Tag Archives: NBC

Friday Night Lights – “Injury List”

“Injury List”

January 27th, 2010

Friday Night Lights is a show about convergence.

Really, all ensemble dramas end up driving towards climaxes which tend to bring various story elements together, so this may not seem overly remarkable. However, as the show heads towards the conclusion of its fourth season, the show is doing a lot to bring together stories, simplifying in some instances and complicating in others.

And while some of the tension created by this convergence is engaging, what I tend to enjoy more is the sort of indirect effects: this is the first time in a while where the show actively demonstrated the show’s central dilemma of ignoring the football in order to service the characters on a personal, non-football level, and that tension (when used, as opposed to simply created and elided) is part of the show’s tragedy.

“Injury List” is about capturing the tragedy of stories converging at the worst possible time, although the show manages to keep (most of) that convergence from seeming too convenient in the show’s late season push.

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Last Night with Conan O’Brien: Goodbye to the Tonight Show

I’m sorry, Conan.

I didn’t watch your Tonight Show. At 11:35, I’m more likely to be writing about television than watching it, and for that I truly have to apologize. I was part of the problem, part of the group of people who celebrated Conan O’Brien’s rise to the Tonight Show but who never bothered to keep tuning in. I watched a few episodes early on, and enjoyed the feeling of pride that “my” host pushing out Jay Leno, but then when push came to shove I was content with knowing Conan was there.

I know it’s not my fault: even if Conan’s ratings had been incrementally better, chances are that NBC still would have made the decision to push his show back, and this whole mess would still be happening. And considering that Conan is walking away with an enormous severance package and will likely be back on our televisions within a year, it’s not as if the man himself is truly losing his job and left without a chance of success.

But there is something tragic about seeing someone robbed of doing what he loved, and robbed of doing it on the stage he always dreamed of. He left this job because he felt as if NBC was disrespecting its legacy, and like the consummate professional he is Conan showed an enormous amount of respect for both the Tonight Show’s legacy and his time at NBC in the midst of his final goodbye to the network and the show he feels he is leaving a decade too early. While no one is crying for Coco, considering the severance he received, I don’t think any of us can deny him the right to cry: his tears felt genuine, a love letter to the people who brought him to where he is and a final curtain to a run at NBC that took him from comedy writer to national sensation.

His final episode (and mine) of The Tonight Show was one hundred percent Conan, one hundred percent heartfelt, and hopefully just a small percentage of what’s to come.

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The Office’s Bait and Switch: The Irrelevant yet Attractive TV Clip Show

The Office’s Bait and Switch

January 22nd, 2010

Last night, many of you likely tuned into NBC at 9pm ET to enjoy what the network was billing as a “new” episode of The Office. And, sure enough, the episode began with a cold open that tied into ongoing continuity, as a banker (played by David Costible) stops by the branch to do some due diligence in the early stages of the company’s restructuring. We find Michael Scott up to his usual tricks trying to make the office seem more exciting, having Dwight play a sentient computer and riding a Segway for no discernible reason, and we have Pam there to help guide us through his insanity (fake accounts are okay, but Pam is not on board with Fake Stanley).

It sounds like a solid setup to an episode of The Office, but “The Banker” wasn’t actually an episode: as soon as the Banker went back to talk to Toby and asked a question about any potential liability issues, the spidey sense was tingling, and sure enough it was right. Toby began flashing back to previous events, and the episode revealed itself to be a clip show in disguise.

What I find so fascinating about the clip show as an episode structure is that it is becoming both increasingly irrelevant and increasingly attractive in this modern age. While television economics and concerns over lengthy delays between episodes results in a desire to have more “original” content to keep viewers engaged, the clip show seems less necessary when viewers can catch up with previous episodes on DVD or on Hulu, and where “clips” are a part of our everyday lives as opposed to some sort of novelty.

And yet it’s not going to go away entirely any time soon.

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30 Rock – “Winter Madness”

“Winter Madness”

January 21st, 2010

Jack Donaghy has had many relationships in his time on 30 Rock, and while some of them have been adventurous or novel (Isabella Rosellini as his ex-wife, Edie Falco as his congresswoman girlfriend) the rest have been remarkably dull. And while Alec Baldwin is technically capable of elevating any material, and the show has always hired potentially funny actresses to play the roles, his relationships can be a black hole for the show at times. While Emily Mortimer is a great actress, Phoebe the bird bone fiance was painful, and Salma Hayek’s nurse had one decent episode (“Generallisimo,” although I liked the McFlurry story) but never amounted to anything else. And yet, because they’re major guest stars and represent Jack’s main storyline, the characters stick around longer than any other character with such little potential ever would, and the show suffers for it.

