Crown MRS. AMERICA

Article first published as TV Review: MRS. AMERICA on Seat42F.

FX and Hulu both make terrific shows in their own right. Now, a partnership has formed where viewers get FX series exclusively on the streaming platform. One of the first of those is MRS. AMERICA, a new miniseries based on the true story of the push for the Equal Rights Amendment in the 1970s. It completely lives up to the best programming from both sides.

Setting aside the politics, MRS. AMERICA is an extremely well-made, well-acted, compelling history lesson. It’s fantastic as a story, brilliantly directed and executed, with terrific production design. As a piece of television, it’s wonderful.

MRS. AMERICA begins with Phyllis Schlafly (Cate Blanchett, Carol), a housewife who has run for Congress twice. When the opportunity comes up for her to run again, her husband, Fred (John Slattery, Mad Men), balks because she might actually win. So to satisfy her own political ambitions and keep the peace in a marriage where she is subservient, she pours her attentions into organizing a national effort to stop the newly-passed Equal Rights Amendment, which must be ratified by thirty-eight states to become law.

It’s a good thing MRS. AMERICA shows us Phyllis before she embarks down this path. It doesn’t stop her from being a villain, but it does make her sympathetic at first, which viewers can hold in their minds as the rest of the story plays out. We get to see what motivates her, and why she makes some of the choices she makes. She is trapped in a patriarchal world and tries to grab power playing by the mens’ rules, even though her desire for power is antithetical to the system in the first place. This does allow for some sympathy, even when she’s being heartless.

Along for the ride with Phyllis are, most notably, Alice (Sarah Paulson, American Horror Story), Rosemary (Melanie Lynskey, Togetherness), and Phyllis’ sister, Eleanor (Jeanne Tripplehorn). Alice and Rosemary want the movement to succeed, and struggle with Phyllis’ leadership. But Eleanor’s story is the most tragic, as Phyllis describes the enemy to be pretty similar to her own sibling, while acting totally ignorant to how it sounds to Eleanor.

Lest you think MRS. AMERICA is just a liberal fantasy version of reality, the women on the other side are far from perfect. Gloria Steinem (Rose Byrne, Spy) finds it hard to fit in with the organized opposition, preferring to chart her own course without oversight. Shirley Chisholm (Uzo Aduba, Orange Is the New Black) risks wrecking party unity by staying in the presidential race too long. Betty Friedan (Tracey Ullman) is opinionated and has the tendency to rub just about everyone the wrong way. Bella Abzug (Margo Martindale, The Americans) is willing to compromise far beyond what some of her compatriots are willing to accept. And hell, Jill Ruckelshaus (Elizabeth Banks, The Hunger Games) is somehow still a Republican! They can’t get on message together to actually accomplish anything, and they fail to take the threat Phyllis poses seriously until it’s too late, blind to people whose opinions are so different from their own.

Each of the leads could support their own miniseries. One might argue they’re lumped together because of their gender, rather than just because of the cause. I still like the format. Each hour includes all the leads, but the episode title reveals with woman will get a little more focus for that offering. Phyllis and Gloria are probably the two biggest characters overall, and that shows.

I’ll admit, that it’s impossible to judge MRS. AMERICA without political views creeping in. At least it is for me. So the next portion is written from the perspective of a liberal, straight, white man, which comes with much bias and unearned privilege.

It would be hard for many conservatives to enjoy a show, even one featuring flawed liberal women, when their own position is so blatantly misguided. But I hope they watch anyway. The liberal in me wants to say, if you have a problem with MRS. AMERICA, then don’t have such evil viewpoints. But here’s the thing: this is an inspiring underdog story of the rise of feminism, made all the more tragic by the lack of progress of the heroes’ central goals nearly fifty years later. Though, now it’s common for both parents to be forced to work outside the home to make ends meet and the classic family dynamic has eroded by necessity, not choice, so really, we all lost.

The real take-away, in my opinion, is the reflection on modern society. We see the misinformation and twisting of facts to serve an agenda, and how masses of people buy into it. We also see what happens when good people fighting for a just cause fail to unite in their mission. There are plenty of strong reasons for individuals to draw the line in different places, but speaking with one voice can prove very effective, even when that voice is wrong.

Will this story have a happy ending? That remains to be seen, and it certainly won’t within the span of nine episodes, as the battle still rages on in 2020, reignited by the last presidential election in ways it hasn’t been since the events depicted in MRS. AMERICA. Hopefully, those that want to finish what was started learn a few lessons and draw inspiration from this story.

The first three episodes of MRS. AMERICA are available now on Hulu, with new installments weekly.

The Return of THE MUPPETS

Article originally published as THE MUPPETS Review on Seat42F.

