Rick And Morty Creator Dan Harmon Has A Galaxy Brained Take On Canon You Have To Read To Believe

Dan Harmon, "Rick and Morty" co-creator and the mind behind "Community," somewhat revolutionized the contemporary approach to character development through the Dan Harmon Story Circle. Harmon's framework is effective for just about every type of storytelling, including narrative features and episodic television. At the time of publication, he has earned three Primetime Emmy Awards, which is to say that he knows a thing or two about storytelling. I recently attended a FYC screening for Adult Swim in honor of "Smiling Friends," "Genndy Tartakovsky's Primal," "HAHA, You Clowns," and "Rick & Morty," which included Tartakovsky, Joe Cappa, and Harmon having a conversation with Adult Swim President Michael Ouweleen.

Tartakovsky, Cappa, and Harmon represent three different generations of animation showrunners, and each brings wildly different energy to the fold. Cappa, for instance, was exactly as quietly brilliant as he was when I interviewed him about "HAHA, You Clowns" last fall, while Tartakovsky remains a living legend in the space, just like he was when we spoke about his 2025 film "Fixed." Harmon, however, is the only one of the trio that I've yet to get face time with, though after years of listening to him talk about his process, it's hard not to view him like an eccentric professor spouting profundities between intergalactic jokes dripping with dark, existential nihilism.

At one point during the conversation, Harmon mentioned "hating canon" despite the audience loving it, prompting a question from members of the Television Academy in the audience about his stance. His response was the most Dan Harmon answer imaginable, explaining that his relationship to canon as a writer is like an aeronautical engineer's relationship with gravity. It's the kind of galaxy-brained approach to storytelling I expect from someone like him, but much like his Story Circle, it's something I cannot stop thinking about.

Canon, for those unaware of its actual meaning, is the body of work accepted as authentic and authoritative within fiction media. It's the official storyline and the sanctioned rules by which a story must abide. It is "Star Wars" canon that Darth Vader is Luke Skywalker's father, whereas everything in the animated anthology series "Star Wars Visions" is non-canonical. For Dan Harmon, who has to juggle multiverses, time traveling, and alternate realities on "Rick and Morty," canon can complicate things. As he explained when asked to elaborate on his feelings about canon:

"The metaphor I use is that canon, i.e., serialization, what we all love about television — I don't want people to misunderstand that I think it's wrong, it's just, I equate it with gravity if you work in aeronautics. It's like, the whole point of what you're doing, it only works with it there, but it's the thing you are fighting against. The whole point is to defy it. It is what brings everything down inevitably, and yes, your goal is to succumb to it."

Canon is the anchor that keeps chaos in check, then, even if it means setting guardrails for creative expression. Harmon also admitted that he fears canon because if the story is compelling enough for audiences to invest in the characters you've created, "it just elevates the chances for you to do things wrong." Ultimately, Harmon said, "It's a me problem. I'm scared of commitment." He compared his connection with canon to that of a toxic relationship. "The audience and I trust each other too much, and I come home drunk and just s*** my pants." He then joked, "That's not a metaphor. It happens. You can Google it. I just got my doctor to tell me it's normal."

One of the core appeals of a show like "Rick & Morty" lies in its limitless possibilities, with unpredictable storytelling that gives audiences an anything-goes style of comedy that constantly breaks expectations. After explaining his feelings about canon, Dan Harmon was also asked how his famous Story Circle fits with those feelings and, in turn, how obedient he is to the structure that he famously created. Unsurprisingly, Harmon's approach is one based on breaking the rules once you've mastered them. As he put it:

"I believe story models are supposed to be like compasses. So, it's like, you take mushrooms and go to Joshua Tree. If you can find your way to your car while you're tripping balls, then you're Quentin Tarantino. You don't need a story model. Like, good, go with that. If you don't know where you parked, then there are age-old techniques like putting a stick in the sand, and moss will grow on the north side of it. That, to me, is what story models are supposed to be for. If you barf out a story that is satisfying, good on you. You're Michael Jordan. Who cares what a double dribble is?"

He's clearly doing something right. "Rick & Morty" remains one of the most popular animated shows on television and boasts a rabid fandom that rivals that of any major legacy IP. And you don't reach that level of success or popularity without a story that audiences care about.