Three new network multi-camera sitcoms have one purpose: To give you a lighthearted laugh

As a seasoned TV critic with decades of viewing under my belt, I must say that these new shows offer a delightful blend of humor, drama, and familial dynamics – a recipe that never fails to intrigue me.

One style that clearly evokes the image of a TV show is the multi-camera sitcom, which can be filmed, recorded, or digitally captured in front of a live audience, or designed to appear as such. Throughout the years, it has alternated between being popular and falling out of favor, competing with single-camera comedies, first using laugh tracks and now without them. However, it remains vibrant, showcasing its unique, non-cinematic, well-lit, deep-focus, three-walled, theatrical, long-take characteristics.

Multi-camera sitcoms can be categorized into three main types: family comedies, workplace comedies (which are essentially family comedies set in an office), and shows that shift between home and work environments. These genres all explore the ways people interact with each other. For comic effect, characters often have disagreements, but generally manage to coexist from one episode to the next. This underlying optimism is a defining feature of the sitcom format; a truly depressing multi-camera sitcom would be an oxymoron, although there are exceptions like “Seinfeld.

Simultaneously, it’s a versatile style, a democratic approach, that fits various scenarios and participants, irrespective of ethnicity, religion, skin color, social status, age, sexual orientation, gender identity, era, or any other distinction. There can be moments of intense emotion, frequent sentimental scenes, and occasionally, carefully timed instances of poignant sadness. The tone may vary, with some series being more fantastical or realistic in nature. However, the primary aim is to create a welcoming yet chaotic environment for weekly exploration, filled with characters you might grow fond of – a place where you recognize familiar faces and are amused by unexpected twists.

On network television, you’ll find most of the action right now. This week and next, three new sitcoms are making their debut: “Georgie & Mandy’s First Marriage” on CBS (Thursday), “Happy’s Place” on NBC (Friday), and “Poppa’s House” on CBS (Monday). The first one is part of the Sheldon Cooper Television Universe, while the second features Reba McEntire as the proprietor of a bar. Lastly, “Poppa’s House” stars father-son duo Damon Wayans and Damon Wayans Jr., who play… you guessed it, father and son!

In a positive light, I can’t find fault with any of them. They all deliver on their intended tasks, presenting a variety of enjoyable, sometimes exceptionally entertaining, acts by actors who breathe life into their characters and provide plenty of humor that hits the mark. The only criticism one might level at them is that certain characters are as irritating as they’re supposed to be. However, they’re not original; they draw inspiration from sitcoms of the past, even sharing similarities among themselves. But originality isn’t the goal here; quite the contrary.

The series titled “Georgie & Mandy’s First Marriage” stands out, as it is not common to have a multi-camera comedy that originates from a single-camera dramedy, which itself was based on a multi-camera comedy. This new show serves as a sequel to the popular sitcom “Young Sheldon,” which was a precursor to “The Big Bang Theory.” In this unique series, there’s an acknowledgement of format changes as characters Georgie (played by Montana Jordan), Audrey (Rachel Bay Jones), and Jim (Will Sasso) casually watch an episode of “Frasier” (set in the mid-1990s, though it seems time in sitcoms never ends).

Georgie comments, ” ‘Frasier’ is a comedy series,” implying the presence of a laughter soundtrack. “I enjoy sitcoms that make me laugh… On the other hand, ‘Wonder Years’ seems to lack any laughter – I can’t tell if it’s funny or not.

The show primarily explores the lives of Georgie Cooper, Sheldon’s older, less intellectually gifted brother, his wife Mandy (portrayed by Emily Osment), and their families, with a focus on Mandy’s family since they reside together, as Georgie works for Jim at his garage. The series also features Annie Potts as Georgie’s grandmother Connie, Zoe Perry as his mother Mary, and Raegan Revord as his moody sister Missy in recurring roles. (While Sheldon, played by an older Jim Parsons and a younger Iain Armitage, has moved to Caltech in Pasadena, it seems that Batman Underoos are not easily found there.)

The storyline continues after the narrative of “Young Sheldon,” where Georgie encounters Mandy, and they both fib about their ages (Georgie claims to be 21 when he’s actually 17, while Mandy says she’s 24 instead of 29). They engage in a relationship, have a child, get married, but their union is predicted not to last according to “The Big Bang Theory.” The duration and reasons for its potential dissolution remain uncertain. Investigating the cause within “The Big Bang Theory” is futile; however, the prequel version of Georgie, portrayed as kind-hearted, hopeful, and somewhat juvenile, seems unrelated to his assertive, resentful character in “Big Bang Theory,” played by Jerry O’Connell.

