Most people stopped watching The Simpsons years ago. They’ll tell you the "Golden Era" ended around Season 9 or 10, and everything since has just been a shadow of its former self. Honestly? They're mostly right, but they missed a massive pivot point. If you skipped out on Treehouse of Horror XXXIII, you genuinely missed one of the most creative, visually stunning, and weirdly disciplined pieces of television the show has ever produced. It didn't just recycle old tropes. It broke the format.
It’s Season 34, Episode 7. It aired in late 2022. While most modern episodes struggle to find a balance between nostalgia and relevance, this specific trilogy of terror felt like the writers finally stopped trying to compete with their own past and started competing with the current kings of animation and horror.
The Babadook but Make it Marge
The first segment, "The Pookadook," is a direct riff on Jennifer Kent's The Babadook. It’s black and white. It’s claustrophobic. It’s actually kind of unsettling. Instead of the usual rapid-fire gag reflex where the show tries to cram ten jokes into a minute, this segment breathes. It uses silence.
Maggie finds a book. Marge gets possessed. It’s a trope, sure, but the way it’s handled feels different. The art style mimics the sketchy, charcoal-heavy aesthetic of the original film's pop-up book. You’ve got Marge—usually the moral compass—turning into a looming, terrifying presence. It works because it taps into the very real, very dark theme of parental resentment, which was exactly what made the 2014 movie so effective. It’s not just a parody; it’s a stylistic tribute that proves The Simpsons can still do "creepy" without relying on blood and guts.
Why Everyone is Talking About the Death Note Segment
Let’s be real. The middle segment is why you’re here. "Death Tome" is the high-water mark of modern Simpsons.
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The show handed the reigns over to DR Movie, the South Korean animation studio that actually worked on the original Death Note anime. The result is jarring in the best way possible. Seeing Lisa Simpson transformed into a sharp-featured, brooding anime protagonist is a total trip. She’s no longer a yellow blob with star-shaped hair; she’s a stylized teen living in a rain-slicked, neon-lit version of Springfield that feels more like Tokyo.
Breaking the "Yellow" Rule
Everything changed here. The character designs for Homer, Marge, and Bart were completely overhauled to fit the anime aesthetic. Homer as a bumbling but strangely realistic salaryman is a highlight. But it’s the plot—Lisa discovering a book that kills anyone whose name is written in it—that fits her character perfectly. Lisa has always been the "righteous" one. Giving her the power of a god is the ultimate test of her morality.
The segment captures the "Potato Chip" energy of the original Death Note. It’s fast. It’s stylish. It features Steve Johnson’s makeup-heavy horror vibes and some incredible music cues. It didn't feel like a parody. It felt like a high-budget crossover. This is exactly what the show needs more of: experimental animation that takes risks with the core IP.
Westworld and the Meta-Commentary We Deserved
The final act, "Simpsonsworld," is basically a love letter and a middle finger to the show’s own legacy. It parodies Westworld, but instead of a cowboy theme park, it’s a park populated by android versions of the Simpsons, repeating lines from the show's classic era.
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It’s incredibly meta.
You have "Classic Homer" reciting the "Monorail" song or saying "Mmm... donuts" on a loop. It’s a direct commentary on the fans who refuse to let the show evolve. The plot follows a modern Homer robot who gains consciousness and realizes he’s just a plaything for tourists who want to relive the 90s.
- The segment features cameos from almost every era of the show.
- It utilizes the "Sneed's Feed & Seed" meme, proving the writers are actually online.
- The ending is a chaotic escape that feels like a genuine series finale for the "Golden Era" characters.
The sheer density of references in this segment is insane. You’ll see the "stepping on rakes" gag from Cape Feare, the Canyonero, and even the "I am the lizard queen" moment. But it’s used to highlight a point: the show is a victim of its own longevity. By framing it through the lens of a malfunctioning theme park, they managed to acknowledge their critics while still delivering a solid 7 minutes of entertainment.
Why Treehouse of Horror XXXIII Actually Matters
It proved the show isn't dead. Most long-running series eventually enter a "zombie" state where they just go through the motions. Treehouse of Horror XXXIII showed a level of ambition that we haven't seen since the 90s.
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The decision to bring in outside animators for the Death Note segment was a stroke of genius. It broke the visual monotony that has plagued the show since it moved to digital ink and paint. If you look at the ratings and the critical reception, this was one of the highest-rated episodes of the decade. People weren't just watching out of habit; they were watching because it was actually good.
The Technical Details
The episode was directed by Rob Oliver, a veteran who has been with the show for decades. The writing team, led by Ryan Koh and others, clearly had a blast with the source material. It’s important to note that this wasn't the only Treehouse of Horror that year. They actually did a full-length parody of Stephen King’s It (Not It) just a few weeks prior. But XXXIII remains the standout because of its variety.
Looking Forward: How to Watch and What to Look For
If you want to revisit this, it's currently streaming on Disney+. Don't just put it on in the background. Pay attention to the background details in the anime segment. There are references to Akira, Spirited Away, and even specific Simpsons deep cuts hidden in the Japanese signage.
- Watch the "Death Tome" segment twice. The first time for the story, the second time for the animation details. The way they translated Homer’s "D’oh!" into an anime-style physical reaction is brilliant.
- Look for the Easter Eggs in Simpsonsworld. Every single background character is a reference to a specific episode from the first ten seasons.
- Appreciate the lighting. The lighting in the Pookadook segment is some of the most sophisticated the show has ever done, using shadows to create actual tension.
Stop listening to the "Simpsons died in 1998" crowd for a second. While the hit rate isn't 100% anymore, Treehouse of Horror XXXIII is undeniable proof that when the team is inspired, they can still out-swing almost anyone else in the business. It’s a masterclass in how to handle a legacy brand: respect the past, but don't be afraid to set it on fire and try something new.
For anyone looking to dive deeper into the history of these specials, your next step is to track down the "Treehouse of Horror" Blu-ray collections or the specific "Best of" curated lists on Disney+. Many of the earlier episodes laid the groundwork for the meta-humor seen here, and comparing the Death Note animation to the 3D Homer segment from Treehouse of Horror VI shows exactly how far the technology—and the ambition—has come over the last thirty years.