THE MUPPETS are back! The franchise that has spawned more than half a dozen feature films and a number of television specials and TV shows in the past are once again on the small screen on a weekly basis. From Bill Prady (The Big Bang Theory) and Bob Kushell (Anger Management) comes a contemporary look at everyone’s favorite felt characters.

The premise for the new show is simple enough. Miss Piggy (herself; just kidding, though the show would like you to think so) has become the first female late night host on Up Late With Miss Piggy. Kermit, now her ex-boyfriend, is the producer, Fozzie serves as the sidekick, and The Electric Mayhem provide the house band. The rest of the Muppets work on the show, including Kermit’s new girlfriend, Denise (who is also a pig, by the way). So the group has a natural reason to come together, and the late night show is a good way to bring on lots of celebrity guest stars easily.

The format is a bit different from past efforts in that it’s basically The Office. It’s a documentary-style piece, and the politics behind-the-scenes call to mind a certain paper company, though with the Muppets’ trademark humor. Basically, it is made to feel like many other sitcoms currently on the air, which is where its ‘modern’ sensibility claim comes in.

Earlier this summer, I had the opportunity to preview the ten minute presentation that sold this show to ABC. In that version, the Muppets come back together to remake The Muppet Show, and Miss Piggy, who was starring in films, has to be coaxed to join in. I am disappointed at the changes made in the official first episode because it makes the story more pedestrian to remove the crazy antics of The Muppet Show from the set up. However, it does make more sense for Piggy to have success and it’s nice she isn’t coming back to work over a man. The new pilot emphasizes her independent spirit, a key component of the character that can’t be overlooked in this age. Plus, a lot of the good jokes from that presentation are retained.

Overall, I like, don’t love, THE MUPPETS (though I loved the ten minute video). So far, that is. The first episode focuses on Piggy’s feud with Elizabeth Banks (herself) and Fozzie trying to impress his girlfriend’s (Riki Linhome) father (Jere Burns), while the second sees Kermit trying to help Piggy find love with Josh Groban (himself). The second is superior because of funnier bits, but both point to where the show might go.

Both of these stories are relatively tame and typical of modern sitcoms, and can be found on any other show. That’s OK; The Muppets have never been entirely original in their plots. However, what makes them so special is the personalities of the individual characters, and when the story mostly focuses on Kermit and Piggy trying to work together after a break up, it drags things down. If future installments instead commit to playing up the zany aspects of all of the other characters, which the second episode does better, it will improve and get back to what fans of the franchise want.

We also want Kermit and Piggy together, of course. It’s fine to keep them apart from a time to force drama and forward momentum, but this can’t be a series-long arc. They both clearly still care deeply for one another, and Kermit replacing Piggy with a skinner pig (never mind that she’s nicer) won’t sit well with many. Hopefully, this story gets gone through quickly and THE MUPPETS gets back to the essential heart of The Muppets.

THE MUPPETS premieres Tuesday, September 22^nd at 8 p.m. ET on ABC.

MOONBEAM CITY, Where The Girls Are Pretty (By 1980s Standards)

Article first published as MOONBEAM CITY Review on Seat42F.

Comedy Central’s newest cartoon comedy is MOONBEAM CITY. Set in the metropolis named in the title, which has heavy Miami overtones to it, the show follows local cops as they struggle with the criminals who are ruining their beloved town. But the cops aren’t the slightest bit competent, nor are the criminals, really, and the results are humorous.

MOONBEAM CITY boasts a very impressive cast. The lead is Dazzle Novak (Rob Lowe, Parks and Recreation), who is very reminiscent of FX’s Archer, inept and over-sexed, but the star of the police force because of blind luck and charm. Dazzle is assisted by Chrysalis Tate (Kate Mara, House of Cards), who wants to stop getting coffee and start firing guns, which she already is much more skilled at than Dazzle. Dazzle’s rival on the force is Red Cunningham (Will Forte, Last Man on Earth), who is jealous of the hero, but slightly less effective. This motley crew is overseen by the put-upon Captain Pizzaz Miller (Elizabeth Banks, The Hunger Games), who has little patience for their antics, but seems hesitant to actually fire them.

Now if those names sound like something out of the 1980s, they are far from the only thing ripped from the era in this show. MOONBEAM CITY seems to be set in that decade, and the colors (neon), lighting (blinds), and music (synthetic) all reinforce the style, as does the clothing and overall design. The faces are super white, and only a portion of the spectrum is used, but it’s all very consistent with the overall tone of the piece.

To give you an idea of the type of bizarre, twisted stories the show seeks to tell, the pilot finds Dazzle hunting a kingpin he accidentally allows to ascend to that stature. But Dazzle gets distracted by a pretty girl playing chimes in a mall. (Yes, in keeping with the 80s trend, malls are very popular.) Dazzle commits himself to being her manager, which he does out of police headquarters, and only because of the kingpin’s ridiculous hobby does Dazzle even cross paths with his query. Could the whole thing be an elaborate scheme by Dazzle to catch his query? Nah; he’s just not that smart.

