The Simpsons Archive's Simpsons Syndication Cuts Guide Season Twenty (2008-2009) "Syndication... is there anything they can't do?" 23 Sep 2010 Maintained by Matt Garvey Guide created by Frederic Briere Contributions from Chad Lehman and Tim Reardon [==========================[Season Twenty Summary]==========================] Story cut episodes: All but KABF17, KABF15, KABF16, KABF21, KABF22. Compressed episodes: KABF17, KABF15, KABF16, KABF18, KABF21, KABF22 (normal); LABF03, LABF04, LABF11, LABF05, LABF06, LABF08, LABF10, LABF09, LABF12 (chunky). Expanded episodes: KABF14, KABF19, KABF20 (normal); LABF01, LABF11, LABF07, LABF08, LABF12 (chunky). Altered content: KABF15, KABF22, LABF01, LABF08, LABF09. Altered opening: LABF11. Missing credits: KABF16 (Gracie), KABF18, LABF03. Original breaks: None! Total time cut: 7:09 (7 min 09 sec) Story time cut: 6:26 (6 min 26 sec) (not including added content) Total time gained: 7:35 (7 min 35 sec) Notes: They're finally breaking me. This was a terrible season for syndication. The biggest offender is the handling of the LABF episodes, for several reasons. Beginning with that production season, the show has been in high-def (720p) and in widescreen. It makes use of the entire 16:9 frame and is NOT 4:3-safe. However, the syndication package has undergone the pan and scan treatment to deliver a 4:3 (and standard- def?) version. If it is also available in widescreen in certain areas or at stations' discretion, I have not been able to find out. But I do know that it was constructed with some attention to the framing, as various shots in the 4:3 version are not simply the middle of the original picture. As an example, the blackboards would often be illegible with a center cut, but can be read in syndication. For specific notes about this, I have used an "F" (for framing) in the column of symbols. The resized Gracie logo, as seen in the HD/widescreen episodes, is seen in the same proportions here (but letterboxed!), even in the KABF holdovers. (KABF21 is the only exception, see also below.) Also, even in SD format, these seem to be available in 5.1 sound in syndication. Older seasons may also be available that way, but I only recently got the appropriate equipment. The other format change that occurred this season (KABF22 and up) was the switch to four acts instead of three. On Fox, almost every episode until then had commercials before the first act, and none before the credits; this was usually reversed in syndication, with a handful of exceptions in early seasons and then very many in seasons 17-19. With that trend, even the stigma of credits seemed to be acceptable to those preparing the syndication versions, so it was completely reasonable to predict that the 4-act format would work out for everyone if just left alone. How unreasonable I am. Instead, each of those 13 episodes combines acts 3 and 4 into one, and orphans the credits again. (There is no gap between the combined acts, and in fact 3 episodes blur the line between them. Also of note are the two that call attention to their nature, LABF04 and LABF09; see the full text.) The other 8 follow typical old syndication trends. Unrelated to syndication but still interesting, the season 20 DVDs also treat acts 3 and 4 as one as far as chapter stops are concerned, despite having a "spare". See my DVD guide. This has the additional effect of breaking the streak of seasons 17-19. With one minor exception, episodes with no cuts had original breaks, and episodes with original breaks had no cuts. It was so nice. Now that's out the door. Special credits fare about as well as they had under 17-19, though, with a few replaced for no good reason either way; but whereas using the original breaks meant the special credits were safe, with little guarantee otherwise, now with the Spanish voice credits there is a little extra buffer to smooth the discontinuity. In addition to the changes above, the LABF episodes also introduce a new style of compression and expansion, which I'm terming "chunky". No longer are episodes sped up or slowed down nearly imperceptibly and as continuously as possible. Now much more discrete chunks are removed from largely motionless areas such as establishing shots and after lines. They are not worth detailing most of the time, but they wreck the flow subtly anyway. There is no common compression style as some recent seasons have had. I'll remind you about all of this below. In other news, the Spanish voiceover credits are still here (see scg-19), but now, to fit in better, they're in the same yellow MG handwriting font. The only exceptions are KABF16's, which are green to match the TOH credits, and KABF21's, which for some reason use the same white typed look as season 19. Finally, as usual, there is no production code in XDS, and no visual rating bug. The V-chip can find them, but a handful of ratings differ from the original broadcasts. Some may be in error. KABF17: was 14-DLSV, now shows as PG-DLSV LABF01: was PG-D, now shows as PG-DSV LABF11: was 14-DLV, now shows as PG-DLV LABF05: was 14-DLSV, now shows as PG-DLSV Three of them seem to downgrade the 14 to PG while keeping the subcodes, as if to say "it's PG now"; how LABF01 got worse I do not know. ==[ KABF17 ]================================= Sex Pies and Idiot Scrapes === CUTS: 0 seconds GAINED: 38 seconds 21:12 / 21:50 Original couch ~~~~~ OPENING <----> (----) 0:24 / 0:24 ~~~~~ ACT I <----> (0:11) 6:11 / 6:22 *Comp: start to near end ~~~~~ ACT II <----> (0:17) 8:29 / 8:46 *Comp: start to near end ~~~~~ ACT III <----> (0:10) 5:20 / 5:30 *Comp: start to almost end ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish badly sep ==[ KABF15 ]=============================================== Lost Verizon === CUTS: 5 seconds GAINED: 21 seconds 21:13 / 21:34 Original opening ~~~~~ OPENING <----> (----) 1:18 / 1:18 ~~~~~ ACT I <----> (0:01) 5:09 / 5:10 *Comp: post-cred to near end ~~~~~ ACT II <----> (0:09) 8:54 / 9:03 *Comp: start to near end ~~~~~ ACT III <0:05> (0:11) 5:04 / 5:15 *Comp: start to end % Missing from the network repeats and syndication is a dedication to <0:05> % Paul Newman after the executive producers, featuring a still image % from CABF21 (his salad dressing bottle). Underneath: % Dedicated to the memory / of / PAUL NEWMAN ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish (+odd fanfare) * There is also negligible compression in the credits. ==[ KABF14 ]============================= Double, Double, Boy in Trouble === CUTS: 25 seconds GAINED: 16 seconds 21:15 / 21:31 Original opening ~~~~~ OPENING <----> (----) 1:07 / 1:07 *Exp a bit? ~~~~~ ACT I <----> (-0:03) 7:34 / 7:31 *Exp: after cred to end ~~~~~ ACT II <0:25> (0:21) 