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, AZIZ ANSARI as Tom Haverford, NICK OFFERMAN as Ron Swanson, AUBREY PLAZA as April Ludgate, and CHRIS PRATT as Andy Dwyer, plus ADAM SCOTT as Ben, and ROB LOWE as Chris. With JIM O’HEIR as Jerry and RETTA as Donna.

Season Four is great because Parks And Rec never has a firmer command on its leads, most of whom are so well-defined now that they regularly shine. And it’s a popular season because it’s got a year-long arc with many inherently exciting moments built in: Leslie’s run for city council. I see this as a deliberate loosening of the situation — moving Leslie away from her day-to-day duties at Parks and Rec, as her new career pursuits invite stories about politics and running for higher office. Of course, politics is affiliated to and therefore earned by the “local government” setting — some jobs are elected! — and what’s more, this pursuit plays to Leslie’s personal growth, based on what we know of her ideals and ambitions, which means it’s actually a terrific option for Parks And Rec, exploring her character while also injecting new life into the premise via this broadening of thematic scope that keeps the font of story flowing. Indeed, this campaign evolves and dimensionalizes Leslie more than we’ve ever seen (in tandem with her deepening feelings for Ben). And yet, for as much as I consider it smart sitcommery, I also view it as a narrative gimmick, as this arc invites preordained story beats that aren’t as motivated by the characters as they are by the overarching story itself, and although this political angle reflects Parks And Rec’s premise, it also forces the show to become even more high concept, pivoting ideas slightly away from the leads and their relationships to more plot-driven fare. (To wit, aside from Leslie and Ben, I’m not sure anyone else is better examined because of this arc.) Also, the political campaign opens up the show — Pawnee the town gets more fleshed out — but by taking the regulars outside the department more often, there are fewer full ensemble scenes, and more in-episode variance due to subplots where they’re separated. To that point, some of Four’s other ideas also strain credibility — e.g., Leslie and Ben’s brief split feels like a delaying tactic, while Ann’s romance with Tom feels like wheel-sputtering nonsense (story superseding character). So, as I commend this season for expanding the premise to keep up viable sitcommery, it also represents, narratively, a more effortful version of the series than what we saw just last week… But, hey, I only note all this here to put Four in context. For the most part, this is a strong, peak-era collection with many classic episodes. A great season of a great sitcom.

 

01) Episode 48: “Ron And Tammys” (Aired: 09/29/11)

Leslie tries to intervene when Ron goes back to his first wife, also named Tammy.

Written by Norm Hiscock | Directed by Randall Einhorn

Season Four’s annual addition to the Ron vs. Tammy saga — which actually began in the previous entry, the premiere, and then is continued as the A-story here — expands Ron’s backstory by suggesting that Tammy Two, the crazy, wild ex-wife whom we’ve already met (played by Megan Mullally, who appears again) — is actually the lesser of two evils compared to Tammy One, Ron’s more frightening first ex-wife portrayed by Patricia Clarkson, who’s a delectably icy contrast to the spicy Mullally and furthers our comedic understanding of Ron’s character, with the quirky “same name” detail enhancing the fun. This excursion also goes one step further, however, and introduces us to Tammy Zero — Ron’s mom, in the form of Paula Pell — continuing the gag and elevating it to conceptual heights that the series can probably never top, for this is the most Tammy-filled of all the Tammy shows, an indication of Four’s bold command of self, which it plays to in memorable outings like this. (In general, Ron-heavy selections tend to be some of the series’ best, and this is no exception.)

02) Episode 50: “Pawnee Rangers” (Aired: 10/13/11)

Leslie and Ron are competitive over their rival youth camp programs.

Written by Alan Yang | Directed by Charles McDougall

Although this entire year is shaped around the main political arc that ramps up in its back half, the early part of Four has more room for episodic stories where the leads can shine, indicating just how adept Parks And Rec currently is with its regulars and how well, outside of that political arc, they now have the capacity to be featured. This underrated offering is a perfect example — it’s not narratively flashy compared to anything else on this list, but it’s a straightforward display of the central differences between Leslie and Ron, two wonderful, unique characters who have always been defined in contrast. Their competing scout groups are reflections of their respective beliefs — this not only reaffirms our understanding of them, it also pushes them in implied conflict or opposition, which makes for basic situation comedy. And since the Leslie/Ron dynamic is one of the show’s best — their strong ideological clashes are both naturally funny and in emphasis of the perspective that the show itself adopts via its anchor (Leslie) — ideas like this constitute a classic version of Parks And Rec. Additionally, the subplots here also spotlight the characters well — this is a particularly good showing for Tom and Donna, with the introduction of their “Treat Yo Self” catchphrase — making for a very solid half hour.

