For too long, television comedy has been linked to sitcom, precisely one of the sub-genres that has least been able to adapt to the evolution of the series. Today, watching canned laughter fiction is tantamount to getting into a time machine, but fortunately many creators have been able to read the profound narrative transformations of comedy and turn it into a phenomenon as creatively ambitious as any other.
This does not mean that the sitcom do not remain a safe value when rejoicing a day. Friends (Netflix, HBO and Amazon), above all, but also irregular attempts but with lucky moments like How I met wour mother (Netflix and Amazon) maintain that ability to evade and appeal to the absurd and the fun of human relationships.
Now that confinement allows us to create long-running series of opportunity windows, it’s a great time to recapture two sub-genre classics that have determined how to focus humor on the small screen: Seinfeld i Frasier (for now, no platform). Apart from being complementary, they are the example that, despite the expiration of their format, the intelligence and brilliance of some scripts completely reduce everything. And to see them now is to realize that, in sitcomsIt does serve that old maxim, which in the past was infinitely better.
If we talk about modern comedies, and also modernizing comedy, we have to talk about The Office. Also, this is one of the few cases where the original (British, here) and theirs can be compared remake American, available on Amazon. Both Ricky Gervais and Steve Carell were able to illustrate with no one the profound stupidity of a self-conscious head and the contraindications of working life. Both series have become essential for understanding the phenomenon as well Mockumentary, this new genre that uses the narrative and aesthetic resources of the fake documentary to provide verism what is explained and is often used to turn around clichés, as was also the case during the first seasons of Modern Family or never claimed enough Arrested Development (Netflix). In this same style you can insert yourself Curb Your Enthusiasm (HBO), this wonder in which Larry David interprets himself and where he takes the opportunity to dumbly analyze the collective mania to look good in the face of certain relational nonsense. It’s been one of the best comedies on air for two decades.
And in terms of modern narrative we can not forget about What we do in the shadows (HBO), the series based on the cult film about the vampire life. Impossible not to see her and make at least half a dozen laugh tips per episode.
Very often there are great comedies that are not on the list of the best of the year and instead have become essential television shows. There are three that are particularly recommended. One is Better Things (HBO), a gem written and starring Pamela Adlon about the adversities of an actress whom the industry is starting to exclude because of her age and who has to take care of an insidious mother and three daughters in permanent conflict. Another is Derry Girls (Netflix) A series set in the turbulent 90’s of Ireland that describes the day-to-day misadventures of a group of high school students confronted by sex, religion and family. There is not a single episode of his two seasons that is not a prodigy of reflection and fun. And finally, Sex Education (Netflix), also about the teenage universe and in this case, focused on a student, the son of a sexologist, who becomes the great guru of collective concerns. A series that draws oil on each and every one of his characters and has one of the most important television actresses of recent decades: Gillian Anderson.
And finally, another must-see: The marvelous Mrs Maisel (Amazon). This series, about a woman in 50’s America challenging all understandings to become a monologue, is a demonstration of how to balance a key theme (female empowerment) with a comedy style that appeals to great classics of the genre. Its protagonist, Rachel Brosnahan, has won numerous awards for her work in the series, and it is not strange.