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You can be irreverent and satirical, but if you can root it in a family where we care about people and they're multidimensional, it really allows us to enjoy and grow and feel a humanist experience with the show itself. I think it always ties around the family, and there's a heart to the show that doesn't necessarily exist. I think that the structure of the writing is great.
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I think that the writing is exceptional, too. But I also think - because I watch a lot of animation and I feel similarly: They start off with really interesting premises, and sometimes they get lost in the shuffle. There's a verisimilitude and homogenization. And we all live in this universe, I think, well. Obviously, Parnell's had a pretty huge, prolific animation career already, and this was the beginning of mine, and I'm so grateful for it. I think that there are some people who translate better than other people by their voice, and I think you picked some really unique characters. But I think not every actor is great at voice acting. Grammer: I'm not saying casting choice, obviously. Grammer: Well, yeah, I think you guys did a really great job in casting us. Make the comedy the way it always has been, just really well-crafted and funny jokes and dialogue. There's a lot of thought that goes into that stuff, all the way up until the show airs, it feels like. I think we just write the show the way we always have. But by and large, we stay away from that stuff. We'll have an acknowledgement of Rick turned himself into a pickle, is he going to turn himself into a f***in', ya know, just little things here and there that we've done.
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But there are the occasional references now, because it is kind of insane. The jokes always need to feel like well-crafted jokes and not just references, because that's going to turn people off. Look, we don't ever want to be like, "Bazinga!" We never want to do that s**t. Roiland: I feel like the smartest angle is to always try to just stay true to what you think is funny. Just as a quick follow up to that, does the mythology change anything for you on the comedic level, where you have so many of your own older jokes in the canon to call back to and work with? Go back and start at the beginning and you'll see." Potentially, even that would be okay as a point of entry, but you would have people going, "Why is that character so f***ed up?" "Well ,they weren't always that way. Or to have someone who's really f***ing lost their s**t because of some insane, cataclysmic - you have a character who's really just f***ed up. So that kind of stuff, personality-wise and relationship-wise, that all feels okay to me, to be able to grow characters in that way. People can see an episode with Summer, as she currently is as a character, and not feel like they're missing anything about the overall arcs and canonical craziness of the show. Grammer: Without having to amplify how much she's changed from season 1 to season 6. the character of Summer has grown and changed so much over the seasons, but we can still tell an episodic story without. Up until a point where we really feel like, "Okay, the episodic stuff is holding us back," up until we feel that way as creators, I don't see any reason to get rid of it or dismiss it. I feel like we're at a point in the show where we could do whatever we want in terms of that stuff. But then also be able to still tell an episode that's a very "Rick and Morty" classical sci-fi fun romp that you could just show somebody that's just self-contained madness.