips of past episodes -- they collapsing in laughter while I, um, am not.
Sorry, I'm with Cartman in this controversy.
Then for two episodes of "South Park" last season, Cartman tried to get "Family Guy" canceled.
"I am NOTHING like Family Guy!" Cartman screamed. "When I make jokes,
they are inherent to a story! Deep, situational and emotional jokes
based on what is relevant and has a POINT! Not just one interchangeable
joke after another!"
South Park is much, much deeper. I'm sure that's why I'm attracted to it. I think Foucault said it best and I think this applies particularly given the recurring sexual themes of the program.
“Sexual identity is meaningless,” says Foucault. It could be said that if
submodernist dematerialism holds, we have to choose between precapitalist
deappropriation and dialectic narrative. Lyotard promotes the use of
prepatriarchialist capitalism to challenge sexism.
The main theme of Tilton’s[12] analysis of Foucaultist
power relations is the role of the poet as reader. However, several theories
concerning precapitalist deappropriation exist. The subject is contextualised
into a Sartreist existentialism that includes consciousness as a paradox.
“Society is fundamentally responsible for capitalism,” says Foucault;
however, according to Bailey[13] , it is not so much
society that is fundamentally responsible for capitalism, but rather the
paradigm, and subsequent genre, of society. But many situationisms concerning
the difference between sexual identity and society may be discovered. Lyotard
suggests the use of precapitalist deappropriation to read and attack sexual
identity.
“Society is dead,” says Bataille. In a sense, the characteristic theme of
the works of Madonna is a mythopoetical reality. Scuglia[14] suggests that the works of Madonna are postmodern.
Thus, several discourses concerning prepatriarchialist capitalism exist.
Marx’s model of precapitalist deappropriation holds that language serves to
reinforce sexist perceptions of class.
I just couldn't get that passage out of my head as I watched the episode where Ike had an affair with his kindergarten teacher. Remember the scene in the hotel room where she joins Ike in bed (swathed only in a bath towel) and pouts, "But Ike, I want to talk." And Ike responds, "Me like TV." It was brilliant.
She, of course, was Madonna -- he, in my reading, Dionysius. I mean, it's obvious, isn't it? The Family Guy is just meaningless "text" by comparison.