I have watched tonight's season finale twice, and I'm thinking of suing Tina Fey. The whiplash I have from so many hilariously neck-snapping lines and jokes is pretty painful. …

If you're a fan of the show, you know the basic plots for tonight: Jack has gone to work in Washington and Liz thinks she's pregnant. But that's the sort of one-line summary that does no justice to what it covers.

There is, for instance, a wonderful performance by Matthew Broderick as Jack's new boss, Cooter Burger, a bureaucrat unbendingly determined to stick to the party line This, needless to say, does not sit well with Jack.

Liz's worries about her pregnancy send her ping-ponging: about the baby's daddy, about being a single mom and, perhaps most of all, about her friendship with Jack, who is not there when she really needs him. The Liz-Jack relationship has really evolved, especially in recent weeks; think of Liz's brief foray into being a corporate type. She and Jack are alike in many ways, including their loneliness. And even what appears to be their core difference — Liz has more scruples — isn't really. She was more than willing to go corporate; I think what she admires most about Jack is not his moral blindness but his ability to get things done.

But I digress. The stories don't end there. Tracy's porn video game makes a couple of memorable appearances, and Kenneth's desire to be an NBC page at the Olympics in China is spun into a very funny series of events, including Jenna's memorable involvement. (Combined with the Tracy story, Jane Krakowski gets to remind us that she's a player on this show, even if her screen time is occasionally limited.)

Another, lesser sitcom might have built an entire episode around Kenneth's dilemma, or Liz's, or Jack's. But "30 Rock" moves so fast, and juggles so ably, that it fits all those pieces into a breakneck half-hour. Even Cooter's name has a story behind it.

It doesn't all work. One sequence involving Kenneth was probably cuter on paper than it is onscreen. But so much of it does, I may risk permanent neck injury for a third viewing. After you've seen it, let's talk favorite lines.

Speaking of favorite lines, my buddy Sepinwall is worth a read today for his relentless series of "Princess Bride" jokes while talking about "Scrubs."

Of anger management, sweeps and sandwiches, after the jump …

Not a great night for either comedy, although I'd give a slight edge to "30 Rock." (Maybe "Earl" was good. I've been slower about watching it lately because the whole coma/sitcom plot left me cold. I know that it was wrapped up last week, but still didn't feel any need to lose sleep to catch up with it.)

"The Office" was interesting on paper, with three different elements involving anger: Michael's conflict with Stanley, Dwight's jealous determination to punish Andy and the Ryan/Toby alliance against Jim. But I kept feeling as if scenes were missing. Why wouldn't Michael have tried Daryl's suggestion for dealing with anger — and didn't you want to see a fluffy-fingers fight? (Also, loved Daryl's listing of gangs ending with Newsies. He obviously likes to see how gullible Michael is, but when he got to Newsies it was so clear that Michael will buy anything that there was no point in going on. And what would be next anyway? Wild Hogs? Fordham Baldies?)

In the Dwight-Andy duel, I thought there should have been some kind of intercession by Angela. Yes, she likes having the guys fighting about her, but this was a situation involving money and I don't think Angela would have let Andy get so thoroughly snookered. Then again, as we saw with Mad Libs, Angela is just too darn happy these days.

So while there were good bits in the episode, such as the way the staff knew that Michael had been pushed too far — and someone was going to pay — followed by his private question to Stanley. But overall I've seen better episodes, even recently. This one felt more like they had to build something around plot elements they're planning for the remains of the season — Dwight/Andy and Ryan/Toby/Jim in particular.

Obviously, "30 Rock" devoted a fair amount of time to setting up next week's season finale, with — as the promo warned — Jack working in Washington and Liz facing a big issue. And it pushed too hard for some jokes; the "Brady Bunch"/football/nose gag was a real reach. And even the drinking-with-the-Teamsters bit kind of drifted off; it was hard to imagine that the show wouldn't let the guys win, but the payoff was still kind of a letdown. Would have been much more interesting to see Jenna keep drinking. (And how about that reference to her drinking problem?) Even the Cleveland jokes weren't great. Why is it that nominally blue-collar towns are subjected to bowling alley jokes? I remember "The Odd Couple" dropping a similar gag about Buffalo 30-some years ago.

