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Tina Fey, Alec Baldwin, Tracy Morgan, Jane Krakowski, Jack McBrayer, Scott Adsit, Judah Friedlander
Writing Credits:

Art imitates life in this smart comedy starring Saturday Night Live alums Tina Fey, Tracy Morgan, and frequent host Alec Baldwin. In addition to writing and executive producing 30 Rock, Fey plays Liz Lemon, the head writer on a variety series called "The Girlie Show." But the new Vice President of East Coast Television and Microwave Oven Programming, Jack Donaghy (Baldwin), decides to shake up the show, adding crazy actor Tracy Jordan (Morgan) to the cast and changing the name. A critical hit, 30 Rock garnered a Golden Globe win for Baldwin and Emmy nods in its freshman season for its brand of comedy that ably straddles intelligence and silliness. This single-camera sitcom also features Jane Krakowski, Scott Adsit, and Judah Friedlander. But with such a deep bench of talent, the show's secret weapon is Kenneth, played by Jack McBrayer, whose naiveté is a hilarious contrast to the rest of the characters. This release features the first season in its entirety, including episode commentary from Fey.

Rated NR

Widescreen 1.78:1/16X9
English Dolby Digital 5.1
English Dolby Surround 2.0
Supplements Subtitles:

Runtime: 527 min.
Price: $49.98
Release Date: 9/4/2007

• Audio Commentaries for Five Episodes
• Deleted Scenes
• “The Wrap Party” Featurette
• “An Evening With Kenneth” Featurette
• “Behind-the-Scenes” Featurette
• “Makin’ It Happen”
• Previews


Panasonic 50" TH-50PZ77U 1080p Plasma Monitor; Harman/Kardon DPR 2005 7.1 Channel Receiver; Toshiba A-30 HD-DVD/1080p Upconverting DVD Player using HDMI outputs; Michael Green Revolution Cinema 6i Speakers (all five); Kenwood 1050SW 150-watt Subwoofer.


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30 Rock: Season 1 (2006)

Reviewed by Colin Jacobson (June 26, 2008)

Who better to make a series about life at a Saturday Night Live-style program than actual SNL alumni? That’s what we got with 30 Rock, a sitcom that debuted during the 2006-07 season. Former SNL star Tina Fey acts as the driving force behind the series, and fellow performer Tracy Morgan works as one of the main cast members. In addition, star Alec Baldwin often guest-hosted SNL.

That creates an interesting premise, so let’s see how well the initial season of 30 Rock maintains our interest. I’ll look at all 21 episodes in broadcast order, which is how the shows appear here. The plot synopses come straight from the DVD’s packaging.


Pilot: “Head writer Liz Lemon (Fey) finds herself defending her choices and her live TV show when new network executive Jack Donaghy (Baldwin) starts meddling with the cast.”

As a piece of comedy, “Pilot” sputters a bit. While it throws out some decent laughs and certainly moves at a rapid-fire pace, it feels forced at times. That’s not unexpected, though, as it usually takes shows a while to find themselves, and “Pilot” exists mostly as an expository program anyway. It succeeds as an introduction to the characters and setting.

The Aftermath: “Jack continues to tweak The Girlie Show so that eccentric Tracy Jordan (Morgan) is the star of the show, and Liz makes it all much worse when she tries to smooth things over.”

In essence, “Aftermath” acts as the second part of the “Pilot”. It continues the story started there, so it probably should’ve come as one long episode. That also means it demonstrates the same strengths and weaknesses as its predecessors.

Blind Date: “Cupid has a new rival when Jack insists on sending Liz on a blind date with his out-of-town friend, Thomas.”

For the series’ first non-expository show, we get a pretty good one. The main plot about the blind date has some good moments, but it’s not the show’s best part. The “B”-story about the office poker game works better and provides most of the program’s laughs. Both combine to create an amusing show.

Jack the Writer: “Lines are drawn when Jack decides to sit in on the writers’ room and Kenneth the page (Jack McBrayer) tries to deal with Tracy’s difficult demands.”

We can’t call 30 Rock a breakout show for Alec Baldwin since he was already a star, but it certainly rejuvenated his career. Episodes like “Writer” show why; Baldwin’s fatuous interpretation of Jack proves consistently hilarious. The Kenneth plot also works well in this solid episode.

Jack-tor: “Jack is determined to act in a sketch on the show. Liz suspects Tracy may be illiterate.”

Though this episode features three running storylines, it feels padded. The fake outtakes with Jack go on way too long; they’re funny for a moment but we don’t need as much of them. The show still gets laughs, but it drags a little too much.

