Farewell, Pawnee: The Essential Parks and Recreation

As the final season of NBC’s critically acclaimed comedy draws to a close (with more of a whimper than a bang, it must be mentioned, as the network has been churning out two new episodes per week in an incredibly transparent effort to clear the way for more reality TV), it’s more than worth taking a look back at some of the moments, the magic, and of course the laughter the show has provided in its seven season run.

I’m going to try and narrow it down my recommendations to one episode per season, for those who don’t have unlimited time to binge-watch (or re-binge-watch). 

Season 1: "The Banquet"

I think most people’s instinct for the sometimes painfully awkward first season is to ignore it completely, or to name “Rock Show” (the season-ender) as their favorite. But if “Rock Show” is the biggest indicator of the better show to come in season 2, that progress is because of the notes the writers and actors hit during “The Banquet.” This episode, number 5 of 6, has a little bit of everything we’ve come to know and love – Leslie’s early insecurity and need for her mother’s approval, Ron and his love affair with all things meat, Tom being his best schmoozy self, and even some character development thrown in for good measure (this is the episode where Ann begins to realize her relationship with Andy is headed for a dead end; when Mark seems to see the sadness of his bachelor lifestyle; and of course when Leslie and Ann realize that best friendship does come with the occasional dispute, and a need for honesty). It’s also got Leslie being mistaken for a man all night at the titular banquet because she’s gotten herself a “political powerhouse” hairstyle for the evening, so there’s that.

Season Two: "The Master Plan"

Loathe though I am to give Rob Lowe any kind of credit, the arrival of his Chris Traeger and Adam Scott’s Ben Wyatt really did complete Parks in a way  I hadn’t fully realized it needed. These two new characters show up in Pawnee right on the brink of Leslie’s anticipated triumph in this episode, wherein she is preparing a proposal for Pawnee’s “master plan” for the upcoming fiscal year. Unfortunately the two are state auditors, there to slash the very budget Leslie is hoping to utilize to build her park. She immediately can’t abide Ben in particular, which in obvious sitcom fashion must mean (spoiler alert!) they will eventually fall in love. Oh, and it’s worth mentioning that this episode also features some fantastic comedic moments with April and Andy (and Ben Schwartz’s Jean Ralphio).

Season Three: TIE – "Fancy Party", "The Fight"

Season three is when the show really found its groove, so obviously I can’t pick just one episode to recommend. "Fancy Party" features April and Andy’s surprise wedding, and apart from having a soft spot for them, it’s just a very unexpectedly charming event. Everyone comes together to celebrate without questioning the rushed nature of the nuptials – everyone except Leslie, but even she eventually comes around.

"The Fight", on the other hand, features a far less pleasant party. Everyone converges on the Snakehole Lounge (“The Sexiest and Most Dangerous club in Pawnee”) to support Tom, who has invented his own alcohol. As you might expect, this is a terrible idea, as the drink’s potency leads to a range of shenanigans, most notably Ann and Leslie’s biggest fight to date. It’s played both hilariously and relatably by Amy Poehler and Rashida Jones, and the supporting cast provides just enough comic relief to take the edge off.

Season Four: "Win, Lose, or Draw"

I’m recommending the season finale for the 4^th season not because it’s the most standout episode, but because Parks’ fourth season is the most cohesive, narrative-wise, with each episode building on the last, chapters in an overarching story following Leslie’s campaign for city council. Thus it all culminates in “Win, Lose, or Draw” wherein we see all of the hard work and support put in by Leslie’s team pay off in a big way. I won’t lie to you, I cried at the end of this episode, and you might too.

Season Five: "Emergency Response"

While it’s very tempting to pick “Ben and Leslie” (I just love everything about the two of them together, okay?!), I didn’t think this list needed TWO wedding episodes. I’ve therefore selected the episode preceding their wedding, “Emergency Response.” This episode has Leslie at her finest crazy, aided and abetted by the gang as they try to cope with a hypothetical city-wide emergency situation. It also features Ron's fabulous turn on Joan Calamezzo's show, doling advice out to Pawnee's citizens.

Season Six: "Moving Up"

Picking the season finale again, not because every episode of the sixth season is equally strong, but because most of them are a little weak, in a way I have some trouble articulating. There was just something missing from the back half of season six, and it took the finale (both the storyline and the rebooting time jump) to really pull me back in. "Moving Up" has a bunch of blink-and-you'll-miss-them call back to earlier moments in the show's history, and an intriguing scene from 2017 that bucks the show's usual tradition of tying things up neatly at season's end. This is an episode that could've been a series-ender itself, but instead became the framework for season seven, which has proven both innovative and heartwarming. 

I haven't picked a favorite episode for season seven yet, mostly because I don't think I'm ready to acknowledge that the journey's almost over. Saying goodbye to a long-running show is, for a TV lover like myself, a uniquely bittersweet experience. One thing I'm happy about as a viewer is that Parks and Recreation has been given the chance to go out on their terms, something that didn't seem possible back in the early stages of its tenure, when premature cancellation seemed inevitable. I know a lot of people who, like myself, have come to consider this their go-to "happy" show, pulling up an episode on days when they just need to smile for a few minutes. I think people underestimate the amount of diligent, dedicated work that has gone into this show over the past seven years, and how much everyone who's a part of it cares about the fans, the characters, and just telling the best story possible. This is a show that has taught us that following your dreams isn't necessarily a fool's errand - after all, we began this journey with one woman and her ambition to build a park. Seeing how far Leslie and the gang have come has been hilarious, entertaining, and just so rewarding. Thank you, Parks team, and thank you, NBC, for letting us share in that joy for as long as you did. 

2012: The Best and Worst

Here's some thoughts, sneaked in right under the wire here.  2012 had a lot of good things, but my hopes for 2013 are even higher.

Best Movies (in no particular order):

The Hunger Games
I had high hopes for this one from the day I first heard they were adapting the book into a film, and I was not disappointed.  The casting was spot on, the big moments shone the way they were intended, and director Gary Ross took things one intriguing step further by using the film to force us to question our own beliefs and practices.  Hopefully Catching Fire can continue the trend of success in 2013.

Argo
This is probably the most well-crafted movie I saw this year, and I think that everyone else should see it, at the very least so they can reassure themselves that Ben Affleck deserves the acclaim he's currently receiving.

Silver Linings Playbook
This movie is heart-wrenching, painfully real, and hysterically funny all at the same time.  Both Bradley Cooper and Jennifer Lawrence give performances that are just plain fantastic (believe me, I was surprised about the former too), and the story is one that is incredibly poignant and accessible.  If I had to pick a personal favorite among these, this movie is most likely it.

The Amazing Spider-Man
This movie surprised me-- I expected it to be pretty good, having Marc Webb, Emma Stone, and Andrew Garfield (among others) on board, but I didn't expect it to be SO good.  

The Dark Knight Rises
I believe I have already expressed my full thoughts (probably to some excess) on this one.  But yes, a tremendous ending to a remarkable trilogy of films.

The Perks of Being a Wallflower
Another book adaptation that far surpassed my expectations.  Not only did it adhere to the spirit of the novel in all its teen angst glory, the casting turned out to be brilliant.  All three of the lead actors were superb, and it definitely added to the realism of an occasionally melodramatic story.

Pitch Perfect
This is the best cheesy movie I've seen in ages.  Not only does it have Anna Kendrick (and believe me, that alone lends it quite a bit of cred), it also has some elements to it that seem to have been forgotten in the movie industry's recent efforts aimed at teenagers.  It offers the things that appealed to me initially about Glee, except you know, the music is far more impressive and the plot lines make sense; it also features a protagonist who defies a lot of the unofficial "rules" that make adolescent leading ladies so unbearable to watch lately.  Written by Kay Cannon of 30 Rock and SNL, Pitch Perfect doesn't underestimate its audience and has some truly laugh out loud moments as well as a few that will give you goosebumps.

