The more I read about this, the more upset I get.
“Community” under Port and Guarascio may turn out to be a proficient sitcom (and could, in Sony’s wildest dreams, run for several more years the way that “West Wing” and “NYPD Blue” did without their original voices), but it won’t be… that. And while Harmon’s creative lunacy didn’t help “Community” find a larger audience, it made the handful of people who do watch mad with devotion for a version of the show that may have just ceased to exist.
I think one of the most fascinating things that’s happened here is the full transition of television into an auteur’s medium. Until the 1980s, people didn’t typically know who made the shows they watched. It wasn’t like film, where a director’s name is attached to the title and largely held responsible. Aside from a few notable names (Lucille Ball) shows belonged to networks and studios, created as they are today (to an extent) by a team.
Thanks to the rise of quality television in the 80s and the likes of MTM, Steven Bochco, and David Milch, audiences and critics became more aware of the creators behind shows and accredited them with the quality. Today this has reached widespread practice and full potential in shows like Louie, Breaking Bad, and Mad Men.
All this said, it’s quite apparent that Sony (and to a lesser extent NBC) are operating on a very old standard, firmly planted in the past. Not even the recent past, but one of over 30 years ago. Based on the reports, it seems Harmon may mot have been the best at management, but modern audiences are too savvy to blindly let a show with a distinct voice switch hands. Sony needs to step into the modern era.
How TV became a writer’s medium
Source: popculturebrain
“Dan Harmon is Community” -Portrait Illustration by Sam Spratt
A quick tribute to Community’s lost showrunner. Brilliant mind. Can’t wait to see what he makes next.
This is a cool tribute and all, but he’s not dead.
He’s not dead, but without him the show will be. Especially with some bullshit writers from Happy Endings to fill his seat-hole.
Source: samspratt


It’s Always Sunny in Philadelphia has often been referred to as ‘Seinfeld on crack.’
This can be true in some respect, in terms of the four character dynamic (and a fifth one who’s even zanier than his closest link to the inner four), their episodical tendency, and the way each of the two or three story lines weave into each other at the end of the episode. This last bit is done beautifully and artfully in both.
We can debate forever and ever about the content and comedic qualities of the two and I’m sure Fanfelds and It’s Always Sunny Philiacs will furrow their brows and angrily protest that theirs is the better of the pair, but we all know that there is enough time in our Internet-addled lives for both.
The four-character dynamic exists in many more shows, like Teenage Mutant Ninja Turtles, Sex and the City, Entourage, Will & Grace, Scooby Doo, etc; and is also commonly known as the four humors or temperaments. In the case of these two:
Sweet Dee would be to Elaine,


as Charlie would be to Kramer,


as Mac would be to George,


as Dennis would be to Jerry,


as Frank would be to Newman.


Both shows present truly horrible human beings as their main characters, but on neither show are they the worst characters in their respective cities. It’s Always Sunny has the McPoyles, a family of inbred low-lives with blurred lines of what is appropriate familial behavior; and Seinfeld has a wide variety, ranging from Uncle Leo to the Costanza seniors to the ‘adult-themed’ dentist.
One underlying feature of Seinfeld that is not present in the FX counterpart is the sociology behind the show. There’s even been a book written on the social norms that dictate behavior in late-20th Century Manhattan, as presented on the show. I watched seasons 6-9 recently (for the second or third time around), and took careful note of when phone calls were expected, what obligations they had to their friends and relatives, when a thank-you gift was in order, etc. Truly fascinating.
Alright, I’m out.
http://www.imdb.com/title/tt0098904/
http://www.imdb.com/title/tt0472954/
But remember, if you take anything away from this argument-less half-researched exposition on two of my favorite shows, let it be this:
You don’t have to choose or get angry or feel betrayed. You can watch both. You can love both. No need to compare. There’s enough time for all.
Arrested Development’s reunion miniseries and film will shoot this summer, according to Will Arnett.
Arrested Development co-executive producer Dean Lorey announced in January that Arnett,Jason Bateman and Michael Cera will reprise their roles as the Bluth family for a Netflix miniseries that…
SO MANY GOOD THINGS HAPPENING THIS SUMMER
Source: digitalspy.com
Tina Fey about the end of “30 Rock.” (via huffposttv)
The end of 30 Rock will be the death of me. I aspire to be Jack Donaghy.
It’s bittersweet because i feared that it would be an Office- type of situation where the beloved show outstays its welcome. But it’s not, and it’s still funny so I’m sad.
(via huffposttv)
Big Reveal of the Day: After 25 years, Simpsons creator Matt Groening spills the beans on Springfield: “Springfield was named after Springfield, Oregon. The only reason is that when I was a kid, the TV show Father Knows Best took place in the town of Springfield, and I was thrilled because I imagined that it was the town next to Portland, my hometown. When I grew up, I realized it was just a fictitious name. I also figured out that Springfield was one of the most common names for a city in the U.S. In anticipation of the success of the show, I thought, ‘This will be cool; everyone will think it’s their Springfield.’ And they do.”
Holy shit, I thought they’d never do it
Source: thedailywhat