“One Last Ride”
February 24, 2015
“Leslie always has her heart in the right place, but just needs some help along the way.”
I wrote this six years ago. At that point, Parks and Recreation was a show still in search of its identity, existing in The Office’s shadow and week-by-week discovering more about its characters as we were. It says a lot about the show that now, six years and seven seasons later, “One Last Ride” puts a button on this initial judgment made three episodes into the series’ run. Leslie’s heart was always in the right place, but she truly found herself when she found her team to help along the way.
There’s always a lot of discussion about the change that Parks went through after the short first season, but returning to that review—and my collection of reviews from the first three seasons—in light of tonight’s finale made me realize that it didn’t really change at all. From the very beginning, this was a show that asked the audience to follow an optimistic, hard-working civil servant as she struggled to navigate a world that did not want her to succeed, slowly breaking down the barriers that were placed in front of her. We wanted her to succeed not just because we liked her, but also because she was operating with a moral imperative, one so powerful that it could overcome even Ron Swanson’s fundamental disbelief in the value of government. She was a hero, in truth, in ways that would make sustaining her drive the show’s biggest challenge.
March 17th, 2011
Parks and Recreation is like Li’l Sebastian. For those who don’t know better, it’s just another Office-like NBC comedy, just as Li’l Sebastian appears to be just a pony. For those of us who have become devotees, however, Parks and Recreation is more than a pony – it is a mini horse, a mini horse which inspires the kind of overwhelming emotions which drive even characters like Ron Swanson and Joan Calamezzo to…well, to lose their shit.
After a few weeks off, Parks and Recreation is back with the conclusion of the Harvest Festival arc. This is actually the first episode that I’ve watched live, and thus the first episode that I’m reviewing without having watched numerous times. As a result, this review is less likely to run those the episode’s finest jokes, but I don’t think “Harvest Festival” depends on particularly strong one-liners. Instead, it relies on moments: moments like Joan losing control over herself at the presence of Li’l Sebastian, or moments like Tom and Ben rekindling their Star Wars battle as if they’ve been having it on a weekly basis since we last spent time in Pawnee.
It’s all remarkably consistent, and all predictably charming given the series’ strong third season. The production hiatus between “Indianapolis” and “Harvest Festival” did nothing to kill the show’s rhythm, once again proving itself one of the most delightful mini-horses on television.
Even if it just looks like a pony to most of America.
February 24th, 2011
Of the first six episodes initially sent to critics, “Indianapolis” is the most subtle. It’s a straightforward pairs of comic setpieces: a dinner party and a night out at the Snake Hole have the characters moving away from the Harvest Festival in order to get some time to focus on the characters themselves. While the commendation for the Harvest Festival technically draws Leslie and Ron to Indianapolis, the episode investigates what happens after the ongoing storylines which have dominated the show since Ben and Chris’ arrival start to come to a close.
This is actually the last episode that I screened in advance, and it’s also the last episode to air until March 17th, but I think it’s a very strong note to go out on. Without a major guest star, and without a standout “scene” of the likes of “Stop. Pooping” or Ben’s breakdown on Ya Heard with Perd, “Indianapolis” is just a very funny episode of what is clearly a very funny show.
And yes, that’s apparently the extent of critical analysis that a show in this much of a groove inspires.
February 17th, 2011
When he first arrived, Adam Scott appeared to have been hired to play the new straight man. Ben Wyatt seemed a replacement for Mark Brendanowitz, someone who could react to the madness around him. Just take the moment in “Time Capsule” when Ben reacts to the idea of someone handcuffing himself to a pipe in order to get Twilight into a time capsule: it’s funny, but it’s funny because it’s a sane response to an insane situation.
“Media Blitz” is the moment when Ben Wyatt becomes subsumed into Pawnee culture. It is the moment where Ben Wyatt is let loose, where he leaves the confines of City Hall and steps into the spotlight. The result is a really tremendous showcase for Adam Scott, allowed to dig deeper into the character’s past while simultaneously tying him into what appears to be the character’s future.
It’s also the most concerted effort yet to set the table for Ben’s relationship with Leslie.
“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.
January 27th, 2011
“That was Leslie Knope.”
I don’t want to suck the fun out of what was the most particularly hysterical episode of those I’ve seen from Parks and Recreation’s third season, but there is a structural logic to “Flu Season” which wasn’t immediately clear on first or second viewing. When I watched the episode initially, it was a comic tour de force for both Amy Poehler and Rob Lowe, and some strong pairings (April/Ann, Andy/Ron) which tested out some dynamics which the show has not really dealt with in the past. Watching it earlier today, however, I realized that the episode is just really well organized from top to bottom, focusing around a central question from a wide variety of angles.
