THE COMEDIANS Funny, Not Fresh

Article originally published as THE COMEDIANS Review on Seat42F.

FX’s new series THE COMEDIANS stars comedy veterans Billy Crystal (When Harry Met Sally) and Josh Gad (Book of Mormon) as themselves. Or, rather, they play versions of themselves that are hired to do a sketch show for FX called The Billy and Josh Show. There is not actually a Billy and Josh Show; THE COMEDIANS is a fake documentary about two people who have the same backstory as the actors who play them, but with (presumably) more antagonistic personalities.

My first thought upon watching THE COMEDIANS is that it is not in the slightest bit original. The mockumentary style has certainly been done many times before, from The Office to Modern Family to Christopher Guest films. The person-playing-themselves hook has also been used a lot lately, some examples being James Van Der Beek in Don’t Trust the B- in Apartment 23 and (the gold standard) Larry David in Curb Your Enthusiasm. The format here is most like Showtime’s Episodes, which stars Matt Leblanc as Matt Leblanc, in that Josh and Billy are like the writers of Pucks who are forced to work with the former Friends star against their will. They clash and bicker, and yet they are stuck together by circumstance, to keep careers alive, and because of financial need.

The Comedians is funny, though. In the pilot, we see a couple of their sketches, or aftermaths of the sketches, and they work. The story provides ample opportunity for humor both big and small, with some physicality used sparingly, yet well. I don’t know how much of the sketch show-within-a-show we’ll end up seeing, and honestly, I hope it’s not a lot, but what we do see if terrific.

Josh and Billy themselves are great. Both can make the room uncomfortable very well. Crystal is the more established, and so his actions are more predictable. Josh plays expertly off of him, presenting someone that both represents a generation and who can also be quite his own person. Both have undeniable talent with differing sensibilities, and the others in the cast realize that, but Billy’s long resume gives him the upper hand in most situations, at least for now.

More so than Episodes, though, which has a strong ensemble, The Comedians is going to need to rely on its guest stars. Billy and Josh are great, but they can’t just interact with one another all the time. Their go-between, Kristen (Stephnie Weir, MADtv), is not a likeable, relatable character, and while playing to Weir’s strengths, is just not that essential a part. The other two main cast members, Mitch (Matt Oberg, Hart of Dixie) and Esme (Megan Ferguson, also Hart of Dixie), don’t make much of an impression, though whether that’s because of the actors or because they haven’t been given meaty material yet remains to be seen.

Because of who Billy and Josh are, it will take some very strong players to rise to their level. Luckily, THE COMEDIANS, while failing to stock their home team, has a strong roster of visitors in both recurring and guest capacities. I won’t spoil who all of those are, but two of note are Dana Delany (Desperate Housewives, Body of Proof), who plays Billy’s wife, and Steven Weber (Wings, Helix, Studio 60), as a director hired for The Billy and Josh Show. The former, we only hear, not see, in the pilot, and latter doesn’t show up until the end of the first half hour. Weber’s presence, though, and the part he’s playing are the main reason I’m excited to watch episode two as soon as possible.

I’m cautiously optimistic about THE COMEDIANS. I wish it had taken more chances and gone in a bolder, fresher direction. But what is present is entertaining, and it definitely feels like a show that can grow into something really cool given time. Or not. We’ll see.

THE COMEDIANS premieres Thursday at 10 p.m. ET on FX.

Moving Out of 1600 Penn

Article first published as Moving Out of 1600 Penn on TheTVKing.

NBC's 1600 Penn is considered a long shot for renewal, and after viewing this week's season finale, I can see why. "Marry Me, Baby" finds President Dale Gilchrist (Bill Pullman) making a disparaging comment about marriage. The cable news frenzy and his political opponents latch one, and one of them discovers that Dale and Emily (Jenna Elfman) may not be legally married. Since the blunder is Skip's (Josh Gad) fault, of course, he helps Winslow (Rene Auberjonois) throw them a White House wedding.

How could a president possible get elected without someone discovering this before now? It's well established that some disapprove of his marriage to the much younger Emily. Surely, someone who doesn't like Dale would have dug up this nugget during the primaries or general election, which stretch for years, and twenty-four hour news cycles will report anything to fill the airwaves. Why does it only come out now?

Worse, all will be forgiven if they just have a ceremony now. Would Dale's detractors really just accept this? For reasonable people, a paperwork mix-up is understandable, and they would look past this. But in the modern age, those in the political arena and the pundits that report on them are often anything but reasonable. This "simple fix" in "Marry Me, Baby" feels completely inauthentic and hollow.

