As a longtime fan of thought-provoking and emotionally resonant television, I find myself utterly captivated by the current wave of shows that seamlessly blend humor with poignant storytelling. Among these gems, “Shrinking,” “A Man on the Inside,” and “Somebody Somewhere” stand out as exceptional examples of this art form.
For many years, Ted McGinley’s professional journey has been characterized by terms not within his influence. The actor from “Happy Days” and “Married… with Children” has faced controversy over being connected to shows that allegedly ‘jumped the shark’, and has been misrepresented as a show destroyer, implying that his involvement in a series somehow caused or hastened its decline.
Lately, instead, McGinley has been carefully approaching another prestigious role: the most prized TV supporting actor.
I must admit, it’s no shocker that the hilarious McGinley, who’s been making us laugh since the ’80s, is still cracking jokes on Apple TV+’s Shrinking. As Derek, Christa Miller’s unfiltered Liz’s surprisingly lovable husband, he was already stealing scenes. But as the second season has tested Derek’s marital loyalty, McGinley has shown a depth of vulnerability I hadn’t seen before.
Derek’s self-exploration isn’t as intense as the suffering shown on “Shrinking,” but McGinley’s rising popularity is part of this autumn’s most popular TV patterns: comedies designed to evoke tears almost as often as they induce laughter.
Consider this as the “Shohei Ohtani Phenomenon”, which is named after the exceptional player from the Dodgers who excels not only in pitching but also in hitting, placing him among the top baseball performers. The conventional boundaries of proficiency are being blurred.
Shows about grief, mental illness and forgiveness shouldn’t be as funny as Shrinking.
Shows dealing with themes such as grief, solitude, and degenerative diseases should not contain humor to the extent seen in Netflix’s “A Man on the Inside”.
Humorous series on themes such as grief, self-acceptance, and financial instability like HBO’s Somebody Somewhere, should not be as lighthearted as they are.
Furthermore, it’s important to note that all three series are indeed comedies, without any ambiguity regarding awards categorization like ‘The Bear’. While they may not provide pure escapism, shows such as ‘Hacks’, ‘Only Murders in the Building’, and ‘We Are Lady Parts’ have a significantly higher blend of comedy and drama. On the other hand, ‘Shrinking’, ‘A Man on the Inside’, and ‘Somebody Somewhere’ could be the defining series for this era of the “laughing-while-crying” emoji.
Just as Pagliacci and Smokey Robinson might explain, the blend of joy and sorrow is nothing new. Laughter and tears are both responses, with laughter often expressed publicly and tears usually kept private, but each response signifies something instinctive and capable of offering a distinct form of relief. In today’s world filled with constant news about conflict, intolerance, and divided beliefs, viewers may require this kind of relief, or catharsis, more than they need an escape.
By skillfully harmonizing multiple themes, the series “Shrinking, A Man on the Inside” and “Somebody Somewhere” have managed to resonate on numerous levels. This harmony is accentuated by a superb cast, which includes both established leading actors and emerging supporting players, all of whom contribute to the show’s success.
The term “Shrinking” is authentic in its transformation process. This intriguing series was crafted by Jason Segel, who gained expertise under the guidance of multitalented director Judd Apatow. Alongside Brett Goldstein and Bill Lawrence, their creative work has consistently resonated with viewers. During an era when successful sitcoms were predominantly multicamera productions featuring broad humor and characterizations, Lawrence was navigating the unconventional medical antics of “Scrubs,” infused with poignant sorrow. Stepping beyond the constraints of broadcast television has allowed Lawrence to double his storytelling time, and series like “Ted Lasso” serve as a testament that one can elicit tears from the inherent goodness of humanity just as effectively as from sadness or catastrophe.
Shrinking, initially explores the demise of its protagonist’s wife as a starting point, but, much like Lawrence’s other works, it transforms into a drama centered around people sharing wine, exchanging witty remarks about their feelings. The characters in this show often act imprudently before a climactic release, making you feel the urge to scold them one moment and comfort them the next. Each cast member, including Segel, Miller, Jessica Williams, the impressive Harrison Ford, the surprising Lukita Maxwell, and Luke Tennie, as well as Michael Urie who made a significant impact in season two, have all stepped up to elicit each emotional response authentically, which wasn’t always achieved consistently in the initial season.
Lawrence often subtly reminds us that humor and emotion are manipulated to some extent, but the charm of an exceptional cast lies in concealing this manipulation so it doesn’t leave us feeling uneasy about it. To prevent a masterpiece like “Reservation Dogs” from being overlooked due to subtlety, a bit of gentle guidance isn’t always unwelcome.
Additionally, consider the series titled “A Man on the Inside“, created by Mike Schur, who skillfully combined heartfelt tears with laughter on shows such as Parks and Recreation and The Good Place, but had never served them as a main course until this Netflix production. Starring Ted Danson as a grieving widower turned spy probing suspected wrongdoings in a San Francisco retirement home, “A Man on the Inside” initially appeared to be a blend of “Amour” and “Grumpy Old Men“, which suggests an unlikely combination. However, it more closely resembles “Only Murders in the Building“, another comedic exploration that delves into the theme of generational isolation, rather than a misfit pairing.
In Danson, “A Man on the Inside” boasts a versatile lead that appeals to a broad audience, yet it’s the ensemble of veteran character actors, often overlooked, that truly makes this series stand out. Actors like Sally Struthers, Margaret Avery, and John Getz deliver compelling performances of loss and love without resorting to cheap tactics, while Stephen McKinley Henderson, a familiar face, brings depth to his role, becoming the emotional core of the show.
It’s interesting to observe that the shows “Shrinking” and “A Man on the Inside” manage to keep their humor, even though their plotlines might initially seem predominantly sad. These shows appear to have a level of protection or privilege that shields them from addressing the economic struggles that are common among many Americans when it comes to mental health and long-term care issues. These depictions focus on comfortable affluence without mentioning the financial anxiety that is often associated with these topics.
In contrast to a series set in Kansas about individuals who occasionally check their bank statements, Somebody Somewhere explicitly weaves financial anxiety into its narrative threads. This aspect underscores the profound empathy the show has for every character, regardless of their importance. Since the beginning, it has primarily focused on Sam (Bridget Everett), but as the series reaches its third and final season, Sam finds herself grappling with the reality that her friends and loved ones are progressing in life, while she is left adrift without the comfort of shared laughter. This feeling of being left behind, so strikingly relatable, can at times be challenging to watch due to its raw emotional depth.
In “Somebody Somewhere,” characters such as Sam dealing with allegations from a friend’s spouse about being a negative influence, or Joel (played brilliantly by Jeff Hiller) standing up to a high school tormentor, often find themselves at the brink of despair but consistently come back to a bedrock of optimism and camaraderie that never veers into sentimentality. The character actor who elevates the series to new heights is Tim Bagley, known for his numerous guest appearances, who lands a career-defining role as Brad. His heartfelt performance singing a song for love interest Joel is the kind of scene that often graces award reels.
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Originally published in a special December edition of The Hollywood Reporter magazine, you can read this article by subscribing to it. Click here to subscribe.
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2024-12-12 21:56