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. 

Emmys 2012: Who Should (and Who Will) Get a Nod

It's nearly that time again, that time when I will inevitably be disappointed by the disparity between who I fervently believe ought to be recognized for their work on television, and who will actually be nominated come July 19th.  Thus I've compiled a list of predictions here, to be taken with a heavy grain of salt (most of them are just who I'm personally pulling for after a season spent studying television avidly), of some of the individuals who likely will receive a nomination, and those who are already (and will sadly only ever be) winners in my mind.

Best Supporting Actress, Drama:

Maisie Williams, Game of Thrones
Now I know people aren't going to take me seriously on this one (despite the fact that the execs at HBO themselves submitted Williams for consideration), but I am absolutely convinced that this girl deserves some recognition.  Her scenes with Charles Dance in particular were extremely impressive, and for me definitely improved a couple of episodes that were otherwise just a little lackluster.  I don't think she's ready/has enough of a presence on the show just yet to merit a win (I'm pretty sure Christina Hendricks is the actress to beat in this category this year), but a nomination would be huge for the show and for Williams.  And no, I'm definitely not biased because she portrays my favorite character in the entire series.

Christina Hendricks, Mad Men
I'm not nearly caught on up Mad Men yet, but the buzz surrounding Hendricks and her performances during the series' long-awaited fifth season are almost impossible to avoid.  I love the character of Joan, and from what I can tell she's come a long way since we met her five years ago.  Hendricks certainly deserves a win, even if she's not my personal favorite of the bunch.

Jessica Capshaw, Grey's Anatomy 
Another one I feel some people might scoff at, given the somewhat depleted reputation Grey's has had in the past couple of years.  However, as someone who loyally watched every week this season and tracked the many, many goings-on at Seattle Grace with renewed enthusiasm, I would like to honestly endorse Ms. Jessica Capshaw, who plays Dr. Arizona Robbins on the show.  I know a lot of people would like to see Sandra Oh recognized for her work this season (and I acknowledge she did have quite the dramatic arc), I think what Capshaw did with her character's admittedly diminished screen time was much more subtle and at least equally, if not more, impressive.

Maggie Smith, Downton Abbey 
I think Smith is a shoe-in for a nomination again this year, because her character has emerged as the representative icon for this show as it has exploded in popularity.  Sure, some of the Dowager Countess' zingers lacked a little of their season one sting, but we got to see a different side of her during some of the more dramatic scenes during this past season.  That, and Maggie Smith is a gosh-darn living legend, people.  



Best Supporting Actor, Drama:

Peter Dinklage, Game of Thrones
Can you tell yet that Game of Thrones is pretty much the only drama I watch regularly?  Well, that and Downton Abbey, but I think the second season of the former did a better job avoiding the sophomore slump than the latter.  Peter Dinklage will definitely be nominated-- his character and the actor himself are fan favorites-- but whether he'll win is still up for debate.



Best Supporting Actress, Comedy:
I think it speaks to how wonderful some of the comedic ensembles on TV are right now that I can think of many more candidates for the Supporting categories than the Lead ones.  The six women here (and the six men in the next section) are the result of narrowing down an even lengthier list of deserving candidates.

Aubrey Plaza, Parks and Recreation
Plaza continued to do something amazing during Parks' fourth season:  slowly growing a heart in the once-empty chest of one April Ludgate while continuing to be snarky and hilarious to boot.   Her arc this season had her growing up alongside her husband Andy, from tackling an ambitious bucket list to auditing college courses to making steps (baby steps, sure, but steps nonetheless) toward actual careers and adulthood.  She also surprised just about everyone by turning out to be the most logical stand-in for Leslie at the Parks Department during the latter's campaign.  She did set up Tom and Ann, who quickly became one of the more tedious couples on television, but I think we can forgive her that one.

Eliza Coupe, Happy Endings
She plays the neurotic, sometimes too-serious Jane to absolute perfection every week.  Coupe is an example of someone who knows her character so well you get the sense she could play the part in her sleep.  She also adds a different nuance to the show's humor, with most of her co-stars relying on more goofy humor in contrast to her snark. This is a show that is gaining more and more momentum with each episode, and it's about time it (and its performers) started gaining the recognition they deserve.  I'd love to see that start with Eliza Coupe.

Kristen Wiig, Saturday Night Live
This season on SNL was basically The Kristen Wiig Show, featuring Some Other People.  And hey, she's earned it.  Wiig has been honing her craft and only getting funnier since she started on the show, inventing dozens of hilarious and memorable characters and helping to bring the show back from a bit of a slump.  I would honestly love to see Wiig honored for her last year on the show, and I think a lot of other people would, too.

