Wednesday, October 18, 2006 - The Michigan Daily - 9A Don't let this 'Man' get you down "Which one of us is more worried about becoming washed up?" 'ROCK OUT FEY'S '30' AN IMPRESSIVE SOLO DEBUT By Imran Syed Daily Arts Writer If you've seen the first few episodes of this season's "Saturday Night Live," you might have noticed that they - um - suck. NBC's late-night sketch show has been only average 30 Rock for some time now, but Wednesdays the drop-off this year has at 8 p.m. been drastic. The reason, NBC largely, is Tina Fey, the show's former head writer who departed this season to write and star in her own comedy, "30 Rock." As "SNL" bombs while the new head writers find their groove, Fey's dexterity is at its best in "30 Rock," a deftly crafted endeavor that's easily the funniest show to premiere this season. A large part of the show's genius lies in its premise: the behind-the-scenes antics and outbursts of an "SNL"-esque sketch show. There's so much character and circumstance to explore in such a setting that it's hard to believe no one has done so before this year. Certainly NBC premiered another fantas- tic show that does just that earlier this year (Aaron Sorkin's "Studio 60 on the Sunset Strip"), but "30 Rock" works on a different wavelength and can more than hold its own. "Studio 60" is introspective, more than a little pompous in its exploration of the thought that goes into comedy. It wants you to know that there's humanity in comedy, and Sorkin exerts himself to his grandilo- quent limit to beat that into the audience. "30 Rock" is introspective, too, but in a less preachy way. It seeks to prove essentially the same thing as "Studio 60" but does so by appealing to the exact opposite sensibilities in the audience (a parallel not unlike the one Woody Allen recently created with "Match Point" and "Scoop," a drama and a comedy that explore the sake themes). Which method delivers the message more clearly is a ques- tion we can look forward to exploring for the next few seasons. Even if it loses in a match of philosophi- cal or rhetorical wit (and who could beat a writer like Sorkin at that?), "30 Rock" is juiced with something that is rare in com- edies these days: true humor. She's written her own jaded third-generation feminist with a sly, engaging irony, not to men- tion a cluelessly absurd network exec for Alec Baldwin. His affinity for interfering, inappropriate advances - and microwave ovens - allude to the aloof, out-of-touch network exec stereotype but do it discreet- ly, with plenty of socially awkward glances to go around. But so far that's only two kinds of heat. As Baldwin says, for a show to succeed it needs three kinds of heat, and the third is provided here by another "SNL" alum, Tracy Morgan. Morgan plays a movie star in the extreme Martin Lawrence mold, but his satirical pres- ence makes no pretense of civility. His char- acter is a blatant archetype, but the show uses it as a launching point for an astute analysis of that stereotype instead of simply exploit- ing it. Fortunately, laughs go along with the analysis ("Us Weekly wrote a story saying I'm on crack. That's racist! I'm not on crack. I'm straight up mentally ill!"). In a time when female comedians (and indeed, female newscasters, columnists et al.) can't overcome social inducements that make them female first and everything else second - leaving a tired, watered-down muddle of would-be group pride - Fey is a rare commodity. She chooses to perfect her comedy and let everything else fall where it will. She's one of the most adroit masters of her art. Certainly no comedienne should stifle her gender identity, but by sub- tly asserting its mettle rather than furiously hawking defiance, Fey creates a character with meaning, one that's quiet yet says so much. It's about time she had a stage all her own, and if the pilot is any indication, she will leave her mark. By Imran Syed Daily Arts Writer Barry Levinson, director of "Wag the Dog" and "Good Morning, Viet- nam," ought to know good * * political satire when he sees Man of it. So when he the Year was penning At Showcase the screenplay and Quality 16 for "Man of Universal the Year;' he should have seen the obscene dud he had on his hands and killed it right there. But he didn't. Robin Williams, among the most versatile actors of his time, has won an Oscar ("Good Will Hunting") and been robbed of one too ("Good Morning, Vietnam"). He has the comedic charm to make a fantastic something out of nothing, buta man has to know his limits. And so, about a