Still, Alec Baldwin playing Jack under pressure is almost as good as Jack triumphant. The stuff with his new boss was priceless in spots — loved the bathroom door bit — and Liz getting glammed up. But it wasn't as good as last week's show.

"I got a hit, Schumacher, and Ruddy doesn't count any more."*

– Since I was the guy who asked NBC's Ben Silverman to explain how "My Name Is Earl" and "30 Rock" qualified as family-hour shows, it was with great amusement that I read a New York Times piece with an NBC executive admitting that the 8-9 p.m. slot isn't all that family on Thursdays. The exec told the Times that:

… the family-hour designation should be seen as offering "direction for program development," not "black-and-white expectations" for the audience.

"'It was not to be construed as a return to a strictly defined family hour," he said, featuring wholesome shows like “Little House on the Prairie,” a hit on NBC in the late 1970s and early ’80s.

By the way, the Times story managed to discuss the "MILF Island" episode without ever using the acronym "MILF." Although it did offer an explanation of the term: "referring to a teenager’s crude designation of someone’s sexy mother."

– "American Idol" has announced the finalists in its songwriting contest. The details are after the jump, but just looking at the song titles makes me think I've heard enough before I've heard anything. Examples: "Believe," "You Believe in Me," "You Believed in Me" (because past tense makes all the difference), "All You Will Need," "You Can Do Anything," "Dream Big."

– Is it just me, or was "Saturday Night Live" a humongous snore on Saturday? I'm usually willing to at least sit through sketches, but I found myself muttering "well, I can see where this is going" and hitting fast-forward.

– CBS has announced that the next season of "Survivor" will be shot in high-definition. Oh, goodie. Extra clarity for bug bites, skin tight over ribs and, of course, the pixels needed when swimsuits slip.

*I know, it's not from "30 Rock." It's from "Network," and it seemed to go nicely with this pic and with the "MILF Island" episode generally.

Here's the "Idol" song list:

Simon Fuller has announced the Top 20 finalists for the AMERICAN IDOL Songwriting Competition. Fans can listen to each submission and their cast their vote for the next AMERICAN IDOL hit single at www.AmericanIdol.com.

ALIGN – Written by James Smithson
ALL YOU WILL NEED – Written by Lauren Dion and Phil Minardi
BELIEVE – Written by John Buchanan
DREAM BIG – Written by Emily Shackelton
FAITH – Written by Zach Ziskin
FLY ME AWAY – Written by Scott Sheets
HERE I AM – Written by Tom Kitt, Matt Zarley, and Andy Zulla
IN THIS MOMENT – Written by Ryan Gillmor
NO TURNING BACK – Written by Luke Ebbin and Curt Schneider
ONLY LOVE – Written by Ken Stacey, Windy Wagner and David Walsh
OVERCOME – Written by Mark Holman
SOMETHING LIKE HEAVEN – Written by Aaron Sidwell
STRONGER – Written by Jason Phelps and Mendy Shaw
THANK YOU WHATEVER COMES – Written by Fran Lucci, Danny Powers and Dara Stewart
THE TIME OF MY LIFE – Written by Regie Hamm
WE’RE GONNA MAKE IT – Writen by Noel Cohen, Hugh Colocott and Amber Rhodes
WHEN YOU COME FROM NOTHING – Written by Will Hopkins
YOU BELIEVE IN ME – Written by David Barrett, Kurt Schreitmueller and Dan Yessian
YOU BELIEVED IN ME – Written by Perry Smith
YOU CAN DO ANYTHING – Written by Gail Farrell, Mark Gasbarro and Larry Kenton

I've had Monty Python's "Always Look on the Bright Side of Life" stuck in my head this morning, and it makes me smile, so maybe it will do likewise for you. I like the way this YouTuber used it. (Note: Some strong language in the song.)

More after the jump.

