May 7th, 2022
From the beginning, Great News has been comically credited to 30 Rock. While the premise is entirely different great news review: cable news producer dealing with her bossy mother, as an intern on a third-rate parody show with a comedy writer, wrestling with modern issues in the style of Mary Tyler Moore - fast humor and wild, ensemble work and a soft, uniquely screaming surreal creation by Tina Fey. This makes sense considering Great News creator Tracey Wigfield is a longtime writer and eventual producer at 30 Rock. Plus, there's nothing wrong with wanting to be one of the best sitcoms of the new century.
But in its second-season premiere, "Good News" took a big step in the direction of its predecessors, not only introducing Tina Fey as MMN's new president, Diana St Tropez, but also essentially shaping the daredevil streak. but affectionate of Jack Donaghy of Takes her Alec Baldwin. . She has a no-nonsense and efficiency-oriented attitude, she excels at manipulating her staff into following her orders, and has a positive interest in the mentor/mentee relationship. She is a perfect fit for Katie, who aspires to be a role model in her career, and Meltdown (the number one show at the hospital and casino sunken in a riverboat), but not for Carol, who worries that her daughter even more Perfect will slip out of your hands.
Martin plays Carol, a 60-year-old housewife who decides to find a job abroad. Unfortunately, the job she ended up landing was as an intern on the cable news show The Breakdown, and her daughter Katie (Briga Heelan) is an ambitious but overlooked producer. Adding mom to the mix is a problem for Katie, who already has to deal with a humorous and dismissive British boss Greg (Adam Campbell). Chuck (John Michael Higgins), a swaggering, swaggering old anchorman, and Portia (Nicole Richie, who excels in her first regular role on a sitcom), Chuck's shallow and pathetic co-anchor.
If all of this sounds a bit like the newsroom version of 30 Rock - bingo. The show is produced by The Rock's Tina Fey and created by one of the writers, Tracey Wigfield, based on her relationship with her mother. This should leave viewers wondering why so little seems to slip in real life.
Instead, after a rather amusing opening for Tuesday's premiere, "The Good News" quickly devolved into murky nonsense, unrelated to the way any news show goes. You can't expect a documentary, but you should expect a supposedly accomplished producer to find a way to get to the heart of Central Park without repeatedly falling off a rented bike. Or, for that matter, a female anchor realizes that doing the news in see-through shorts isn't the best idea in the world.
No character is more volatile than Katie, who feels she was originally written as half Liz Lemons and half Wigfield's outlet for her quirky sensibilities. Getting Katie's neurosis to benefit Heelan was a process that took several episodes and felt like a seminar at times. "Should she be a straight woman surrounded by chumps?" Probably not. "Is it funny that she falls so often?" Maybe a little. "Wouldn't it be funny if everyone constantly admitted how lovely she is, like it was a big shock?" It is not special. "Is it funny how Katie relives the disappointments of her youth, usually caused by her mother?" Why yes, especially when it comes to Ini Kamoze's "Here Comes the Hotstepper." Katie's generally bizarre enthusiasm makes the most of Heelan's comedic directness, previously on display strongly in Ground Floor and Love.
There's also some uncertainty about Campbell's Greg, whose producing prowess and respect for Katie fluctuated in the early episodes, when the show inevitably settled on two young, single characters who had to at least come to the surface. When it is difficult to know how to respond to interest as love. This is something the 30 Rock team has never had a problem with Liz and Jack, but Greg's position as Katie's mentor/boss is less clear. If you stick to the end of the season, the backstory of Campbell and the nervous Brits is finally starting to come into play.
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