BROOKLYN NINE-NINE "Charges" Into Season Finale

Article first published as BROOKLYN NINE-NINE "Charges" Into Season Finale on TheTVKing.

FOX's Brooklyn Nine-Nine has proven to be a very entertaining series, a conclusion that does not lessen going into the final episode of its freshman run, "Charges and Specs." Despite starting the story at the end, a terribly overused TV trope in recent years, this installment manages to tell a surprising and compelling story, taking several of our characters in new directions while allowing their fun, bumbling energy to come out along the way.

As "Charges and Specs" begins, Jake (Andy Samberg) is being pressured by his boss's boss, Deputy Commissioner Podolski (James Michael Connor), to stop investigating a rich donor. Jake continues anyway, even after Captain Holt (Andre Braugher) orders him not to. When Jake finds some evidence to support his theory, Holt and Santiago (Melissa Fumero) get on board. That is, until Holt asks Jake to trust him and get himself fired.

We all know what a great detective Jake is, in spite of his lackadaisical personality. If he says the man is dirty, he's dirty. And Jake continuing to pursue his case long after he's threatened only proves even more how dedicated he is to the badge. It's not a new thing for a hero cop to go off book and doggedly follow his leads, but this is a pure comedy, not the drama most police shows are made up of, and it's still integral to the character.

Holt likely thinks that Jake is right from the start, but as captain, has to play the politics of the department. As the man in charge, he can't just buck his superiors at will or none of the officers under his command would have jobs. To Holt's credit, he doesn't turn a blind eye when Jake brings him actionable evidence. But he's a sympathetic man, balancing the responsibilities of the job with justice.

Any annoyance at Holt for not getting behind Jake sooner is tossed out as soon as the trio go undercover at a dance competition. "Charges and Specs" gives Holt a chance to show his lighter side, something glimpsed occasionally on Brooklyn Nine-Nine, but never more so than in this episode. I do think if Holt were allowed to come out like this more often, the novelty would soon wear off and it wouldn't be half as amusing, so as much as I love this, it's good the writers dole it out in dribbles, rather than letting it flow.

In the end, their work takes them across an FBI case and Jake must get fired in order to go undercover for the feds. Holt does the right thing by not telling Jake the full story ahead of time, as Jake can be his own worst enemy, and could have spoiled a rich opportunity. It's telling how well Jake and Holt have come to know and trust each other when this plays out exactly the way it should, and it's gratifying they will have that bond going forward, their dynamic a centerpiece of the program.

Santiago gets to show a different side, too, bucking the rules to help Jake. Is it because she has feelings for him, as he does for her? Or does it just feel good for once to get caught up in the mission, forgetting about the rule book she usually worships? Whatever the reason, this version of Santiago feels a little awkward, as she hasn't been developed yet, but really works.

Jake confesses his feelings for Santiago in a very appropriate way just before he leaves. Setting aside Jake's public discussions of covert affairs, which is dumb, the scene between the two is sweet and perfect. Samberg doesn't abandon who Jake is, finding his own unique way to say what he wants to say, not going over the top or getting too gushy. And Amy is fittingly shocked, giving them both plenty of time to mull this confession over.

Charles Boyle (Joe Lo Truglio) has love troubles of his own. Dumped by Vivian (Marilu Henner), he settles into a Matrix costume and consumes only eggs for sustenance. It's pathetic, and it's a shame; the couple is so good together. However, they found one another at the wrong time in their lives, professional considerations pulling them apart.

Boyle's co-workers do their best to cheer him up, especially Terry (Terry Crews), Gina (Chelsea Peretti), and Rosa (Stephanie Beatriz). They don't make much headway, none quite getting the depth of what Charles is going through, but at least they offer companionship and drinks. I think that's all friends can really do in such a situation. Boyle needs time to heal.

One suggestion brought up repeatedly is that Boyle should engage in some meaningless sex to bounce back. For a time, it looks like Rosa is being encouraged to step up, but Boyle's emotions towards Rosa will come back, and it would be a shame to waste them now. Besides, Rosa has definitely developed some real compassion for the man, which could lead to her wanting something real, too, besides a one night fling. So Gina boinks Boyle.