I’m sure MOONBEAM CITY will be a case-of-the-week procedural. It has already established the world and the format that it will likely be repeated in installment after installment as Dazzle tangles with many different villains.

This is where MOONBEAM CITY is sure to fall short of its closest rival, Archer. Archer thrives because it makes the viewer care about the characters, building a funny ensemble that make the show as much a workplace comedy as it is about spying. Over time, the players because far more important than the situations. MOONBEAM CITY has the potential to do this, with the criminal sort of ignored in the pilot, and the four leads being fantastic in their own right, but shows no signs of committing to putting character above story, at least not yet.

That being said, it’s still a humorous romp. There aren’t really any laugh-out-loud moments or quotable lines, but I enjoyed watching the half hour, and will probably tune in again. I’m impressed by the overall production, if not many of the specifics, and it deserves a chance to find itself and grow into whatever it’s going to be. It’s clear it doesn’t know what that is from the get go, but it has the right ingredients to get there without having to add new elements, so that’s a good start.

MOONBEAM CITY premieres Wednesday, September 16^th on Comedy Central.

Be Sure to Attend WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP

Article first published as WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP Review on Seat42F.

I love that we live in the modern age where television can be done in many different models, not just the strict, twenty-some episodes per year for an indeterminate number of years commitment. If things had not been shifting as they are, we would never get a gem like WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP (premiering this week on Netflix) due to actor availability alone. Just look at the cast list, which includes Janeane Garofalo, Jason Schwartzman, Paul Rudd, Chris Pine, Elizabeth Banks, Christopher Meloni, Amy Poehler, Bradley Cooper, H. Jon Benjamin, John Slattery, Josh Charles, and many more. It would not have been possible to get them all together in a longer-format series.

WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP is actually a prequel to the 2001 film, Wet Hot American Summer. Whereas the movie covers the last day of the year at Camp Firewood, the eight-episode series is set eight weeks earlier, to the first day of the season. Practically all of the adult actors from the original, both major and minor characters, reprise their roles, with a new batch of kids tossed in, and a ton of guest stars who are often as famous, if not more so, than the central cast.

The question might occur to you, as it did me, is this necessary? The movie is terrific; I just re-watched it last night and laughed frequently. But it’s also irreverent, with a loose plot and relatively under-developed characters. It succeeds because of the jokes and the performances, not because of its depth.

Well, if the new version were an exact copy, I’m not sure it would work. Sure, we could enjoy a goofy sitcom over a longer period of time, but it would certainly get tiring if binge watching, as many Netflix subscribers prefer to digest their shows. Instead, WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP builds a much more complex story (i.e. can of vegetables), interweaving a number of running subplots, intriguing mysteries, and origin stories fans may not have known they even wanted.

Lest you worry that will take away from the style of humor that worked for Wet Hot American Summer, it does not. The silly gags are still present, Arty (recast) still the radio station, and the characters are the same as they ever were. They just have a little more to do, and what they do sometimes (but not always) has a little more importance. Continuity remains intact, as much as it ever was.

Given the short bits this four-hour comedy is broken up into, not everyone can show up right away. Most of the biggest stars are back in episodes one and two, with a lot of the smaller ones joining in episode three. The original ensemble is supplemented mostly by cast members from writer David Wain’s other TV show, Childrens Hospital (which also has Wet Hot American Summer stars), and Mad Men alum, along with Wain himself, so it takes even longer to get around to everyone.

Yet, it doesn’t feel crowded. Sure, Michael Ian Black, for one, doesn’t have a lot to do in the first few installments, but I’m optimistic that will change as the season goes on. Like the movie, WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP jumps around a lot, and that allows for lots of subplots.

Most importantly, though, it just feels like the magic is back. True, the actors don’t pass for sixteen-year-olds, but they didn’t in 2001, either, and the only adds to the conceit. I was enjoying the show so much, I couldn’t stop to write this after one or two episodes, and barely tore myself away after the third. As someone who loves the film, I think this iteration adds to, not takes away from, the work. I hope we eventually get to see even more of this terrific summer of 1981.

WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP was released last Friday on Netflix.

MODERN FAMILY Makes "Wedding" Unnecessarily Stunty

Article first published as TV Review: 'Modern Family' - Season Five Finale on Blogcritics.

ABC’s Modern Family is a thoroughly charming, pretty funny, completely typical sitcom. For an example of the last descriptor, you only need to look at the recent season finale, “The Wedding, Part 2,” and its first half. Cameron (Eric Stonestreet) and Mitchell (Jesse Tyler Ferguson) are finally able to get married because California has OK-ed gay marriage, but all manner of mishaps, from wildfire to a runaway bride returning, force multiple changes in venues. An event episode plagued by obstacles is a hallmark of sitcoms, and in this, Modern Family fails to distinguish itself.

