Agreed. The lifestyle can't be healthy either - finish training at lunch, but then unable to lead a normal life because some paparazzo or opinionated prick is in waiting when they do something like go to the shops. I'd go out of my mind, especially if an injury means I couldn't even do the training part.
If I had 5p every time I heard the "turn their brains off" line, I'd have at least 55p. What I'm doing is standard film criticism (well, sub-standard, at least as far as these mini-reviews are concerned, I'd like to get deeper but I'm still trying to get back into the swing of things) - the point isn't to change attitudes, it's to look at any film presented to me, regardless of genre or intended audience, and explain its place in the wider art form.
The Skinner thing, where he's actually Armin Tamzarian, is said by many to be the end of The Simpsons' 'classic' era. The rest have been post-that, granted with nowhere near the impact as a fair amount of the audience went away. I can only recall Apu gaining a wife and eight kids as a 'permanent' character change which has worked well.
The Simpsons has always been infuriating in that when they're in a creative slump, they do irreversible shit to a character. They took away Skinner's entire backstory (including awesome Vietnam flashbacks), they took away Barney's alcoholism (the relapse stuff isn't funny), they turned Moe from a grump into a manic depressive, they take away Smithers' evasiveness of his sexuality... What good is Smithers if they end the thing that's his whole character? I just don't get it.