Brooklyn Nine-Nine premiere react: There’s a new captain in town

28 Sep 2015 | Author: | No comments yet »

‘Brooklyn Nine-Nine’ Boss on Avoiding the ‘Moonlighting’ Curse With Jake and Amy.

Sunday’s premiere picks up in the exact spot where we left our favorite detectives — waiting at the elevator to meet their new boss. During the season three premiere, Jake (Andy Samberg) and Amy (Melissa Fumero) took their new relationship to the next level, though they at least briefly attempted to pump the brakes on their romance.When the series returns Sunday, you won’t need to wait long for the fallout. “They are definitely going to explore what the kiss meant,” co-creator Dan Goor tells EW. “They’ve now not only kissed but told each other how they feel about each other, and that is a big part of the beginning of this season.” Adds Melissa Fumero, who plays Amy, “They attempt to go on a first date.At the end of “Brooklyn Nine-Nine” season 2, Jake and Amy played the whole will-they-or-won’t-they game thanks to them finally kissing for the first time in a way that they actually meant it.

It’s been a long summer filled with anticipation of seeing Bill Hader step in to play the new captain on Brooklyn Nine-Nine, but with Sunday night’s Season 3 premiere, the wait was finally over.Brooklyn Nine-Nine finally returns after last season’s surprise cliffhanger: Captain Holt is promoted out of the precinct to the Department of Public Relations, and the Nine-Nine is now under the command of Captain Dozerman (guest star Bill Hader).It’s still frustratingly common to see Brooklyn Nine-Nine described as “that Andy Samberg cop comedy,” but in the show’s strikingly confident third season, what’s never been clearer is that the series is a true ensemble piece, dependent not only on Samberg’s endearingly childish Jake Peralta but a whole host of lovable characters to gel as a collective whole. Elsewhere, Bill Hader’s new captain was short-lived (zing!) and replaced by Nine-Nine nemesis the Vulture (Dean Winters), who immediately set his sights on Jake.

And from Stephanie Beatriz’s delectably dour Rosa to Andre Braugher’s gentle giant Holt, the first two installments of the new season give almost every player in and around the 9-9 some time in the spotlight – though, crucially, the show remains equally devoted to continuing to juggle all of its colorful narrative balls in a meaningful way. While these new developments shake up the formula and offer some amusing new directions for the show, viewers probably don’t have to worry about the status quo getting disrupted too much. “New Captain” offers the same Brooklyn Nine-Nine we know and love: a consistently strong comedy packed with great characters and hilarious writing. Comedy, particularly when made in a mockumentary format like this, is a hard genre to sustain over multiple seasons, but this show’s writers (many of whom have honed their skills on other hit comedies like Parks and Recreation) are well-aware that their greatest strengths will always be in the characters they’ve taken care to form and ferment, so it’s gratifying to see that both episodes provided for review make evolution a priority. As far as workplace sitcoms go, there’s nothing groundbreaking about a new boss or the inevitable realization of the “will they, won’t they” romance. It is reminiscent somewhat of Nick and Jess getting together on “New Girl,” and then the show splitting them up after it lost some of the characters’ spark.

We all know what we’re getting into here, and there won’t be too many shocking twists along the way. “New Captain” therefore only succeeds on the strength of its characters–the writing toes the line of self awareness without indulging in meta humor or self parody. Well, after passing out for a moment from what he thought was a heart attack but actually ended up being a complication from an unknown heart condition of his.

Once Captain Dozerman returned from the hospital, he instituted “Dozerpad” tablets with a built-in GPS and a countdown clock set to blare an alarm if the holder of said tablet didn’t complete a task within the allotted 55 minutes. Captain Holt, meanwhile, is subjected to increasingly absurd professional humiliation at the hands of his rival Madeline Wuntch when he’s put in charge of the Public Relations department and has to oversee its months-long campaign to name the NYPD’s new pigeon mascot.

At first, they agree to keep things “light and breezy” and set ground rules like not telling anyone at work, not using boyfriend-girlfriend labels, and not having sex right away. The anguish of his defeat to Wuntch remains tangible even as he prepares to deliver his eight-point plan to increase community engagement to schoolchildren in a giant pigeon costume.

Brooklyn Nine-Nine has always done madcap mirth exceptionally well, but even seasoned fans might find themselves surprised by how relentlessly hard and fast the laughs arrive in the premiere. It’s got a great premise: Charles (Joe Lo Truglio) falls for a woman he meets in the hallway of a courthouse and is about to ask her out when he finds out she’s being sentenced to 10 years in prison. It’s a terrifically paced, snappily written half hour of television (penned by creators Dan Goor and Michael Schur) that understands the strengths and weaknesses of the show’s entire ensemble. There’s the awkward acknowledgement of their true feelings, a reasoned discussion about taking things slowly, the uninhibited desire, the attempt to hide it from friends and coworkers, the reveal, the break up, and the passionate reunion. Even Holt and Gina (Chelsea Peretti), exiled to the hellish depths of the NYPD’s public affairs branch by verified succubus Madeleine Wuntch (Kyra Sedgwick), get some time to bounce off one another, his buttoned-up professionalism contrasting with her in-your-face persistence to pretty inspired results.