As long as Gina and Boyle are one-and-done, this works. It will cause tension and an obstacle between Rosa and Boyle making a go of things, but it also serves the purpose for now. Gina isn't girlfriend material for someone as earnest as Boyle. Overall, the romance on Brooklyn Nine-Nine has been handled with care, not allowing Rosa to fall into stereotypical jealousy when Boyle is happy with Vivian, either. I'm impressed by the nuance in what is, on the surface, a broad comedy.

Brooklyn Nine-Nine has exceeded expectations. It's a whacky group of players, to be sure, but also a complex gang. It does the unexpected from time to time, and somehow puts forth a layer of authenticity over the goofball antics. A stellar cast and terrific writing combine to create a series I look forward to watching for years to come.

Brooklyn Nine-Nine has been renewed and will return on FOX next fall.

"Party" With BROOKLYN NINE-NINE

Article first published as "Party" With BROOKLYN NINE-NINE on TheTVKing.

FOX's Brooklyn Nine-Nine got the sort-of cushy show-after-the-show-after-the-Super Bowl-slot this week, meaning a new episode aired following New Girl late Sunday night. Unfortunately, by then many viewers were going to bed and turning off their television sets, so the ratings weren't as over-the-top better than a typical week as one might expect. But hopefully it still got the program a few new viewers. It's original, charming, and creative, and deserves the eyeballs.

Last night, Brooklyn Nine-Nine aired their second fresh episode of the week. Called "The Party," Captain Holt (Andre Braugher) and his husband, Kevin (Marc Evan Jackson, Parks and Recreation), host a fancy gathering at their home and invite the squad to attend. Granted, the 9-9ers aren't the most dignified of people, which leads to some awkwardness, but the main problem isn't Kevin's stuffy academic colleagues, nor Holt's eccentric ones. It's that Kevin doesn't want them there, and makes that pretty clear, even if he isn't overtly rude.

Kevin is introduced as an unlikable character from the start, which is weird, since Holt is such a well-developed person himself. It's sweet to see Kevin and Holt interact, but when Kevin looks down his nose at the cops, it becomes downright uncomfortable. Had "The Party" left the situation at that, I would have been confused as to how the relationship worked, and disappointed at Brooklyn Nine-Nine's choice. I also didn't want to believe that Kevin really thought Jake (Andy Samberg) had read The New Yorker because the man doesn't seem that gullible.

But Jake sees what no one else, including the viewers, see - Kevin hates the NYPD because of how they've treated Holt. In retrospect, it makes total sense, and once that piece of the puzzle is revealed late in the half hour, the episode really comes together. Besides being funny, Brooklyn Nine-Nine sneaks in a pro-gay rights agenda where one might least expect it, a definite check mark in the plus column for it. Perhaps the show could have been a little more obvious about the plot, rather than allowing it to come out so subtly. But I appreciate that they don't make Kevin a stereotype, didn't necessarily copy the tale from other series, and in the end, Kevin seems a worthy companion for Holt.

That's why I'm diggin' Brooklyn Nine-Nine; it brings something new to the table. There are classic sitcom elements, to be sure, but it also has a unique voice you can't find in any other program currently running. It does things its own way, celebrating oddity and embracing skewed perspective. Holt's husband, Kevin, is only a small element, having just been introduced, but "The Party" is in keeping with the larger tone and spirit of the show.

"The Party" is also great because it gets to showcase the rest of the ensemble, who have terrific chemistry, and can each stand on their own. Jake craves approval but acts like he doesn't, his target in this episode being Kevin. Gina (Chelsea Peretti) is certifiably insane, earning her a crowd of head docs gleefully analyzing her. Boyle (Joe Lo Truglio) is more cultured than his fellows, and so clicks well with Kevin's foodie friend (Marilu Henner, Evening Shade, Taxi). Terry (Terry Crews) is the father figure who tries to make them all behave. And Santiago (Melissa Fumero) likes to believe she's the well-adjusted one, but her sneaky antics to get to know Holt better prove otherwise. Even Scully's (Joel McKinnon Miller) talent for opera and his weirdly close relationship with Hitchcock (Dirk Blocker) gets screen time.

Only Rosa (Stephanie Beatriz) is not highlighted in "The Party," but that's OK because there's a big cast to serve. It's impressive how all of these people can get their moments and subplots in such a short running time, each more than pulling their weight. They're oddballs, but they're specific oddballs who exist in a well-fleshed out world and have found their place. Brooklyn Nine-Nine is tightly written and knows how to effectively use its people.