I like Julianne Moore, but her character on 30 Rock was a one-joke one-off that should have never developed into anything more. While there was potential in the story for Jack to tap into parts of his past (the episode in which Moore didn’t actually appear but Jack and Kenneth broke into her house actually did this better), the story has spent too much time on her character’s divorce and not enough time on Jack himself. There are some fun bits in “Winter Madness,” and I’m sure the episode was quite enjoyable for Bostonians, but the stories felt as if they weren’t actually creating enough comedy to form anything close to a cohesive episode.

Although American Historian Tracy Jordan can hang out on my television anytime.

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Parks and Recreation – “Leslie’s House”

“Leslie’s House”

January 21st, 2010

One of the things that I find so interesting about Parks and Recreation’s second season comeback is that the show hasn’t fundamentally changed its stories. I can very much see how the show, in its infancy, might have brainstormed an idea about Leslie’s house looking like a crazy person’s garage, and the idea of Leslie trying to host a dinner party and using her connections with a city program in order to pull it off feels like something that could have gone horribly wrong in the first season.

I didn’t think “Leslie’s House” was amongst the best episodes of the season, as it felt as if there were just a few too many things going on at once, but the fact that the core of the episode didn’t implode with all of those elements present is a testament to the control the writers have over the universe right now. Despite technically presenting only a single story, the episode started to weave in a lot of recurring stories to complicate things, and it resulted in quite a few fun gags and just enough resonance to keep things from seeming overwhelming.

It’s a funny episode, and an impressive one considering the degree of difficulty, but I almost feel like there’s an extra ten minutes here that could have given some of the storylines a bit more time to breathe that would have really made the episode click.

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Community – “Interpretive Dance”

“Interpretive Dance”

January 21st, 2010

After a particularly noteworthy return last week, where the show played with some very dangerous material with Jack Black and came out of it funnier than ever, there’s no question that “Interpretive Dance” is a step backwards. This isn’t to suggest that the episode is unfunny, and if we’re judging purely on the level of character development there’s some nice stuff going on here.

It seems like a bit of a sudden turn for the show, however, especially since a lot of the issues it is working with here haven’t popped up in a while. I like to see shows like Community engaging with more long-term character arcs and development, but the show has to avoid seeming like it is just going to stop in on occasion: there’s some subtle stuff here which indicates that this is not necessarily the show’s strategy, however at the same time they stayed away from these stories long enough that it felt like the show had to take some time to rediscover the rhythms of those interactions, leading to a weaker episode if one that could prove beneficial in the long term.

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Chuck – “Chuck vs. Operation Awesome”

“Chuck vs. Operation Awesome”

January 18th, 2010

Chuck, like any person with a secret identity or someone who lives a double life, is constantly forced to balance his friends and family from his normal life with his work for the CIA. And early in the show’s third season, the show has made this point especially clear with the integration of his brother-in-law Devon into the show’s espionage, which really highlighted how much more effective Chuck is because of the fact that he has a personal connection with particular missions. When he’s saving himself he overthinks and gets flustered, but when he’s saving someone he loves he is focused and capable of accessing the intersect and saving the day.

“Chuck vs. Operation Awesome” is positioned as the second part of last week’s investigation of these types of questions, and while there’s some leaps taken by the show’s writing staff in terms of getting the action rolling, the episode confirms how important those themes are going to be for the remainder of the season. Showing a tight narrative drive inspired, one presumes, by the initial short episode order (which was extended from 13 to 19 after these episodes were already finished and the season had been plotted out), the show intelligently positions a new character as a mediation on the same themes that matter most to its regular characters, and uses an exciting episode to introduce him into the fold.

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Parks and Recreation – “The Set Up”

“The Set Up”

January 14th, 2010

After just writing about Community’s handling of Jack Black’s guest spot by calling attention to how distracting it could be to have a recognizable guest star show up on your show, it’s interesting to turn our gaze to Parks and Recreation, where two “big name” guest stars (at least in my circles) debuted. While Community drew our attention to Black’s disruption in order to make a large meta-joke, Parks and Recreation does something similar but different in creating an extra layer of comedy for those who know that Will Arnett and Amy Poehler are married in real life.

