Superstore: "Hair Care Products"

When scripted TV returned to production in the midst of COVID-19, writers and showrunners had two choices: continue with their story as if the pandemic never happened, or incorporate it into the plot. I have preferred the former. If ever there was a time for escapist TV, this is it. To say nothing of the ever changing experience of the pandemic. As EW's James Hibberd put it, "Nobody can correctly make an authentic drama about this pandemic right now. It’s been noted many times before that you cannot make a great movie about a war until years after the war has ended.” Can the experience be accurately fictionalized when it has not yet been fully lived?

Mateo and Cheyenne watch the ceremonial
unlocking of the hair care case. 
Source: tvfanatic.com

Superstore opted to try to find out. In the season 6 premiere, the titular Cloud 9 Superstore is facing the same pandemic the viewers are, and the episode drags as a result. The premiere also prolonged the exit of series lead America Ferrera, a departure which would have been tidier as the season 5 finale. By its title, the second episode of season 6 is actually the second half of the season 5 finale, but the COVID-themed opener "Essential" interrupted the two. In these first few episodes, there are jokes about mask wearing and about who might be contagious, but nothing about it feels unique to the show or even relatable to the viewer, despite the similarity to our own lives. Maybe it's because we've heard those jokes. We've made these jokes. The show is just slapping a mask on a cardboard cutout mascot. 

So imagine my surprise when the fifth episode of the season, "Hair Care Products" finally delivers a snapshot of COVID that feels true to life with a punchline that's true to the show. The B plot of the episode sees Cheyenne (Nichole Sakura) and Mateo (Nico Santos), the break room's popular crowd, decide to do something "so nice" for the less popular Sandra (Kaliko Kauahi) and invite her to their upcoming movie night. Sandra politely declines. When pressed, she reveals she's not comfortable with Mateo and Cheyenne's loose adherence to COVID guidelines. It feels like a real conversation. Heck, you've probably been on one side or the other of that same conversation. But unlike earlier jokes in the season where the punchline was just, "Oh no! He's contagious," the humor here is in watching Mateo and Cheyenne bend over backward to accommodate the one person they didn't intend to invite in the first place.

Earlier seasons of the show tackled timely and heavy topics like parental leave, PTSD, and even an ICE raid. It comes as no surprise that they'd try to tackle COVID. The pandemic isn't even the heaviest or timeliest topic in this episode. The A plot sees Garrett (Colton Dunn) begrudgingly lead the employees in developing anti-racist policy suggestions for corporate. And if that feels like way too big a task for a single retail store to handle, it's because it is. And fortunately, Superstore knows that. When corporate decides to reverse the policy on keeping Black hair care products in a locked cabinet, white characters' responses are mostly tone deaf. Meanwhile, Garrett is eager to point out the puniness of the change, but is frustrated when asked to speak and lead on behalf of all Black people. "It's not my job to call out every racist thing I come up against," he says. "It's my job to announce sales and pretend not to notice when people return used swimsuits." 

I'm glad to see that Superstore is back to its solid formula of addressing real world issues in their own little big box store, with their signature character-based humor. If the rest of Season 6 proceeds like this, I'll keep tuning in.

TV Songs for your Workout Playlist

I don't like working out. In fact, I'm lucky if I get to the gym once a week (ok, fine! - once a month.) But the unbearable pain of attaining your beach body is made a little bit easier if there's something good on TV, or a good song in your earbuds. Why not enjoy both? Here are five television songs from my workout playlist that just might keep you on that treadmill.

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"Let Me Be Your Star" - Smash

 

"The past is on the cutting room floor; the future is here with me."

Perfect if... your workout is a performance for the mirror on the wall at the gym.
Play it... during your warmup.

Purchase it:

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"I Could If I Wanted To" - Crazy Ex-Girlfriend

"Throwing a ball like it’s sooo important to know how to throw a ball. Whoopty-fricking-do."

Perfect if... you hate working out.
Play it... during that third set of angry, angsty crunches.

Purchase it:

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"Don't Put Dirt On My Grave Just Yet" - Nashville

"I got a whole lot more than a little bit left"

Perfect if... you wanna quit, but know you'll feel better if you don't.
Play it... during those last few miles before the cool down.

Purchase it:

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"Aces High" - Empire

"No cameras please, I'm in my zone."

Perfect if... the gym is your zone.

Play it... during whatever part of your workout makes you feel amazing. 

Purchase it: 

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"Who Are You" - CSI

"I remember throwing punches around and preaching from my chair"

Ok, so this isn't really a TV song. It's just been co-opted as a TV theme song. But every workout playlist needs some Who, so put this song on yours.

Purchase it:

What's with All these Time Travel Shows?

Sometimes, one hit television show will set off a series of copycats (the way that the 1960s vibe of Mad Men was co-opted rather unsuccessfully by shows like Pan Am and The Playboy Club.) Other times, for whatever reason, multiple creators/showrunners seem to simultaneously have the same idea.  It happened in 2005, when all three broadcast networks debuted shows centered around unidentified water-based monsters, all with forgettable one-word titles (Surface, Invasion, and Threshold).  Right now, The Crown is on everyone's Netflix binge list. Meanwhile, for those who want to hearken a little further back in British history, PBS premiered Victoria this past weekend on Masterpiece. 

The phenomenon is also currently happening with time travel - across the networks and on cable. Two such shows premiered this past fall - Frequency on the CW and Timeless on NBC. I watched the pilot episode of each, but neither made it to my weekly watch list. Here's why not:

Timeless - NBC

Timeless was up first on NBC. The episode was a composite of potential good ideas, but felt more like a first draft than a polished pilot. A band of heroes that we're supposed to believe are "unlikely" (though they seem pretty textbook to me) are tasked with traveling through time to save the past as we know it from a nefarious villain with unclear intentions.