Another cool thing about "The Party" is that Kevin's friends come to see the value of the squad, too. At first, there's a definite divide in the house, but once our heroes split up and interact, there is acceptance and appreciation for them. They may not have earned any new best friends, but Kevin's teacher pals don't look down on them, either, which is heartening to see. While some shows might go for the easy conflict in the clash of worlds, Brooklyn Nine-Nine plays something smarter, teaching us about human nature and the individuals themselves who star in the piece.

Overall, I'm highly impressed with Brooklyn Nine-Nine. I'm not a fan of dumb, base comedy, and while some commercials may lead one to believe that's what this show is, it couldn't be further from the truth. The fact that I could write a similar glowing review about basically any episode that's aired recently in their run is even better. I chose this one for convenience, having missed the window post-Super Bowl, but it really doesn't matter; the series consistently delivers. It definitely deserves the Golden Globes it recently brought home.

Brooklyn Nine-Nine airs Tuesdays at 9:30 p.m. ET on FOX. If you haven't done so yet, do yourself a favor and check it out.

Calling BROOKLYN NINE-NINE

Review first published as BROOKLYN NINE-NINE Review on Seat42F.

Grade: 88%

After watching the premiere of the new FOX sitcom BROOKLYN NINE-NINE and ruminating on it for a day, I am still not sure if I truly believe it is a great series. There are funny jokes, and it’s not predictable or rote, but it’s also a very odd tone that is hard to pin down. There is a terrific cast assembled for it, and the “Pilot” necessarily contains a lot of set up, so it seems to deserve the benefit of the doubt for now, until more installments can be viewed.

As the “Pilot” opens, the Ninety-Ninth precinct gets a new leader, Captain Ray Holt (Andre Braugher, Men of a Certain Age). Holt has an interesting back story, not revealed until late in the half hour, but who Holt is and what he has endured informs how he treats his new command, and the department, used to a different style, reacts poorly to the change.

Well, at least one detective does. Jake Peralta (Andy Samberg, Saturday Night Live) is a very effective, but highly immature officer. He scoffs when Holt insists he wear a tie, and has no problem goofing around at a crime scene. Yet, we also see how he puts together the pieces of puzzles that others cannot, so we know he has talent, and it does feel like a believable character, especially able to get away with how he is given the past captain we are shown.

Jake and Holt are the two obvious leads of BROOKLYN NINE-NINE, and the make for a very unusual pair. Even in the first half hour, one can tell they are both looking for ways to understand one another, and that will make them stronger. However, since a lot of the comedy in the “Pilot” is their clash, and one presumes that they will soon grow not to fight against each other so much, one wonders what the rest of the show will be like. After all, Jake can’t just grow up, or he wouldn’t be the character created here, but Holt does see Jake’s talent, and already knows how to mold it, so can’t give Jake too hard a time for too long.

Braugher is exactly what one would expect from him, given his resume: cool, layered, and intriguing. Samberg has kept the goofiness that has earned him a following, but honed it into a less cartoonish character, someone who could exist in real life, not as over-the-top as he has been. When his character does cross that line in taste, the other players are there to make him feel foolish, so it does come together nicely.

My favorite member of the main cast in the “Pilot” is second-in-command Terry Jeffords (Terry Crews, The Newsroom). Terry is a big, tough cop who shaped his fat into solid muscle, only to suddenly grow very afraid of the job after fathering a couple of adorable twin girls. This is something many a dad should be able to relate to, but also seems unique, at least when taken to this extreme, for a man who looks like Crews. Because Crews, as usual, has perfect delivery and timing, Terry is a great character I am missing whenever he is not on screen.

Jake’s partner is Amy Santiago (Melissa Fumero, One Life to Live), a by-the-rules woman who has many brothers and thinks she is better than Jake, even though Jake has a slightly better record. In the “Pilot,” there isn’t much interesting going on with Amy, who kisses Holt’s butt a lot, but still takes a back seat to the central pair. One wonders if she will step up and hold her own, or be a forgettable second banana.

The other two main detectives are Rosa Diaz (Stephanie Beatriz, Short Term 12), a seemingly emotionless, scary woman, and Charles Boyle (Joe Lo Truglio, Burning Love), a wimp of a man who is in love with Rosa. These two seem destined to be stereotypes, milked for a laugh, at least for the foreseeable future. I like the performances, Lo Truglio playing more earnestly than I’m used to seeing from him, and Beatriz being a blank slate, but I can’t really get behind the characters yet.

