Welcome to a new Sitcom Tuesday! This week, I’m continuing my coverage of Parks And Recreation (2009-2015, NBC), which is currently available on DVD/Blu-Ray and streaming.
Parks And Recreation stars AMY POEHLER as Leslie Knope, RASHIDA JONES as Ann Perkins, PAUL SCHNEIDER as Mark Brendanawicz, AZIZ ANSARI as Tom Haverford, NICK OFFERMAN as Ron Swanson, AUBREY PLAZA as April Ludgate, and CHRIS PRATT as Andy Dwyer. With JIM O’HEIR and RETTA.
Season Two is the year that Parks And Rec becomes Parks And Rec, shedding the critical remnants of One that kept the series in The Office’s shadow. Namely, Two upholds the mockumentary aesthetic but slowly phases out its implied role within the situation, as the characters gradually stop acknowledging the cameras (outside of interview cutaways). That is, in-scene direct-to-cam takes fall off drastically (not entirely, but drastically) around Two’s midpoint, while the crew intellectually frees itself from the burden of having to shoot everything as if it is a documentary. This shift is felt tonally as well, with a little remaining cringe from Leslie at the top of the year burning away fast, leaving a character who’s, yes, still a bit like Michael Scott — she’s wide-eyed and love-seeking — but truly comes into her own in mid-Two as a distinct comic figure: someone whose job in government, and her corresponding perspective, uniquely and entirely fuels her depiction, which is now corroborated as noble by the world around her. And from there, Parks And Rec is fully hatched, with a well-defined lead whose ethos becomes her entire show’s, rendering the last third of Two a major uptick where everything clicks, utilizing the high-concept (i.e., government) aspects of the situation to spark fun ideas that also spotlight Leslie — with the most novelty of premise that this series ever enjoys. However, the best thing about Two is the strides it takes in cultivating a rich ensemble of comedically quirky figures around Leslie too, all ready to be individually and collectively used. It’s akin to how The Office‘s huge cast was deployed in the latter part of its run, transcending the “reality” of its mockumentary form for a bolder comic sensibility, only here this doesn’t feel like a drift away from the situation, for the faux-doc conceit has already been rendered narratively irrelevant early enough for the tweak to seem like a correction, not a concession. And with strong leads in strong relationships — e.g., Leslie/Ann and Leslie/Ron, plus April/Andy (whose budding romance helps develop them into hilarious support) — the only weak link remains Mark/Ann, who are romantically paired until Mark’s departure at the season’s close, which frees the show from his vagueness and makes room for two better-defined guys to join (more below). These newbies are the missing pieces of the proverbial puzzle, allowing Parks And Rec to enter Season Three in decidedly peak form.
01) Episode 10: “Practice Date” (Aired: 10/08/09)
Ann helps Leslie prepare for her date, while the office digs up oppo research on each other.
Written by Harris Wittels | Directed by Alex Hardcastle
This early offering is a crucial building block for the characters, who are all consciously fleshed out with help from a story sparked by the high-concept aspect of the situation, as a political scandal in the local government has everyone in the Parks and Rec department attempting to dig up dirt — “oppo research” — on each other, which therefore provides more individual details about them (like Ron’s Duke Silver alter ego), and further refines how they’ll exist in relation (e.g., this is when Jerry is established as the group’s punching bag), making them clearer and more utilizable going forward. It’s a masterful excuse to define these regulars, using the premise’s specific job-based particulars to inspire new lore. Meanwhile, this episode also evidences the show’s obvious rom-com bent via a concurrent story about Leslie’s nerves ahead of her first date with Dave the cop (played by an unusually subdued Louis C.K.) — a great way to further explore her quirky character, while also building out her rapport with Ann, who takes Leslie on a “practice date,” reaffirming their growing friendship as perhaps the central emotional bond of the series, with the person in government who wants to help everyone else being helped out here, for a change, by The Everywoman who has more practical social skills. That’s another fun notion that expands our, and the show’s, awareness of their characters, along with the situation at large. So, this is a highly formative entry — one of the best from early Two.
02) Episode 13: “Greg Pikitis” (Aired: 10/29/09)
Leslie enlists her new boyfriend’s help in catching an annual Halloween vandal.
