Tag Archives: Comedy

Community – “The Politics of Human Sexuality”

“The Politics of Human Sexuality”

December 3rd, 2009

There was some discussion earlier this season surrounding ABC’s Modern Family about whether its eleventh hour moralizing (where a character, usually Jay, clearly states the episode’s theme so as to wrap everything up in a neat little package) was damaging its credibility. No one was arguing that the morals were themselves issues, but rather it was a question of whether their impact on our impressions of the characters was being limited by the repetition. Every comedy in its first season is out to define its identity and where its characters sit within that identity, but to actually draw attention to that fact in such a blatant way simply turns me off. Since that point, Modern Family has done a number of nice episodes that avoided this crutch, so the dialogue has drifted off.

What keeps me from raising the same issue with tonight’s Community, which is also about morals and what characters learn about themselves in the span of the episode, is that the show has always shown a deft hand with how it handles its more sentimental material. While Modern Family feels as if it started to end on that note regardless of an episode’s content, Community loves revelling in the fact that sometimes it’s a mature female escort who teaches you to respect women, and sometimes what makes you comfortable with your sexuality is entirely ignoring that sexuality.

I think this is an episode that wouldn’t have worked early in the season, and yet here feels like a nice bit of character work and comic execution for the folks at Greendale.

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On ABC, Family Matters: “Fizbo” and “Here Comes My Girl”

“Fizbo” and…

“Here Comes My Girl”

November 25th, 2009

Thanksgiving is a holiday about family, which when deployed in television does one of three things. The first is to emphasize the cohesiveness of a particular group of characters who work seamlessly when brought into the same setting. The second is to emphasize the sheer chaos that results from the show’s personalities coming together, to either comic or dramatic purposes. The third, meanwhile, is to demonstrate that the show is a convoluted mess where bringing the characters together is a futile exercise that will fail to provide interesting television.

What’s helpful for ABC’s 9pm comedies is that both of them have built their identity around the idea of family, to the point where bringing the gang together is like second nature to the two shows. Cougar Town has really started to charm me as of late, and “Here Comes My Girl” is yet another fine episode that brings together this group of individuals into a family of sorts that’s just an enormous amount of fun to watch bounce off of each other. And “Fizbo” is perhaps my favourite Modern Family episode yet, taking advantage of the chaos at the heart of this family and bringing things to a satisfying (and also sort of sweet) conclusion.

It made for a really comforting hour of television comedy, which is what the timeslot has been providing (on average) all season.

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Modern Family – “Great Expectations”

“Great Expectations”

November 18th, 2009

In terms of the great comedy battle of 2009, which continues to rage amongst shows both new and old, Modern Family is at a distinct disadvantage: with Parks and Recreation delivering some legitimately great comedy and Community doing a really compelling and confident meta-storyline, the simplicity of this show is a disadvantage in terms of being flashy. There comes a point where the hype surrounding the show creates greater expectations than the storylines themselves can live up to in terms of their premise, requiring viewers to appreciate the strong execution where originality isn’t overtly present.

“Great Expectations” is a solid episode of the show, featuring a number of fun loving gags and a couple of big guest stars, but nothing stands out as particularly stunning as compared to some of the other comedies. In this instance, I think there was enough nuance to each individual story to continue to prove how strong the writers understand these characters, but it nonetheless follows similar patterns to what we’ve seen in the past. I think it’s one of their stronger episodes due to a nice role reversal, but it’s not reaching as high as some of the other comedies are right now.

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Season Finale: Bored to Death – “Take a Dive”

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“Take a Dive”

November 8th, 2009

I was going to write about how it’s been a while since I’ve checked in with Bored to Death here at Cultural Learning before I realized that, in fact, I’ve never checked in on it at all. I watched the pilot and was intrigued if not overly engaged, and since that point I’ve sort of been watching the show off and on while following critics’ reactions to the series. So, instead of reaffirming previous statements about the show or potentially offering a different point of view, I need to start from the beginning.

I like this show, but I’m having trouble falling in love with it. There’s something about Ames’ style and the way the show is being organized that keeps us as an audience at a distance, which the pilot was indicative of: there were logical leaps and bounds that were simply never explained about why Jonathan would ever become a private detective. And while I’m aware that part of the show’s charm is how uncomfortable Jonathan can be in that environment, and that the randomness of some of the cases often gives the show a unique sort of tone, I wanted to be able to watch “Take a Dive” and completely buy into the character development it seemed to imply. This show is full of great actors and some very solid material, but there a few points in this finale where I questioned less this individual episode (which I really enjoyed) and more how, precisely, these kinds of developments haven’t taken place up to this point.

