Craving for SWEET TOOTH

 Article first published as SWEET TOOTH TV Review on Seat42F.

Note: This review only covers the first episode of the series.

Netflix recently released SWEET TOOTH, a series starring a young boy who is half deer. Based on the comic series, SWEET TOOTH follows the child as he ventures out into the world, dodging hunters and searching for his mom. He isn’t alone, thank goodness, but he does have to rely on himself a fair amount. Surely, the story have a happy ending, though probably not the one the boy hopes for.

SWEET TOOTH takes a little time to get going, providing exposition through the eyes of Dr. Aditya Singh (Adeel Akhtar, Enola Holmes). We see a plague overtake his city, and are told it’s widespread. This could be a bit traumatizing for some who just lived through a pandemic, especially if you lost someone. But it really isn’t too graphic, focusing on Singh’s emotional journey, including as his wife, Rani (Aliza Vellani, Little Mosque on the Prairie), becomes one of the infected. Listed as a lead, it’s certain we’ll come back to Dr. Singh’s tale in later episodes. This is a good way in for those who aren’t already drawn to post-apocalyptic fare. In all, especially with the accompanying narration by James Brolin (Life in Pieces), it’s a strong opening.

From there, it quickly moves to a man (Will Forte, Last Man on Earth) carrying a baby into the woods. We know from the hospital scenes that there are many animal-human hybrid infants, though we don’t know why, and this guy has one with him, a little boy with deer features. The man, known to the boy as Pubba (sounding like Papa), raises the child for nine years, and this extended sequence, making up about half the episode, is phenomenal. It is incredibly moving, if a little tame, and the love the father has for his son is palpable. Forte ditches the goofiness and really brings home the feelings.

It isn’t surprising when that happy time comes to an end; the trailer and poster spoil that it will. But like the beginning of the film Up, it could make a fitting stand-alone short that would be worth watching repeatedly.

The rest of SWEET TOOTH’s pilot sets up the premise. Pubba makes the boy, Gus (Christian Convery, Legion), promise not to leave their home, but it’s a given that he won’t listen. Gus does stay  for awhile, but this story needs a journey, and you can’t get that hiding away. There is an arc, quickly gone through, developing the kid, and it’s just as moving as the stuff with his dad. Gus is a compelling protagonist who will immediately have you rooting for him.

The second lead, Tommy Jepperd (Nonso Anozie, Game of Thrones), is barely introduced in episode one, but already demonstrates plenty of complexity to attract interest.

SWEET TOOTH isn’t for little kids, even if it looks like it might be. But older children can watch it with their parents, as the deaths aren’t gruesome and the terror isn’t intense. It has a magical and hopeful spirit about it that is sure to intrigue many viewers, feeling like a heart-warming story that is sanitized, but not so much that it distracts. The acting seen so far is solid, and the story is interesting. Set in the woods, it also looks beautiful. There’s lots to praise SWEET TOOTH on.

I would be surprised if this series doesn’t have legs. Reviews have been good so far, deservedly so, and I was easily sucked into the story. I’m sure I’ll watch further installments before the end of the day. With a first season of only eight episodes, it should be an easy, enjoyable binge.

SWEET TOOTH’s first season is available now on Netflix.

Checking Out QUIBI

Article first published as TV Review: QUIBI on Seat42F.

In the crowded world of streaming, QUIBI, a new project from Dreamworks founder Jeffrey Katzenberg, and led by former HP CEO Meg Whitman, stands out as different. Available only for smart phones, the app boasts episodes under ten minutes in length, with new installments released daily. It’s configured for short attention spans or the busy person on the go, allowing a bit of drama, comedy, or reality in bite-size form.

I admit, in my mid-thirties, I am not the target demographic for QUIBI. I dislike having to view content on my tiny screen, and wish it was available to cast to my television set. I don’t like how the picture adjusts to both portrait and landscape mode, cutting off a portion of the image no matter which way you hold it. I also don’t like watching programs in such short chunks, although it helps that new episodes are coming daily instead of weekly, with new shows weekly.