*Note:  I haven't seen Zero Dark Thirty yet, as it hasn't been released in my city, but I'm giving it a preemptive honorary spot on this list based on how good I'm anticipating it will be.

Best TV Shows:

Parks and Recreation
Season 5 has been heavily focused on character development, which I think is what may be underwhelming some viewers when compared with Season 4 and its exciting build to Leslie's election.  But that's something that I love about this show, and something that if you love these characters, is the kind of payoff you've been waiting for.  Tom's maturing and starting his own business; Ann is realizing that it's okay to be alone and get to know yourself; Ben and Leslie are settling into a relationship largely free of its early dramatics; April and Andy are finding their paths; even Ron is embarking upon what just might be a healthy relationship.  The gang in Pawnee is growing up, and I can't wait to see what's next. 

Game of Thrones
The show's second season lived up to escalating expectations, with penultimate episode "Blackwater" making a lasting impression as one of the more recent achievements in dramatic television, outshining what many films have been able to do with more generous resources.  And season three only promises more epic-ness to come.

Happy Endings
The most hilarious show that almost no one is watching (and ABC is making little effort to air).  Give this one a chance, and if it doesn't make you laugh out loud at least once, well, there might be something wrong with you.


Best New Shows:

The Mindy Project (FOX)


Go On (NBC)


Best TV Episodes:

How I Met Your Mother, "The Last Page"
This had one of the better head-fakes in HIMYM's history, and especially made up for the streak of lackluster episodes which preceded it.  I won't spoil the twist for those who haven't seen it, but it's pretty legendary.

Parks and Recreation, "Halloween Surprise"
BEN AND LESLIE ARE GETTING MARRIED.  Also, some other stuff happened.

Grey's Anatomy, "Remember the Time"
RIP Mark Sloan-- I didn't even like you that much, but this episode proved that Grey's still knows how to tug at the strings (and induce ugly-crying to boot), even after all these years.

New Girl, "Injured"
This was the episode that really brought me around on this show, because the showrunners seemed to have finally figured out the magic and potential of the ensemble rather than simply relying on the quirky cuteness of Zooey Deschanel ad infinitum.  Season 2 has continued that trend, and I think good things can be expected.

Favorite People*:

Jennifer Lawrence
We can disregard House at the End of the Street as a fluke and just continue drooling over how talented Ms. Lawrence is, right?  That's what I've been doing, anyway.  Not only did she emerge in popular media playing one of the most badass characters out there at the moment, but she also gave one of the best performances I've seen in years in Silver Linings Playbook, which will probably earn her a second Academy Award nomination (it's a crime if it doesn't).  Oh, and she's only 22 years old, so no need to feel bad about your own accomplishments or anything.

The Obamas
Yeah, Barack may not have gotten everything done that he wanted to do (fortunately he's got another 4 years to make it up to us), but Michelle and the girls more than made up for it by being their usual fabulous selves and providing America with more sorely-needed lady role models.

Jon Stewart
Nobody handles the increasingly dismal, frustrating, and sometimes terrifying developments in the news quite like Jon Stewart.  He's been perfecting his on-air persona for years, but it's the moments when his genuine concern for this floundering nation that truly set him apart.

Amy Poehler (always)
Do I even have to explain this one anymore?  She's hosting the Golden Globes on January 13th; watch that and maybe you'll begin to understand a fraction of what there is to love about this fabulous lady.

Maisie Williams
Well, I'm probably biased because she plays my absolute favorite character on Game of Thrones, but this girl is adorable, and pretty darn talented to boot.  Arya gets some even meatier stuff to work with during A Storm of Swords, so I for one am psyched to see what Williams will get to do come Season 3.

Joseph Gordon-Levitt
Dude was everywhere in 2012, and it looks like that's a trend that will be continuing in the new year.  No complaints here, especially if another team-up with Chris Nolan (and I'm not saying it HAS to be Batman related, but that'd be pretty cool...) is on the horizon.

The IKEA Monkey
Not a person, I know, but have you seen this little guy?  If there's anything I love more than animals dressed as humans (and fashionable humans at that) and shopping for affordable furniture, I do not know what it is.

Biggest Disappointments:

The Casual Vacancy

The Apocalypse

The 2012 Emmy Awards (the award recipients, not the broadcast itself, though that wasn't great either)

People I'm Sick of Hearing About:

Taylor Swift

One Direction/Justin Bieber/any of their female counterparts

Donald Trump

Tom Cruise

Just...no.


Biggest (Positive) Surprises:

Positive Female Role Models (in media especially)
Katniss Everdeen.  Arya Stark.  Princess Merida.  Michelle Obama.  Gabby Douglas.  Hilary Clinton.  The list could go on, but suffice it to say that ladies rocked in 2012, and I'm fairly certain there's no end in sight.

The Rise of Folk 
I actually read a magazine article recently that reference the door that had been opened for bands like the Lumineers and Of Monsters and Men in the "post-Mumford" era.  If that's not an indicator of where the trends are headed, I don't know what is.

Saturday Night Live (without all-stars Kristen Wiig and Andy Samberg)
Here's the little secret about this season of SNL that no one's talking about:  it's actually been pretty great, all things considered.  The old favorites are delivering their usual brilliance, and new faces like Kate McKinnon and Cecily Strong have me persuaded that things in Studio 8H are not as bleak as previously anticipated.

Fall TV 2012: What to Watch and When to Watch It

I may have been absent from the Interwebs for a lot of this summer (it's strange how real life will keep you busy sometimes), but don't worry, I haven't been watching and studying any less television than usual.  In fact, I've been saving up some of my excitement and analysis for exactly this moment:  the proverbial eve of the fall TV season kick-off.  These are a few of the shows I'll be watching and reviewing subject, as always, to change (except for Parks and Rec, which I will watch/love till the end of time).  And in case you've been sitting on your sofa staring blankly at your television set and awaiting my instructions as to what you should watch, here they are for your perusal:


Mondays:

How I Met Your Mother (CBS, premieres September 24th)
*Where we left off:  Barney's future bride was revealed (it's Robin!); Lily and Marshall had a baby (and promptly brought it with them to the bar); Ted and Victoria rode off into the sunset together (sort of).
*What's next:  With the writers, at least according to recent interviews with Bays and Thomas, working as though this will be the show's last season, it seems the tying up of some loose ends is on the horizon.  We have to figure out how the heck Barney and Robin make it to the alter (remember he's newly engaged to stripper Quinn in the present), as well as how Ted ruins things with Victoria (again) and arrives at the show's titular moment at long last.  It should prove to be an interesting season, and hopefully there will be significantly less time wasted with so many plots to unravel in so short a time.
*Wish list:  I'd love to see an announcement (sooner rather than later) that HIMYM will in fact wrap up after this season.  I think 24 episodes is more than enough time to wrap up the loose ends still dangling if the writers are deliberate about it, and if Thomas and Bays are permitted to stretch this journey out any further the cracks are really going to start to show.


(NEW SHOWS!) Tuesdays:

Go On (NBC, premiered September 9th)
The primary reason this show works well is that the execs at NBC have stopped fucking around and finally returned Matthew Perry to the role he belongs:  Chandler Bing.  Yes, Chandler's aged a decade or so and he's got a different name and job and blah, blah, blah; but essentially this character is nearly identical personality-wise.  It's as though we're seeing future Chandler following the death of Monica, whom we all knew kept him grounded, and though he's surely bereaved, he's also hilarious.

Better than that, though, this show actually seems to have heart, and not in a jammed-down-your-throat kind of way.  It's ballsy for a primetime sitcom to deal with something like grief, but the level of accuracy Go On supplies in the pilot episode alone is definitely encouraging, and a good sign of things to come.  Hopefully NBC doesn't err on the side of their usual instinct, which is to water down the honesty of some of their best programs (Community and its new team of writers springs to mind, not to mention the soon-to-wrap train wreck that The Office has become), because that would sacrifice a lot of what thus far makes this show appealing.