As if that isn't bad enough, Becca (Martha MacIsaac) goes into labor in the middle of the nuptials when Skip sings her birthing song. Dale and Emily still take a second to say "I do" before rushing her to the hospital, because every bad sitcom cliche must be touched upon before the half hour can be over. But one disaster piles on top of another to build to zany and unfunny antics.

That's the problem with 1600 Penn. Despite a charming cast, it plays way too much to convention. It has the chance to be something special, given its unique setting for a half hour comedy, and yet blows it to fit into the standard sitcom mold. It's a lot like the short-lived, hilarious That's My Bush, except that That's My Bush played to such stereotypes for effect, while 1600 Penn seems to think that's what it should be doing, rather than poking fun at itself. It needs the tongue in cheekness to work.

There are a couple of moments where it feels like this might happen. It's fantastic that Dale asks if he always hoses up traffic this much after trying to make it through the snarl caused by Becca's car. This is the sort of observational stuff that really works, and the spark of something that has kept me watching, even when I often don't want to. Unfortunately, such brilliant bits are few and far between.

The horribleness continues when Skip's long-time crush, Stacey (Susan Park), confesses to liking him in "Marry Me, Baby." Where does this come from? Stacey has been a poorly developed character since day one, willingly putting herself in situations that she doesn't want to be, with no depth given to explain the contradiction. This last minute connection between her and Skip feels tacked on and ridiculous.

That being said, there are a couple of good moments in the episode. I love when Emily and Becca connect, and admit their feelings for one another. They have been dancing around this issue for longer than the series has been on, and in such an emotionally-charged situation, it's nice to see them come together, rather than keep battling one another. They probably won't be best friends, but there is understanding and affection present.

I also like the surprise that Becca's baby is born black, meaning that Marshall (Andre Holland) is the father. I admit, I did not see this coming, since Becca never even considers the possibility that the infant could be Marshall's, which makes this twist even less believable. Shouldn't she have wrestled with the possibility at some point?

However, I like it because of the implication that D.B. (Robbie Amell) has no place in the cast going forward, his only connection to the family being that he's Becca's baby daddy, and dropping D.B. is a completely unexpected move. I applaud a twist that one doesn't see coming. Of course, in the unlikely event 1600 Penn does get renewed, they will probably stretch and find a way to accommodate him, no matter how dumb the plot gets to accomplish this, and so ruin any cred they've built now.

I watched this entire season because I adore most of the cast, and they seem to be doing their best at selling the crappy material they are given, which does make the series marginally entertaining. But 1600 Penn is not a show I would recommend watching to anyone else, and also not one I will miss. I hope the talent involved, and there definitely is some serious talent here, soon bounce back in projects that make better use of them.

News of a cancellation of renewal for 1600 Penn is expected soon.

1600 Penn the wrong address for this comedy

Grade: 71%

NBC’s latest sitcom is 1600 PENN. It’s a family sitcom, following a father, Dale Gilchrest (Bill Pullman, Torchwood: Miracle Day, Independence Day), his four children, and his new trophy wife, Emily (Jenna Elfman, Damages, Dharma & Greg). Their relationships are about what you’d expect in a clan of this type. The kids, especially the eldest son, Skip (Josh Gad, Book of Mormon), want their father’s approval, and Emily would like to win her stepchildren’s trust.

The twist is, Dale is the President of the United States, and the family lives in the White House.

Some might expect that this may change the circumstances a bit. And it does, but only to a small extent. Instead of relatives or friends visiting the family, it’s foreign dignitaries. Instead of wondering what their neighbors will think about personal developments, the entire population of the U.S. is watching the Gilchrests. Instead of breaking grandmother’s dish in a predictable accident, it’s priceless China that people lost their lives transporting that is destroyed.

But basically, 1600 PENN is a family comedy like many others. The relationships are relatable and typical, and the characters are usually more concerned with how they feel about each other, than how the world at large views them. Sure, oldest daughter Becca (Martha MacIsaac, Superbad, Greek) isn’t happy when the press speculate on her unplanned pregnancy. But she is more concerned with her father and younger siblings’ reactions.

One would think that this is a recipe for success, taking a household that typically sits out of reach of the average person, and opening it up in a way that we can find accessible. But that’s not quite how it plays out.