Looking over the content in QUIBI, again, I’m not the target. Most programs are reality shows, while I prefer to stick to scripted fare. However, there are a handful of scripted series in the initial batch launched this week, so I reviewed the first six episodes of all four of them. There will be spoilers.

We’ll start with the best of the bunch, and the sole comedy in the offerings, FLIPPED. Kaitlin Olson (It’s Always Sunny in Philadelphia) and Will Forte (Last Man on Earth) star as Cricket and Jann Melfi, an eccentric, artsy couple who use a drug dealer’s cash to renovate their home. Obviously, dangerous hilarity ensues as they are forced to makeover the bad guy’s abode. From Funny or Die, it’s smart and weird and pretty darn funny, headlined by a couple of seasoned pros. It’s the least jarring when the episodes end after just a few minutes.

I also enjoyed MOST DANGEROUS GAME in which the mysterious Miles Sellers (Christoph Waltz, Spectre) hires the terminally ill and broke Dodge Maynard (Liam Hemsworth, The Hunger Games) to run and avoid five assassins for twenty-four hours. It’s a pretty familiar concept, but it succeeds in being suspenseful. Its fast pace is relentless, and even the setup is compelling. This is the one I am most likely to see through, and I really need episode seven right now.

WHEN THE STREETLIGHTS GO ON is typical young adult fare. A teacher (Mark Duplass, The Morning Show) and student (Kristine Froseth, Looking for Alaska) are romantically involved. When they’re murdered, the town reels. Young Charlie Chambers (Chosen Jacobs, It) investigates their deaths for the school newspaper, while others find love. Or probably just teenage crushes. It’s interesting enough, and fits in well with other programming in its genre, so that it will likely work for QUIBI’s core viewership.

Lastly, SURVIVE seems like it’s going to be a drama about mental health. But when protagonist Jane (Sophie Turner, Game of Thrones) crash lands in an airplane, things get a lot more intense. The fact that the man (Corey Hawkins, The Walking Dead) she talks to in the airport, and then just happens to sit next to on the plane, turns out to be the only other survivor, is preposterous. Almost as much so as Jane surviving the wreck unsecured in a bathroom. Their trek down the snowy mountain only gets more ridiculous from there.

While the quality of story telling is uneven among these offerings, there are some commonalities. All star terrific performers and have high production value. They all also feel pretty familiar, without getting too risky in originality. It’s like they’re a shortened, broken up version of shows ans movies people already watch, which may be why they were chosen. QUIBI’s platform itself is the risk, not what it puts on it.

The short format is hard to get used to. Three of these four are as good as any other short-form series I’ve watched. And despite my general distaste, I’ve watched quite a few. It always feels odd to get jarred out of the story so quickly. Web series have been around for awhile, but none have ever really taken off in the public consciousness. Some have gained decent followings, but none hit truly mainstream status. I can’t imagine any of  these will, either, but it’s an interesting experiment that I’ll keep an eye on. My prediction is this service will be a blip, over relatively quickly, and without any true competitors. But who knows? Maybe there’s finally a generation ready for such a thing. We’ll see.

QUIBI is available now on Android and iPhone devices, and offers a 90-day free trial. The trial is free with or without ads, so there’s no reason to choose the ad version at this juncture. More than a dozen shows are currently running with additional ones on the way, including new Reno 9-1-1 episodes.

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.

THE LAST MAN ON EARTH Deserves to Live

Article first published as THE LAST MAN ON EARTH Review on Seat42F.

I just wanted to get that out there before this review even starts. It is the most wholly original sitcom on television, taking a premise that seems unlikely to work and building something really cool on it. Having viewed the first two episodes, I’m not sure where exactly the show is going, but given the beauty of the premiere, I can wait and see.

