The way this episode begins, progresses, shifts around, and ends, may be the highest point on the genius scale as televised storytelling has reached. The intricacy in how the relationships weave around is brilliant. Not just the scenes but the choices about where to end the scenes advance the plot. There's this one where Georgie says something to Mandy, and we don't see Mandy's reaction on the screen but we see it very clearly in our minds. And we all see the same thing. And the overlap in plot and subplot themes was fresh, not heavy handed as so often happens when they try that. And, at the very end, after a quick moment's look at the actor's face, the screen goes black, Chuck Lorre's name comes up, and we're done -- wow.
As an audience member I would like to point out how lovely it is to be treated as though I can think, and as though I don't need the grotesque to be entertained.
Listening to those accomplished actors read aloud from that story made me feel like I'd found my way home.
(I should make the disclaimer that I have at least a dozen Isaac Asimov books in my house -- not to mention the magazine, which is the one thing the episode failed to do.)
As an audience member I would like to point out how lovely it is to be treated as though I can think, and as though I don't need the grotesque to be entertained.
Listening to those accomplished actors read aloud from that story made me feel like I'd found my way home.
(I should make the disclaimer that I have at least a dozen Isaac Asimov books in my house -- not to mention the magazine, which is the one thing the episode failed to do.)
