In advance of the Survivor: Cagayan premiere tonight (how does the time move so fast?) we wanted to go back and right a wrong, at least partially, and belatedly offer some selected Blood vs. Water look-alikes. We’ll hopefully stay on point with Cagayan blog posts (as opposed to last season’s blackout, which we apologize for), so full look-alikes and player odds for that season should hopefully arrive in a few weeks. But before we look forward, let’s quickly look back.
Tag Archives: Amy Poehler
Q: When is a sitdown a standup?
A: When Seth Meyers premieres as host of Late Night and takes his act out from behind the “Weekend Update” desk and moves it to center stage.
It was a much less of an auspicious debut for Late Night with Seth Meyers than Jimmy Fallon’s maiden Tonight Show voyage, even with a visit from Vice President “Crazy” Joe Biden (indeed, maybe the most notable part of the evening came from Amy Poehler, who utilized the opportunity to announce a second season renewal for Comedy Central’s Broad City). However, that it was a low-key evening was not a surprise, it was probably by design. In fact, whereas Jimmy Fallon’s Late Night distinguished itself for being the late night show for millennials, the first one crafted with YouTube and Twitter in mind, this iteration of Late Night might stand out for being something quite the opposite. And if it’s balance that Lorne Michaels’ late night lineup is after, then Meyers’ hour might bring it.
It’s foolhardy to judge the long-term success of a program based off of one show, or the first week of shows, or even the first moth, maybe even the first year. Conan O’Brien famously took some time to adjust, and Meyer’s predecessor Fallon slowly settled into his groove, and even after his promotion he still struggles mightily as an interviewer. So it was both no surprise and no cause for alarm that Meyers’ first outing left much room for improvement. His monologue, something that likewise remains a weak spot in Fallon’s arsenal, felt awkward, unnatural, and Meyers seemed uncomfortable finding his mark on the studio floor instead of behind a newsdesk. Indeed, leading up the premiere, we wondered if Meyers should dispense with the traditional stand-up monologue all together and just do it all from the desk, Daily Show style. However, after seeing what we feel is a beautiful, vibrant studio with distinctive sliding doors in place of curtains, we’re rethinking that sentiment; the setting is right, it’s just the style, subject and delivery that needs some work. More topical, pop-culture and current event setups, less obscure, strange-but-true stories. Similarly, his first desk piece, “Venn Diagrams,” had promise, but quickly lost momentum, and had little to separate itself from a Buzzfeed slideshow. We applaud the concept, but it needs more. Or less, like some cheap, low-concept Late Show segments. But, unfortunately, it was caught between a throwaway sight gag and entertaining, clever wordplay. What it maybe missed most was more of Meyers himself.
Which is where the show might need to go to find its sweet-spot. Meyers’ strength, as opposed to Fallon, is interviewing, is engaging with his guests in a way that’s neither fanboy nor sycophant. It was for precisely that skill that he was considered as a replacement for Regis Philbin on Live!, and it’s that ability he needs to exploit, even if, in the current talk show landscape, traditional interviewing is something that seems to be reserved for Charlie Rose. Perhaps, then, it is not any of Meyers’ Late Night forebears that he should strive to emulate, but Tom Snyder, whose Tomorrow Show was the precursor to Late Night with David Letterman. While we’re far from suggesting that Meyers dispense with the live audience, only interview one guest per show and take up smoking, emphasizing a more straightforward format – interesting, revealing interviews that allow for both Meyers’ and his guest’s personalities to shine through – might make the most sense, might allow Late Night with Seth Meyers to find its own voice. In fact, the new Late Night set itself – a sparse, almost teacher-like desk, and 70s style chairs instead of a plush couch – evokes the feeling of The Dick Cavett Show, another early talker that stressed insightful interviews over bits and punchlines. If Jimmy Fallon is the cutting-edge, high-energy, internet-savvy model at 11:30pm, then Meyers can be the more relaxed, subtler throwback at 12:30pm. He might need to go back, if he wants to stay late.
And, if Meyers focuses on those things, then he can leave the fun stuff to Fred Armisen.