Written by Michael Schur | Directed by Dean Holland
The idea of Leslie turning to her boyfriend Dave the cop (the now-recurring Louis C.K.) and the immature Andy to help catch a teen who vandalizes the office every Halloween is a hysterical notion in and of itself, predicated on the setup that Leslie is annually bested by a kid (which, in this still-early version of her character, doesn’t say much for her own capabilities), and so unnerved by his regular trouncing that she defines him as her “arch-nemesis.” It’s perhaps a little too much still like Michael Scott — you could see him feuding with a teen, no? — but the government angle ties it better to Parks And Rec’s situation, and it’s therefore a sample of how much the show’s natural design aids its storytelling and is already helping guide the leads’ depictions. Meanwhile, I appreciate the subplot of Ann throwing a lame Halloween party; since she’s not a goofball like most of the cast, the only real way to have her be funny is when she’s either reacting off someone else or when she’s comedically on the downturn, a victim of circumstances she can’t control. This is a minor example of the latter — with her having a dull party — building out her bonds with several other regulars in the process.
03) Episode 14: “Ron And Tammy” (Aired: 11/05/09)
Leslie realizes that Ron’s ex-wife wants to steal her vacant lot and build a library.
Written by Mike Scully | Directed by Troy Miller
Megan Mullally debuts in this hysterical offering as Ron’s ex-wife Tammy, the Deputy Director of Library Services who runs afoul of the Parks and Rec Department when she wants to put a library on the lot (formerly the pit) where Leslie promised, in the pilot, to build a park. That sentence alone is brilliant — not only is this a story that utilizes the high-concept local government aspect of the situation (with the exact premised particular that was used to ignite the whole series), it’s also designed expressly to explore Ron’s character by fleshing out his backstory and showing us other important people in his life beyond the office. Additionally, with Megan Mullally in the cast, we know it’s going to be riotous, especially because she’s married to Nick Offerman in real life and therefore has natural chemistry with him — chemistry that combusts here, in a perfectly arranged narrative that also deepens the richly comedic (and sometimes dramatic) relationship between Ron and Leslie, the latter of whom must step in both on behalf of the park but also on behalf of her colleague/new friend. So, it’s an outstanding display of the situation — with premise, character, relationship, and then big, broad comedy all promised and then reliably engaged. An early Parks & Rec gem.
04) Episode 16: “Hunting Trip” (Aired: 11/19/09)
Leslie takes the blame for shooting Ron after she invites herself on his annual hunting trip.
Written by Dan Goor | Directed by Greg Daniels
This popular entry is another relationship-building ensemble showcase that notably deploys the characters well, so much so that it’s been cited as a turning point for the series, with the Leslie character exhibiting a competent but self-sacrificing nature that speaks to her altruism and entire raison d’être with regard to local government — how she views herself as a public servant: someone who’s there to help others, even when it’s difficult. This uses the show’s precise premised particulars to guide her depiction and separate her from Michael Scott, whose clumsy initial impulse would NOT be to take the fall if one of his staffers accidentally shot their boss, unless he was specifically motivated by a desire for their affection/love/regard/friendship. That’s a distinction — Michael is primarily led by his wants, Leslie is primarily led by her sense of duty (with some complicating personal ties mixed in, particularly as the run progresses and she becomes more multi-dimensional). Exploring Leslie in this way makes for a key distinction between Michael and Leslie that displays how the show is now really locking into her character as a unique entity. And while I think this episode is still tonally closer to The Office than the back half (and mainly final third) of the season, with a nod or two to the cameras and a little bit of uncomfortableness that feels more in the spirit of the show’s initial conception than its soon-to-cement ethos, it is a step forward in Parks And Rec’s development — especially in the subplot with Andy and April, whose essential, comedically rewarding pairing is teased here.
05) Episode 23: “Woman Of The Year” (Aired: 03/04/10)
Leslie is upset when Ron wins a “Woman of the Year” award.
Written by Norm Hiscock | Directed by Jason Woliner
As noted, the last third of Parks & Rec’s second season is great, a real leveling up that enables basically every offering to be worthwhile in comparison to what came before, and instead of merely picking out which samples evidence the most forward growth into the show’s complete identity (which is what I’ve mostly been doing so far), I can now focus on the samples that simply do the best job at engaging many elements of the situation in the most enjoyable, funniest ways. So, what I appreciate most about this outing is that it’s a stellar relationship show for Leslie and Ron, as their contrasting characterizations — which are so foundationally rooted within the premise: she believes in government’s ability to do good for people; he believes in fundamentally limiting its power over people — are on beautiful display as he is awarded an honor that he finds to be meaningless, but she deems important. That’s a smart device to further explore their natural differences, which not only make for reliable comedy, but also a rich display of their characters within this exact premise — itself never better featured than in Two. Also, on the relationship front, April and Andy continue to grow closer — both are very funny players, and her expansion in Two, specifically, has been a real boon to the series.
