An Intriguing Review Of The Comedy Series Drew Carey Show
The most important and innovative television series of the nineties was, without a doubt, Seinfeld. However, Drew Carey deserves recognition, as well, as one of the more innovative and inventive shows of that decade. People don't always name it as one of the most innovative series of all time, but in its own way, it was every bit as important to the development and evolution of the American sitcom as Seinfeld and The Simpsons had been. Without Drew Carey, Family Guy might not have grown into such an absurd show in its later seasons. It really changed how people regard and judge the modern sitcom, and it definitely belongs on your list of downloads the next time you log into your movie download service.
The show was really just meant as a vehicle to get Drew Carey's face out there back in the era where every comedian really just wanted to be a TV star, and it could have been just another sitcom with just another comedian starring, but they managed to really take it in a different direction, starting with the subject of the show.
Like Seinfeld, the show abandoned the idea of formulaic plots to take things in its own direction, focusing on a man who is always on the verge of a mid-life crisis and who experiences real existential dread at his situation in life, what it all means and whether or not he'd be happier if he'd just leap off a bridge and end it all already.
Like Seinfeld, the show never really delved into the same formulaic plots about Superbowl parties and so on, and really went in a whole new direction creating its own, new concepts for great TV stories. It's about the existential dread, the fear you feel when you're anywhere between thirty and fifty and wondering why your life didn't shape up the way you wanted it to. It's really interesting, and a little deeper than the usual Football Widow jokes you see in most sitcoms.
By the end of the series, Carey was making something like a million dollars an episode but, sadly, the ratings were starting to drop and the show had to be canceled, even though it did garner a loyal following who would always make sure that they were at home after work in time to watch it.
The most refreshing thing about the show really was that its focus wasn't on the same thing as every other show. No football widow jokes, no stories about the son borrowing the car without asking. The characters are easier to relate to because they don't feel like generic television characters.
It's something of an acknowledgement that family can mean "You and your friends", that family can be defined however you choose to define it, and that the mom, dad and kids aren't the only backbone of family in the United States, and furthermore, that for family to only possibly mean dad, mom and kids is really excluding so many other real families from inclusion in what it means to love the people around you.
And of course, it's funny. Lewis and Oswald may well be the second and third funniest comic relief characters of the nineties, after Cosmo Kramer, of course. It's always fun when a show that's already a comedy features comic relief characters. Fourth place, of course, goes to Zoidberg, of Futurama.
The show was really just meant as a vehicle to get Drew Carey's face out there back in the era where every comedian really just wanted to be a TV star, and it could have been just another sitcom with just another comedian starring, but they managed to really take it in a different direction, starting with the subject of the show.
Like Seinfeld, the show abandoned the idea of formulaic plots to take things in its own direction, focusing on a man who is always on the verge of a mid-life crisis and who experiences real existential dread at his situation in life, what it all means and whether or not he'd be happier if he'd just leap off a bridge and end it all already.
Like Seinfeld, the show never really delved into the same formulaic plots about Superbowl parties and so on, and really went in a whole new direction creating its own, new concepts for great TV stories. It's about the existential dread, the fear you feel when you're anywhere between thirty and fifty and wondering why your life didn't shape up the way you wanted it to. It's really interesting, and a little deeper than the usual Football Widow jokes you see in most sitcoms.
By the end of the series, Carey was making something like a million dollars an episode but, sadly, the ratings were starting to drop and the show had to be canceled, even though it did garner a loyal following who would always make sure that they were at home after work in time to watch it.
The most refreshing thing about the show really was that its focus wasn't on the same thing as every other show. No football widow jokes, no stories about the son borrowing the car without asking. The characters are easier to relate to because they don't feel like generic television characters.
It's something of an acknowledgement that family can mean "You and your friends", that family can be defined however you choose to define it, and that the mom, dad and kids aren't the only backbone of family in the United States, and furthermore, that for family to only possibly mean dad, mom and kids is really excluding so many other real families from inclusion in what it means to love the people around you.
And of course, it's funny. Lewis and Oswald may well be the second and third funniest comic relief characters of the nineties, after Cosmo Kramer, of course. It's always fun when a show that's already a comedy features comic relief characters. Fourth place, of course, goes to Zoidberg, of Futurama.
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