There’s a very telling sequence in “The Wedding, Part 2″ for which I wish the writers had listened to themselves. Phil (Ty Burrell) is preparing to officiate the ceremony, replacing Sal (Elizabeth Banks), who has gone into labor, of course, and he tries to work a magic trick into his monologue. His wife, Claire (Julie Bowen), gives him sound advice, saying that he doesn’t need to be flashy, just let the emotion stand on its own. Phil does, and it’s a very moving moment, seeing the love between Phil and Claire, and among the family in general.

I think the rest of episode should have taken note of this bit and more widely applied it. Sure, it’s funny when Pepper (Nathan Lane) has butterfly issues and Sal claims she’s only four months pregnant as her water breaks, and even when Manny (Rico Rodriguez) and Luke (Nolan Gould) unintentionally have a faux marriage, but we don’t need natural disasters and such to get in the way of that. The smaller jokes, built on relationships and the dynamics of a loving clan, are much better than when the series goes to extremes in what seems to be an obvious ratings ploy. Did Modern Family really need two weeks to stage a wedding?

The best part of “The Wedding, Part 2″ by far is Jay (Ed O’Neill) trying not only to come to terms with Mitchell and Cam getting married (something with which he has made great progress), but also to make up with Mitch, who is miffed over an unintentional comment. Jay is old-school living in the modern era, and to his credit, he tries very hard to accept Mitchell for who he is. Jay is not 100% on board, but neither would he ever do anything to impede his son’s happiness. You can absolutely tell that this Jay is not the same one that has raised Mitchell, and it’s resonant for many older men today, struggling to adjust to an unfamiliar world. Some of the craziness of fleeing the fire could have been better spent further developing this relationship, which is well served, but should have been delved into deeper.

An interesting twist, which has built for some time is concerns Haley (Sarah Hyland) falling for Andy (Adam DeVine), who is not her typical type of guy. Andy is a lot like Phil, though, so viewers should see this coming, and Haley being attracted to this guy who reminds us so much of her father  (something she doesn’t see) doesn’t seem too creepy. Yes, Haley basically rejects him late in the season finale, but that may only be a temporary setback. She lets him go because her sister, Alex (Ariel Winter), asks her not to be cruel, and Haley is trying to do the right thing. But Andy could be her chance at not only a solid relationship, but also in maturing and growing as a person. I hope this thread is picked up next season.

Even with its stunts, I still love Modern Family. It does make me laugh, and it almost always nails the emotional stuff. I just wish it cared more about the feelings than the jokes. and let the humor flow more naturally. Much of the time it does, but often enough it seems to sell out. It is mostly watchable, but could be better than it is now, sliding in quality with age.

Modern Family has been renewed and will return to ABC next fall.

30 Rock poses the question, "What Will Happen to the Gang Next Year?"

NBC's 30 Rock is drawing to a close, with only thirteen episodes left to air next year before going off the air forever. This knowledge hangs over last night's season finale, "What Will Happen to the Gang Next Year?" Several of the major characters begin new stories, or reaffirm old ones, that could lead to a complete ending for them. It's bittersweet, as it's great the series is going out before it loses what makes it so good, but it will be missed.

With Avery (Elizabeth Banks) home, she and Jack (Alec Baldwin) decide to renew their vows. But neither heart is really in it, so they have Liz (Tina Fey) officiate, knowing that she will likely screw it up, and they refuse to let her remove the part of the ceremony when she asks if anyone objects. No one does, as the three people in attendance who have reason to butt in all back down at the last minute. But that just sets Jack and Avery off, and they end things themselves.

It's sad to see Jack and Avery's marriage come to an end, even if it is never built on a solid foundation in the first place. They seem like such a terrific match, but because both are uber stubborn and competitive, their daring behavior goes right up to the edge, with neither one being willing to step in and be the reasonable one. In a way, it's a more extreme version of Jenna (Jane Krakowski) and Paul's (Will Forte) relationship, strange as that may seem.

So will Jack find a happy ending? Maybe in the arms of Avery's mother (Mary Steenburgen), as creepy as that would potentially be to date his daughter's grandma? Will we even see Avery again, as she is not a main character? And will she find love, as both the man she adores and her Korean "husband" Kim Jong-Il (Margaret Cho) are not right for her?

In contrast to Jack's dissolving union, Liz breaks her terrible cycle in "What Will Happen to the Gang Next Year?" Instead of dropping Criss (James Marsden), she affirms her commitment to him, and starts actually talking about having a baby, instead of a plant, as she has been saying. It's a healthy, mature step that shows major growth in the character of Liz Lemon. It's also one that sets her up to finally achieve her dreams. If the fictional TGS gets canceled at the same time as the real 30 Rock, that might even be better for her, allowing her to pursue a project that doesn't drive her crazy!

