Welcome to a new Sitcom Tuesday! This week, I’m continuing my coverage of 30 Rock (2006-2013, NBC), which is currently available, as of this writing, on DVD and streaming.

30 Rock stars TINA FEY as Liz Lemon, TRACY MORGAN as Tracy Jordan, JANE KRAKOWSKI as Jenna Maroney, JACK McBRAYER as Kenneth Parcell, and ALEC BALDWIN as Jack Donaghy. With SCOTT ADSIT and JUDAH FRIEDLANDER.

The fourth season of 30 Rock is a good collection of a great series, offering a handful of strong half hours but at a lower overall baseline of quality and without the ingenuity or excitement of better years, including those directly surrounding it. Although it’s more adept than its predecessor at engaging the series’ situation in story via the literal behind-the-scenes-of-a-TV-show premise — utilizing more plots set backstage at the SNL-like TGS about the making of a variety show — it’s not as adept at providing the kind of imaginative, off-the-wall, sketch-like comedic notions that mirror the cultural and creative ethos of Saturday Night Live, which reflects the series’ identity on more fundamental but equally situation-affirming terms. Thus, this year reveals the basic reliability of 30 Rock‘s traditional MTM-esque construct and, to its ongoing credit, the awesome durability of these hilarious characters who uphold the entire apparatus. (Well, that’s true for the regulars at least — new additions like Cheyenne Jackson’s Danny are vague and therefore unhelpful.) But it simultaneously lacks the routinized spark of unique comic brilliance that has heretofore elevated the series above potential formula and enabled its storytelling to feel truly fresh within the sitcom genre. To that point, there’s a lot of rom-com tripe in Four as well — like a triangle for Jack that’s uneven because only one of his two lovers is comedically well-defined (Elizabeth Banks’ Avery, a cable newswoman who allows for sketch-worthy, series-appropriate media satire), and an arc where Liz considers “settling,” during which the show tries to hang a lantern on its narrative clichés, calling them out with a wink while still indulging them in practice. And, without a more palpably wilder, SNL sensibility to steal focus, the season just seems flatter than its peers in general, especially since Five, as we’ll see, is deliberate in reigniting the series’ silliness by taking bolder comedic risks, thereby moving the show even closer to SNL in an implicit (and sometimes explicit) nod to its roots. This makes Four look not just like a further slide but perhaps a one-off mini-slump, with less to laud than the peppier Five, at least in terms of episodic ideas and the show’s overarching ability to honor all parts of its situation in story, particularly through the comic tenor that gives 30 Rock its special flavor — the thing that distinguishes its “good” from its “great.”

 

01) Episode 62: “Audition Day” (Aired: 11/05/09)

Liz and Pete try to rig the audition process for an actor they like.

Written by Matt Hubbard | Directed by Beth McCarthy Miller

As noted, one of the things that sets Season Four apart from the others is that its stories more frequently engage the series’ literal backstage premise and therefore the traditional TV-about-TV design that 30 Rock has heretofore used to support all its other notions. Yet without the spark of comic absurdity and thematically specific media satire or topical parody reflective of the sketch show on which the entire series is based, such plots can seem overly predictable and uninspired. Of course, nothing’s ever bad — the series is always basically funny and its lead characters always deliver, as evident in this offering that caps an opening arc about Jack tasking Liz with finding a new cast member to join TGS. It’s one of the rare ideas that involves the making of “the show” explicitly, and while it ultimately delivers a fairly bland recurrer in Danny, who lacks much definition and accordingly isn’t that useful, this particular episode deploys so much of the regulars that it’s comedically buoyant, emphasizing their strong, clear depictions in an otherwise familiar setup. Additionally, I love the tightness of the script, which weaves the A-story together with a subplot about Jack having bedbugs — a fun excuse to make the typically cool corporate overlord a peon pariah in a way that showcases his character by playing against it. (Also, this is a cameo-rich entry — very much working within 30 Rock‘s premise and its SNL tenor!)

02) Episode 63: “The Problem Solvers” (Aired: 11/12/09)

Liz and Jack find themselves in conflict over a possible new talk show inspired by Liz’s sketch.