7:50 / 8:11 *Exp: start to end Milhouse: Yeah, but that was never gonna happen. [a crush on Lisa] % Simon, in Bart's PJs, looks out the bedroom window. We see he's % looking at Homer and Santa's Little Helper grappling over something % in the (dark) yard. SLH is growling. % % Homer: Give me back my newspaper! % Marge: [off screen] Homer, it's not a real paper! It's a rubber % chew toy! % Homer: [in closeup] For your information, The Daily Growl is the % only newspaper that's not afraid to say how great this <0:25> % country is. % % (The newspaper toy has a headline, by the way: Man Bites Dog.) Homer % gets it away from SLH, and as he talks to it he listens carefully: % % Homer: Ha ha! [squeaks it] How's the war going? [squeaks twice] % We're winning? That's great! ...And our standing abroad? % [squeaks twice] Fantastic! % % Inside, Simon walks to the bed, gets out his cell phone, and calls Bart from bed. ~~~~~ ACT III <----> (-0:02) 3:56 / 3:54 *Exp: start to end ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish (+20th TV) ==[ KABF16 ]==================================== Treehouse of Horror XIX === CUTS: 0 seconds GAINED: 26 seconds 21:16 / 21:42 Original Halloween opening ~~~~~ OPENING <----> (----) 1:30 / 1:30 *Slight compression ~~~~~ ACT I <----> (0:02) 4:54 / 4:56 *Comp: post-cred to near end ~~~~~ ACT II <----> (0:12) 7:02 / 7:14 *Comp: HEAVY, to near end ~~~~~ ACT III <----> (0:12) 7:01 / 7:13 *Comp: HEAVY, start to end ~~~~~ ENDING <----> (----) 0:49 / 0:49 +0:04 Spanish GREEN*** % For some reason, the special Gracie sound (a pleasant piano-based % Peanuts-like theme) is missing from Fox repeats and syndication. It % is on the DVD, at least. ==[ KABF18 ]=========================================== Dangerous Curves === CUTS: 26 seconds GAINED: 36 seconds 21:15 / 21:51 Original opening ~~~~~ OPENING <----> (----) 0:49 / 0:49 *Slightly compressed ~~~~~ ACT I <0:19> (0:21) 6:17 / 6:38 *Comp: after cred to end Homer: Video games: the reason this generation of Americans is the best ever. % Outside shot of the station wagon. They pass an SUV superstore with <0:06> % banners: "GOING OUT OF BUSINESS" and "THANKS FOR NOTHING". A harp % flashback to its "GRAND OPENING" (which we'll find out is 5 years % earlier). Flashback Homer, Marge, and the twins drive into frame and the background starts moving. ! Note that you can clearly see the "grand opening" banner in synd. ! Also, music started during the cut part but it is untouched, and ! abrupt, in syndication. Seconds later: ~~ Patty: You sneeze like a girl! % Exterior shot of the car: <0:03> % % Selma: Your neck looks like a sideways ass! % Homer: That's it! The car screeches to a halt and Homer dumps the twins out. ~~ (Seconds later again!) On a shot of the empty fuel gauge: Homer: Uh-oh. % Homer and Marge walk down the right side of the street, with the car % visible behind them. Homer has a gas can. % <0:10> % Homer: How many times to I have to say I'm sorry? [now to side shot] % Marge: You haven't said you're sorry! % Homer: I know. I was hoping the number might be zero. % % They stop. Marge crosses to the left side (farther from the camera). They resume walking down the street. Five grunts from Marge. ~~~~~ ACT II <0:07> (0:12) 8:12 / 8:24 *Comp: start to end Patty and Selma laugh twice at Homer's expense, % then keep going as % the shot blends into Homer (and then Sylvia) laughing on their <0:07> % chests on rafts in the pool (5 years ago). In fact, lots of % laughter. Homer slams his arm down (the way one might slap one's % knee) and falls off, knocking Sylvia in as well. She surfaces. They laugh more and then we zoom out quickly to Alberto bringing Marge a dress. ! In syndication the new fade is pretty bad, and Homer's voice doesn't ! match well in pitch either with the cut. ~~~~~ ACT III <----> (0:03) 5:09 / 5:12 *Comp: start to end ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish % In syndication, the special credits music (based on the movie "Two % for the Road", which is referenced throughout the episode [thanks to % a.t.s user "swansong"]) is replaced with the normal theme. Ugh. I % might also note that it was not continued over from the executive % producers and would work with the commercial break. ==[ KABF19 ]======================== Homer and Lisa Exchange Cross Words === CUTS: 84 seconds GAINED: 36 seconds 21:14 / 21:50 Original couch ~~~~~ OPENING <----> (----) 0:23 / 0:23 *Expanded slightly ~~~~~ ACT I <----> (-0:05) 6:40 / 6:35 *Exp: after cred to end % The Fox premiere had a little glitch left in between Bart's mention % of "San Francisco people mover" and Homer at the gay club. It was a % half frame that read % % Scene 151 % Take 2 % Akom & % Film Roman Fix % % It's not apparent in any other version (repeats, synd, DVD). Eh. ~~~~~ ACT II <1:24> (1:00) 7:47 / 8:47 *Exp: heavy throughout Chalmers: Skimmer!! Skinner: You called? Chalmers: You misheard. Skinner: My mistake. % Establishing shot of Simpson house at night. Homer hums. We see % Homer and Marge in bed, Homer holding a wad of bills. % % Homer: Marge, if I had a hundred dollars for every customer I've % broken up, I'd have exactly this amount. 'Cause that's % what I charge! [laughs] % Marge: Homie, I'm not sure about this new business of yours. % You're making it too easy for couples to break up, just % because they hit a rough patch. % Homer: [patting her hand] I know this is hard on you, but in time % you'll come to see it's for the best. % Marge: [yanks her hand away] That's one of your breakup lines! % [folds her arms, stares for a second] What would have % happened if there was someone who could break us up every % time I had my doubts about you? % % Homer considers this for a moment, then looks up in epiphany. Marge % turns off the light and rolls over. Match fade to a slightly wider % shot: Marge is asleep, Homer still pondering wide-eyed. Dramatic % music that will fill the scene starts. Another slightly wider shot, % then another, then another (Marge is snoring, Homer is starting to % nod off, and she changes positions each time). He falls asleep % sitting up. Now the room is filled with a green glow. He wakes up to % see green-tinted ghosts hovering near the ceiling: Snake, Skinner, % the guy who wanted to marry Miss Hoover, Julio, Doreen. % % Homer: Who are you? <1:24> % Julio: We are the spirits of the relationships you killed! % % Aerial shot. They're making moaning zombie sounds and movements, and % Homer runs out of bed, screaming... to the door, then into the hall, % where he's confronted with 12 baby ghosts. % % Baby: We're the babies those couples would have had! % % Homer screams and runs back through the hall. There's green-tinted % ghost furniture on the floor. A writing desk with a "mouth" speaks. % % Desk: And we're the antiques those couples would have bought % together! % % The furniture starts advancing on him. Homer backs into the corner. % They continue. % % Julio: [points] Get him, chairs and babies! % % Homer tries to run in a few directions, but is blocked. They close % in. He wakes up from this nightmare, wailing. % % Marge: Homie? % Homer: Marge, I'm getting out of the breakup business. And I % don't know if I'll ever sleep soundly again! % Marge: Well, maybe-- % % But Homer is already asleep, snoring. Est: Hyatt, for tournament. ! Yeesh! At least it's not a crossword-related cut, but now this ! subplot just sort of fizzles out. ~~~~~ ACT III <----> (-0:19) 5:36 / 5:17 *Exp: heavy throughout ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish ==[ KABF20 ]====================================== Mypods and Boomsticks === CUTS: 31 seconds GAINED: 24 seconds 21:16 / 21:40 Original opening ~~~~~ OPENING <----> (----) 1:01 / 1:01 ~~~~~ ACT I <0:03> (0:01) 5:55 / 5:56 *Exp: after cred to near end Bart: Smells like a hamburger cooked at a rug store. <0:03> % Wide shot, one-quarter perspective on Bashir's house. Bart walks % toward the back yard. Music starts. He pushes through the hedge to the back yard. ! In syndication, the music starts on Bart's line, but not all of it. ! Also, what on earth? ~~~~~ ACT II <0:25> (0:22) 6:23 / 6:45 *Exp: start to end Homer: I guess I have no choice. Ominous music. Establishing shot of house at night. % Inside, Marge is setting the table. She and Homer are dressed up. % % Marge: Homie, it's very open-minded of you to have Bart's Muslim % friend's Muslim family over. % Homer: Here's the plan, Marge. You keep 'em talkin'. I'll be % listening. [tents fingers] And quietly judging. <0:18> % % The doorbell rings. Marge goes to get it. Lenny appears in a thought % bubble. % % Lenny: The doorbell will tell you when they're here. % % Ominous music, then he disappears. Then dinner. Grampa is eating. Marge: So, how did you two meet? ! Note that in both versions, Marge's first line overlaps the house. ~~ Homer: OK, I'll apologize. % His eyes widen. Cut to Maggie dipping her finger in the cake icing. % She takes out her pacifier to eat the icing, and Homer walks over to % stop her. <0:07> % % Homer: [baby-talk voice] Up-up-up-up! Don't eat that, sweetie. % [puts her pacifier back in] It's poison. % Maggie: [thuck] Homer drives up to Bashir's house. ~~~~~ ACT III <0:03> (0:01) 7:09 / 7:10 *Exp: Mapple HQ to end (?!) Homer rushes out of his bedroom after his nightmare. % Lisa is on the couch in the TV room. The pets are napping. She's on <0:02> % the myPod. The doorbell rings. [Doorbell is looped onto previous % shot in syndication.] She answers the door. ~~ Lisa falls down with her myBill. [Syndication: Music starts here.] <0:01> % A shot of the wall Homer is about to jump over. Music starts. Homer pops his head up and jumps over the wall. ~~ * As noted above, expansion starts in this act only when Lisa goes to * the Mapple HQ. What's the point? 24 seconds are needed. Hmm. Where * are there a few big cuts? ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish ==[ KABF21 ]===================================== The Burns and the Bees === CUTS: 0 seconds GAINED: 16 seconds 21:14 / 21:30 Original opening ~~~~~ OPENING <----> (----) 1:04 / 1:04 ~~~~~ ACT I <----> (0:06) 6:59 / 7:05 *Comp: start to near end ~~~~~ ACT II <----> (0:05) 6:00 / 6:05 *Comp: start to near end ~~~~~ ACT III <----> (0:05) 6:23 / 6:28 *Comp: start to near end ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish (see below) * Credits are slightly compressed. % Also, for some reason, the Spanish credits are not yellow or in the % handwriting font. They're like season 19. Also, this seems to be the % only episode in season 20 to use the traditional shorter Gracie % logo! (And while we're at it, it has an odd-sounding 20th fanfare.) ==[ KABF22 ]======================================= Lisa the Drama Queen === CUTS: 0 seconds GAINED: 4 seconds 21:16 / 21:20 Original opening ! This is the first episode originally aired with four acts. Not in ! syndication; now the last two acts are merged oddly. See intro. ! Because of this, I give syndication Act III one time, but provide ! the original episode's splits as well. ~~~~~ OPENING <----> (----) 1:20 / 1:20 ~~~~~ ACT I <----> (0:01) 6:04 / 6:05 *Comp: late, to near end ~~~~~ ACT II <----> (----) 6:11 / 6:11 ~~~~~ ACT III <----> (0:03) 6:53 / 6:56 *Comp: light throughout + ACT IV (3:35, 3:21) ! Act break in original is between the bar mitzvah remark and closing ! the cages on Lisa and Juliet. It has some visual and musical ! repetition that becomes silly when they're merged. ~~ % The original had Bart's introduction to Fallout Boy over the execs, % but that got shifted over (see below). In syndication, + a portion of "Wipeout" from earlier is repeated over the execs. ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish % These are all shifted to include Bart's introduction to the band, % though it starts late ("--adies and gentlemen") and - even with some % buffer time from the Spanish credits - fades a little early when the % Gracie logo shows up. Yup. ==[ LABF01 ]======================================= Take My Life, Please === CUTS: 24 seconds GAINED: -19 seconds 21:14 / 20:55 Original opening ! This is the first episode originally done in widescreen (and HD). ! NOT IN SYNDICATION. It's now a pan-and-scan version, though at least ! it's not just the middle of the frame all the time. The episodes are ! sent to stations this way, so it's not just my TV. I will mark ! particularly notable problems with an "F" (for framing). ! ! This is also the first episode to feature more discrete ("chunky") ! compression or expansion systems. See my introduction for more. I ! will treat tiny cuts as always, and any notable examples with "*"s. ~~~~~ OPENING <----> (----) 1:56 / 1:56 ~~~~~ ACT I <0:11> (-0:11) 7:45 / 7:34 *Exp: heavy, even start/end! * You can tell it's going to be a nightmare to get through these 12 * episodes when the very first part after the opening is expanded in a * big chunk. Be glad you didn't have to do this. F Wall of plaques cuts off some fun-to-read names. ~~ Marge: Here comes Vance! % Shot of the crowd with the sidewalk down the middle and the wall of <0:02> % fame behind. The crowd murmurs. Vance waves and walks around. % % Vance: Thanks for coming out. Closer shot of people lined up across the screen. Vance greets them. Vance: Heya, Gail! ~~ F Moe gets cut out of frame often during the bar scenes. Like: (Moe,) Homer, Lenny, and Carl stare at Al Gore (offscreen) after