This new dynamic, of Liz having her life together, while Jack's is falling apart, makes for a big change between this central pair. Despite Kim Jong-Il's assertions, the two should not end in a relationship, something not even hinted at regarding them since early in the show's run. But it's hard for Jack to be a mentor to someone who is doing better than he is. Liz understand this, but with her new wisdom, asks for his advice anyway. Now she is the propping Jack up, but she is doing so in a way that lets him maintain his pride and dignity. Smart, and sweet.

Kenneth (Jack McBrayer) finds love, too. Hazel (Kristen Schaal) may originally try to sabotage Kenneth, but before the episode ends, they are making out. Has Hazel come around, or is she just desperate to keep living with Kenneth, rather than be out on the street? How will having physical relations change the uptight and super conservative Kenneth? This is a rich mine to dig in!

Tracy (Tracy Morgan) also faces a crossroads in "What Will Happen to the Gang Next Year?" Cornel West (himself) visits and tells Tracy that he needs to find a black role model to look up to. Dot Com (Kevin Brown) and Grizz (Grizz Chapman) try to lead Tracy towards some historical figures, but, in the end, Tracy is more drawn to Tyler Perry. Is that such a bad thing? True, Tracy may not live up to his potential doing cheap comedy. But then again, Perry makes a good living, and provides black-centric entertainment that fills a serious void left in pop culture. Tracy doesn't usually stick with things anyway, so this could all be for naught. It will be interesting to see how it plays out.

Lest anyone think otherwise, "What Will Happen to the Gang Next Year" is incredibly funny, on top of all the other stuff that's been discussed in this review. Kim Jong-Il really is the best waiter in the world. Liz has a fantasy sequence where she raises a plant, and even sees it have its own plant grand babies. Criss claims to have seen everything James Van Der Beek has done except for Dawson's Creek, yet names his van after the series, and basically quotes the theme song to Liz. Hilarious!

30 Rock will return next fall to NBC to complete its final season.

If you like my reviews, please follow me on Twitter! Click here to read every 30 Rock review I've ever written. To catch up on 30 Rock with DVDs and streaming episodes, please go to amazon.com. Article first published as 30 Rock poses the question, "What Will Happen to the Gang Next Year?" on TheTVKing.com

Nothing is wrong with 30 Rock

NBC's 30 Rock presents a special, one hour, holiday-themed episode this week entitled "Hey, Baby, What's Wrong?" Liz (Tina Fey) thinks that she may get her first ever happy Valentine's Day with new boyfriend, Criss (James Marsden, X-Men). But derailment occurs during an ill-fated trip to IKEA to pick out a dining room table together. Meanwhile, Jack (Alec Baldwin) battles his primal urges when Avery's mother, Diana (Mary Steenburgen, Bored to Death, Curb Your Enthusiasm), comes to town, and finds himself attracted to her. The feeling is mutual.

"Hey, Baby, What's Wrong?" may be the most disturbing episode of 30 Rock ever written. This falls squarely on the fault of Jack's plot, which is horrible. Jack sees many of the same things in Diana that he sees in kidnapped wife, Avery (Elizabeth Banks), so it's natural that there might be some connection. But raising that attraction to a sexual level is beyond wrong. While it's true that Jack and Diana are closer in age than Jack is to his wife, and Diana is just as lonely as Jack, that doesn't excuse anything. The fact that the two characters struggle so hard not to hook up is just plain icky. Forget trying to be funny, at least just be decent. There is something incredibly wrong with Jack's marriage if he considers sleeping with his mother-in-law under any circumstances. Ditto for Diana's mothering ability.

That being said, the rest of the episode is not bad. Liz's relationship with Criss is actually quite a nice development. Criss isn't perfect, having little ambition and no job, but he cares about Liz. He also pulls some weight, cooking a romantic dinner for her, and building a table when they can't agree on one at the store. Liz isn't used to a healthy, balanced relationship, and doesn't know how to act. Yet, with Criss, she just might get to be happy. This is fantastic, and should be explored further. Hopefully Marsden's schedule will stay open for awhile so he can continue to appear on 30 Rock.

Liz's joy comes at the best moment for her, given that she has just realized that she is the female version of Lutz (John Lutz). Both are awkward, and do not know how to react towards the opposite sex. While Liz is a tad bit more graceful, and certainly more attractive, both of their personalities do share some similar characteristics. For "Hey, Baby, What's Wrong?" to end on that realization would be beyond depressing. Thank goodness Criss salvages things for Liz in the end.

Why does IKEA allow 30 Rock to treat it so poorly? Are fighting couples really a standard for the retailer? Having never shopped there personally, it's impossible to know, but it seems unlikely. IKEA just comes across so badly in this episode, it is sad. To make up for it, go watch some Easy to Assemble, a funny, pro-IKEA web series. Speaking of, how could 30 Rock, given its penchant for tons of guest stars and insider-style jokes, do such an IKEA heavy episode without bringing in a single actor from Easy to Assemble in a cameo role?

