I'll admit, I shamelessly stole my title from Zach Lowe's story last May. Zach Lowe is my favorite NBA writer, and the title of his article really stuck in my head. Lowe was writing about the state of post up game in today's NBA, and it reminded me of the way the multi-camera sitcom has reemerged in television. Multi-camera sitcoms, like post-ups, were staples in their respective mediums. When in the hands of talented people, both represented the only path to success. Masters of these two disciplines defined their times: The legendary Bill Russell/I Love Lucy era; the genius of the Hakeem Olajuwon/Seinfeld era; the supreme dominance of the Shaq/Friends era.
But recently, both of these beloved aspects of TV and the NBA are in jeopardy of becoming dinosaurs. Around a decade ago, smart teams started ditching the post-up for the more creative and analytical "pace and space" style of play. Around the same time, smart showrunners started ditching the muti-camera for the more cinematic "single-camera" style. While no one doubted that CBS and the Grizzlies would continue to ride with antiquated lineups, it was clear the most creative basketball and comedy minds had moved on. Groundbreaking, single camera shows like Curb your Enthusiasm, It's Always Sunny in Philadelphia and The Office blazed the trail for Louie, Girls, and Modern Family. Similarly, teams like The 7-seconds-or-less Suns, George Karl's Nuggets, and the 2011-2014 Spurs gave birth to this small-ball wave of The Morey-ball Rockets, Spurs East (Hawks), and Buzzsaw Warriors. These teams and T.V. shows found success in a new and exciting way, and the rest of the league/television landscape hurried to emulate this new style. These revolutions to small-ball and the single-camera threatened the old guards to extinction or at least, extinction of relevance. Then something changed last summer...there was an awakening, did you feel it? I won't discuss the intricacies of the post game's rebirth, Mr. Lowe did it better than I could ever dream of. But I know TV, and the laugh-track is back baby! The Carmichael Show, Horace and Pete and The Ranch have retrofitted the multi-camera style with innovative ideas. These shows have reminded the public of the importance of a multi-camera studio experience.
The Carmichael Show
For comedy nerds like me, Jerrod Carmichael's rise to stardom was not a question of if, but rather when, and in what form. It took a lot of people by surprise that an outspoken, up-and-coming comedian would take such a traditional path to notoriety: successful stand-up special followed directly by a network show. He even put his name on the show, a classic sitcom move. All of these throw-back career choices have come in an unprecedented television landscape; an era where there are so many outlets for comedians to get wildly auteur visions paid for. There are avenues such as cable, late-night, or even digital that Carmichael knows all about, but he choose a very traditional route. I might be over-analyzing this situation; the origin of The Carmichael Show could have easily come down to a combination of NBC's push for diversity, and a shit ton of money for Carmichael. I choose to believe that Carmichael's choice to develop a multi-camera sitcom for NBC was deliberate, especially given the plethora of available platforms for Carmichael to generate content in 2014.
The Carmichael Show is biting social commentary packaged as a harmless family sitcom. Carmichael and his writers full on tackle current issues that most shows don't even two-hand touch, ie. transgender rights, Bill Cosby, and islamophobia. The Carmichael Show is extremely important contextually. In this age where the discussion of social issues is at an all-time low; Jerrod and his girlfriend, Maxine (Amber Stevens West), actually debate sensitive issues.
Family-bickering is nothing new for a sitcom, but there is something refreshing about characters opening themselves to multiple perspectives on issues. Especially now, in the media echo-chamber culture we live in. Jerrod's parents Cynthia (Loretta Devine) and Joe (David Alan Grier), offer realistic portrayals of an older generation. A generation that's voice often gets tossed to the side. These set-in-their-ways, stubborn characters may seem derivative, but they often provide a great sounding board for Jerrod and Maxine to debate with. Their characters have dimension, and the performances are good. That is at the core of what makes this show enjoyable. Take Jerrod's brother, Bobby, in any other show he would function as a cheap-laughs, punching bag. But the writers actually give Bobby's character depth and a point of view. LilRel Howery is funny as hell, and even though he might be delivering a joke a minute, th
In a studio there is nowhere to hide from dialogue and performances. Shows with great characters rise to the surface. It just seems that recent multi-camera sitcoms play to the lowest-common denominator. Shows on CBS create characters that are familiar and vanilla. The same jokes and subjects are covered at the same pace. The Carmichael Show takes risks, and that just flat-out makes it funnier. Jerrod and the other writers are smart, and they trust that audiences will let them joke about potentially sensitive subjects.