The Mindy Project (FOX, premieres September 25th)
This is a show that seems designed to stand up well beside its lineup-mate, FOX's New Girl, which was of course one of last year's runaway hits (not to mention the source of way too much Deschanel Hype in my life).  The Mindy Project follows Mindy Kaling, who you'll recognize as Kelly Kapoor from The Office, in the early stages of her career as an OB/GYN, as well as the battle-worn (and hilarious) stage of her romantic life.  It's lighthearted, it's laugh-out-loud funny, and it's identifiable, which is really all you can hope for in a pilot episode.  I can foresee problems similar to those found in the early run of New Girl, when it became clear that the amount of "isn't-she-quirky" based humor needed to be toned down-- in The Mindy Project, it's easy to lose sight of Mindy's role as (in theory, at least) an everywoman character in the more grating aspects of the character's personality.

This one also has an excellent supporting cast going for it, and I'm hopeful that the writers will gradually shift some of the focus so expended on Mindy in the pilot to some of these already very interesting personalities.


Wednesdays:

Happy Endings (ABC, premieres October 23rd)
*Where we left off:  Season 2's finale brought us another wedding, this time between friends of the gang Derrick and Eric.  We saw Penny struggle with possible feelings for Dave, who ended the night instead with erstwhile fiance Alex, while Brad and Jane tried to come to a compromise on how to better communicate with each other.
*What's next:  It doesn't seem that this Alex/Dave/Penny triangle is going to be too much of an overwrought thing (especially with rumors of Penny getting a new semi-longterm love interest), which is excellent news for a show that's already brilliant without the addition of needless melodrama.  
*Wish list:  More of Adam Pally's Max and less of Elisha Cuthbert's Alex (mainly just less of the emphasis on her being the dumb blonde of the group); more viewers for what I guarantee is the funniest show you're not watching.


Thursdays:

Parks and Recreation (NBC, premieres September 20th)
*Where we left off:  One Leslie Knope is about to take Pawnee City Council by storm after triumphing in the season finale's election.  She'll be working on a long-term relationship with Ben, who has taken a job in Washington D.C. and who has somewhat inexplicably recruited April to work as his intern.
*What's next:  A Ben/Leslie shake-up, but according to executive producer Mike Schur it's not the kind you'd expect.  Also, some long overdue maturity for Tom, who last season appeared to backtrack a bit following his Entertainment 720 venture.  But the best news is that by the end of the season premiere, the Tom/Ann debacle will really and truly be a thing of the past.



Fridays:

Community (NBC, premieres October 19th)
*Where we left off:  In a season finale that really would've made a great conclusion to the series, we saw everyone going their almost separate ways in relative happiness (yes, even Jeff, who decided to finally seek out his long-estranged father).  It was almost enough to make you not want a fourth season.  Almost.
*What's next:  The show's last-minute salvation last spring means that some tweaks are going to have to take place (this is even without the team of new writers and the firing of Dan Harmon, the show's creator).  We'll apparently be meeting Jeff's father, there will be an Inspector Spacetime convention, and the gang will pay homage (sort of?) to The Hunger Games in the season premiere.
*Wish list:  I don't have too many particular demands, I just hope that the show will still be recognizable as the delightful, wonderfully weird thing it is after the new writers have gotten their hands on it.


Honorable Mentions:

30 Rock, The Office (Thursdays, NBC):  Both are entering their final seasons, hopefully some laughs will be resurrected before the end.

Grey's Anatomy (Thursdays, ABC):  Yup, they're still kicking over at Seattle Grace.  And this season promises to be every bit as miserable and death-filled as you could possibly hope.


Here's to a wonderful 2012/2013 television season.

TV Review: Parks and Recreation-- Win Lose or Draw

Remember that time I reviewed the Parks and Recreation season finale a month after watching it?  Yeah, this is that time.

"Win, Lose, or Draw" almost instantaneously secured a spot on my all-time favorite episodes list, which is an increasingly stiff competition.  I loved it mostly because of the element of excitement it had, serving as the culmination of a season-long story arc, which is something we haven't really seen since "Harvest Festival" last year.

In the first act we saw Kathryn Hahn and Paul Rudd cementing their status as gold-standard guest performers with their respective hijinks, my personal favorite of which was Rudd's Bobby Newport solemnly informing Leslie that voting for oneself in the election is illegal (though I also liked the rigged voting machines with the candy bar vouchers).


As I had hoped, there were a few fake-out moments when it came to Leslie's fate, the first of which was a surprise early lead by Brandi Maxx, Pawnee's resident porn star and, apparently, would-be politician.  I have to say, I might have been able to cope with Leslie losing if Maxx had been the competitor to beat her, for the sheer humor of it.

The surprise/question mark plot of the episode concerned Ben, who received a job offer to work on a political campaign in Washington, D.C.  His initial instinct was to turn it down, and Leslie seemed grateful, excited that they would be able to have a normal relationship for the first time since they began dating.  However, after a heart to heart with Ron (more on that in a minute), Leslie decided to let Ben go off and pursue his dream job, sending him off in a scene that beautifully mirrored the season's premiere, in which Ben broke up with Leslie so she could pursue her dream of attaining political office.

And on the heels of Ben and Leslie's resolution came the episode's dramatic peak:  the final election results.  I still can't decide if I'm happier that Leslie won or that Ann, who has in many ways taken a backseat this season plot-wise, got to be the one to tell her.  Both of them on the verge of tears and Ann trying to tease her with another fake-out added up to just plain perfection, and I can't imagine that moment being scripted any other way.

The subtle hero of this episode, though, was one Mr. Ron Swanson.   If nothing else this episode demonstrated just how far he's come as a character, from season one's adamant disinterest in his co-workers to being the person nearly everyone goes to for advice.  We've seen Leslie and Ron bonding before, but I think their conversation in the city council chamber while awaiting the recount (again mirroring the season premiere when they were both hiding in the woods) is one of their all-time best friendship moments.  Leslie trusts Ron, but Ron also genuinely wants Leslie (and Ben) to be happy.  And that, friends, is how you realistically develop a character on television.

One benefit to my tardiness with this review is that it has been confirmed by now that Parks is getting a full fifth season next year (NBC tried to trick us all by floating another potential abbreviated run, but luckily that was all sorted out).  So what might we be seeing when we go back to Pawnee in September?  We'll surely get something of a Leslie crash-course in what life is really like for a city council member (I predict just a little bit of disillusion, particularly for Leslie, who thrives on being able to see projects through to the end through sheer determination and very little sleep); and we'll hopefully have a nice (and not too long-awaited reunion) when Ben's job is finished in D.C.  I can't say for sure what their relationship dynamic will be or if there will be any major steps forward, but I don't think an engagement by season's end is an unreasonable guess, given how much these two crazy kids care about each other.

As for the rest of the gang, I hope we'll get to split near equal time between Leslie's adventures and the goings-on back at the Parks Department, particularly if April is still playing a large role.  I'd like to see them forge ahead with the seedling of a plot concerning Andy's future career in law enforcement, because I think it will not only be hilarious, but a logical next step for his character.  I think Ron is probably overdue for a visit from one of the many Tammys in his life, and Tom will hopefully find some way to occupy his time that doesn't result in an Ann/Tom redux (I think we can all agree that theirs is a relationship best left in season four).  Speaking of Ann, she's the one I'm interested to watch next season.  Leslie will likely be a bit more unavailable than usual, and those are the times when Ann has historically been at her most interesting.  I hope the writers can come up with something more exciting than just a string of romantic entanglements for her--maybe she could spearhead some kind of project between the Health and Parks departments (this would have the added bonus of Ann and April having to collaborate, which never fails to amuse).