06) Episode 25: “Park Safety” (Aired: 03/18/10)
Leslie meets with the head park ranger after Jerry is mugged.
Written by Aisha Muharrar | Directed by Michael Trim
The affably silly Andy Samberg memorably guests in this excursion as a goofy park ranger with whom Leslie meets after Jerry is mugged. That’s another brilliant sentence — engaging elements of: (a) the premise, via the fact that these are local government workers in the parks department, specifically; (b) character, with Jerry’s basic function as the office’s punching bag already known well enough to inspire and earn an episodic play against type, as the staff now tries to be nice to him; and (c) comedy, with the inclusion of Samberg (future star of Parks And Rec creator Mike Schur’s next workplace sitcom, the tonally similar Brooklyn Nine-Nine) also guaranteeing laughs. Additionally, I appreciate this entry for its many great moments with the other members of the ensemble, along with the physical comedy that comes in the self-defense classes that Ron gives to the rest of the office — a very smart utilization of his character that also adds to the humor quotient. So, this is just a solid, well-rounded offering from Parks And Rec’s first stretch of excellence, with a notable guest star who helps enhance the half hour’s overall appeal.
07) Episode 27: “94 Meetings” (Aired: 04/29/10)
Due to April’s error, the staff tries to get through 93 meetings in one day.
Written by Harris Wittels | Directed by Tristram Shapeero
One of the year’s funniest, this outing is a great display of Parks And Rec’s cultivated sense of humor, now unmoored from the cringe associated with the mockumentary form of The Office (and always without 30 Rock‘s understanding that it has to be like SNL), and yet still idea-driven in accordance with its own premise and similar pedigree. That is, this is a kookier, sometimes broader comedy than The Office (at least, peak Office), but it doesn’t quite have the loosey goosey variety-show ethos of 30 Rock either, for it’s got a different situation that helps ground it, allowing big comedic ideas to be attached to particulars. Specifically, this installment motivates a wonderful office story through quirky April, who scheduled all of Ron’s meetings for March 31, thinking March only had 30 days, like April. That’s a hilarious notion that we buy because she’s absurd — a collection of goofy sketch-like attributes — but it’s not ridiculous in itself because it’s contextualized within the relatable office premise. And while it then opens up a parade of gags — a collection of comedic bits like we’d see on a sketch show — the framing here, with the rest of the ensemble trying to help Ron and April get through these meetings, ultimately ends up so supported by the situation that it doesn’t feel like a sketch. It feels like a sitcom. It feels like Parks And Rec. And the same is true in the subplot, where Leslie’s feelings about Ann and Mark’s pending engagement make her extra zealous as she clings to what she finds important — her community — when fighting to maintain a Pawnee historical monument in a centerpiece that, again, links this broader humor to real situational tangibles. A gem.
08) Episode 28: “Telethon” (Aired: 05/06/10)
Leslie leads the staff during an all-night charity telethon.
Written by Amy Poehler | Directed by Troy Miller
This memorable ensemble show — which takes place almost entirely at an overnight charity telethon that Leslie has signed up to run, with help, of course, from her staff at the Parks and Recreation department — offers plenty of moments for every single member of the main cast to shine, even peripheral players like Donna and Jerry. However, it’s really a venue for bright and cheery Leslie first and foremost, as she struggles to maintain her enthusiasm despite encroaching tiredness and a mounting lack of interesting content to program. There are self-aware nods to previously established jokes — like “Sweetums,” a sugar-filled Pawnee staple — and a bevy of funny gags that emphasize the show’s recently cultivated comic identity, which eschews cringe for earnest quirk. Meanwhile, the plot also progresses the soon-to-end Mark/Ann romance via an aborted on-air proposal… Now, you all know I’m not crazy about this rom-com stuff; Ann’s dull when not directly paired with Leslie, and Mark feels increasingly out of place (he even acknowledges the cameras — something that is happening far less now and thus stands out), but because this half hour is such a delightful display of the show’s central character and the tone she inspires, I’m glad to highlight it here.
09) Episode 29: “The Master Plan” (Aired: 05/13/10)
Leslie is forced to propose budget cuts to two visiting state auditors.
