Tag Archives: Megan Mullally

Parks and Recreation – “Ron & Tammy: Part Two”

“Ron & Tammy: Part Two”

February 10th, 2011

The most basic approach to a sequel is to make everything bigger: by taking everything one step further, you therefore make everything one step better.

However, I don’t know if this principle works for Tammy Swanson. I love Megan Mullally in this role, and I even enjoy this character and its impact on Ron Swanson, but the execution in “Ron & Tammy: Part Two” just didn’t connect like I think the show thought it did. It’s funny enough, I guess, but it feels like a trope: like one of those sequels where they just repeat what worked before and add a few bells and whistles (or, in this case, some cornrows and a genital piercing).

I actually thought the rest of the episode worked pretty well, and the show is still in good shape, but it felt a bit regressive if I’m truly being honest. The show is better when it’s subtle, at least for me, and the balance of this episode seems to have been a bit out of whack.

But just a bit.

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Season (Series?) Finale: Party Down – “Constance Carmell Wedding”

“Constance Carmell Wedding”

June 25th, 2010

In some ways, there could never be a perfect finale for Starz’ Party Down. The show is about people confronting the fact that they might be living their finale, that working for a catering company may be the highest rung they will climb in southern California, and so “endings” are inherently unnatural. Instead, the characters are in a constant state of waiting to become, working hard or hardly working towards the end goal of achieving great success in their chosen field. And so while this may well end up the series finale (due to Starz reinventing itself as a genre network under new management and the middling ratings for the series) of Party Down, it is an episode about failed beginnings more than endings.

While very funny and quite poignant in a number of areas, “Constance Carmell Wedding” suffers a bit under the weight of those final moments, unsure of who would be returning for the following season or if there would even be a following season. Constance’s return is most welcome, and the focus on career goals is well met, but there’s a point where a half-hour comedy just can’t carry the weight of beginnings, endings, reunions, unions and everything else in between.

However, let’s not pretend this means I won’t miss the show should it truly be done, or that I didn’t find the second season to be particularly strong: while it may not have all come together perfectly, it was a confident second season which built on the first season’s success without abandoning its winning formula, and I sincerely hope that the show gets a reprieve if only to see what a third season would look like for these character I’ve come to admire.

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Handicapping the 2010 Emmys: NBC’s Parks and Recreation

Handicapping the 2010 Emmys: NBC’s Parks and Recreation

June 25th, 2010

[This is the first in a series of posts analyzing individual show’s chances at the Emmy Awards ahead of the nominations, which will be announced on July 8th. You can find all of my posts regarding the 2010 Emmy Awards here.]

I think there are many who doubt Parks and Recreation’s chances at this year’s Emmy awards, and I understand where they’re coming from: the show’s weak first season left a poor impression last Spring, and the lack of starpower beyond Amy Poehler makes it tough for the series to really break through.

It’s tough to assess its Emmy chances without comparing it to past NBC comedies, and the comparisons don’t really do the show any favours. While The Office also had a weak, and ignored, first season which failed to register any Emmys attention, Steve Carell became a movie star between seasons and the series had the UK series’ pedigree to build from. And while 30 Rock was also a low-rated NBC comedy series with a female lead from Saturday Night Live, it was also a low-rated NBC comedy series which pandered to industry-types with both its movie star male lead (Alec Baldwin) and its show business-centric premise. Amy Poehler did not become a movie star this past summer, nor did the Academy suddenly become experts on small town government, which means that Parks and Recreation’s surge in quality between seasons has every chance of being ignored by voters.

However, I do think that Parks and Recreation will grab itself an Emmys foothold this year, if perhaps not quite as large a foothold as The Office found when it won the Emmy for Outstanding Comedy Series in its second season. The Office didn’t grab a whole slew of nominations in that year: only Carell grabbed an acting nomination, and the show picked up just two editing nods and a writing nod (for Parks showrunner Michael Schur, in fact) to go along with them. I think there’s an outside chance of Parks and Recreation matching that total number of nominations when you factor in the technical awards (which I can’t really predict, but I have to hope those awesome murals don’t go unnoticed): Amy Poehler has to be considered a contender in Lead Actress in a Comedy Series after back-to-back nominations for Supporting Actress on Saturday Night Live, Megan Mullally has a great shot at grabbing a nod for her guest turn in “Ron & Tammy,” and the Outstanding Comedy Series category is unpredictable this year that there’s no way you can count out a show as good as this one.

And when it comes to Supporting Actor in a Comedy Series, I think it’s safe to say that Nick Offerman has already won the award for many of us, as Ron Swanson was the season’s breakout television character by a country mile. Precedence says that Offerman’s a long shot: not only is he not quite a household name, but Rainn Wilson and Tracy Morgan didn’t even get in for The Office’s second seasons, so the supporting players are often the last to be recognized when a show is making a name for itself. However, I have faith that either Emmy voters will have seen enough of his performance to see its genius or that they got wind of the fact that he’s married to seven-time nominee Mullally and luck their way into a brilliant decision.

Parks and Recreation is unquestionably, and unfairly, fighting an uphill battle, and I don’t expect it to break through as The Office and 30 Rock did in their first major Emmy seasons. However, I think it’s important to acknowledge that the show has some things going for it, and that quality is not always absent from Emmy races: Two and a Half Men got bumped from Outstanding Comedy Series by Flight of the Conchords and How I Met Your Mother last year, so it’s not as if there’s no room for a dark horse. It doesn’t have the strongest ratings, or much buzz outside of highly vocal critical circles, but it has a whole lot of heart, and I have to hope that meant something to voters when they cast their ballots.

