The conversations of conclusions continue as the guys discuss futuristic cloning, torture, surrealist dick-measuring and more!
Finales discussed for this episode include
The DCAU
24 hours to Chloe
Mad Men Minds
The Offices
The End of Seinfelion
And also Twin Peaks, Evangelion, The Matrix (Revolutions), The Dark Knight Rises, X-Men, The Mary Tyler Moore Show, St. Elsewhere, Newhart, Battlestar Galactica, Roseanne, Martin, Fresh Prince of Bel-Air and the Rocky series.
Music Included: 24 Theme by Sean Callery
Next Episode…THE FALL OF AMERICA?!!
Questions: We Don't Have Answers 
I have the draft of an annoying lengthy email for you guys (I’m finishing up the episode now) about sitcom endings and how I think they’re much more valuable to our popular culture than you’re giving them credit for … and may send it (right now, it’s too long and too old-white-cis-het-man-splainy).
But I did want to point out the genius of the Newhart finale, which you guys mentioned in brief. Bob Newhart had starred in “The Bob Newhart Show” in the ’70s, where he played a psychologist. “Newhart” had him playing the owner of a bed and breakfast in Vermont and dealing with all of the weird people in town and literally had no relationship to the previous show. The entire plot of the finale (which aired in 1990) is that Japanese investors are buying up more or less the entire town and everyone’s selling out/moving on (the “big change ahead” story being a sitcom finale trope). At the end of the episode, Newhart’s character gets hit in the head, gets woozy, things cut to black and all of the sudden, there’s the reveal that it was not only all a dream, but they subvert the cliche by having it all be a dream of the character he played in his former, completely unrelated sitcom. If you watch the scene, the audience had no idea it was coming and Newhart and Suzanne Plechette played it incredibly straight for the 30 seconds. It is absolutely brilliant.
Btw, Bryan Cranston and Jane Kazmarek (sp?) parodied this when Breaking Bad ended, with the idea that the entire show was a dream of Hal from “Malcolm in the Middle.”
LikeLike
They both got goofier. The Office became less about the office shenanigans and more about everyone’s romances. Community became increasingly cartoonish and surrealist.
LikeLike
More specifically, I think the reason I can’t stand the later seasons of The Office (and by extension Community) is because the volume went up. Simply, the volume — I don’t know why everyone is always shouting. And “shouting” can be fine, but it’s the “always” part.
LikeLiked by 1 person