Freddy spaghetti ron falling
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Thus, Tom could have a chain of restaurants, April could be running Animal Control, and Ben could have a Cones of Dunshire TV series in the works. (I’d say the election, Leslie’s time as councilwoman, and the recall vote arc may have hurt more than helped.) But three years gives characters time to move away from their previous positions without stretching our suspension of disbelief too far - outside of Terry, we don’t know what anybody else is doing, including Tuxedo Ben. It also allows for a good degree of invention of the premise, which is something the show has always tried to do, occasionally negatively impacting the show’s ability to break stories overall. That, to me, seemed like one of the primary directives of the final scene: to assuage fans that this is still a workplace show, and kids won’t change Leslie’s drive in the office. Jumping forward three years is smart for multiple reasons - we get to skip past haggard parents Leslie and Ben, allowing the show to use the kids when necessary but not make them the focus. And while I’d be watching next season either way, I don’t think I’ve looked forward to the next season of Parks and Rec this much since at the end of the Season 3 finale, just because this episode was so funny. (This episode seemed like a Greatest Hits episode for Ben, in particular, between his fortuitous trip to Endor, the return of the Cones of Dunshire, his befuddled look at the Lil’ Sebastian hologram, and another accidental diss of the accounting firm.) The writers could pull out all of the fancy twists they could think of in the final minute, but I wouldn’t care if they didn’t remind me of how damn good this show is at the most crucial times. Maybe April didn’t get a big moment, and Donna’s came in the previous week, but everyone else got legitimately great moments that reminded us of why we cared about these characters in the first place. Everyone will be talking about the last minute of the episode, of course, and I’ll get there, but my enjoyment of this episode was primarily based on the previous 41 minutes, including Leslie’s reaction to the First Lady, Jerry’s (Terry’s?) printing mishap, and the reunion of Mouserat. During the finale, though, it was like a switch went off, as nearly every joke hit, the character resolutions felt earned, and I became genuinely interested to see what everything was building towards. I watched “One in 8,000” about an hour before the finale, and I smiled a few times and laughed maybe once.
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Michael Schur and company have rarely known whether the show would be picked up for a back nine or a full season, and that makes a pattern in the arcing - there’s a big episode around number 13 (last year’s “ Leslie and Ben” and this year’s “Ann and Chris”) and then a quasi-series finale at number 22, and this two-parter sits proudly with previous finales “Freddy Spaghetti,” “ Lil’ Sebastian,” and “Win, Lose, or Draw” as one of the show’s very best episodes. What a pleasure, then, to watch “Moving Up,” an hour that quashes some of the questions above, bolsters what makes these characters special, and paves an interesting way forward for what will most likely be the show’s final season, whether it be 13 episodes or a full 22. The last two episodes haven’t helped matters: while they’ve been funny, focusing on Leslie’s pregnancy instilled fear that the show would turn Leslie into a doting mother, losing the Leslie we loved in the workplace even further. These kinds of points have dominated this season, and I can remember rumblings of these kinds stretching back to Season 4. (A rash of marriages and babies, typically a sitcom’s last gasp at fresh material, hasn’t helped this perception.) And while I bemoan this discourse, those people haven’t been wrong: this season, Leslie far too often has reverted to acting like a petulant child before learning her lesson in minute 20, and the supporting cast often feels adrift, particularly Tom. The traditional thinking is that once Ron began to soften, any antagonism in his relationship with Leslie faded away, leaving generally likable people with very little conflict.
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The conversation surrounding Parks and Recreation’s sixth season has been disappointingly familiar: much like The Office before it, conversation inevitably turns to how the show has lost a step.