midseason tv grades v: nobody does it better
November 27, 2007 at 5:40 pm | In TV, Watching Hierarchies | 7 CommentsTags: 30 Rock, House, The Office
The 2007 Space Award Countdowns are supposed to begin in just days, and I haven’t even started putting together the formal lists (yes, nominees are accepted; no, there will not be a formal system this year; no, I have not decided about the multiple-miniseries format). And to keep it a “regular feature,” I really should do November’s “Three Up, Three Down.” BLOG-PANIC!
The Office: The show has done what seemed, from the way it took so many shows down, the impossible – actually getting the likable protagonists together. Unlike its Thursday-night contemporary “Scrubs,” however, it knows to remain a comedy first and foremost; the relationship between Jim and Pam is largely indistinguishable from the flirtatious friendship of seasons past. The show has walked the dangerous edge of “serious” romantic plotlines in the past, but has always rebounded, and wholly embraced its identity as a comedy this year. It somehow continues to amuse without needing anything beyond the simple premise of highly dysfunctional individuals; while many comedies have to mix in topical/political jokes or juvenile humor, Michael Scott’s simple idiocy continues to carry “The Office.” Grade: A+
House: Somehow, “House” not only rebounded from a tired third season, but may have matched the quality of its first year. Last year, the show often walked dangerously close to a too-serious, too-many-mean-characters edge. But in every episode this fall, “House” has returned to its successful formula: an immature, acerbic genius doctor and his closer-to-normal-but-still-entertaining team. On top of that, the show has strengthened the dynamic between House and Wilson, having the straight-man oncologist surrendering to the absurdity of his friend and getting in on the fun. It doesn’t hurt matters that the bland Chase has been reduced to a very small role, nor that the lovely Thirteen has emerged as easily the best female character in the show’s run (the “issues-having” drama of Cameron, but with more wisdom and wit and less promiscuity). The slide from the first to third seasons was rather gradual, so this new surge in quality would seem to indicate the show still has quality seasons left in it. Grade: A+
30 Rock:It was a close call between first and second place on this list, but ultimately, I don’t eagerly look forward to “House” as much as I do “30 Rock.” That’s certainly confounded by the exhaustion and need for a laugh I have by Thursday nights, but that takes nothing away from the exquisitely crafted show. The show doesn’t waste a single cast member – from the writing staff to Cerie to the guest stars, “30 Rock” has the utilitarian character usage of greats like “Arrested Development” and “Seinfeld” – if it’s at all possible add to the comedy with even the smallest character, it is worth doing. Between this attention to detail and the perfect balance of political/social commentaries (including Liz’s liberal foibles as well as Jack’s conservative buffoonery) with weird, absurd plots (“Page-off, page-off, page-off…”), it’s hard to imagine it ever falling from grace. The only question, despite the show’s Emmy-winning rookie year, remains whether NBC will keep it around. Grade: A+
“i feel more confused and betrayed than those people that worked with tootsie”
April 5, 2007 at 9:36 pm | In Quotes | Leave a CommentTags: 30 Rock, Mitt Romney, perestroika, Warren Zevon
I have a headache and don’t feel like writing up the rant I had planned for today. Instead, I give you this week’s TV Quote Of The Week, from the returned 30 Rock:
Jack: Those jokes you wrote for my Mitt Romney fundraiser, they were top-notch.
Liz: Those weren’t jokes. That was an appeal for a return to common sense and decency.
Jack: Well, it got big laughs.
I %^#@ing love that show. If it lasts long enough, it is on pace to pass Arrested Development on the all-time list. And that’s pretty damn good. (Note to self: update official TV hierarchy one of these days.)
I’m having a day rather smattered with obscure Warren Zevon song ties. First, I mentioned perestroika on my International Mass Communication test, and then I channel-surfed into an old boxing match featuring, yes, Boom Boom Mancini (hey, better than ESPN resorting to billiards coverage). Alas, no headless Thompson gunners or angels dressed in black.