Contender in:

  • Outstanding Comedy Series
  • Lead Actress in a Comedy Series (Amy Poehler)
  • Guest Actress in a Comedy Series (Megan Mullally)
  • Writing for a Comedy Series

Dark Horse in:

  • Supporting Actor in a Comedy Series (Nick Offerman)
  • Guest Actor in a Comedy Series (Rob Lowe)

Should, but Won’t, Contend in:

  • Supporting Actress in a Comedy Series (Aubrey Plaza)
  • Supporting Actor in a Comedy Series (Chris Pratt, Aziz Ansari)

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Handicapping the 2010 Emmys: Official Ballot Miscellany

Official Ballot Miscellany

June 4th, 2010

Earlier this evening, Emmy voting officially began; this isn’t particularly important to us non-voters, but it does mean that the official ballots were released (PDFs: Performers, Writing, Directing), which means that we know who submitted their names for Emmy contention and can thus make our predictions accordingly. In some cases, this simply confirms our earlier submissions regarding particularly categories, while in other cases it throws our expectations for a loop as frontrunners or contenders don’t end up submitting at all.

For example, Cherry Jones (who last year won for her work on 24) chose not to submit her name for contention this year, a decision which seems somewhat bizarre and is currently being speculatively explained by her unhappiness with her character’s direction in the show’s final season. It completely changes the anatomy of that race, removing a potential frontrunner and clearing the way for some new contenders (or, perhaps, another actress from Grey’s Anatomy). Either way, it’s a real shakeup, so it makes this period particularly interesting.

I will speak a bit about some surprising omissions and inclusions in the categories I’ve already covered this week, but I want to focus on the categories that I haven’t discussed yet, including the guest acting categories, writing, and direction, which are some interesting races this year.

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Season Premiere: Party Down – “Jackal Onassis Backstage Party”

“Jackal Onassis Backstage Party”

April 23rd, 2010

“It’s no picnic being the boss, huh?”

When we write about Party Down, we tend to focus on the premise over the characters. Part of this has to do with the fact that we’re all preparing for the fact that the show might lose many of its characters if it gets a third season, so there’s a vested interest in emphasizing its revolving locations and the general focus on struggling actors/writers/show business folk working to support their dreams over Henry or Casey. While we’re attached to the characters, who were certainly one of the most important parts of the hugely enjoyable first season, it’s the diverse engagements that really set the show apart, and which have formed the basis for its most enjoyable episodes.

“Jackal Onassis Backstage Party” reminds us that these characters are very funny, but it also reminds us that the show isn’t used to handling quite this much character. While the dynamics of the first season cast took some time to develop, they eventually formed into something truly fantastic; however, it was rare that the show seemed like it was really spending a lot of time introducing, or renintroducing, or “changing” character dynamics. The second season premiere has to go through a lot of exposition, which keeps the humour from rising to the level achieved last season, but the central premise remains strong, and the changing dynamics work in the show’s favour at the end of the day.

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Parks and Recreation – “Ron and Tammy”

parksrecreationtitle

“Ron and Tammy”

November 5th, 2009

“Now listen to one of mine.”

There’s nothing special about “Ron and Tammy,” except that it’s probably the funniest Parks and Recreation to date.

There’s a guest star, yes, but not one who feels overly forced into the story or on who the show relies too heavily. There’s no special event taking place in the context of the episode to make things more exciting than usual, and there’s even a B-Plot that has nothing to do with the A-Plot. And if you were to write down the plot of the episode without any context (which would read “Leslie and Ron feud with Library Services over an Empty Lot”), you would probably think this episode would be downright dreadful.

But what makes this episode so special is that this episode is less an aberration and more a sign that the momentum just isn’t going to go away, and that this sitcom has finally found its groove. The episode’s situation is one of the show’s funniest, and it features some of the best lines in the show’s short lifespan, but it feels like the show could have just as funny a scenario in the future without any trouble. It is an episode that not only convinces you that it is great, but also that the show behind the episode is just as strong if not stronger for having spawned it.

If you are for some reason still one of those people who never gave this show a chance, you need to watch this episode not because it is singularly great but because it is symptomatic of a broader greatness. You’ve been listening to the other guys, with their offices and sketch comedy shows, for long enough: tonight, listen to the genius of Ron F**kin’ Swanson.

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Season Premiere: 30 Rock – “Do-Over”

“Do-Over”

October 30th, 2008

Thanks to the kindness of Ashley, a newfound Twitterquaintance, I was able to snatch the 30 Rock premiere for free on iTunes on Sunday through TV Guide’s promotion. So, let it be known that I am writing this review while the premiere has had time to sit…or, more accurately, that I am writing this review having watched the episode four times.

“Do-Over” is not the best episode of 30 Rock, nor is it necessarily an entry into the show’s catalogue of fantastic ones. Rather, it is familiarity that makes this episode so memorable: it offers plenty of showcase opportunities for Tina Fey and Alec Baldwin (albeit leaning towards the former), it has a sharp storyline that offers every character a small moment, and it uses its guest star (Will & Grace’s Megan Mullally) wisely, unlike last season’s unfortunately flat appearance by Jerry Seinfeld.

While NBC is hoping that this is going to be a do-over for 30 Rock, a show that never quite captured the kind of audience the network is looking for, that’s all based on ratings: creatively speaking, the show barely needed a fresh coat of paint to return as the funniest comedy on television.

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