‘Mid-Century Modern’ Review: Nathan Lane and Matt Bomer Lead a Hulu Comedy That’s the Edgiest Sitcom of 1987

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The title of Hulu’s sitcom, Mid-Century Modern, which bears an architectural reference but is unrelated to actual architecture, gives off a sense of something timeless and contemporary. It’s steeped in nostalgia yet remains relevant, reflecting cultural trends while never completely falling out of fashion.

Although the title may not directly relate to the show’s content, it’s understandable why creators Max Mutchnick and David Kohan found it appealing. Titled Mid-Century Modern, this series harks back to the classic multi-camera style of sitcoms from the ’80s and ’90s, a format pioneered by James Burrows. Interestingly, James Burrows himself directs this show, adapting the old-school approach for the more contemporary and laidback streaming era.

In their groundbreaking work on Will & Grace, Mutchnick, Kohan, and Burrows faced numerous obstacles similar to those encountered by the Soap team in the ’80s within the broadcast television industry. Despite the retro charm of Mid-Century Modern, it’s refreshing to see how free the creators felt, as if they had no boundaries at all. They discarded subtle innuendos and wordplay, instead launching straight into the humor with lines like “You don’t look sad. You just look like a reluctant bottom.”

In creating Will & Grace, Mutchnick, Kohan, and Burrows encountered obstacles reminiscent of those faced by the Soap team in the ’80s within the realm of broadcast television. Despite the nostalgic appeal of Mid-Century Modern, it’s delightful to see how unrestrained the creators felt, as if they had no limitations at all. They opted to abandon veiled references and jokes, instead diving headfirst into humor with phrases such as “You don’t look sad. You just look like a reluctant bottom.

Will Truman would NEVER. I mean, Jack probably would.

In essence, Mid-Century Modern design lacks a certain finesse or refined charm, much like a script without the subtle elegance that characterized the hilarious farce on ‘Will & Grace’ at its best. Without the intricate details to creatively dance around, Mid-Century Modern often comes off as straightforward yet uninteresting, with occasional creative flair but more frequently relying on repetitive and expected jokes. Its exceptional cast is left to compensate for these stale gags with their boundless professionalism and high energy.

The character in question, Nathan Lane‘s Bunny Schneiderman, is finding it hard to express his sorrow at the funeral of his longtime friend George. Once an inseparable group consisting of Bunny, George, Arthur (Nathan Lee Graham, a former fashion columnist for Vogue), and Jerry (Matt Bomer, a flight attendant and lapsed Mormon) have grown apart due to time, distance, and now the sad reality of George’s death.

Overwhelmed by loneliness and concerned about who would clear his internet history upon his demise, Bunny extends an invitation to Jerry and Arthur to move in with him in Palm Springs. By creating a household together, they can build a family and a support system while being under the supervision of Bunny’s mother Sybil (played by Linda Lavin). Known for her straightforward demeanor, sharp wit, and secretive nature about Bunny’s favorite snack – Fig Newtons, Sybil will oversee their living arrangement. For reasons personal to them and beneficial to the storyline, they accept his offer.

In December, Lavin passed away after completing three-quarters of the season. It was then left to Mutchnick and Kohan to pay tribute to the esteemed stage and screen icon, which they did beautifully in the fittingly solemn and emotional production titled “Here’s to You, Mrs. Schneiderman.

The series has already become a heartfelt homage to the charismatic Alice star, whose sharp comebacks and kind compliments have the audience roaring with approval. If the show aims to revive the affection for classic sitcoms, Lavin’s performance is one that could have easily garnered her several Emmy awards in the ’80s, competing against actresses from shows like The Golden Girls, a series that Mid-Century Modern is trying to replicate. Whether her emotional performance will lead to another nomination remains uncertain, but there’s both joy and sadness in witnessing Lavin deliver such a strong performance towards the end of her career.

Regarding the character portrayals on “Golden Girls,” Bomer’s character Jerry appears to be modeled after Betty White’s Rose, but with LDS anecdotes replacing tales from St. Olaf. This highlights the challenge in creating a character as innocent-yet-wise as Rose Nylund was, as Jerry often seems like a compilation of dim-witted quirks rather than a fully fleshed-out person. Interestingly, despite Bomer not being a typical sitcom actor, he shines when he moves beyond the tired jokes about being a good-natured but unintelligent character that don’t even seem to amuse the audience. Before the season is overshadowed by grief following Lavin’s death, Bomer delivers some of the most impactful dramatic moments, particularly in scenes with a young Mormon who is struggling with his identity and an episode where Billie Lourd plays Jerry’s estranged daughter.

Graham and Lane are quick to feel at ease with the show’s style, delivering their jokes effectively, as if they take great satisfaction in sharing humor about pillow queens, starfishing, and a bar called Fisty’s. They share a similar sense of humor, one masking his self-doubts behind an air of overconfidence, while the other incorporates Jewish stereotypes to camouflage his own insecurities. The camaraderie among the three is authentic, and although their habit of breaking into synchronized songs and dances for climactic episodes feels a bit repetitive, the cold open tribute to Chicago was the funniest moment of the entire 10-episode season.

As a gamer, I’m totally stoked about the main crew, plus the geniuses behind the scenes like Ryan Murphy, Don Roos, and Suzanne Martin. They’ve got such star power that they attract an amazing guest cast. Pamela Adlon, playing Bunny’s sister, steals the show, and I can see why the producers might consider her as a potential Lavin replacement if there’s a second season. Richard Kind, Judd Hirsch, and Rhea Perlman are just a few of the familiar faces that make an appearance. Stephanie Koenig from English Teacher, though, didn’t quite hit the mark with her portrayal of a Republican congresswoman in one episode. It seemed like she was trying to be issue-oriented, but that style just doesn’t seem to fit this show.

Rather than being comfortable with complex, plot-driven narratives, Mid-Century Modern favors straightforward, context-influenced stories. One episode is primarily set in a bar (often referred to as the “common bar setting”) on Fire Island, another takes place during a long flight (usually depicted in a “typical airplane setting”), and several others unfold within Bunny’s Palm Springs home, which seems to attract an endless stream of handsome young men. The gang often pursues these men in ways that are intended to be endearingly predatory. I found myself jotting down the antics of the stars more frequently than the actual humor of the show, as some episodes struggle with overuse of callbacks and repetition, failing to effectively escalate the humor to a satisfying climax.

The program exhibits genuine emotion, interspersing laughter with poignant moments that can be succinctly described as: “We’ve been through a lot to arrive here, where we can laugh about some of these things honestly.” And it’s not an exaggeration! Mid-Century Modern might well be the finest series of 1987, one that simply couldn’t have existed in 1987. It fills a cultural gap in a manner that symbolizes both progress and regression, though arguably more the latter.

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2025-03-27 19:25