There’s also Gina Linetti (comedian and writer Chelsea Peretti), who is a little bit obnoxious initially, but I like Peretti’s stand up, so hopefully she will be able to channel some of that into the role.

This strange combination of personalities makes for an ensemble that is hard to figure out. With a setting that allows for recurring parts, too, such as Scully (Joel McKinnon Miller, Big Love), BROOKLYN NINE-NINE could paint a rich, full world, making a successful cop comedy for the first time in a long time. Or, it could be too inaccessible for a mass audience, scratching their heads and wondering what they’re supposed to be laughing at. I cannot predict at this time which is the more likely outcome.

BROOKLYN NINE-NINE premieres Tuesday, September 17^th at 8:30 p.m. ET.

COMEDY BANG! BANG! Returns

Article first published as COMEDY BANG! BANG! Returns on TheTVKing.

IFC's bizarre talk / sketch show Comedy Bang! Bang! returns for a second season this week with the episode "Andy Samberg Wears a Plaid Shirt and Glasses." After host Scott Auckerman convinces his doctor in the insane asylum to be bandleader Reggie Watts, the two escape the institution and begin the second season of the show for the first time. Confusing? Perhaps, especially when the scenario is called back at the end in a different way. But much of Comedy Bang! Bang! refuses to make sense, which is part of its charm.

Auckerman has a very interesting and unique sense of humor. He takes normal things and moves them into very strange arenas. He routinely interrupts his interviews with tangents, or inserts gags in places you don't expect them to be. The talk show portion begins with Auckerman receiveing a LOT of prunes dumped onto his studio floor by a trio of delivery persons. Why? Who knows?

Auckerman's style blends well with Watts, who almost feels like a partner, rather than a sidekick, even though his part is smaller. Watts makes an impression every time we seem him, and he is a invaluable element to the series, more for his presence and deliveries than the occasional music he plays. I love when he interjects when Auckerman and Samberg begin whispering this week and he can't hear what is being said.

The interviews do not go the same on Comedy Bang! Bang! as they do on any other series. Samberg and Auckerman discuss numbers, have a gun / knife fight and discuss wounds, and viewers will never actually get to learn anything about Samberg or what he does. They stop the question and answer session at one point to explore alternate timeline possibilities. Which means this is far more an atypical series of scripted bits than it is an actual talk show, no matter what its format appears to be, which is in keeping with the aforementioned tone of the host.

There are also random guest stars who pop in at weird times. Fringe's Lance Reddick drops into Reggie's Tron-like virtual reality game, as does Selma Blair (Anger Management). Adam Pally from Happy Endings is a delivery man. Comedians Chelsea Peretti (Kroll Show) and Doug Benson (The Benson Interruption) put in tiny appearances. And Jordan Peele (Key & Peele) plays a turbaned psychic.

There's no telling what zaniness might happen in future episodes, which will feature personalities such as Aziz Ansari, Anna Kendrick, and Zoe Saldana, though admittedly the two leads matter far more to the success of each week than those who drop in. I'll be watching to find out.

Comedy Bang! Bang! airs Fridays at 10 p.m. ET on IFC.

Justin Timberlake brings back Saturday Night Live

Article first published as  Justin Timberlake brings back Saturday Night Live on TheTVKing.

NBC's Saturday Night Live has good episodes and bad. In recent years, after the 2008 election, the bad weeks have outnumbered the good by quite a few. But all it takes is a fantastic host and a bevy of wonderful guests to turn things around, and last week's episode, which features Justin Timberlake as both the host and musical guest, does just that.

Right from the opening where Timberlake does a wonderful Elton John impersonation with a "Candle in the Wind" parody, the episode takes off. Timberlake is obviously a musician, having contributed to many of the best musical numbers in the series in previous episodes, and he uses that skill again in this gig. A good episode plays to the host's strengths, and this one most definitely does.

Besides the opening, he also sings with recurring characters like the parody-singing advertising mascot (this time a block of tofu, and ending with a Harlem Shake in Veganville) and a return of the "D*** in a Box" guys with Andy Samberg. Sure, it takes time to build up a recurring character's popularity, but the ones that the writers and actors love are usually the ones that the fans love to, so the effort is worth it. Timberlake manages to have a couple of very popular characters with only a limited number of appearances. It's quite impressive.