Tonight the NBC comedies are all back and new, and "30 Rock" sent out two episodes for preview. Yes, I laughed, although the episode tonight is not as strong as the one next week. Tonight's extended presentation of "MILF* Island," the faux reality show that has become a huge hit for NBC in "30 Rock's" alternate universe, is stunning. And there's a line about Randy Quaid that still makes me snort. Oh, and a comic-strip joke that's a great throwaway. But the paralleling of the characters' lives and the reality-show world is pushed a little too hard. Still, I am delighted to have the show back — and next week's episode is a nutfest.

I ended up doing a speed-watch through "Idol Gives Back," and saw everything I wanted to from the 2 1/2-hours-plus telecast in less than an hour. For an all-star fund-raiser, it wasn't all that star-studded, especially when you look at the music.

THREE songs from the "Idol" contestants? Two from Miley Cyrus? And if you're going to bring on Heart, then let them play without ceding the stage — and most of the camera shots — to Fergie. Especially when Fergie has just sung.

Interesting, though, that the Wilson sisters reached back for "Barracuda" instead of for one of their big ballads, which have been covered on "Idol." Perhaps they — or someone — didn't want to show the "Idol" contenders how the songs sound when done really well.

Other music. Hm. Carrie Underwood, fine, fine, let's move on. Annie Lennox, deeply emotional again, but I was thinking that — taken out of the TV context –her "Many Rivers to Cross" would sound ragged. Liked the Snoop song, though. That I might download.

(A brief update: I kept thinking I had forgotten something. It was Teri Hatcher and the Band From TV. I like the band. Hatcher started off better than I expected, but then she sounded more like an actress who shouldn't sing.)

*If you don't know what a MILF is, do not expect an explanation here. And don't blame me for what you run across if you Google it.

Well, I have now watched the "30 Rock" version three or four times, and it's making me laugh even harder every time I see it. But, just so we don't forget Miss Gladys Knight, here's a performance of "Midnight Train" with the Pips from YouTube:

Here's the audio of the Knight original:

And, if only because it is weird on so many levels, Jessica Simpson in duet with Gladys Knight:

Miss Simpson should just forget it …

This is a rare night with lots of new episodes of scripted shows, and I have the DVRs running at full blast. Unfortunately, since this is a Thursday, I am also trying to work my way through some DVDs for my DVD column. Still, I managed to catch a chunk of "30 Rock," including the hilarious "Midnight Train to Georgia" sequence. Genius. BRING THE WRITERS BACK! NEGOTIATE! LISTEN TO TOM HANKS!

It's a night for giggles. I'm even watching the "Saturday Night Live" Christmas special, even though I have seen it and every sketch in it before. Hooray for the Chanukah Song! Bring on Pete Schwety!

And in the giggle mode, I found this the other day while looking up information about "The Bell That Couldn't Jingle," a Burt Bacharach tune.

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This is PROBABLY not the way Bacharach intended for it to be heard (or seen). But it gives me major grins. Perhaps more than tonight's "30 Rock," and that was a pretty funny "30 Rock." I was kind of bummed when Jack's mom broke through the Lemons' cheerfulness, but even that was done well.

Photo shredders for everyone!

Because I had a gigantic memory lapse last night, I neglected to record most of my Thursday faves, and only saw "Grey's Anatomy" in its entirety because we got home in time.

But, as title of this post indicates, I am catching up thanks to online viewing. Haven't gotten through all of "30 Rock" or "Earl" because, well, I am at the office and can't spend every second watching shows and laughing too loudly. But what I've seen of "30 Rock" has been plenty hilarious, even in the throwaway lines (Jenna's having to get out of bed at 4 a.m. and go home). Good start to "Earl," too, thanks to the Joy-Catalina dozens. As Tracy would say, "BANTER!"

I expect to add more later, assuming I remember to watch "Friday Night Lights."