03) Episode 52: “End Of The World” (Aired: 11/03/11)

Leslie tries to keep Ben from another woman while a Pawnee cult prepares for the world’s end.

Written by Michael Schur | Directed by Dean Holland

As Leslie runs for elected office, Four gets to continue building out the town of Pawnee, which is always a rich source of kooky guests and affably goofy episodic loglines, like here — as the show spoofs Doomsdayers, shaping an outing around a Pawnee cult that’s preparing for the end of the world. Now, that’s an amusing setup — but obviously so, for it’s a sketch-like notion that would be funny anywhere, and while it basically works within the situation, since Leslie and her crew are overseeing their vigil in a park, I must admit that this isn’t what impresses me most about “End Of The World.” No, I’m much more interested in the subplot, which confirms that its understanding of Leslie is so well-established that it’s now eager to complicate and dimensionalize her — particularly by having her pursue her own objectives and desires instead of merely being altruistic and people-pleasing as a function of her premised calling as a public servant. Okay, in this case, her duties are not put in direct opposition to her personal wants (and she’s not weaponizing government in a way that threatens her core values), but it’s still unusual to see her be self-serving, and this is indeed something Four is willing to do more frequently, for now it has good reason — her love of Ben — to push her into doing stuff we know she usually wouldn’t: to break rules, use what’s at her disposal, connive at someone else’s expense, etc. All of this adds new shadings to her character that are actually justifiable, and I appreciate them for they don’t negate what we already know; instead, they humanize her by bringing out new sides under different pressures. And this is one of several key instances of Four pushing Leslie’s limits as her relationship with Ben evolves, and she herself evolves as well. It’s smart.

04) Episode 55: “The Trial Of Leslie Knope” (Aired: 12/01/11)

Leslie is brought up on ethics charges after she confesses to a relationship with Ben.

Written by Dan Goor & Michael Schur | Directed by Dean Holland

Now, as noted, I think the early part of this season where Leslie and Ben aren’t together despite their mutual feelings endures an inartful stalling tactic common of sitcoms with long-form plotting, for we know the obstacles placed in front of them will only be temporary; that is, it’s certain they’ll couple eventually, regardless of the current “rules” and their career-based fears. And this installment proves that hunch to be correct — finally setting it up so Leslie and Ben can date after Ben quits his job. However, for as much as I call their protracted split contrived, I also believe the show nobly succeeded in rooting their issues in central elements of their characterizations and therefore the situation — namely, challenging Leslie’s duty as a public servant (and her dreams of running for office), by directly opposing her love (Ben) with her chosen purpose, the latter of which is vital to her depiction, defining everything we know about her and her series. So, it’s a compelling drama — so compelling that this gaudy entry, where Leslie is ridiculously put on trial by Chris (whose Leslie-esque pep is nevertheless balanced by an even more ordered, lawful perspective of how the government should be run), is able to ultimately emerge as less gimmicky and try-hard than it otherwise could be. For, actually, this conflict is about character, predicated on core battles going on inside Leslie herself, and thereby rendering this a valuable showing for her, affirming key tenets of who she is and what this show is overall. It’s too narratively ostentatious to be a favorite, but I’d miss it if it wasn’t here.

05) Episode 56: “Citizen Knope” (Aired: 12/08/11)

While suspended from her job, Leslie starts a local citizens’ action committee.

Written by Dave King | Directed by Randall Einhorn

Yet another terrific showcase for the series’ central character, “Citizen Knope” is a delightful one-off that uses the recent narrative continuity of Leslie’s suspension to comedically play her civic-minded beliefs outside of the government itself. Because she currently can’t do what she’s called to do — serve her community in public office — she organizes a citizens’ action committee and begins pressuring the government to work on behalf of its constituents. This is fun, for it puts Leslie on the other side of the proverbial table, where she still exhibits the same zeal and ideals as ever, reinforcing her brilliantly well-established characterization, along with this year’s overarching interest in expanding its utilization of her. Additionally, there’s some classic Parks And Rec feel-good warmth from the staff’s plans to give Leslie a nice Christmas gift — a subplot that dovetails nicely with the latest beat in her city council campaign arc, as she loses her previous team amid the suspension “scandal.” Accordingly, this is more than a great offering for Leslie — it’s also an intelligent display of the series, and Season Four in particular.

