This paper presents a case study of the Spanish translation of the famous American TV series The Simpsons, focusing on the translation of humour, which is the dominant textual function of the series (Nord 1997). The analysis draws on Agost's theoretical framework (1999) for the study of audiovisual products, which is in turn based on Hatim and Mason's model (1990). For the purposes of this paper, the authors have limited their analysis to the categories for the translation of humour advanced by Zabalbeascoa (1992) and Fuentes Luque (2000). Following these models, the analysis is divided into three sections: (a) the pragmatic dimension, where the contextual focus is analyzed, intentionality and conversational maxims of the source text (ST) and their translation in the target text (TT); (b) the semiotic dimension, where emphasis is on the translation of ideological and cultural components and intertextual references; (c) the communicative dimension, where use (field, tenor, mode) and user (sociolinguistic) varieties are analyzed. The objective is to describe and evaluate the chosen strategies of translation. The conclusion seems to confirm the thesis put forward by theorists such as Toury (1995) and Venuti (1995) that the translator intervenes actively and creatively in the text to make it suit his or her own purposes.