In that episode we also simultaneously established that you can do sci-fi stories that have absolutely nothing to do with Rick causing them - the Plutonians just come down and abduct Morty and Jerry, and that’s a pretty satisfying story, too. “Something Ricked This Way Comes” was a re-introduction to that concept. HARMON: As much as Rick and Morty had this important dynamic, there was this whole, different, untapped thing that was Rick and Summer. The one where Rick disapproves of Summer's new job at the devil's store, and Morty and Jerry go to Pluto. But they still managed to name seven of their faves, and, in the process, revealed the tremendous amount of blood and sweat and madness that goes into making the wildest show on television. “I’m so proud to have a show that it’s almost arbitrary to pick a favorite - there’s no clunkers I can think of," Harmon said, and he's damn right. Instead, I rang up Harmon and Roiland and asked them to tell me about their favorite episodes so far. I'm pretty sure I could write a dissertation on it at this point, highlighting all of the wild, mind-blowing layers within each 20-minute story. I've seen every episode of Rick And Morty at least five times. There is little doubt in my mind that authors and screenwriters and comedians will study Harmon’s process in the distant future, when we're all Cronenberg creatures. It's this far-reaching awareness of collective literary and societal memory that makes Harmon's work feel so pertinent to contemporary storytelling Rick And Morty isn’t too different from Shakespeare’s plays, which essentially satirized the Western canon and the very idea of the archetype, like Harmon and Roiland do now, within their show's freaky, boundless universe. The process is a riff on the Hero's Journey, or the Monolyth, a narrative pattern found in canonical myths and epics.
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