I remember that when the screenwriter of "Rick and Morty" talked about his creation, he also suggested that a "circle" structure is similar to this train traveling along the track, so this episode is a metaphor for the creators. But I forgot the specifics. However, I have read two screenwriting books. Generally speaking, the structure of traditional plays is divided into these steps:
Show the world where the protagonist lives
The protagonist begins to "adventure" due to a certain motivational event
The protagonist has obtained some kind of ability or growth with the help of external forces (the branch line of the story will also be inserted here)
The protagonist encounters a crisis, the story goes to a trough
The protagonist finds a solution to the crisis
The story comes to a climax, the protagonist fights against the crisis
The protagonist overcomes the crisis
ending
I think this episode is about deconstructing the structure of the traditional drama. But I think it's just a deconstruction, and the irony in this episode points to another point. When the two people explained that they were trapped in the plight of this train, and then began the story to kill the guard, the guard immediately came to a world of his "nightmare". This is the arrangement of the "branch line". For the appearance of couples, the role of "branch line" is to extend the mood of the story, and it also plays the same role here. (It can also be seen from this place that this episode is not mocking the traditional drama itself) Another typical example is the "feminist masterpiece" starring mom and sister. Why does this paragraph seem funny, because these two characters are not " "Character arc" means that the characters have not grown and their personalities have not changed. In fact, they are "wooden people" in this segment, and they have no personality. These two people have only received external help from the "power of aunt", and they have not themselves. To grow. This is the irony of those extreme feminists for not allowing their inner characters to show their cowardly and cowardly side, which can only make the characters become "paper men". And at the "climax" of the story, the characters from other episodes came out to engage in "linkage", they also summoned Jesus illogically, this is to "please" the sentiments of religious audiences. This is actually not a satire of tradition. The dramatic structure of the drama satirizes the current entertainment products, for commercial considerations, to make the plot trend in line with the audience's expectations; and to "care" some audiences’ emotions to do "political correctness", restrict the freedom of creation, and the characters are very effective in solving the crisis. The discovery of the way is not from his own exploration but from external forces such as "audience needs" , so the character's personality has not changed, let alone growth, and the story has no logic. So this episode is not a satire of tradition The structure of the play is a satire that the current market environment is too stressful for the audience's "needs" and "not being offended", so the essence of the "character arc" (that is, the characters grow) in the traditional structure of the play is diluted.
At the end of the story, the grandson who stayed at home because of the epidemic actually represents the audience. Even if the current environment has turned cultural and entertainment works into "junk", capitalism will still pack this "junk" to deceive the audience for consumption. And the audience can only say
To satisfy the consumption purpose of capitalism, which is really a great irony.
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