Lately I’ve noticed a disturbing trend about myself: I don’t get as excited about things as I used to. Perhaps it’s a merely function of getting older – I just hit the big 3-0 six months ago, after all – or, maybe, all the years of crushing cynicism and relentless snark has finally caught up to me. Passion, perhaps, is the provenance of the young and the unencumbered, and I’m no longer either of the two. For example, it would have shocked the ten-years-younger version of myself, maybe even the 2009 model, to learn that it took me, a devoted Wes Anderson-ophile, two months to see The Grand Budapest Hotel, especially after making a pilgrimage to see The Royal Tenenbaums and The Life Aquatic during their respective opening weekends, and attending a screening of The Darjeeling Limited by myself because I just couldn’t wait any longer, even if that meant sitting alone in a small theater on a Tuesday afternoon. Likewise, I’ve yet to see X-Men: Days of Future Past, and that’s already been out for a whole week and is possibly the X-Men movie that I’ve been praying for these last fourteen years. There are spoilers abound and I run the very real risk of having the movie ruined before I get around to seeing it. It’s a danger I’m well aware of, and one, for some reason, I’m at peace with. Perhaps most egregiously – and this something I’m very much ashamed to admit on this blog – I’ve yet to watch last week’s Survivor finale. Yes, I was out-of-town for two weeks, but I’ve been back for four days already. Really, what good excuse could I possibly have for not immediately marathoning the last three episodes, including the two hour-finale and post-show live cast reunion? Heresy, is it not? Not only am I liable to inadvertently stumble upon the final result at any turn, removing any drama upon viewing, but shouldn’t this be tearing me up inside? It’s Survivor, the subject I’ve perhaps committed more space to on this blog than any other, and, yet, I’ll get to it when I get it to it. Urgency, shockingly, I do not feel. It’s not apathy or indifference – that would be truly alarming – but, rather, caring a bit less, being more patient. It’s an odd, peculiar, somewhat concerning notion to not experience the same sense of pressure, immediacy, and life-or-death importance about these shows and films and bands that I always did. Am I depressed? Should I look into Lexapro? But the change is also freeing in a way. There is a flipside to caring a little less. It means that it doesn’t hurt so much when something you love is taken away from you.
Tag Archives: NBC
Don’t Cry Because It’s Over, Smile Because It Happdeaned: Five (and Maybe More) Seasons of ‘Community’ and the Truly Jumping the Snark
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?
Jimmy Fallon and Late Night were already on a roll last week, thanks in large part to New York Mets ace/budding fashionista Matt Harvey and
ripped RIPD star Ryan Reynolds, but they saved the best for last, and in doing so perhaps experienced their finest hour yet. In a flight of fancy that could only have been ripped directly from the pages of our diary, Fallon did the impossible , reuniting the legendary [and fictional] rock band Jesse & the Rippers, fronted by heartthrob and dedicated uncle, Jesse Cochran Katsopolis. They said it couldn’t be done, mostly because the band never actually existed, but Late Night has demonstrated time and time again that they have no interest in getting bogged down with details and logic and whether or not something is quote-unquote real. That’s for Leno to do.
And in proving once again that there’s an undeniable and insatiable appetite for everything
we love and hold dear and want to keep only for ourselves 90s nostalgia, the performance, a blistering mega-mix of their greatest hits, was an instant sensation, showing once and for all that Jesse & his Rippers were indeed ahead of their time and only through the benefit of reflection and the passing of decades has their genius been truly appreciated. Would we want to see J & the R mount full-scale reunion with a never-ending world tour and a hit new record? Of course. But if Jesse never dons his leather vest again or lifts his guitar strap over his shoulder or raises a fine-toothed comb to feather his hairt, we’ll forever have “Forever.”
And not only did they did pull off a miracle with this one TGIF night only performance, they topped it off with Mrs. Jesse & the Rippers herself, Becky Donaldson. Talk about get out of my dreams and into my car!