The first seven minutes offered the audience the start of three plot lines and no discernible foundation. Failing to establish their credibility, the show gave us no reason to trust the characters. The editing was odd, and the show leaned the action sequences to hold together a flimsy and incoherent plot.

And speaking of incoherent, Timeless does little to address the philosophy of time travel to which it holds. Everyone seems to gloss over the massive shock that the existence of time travel ought to be. Usually at the prospect of time travel, people are incredulous. We're offered flimsy lines of protest: "Why would you be stupid enough to invent something so dangerous?" Damn good question. On the one hand, the show seems to hold to the "No Do-overs" rule. Yet, the whole plot is based on the proposition that the past can be altered and that it's the job of this band of heroes to protect the historic timeline as we know it.

On the whole, the writing was simplistic, with lines like, "Oh, the humanity!" "Make your own future" Lucy's sister tells her. Ugh. To which I reply - "Oh, the cliches!"

The highlight of this episode for me was Malcolm Barrett - glad to see him again after his run in the short-lived Better Off Ted. His lines like, "The future is not on your side - boy!" were brilliantly delivered.

I was not at all a fan of the show's use of "Wish You Were Here" at the conclusion of the episode. It was a weird cover, and if you're going to use a song by Pink Floyd, why not... "Time?"

Timeless is about the big picture - significant historic events. Frequency deals with a much smaller world with more personal consequences. And chose better music for its soundtrack.

Frequency - The CW

Frequency won major points as soon as they selected Wonderwall as the song that would indicate we were "back in time." (Side note: "Wonderwall" came out in 1995?!) The show is a remake (I gather) of the movie of the same name. I haven't seen the film, so it was all new to me. Here's the gist: New York cop discovers that she can communicate across time with her long-dead father through his ham radio.

I was pleasantly surprised by Peyton List, whom I'd only seen before as Jane in Mad Men, and Raimy is quite a change of pace from the one-time Mrs. Sterling. (Tough and Sincere instead of Fragile and Manipulative.)

Raimy really plays it fast and loose with the standard rules of time travel - i.e., Don't Tell Someone the Day They Will Die. The show sometimes seems to subscribe to the "The universe corrects itself" theory. In other ways, changing the future seems to be possible.

I'm not confident Frequency will maintain a consistent mythology or rules of the time travel, or that the show has an endgame in mind. But I sure like its premise. If Frequency manages to get a second season (which it may - this is The CW after all), I might just make time to catch up before that fall premiere.

Time After Time - ABC

ABC will be the third of the broadcast networks to the time travel TV show game this season, with Freddie Stroma as a time traveling H.G. Wells.

So there you have it. Three new shows each with a new angle on an well-worn concept. The first was set up to be a Time-Traveling Action/Adventure, the second to be a Time-Traveling Police Procedural. Yet to air Time After Time is poised to be a Time-Traveling Action/Adventure Police Procedural...Historical Romance? Still, I doubt that magic combination will save it. (Although its premiere slot next to Once Upon A Time might.) It's my prediction that these three shows will go the way of Surface, Invasion, and Threshold - one season, and less than wonderful.

Superstore: "Labor" - The Exodus is Here

Store Manager Glenn (Mark McKinney) and Cloud 9
Employee Cheyenne (Nichole Bloom). Source: nbc.com

 Superstore is the new NBC comedy you really should be watching. In just 11 half-hour episodes, the show has proven that it knows exactly what kind of comedy it wants to be. Set in a big-box department store called Cloud 9, Superstore shows us the personalities behind the blue vests - employees who get their backs into their living. From sarcastic Garrett (Colton Dunn) to brash Dina (Lauren Ash), Superstore is stocked with comedic talent. The show manages to highlight each character's wackiest traits without making fun, a skill series Creator Justin Spitzer exercised as a writer for The Office.

The customers of Cloud 9 are not given much dialogue, but each episode is interspersed with cutaway gags featuring customers doing ridiculous things in the aisles of the store. (My favorite is the one where a pageant mom is applying spray tan to the arms of her fully-made up, already-in-her-sequins toddler daughter.) These scenes neatly subvert the easy punchline of bad customer service by showing us bad customers.

In this week's cleverly titled episode, pregnant cosmetics counter clerk Cheyenne nearly gives birth to her baby in the store. This inspires her co-workers to approach corporate about paid maternity leave. Corporate hears "union" and sends in a "labor relations consultant."

Jonah and Amy make a fateful phone call.
Source: nbc.com 

"Labor" was the culmination of character development for the series. Jonah (Ben Feldman) and Amy (America Ferrera) are written to be the smartest, or perhaps just the least wacky characters of the show. But the two of them (and their alter egos idealism and pragmatism) get so caught up in an argument, they're almost oblivious to the fact that Cheyenne is in labor just a few yards away. For all their intellect, these two can be dense. But "Labor" also gave both Jonah and Amy a chance to become what the show has set them up to be. Jonah becomes the hero he's imagined himself to be, and Amy becomes the leader she was going to have to be eventually. Similarly, Dina becomes the inevitable villain. Of course Dina deserts her fellow employees and takes a deal from corporate to manage the store. It's not like we can even be mad at her - she's had a lust for power since the first episode. We should have seen it coming. These moments managed to be unexpected and yet grounded in everything we've been shown about them until now.

In the episode's final scene, the Cloud 9 employees stage a walkout and emerge from the store in their royal blue vests and a cloud of victory. The moment, perfectly punctuated by a remix of The Who's "Baba O'Riley," was, frankly, moving.

Like nearly every other show worth watching right now, Superstore airs on Monday nights. Even though NBC's viewership was lower than the other three major networks for the 8 o'clock time slot last night, considering Superstore was up against The X-Files finale and The Bachelor, 4.68 million viewers is not a bad haul. Today, TV Line reported that the show will get a second season. All the more reason for you to catch up now!

