Plot
Liz (Tina Fey) has become very happy since dating Floyd (Jason Sudeikis), and their relationship together is going strong. Don Geiss (Rip Torn), the CEO of General Electric, speaks to Jack (Alec Baldwin) about his career, and points out that Jack is the only executive at his level to be unmarried. Geiss takes away Jack's role as the head of the Microwave Oven division, which makes Jack become extremely depressed. Liz decides that she wants Jack to meet Floyd at dinner, although Jack becomes obsessed with Floyd and becomes a third wheel in Liz and Floyd's relationship. Liz, extremely bothered by Jack's obsession, tells Jack to leave Floyd alone. Jack agrees, and he tells Liz that he has begun a relationship with Phoebe (Emily Mortimer), a Christie's auction house art dealer who has Avian Bone Syndrome and on their third meeting still greets Liz with "Hi, I'm Phoebe, I don't know if you remember me..." Jack asks Liz's approval in his relationship with Phoebe, and when Liz grants it, he immediately proposes to Phoebe.
Meanwhile, Tracy (Tracy Morgan) tries to get Don Geiss to finance his film, Jefferson, which is based on Thomas Jefferson's life. However, Geiss is not interested in Tracy's $35 million dollar project, even after Tracy uses NBC page Kenneth Parcell (Jack McBrayer), Grizz Griswold (Grizz Chapman) and "Dot Com" Slattery (Kevin Brown) to put together a trailer for the film. After failing to convince Geiss, who would rather see him do a sequel to one of Tracy's previous films, Fat Bitch, Tracy decides that he will make Jefferson on his own.
Read more about this topic: Corporate Crush
Famous quotes containing the word plot:
“Trade and the streets ensnare us,
Our bodies are weak and worn;
We plot and corrupt each other,
And we despoil the unborn.”
—Ralph Waldo Emerson (1803–1882)
“Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.”
—Jane Rule (b. 1931)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)