Rick and Mondays – S2 E4 “Total Rickall”

Rick and Morty deal with an infestation of memory-altering parasites that take the form of wacky sitcom characters.

SUMMARY

Rick (Justin Roiland) returns home to the family to find Jerry’s (Chris Parnell) goofy older brother “Uncle Steve” (Tony Barbieri) at the table. Rick then shoots Steve, who is revealed to be an alien parasite that manipulates people’s memories. Rick warns that there are probably more of them and that they take on the role of wacky, zany characters. He’s supported by Mr. Poopybutthole (Roiland), a wacky, zany character who is now in the opening credits.

S2E4 - 1Opening
Seamlessly integrated. 

Rick locks the house down, writes down that there are only 6 people in the apartment, and puts the note on the wall, but soon a number of characters start appearing, including a Mr. Belvedere-style butler named Mr. Beauregard (Barbieri), Frankenstein’s Monster (Kevin Michael Richardson), and Summer’s (Spencer Grammer) magical ballerina lamb friend Tinkles (Tara Strong). All of the characters are introduced through “flashbacks” that resemble Family Guy cutaway gags. Rick and the Smith family soon are uncertain who is real, because, although the new characters are wacky and zany, so are the actual members of the Sanchez-Smith family.

S2E4 - 2Tinkles.png
It feels like even Frankenstein, a fellow parasite, thinks Tinkles is too far.

Eventually, Rick is threatening to shoot everyone and the parasites convince Morty (Roiland), Beth (Sarah Chalke), and Summer that Rick is a parasite… while also convincing Jerry that he’s a parasite and in a secret gay relationship with another parasite named Sleepy Gary (Matt Walsh). Morty is selected to execute Rick, but Morty realizes that the parasites cannot implant bad memories into people’s heads and shoots several of the parasites. Together, Rick, Morty, and the family go through the house, killing all of the parasites until only the family and Mr. Poopybutthole are left. Back at dinner, Beth shoots Mr. Poopybutthole who is revealed to not be a parasite. She tries to apologize at the hospital, but he declines to talk to her, saying only that he’s sorry that she doesn’t have any bad memories of him.

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That’s a hell of a gun, btw.

END SUMMARY

This episode is basically a hilarious parody of so many sitcom tropes at the same time that it almost matches the number of wacky characters. The idea that failing shows add off-kilter new characters to try and bring back some energy to the series is so old that The Simpsons did an episode about it featuring Homer (Dan Castellaneta) playing a new Itchy-and-Scratchy character called Poochie while also having a new “rad teen” character living in their house. That was in 1997. For the most part, this trope has been declining quite a bit in the past twenty years specifically because people started mocking it so ruthlessly. Still, this episode takes it and combines it with the “family member that has not previously been referenced” trope, but makes it into a sadistic infiltration plot by these shapeshifting, memory-altering parasites.

S2E4 - 4Poochie
And this was the best way to get rid of such zany add-ons.

It presents each of the parasites in a cutaway style much like Family Guy tends to use, which may be a shot at how modern shows always tend to play loose with continuity for the sake of making gags. Or maybe it was just funnier that way. Also, the characters get progressively more unconventional as the show goes on, following the typical trend on television writing that each character introduced tends to be incrementally crazier or more abnormal than the previous one, similar to “Flanderization.” We start off with the “goofy brother,” move to the stereotype cousin, and slowly continue until we have a Baby Wizard, a photography Raptor, and a Ghost in a Jar. The idea that the only way to find the “real” people is by finding terrible memories might be a shot at other shows for trying to keep sanitized backstories as opposed to Rick and Morty‘s gritty humor.

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… So EVERYONE is posing for the camera? Fourth wall be damned.