So, what kind of comedy does Superstore want to be? A clever one. One with heart. One that will surprise you. It's the kind of NBC comedy I wasn't sure we'd ever see again. But it's here. Get together with Superstore before you get much older.

Fall TV Premieres: NBC

For the past few posts, I've been writing about the returning and new shows I'm excited about for fall. You may have noticed a glaring omission in these broadcast network roundups - NBC.

That's because the new fall crop of NBC shows is even more disappointing than ABC. The likely very soapy but possibly interesting medical drama Heartbreaker (starring Melissa George), has been pushed to mid-season and replaced by the what's sure to be an unimaginative crowd-pleaser from Dick Wolf - Chicago Med. There's Blindspot, a drama (reminiscent of John Doe or Dark Angel) which may compete for the Quantico audience, though it airs on a different night, and has the benefit of following The Voice. Add to this one very stupid looking multi-camera sitcom, and you've got a network that's nearly unrecognizable when you consider the glory days of the 30 Rock, The Office, Parks and Rec trifecta. (As I noted in an earlier post, FOX now carries the great single-cam sitcoms.)

Source: finalreel.co.uk

There is also, of course, the reboot of Heroes - Heroes Reborn (one in a trend of TV revivals.) I never got into the original, so my interest level was low, but I gave the "next generation" resurrection of the show a try. From the first moments of the premiere, it was clear that new viewers had a lot of catching up to do if they wanted to fully understand this sci-fi drama. Getting dropped in the middle of this very bizarre story was tricky, and my confusion only intensified through the quick series of blink-and-you-miss-it flashbacks that began the episode. Only the introduction of Zachary Levi kept this Chuck fan watching. (Did anyone else catch the "stay in the car" line? Loved that reference to my old NBC fave.) I also loved the mysterious penny-toting benefactor. Is he from the original series?

I made it through the two hour premiere, but how much longer can this Heroes newbie stick with Reborn? Will I always be left wondering if a twisting plot point is meant to build suspense or if it references something I'm supposed to know from the original series? And while I'm a big fan of the ensemble cast, the idea of an ensemble setting is making it hard to keep track of all the players. All this leaves me wondering how many new viewers the show will capture. And believe it or not, popularity is a valid concern. I mean, why should I get all into a show if an inevitable cancellation is only going to break my heart? Here's the good news: Reborn is being billed as mini-series. Which probably means that even if the reboot isn't met with resounding praise, we're still going to get a neat wrap-up of the story before the show fades into television oblivion... with the rest of NBC's new fall premieres.

Finale Reviews: Parks and Recreation: "One Last Ride"

Source: nbc.com

I don't know where to begin. This final season of Parks and Rec had its misses, sure. But they were eclipsed by the precious, heartfelt moments we were given this season, especially last night. And that is worth something. Even in a final episode that was not perfect, and a final season that felt rushed, the audience was given a satisfying, happy ending. Lots of happy endings, actually.

Some of the highest points of the episode were those that rewarded longtime viewers. Tom's glamour shot, the Halloween costumes, Cones of Dunshire II, Leslie's scrapbooks, a library (of all things) in Leslie's name, and even a flash forward easter egg that revealed Jean-Ralphio's ultimate fate. There were a few delightful cameos from recurring characters - Ethel Beavers, Kyle, Brandi Maxxxx, and Dr. Saperstein were some of my favorites. And of course the actual cameo from Vice President Joe Biden was a treat.

Though I wish we'd seen a little more of it, I enjoyed the overarching theme of one final parks project for the gang to tackle, and I think its triviality made sense in the little Parks and Rec world we've come to love. Leslie in particular has never shied away from the smallest of tasks if it could make a difference to someone she served. That's what made her Leslie Knope. I have two favorite quotes from last's night's episode, and both of them are about what was at the heart of this show: hard work for the greater good.

"Show up on time. Speak honestly and treat everyone with fairness." -Ron Swanson

"Work hard at work worth doing." -Leslie Knope

Those, dear viewers, are words to live by.

My biggest complaint is that there was too much plot to fit in the single hour finale, but it's still ok. While the episode might have been a little too full, what is was full of was happiness. Parks and Rec is quite possibly the happiest, brightest, most optimistic show on television. And Pawnee is definitely the happiest little TV town since Mayberry. So yes, the episode was abundant with plotlines that weren't as completely developed or masterfully executed, as say, those in The Office finale, but each one gave us a happy ending. They showed us the happy future:

Chris and Ann will find health and happiness literally anywhere they go. 

Jerry/Larry/Terry/Garry eventually found his place, and never stopped smiling. 

April and Andy will always be a great team. 

Donna will never stop treating herself - and coming through for others. 

Tom will always land on his feet with a new idea. 

Ron will always (reluctantly) find himself working happily for the government. 

Leslie and Ben will obviously support each other as flawed individuals and perfect partners - no matter what. 

Leslie and Ben: perfect partners, obviously.
Source: nbc.com

One last thing about last night's finale. It represents more than just the end of a funny, sweet, special show. It represents the end of a special era of NBC comedy - one that included The Office, 30 Rock, and Community. These shows were a big part of the sitcom revolution; they helped re-introduce the single-camera sitcom to US audiences. Parks and Rec is more than a special little show. It's an important show. For TV, for comedy, for public service, and for small-town diners serving waffles everywhere.

Finale Reviews: Parks and Rec Season 6 - "Moving Up"

"Love and Waffles and Possibility"

Ready to say goodbye to these guys?
Source: nbc.com

Parks and Rec returns tonight. Seems like there's no better time to look back, and look forward. I'll say it now, I'm apprehensive. NBC has squeezed this show's teensy thirteen-episode farewell season into the tiniest stretch of the television real estate imaginable. Promo ads reveal that Season 7 will be coming to us "From the Future!" Season 6 sometimes hit, but largely missed. For all these reasons, I'm nervous that one of my favorite shows on TV won't get the goodbye its earlier seasons deserve.