I did get through "Earl," "The Office" and "30 Rock." I may post some longer thoughts late. For now, my amusement was at best piecemeal — the Joy stuff in "Earl," the trash-talking in "The Office." …

I will note that reaction to "The Office" and "30 Rock" seems to vary widely, based on my requisite Friday-morning office conversations about the shows, and some of the discussion over at Sepinwall's blog. And I have wondered if some of that is a function of the writers strike, that we've gotten into episodes that were written a little too hastily, or didn't get much on-set tweaking, either of which could have polished some things that didn't quite work. (I think, for instance, that as many good lines as Alec Baldwin had on "30 Rock," and as fine as Edie Falco is, it could have been much better. And that I'm in the minority on "The Office's" "that's what she said" part of the deposition, where it felt as if, I don't know, slightly different line readings would have made it funnier.)

I also watched "Grey's Anatomy," where I disliked Bailey going all schoolgirl, even if it led to a big Bailey moment. And in that moment, I would have much preferred if she had been angry instead of getting a little weepy. Be strong, woman! Be strong! (Also, I dread the upcoming "Grey's" "event" because that probably means that the show will be big as all outdoors and swing for the fences … and whiff.)

Probably more about that later, too, as well as "Private Practice," where it doesn't trust its ability to do good drama enough to avoid piling on. (Three baby-delivery stories, one of them good.)

And I still need to catch the last two "Heroes," because I know I'll have something to say about that.

But I've been feeling a bit blah about TV in recent days, and I keep thinking that it's anticipatory regret — that I know that soon enough we will have seen all the episodes of things made before the strike, and we'll have to get by some way until more new stuff comes along.

In another year, this wouldn't feel so bad, because late November brings reruns and Christmas specials anyway. But we all know that, as of right now, nothing's waiting in January, so I want the stuff we're seeing now to be especially good.

Also, here's a link to my review of "I'm Not There," Todd Haynes's contemplation of Bob Dylan, which ran in the Beacon Journal today.

Second recycling bin to the right, straight on till morning…

I should write at greater length about this, but I'm tired from putting together a John Waters story, not to mention trying to make a good song-lyric joke about James Taylor being on HSN. So, a short list of reasons:

1. In a week full of NBC's self-righteous self-promotion of its green initiatives, Tina Fey bites the corporation hard.

2. Al Gore's parting lines.

3. It's a new episode, and we need to enjoy them while we can.

That said, it's not a great episode, and David Schwimmer's story is pretty familiar, even if you never saw "Death to Smoochy" (and why would you?). But it has its moments. I mean, look at Schwimmer!

Not everything on Thursday night was my cup of tea, but …

Alec Baldwin demonstrated once again he is a genius on "30 Rock." Yes, the basic surprise of the bit — playing everyone in Tracy's family — was spoiled in the promos. But it was still a tour de force to see. And the episode needed that. The battle of the pages was one of those ideas that even the show knew couldn't go anywhere; hence the abrupt end. The Carrie Fisher subplot had some good bits (and Carrie even let some of her own autobiography in there) but it wasn't as riotous as it might have been. But my gosh, Baldwin.

Another nice piece was Michael's ad for Dunder Mifflin. A small reminder that every now and then he knows what he is doing, while still managing to be funny. (I would have loved a scene where he talked Stanley into the orange jumpsuit.) Nice point, too, about the people in the office wanting even a little, odd recognition. But the episode staggered on its way to that point. There's a lot that's unsettling in the show right now, not only in the Dwight-Angela saga but in Jim-Pam. I've mentioned before that we're not seeing a nice side of Jim and it appeared again tonight, when he bulldozed over Pam's animation work to show her Dwight's online world. Yes, there was a good payoff in seeing what Philly Jim, but the bulldozing felt more than a little like something Roy would have done to Pam. So, was Pam always attracted to Jim because of some Roy-ness she recognized, or is Jim being changed by the relationship into something he thinks Pam expects, or what?

"My Name Is Earl," so-so episode (no "Respect the Meat") and I'm not convinced Alyssa Milano is adding anything to the mix. On the other hand, the show had some more good lines: Joy's about her water, Earl's prison-date dialogue about surgery.