Mr. Poopybutthole being real is one of the best set-ups in television. It’s not the reveal itself. It’s HOW they decided to reveal it. It’s such a perfectly Rick and Morty tone shift that works so well because it’s a subversion of a subversion. The basic joke throughout the whole thing was that Mr. Poopybutthole was clearly an alien shapeshifter that had entered the show, while the twist is that he actually isn’t. This is even foreshadowed by the fact that he’s in the opening sequence, many of which are “bad memories” which the parasites can’t generate or alter. But the show then decides to take the shooting seriously, rather than as a comical error. They blow past any attempt to make a joke out of it and treat it like a REAL SHOOTING, despite the fact that, not 2 minutes beforehand, we’d been laughing at the ways that the Smith-Sanchez family was eliminating all of the wacky shapeshifters. So, even if you saw the twist coming, you almost certainly didn’t see how it would play out. It’s something many shows would never even consider, let alone pull off this well.

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“Is this what dying feels like?” WHAT THE HELL, SHOW?

Also, can we just acknowledge that so many of the parasites are just inherently funny? Pencilvestyr? Reverse giraffe (voiced by Keith Freakin’ David)? Hamurai? Amish Cyborg? These are such great puns and sight gags. Their quips are also hilarious, including Frankenstein’s Monster’s line “I was on the wrong side of the pitchfork on this one.” The subplot where the Sleepy Gary parasite not only makes himself Beth’s husband and the parents of Morty and Summer but also makes himself Jerry’s secret lover is simultaneously horrifying and hilarious.

JOKER’S THEORY CORNER

Well, I was going to do a theory about what Mr. Poopybutthole is, but unfortunately Dan Harmon has already addressed that issue, saying that Mr. Poopybutthole is just a higher form of the memory parasites, so evolved that he can break the fourth wall and put himself directly into the show’s history when he wants. 

I already declined to address the popular theory that this episode, as well as the majority of “Mortynight Run,” follow a different Rick and Morty, since Dan Harmon also confirmed that the rocks in this episode are the same as the ones seen in that one and that they’re what carried the parasites.

Instead, I’m going to ask: Were the parasites the point?

So, we know that Rick has dealt with these parasites before, because he immediately recognizes what they are. He shoots “Uncle Steve” after only a few seconds, based on Jerry’s claim that he had been living there, but why was “shapeshifting memory-altering parasite” the first thing that Rick thought of? Because Rick had wanted the parasites. Think about it, Rick had brought that specific rock in from the garage, looking disappointed at it as he throws it away. When we first see him in Mortynight Run loading the car with rocks, he has a huge number, but he only throws away the one that had the parasites.

S2E4 - 7SteveShoot.png
Maybe you should have headed to Paris faster, Steve.

I think that Rick had brought the rock back not to harness the rocks (though that might have been a bonus), but because the rocks potentially were going to breed the parasites which he could then use to his advantage. After all, we know from the previous episode that Rick regularly captures and imprisons aliens for the purpose of exploiting them, and the ability to freely manipulate memories would be useful to anyone, particularly Rick. While in the garage, clearly, one or two of them hatched and escaped, with the first becoming “Uncle Steve.” Meanwhile, Rick determines that the rock is defective and throws it away, only to discover that the parasite inside it has escaped.

S2E4 - 8GreenRocks.png
That’s the eyebrow of a man who is done with his rocks.

Am I saying that the only evidence I have for this is that Rick knows what the shapeshifting parasites are and that he looks disappointed when he chucks out the rock? No, it’s that he doesn’t wing Uncle Steve. When Rick shoots Cousin Nicky, the second parasite, he shoots him in the shoulder because he’s unsure he’s a parasite, but when Rick shoots Steve, it’s straight through the temple. Rick is absolutely sure that Steve is a parasite. Could it be that Rick just knows that Jerry doesn’t have a brother? Unlikely, as A) this isn’t Rick’s original Jerry so it could be a possibility even if the original didn’t and B) Rick routinely proves he knows almost nothing about Jerry’s life, including not knowing what decade Jerry was born in (despite him being roughly Beth’s age). Is it that Jerry says Steve has been staying there for a year? Well, that’s likely to be what clinched it, but do you really think that’s enough to make Rick risk executing a potential family member? It’s Rick, so it’s not impossible, but I still think it’s likely that something made him think that parasites were the likely source of the new brother.