I'm sure I will have many, many more predictions and thoughts the closer we get to season five (it just feels so dismally far away at the moment), especially as information starts to trickle out.  In the meantime, let's enjoy the fact that Parks is finally getting some awards recognition and keep our fingers crossed that this bodes well for Emmy nominations, which will be announced on July 19th.

TV Review: Parks and Recreation--Bus Tour

In season four's penultimate episode the loyal Knope2012 team is forced to use its final days of campaigning to overcome no small number of unforeseen obstacles, including but not limited to a broken bus rental agreement, Chris' lady troubles, a would-be pie assassin (don't worry, Burt Macklin was on the case), and of course, death.  And at the end of the day, Leslie and company find themselves about as certain as the rest of us as to whether she will emerge the victor in next week's finale, "Win Lose or Draw."

Though Leslie makes up for some of her (colossal) missteps by the episode's end, mostly due to Bobby Newport's naivete, there is still a lingering feeling of doubt in many viewers' minds.  I've found myself thinking of this election the same way I would any non-fiction one, wondering if Leslie has succeeded as a politician, and if her earnestness and candor will be enough to overcome the inherent corruption of politics, even local (and fictional) politics.  I also can't wait to see how this will be handled from a writing standpoint.  As we've all surely read by now, Mike Schur has been quoted on multiple occasions as saying that they've shot three different endings to next Thursday's finale, as per the title:  a victory, a loss, and a draw.  And what's more, his statement of only a few weeks ago warned us of his own uncertainty, and the possibility of a last-minute game change.  I'm hoping there will be a healthy dose of suspense in next week's episode, ideally even some kind of fake-out or last minute twist, because if I have to go to sleep that night heartbroken on Leslie's behalf, I want to at least feel like the journey was worth it. 

Some of the other things going on in the midst of Leslie's scramble to get back on Bobby Newport and the press's good side must be applauded, namely Andy's latest (and most hilarious) turn as Burt Macklin, erstwhile FBI agent.  His investigation of the pie incident, the reenactments of the crime (assisted by Jerry, naturally), and the code names he assigns--all of it is just about perfection, and a welcome lighter contrast to the semi-seriousness of Leslie's plot in this episode.  Chris Pratt has proven once again that he is a performer not to be taken lightly by any means, and that he ought to be a serious contender for some of this year's comedy accolades.

Also, Leslie's cold open, envisioning Obama at her swearing in?  Absolute perfection.

Basically, there's no way next week's finale could really disappoint me, or fail to bring this just about perfect season to a close.  In fact, I'm pretty damn certain it will prove more satisfying than any of us are anticipating.  Just think, in four days' time the results will be in, and we'll be all set for three months of television nowhere near the standard that has been set by Parks and Recreation this season.

It's the Most Wonderful Time of the Year, Part 2

So what I've learned over the past week or so is that May sweeps as we once knew it basically doesn't exist anymore.  For one thing, it apparently starts in April now, which bumps the whole schedule forward by several weeks (remember back in the day when the season finale of your favorite shows would coincide with the last days of school?).  Most of the shows discussed below will end in the first two weeks of may, and have already begun to ramp up their plot lines accordingly.  Let's get to it.


Parks and Recreation

Last week's "The Debate" continues to present new things for me to gush about (especially now that I've watched the director's cut, which has even more glorious extra laughs).  And things are only going to get more exciting from here.  The remaining two episodes will determine Leslie's political fate, and rumor has it there are going to be some major complications before the end of the race.
*I've already watched this evening's episode, "Bus Tour," and am holding off on elaborating here so I can post a better review later.


Grey's Anatomy

I have to applaud the current arc centering on the residents taking their medical boards, which I thought might grow tedious but which has been really very interesting to watch.  It's the first time in a while that Grey's has really emphasized the journey each character is on as an individual, rather than simply exploring their romantic relationships with one another.  The hype for the finale has been on the rise for a few weeks now, with several cast members cryptically giving interviews about how anyone's death is fair game in the season finale, due to air May 17th (although rumor has it Meredith, Alex, and Christina are safe, at least from death).  Of course, anyone following the show knows that this has more to do with ongoing contract negotiations with the actors than anything on the creative side, but it definitely feels like things are in flux, and that everything is about to change, for better or for (probably) worse over at Seattle Grace-Mercy West.


New Girl

(Yes, this is the overrated freshman show I was talking about in my previous post.)  Although the writers and actors seem to have finally found something of a groove in terms of humor, storytelling, and minimizing the "isn't she ador(k)able?" aspect of Zooey Deschanel's character, I still think the finale of this show's first season will be (somehow) both predictable and anti-climactic.  Fans are rooting for a Jess and Nick hookup with a fervor reminiscent of the early seasons of Friends and the Ross/Rachel tension.  Now, New Girl could potentially pull off a satisfying conclusion and/or cliffhanger if they go a similar route (that is, resolving it and not resolving it simultaneously, a la season 1 of Friends, where Rachel goes to the airport having realized her feelings only to see Ross with Julie).  I predict that by the end of next Tuesday's episode, either Nick or Jess will have an epiphany of sorts (though it could be argued that Jess kind of did at the end of this week's installment), but I doubt that anything with a clear resolution will happen.  I'd also like to see Nick go through with his decision to move out of the loft, if only because it presents more possibilities for the start of season 2.


Cougar Town

Jules and Grayson are going to get married, which is probably the official moment this show will demand a new title, as there is no substantial age difference between the two.   But rumor has it that Laurie might be assuming the role of a cougar of sorts, if the murmurs of something real happening between her and Travis are to be believed.  My only reservation with this story line is that if the writers aren't careful about handling it, they may run into the same criticism that plagued the show in its early days about how appropriate and/or realistic its interpretation of relationships is.  As someone who's been very happy to see how far this show has come since the pilot, I'm hoping they can pull off an acknowledgement of the palpable chemistry between these two characters in a way that fits with the show we know and love.

TV Review: Community -- Basic Lupine Urology

So it looks like mobile meth labs are the new Chekhov's gun, huh?  If you don't know what I mean, you clearly haven't watched last night's episode of Community, and you probably shouldn't read this spoiler-filled review.  Just a friendly suggestion.

Still here?  OMG, right?  So we had some speculation that a character was going to be killed off, but most people were betting on token old guy Leonard, so the demise of Star Burns was at least a little bit shocking.  The way it was announced, however, perfectly befit the episode's Law and Order theme, with the grim revelation coming just before credits rolled.  Now the question remains as to how Greendale will deal with the death of one of its own--rumor has it a funeral in the cafeteria is in the works for next week-- but if I know this show at all, they'll make it funny, but in an "I shouldn't really be laughing at this" kind of way.

But let's back up and talk about the fantastic homage to NBC's long-running drama that comprised the 20 minutes prior to learning Star Burns' fate.  Troy and Abed were great as the lead detectives, competing for the best one-liners and occasionally experiencing bursts of needing-to-break-stuff anger; Annie and Jeff did well as the "lawyers" on the case; although I think my favorite was Britta with her photolab skills and over-eager offers to psychoanalyze the suspects.  On the whole, this episode did what this show has really honed its skill in, which is taking an absurd scenario (in this case, a destroyed science project) and making it something into which the characters (and the audience) become truly invested.  That, and the way they never wavered from L&O's trademark structure and conventions made this a near-perfect episode of Community (I realize I've been throwing out claims like this a lot lately about this show, but hey, they've really stepped it up). 

This episode is one of those where I could go through, scene by scene, and gush over every little detail, OR you could take my sage advice and check it out in all its hilariousness for yourself.  Let's go with the latter this time.

