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Quotes: Biting-the-Hand Humor
Bart: What if we don't get any footage?
Homer: Then we'll fake it, and sell it to the Fox Network.
Bart: Haha, they'll buy anything!
Homer: Now, son, they produce a lot of quality programming.
[Both burst into laughter]
The Simpsons, "The Springfield Files"

"I'm not one to 'bite the hand that feeds me', but I might consider 'biting the network that canceled me!'"
Alf on the cover of issue #40 of his comic book, in which he is eating a roast turkey with colorful plumage

"[Christopher] Bidmead copes admirably with the Nathan-Turner hell brief — certainly better than anyone not named Robert Holmes ever did. (That he was coping is evident in the anecdote that he picked the name and setting of the story based on remembering a pair of Escher prints hanging in someone’s office that Nathan-Turner hated. The reasons Nathan-Turner hated them [were] that he believed that 'art should exist to soothe, not distract.' If I had to reduce my objection to Nathan-Turner to a single fact, incidentally, that would be it.)"
Phil Sandifer on Doctor Who ("Castrovalva")

"And this movie haaaaaates the media. Kinda ironic considering what made the Spice Girls in the first place."

"During the party scene, Jameson has an encounter with businessman Roderick Kingsley, who offers his advice on how to reinvigorate the failing Daily Bugle. Kingsley says, 'Sell the majority of your shares to the public!' (That, of course, is what Ron Perelman had done with Marvel in 1991, and what is believed by many experts to be what ultimately led to the company going bankrupt in 1996.) Jameson replies, 'I'd never take the Bugle public, Kingsley-because I know that its long-term integrity would suffer under corporate connivers like you, who dream up ridiculous little 'schemes' which only produce short-term gains!' Yep, that pretty sums up what was going on at Marvel. If only J. Jonah Jameson could have been our owner…"
—Editor/Writer Glenn Greenberg on The Clone Saga

"Once upon a time, there was an institution built around excitement and adventure. Weird and wacky individuals would wander around the galaxy and entertain millions with their unique talents and bold ideas. It developed its own following and its own fanbase. Some people even dared to call it 'the greatest show in the galaxy.' Eventually, however, there came pressure to conform; to settle down; to sell out. The hippie ideals of the sixties were cast aside like the shell of a brightly coloured party bus, as the show settled for middle-brow entertainment in the middle of a rocky grey quarry.

Where once the show had drawn massive crowds, now the rafters were empty. Various stunts were attempted to draw new attendees or to appease those audience members who had been there since the very beginning. The few people who did watch were less-and-less amused or entertained by what they had seen...A middle-class family sit up in the rafters munching on popcorn and telling each other to shut up and watch. They offer the ratings that determine whether the show lives or dies. It becomes a dark metaphor for the state of the show in the John Nathan-Turner era, as it offers what ever sacrifices are necessary to keep those viewers watching, and to appease the angry gods sitting at the BBC head office. Don’t try anything too ambitious or controversial. Just keep them entertained."

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