On Sat, Oct 17, 2009 at 12:59 PM, David Bruggeman <[email protected]> wrote:
> ... The uptick from 30 Rock,which had this odd passive-aggressive transition 
> with Leno that night, is notable, but not that big.  It might disappear a few 
> weeks into the 30 Rock
> season. (SNIP)

Not having watched Leno on Thursday, I did not know what David was
referring to above. After puzzling it through for a few minutes, I
realized that 30 Rock ran over, and there must have been more material
at the start of the Leno. Checking my TiVo, I saw that Thursday was
one of the nights that I still tape (though for the last 2 weeks,
never watch) Leno, so I went back and watched the first 5 minutes. It
was oddly passive-aggressive, if by that David means that it seems to
be a less than affectionate mooning of Leno, but it was also (at least
to me) hilarious.

Then I noticed this link to a slate article on the 30 Rock/Leno
transition at the bottom of a Washington Post story I was reading,
which describes it pretty well (SPOILER ALERT: I have pasted it below,
but you may not want to read it if you have not seen the episode yet).
I don't agree with this guy that there is something unseemly about 30
Rock making fun of red state pandering when they survive off of blue
state elitism; 30 Rock's bread and butter is its awareness of and
playing with that fact. But I do agree with him that what was really
odd and jarring about the transition was the Irony discontinuity. 30
Rock is constructed from distilled and crystallized irony, while Leno
is almost incapable of it. He reads the line that with his show it is
time to give America what it wants, but it really comes across as less
ironic than lamely sincere. If we had not just seen the 30 Rock gang
mercilessly deconstructing and pissing on the blond country girl
chorus, we could easily have assumed that they were just a new opening
for Leno's show, and he just plunges right into the audience shaking
hands without any trace of self-awareness. I stayed for a few jokes
just to see if he would try out a few on himself, but not
surprisingly, he didn't (my thought - bring in the guy who plays
Kenneth the Page and show him watching Leno with approval). The Slate
guy is right that is unfair to  imply that Leno is doing this out of
Jack Donaghy like cynicism; Leno seems like a nice enough guy, and I
am prepared to accept that this is just his comic sensibility. But it
is a perfect illustration of why I can barely tolerate him, but do
like 30 Rock and Dave.

http://www.slate.com/id/2232744?nav=wp
Jack Donaghy, GE's vice president of East Coast television and
microwave oven programming, framed last night's very fine, very
class-concerned season premiere of 30 Rock (NBC, Thursdays at 9:30
p.m. ET) by breaking the fourth wall. At the top, he stared into the
camera almost warmly: "Hello, everyone, I'm so happy to see all of you
and to welcome you to Season Four," the camera pulling back to reveal
that Season Four was a schmancy Manhattan restaurant where Donaghy was
treating his subordinates not to Asian fusion but to the vulgar
foodstuffs that common folks stuff themselves with. The
show-within-the-show had lost touch with "the real America," he said,
commanding the cast and crew of TGS to start pandering thereto.

For instance, Jack charged Jenna Maroney with developing a "new
Southern-rock theme for NBC Sports." His fictional NBC is, impossibly,
worse off than the real NBC. In our world, the network at least owns
the right to Sunday-night football programming—the only stuff on its
schedule that cracks Nielsen's prime-time top 20. In Donaghy's, its
last remaining sports programming is off-season tennis, and Jenna
developed a twanging number to pitch Tennis Night in America in a
down-home fashion. It played during the closing credits: "Got my lawn
chair in my truck/ Not an ocean in sight,/ So kiss my ass, New York,/
'cause it's Tennis Night!" Dancers with tennis rackets and cowboy hats
and white booty shorts shook their tails behind her. Cutaways featured
hay bales and exploding 18-wheelers.

Turned out that Donaghy and Liz Lemon were watching this in his
office. "I hate that I kind of like that," she said. He encouraged her
to step into the light: "There's nothing wrong with being fun and
popular and just giving people what they want." He looked into our
living rooms again, more than a touch of cool superiority in his
stare: "Ladies and gentlemen, Jay Leno." Oh, snap!

>From the studio of his new 10 p.m. show—a program representing the
irreversible diminishment of NBC—poor Jay feigned cool, grasped at
dignity, and responded: "Thanks, guys! Time to give America what they
want." Another half-dozen women in skimpy tennis-white cowgirl outfits
shook it on his stage. Sadly, they had no rackets. No irony, either.
In a time span shorter than a T.G.I. Friday's commercial, we saw a
pungent contrast between two sets of cultural values.

This was all very funny and more than a bit embarrassing. When 30 Rock
mocked the crassness of its medium two seasons ago by imagining a
reality competition titled MILF Island, that was mere ridicule. It was
motivated by something like lighthearted contempt. This joke dripped
with open scorn. It was rescued from distasteful smugness—maybe—partly
because the episode also teased elitism and partly because of the
political content of Jenna's segment. In a jab at the marketing
purposes to which mindless jingoism is put, the number featured an
excess of American flags; in a chortle at redneck-ism, flashes of
undershirt revealed the Confederate battle flag.

The joke was not rescued from smugness entirely because it is unfair
to implicate Leno, however obliquely, of playing to base instincts.
His only crime is total blandness. Then there is the fact that 30 Rock
was only able to make it to a fourth season because of the
preponderance of blue-state affluents in its relatively small
audience. In mocking popular (populist?) taste, Tina Fey and friends
bit a hand that isn't even feeding them. What a racket.
Troy Patterson is Slate's television critic.

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