Hopefully B99 intends to keep their relationship going for at least the immediate future — keeping these two on and off would be bad for the precinct and frustrating for fans. I don’t know if I can make it until his — hopefully — eventual return.) Thankfully, all of the craziness with the captain switcheroo in the precinct didn’t derail Jake and Amy’s relationship. You have to give credit to and its writers here–even with lengthy 22-episode seasons, they don’t seem to have any qualms about quickly burning through the show’s central romance.

Let’s keep things light and breezy as we ask Brooklyn co-creator/executive producer Dan Goor about the key moments in “New Captain.” Linetti, set, go! Meanwhile, the precinct’s new captain, Seth Dozerman (Bill Hader), is an “anal-retentive personality” who is “not an obvious fit” to lead the band of misfits that comprise the Nine-Nine, Samberg previously told EW. (However, the casting of Hader is one that made Fumero actually “gasp out loud” when she found out about it. Same.) No matter what happens, expect the series’ strongest material yet. “It’s the third season, and we know these characters so well by now,” says Fumero. “We’ve gotten to a really good place.

If the show is to completely utilize every tool at its disposal, it will need to avoid prioritizing their romantic plotline for too long, but given that the new pair of episodes are in a would-be honeymoon phase with regard to that coupling, so it only makes sense that the writers would want to hurtle as many ridiculous obstacles their way as soon as possible. Charles kinda sorta figured out there was something going on between these two, even if Jake did save them with a cover-up that he was actually dating a woman from his gym. All in all, Brooklyn Nine-Nine is back, and it’s still one of the funniest shows on television (especially with its predecessors, save HBO’s Veep, all having gone gently into that good night).

One gets the sense that creators Goor and Schur have a great deal up their sleeve, simply because at this point, audiences know every member of the 9-9 well and, more importantly, know what it’s like to watch them build off and collide with one another. Not only is it downward pressure, it’s different downward pressure than Holt provided because it’s not just a commitment to excellence and lack of patience for shenanigans; the Vulture just doesn’t like them or Jake.

As Gina puts it, “This man is a Timberlake and you need to stop treating him like a Fatone.” There was one other nice scene between Gina and Holt, where she says she followed him to PR because he makes things better (and because she thought it would help launch her reality show Linetti, Set, Go — not to be confused with her fragrance line, Gina in a Bottle). The reality was, due to his amazingly busy schedule and his incredible exploding career — exploding in a good way, that sounded bad — we just didn’t have him for that much time.

We wanted him because we think he’s one of those absolute funniest people in the world, so the opportunity to bring him onto the show was something we couldn’t pass up. Did you think at all about just severely impairing him, so he could return — although you could show him in flashbacks — or was it always a death sentence? But Amy arrived at Jake’s door first to tell him he was the only person she wanted to talk to about everything that had happened at work recently and that they should pursue a relationship. The other reason we were excited for it, even if we are always a little worriedabout any kind of move like that, was that their personalities make for a funny odd couple pairing.

Two, it’s a workplace comedy and we’re trying to explore, to some extent, the troubles and comedy involved in having a relationship with someone with whom you work: What happens when you have a fight at home and come to work and you’re assigned to case together? I was big fan of Moonlighting and so in no way am I knocking Moonlighting, but I think the design of that show was the will-they-or-won’t-they tension between them, or their pre-dating relationship. And it’s very difficult in a will-they-won’t-they situation on television, given that there’s been 47,600 episodes of television, to find a new playbook.

On Parks and Rec, Leslie and Ben were incredibly simpatico — they both loved government and organization and nerdy things — and we mined that for comedy. It’s hard to come up with a realistic impediment to them trying to give it a go.” We felt a little bit like anything we engineered to put between them was just going to be frustrating to everyone — to the audience, and to the writers. In the third episode, we do a story that touches on the NYPD’s lack of popularity and his attempts to redress people’s grievances and, at first, his misguided attempts, and then his more sensible and somewhat more powerful or relevant attempts to deal with the current state of what’s going on in his capacity in PR.

And at no time have we said they are star-crossed lovers who can’t get in fights or tease each other or poke each other, so I think there’s a lot of opportunity for comedy. But as we did with the courtship, with the relationship, we’re feeling it out and trying to keep it as realistic as possible and as fun as possible and as funny as possible. Ultimately, when you were weighing things out, did the fears of letting them finally be a couple and losing that will-they-or-won’t-they energy seem smaller than the fears of viewers tiring of the will-they-or-won’t-they vibe? I know that sounds like a trite and clichéd answer, but all we can really do or pay attention to is making the episodes great and making them things we’re proud of and want to watch.

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