THE GOOD PLACE — “Janet (s)” Episode 310 — Pictured: D’Arcy Carden as Janet — (Photo by: Colleen Hayes/NBC)
Standalone TV episodes
On the whole, television in 2018 felt somewhat directionless, floating through a limbo between the so-called Golden Age and whatever follows in its wake. Freshman series like Killing Eve, Succession, and Homecoming earned passionate followings, yet it’s hard to imagine them having a cultural footprint the size of Mad Men. (Is that possible in the era of Peak TV?) Returning series like Westworld and The Handmaid’s Tale failed to recapture their initial buzz. While there was certainly quality stuff, nothing managed to transcend the sheer quantity of stuff available.
Perhaps it’s not a coincidence that a year in which Peak TV-induced fatigue started to outweigh Peak TV-induced excitement also produced a plethora of fantastic standalone episodes – hours or half-hours that contain a complete plot or character arcs.
In a piece from September, Rolling Stone critic Alan Sepinwall catalogued many of the episodes in question. Some experiment with perspective, such as Westworld’s “Kiksuya” or Castle Rock’s “The Queen.” Others experiment with structure (BoJack Horseman’s “Free Churro,” GLOW’s “The Good Twin”) or genre (Atlanta’s instant-classic “Teddy Perkins”). An expanded list could also include Legion’s “Chapter 14,” which depicts mutant antihero David Haller in various alternate realities; Legends of Tomorrow’s “Here I Go Again,” which puts one character through a Groundhog Day-type scenario; Supergirl’s “Man of Steel,” which gives the season’s villain an origin story; and The Good Place’s “Janet(s),” which gives actress D’Arcy Carden a showcase.
At their best, standalone episodes are more than clever devices. They focus the show’s story and deepen its universe, honing in on particular conflicts, characters, or themes. For serialized shows, they can provide a welcome change of scenery and the satisfaction of temporary resolution. They can reward viewers for slogging through otherwise mediocre seasons. Ultimately, by embracing television’s constraints rather than trying to circumvent them, they allow the medium to flourish.