Tag Archives: Season 3

30 Rock – “The Natural Order”

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“The Natural Order”

April 30th, 2009

Having already written my posts on Parks and Recreation and The Office tonight, I’ll admit to be at a bit of a loss at what to say about tonight’s episode of 30 Rock. It isn’t that the episode was bad, but 30 Rock just seems to be in a total holding pattern right now, while Parks and Recreation has the novelty of newness and The Office is transitioning out of a really engaging disription. So when “The Natural Order” finished, I was left with some rambling notes about how the episode featured a few jokes that hit, a few jokes that didn’t, and plots that threatened to come together but never quite did.

One of the problems that can kind of tie the episode together, and give me something to talk about, is how in many ways the show has to deal with what I’ll call leftovers. When there’s a small gibbon introduced into the story, it’s a funny throwaway gag that the writers decide not to throw away, and it results in an unfunny and uninteresting C-story. Similarly, while I love Elaine Stritch and storylines that showcase Jack’s more empathetic side are always welcome, at a certain point Colleen Donaghy feels like a character that was so great in that Season One finale that the writers keep reheating with diminishing returns.

It’s not enough to send the show into the territory of downright unfunny comedies, but it usually results in episodes that feel like the cast-offs in need of rewrites, quite likely because they were cast-offs that needed lots of rewrites.

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Chuck vs. The Twist vs. Season 3 Renewal

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Chuck vs. the Twist vs. Season 3 Renewal

April 28th, 2009

Perhaps it is just that I wrote considerably less about last night’s Chuck finale than Alan Sepinwall, or perhaps it is just that there has been some extremely stimulating discussion over at NeoGAF that has had me pondering the finale more carefully, but I think that there’s a bit more to say about last night’s season finale (“Chuck vs. the Ring”) as well as what it all means for a potential third season.

First off, in case you were curious, the ratings were exactly what you would expect: consistent with the past two weeks, and at the mediocre but decent levels we’ve been seeing on the mid-range level. The show drew 6.11 Million viewers, and a 2.3 rating in the 18-49 demographic – this is nearly identlcal to last week. However, the Save Chuck campaign was never designed to gain more viewers: yes, getting the word out was a key factor, but suggesting that people watch the S2 finale as their first episode ever is kind of tough, and I think the campaign smartly focused more on showing NBC (and Subway) the power of the existing fans to band together for their show. And, on a note which requires less spin, the time period was chock-full of new episodes from every other network, and Chuck stayed steady despite facing repeats of CBS’ comedies last week – that’s a good thing.

But ignoring ratings for a moment, one of the other things facing a Season 3 renewal for the series it the show’s creative direction, and on NeoGAF and in some other locations there have been some concerns over that final sequence. Last night, in my review of the episode, I was admittedly pretty postive about it, and I find myself remaining fairly close to that initial analysis. However, I think it’s something that deserves some more discussion, and something that I am extremely disappointed was not on Chris Fedak’s list of acceptable topics of discussion in his post-finale interview with Alan Sepinwall.

But where we don’t have definitive answers we have rampant speculation, a tool I shall harness to analyze just what a season three might look like.

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30 Rock – “Apollo, Apollo”

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“Apollo, Apollo”

March 26th, 2009

When Robert Carlock confronted “Apollo, Apollo,” it was if he were taking all of the elements which have made his past episodes (“Jack-Tor,” “Subway Hero,” “Sandwich Day,”) so fantastic and pulling them all together into one rather stunning half-hour. Moving from joke to joke at a breakneck pace, with barely any time for breathing yet alone for truly appreciating the genius on display, the episode achieves the right balance of total absurdity, stunning wit, marvelous delusions and genuine heart in pretty well every single storyline, although to the differing degrees required.

It’s almost unfair to other comedies that 30 Rock can combine all of these things and still feel as if it was cohesive: we have brand new show-specific terminology, one of the show’s best recurring guest stars (Dean Winters), muppets, Adam West, a wonderful viral video, and along the way so many small moments that the episode was without a dead zone.