The problem is, the humor of 1600 PENN is far goofier than it should be. Whereas, a series like Modern Family may look at how people actually act, 1600 PENN makes every disaster and stunt over-sized, until it becomes completely unrealistic. In the “Pilot,” Skip sets a frat house on fire, and gets away with it with no discernible consequences. Then he solves global issues by drinking and joking. Emily and Becca bicker in front of the press. In episode three, Dale uses a meeting with the joint chiefs of staff to discuss parenting. It’s just too much to accept.

I’m not saying the characters aren’t interesting. Emily is earnest, for sure, and everyone cares about each other. Younger daughter, Marigold (Amara Miller, The Descendants), is a budding lesbian, and youngest son, Xander (Benjamin Stockham, Sons of Tucson), is worried about meteors hitting the earth, so they have stories to tell, too. There is a love triangle set up between Becca, her baby daddy, D.B. (Robbie Amell, Revenge), and Dale’s assistant / press secretary, Marshall (Andre Holland, Friends with Benefits). Even Skip, screw up as he is, has his positives, and loves his family.

But the situations just go too far. Should it be scaled back, there could be something here. Instead, this one seems destined for a quick cancellation, without even being given time to build up an audience, or address the problems. It’s too bad, as with a cast like this, and an intriguing premise, it could have been good.

One final complaint, I am just not sure what Marshall’s job is. He is the only main character who isn’t part of the family, and is constantly seen giving briefings and helping out Dale. The other White House workers hover around, but none are shown to have any importance. Instead, Marshall seems to be the representation for the entire staff, which may save on budget and logistics, but makes the world in which the show is set seem even less fleshed out than it already does.

While 1600 PENN may be a curiosity that some may want to check out, you won’t miss much by skipping it, and likely won’t regret that decision.

1600 PENN premieres Thursday, January 10th at 9:30 p.m. ET on NBC.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first posted on Seat42F

New Girl no longer new but still funny

FOX's New Girl presented the first two episodes of its sophomore season last night. In the first, "Re-launch," Jess (Zooey Deschanel) loses her job. She spirals into depression, and even though she tries to bounce back by being a Shot Girl for Schmidt's (Max Greenfield) penis cast removal party, it just isn't enough. Which is why, in the second installment, "Katie," she is on the prowl for sex, which she finds easily enough.

New Girl could be tackling the political issue of school budget cuts, something plaguing the country right now, as there are tons of teachers like Jess right now who can't find teaching jobs (this reviewer included). Yet, as a comedy, the circumstances surrounding Jess losing her job are mentioned, and moved past quickly. The writers aren't out to make any political statements, and Schmidt's angry mutter of "Obama" is too much of a bit to be taken seriously. New Girl sticks to what it does well: laughs. It doesn't force anything more, a wise decision, as tackling this large issue would not work well with the show's tone.

This is also why the series can be forgiven for falling in to the TV trope of seeing unemployment as an opportunity to re-invent oneself. Most of us in the lead characters' economic class, battling student loans and high gas prices, would have to be out looking for a job the day after being fired. Jess is allowed to luxuriate in her grief, and yet, because of the execution of the actress and the story, it works.

Poor Jess. She is pretty, to be sure, but she is not a sexual creature. She'd like to be, but she doesn't really know how. Part of the charm of New Girl is that it will take a very special man to find the things that she does a turn on in the bedroom. It's why the premise of a girl living with three men who don't want to jump her bones comes across as realistic instead of phony. They can care about her without wanting to get into her pants all of the time. Jess is an acquired taste, quirky in the extreme. Which makes for a very funny, novel series, especially because there aren't a lot of lead female characters on TV who embrace a lack of wooing power.

Yet, in "Katie," boys are falling in line to get her number. The beautiful looks always trumps until Jess opens her mouth to make it awkward. One suitor, Bearclaw (Josh Gad, Book of Mormon) is weird in his own right, though not in a way that fits Jess. Instead, she ends up with Sam (David Walton, Bent, Perfect Couples), a man who thinks that she is Katie, a girl he has been chatting with online. Even after Jess confesses the truth, he still wants to be with her! That's a good man, right there, able to see Jess's inner character, even after she screws up. Or the sex is (somehow) just that mind blowing.

Of course, Sam won't be around forever. We see Nick's (Jake Johnson) tender side emerge once more as he seeks to cheer Jess up. They may not be ready to be together yet, but it's they'll get there eventually. They both might go through a few other partners on the way, but make no mistake about it; Jess and Nick will hook up.

