At center stage is Homer, whose obtuse enthusiasm for the tram is played against Marge’s weary pragmatism. The script uses their dynamic economically: Homer’s buoyant one-liners generate broad laughs, while Marge’s exasperation supplies quieter, more humane beats. Secondary characters get tidy, memorable riffs — Moe’s paranoid scheming, Lisa’s earnest policy critique, and Mr. Burns’s grotesque attempt to commodify the tram all land with tidy setups and payoffs.