It was a good example of how casting someone recognizable can help a storyline rather than hurt it, as Arnett was simply a fun casting choice: he’s funny, and the marriage added an extra layer to the scene, but it wasn’t dependent on a guest star, just as the show didn’t need to have Justin Theroux playing the aptly named Justin, a friend of Ann’s who Leslie takes a liking to. Both characters, despite being cast with recognizable faces (for me, at least), played roles which weren’t played as the “point” of the episode, but their performances gave them an added weight, which is especially helpful when Theroux might be sticking around for a while.

And so now we can look at the episode less in terms of who was in it, and more in terms of the episode built around them…okay, I’m going to talk some more about Arnett. Sue me.

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Betrayal at NBC, Colon, What REALLY happened with my Late Night Show, Question Mark, by Conan O’Brien

Watching Conan O’Brien take to the Tonight Show stage for what might be the final time, I felt emotionally conflicted. On the one hand, I want to be angry that NBC has treated him so poorly, trapping him in the middle of a business dispute and unfairly judging his show far too early for the sake of making other people happy. On the other hand, I want to show support for Conan, and being angry doesn’t entirely reflect how much I appreciate his particular brand of self-deprecation. So when Conan makes jokes about his imminent departure barring some sort of hail mary from NBC, are we supposed to boo to reflect the injustice, or are we supposed to cheer because we want CoCo to know we care?

And then I realized that for all of the emotional conflict I might be experiencing, Conan himself is having to mediate his anger with professionalism, and his sadness with comedy – for all of the verbal gymnastics we’ve been working with over the past number of weeks, trying to figure out how all of this is going to work out, it is nothing compared to what Conan O’Brien has been dealing with inside his head. So it’s that much more miraculous that what emerges in an official statement is pointed but civil, an argument not so much about what is being done to him but rather what NBC is doing to its own reputation, and to the position of the Tonight Show in its late night lineup. And, it’s that much more impressive that he proceeded to go onto his stage and be something that used to be enough to get you somewhere in this business: funny.

I don’t have much further extended thoughts that that, to be honest: while this issue is plenty fascinating, as we see how NBC deals with Conan’s departure and how long it takes Conan to end up at FOX (where it is expected he will be taking over the 11 O’Clock hour), I’m to the point where I simply want to acknowledge the cruel irony that I have paid more attention to Late Night now than I have in a very long time, and to remind everyone that Conan’s money is right on the money: while it might be easy to lay blame at the feet of Jay Leno, the problem here is a network who believes it can turn back time and who is throwing away a potential Tonight Show legacy in the process.

My one goal for the future is ensuring that this doesn’t just become a footnote in the larger story of NBC’s collapse: it is a turning point, a moment where we question the degree to which this network actually wants to craft a new identity, actually wants to climb its way out of the ratings basement. We’ll be debating about this for months, whether in terms of seeing how the network manages its late night situation or discovering just what the network will do with five hours of primetime. And yet at no point in that debate do I want us to forget that this was the time when NBC’s business decisions failed to respect someone who has been with their company for nearly two decades, tarnished the reputation of the man who they rushed out of his job sooner than he wanted in order to respect that person, and managed to end up with a bigger mess than what they started with.

I’m on Team Conan, but I’m also on Team “WTF NBC.” And something tells me that both memberships may be for life.

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Chuck – “Chuck vs. the Angel of Death”

“Chuck vs. the Angel of Death”

January 11th, 2010

The unique two-night, three episode premiere has been a ratings success: the two hours last night scored the show’s best non-3D ratings since Season One, and while tonight will see a drop against intense competition from House, The Bachelor and How I Met Your Mother the show is still off to a good start.

However, creatively, the schedule is both blessing and curse: it allows the show to present a diverse set of circumstances rather than trying to start the show on a single episode which fails to capture the show’s wide-ranging quality, but it also means that certain thematic elements feel as if they’re being beaten into our skulls. “Chuck vs. the Angel of Death” is a spotlight episode for Ryan McPartlin and Sarah Lancaster, but it also reminds us that Sarah and Chuck’s “Will they, won’t they” relationship isn’t going away.

In the short term, the latter point may seem problematic, but the constant onstant reminders of Chuck and Sarah’s relationship would be more annoying spread out over several weeks, and right now the show isn’t being overrun by them: instead, the show is using it as a subtle complication of their working relationship, which takes a fun and adventurous story finally living up to Captain Awesome’s partial knowledge of Chuck’s vocation and having some fun with Casey (and Adam Baldwin’s history of revolution-inspired nicknames) in the process.

And so long as “fun” outweighs Chuck and Sarah’s relationship at the end of the day, the show is in great shape going forward.

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