Three weeks ago sources revealed that Rashida Jones and Rob Lowe would be leaving Parks and Recreation midway through its upcoming sixth season. News about the impending departure of unlucky in love Ann Perkins and perfectionist City Manager Chris Traeger was expectedly met with some sadness and disappointment by devoted Parks and Rec fans. The cast of the NBC comedy has developed into one of the strongest ensembles on television, and, with the exit of The Office and 30 Rock last season, Parks and Rec is poised to be NBC’s number one workplace comedy, with the citizens of Pawnee providing the most colorful and entertaining array of recurring characters and bit parts this side of Greendale Community College. Losing two main cast members is a bit of surprise, a curious altering of a formula that seemed to be working so well. But here’s the thing: we actual welcome the change, as it will solve the show’s most glaring problem, a significant flaw that has existed since episode one: what do you do with a problem like Rashida?
Much was made last week about the departure of Saturday Night Live stalwart Bill Hader, and still more was made when word broke just before (or, perhaps, during) last Saturday night’s show that longtime cast member Fred Armisen would be joining Hader in exiting Studio 8H. Add to that the speculation that Jason Sudeikis is a part of the exodus – only a year after show centerpiece Kristen Wiig left the show – and we seem to have a full-fledged panic. Hader, Armisen and Sudeikis – who accrued twenty-eight seasons of combined service on the show – will certainly leave a gaping hole, having portrayed such vital characters as President Obama, Vice President Biden, James Carville, David Patterson, the Devil, and, of course, Stefon. How could the show possibly survive such a great loss of talent, three of their leading men, a trio of go-tos. Losing one, sure, it happens. But all three, plus the farewell of Head Writer Seth Meyers at mid-season? Won’t that just be the end of SNL?
No, no it won’t. Despite some histrionics that seem to point to the opposite sentiment, the show will persist just fine. In fact, this is the circle of life for Saturday Night Live (it’s just Saturday Night Life?). Granted, if Sudeikis does, in fact, join Hader and Armisen, then you would have a more severe than normal bloodletting, but it’s not a lethal loss. The show has always and will always subsist on the infusion of new, exciting, eager talent. This season SNL was without Kristen Wiig, who seemed to have shouldered the load for so many seasons (to the show’s detriment, in our opinion) and it went on unencumbered in her absence, bolstered by noteworthy performances by newcomers Kate McKinnon and Cecily Strong, two fantastic young talents who might have not had the chance to breakout if Wiig was still around. And the show has weathered the loss of every great star during its history, with someone waiting in the wings to step up. Chevy Chase leaves after the inaugural season and Bill Murray gets the call. Farley and Sandler leave and we get Will Ferrell. Ferrell leaves but Armisen and Will Forte join the show and Amy Poehler receives more screen time. Every time SNL closes a door it opens a window, a window cracked just wide enough for a talented young sketch comedian to crawl.
And it will be the same with this loss, which should better be classified as a transition than a remaking; it’s certainly nothing as a dramatic as the turnover before Ferrell’s first season. Bobby Moynihan, who had a stellar season with his “Weekend Update” appearances as Drunk Uncle and Anthony Crispino, has already been doing much of the heavy lifting, appearing in cold opens, monologues, parodies, and Update visits, performing as straight man as well as Guy Fieri. He’s certainly more than capable of being the show’s anchor in his sixth season. Likewise of Taran Killam, whose squared-jaw good looks and Baryshnikovian dance moves make him possibly the show’s most valuable not-yet-ready-for-prime-time-player, and who is due for his breakout season. Then you have Kenan Thompson, who has only improved with age, as he shook off his All That trappings and grew into a reliable SNL presence, and Tim Robinson, who had a strong, confident debut season, and Jay Pharoah, who is an incredible mimic but still looking to find his groove, despite getting the nod to play Obama this season. Not to mention the fresh new talent they might recruit to replace the departing cast members. And add to that the terrific female players that we already discussed, and you have a dynamic, hungry, inspired cast ready to make their mark and define their era on SNL. If the show is guilty of anything over its last 38 seasons, it’s of being lazy, relying on the old standbys. With the old guard on its way out, SNL just might not have that luxury next season, and we might be better off for it.
Yes, we had to say goodbye to Stefon, and that was very, very sad. But Stefon had to move on, and so do we. Because there’s another Stefon out there. There always is. We just don’t know him yet.
If you’re having a bad week here’s just a little reminder that the the worst is over. Just hang on a couple more days and TGIF!
The plot keeps thickening with the NBC late night situation, and it continued today with the buzz that Lorne Michaels would like to anoint current “Weekend Update” anchor Seth Meyers as successor to Jimmy Fallon on Late Night, just as Meyers followed Fallon behind the Update desk (albeit, with Tina Fey and Amy Poehler in the interregnum). However, we think, in this case, Lorne might be making a poor decision.