What happens, precisely, when we get sick? “Flu Season” not only mines the comic depths of flu-ridden characters struggling to control their mental and bodily functions, but it also uses illnesses to draw characters closer together, to further integrate both Ben and Chris into the realities of Pawnee and the Parks department in particular, and just to make us laugh for twenty minutes. It looks at how people respond to illness both in terms of broad comic efforts of isolating the infected party and in terms of basic sympathy, the latter growing into a mutual respect which continues to serve the show and its characters extremely well.
May 20th, 2010
When I write about the Thursday comedies, I have to write about them after I finish watching them all, as there’s too many other Thursday programs recording on the common DVR which requires I watch them on a recording device-free television set. This is normally fine, but it seemed especially tough tonight, as every other show has to live up to the level of quality that Parks and Recreation has right now.
The best comedy finales are those which find elements of conflict within elements of stability, emphasizing the reasons that we love watching the show week-after-week and the reasons why it remains lively and eventful enough to keep from becoming too familiar. “Freddy Spaghetti” is the epitome of this type of finale, delivering plenty of evidence which captures the heart and soul of this show while introducing other elements that threaten that stability without necessarily overwhelming the positivity inherent to these characters.
It ends up leaving everything in a state of flux, with very little optimism about the future, and yet the show’s characters still seem so positive about their present situation that you feel like they can rise above any potential challenges. It doesn’t actually bring any of the season’s storylines to a wholly positive conclusion, but it complicates things in such an infectious fashion that it loses none of its momentum, and heads into a (sadly too, too long) hiatus with the best season of comic television we saw this year in its back pocket.
And no seven month break is going to change that fact.
“The Master Plan”
May 13th, 2010
I hate to keep driving my “Parks: It’s the New Office!” comparisons into the ground, but I want you to think back to the start of The Office’s third season (which, not entirely coincidentally, picks up right after “Casino Night,” which I compared with last week’s “Telethon”). The show took a pretty considerable risk in introducing an entirely new workplace with Jim’s move to the Stamford branch, and the idea of introducing entirely new characters and “disrupting” the show seemed like a huge risk.
However, while these new characters (Andy and Karen, in particular) were brought into the picture to help emphasize the division within the show, the Stamford branch was comically consistent with the show as a whole. While it was a different environment, and their arrival in Scranton later in the season created plenty of conflicts, we accepted the characters because they fit in with what the show was trying to accomplish on the whole.
What Parks and Recreation did tonight, however, was perhaps even more impressive: they managed to not only humanize a character who is introduced as a point of conflict, but they managed to completely integrate a fairly big star into an existing comedy ensemble with remarkable proficiency. The credit at the start of “The Master Plan” may have jokingly read as “Introducing Rob Lowe,” but both the show and Lowe do such an amazing job of introducing these new characters into this existing group that any sense of conflict within the series’ actual narrative is non-existent, and we’re left to enjoy a pretty fantastic ramping up of both new and existing storylines without seeming distracted or chaotic.
Basically, I’m deep in the pot at this point, so if you’re at all not feeling the love I suggest you leave now before I lose all objectivity.
May 6th, 2010
The last time a Greg Daniels-produced series was ending its second season, the series’ star took a crack at writing an episode; the result was Steve Carell’s “Casino Night,” an episode largely comprised of a group of small moments for each character mixed in with some major developments with the two love triangles (Michael/Jan/Carol, and Jim/Pam/Roy) which were ongoing at the time.
“Telethon,” written by Amy Poehler and one of the final episodes of another Greg Daniels-produced show’s second season, is more or less the Parks and Recreation equivalent. You have a lot of small moments for all of the show’s supporting characters, you have movement on the two main relationships currently working their way through the series, and the end result (like “Casino Night”) is a really strong half-hour of television which embodies the series’ strength this year: it’s wonderfully odd, surprisingly sweet, and nicely balancing the line between awkward and hilarious.
April 29th, 2010
At the heart of Parks and Recreation are relationships which tend to swing between mutual tolerance and undying admiration. There is no relationship in the show that is entirely without complication, but there are also few relationships on the show which are outright hostile. The show has given just about every character on the show a chance to interact with another character in a sobering fashion, showing them something that goes beyond their comic persona to their true humanity. And yet, at the same time, their personalities continue to clash, which allows the show’s comedy to keep going even with a certain level of respect between the various people involved.
“94 Meetings” is an episode filled with tension, including continued tension in the show’s two romantic couplings, and when it overflows into something more than just your usual workplace personality clashes the show acknowledges it. There’s a point where characters go too far, and so long as the episode is willing to back them away from that cliff, and as long as we understand why they were there in the first place, then the show can continue balancing heartwarming friendships with undeniable conflicts for the foreseeable future.