I know I said that I was done with NBA/TV comparisons, but that's a lie. I had this whole bit about how The Carmichael Show is like the Warriors; some shit about how both entities reimagine old principals, like the post-up Triangle offense and the family principals of Norman Lear. I couldn't quite get it to work. I couldn't resist with Horace and Pete and the Spurs. Louis C.K. and Gregg Popovich are a perfect fit, totally comparable and similar. The similarities are endless: total respect from fans and colleagues, the endearing curmudgeon public persona, loyalty to past collaborators, etc...But for this piece, the most important parallel between the two men is their dedication to refining their craft despite achieving success. Popovich's approach to basketball playing styles, player development, and team building have set the gold standard for the rest of NBA franchises. Louis C.K. has pioneered new ways to distribute stand-up ticket sales, auteur-style television storytelling, and now original content distribution methods. Louie and Pop have attained all the success they could ever achieve, and yet they continue to take risks and stay a step ahead of their peers. The 2016 Spurs and Horace and Pete are the latest products of Pop and Louie respectively, and they are marked by a classic sensibility. Pop doubled-down on the post game by starting both Tim Duncan and LaMarcus Aldridge, a throw-back look. Louie decided to create an old-fashioned multi-camera studio show that was more drama than sitcom. Both Pop and Louie have taken the timeless elements of these methods and added cutting-edge elements.
Horace and Pete looks old-fashioned, but its financing, marketing, and distribution methods are unlike anything else in the zeitgeist. Louie funded the whole show himself, which is so crazy. It cost him like 2 million bucks to fund the first 4 episodes. He charged per-episode on his own website; at a fair price ($5 for the first one, $2 for the second one, and $3 for the rest). He didn't promote it at all, he fucking surprise-dropped it, like a damn Beyonce' album. No other comedian has ever taken this much risk for their art. Louie had to take out a line of credit to finance this show, and although I don't think anyone should be praying for his children, it is still a big deal. Louie's dedication to making exactly what he wants is the single biggest reason for his intense relationship with his fans. No one shoots you straight like Louie does. He asked earnestly for Paul Simon to craft the music for the show, and Simon agreed, because Louie puts his ass on the line. He has never been scarred to make something original, and he'll do anything to make it happen. If he wants to be funny he will be the funniest God damn comic in the world, if he wants to be sincere he will be, but he won't throw it in your face.
All the context the this show infuses the show itself with a feeling of novelty and uncertainty. Louie, the F.X. show, was creative and unpredictable, but Horace and Pete is on another level. It's a studio show, so you will never see anyone get in an unexpected helicopter, but somehow hearing Alan Alda talk about eating pussy feels even more abrupt. The show relies on incredibly dialogue and incredible performances. Steve Buscemi, Aidy Bryant, Edie Falco, Jessica Lange...the impressive cast goes on and on. Monologues that last ten minutes, and scenes that make up entire acts. Like everything else he has done, Louie's show is authentic. There isn't a line of dialogue, or an interaction that feels contrived. Fans of Louie know all too well that C.K. would never settle for an inorganic joke, but with Horace and Pete, it feels like Louie has gone full on food co-op status. The comedy is found in the bleakest moments, which is often more unnerving than relieving. To say that this show isn't funny would be totally missing the point. This show is great drama, it is personal and moving. Have patience with this show it will reward you.
The Ranch
Don't watch The Ranch it is horrible. Ashton Kutcher is terrible, Danny Masterson is terrible, Sam Elliot is Sam Elliot. The only interesting part of this show is that it is weird to see swearing, drinking, and nudity on a multi-camera show. Besides that, there is nothing original about this show. Elisha Cuthbert is in it, big deal. The jokes suck, the plot sucks, don't watch it, there is too much other TV to watch.
Just because The Ranch is deplorable, doesn't discredit the merits of the multi-camera. Horace and Pete and The Carmichael Show have proven that the multi- camera style is still as strong as the talent that makes it. Multi-camera will always be the greatest way to highlight great writing and great performances.