06) Episode 57: “The Comeback Kid” (Aired: 01/12/12)

Leslie and her staff plan an event to relaunch her campaign for city council.

Written by Mike Scully | Directed by Tucker Gates

My choice for this year’s Most Valuable Episode (MVE), “The Comeback Kid” is the point where Season Four pivots to more exclusively focus on Leslie’s run for city council, which will naturally culminate in an election finale, as this outing explicitly involves her efforts to relaunch a campaign after she was dropped by her prior managers amid her brief post-trial suspension. Starting now, the Parks and Rec department is serving as her new campaign staff — a silly sitcom contrivance that we’re nevertheless thrilled to accept because it means we’re going to get more group scenes where the ensemble members can all bounce off each other (showcasing how well-defined they are in this peak era), and also because, as a classic workplace comedy, if stories are going to be more about the political campaign than the day-to-day local government job, then to keep basic sitcommery intact, we need them working on this thematically approved arc. And while a lot of what follows is determined by prescribed plot points related to the simple mechanics of the plot itself — like a big interview, a debate, election day — this entry is simply about a rag-tag group of low-level public servants attempting to relaunch the campaign of one Leslie Knope, an optimistic goofball who has a long way to go to get elected. That’s a fundamentally amusing prospect that plays with her character, the ensemble (almost every member of whom gets some persona-specific comedy here), and the series’ larger situation, more so than the pomp and circumstance of this temporary storyline — rendering this not only an exciting peak in said storyline and therefore a quintessential reflection of the year (which is defined by this arc), but also a fuller example of Parks And Rec and what we want it to be. In fact, this series’ sensibility is never more evoked than in a centerpiece that, frankly, elevates the whole half hour — the scene on an ice rink where the gang (including Andy/April’s new three-legged dog) toils to walk several feet to a raised mini-stage. This, of course, yields a divine bit of physical comedy that flirts with some Office-like cringe and yet isn’t about the uncomfortableness of the moment — it’s about these underdogs valiantly fighting an uphill battle, both in their campaign and on this ice. And when they emerge victorious, it’s Parks And Rec in a nutshell: the unabashed triumph of the wacky but well-meaning. It’s the series’ funniest sample.

07) Episode 58: “Campaign Ad” (Aired: 01/19/12)

Leslie and Ben disagree on her ad strategy when a new candidate enters the race.

Written by Alan Yang | Directed by Dean Holland

Even though there are better political satires out there (like Veep, which premiered in early 2012), I want to reiterate that I think this was a smart storyline for Parks And Rec in terms of premise maintenance and Leslie’s growth, and setting all other critiques aside, I also appreciate that it helps the show build out the lore of Pawnee with a few recurring players who are brilliantly cast. One such gem, debuting in this installment, is Paul Rudd as Leslie’s chief opponent Bobby Newport — a doofus nepo baby designed to bring big laughs by lampooning the political process. Every Bobby segment is enjoyable because of his inclusion, and that’s never truer than his hilarious debut. (Another great character is Kathryn Hahn as Jennifer, Bobby’s snarky D.C. campaign manager; she’s introduced a few weeks after this and really brings energy to the arc as well, boosting all her segments with dripping satire.) However, more than that, I celebrate this offering for how it explores some of the regulars by juxtaposing them — not just Ron and Chris in the subplot (they’re always fun when paired), but also Leslie and Ben, whose contrasting attitudes are emphasized via their differing sensibilities regarding how tough to make their attacks on an opponent. Naturally, Ben is more vicious than the sunshine-y Leslie, and this is a sublime way to play both of their characters in a story that can then become as much about them and their dynamic as it is about the arc itself. And that’s ideal.

08) Episode 59: “Bowling For Votes” (Aired: 01/26/12)

Leslie and Ben host a bowling night to appeal to a critic from a focus group.