TV Review: Parks and Recreation-- The Debate

An episode both written and directed by the dynamite Amy Poehler could only ever be amazing, right?  That's the attitude I went into watching "The Debate" with, and even so it managed to exceed my high expectations.  I think a lot of the reason the writing works so well in this episode is because Poehler clearly knows and understands all of the show's characters, not just her own.  She takes time to highlight the best and most interesting aspects of each player's personality, sometimes within the space of only a few lines or moments. 

This episode, as the name probably indicates, features Leslie's much-hyped political debate with her opponents, including Bobby Newport (played even more fabulously in his second appearance by Paul Rudd), Pawnee's own local porn star Brandi Maxx, and two others who don't really merit me looking up their names but who provide some auxiliary amusement nonetheless (one is a literal gun-nut, the other is a wildly hyperbolic animal rights activist).  As we've established in previous weeks, Leslie needs this win, and she needs it bad.  Both she and Ben are equally focused and determined to win, and rather than creating tension between them, this energy is something that seems to enhance their affection for one another, as well as remind us just how well they complement each other. 

Of course, that can only lead us naturally to the couple on this show who never has and (in all probability) never will compliment each other:  Tom and Ann.  They finally appear to be broken up for good, and somehow Tom seems surprised by this turn of events.  No one else is actually surprised that this breakup has occurred, and Chris even takes the opportunity to promptly capitalize on it by hitting on Ann.  What is surprising is that, following weeks of halfhearted hints that they might be headed for a reunion, she turns him down, declaring that she might just never date anyone ever again.  To me that sounds like a pretty good solution at this point-- we've been down this road with Ann before, and swearing off dudes the last time didn't seem to force her to learn from her mistakes, so maybe a second attempt will do the trick.  That, or she'll find herself hooking up with someone even more absurd than Tom, and we'll be having this discussion all over again.

Many of our other favorite characters are performing at full throttle in this episode, supplying us with lots of laughs.  Andy, April, Ron, and Donna (what an odd team) have been tasked with treating Leslie's wealthy donors to a party to show their gratitude, featuring a viewing of the debate.  Of course, this hardly goes according to plan, and I have to say, I think this episode is worth watching simply for this secondary (even tertiary, really) story line, just to see Andy and April's view of how rich people behave and Andy's go-to method of entertainment when the cable goes out.  Chris Pratt had better be submitting this one for Emmy consideration, that's all I'm saying.

And of course, there's the debate itself, moderated by Pawnee's own Joan Callamezzo and Perd Hapley (because really, could you have imagined anyone else?).  Not only does Leslie remind us why she's someone who needs to be involved in government with her last-minute save, she brings out some compelling arguments from Bobby Newport ("I'm against crime, and I'm not afraid to say so") along the way.  Both Poehler and Paul Rudd are phenomenal in these scenes, with the latter playing his character as such a hapless dope that if you weren't rooting so hard for Leslie, you'd almost want to support him, or at least give him a hug. 

Overall, by the end of this episode things are certainly looking up for the Knope campaign.  Since we've only got a few episodes left to the season, does this mean we might see a Leslie victory come May 10th?  I certainly hope so.

TV Review: Parks and Recreation-- Live Ammo

Oh Parks, I've missed you so very much.  And this episode was well worth the wait.  "Live Ammo" continued the slow heightening of the stakes in Leslie's campaign, this time with a nice healthy round of mudslinging on the part of Paul Rudd's Bobby Newport's campaign manager.

Basically, Leslie wants to save the Parks Department budget from potential cuts, but in fighting for it manages to lose funding for the Pawnee animal shelter.  It then falls to April, who has taken over Leslie's Parks responsibilities (and who plays the role with a perfectly April blend of reluctance and near-enthusiasm), to try and organize a Leslie-esque solution that will allow everyone to go home happy.  Cut to an adorable parade of puppies, kittens, and apparently, a pig, waiting to be chosen by the fine folks of Pawnee.  Unfortunately, even April's best-laid plans can't save the day, and the gang winds up with a gaggle of animals with nowhere to go. 

Of course, Leslie's first solution is exactly what mine would be-- bring all the animals home with her so they don't get sent to a farm upstate (that's what happens, right?).  And even though Ben adorably goes along with this plan for a bit, purchasing dog food in bulk with the Barack to his Michelle (that was one of my favorite lines of the night, incidentally), he convinces Leslie that they need a more sustainable solution.  Leslie comes up with one, but it's an answer that will require her to "commit political suicide."

Apparently this means a secret meeting with Bobby Newport's campaign manager, in which Leslie proposes that Newport announce plans to fund the animal shelter, a move which will give him an advantage going into their upcoming debate.  Now, at this point I may have tuned out the conversation a bit, because I remembered how excited I am to see this showdown in next week's debate-centric episode, penned by none other than one Amy Poehler. 

In other news, Chris wants Ron to take over the responsibilities of Assistant City Manager (this is following a long string of odd tests, the last of which was a meditation challenge), but just as things are looking up for our favorite carnivore and his plans to "eliminate all departments" within Pawnee's government, we learn that the job may not be Chris' to give if Bobby Newport wins the City Council election.  Not only am I excited by the prospect of potentially dropping the increasingly tedious Chris (not to mention the famously douche-y Rob Lowe) from the show, or at least cutting down his screen time, but I like the way this changes the weight of Leslie's victory--she's now got the success of two close colleagues resting on her shoulders going into the final weeks of her campaign.  As for that whole thread where we were afraid Ann might lose her job, I have to say, it didn't worry me nearly as much as the stuff surrounding Ron-- after all, Ann showed up at City Hall often enough in the 2.5 seasons before she worked there; I can't imagine she wouldn't do the same if she went back to full-time nursing.


Also, this is the episode featuring a guest appearance by Bradley Whitford of The West Wing fame, and I can't decide if I like the understated way they used him, or if I was expecting something more exciting based on the hype. 

Although I don't have extensive thoughts on any of these things, I'd like to give honorary awesome points to a few little features of this episode, in no particular order:
1.  I loved Tom and April bonding, and him essentially mentoring her, not only because he almost never takes on that role, but also because she actually swallowed her pride and asked for advice.
2.  Tom's apartment.  You know the set designers and propmaster have been working on that one for at least a full season.
3.  Ben's embracing his role as essentially Leslies' "first lady," and his hilarious reactions to her more brazen behavior.

Overall, I'm just glad this show made its comeback chock-full of things we've always loved about it, as well as some new complications just in time for May sweeps and the final leg of its season.

TV Review: Community-- It's BAAAAACCCKK!!!

Well, the moment we'd all been waiting for since December came and went last night, and I think we can agree that this episode, while perhaps not the epic blowout some people were hoping for (and that crazy faux-trailer hyped us all up for), was a more than successful entry in a somewhat shaky season 3.  We do have to keep in mind that "Urban Matrimony and the Sandwich Arts" wasn't written to serve as an all-out comeback episode, when they dreamed it up it was simply the next episode in line.  Watching it with that in mind, I found this episode to possess the same wit and quirkiness we've all come to love -- and during the hiatus, miss-- about this show.

This episode features a plot line about Shirley getting remarried to her ex-husband Andre, which ordinarily would be a snooze-fest, but its impact on the other members of the study group makes the episode infinitely more interesting and hilarious.  I can't decide what I loved best-- Britta's proving to be a wedding planning savant despite her opposition to marriage, Jeff's inability to compose a simple wedding toast, or Troy and Abed's epic attempts to "normal" themselves up in time for the ceremony.  Scratch that, I'm pretty sure it was Troy and Abed.  It's always Troy and Abed-- last night only served to remind me that they are probably the best part of this show on any given week.

