I thought by going on record with my resolution to stop procrastinating on my 30 Rock recaps that I wouldn’t possibly allow myself to do so again.

And yet, I did. So here I am, five days later, having never shared with you, my reading public, my thoughts on “Retreat to Move Forward.” And I can’t imagine you still care. But I’m going to share anyway, because that’s what blogging is about, right?

But I’ll keep it short.

I loved the revival of GE’s Sixth Sigma program from Season 1. I wonder which writer on the staff has been dying for two years to spin that into an entire episode, like they did with last week’s retreat to sunny Croton-on-Hudson.

Having grown up two towns over, I can attest that what happens there stays there.

And I loved learning what the six sigmas are: they’re execs, each with their own philosophy they represent: teamwork, insight, brutality, male enhancement, handshakefulness and play hard.

Few things are more surreal than watching Jack pump himself up in the mirror. He really does have mommy issues, but they’re nothing like Liz’s. Did she just call herself a bitch? 

Feeling guilty about ditching her with the nerds, Jack does some team-builing Lego project with Liz for CLASS, which is actually lunch. It might have ended well if she hadn’t made those lewd gestures with their sculpture. That sigma guy was right, the old Jack wouldn’t have tolerated her robot member antics.

And how funny was it that Liz showed up at Jack’s room with two omelets, both for her.

I appreciated the “live mic in the men’s room” reference to the Naked Gun movies. But it was Liz’s Slingblade/Marian Cunningham/C&C Music Factory routine was what saved the day. Wait, was that Slingblade or Oprah? Who can tell?

As usual this season, Jack and Liz weren’t half as funny or entertaining as Kenneth, Tracy, Jenna, Frank or Dr. Spaceman, who doesn’t know how to tell Tracy he has diabetes. Between that and Jenna still amping up to play Janis Joplin—or Janet Jimplin, the B-plots stole the show for me, particularly this exchange…

Kenneth: Good morning sir, what’s that on your foot?

Tracy: It’s a practice wheel for when I lose my foot to diabetes.

Kenneth: You can’t eat candy if you have diabetes.

Tracy: There’s no link between diabetes and diet. That’s a white myth, Ken, like Larry Byrd or Colorado.

Kenneth: It’s not a myth. Gentlemen, back me up here.

Grizz: I don’t know. My dad had diabetes and he ate whatever he wanted until the day on the day I was born.

Kenneth: How do you not see the connection?

Toofer: You know, there’s a conspiracy theory that after the Civil War the U.S government spread false information about diabetes (Tracy: Word) to keep the newly freed slaves sluggish and docile (Tracy: And I heard that from Yusef Jackson), which is why, to this date, most African Americans don’t understand that diabetes is caused by sleeping on your back.

Kenneth: I don’t think that’s right.

Tracy: Diabetes and diet. Next you’ll be telling me that leasing a sports car is a bad investment.

That’s right up there with Jack’s therapy-inspired impression of Tracy’s entire family.

I’m getting hip to a recent trend of recycling jokes and plot devices that have already been used on The Office, even if I’m only imagining it. This week’s example was Frank janking around with Wikipedia to throw off Jenna’s Janis portrayal.

It turns out Joplin’s favorite drink wasn’t the Frankschlong: cherry juice, buttermilk and tequila. She also didn’t eat cats. That was Alf. I liked her “I Suck” T-shirt, though and speedwalking on crutches.

But it all led to Jenna and Frank finding love together. Or nasty lust. Either way, it’s quite an embarassment, for Frank, that is. Man that guy is working the ladies of the building, isn’t he? And she thought Dog the Bounty Hunter was the second grossest guys she’d been with. 

What can he say? He’s got a thing for damaged goods.

In the end, she took a Silkwood shower for nothing, but that’s what it took to convince Tracy to start eating right, so Kenneth’s job is done.

By the way, did you catch that “Cooter” call-back that referenced last season’s finale and explained what became of Jack’s government job? AfterElton.com did. Apparently Jack and Dick Cheney were quite an item.

How many shows go to that kind of effort?

Lastly, and tenuously relatedly, I want to weigh in on an idea raised in Variety the other day about NBC’s perpetual fourth-place status among the networks. The premise is that the Peacock lacks focus.

The Peacock ceded its upscale brand to ABC in recent years, and has been rudderless ever since. Should it focus more on single-camera comedy a la “The Office” and ”30 Rock”? Should it go more male to complement “Sunday Night Football” and ”Heroes?” Or should it veer toward character-driven drama like “Friday Night Lights” and “Lipstick Jungle?”

I think Variety is on to something. NBC has waited for its Thursday night block to become the Must See TV of old for too long. I love 30 Rock and The Office, dislike My Name is Earl and never got into Scrubs. ER, meanwhile, is about six years past its expiration date.

I’m glad to see the the Office ”not-a-spinoff” coming in April because it shows an investment in the future of sitcoms. With a business model that eschews that rampant development of new shows that was the paradigm in the past, hope for great new shows seems somewhat lost.

Yet that’s what all the networks need. They think people aren’t watching because of the Web and other programming options, but people will watch good shows, and they’ll flock to a communal experience—hello, American Idol anyone—when they can.