![]() ![]() I'm DJing a special New Year's set tonight at The Bank Bar and Lounge! Let's get SCHWIFTY! Who wants to come get schwifty with me at Tsunami Then the conflict becomes that the earth is in peril if Rick and Morty can’t perform a pop song for… um… more giant heads.Rick and Morty’s many fans adopted schwifty as an allusive in-joke f or getting intoxicated and going wild while partying. The original conflict was that the earth was in peril if Rick and Morty couldn’t perform a pop song for a giant head. I mean, it’s just occurred to me that the story actually only has the illusion of developing beyond the first act’s premise. “Get Schwifty” sort of flip-flops and the result is that a number of the gags work, but it doesn’t do the footwork to make you care about the emotional stuff or, well, the plot. They just do a better job of developing and building to whatever tone they want to convey. One could argue that there’s nothing different between this and any other episode of Rick and Morty, but I think the best episodes of this show know how flip from funny to somber or, alternatively, they pick one and stick to it more resolutely. And just the giant head thundering “SHOW ME WHAT YOU GOT” made me all a-giggle.īut “Get Schwifty” is let down by a plot that’s overly complex and too goofball to take seriously. I also couldn’t help but laugh at the lyrics to “Get Schwifty.” I did not anticipate it being about shitting on floors. The president declaring “’Get Schwifty’ was a jam” is good, as is Principal Vagina asking the giant head to forgive him for the AMBER Alerts he keeps ignoring on his phone. Ultimately, the best thing about “Get Schwifty” is some of the jokes. Also, it feels like Morty’s learned that Rick’s (almost) always right quite a few times now, so it’s hard to see this as a huge moment of enlightenment or something. It’s hard to care much about this stuff when it’s all thrown out as fast, furiously, and jokingly as everything else in an episode packed with nutty junk. It presents everything as completely inane and disposable, but then still tries to shoehorn in emotional stuff about Jerry and Beth finally getting the respect from their daughter that they’ve always wanted and Morty learning that, in the clutch, he just needs to put his faith in Rick. I guess the big problem here is the episode wants to have it both ways. ![]() In fact, the ending doubles down on this as Rick and Morty and President Keith David just slap together another crappy song at the last minute and save the world (frankly, their first hit is far more memorable). I mean, even though the fate of the world is at stake, it doesn’t feel like much of a problem because we learn in the first act that the giant heads are very easily appeased by not-great songsmanship. Ice-T’s backstory is essentially just a gag, but the stuff we’re supposed to care about, like Summer’s undying allegiance to the giant head cult, is introduced just as randomly so it’s also hard to take too seriously. Still, it’s also what makes very little of it stick. The madcap nature of this episode is what’s fun about it it’s what allows for Ice-T to suddenly exposit his alien origin story in the middle of everything. It doesn’t all quite hold together, however. ![]() The head is quickly appeased by an off-the-cuff number performed by Rick and Morty about shitting on the floor and then we’re off to all other manner of foolishness: a fate-of the-planet, intergalactic music reality show the formation of a cult that worships the giant, pop-loving heads and Ice-T revealing he’s an alien from a planet where everyone is both an element and a letter. ![]() One easily could easily fill 23 minutes with just the premise of a giant head coming to earth demanding to hear an awesome pop song, but on this show it’s only the first act. Creator Justin Roiland has said the goal is to relentlessly chuck fresh nonsense at the audience. I do love the way Rick and Morty operates. ![]()
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