THE LAST MAN ON EARTH begins in 2020, two years after a virus wipes out all of humanity. For some reason, there are no corpses or sign of anyone. The world is in pristine condition, as if everyone and every living creature in it just disappeared one day. I hope that’ll be explained further because that seems very unrealistic for what we’re told, and there is no mention of where the animals have gone. But that doesn’t matter for now because none of this is the focus of the series, nor should it be yet.

Enter Phil Miller (Will Forte, MacGruber, Saturday Night Live, Nebraska). Phil is the lone survivor, and he begins the pilot by searching the entire country for another human being. His search, as the title THE LAST MAN ON EARTH suggests, comes up empty. There’s no one left. What’s a guy to do?

Well, Phil isn’t just any guy. He’s a very specific type of guy. He isn’t the type of guy I am, nor the type most people would be, I suspect. However, the portrait Forte creates is an authentic, complex individual that I could absolutely see existing in the real world. He cares about a set number of things, and others, he won’t worry about until he has to. Hence why an examination of the premise can wait.

The first half hour is a really cool look at this character and how he deals with the situation he finds himself in. There’s a lot for Phil to do, being the only character in every single scene, and he gets through quite a few things in that initial episode. I don’t want to spoil much, but suffice it to say, as soon as you get to know the character a little bit, he acts exactly as one expects him to.

The thing is, there’s an emotional depth present that elevates THE LAST MAN ON EARTH above the typical sitcom. It’s known that Forte can do drama, even if he’s more familiar in comedy circles, and I wouldn’t call the first half hour a comedy any more than I would many of the thirty-minute programs on HBO and Showtime. There is funniness in it, to be sure, but there’s also real human pathos. THE LAST MAN ON EARTH does better than just deliver laughs. This is a tour de force for a deserving actor.

Because of an event at the end of the pilot, which I will not spoil, the second half hour is completely different. The second episode could possibly be more of a picture of what the series is going to be, and if it is a structure to be copied, I don’t think I will continue to love it for too long. But as a second episode, it’s highly appropriate and still very good. If the series moves on and grows from this point, then this is fine. I say this because I applaud the bold risk taking THE LAST MAN ON EARTH accomplishes and I don’t want it to get trapped in a box, which is a possibility, but not one I seriously think will happen.

Looking at the IMDB page of the show, or even the official site (which teases), it’s pretty clear that Forte will not remain alone in the series. Among those credited are Kristen Schaal (Bob’s Burgers), January Jones (Mad Men), Mel Rodriguez (Getting On), and Cleopatra Coleman (Step Up Revolution). Only one of these four appear in the first installments, and I’d prefer not to say who or under what circumstances. It’s because of this list, though, that I am optimistic about the show’s future, meaning it should continue to morph over time as it works its way through the realities of this post-apocalyptic world.

I’m sold. I hope you will be, too. THE LAST MAN ON EARTH premieres this Sunday at 9 p.m. ET.

DRUNK HISTORY Now Weekly

Article first published as DRUNK HISTORY Now Weekly on TheTVKing.

Drunk History began on funnyordie.com, was featured on HBO's Funny Or Die Presents, and now has its own weekly half hour on Comedy Central. The premise is simple enough - Derek Waters (Hall Pass) gets a person who knows a bit about American history drunk and has them tell a tale. Actors perform the inebriated bits, with the drunk voice dubbed over them.

Drunk History works for a couple of reasons. One, the people participating know what they are talking about, so while they tell things in an amusing way, there is some truth involved, too. Two, the segments are kept short, with Watergate, Lincoln's assassination, and Elvis meeting Nixon all in the first half hour. Third, the costumes and sets are pretty good. Not realistic-makeup good, but not made-in-someone's-basement cheesy, either, making the look work well. And it's edited, so we get some tangents, but the plots remain cohesive enough to follow.