Written by Ron Weiner | Directed by John Riggi

In addition to the season’s quest for a new “regular” on “the show,” the other TV-about-TV arc that dominates Four’s first trimester is the acceleration of an idea introduced at the end of Three — Liz receiving some public recognition for her “Dealbreaker” sketch and catchphrase, which became a book and is now being developed, by Jack, into its own TV program starring Liz. Now, of all the outings that involve the literal premise about the making of television, this is one of my favorites — not just because it centralizes the series’ central character and is therefore a showcase for her, but also because it moves Liz closer to the world of the public-facing Tina Fey, and that increased autobiographical texture further reminds us of 30 Rock‘s inherent ties to SNL, which are, again, situation-validating on macro terms. As for this installment, I also like that its conflict is predicated on tension in the show’s emotional core — the relationship between Liz and Jack — while Tracy and Jenna team up in a relevant subplot to complicate matters under the delusional presumption that they’re “problem solvers.” So, you see, all four members of the principal ensemble are really well-displayed here.

03) Episode 65: “Dealbreakers Talk Show #0001” (Aired: 12/03/09)

Liz prepares to shoot the pilot for her new talk show.

Written by Kay Cannon | Directed by Don Scardino

The Dealbreakers arc culminates in this hysterical entry that reiterates what I’ve expressed above about this storyline’s benefit to 30 Rock, for in Jack’s efforts to produce a comedic talk show starring Liz Lemon herself, it’s not only getting to spotlight this series’ central character in a way that pushes into the fore laughs driven by her goofy, bumbling, not-ready-for-primetime personality (with her key relationship — to Jack — also in supportive focus), but it’s also having fun with the prospect of Liz Lemon being a performer in her own right — à la her portrayer, Tina Fey, whose enhanced autobiographical credibility emphasizes the connections to SNL that run throughout this sitcom’s DNA, giving it the extra kick that truly makes its TV-about-TV situation more special and unique within the genre’s landscape. Indeed, this excursion — in which Liz does tests for her upcoming show but fails them miserably because of how unnatural she is — finds Fey delivering big bold comedy that looks like something we would see her do on SNL, as a cringe-inducing kook who is outrageously awkward on camera (like Mary Richards when she auditioned for a TV gig, but even more ridiculously broad — as if on a sketch show). Accordingly, I think this is the half hour in Season Four that ends up feeling the most like the aforementioned late-night comedy series fueling 30 Rock‘s personal appeal, making this also the most “30 Rock” of all the offerings here — and therefore it’s the best candidate for selection as this week’s MVE, or Most Valuable Episode. (Also, I love the subplot that starts an arc about Tracy hoping to win an EGOT — it’s a show-biz related notion suggesting a lot of forthcoming story, hinged on his own amusing self-delusion.) Oh, and guests include Whoopi Goldberg, along with the recurring Sherri Shepherd, Will Arnett, and Chris Parnell — all gems.

04) Episode 66: “Secret Santa” (Aired: 12/10/09)

Jack and Liz try to get each other Christmas gifts that cost no money.

Written by Tina Fey | Directed by Beth McCarthy Miller

Season Four’s Christmas showing is an interesting blend of premise-backed character moments, plus a bit of rom-com tripe (or the suggestion of it, anyway) and some familiar but intentionally wacky idea-driven comic notions. What works best about it is that it’s situated on the friendship between Jack and Liz, as their efforts to provide meaningful gifts to each other — at no cost — allows for a climax where Liz calls in a fake bomb threat at Penn Station to keep Jack’s latest love interest in New York so he can spend more time with her. It’s a kind gesture tinged in obvious absurdity but supported well by their established bond. As for the girlfriend, I’m afraid it’s Nancy, played by Julianne Moore, who adopts a thick Boston accent that many critics vocally derided but I personally don’t mind too much — I think it’s a valiant attempt to make this fundamentally uncomedic character comedic in some way. As noted above, I much prefer Jack’s other girlfriend here in Four — but more on that later… As for the subplots, the writers’ fake Christmas holiday is idea-driven goofiness that evokes Seinfeld’s Festivus, but it’s a sketch-like bit in itself that also reminds of SNL, while Jenna’s jealousy over Danny’s singing voice is a premise-approved conflict that spotlights her comedic definition. It’s solid.

05) Episode 67: “Klaus And Greta” (Aired: 01/14/10)

Jenna enters into a fake relationship with James Franco.