the Nobel Prize bit. % Establishing shot of house at night. Music. We hear % and then see (by aerial shot of Homer and Marge in bed) Homer <0:09> % mumbling in his sleep, angrily. % % Homer: Ballots... stolen... real winner unknown... [in closeup] What % is the truth? [gets up] I gotta know! Establishing shot of Lonely Arms apartments. ~~ * Expansion draws out the end of the act too. This will happen a lot. ~~~~~ ACT II <0:13> (0:04) 4:12 / 4:16 *Exp: throughout F At the start, the lady in the golf foursome is not seen. ~~ Dondelinger: Now if you'll excuse me, I'm going to sit under that tree and think of all the women I could have talked to but didn't. % From the other side of the bench, we see him walk over to the bench % by that tree and sit down as Homer walks away. % <0:13> % Dondelinger: Hmm. The brown-haired girl gave me a look. % The redhead in the park was reading a book. % The girl at the airport upgraded my car. % Tonight I wonder just where you are. Establishing shot of Luigi's. F The bench is almost missing from the first part anyway! ~~ F Marge loses her head when she glances into the restaurant kitchen. F Maggie is invisible in the kitchen. F The chef is almost invisible when Homer stares into the sauce, F because the focus is on Homer to avoid the "talking noses". ~~~~~ ACT III <----> (-0:12) 6:33 / 6:21 *Exp: throughout + ACT IV (4:24, 1:57) F Bart is left out before one flashback; Maggie is left out after it. ! Act break in original is between the chef hitting Homer with a spoon ! and Homer in a pool in the back yard. F Homer's not in shot when the man proposes taking a picture with him. F The frame moves along with an original pan later. F Homer is cut off again when Marge first tugs him away. ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish + Maggie Roswell was not credited in the original airing, despite + obviously working on the episode. I don't know if this was fixed for + repeats, but she's credited in syndication and on DVD. ==[ LABF02 ]======================================= How the Test Was Won === CUTS: 3 seconds GAINED: 3 seconds 21:16 / 21:19 Original opening ~~~~~ OPENING <----> (----) 1:52 / 1:52 F In the couch gag, we don't see Lisa turn to face Sideshow Bob. See F also LABF12. ~~~~~ ACT I <----> (----) 6:21 / 6:21 F Janey and Richard framed out during the "Shy to gregarious" song. * There were a few points that looked like tiny cuts and a little * apparent expansion toward the end, but I think they were glitches in * my DTV reception. A tiny bit in Act II too. ~~~~~ ACT II <----> (----) 4:33 / 4:33 ~~~~~ ACT III <0:03> (0:03) 7:42 / 7:45 + ACT IV (2:16, 5:29) ! Act break is between Ralph's Elmo rat and the (second) book club. ~~ ! The sole cut comes during "Footloose" at the end, of all things, ! thereby messing up the music too. It cuts approximately: -oot % loose, kick off your Sunday shoes. Please, Louise... ! The cut, visually: First wide shot with a lot of dancing. <0:03> % Lisa sits down with a conspicuous copy of Sylvia Plath's "The Bell % Jar"; we zoom out to see that she's kicking her feet in time anyway. Chalmers (in closeup) looks around and joins in. ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish % The insertion of the Spanish credits is done poorly, with the theme % splitting across the gap. ==[ LABF03 ]=================================== No Loan Again, Naturally === CUTS: 4 seconds GAINED: 4 seconds 21:15 / 21:19 Original opening ~~~~~ OPENING <----> (----) 1:36 / 1:36 ~~~~~ ACT I <----> (----) 8:00 / 8:00 *Minor compression! * There is a small amount of compression here anyway, including * between the opening and the act proper (this happens often). F Lou's reaction missing when Wiggum shoots and shotguns the keg. F Cramped when au pair shows up. F Auction attendees handing in paddles, such as Mr. Prince, not seen. ~~~~~ ACT II <----> (----) 4:52 / 4:52 F Oddly centers on the entire TV + Kent, instead of just the screen. F Almost centered anyway a bit later when transforming Ned into devil! ~~~~~ ACT III <0:04> (0:04) 5:59 / 6:03 + ACT IV (3:31, 2:32) ! Complicated cut! Homer: [as Jesus] Do you have a computer nearby? % Closeup shot of a NOTICE TO VACATE as Flanders nails it to their % door. Zoom out. [This part isn't cut, just moved!] <0.5> % Pan to Homer and Marge peeking out of the curtains. [actual cut] Homer: He's nailing something to our door! ! Here's where the notice is nailed up in syndication. % Lisa: [seen inside] Hmm. I wonder if it's theses. <3.5> % Homer: [ducks back inside] Eww, that's gross. % Marge: [back inside too] Homie, I think it's an eviction notice. ! Act break is just before the homeless shelter. F Near the end, family shots are framed so Rod is almost gone (and is, F with overscan), and Bart is gone entirely. ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish % The original Mardi Gras music is gone in syndication and replaced % with the standard theme. Really, really badly. It cuts in slightly % late, and then the Spanish credits insert silence too early so the % final flourish spans the gap. How do you mess that up when you're % adding it in? ==[ LABF04 ]=========================================== Gone Maggie Gone === CUTS: 20 seconds* GAINED: 37 seconds 21:15 / 21:52 Original couch ~~~~~ OPENING <----> (----) 0:22 / 0:22 ~~~~~ ACT I <0:02> (0:12) 4:58 / 5:10 *Chunky comp throughout * This episode was a pain in the ass. It's full of tiny tiny cuts, * some of which I'm styling as "chunky compression" when it's mainly * silent stillness cut, and not listing here to save *your* sanity. * Mine is gone already. It's the first episode to really use this. ~~ Marge: You can have my viewer. <0:02> % Lisa: But Mom, you'll miss the eclipse! Marge: There'll be another one in North Yemen in two-thousand twenty-seven. ~~ * Notable short cut: family looking at Marge before Lisa says "we have * totality", then another cut as the family turns to follow her lead. * Many many more, available upon request. They do add up since each is * the better part of a second! ~~~~~ ACT II <0:07> (0:12) 6:12 / 6:24 *Chunky comp throughout Homer: Oh no, oh no, <0:02> % ohhhh-ho-ho no, there is no way Homer Simpson's gonna put on a dress. ~~ Lisa knocks the "Darwin" and legs off a Darwin fish, <0:02> % puts it around her neck and checks out the look, goes "mm-hmm!", and knocks on the convent door. ~~ Lisa: "Heart and Soul"! <0:01> % A wide shot of Lisa approaching the organ is entirely cut. She sits down to play. ~~ Lisa: I fell in love with you, heart and soul... + (Syndication seems to dwell a bit on that shot, repeating frames?) <0:02> % Pan to the upper keyboard, which starts opening on a gear system. Lisa looks up as