Well, Peter did jump out as soon as he realized the situation The perv would have stayed.
I was going to say the same thing. Who the f watches Family Guy for the plots? If you do I’d like to introduce to some shows you might REALLY like. They are based entirely around plots. Their called dramas. Look into it.
I said it lacked a coherent narrative arc around which the random gags take place. It did. Most Family Guy episodes don’t. They’re the better for it. I stand by that.
(Scott_plaid: You know what ‘concurrent’ means, right?)
It’s a Spanish term meaning “with jelly”, right?
That’s what I thought, Revtim.
But really, what does “occurring or operating at the same time;”, with the additional meaning “contributing to the same event or effect” have to do with anything? You want the a-story to affect the b-story? Since it doesn’t always happen in real life, it seems that your complaining that you would like it to happen here baffles me.
This just cracked me up. I can see the writers of this show stairing at a whiteboard trying to figure out what this means.
Personally the lack of, for the most part, any plot arcs is what makes this a funny show. You just never really know what your going to see.
As others have said, I want the A-plot to be happening at the same time as the B-plot. I don’t know what’s hard to understand about that. It’s sloppy to have one mini-plot (as they did at the beginning with Quagmire), end it without really resolving it, and just sort of ramble from plot point to plot point in the A-plot for the rest of the episode. Good writing brings the two together – not in that the two plots necessarily affect one another, but in that the story is switching from one to the other. (And, ideally but not as a matter of necessity, they come together in the end.) Look at the Family Guy episode that I mentioned earlier about Meg joining the cult and about Stewie having his birthday party. Perfect example, and executed expertly.
I disagree. The show is at its best when it has a narrative spine. Seth McFarlane is really good at writing both narrative and orthogonal, out-of-nowhere gags; some of the other Family Guy writers clearly aren’t as strong about it.