The Season 6 finale, "Moving Up" helped quell my fears... a little.

I was rewatching that episode last week, I kept thinking, "why is everything so over the top?" The Unity Concert, the panoramic shots of San Francisco, the Michelle Obama cameo... Wasn't this too big for a show about Pawnee, Indiana? The place where a Freddy Spaghetti concert was a major event?

At the start of Season 7, where are we?
Source: nbc.com

Then something Jennifer Barkley said hit me. Leslie outgrew her position in the Parks Department. And just as Leslie grew out of her small town dreams in Pawnee, Parks and Rec might have grown up without my realizing it. Freddy Spaghetti was way back in Season 2. Since then, Pawnee has hosted the Harvest Festival, a model UN, a huge Founders' Week celebration and parade, and countless more    events - all of which wouldn't have been possible without Leslie Knope and her big dreams.

"Moving Up" was a happy episode. It was true to its characters. It gave us more Cones of Dunshire! It set up a beautiful future for Pawnee. Even though it didn't feel like the show's beginnings, it felt a little like it could have been the show's end. As many have noted, the episode's flash forward final scene would have even made for a satisfying series finale. And it would have been a happy ending! ...But it's not the end.

So where does that leave us? Leslie said it best: "The sun is rising over a sea of love, and waffles, and possibility."

Love
Like it's inspiration (The Office), Parks and Rec has garnered a bevy of supportive, loving fans. Fans who will probably love the final season even if it does all take place in a ridiculously corny future far from the gentle/brash comedy beginnings it greeted us with in its first few seasons.

Waffles
No matter what happens, Parks and Rec has left us with a legacy of television characters, moments, and quotes that won't be changed even if the network does dismiss its one-time hit with a rushed final season. If waffles make a comeback with my generation, it'll be thanks to Leslie Knope.

Possibility
We've got thirteen more episodes with our friends in Pawnee. Part of me is worried. Worried that these "futuristic" episodes will ruin all the great ones that came before. But then, that's not a very Knope-like attitude, is it? No, I'm going to choose optimism. That these episodes will be great. At least, they have a chance to be. And I'm hopeful.

A to Z: "A Is for Acquaintances"

Almost accidentally, I watched the new NBC show A to Z tonight. I stumbled upon a few reviews of the show yesterday, and happened to be home tonight, so I watched it. And I'm glad I did. Starring Cristin Milioti (Yes, the mother) and Ben Feldman (who played one of the most fascinating characters on Mad Men), A to Z is quirky, original, and charming.

Source: nbc.com

The pilot episode could almost be a self-contained romantic comedy. In it, Andrew and Zelda meet, and after a series of missteps they are guided by destiny to a point where - SPOILER - they seem to be a couple. But the audience is also informed that the two will date for "eight months, three weeks, five days, and one hour." We're promised a "comprehensive" look at their relationship.

This setup, while intriguing, worries me a little, because we all know what happens when writers try to plan the end of a show from the beginning... The toss of the coin here is what will happen when those eight months, three weeks, etc. are over. Will they split? Marry? Some other unknown option? And will knowing that we only have eight months together make me love the show more? Or make me willing to part with it sooner?

There is so much room for this show to go horribly, awfully, wrong. But I, like Andrew in his search for love, am optimistic. These two title characters are so delightfully cute together. Never have two pairs of doe-eyes been so captivating. The episode also featured what I assume was a one-time guest performance by Lea Thompson, playing herself, in a quirky subplot homage to Back to the Future, which somehow worked. All of this might even make up for the fact that the secondary characters are such a yawn. While the premise may be original, television tropes abound in Stu and Stephie, the best friends of our A and Z.

The pilot of A to Z felt new and exciting, and made me smile. (Not unlike the sort of new relationship Andrew and Zelda are beginning.) But here's what I think: For the show to work, it needs to take the viewer through all the emotions a relationship brings, not just the enjoyable ones. I want it to be real. This is a show I would be willing to become emotionally invested in because I think it has an interesting story to tell - the story of what happens next. What happens after the credits roll at the end of your favorite romantic comedy? I think A to Z might have the answer.

Finale Reviews: Community Season 5 / Series Finale

"We could be roped up, tied up, dead in a year…"

A good friend of mine and fan of Community pointed out to me this week how poignant the show's theme song was on the day its cancellation was announced. Apparently, all the reasons NBC kept this show on the air one by one just faded away.

Consequently, "Basic Sandwich," which aired on April 17, 2014, constituted not only the end of the fifth season of Community, but will also (probably, although I suppose not certainly) serve as the series finale. Darkest Timeline, indeed, for a show to end just one season and one movie short of its catchphrase.

13 episodes does not constitute a full season in my book. And it's equally a shame that "Basic Sandwich," which stood alone on its air-night but so obviously should have been the second half of an hour long episode - will just have to do for a finale.

Not that the episode wasn't good. It was. Did it have some plotholes? Sure. Some frighteningly melodramatic moments? Absolutely. For example, take the conclusion. How does having Russell Borchert as Vice Dean solve all of Greendale's problems? Chang has diamond teeth now, so it isn't even as though they got his money. And melodrama? Out the wazoo. I mean, the emphatic shushing would have been expected from the Dean, but was overkill from the group at large. It did not elicit a laugh from this viewer.

But in spite of all that, it was a solid episode. And it spite of its worst episodes and its low fourth season, Community was (is? sigh.) a solid show. And it's a show I'll miss. Maybe not as much as I miss The Office a year after its finale, but I'll miss it.

Source: nbc.com

Shirley, Hickey, and Duncan really drew the short straw on this episode, didn't they? Well, either that or they took one for the team. But honestly, keeping Shirley upstairs excluded her from Jeff's emotional, door-opening, life-saving, flashback moment. And that's a real shame, because the Shirley/Jeff dynamic that was solidified in the season 3 episode "Foosball and Nocturnal Vigilantism" is one of the deeper, more meaningful connections I've seen on the show.