it opens. * Then many many more tiny cuts as the device works all the way open, * although the synd version still has a bit of each shot. ~~~~~ ACT III <0:11> (0:13) 8:55 / 9:08 *Chunky comp throughout + ACT IV (5:02, 4:06) ! Here's a stupid cut. Until doing the comparison, I forgot that they ! were in fact trailing her without her knowledge! Lisa: What are you doing here? <0:01> % CBG: Following you! We seek the Gem of St. Teresa. <0:01> % Lisa: Ohhhh. Well I seek it so I can find my sister. * Several short cuts during the sequence with the bell. ~~ Skinner: Oh, the *word* "ring"! <0:01> % Lisa and CBG exchange a smile and meaningful short "hmm!" They clamber up the cliff. ~~ ! Gee, I wonder where the act break is. ~~ It's denied that kissing Milhouse "counts". <0:01> % Lisa: It all adds up! I *am* the gem that will bring world peace! F To the right on this line, leaving out Smithers and most of Burns. ~~ * Missing in syndication is most of Lisa walking over after CBG talks * about the sunrise, along with Skinner's head turn as he starts his * line. The start of his line is looped, as usual, to the part before. Skinner: We could make it if we took Mr. Burns's helicopter! <0:01> % Burns: Hmm, I don't really want you people inside... ~~ Warden: Just set it to massage. This is done; a shot of Snake as the electric chair turns on. <0:02> % Snake: Hoooooh. Something tells me the Gem of St. Teresa's been returned to its throne. <0:01> % A shot of Maggie from underneath is then cut. ~~ Mother Superior: Four centuries of patient sacrifice has [sic] finally paid off. <0:02> % All is peace and harmony. Marge bursts in. ~~ <0:01> % Marge: Well, it would be nice if the first thing I saw was a world at peace. ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish ==[ LABF11 ]============================= In the Name of the Grandfather === CUTS: 38 seconds GAINED: 36 seconds 21:15 / 21:51 Shorter* opening ~~~~~ OPENING <0:38> (0:38) 0:34 / 1:12 % Yep, a shortened opening! Actually, altered. The original had the % crow go left to right, and was the full-length intro until Lisa's % solo. This is clouds to driveway, with the crow right to left. % Aside from that, here's what's missing (more variable stuff with the % new opening): % % Ralph: nothing % Billboard: Dr. Nick: Pay For Septuplets, Get Octuplets Free! % Blackboard: Four-leaf clovers are not mutant freaks % Barney: standard burp % Solo: Too-Ra-Loo-Ra-Loo-Ral % % A pity, since it's a rare blackboard (and a very rare solo) that % matches the episode. % % Now, the TV does fall off in both versions. And you might be % thinking, hey, why did the crow change directions? Proximity, I bet. % There were four episodes with a short opening from LABF01 to LABF12: % LABF04, 06, 09, and 10. LABF06/09 have the crow left to right, but % LABF04/10 (right to left) are closer to this episode whether you go % in production or airing order. Oddly, whether the TV falls off is % the opposite (yes LABF06/09/11, no LABF04/10). But the original % couch is used here anyway. My guess is they just grabbed the nearest % shorter opening and slapped the first half of it on, then joined the % original once it hit the driveway. % % For the timing of the original opening, you may consult LABF08, % since it is intact in syndication. ~~~~~ ACT I <----> (----) 5:27 / 5:27 *Chunky exp and then comp! * Yes, there are a few chunks each of expansion, and then compression * later! For what net gain? BEATS ME! F Also, Grampa's note is too wide in closeup now! ~~~~~ ACT II <----> (-0:02) 7:53 / 7:51 *Chunky exp throughout F We see an artificial pan in this version when Grampa dances across F the sheep. (The shot doesn't move in the original.) F Framing also cuts off "Bog, Bath, and Beyond" at the first bar F establishing shot. * Then, lots of chunky expansion. ~~~~~ ACT III <----> (----) 6:33 / 6:33 *Chunky exp and comp (a bit) + ACT IV (4:33, 2:00) * There is one chunky expansion after the first refund, and one * chunky compression (I think) around the smoking revelation. Why? ! Act break in original is after the paddy wagon departs. ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish ==[ LABF05 ]======================================= Wedding for Disaster === CUTS: 19 seconds GAINED: 25 seconds 21:15 / 21:40 Original opening ~~~~~ OPENING <----> (----) 1:42 / 1:42 ~~~~~ ACT I <0:05> (0:09) 5:45 / 5:54 *Chunky comp throughout The parson speeds off. <0:02> % Wide shot: Tim and Helen in front of the church. Tim is pacing. In % a closer shot, he turns around to pace to the right. More pacing. Helen reassures him. ~~ * Mostly a chunky compression cut, but on the closeup of Tim's "Psalm * Pilot" one entry is cut for time: "Allied Vestment Brokers". ~~ Jasper: Good. 'Cause I left her ashes on the bus. <0:02> % Tim: Mmmm. Establishing shot (itself slightly trimmed) of Sea Captain on boat. ! Genius. There's a longer trim after the wave crashes over this boat ! shortly thereafter, too. ~~ * One of Tim's knocks on Homer's door, out of four, is cut. This is * getting sloppy. ~~ Marge: And I think Apu got lucky with my sister. <0:01> % [long sigh] End of sigh as Marge closes the wedding album. ~~~~~ ACT II <0:06> (0:08) 5:28 / 5:36 *Chunky comp throughout <0:01> % Start of act is cut (end too!). Establishing shot of house and % music are trimmed. ~~ Lisa: That's the angry one. Homer starts grunting, <0:01> % then keeps strangling Bart for a while. The marriage license is stamped. ~~ Homer and Marge see the line to exit (from the hall of long lines). Homer sighs. % They look at each other sadly. <0:02> % % Back at the house, Marge spritzes a paper towel, then wipes the spritzer and puts it in a cabinet of identical ones. ! Joke crippled: check. ~~ F Marge is left out of Homer's talking about his rocket cake. ~~ <0:02> % The end of the act is cut also: the band keeps playing, and we cut % to Marge sobbing. ~~~~~ ACT III <0:08> (0:08) 7:32 / 7:40 + ACT IV (3:52, 3:48) <0:01> % (Start of this act cut too! We don't need EITHER bookend.) % Marge sobs and coughs a bit, sniffs once, then talks. ~~ % The start of the in-camera view of the videographer's take of Marge <0:01> % is cut, during which she goes from moping to crying. (Good grief, % did the League of Never Showing Women Crying show up?) ~~ Marge: [referring to spring rolls] They taste like nothing. <0:02> % New shot: Marge and Helen as seen through the open hotel door. Pan % to Lisa and Bart walking into the groom's room. Lisa: I don't understand. ~~ Sarcastic Guy: Company policy forbids chitchat. Marge moves to open one of the boxes. <0:01> % She opens it with a rip strip. Meanwhile, Homer has made his chain into the shape of Marge. ~~ F Mr. Teeny is not seen until he's needed now. ~~ ! Act break is after Patty and Selma laughing, before Homer wonders if ! this imprisonment is Bart's doing. It has the feel of an act break, ! even more so if you see the whole thing! But alas, there is a cut to ! reduce the effect and confuse you: an overlapping cut. % The start of Act IV, a slightly different over the shoulder shot of <0:01> % the twins laughing at Homer on the monitor that ended Act III, is % cut. The act and next shot start with music, which is copied onto % the end of Act III in syndication. Homer is in his cell. ~~ Apu: Good day to you! <1.5> % Exterior shot of the Simpson house. Not as far away as usual. Lisa % and Bart run up to the door, and burst in the door. ~~ % About half a second is cut before the executive producers. (In that <0.5> % half second, the blimp's sign, currently reading "WEDDING" again, % starts blinking. The music is not cut there, but fades earlier. % See also credits. ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish % Somehow, the music is shifted in the other direction here; it's not % quite in sync and the first note is missing, although Dan's credit % is *seen* in full. (It's also a little on the short side of :48.) ==[ LABF06 ]======================================= Eeny Teeny Maya, Moe === CUTS: 10 seconds GAINED: 35 seconds 21:15 / 21:50 Original couch ~~~~~ OPENING <----> (----) 0:32 / 0:32 ~~~~~ ACT I <0:06> (0:15) 7:28 / 7:43 *Much chunky comp throughout F Homer waves off Maggie, and now she is unseen being sad. ~~ Marge: Here's the score, mister! <0:01> % Homer: Yes? [seen only in long version] % Marge: Yo ur daughter barely knows who you are! ! Yes, it's really cut that way. ~~ Moe: Warm and rusty. <0:02> % He walks away from the water fountain. % New shot: he sits back down in his seat at the computer, and laughs. ~~ Moe hangs up on Marge. <0:01> % Pan down to the playground outside. Maggie is playing in the sandbox, then bullies approach. ~~ Establishing shot of Moe's and music from Homer carrying Maggie away. <0:02> % Music continues. Long shot inside Moe's. He puts flowers in a % vase and hums. Closer shot from behind the bar. He finishes with the flowers and washes his hair with beer from the tap. (Music continues over this part in syndication.) ~~~~~ ACT II <0:02> (0:08) 6:03 / 6:11 *Much chunky comp throughout F "3rd base point" (in the vein of makeout point) sign hard to read. F Framing also strained on Moe's later daydream of the guys pushing F Maya around in the janitor cart. ~~ * Silly trim on the shot going out the window from Homer crying (which * is shorter in syndication) about the limerick to Maggie being * taunted by the drumming circle of babies. The music is slightly * differently timed. The first long pan of the babies is also trimmed * in a noticeable chunk. ~~ F Bart is cropped out of a line of Lisa's. F New framing also cuts off the circular edges of the hidden camera, F so it's tough to get the idea of what's going on. ~~ * I'll count this as compression, but barely. There are several tiny * cuts when Marge places the camera in Maggie's bow, including Maggie * blinking in the next shot and the "wa" in "Wait a second, Marge..." ~~ Maya: This is where I live. She moves to open the car door, <0:02> % and they both open them and exit. % Slight trim of next shot: Moe approaches the tree on her lawn. ~~~~~ ACT III <0:02> (0:12) 6:24 / 6:36 *Much chunky comp throughout + ACT IV (3:52, 2:44) * Slight trim at start (doorbell). F Later, camera's circular sides framed out, just making the fisheye F less useful. ~~ * Trim of the last time little Kearney clinks bottles together. ~~ Photo booth pictures print out. Marge grabs them. <0:01> % She sighs/murmurs. Music as we pan down Marge and Homer's set. ~~ ! Act break is after Largo's Julie Newmar lament. * And the start of Act IV is trimmed! ~~ <0:01> % Marge sniffs before her line about Homer being a strong finisher. ~~ * A few minorly notable trims near the end: the music may be reworked * around a trim of an establishing shot of Moe's, and Moe's blink * after Homer mentioning what will make him smile is trimmed. * Later, music is reworked for a few more trims for the final scene, * and there's an early jump to the executive producer credits. ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish ==[ LABF07 ]========================== The Good, the Sad, and the Drugly === CUTS: 56 seconds GAINED: 26 seconds 21:14 / 21:40 Original opening ~~~~~ OPENING <----> (----) 1:20 / 1:20 ~~~~~ ACT I <----> (-0:12) 6:44 / 6:32 *Chunky expansion throughout F While Willie is talking in the office, we hear, but no longer see, F the clock falling apart. ~~~~~ ACT II <0:56> (0:49) 5:44 / 6:33 *Slight chunky expansion Lisa: Oh, go ahead. Numb me. % Establishing shot of house with dramatic music sting. Inside, the % family eats while Marge does the dishes. Bart goes to the sink. % % Bart: Mom, can I get those dishes for you? [takes them, hums] % Marge: [a beat] What's your angle, mister? % Bart: [quickly] No angle!! [normally] Um, if this girl I'm seeing % comes here, and she might, I wouldn't mind if you told her I % was the kind of boy that does the dishes. % Homer: Yeah, busboys get all the chicks. [chuckles] <0:33> % % Lisa is moping at the table. The bus is heard pulling up and honks. % % Lisa: Well, off to school, where they'll prepare our little minds % for a future we'll never see. % Homer: [taps out a pill] Sounds like someone's got a case of the % Mondays! % % He offers it to her with an encouraging sound. She takes it and % walks away. Establishing shot of bus before she takes the pills. ~~ After the montage of happy faces ("What a Wonderful World"), establishing shot of the house at night. % Inside, Bart (in a suit) is setting the table for dinner with Jenny. % % Bart: So *this* is setting the table. If I'd known how easy this <0:15> % was, I'd have just done it instead of throwing all those % tantrums. % Marge: Oh, Bart, I don't care that this is just an act. You've % finally become the boy that every mother dreams of: a girl! The family eats with Jenny. (Marge is in the kitchen.) ! The song hadn't quite finished when the cut began, so it fades over ! the dinner scene in syndication. ~~ ! Annoying cut here. There's repeated animation and audio overlapping. Lisa: [to Bart & Jenny] Hello, smiley face! Hello, smiley faaace! <-0:01>+ Lisa was waving at them, and at "faaace" the waving animation is + repeated in syndication. % In the original, the image was panning instead to the following: % Out the window we see a smiley-face Snake being chased by a smiley- % face gasping Wiggum on foot. They stop right in front of the house % and draw guns. Snake shoots Wiggum; smiley-face blood pours out as % Snake runs out; Wiggum falls on his back. A pool of smiley blood (a <0:08> % single rapidly-growing smiley) collects by his side. % % Wiggum: Aaaah! Officer down. % % Lisa makes a dopey smile and a gawky "wehh" laugh, and Marge walks % in. Marge: Jenny, it's amazing what you've done with my son. ! In syndication, the laugh is heard over the previous shot, as is ! "Jenny, it's amazing". Lisa goes right from "smiley faaaace" to ! "wehh". ~~~~~ ACT III <----> (-0:11) 6:38 / 6:27 *Chunky expansion throughout + ACT IV (4:18, 2:09) ! Act break is between "you'll always have your family" breakdown and ! the Shrek Squishee. ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish ==[ LABF08 ]========================================= Father Knows Worst === CUTS: 21 seconds GAINED: 15 seconds 21:15 / 21:30 Original opening ~~~~~ OPENING <----> (----) 1:19 / 1:19 ~~~~~ ACT I <----> (-0:04) 6:14 / 6:10 *Chunky expansion throughout F Marge's daydream is harmed by the framing now (see also LABF06). ~~~~~ ACT II <0:21> (0:19) 7:12 / 7:31 *Chunky expansion throughout F Homer's daydream has the same problem. F When Moe runs to his bed, the extra touch of a teddy bear in a chair F on the side is no longer visible. ~~ Establishing shot of Crafty Art's Arts and Crafts. % Inside, Otto brings a whole bunch of model airplane glue to the % counter. % % Sarcastic Guy: Son, you buy an awful lot of airplane glue, but you % never buy any models. % Otto: Oh, uh, right, models. [pointing behind the clerk, % where these items are seen, boxes labeled clearly] <0:21> % One Messerschmidt M.E.-262, a '67 SS GTO, an Alfred % E. Neuman with interchangeable arms... % % The Neuman box illustrates the arms: they're holding signs saying % "ban the bomb" and "wash a hippie". He exits, holding those three % boxes and a bag of the glue. He then dumps the models in a trash % can, humming, and passing Homer and Bart on their way to the door. % Homer and Bart walk to the door, open it, and approach the counter. ! In the original, the establishing shot has Otto humming. In synd, ! there's the sound of a shop bell tinkling, which was heard twice in ! the cut (but also accompanied by a door sound, which isn't present ! in synd, presumably because the door is visible and not moving now). ! Probably this is a trimmed sound from the end of the second tinkle. ~~~~~ ACT III <----> (----) 5:42 / 5:42 *Chunky exp then comp! + ACT IV (2:38, 3:04) * Yes, this winds up being the same length, but first it's expanded in * chunks, then one expansion after the switch to Act IV, it suddenly * goes to chunky compression. I don't get it. ! Act break is between Homer smashing up the Abbey in his sleep and ! Homer driving Bart to school. ~~ % Finally, the Executive Producer credits are silent in syndication so % that the Canvas rendition of the theme is all together. They're also % centered like usual, though in the original they were underneath the % video box as the credits are. See below. ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish % The entire Canvas video and a cappella theme is shifted 5 seconds % so that it starts when the cast credits begin in syndication, rather % than over the Execs originally. This also means the video portion % disappears 5 seconds earlier (including a bit of business where they % bob back and forth in time with the tune) as the credits fill the % screen. There are the usual 4 seconds of buffer time from the new % Spanish credits, and it overrides the Gracie audio for that last % second, cutting off some of the murmuring but leaving the "shh!" ==[ LABF10 ]=================================== Waverly Hills, 9021-D'oh === CUTS: 32 seconds GAINED: 34 seconds 21:15 / 21:49 Original couch ~~~~~ OPENING <----> (----) 0:23 / 0:23 ~~~~~ ACT I <0:04> (0:05) 5:38 / 5:43 *Chunky comp throughout <0:01> % About a whole second of Marge's humming in the stall is cut as Janey % comes in. Only one hum is heard in syndication. ~~ F Milhouse and (mostly) Maggie framed out in gasp after Lisa says F Waverly Hills' ES's auditorium and gym are two separate rooms. (Not F related to syndication in particular, but they are at SES too!) ~~ Marge: ...but we would have a Waverly Hills address! <0:01> % Lisa: Mom, that's brilliant! ! Unlike this cut... ~~ F Framing cuts out the Heimlich maneuver poster in the teachers' F lounge during the telemarketing scene. ~~ The Chigurh character validates Homer's parking. <0:02> % Closeup of Marge. She lets out a worried "ohhh!" End of act. ~~~~~ ACT II <0:28> (0:28) 6:31 / 6:59 *Chunky comp after cuts Homer: Where am I? [inside the wall] <0:01> % Establishing shot: Waverly Hills Elementary. Kids file in. Zoom out. Marge drives into frame to drop the kids off. ! We see no zoom in syndication. The car is only slightly in frame by ! the time the cut ends, especially in the 4:3 version. The car sound, ! however, is looped onto the end of Homer's shot. ~~ Establishing shot of WHE. <0:02> % Wide shot of the lunchroom. Lisa is by herself, looking around, kind % of sad. Closeup. She is eating, and the girls approach her. ~~ Wiggum hands Bart one gift bag as part of their deal. % They turn to % look as a huge SUV rolls into the foreground from the right, with % music ("Sopranos" theme?) thumping. Wide aerial shot: It pulls up % alongside Wiggum's car. The music stops after the car parks. The % Fat Tony group gets out (Tony, Legs, Louie, Johnny Tightlips). % % Legs: You wanted a powwow, Chief? [heard only; may be Tony?] <0:25> % Wiggum: I know you've been dealing drugs at the high school, but % I'll look the other way if you come to Ralphie's party. % Louie: I ain't gonna pin no tail on no donkey. % Wiggum: Look, just come to the party. It's gonna be fun--Batman's % gonna be there! % Louie: B-b-b-b-b-Batman? % Johnny: I ain't messin' with no caped crusader! % % They flee back to the SUV. Wiggum adjusts his hat, and sighs sadly. Bart walks smugly down the path at school. F Barely visible in that last shot is a kid in front of Bart on left F of frame, who looks concerned. ~~ F The "mosaic" of multiplying texts is not reformatted for 4:3. Thus, F while originally it's 2x2, 4x4, 8x8, 16x15.5 (since the bottom row F isn't complete), in syndication, where the sides are cut off, it's F 2x2 (which was framed mostly 4:3-safe), then 4x4 with the outer F columns cut in half, 6x8, and 12x15.5. ~~ * There is only one bit of compression I noted: just a tad after the * explosion at the phone company. ~~~~~ ACT III <----> (0:01) 7:55 / 7:56 *Chunky comp: start of act 3 + ACT IV (5:09, 2:47) * There was only compression at the start of the act, but at the act * break, Lisa's last line, "guess not," seems a bit cut off (no "tuh" * sound. ! Act break right after that scene with Lisa and the security guards. ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish % The ending music, the "Waverly Hills" parody song, starts over the % exec credits, and is actually retained there in syndication; it just % starts over again for the credits after the commercials in synd. See % for example EABF07. Good news: there are 4 buffer seconds because of % the Spanish credits. Bad news: there are 6 seconds of execs. Both % versions fade slightly into the Gracie sound, but those 2 seconds of % the song finishing are lost in synd. ==[ LABF09 ]============================ Four Great Women and a Manicure === CUTS: 20 seconds GAINED: 36 seconds 21:15 / 21:51 Original couch ~~~~~ OPENING <----> (----) 0:26 / 0:26 ~~~~~ ACT I <0:02> (0:03) 4:24 / 4:27 *Chunky comp throughout Selma: [as Queen] I've always loved you! <0:01> % Marge: Ummmm... wh-which one of us are you talking to? ~~ % A pan is cut between Lovejoy's invocation and Homer's "amen"; the <0:01> % actual cut is a closeup of three of the other guys first, then the % pan to Homer. ~~~~~ ACT II <0:03> (0:08) 5:01 / 5:09 *Chunky comp throughout F Marge's expressions are cut out as Lisa talks to the Disney lawyer. ~~ Willie: I - I - I canna do it! [make construction paper heart] <0:02> % He sighs and hangs his head. % Elsewhere, Lisa crosses the bridge (slightly cut). Then abruptly: Lisa: Let's see. ~~ Lisa walks by "Grandma's house"; <0:01> % a bit of the Tex Avery wolf sighing and hanging his head is cut. ~~ * Lengthier compression chunks include shortening of the dwarves' * mailbox, and a blink from Lisa after she lies down in the bed. There * are other, less notable ones too. ~~~~~ ACT III <0:15> (0:25) 10:36 /11:01 *Chunky comp throughout + ACT IV (6:55, 4:06) <0:01> % Marge: Ohhhh, I wouldn't be stuck washing costumes... ~~ Director: Homer, you got the lead. <0:02> % Marge: [closeup] [smiles offscreen and murmurs happily] Establishing shot of theater, with music. ! Actually a bit of the establishing shot is trimmed too; the music ! starts on the director's line in synd. ~~ Establishing shot of Moe's for the first cast party. % (Originally it has outdoorsy weather sounds, but in syndication, the <0:02> % sounds of the party from the end of the cut are heard instead.) % Wide shot of people in the bar, then Homer speaks to Marge ("I can't wait for the reviews"). ~~ <0:01> % About a second of Homer crying over Marge's dead body is cut. ~~ ! Act break is obvious, but the cut blurs the line a bit (see LABF05). End of act 3. <0:02> % Start of act 4: Wide salon shot, with Marge admiring her nails in % front of her face. Closer shot, then Marge: That's it, three stories. That's what we always tell. ! So yes, in syndication, the end of act 3 leads right to... the ! middle of that first sentence (the middle of "three"). The first ! half is heard over the end of act 3. Then: <0:01> % She looks down and leans over. Maggie is seen tugging on Marge's dress. ~~ Marge: The Fountainhead! [seen in closeup] <0:01> % Lisa: [seen] Moooom, isn't that book... ~~ Agnes tiger-growls over Ayn Rand (mistaking the picture for a man). % Shot of Marge. <0:01> % % Marge: Sooooo, anyway... ! Fairly abrupt in the cut version too. How useful too. ~~ Mr. Toohey lets the blocks fall out of the cabinet, covering the babies. <0:04> % Pan as he walks past them to leave the room. Maggie pops out % of the pile and "thuck"s. Slightly trimmed is a shot of his desk, panning from him to... Marge: Maggie's genius and creativity... ! "Maggie's" is not seen in syndication; the cut ends there, and that ! word is heard over the block shot. ~~ * Many borderline chunky compression cuts in this episode, but a lot * of meaningful looks and walk-offs are missing around here. One such * is an entire closeup of Maggie before zooming out, over "babies and * (gentlemen of the jury)". ~~ ! One more thing! Originally the act ending is silent from Maggie's ! shrug to halfway through Al Jean's credit, when "Time to Say ! Goodbye" starts up. Since the song has been shifted in syndication ! (of course; see below), the originally silent part is a reprise of ! the string section from a minute earlier until his name disappears, ! and the last 3 are silent now. ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish ! So yep. "Time to Say Goodbye" (a.k.a. "Ho-Hi") is the credits music, ! which originally starts with 4.5 seconds of the Exec credits to go. ! There are 4 seconds of buffer from the Spanish synd credits; the ! first half second is missing here, and the ending syncs up fine (the ! transition to the Gracie logo is the same). Oy. ==[ LABF12 ]========================================= Coming to Homerica === CUTS: 11 seconds GAINED: 6 seconds 21:15 / 21:21 Original opening ~~~~~ OPENING <----> (----) 1:52 / 1:52 F In the couch gag, we don't see Lisa turn to face Sideshow Bob. See F LABF02. ~~~~~ ACT I <----> (-0:03) 6:17 / 6:14 *Chunky expansion throughout F In the TV promo for "The Drowningest Catch" and the Krustyburger F commercial, we don't see the circular frame of the TV(?). F Nor can we later read the billboard or Builder's Barn sign. ~~~~~ ACT II <0:10> (0:08) 7:21 / 7:29 *Chunky expansion throughout Marge: Maggie, now you have a nanny! % Just like the ones Joe Piscopo % and Ethan Hawke left their wives for! ...[to Inga, angrily] % But hands off my Homie! <0:10> % % Inga pauses, then gets a notepad out of her apron and writes, while % saying aloud: % % Inga: Hands off the Homie. Got it! Maggie protests. Marge: Sorry, sometimes she's nervous around new people. ! You're not allowed to cut Joe Piscopo jokes! Anyway, the "J" at the ! start of her line is somehow heard over Maggie's protesting closeup ! in syndication. ~~ F Much later, the Aquavit sign is framed out when Moe is saying he F doesn't mind the money. ~~~~~ ACT III <0:01> (0:01) 4:57 / 4:58 + ACT IV (2:16, 2:42) F Gil is pretty much out of the first scene, if you have overscan. ~~ ! The act break is between the dinner scene agreeing to build the wall ! and Quimby addressing the group of volunteers. <0:01> % But about the first second of act 4 is missing and Quimby's line % looped over the end of act 3 in syndication. ~~~~~ ENDING <----> (----) 0:48 / 0:48 +0:04 Spanish ! Originally, the music began in the Exec credits, and it's heard ! there in syndication too, but restarts on a beat for the rest of the ! credits after the break. 4.5 seconds are repeated, and syndication ! offers 4 seconds more space to put it in, but the last half second ! (fade) is lost. ==[ ------ ]================================================================