Finishing the comedies, I've had a disc of the season premiere of "Scrubs" sitting around, and wasn't excited enough to watch it. It's just never been one of my shows. I finally put the disc in this afternoon, and wasn't excited enough to finish it. Still isn't one of my shows.

"Grey's" once again felt as if it has gotten back on track. Still don't want to see Izzie and George. And when the heart-transplant dad was being intransigient, I told the bride, "George is going to say something wise," and he did. We all knew Ava wouldn't be waiting for Alex. The foot and the chainsaw was really gross. But the stuff with McSteamy and McDreamy was amusing. Cristina and Callie as roommates: potentially very amusing. Meredith isn't annoying me right now. Liked the earless kid, and Bailey's speech.

Anyone care to comment on last night's "Friday Night Lights"? Are we in better territory than at the start of the season, or worse?

As for Thursday, was that the worst "Office" episode ever or what?

Also, in case you missed them, you can link here to my reviews of "Things We Lost in the Fire" and "Gone Baby Gone."

Getting back to "The Office," it was draggy, overly somber, redeemed only by Jim's look in the stairwell as he told Dwight about his feelings for Pam. And part of a not-great night overall. Best part of "My Name Is Earl" was "Respect the Meat" (which has been available for re-viewing over at NBC.com), but the other stunt beats were only so-so. "30 Rock" started well (liked Tracy's happy "I'm whipped" speech) but floundered; nothing really for Steve Buscemi to do, and no matter how hard and well he performed, Baldwin couldn't save the cookie-jar story.

So is it just me, or was that a really blah round of comedies?

If Howie had been a tad slower, Stephen Furst might be hosting "Deal or No Deal" now.

More disappointment from "30 Rock" and "Reaper," big fun with "Earl," after the jump. …

I saw last night's "30 Rock" about a week ago, and it was a letdown, especially after the pretty funny Jerry Seinfeld episode.

Given my disappointment in last night's "Office," there's an argument to be made that "My Name Is Earl" was the most laugh-out-loud funny show on NBC last night. If you haven't watched yet, go over to NBC.com and tune in. Then consider lines like:

"You're going to feel awful bad is this turns out to be Baby Jesus or a tumor."

"Sweet spots."

"I tried all of fifth grade to get rid of that nickname."

AND …

"That's like the Cadillac of cars."

I'm not going to quote the lines about sake or Al Roker (who is apparently a name to be dropped for all the Thursday night comedies). But it's a vigorously funny show right now.

Looking back to Tuesday night, I've now seen three episodes of "Reaper," and what started out as my favorite new show of the season has settled into tedium.

Although this week found the characters settling more into soul-hunting (and I did like the extension-cord bandoliers), and Ray Wise is a wonderful devil, the show still feels like one plot endlessly repeated, and not in a good, "I Love Lucy" kind of way. It needs to get much, much better.

Besides watching the (not available for preview) "Cavemen" premiere last night, as well as recent doses of "Carpoolers," "Everybody Hates Chris," "Aliens in America," "30 Rock," "The Office," "My Name Is Earl," "How I Met Your Mother," "Two and a Half Men," "Girlfriends" and the overall picture is, well, mixed. …

That list should demonstrate that the sitcom is far from dead. It may be getting tweaked ("Arrested Development" appears to have been as influential as it is unsuccessful). Still, that something as mind-numbingly dreadful as "Cavemen" could get on the air is an argument that networks have faith in the sitcom form.

"Cavemen" actually took a pilot with some interesting edges — cavemen as oppressed minority — and retooled it into a dull, formless mess. (This is not the first time a pilot has been screwed up. "The Wedding Album," a not terrible-seeming show, was revamped into the unrecognizable, dismal "Wedding Bells.") "Carpoolers," which ABC has paired with "Cavemen," is not the next great sitcom but it at least offered a couple of laughs.

But there are alarm bells going off in other parts of sitcom land. "How I Met Your Mother," capable of great style and humor, was a big old lump of boredom on Monday. Well, except for Robin's hair in Guatemala. But after a decent season premiere, this week's show was uncertain — and I'm really puzzled by the seeming shift in Robin toward an overly sexualized creature (the note about Ted's size in the season premiere, the Robin-attracted-to-Robin moment this week — shades of Kira and "Deep Space Nine.")

