Re: Episode 2.21 Song Free Download
Anfos Sin
I'm sorry but this episode was terrible. I watch glee for the overdubbed and compressed karaoke performed by attractive people and not to see Matthew Morrison pretend to cry while the Glee producers invent a story that is as much irrelevant as it is sappy. That was a terrible episode. Actually I'm not sorry to say that this episode was awful and represents much of what is terrible about Glee when the show takes itself far too seriously. At least some of the Public Service Announcement Group Hug episodes (Mercede's weight, Kurt's sexuality, etc) had some sort of message and point, however cliche. Hopefully this means Sue's character will stop being taken so seriously now and we can limit the inane drama to the twenty-somethings pretending to be in high school.
"Paradigms of Human Memory" is the twenty-first episode of the second season of the American comedy television series Community and the forty-sixth episode overall. It was originally broadcast on April 21, 2011, on NBC. It was written by Chris McKenna and directed by Tristram Shapeero. In the episode, the study group reflects on events from the past school year; many of these memories lead to arguments as they recall and recognize their faults, both as individuals and as a group.
Though it contains no material from previous episodes, the episode has the format of a clip show, parodying the genre and self-parodying many aspects of the show itself. Production of the episode required at least 70 new scenes, many of which were filmed during a day at Universal Studios away from the show's sets. The episode includes a notable nod to a shipping video made by a fan and set to the song "Gravity". It also includes multiple references to The Cape, which led to the line "six seasons and a movie".
In its original broadcast, "Paradigms of Human Memory" was seen by 3.17 million viewers. It received widespread acclaim from television critics, with praise going to its numerous jokes, and it is often considered to be one of the show's best episodes. Many critics, along with series creator Dan Harmon, noted the lack of a strong story or message, though most felt this was not to the episode's detriment. The clip show format would later be reused in season three's "Curriculum Unavailable", while "six seasons and a movie" would become a slogan for the show's fans.
According to series creator Dan Harmon, "Paradigms of Human Memory" was an "experiment" he had wanted to try for a while as a new way of telling a story.[2] The episode is officially credited to Chris McKenna, his fifth writing credit for the series.[3] McKenna later remarked that the script was "gang-written" as the show was running behind schedule.[4] It was directed by Tristram Shapeero, though executive producer Joe Russo assisted with several scenes.[5] In addition to scenes filmed at the show's normal sets at Paramount Studios, the show's cast and crew spent a day filming at Universal Studios. The clips feature a wide range of locations, including sets from films such as Jaws (1975), War of the Worlds (2005), and Psycho (1960).[2][4]
Although the episode parodied clip shows, most of the clips were not actually flashbacks of the series's previous episodes, but new material. Apart from the claymation scene (which flashes back to "Abed's Uncontrollable Christmas"), all of the flashback clips were written and shot specifically for the episode.[6] The clip featuring Jeff, Britta, and Abed at the Halloween party (a flashback to "Epidemiology") was not filmed together with the original episode, and the set had to be recreated.[6] The episode's end tag is an animated scene depicting one of the Dean's fantasies;[7] Harmon explained in a Reddit AMA that the clip was created by Justin Roiland to fill time because the original cut of the episode was too short.[8] In total, the episode features at least 70 different scenes.[9][10][11]
The episode frequently serves as a self-parody of the show's tendencies. For instance, the group's anthropology project, building a diorama of themselves building their previous diorama, was a dig at the show's own meta jokes.[9] Jeff also remarks on Abed's frequent meta-referencing, asking why he has to "shove [everything] up its own ass".[15]
The episode also parodied fan-made shipping videos that use slow-motion montages and sentimental music to make the scenes feel romantic.[6][15] The song "Gravity" (2009) by Sara Bareilles was played over montages of moments between Jeff and Annie and between Abed and Pierce, and the scenes were based on an actual video Harmon saw on YouTube.[21][22] Harmon spent $30,000 of his own money to purchase the rights to use the song.[17][23] He also reached out to the creator of the original video to clarify that the montages were not intended to insult her work.[24] Bareilles would later appear in "Intro to Felt Surrogacy" during the fourth season.[25]
The episode received acclaim from most critics. Alan Sepinwall of HitFix noted that the episode was successfully able to make fans laugh, tell a strong story, and experiment with new ideas at the same time. He also applauded the execution of the format for making fun of both clip shows and itself.[6] The A.V. Club's Emily St. James gave the episode a full "A" grade and considered it "one of the funniest episodes Community has ever done".[19] She found the emotional points to be weak but remarked that the story was "basically unimportant", as the sheer number of jokes carried the episode.[19] Eric Goldman of IGN gave the episode 9.5 out of 10; like St. James, he noted the lack of depth in the story but found it irrelevant given the rapid-fire gags.[7]
