By J. Jeremy Wisnewski
A desirable exploration of the philosophy in the back of NBC's hit television sequence, 30 Rock
With edgy writing and an outstanding forged, 30 Rock is among the funniest tv exhibits at the air--and the place hilarity ensues, philosophical questions abound: Are Liz Lemon and Jack Donaghy moral heroes? Kenneth redefines "goody shoes", yet what does it fairly suggest to be strong? Dr. Leo Spaceman generally demonstrates that medication isn't a technological know-how, so what's the position of the incompetent expert in the USA today?
In 30 Rock and Philosophy, Tina Fey and her fellow forged contributors are thrust onto the philosophical level with Plato, Aristotle, Kantand different nice thinkers to envision those key questions etc that contain the characters and plotlines of 30 Rock and its fictional TGS with Tracy Jordan comedy show.
Takes an unique, up-close examine the philosophical concerns at the back of 30 Rock's characters and storylines, from post-feminist beliefs to workaholism and the that means of life
Equips you with a brand new knowing of Liz Lemon, Jack Donaghy, Tracy Jordan, Jenna Maroney, Dr. Spaceman, and different characters
can provide deep and significant new purposes (who knew?) for observing Tina Fey and your different favorites on 30 Rock
excellent for either informal and diehard enthusiasts, this publication is the fundamental better half for each 30 Rock-watcher.
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Extra info for 30 Rock and Philosophy: We Want to Go to There (The Blackwell Philosophy and Pop Culture Series)
She goes into full freak-out mode. The remainder of the episode involves Liz doing major damage control to keep Jenna on board with the show. This pattern is preserved through the seasons, and we really don’t see a lot of development in their relationship. indd 36 6/5/10 10:09:10 AM FRIENDSHIP ON 30 ROCK 37 If we apply Aristotle’s criteria, we actually see that perhaps their friendship, while genuine, is mostly based on mutual usefulness. Think about it. They’re both incredibly ambitious personalities in the television business, but their skill sets are in different areas of that business.
While such a concern still applies to cubicle slaves depicted in the comic strip “Dilbert” and the movie Ofﬁce Space, it does not describe Liz. She has a creative job and lots of freedom to write the kinds of material she wants. Of course she must cater to what her boss asks of her and what the audience wants, but her job involves much less alienation from her labor than most jobs in society. Instead, Liz is socially and existentially alienated, unable to feel normal or connect with people around her.
The critical theorists were inclined to see the free market in a similar way; the apparent choices and freedoms offered by our society are actually just there to pay lip service to the people’s beliefs, but behind-the-scenes manipulations do much to guarantee the stability of the upper-class. This indicates an important dis-analogy between the casino and the market; the individual is free to stop gambling regardless of how fair or unfair it might be, but the economic market is pervasive and there are few, if any, viable alternatives to participating in it in order to survive in modern society.
30 Rock and Philosophy: We Want to Go to There (The Blackwell Philosophy and Pop Culture Series) by J. Jeremy Wisnewski