This season is definitely darker, but I do appreciate the way in which it fully commits to the absurdity. The narrator doesn’t know if he’s omniscient or not, and Jane Krakowski’s Bobbie was intent on blaming jazz for inspiring Josh to without a doubt have committed murder. Josh’s refusal to play along doesn’t help matters at all, and the fact that the law is ten percent precedent and ninety percent “wow” doesn’t work if people don’t like the accused. Josh was also convinced that the happiness bus wasn’t real and that Aaron Tveit’s magnanimous hippie Topher was just tripping, but then they busted out and had a lot of fun fleeing from the law. Melissa somehow managed to get the part out of a troupe of dancers after she held up her driver’s license while the rest of them had headshots to show, and that chain dance with Jenny and Emcee was probably the standout musical number of the episode. Krakowski was the MVP, however, and did a great job sending up Billy Flynn from “Chicago” (one of the only references I immediately got since I’m hardly a musical theater expert). The song about needing to eat and how last night dinner was a candle was rather disturbing, but, again, this show commits. I was also intrigued by Sergeant Rivera telling Melissa not to stick her pretty little nose where it doesn’t belong since we don’t typically see Jaime Camil in such a villainous role, especially in season one of this show.
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