Rape Jokes: The Michael Scott Story

The American version of The Office is a much lighter, goofier show than its BBC counterpart. Ricky Gervais’ and Stephen Merchant’s original show is cynical and essentially misanthropic, such a pure distillation of cringe comedy that it’s uncomfortable to watch. Although the NBC version started as an almost beat-for-beat remake, it quickly became a radically different show: warm and pleasant, with characters who seem like nice people. The BBC show is painful, exquisitely so; the American remake is a go-to comfort show for many.

So it’s kind of weird that it’s in the American version that the main character gets raped.

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The Rise and Fall of Brooklyn Nine Nine

To love a TV show is to set yourself up for disappointment.

There are exceptions, obviously – Breaking Bad had a pretty much perfect run – but the serialised nature of television means it has infinitely more chances to let you down. Maybe it’ll be cancelled before it’s time. Or worse, maybe it will destroy itself from the inside out. The Simpsons is the greatest TV show ever made, but that fact is obscured now that there are more bad seasons than good. “Classic Simpsons” and “new Simpsons” are fully compartmentalised in my head. It hurts too much otherwise.

But The Simpsons was allowed be good – be great – for nine years. The greatest tragedy, one that seems to be constantly getting worse and puts me off watching new shows, is for a once great show to destroy itself within a year or two, the length of time it used to take a show to figure itself out. There’s more TV than ever now, and the whole cycle moves at double-speed: a show has to find its feet faster to survive, but it also burns out quicker. Crazy Ex-Girlfriend had one my favourite seasons of television ever and then immediately fell apart in season two, True Detective revealed itself to be a bloated pretentious corpse in season two after an acclaimed first season, and Westworld didn’t even make it to the end of its first season before people stopped caring. There are fifteen shows currently on air with eight or more seasons, six of which are procedurals and another four of which are Fox’s animated comedy slate. A show can be long-running and soulless, but it’s telling how few long-running shows there are – how hard it is to sustain a show for that long now.

You’d think the rise of shorter seasons would allow shows to continue on for years longer without burning through as much material – and yet, again and again, once-great shows collapse in what is, to the binge-watcher, a few short hours. The Simpsons had nine great years, but more and more, a show has to be exceptionally sturdy to be good for three or four.  It becomes harder and harder to remember the shape of the show you once loved, because every time you think you catch a glimpse of it, another wave of crap comes along to drown it once and for all.

I really hate Brooklyn Nine-Nine.

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the set of I Love Lucy

Whatever Happened to Life in Four Cameras?

For over fifty years, since it was pioneered by I Love Lucy, the multi-camera format – three walls, four cameras, taped before a live studio audience – was the beating heart of television comedy. Today, if anyone took a poll of critics, the likelihood of any multi-camera sitcom that debuted after the millennium ranking among the greatest comedies of the century so far would be close to zero.

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