That said, the other players bring their absurdest A-game to the table.  Annie predictably freaks out over being in the mere presence of a wedding, armed with the cliched wedding scrapbook and a sudden radar for anyone who might want her help with planning the nuptials.  Pierce is delightfully minimal/sidelined in this episode, working to start a sandwich business with Shirley (they are unfortunately preempted by a new Subway franchise), and using the endeavor as a final "screw you" to his departed father. 

Jeff and Britta's combined jadedness and sometimes obnoxious displays of "non-conformity"sometimes fall on the wrong side of pretentious or overplayed, but I liked the idea they went with last night.  The two of them almost inadvertently getting married in an attempt to prove it's a sham (or, in Britta's case, that becoming a wife is inevitable) is a hilarious and weirdly almost logical next step for them, though I am glad Shirley and Andre were able to put a stop to the madness.

On the whole I liked this episode.  Not the season's best or worst, but it offered a true sampling of what makes this show so great.  I've read only good things (and lots of hype) about what the folks over at Community have on tap for the rest of season 3, and I can't wait to see if it lives up to the chatter.

Oh, and I still wish we'd gotten to see more of Troy and Abed's adventures inside the Dreamatorium.

Movie Review: Friends with Kids

Given the sheer volume of romantic comedies rolling out of film studios year after year, crafting an original story that is equal parts genuinely funny and honestly moving is a necessary aspiration for any screenwriter.  Jennifer Westfeldt (who already has my respect for taking on writing, directing, AND starring reins for this film) sought to meet that challenge, and she manages to come very, very close.

Friends with Kids is a film about a novel concept, two friends who decide to have the child they both want without all of the romantic nonsense (not to mention the considerable loss of sparks they've witnessed between their married friends), splitting all of the parenting duties right down the middle.  It's an idea that, twenty years ago, would have been unheard of, much less celebrated on film, and ordinarily I'd give Westfeldt serious props for that.  However, the film is just a little too self-congratulatory in terms of its originality, and there are moments when it seems the script compensates for imperfections by simply throwing back to the premise ("hey, remember how crazy the idea of two friends having a kid is?").  As a viewer I could see the places where the writing, trying its utmost to not fall into predictability, veered a little too far into awkwardness and stilted exchanges instead. 

An issue that seems to go hand in hand with this forced notion of originality is the flawed pacing of the film.  Friends with Kids front loads a lot of information and introductions right off the bat, and the first twenty minutes or so feel almost rushed.  And yet later there are moments that drag, moments that had me glancing at my watch (never a good sign) and wondering if we were going to reach the film's conclusion any time soon.  There is no single big chunk or subplot that I would necessarily cut (and maybe that is part of the problem, the front loaded exposition makes a lot of information feel critical), it's more a matter of scenes that go on just a few minutes too long, or exchanges that are drawn out just a bit longer than they need to be.  The film's ending is especially problematic, as after a very dragged out thread of Westfeldt's character being in unrequited love with Adam Scott's character, the relationship is resolved in one of the most abrupt, awkward exchanges I've ever seen, one that leaves you wondering whether it's been too long coming or has happened too fast (it's somehow a strange mix of both).

I realize that given all of this it might sound like I didn't enjoy this film, which isn't true.  As a writer and an amateur studier of screenwriting, I can't watch a film without looking for these flaws, wondering where the story might be tightened or tweaked.  As a moviegoer, though, I left the theater satisfied (and more importantly, completely okay with the $11 I paid to see the film).  What really helps the flaws in the script fly under the radar of most viewers is the performances.  This movie utilizes the notion of an "all-star cast" in a really interesting way.  Scott and Westfeldt, both talented but grievously under-recognized performers, take the lead roles, while superstars like Jon Hamm, Maya Rudolph, and Kristen Wiig fill in the friend circle as background players.  This might sound like a poor casting decision on paper, but what it does is really allow the two leads (and especially Adam Scott) to really shine while providing a strong cushion of support.  Rudolph's uneven marriage with Bridesmaids' Chris O'Dowd was a surprisingly pleasant highlight, especially in scenes where the other characters' relationships were proving far more tense (Hamm and Wiig are fantastic as the couple who slowly grow to hate each other).  Talking about Adam Scott for just a minute more (and hey, we all know I could spend days extolling his virtues as an actor), I think the real feat he accomplishes here is the sympathy he pour into an otherwise flat, asshole character.  I hate Jason--he's a pig, he's astoundingly self-absorbed, and I can't stand when a guy calls a girl "doll" not just constantly, but in complete seriousness.  However, something in what Scott is doing here really does convey a tiny glimmer of goodness underneath all of that, one that doesn't feel forced.

On the whole, this movie sets itself apart by emphasizing the comedy in romantic comedy.  Rather than go for the typical slapstick stuff that might earn a halfhearted laugh, Westfeldt gives us the kind of raunchy humor that, mainly due to films like Bridesmaids, has become acceptable again, especially when paired with a moving story.  Friends with Kids might not be the best rom-com out there, but it is impressive in its pushing to the fringes of what this genre can be, something this generation of moviegoers sorely needs and is (contrary to popular opinion) smart enough to appreciate.

TV Review: Parks and Recreation Double Dose

As you might have noticed, I failed to review last week's episode, "Campaign Shake-Up."  I took a bit of a hiatus from writing entries last week due to some personal things, but I think I lucked out when it comes to Parks and Recreation, because last week's episode and this week's installment, "Lucky," seem in many ways to kind of go hand in hand.  Ergo I will attempt to compile some coherent and insightful thoughts on both of them.

First, talk about phenomenal guest stars, amIright? Last week we had Kathryn Hahn as Bobby Newport's conniving campaign manager who is very much only in it for the money.  She was the perfect villain and a great counterpart to Bobby's cluelessness (which we were treated to a few weeks ago, and will see again before season's end), making you love to hate or hate to love her in every scene.  When even Leslie Knope can't really decide about a person, you know that person is probably complicated and definitely dangerous.  Then this week saw Sean Hayes' appearance as Buddy Wood, the "Matt Lauer of Indianapolis" (at least, that's how showrunner Mike Schur describes him), a Pawnee-hating wannabe superstar who I wish we'd have seen a bit more of.  Hayes didn't get quite as much time to really get into his stride in the role, overshadowed by Amy Poehler's always hilarious drunk-Leslie antics, but then his character had a very small purpose to serve anyway.

As I've mentioned, these episodes felt like two that really complement each other, both giving us snapshots of moments in Leslie's campaign and both providing us with quickly dismissed (perhaps too quickly, in Hahn's case) human obstacles standing in the way of our favorite Parks lady's ascent to power.  I think the chief reason these two installments seem attached to each other is due to the lack of resolution in "Campaign Shake-Up."  The end saw Ben and Leslie reflecting on this newly established complication, but it had been by no means eliminated by episode's end.  Maybe that's what made "Lucky" just a little disappointing as a stand-alone:  by wrapping up the interview debacle neatly at the end, it was almost as though it had never happened at all.  I would have much rather seen either greater consequences as a result of Leslie's disastrous interview, or else another week devoted to the campaign crunch and the rise of Leslie's opponents (I think this might all have had something to do with the availability of Hahn and or Paul Rudd, who portrays Bobby Newport).  This week marks, as other reviewers have noted, the first occasion on which Leslie's campaign feels just a little too dragged out.  I know they're hoping to give us an exciting finale come May 10th (intel from PaleyFest is that both a Leslie victory and a Leslie loss have been shot and only a handful of people know which will be used), but in the mean time it might behoove them to distract us with a B-plot that isn't totally disposable, as they have been the past few weeks.

Speaking of B-plots, I really loved this week's with Ron, April, and Andy (oh, and Chris I guess).  Nick Offerman wrote this episode, and one thing I loved about this part of it was the numerous self-referential moments, little nods to details we've learned about the characters in previous episodes (especially Ron,which I suppose is understandable given that Offerman plays him).  I love that we got to see the conclusion of Andy's foray into higher education (although I'd love to see him continue on and very slowly earn a degree in women's studies), and that we got to see a woman choose Ron over Chris (that must have been fun to write). 