Written by Katie Dippold | Directed by Michael Trim

Among the more memorable episodes of the season — “the bowling one” — I appreciate this very idea for being a fresh way to explore these characters, using seemingly inconsequential details, like how they bowl, to both comedically play up and also find conflict within what we already know about them. What’s more, the bowling alley is an inherently competitive arena that works well with the year’s political arc, especially as it’s crafted here — with Leslie and Ben arranging a bowling night as a campaign event, where Leslie hopes to court one specific jerk from a focus group (Kevin Dorff). This opens up the door for great character material for Leslie in particular, as her typically sunny modus operandi is challenged as she pursues something she desperately wants from someone who essentially doesn’t like her — an indication of what’s important to her, predicated both on her depiction and the natural satire that arises from such silly campaign events and the whole notion of building a public persona based on public feedback, which is one of the basic tensions of politics, newly available to the show by this storyline. Indeed, this does enable some mild “cringe” — as there’s a gap between how Leslie is perceived and how she tries to be perceived. But it’s earned.

09) Episode 66: “The Debate” (Aired: 04/26/12)

Leslie debates her opponents in the city council race.

Written by Amy Poehler | Directed by Amy Poehler

A very popular outing — in fact, Amy Poehler netted an Emmy nomination for her script — “The Debate” indulges a natural fixture in any campaign season that thus provides an easy centerpiece to serve as the basis for this entire half hour. It’s creatively uninspired, but actually has a lot of inherent potential, especially if leaning on the simplicity of the construct — with characters up on a stage for an extended period of time in direct juxtaposition, therefore accentuating their depictions. And that’s exactly what happens here — Leslie is up against her main opponent Bobby and two politically cartoonish candidates who also goose the laughs. Those laughs are needed, for while there are absolutely many hahas generated by the now well-established Bobby, and the blatant favoritism from the moderators that plays to the obvious cultural lampoon enabled by this arc, this is otherwise a big, serious showing for the Leslie character, as she gets the opportunity to speak from the heart and communicate basic facts that have always defined her, and by proxy, her series — specifically, her belief in the power of government to help people. It’s the fundamental tenet of her personality and this situation, and having it undergirded foundationally in this excursion makes for an automatically important sample of Parks And Rec. So, even if it’s narratively ostentatious and perhaps too self-important, this is a thesis-revealing entry, and like a lot of this arc, I simply can’t ignore how seminal it is to this year and the series en masse. (I also think there are some great character laughs in the subplots — Chris Pratt, in particular, seizes an opportunity to shine.)

10) Episode 68: “Win, Lose, Or Draw” (Aired: 05/10/12)

Ben gets an out-of-town job offer as Leslie awaits election day results.

Written by Michael Schur | Directed by Michael Schur

Four’s finale — which also got an Emmy nod for its writing — is a lot of what you’d expect from the outset of this entire arc, as it covers Election Day and the tension that comes from waiting for the results: will Leslie Knope be elected to the city council? The answer turns out to be yes, allowing for a whole crop of new stories next year that return to the serving in local government premise, but with a scope grander than the once-central Parks and Rec department. We’ll talk more about that next week. In the meantime, this is another crucial milestone for both Leslie and Parks And Rec — the fulfillment of a dream and a tweak to the situation — so even though I don’t think it’s the funniest or most character-motivated/revealing showing (especially for everyone else beyond Leslie and Ben, whose relationship is also affirmed via their mutual support of each other’s ambitions), it’s the kind of episode I would regret excluding, for its narrative design guarantees that it stands out as a season-defining, character-spotlighting, series-turning moment. And to the show’s credit, it’s solid — just like this year.

 

Other notable episodes that merit mention include: “Bus Tour,” a funny satirical entry near the end of the campaign arc that boasts great performances by both Paul Rudd and Kathryn Hahn, and a lot of hilarious moments (I really tried to fit it in on the list above, but I just couldn’t bump some of the year’s bigger, more keystone selections), and “Campaign Shake-Up,” which introduces the walking political parody that is Hahn’s Jennifer (and Carl Reiner notably guests as well). Also, I appreciate the increasingly complicated depiction of Leslie in both “The Treaty” and “Smallest Park,” as she struggles with her feelings for Ben, even at the expense of her duties as a public servant (which we know she holds especially dear), while “Born And Raised” is memorable for offering a story about a very topical (and therefore 30 Rock-ian) bit of political satire regarding a scandal over Leslie’s place of birth.

 

*** The MVE Award for the Best Episode from Season Four of Parks And Recreation goes to…

“The Comeback Kid”

 

 

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