year ago, when he was approached to star in the vapid satire "Man of the Year," he should have seen a flop and backed out. But he didn't. Now look at Hollywood's most perfect everyman (who, every now and then, doubles as its best psycho- path), Christopher Walken ("Catch Me if You Can"), the suave, likable Jeff Goldblum ("Jurassic Park") or the dependable Laura Linney, ("Kin- sey") - each of them belongs in a film much better than "Man of the Year." This sorry excuse for a satire/ comedy/thriller, devoid of even the slightest notion of humor or insight, mercilessly devours them all. When the dust settles, Levinson is a hack, Walken and Goldblum poseurs and Williams irritating beyond belief. Only Linney escapes with any respectability. Focused on a timely premise, "Man of the Year" isthe story of Tom Dobbs (Williams), a cable comedian along the lines of Jon Stewart whose immense popularity leads him to an independentrun for the White House. Despite the fact thathe only manages to get on the ballot in 13 states, provi- dence selects him savior and he's resoundingly swept into office. Then he meets Linney's Eleanor Green, an employee at the company that made the election's voting machines, who informs him that there was a voting glitch. Dobbs hasn'treally won. What then, is a man of the people to do? Not quite "Mrs. Doubtfire i1." In a time when more and more people admit to getting their news from faux newsmen like Stewart, Levinson hits on an idea with very contemporary potential, yet squan- ders it just as easily. In all fair- ness, only the first half of the film is supposed to be funny, but even that has not one joke worth a laugh. And the second half, which morphs into a pseudo-thriller, can't decide whether or not its tongue belongs in its cheek. Williams's delivery may be flaw- less, but it's hollow. Levinson's script has him alternating between sporadic fart jokes and supposedly deep ponderings that amount to little more than what might emerge from a potty-mouthed elementary school play. Neither Walken nor Goldblum have a character worth mentioning, and that's especially ironic for Walken, who plays what might have been the conscience of the film (he spends most of his time sick in a hospital, so that should be some indication). But even in the murkiest of fogs there's often a silver lining, and Linney's remarkably gripping per- formance is it. Although she too has little to say or do, she gives a staunch sincerity that ought to have been saved for a bigger role. In the midst of a nervous breakdown, she stubbornly declares her refusal to be taken in by what anyone else says, paralleling her refusal to be taken in by the film's emptiness. Solemnly, seriously and with the gravity that is the meaning of professionalism, she is the film's one lonely star. I L; Dream jobs-alumni have them. And we can hook you up with Michigan Apprentice. Spend a full day shadowing an alum in the field you're interested in and learn from the best. Put yourself in the marketing game at Ford Field with the Detroit Lions. This is the ultimate experience for anyone who plans on a career in any aspect of sports marketing. Stop the, presses and learn about newspaper journalism at The Seattle Post- Intelligencer in the newsroom and on the beat with a reporter. Spend a day with an alumni lobbyist meeting state and national political leaders and learning what a life in politics can offer. Focus your sites on Target if you're interested in marketing. Spend a day at the world headquarters working with the top talent of this successful team. Microsoft is a world leader in technology. Experience a day with Michigan alumni in this fast-paced industry. Michigan Apprentice is open to juniors and seniors. Those selected will shadow a U-M alumnus/a for one day at his or her company or organization. For companies located in other regions, travel and two nights of hotel expenses will be paid by AAUM. TO COMMUNICATE MORE EFFECTIVELY WITH OTHER COUNTRIES, WE MUST FIRST BE ABLE TO SPEAK THEIR LANGUAGE. If you speak a foreign language or are currently learning one, we have countless opportunities awaiting you in Air Force ROTC. " Tuition assistance " Officer commission * Monthly living allowance " See the world Our current language needs include Chinese, Persian, Hindi, Indonesian and countless others. Call 1-866-4AF-ROTC or visit AFROTC.COM. Application deadline is Friday, October 27. Get details on how to apply at www.umalumni.com/students. ALUMNI ASSOCIATION UNIVERSITY OF MICHIGAN Uniting the Leaders and Best t .