Tit says here half-crazy “this virus” in the post-credit scene of the marked episode Rick and Morty season four returns to Adult Swim, although at least part of it was finished before the global pandemic closed we all became quarantine ourselves. (Snippets from Rick’s battle against Story Lord are played in intro theme songs throughout the season.) Call it clairvoyant at the time or call it coincidence, but “Never Ricking Morty” has succeeded in articulating the vigilance of life lately with a kind of meticulous meticulousness. . Like, you’ve wondered what it’s like to be stuck in a room on a train moving in circular motion without an engine, without an end, and suspicion creeps that we are all in a simulation written by the clearest writer in Hollywood. ? Welcome to the Story Train. Please, the ticket.
Coming after being absent for four and a half months, “Never Ricking Morty” stands parallel to the strongest episode of the season so far. (That includes “One Crew Over the Crewcoo’s Morty,” unreasonable harsh words against theft films, and complicated “Rattlestar Ricklactica,” Terminator respect, except with space snakes.) That is also part of the season’s conscious pivot far from the third season’s emotional introspection. “Pickle Rick” is not, and it doesn’t matter. Not Rick and Morty can resist the good meta-narrative temptation.
The plot thread that investigates the codependence of Beth and Jerry, Rick’s buried trauma, and other usual recourse to “grapple with the nature of who we really are” (as the Story Train advertisement is very neatly revealed) in the fourth season. But when “Never Ricking Morty” works on its own into a frenzy beneath layers and layers of meta-criticism – from the show, this episode, from the narrative set made that depends on it – it stops to remind us of certain long-awaited characters – Wait. back. Namely, the continuing threat from Evil Morty and what is left of the Galactic Federation, now led by former Summer classmate Tammy Guetermann. This episode loudly announces that a little of what we see is technically a “canon,” though. So, maybe it’s best to follow Morty’s philosophy here: “We don’t need to think too much, okay?”
Written and directed by two people Rick and Morty nonetheless (Jeff Loveness and Erica Hayes, respectively), the episode found Rick and Morty at the mercy of a train controlled by Story Lord, a new villain whose personality Rick was succinctly summarized as “like a Matrix Space Frasier. “Some bankrupt studio executives, some crazy fans, Story Lord is driven by the prospect to mechanically exploit the couple’s endless narrative potential, judged according to three rubrics: relatability, marketing ability, and broad appeal. Basically, he wants to ignite train with endless anthology Rick and Morty adventure – the idea of writers and animators being slow but moving steadily seems to have strong feelings about. You fanatics want more Rick and Mortyyes you are sick of waiting for months, even years between episodes? Cool, this one (playfully) screaming, here are a few dozen potential episodes stuffed and thrown together.
Thanks to Story Lord, the main continuity of “Never Ricking Morty” is continually sabotaged by alternative narratives that are not related once, each of which immediately absorbs as the last. The effect is just as blinding as a vague stressful one: a free-for-all whirlwind in which the storyline is perfectly made, burned, and thrown away in less than two minutes. (“Is there a canon?” Morty asked at one point. “It’s possible!” Rick shouted.)
By itself, the joke echoes the episodes of Interdimensional Cable that is very loved, where we can watch TV that does not make any sense of the sublime sense of various dimensions. It also doubles as a convenient way to tease narratives that have long been watched by an audience that might have been almost forgotten now, years after they last appeared. In an instant, Dog Mecha Suit-Wielding mowers face off with talking cat troops (earlier this season, Jerry let someone persuade him to fly first class to Florida), while Summer and Tammy Guetermann faced death in the match. Elsewhere, Rick and Morty are seen standing alone against Ricks, Meeseeks, and aliens led by Evil Morty. Do you want to see how it works? Very bad. None of this is real. Wubba-lubba-dub-dub!
Rick’s attempt to stop the train with a storyline made enough to disrupt the flow of episodes produces the best pieces. In two of them, Morty was pressured to improvise his own narration on the spot, a task that proved too unimaginative for him. However, the half-formed results were animated and voiced by the actors, in the saddest cartoon performances in the world. In his second experiment, Rick woke up: this time, Morty had to dream of a storyline that would never happen on the show. Something that has never happened, even in the midst of aliens, travel between dimensions, and the multiverse – which passed the Bechdel test. Morty’s attempt to write a funny tragic women’s dialogue for how stiff and boring (Beth and Summer’s conversation changed from drinking tea straight into the period). It’s fun to think about how many real Hollywood screenwriters produce the same results when forced to write two women talking about something other than men. (However, women shoot lasers from their crotch; that part is realistic.)
“It’s fun to think about how many real Hollywood screenwriters produce the same results when forced to write two women talking about something other than men. (However, women shoot lasers from their crotch; that part is realistic.)“
This episode is very aware of when the meta shtick is running low. With the speed moved by the coke in which it moves, it ticked in about eight minutes – but it was indeed annoying and rearranging before diving again. The coup d’etat of Ditto Rick’s end: the earnest embrace of Jesus Christ and the power of prayer, the most anti-Rick and Morty development. Just like that, the power of Story Lord was ineffective. Rick condemned it “eternity in every author’s hell: the Bible,” a rather funny sentence, but just sort of, prompting Morty to assume the resolution of the episode “cynically” right away: “I just don’t want to take a cheap shot, you know?” Then came the classic touch and existential: all of this, even the main sequel to the episode, was never real: Rick and Morty we just watched on a toy train bought by “original” Morty at the Citadel of Ricks souvenir shop, maybe before Evil Morty took over the place.
Part of Rick and MortyThe appeal of the four seasons is its refusal to depend on what has happened before. Stay inventive by all means and be self-conscious sometimes for a mistake – and more than that also aware of it. Re-introductions such as “Never Ricking Morty” are a good reminder of the strengths and mistakes, and what makes this show worth the wait. At least for a few more weeks on the chaotic Story Train from our current timeline, there are far worse places to find entertainment – or at least laugh.