Pete (Scott Adsit) is perhaps the most underused character on 30 Rock. Luckily, this is not the case in "Hey, Baby, What's Wrong?" Not only does he prove himself worthy of the producer's job that he does, but back story is given, too. It turns out that Pete used to be an Olympic-level athlete. While this isn't exactly realistic, any chance to see Pete out of his element, or in a new light, is welcome. Adsit is a capable comedian that should be better utilized in this series on a regular basis.

Lastly, where is 30 Rock going with the creepy, Liz-obssessed Hazel (Kristen Schaal, Bob's Burgers, The Daily Show)? She is somewhat humorous, but it's a bizarre turn for the character, and only dark things can come from her continued presence. Surely 30 Rock wouldn't go so far as to kill off a character, even Criss, would they? As delightful as Schaal is, and as much potential as Hazel could have on 30 Rock as a recurring character, whether used as a replacement or companion for Kenneth (Jack McBrayer), new direction needs to be given if she's going to last.

"Hey, Baby, What's Wrong" is a rare, disappointing outing for the show. Watch 30 Rock Thursdays at 8 p.m. ET on NBC.

MORE: If you like my reviews, please follow me on Twitter! Click here to read every 30 Rock review I've ever written. To catch up on 30 Rock with DVDs and streaming episodes, please go to amazon.com.

30 Rock likes to "Dance Like Nobody's Watching"

     NBC's 30 Rock likes to "Dance Like Nobody's Watching," and indeed, no one has been, since the series has been off the air since early May. But it returns last night. Liz (Tina Fey) comes back from holiday break happy and refreshed. Jack (Alec Baldwin) is sure he knows why, as he says he knows Liz better than she knows herself. He's wrong. Jenna (Jane Krakowski) is now the mean judge of a very successful children's singing competition, while Kenneth (Jack McBrayer) by his preacher that this is the last day before the Rapture, and so works on his "dream chores" list. 

     30 Rock has been sorely missed, immediately apparent early into "Dance Like Nobody's Watching." The series returns with a wonderful episode, with some funny plots, and a couple surprise twists. It remains timely, even sneaking in a reference to Avery (Elizabeth Banks) now being held captive by Kim Jong Un, since Kim Jong Il is dead. It also sticks to its trademark brand, but allows a little bit of growth, especially in the character of Liz Lemon.

     Who is the new man in Liz's life? Jack's antics to make sure he is right about her sudden happiness are amusing, especially when he finds Liz dancing. But viewers cannot possibly be more surprised than Jack when he spies her kissing a man, whose back is to the camera. Is it a familiar face, something that seems likely given the show's penchant for bringing back characters? Or is this someone entirely new? It could be the latter, given that Liz has never been low stress and satisfied. But this new Liz probably won't be as good of a boss, so unfortunately, another episode or two is all one can expect to see her act this way. Which doesn't necessarily mean the relationship has to end (though it likely will). Rather, she just needs to return to Earth. But what a great side trip for her!

     Jack, also, has changed, though his is more of an adjustment that is righted by the end of "Dance Like Nobody's Watching." Seeing how mean Jenna is to the young children on her reality competition, he remembers his own daughter, and demands that she tone it down. Jenna does, much to the chagrin of herself and fellow judges (and returning characters), D'Fwan (Tituss Burgess) and tennis champ John McEnroe (himself). And they are right. The show tanks in the ratings with the softer Jenna, which goes against new wisdom gleaned from last season's American Idol, by the way. But Jack has a conversation with his one-year old daughter, and takes her baby nonsense as advice to care more about business again. Thus, order is restored in the world.

     It must be said, "mean judge" is a perfect job for Jenna. She is great at it, and doesn't mind making children cry. This should definitely be a recurring bit.

     Kenneth's subplot is a bit more expected, and not as good in general. With the page scraping Chiquita banana stickers off of lights because that's how he wants to spend his last day on earth, Frank (Judah Friedlander), Toofer (Keith Powell), and Lutz (J.D. Lutz) go on the attack against Kenneth and his faith. But Pete (Scott Adsit) calls them off, and tries to comfort Kenneth when the latter realizes that he will still be around tomorrow. It's not an out of character story, but is doesn't seem all that fresh, and is the weakest of the three plots in "Dance Like Nobody's Watching." That being said, the weakest 30 Rock is still better than many other shows.

     Enjoy 30 Rock Thursdays on NBC, now at 8 p.m. ET.

     If you like my reviews, please follow me on Twitter!

     Click here to read every 30 Rock review I've ever written.