Written by Michael Schur | Directed by Dean Holland
Season Two’s last two episodes introduce the two new characters who will officially become regulars in Three, cementing the strongest version of the cast that we’ll see persist throughout its finest seasons, and effectively replacing Mark (who leaves in this year’s finale) as romantic bait for both Ann and Leslie. I’m referring to Chris (Rob Lowe), and Ben (Adam Scott), who each come in with pinpointable comic personas that immediately render them more conducive to laughs and story than Mark had ever been, even as they’re also love interests in predictable rom-com fare. While Chris is principled but overly cheery (even more than Leslie), Ben is a more self-serious governmental bureaucrat, whose initial failure as a young mayor pairs incredibly well with Leslie, who’s his temperamental opposite but shares his commitment to this line of work and feels a similar pressure from her mom. (In fact, Ben’s backstory was originally going to be Leslie’s.) Ben and Leslie quickly seem like an ideal match, both for their shared and contrasting attributes, and the choice to link Chris with Ann makes a lot of sense as well, for, temperamentally at least, it’s like pairing her with a more extreme version of her best friend (Leslie). That’s a way to reinforce all of their characterizations and relationships, while furthering the rom-com angle that this show will obviously indulge more often in the years ahead (as we can also see with Andy/April, which is also crusading for an inevitable coupling at some point in the future). What’s more, both guys are simply funny, and here, although they’re poised as agents of conflict against Leslie (and it was initially unclear whether or not they’d both become regulars for the long haul), their inclusion for this story works so well within the situation as established, emphasizing Leslie’s commitment to her job and to her community, that it’s immediately clear just how much Parks And Recreation has become Parks And Recreation. And indeed, this is probably the most exciting snapshot of the season — the one where this series, which had only recently become great, is now showing us some short-term and long-term prospects, indicating a period of prolonged excellence with a better mix of elements and a stronger understanding of them. For that reason, it was a tough choice, but I have decided to make this, “The Master Plan,” my MVE — it’s the sample that enthuses me most.
10) Episode 30: “Freddy Spaghetti” (Aired: 05/20/10)
Leslie plans to throw a scheduled concert despite the government’s shutdown.
Written by Dan Goor | Directed by Jason Woliner
Two’s actual finale is less interesting than its predecessor, for although it continues the oppositional budget problems as established above — with the Pawnee government now shut down but Leslie still going forward with a pre-planned concert for the community, thus enabling a great display of her character and her core beliefs about her profession — there’s more rom-com cliffhanger tripe that’s a bit more story-focused than character-focused for me (e.g, the April/Andy/Ann triangle I could do without — April/Andy seem inevitable, and Andy/Ann seems like such a vestige of the original first season’s situation that dwelling on it makes no sense). However, it’s a funny, momentous half hour that I do enjoy and would have had a hard time excluding, for I appreciate the seeds being planted for both leading ladies with their new potential paramours (specifically Leslie/Ben, as the latter helps her out despite him shutting down the government). And I love Ron’s initial excitement at the shutdown, along with his later defense of Leslie to the budget-cutters — a wonderful display of his ideology and how it’s been complicated by this seminal relationship in his life. What’s more, I’m also thrilled that the show finally ditches Mark, further boosting this optimism-inspiring season closer, as it communicates this series’ more fully realized form going forward — now it’ll even more reliably offer unique comedy in stories that are supported by these characters and their helpful premise.
Other notable entry that merit mention include: “Leslie’s House,” an atypical installment where Leslie attempts to throw a party (in the Mary Richards tradition) and ends up relying too much on teachers from the adult education center whose budget she’s recently been tasked with trimming, setting up another scenario where Leslie fears she’s broken government ethics — a rich display of her character. However, I’m most interested in singling it out because I think it’s the moment where Parks And Rec most delineates itself from The Office, whose similar “Dinner Party” episode, which basked in unmitigated “cringe,” is totally different from the uniquely Leslie-driven, premise-reflecting soiree observed here. Frankly, it’s not a hysterical half hour relative to those above, but it’s an important one… Also, I considered “The Possum,” which boasts another great use of the Parks & Rec government premise and displays the characters well (mainly Leslie), “Summer Catalog,” which enjoys a funny logline that again evidences Parks And Rec’s newfound excellence in late Two, and “Sweetums,” which is more premise-based than character-based, but sets up a gag that’ll run through the rest of the series. Lastly, I never seriously considered them, but early outings like “Pawnee Zoo” and “The Stakeout” are quite formative for character and tone, while “Sister City” and “The Set-Up” are notable for their guests — Fred Armisen and Will Arnett, respectively.
*** The MVE Award for the Best Episode from Season Two of Parks And Recreation goes to…
“The Master Plan”
Come back next week for Season Three! And stay tuned tomorrow for a new Wildcard! Oh, also — this is your last week to share your thoughts on (mostly) 2000s sitcoms in my latest reader survey! Read more about it here, and fill it out here!