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Crashing (2017)
Not just another "comedy-for-comics" piece
A few years ago I saw a clip from season one of Crashing in a lesson from Judd Apatow's Masterclass series (yes, I was one of those people). I thought nothing of it; at the time I was becoming a bit stultified by the wave of "comedy-for-comics" podcasts, opinion-pieces, and twitter rants, so a show about a wanna-be comedian doing stand-up with cameo appearances from actual comedians was really the last thing I wanted to willfully engage with. But recently--after finally checking off on my list of "must watch" comedies on HBO (Veep, Righteous Gemstones, Curb...again) assigned to me by other people--I decided to give Crashing a try.
Part of the reason I enjoyed watching the whole series in a span of 24 hours was because I really didn't have any solid expectations for this show. I thought it was going to be more of a Comedians in Cars Getting Coffee showcase, but I was pleasantly surprised by this semi-autobiographical portrayal of an aspiring comic who struggles to reinvent his life on stage. In general the show focuses more on character-driven humor rather than relying on cameos to deliver comedic substance. Though the series coincided with the rise of the Me Too movement, it doesn't cover the darker nature of the stand-up circuit until the third season, but does a solid job of addressing issues pertaining to comics (does comedy necessarily have to wound to be funny? are vision boards actually useful?)
While I do think the show had maybe another season in it (not a film, as Pete Holmes suggests), we'll have to make do in the meantime with this 24-episode tale of a young-ish man experimenting with the finer things in life: sex, cigarettes, fedoras, and stand-up.
A Bit of Fry & Laurie (1987)
A Quick Laugh and Easy to Watch
After finishing Blackadder (another BBC1 classic), I found myself in a bit of a British sketch comedy drought (for literally 3.4 seconds) until Amazon suggested this marvelous 26-episode series. Composed of disjointed and often bitingly-satirical vox pops, musical bits, and innuendo-ridden sketches, Fry and Laurie make for a quick laugh and easy watching, though as an American you might feel occasionally left out of a joke (it is British humor, after all). The two have an undeniable on-camera chemistry and offer a different kind of comedy than what you'll find on American television today. Perfect for fans of The Office (UK) and old-school (or "classic," to those of you over 40) Saturday Night Live.
Carnival Row (2019)
Don't let the trailers fool you...
From Metacritic -- Set in a neo-Victorian city where supernatural war refugees have settled, Detective Rycroft Philostrate (Orlando Bloom) reconnects with faerie Vignette Stonemoss (Cara Delevingn) and investigates a number of murders in the fantasy drama.
This series blends relevant social dilemmas (refugee crises, violent prejudice, identity and class politics) with a steampunk'd fantasy world. Based on the script A Killing on Carnival Row, this show features impressive special effects/costumes, impressive acting from Bloom and Jared Harris, and also delivers a substantial narrative that manages to navigate the tropes of urban fantasy while offering a fresh interpretation of the genre. Don't let the trailers fool you; it's actually quite watchable!
The Dark Crystal: Age of Resistance (2019)
Once you buy into it...
I'll admit that this series may not pique most people's binge-watching palate at first...but with a characterization as "Muppets meet Game of Thrones," what's the worst you could lose by giving it a try? As a ten-episode prequel to the 1982 eponymous film, The Dark Crystal: Age of Resistance spins an elaborate and honestly awe-inspiring fantastical tale full of captivating set-pieces, engaging narratives, and, yes, tons of puppetry (with limited CGI). Despite appearing as a high-fantasy series for kids, The Dark Crystal presents complicated story lines, textured characters, and thrilling (at times, terrifying) action that makes it an equally adult-oriented work. Featuring three co-protagonists (phenomenally voice-acted by Taron Egerton, Nathalie Emmanuel, and Anya Taylor-Joy), the series presents a Campbell-esque hero's journey narrative detailing the corruption of the Gelfling planet Thra by the nightmare-inducing Skeksis (featuring performances from Mark Hamill, Awkwafina, and Andy Samberg). Once you buy into it, (which you have to do), you'll find this series brimming with playful humor, heart-wrenching moments, and boundless imagination.
Le grand restaurant (1966)
A Great First Course into Louis de Funès Feast of Funny
Monsieur Septime (de Funès) is your (stereo)typical French restaurant manager...you know, the kind that perpetually inflates his own ego, disparages his employees and treats his patrons as royalty (unless, of course, they're German). While the film's plot is rather canned and disjointed, what makes this worth watching is Louis de Funès himself, one of France's most iconic comedians and expressionists. His uncanny ability to rapidly contort his face and externalize his character's frustrations effectively erase the issue of the language barrier on the film's humor, and is done so in a way that doesn't relegate it to the bottom shelf slapstick comedy. Though subtitles may be required, Le Grand Restaurant is a great first course introduction to the feast of funny from de Funès.
The Politician (2019)
Full of promise...needs a "second term"
As Ryan Murphy's breakout Netflix series, The Politician could be conveniently characterized as a darker companion to Glee, a less edgy 13 Reasons Why, a sort of junior-varsity House of Cards. Despite receiving criticism for its erratic narrative and grating characters, The Politician delivers a provocative take on contemporary school and social political dynamics, injecting a dose of youthful Machiavellianism into the disgustingly extravagant milieu of the privileged and entitled. Though the series seems more concerned with giving Ben Platt a platform to showcase his musical talent rather than finding narrative footing with its own characters (despite kicking off with a literal bang), all in all, I have to give this show credit. It kept me enticed with its elaborate sets, solid performances from Gwyneth Paltrow and Jessica Lange, and catchy title sequence. Like most campaigns, it has a lot of promise, but will likely need a "second term" to really make good use of it.