Are TV Comedies even trying to be funny?

 Many people have described the current TV landscape as a “Golden Age.”  Precisely, the third Golden Age; the first was the 1950’s, when TV technology was too crude to allow the filming of car chases or go on exotic locations, so TV dramas consisted of actors standing (or sitting) on a stage . . . [gulp] talking.  The second Golden Age was the late 1970’s/early 1980’s, when Grant Tinker and MTM revolutionized the drama with groundbreaking shows like Hill Street Blues and St. Elsewhere.  We are now in the late stages of the third Golden Age, when pay cable unfettered content restrictions and revenue streams were divorced enough from “ratings” that daring new shows like The Sopranos, Mad Men, and Breaking Bad could forge new ground.

This may be the Golden Age of Drama, but in my humble opinion it is the Lead Age of Comedy.  Of course, it is dangerous to discuss comedy rationally, as it is entirely subjective.  I won’t do the research, but I suspect that the audience for The King of Queens regularly exceeded that of the great TV classic Taxi.  But while I will confess that what I find funny is idiosyncratic, I still look at the recent winners of the Emmy for Best Comedy and wonder if this isn’t some joke on one of those prank shows.

At the last Emmy Awards the series Schitt’s Creek swept all the major awards.  That was for its sixth season; I have not watched it, but I did watch the fifth season (after having been told the first four seasons were not very good).  The show isn’t exactly bad, and my respect for great performers like Eugene Levy and Catherine O’Hara, both of whom I loved when they were on SCTV, is tremendous.  But the set up is cliched, and the writing didn’t seem to go anywhere.  In one episode a rumor starts on the internet that Catherine O’Hara’s character had died; people were surprised to see her, then it all stopped because a giraffe stepped on a kitten and the entire internet focused on that.  There was no pay off, no revelation for anyone about being happy to be alive, or being sad when the attention stopped. There was no plot development that I could detect.

As unsatisfied as I was about Schitt’s Creek, I liked the previous year’s winner, Fleabag, even less.  Again, I did not watch the season that won but the previous season, season 1.  For the life of me I could not understand why this was called a comedy, except that if it was called a drama it would be considered worse.  The sole joke was that the main character was devoid of redeeming qualities, which I suppose could be developed amusingly but there was no attempt to do so.  I gave up after 3 episodes, which may be unfair, but life is too short to watch a TV show you aren’t enjoying (besides, there were only 6 episodes so I watched half a season).

I was only able to watch episodes of the previous Best Comedy winner, The Marvelous Mrs. Maisel, on a plane over the Atlantic, so I reserve judgement (but I will say that what I saw did not encourage me to seek out more episodes).  I have recently watched another Best Comedy nominee from that year, season 1 of the dark comedy Barry.  This is another show with one joke; a hit man in LA stumbles into an acting class while tailing a mark, and decides he wants to become an actor.  I have been able to keep watching Barry, as it is well made and well-acted, and the plot is developing into an absurdist existential farce.  But it isn’t “funny.”

It’s almost as if the modern comedy has evolved to the point where it isn’t supposed to be funny.  Lucy frantically trying to manage items on a speeding conveyor belt is so passé; now we are supposed to watch a character in an uncomfortable situation and chuckle (internally) at the character’s discomfort.  Eliciting laughter is not a comedy’s raison d’etre.

Frankly, the funniest show on broadcast television now might be Legends of Tomorrow, the CW’s pastiche of superheroes that is masquerading as a show about superheroes.  I will concede that my favorite comedy of the past four seasons, NBC’s The Good Place, often passed on doing jokes in favor of some absurdist philosophical point (but the show still had many, many moments of unbridled hilarity).

I think the problem is that the TV marketplace is now so Balkanized, so fractured, that there is no point in trying to appeal to a mass market funny bone.  Why try to appeal to 22 million viewers, like Friends did in its final seasons?  There are so many networks and platforms, it is futile to try and reach that audience.  I can’t even find data on how many people in America watched Fleabag (I didn’t try very hard) but I am guessing it is in the low single digit millions, if that.

And don’t get me started on what these shows call a “season.”  Barry is all of 8 less than half-hour episodes; Fleabag was 6 per season and ran out of ideas after two seasons.  Cheers produced 22-27 episodes per year for 11 years; yes, the Kirstie Alley were a slog at times, but that’s over 270 episodes.  I’m going to go out on a limb and say creators who can create 270 episodes of a TV show (while racking up 179 Emmy nominations and 28 wins) are more talented than ones who call it a wrap after 12.

So, there will never be another I Love Lucy, or All in the Family, or Cheers.  TV comedies aren’t even trying to be funny; maybe the last funny sitcom was Modern family, and that ran dry a couple of seasons before the end.  I guess if we want to find the humor in our modern world, we have to read the political news.