There’s something refreshing about a show that knows exactly what it wants to be and executes on it with confidence. NBC’s “The Fall and Rise of Reggie Dinkins,” created by Robert Carlock and Sam Means, leans into a familiar comedic rhythm and delivers something that feels increasingly rare right now: an easy, genuinely funny series built on strong characters and well-crafted jokes.
The series stars Tracy Morgan as disgraced former football star Reggie Dinkins, alongside Daniel Radcliffe, Bobby Moynihan, Erika Alexander, Precious Way, and Jaylen Barron. Produced by Universal Television with executive producers including Tina Fey and Tracy Morgan, the show blends a mockumentary-style format with a character-driven ensemble that feels built for longevity. Ahead of its midseason point, both Bobby Moynihan (“Saturday Night Life”) and guest star Craig Robinson (“The Office”) sat down with Awards Focus to talk about the show’s tone, themes, and what audiences can expect as the season unfolds.
The premise is simple but loaded with possibility. Reggie Dinkins is attempting to rebuild his public image with the help of an earnest filmmaker played by Daniel Radcliffe, and the show lives in that space between reinvention and denial. It’s the kind of concept that immediately makes you think of real-world figures like Lance Armstrong or Barry Bonds. Public figures whose stories have been shaped as much by scandal as by success. The series finds its footing in that uncomfortable middle ground, where someone may not fully understand their past but still wants, in their own way, to move forward.
“There’s notes of Pete Rose in there,” Bobby Moynihan says. “But I think it’s based on all of that kind of cancel culture stuff. And how do we… is the rise about making sure people still like you, or is it about you being a good person? I think that’s what it’s about.”
That question quietly drives the show. It’s not really about whether Reggie can repair his reputation, but whether he even understands what that requires. Moynihan, who plays Rusty, was drawn to the project as much for the creative team as for the material itself. “I remember calling my managers and agents and being like, please let me get an audition for that,” he says. “I begged and thank God they said yes.”
That history with the creators shows up in the chemistry. The performances feel relaxed in a way that suggests trust, and the humor benefits from that looseness. Moynihan’s Rusty is more than just comic relief, and the show begins to explore that as the season progresses. “Their friendship is tested a bit,” he says. “We’ll see all of that towards the end of the season.”
What helps the show land is that it never loses sight of the relationships underneath the jokes. “It’s a family trying to make it through insane times together,” Moynihan explains. “We’re just a bunch of people who messed up trying to do better.”
That mix of personalities is part of what makes the show work. “We’re very lucky that we have different kinds of comedy,” Moynihan says. “We have Tracy (Morgan), we have Daniel (Radcliffe), we have Erica (Alexander) and me and Precious (Way) and Jaylen (Barron), and everyone’s got their own vibe. It really does feel like a family.”
Daniel Radcliffe, in particular, stands out here. He leans fully into the comedic tone of the show with a performance that feels both controlled and willing to go a little off-balance when needed. As Moynihan puts it, “He’s one of my favorite parts to watch on this show. I think he’s great at everything he does.”
There’s also a sense from the cast that they know exactly what kind of show they made. “It seems people like it,” Moynihan says. “It’s had a nice reception, so that’s wonderful. When we left shooting, I went, well, that was great and that was really fun, so I hope people like it.” He adds, “I think it’s just a free for all right now. I think no one knows what’s happening right now, but I’m just glad people like it.”
That perspective extends to comedy more broadly. “Handcuffed is the right word,” Moynihan says. “The world’s different, so you have to treat it differently. I don’t know if it’s harder, maybe smarter.” Even so, “Reggie Dinkins” doesn’t feel restricted. It sticks to fundamentals and trusts that good writing and strong performances will carry it.
Midway through the season, Craig Robinson joins the series as Jerry Basmati, a former football player who spent his career finishing just behind Reggie. Now, the roles have reversed. “He’s a retired football player like Reggie Dinkins, but he always came in second to Reggie,” Robinson explains. “From the Heisman to MVP voting and stuff like that. But now Reggie’s on the downfall and Jerry’s come up… and he holds a grudge. He’s not letting Reggie get anything.”
It’s a simple dynamic, but one that opens up a lot of comedic tension. Robinson plays it straight enough to ground the character, which makes the moments of absurdity land even better. He also hints that his role isn’t limited to a single appearance. “I think I make an appearance later on in the season too,” he says.
Heidi Gardner, also from “Saturday Night Live,” appears alongside Robinson as Jerry’s wife, and the two bring an easy, playful energy to their scenes. “One of my best scene partners I’ve ever had,” Robinson says. “She’s amazing. She’s a great writer, she’s hysterical, and she’s willing to play.”
There’s some room for improvisation within the show, though it’s used sparingly. “We did some improv,” Robinson says. “Not a lot, because they already got good funny stuff going on, but you might add a little bit here or there.” He recalls one moment in particular: “We were leaving the park and I was like, what if we just skipped away. You’re not even paying attention to us, but we’re in the background just skipping off… just stupid stuff like that.”
Even the mockumentary format feels comfortable rather than forced. “Once you figure out where the cameras are, you just try not to look into them unless you’re doing that,” Robinson says. “It’s pretty much the same.”
What ultimately makes “The Fall and Rise of Reggie Dinkins” stand out is how easy it is to settle into. It doesn’t ask for much from the audience beyond showing up and enjoying the ride, and that’s part of its appeal. It’s the kind of show you can drop into, laugh with, and come back to the next week without feeling like you need to decode it.
The series debuted with a one-hour premiere on Monday, February 23 on NBC and has since settled into its regular Monday timeslot at 8:30 p.m. ET/PT. New episodes continue to air weekly on NBC and are also available to stream on Peacock, making it easy to catch up or follow along however you prefer to watch.