Overall, I think I was just hoping for a stronger episode leading into hiatus, where we'll be sadly Parks free for five weeks.  Of course, the show's writers didn't know at the time that NBC would once again mindlessly shuffle its Thursday night lineup (yet another sign The Office should be preparing its swan song, but that's another story), so they couldn't plan accordingly with some kind of cliffhanger or major development.  The good news is that when Parks does return in late April we will be treated to an episode written and directed by Amy Poehler and (as if that weren't enough) featuring a fierce debate between all of the candidates running for this much-coveted City Council seat.  By the time I'm writing my next review we'll be edging toward May sweeps, and I for one am hoping this show has a few more tricks up its sleeve than just the mystery of whether Leslie will win or lose.

TV Review: How I Met Your Mother-- Karma

This episode is the kind of installment I watch every week holding out for, an episode that reminds us all why we loved this show in its early days, and why we've stuck with it for so long.  "Karma" may not have been epic, per se, at least not in the way we spoiled TV viewers have come to expect, but it was a solid half-hour of storytelling, and it tugged at the heartstrings while simultaneously supplying laughs, which is what any HIMYM episode worth its salt manages to do seemingly without effort.

First we addressed the whole "Barney's in love with a stripper" plot line, which is shaping up to be a lot more interesting than trite.  I think after 6 seasons and change of watching Barney deceive woman after woman, it'll be a while before I grow tired of seeing one turn the tables on him for a change.  I also think I might really like Quinn as a match for our Mr. Stinson following this episode, though I'm going to need a few more appearances before I can decide if I want to see her revealed as the bride in the flashforward we've been promised at season's end.

On the other front we had Robin's adventures in the suburbs with Marshall and Lily, as well as Ted struggling with various (disastrous) hobbies as he tried to fill the literal and figurative space left behind by his ex-roommate Robin.  My expectations being mediocre as they were, I assumed both of these would be throwaway stories used as backdrop to Barney's story this week, but in a surprise twist these two plots managed to not only twine themselves together, they provided the dose of forward momentum this show has been sorely in need of over the past few months.  Robin passed on to Ted her discovery that Marshall and Lily were not enjoying life in Long Island nearly as much as they pretended; and Ted realized that the solution to everyone's predicament was a big gesture, (thankfully) a non-romantic one this time.  Turns out he never took Marshall & Lily's names off of the lease for their apartment, and he decides to remove his own so that they can move back to the city, and even decorates Robin's room for the new baby to live in instead.  Cute, right?  Everybody wins, except Ted because he's apparently homeless, and we all know how hard it is to find apartments in NYC.

Additional thoughts:  I feel like, if Karma was using that "let's go on a date" trick with all of her customers, she would have had a host of complaints by now, and maybe even an actual manager who disliked her.  Then again, it's not like I know anything about how strip club politics work.  Also (and on a completely different note), shouldn't Ted be like, at least a little bit better at building things?  I don't think I'd trust an architect who can't even get a table right (though I did enjoy his efforts at pottery).

Overall, this episode was a peak in a season of drastic ups and downs.  At this point there's really no predicting what next week will bring.

TV Review: Parks and Recreation 4.16-- Sweet Sixteen

I have to say, in a string of very strong recent episodes, "Sweet Sixteen" didn't quite meet my admittedly high expectations for this show.  This might be at least partially because the plot centered so heavily on Jerry (who we all know is as mediocre as they come); that said, the episode is still solid and funnier than most of what TV had to offer this week, it just could have been better.

We find out this week that Jerry's birthday falls on February 29th (Leap Day), which means that it only occurs every four years.  This seems par for the course for Jerry, but in a fit of guilt over neglecting some of her Parks Department duties, Leslie is determined to make it special.  She rallies the entire department (plus Ben and Ann, of course) to throw Jerry a surprise "16th" birthday part (he's turning 64, so it's his 16th Leap Day) at Donna's luxurious (and secret) lake house.  Of course, because Leslie is twice as frazzled as usual due to splitting her focus between the City Council campaign and managing the Parks Department, the planning for this event results in one disaster after another, the biggest misstep being that she forgets the small detail of actually inviting Jerry to his own surprise party.

Ron can see that Leslie is not going to be able to play both roles at full throttle for long, and nudges her toward taking a leave of absence from the Parks Department in order to focus on winning her campaign.  Leslie refuses, insisting that she can get everything done, but after botching the party for Jerry and spending the day wrangling misprinted campaign posters, she finally relents and agrees to cut her hours at work down to just ten per week.  I'm glad the show addressed this, because even given Leslie's documented ability to only sleep 3 hours per night and her obsession with her job, the notion that she could continue burning the candle at both ends and still stand a chance of winning that City Council seat is a bit unbelievable, even for her.  I also think the show has struggled a bit in the past few weeks trying to decide where its focus would be best placed.  This way they can have a largely even split between Leslie working on her campaign and the goings-on at the Parks Department in her absence, rather than scrambling to incorporate enough of both into a mere 21 minutes.

One thing this episode showcased (likely inadvertently) is the growing problem of Tom and Ann. This story line played second to the Leslie/Jerry/Ron antics, and it was extremely weak by comparison.  I would even say that it was only saved by the brilliance of Aubrey Plaza's April and her increasing frustration in her role as matchmaker-turned-relationship counselor. Now I know I was one of the people defending Ann's choice to go out with Tom and insisting that it's true to her character--and I do stand by that, because I think the writers must have their reasons for thrusting this odd pairing at us for the third consecutive week.  What is becoming hard to comprehend, though, is why either party is continuing to stay in the relationship when any chemistry that seemed palpable before seems to have evaporated.  I appreciate the maturity (particularly on Tom's part) of the decision to stop fighting about "stupid things," but at that point it seemed like there was hardly a fantastic relationship worth saving.  We have yet to see Tom and Ann have a legitimate, sincere moment together (and we all know this show knows how to do sincere moments), and continuing to assume those are happening behind the scenes (if indeed they do exist) is becoming tedious.  I need the show to illustrate why it's okay that Ann broke several of Tom's "oh no nos" and why he wants to stay with her in spite of them having almost nothing in common.

Oh, and there was also a plot about Chris bonding with Champion, Andy's dog, and making Andy feel like a worse pet owner.  I think Chris needs to be given something (or someone) to do, because whenever he is not in a relationship (which we then have to hear all about), he is extremely needy.  Sure, his antics are still funny, but I still feel like he hasn't quite found his place within this band of misfits (unlike Ben, who emerged at the same time and manages to blend right in in a way Chris has yet to manage).  I think as we move to focus more on Leslie's campaign we should accordingly see less of Chris, which might be a relief for characters and viewers alike.

On a much less related note, I think this episode may have rubbed me the wrong way at least in part due to the news that we are soon to be slapped with 5 (five!) Parks-free weeks due to the brain trust over at NBC shuffling the Thursday night lineup yet again to allow Community a return from its own unjust hiatus.  I wanted Parks to air an episode that would prove beyond a shadow of a doubt that it is the best show on Thursday and ought to be the last chosen to walk off the schedule (of course, most us would believe this no matter what).  I just wanted "Sweet Sixteen" to be the episode that really put up a fight and made the execs question their decision, and I'm not convinced that it was.

TV Review: How I Met Your Mother -- No Pressure

While this was an admittedly more tolerable episode than the last few, I still don't think I loved "No Pressure" the way I've loved episodes of How I Met Your Mother in the past.  I'm very, very grateful for the way things resolved themselves, but the path to reach that point was rocky at best.

First let's talk about the opening.  While it did do us the service of reminding us that eventually there is going to be a woman who becomes the mother we've been talking about for so long (at least in theory), it also did one of my least favorite things on this show, which is to illustrate that the current plot line (in this case Ted and Robin and the mystery of where they'll go from here) is an exercise in near-pointlessness.