Besides Samberg, many other Saturday Night Live alumni dropped by. This is done in celebration of Timberlake joining the "5 Timers Club," since this is his fifth time hosting, so other frequent hosts including Steve Martin, Candice Bergen, Tom Hanks, Alec Baldwin, and Chevy Chase appear. The cast of SNL is a very important clique. But so is the job of host. Only a few have reached this pinnacle, invited back over and over again, and they all ooze with talent. Seeing them gather together, along with Martin Short, Paul Simon, and Dan Akroyd, is not only thrilling, but hilarious, as these are some of the funniest people of their generation.

Sometimes, though, guests can be wasted. That is not the case in Timberlake's episode. It isn't practical to include all of those named in other sketches, of course, because too many showed up. But Martin and Akroyd dust off their Wild and Crazy Guys for a bit, and Martin, Chase, and Short don their Three Amigos costumes, thankfully altered to accommodate their current bodies. It's these kind of touches that make the episode memorable, and worth the time of these non-hosts who show up.

There are plenty of sketches in this episode that will provide laughs for years to come, unlike the "5 Timers Club," which is fantastic, but not inherently funny. These all have one thing in common: a current cast member holds their own against the host and/or veterans. The dating game show, where poor Bobby Moynihan competes against two pairs of recurring characters is amusing, especially because of Moynihan's role in it, not in spite of it. He knows he can't compete against the others and embracing it, making him a valuable part of the sketch, rather than a throw-away. And the commercial where Timberlake dates a girl with a penis (played beautifully by Nasim Pedrad) will elicit a giggle or two.

I'm not a fan of the musical performances, and often skip them. I will say, though, that I stuck with "Suit and Tie," despite being lukewarm on the song itself, and it was a terrific performance. The stage looked great, the dancing was incredibly impressive, and tone was perfect.

Overall, Justin Timberlake once more delivers for Saturday Night Live. Let's hope they invite him back soon.

Saturday Night Live airs Saturdays at 11 p.m. ET on NBC.

30 Rock rocks out the guest stars

     This week on NBC's 30 Rock, in "The Ballad of Kenneth Parcell," Jack (Alec Baldwin) decides to get rid of the Page Program and replace them with an automated system (voiced by Rachel Dratch), much to Kenneth's (Jack McBrayer) chagrin. But then Jack makes a mistake, and his businessversary present to Hank Hooper (Ken Howard) gets sent to TGS instead. Jack loses the respect of not only Hank, but the TGS staff as well, with Lutz (John Lutz) even thinking that they are on the same level! To save face, Jack rehires the pages and blames Kenneth for the snafu, scrapping the automated machine.

     Writing a review of nearly any 30 Rock episode ends up being a game of name dropping as many celebrities as possible, and a struggle to mention all of the best one-liners, of which there are almost always a plethora to choose from. "The Ballad of Kenneth Parcell" has its share of the latter, and more of the former than any installment in recent memory. That alone makes it an episode well worth watching, as well as guarantees that not every star appearing in the half hour will be mentioned in the following article. Nor will most of those names be linked, but feel free to google them.

     It's been too long an absence for Dratch, who appears regularly as a variety of characters in the early days of 30 Rock. Any excuse to bring her back is more than welcome, so it's a little disappointing that the machine is thrown away so fast. Where might she pop up next, and when?

     It's great to see Jack exposed as a normal man. Everything about his character screams elitist, and even though viewers soon start to root for Jack to fix his image problem this week, it's funny to see him taken down a peg by the likes of Lutz and Frank (Judah Friedlander). 30 Rock needs Jack to be the top dog in order to keep the fictional version of NBC running, but that doesn't mean that he can't suffer temporary setbacks. This story will work especially well for those who wish some ill will on Baldwin, who isn't universally liked outside of 30 Rock.

     In "The Ballad of Kenneth Parcell," Jack gets to deliver a great one-liner about the fame of Maulik Pancholy, who formerly plays Jack's assistant, Jonathan, and now co-stars in Whitney. Jonathan is definitely missed, and is a far better use of Pancholy's talents that his current role. However, Pancholy does get more screen time on Whitney, slightly, so it's probably better for him, career wise. And at least he's a main character on his new series instead of a recurring supporting player, as he is on 30 Rock.