Speaking of Jeff's big moment, it was beautiful. Fantastical as the plot setup was, Jeff's experience of emotion was as perfect a conclusion to his character arc as we could hope for. Well, actually his speech at the conclusion of season 3 (found ridiculously in five parts here, here, here, here, and here) more accurately bookended his character by echoing but refuting his speech from the pilot. I still loved his emotional moment with his friends - his community - in the sealed off, dusty, forgotten Greendale Computery College. Even though Shirley wasn't there, and even though the audio flashbacks weren't quite as powerful as actual visual shots would have been. Despite what Abed says, I'll contend that this show really was about Jeff, and to see him grow to the point where his love can solve the problem instead of his arrogance creating it? That's beautiful.

Source: nbc.com

Community ought to go down in history as the anti-TV show. Consider the finale episode's anti-love story between Jeff and Britta. They begin the penultimate episode of the season with a decision to be together forever, and in the critical moment of the adventure, Britta and Jeff don't grasp one another's hands, they let go. The friendships on this show are anti-friendships. Or at the least, unlikely. And not the kind of unlikely that sitcoms usually pretend are odd couples but are actually as common as bad reality shows on cable. This was a show about a group of authentic misfits. Moreoever, Community made fun of itself and of TV in a remarkably funny way. Honestly, the fact that it lasted five seasons is unreal and something to be celebrated.

Now, this post would not be complete without a shoutout to Subway. Oh, Subway. You have done so much for my favorite NBC comedies. You helped Chuck out when times were tough for the Nerd Herd, allowed your slogan to cameo with Ryan Howard on The Office, and now, allowed your company to be the villain of Greendale. I'll get a five dollar footlong this week just to say thanks.

So let's talk about Abed for a bit, and all his meta-commentary on what this episode and show are and mean. "This show, Annie, it isn't just their show. This is our show," he reassures her, and launches into a hurried analysis of spin-offs and sitcoms and all that we who love TV love to hate about TV. It was one of my favorite moments in the episode. But it wasn't the moment that had the most to say about the show itself. That award goes to Annie and the line, "We were driven down here by sellouts with crappy values. Since when do human beings decide which dreams are worthwhile?" If the sellouts doesn't accurately describe the network execs who'd cancel Community, I don't know what word would.

Of course, I'm going with Abed on this one. Community has ended because, in that universe, an asteroid has destroyed all of human civilization. That's canon. But Community will always be a show I can return to. And I will, if only in my head every time I hear "Roxanne." And now, every time I hear "Ants Marching."  Community has made an incredible impact on television, particularly network television. I'm convinced of that. It mobilized its fan base like no show before it, and it was always in on the joke. The NBC joke, the sitcom joke, the fact that it was the butt of the joke. Community was possibly the most self-aware television show there ever was. As evidenced by their credits roll coda "Coming Soon to NBC." After all, what airs always does depend on what fails. Sorry to see you go, Community. Whatever new show takes your time slot has a tough act to follow. Maybe now the networks will get better at taking the advice from that theme song…

"So watch what you throw away; And be here to recognize; There's another way." 

Source: ew.com

Parks and Recreation rocks #ThrowbackThursday: Review of "Prom" and "Flu Season 2"

The last two episodes of Parks and Recreation deserve a "#ThrowbackThursday" hashtag.

"Prom" let the audience reminisce in a lot of wonderful ways. Not the least of which was the tone of the episode - enthusiastic with a hint of awkward - which harkened back to the show's glory days in the second through fourth seasons. Season 6 has felt somewhat uneven, so I was glad to watch as my favorite show delivered a solid episode and hoped this was a harbinger of good ones to come.

April and Andy prove opposites attract.
Source: nbc.com 

As the students at Pawnee Central High enjoyed a prom thrown by the staff of the Parks and Rec Department, the characters gave us throwback stories of their own proms through confessionals and conversations. Not only did this offer some the audience some great lines that will no doubt soon be turned to gifs to be pinned and tumblr'd everywhere, but it also offered an interesting subplot for April and Andy. I loved this chance to see the Parks Department's first married couple in conflict, and more importantly, the chance to see them resolve conflict. April and Andy work well together because they are opposites, but to ignore the friction her gloom and his glee would inevitably cause would have been a betrayal of their characters. April's concern that she and Andy never would have gotten together had they met in high school was both adorable and easily remedied by some kind words from her ever-happy hubby.

Allison Gliffert and Greg Pikitis return in "Prom."
Source: nbc.com 

In another sort of throwback, two high school students from episodes gone by reappeared in this episode. Prom coordinator - and the subject of a Leslie/Ron squabble - Allison Gliffert, appeared in the Season 4 mock UN episode "The Treaty," in which she was known only as "France" for the majority of the half hour. (Yes, she eventually introduced herself as "Cassidy," but I'm going to call that a continuity error, because the same unmistakable young actress portrayed them both.) Then, in the surprise ending, Leslie's greatest nemesis - other than the City of Eagleton - returned, reprising the role of Greg Pikitis from the Season 2 episode of the same name. Despite his limited screen time, Pikitis delivered his trademark blend of cute and conniving, no small feat for the young actor.

By its title, "Flu Season 2" was billed as a sequel, but it was a sequel in name only, as the flu had very little to do with the plot of the episode. As it turned out, the apparent misnomer was actually some effective misdirection, and the payoff was worth the deceit. The episode didn't have any lines as amazing as Chris Pratt's improvised joke from the original "Flu Season," but new(er) character Craig, played by Billy Eichner, continues to crack me up with his loud, uninhibited one-liners.

