Tag Archives: Amanda Peet

Reduced to a Scheduling Experiment: The Cruel Fate of NBC’s Bent

Parks and Recreation launched as a shortened six-episode order because Amy Poehler was pregnant at the time, and they weren’t able to shoot any more episodes. The show that debuted was effectively an experiment, the first stab at merging together the mockumentary-style of The Office (the show originated as a spinoff before being turned into an entirely disconnected project) with the show’s cast as performers (or thespians, to refer to them with the respect they deserve).

Parks and Recreation was an experiment that NBC nurtured (likely because of its pedigree), giving the show a plum post-Office time slot and renewing it despite continually plummeting ratings. Now finishing its fourth season, and likely to be renewed for a fifth, the show will be heading into syndication with the potential to make NBC Universal a not unsubstantial sum.

Bent was ordered as a six-episode first season, and positioned as a midseason replacement simply because NBC was unwilling to commit to a larger order. The show never quite found the right gear for Jeffrey Tambor’s character, but the cast dynamic was strong and the central chemistry with David Walton and Amanda Peet gave the “romantic comedy” side of things some definite credibility.

Bent was a perfectly solid show that NBC turned into a scheduling experiment, airing the six episodes in three one-hour blocks spread out over three weeks. Although Josef Adalain has NBC sources on record suggesting this was actually an attempt to help the show, that doesn’t change that the choice to experiment effectively doomed the show before it had a chance to become, well, anything.

Given that Walton was cast in another pilot this morning, the chances for a renewal are effectively nil, but I want to expand on this comparison briefly and reflect back on the two weeks and six episodes that are likely to remain the extent of the charming, pleasant Bent.

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How I Met Your Mother – “Jenkins”

“Jenkins”

January 18th, 2010

When Marshall and Lily got married, their friends were worried that they would no longer hang out with them, and their lives would change. And while that never entirely materialized, the show has had a bit of a tough time writing the characters since that point. Putting them into debt never really went anywhere, their new apartment has become an afterthought, and it feels as if they’re just marking time until the point where they decide to have a baby. I don’t meant to suggest that the characters are no longer funny, but they lack a drive forward, and surrounded by characters like Ted and Robin who have a more uncertain future they can sometimes feel less interesting to viewers, and to some extent the writers, as characters. Lily, after all, disappeared for part of last season without the show losing a beat (although, as I’ll get to below, there have been exceptions).

“Jenkins” demonstrates that the writers are self-aware to this point, as the title story basically turns into Marshall doing everything in his power to convince Lily that their relationship is not almost problematically safe and secure. It’s not a bad story idea, and it reaches a satisfying conclusion, but it’s another sign that the kind of storytelling that often sets How I Met Your Mother apart from other shows just no longer jives with Marshall and Lily’s day-to-day lives. They will always remain an integral part of this ensemble, but I think they’re going to have to get moving on that baby before they can carry an A-Story.

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