     To catch up on 30 Rock with DVDs and streaming episodes, please go to amazon.com

30 Rock Cuts With a "Double-Edged Sword"

     NBC's 30 Rock is one of the smartest sitcoms currently running. The humor is often unexpected, always tight, and the actors delivering the lines have wicked comic timing, every single one of them. I'd almost complain that all the amazing supporting players get too little to do because of the heavy reliance these past few years on big name guest stars. This week's episode was yet more proof of that. Yet, I have a hard time doing criticising because the guests 30 Rock gets are more than stunt; they're just as good as the regulars. In fact, I will state that the series has unequivocally the best guest roster of any sitcom ever. And they just keep coming back.


     This week, in "Double-Edged Sword", there were three major arcs. In the first, Jack (Alec Baldwin) travels to Canada with his gal, Avery (Elizabeth Banks, in her TWELFTH appearance on the show in the last year), where she goes into labor. Both being staunch patriots, and hoping their unborn daughter will one day be president, Jack and Avery battle mightily to make it back to the states before the baby comes. Snow storms cancel flights, the rental car companies are out of cars, and they end up in a mobile meth lab. Only after a conversation with the van's owner (guest star, the hilarious John Cho), does Jack realize that he's going too far and takes Avery to the hospital. A Canadian hospital. The couple are furious when the hospital won't even take their money.

     It's broad comedy. I doubt there are more than a handful of people in this country who would put that much importance on having a child born in America, risking their lives and the baby's to make that happen. But the comic timing of Banks and Baldwin makes you forget that for twenty-two minutes. Add Cho, seemingly out of nowhere, and it was easily the most entertaining of the three stories that night. Not to mention, two stubborn people trying to make a relationship work is still relatable, despite the circumstances, so 30 Rock pulled off another neat trick.

     The question is, how long can Jack and Avery go on? Banks has a movie career. She previously made time to recur on Scrubs after her character had the main guy's baby, despite getting tons of cinema work. She accepted the part of Avery, though, after she'd already blown up. Twelve episodes in twelve months is a supreme gift from her. Does that mean Jack and Avery are heading for Splitsville? Somehow, I think 30 Rock will make them work because they're perfect for each other. Just don't expect Avery to keep recurring as often as she has been.

     Story two was also about a couple that were extremely similar, but it didn't have such a cheery outcome. Liz (Tina Fey) took a trip with her pilot boyfriend, Carol (Matt Damon). Or tried to, since their plane was kept on the runway until the passengers revolted, led by Liz, of course. Carol, meanwhile, let his fight with his girlfriend rule his decision making skills, increasingly the already volatile situation. They were broken up before the ending credits because neither would bend, like Jack did. Perhaps they needed John Cho on their plane, too.

     Damon has only done four episodes, but once could argue that Damon is also on a whole other level than Banks. The fact that someone of Damon's prominence would even agree to do a sitcom is rare. Playing a character so different from Damon's other work would be my best guess on why he did it. Clearly, Fey wrote for him because she just wanted to kiss Matt Damon. Kidding! I worship Tina Fey. Still, it was nice while it lasted.

     The heart of this show is Jack and Liz. Their relationship, while it will never be romantic, is the driving force. The romance was (extremely) briefly toyed with early on, then rejected quite quickly and with finality. Despite the two being in different countries in drastically different, though somewhat connected, situations, they still took time to check in with each other by phone. However bonded Jack and Avery become, do not look for that to change.

    The final story was just Tracy Jordan (Tracy Morgan) being Tracy Jordan. Completing a long running arc where Tracy strove for an EGOT (Emmy, Grammy, Oscar, and Tony), he finally got it, just in time to regret it. The EGOT status is a renowned one, only twelve real people having ever achieved it. Tracy didn't expect to attend stuffy banquets and change his whole life after; it was just something to do. Now he's stuck among the ranks of Mel Brooks, Whoopi Goldberg, Barbra Streisand, Liza Minnelli, Richard Rodgers, and Audrey Hepburn. Can we please get Whoopi, Liza, or Barbara (or better yet, all three) to put in an appearance coaching Tracy on the lifestyle? More likely, though, this story has come to an end, for the most part.

     Best Tracy Jordan line of the night: after Kenneth (Jack McBrayer) tells Tracy that Steven Spielberg wants him to star in his next film, Tracy replies excitedly, "Kate Capshaw's husband!?" (pictured right)

     NBC's 30 Rock has not come to an end. Far from it. It airs Thursday nights at 10 p.m. on NBC.

Article first published as TV Review: 30 Rock Cuts With a "Double-Edged Sword" on Blogcritics.


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30 Rock - "Christmas Attack Zone"

    Five years in, the characters on NBC's 30 Rock really know who they are, and the writers have perfected the situations that are most enjoyable.  Outlandish, sure, but also consistently charming and hilarious.  This past week's Christmas episode, entitled "Christmas Attack Zone", was no different.  It was not only a good holiday themed special, but it was a nice, solid example of what makes 30 Rock so great.