     In a second plot, Liz (Tina Fey) and Jenna (the underrated, fantastic Jane Krakowski) have a falling out as friends when Jenna sets up Liz to have paint thrown on her by PETA, just so Jenna can save face. Both seek solace by gravitating towards others like themselves. It isn't long before Jenna finds her new besties, including an unknown Kardashian, exhausting. And Liz, after a misstep with a very obvious knock off of the Sex and the City friends, who are even listed in the credits with names like Charglotte and Kerrie (Teri Conn, As the World Turns, One Life to Live), ends up really annoyed by a near twin named Amy (Julie Dretzin, Six Feet Under). They return to each other, glad to have someone that complements them, rather than a pal exactly like them.

     30 Rock uses its trademark brand of broad, winky humor extensively in the Liz and Jenna plot this week. Not only is it packed with guest stars, but the jokes are really funny. It may be a typical story, done by many other series, but it is handled with a 30 Rock twist that makes it seem both fresh and hilarious. As such, more of this kind of stuff will keep the show running for a good long time.

     Following on that theme, the MLK Day trailer at the beginning of "The Ballad of Kenneth Purcell," featuring Jenna starring in a Valentine's Day-esque film with Emma Stone, Nick Cannon, and Andy Samberg (themselves), is a wonderful tongue-in-cheek joke. Not many shows have the gravitas to pull these kind of names for a one-shot laugh, but that 30 Rock can do so over and over again really lends to its credibility. Just looking for who will show up next is a great draw to watch each episode. Also, Jenna's growing fame on the show within a show is a neat way to take her character, and putting her in the company of these others actors makes it seem even more believable.

     Finally, Tracy (Tracy Morgan) decides that he'd like to kill himself after Dot Com (Kevin Brown) and Grizz (Grizz Chapman) send out his birthday invitations with the phrase "no gifts." Tracy isn't really looking for death, but rather, wants to illustrate a point to his entourage, mostly because he doesn't have anything else to do. As to what exactly that point is, well, anyone's guess is good, as Tracy's brain doesn't exactly work correctly. But it's amusing, and it gives Morgan some amusing scenes in the jam-packed episode.

     "The Ballad of Kenneth Parcell" aired at 9 p.m. ET, the second of two new episodes this week. Normally, 30 Rock airs in the earlier time slot of 8 p.m. ET on NBC. Be sure to watch it.

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Saturday Night Lives has Justin Timberlake and Lady Gaga end season on high note

     NBC's Saturday Night Live ends its 36th season by bringing back frequent and popular guest Justin Timberlake as the host, and Lady Gaga as the musical guest. The monologue begins with Timberlake singing about how he's not going to sing tonight, which proves to be extremely untrue over and over again. The episode is full of recurring sketches, including a revisit of The Barry Gibb Talk Show with SNL alum Jimmy Fallon, a new "Secret Password," Timberlake singing in a cheesy costume, a broken amusement park ride with creepy robots, Herb Welch, and the third in a series of digital shorts that Timberlake and Andy Samberg perform. Lady Gaga also appears in several sketches, as well as doing her customary two musical numbers.

     This is arguably the best episode of season 36. While the opening sketch with disgraced IMF chair Dominique Strauss-Kahn in a prison cell with two hardened-looking criminals talking economics before they rape him is only mildly amusing, as soon as Timberlake appears, almost every segment is strong. Besides the opening, the weak points are "Secret Password" and Herb Welch, which are both done to death, and are virtually always the same thing. It is time to retire them.

     Perhaps the most anticipated sketch is the Digital Short. Timberlake and Samberg delight with "Dick in a Box" and "Mother Lover," playing the same characters. Their newest begins with the duo leaving their moms' houses, which means brief cameos for Susan Sarandon and Patricia Clarkson, who appear in "Mother Lover." They are then both called to a girl's house to have a threesome. In "Threesome," Gaga proves she has real comic chops as she prepositions the boys, who have sex with and without her. The lyrics are hysterical, and the hapless, sleazy characters that Samberg and Timberlake play for the third time are good for many more laughs.

     Lady Gaga dresses as a bottle of wine in a sketch where Timberlake, as a bottle of beer, faces off with Kristen Wiig, as a teabag who inadvertently says dirty things, as they battle for control of the crowd passing by. All three get to sing parodies as they try to lure the public to sample their beverages. While this is something done before, enough changes that it still feel fresh.