Ben may be running, but it's Ron who wants to
escape the conversation.
Source: nbc.com

A throwback in this episode was Ron's reluctance to participate in the personal lives of those around him. It's usually been Leslie asking Ron for guidance, but this time, the person coming to him for advice was a very drunken Ben. The interference of the Eagleton Ron may have been the low point in a still very good episode, but Swanson's parting words to Ben were sweet, and, in true Ron Swanson style, they were much more poignant than they seemed at first.

Another aspect of the episode that hearkened to earlier seasons was the character combination swapping. One of the best things a sitcom with a large - or even moderate sized - cast can do is pair characters in new or interesting ways. "Flu Season 2" accomplished this not only with the Ron/Ben storyline, but with Craig's vying to impress Tom, Leslie and Andy's efforts to get a Unity Concert headliner, and a nice continuation of the Donna/April relationship as the former bankrolled the latter's wine country connoisseur contrivance.

Congratulations, Ben and Leslie!
Source: nbc.com 

In the end, the best part of these two episodes, particularly "Flu Season 2," was not the #throwbacks but the indications of things to come. Tom's new business is sending the character on his way without sending him far away. April and Andy are growing closer through little moments of friction in their marriage.

After the departures of Chris and Ann, the characters I worried most about were Leslie and Ben. Leslie's job offer, if it meant she left Pawnee, could mean the end Parks and Rec, and I'm not ready for that. On the other hand, I want to see these characters grow. And while Leslie's exciting news alone wasn't enough to convince me that her destiny remains in the Greatest Town in America, her almost involuntary blurt that her hometown is a good place to raise a family gives me hope. Growing the characters of Ben and Leslie by growing their family is a way to keep them in Pawnee without holding them back.

Tonight's episode is the last one before Season 6's two part finale. While I never thought that a season that began (by very nearly jumping the shark) in London would end on a strong note, these past two episodes have me feeling confident that it will.

What happens now? Character departures on my two favorite NBC sitcoms

Call me unpatriotic, but I was excited to see the Olympics come to a close, if only because it meant I got my Thursday night NBC lineup back.

Community and Parks and Rec both returned last week, but neither is exactly what it was - mostly because of goodbyes we recently said to some of our favorite characters. Before the events in Sochi, Community's Troy headed out to sea, and Ann and Chris left Pawnee, Indiana. Now, television shows have survived massive character departures in the past, (Season 9 of The Office was one of its best, long after Dunder Mifflin lost Michael Scott), but I must admit I was concerned to see what would happen to  these last remaining remnants of what used to be a great night of comedy on NBC. After all, when Rob Lowe leaves a show, who knows what's gonna happen? We can at least agree that The West Wing didn't go uphill after Sam Seaborne left the White House.

Source: nbc.com

So yeah, I wondered what would happen to Abed without his best buddy Troy. I'm happy to report that in the two episodes since the Childish Tycoon set sail, the writers haven't coddled the character. Instead, Abed was harassed by Britta, betrayed by a  new love interest, and handcuffed to a filing cabinet by the study group's new resident old guy, Professor Buzz Hickey.

I imagine that Abed's a tricky character to write and to play. How do you keep a neurotic, anti-social, media-obsessed community college student from becoming a caricature? Despite claymation, muppetization, and a season without Dan Harmon, Abed has remained a solid, yet growing, character. In the latest episode, I was particularly impressed by his emotion. He clearly missed his friend, but in a very Abed way - compensating by doing alone what they used to do together, cosplay for going to the movies. But the best part of the episode was when Abed didn't get his way, and how that led to his bonding with an unlikely new friend. I get the sense that Community is still finding its sea legs this season, but nonetheless, it's a fun ride.

Source: nbc.com

On Parks and Rec, Leslie Knope lost her best friend, too. Sure, Rashida Jones always played it straight on this comedy, but as she's been with the show since its inception, she'll clearly be missed, and not just by Leslie. And Pawnee will never be the same without the perpetual good mood of Chris Traeger. This comes right on the heels of another loss for Leslie, loss of her place on the City Council, her dream job. Hasn't exactly been a red letter year for everyone's favorite public servant. If you ask me, that explains why this season has seen the show suffer a bit. (Excepting, of course, the episode "The Cones of Dunshire" which an especially funny Adam Scott made one of the best episodes ever.) Parks and Rec thrives on joy - the little happy moments that lift the spirits of the viewer. When things begin to turn around for Leslie, they'll also turn around for the show.

Parks and Rec will be fine, though, with guest stars like John Hodgman and great one-liners from Tom and April. And the new faces in the Parks Department, most notably Craig, played by Billy Eichner, may not fill the void left by the Perkins-Treager's, but they'll bring the funny.

So what happens next? I'll be tuning in tonight to see. It sure looks like we're in for a good time.

PS: In what I think was the best subplot of this season of Community so far, Chang believes he may be a ghost. If you haven't watched "Bondage and Beta Male Sexuality," it's worth your time for a single shot of a photograph near the end.

Community: "Repilot" and "Introduction to Teaching" Review

Source: facebook.com/nbccommunity

It's not often that a television show has the kind of opportunity to start over that Community has with this, its fifth season. In it's "Repilot," a concept lampshaded by Abed, the gang got the chance to begin again at Greendale. The episode gave us "emotional whiplash" as the characters alternated between deciding to sue or save the school.

Of course, it wouldn't be Community without a TV reference and surprise guest star, in this case Scrubs  and a delightful voiceover courtesy Zach Braff. The only appearance more surprising than that was a holographic Chevy Chase as Pierce Hawthorne. What's even weirder is that it was that appearance that convinced a bitter Jeff Winger to save Greendale. His interaction with Jeff was the only acknowledgment of the character, as Chase left the show after multiple alleged fallings out with creator Dan Harmon. Speaking of which, Harmon is back this fifth season, and in just a few lines, managed to negate the unraveling of the show which took place during his absence (the fourth season.) Jeff notes how far each member of the "study group" has fallen since their arrival at the school.