Julie Bowen, Modern Family
 I'm including her in here not because Modern Family's third season was really awards-worthy, but because Bowen and her on-screen counterpart, Ty Burrell, continue to be consistently funny even in the face of lackluster writing and beaten-to-death jokes.  That, and she'll almost definitely be nominated, and I don't want people thinking I guessed wrong.

Maya Rudolph, Up All Night
Her crazy talk show host Ava provided some often much-needed wackiness to the plight of the Brinkleys during the show's freshman season.  I'm not expecting a win (I'm not even realistically expecting a nomination), but Rudolph would be my pick to round out this category, and I'd like to see the show get a nod to recognize the things it has done well so far.

Cobie Smulders, How I Met Your Mother 
Normally things get complicated when the Emmys try to honor someone for their more dramatic work in the comedy category; however, it is not unprecedented.  And Smulders did some fantastic work with Robin's personal arc this season, carrying the action during several episodes that were a bit less than the show's gold standard.


Best Supporting Actor, Comedy:

Nick Offerman, Parks and Recreation
 Not giving this man the win in this category would be an outrage.  Not giving him a nomination would be a crime, for which I would expect the Emmy voters to be arrested immediately.  Offerman keeps Ron Swanson dimensional, intriguing, and hilarious episode after episode, and after four seasons has not disappointed yet.  Also, Offerman is one half of the team presenting the nominations on July 19th, so it'd be kind of an additional bummer for him to have to stand there while he goes unrecognized in his category yet again.

Danny Pudi, Community
Let's be honest here.  Abed was the true star of Community's third season.  He carried many of the major plots, and played a character who was equal parts multi-faceted and dramatic as well as hilarious in his own, hyper observant way.  Pudi deserves a nomination at the very least; it would be a damn shame to let an episode like "Virtual Systems Analysis" go to waste.

Chris Pratt, Parks and Recreation
Pratt's Andy is consistently funny, every single episode, and he owes that less to his cemented status as the resident lovable dummy than to Chris Pratt's impeccable timing and instincts.  He is that rare performer who I absolutely believe is capable of taking material that lies flat on the page and taking to a whole new and unexpected level.  I'd love to see all the men (and ladies) of Parks up for nominations, but I'll settle for at least this guy.

Aziz Ansari, Parks and Recreation
Again, consistently funny, and Ansari was given a bit more to work with this season with Tom's Entertainment 720 story line (we can just ignore the Tom/Ann arc, right?).  I think Aziz is repeatedly underestimated and undervalued, and that he deserves a shot at this prize at least as much as any of the increasingly boring dudes over on Modern Family.

Rainn Wilson, The Office
Wilson deserves a medal for carrying The Office this season.  It seemed the show could not go on without Michael Scott (and in many ways, it has failed to do so), and even fan favorites Jim, Pam, and Andy seemed to fall flat in season 8.  But it was Dwight--crazier than ever, always power-hungry Dwight--who continued to strive for hilarity every damn time.  Give him the recognition he deserves for accomplishing a seemingly impossible feat.

Ty Burrell, Modern Family
Burrell will be nominated, and he's the only Modern Family cast member I feel has actually earned it again.  He continues to combine his awkward humor with some genuine emotional moments in a way that is just downright pleasing to watch.


Best Actress, Comedy:

Amy Poehler, Parks and Recreation
If Amy Poehler doesn't walk away with this award this year there is just no justice in the world.  This was the year she took a character (Leslie Knope) whom most people found annoying at best when the series premiered, and brought her to an unexpected and absolutely delightful moment of triumph and likeability.  That's on top of her never-wavering ability to be both the most sincere character on television as well as one of the most hilarious.

Lena Dunham, Girls
Dunham will get a nomination, as the Emmy voters are perennially in love with quirky new shows as well as pretty much anything to air on HBO.  Throw in the fact that Judd Apatow has a producer credit, and they'll be queuing up to hand awards to the girls of Girls (see what I did there?).  I'm perfectly okay with Dunham being nominated, but there is no universe (and I think she'd agree) in which she deserves this award over Amy Poehler.

Zooey Deschanel, New Girl
 Ugh.  Much as I'd like to hope people are over Deschanel and Jess Day, I'm sure they aren't.  I'm sure she'll be nominated, but again, Poehler is the one to top here.

