the season 23 episode "Bart Stops to Smell the Roosevelts". Originally, they only wanted him to do the storyboards and then let their regular crew animate it, but Kricfalusi insisted on doing the animation himself, explaining that "If we had done it that way, no one would even have known that I had anything to do with it because it would have ended up on model and all pose to pose". On The Simpsons, the animators draws key poses and then let tweeners interpolate between those poses. The interpolation however, is a straight A-to-B animation. That way the animation ends up having the characters just going from pose to pose. Kricfalusi explains that "On the Simpsons I wanted to try moving the characters in crazy fun ways, not just looking funny each time they come to a stop", and further elaborated "that the way things happened was even more important than what was happening in my work. You can’t write visual performance. You have to actually draw it." He showed Groening and showrunner Al Jean his Adult Swim shorts and Groening responded by giving him a free hand to do the 35-second-long segment. Groening told him to break all The Simpsons rules, but Kricfalusi explains that he "tried not to break any rules in the characters’ personalities, just in the execution of the visuals. I didn't follow any modelsnot even my own". The more rules he broke, the more pleased Groening and Jean were with the result. Contrary to Banksy, who lives a life in secrecy, Kricfalusi was involved in every detail and even oversaw the dubbing of the final soundtrack. While Kricfalusi animated the 2D parts, he had John Kedzie to help him with the computer graphics and Sarah Harkey and Tommy Tanner to do the assistant animation. The couch gag for the episode, which had Homer demand a beer and Marge getting it for him, was critically acclaimed by television critics. Amid Amidi of Cartoon Brew calls the opening revolutionary and explains that "in 35 short and sweet seconds, he liberates the animation of The Simpsons from years of graphic banality." He continued: "The visual look of the show, which has been so carefully controlled by its producers, becomes a giddy and unrestrained playground for graphic play, and the balance of creative authority is shifted from the writers’ room to the animators in one fell swoop." When comparing