Tag Archives: NBC

Community – “Home Economics”

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“Home Economics”

November 5th, 2009

One of the greatest qualities a comedy have is being both indulgent and nuanced at the same time, a task that Community has taken on with varied degrees of success in its first season. There are times when something like Abed’s love of pop culture references feels forced, but then there is something as hilarious as BatAbed (which is nuanced in the sense that it is both unquestionably funny and is worked into the plot of the episode) and it’s largely forgiven. That’s an important quality for a successful comedy, and what’s interesting with Community is how it seems like nearly every character is on that tightrope between becoming insular and one-minded before eventually breaking free and showing a more complex side.

“Home Economics” has nearly every character approaching the precipice of one-dimensionality, but the twists and turns within each story either perfectly service the nuances of their characters or, just as effectively, stick to what they’re best with. While Jeff went through a transformation in the episode that smartly humbled the character, Annie had a chance to experience a similar transformation and was unable to walk over the edge (of self-actualization – the edge of crazy was easily overcome). In both instances, elements of the storylines seemed like indulgences (of Joel McHale playing a complete slob, of Alison Brie playing a crazy person), and the supporting characters largely operated in their most base modes, but yet it managed to shed light on their characters even with that sense that this was more fun than it was functional.

While I’m not quite sure if Pierce has been getting the same treatment, even his subplot seemed to hit just as hard when it needed to, demonstrating that the show is definitely back in the pocket, so to speak.

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The Office – “Double Date”

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“Double Date”

November 5th, 2009

I was never what one would call a fan of the “Michael dates Pam’s Mom” storyline, and a lot of that has to do with what we got in “Double Date.” It’s not that I argued there was not comedy to be found in the scenario, as there certainly is some value to the storyline on a comic front. However, more than anything, the storyline is just plain awkward for Pam, and since we are predispositioned to see her viewpoint as the sane one we can’t help but find it a little awkward ourselves. And even if we choose to ignore Pam’s perspective, Michael’s view on the issue was sort of equally awkward in that he hangs onto her less because of love and more because of how ludicrously lonely he is. It all added up to a sense that this was going to go very wrong very quickly, and that’s not something that seemed necessary to me.

As such, I found “Double Date” to be a bit tough to watch in the way that the show sometimes likes to be, although it was probably as well handled as it could have gotten. While there were plenty of awkward moments in the context of the episode, they were all coming from a fairly logical place emotionally, and as such it was hard to watch less because of how inappropriate it was and more because we knew that anyone other than Michael with the same emotional feelings could have handled it far more gracefully. And by combining the emotional rollercoaster on that end with something charmingly quaint and silly in the Office, which could have been awkward but ended up working quite well, it ended up being a solid half hour of television, if not one that I would have personally placed into the show’s trajectory by choice.

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30 Rock – “Audition Day”

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“Audition Day”

November 5th, 2009

I think that 30 Rock would be far funnier if it wasn’t so annoying.

This likely seems like a derogatory statement, but it’s really not: I thought “Audition Day” was the most enjoyable episode of the season yet, but yet I wouldn’t necessarily say it was that great, which reflects on both the quality of the season so far and the reality of this type of episode. It’s effectively a grab bag of comedy, as by the end of the episode you have plenty of jokes that you remember fondly, and callbacks to previous episodes that make you reminisce, and even some new jokes that really connect. However, while you’re happy with what you’ve received in those arenas, there’s also a bunch of other crap that didn’t connect comically, and that served only to promote business networking tools.

When there’s no real central premise to hold an episode like this one together, you’re left feeling like something was missing even as you gush over the genius of Brian Williams, which is pretty much where I stand with 30 Rock right now. I laughed, I commented on its cleverness, and yet still in the end I can’t help but be annoyed with elements of the episode that didn’t quite work. It’s particularly frustrating in that I actually think “Audition Day” was a pretty solid and funny episode, but there’s just something about the show that’s taking a shotgun approach to comedy that I’m just not responding well to.