There are lots of recognizable faces participating in Drunk History. In this first episode, Jack Black (Scott of Rock) is Elvis, Bob Odenkirk (Breaking Bad) is Nixon and 30 Rock's Jack McBrayer is Nixon's aide, Stephen Merchant (Extras) is Lincoln, Fred Willard (Modern Family) is Deep Throat, Adam Scott (Parks and Recreation) and Will Forte (Saturday Night Live) are the Booth brothers, Jonathan Ames (Bored to Death) plays father Booth, and Nathan Fielder (Nathan For You) portrays Woodward. I think having all of these people involved lends the proceedings credibility.

It's also really funny. The narratives are delivered in a whimsical, light-hearted way. It's enjoyable (for a limited amount of time, such as a half hour) to watch people who are wasted, and by taking the words they say and acting them out with pizazz, it's a lot like hanging out with your friends, only more visual.

I could do without the puking on the floor, though I guess that's a necessary risk, as Slightly Tipsy History wouldn't be nearly as good. But the cookie breaks and the dialogue delivery are wonderful. This is an idea that has proven popular in other venues, so it's nice to see it get its due now.

Drunk History airs Tuesdays at 10 p.m. ET on Comedy Central.

30 Rock goes live again

This week, NBC's 30 Rock is "Live from Studio 6H." Jack (Alec Baldwin) decides that he will save the company a lot of money if they stop filming TGS live. Almost everyone agrees to the scheme except for Kenneth (Jack McBrayer), who locks twelve of the staff in a room and reminds them of the heyday of live television, shown to viewers in clips acted out by the cast. Meanwhile, Jenna (Jane Krakowski) disagrees with Paul (Will Forte) over the perfect proposal, and Hazel (Kristen Schaal) plans a stunt to get herself on air, a la Sinead O'Connor.

Quick question: Is the picture of Sinead that Hazel rips ups actually Tina Fey as Sinead?

This is the second time 30 Rock has gone live, and there's a big difference from the first time. "Live from Studio 6H" feels more like a series of skits than a cohesive story. This is bringing many of the performers back to their Saturday Night Live roots, of course, and they excel at funny shorts. But it does not really feel like an episode of 30 Rock, despite keeping much of the same spirit and tone.

Continuity is not that important this week. Last time a live show was done, Julia Louis Dreyfus (Seinfeld, Veep) played a semi-convincing Liz Lemon (Tina Fey) in a cut scene. This time, Amy Poehler (Parks and Recreation) plays Liz without even changing the color of her blond hair! Also, twelve major cast members are locked in a room, and yet somehow they keep slipping out to put on different costumes and perform various bits of "classic" NBC shows. What's up with that?

Yet, story cohesiveness is not the point of "Live from Studio 6H," so it's hard to get upset. The episode is meant to be nostalgic and humorous, and it does both rather well. The various bits play on a number of famous shows such as The Honeymooners and Laugh-In. These are comedy gold. Everything else in the episode is fluff, except for the proposal.

The cast of 30 Rock is fantastic. For "Live from Studio 6H," all the stops were pulled out in bringing even more talented people on board, most having appeared on the show before. Sadly, this means that some of the best supporting players are relegated to background status. However, all of the guest actors are terrific. Jimmy Fallon (Late Night with Jimmy Fallon) kills as a young Jack, and Donald Glover (Community) is the perfect earlier version of Tracy (Tracy Morgan), getting the mannerisms spot on. Jon Hamm (Mad Men) returns, but not as his recurring 30 Rock character. Instead, he participates in a very memorable sketch. Chris Parnell (Suburgatory) is the familiar Dr. Spaceman, and Fred Armisen (Portlandia) manages to stand out without any lines at all. Brian Williams (NBC Night News and a 30 Rock veteran) is great as an old-timey newscaster on the West Coast (Hamm takes the part for the East), and Cheyenne Jackson finally returns to the series!

And 30 Rock manages to single-handedly kill the "Zou Bisou Bisou" craze started by Mad Men only a few short weeks ago.

Because the show is live, two versions are done, one each for the East and West coasts. Thankfully, in the era of internet, both are freely available to everyone. Only a handful of jokes change, and Cheyenne and Jenna again split the theme song, which makes more sense in the East because Cheyenne's character doesn't return until mid-episode. But the East coast broadcast has a major leg up over the West, because in the East, Sir Paul McCartney gets a fantastic cameo. The West, though, is left to suffer through Kim Kardashian instead.