We very clearly remember the moment that we fell for The Office, the NBC stalwart that closes up shop at Dunder Mifflin tonight after nine mostly great seasons. It was the fall of 2005, when The Office was starting to find its legs after a rocky and uneven six episode first season, and we in our first autumn post-college, back at our parents’, and for the first time since we were four-years-old not attending school. We were at our best friend and future roommate’s house, hanging out, maybe barbecuing, maybe drinking a few beers, maybe watching the first season of Lost on DVD, which dominated much of our time (and thoughts) during that period. We knew about the The Office, another blatant attempt to import a UK hit stateside, but missed its brief run earlier that year, as was the case with the aforementioned Lost, as the only shows we watched religiously during our final year of college (and last few months before true adulthood) were The Simpsons and Survivor. We did, however, recall reading that it was an imperfect translation of the original, and the Steve Carell-led vehicle – who was then best known as the other Steve from The Daily Show – was not likely to resurrect NBC Thursday night Must See TV, let alone make it past Season 2. So with the middling reviews in mind, and the fact that we were unfamiliar with the original Ricky Gervais version, we didn’t go out of our way to watch the show. But that night changed everything.
Briefly, we want to remind you of a few weeks back when we discussed the possible successor to Jimmy Fallon as host of Late Night. The rumor at the time – and still presumed favorite – is that Seth Meyers will take over in Studio 6B. However, we voiced our opposition to that plan, with no disrespect to the vastly talented and incredibly charming Meyers. Instead, we felt it best if the show went a different direction. Specifically, West, to Los Angeles, where it could mine some of that coast’s best and underutilized talent. Well, yesterday Comedy Central basically announced plans to do just that, with the news surfacing that they’ve tapped Chris Hardwick to host a late night talk show following The Colbert Report, the net’s first real foray into traditional late night programming. With Hardwick, the Nerdist impresario, you have that young, cutting edge, hip LA talent that we talked about, the Nerdist podcast network including comedians like Kurt Braunholer, Pete Holmes and TJ Miller. Possibly even more important than gaining access to the Nerdist family, the show will be executive produced by Reno 911 creators and The State alums Tom Lennon and Ben Garant, with additional involvement from the folks at Funny or Die. So, essentially, this show links up most of Los Angeles’ best, funniest, talent all in one place. What a deep pool of talent to pool from. Too bad NBC couldn’t think of this first.
Yesterday we talked about how greatly Dave Letterman is revered, how, despite Leno winning the ratings battle, Letterman has clearly won the Late Night war. Part of his appeal, admittedly, has been his aloofness, his refusal to play by the rules and pander to either the audience or the guests. His rough edge is what, ironically, has made him endearing for three decades. But there are times, rare but documented, when Dave abandons his cranky side, however briefly and shows true compassion. It is that sensitive, caring, paternal part of Dave that is the flip side to his default curmudgeon state, the yin to his prickly yang that has made him so beloved and appreciated. And it was precisely that element of Dave that was on display when Lindsay Lohan appeared on The Late Show to, ostensibly, promote her appearances with Charlie Sheen in Scary Movie 5 and on Anger Management. However, with Lindsay due to enter court mandated rehab in May, and with Dave’s history of engaging troubled starlets, including Lohan, Letterman not surprisingly steered the conversation towards off-camera matters, boldly confronting Lohan about her personal problems. It was awkward and sad and kind of hard to watch, and certainly not something you’d see from Jay Leno, but it was also classic Dave. And, despite Lohan’s obvious discomfort you can see that she appreciates Dave’s concern, and, conversely, it is plain that Dave’s concern is genuine.
You can argue that Dave was wrong to drudge up her personal life – clearly Lohan is not in the right state of mind to address these things on-camera – but despite whatever sensationalist motive Dave might have had, you can’t argue that Dave does not care about Lohan. He’s a lot of things, but disingenuous it not one.
In other late night news, reports are indicating that Alec Baldwin is interested in hosting a late night talk show, potentially taking over the 1:35am slot currently (still, somewhat shockingly) occupied by Last Call with Carson Daly,* and that NBC is likewise interested in continuing their relationship with Baldwin. This show would most likely take on the form of an intimate one-on-one interview, something like a television version of Baldwin’s WNYC podcast Here’s the Thing. It would also be akin to Tom Snyder’s Late Late Show, which we discussed in yesterday’s post. As opposed to the possibility of Seth Meyers taking over for Jimmy Fallon on Late Night, which we explained might be an ill-advised choice, we think this makes more sense. Baldwin is already in the Lorne Michaels/Broadway Video family, having just finished his career redefining stint on the Michael’s produced 30 Rock and having become the definitive SNL host (non-Justin Timberlake category). He’s arguably as popular as ever, and, as his podcast interview with Billy Joel showed, he can be simultaneously intelligent and well-read while still just feeling like a regular guy from Long Island. It’s that easy-going charisma that would make Baldwin a successful interviewer, and it’s not absurd to think that people would enjoy tuning in to see him chat with other actors, writers, musicians for an hour. In fact, it has so much promise, and is so different from what Jimmy Fallon does, it might actually make for a better companion directly after The Tonight Show, whether under the banner of Late Night or as something entirely new. With Fallon’s show being so frantic, so silly, so irreverent, it might be nice to pair it with something more old-fashioned and slower-paced, even if it’s just a Baldwin hosted show one night a week. And Baldwin can do it as long as he wants, until either he or Lorne is ready to for someone or something else. Worst case scenario, it can’t be as bad as The Chevy Chase Show.