Jack Meets Dennis: “Liz reconnects with her ex-boyfriend Dennis (Dean Winters), the last remaining pager salesman in New York. Meanwhile, Jenna (Jane Krakowski) and Tracy try to ‘enhance’ their appearances for career reasons.”

Is it just me or does Liz/Dennis give off an Elaine/Puddy vibe? Granted, Dennis is much more offensive than Puddy ever was, even at David’s face painting dopiest. It’s a little tough to swallow him as Liz’s boyfriend, but at least their scenes are funny. The pathetic attempts Tracy and Jenna make to seem edgy (him) or young (her) also entertain and help make this a good program.

Tracy Does Conan: “It’s a star showdown when a dazed and confused Tracy bumps Jenna from her scheduled appearance on Late Night With Conan O’Brien.”

“Conan” boasts a more frantic pace than usual, as it puts Liz into full-on damage control mode. Tracy’s freak-out provides the biggest laughs, but all the other elements succeed as well. This turns into maybe the best episode to date.

The Break-Up: “At the urging of everyone, Liz finally breaks up with her beeper salesman boyfriend. But the path back to ‘single and loving it’ proves to be filled with unforeseen obstacles.”

After “Conan”, it becomes almost inevitable that “Break” won’t be as memorable. The show has its moments, especially when Liz goes out to meet guys at bars. It’s just not quite as good as “Conan” – or maybe I’m just perplexed by the choice to make the score sound a whole lot like “Thunder Road”.


The Baby Show: “There are mommy issues on the set when Jenna tells everyone that Liz wants to get pregnant, and Jack gives her some very personal parental advice.”

“Baby” offers as close to a theme episode as we’ve seen so far, as most of the threads relate to motherhood. It balances them well and creates a good little package. The best part comes from Josh’s impersonations, though; these aren’t explicitly connected to moms, but they fit in well anyway.

The Rural Juror: “Jenna can’t wait for her new movie to open, but Liz won’t tell her what she really thinks of her performance.”

I’m almost sad to come to the climax of the Rural Juror arc simply because I like hearing the title so much. At least the show allows us to see some serious cat fighting between Liz and Jenna. Add to that “The Tracy Jordan Meat Machine” and this becomes another solid episode.

One complaint about 30 Rock that comes to the forefront in “Rural Juror”: the show wears its Simpsons influence too heavily. The series often uses a structure very similar to that of mid-Nineties Simpsons, as it goes with some non sequitors such as this episode’s reference to Kenneth and his enemy in props. Also, the infomercial is funny but feels just like The Simpsons, right down to Dr. Spaceman in the Dr. Nick slot. 30 Rock amuses but can feel unoriginal when it shows this Simpsons slant.

The Head and the Hair: “There are some new power players around when Jack and Kenneth the page switch roles for the day and Liz finds herself clicking with a gorgeous hunk.”

One irritating theme of 30 Rock: its insistence that Liz isn’t terrible attractive. Liz/Fey is a serious babe, and it’s weird to see her treated like some sort of mediocrity. I’d kill for a honey like her!

Despite my continued bewilderment with the series’ view of her, “Hair” has many good moments. The parts with “The Hair” are a bit erratic, but I like the Kenneth subplot, and Tracy’s attempts to dictate his autobiography entertain. The twist at the end with “The Hair” is a bit dopey, but I like the episode anyway.

Footnote: what’s up with Tracy Morgan’s facial hair? One episode he has some, and the next it’s gone.

Black Tie: “Liz, Jack and Jenna rub elbows with the upper crust at a prince’s (Paul Reubens) birthday party, but the end of the evening finds Liz lying low after Jack’s ex-wife (Isabella Rossellini) shows up.”

If we’re supposed to be so dazzled by Rossellini’s beauty, it’d help if she didn’t now look like Rosa Klebb in From Russian With Love. I always thought she was ehhh anyway, but she’s not improving with age. I’ll take Tina Fey now over Rossellini at any point in her life.

Okay, enough soapboxing about over-rated women. (I also better stop raving about Fey before she puts out a restraining order on me.) I like the episode’s surprisingly subtle references to Pretty Woman, and Reubens’ grotesque Prince Gerhardt is awfully cartoony, but he’s funny. It’s an erratic episode but it works enough of the time.

Up All Night: “Valentine’s Day is much more than candy and flowers when Jack celebrates the finalization of his divorce and the writers are forced to pull an all-nighter.”

Okay, I might not think Rossellini is particularly attractive, but it’s damned funny to hear her exclaim “you know I love my Big Beef and Cheddar!” We finally meet Tracy’s wife – and she seems way too unattractive for him. That stretch is a bit of an issue, and the Valentine’s theme doesn’t really soar. That still means some decent laughs, but it’s not one of the better shows.

