Much the same way I view carnivals as an escape from the ever-present inevitability of death, so too did “Origins of Vampire Mythology” feel like an amusing, enjoyable diversion from the reality of the season’s (and based on recent poor ratings, possibly the series’) impending conclusion.
Aside from Dean Pelton’s newfound love for trains, not much is introduced. Instead, the viewer is given another look at pre-established trends: Chang’s growing psychosis, a budding romance between Britta and Troy, Annie’s maturation, Pierce’s feelings of exclusion, Jeff’s insecurity, Vice Dean Laybourne’s attempts to enlist Troy in the air conditioning repair school annex, and Abed’s indescribable Abedness. Slight progress is made, but it is fairly gradual and natural with no big changes of direction or pace. Even the classic Winger speech toward the episode’s end didn’t seem to be very life changing. Perhaps Britta’s self-hatred has somewhat diminished, but it’s hard to tell based on this episode alone. Maybe Jeff’s insecurity will lessen as well, but that all remains to be seen.
It’s slightly troubling to see an episode move the season arc forward so unflinchingly and so little when only six episodes remain before the season finale. This episode felt very mid-season, perhaps understandably since it kind of is. I’ll admit, it’s hard for me to divorce my judgment from the incredibly high expectations given to me by the possibility of cancellation. As a viewer, I’m looking for leaps and bounds in every episode. I want as much ground to be covered as possible in the little time left, and I believe my expectations speak to the high stakes at play for these last episodes. However, as a critic, I can’t hold it against the episode when those expectations are not met. There are, after all, seven episodes left – even more if a fourth season becomes a reality. So despite my prejudices, I reluctantly concede that overall this was a very solid episode and a light-hearted lead in to next week’s episode, an in depth examination of Abed’s mind titled “Virtual System’s Analysis,” which based on the end of “Contemporary Impressionists,” promises to be dark.
“Origins of Vampire Mythology” tracks the events surrounding a weekend carnival that inexplicably comes to Greendale. Much of the drama centers on Britta, when she learns that this particular carnival is the employer of her irresistible ex-boyfriend Blade. She asks Annie to lock her away for the weekend with no access to her cellphone. Annie complies, until Britta cons her into returning the phone as an exercise of trust by telling Annie that she considers her to be her little sister. However, still suspicious, Annie first changes the contact number under Blade’s name in Britta’s phone to be her own phone number. Annie, Abed, Troy and Dean Pelton (who shows up at the apartment to try to convince Troy to join air conditioning repair at the request of the Vice Dean) proceed to argue over how best to respond to the many text messages Britta believes to be sending Blade. Abed’s frustration at the group’s inability to keep focused on the movie Blade provides the comedic background to keep this plot light and entertaining, while also hinting at his growing self-absorption. Ultimately, Troy takes over, sending Britta a message that he refuses to show Annie.
Meanwhile, back at the carnival, Shirley accompanies Jeff in his quest to meet Blade and learn just what makes this man so special that Britta goes crazy for him. The two frequently run into Pierce, who has found a new (and temporary) best friend in security officer Chang. After spending $300 at Blade’s booth, Jeff convinces Blade to divulge his secret. The gang converges at the apartment for some self-actualization and vampire-movie viewing.
As a self-indulgent critic, I am always frustrated when an episode doesn’t afford much new opportunity to examine the larger direction and themes of the season and/or series, so in that respect, “Origins of Vampire Mythology” left me feeling a bit unsatisfied. As a selfish viewer, on the other hand, episodes such as this one build my demand for increasingly strong pay-offs to the many plotlines that have been continuously stretched out without any divergent progress. Specifically I am referring to Vice Dean Laybourn’s frequent unsuccessful attempts to recruit Troy (seen before in “Biology 101,” “Advanced Gay,” and “Digital Exploration of Interior Design”), and Chang’s developing psychosis and increasingly powerful child army (seen before in “Contemporary Impressionists” and “Pillows and Blankets”).
For now both the viewer and the critic must resign to relish the diversion and hope for the future. Admittedly, “Origins of Vampire Mythology” makes it easy to do both of those things. With the permanent end of Community potentially less than 7 weeks away, it’s hard to complain about being given an opportunity to simply – and please excuse the following carnival pun – enjoy the ride.