A Slate article insists ‘we’re much, much funnier than we used to be.’ That’s not even remotely true. Political correctness has lead to the death of sitcoms and comedic movies.
“Friends” premiered 25 years ago this week, which means the internet is consumed in reminiscing over the $425 million show that keeps us trapped in a perpetual state of nostalgia.
‘Seinfeld’ and ‘Friends’ are too different to make for an interesting comparison.
Revisiting ‘All In The Family’ and ‘The Jeffersons’ provided a great opportunity for nostalgia—a sentiment that was perhaps ABC’s greatest success.
Unlike most sitcoms, which are mindless fluff, ‘Speechless’ is in a class all by itself, with talented actors, writers, and directors who are making a substantial contribution to society.
‘Friends’ is so valuable to Netflix that it reportedly cost the company $100 million to renew its rights to the show this year. That’s more than three times the previous price of $30 million.
Storylines in everything from ‘Veep’ to ‘Juno’ attempt to deal with abortion, but the latest Hollywide trend is trying to make it funny and casual.
Done right, opening credits orient us, endearing viewers to characters and settings. ‘Laverne & Shirley’ understood that.
Even though the property has become about as awkward as George Michael, it initially distinguished itself as a comedy unlike any other.
One fan had an idea: James Woods and Roseanne Barr team up for ‘a crazy sitcom together.’ Retweeting the suggestion, Woods said he’d ‘consider doing that.’
The series is simply not funny unless you are a liberal. Its comedy is manipulative. It loads the deck by giving all the best lines to the liberals, while conservatives sputter and flee.
The same jokes being retold by actors who have aged 15 years is worthy of a six-minute reunion clip to promote a charity, perhaps. But no more new seasons, please.
Allen has a golden opportunity to leap off of the success of ‘Roseanne’ by taking on current events in the age of Trump in a way that no other show has.
After the first few episodes of ‘Fateful Consequences,’ I was ready to say the remix redeemed ‘Arrested Development’s’ messy season four. My enthusiasm waned as the season progressed.
‘Silicon Valley’ completely embraces the absolute and utter ridiculousness that is the creative male mind. There’s no romance or tragedy, but there is hilarity and blind luck.
Creator Kenya Barris riffed on the holiday Columbus Day to highlight who should be credited for building the United States of America. Spoiler alert: it was the slaves.
Relationships are about complementarity, and compliments. Joey and Rachel had both.
The last thing Middle America wants is to be lectured by television elites in their own living rooms. Will that be the new ‘Roseanne,’ or can it transcend that Hollywood habit?
Despite real humor, its heavy-handed nature holds ‘Trial and Error’ back. NBC’s true crime mockumentary consistently goes for the predictable, ‘network sitcom’ joke.
For a television show that ended nearly 20 years ago, ‘Seinfeld’ still looms large in America’s cultural imagination. Jennifer Keishin Armstrong’s book, ‘Seinfeldia,’ tells of its history and meaning.
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