In fact, the end of the sketch is an indictment on the organisation itself for not bending to need of the individual. Instead, a later sketch features an advertisement for a hotdog vacuum by the former employee (now entrepreneur), who refuses to admit any sense of guilt. There is no catharsis from this event though, no change. In the opening sketch of the first episode, an employee refuses to accept that he must eat lunch later because of an emergency meeting and sneaks a hot dog into the conference room only to choke on the hot dog while trying to eat it surreptitiously. At the root of the series’ theme is an adulthood nurtured in the strange hybrid of real-life and social media, which simultaneously promises individual connection to others while absolutely refusing to accept a reality outside of that which reconciles to your personal desires. They are virulently attached to their own desires, their own wants and needs. His reaction is a gross exaggeration, and the clear solution is to suck it up and do his job, but nobody in Tim Robinson’s universe wants to do that. Yet, immediately he regrets the extra weight and heat of the prosthetics and refuses to accept consolation from his producer. In the first episode of Season 2, a prank show host plans to walk into a mall food court heavily made-up to disturb people’s meals. People expect results but have little or no connection to the reality of realising them. I Think You Should Leave winds up tension without resolution or continuously unravels a story without any end in sight.Ī lot of this happens in I Think You Should Leave regarding unrealistic expectations. Think of Kids in the Hall or Documentary Now! Skits divert from set-up/punchline rhythms and meander in spaces between drama and absurdity. Similar programs that emerged from Saturday Night Live followed a familiar revolt against the late-night structure. Yet, this is where I Think You Should Leave develops its own flavor of anarchy. That must be the case in formats like Saturday Night Live where the structure in which the show is performed demands a certain uniformity. Some deus ex machina forces the divergent point-of-view into compliance or the group accepts the faux pas as the new normal.
Misunderstanding is a common comedy trope and, usually, sketch comedy resolves this in five minutes or less.
(Sometimes, these absurd monologues end up becoming sketches themselves.) Their refusal to stay on topic and follow a logical line of argument is part of the show’s theme though: people that can’t admit that they made a wrong turn.
Characters diverge into absurd monologues about inane topics that would’ve been better to have ignored but were not. The comedy is, at times, tangential to the plot of the sketches. There is rarely the set-up/punchline gimmick that sketches usually follow. Yet, what makes I Think You Should Leave is the asymmetrical form of the sketches. A lot of its talent (including the co-creator Tim Robinson) are former cast members of Saturday Night Live or members of Chicago improv groups like Second City or Upright Citizens Brigade and a lot of the sketches are rejected Saturday Night Live sketches. At one level, I Think You Should Leave follows in the stalwart tradition of improv-inspired sketch comedy.
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