I wrote my previous breakdown of 30 Rock after watching their first episode, a big mistake for them and for me. In the first episode, show runner Liz ran all over the city looking for movie comedy star Tracy so he could head the cast of her Saturday Night Live-like show. Sitcoms require a large number of comic oppositions, which play off each other in rapid succession and which can generate comedy for at least 100 episodes. By taking the story out of the studio arena, the 30 Rock writers not only reduced the show to one (fairly weak) comic opposition, they gave the audience the wrong impression of what a typical 30 Rock experience would entail.
Subsequent episodes became much more focused in the studio, and that allowed the writers to generate different comic oppositions between regular characters at a much faster pace. That move alone was worth plenty. But the biggest improvement came from a season-long effort to sharpen the comic differences between characters. The opposition between Liz (played by Tina Fey) and Jack (played by Alec Baldwin) continued to be the primary one, but it improved dramatically. The Jack character is terrific, and Baldwin plays it brilliantly. But if he has no one to work off of, this character is wasted. So the writers sharpened Liz, making her more of a “machine” comic, undercutting the over-the-top “crazies” on the show. Fey also stepped up her game noticeably as a comic actor.
Keeping the stories more within the studio arena also allowed the writers to heighten the secondary comic oppositions. For example, “child” comic Kenneth – the innocent, idealistic and totally naïve page – became a perfect foil for both Tracy and Jack. This was tremendously valuable. Those of you who wish to create sitcoms or simply write a good one, notice that every time you create a new valid comic opposition like this, you get a magnified benefit: the primary opposition doesn’t have to carry the whole load, you have more available story turns and the comic density of the show increases.
Another comic opposition that improved over the course of the season was the one between Liz and Jenna (played by Jane Krakowski). The episode that featured Jenna getting in trouble talking about the war in Iraq was one of the funniest of the season and showed that she still has a lot of potential in her oppositions, especially with Jack.
Now that the writers have found their groove, look for the show to focus even more on the in-studio oppositions. 30 Rock may not be the best comedy on television – in my opinion, The Officeis a notch above it – but it’s one of the funniest in a long time and it’s getting better.
Sitcoms don’t have the stature they had ten years ago, but they are still the second biggest form in television. What’s crucial to understand about a sitcom is its success doesn’t come from a list of good jokes. It comes from the original set up of the show, from what makes the jokes possible.
Again, there are a large number of structural elements required to set up a sitcom successfully, with one of the most important being the oppositions within the community. In sitcoms, that opposition is comedic, and each one must be an essential comedic opposition that never disappears over the course of entire show.
By this standard, 30 Rock is in trouble. There aren’t enough essential oppositions and I don’t see how the ones they do have are going to last. The first opposition is between Liz (played by Tina Fey) and Tracy (played by Tracy Morgan). This has an obvious visual opposition, but not a comedic one. Liz occasionally cracks wise, but as a character she is not funny. She is not pompous, nor does she go to the other extreme of deadpan (like a Bill Murray, for example) needed to make other characters funny. Tracy is mildly over-the-top, but in a limited, one-note way.
The one comedic opposition that does work, between Liz and Jack (played by Alec Baldwin), will be hard to sustain. Jack is the pompous corporate bastard who is both a narcissist and a creative idiot. Even the tame Liz will be able to cut him down to size, only to see him re-inflate within seconds. But how often can this corporate honcho appear on the set and create havoc?
The real ongoing comedic oppositions on a show about Saturday Night Live should be within the cast and crew. But so far these characters, like the cat wrangler and the pretty, do-nothing receptionist, are defined by a single comic note. They may have an occasional funny line but they are not comic pillars. They do not stand in essential comic opposition with any other fundamental comic character.
30 Rock does have two real strengths: a number of funny lines and no laugh track. But neither of these can overcome the weakness of bad comic opposition. I’ll keep watching, for a while at least, and hope they prove me wrong.
If you are interested in writing sitcoms, or creating a successful one, you’ll find all the techniques in the Sitcom Writing Class and the Sitcom Blockbuster add-on.