30 Rock is what it is. "Live from Studio 6H" is not typical, but it will not disappoint long-time viewers who delight in the zany slapstick the series thrives on. Credit must be given to the show for taking such a big chance and playing in such an unexpected sandbox.

30 Rock airs Thursdays at 8:30 p.m. ET on NBC.

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.

Meet Allen Gregory

     FOX's newest animated series is Allen Gregory, which premiered its "Pilot" last night. Allen Gregory De Longpre (Jonah Hill, Superbad, Get Him to the Greek) begins first grade at a public school. Spoiled by his rich father, Richard (French Stewart, 3rd Rock from the Sun), Allen Gregory has the niceties and attitude of an older gentleman, and thus is ill prepared to deal with his peers. He quickly falls for well-into-middle age Principal Judith Gottlieb (Renée Taylor, The Nanny), then poops his pants. Luckily, Allen Gregory has a second father, whom he calls Jeremy (Nat Faxon, The Cleveland Show, Happy Hour) whom convinces Allen Gregory to give it another try.

     There are many hints, not so subtle, that make one think Richard is having money problems. Thus, Jeremy must get a job, rather than stay at home to tutor Allen Gregory. Richard is very selfish, so it's understandable that he would cut back on his son before himself. Looking at Richard, who is practically a clone of Dean Pelton (Jim Rash) from Community, with a hint of Dr. Venture thrown in, it's very clear just how Allen Gregory becomes who he is.

     If there is a major complaint to be had, it's that Superintendent Jeremy Rossmyre (Will Forte, Saturday Night Live, The Cleveland Show) bends over backwards to suck up to Richard. One presumes this is because Rossmyre wants money from Richard, and doesn't realize that Richard has none to give. Rossmyre is too dumb to figure this out. But offering up the principal as a girlfriend for Allen Gregory crosses so many lines, that his character is standard cartoonish, without any realistic bend to him at all. Not always a bad thing in an animated series, but Rossmyre is twisted odd in such a way that he detracts from the enjoyment.

     Many critics have lambasted Allen Gregory and its title character as annoying and hard to relate to. This may be so, but one cannot blame the child completely for the sins of the father. Allen Gregory is a product of his world, and is the way Richard raises him to be. As he is so young, there is still time to change him. Should Allen Gregory continue to call his teacher by her first name and bring wine to school indefinitely, this series will not be funny, However, should the titular boy grow and chance, Allen Gregory could be a very interesting, and unique, cartoon. It's funny enough to keep watching for now.

     Allen Gregory has other influences besides Richard, of course. As mentioned, Jeffrey is a much more grounded individual, though as persistent as Richard is about what he wants, it doesn't quite gel that Jeffrey is a straight family man, stolen away by this flamboyant rich guy. It's every Republican's worst nightmare come true, but in a way that would never happen, thus mocking the concept. Allen Gregory also has a normal sister named Julie (Joy Osmanski, Grey's Anatomy, The Loop). But these two cannot get through to him because, like Richard, he sees them as inferior and treats them with disdain. It's not a healthy family situation that begs to have drama threaten to break it up.

     Bottom line, if Allen Gregory chooses, like most animated sitcoms, to keep things status quo every week, it won't be very good for very long. If it takes a bold risk and allows character growth from week to week, as well as some larger plot arcs, there is potential here for a really cool series. Though the chances are it will fall into the latter, it's hard not to hope for the former.

     Allen Gregory airs Sundays at 8:30 p.m. ET on FOX.

