The Simpsons

The season lacks any narrative that lectures on systemic oppression or relies on intersectional hierarchy. The focus remains on character-specific conflicts rather than immutable characteristics. Forced insertion of diversity and the vilification of white characters are not utilized as main plot points.

The show continues its long tradition of satirizing Springfield’s institutions and American consumer culture. While there is a general lack of reverence for the local environment, it does not reach the point of framing Western civilization or ancestors as fundamentally corrupt, staying closer to a typical self-deprecating satire.

The core dynamic of Homer as a bumbling idiot maintains the long-running trope of emasculated/incompetent males. However, female characters are not depicted as perfect 'Mary Sues.' Lisa's character is criticized by some for being overly jealous and self-centered in her competence, actively working against the 'Girl Boss' trope. Plot points, such as Homer's career as a hairdresser, satirize female discourse and gossip.

One episode devotes its entire main plot to centering alternative sexuality by transforming Moe's Tavern into a trendy gay bar, including Smithers' jealousy and Moe's pretense of being gay. This high placement of sexual identity as a central narrative vehicle moves the score higher, though the episode ends in character-based satire and the nuclear family structure remains normative.

The main plot concerning faith centers on the highly devout Ned Flanders dating Edna Krabappel, whose extensive sexual past conflicts with his moral code. The storyline shows Flanders struggling with his faith's moral standards before ultimately appealing to a 'higher power.' Religion is presented as a source of conflict and moral dilemma, but not as the root of all evil or a fundamentally corrupting force.