We next see Ted in the present with Robin, expanding on last week's inexplicable confession of feelings.  Robin is, unsurprisingly, struck dumb by this, but just as Ted convinces himself that his declaration was nothing more than a bout of temporary insanity, Robin shows up at his door with the full intention of getting it on.  Fortunately, (extra emphasis on 'fortunately' for those of us who'd been cringing up to this point), Robin's co-worker shows up with a very convenient departure for their trip to Russia, interrupting what might have been a very big mistake.  This leaves Ted to turn to Marshall and Lily with his dilemma.

One thing I absolutely despise about Ted and Marshall's conversation is that irksome bit where Marshall points out the "signs" we should have seen over the past few months pointing to Ted's renewed interest in Robin.  And while a careful viewer could have just maybe interpreted these nearly-microscopic indicators correctly, it felt more like the writers were talking down to the audience than anything else.  I find it more than a little annoying to be condescended to by a show that has, in many regards, lost its way this season.


Easier for me to swallow is Lily's reaction, because she spends this episode serving as the sole voice of reason (at least until Robin returns to her senses later, but more on that in a moment).  Lily expresses my feelings (and, I'm guessing, more than a few others') about this backtracking perfectly, pointing out that although Ted has not, in fact, found the future Mrs. Mosby yet, he hasn't moved any further into a relationship with Robin, either.  Ted continues to be hardheaded and whiny, however, insisting that Lily is rooting against him because of a bet she and Marshall made concerning the couple in question. 

And because it apparently isn't enough to make me want to throttle Ted, Robin, and Marshall (but just a little bit; he's trying to look out for his BFF after all), we next see Ted thrust the blame for his and Robin's current predicament on Barney, who has a surprising reaction.  He spills the details to Ted about what went down back in the fall (when this season appeared to have a more defined direction for itself...) between him and Robin, and insists that he's not waiting around for her when she doesn't feel the same.  Barney also tells Ted that if he (Ted) can be the one to make Robin happy, then that is all right with him. For me this scene proves that Barney has officially become the superior character, and perhaps the better man.


Fortunately, when Robin returns from Russia she seems to have gained some perspective, and she and Ted finally have a heart to heart conversation (the majority of which we, fortunately, don't have to listen to).  When Ted asks her point-blank if she loves him, she thankfully says no and saves us all from a continuation of this awful, awful story line.  What follows is one of my favorite scenes in recent memory on this show, between Marshall and Robin.  Marshall plays the part of best friend possibly better than he ever has, telling Robin that despite the brave face he might put on, Ted is crushed by this rejection.  He also tells her what she already knows:  if things are ever going to get better for anyone involved, Robin needs to move out of Ted's apartment.

The episode closes not on this conclusive note, but with a scene between Marshall and Lily that left me scratching my head.  When Lily insists that it is now finally time for Marshall to pay up on their bet concerning Ted and Robin's relationship, he stoutly replies, "not yet."  I can't tell now if this is simply Marshall's unwavering optimism, or if it is the writers' attempt (in a very lazy move, if it is the case) to leave the door open just a crack should they want to (heaven forbid) revisit this plot again in the future.  As for me, I'm hoping for the former.

TV Review: Parks and Recreation 4.15-- Dave Returns

Okay, let's just throw this out there first:  I would willingly watch an entire episode/several episodes featuring Ben's inability to act like a human around cops.  I love Adam Scott so much anyway, but moments where he gets to play impossibly awkward are my absolute favorite.  I also feel a sense of kinship with this character facet, because I too am irrationally afraid of police officers (they have guns, guys!).

But setting that aside for the moment, this episode's focus is on Leslie attempting to secure the endorsement of Pawnee's police chief.  This is complicated by the return of her ex-boyfriend (also a cop), Dave, played by none other than the hilarious Louis CK.  Naturally, an intensely awkward three-person dinner ensues.

Meanwhile, Andy is at his most enthusiastic as he tries to organize the team to record "Catch Your Dream," the official theme song for Leslie's campaign.  There are several pieces moving at once during these scenes, including Chris' unfortunate lack of any musical talent, Ron's desperation to avoid being identified as his alter ego Duke Silver, and of course, Tom's continued attempts to woo Ann (more on that in a minute).

I think one of the best things in the dinner scene and the hijinks that follow is Leslie's clear influence on Ben.  When we first met Ben Wyatt his first instinct was to judge the people of Pawnee, openly casting them as "weirdos" and the like.  Now, however, he is willing to give Dave the benefit of the doubt to an almost foolish extent, because he trusts Leslie as a judge of character so much.  Unfortunately, this renewed naivete results in his being handcuffed to a urinal so that Dave can try to run away with Leslie.  Moral of the story:  sometimes it pays to be a little critical, especially when it comes to your girlfriend's ex.

And now I'd like you to bear with me while I express some (expansive) thoughts on the recent arc concerning Tom and Ann.  I’ve been reading a lot of negative thoughts on this episode because people don’t like the way the Tom and Ann story played out.  I am ambivalent about it (I want to see one more episode featuring the two of them & their dynamic before really passing judgment), but I’ll say this.

Everyone is complaining about Ann letting herself be “worn down” by Tom, and saying that she can do better and blah, blah, blah.  And hey, I love Ann, and she probably can do better, but the thing is (and her history on the show illustrates this) I don’t think Ann thinks that Ann can do better.

Look at her relationships on the show:  when we met her she was with Andy who, let’s face it, was kind of a huge tool in Season 1.  We found out they’d been dating and living together for a long time, and it was very clear that Ann was letting herself be walked all over.  Arguably her healthiest relationship on the show was with Mark, because she was the superior one in that relationship (having the experience of having dated someone long term), but she eventually got bored with that because Mark didn’t test her patience or push her buttons, and even then it took her ages to end things with him.  Then she dated Chris, who I might remind everyone also had to work hard to wear her down.  He was very self-absorbed, especially as their relationship progressed, yet Ann put up with it because she liked the idea that such a nice, cute guy wanted to be with her (she also may have been influenced by the huge increase in vitamins and supplements in her regiment).  When she broke up with Chris we saw her at the height of her insecurity, bouncing from sub-par guy to sub-par guy while her self-esteem continued to plummet.

This season we’ve seen an Ann who has been throwing herself into helping Leslie’s campaign and her work with the Health Department likely because she was trying to downplay or ignore the failures in her romantic life.  When Leslie and the gang threw Ann’s single-ness into sharp relief in last week’s Valentine’s episode, Ann was the most vulnerable we’ve seen her in a long time.  Of course the attentions of someone like Tom who, annoying as he is, has repeatedly told Ann that she’s beautiful and kind (which is probably exactly what she wants to hear right now, even if she won’t admit it/doesn’t fully realize it); are going to be flattering on some level.  I think the writers are to be applauded for giving Ann even the small amount of power in the relationship that she has— if this were Grey’s Anatomy or some similarly dramatic show, Ann would’ve already slept with Tom to try to up her confidence; her saying yes to a date with him is not the anti-feminist throwing in of the towel that some viewers have made it out to be.

I also think it’s not inaccurate to say that Ann likes a project in her relationships.  She thought she could push Andy toward being an adult (and was subsequently disappointed when he began to mature after their relationship had ended), and she was able to try and mold Mark into the boyfriend she thought she wanted, so maybe she thinks she can do the same with Tom.  You could see the little flicker of hope on her face when Tom said he wanted to cut the crap and be straight with her (before he started singing, of course); there is clearly a part of Ann that sees through Tom’s nonsense and still (maybe naively) believes that she can sort of train him to act normal, without losing the parts of his attentions that make her feel good about herself.

I think that's enough out of me, yes?