Then there's "Everybody Hates Chris," a show that I like a lot but haven't watched as much as I should have. During my absence — or possibly just over this summer — Tyler James Williams, who plays Chris, has gotten taller and deeper of voice, and the show's not as cute because of it. I know, young actors get older and change. But when a show still calls upon its main character to run upstairs crying "Daddy!" it doesn't sound as amusing when his voice has deepend. In fact, playing opposite Chris Rock — yes, Chris Rock, not Kid Rock — Williams's voice was deeper than the real-life adult his TV character is supposed to grow up to be.

The show still has its virtues, notably Tichina Arnold and Terry Crews as Chris's parents, but even they are getting pigeonholed. This week's show indicated there are only so many ways you can do a Terry-is-cheap story.

Not so much bad news as iffy news is "Aliens in America," a show that's charming and warm about its characters, but isn't all that funny. I've seen two episodes of it and thought, well, it's nice, and Scott Patterson is almost channeling Joe Flaherty's performance on "Freaks and Geeks." But when I sit down to watch a comedy, especially when I'm in the middle of weary times, I want to laugh. And "Aliens" at best made me smile.

So what made me laugh? Well, tomorrow's "30 Rock," with Jerry Seinfeld as himself, is pretty funny. Don't miss any of the bits from NBC shows, real and fictional, that Seinfeld has been put in. And always listen to Alec Baldwin — especially when he's listing his most recent program concepts for NBC. Pirates, yes! Unfortunately, next week's episode is not as funny. But I have higher hopes of this bouncing back than I do for "HIMYM." Although I hope for it, too.

"Two and a Half Men" knows exactly what it is — often crude comedy of aggravation — and its two shows this year have delivered more of the same. And I still laugh. I was encouraged by the season premieres of "The Office" and "My Name Is Earl," but I haven't seen this week's shows yet, to be sure that they can maintain momentum.

And, among the shows that don't get talked about as much as they should, there's "Girlfriends." I haven't checked in with it in some time, but I still found a sturdy comedy-drama that understands its characters and their follies very well. And it's not afraid to push things. When Joan (Tracee Ellis Ross) was arguing with her fiance Aaron (Richard T. Jones), the intensity was so high that you could almost feel a threat of violence underlying their words.

So where does all this leave us? Pretty much where we've always been with comedies — some good, some bad, some vacillating between two extremes. No reason to kill the form, and plenty of reason to keep trying to make it better.

Several different packages, described after the jump …

The word from Universal:

The workplace happenings of a popular live comedy show reach new levels of hilarity when 30 Rock: Season 1 comes to DVD on September 4, 2007 from Universal Studios Home Entertainment. Nominated for ten 2007 Primetime Emmy® Awards including best actor, best actress, best comedy writing and best comedy series, 30 Rock is created and executive produced by Tina Fey, who previously won an Emmy® for her writing on NBC’s “Saturday Night Live.” Fey headlines an irreverent cast that includes Alec Baldwin (The Good Shepherd, The Departed) in a role that earned him a lead actor Emmy® nomination as well as Golden Globe® and SAG® awards, and Tracy Morgan (Little Man, “Saturday Night Live”). Notable guest stars contributing to the show’s comedic success include Isabella Rossellini, Paul Reubens, Emily Mortimer, Rip Torn, Will Arnett and Elaine Stritch, who received an Emmy® nomination for Outstanding Guest Actress in a Comedy Series for her role as Colleen Donaghy. 30 Rock is from Broadway Video and Little Stranger, Inc. in association with Universal Media Studios. The three-disc set includes all 21 episodes of 30 Rock: Season 1, plus exclusive bonus features including commentary by Alec Baldwin, Tina Fey, Tracy Morgan and Jack McBrayer, hilarious deleted scenes, bloopers, behind-the-scenes featurettes and more! 30 Rock Season 1 will also be made available as two individual volumes with Volume 1 including the first 16 episodes as a two-disc set and Volume 2 including the final 5 episodes plus the bonus materials as a single disc.