While Wikiing Zevon, I learned: Well, for one thing, I learned that I’m not many albums away from having the entire Zevon catalog in my iTunes library. But moreover: on May 1, 2007, Ammal Records… will release Preludes – Rare and Unreleased Recordings, a two-disc anthology of Zevon demos and alternate versions culled from 126 pre-1976 recordings found inside an old road case after Zevon’s death. The album contains five previously unreleased songs: “Empty Hearted Town,” “Going All the Way,” “Steady Rain,” “Stop Rainin` Lord” and “The Rosarita Beach Cafe,” along with Zevon’s original demo for “Studebaker,” the song performed by Jordan Zevon on the Enjoy Every Sandwich tribute record. Selections from an interview between Zevon and Austin-based radio personality Jody Denberg are blended with about 40 minutes of music on the collection’s second disc.
No word on my other requests from yesterday’s post, but I’ll be checking Homeland Security developments, campaign donations, crime blotters, and Dylan cover news eagerly after this weird, awesome turn of events. In retrospect, one wonders if I should have asked for more from the gods of LiveJournal there…
“why is it called ovaltine?”
January 23, 2007 at 9:42 pm | In TV | Leave a CommentTags: 24, 30 Rock, Psych, Studio 60, The Office, Veronica Mars
Good evening. I am honored to speak to you tonight on this hallowed page. Members of the League of Baseballness, Shannons, distinguished guests, and fellow citizens of the blogosphere:
It is without dispute that today’s television schedule has its population of shows that shame our culture. But let us not allow them to occupy our thoughts as 2007 moves forward. Enough has been made of certain threats to our popular culture, but I am confident that the will and good taste of the American people will prevail.
Even with the schedule’s flaws, we are living in a Golden Age of television. Whereas in the past, quality was concentrated among one or two cultural phenomena, there are literally dozens of shows currently in production that deserve our faith and loyalty. Any one of them could justly be called the best of the best, and each makes unique contributions to the weekly schedule. In short, they are a credit to the creative minds of our great nation.
Despite its late start, “24″ is off to yet another thrilling season. It is certainly the best cliffhanger show on television today, and perhaps unprecedented in its shock value and ability to one-up itself each season.
NBC has managed to get the two best comedies on television together on one night. “30 Rock” and “The Office” have been nothing short of outstanding, and it is an honor to broadcast television to continue to host such programs. Moving forward, I implore NBC to continue with their loyalty to quality programming and not fall into the destructive tendencies that cost America “Arrested Development.”
“Studio 60 On The Sunset Strip” has continued the tradition of excellence set by “The West Wing,” with characters arguably even more developed and likeable than any in Aaron Sorkin’s past. It has given us numerous protagonists to root for in their potential romances, while not sacrificing social commentary or amusing banter. It began 2007 with perhaps its best episode yet, and, if given the chance, could take its place among the all-time great dramas.
And finally, in the new year, “Veronica Mars” has reasserted its position at the apex of the television hierarchy. It would be far too easy for a great show to decline precipitously when transitioning from a high school setting to college, but that has not happened. It is presumably the first show to bring viewers two-and-a-half rape victim protagonists, using it as an effective character tool while not becoming heavy-handed or depressing – continuing the exquisite balance that is one of the show’s hallmarks.
These are but a few of the masterpieces of the medium that currently grace our nation’s television sets.
But the true strength of this television schedule lies not in any one show, but in its diversity. Each broadcast network brings something unique to the table, and several cable channels are building strong new schedules as we speak. Comedy Central has continued to maintain a handful of distinguished programs, while Sci-Fi has balanced their made-for-television B-movies with solid shows like “Battlestar Galactica” and “Eureka.” Even the network most expected to churn out reality tripe and promote the basest voyeuristic tendencies of our culture, E!, has had the good judgment to keep pumping “The Soup” into my apartment every Friday night. Finally, the USA Network has added “Psych” as a much-needed comedy partner for the somewhat dryer “Monk.”
From family dramas to situational comedies, teenage detectives to psychological profilers, from ABC to USA, the current schedule offers hope that the weaknesses and shames of television will soon be supplanted by quality artistry and creativity. Tonight, I take a viewing break to report to you: the state of our television media is stronger than ever.
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