Schmidt is also feeling a little down. He tries very hard to talk a big game in "Re-launch," throwing his danger-themed party. But, despite the large pool of eligible ladies, he doesn't find a girl to sleep with. In fact, he barely notices there are any gals at the party save one: Cece (Hannah Simone). Schmidt is done with his player days (if they ever really existed), and while he still tries to pretend machismo, his heart is spoken for. This is a character we can all really relate to, and his pain breaks our hearts.

That's not to say that he deserves Cece back, though. Yes, he will make up for dumping her someday. But for now, although Cece is starting to forgive him, he hurt her too deeply for a quick reconnection. So she'll date Robby (Nelson Franklin, Traffic Light) for awhile instead. We haven't seen why Cece would want to be with Robby, who, at first glance, appears ill-suited to her. But I'm sure New Girl will get to that. Or just make the character a one-time guest star.

In these two episodes, besides the excellent shipper stuff, New Girl also includes a lot of humorous side plots. Some really work, like Winston (Lamorne Morris) getting weird with fruity drinks and, strangely enough, but only because of the ending, Nick talking to a homeless man (Justified's Raymond J. Barry) he believes to be a future version of himself. Others, like Parker Posey (Louie, A Mighty Wind) as a sad, washed-up Shot Girl, don't. But overall, the show returns strong, mixing the humor and heart that it captures so expertly.

New Girl airs Tuesdays at 9 p.m. ET.

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! First posted at TheTVKing

Bored to Death will leave you far from it

     HBO's Bored to Death began it's sophomore season two weeks ago.  Starring Jason Schwartzman as Jonathan Ames, a struggling writer, who moonlights as an (unlicensed) private detective, it's a truly unique show.  Ames is joined by his two best friends, George (Ted Danson), who is also his boss, and Ray (Zach Galifianakis), a cartoonist.  All are into pot, and each has their own brand of alcohol.  The show comes across as part noir, part screwball.  This season, Ray's girlfriend, Leah (Heather Burns) was added as a main character.

     Last week tied up some loose threads left after from last year's season finale.  Jonathan is hired by George's nemesis, Richard Antrem (Oliver Platt, The Big C) to find out if his wife, Priscilla (Laila Robins), is cheating on him.  While hiding in a closet, Jonathan is disturbed to see George come back and have sex with Priscilla, something that has been going on for awhile.  What's even more disturbing is that George forgets to keep track of the nights that Jonathan will be waiting in the closet, and it happens a second time.  Jonathan tries to cover up the tryst from Richard, but eventually Richard returns home to find both Jonathan and George in his closet.  In a true testament to just how weird the series is, and how accepting the characters are of each others' various flaws and vices, Richard, George, and Jonathan all go out for a drink afterwards.  It's also worth noting that Richard is George's foil, and the two are far more alike than different.

     The show is mostly about Jonathan.  George and Ray have subplots, such as Leah dumping Ray in the season premiere, and his struggle to win her back, but they are always minor to whatever is happeneing with Jonathan.  In fact, the main character often has two plots going on in each episode.  This week, his new girlfriend, Stella (Jenny Slate, Saturday Night Live) wants him to have a sleepover with her and her ex (Josh Gad, Back to You).

     A side note, the naked man in Leah's bed last week was played by series creator Jonathan Ames.  It is interesting to note that in a deleted part of the scene, Ray actually grabs Ames's penis as he runs past.  Ames says on his blog that it will be on the DVD.  Why would the creator put himself through something like that?  It's a brief glimpse into the mind making the show that fits totally with what we've seen.

     It's a weird show, a perfect vehicle for Schwartzman.  Ames feels like most of the other parts that the actor has ridden to fame, and so fits perfectly.  Somehow, even in weekly doses, it's still a thrill to watch Schwartzman work.  Danson, who has had one of the most successful, consistently wonderful careers of any television actor, shines once more.  I wonder if there isn't more than a little bit of the real Danson in George, who has had bright periods in his life, intermixed with faliure, but weathers it all with good humor and genuine niceness, though he's far from a pushover.  Galifianakis, who soared to notority after The Hangover also plays a part we've seen from him before.  The repeat performance of any of the leading men never comes off as stale, but more finely honed and aged.

     I recommend you tune into Bored to Death, which will have a new episode tonight 10pm on HBO.

For frequent mini-reviews and occasional tv news, follow Jerome on Twitter.