Jeffrey Kirkpatrick of TV Fanatic gave the episode a 4.8/5 rating, praising its use of parody and meta references. He compared it favorably to the episode "Advanced Dungeons & Dragons", remarking that the show often succeeded by simply placing the study group in a room and letting things play out.[15] Emma Matthews of Den of Geek was more ambivalent about the episode, calling it an "odd beast" that was funny but ultimately unsatisfying.[29] Paste's Sean Gandert gave it a 9.3 rating; he commented that the lack of story allowed the show to focus on some of the best jokes it had ever done, and he complimented the episode as "clever [and] unique".[30] In a retrospective review, Bill Wyman of Slate characterized the episode as being about "overkill", remarking that it lacked a clear theme beyond a focus on its own complexity.[20] The Atlantic's Hampton Stevens later noted the episode showed how Community was not a sitcom, but rather a satire of the sitcom genre.[31]
In a December 2011 ranking, Wyman rated "Paradigms of Human Memory" first among the show's episodes released up to that time, calling it "arguably the most ambitious, dense, inexplicable and elaborate 21 minutes of televised sitcommery ever aired."[32] Time's James Poniewozik gave it an honorable mention when listing his top television episodes of 2011.[33] A ranking of the show's best episodes by Entertainment Weekly placed the episode second.[34]
GEMMA Thanks to our crew, composing dynamos Moniker for the theme music Vampiros Dancoteque. Thanks to Jack for the facts, our booker Linda Moulton for looking after our guests and Sophie Shin for the episode transcript and to all of you for listening. If you have a minute, do drop us a review over on Apple Podcasts. We love feedback. Just a quick call out to Natalia who we forgot to mention last week, who left a review a few months back asking us to bring Sean Fennessey on the pod. We did it in the episode before this one.
"Northwest Passage" is the 20th episode of the second season of the American science fiction drama television series Fringe, and the 41st episode overall. The episode follows Peter (Joshua Jackson) as he continues to stay away from Boston after learning his true parallel universe origins; his travels take him to a small town, where he helps the local police investigate mysterious disappearances.
The episode was written by Ashley Edward Miller, Zack Stentz, Nora Zuckerman, and Lilla Zuckerman. Joe Chappelle served as the episode director. It featured a guest appearance by actress Martha Plimpton. Pearl Jam guitarist Mike McCready helped write the music for the episode.
"Northwest Passage" was co-written by producers Ashley Edward Miller, Zack Stentz, staff writers Lilla Zuckerman and Nora Zuckerman.[1] Co-executive producer Joe Chappelle served as episode director.[2]
The episode featured guest actress Martha Plimpton as Sheriff Tracy Mathis. On her role, she later commented "That episode turned out really well; I was really pleased with it, and where else but on Fringe would I get to play the sheriff of a small town?"[5]
The crew shot an alternate ending in which Mathis questions Peter about his faith with the FBI. This was available on the DVD special features.[6] As with other Fringe episodes,[7][8] Fox released a science lesson plan for grade school children focusing on the science seen in "Northwest Passage", with the intention of having "students learn about the scientific method and how it can be used to collect data through experimentation and observation in order to formulate and test a hypothesis."[9]
A song by Leonard Cohen, "Anthem" is quoted in this episode. "Anthem" lyrics are: "There is a crack in everything/ That's how the light gets in." The Sheriff played by Martha Plimpton has a pen with "find the crack" printed on it, she states to Peter Bishop "that's how the light gets in."
The A.V. Club writer Noel Murray graded the episode with a B+, explaining "It was the atmosphere that sold me on "Northwest Passage", an episode with a fairly middling mystery and only minimal advancement of the master-plot. (Though the end-point of that advancement was a doozy, and has me eating a little crow.) At times tonight the show almost felt like a backdoor pilot for a new series, with Peter tooling around the Pacific Northwest meeting local law enforcement and cracking cases. And while that's a show I'd definitely watch, I confess I'm anxious to jump ahead to next week, when there'll be inter-dimensional conflict and doppelgangers galore".[2] Murray considered the ending with the appearance of Walternate a "strong finish to a mostly strong episode".[2] IGN's Ramsey Isler gave it 7.8/10, writing that "Fringe's sophomore season is building up to an epic 2-part finale. This episode doesn't reveal much in terms of overall Fringe mythology until the very awesome ending, and even then it just confirms what we already knew or suspected. Still, this installment deserves credit for using a different formula and giving Joshua Jackson some much-deserved time in the spotlight all by himself".[10]
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