     The best part was Jack's (Alec Baldwin) Christmas Eve dinner.  He invited Liz (Tina Fey), who was desperate to escape the drama of her family, to dine with himself and his mother, Colleen (Elaine Stritch).  Once Colleen found out about Jack's impending baby, though, which was done at the urging of Liz, by the way, she went on the attack.  To defend himself, Jack invited his pregnant girlfriend Avery (Elizabeth Banks), who was angry that Colleen wouldn't accept her, as well as his biological father Milton Greene (Alan Alda), whom Colleen didn't even know Jack knew about.  The result of putting five actors of such comedic calibur in one room can not be oversold.  Hilarity ensued, fights erupted, and Colleen faked a heart attack, earning Avery and Milton's sympathy, and turning them against Jack.  Jack, however, ended up with the perfect Christmas as both of his parents yelled at him, something he'd never had.

     That's what 30 Rock does.  Sure, it seems easy for the show to land huge guests, and what's more, keep them coming back. While Alda was only appearing for the third time, his liberal clashing with conservative son Jack is already an invaluable continuing plot.  Stritch has been in seven episodes, and is always welcome.  She has gotten to do comedy and some drama, but this time was pretty much a comedy-only visit.  But while both have very successful careers, and they still work, 30 Rock doesn't have to fight fully packed schedules to get them.  At least not compared to Banks, who has no fewer than four movies currently coming down the pipeline and has still squeezed in a whopping ten episodes in less than a year.  Considering her and Jack's impending nuptials and offspring, it looks likely that while she may not maintain that hectic number, her run has no end in sight.

     And those are just the guest stars!  30 Rock has a full cast, with many supporting characters surrounding the principals, who are mainly Liz, Jack, Kenneth (Jack McBrayer), Tracy (Tracy Morgan), and Jenna (Jane Krakowski).  The latter two, while mostly there for comic relief, as if such was needed on a show teeming with the funny, have actually had some deeper pathos lately.  Jenna recently went through a breakup with boyfriend Paul (Will Forte).  While only having appeared in a handful of episodes, Paul has become one of my favorite characters.  He is perfect for Jenna, worshipping the ground she walks upon, and even dressing as her in public.  It's a bizarre twist, but the show finally answered the (not really) nagging question, "What type of guy would Jenna actually go for?"  Thank goodness they had a bit of a resolution this week, because Forte is no longer on Saturday Night Live, and hopefully the show will retain his services.

     Tracy is up for a serious acting award, and this week tried to keep up that solemn image, resisting his new comedy movie's release.  That is, until Kenneth pointed out that the world needs laughter, too.  We certainly do, Kenneth.  We certainly, do.  And thank you 30 Rock for providing it.

     30 Rock is on winter hiatus, but will return Thursday nights on NBC early in the new year.

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30 Rock and roll

     NBC brought the latest season of 30 Rock to a close with a shocking development.  No, I'm not talking about the title, "I Do Do".  Nor any weddings, breakups, romantic overtures, or pregnancies.  Kenneth Parcell (Jack McBrayer), the best page ever, was fired.  He was actually bad at his job on purpose to avoid a promotion that would have forced him to move to L.A.  Surely, this will quickly be remedied when the show returns next fall, as the show could not possibly be the same without him.  Plus, the series has made him a star.  McBrayer wouldn't leave for real, would he?  Its doubtful.

     Liz (Tina Fey) did finally have some luck in the romance department, though.  Despite Fey stating in an interview that Liz would most likely end up with Wesley (Michael Sheen) in the end, she met the man of her dreams, played by none other than Matt Damon.  What are the chances a big movie star like Matt Damon would settle into a recurring character on a sitcom though?

     Interesting that I you should ask that.  Sheen has appeared several times already, and Jack (Alec Baldwin) has been juggling dating two women, Avery (Elizabeth Banks) and Nancy (Julianne Moore), both played by movie stars.  Though, it seems Nancy will soon be moving on, what with the surprise pregnancy of Avery.  How does 30 Rock get such big name recurring characters?  Because it's a hell of a witty show, with plenty of connections behind the scenes.  Fey and Baldwin have headlines a few films themselves in recent years.  It's led to something I never though I'd worry about on the show, or really, any sitcom for that matter.  Some of the central characters are in danger of being overshadowed by the guests.  It hasn't happened yet, but it's been close.

      However, that doesn't mean I want them to stop bringing in the big talent.  It adds some gravitas to the show, and they've all been, without exception, exceptionally funny.  And it's not just the A-listers that succeed.  Plenty of Saturday Night Live alumni have killed, most recently Will Forte (who is currently starring in the film MacGruber) as Jenna's (Jane Krakowski) boyfriend slash impersonator.

     30 Rock has already been picked up for another season and will return to NBC in the fall.