Source: imdb.com

Truthfully, this setup is somewhat disconcerting. Sure, I'm glad the characters' devolution was finally acknowledged (specifically Britta's meteoric fall from intelligent beauty to stereotypical vapid blonde) and sure, Community has always been a show that's subverted many of the typical television tropes. But without character development, shows can feel relatively stale.

I guess by the end of the "Repilot," Community was back to its former glory as a show full of characters with no moral compasses still attempting to do the right thing. Even if the only morality they can find is what seems to be the "right truth" at the time. And while these certainly aren't characters we'd aspire to be, they are (despite their cartoonish, over the top eccentricities) a lot like the sort of people we meet all the time, and that makes their small victories of good choice worth celebrating.

In the second half-hour of the premiere, "Introduction to Teaching," I think we got a good look at what season 5 will be like. There was  the overarching storyline - the development of a student/professor "Save Greendale" committee - and several minor plots that resulted in temporary character development - Jeff's realization that he likes to teach, Abed's mental break over Nicholas Cage and subsequent recovery, Annie's revolt over an A-. Professor Hickey, played by Jonathan Banks, took over Pierce's chair, and his role as resident old curmudgeon, in this episode.

Basically, it's a whole new start for Greendale, Community, and us, as the viewers. I didn't know how I felt about it until I found myself wishing I could watch the next episode right now.  But I'll have to wait until next Thursday. I'm just glad next Thursday night will also include the return (and 100th episode!) of Parks and Rec. NBC, I'm glad to be blogging about your good side again.

The Sound of Music Live! Review

When I heard that NBC was planning a live performance of The Sound of Music, I was like: 

And now that I've seen the whole special, had countless conversations with friends and on social media about it, and read some of the myriad scathing reviews, I'm exhausted. I feel like this:

Now, despite the gifs above, it's obviously not fair to compare NBC's "Live!" special to the classic movie. Rather, the Carrie Underwood fronted performance was true to the script of the original stage play. So to those of you complaining about added or missing songs, ease off a little. (And besides, did you really want to hear Carrie attempt "I Have Confidence"? Didn't think so.) 

That said, I'm not going to write anything more here about the acting or the singing, because all that needs to be said about those things has been said elsewhere. Instead, I want to respond to all my fellow musical theatre aficionados. 

Some are asking why NBC would even attempt this bound-to-fail endeavor. Others are just glad that live musical theatre was presented to a wider audience.

The Sound of Music Live! garnered harsh criticism before it even aired. And it begs the question why the network and producers would even try something that was sure to pale in comparison to the well-known and beloved movie. The answer is obvious - NBC, floundering as it is, needed the viewership boost. And when Wal-Mart sponsorship money is what you're after, quality falls by the wayside. So while there were aspects of the show that were very good, they were overshadowed by the very bad. Like the microphone problems, mismatched cast, and the obvious fact that the actors couldn't see the orchestra conductor (several songs contained blatant timing errors.) And when you want to get viewers, of course you'll cast the country superstar instead of a seasoned, tested Broadway performer. (Personally, I would have liked to see Megan Hilty cast alongside her fellow Smash alum Christian Borle. But she wouldn't have brought the viewers NBC needed.)

So no, I can't say I'm glad this is how NBC chose to present musical theatre to the public at large. Did we want to give the nation the impression that this is what theatre is? Did this special remotely do justice to the live musical theatre experience? Of course not. And that's because, aside from all the problems heretofore mentioned, a "live" production on television removes something that sets live theatre apart: the audience in the room. Stage plays and musicals are written to be complemented by the energy of a live audience. When you take that away, of course you are left with something stiff.

So stop blaming Carrie Underwood. And stop blaming "all those songs they added and changed." (They didn't.) The Sound of Music Live! faltered first and foremost because of its format. Everything else fell apart afterward. This isn't to say that televised musical theatre can't be well done. Check out the post in which I write about Live from Lincoln Center's production of Carousel to read about and watch Rodgers and Hammerstein done right. (And take note of the seats filled in the room.)

It doesn't matter how many viewers tuned in. The Sound of Music Live! was still missing an audience. 

Greatest Hits: You should watch The Sing-Off

As my excitement for the upcoming season of The Sing-Off builds, I thought I should take a moment and count down my favorite performances from the last season of the show. For those of you who have been living under a rock somewhere far, far away from NBC, The Sing-Off is an a cappella singing reality competition. I'm inclined to call it the best singing competition on TV, even though it gets far less press or attention than its contemporaries.

There are two keys to the show's success.

1. The a cappella spin makes it impossible for performers to hide behind instrumentation, auto-tuning, or other production tricks. These vocalists have authentic musical talent. It shows.
2. The judging panel does not rely on celebrity or shock value, but rather gives authentic advice and criticism. Specifically, Ben Folds is the most intelligent judge I've ever seen on a reality competition show. (Of course, I'm near-devastated that the incomparable Sara Bareilles has been replaced by Jewel at the judges' table this season. But I'm withholding judgement on that for now. Kind of.)

So let's take a look back at some of the great performances from the last season of The Sing-Off, and hope that we get some more great ones in the coming season:


#5 - The Dartmouth Aires - "Pinball Wizard"

#4 -  Delilah - "Grenade"

#3 - Afro Blue - "American Boy"

#2 - The Dartmouth Aires - "Queen Medley"

#1 - Pentatonix - "Video Killed the Radio Star"

Pentatonix won the competition last season, for good reason. They've become quite a sensation since their victory. If you're on social media at all, you've probably seen their most recent video.

Did I convince you to watch? (Despite the cheesy lines they write for host Nick Lachey?) The Sing-Off returns to NBC on December 9th.

