is there comedy in hell

Is There Comedy In Hell?

"Those Amish people, everyone is sitting around talking about those

poor little girls -- blah, blah, blah -- they brought the wrath upon

themselves. [The Amish] don't serve God, they serve themselves."

So said Shirley Phelps-Roper, daughter of Fred "God Hates Fags"

Phelps, pastor of the Westboro Baptist Church, Topeka's pride.

Phelps-Roper was defending her church's original decision to picket

the funerals of those Amish girls slaughtered earlier this week, now

canceled in favor of some air-time on Mike Gallagher's radio show.

Don't you feel God's love resonating from this woman?

Lucky for her, the Amish are pacifists. I don't know about you, but if

any of these Nazi assholes came near the funeral of one of my kids,

I'm afraid we'd have to dispense with the New Testament in favor of

the Old -- y'know, fire, brimstone, wrath, and related concepts. God

would want it that way.

But let's not dwell on negative emotions today. It's Friday, damn it,

and the Son don't do angry at week's end. It's all about the love and

the laughs.

Well, perhaps a few critical comments, but only within an aesthetic

context, or in my case, comedic assessment.

Lance Mannion has really been taken by "Studio 60," which he live

blogs every Mon night. Like Lance, I've been reeled into Aaron

Sorkin's world as well, a cozily-lit fantasy space where people are

much smarter than they would be in this world, and speak to one

another in steady, near-musical rhythms. I've started to watch early

episodes of "Sports Night" and "The West Wing," just to fill out my

Sorkin card, and I can see why his stuff resonates so strongly with

liberals. If only life were like a Sorkin script. Of course, there are

various problems with these scenarios, and in "The West Wing," the

political backdrop is ludicrous, and in certain areas, offensive. But

I'll get to all that another time. For now, I'll admit to being a

regular viewer of "Studio 60," which I like much more than "The West

Wing," and will follow along with Lance as he tears into each

installment.

The other "SNL" knock-off, "30 Rock," premieres next week; and unlike

"Studio 60," it plays for real laughs instead of pretend ones. This is

Tina Fey's breakout vehicle, her reward for helping to dumb-down and

further de-politicize "SNL," where she made her bones as head writer.

Given this, I rather doubt that "30 Rock" is going to tackle the

politics of corporate entertainment with any real gusto. Nor will

envelopes be pushed. Judging from the scenes that NBC has released

online, it'll be a soft, amiable half-hour of semi-insider whimsy,

with some sarcastic double takes and smirks tossed in for spice. Fey

herself isn't bad. Indeed, she's a pretty decent comic actor, if the

setting's right. Years ago I saw a documentary on how Chicago's Second

City puts together a revue, and Fey (with Rachel Dratch) was in the

main cast. She was easily the best thing in that show, exhibiting a

quick mind and ability to improve a scene on the fly. Working in

"SNL's" bowels has done a serious number on her humor; but when Lorne

Michael's anoints you, there's no escape, that is, if you want a

serious showbiz career. And Fey's ambition clearly outranks her

comedy, a mere stepping stone to celebrity and whatever power can be

grabbed and expanded. She's her generation's Al Franken.

If the below clips are any indication, "30 Rock" will be owned not by

Fey, but by Alec Baldwin and Tracy Morgan. Baldwin has long been a

first-rate comic actor, his timing almost always perfect, his tone

subtle but sharp. This is his best work in years, and the same goes

for Morgan, one of the most underrated "SNL" alums in recent memory.

When Morgan first got the "SNL" gig, a source on the show told me how

the writers didn't fully understand his humor or how to use him, even

in an early appearance, Morgan was "the other black guy," there to

take roles too small or just not right for Tim Meadows. It took a

couple of seasons before Morgan showed what he could do, but I think

that "30 Rock" is where he'll truly shine.

And just for contrast, and because it's available (at least until NBC

shuts it down), here's Judd Hirsch giving that "Network"-like rant at

the beginning of "Studio 60." Like I said, fantasy. Can you ever

imagine Lorne Michaels doing something like this? (And it's nice to

see Timothy Busfield working. When oh when will "thirtysomething" come

out on DVD!)

Sketch time!

Believe it or not, at one time, Joe Piscopo was popular. A lot of his

heat came via Eddie Murphy, with whom he starred in numerous "SNL"

pieces. Piscopo was an able sketch actor, but pretty broad in most of

his characterizations. His Frank Sinatra, however, was relatively

controlled compared to his other performances (and more nuanced than

Phil Hartman's version), and here's a good example of that, with

Murphy doing his great Stevie Wonder. It was one of those moments when

Piscopo held his own with the far superior Murphy, and one wonders

what Piscopo might have achieved had he dug a bit deeper. As Michael

O'Donoghue told him, he got the wrong kind of laughs. In most cases,

yes, but not here.

And here's a dark little piece by The Vacant Lot, who had a very brief

run on Comedy Central in the early-90s. Subverting a kiddie show is

not a new concept, but I like what the Lot did with it, suggesting

that not all Canadians lead colorless lives.

Now back to 1968, to "At Last The 1948 Show," a British sketch comedy

program featuring pre-Python Graham Chapman and John Cleese, who here

plays straightman to fellow cast member Marty Feldman. Feldman, who

worked for years as TV writer, primarily for David Frost, broke out on

"1948" and quickly established himself as a unique comedy presence --

first on British TV, then in Hollywood, where perhaps his best work is

seen in "Young Frankenstein." And note how Cleese, who doesn't utter

any really humorous lines, is still engaging and to a degree funny

himself. There's a bit of early Basil Fawlty in his frustration with

Feldman, but nothing fully formed. Just two young comedy pros coming

into their own.

And of course, "Mr. Show." Here's "Pit-Pat."

And the "Hail Satan Network," featuring Tom Kenny, Jill Talley, Bob