The show has sort of been meandering around the same themes for a while, and the finale was largely a vessel through which Jonathan, George and Ray all find some sense of purpose in their largely aimless existences. Because of the talent involved, this episode goes well, but I do wish that the investigation of that aimlessness had been a bit more even.

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Screw Dramedy: How We Distinguish Between Comic and Dramatic Television

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Screw Dramedy:

How We Distinguish Between Comic and Dramatic Television

November 6th, 2009

Mirror, mirror, on the wall – which television “comedy” is the least comic of them all?

There’s been some great back and forth on Twitter as of late surrounding the rankings of the best comedies currently on television, which is something that always brings out some controversial opinions. While I offered a very tentative ranking done without any sort of indepth scientific analysis on Twitter, I’m resistant to posting a more detailed list (like Jace at Televisionary, for example): I feel like there’s so many different categories of comedies on the air (long-running favourites which are very familiar, series which have improved so greatly that the relativity is almost blinding, and shows that are new and just finding themselves) that to rank them feels false.

However, I do think there’s something to be said for the fact that how we as critics (and viewers in general) individually define comedy is somewhat different from how the networks might define comedy. Genre definition in television is always a little bit slippery, especially when the oft-labeled “dramedy” exists, as has been demonstrated yearly at the Emmys when shows that walk the fine line are slotted into either category seemingly at random. Gilmore Girls is perhaps the most famous example, where Lauren Graham was submitting dramatic performances in a comedy category that perhaps fit the show in general but seemed to be out of place with the show’s highlights. The issue was never resolved (it was never nominated for Emmys outside of craft categories, despite the amazing work of Kelly Bishop/Graham), and right now there is perhaps more than ever before the sense that comedy and drama just aren’t clear divisions.

I was discussing the return of Showtime’s Nurse Jackie (returning alongside United States of Tara on March 22nd) with Maureen Ryan, and in particular I noted that I actively refuse to call Nurse Jackie a comedy. Mo, however, correctly noted that disqualifying Nurse Jackie calls into question a whole lot of cable “comedies,” and that this is a can of worms she (quite logically) doesn’t want to open.

I, apparently, like worms, so let’s dig into just why I refuse to accept certain shows as “comedy” in good conscience (and how my refusal is indicative of the role personal opinion plays in such classifications).

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Community – “Home Economics”

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“Home Economics”

November 5th, 2009

One of the greatest qualities a comedy have is being both indulgent and nuanced at the same time, a task that Community has taken on with varied degrees of success in its first season. There are times when something like Abed’s love of pop culture references feels forced, but then there is something as hilarious as BatAbed (which is nuanced in the sense that it is both unquestionably funny and is worked into the plot of the episode) and it’s largely forgiven. That’s an important quality for a successful comedy, and what’s interesting with Community is how it seems like nearly every character is on that tightrope between becoming insular and one-minded before eventually breaking free and showing a more complex side.

“Home Economics” has nearly every character approaching the precipice of one-dimensionality, but the twists and turns within each story either perfectly service the nuances of their characters or, just as effectively, stick to what they’re best with. While Jeff went through a transformation in the episode that smartly humbled the character, Annie had a chance to experience a similar transformation and was unable to walk over the edge (of self-actualization – the edge of crazy was easily overcome). In both instances, elements of the storylines seemed like indulgences (of Joel McHale playing a complete slob, of Alison Brie playing a crazy person), and the supporting characters largely operated in their most base modes, but yet it managed to shed light on their characters even with that sense that this was more fun than it was functional.

While I’m not quite sure if Pierce has been getting the same treatment, even his subplot seemed to hit just as hard when it needed to, demonstrating that the show is definitely back in the pocket, so to speak.

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The Office – “Double Date”

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“Double Date”

November 5th, 2009

I was never what one would call a fan of the “Michael dates Pam’s Mom” storyline, and a lot of that has to do with what we got in “Double Date.” It’s not that I argued there was not comedy to be found in the scenario, as there certainly is some value to the storyline on a comic front. However, more than anything, the storyline is just plain awkward for Pam, and since we are predispositioned to see her viewpoint as the sane one we can’t help but find it a little awkward ourselves. And even if we choose to ignore Pam’s perspective, Michael’s view on the issue was sort of equally awkward in that he hangs onto her less because of love and more because of how ludicrously lonely he is. It all added up to a sense that this was going to go very wrong very quickly, and that’s not something that seemed necessary to me.