*While this post was being written Deadline reported that Last Call with Carson Daly has been renewed for another (13th!) season, so all those words might have been for naught. Still, this might not affect the Baldwin situation, or, perhaps, indicate that he would, in fact, be considered for the Late Night slot.
Absent, or maybe just ignored, among all the words committed to The Tonight Show plan for succession has been a discussion about what will happen to The Late Show with David Letterman and its lead-out The Late Late Show. Like Jay Leno, Dave has been at this game a long, long time. Unlike Jay, Dave seems to not care about ratings (possibly because he knows he’s likely to lose), does not appear to be that concerned with being well-liked (which has worked to his advantage, and has paradoxically made him more revered) and is not in any imminent danger of being forced out by the network brass, basically been given carte blanche by CBS to stay as long as he wants and, essentially, to do what he wants. When one jump-starts a late night franchise from scratch, we guess he’s granted some amount of immunity. But, unlike Jay, Dave doesn’t have a younger, hipper, potential replacement nipping at his heels, which makes the future of The Late Show even murkier.
While Craig Ferguson has built up a small but very loyal, impassioned following, and has received rave reviews for years from critics, we don’t have the sense that he’s long for his job, or at least eying the 11:35pm slot. In that small studio (we’ve been there) in CBS Television City, without a house band or announcer, Ferguson can deliver long, meandering monologues (verging on soliloquies) straight to camera, as if the audience and the viewing public wasn’t there, and engage in extended, intimate irreverent conversations with a diverse pool of guests. The Late Late Show interviews occupy that space between the celebrity shilling meant for the masses that one can observe on most late night talk shows and the quiet, introspective, one-on-one interviews conducted without a studio audience on past programs like Tom Synder’s Late Late Show. Sometimes it feels like The Late Late Show is performed for the studio audience, and then broadcast to millions of homes as an afterthought. Which isn’t to say that Ferguson couldn’t do a more traditional, more accessible late night show if he were bumped up to the main slot, we’re just not sure he wants to. Signed through 2014, when Letterman’s current contract runs through, it feels in some ways like he’s only there as long as Dave is, his relaxed, low-key, mischievous Scottish wit a complement Dave’s acerbic bitterness.
Last night on Late Night they kicked off the show with a musical number that joined Jimmy Fallon and his lead-in Jay Leno, the current host of The Tonight Show dueting with the rumored successor. This parody of West Side’s Story’s “Tonight” brought together these two hosts whose names have been so dragged through the news and blogosphere the last few weeks, whose futures have become the subject of much speculation and scrutiny. Leno, from his perch in Burbank, has made no secret of his recent disdain for NBC and its executives; Fallon, like he did during the Leno-Conan controversy three years ago, has done his part to stay out of the fray, trying to stay friendly with everyone and stay as far away from any whispers of backstabbing or plotting as possible. And this sketch goes to show that while Leno might have a considerable beef with NBC brass, he harbors no ill will towards Fallon, and Jimmy, for his part, appreciates all that Jay has done for him.
However, while this bit illustrates that everything may be copacetic between Jay and Jimmy, it also demonstrates why Fallon is so highly regarded and why he’s so quickly being elevated to the top spot. Yes, this is a great piece of television that shows that Leno can still have a great sense of humor about these things and about all things, but by airing on Late Night it only serves to further bolster Fallon and his team’s credentials, once again proving their creativity and passion for the medium, and their keen ability to capitalize on a situation. This was probably the best four minutes either program will air this week, and some of Late Night‘s best work this year (non-Justin Timberlake category), the A+ material on the network’s B show. But the fact that this bit was conceived and produced by the Late Night team and broadcast as part of Fallon’s show offers yet one more reason why Fallon is ready to take over the mantle. It wasn’t quite passing the torch as it was recognizing where the fire is.
Right now, Late Night justs get it. Even Leno agrees.
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.