New York — The void you're looking at on your DVR is the sitcom landscape post-"30 Rock."
When Tina Fey's bright, bouncy, irreverent showbiz send-up aired its last episode Thursday night, a light (Kenneth's toothy grin?) went out in broadcast television.
"30 Rock" was not perfect: It sometimes spun its wheels and its writing was often too showy. But "30 Rock" was the clear sitcom heir to "Seinfeld," pushing comedy forward by fusing the relationship set-up of "The Mary Tyler Moore Show" with the flashback jump-cutting of the single-camera "Arrested Development." Its snappy, joke-packed universe was both tightly controlled and capable of going anywhere – a fiction funhouse version of Fey's "Weekend Update" social satire. Oh, and it had Alec Baldwin.
With "30 Rock" leaving the air, the sitcom again finds itself at a crossroads. Though acclaimed and award-winning, "30 Rock" was never highly rated. Sitcom fans and creators alike can reasonably wonder that if »
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