As such, I found “Double Date” to be a bit tough to watch in the way that the show sometimes likes to be, although it was probably as well handled as it could have gotten. While there were plenty of awkward moments in the context of the episode, they were all coming from a fairly logical place emotionally, and as such it was hard to watch less because of how inappropriate it was and more because we knew that anyone other than Michael with the same emotional feelings could have handled it far more gracefully. And by combining the emotional rollercoaster on that end with something charmingly quaint and silly in the Office, which could have been awkward but ended up working quite well, it ended up being a solid half hour of television, if not one that I would have personally placed into the show’s trajectory by choice.

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30 Rock – “Audition Day”

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“Audition Day”

November 5th, 2009

I think that 30 Rock would be far funnier if it wasn’t so annoying.

This likely seems like a derogatory statement, but it’s really not: I thought “Audition Day” was the most enjoyable episode of the season yet, but yet I wouldn’t necessarily say it was that great, which reflects on both the quality of the season so far and the reality of this type of episode. It’s effectively a grab bag of comedy, as by the end of the episode you have plenty of jokes that you remember fondly, and callbacks to previous episodes that make you reminisce, and even some new jokes that really connect. However, while you’re happy with what you’ve received in those arenas, there’s also a bunch of other crap that didn’t connect comically, and that served only to promote business networking tools.

When there’s no real central premise to hold an episode like this one together, you’re left feeling like something was missing even as you gush over the genius of Brian Williams, which is pretty much where I stand with 30 Rock right now. I laughed, I commented on its cleverness, and yet still in the end I can’t help but be annoyed with elements of the episode that didn’t quite work. It’s particularly frustrating in that I actually think “Audition Day” was a pretty solid and funny episode, but there’s just something about the show that’s taking a shotgun approach to comedy that I’m just not responding well to.

At least we’ll always have Moonvest.

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Cougar Town – “Don’t Come Around Here No More”

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“Don’t Come Around Here No More”

November 4th, 2009

It’s been a while (since, you know, the show’s pilot) since I’ve visited Cougar Town from a critical perspective, as the show has largely stood to serve as background for my Modern Family review writing. There are worse fates for a series, of course, such as not watching them at all, but with Cougar Town I feel as if there’s a definite need to say something about a show that’s been unfairly maligned in some respects and quite fairly attacked in others.

There were moments in the first six episodes of the show that it became the show that some critics and viewers make it out to be, an overacted farce of an insufferable woman dating a younger man. But what I liked about the show was that it was never just that show, never just a show about that particular phenomenon. Instead, the show was about a woman dealing with a lousy ex-husband who remains in her life, an overly critical best friend, a dependent co-worker, a sarcastic son, an antagonistic neighbour, etc. And what makes me stick with the show is that for all of Courteney Cox’s overacting (which is truly bad at points) is that, by and large, I like those character. I like Bill Lawrence’s writing style, I like the dynamic between the different characters (Bobby remaining friends with Ellie’s husband, for example), and I think there’s an engaging show here.

And to be honest, I thought “Don’t Come Around Here No More” brought it out. With Jules’ boyfriend out of the picture, the show becomes a show about a “cul-de-sac crew” rather than about simply Jules’ character, and even elements of the episode which in theory should have amplified Jules’ worst qualities connected for me. It’s still not a perfect series, but this half-hour was a lot of fun and I’m not going to pretend my Modern Family review wasn’t later because of it.

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Modern Family – “En Garde”

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“En Garde”

November 4th, 2009

I have mentioned on numerous occasions that I love the interaction that Twitter creates between critics regarding various TV shows, and today was a fine example of that. A single comment from Alan Sepinwall that Parks and Recreation could be the best comedy currently on the air resulted in a wealth of comments, some of which defended Modern Family as, well, the best comedy currently on the air. This resulted in a conversation between myself, Matt Roush and James Poniewozik about ABC’s new hit comedy, in particular the sense of “warmth” that has defined the show in its early episodes.

My argument is that the show has been TOO defined by that warmth to the point where it’s become expected. Part of what made the pilot stand out was that it went from a traditional sitcom (with the various family settings) to a simultaneously absurd (Lion King, anyone?) and heartwarming (Jay coming to terms with his new grandchild) conclusion. However, a lot of the episodes since that point have done exactly the same thing, and while the absurd has remained pretty strong due to some great performances the warmth has begun to wear thin for me. It’s not that I don’t think the warmth is an important part of the show’s identity, but rather that when it presents the same way every single time.

“En Garde” is an enjoyable episode that has some nicely absurd moments and some nice subtle comedy, but the conclusion feels forced in a way that could just be the show’s shtick but also seems to me to be simplifying the show’s formula to a fault.

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