With sources reporting that Jimmy Fallon will take over The Tonight Show in 2014 it’s only natural to start speculating who will replace him at 12:35am. And, similarly, it’s only natural to start speculating who Lorne Michaels will nominate for that position, as the show is produced his Broadway Video and it was he who plucked Conan O’Brien out of relative obscurity to launch the program in 1993 and who rescued Fallon from near-irrelevance to grab the reins in 2009. So whomever the next tenant of Studio 6B is will probably be chosen by Michaels and will likely come out of his comedy stable. However, while Meyers fits that bill, a longtime writer and cast member on SNL, he might be the wrong guy at the wrong time. He’s just too much in the Fallon mold, and the show would be wise to move in another direction.
Well, if you still needed something to wash out the taste of misogyny and disrespect towards women after the Oscars, then a trio of announcements concerning female-centric projects might just finally cleanse your palate. Basically, it’s Ladies Night and all the girls drink for free. To wit:
1. Comedy Central has, very wisely, picked up a ten-episode order of Broad City, a comedy based on the web series of the same name created by and starring the brilliant Ilana Glazer and Abbi Jacobson (full disclosure: they are close personal friends and two beautiful, strong, hilarious, independent women). Loosely based on their own lives, it’s the anti-Sex and the City that Girls** isn’t. Here is the Season 2 finale, a love letter to NYC that features Amy Poehler, who is executive producing the series (and is another beautiful, strong, hilarious, independent woman):
We’re unveiling a new feature on this blog today: Jumped the Snark Shorties, very brief thoughts and commentary on various topics and issues. Could be a follow-up to a previous post, an ad-hoc op-ed, or a random non-sequtiur. Opinions that are too short and partially formed to necessitate a full-length analysis, but too long for a tweet. Today we revisit our post from last week, our response to response to the Oscars and the outrage fired towards Seth MacFarlane.
With all the bitter criticism and outcry following Seth MacFarlane’s Academy Awards hosting turn, it’s only natural to wonder who will take the stage next year. Likewise, it’s safe to assume that the Producers will be walking on glass with their next selection, aiming to pull in a host that can pull in the laughs (and ratings) while omitting the more the more offensive elements, effectively compensating for this year’s (alleged) disaster.
Our prediction: Sandra Bullock & Melissa McCarthy
Why? Coming off the upcoming The Heat these will be two very bankable, very likable, very current commodities. And, unlike Tina Fey and Amy Poehler, these are movie stars, and, perhaps more importantly, actresses more than comedians. Their comedic reputation and integrity won’t be at risk; they’ll be more likely to be tame, to be good soldiers, and more amenable to it than the former SNL standouts, neither of whom, it should be noted, have yet to truly break out on the big screen.
But Jumped the Snark, won’t the “Body Cops” be all over that with Melissa McCarthy’s size?
No, the Body Cops themselves are handcuffed after this year’s show, nobody would dare say anything remotely misogynistic or negative towards women; it would instead be a celebration of the fairer sex, in all their shapes and forms. And, privately, the producers would feel comfortable tapping an overweight woman because they paired her with a thin, classic beauty, and they’ll pat themselves on the back for being so progressive.
Follow-up question: Is it a requirement that a human hosts the Oscars? I feel like everyone would approve of Kermit the Frog.
While we would, of course, love a Muppet up there on that stage, but our understand is that non-humans can present, but not host. It’s like how non-native citizens can be Governor, but not President. And now that we say that we do like the sound of “Governor Kermit.” We’ve certainly done worse.
This week we’re checking in on NBC’s Thursday night comedies as they finish their respective seasons. Today: ‘Parks and Recreation.’
Perhaps the greatest compliment you can offer Parks and Recreation is that it’s no longer referred to as the quasi-Office spin-off (ignore the fact that we just did that in the first sentence). We’re now multiple seasons into an excellent run where Parks and Recreation has cast off the chains of its origins, found its own voice, become its own show, and surpassed its progenitor by all metrics save for Neislen ratings. We still maintain that Community is the best show of the night, but Parks and Rec has not been behind by much, outpacing The Office during its second season.
At the end of Parks and Rec‘s brief, unimpressive first season, we laid out a plan for how the show could not only improve but excel, and we revisited this primer just prior to the start of the show’s brilliant third season. We also presented three more key points as the show moved forward and they were as follows: