‘Four Seasons’ – Fey and Friends Can’t Find the Funny

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Instead of reviving classic intellectual properties, Hollywood has sought inspiration from the most delicate figure of the ’80s.

Alan Alda.

Originally created by “M*A*S*H*” actor in 1981, the dramedy titled “The Four Seasons” isn’t frequently mentioned nowadays. However, Netflix has chosen to pass on its three-couple structure to Tina Fey. With a swift move, they are planning to connect this universe with Alan Alda’s “Sweet Liberty!” as well.

Alas, hilarity rarely ensues.

It’s understandable given that the original “Four Seasons” provided lighthearted laughter amidst midlife struggles. However, the main issue with Fey’s remake is that it spends too much time developing the central characters before we can genuinely empathize with them.

Fey, who collaborated on certain episodes, plays the role of Kate. She’s a logical, ambitious woman, appearing contentedly married to Jack (Will Forte). Jack, in comparison, seems as gentle as John Wayne. His excessive kindness and inability to resist life’s petty inconveniences irks Kate.

You can’t blame her.

Steve Carell and Kerri Kenney-Silver play the roles of Nick and Anne, a couple whose marriage is in deep trouble, as big as Alcatraz island. Nick feels his wife, Anne, to be unbearably boring, while Anne remains oblivious to the fact that her partner has already mentally left their relationship.

In a somewhat subdued fashion compared to the vibrant Cam and Mitchell from “Modern Family,” Danny and Claude, portrayed by Colman Domingo and Marco Calvani, emerge as the heartwarming couple in the series, who represent a gay relationship dynamic.

In the initial two episodes of the eight-piece series, Danny’s heart issue takes center stage, yet it’s consistently portrayed as not posing a significant risk to his life.

At least at first.

Every now and then, the three sets of friends take a trip together, the strong bonds between them clear through mutual stories and jokes.

Experience the progression: Springtime, Sunshine’s Peak, Autumn’s Blush, Winter’s Chill. As Vivaldi’s “The Four Seasons” plays, its depth seems to outshine the narrative itself.

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The Four Seasons” seems to straddle the line between light-hearted sitcom humor and a serious exploration of midlife romance. To begin with, there’s no explicit sexual content that disrupts the couples. However, this changes when Nick leaves Anne for the younger Ginny, played by Erika Henningsen, who takes over the role originally portrayed by Bess Armstrong in the 1981 movie.

All of a sudden, Nick seems to be adopting fashion choices more fitting for someone younger than himself. It’s quite awkward, reminiscent of Armstrong’s affectionate scenes with Len Cariou in the original production. Regrettably, Fey and her team appear to be relying too heavily on superficial humor rather than digging deeper for a funnier take.

Initially, several episodes fail to distinguish this show from typical, unwarranted remakes. Despite Fey’s impressive portfolio, ranging from her “Saturday Night Live” era to “30 Rock,” she seems to waste valuable screen time in this project. The cast appears to be searching for a justification for reviving Alda’s original concept.

In the initial episode, the seasoned performer makes a brief appearance, enhancing the program exceptionally well with his cameo. It’s clear he hasn’t lost his acting touch.

As the series unfolds, Kate and Jack’s marriage starts heading down a troubling path. Meanwhile, Claude, who is overly protective, seems determined to drive Danny away, one small step at a time.

In “The Four Seasons,” there seems to be an excessive use of comedic situations instead of more profound writing that could develop the characters’ distress. A notable scene, for instance, ends in an explosion, mimicking the shock effect in a horror film like a sudden “jump scare.

In due course, one of the couple’s adult offspring orchestrates a play as an expression of her fury over their divorce. However, the performance lacks the appropriate tone and style.

This isn’t “Little Miss Sunshine.”

Once you’ve delved into “The Four Seasons,” it’s tough to detach from it. Domingo maintains a vibrant aura, and his persona is more intriguing than the initial impression suggests. At first glance, Carell’s pursuit of a younger woman appears shallow, but as “The Office” veteran progresses, he unveils depths that hook us in.

Just like with Kate and Jack’s relationship, it often requires time for issues to develop, even if they seem to have a picture-perfect bond at first glance. However, when the initial conflict arises, it becomes evident that beneath the surface, their feelings of tension and frustration are quite real. It’s not uncommon for seemingly ideal couples to harbor hidden complications.

The show isn’t dominated by a progressive agenda, but a small disagreement between Kate and Danny implies a power dynamic influenced by liberal self-consciousness. Fey’s reboot is acceptable, simply another addition to the vast array of streaming content that gets added to popular platforms regularly. It’s nothing extraordinary.

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2025-05-08 04:03