‘Parks and Recreation’ 15th Anniversary: Why ‘Flop’ First Season Deserves a Reevaluation

“Parks and Recreation” debuted April 9, 2009, just three months after Barack Obama’s inauguration. A perfect alignment, one might think, considering how much the NBC sitcom embodied the 44’s “Yes we can” spirit. However, the tone of its much-neglected, much-derided first season was more akin to the Bush era: cynical, polarizing, and slightly clueless.

Subsequently, its opening six episodes have largely been consigned to history: the general advice to newcomers is skip them entirely and start with the sunnier second season. But while the show undoubtedly benefited from its course correction, its initial glimpse into the fictional Pawnee’s madcap P&R department isn’t the disaster often purported. (“There were episodes of “Joey” that were more amusing,” was the Chicago Tribune’s brutal response.)

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Much of the criticism inevitably focused on its similarities to “The Office.” The show was conceived as a spin-off from the corporate satire after all, and shares a creator (Greg Daniels), cast member (Rashida Jones), and mockumentary format. Its premiere was even sandwiched between two new Dunder Mifflin adventures, explaining why its opening 6.77 million ratings were never surpassed.

“Parks” didn’t help matters with its lead character, admittedly. Amy Poehler’s Leslie Knope evolved into an all-time classic creation. But here, she appears a facsimile of Steve Carell’s Michael Scott, someone to be laughed at not laughed with, routinely disrespected by her colleagues, and with political aspirations far outweighing her political nous. Let’s not even mention her infatuation with nondescript town planner Mark Brendanawicz (Paul Schneider).

Yet there are still flashes of the small-town government hero she’d become. “This could be my Hoover Dam,” she excitedly declares about her concerted efforts to turn an abandoned pit into a park of wonder, a project which skillfully unites all the show’s major players.

While Leslie takes time to hit her stride, other characters appear fully formed. As the straight woman, Jones’ Ann Perkins often gets short shrift, yet she’s a welcome voice of reason who grounds the show when it threatens to get too outlandish. Her understandable fury on learning broken-legged boyfriend Andy Dwyer (Chris Pratt) conned her into two extra weeks’ domestic slavery proves “Parks” could get real when necessary, too.

Pratt, deservedly upgraded from guest to permanent fixture, is unarguably the inaugural scene-stealer. Andy and Ann’s relationship veers perilously close to the ‘schlubby manchild punching above his weight’ trope brilliantly skewered by “Kevin Can F*** Himself.” Pratt (more dadbod than today’s gymbro) possesses so much goofy charm, though, you almost excuse his swings into full-on jerk.

Of course, it’s Nick Offerman’s Ron Swanson who’d develop into the MVP. The scriptwriters hadn’t quite mastered his proud libertarian voice yet. But they undoubtedly laid the groundwork, particularly in “The Banquet” where he honors Marlene (Pamela Reed) with a “speech of facts” and professes his love for meat. And his impassioned defense of Leslie during the ethics disciplinary of “Boys Club” brilliantly exemplifies how much he values their yin-yang connection.

The show also quickly harnesses Aubrey Plaza’s sardonic talents, her intern April Ludgate gifted several deadpan one-liners and plenty of side-eye opportunities. However, unusually in the age of mammoth TV seasons, “Parks” simply didn’t have time to fully flesh out all its lovable oddballs.

Aziz Ansari’s Tom Haverford is the biggest casualty, his brazen womanizing the only real sign of his Jean-Ralphio-assisted club-promoting future, although poor Donna (Retta) and Jerry (Jim O’Heir) barely get two words between them. Nevertheless, from Ann and Leslie’s blossoming friendship to Ron’s hilarious disdain for ex-wife Tammy, its writers plant enough seeds to make later character developments and storylines pay off.

“Parks” does, however, nail the inanity and ineffectiveness of local bureaucracy from the get-go, opening, as it does, with Leslie treading through sandpits surveying nonplussed tweens. “I lost my optimism about government in about two months,” Mark admits in a rare memorable line. “Leslie’s kept hers for six years.” And from the petty complaints of public forums (“I have a few things I want to say about Laura Linney”) to the art of filibustering, this first season explains why everyone else working within the department’s problematic muraled walls is so disenchanted.

This misanthropic streak sometimes seeps into the show’s humor. There are jokes about pedophiles and crystal meth, while Alison Becker’s reporter Shauna Malwae-Tweep (highlighting its writers’ penchant for ridiculous names) is branded “skanky” simply for her one-night stand with Mark. We’re not talking “It’s Always Sunny” here. Still, for those who argue later seasons are too glass half-full, it’s a reminder the show’s worldview could get dark.

There’s also one all-time great episode in finale “Rock Show.” Here, both the writers and Poehler realize how Leslie works best, toning down her occasional shrillness and overzealousness and, thanks to an accidental date with a sixty-something Everly Brothers fan, making her more sympathetic than ever before.  It’s also genuinely funny, especially the improvised rollcall of band names (Teddy Bear Suicide, Penis Pendulum etc.) Andy reels off, each one as terrible as their “Matchbox Twenty meets The Fray” sound (although, in fairness, “The Pit” is a banger).

Luckily, NBC gave “Parks” another season to further find its footing. But its first season remains a solid introduction to where, as eventual great Ms. Knope says herself, “the rubber of government meets the road of actual human beings.”

“Parks and Recreation” is streaming on Peacock.

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