LEAVING THE CORNER

Since most of Rick and Morty is based on humor within the framework of nihilism and existential dread, I shouldn’t be surprised that this episode about how memory is the only way to really define our existence that involves wacky characters is one of my favorites.

Overall, I give this episode an

A

on the Rick and Morty scale.

Wubba-Lubba-Dub-Dub, I need a drink. See you in two weeks.

PREVIOUS – 14: Auto-Erotic Assimilation

NEXT – 16: Get Schwifty

If you want to check out some more by the Joker on the Sofa, check out the 100 Greatest TV Episodes of All Time or the Joker on the Sofa Reviews

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Futurama Fridays – S1 E9 “Hell is Other Robots”

This episode introduces us to the intricacies of Robot religion, one of the funniest aspects of this show. Given that Robots should never have any of the issues of wondering about who created them or why, you’d think they wouldn’t need to create a religion, but they not only create it, they make an afterlife that is designed to resemble only the most artistic interpretations of hell.

S1E9-1Bosch.jpg
Okay, maybe not ALL artistic interpretations.

*Note: I don’t have anything against Christianity. I do have things against certain interpretations of Christianity that this episode satirizes without naming. If you belong to one of these sects and don’t have a sense of humor about it, you might want to wait a week and read the review of the Titanic parody.

SUMMARY

Fry (Billy West), Bender (John DiMaggio), and Leela (Katey Sagal) attend a concert of the disembodied Beastie Boys. Bender goes backstage and tries “jacking on,” which is something robots do to get high by giving themselves huge shots of electricity. Bender becomes addicted to this, hurting his friends and co-workers, until he ends up trying to get high on top of the Temple of the Church of Robotology, then falls through a skylight and ends up seeking salvation from the Preacherbot (Phil LaMarr).

S1E9-2JackingOn
Robot drugs are very much like human ones, but with fewer animation costs.

Bender takes up Robotology, but becomes nearly insufferable to all of his friends. They decide that they prefer him as he was, rather than the ultra-pious person he has become, so they take him to Atlantic City and tempt him repeatedly with hookers, booze, gambling, and theft. He asks them to stop because he has inner peace, but Fry keeps encouraging him until he gives in and returns to his old ways. Unfortunately, it turns out that Robotology is more direct than many religions and, for sinning, Bender is abducted by the Robot Devil (Dan “I’m Homer F*cking Simpson” Castellaneta) and sent to be punished in Robot Hell to a musical number.

S1E9-3HellFirst
Look! Iron Butterflies!

 Fry and Leela make their way to New Jersey, where Robot Hell is located, and descend to rescue Bender. They find out that due to the “Fairness in Hell Act of 2275” anyone can challenge the Robot Devil to a fiddle contest and win back Bender’s soul as well as a golden fiddle. However, if they lose, they only win a silver fiddle and the Robot Devil will kill Fry. The Devil plays excellently, however, rather than play against him, Leela just beats him over the head and the trio escapes.

END SUMMARY

This is truly a textbook three-act structure. The first act is Bender’s addiction which could be a stand-alone story, the second is the rise and fall of his faith, and the last is his escape from perdition. A lot manages to happen in just 22 minutes through the use of a lot of quick dialogue and imagery shortcuts. I know I’ve said that having the “Most Plot” is not the equivalent of having the “Best Plot,” but managing to fit an entire Opera format into a half-hour is damned impressive, particularly since it also has musical numbers.

S1E9-4Structure.png
Yep, matches the diagram.