At least we’ll always have Moonvest.

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Halloween Comedy on NBC: Parks and Recreation, Community, The Office, 30 Rock

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and Community, The Office and 30 Rock: Halloween Comedy on NBC

October 29th, 2009

My brother, on his Twitter feed, made a comment that Halloween episodes are always the best holiday episodes. And while I understand that he, being born on Halloween and having taken the holiday as his own, has a particular affinity for the holiday, I don’t. And, perhaps it is such that I do not view Halloween as an immediate symbol of greatness in my television programming.

However, I do agree that Halloween episodes can be very good programming, and what I found interesting about the NBC comedy lineup (so interesting that I’m lumping them into one post) is how differently each show used the holiday. I won’t argue that any of the shows should be judged on whether they integrated Halloween “correctly,” but I think that the current direction of each show is inherent in how they chose to play with All Hallow’s Eve.

It resulted in one great episode which focused in on elements of the holiday which fit its characters perfectly, one very good episode that used Halloween as a variable of existing dynamics, one okay episode which evaded the holiday but for a quick joke, and one weak episode that used the holiday as a boring subplot that didn’t go anywhere, squandering its potential entirely.

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30 Rock – “Into the Crevasse”

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“Into the Crevasse”

October 22nd, 2009

When the critics’ reviews started coming out about 30 Rock’s fourth season, there were quite a few skeptical ones that seemed to indicate the show wasn’t quite up to its earlier standard, to the point where some where effectively questioning its standards. I thought “Season 4” was a bit of a weak opener, but nothing offensive, so I was a bit perplexed where people felt that the show was really off its game. And, well, then I saw “Into the Crevasse.”

It isn’t that “Into the Crevasse” is worse than “Season 4” that’s the problem: yes, this is a far less successful episode that feels more like a string of Saturday Night Live skits strung together than it does an actual hour hour of comedy, but the real problem is that it manages to achieve this while in theory sounding like something the show has always been doing. It divides evenly into “Tracy is mad at Liz,” “Jenna is rebellious towards Liz,” and “Will Arnett guest stars to terrorize Jack,” all storylines that the show has done in the past with far more success. As such, it sets off alarm bells: it’s not that the episode is without humour, but rather that it fails despite sounding like it should be right in the show’s wheelhouse.

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The Office – “The Lover”

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“The Lover”

October 22nd, 2009

This review is going to seem somewhat hypocritical, as I have always been a known supporter of serialized sitcoms. However, there are times when there are elements in previous episodes that I don’t necessarily want to see continue, left to remain as an enjoyable aside that is left to the audience’s imagination. Even heavily serialized shows like The Wire would often introduce small elements that aren’t part of some broader serialized storyline but rather sit under the surface and add to our understanding of these characters.

I know that I was being more than a bit idealistic, but I had really hoped that The Office would resist the temptation to take Michael’s rendezvous with Pam’s mother and follow it through to this logical but blown up conclusion. That small moment in “Niagara” was a shocking moment for the coda, but for it to turn into an entire episode played out like melodrama more than an episode of comedy. The episode succeeds in finding some comedy in the setup to the situation, with Pam’s realization proving to be an absolute highlight, but once things become about yelling things begin to fall off the rails a little.

It isn’t that this is a failure, as I thought the episode did a few interesting things on the dramatic side of things, but in its desire to be both comic hijinks related to the scenario and a depiction of Michael Scott’s eternal sadness it never quite connected on either front.

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Community – “Advanced Criminal Law”

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“Advanced Criminal Law”

October 15th, 2009

I am not one of those people who needs every episode of a comedy to establish something new about the show, but early on in its run Community has actually done a pretty good job of expanding its collection of stock characters into something more diverse than I expected. As a result, “Advanced Criminal Law” is a step back not in terms of quality (it’s still a fine episode) but in that it relies on basic stereotypes and offers us combinations that either have already been done or were not given enough time to really click.