Emmy Nominations: Rabbit Ear Reactions

Emmy nominees were annouced this week, and I can't let this momentous television occasion pass without sharing my two cents. I'll try to avoid reiterating what you've probably already heard. Here are some Rabbit Ear Reactions: First, two disappointments. Then, a program I was thrilled to see nominated - one you might have overlooked.

If you follow me on Twitter, you may have read my grief tweets about Survivor, which was not among the nominees for Reality Competition. Nor was Jeff Probst nominated as host. This was particularly sad because Survivor had one of its best seasons this year with Caramoan's Fans vs. Favorites. Not to mention the fact that episode 5 of that season was a landmark in the history of reality TV. That said, those who write that the show was "snubbed" aren't quite right. It did receive nominations in some of the less-hyped categories.

Another show that received little recognition in the major categories is The Office. I was surprised to see how differently 30 Rock and The Office - both departing NBC comedies - fared in the nominations. 30 Rock received 9 nominations in major categories: Tina Fey, Alec Baldwin, Jane Krakowski, 2 Guest stars, 2 for Writing, 1 for Directing, and Outstanding Comedy. The Office got only 1: Greg Daniels for Writing for the finale. Even though I'm sad The Office didn't receive more, I'm pleased that the finale was recognized. It was perfect. Daniels should win. But chances are, he'll be beat out by Tina Fey, nominated in the same category for the 30 Rock finale.

So far I've just been talking about the "major" categories. The ones listed here. But it's worth downloading the complete list of nominees. 

If you just glanced through those major categories on Emmys.com, you may not have noticed that Live from Lincoln Center received three nominations for "Rodgers & Hammerstein's Carousel." I was thrilled to see that this New York Philharmonic stage production of the classic musical was nominated for Musical Direction, Choreography, and  in a category called Special Class Programs, where it's up against award show broadcasts and the London Olympics Opening Ceremony. You can (and should) watch highlights from this phenomenal musical production at PBS.org. Or right here!

Watch "Rodgers & Hammerstein's Carousel" Program Highlights on PBS. See more from Live From Lincoln Center.

I can't remember a televised stage production this well done. It was technically masterful and emotionally powerful. Carousel can be a frustrating play. Its storyline - with outdated gender roles and domestic violence - is troubling. But these actors brought the characters to life so authentically that I watched Carousel in a totally new way. I think I understand it better now than I ever have. (By the way, that's saying something, as I was once in a production of this musical!)

Reading through the list of nominations this year - and seeing Carousel recognized in particular - made me realize something about these awards: No matter how much the Emmy broadcast itself will focus on the big-budget, popular, and mostly cable television series, the awards are for gems like Live from Lincoln Center, too. There are wonderful things happening on TV that you just might be missing. So, tune to PBS every once in awhile.

Special shout out this post to my father and my grandparents. The day after Carousel aired, I got phone calls from all of them, telling me I had to check my local listings and catch it the next time it came on. Thanks, guys. 

The Curtain Falls on Smash

In the course of its two season lifetime, I probably watched fewer than half a dozen episodes of NBC's Smash. This past weekend, I watched the finale anyway. 

Source: nbc.com

It wasn't hard to pick up on the major plot points. The two musicals, whose casts and production teams the show followed, had now opened on Broadway. The 2-hour finale covered the Tony nominations and awards, and it tied up the characters' stories nicely and neatly. I haven't watched enough to the show to determine if this clean ending was a good thing, but it was definitely satisfying to the casual viewer. I nodded through the conclusions thinking, "Yeah, that seems about right." Contemptible characters like Derek got just enough comeuppance, and characters with whom I tended to sympathize, like Ivy, got the respect they were due. In Ivy's case, the respect came the form of a Tony Award. And thank goodness. Even in the few episodes I watched, it was clear that Ivy was a far better actress than Karen. Whether this means Megan Hilty is a far better actress than Katharine McPhee, I'm not sure. (Although that may be true, too.)

Don't get me wrong, McPhee is incredibly talented - one of the few true talents to come out of American Idol. On Smash, she was surrounded by an all-star cast. In every episode I watched, they were performing at the top of their games. Not to mention the guest stars! So why is it then, that I never got hooked on this show? Why couldn't this well-produced, well-funded, well-acted piece of television make it past two seasons? There are, of course, many opinions. (This one pins Smash's fate mostly on the show's lousy second season ratings.) I have a few thoughts of my own:

First, while this show was originally billed to reach the matruring audience of Glee, in reality it filled an incredibly small niche. Musical theatre lovers abound, but I doubt there are enough of them so singly devoted to commit a weekly hour to a fictional commentary on the subject. Certainly not enough to raise the Neilsen ratings. Case in point: I'm a musical theatre lover and a lover of TV, and even I didn't commit a weekly hour to this show. 

And that's partly because of my second point: the drama didn't have much of one. A point, that is. If you've read other posts of mine, you know I don't run from even the soapiest of primetime dramas. But the drama on Smash seemed consistently petty. Which is fine and relatable if high schoolers are fighting for the solo on Glee. Not so fine if grown women are fighting for a professional lead and sleeping with the director to get it. That doesn't get the characters much sympathy from me. Of course, some would argue that's the reality of the professional theatre world. And I'm sure sometimes it is. But Smash didn't do the that world any favors by pointing it out. 

Finally, the music, though technically good, catchy, and well performed, felt out of place. Which should not have been the case for a show about musicals! It was as though the music didn't know what to be - internal soliloquy or a performance as a part of the shows within the show. Smash attempted to walk the line between being a TV show about musicals and being a musical TV show, but didn't get the balance quite right.

Now, all that aside, I think I can say I loved the Smash finale. So much so that all those flaws almost seem irrelevant. Indeed, Smash gave us that big finish:

Smash did leave me wanting more. Lucky for me, I probably watched fewer than half a dozen episodes of NBC's Smash. So the next time I need some drama, I know just the show.