“The Art of Discourse”
April 29th, 2010
Episodes of Community have been airing out of order for a while, so once I heard a moment in “The Art of Discourse” where Vaughn was mentioned I presumed that it wasn’t in chronological order. Turns out, contrary to the original review written under this false assumption (it was Annie and not Britta that it made mention of, it was in fact in order: however, my confusion still makes me wonder about whether it really matters where this episode was placed
Regardless of whether it was out of order, the episode works: there were some funny moments, and while the episode seemed like it gave into the show’s gimmicks a bit more heavily than others there remained a clear sense of purpose and character within the story. My confusion was likely the result of some strange “early group dynamic” material about why precisely characters like Shirley and Pierce are part of this group; placed at this late point in the season, it seemed a little bit unnecessary, and while the episode ends up being funny enough to survive it doesn’t quite feel as evolved as some of the more recent material.
Or maybe I’m just bitter at myself for writing the review under false assumptions and now having to rewrite it to look like less of an idiot – sorry, “the Art of Discourse,” if you bear the brunt of my frustration.
May 18th, 2009
“The trouble doesn’t seem so troubling”
As I was taking a look at a really enjoyable spec script for How I Met Your Mother last night, I was forced to consider the question of whether or not the show’s defining characteristics are necessary components of its success. The show is known, at this point, for its time-bending narratives, ridiculous life theories, and its continuity in regards to both tiny throwaway jokes and the eponymous question of the Mother’s identity, but are those qualities necessary to create a good episode of the series or, in the case of “The Leap,” a fitting season finale?
In many ways, “The Leap” isn’t an episode that relies heavily on HIMYM’s signature story-telling methods, but they’re all present in a way: it features some narrative shuffling designed to assist the dramatic end of its storyline, it uses the show’s own continuity to create another life theory, and the continuity of the four-legged farm animal mistakenly inserted into Ted’s Birthday last year makes an appearance. But, outside of a brief mention at episode’s end that promises yet again that we are closer than ever before to the identity of the Mother, the episode was not about Ted’s love life.
The result is, without question, a stronger finale than last season: Ted’s relationship with Stella was an element of the series that never quite worked, and I was worried a few weeks ago that it was going to rear its ugly head for the finale, creating drama where drama was not necessary. Instead, Ted ends up facing his dramatic arc of the season with a lady of another species, and the drama comes from the right place and, more importantly, at the right pace considering what has come before it. Combine with the return of Lily, and Marshall being Marshall, and this felt like vintage HIMYM without feeling as if they were relying too heavily on those broader signifiers.
They weren’t exactly stepping out on a ledge and leaping across a metaphorical alleyway with revolutionary plotting, but in many ways the finale felt more grounded as a result.