Robotology is one of the better digs at some specific churches that I’ve seen in fiction. The church doesn’t actually reflect upon the positive reward aspects promised by the Gospel in Christianity or helping their members aspire to be better people. Instead, it just threatens damnation upon anyone who commits a sin. It’s all stick, no carrot. They even adopt “resistor” as their symbol. Granted, with Robotology, this is actually pretty justified, since many robots can’t actually die (they just download into back-up units or drift around as programs). This means they don’t need a concept of a rewarding afterlife, only a punishment for transgression (though one episode suggests a robot heaven might exist); hence, the Robot Devil doesn’t need to wait for that pesky “dying” thing to collect his victims.

S1E9-5Devil
Instead, it’s just a trip over the Jersey Turnpike.

Bender’s addiction tale is so comically exaggerated, the episode makes a joke about it being over-the-top, then takes it up a notch. However, it doesn’t come off as too disrespectful of addiction, since Bender does seem to recognize that he has a problem. He sees all the trouble it causes himself and others, but he can’t stop jacking on. The fact that he eventually overcomes it by converting to religion is a nod both to the nature of most recovery programs in the US which stress finding a higher power to believe in and also a nod to the fact that Bender’s new obsession with his faith is less a genuine change of belief than just substituting one addiction for another.

S1E9-6Strip.png
Two minutes after being told to go back to vice.

The Robot Devil is amazing. He’s one of my favorite characters. He’s so melodramatic solely for the love of being melodramatic that you just can’t bring yourself to think he’s really that bad. Granted, part of that is that he is probably less objectively harmful to society than Bender, whose long list of sins are enumerated in song in this episode. I also love that the Robot Devil constantly misuses the word “ironic” in the same way people often misunderstand irony when reading Dante’s Inferno, something that even gets brought up repeatedly in one of his future episodes “The Devil’s Hands are Idle Playthings.” Granted, this was after Alanis Morissette decided to make it even more convoluted with an absurdly catchy song.

S1E9-7DevilDrum
He’s not very good at dodging, though.

FAVORITE JOKE

This is kind of a repeat from “I, Roommate,” but I have to go with the Church’s sign that is displayed during Bender’s Baptism.

S1E9-AChurchSign.jpg
The candles are on “resistance” symbols and the lamps are nested diode symbols. Love it.

This is a reference to the BASIC computer language and the command “Goto” which performs a one-way transfer to another line and never returns. The joke here isn’t just that the rules are written in BASIC or that it’s a one-way transfer to hell, but also that there is literally nothing else to their religion. You sin, you go to hell. You don’t sin… you get nothing. There’s no conditional function that says “find salvation” or “find peace” or “get everlasting reward.” Again, it makes some form of sense in the robot religion, but it’s also an occurrence in some human churches.

S1E9-BJesusChurch
Some are more negative than others. Also, they’re shitheads.

Close runner-up, though, is the title of the episode, “Hell is Other Robots.” This is a play on the most common translation of a line from No Exit by Jean-Paul Sartre: “Hell is other people.” In No Exit, the true torture of hell is being stuck in a room with other terrible people and being unable to stop valuing yourself through the opinions of others. In Futurama, hell is just other robots torturing you for eternity. Neither version actually requires the demons of traditional Christianity. However, Robot Hell is actually designed to resemble it, making it a subversion of the title’s reference. Whatever, I think it’s funny.

Well, that’s it for this week.
See you next week, meatbags.

PREVIOUS – Episode 8: A Big Piece of Garbage

NEXT – Episode 10: A Flight to Remember

If you want to check out some more by the Joker on the Sofa, check out the 100 Greatest TV Episodes of All Time or the Joker on the Sofa Reviews

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43) Marge vs. the Monorail (The Simpsons)

Okay, this is probably still my favorite Simpsons episode to re-watch. It’s also the episode that best defines the city of Springfield and the exact level of blind idiocy that permeates the town.  It was written by Conan O’Brien, who knows something about comedy, I’m told.

TheSimpsonsMvM-1ConanOBrien.jpg
And about contract negotiations.

