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This is discussion archived from a time before the current discussion method was installed.

Tzintzuntzan: That last bit, about the two plot threads coming together...is it really a subversion? It's very common to have the two plots interact at the end, or at least form a Double Aesop.

Janitor: Good point. I am pulling out... "The Canadian crime drama Da Vinci's Inquest slightly subverted this in an episode where the two cases become one when it's revealed that a hit-and-run being investigated by the main character was perpetrated by the same person who was involved in a shooting that a second team was investigating just a block over." ... as being off-point.

FurrySaint: My bad. I felt it was a unique way of doing it, since I've never seen it done before. Of course, I probably have, but not in a way that was interesting... >_>;;

Paul A: See also Working the Same Case.

Clarence Atomkraft: Can someone explain to me what the specific difference is between Two Lines, No Waiting and Plot and Subplot? which as far as I know has been a tradition since...well a long time...Shakespeare always had a main plot and subplot in his plays.

Looney Toons: Two Lines, No Waiting is two main plots — they have equal weight, storywise, and run in parallel to each other; either one could carry a whole episode by itself were it expanded it a bit. A subplot has a smaller scope and usually doesn't have the wherewithal to carry an entire episode — it's either too narrowly-focused, or it's more tuned to a specific character's needs.
Daibhid C: I've changed the Discworld examples, because I was struggling to think what the second plots were in the ones mentioned.