The “C” Word: “Being the boss isn’t all it’s cracked up to be when Liz overhears the writers discussing her management style and Jack tries to impress CEO Don Geiss (Rip Torn) at a charity golf tournament by bringing Tracy along.”

Employee/employer relationships come to the fore in the solid “’C’ Word”. Tracy’s attempts to shame Jack offer the most amusement, but Liz’s overcompensation for her stern side also amuses. The episode offers a good rebound after the lackluster “Up All Night”.

Hard Ball: “It’s negotiation time, and Jack plans to teach Liz a thing or two about how to handle Josh’s (Lonny Ross) new contract. Jenna makes several big publicity mistakes.”

“Hard Ball” acted as my introduction to 30 Rock when it appeared on the American Pie Presents Beta House DVD. If the folks at Universal put it there to promote 30 Rock, the choice worked; I didn’t plan to watch the series, but I liked “Hard Ball” enough to give this set a look. It’s even better once I know the show’s context, as all parts of this winner shine.

The Source Awards: “It’s lights, camera, aggravation when Liz finds herself locked in a relationship with Tracy’s determined new manager (Wayne Brady) and Jack forces Tracy to host the Source Awards.”

And here’s where we get into race relations. The best parts come from Liz’s dates with an African-American guy; though they’re totally wrong for each other, she can’t dump him without being classified as racist. Parts of the show seem forced, though, as the episode tries a little too hard to be provocative. It’s amusing but not a great program.


The Fighting Irish: “Family matters move front and center when Jack is reunited with his down-and-out brother (Nathan Lane) and Liz has a tough time making staff cutbacks.”

Liz’s side of things works the best, as her attempt to turn her burden into a boon prove very entertaining. The parts with Jack’s family are less terrific. We get some good guest stars but too much of it’s predictable. Still, it’s a generally good episode.

Fireworks: “Sparks are flying when Jack uses Kenneth the page to thwart an aggressive west coast NBC exec (Will Arnett) and Liz follows her crush to an AA meeting.”

I suppose it’s inevitable that any sitcom of this sort would show some Seinfeld overtones, but more and more, Liz seems to be turning into Elaine. Her side of things definitely follows a Seinfeld arc, which makes it less effective than I’d like. Tracy’s search to find himself stands as the most entertaining aspect of this average episode.

Corporate Crush: “Love is in the air, but Liz is concerned when Jack takes an overwhelming interest in her new boyfriend (Jack Sudeikis).”

The notion of Floyd the boyfriend – teased to us as “Flower Guy” for weeks – sounds better than the reality. Nothing against Sudeikis, but the character was more interesting when we saw much less of him. Even Tracy’s terrible Jefferson trailer doesn’t entertain as much as it should. This becomes a rather flat episode.

Cleveland: “There are certainly no sparks when Jack asks Liz to take his fiancée Phoebe (Emily Mortimer) out for a ladies’ lunch, but Liz finds a lot more to like when her boyfriend takes her to the great city of Cleveland.”

I’m starting to think Floyd zaps the life from 30 Rock. I have no problem with the character or the actor, but the last couple of episodes have been forgettable. The appropriate components are there, but the show just doesn’t manage to take off and entertain as much as I expect.

Hiatus: “Tracy, on the run from the Black Crusaders, goes into hiding with Kenneth’s cousin Jessie (Sean Hayes), and the pressure’s on Liz to make the show work after Jack’s mother (Elaine Stritch) arrives and Jack ends up in the hospital.”

“Hiatus” rockets us toward the end of Season One, and it does so fairly well. It’s not one of the year’s best shows, but I love Stritch’s crotchety turn as Jack’s mother, and the program concludes the first season on a good note.

The DVD Grades: Picture B/ Audio B/ Bonus C-

30 Rock appears in an aspect ratio of approximately 1.78:1 on these single-sided, double-layered DVDs; the image has been enhanced for 16X9 televisions. Picture quality was perfectly acceptable.

Sharpness could be a little iffy. Some shots demonstrated mild softness, though not with great frequency. For the most part, the shows looked accurate and well-defined. Only a few examples of jagged edges and shimmering popped up, and I noticed very little edge enhancement. No concerns with source flaws occurred; I saw minor graininess and that was about it.

Colors seemed positive. The shows usually featured natural hues that came across in a dynamic, rich manner. Blacks were dark and full, and shadows looked fine. A couple of shots were a little dense, but those examples weren’t a significant issue. Really, the shows presented good picture quality that lived up to expectations.