     The third sketch to include Gaga is a game show called "What's That Name?" In it, Timberlake is revealed to not know the names of girls he sleeps with or former N*SYNC band mates, while Gaga remembers small details about fans she meets only briefly. Timberlake shows a real willingness to poke fun at himself, while Gaga plays off of her reputation as caring Mother Monster. Because they are both playing versions of themselves, this sketch has a meta level, and shows they both have senses of humor.

     Weekend Update, which is always funny, no matter how lame the show gets, brings back "Really!?!" with a solo Seth Meyers. It doesn't work quite as well as when he does it with Amy Poehler, but "Realy!?!" is very funny, and it's nice to see it's not dead. Also in Update, Samberg plays Nicholas Cage berating Bradley Cooper (the real one) about why Cage is not in The Hangover Part II. Cooper is a good sport in the unexpected cameo. Finally, Update ends with Seth leaving to go on vacation with Stefan (Bill Hader), a character that gets more amusing each time he appears. It is a fitting end to the season.

     All in all, SNL goes out with some very funny material, talented guests, and wonderful music-based sketches. If only this quality can be maintained next year, the series will be back on top in no time. Saturday Night Live will return this fall to NBC.

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Article first published as TV Review: Saturday Night Live - "Justin Timberlake and Lady Gaga" on Blogcritics.

The 1st (hopefully of many) Comedy Awards

     With awards shows often hiring comedians to host, and with comedy movies often getting overlooked at the major awards shows, it would make sense that Comedy take their own night to hand out kudos. What's more, since everyone involved is in the business of making people laugh, it is bound to be much, much funnier than other dreary, dragging award galas. It seems like such a no brainer. Yet, it wasn't until this past week that Comedy Central stepped up to host the first ever 'The Comedy Awards', which honored performers and shows from many channels, and aired on several other networks, too. It premiered on television Sunday night, though was filmed a couple of weeks ago.

     Well, of course, success was had! While there was no opening sketch or monologue, the people tapped to introduce and hand out awards were plenty funny. Even the In Memoriam segment showed some of the deceased's funniest moments on screen, celebrating what they did so well, rather than playing sappy music and bringing tears to eyes. Andy Samberg's Lonely Island and Akon performed "I Just Had Sex", which came off even more entertaining than the original Saturday Night Live digital short it was taken from. Jon Cryer also delivered a very classy, amusing bit, playing off current events.

     The sad part is, this show took place in New York, so while all of the New York people were in attendance (Jon Stewart, David Letterman, the cast of 30 Rock, etc.), many L.A. performers couldn't make it. This may be chalked up to first year stumbles, and if the show becomes an anual tradition, more effort to attend among the various nominees will hopefully be made. Because of this, a few major awards were shown only in brief clips, rather than as part of the live broadcast, as the winners were not there to collect them.

     Most winners chose to go for jokes rather than a serious, sentimental speech, which was welcome. Best acceptance speeches of the night go to: Honorable Mention: Kristen Wiig, who thanked several Lornes before getting to Michaels. 3rd place: Trey Parker and Matt Stone, remarking winning an award for South Park, a show that airs on the network giving out the awards, felt awkward. 2nd place: Ty Burrell, representing the mostly-absent Modern Family cast. 1st place: Stephen Colbert, accepting The Daily Show's win, after kicking the real victors off stage, on behalf of all the people sick of being beaten by them for the last eight years.

     Two really big comedy stars were honored with extensive air times. Eddie Murphy was given the Comedy Icon award, and his clip reel reminded viewers that once upon a time, he used to be very funny. Sadly, it appears his acceptance speech was not, as it was thoroughly edited down. Billy Murray presented Johnny Carson Award for Comedic Excellence to David Letterman. The audience went crazy for the elusive Murray. Letterman's speech, on the other hand, went too long and got boring. It's fitting that he won the award, but next time, remember this is a comedy show.
     Other winners included Louis C.K., Childrens' Hospital, Tina Fey, The Other Guys, and Auto-Tune the News for their Bed Intruder Song.

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Saturday Night Live bombs with Elton John

     Sadly, not even Elton John can save NBC's Saturday Night Live, nor can his several famous friends who show up to help him out. Last night's show is one of the season's weakest. Once again, I do not think it is the level of acting talent that is sinking, though I'm pretty sure John isn't cut out to be a professional actor. It's the writing that just isn't delivering. Sure, the show has had ups and downs over the years. But this episode will definitely fall into the latter category.