And after all of that, anyone who isn’t Lizzing or Jacking needs to get themselves checked out by a doctor/trainer…or should that be the opposite? Hmmm.

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Season (Series?) Finale: Flight of the Conchords – “Evicted”

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“Evicted”

March 22nd, 2009

While the title above is fairly ambiguous, and HBO hasn’t come out and said what kind of finale this was in the end, the actual content of the episode spoke quite clearly: while this was not the season’s musical or comic highlight, it had that air of finality not just of some sort of season-long storyline but rather the very setup of the show. Offering up a meta-commentary wherein the show’s Bret and Jemaine move closer, albeit more wackily, to the commercialization of the real Bret and Jemaine feels like the way you end this series, not just a season, and coming back from the episode feels like it might not just be impossible, but also inadvisable.

And yet, at the same time, it also captures the reasons why the show is so charming, and why this second season has remained a weekly highlight even when I’ve been disappointed by much of the season’s musical interludes. The show found itself quite the comic voice as it headed into this season, and that’s something it has maintained with startling efficiency. While parts of this episode returned to more simple forms of humour that the show used in its original premise, the supporting characters around it have evolved so much further that it’s an entirely different show, and a better one.

So HBO and the Conchords have a very tough decision to make – is it good to go out while you’re still making people laugh and when you’ve crafted a satisfying conclusion, or do you want to continue to tell the story of the band that starts at the bottom, continues along the bottom, and ends up at the bottom for another season?

I’m still not sure which camp I find myself in.

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30 Rock – “The Bubble”

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“The Bubble”

March 19th, 2009

There is something very reminiscent of How I Met Your Mother in “The Bubble,” where we say goodbye to Jon Hamm in a way that makes you wish that he had been around a little bit longer. He and Salma Hayek were really the polar opposites: while she was made too central to the key storylines and fell flat after an episode or two, Hamm was in so few episodes and so far apart that while the individual episodes were quite strong we never really got to know Drew as a character, and we feel like we’ve been robbed of that.

But the strongest part of this week’s episode was, in a very HIMYM way, this term of the “bubble” that attractive people find themselves in, full of perks and salmon cooked with gatorade. But while HIMYM has lately been either expanding the scale of these ideas to the entire cast (“The Naked Man”) or treating them as one-liners as opposed to the foundation of an entire storyline, 30 Rock didn’t know what to do with this one: surrounding it were storylines which never connected, and an episode that fell flat at almost every turn.

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30 Rock – “The Funcooker”

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“The Funcooker”

March 12th, 2009

It’s kind of funny that, after an episode of The Office where Michael struggled with the idea of responsibility and blame, that 30 Rock would be so occupied with exactly the same ideas. The episode is all about authority figures who are trying to maintain something approaching order, and their subordinates who are at the same time doing everything they can to subvert all principles of authority.

It’s almost a bit too clean in the end, as all of the storylines come together to a clearly choreographed conclusion, but at the same time each storyline plays to the characters’ strengths. Just as Tracy taking over the financial crisis was funny, so too was Tracy taking over the entire airwaves. Just as Jenna’s last trip to Dr. Spaceman was a comic goldmine, this one at least got us something other than coal if not quite gold. And while Liz and Jack were both a little bit out of their elements (Liz stuck on jury duty and Jack stuck, well, working with subordinates directly), thus not quite giving the episode its potential comic punch, I still think the episode set out a simple and 30 Rock-esque storyline and succeeded in showing its potential.

And while I still want the show to shoot for something better, this is a good piece of complacency in my book.

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30 Rock – “Goodbye, My Friend”

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“Goodbye, My Friend”

March 5th, 2009

Holy flashback, Harry Henderson.

There’s a whole lot of familiarity in “Goodbye, My Friend,” an episode that cribs quite liberally from last season’s “Succession” and this season’s premiere, and it’s not all bad. I liked both of those episodes, and after spending a lot of time on relationships we get a far more individual-driven hour that pairs off some characters that we’ve never seen together while even reintroducing some characters back into the fold however briefly (Hi, Josh! Bye, Josh!).

