May 12th, 2010
I don’t think this was, in particular, one of the show’s funniest episodes. There were certainly some clever lines in “Hawaii,” as the show tried out some familiar but not yet tapped out character combinations within the central family, but the show wasn’t going for what you’d call broad humour here.
However, there was a nice sense of realism in the way these stories unfolded; everything reaches a heartwarming conclusion, but rather than undercutting some sort of broad comic satire it seems like a logical extension of a trip which got “real” in a hurry. Everyone was caught dealing with certain realities they hadn’t faced in their daily lives which people are technically supposed to leave behind on vacations, and that led to a focus on these characters as real people in a way the show sometimes elides in its search for comedy.
May 5th, 2010
There’s a point in this episode where I became very afraid. I really like episodes where the characters are all part of the same situation, but there’s a point where it seemed like the show was intending to play out every airport/flying cliche imaginable. Mitchell left his wallet at home, Claire was afraid of flying, and Manny was pulled aside for being on a “No Fly” list – combine with a lot of unpleasantness surrounding those events and Jay’s outward disappointment about the entire family joining them on their Hawaii vacation, and it just wasn’t coming together all that well.
However, “Airport 2010” ended up coming together rather remarkably well: there were some nice use of some non-linear narratives to keep things interesting, the cuts between different stories provided a real sense of dynamism, and when the show eventually gets to its heartwarming conclusion it feels more earned that most similar stories. This is largely because at a certain point the show lets characters talk to one another about their feelings rather than just getting into wacky comic situations that reveal them, very clearly laying out a reason for them to come together to fly to Maui at episode’s end and very clearly identifying what makes this show better than its sitcom situations.
March 4th, 2010
I understand sitcom formulas: I know why they exist, I know why they can sometimes be very funny, and I understand why there are quite a few viewers who are in love with them. And while I’m on the record as amongst those who are not quite on the Modern Family bandwagon, I respect a lot of what the show is doing, and do not begrudge it for being formulaic to varying degrees each week.
If I’m being honest, “Fears” was one of the best episodes the show has done in its most limiting formula, the separation of the three families into distinct stories. The theme was consistent, the comedy was varied, and the show perhaps came the closest yet to earning its saccharine conclusion. None of the stories fell too far into comic farce to feel like they were shoehorned into the corny conclusion, and while every story was on the edge of tipping into that land of love and caring that makes me want to throw up, they mostly stayed within something funny and sweet without going too far.
And yes, that’s the most convoluted way of saying “this was a pretty good episode of Modern Family” you’re likely to find.
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.
“Run For Your Wife”
October 28th, 2009
Last week, I noted that there were elements of the episode that felt like post-pilot syndrome, re-establishing existing traits in a way that indicated the episode was intended to air earlier in the season. And, this week, the same experience repeats itself: “Run for the Wife” plays like the show’s second episode, ending with an emotional beat which confirms while subtly expanding the pilot’s message, its character beats feeling like the pilot on repeat more than anything new or particularly inventive.
What separates the two episodes is that last week’s was an epic family event that brought everyone together, while this week very clearly delineated the three storylines based on the couples (with only a phone call to connect them). And while the show gets some really enjoyable broad humour from those get-togethers, when playing out of order these isolated stories play somewhat better, where you don’t need to worry about adding up what we know about the ways the characters interact and can just enjoy them acting as we expect them to.
It makes for less conflict and perhaps a less unique setup, but part of me was able to enjoy the episode somewhat more as a result.
October 14th, 2009
This is going to see like a really weird connection, but one of the things that I found really interesting about The CW’s Privileged was how quickly it dealt with its built-in back story. The show was dealing with an estranged mother and a distant father in its central protagonist, and it got both out of the way quickly…in fact, perhaps too quickly. The show never quite felt as purposeful when it moved past those interesting dynamics, and while they were important parts of its early identity it seemed like they could have been burned off more slowly to heighten their impact.
However, Modern Family makes an enormously compelling argument for getting back story out of the way, or at the very least the value of back story in the early stages of a sitcom’s development in particular. While the show is essentially checking off a list of recurring character we’ve yet to see (Benjamin Bratt was just cast as Gloria’s ex, for example), the seamless integration of Long into the cast only brings out more of our characters, and the way the episode depicts a past “Incident” is a hilarious piece of back story that does nothing to diminish what could be introduced with time. On a drama, a character like Long evokes the same kind of emotions each time she returns, and the show can only go there so many times. On a sitcom, however, as long as things remain funny and as long as a diverse set of characters are involved, you can keep on bringing her back with minimal loss of comic value.
And considering where this episode starts off at on that front, DeDe could be a funny recurring player on the show for seasons to come.