Movies

New Comedy Series ‘Adults’ and ‘Overcompensating’ Redefine Hangout Humor for Gen Z

BBG News

It’s clear that the makers of FX’s show Adults were fully aware that comparisons to Girls would be unavoidable, as they deliberately emphasized the similarities between the two shows. Besides sharing a similar title, both comedies revolve around groups of 20-something friends in New York City. Furthermore, an intentional reference in the premiere episode of Adults, which is ripe for mention in reviews, can be traced back to the pilot episode of Girls, where Lena Dunham’s character, Hannah Horvath, declares that she might be “a voice of a generation.” The new series condenses this trope as “V of our G,” and uses it to depict a media-savvy young man who gains the admiration of his peers by revealing workplace sexual harassment allegations and receiving a six-figure settlement.

These shows, such as “Adults” and “Overcompensating,” are a mix of homage and satire, signifying the emergence of a fresh generation claiming their own narratives, poking fun at their own beliefs, and differentiating themselves from the millennial-led pop culture trend that dominated in the early 2010s. Created by Rebecca Shaw and Ben Kronengold, a comedy duo who gained notoriety when their Yale graduation speech became viral in 2018 (they’ve since written for Jimmy Fallon and co-authored a book called “Naked in the Rideshare”), these shows are the second hangout comedies to debut in May from creators born in the mid-90s. Unlike you might anticipate, they aren’t overly influenced by the internet or pandemic-stricken, but instead rejuvenate the genre with the surrealism and self-awareness of a generation that copes with a tumultuous world by binge-watching shows like “Girls,” “Friends,” “Sex and the City,” and other series featuring friends as chosen families.

In contrast to popular series portraying young adults in stylish New York locales such as upscale North Brooklyn for “Girls” and the post-bohemian Village for “Friends”, the show “Adults” reflects the limited surroundings of Generation Z by housing its five characters within a single character’s childhood home in an unpopular part of Queens. The main character, Samir (Malik Elassal), navigates life’s hurdles like paying for water-heater repairs with checks. Issa (Amita Rao) is a boisterous, flamboyant, sexually expressive character reminiscent of “Broad City”‘s Ilana; her laid-back, pansexual partner, Paul Baker (Jack Innanen), is frequently referred to by his full name. Anton (Owen Thiele, who also features in “Overcompensating”) befriends people effortlessly – even a menacing criminal troubling the neighborhood in one episode. The only housemate preoccupied with her future is Lucy Freyer’s Billie, who grapples with anxiety-triggered health issues.

Compare and contrast: The Generation X characters from ‘Friends’ spent decades lounging on coffee shop couches before reaching high-status professions, which the Sex and the City women had already achieved by their early 30s. On the other hand, the Millennial characters in ‘Girls’, who graduated during the economically tumultuous period known as the Great Recession, harbored dreams and aspirations. However, for the characters in ‘The Adults’, simply being able to proudly claim their adult status appears to be a significant life goal.

In my perspective as a movie critic, the film “Overcompensating” delves into the elusive journey of adulthood for its two main characters, Benny and Carmen, who are freshmen in college. Surrounded by peers eager to validate their heterosexuality, Benny, an innocent ex-jock, and Carmen, a girl with a penchant for alcohol, video games, and whose behavior mirrors the influence of her late older brother she’s still grieving, attempt a night of passion. However, when Benny finds himself unable to proceed due to his hidden truth – he is gay – they instead form an unbreakable bond. This friendship is put to the test in a college environment where everyone is competing to appear more successful, sexually active, and fun than they truly are. The competition isn’t just physical, with parties, a secret society, and a performance by Charli XCX, the film’s executive producer, but also symbolizes the pressure cooker of peer-pressure in the age of social media.

As a movie enthusiast, I often find that critics can unintentionally undermine the creativity of emerging artists by excessively highlighting superficial similarities between their works or neglecting to consider the unique perspectives of their own generation. To clarify, I’m not suggesting Overcompensating, a Gen Z sitcom, is without flaws, but it offers a distinct take on coming-of-age narratives compared to other productions. In my opinion, it appears more traditional in its portrayal of self-discovery and sincerity, which might be off-putting for some viewers like myself, especially when it comes to the character Skinner, whose overtly innocent demeanor can seem exaggerated, bordering on caricature. This could be due to my lack of familiarity with the style of character development prevalent among social video creators, where Skinner initially gained fame.

There has been some debate surrounding the setting of Overcompensating, with questions about whether it’s meant to depict current times or the years when the actual 31-year-old Skinner, who seems far from a freshman, was in college. Regardless, there’s no denying that a strong dose of 2010s nostalgia is quintessentially Gen Z. In any case, it’s crucial to remember that everyone’s taste in entertainment is shaped by their personal experiences and upbringing.

Although some similar themes exist between the shows created by younger talents such as Mindy Kaling, Sam Levinson, and others, they differ significantly from TV productions primarily aimed at Generation Z that are conceived by 40-somethings. Instead of prioritizing authenticity, empowerment, or significant political statements like previous generations, these newer creators exhibit a more lighthearted, absurd approach often characterized as “nothing matters, LOL.” As Issa’s character puts it, “We are in a post-De Blasio, pre-Avatar 3 moment. We have to live!” This new generation’s approach is reflected in their unconventional storytelling methods, such as characters like Benny discussing his problems with a Megan Fox poster hanging on his dorm room wall, which responds as if it were a talisman of traditional values.

The shows exhibit a certain disregard as well. Their characters, spanning various racial and sexual orientations, mirror the multicultural nature of New York portrayed in shows like “Friends” and “Girls,” which were criticized for being excessively white. However, their humor reflects a weariness towards a decade’s worth of millennial discussions on social justice that seem to overly scrutinize language and identity during times of global crisis. In the premiere of “Adults,” several characters attempt to exploit a workplace scandal, and Anton remarks that the victim “seems like he was molested.” Later in another episode, Paul Baker is offended by a stereotypical gun-shop clerk who uses an offensive term and asks if Paul is gay, only to discover that the man has a sister with intellectual disabilities and identifies as gay himself. The show “Overcompensating” has a softer approach, but even a scene where Benny calls a girl a derogatory word (he’s not reclaiming it) would have sparked outrage on Twitter in 2015.

What makes these shows seem less crude is the authentic friendship that binds their characters, providing a degree of protection from the fragility of their existence. In ‘Friends’, there was lighthearted banter, the formation of romantic pairs, and weddings. On ‘Girls’, their self-absorption led to the demise of friendships. However, even when the individuals in ‘Adults’ and ‘Overcompensating’ betray each other due to immaturity or insecurity, their affection remains sincere. At least they have each other’s support during difficult times.

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2025-05-22 19:09

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