The episode didn’t really break any ground in Liz Lemon’s fight for a child, but I can’t resist sad and pathetic Liz; similarly, I don’t think that Frank’s brief foray into respectable life is going to change his character, but I just can’t resist Jack Donaghy on a mission to rescue someone from their sad middle class existence. Combine with a Jenna/Tracy subplot that might as well have been ripped out of the show’s second season, and you have either a sure sign that the show is fundamentally bankrupt, or a sick sense that Tina Fey knows the show can rip off itself and still entertain us, just like Harry and the Hendersons ripped off Shane.

Well, Tina, you got me – I had a lot of fun with this one, self-plaigarism be damned.

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30 Rock – “Larry King”

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“Larry King”

February 26th, 2009

What “Larry King” represents is an example of 30 Rock doing something that feels like it is happening less often: it takes one event, in this case a crises, and demonstrates its impact on various of the show’s characters. It reminds us that 30 Rock is operating different than most situational comedies. In fact, I’d almost argue that the show has become a carcom, or a character comedy, more than a situational one – while this one episode is built around how a scenario, an Asian stock market crash, effects all of these characters, the show has more or less abandoned its setting at TGS and finds all of its comedy in its characters. Even when the show often expands outside of this, it is with a guest star more often than it is one of these situations.

As a result, the situation is really just an excuse to force Liz Lemon out into the dangerous streets with Kenneth at her side, to place Tracy Jordan on Larry King and spouting nonsensical advice to the people of New York City, and to put Jack and Elisa’s relationship up against a crisis it might not overcome. And yet, to no one’s surprise the parts of the episode that use this situation for sheer zaniness offer the episode’s best comedy, while the one that feels the most formulaic kind of just flounders around, perhaps finally putting a worthless storyline out of its misery. For that, at least, this trip to Larry King was worth it.

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30 Rock – “Generalissimo”

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“Generalissimo”

February 5th, 2009

Bravissimo, Tina Fey and company.

With “Generalissimo,” 30 Rock has returned to what I would consider to be, at the very least, its pattern of glory. What works about this episode is not that every one of its storyline is a home run, as I am still extremely bored with Salma Hayek as an actress, but rather that everything connects. Not only do the A and B plots almost entirely intersect with one another, one informing the other, but then the C plot comes out of nowhere to play a convenient but nonetheless clever role in the conclusion.

And with comedies like these, especially ones like 30 Rock which here errs on the side of being a little zany and off the wall, connectivity is their greatest asset: this isn’t the episode where Liz Lemon got a new love interested played by Jon Hamm, or the episode where Jack Donaghy bought a telenovela starring a man who looks like him, or the episode where Tracy Jordan discovered the dangers of placing fire close to his mouth. Instead, it’s the episode where Jack purchasing a telenovela gives Liz terrible advice on dealing with her current crush which eventually is both complicated and then uncomplicated by the crazy antics as Tracy tries to prove his youth.

And that kind of episode? I want to go to there.

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30 Rock – “Flu Shot”

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“Flu Shot”

January 15th, 2009

I know that it’s January, which means that we’re smack dab in the middle of two sweeps periods and thus in what would be a creative holding period for most returning shows, but it’s unfortunate for 30 Rock that as it delivers a mostly listless affair there’s all sorts of exciting shows premiering or about to premiere. There’s a lot of excitement swirling around the world of television right now, and this episode just doesn’t capture any part of that.

This isn’t to say that it’s bad, or to say that 30 Rock’s fate is dependent on this one outing: in fact, NBC announced today that the show is getting an unsurprising but still very welcome fourth season renewal. This show was on life support as early as this past October, so to see it thriving in the ratings and the award season enough for NBC to give it that vote of confidence is great to see.

Unfortunately, the show itself isn’t really living up to that reputation in “Flu Shot.”

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