Fey brings humor and wry wit first showcased on Saturday Night Live’s “Weekend Update” to the high pressure environment of the writers’ room in a tongue-in-cheek send-up of the network TV business. 30 Rock: Season 1 comes just in time for viewers to catch up on the funniest insider comedy on television before the highly anticipated broadcast premiere of Season 2. The DVDs will be priced at $49.98 S.R.P. for the complete season or $26.98 S.R.P. for Volume 1 or Volume 2.

Strange way to split the show in the Volumes 1 and 2; looks as if they're just taking the three discs in the complete-season package and separating them for the other sets. Which is wildly off-balance, since you get 16 episodes in V.1 and five episodes in V.2, with the extras jammed into V.2. (Although you'd think the commentaries for episodes in V.1 would still be there, wouldn't they?) All in all, it sure looks as if Universal is nudging folks into buying the complete-season set …

After playing coy for years and ticking off a roomful of reporters in July, Star Jones has finally copped to using a gastric bypass to lose weight. Find the story here.

For all her talk about hypocrisy and the like, she apparently didn't learn everything about being honest from her experience. Check out my friend Alan Sepinwall's account of her ducking weight-loss questions during the TV critics' tour — just over two weeks ago.

Premiere dates, new "Apprentice," Jerry Seinfeld on "30 Rock," Norman Lear ..

From e-mails of announcements NBC made today …

CELEB APPRENTICE

NBC has renewed "The Apprentice" for mid-season with a creative twist. In a new celebrity version of the popular series, celebrity contestants will vie for Donald Trump's attention in what will be the highest-profile competition in the groundbreaking series' run, it was announced today by Ben Silverman, Co-Chairman, NBC Entertainment and Universal Media Studios.

A list of the participating celebrities will be announced at a later date for the series' seventh season. Contestants will be raising money for various charities throughout the competition.

SEINFELD ON "30 ROCK"

Jerry Seinfeld returns to NBC in a rare guest-star turn when he appears as himself in the second-season premiere of NBC's critically acclaimed comedy "30 Rock” on October 4 (Thursday, 8:30-9 p.m. ET), it was announced today by Ben Silverman, Co-Chairman, NBC Entertainment and Universal Media Studios. …

Seinfeld's return to his NBC roots will include not only his guest role on "30 Rock,” but he will also create and star in 20 unique live-action comedy "minisodes" (as previously announced), inspired by his experiences creating the upcoming DreamWorks animated feature film "Bee Movie," in theaters November 2. NBC Universal will also have the exclusive U.S. broadcast and cable network rights to the film, which features Seinfeld as the voice of Barry B. Benson, a disillusioned bee. Produced by Seinfeld and DreamWorks, the 20 comedy shorts will give viewers a glimpse at Seinfeld's behind-the-scenes antics during production of the movie. The minisodes will run on NBC's primetime schedule this fall, as well as on NBC.com, on designated days before and after the release of the film.

NORMAN LEAR

NBC has signed a series deal with legendary, Emmy Award-winning television producer Norman Lear ("All in the Family”) to join Reveille, Act III Productions, and Universal Media Studios in producing a one-hour dramedy focused on a mother who reenters the work force and is pitted against her late husband's ruthless partner in a money-charged battle of the sexes on Wall Street.

PREMIERE DATES (INCLUDES SOME CHANGES IN PREVIOUSLY ANNOUNCED TIME PERIODS)

SEPTEMBER 11
"The Biggest Loser” (8-10 p.m.)

OCTOBER 25
"Scrubs” (9:30-10 p.m.)

EXPLANATIONS AND DETAILS OF SCHEDULE CHANGES

NBC launches its season premieres the week of September 24. The network will adjust its schedule by moving the new comedic spy thriller "Chuck" to Mondays (8-9 p.m. ET) – followed by switching the popular Monday version of "Deal or No Deal" to Fridays (8-9 p.m. ET), and shifting "Friday Night Lights" to an earlier new time of 9-10 p.m. (ET) and " Las Vegas" to 10-11 p.m. (ET).