     Besides Sir Elton, other familiar faces show up. Tom Hanks, a many-time guest star and host, participates in multiple sketches. In fact, Hanks actually makes a few moments worth watching, including as a worried version of himself when Wilson the volleyball is taken hostage, and as Michael Caine. Hanks is pretty much all that is funny in this episode. Jake Gyllenhaal is in Weekend Update, looking confused, and I'm still not sure why he is on the show this week at all. Just to showcase Andy Samberg's Nicholas Cage impression, perhaps? Carmelo Anthony, who is in the latest Laser Cats digital short, I have never even heard of. Wikipedia reveals him to be a New York Knicks player. SNL has always thrown in NYC references from time to time, but this may be one of their more obscure ones. Former cast member Will Forte is present, which is nice, because I miss him. Lastly, Leon Russell duets both musical guest segments with Elton John.

     As for skits, the show begins rough and stays that way. The Lawrence Welk bit with the girl who has very small hands (played by Kristen Wiig) wasn't funny the first time it was done, and only gets worse with each reincarnation. John chooses to keep the monologue mostly serious, speaking about his son, which is fine, but also tosses in a few one-liners that don't even elicit a grin. The ESPN hosts continue to be more stupid than humorous. Cowboys and movie critics play on John's homosexuality, but feel uncomfortable. I normally laugh at Laser Cats, but the musical version falls flat. Call me prudish, but I do not think the Queen of England bullying John is approaching amusing either.

     Weekend Update is always the best part of the episode anymore, as at least Seth Meyers can deliver short quips with the best of them. Even he, though, fumbles a bit, and his final joke elicits no reaction from the live audience, making for a very awkward closing. But he starts fairly strong with his comparison of GOP potential presidential candidates to reality TV stars. I also do enjoy the zookeeper who loses the snake (Kenan Thompson), a reference to an escaped reptile in NYC last week.

     Perhaps the sketch with the most potential this week is the overly long, convoluted one that begins with a BBC show called Fancy a Jar, Do You?, which is interrupted by a special news report, and then transforms into a council of modern British knights. The concept itself, asking the artistic types that currently hold the honor, to defend London from a dragon is brilliant. Sadly, the execution breaks down, wasting some characters, and just not doing justice to others. I wonder if this is a case of too many elements warring for attention, or simply a lack of follow through with the original idea. All in all, a failure.

     When will Saturday Night Live begin its recovery? It was last great in the spring of 2009, and I anxiously await a return to those levels. Saturday Night Live airs Saturday nights at 11:30 p.m. ET on NBC, live believe it or not!

     If you disagree with my review, I recommend reading Louis Virtel's write up for TVLine.com. He offers some very different opinions from mine.

Article first published as TV Review: Saturday Night Live - "Elton John; Leon Russell" on Blogcritics.

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Where did all the good Saturday Night Live go?

     With the close of the latest season of NBC's Saturday Night Live, one question hangs over our heads: why does SNL currently suck?  It still includes most of the same cast that made it such a hit during the 2008 election.  Kristen Wiig is still a comic genius.  Andy Samberg still makes Digital Shorts, though the laughs come less often.  Will Forte is taking his MacGruber sketch to the big screen very soon.  Bobby Moynihan can still deliver with his impersonation of Snooki from Jersey Shore.  Seth Meyers remains the head writer, and the Weekend Update segments are as funny as ever.  But the rest of the show largely falls flat on it's face.

     To get an answer, perhaps we should ask why any season of Saturday Night Live has sucked.  On the air for thirty-five years, the series run in hit and miss cycles, and we are currently in the middle of a low point, made all the more obvious by just high they got in fall 2008.  Even Betty White, bringing a host of alumni with her, delivered only mediocre stuff.  Don't hate on me for saying it.  I was enthralled with the beloved actress and her posse as anyone, but had the season been where it should have been, that episode would not have seemed as good as it did.  At best, it was good, not great.

      Perhaps in an effort to salvage something, uber-host Alec Baldwin was brought in for the season finale this weekend, tying Steve Martin's record of 15 hosting episodes.  Sadly, he, too, left something to be desired.  Let me say that again.  Alec Baldwin had a bad episode.  That just doesn't happen.  So why, with all the golden ingredients, is SNL not doing better?

     I can come up with no satisfying explanation.  I remember how good the show is when it hits it's peaks, and so I'll just do what any of us can do.  Keep watching, hoping it gets there again soon.