Written by Robert Carlock | Directed by Gail Mancuso

James Franco guest stars in this installment as a parody of himself — a setup we could possibly see on other similarly premised TV backstagers that feature flashy celebrity cameos, but likely without the kind of cartoonish, ridiculous, only-for-the-joke 30 Rock humor that’s reminiscent of a sketch show, and in particular Saturday Night Live, which also thrives on big-name guests sending up their images. Indeed, Franco’s willingness to participate in a story where he has a fake romance with Jenna to cover for rumors that he’s actually in love with a Japanese body pillow that he carries with him everywhere is respectable. It’s an incredibly imaginative, hilarious, absurd proposition that spoofs the industry and Franco’s own eccentricity, yielding huge SNL-like laughs (even for Jenna, who delusionally thinks she can win him over), especially once woven into a subplot about Liz taking her young gay cousin (whom she accidentally outed to the rest of the family) under her wing when he pops up in the big city — one of many times, in this season specifically, that 30 Rock winks about its reputation as an out-of-touch New York-centric show, contrasting itself against the values of middle America. It’s riotous — pure 30 Rock.

06) Episode 71: “Anna Howard Shaw Day” (Aired: 02/11/10)

Liz plans to have oral surgery on Valentine’s Day.

Written by Matt Hubbard | Directed by Ken Whittingham

The closest thing to an MVE contender on this list in terms of laughs, “Anna Howard Shaw Day” is another offering in 30 Rock’s catalogue of off-beat and anti-romantic Valentine’s Day excursions, as this nevertheless rom-com series hopes to explore its leads’ amorous pursuits freshly, by sending up clichés. This outing works because it has winning ideas — starting with a naturally funny (if familiar) story where Liz hallucinates all her old boyfriends (Dennis, Floyd, and Drew) while high after receiving dental surgery on Valentine’s Day — a chance for Tina Fey to clown in a plot that flatters the series’ continuity. Meanwhile, Jack meets a new love interest in Avery Jessup (Elizabeth Banks), the cable news anchor whose characterization is a spoof of that archetype and therefore a bit of media parody very much in the SNL style. I also appreciate Banks’ chemistry with Alec Baldwin — as with many of his past paramours, they share an intensity that can be pitched for comedy. So, both of those main narrative threads are comedically successful (if familiar) rom-com setups, paired well with a subplot about Jenna being depressed when her stalker (Horatio Sanz) moves on — a play against expectations that makes perfect sense for the Jenna character and allows the show to send up the romanticism it wants to pretend it doesn’t indulge (and will be indulging more as the season progresses).

07) Episode 73: “Don Geiss, America And Hope” (Aired: 03/18/10)

Liz considers settling down when she believes fate is drawing her to Wesley.

Written by Jack Burditt & Tracey Wigfield | Directed by Stephen Lee Davis

30 Rock’s chosen strategy for dealing with clichéd rom-com maneuvers is to shout them out and mock their presence. It’s not effective at eradicating their existence narratively, but it can help excuse them via some humor in an innately parodic sketch-comedy vein. This episode — in which Liz keeps running into Wesley Snipes (Michael Sheen), with whom she bonded while high at the dentist’s on Valentine’s Day despite realizing, in the following entry, that they have absolutely zero chemistry whatsoever — has the most fun and is the most successful at its sketch-like lampoon of genre conventions, for the whole story deliberately mocks the idea of meet-cutes and the notion of “fate” bringing people together. Beyond the comedy, I also like the character-based concept of Liz considering “settling” — a relatable option for someone whom we already know is seeking a partner and children (a family) as part of her presumably happy ending. Incidentally, Jack also enjoys a pretty good half hour — as he eulogizes Don Geiss and has an “aha” moment for how to innovate at Kabletown: porn for women — men listening to them. Therefore, I cite this here as a memorable showing for both Liz and Jack.

08) Episode 75: “Lee Marvin Vs. Derek Jeter” (Aired: 04/22/10)

Jack juggles two women as Liz tries going to singles’ events.

Written by Kay Cannon & Tina Fey | Directed by Don Scardino

Again, I’m not crazy about Jack’s tortured romantic foibles here in Four — specifically the triangle that develops when he falls for two women: Nancy, his old school chum from Boston, and Avery, the cable news anchor. I prefer Avery for the reasons expressed above — she’s the more comedic character who also invites a sense of media satire that’s more perfect for 30 Rock’s overall vibe, and, frankly, I believe Elizabeth Banks shares better chemistry with Alec Baldwin. Therefore, the whole arc falls flat for me because of its disparity, with the intrinsically clichéd construct never producing anything outstanding. However, this is the funniest and most straightforward of all the outings in that arc, with Jack comparing his scenario to Three’s Company, as this amusing script does its best to keep the proceedings clever and brisk. Also, there are some good moments for the other characters as well, as Liz doubles down on her search for a boyfriend, and a debate about Affirmative Action in the workplace allows for some politically incorrect jokes and a memorable bit of industry parody in a cutaway featuring Will Ferrell (starring in the “Psycho Dad”-esque “Bitch Hunter”) that is peak 30 Rock. So, ultimately, many rich hahas elevate this installment above its competition.