As it did during last fall, "Football Night in America" (7-8 p.m. ET) and "Sunday Night Football" (8-11 p.m. ET) will dominate on autumn Sundays.

NBC picks up "30 Rock" for next season!

Here's the announcement, which makes me so happy that I am even including the boilerplate:

NBC will renew its critically acclaimed comedy "30 Rock" (returning to the network's lineup on Thursday, April 5, with a special supersized episode at 8:40 p.m. – 9:20 p.m. ET) for the 2007-08 season, it was announced today by Kevin Reilly, President, NBC Entertainment. The series will settle into its new time period of 9:00 – 9:30 p.m. ET on Thursday, April 12 for the remaining episodes.

"30 Rock" is from Broadway Video and NBC Universal Television Studio. The executive producers are Lorne Michaels ("Saturday Night Live"), Fey, JoAnn Alfano ("Sons & Daughters"), Marci Klein ("Saturday Night Live"), David Miner ("The Tracy Morgan Show") and Robert Carlock ("The Dana Carvey Show").

Little things can feel like big worries. Nice to see Molly Shannon on a good "30 Rock" on Thursday, but she looked alarmingly thin. Then there's the way Newsweek's Joshua Alston wrote about Amy Winehouse …

For those of you who are not following Winehouse's career, she is famous for, among other things, bouts of substance abuse. Here's a recent note from a British Web site:

Amy Winehouse cancelled a concert on Thursday night, hours after being spotted stocking up on booze at a local supermarket.

The hell-raising star was snapped in the alcohol section of a north London supermarket at 11am, just hours before pulling the plug on her gig.

Winehouse's own Web site didn't even bother to come up with a bland excuse for her gig-dumping (you know, something like "exhaustion.") It just keeps leaning on "unforeseen circumstances."

That's cause for concern, especially with the continuing line of celebrities going into rehab. (I think the most recent is Eddie Van Halen.) But not a worry to Alston, who ended a profile of Winehouse in Newsweek's March 12 issue this way:

"I'm just very insecure," she says, "and when you're so insecure, alcohol brings your demons out. I can be very nice." But what fun would that be?

Fun?

You can read the rest of the piece here but it's laced with a sense that there is indeed something fun, or at the very least amusing, about Winehouse's boozing and pot-smoking. And her behavior suggests just the opposite. What sort of "unforeseen circumstances" will be required for Newsweek to decide she's not really all that fun?

Trying to get a handle on Randy Newman and other notes, after the jump …

Thursday niight went long. Not only was there the death of Anna Nicole Smith (a link to my column is in the post below this one), but Thursday is one of those nights when there are more shows going than one DVR can handle. As you can see, I got through "Survivor," "The Office" and "Grey's." Today I squeezed in "30 Rock' (complete with a Cleveland joke) and part of "Earl," and I hope to get through "CSI" before the weekend is out. Not sure when, though. I've got a weekend shift tomorrow and today was consumed by writing — a piece on Randy Newman, who is coming to Akron on Feb. 18, a so-so DVD column and new-release list, some Pop Quiz questions for Saturday, Sunday and Monday.

The Newman piece was the most frustrating. I probably got to it too late, but I was struggling with how to handle it. I've been a fan for more than 30 years and I wanted to do right by him. But, because I've been a fan for more than 30 years, I had a lot of mental string to try to tie together — while explaining to people why they should want to go to his show. I wasn't trying to hit it out of the park; a nice, unquestionable double would have been enough. Ended up feeling more like a fielder's choice, or a lucky single. Just couldn't make it work. But that's how it goes sometime. To quote some of the words I live by: A poem is never finished, it is merely abandoned.

As for that viewing, "30 Rock" had some good stuff, but also the sense that someone has decided that the characters need to be more likable — by being more vulnerable. Especially true of Alec Baldwin's guy, sent on a bender that felt out of character no matter how much I tried to believe that it made sense. Still like the show, but I fear compromise — especially on a night when "The Office," however uncomfortable, was fearless.