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

30 Rock tries to "Respawn" with mixed results

     NBC's 30 Rock completed its fifth (already!?) season with "Respawn," in which a number of characters try to make it through the summer. Liz's (Tina Fey) dream is to stay in the Hamptons, learning Spanish and spending time doing brainless tasks outside. Her peace is interrupted when Tracy (Tracy Morgan) moves in next door to her. Jack (Alec Baldwin) doesn't even try to think of any way he might rescue Avery (Elizabeth Banks). Instead, he tries to carry on without her or other people's pity, and when that doesn't want, he forces Kenneth (Jack McBrayer) to take her place. Jenna (Jane Krakowski) tries to make her boyfriend, Paul (Will Forte), behave normally so that the head of the Wool Council (guest star Victor Garber) will be satisfied with Jenna's morality. And the writers play video games.

     Generally, summer episodes, if they are done at all, appear in the fall, so it is a new and novel idea to do it as a season finale. The drawback, though, is that instead of a big finish, it's a meandering episode spanning a large chunk of time, and not a lot gets done. While 30 Rock may make frequent use of episodes not getting anything done, after its big 'Weddings' finale last year, this one is a let down.
     The title of the episode refers to the writers' plot, where Frank (Judah Friedlander), Lutz (John Lutz), Toofer (Keith Powell), and some other guy keep killing themselves and respawning in a video game so that none of them actually get a kill point, and no one wins. They are only checked in on a couple of times, so it seems an odd thing to pinpoint in the title. However, their scenes may actually have been the funniest in this mediocre episode.

     The best thing "Respawn" has going for it is the great Victor Garber in an apparently one-time guest role. Garber is an extremely talented actor, and is only the latest in a long line of 'big gets' for 30 Rock. His presence elevates the series in a noticeable way, and he steals every scene he is in as the highly moral, wool loving CEO.

     Besides Garber, Forte continues to be a great asset for 30 Rock, and they should consider making Paul a regular, now that Forte is no longer with Saturday Night Live. He was originally introduced as a Jenna impersonator, funny enough, but their continued relationship and hilariously kinky sex has been a constant joy. Also, Paul trying to be normal for his girl is something he would not have done when they were less committed, so it shows a level of growth that is unexpected. Kudos is warranted for this subplot.

     Jack has been completely tamed by Avery and their baby. There is no way  a couple of years ago Jack would have sat by and did nothing while the love of his life is tortured by North Koreans. While this is sort of dealt with last week, it is intolerable that he should grow complacent in the season finale. Is Banks no longer available for 30 Rock episodes, and so she is being written out? It is hard to fathom what the thinking is behind this plot, but it is far from satisfying.

     Kenneth is a joke in "Respawn." While he has always been a bit dim and eager to please, he goes too far in going along with Jack's transference. Not only that, but the character clearly understands what is going on, and that it is wrong, and he doesn't want to do it, but continues anyway. Kenneth has come further than this, and it is very disappointing to see him backslide into such a stooge. And what is up with the little bit at the end where he tells Jacob he needs more time before "To be continued..." appears. To be honest, it feels like a one-note gag, possibly a Lost reference, that will likely not be followed up on.

     Jonathan (Maulik Pancholy), on the other hand, is moved to feelings of revenge when Jack fully chooses Kenneth over him. This has been touched on before, but it's time for an ongoing, full-blown feud between the two. It is certain to be tons of fun, if the writers pursue it. It would be good to see Kenneth get mad enough to fight back, the only possible outcome for his character to survive a full onslaught from Jonathan.

     Tracy is funny in his need to bug Liz, as he has formed quite an attachment to her after hiding out in her upstairs and sneaking in to repaint her apartment three times. He is likely looking for a peer-level friend, rather than his entourage he usually interacts with. This could be something really great to explore further.

     Liz, on the other hand, is sliding backwards. Throughout 30 Rock she has struggled to improve her life. She did so for awhile, even maintaining a steady relationship with Carol (Matt Damon). But since their break up, she has become a joke. She barely cares about the show anymore, other than how its cancellation would cut off her paycheck. What happened to the Lemon that was passionate about TGS? Bring her back!


     30 Rock has been renewed for a sixth season, and will return in the fall to NBC.

     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

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

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.

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.