09) Episode 78: “The Moms” (Aired: 05/06/10)

The cast and crew are visited by their moms for the show’s Mother Day special.

Written by Kay Cannon & Robert Carlock | Directed by John Riggi

30 Rock uses its premise — the making of a comedy-variety show — to gather all the leads’ and supporting characters’ mothers here for a special Mother’s Day broadcast. This not only provides an excuse to corral a bevy of terrific guest stars — Elaine Stritch (Jack’s mom), Anita Gillette (Liz’s mom), Patti LuPone (Frank’s mom), and Jan Hooks (Jenna’s mom) — but also plays with a sense of thematic cohesion that connects all subplots and renders them worthy of coexisting in the same episode. Additionally, meeting relatives (and moms especially) is always illuminating, for they naturally reveal things about their respective regulars’ backstories — and indeed, despite the gimmicky setup, this ends up being a strong character show as a result, providing insight into everyone (including Tracy, who hires an actress to play his mother). And with all this talent running around, it’s also a very funny half hour. I primarily want to shout out Jan Hooks, the former SNL alum whose sheer presence helps tie 30 Rock to its variety show roots and therefore evoke its full identity; she was introduced earlier this year as Verna and she’s a hoot who probably doesn’t get the credit she deserves. Thus, this is a great display of 30 Rock all the way through — via character, premise, and its sketch-like comedic tenor.

10) Episode 79: “Emmanuelle Goes To Dinosaur Land” (Aired: 05/13/10)

Liz revisits her old boyfriends in search of a date to Floyd’s wedding.

Written by Matt Hubbard | Directed by Beth McCarthy Miller

Season Four concludes with a Big Event Show where Liz’s efforts to “settle” with Wesley lead her to a guy who may indeed be Mr. Right, and Jack’s triangle is resolved when Nancy learns Avery is pregnant, freeing Jack to be with Avery exclusively. It’s a funny, optimistic outing that does its best to uplift what is otherwise a plot-heavy affair, removed from a lot of 30 Rock’s regular trappings. Fortunately, this installment — the season’s penultimate showing, which builds to the forthcoming finale — is just as humorous but a bit more rewarding for the characters in their established situations… such as Liz, who revisits her past boyfriends in the hopes of drudging up a date to Floyd’s wedding. She ultimately settles for Wesley, but there’s a great scene where Drew (Jon Hamm), who by now is depicted as a full-on dolt, reveals that he’s since lost both of his hands (which are replaced by hooks) — that’s a smart, shocking, SNL-like gag playing on the show’s continuity. Also, I think this is perhaps the best Tracy offering of the season, as his quest for an EGOT finds him returning to some of the locales from his past, which trigger hilariously tragic memories — a lot of jokey good fun, with some choice media satire (see: Garfield 3: Feline Groovy) that’s firmly entrenched in 30 Rock‘s sketch-like comic ethos.

 

Other entries that merit a look include: “Black Light Attack!,” which I love for the hysterical notion of Jenna thinking she’s auditioning for a teenager but really getting asked to read for the mother role, and “I Do Do,” the aforementioned finale, whose best scene has Liz meeting Carol (Matt Damon), her seemingly perfect match. I’ll also take this space to cite: “Into The Crevasse,” which leans into the ongoing rivalry between Jack and his nemesis Devon (Will Arnett), “Verna,” which debuts the genius Jan Hooks as Jenna’s mom, “Floyd,” which features a ridiculous but funny centerpiece where Tracy and Jenna try to kill Kenneth in their dreams, “Khonani,” which winkingly spoofs the trendy late-night feud between Conan and Leno in a very SNL-like manner, and “Argus,” which introduces the hilarious gag of Jenna falling for her own female impersonator (Paul, played by Will Forte) — all of these have good ideas in episodes that, ultimately, aren’t completely on their level.

 

*** The MVE Award for the Best Episode from Season Four of 30 Rock goes to…

“Dealbreakers Talk Show #0001”

 

 

Come back next week for Season Five! And stay tuned tomorrow for a new Wildcard!