As a devoted fan, it’s fascinating to see how co-creator Chuck Lorre consistently adds a touch of sharpness to his works, whether it’s the multi-generational struggle with alcoholism in “Mom” or the unconventional behavior of women in “Cybill.” In this new series, the seeds of conflict are subtly introduced right from the start. Mandy, a former weather girl with a communications degree, aspires to be a television reporter (“Just look at my face — I’m on-camera talent”). She’s contemplating exploring opportunities beyond the small east Texas town that Georgie considers home. Georgie, on the other hand, experiences a panic attack he prefers to label as a heart attack (“Anxiety? That’s just some big city hype.”).

At “Happy’s Place,” country music icon McEntire, starring in her third sitcom (previously appearing as a recurring character on “Young Sheldon”), takes on the role of Bobbie, inheriting a tavern left by her late father. In terms of layout, it harks back to the classic design of “Cheers,” with a central bar, an entrance on the left, and an office on the right. Many shows, not just those centered around bars, have found it practical for their characters to gather in one. The team consists of bartender Gabby (Melissa Peterman), eager to become Bobbie’s closest friend; Steve (Pablo Castelblanco), a meticulous accountant with a fear of germs; Takoda (Tokala Black Elk), a versatile waiter and handyman, reminiscent of Woody; and Emmett (Rex Linn, superbly nuanced), a burly cook and moral compass, who uses opera to keep people away from his kitchen.

Into this generally peaceful setting enters Isabella (Belissa Escobedo), an unexpected and unaware half-sister of Bobbie, who is bequeathed half the bar by their father, a fact unknown to Isabella beforehand. A dash of generational humor unfolds – McEntire being 69 and Escobedo 26, yet Bobbie seems much younger in age – with jokes that are worn out but hard to resist, as older characters awkwardly try to mimic the speech patterns of the young.

In the early episodes, Isabella, who specializes in psychology, doesn’t hesitate to express her views bluntly – a tactic that might be better met with some caution, as it could come off as overconfident or demanding, based on just one day’s worth of observations. This dynamic, characterized by Emmett’s disapproval and Isabella’s insistence, sets the stage for most of the initial episodes. It’s a dance between Bobbie’s irritation and Isabella’s feelings of being overlooked, unacknowledged, and unwanted. However, they will eventually warm up to each other and share living quarters by the end of the second episode, adding complexity to the sitcom plotline.

Similar to “Georgie & Mandy,” “Poppa’s House” is a story centered around family, featuring parents, children, marriage, and in-laws. Damon (Wayans Jr.), aspiring to be a director, currently works for his father-in-law, nicknamed the ‘foam roller king.’ He’s been given an opportunity for a managerial position that could move him away from his dream but would fulfill his wife’s (Tetona Jackson) wish to enroll their children in private school. The younger characters are supported financially by their affluent parents.

As a passionate moviegoer, I can’t help but draw parallels with the charming character of Damon’s father, affectionately known as Poppa (Wayans Sr.), who resides just next door for impromptu visits. His professional sphere mirrors somewhat the world of “Frasier,” where he thrives as a beloved New York City radio jockey, spinning tunes, entertaining calls from listeners, and finding contentment in his life.

They’ll certainly engage in a friendly debate, considering their living space is a subject of contention, much like in “Happy’s Place.” Ivy humorously compares him to a “street-wise Papa Smurf,” attributing his scruffy beard and “menopause cardigan” as the reasons. In her opinion, he ranks lower than a podcaster compared to other professions such as movie makers, TV personalities, musicians, radio hosts, mimes, and even an organ-grinding monkey!

She: “There you go again, another reflexively asinine comment.”

He: “First of all my ass ain’t a nine, it’s a 10.”

It’s like that.

From a single perspective of the pilot alone, “Poppa’s House” might appear to be a light-hearted series, the least heavy among these three. However, it has recurring humor centered around Poppa’s large head. Yet, the enthusiasm and camaraderie between the Wayanses is undeniable, as evidenced by the bloopers shown during the end credits – isn’t that, in essence, what makes a show enjoyable?

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2024-10-17 13:37