Not winning Best Comedy wasn't the worst. After all, the show took more than a third of the season -- until Jim returned from Stamford -- to return to form, and the Jim/Pam saga was better done in Season Two.
All those moves were necessary to set up Season Four and follow the last bits of the British version's storyline, but it cost the show.
"30 Rock" (as a Tina Fey American Express card commercial plays behind me) was consistent, and brilliant for an eight-episode stretch (roughly). It also had fewer episodes and stretched creatively (more of the minor characters and Alec Baldwin; less of Jane Krakowski) while not stretching foolishly (an hour-long "30 Rock" would drown in its own wit and sarcasm). It's deserving, though probably the weakest winner this decade outside of "Everybody Loves Raymond."
The disappointment was the Emmy voters not seeing beyond the obvious choice (the brilliant but one-note Jaime Pressly) for the multi-faceted Jenna Fischer, whose dramatic chops could have earned her a nomination in the dramatic category some years. And not seeing past Jeremy Piven's so-last-year "Entourage" for Rainn Wilson, who admittedly, is a love-him-or-leave-him performer.
The good thing? The win for Best Writing, which has become the category that truly says what show was best (for instance, "Arrested Development" won it two years in a row, once capturing more nominations -- three -- than every other show combined).
Labels: The-Office
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