Tina Fey, 30 Rock
Another likely lock for a nomination, but 30 Rock's sixth season just didn't measure up to its predecessors.  I think Fey is also the co-nominee most likely to be outraged alongside me if Amy Poehler doesn't win.

...Is it clear yet who I'm rooting for here?  I basically watch the Emmys to see if they finally validate Poehler and Parks.  I hope this is the year I'm finally not disappointed.

Best Actor, Comedy:

Joel McHale, Community
I think this nomination would please me just because McHale probably takes himself the least seriously as an actor out of everyone in the field.  He really has grown as a performer and as a character on Community, though, and it shows throughout season three.  I would also love to hear his acceptance speech.

Adam Scott, Parks and Recreation
Oh Ben Wyatt, do you even understand how many women out there adore you?  That alone would be reason enough for Scott to deserve a nomination.  But romance aside, Ben had a lot of wonderfully witty, genuine moments of his own this season on Parks, which is why the powers that be likely saw fit to submit him for consideration as a Lead Actor.  I will definitely be rooting for him come Emmy night.




Best Drama:

Game of Thrones
I just love this show so much, and I would love for it to unseat a favorite like Homeland or Mad Men.  Let's show the world (or at least, the fraction of the world who pay attention to the Emmy awards) that a little show about dragons and magic and kings and kick-ass ladies can beat a navel-gazing drama or a lackluster procedural fair and square.

Downton Abbey
Downton took a big risk moving themselves to this category (they could have dominated in the Mini-Series department), and I'm not entirely sure it will pay off, given the competition.  I'd love to see it creep into the list of nominees, though, and I think it has a decent chance at doing so.

Mad Men
Will be nominated, will probably win.  Will probably surprise no one.


Breaking Bad
Again unsurprising, though a potential contender to unseat Mad Men. 


Best Comedy:

Parks and Recreation
Please, TV gods, please just once give the award to my all-time favorite comedy series.  Please.


Modern Family
The third season was extremely sub-par compared to the previous two, and I think everyone knows it, but doesn't want to admit it because of the show's popularity.  This will win if the Emmy voters continue their unfortunate habit of simply checking the same names year after year.
 
Happy Endings
More people need to be watching (and appreciating) this show.  End of story.  But seriously, this is one of the best ensemble casts on TV, with some of the sharpest writing. Hopefully Emmy voters take notice.


Community
Maybe all the controversy over its near-cancellation, move to Friday nights, and loss of producer Dan Harmon will finally have earned this show the notice it so sorely deserves.
 

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.

Movie Review: Our Idiot Brother

First off, this movie officially wins the award for casting.  There are so many hilarious, hugely underrated people in this film, and the ensemble is what carries an at-times flat plot.  Paul Rudd leads the way as Ned, the idiot brother to whom the title refers, and Zooey Deschanel, Emily Mortimer, and Elizabeth Banks play his neurotic and self-involved sisters, each of whom has her own drama to deal with.  Rashida Jones and Adam Scott make distractingly impressive appearances as Deschanel and Banks' romantic interests, respectively.  Seriously, if the film had focused on those two couples and had Rudd's character as a background player, it would have been an equally good (perhaps even better) film.

I think what I struggled with was the fact that the film does focus so much on Ned, who becomes a bit wearing and repetitive as you watch.  His character doesn't really change or transition, the point of the story is that he more or less stays the same while everyone else kind of comes to realize how much they like him the way he is.  And maybe that's a bit more true to life, but the lack of character development is a little frustrating.

Add to that the fact that a few smaller things are neglected in favor of focusing on Ned.  The first of these is the character of Ned's mother, who despite the drama fest of the three sisters, is the most depressing character in the film.  She just seems sad most of the time, and there are several shots of her drinking alone, though nothing about her or her state of mind is ever referenced.  I'm going to hope this is something that simply got trimmed down during edits and not blatant neglect on the part of the writers.  Additionally, as I've alluded, I was far more interested in the many subplots than in what was actually going on with Ned, to the point where I was anxiously awaiting the moments when they would return to them.  Both Deschanel and Banks' stories felt like they had more aborted conclusions than they deserved, and in favor of an ending for Ned that was somewhat anti-climactic. 

I guess I liked this film less than I thought, at least from a craft standpoint.  It really is very funny, and Ned is interesting to watch before the other stories pick up momentum, and even then it could certainly be worse.  This is a fun movie that will leave you wanting more, and if you're a person who is content with filling in the blanks in your head, then it should be perfectly enjoyable.