Quick Recap: The main characters of the show are the fat, lazy, idiot father Homer (Dan Castellaneta); his wife who definitely could have done better Marge (Julie Kavner); his prankster (and later sociopath) son Bart (Nancy Cartwright); brainy daughter Lisa (Yeardley Smith); baby Maggie; and the city of Springfield (hundreds of characters at this point).

TheSimpsonsMvM-2Family.jpg
This show will apparently never die.

SUMMARY

If you haven’t seen The Music Man, you should. If you don’t like musicals then just see this episode, because it’s almost as good and over 2 hours shorter. The setup for the episode is that Mr. Burns, the town’s leading plutocrat, is found dumping toxic waste into the Springfield children’s park (he had to stop dumping at the playground because of the bald children). For this, he is fined 3 million dollars. He pays with his pocket change, and also buys a statue of justice on the way out, because subtlety is for the weak. Because of this, Springfield suddenly has a surplus of funding, despite the mayor’s attempt to steal $1 million and hope no one noticed. At a town meeting, Marge rationally proposes fixing up Main Street, which has been destroyed by people leaving on their snow chains and carrying too much weight. Mostly Homer “Look at that pavement fly” Simpson. The crowd is about to be swayed when a man who sounds remarkably like Phil Hartman whistles from the corner. That man’s name is Lanley, Lyle Lanley, and he manages to convince the citizens of Springfield to spend the money on another project: a Monorail. Lanley convinces everyone in town that the monorail is a good idea, either through flim-flams, flattery or falsification. Best of all, he does it in a peppy song that includes lyrics so funny that I have 2 different people who randomly text them to me sometimes.

TheSimpsonsMvM-3CanOpener
He also helps open pudding cans. 

Homer hears about the opportunity to become a monorail conductor and goes to an intense three-week course (The total lessons: Mono = 1, Rail = Rail). At the end, he is randomly picked by Lanley to run the monorail, while Lanley takes most of the town’s money and runs. At the same time, Marge, who was angry at Lanley and the town for ignoring her idea, is now convinced that Lanley is up to something and investigates. Upon going to one of Lanley’s former marks, the town of North Haverbrook, she learns Lanley’s entire plan from Sebastian Cobb (Harry Shearer), the man who built the last monorail. Lanley’s cost cutting on the monorail is so devastating that the monorail is doomed to fail and kill everyone onboard, which, sadly, includes celebrity guest Leonard Nimoy (whom the mayor thinks was one of the little rascals). Marge and Cobb arrive too late, because Cobb stopped for a haircut, and the town citizens are stuck on an out of control monorail. At the last minute, Homer constructs an anchor which stops the monorail, saving the town. Marge ends the episode by saying that it was the only folly of the city of Springfield… except for the Popsicle stick skyscraper, the giant magnifying glass (which sets the stick skyscraper on fire), and the escalator to nowhere (which appears to kill about 1 person per second).

TheSimpsonsMvM-4Escalator.gif
They’re not a smart town.

END SUMMARY

The key to this episode is that, just like the Music Man’s River City, Springfield represents America. Even though we are usually rational, sometimes we can get caught up in a scam or a bad idea. We follow it until eventually it collapses on us, then we say we’re going to learn better and not get fooled again… until we are, just by a slightly different bad idea. We can even have memorials of our own bad ideas featured around us, and we fail to really learn from them. Because of this, Springfield itself comes off as just another character in the show, and almost 20 years later, it may be the best-developed one.

PREVIOUS – 44: The X-Files

NEXT – 42: Sesame Street

If you want to check out some more by the Joker on the Sofa, check out the 100 Greatest TV Episodes of All Time or the Joker on the Sofa Reviews

If you enjoy these, please, like, share, tell your friends, like the Facebook page (https://www.facebook.com/JokerOnTheSofa/), follow on Twitter @JokerOnTheSofa, and just generally give me a little bump. I’m not getting paid, but I like to get feedback.

If you have an FX account, here’s the show officially:

http://www.simpsonsworld.com/video/306386499796

And if not, here’s the hilarious opening with Burns:

And here’s the Music Man sequence: