Can anything lift ‘Earl’ out of its sophomore slump?

EVERY once in a while, a dynasty crumbles and, if it is very lucky, is slowly rebuilt. Look at pro basketball’s Chicago Bulls, for instance. A laughingstock in the years after Michael Jordan’s final departure, the team gradually reconstructed itself with fresh players and now is in the playoffs for the third season in a row.

So went NBC’s “Must-See-TV” Thursday night prime-time lineup. Not too long after the powerhouse block of programming lost its mainstay sitcom “Seinfeld” in 1998 and then “Friends” in 2004, the night was soon a black hole of comedy for the network.

Many forgettable programs were rushed in to fill the black hole, such as “Joey,” “Jesse,” “Cursed,” “Stark Raving Mad” “Good Morning Miami” and, of course, “Coupling,” but they got swallowed up by sitcom history and helped send NBC to the bottom of the network ratings.

Then, in 2005, a light shined for NBC. It debuted a few quirky sitcoms that appealed to both critics and viewers, saw the positive feedback and moved them to the nearly legendary Thursday night spot. “My Name Is Earl,” one of its great white hopes, followed the more contemporary studio audience-less sitcom format and cheerfully served up a comedic style that was both warmhearted and politically incorrect. (How can a show with illegal immigrants who work as strippers, redneck sluts, “daytime” prostitutes and a one-legged, hopping-mad woman go wrong?)

“Earl” was blessed with a unique, clear-cut setup. It wasn’t just another program about some neighbors or a group of friends or a family and the things they do. Earl Hickey (Jason Lee, formerly known to many audiences as “that guy” from many Kevin Smith films) was a former small-time criminal who realized that if he wanted his life to improve, he’d have to right his wrongs, and every episode he’d attempt to do just that, aided (or hindered) by his dimwitted brother, Randy (Ethan Suplee), and his gleefully amoral ex-wife, Joy (a role seemingly made for actress Jaime Pressly). The foundation was then laid for a show with plenty of room for playful flashbacks and new, oddball characters.

Despite (or maybe because of) its initial promise, “Earl” is hitting a sophomore slump, however. Ratings are down, and the critics seem to have fallen out of love as well. What gives?

Perhaps it’s that “Earl’s” clever setup is actually its downfall. Watching the show, it’s easy to see just how nicely it would run in syndicated reruns. Like “Law & Order” (the original is the best, as they say on TNT), a viewer can drop in on any episode and not feel lost, as each installment is a single capsule.

Earl needs to cross something off his list, he sets out to do it, hilarity ensues, he accomplishes his task, and maybe learns a little lesson too. Well, perhaps that becomes a little too reliable. Viewers may feel that it’s a nice show to tune in to yet never feel the urgent need to tune in again.

“Don’t miss scenes from the next episode of ... “ is no longer a hook used only by dramas -- as sitcom writing becomes more sophisticated, shows are ensuring loyalty with ongoing plotlines that deliver emotional satisfaction as well as callback jokes.

A fine example of this is “The Office,” which airs immediately after “Earl.” Fans love the show’s humor and characters but tune in for the ongoing story lines, such as whether Jim will end up with Pam.

Even “Scrubs,” which, while as enjoyable as ever, has lost a little freshness because of its own well-worn episode formula and continues with story lines surrounding Turk and Carla’s relationship or the ever-present possibility of another romance between J.D. and Elliot.

Perhaps no modern sitcom can surpass the dearly departed “Arrested Development” for plotting, which has in-jokes buried so deep that some dedicated viewers still don’t catch them even after repeated viewings.

Fortunately for viewers, “Earl” heralded this fresher, smarter type of sitcom:. Unfortunately for “Earl,” however, this means finding ways to set itself apart from these other shows, something it has yet to accomplish, especially since some, such as the British version of “The Office” or the aforementioned “Arrested Development,” will live forever fondly in viewers’ minds because of their short-livedness.

Another problem with “Earl” is that it’s starting to feel, especially with its ever-loving message of good karma, a little too nice.

For a show that takes place in trailer parks and strip clubs and bars, it’s rather tame -- is Camden County the new Mayberry? While its nonsensical humor still peeks through sometimes and Joy remains a constant source of gleeful political incorrectness (as in her dealings with deaf lawyer Marlee Matlin), the show could take a page from its other Thursday-night cousin, “30 Rock,” which is not afraid to pull punches when it comes to race, sexuality, feminism, terrorism and politics.

“Earl” is sometimes the most delightful when we are treated to flashbacks of the “bad” Earl. Nothing against the Crab Man, but Bad Earl and Joy are a much more titillating couple. Randy even came across as more of a lout in the earlier episodes of the series than the Randy we see now, who has a heart and brains made out of melted butter.

“Earl” is definitely a show worth rooting for, if its writers can tweak it to make it more of a show to follow and not just catch.

Gimmicks such as guest stars and scratch-and-sniff episodes are always entertaining, but “Will & Grace” was proof that a revolving door of celebrity cameos can be exhausting. The “Earl” season-ender hints at a possible change in Earl’s day-to-day in the third season, which, if handled correctly, could be just what the series needs.