In addition, the Dolby Digital 5.1 soundtrack of 30 Rock was fine. The soundfield stayed pretty limited like I’d expect from a comedy. Most of the audio came from the front channels and emphasized general atmosphere and music. The score and songs presented strong stereo imaging, and various effects seemed well-placed. They blended nicely and used the surrounds for reinforcement of those elements. Actually, I thought the back speakers could be too active at times, as they occasionally threw out some distracting information. Nonetheless, they worked fine most of the time.

No issues with sound quality emerged. Dialogue sounded clean and concise, with no edginess or other issues. Music was lively and full. Some variations occurred due to the various song sources, but I thought the music was consistently solid. Effects also appeared clean and offered decent dynamics. No one will mistake the audio as demo quality, but the material was fine for this series.

The vast majority of the extras show up on DVD Three. Five audio commentaries appear. Here’s the breakdown:

“Tracy Does Conan”: actor Tracy Morgan. He discusses his relationship with Tina Fey and how he came onto the show, his character, and other facets of the series. Morgan includes a few decent thoughts about his role, but mostly he just praises all involved and tells us how funny the episode is.

“Black Tie”: actor/writer/executive producer Tina Fey. She sticks with episode specifics, as she throws out a few details about the program and its components. Fey doesn’t tell us a lot, but she offers a smattering of moderately interesting thoughts and some funny comments.

“Hard Ball”: executive producer Lorne Michaels and son Henry Michaels. According to an intro from Fey, the younger Michaels appears here because he watches rough cuts of episodes with his dad and gives his own thoughts/notes about them, so she wanted to hear his insights as well as his dad’s.

Good luck on that, Tina, as neither Michaels man tells us anything of use here. And I mean that literally: there’s not a single interesting remark in this commentary. The pair speaker very infrequently, and when they do say something, it’s always along the lines of “I like that”. This is a completely useless commentary that may well be the worst I’ve ever heard.

Seriously, why did the DVD’s producers even bother to include the commentary on the disc? Even the crummiest commentaries usually tell us something - no matter how banal – about the project at hand. Not the Michaels boys – they completely waste our time.

“Fireworks”: actor Jack McBrayer. The performer offers various trivia bits related to the show. Most of the time he just makes little jokes, though, so don’t expect much information. At least McBrayer is more fun than the Michaels boys.

“Hiatus”: actor Alec Baldwin. Though Baldwin throws out a few thoughts about fellow cast members, he usually just cackles at the episode. He tosses in the occasional joke but nothing more, so this becomes yet another forgettable commentary.

Why do the commentaries for the first three episodes pop up on DVD Three and not with their respective shows elsewhere? I have no idea. It’s a weird decision since it means DVD Three has to reproduce those episodes in their entirety.

And it’s an even bigger waste given the general crumminess of the various commentaries. Only the Fey track offers any real information, and its charms remain very spotty. These are some weak commentaries.

Deleted Scenes come for nine episodes and run a total of 10 minutes, 16 seconds. They accompany “The Pilot”, “Blind Date”, “Tracy Does Conan”, “The ‘C’ Word”, “The Break-Up”, “The Head and the Hair”, “Up All Night”, “The Fighting Irish” and “Hiatus”. Expect plenty of funny material here, as across the board, the clips entertain. I don’t know how well they’d have played in the final shows, but I expect they were cut for time, as they’re consistently amusing.

The Wrap Party goes for 13 minutes, eight seconds and provides a long blooper/outtake reel. Usually I don’t like that kind of program, but “Wrap” includes some funny unused bits and good improv. It still suffers from the standard goofs and giggles, but there’s enough amusing material to make it worthwhile.

For the nine-minute and 58-second An Evening With Kenneth, we get five shorter reels. In these, “Kenneth” runs his own little talk show from his page desk. It’s not clear why they shot these, but they’re fun.

Behind-the-Scenes lasts 15 minutes, 21 seconds and consists of two reels. In the first, Judah Friedlander leads us around the set, while the second shows Jack McBrayer and Lonny Ross as they do a similar tour. Oddly, the Friedlander part uses some “in character” bits as well, while the McBrayer/Ross one is a more straightforward glimpse of the set. They’re watchable, though the second clip is the more informative of the two.

Finally, Makin’ It Happen goes for 31 seconds. It gives us three “episodes” of the mini-sitcom that appears in “Fireworks”. Since these are different from the clip we saw in that program, they’re a nice addition.

A few ads open DVD One. We get clips for 30 Rock S2, Friday Night Lights, The Office and HD-DVD.

Like most TV series, 30 Rock doesn’t always soar during its first season. Nonetheless, it succeeds much more than it falters, so expect a lot of funny material across these 21 episodes. The DVD provides good picture and audio, but extras disappoint, especially due to the poor quality of the five audio commentaries. Despite that concern, I like the series enough to recommend it.

Viewer Film Ratings: 4.5 Stars Number of Votes: 6
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