And yet, for the most part, I think the episode succeeded in finding humour in each of the storylines, something that should really be the goal of any comedy early on its run. Even if the storylines didn’t feel like they were bringing anything new, the various situations fit into these characters very well, giving us new takes on old dimensions and making me laugh enough to look past the relative simplicity compared with some of the show’s better segments.

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The Office – “Mafia”

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“Mafia”

October 15th, 2009

The Office is a show that is going to have its share of filler episodes, moving between larger storylines (like last week’s wedding) and the next major storyline. Sometimes these focus on the day-to-day of the office environment, which is often quite fun for how it brings out the supporting characters more carefully. However, sometimes they’re episodes like “Mafia,” which play out very simple ideas in a way that is minimalist to a fault.

It’s not that the show doesn’t work when it slows down like this, but it needs for something to be particularly interesting or clever for me to buy it. This episode had the potential for Michael to go completely overboard, which isn’t my favourite character trait, but instead he just kind of sat there passively experiencing the whole episode. It makes sense that an episode that has both Jim and Pam (two huge parts of the office’s dynamic) missing, and in which Michael has nothing but creative space and free time scheduled for the day, is going to feel a bit lackadaisical, but at the same time it seemed like there was a pay-off that just never came in this one.

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Season Premiere: 30 Rock – “Season 4”

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“Season 4”

October 15th, 2009

There has been a lot of talk about a backlash against 30 Rock as of late, with numerous critics taking time out of their schedules to less review the new season and more place it on an axis of television comedy. The question is not so much about whether 30 Rock is funny, but whether it is consistently funny, and whether it is funny in ways that imply long-term development or ways which rely too heavily on quick cutaways and an almost sketch-comedy aesthetic. Whether VanDerWerff or Holmes, Sepinwall or Weinman, everyone seems to agree that 30 Rock is a flawed show capable of occasional genius, and there are certain things that it could do to improve.

In my relatively short time as a TV critic, I’ve spent more of my comedy analyzing time with The Office, a show which features far more nuance than 30 Rock in terms of its characters. On that show, the actions of Michael Scott need to be finely tuned to (in my view) connect with the right level of comedy, or else risk throwing the entire show out of whack. However, with 30 Rock, the show is inherently out of whack which is kind of the point of the whole thing. I don’t shy away from criticizing 30 Rock, nor do I feel that it deserved to steamroll The Office at the Emmys as it did (as the latter show had the better season, in my eyes), but at the same time I don’t feel that criticizing the show is the same as condemning it. 30 Rock, like all shows, isn’t critic-proof (that’s not a thing), but it is a show that manages to make me happy even when it isn’t quite living up to its full potential.

As such, I thought the cheekily titled “Season 4” was largely satisfied with cheeky as opposed to substantive, and that its commitment to that value resulted in an engaging half-hour of television that didn’t reach high enough but nonetheless had me eating out of the palm of its rough-skinned hand. Helped by airing after a less than fully-realized episode of The Office, the start of the fourth season gives almost no indication of what’s to come, but embodied enough of what makes the show work for me to be pretty excited about it anyways. I missed this show, and I’m glad to have it back, flaws and all.

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Community – “Introduction to Film”

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“Introduction to Film”

October 1st, 2009

I feel a little bit awkward writing a review of “Introduction to Film,” as if I should be out impulsively making out with someone or climbing a tree or telling 10 people I love them. The week’s class, considered a bird course and a chance at an easy grade, is all about “carpe diem,” with a professor straight out of Dead Poet’s Society and the kind of class that seems like the ideal fit for this cast of characters in that it is in fact that most awkward fit imaginable.

It’s an episode that, like the class in question, lulls us into a false sense of awareness, making us believe the episode is about one thing when in fact it’s about something else entirely. It does it in a really subtle way, like a sneeze that just keeps threatening to arrive but doesn’t, as the show demonstrates a mastery over the sneeze that one did not expect.

All in all, it’s a simultaneously funny and kind of heartbreaking episode that continues to show some really great tones to the show’s brand of humour.

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