Seinfeld gets a lot of attention, as it well should, as having been one of the most innovative sitcoms of the nineties. However, The Drew Carey Show really made just as many important innovations in the television show format as Seinfeld, even if people mainly remember it as one of those shows you watch when there was nothing else on. Put it on your list next time you visit your movie download service and see what the show was really all about.
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.
The show left a lot of room open for exploration on the part of its writers, directors and performers. It wasn't formulaic, it let them get away with whatever they wanted to try, and the result was a really unique and fresh show.
The show was really refreshing in the way that it did not focus on the same tired issues as every other show out there at the time. It wasn't the same old "Uh oh it's football season" jokes, it wasn't the son borrowing the car without asking, it was something a lot more interesting and less predictable, and this was really the rejuvenation the sitcom format needed, alongside Seinfeld, after decades of the same old stuff day in day out.
The show serves as an acknowledgement that mom, dad and the kids aren't the only people in the universe, that there are many definitions for the word family, and that the relationships between a man and his friends is every bit as important and valid as the relationship between a man and his wife and his children.
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. - 40723
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.
The show left a lot of room open for exploration on the part of its writers, directors and performers. It wasn't formulaic, it let them get away with whatever they wanted to try, and the result was a really unique and fresh show.
The show was really refreshing in the way that it did not focus on the same tired issues as every other show out there at the time. It wasn't the same old "Uh oh it's football season" jokes, it wasn't the son borrowing the car without asking, it was something a lot more interesting and less predictable, and this was really the rejuvenation the sitcom format needed, alongside Seinfeld, after decades of the same old stuff day in day out.
The show serves as an acknowledgement that mom, dad and the kids aren't the only people in the universe, that there are many definitions for the word family, and that the relationships between a man and his friends is every bit as important and valid as the relationship between a man and his wife and his children.
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. - 40723
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