Coyote cliff dive, “Elevator” ran six episodes and its story continued into the next one (about which more in a second).
Even this long story–about Louie’s infatuation with Amia (Eszter Balint), a Hungarian visitor to the States who speaks no English–was a collection of parts, some of which worked better than others.
If you do follow up, yes, it can be bold and socially valuable to show that audience that, look: guys who do this sort of thing don’t walk around with labels on their forehead.
On the other hand, I was fascinated by the arc’s parallel story, about Louie’s conflict with his ex-wife Janet (Susan Kelechi Watson) over their daughter’s education, which had remarkable insights about class and control and the little-acknowledged notion that a marriage continues evolving even after it ends.
There may be a lot about his mindset that is open for interpretation, but not about the act: whether or not Louie wants to force her into sex, he’s trying to take control of her body, and she is violated.
(Is it, by the way, possible that Louis CK simply inserted that long monologue as CYA–a way of saying, “Hey, the scene you’re about to see, it’s not really rape, because my character is really an enlightened, feminist guy who gets it”? But you know what’s a much easier way to ensure that your audience doesn’t take a scene to be sexual assault?
This has been the show’s strength and distinction: not tied to one tone or mode, only as consistent as it wants to be, it’s been able to tell stories almost through free association: comedy here, drama there, hyperrealism shifting to hypersurrealism, the only consistent thread being its lead character’s state of mind.
(Take season 3’s “Dad,” which included a psychologically realistic setup– stories have had repercussions as lasting as a those of a Wile E.