Judd Apatow Tag

Judd Apatow: The Return

Judd Apatow

Reviewing this is almost too easy. It’s like being lobbed the biggest, slowest softball ever. Apatow’s a genius. With so much comedy devoted to dragging you nose first through freshly plowed fields of shit, he always tries to bring at least a dollop of humanity to his work. He doesn’t always succeed, but that effort alone still makes him leagues better than all the schmucks who don’t even try.

 

But you have to allow for a lot before you can even start to be objective about his Netflix comedy special. Both the audience at the venue and the one at home are giving him a pretty generous free pass because they love his movies. And let’s be honest—while he’s pretty good here, he’s not polished. No other comedian could be given this big a platform and get away with so many missed beats, or lean on so much cutting to cover up that this was cobbled together from more than one show.

 

That said, it’s more than worth a viewing because, even though he fumbles his way toward most of what he wants to say, almost all of it is worth saying. It’s hard enough just being funny. Trying to add depth to it is almost impossible. Just witness all the comics—from Chaplin to Allen—who’ve been dashed against the rocks of meaning.

Apatow’s career almost foundered after Funny People, and This is 40 was a hard-won victory. This special steers well clear of the former while hugging the shores of the latter—which is both its virtue and its vice.

 

Apatow is, at the end of the day, a crowd-pleaser. But he’s not entirely comfortable in that role, so he sometimes veers toward edgy. But he’s too skittish to actually peer over the edge, so the best you’ll get is a convincing simulation. And, at a time when there are way too many people willing to tell us what we already know, and when “edgy” almost always boils down to the equivalent of somebody hitting themselves in the face with a hammer, it would be good to hear from somebody who’s got a pretty good bead on what we don’t know.

 

So, this is a pretty nice diversion, and probably a better use of your time than almost anything else recent that you could stream. But it would have been nice if it had a little more meat on its bones.

 

Big kudos, by the way, for closing with Randy Newman’s “I’m Different.” Falling on the heels of M. Ward’s close to Patton Oswalt’s Annihilation, it at least shows that comedians—or anonymous others at the production company or back at Netflix headquarters—have pretty good taste in music.

—Michael Gaughn

Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, marketing, product design, a couple TV shows, some commercials, and
now this.

Breeding “The Office”

making The Office

Contemplating The Office while writing it up for a Netflix Series of the Week, I was struck by its phenomenal bloodlines. While a bad or mediocre show can be the result of random accident (or a series of meetings with studio executives, which is pretty much the same thing), the best shows tend to come from lengthy breeding. And even a cursory look at the convergence of forces that resulted in The Office pretty neatly makes that case.

 

I’m not claiming my evidence is exhaustive. These were just some facts I stumbled upon while digging into the show’s history. There could be major gaps in my argument—I might be missing some major connections. But it doesn’t matter, because what little I’ve been able to put together, mostly out of sheer luck, is impressive on its own.

In the beginning was Spinal Tap—and in particular a DP named Peter Smokler, the former documentarian who pretty much singlehandedly created the mockumentary style that began with Tap, spread into TV with The Larry Sanders Show, and went solidly mainstream with The Office.

 

(The photo in my organizational chart/family tree shows Smokler holding up his legendary poor man’s Steadicam—otherwise known as rollerblades. Seems like money was always tight on the Sanders show.)

 

Garry Shandling’s Larry Sanders broke so much new ground it would take a whole series of posts just to list its achievements. But one of its greatest contributions was giving comedy-nerd Judd Apatowwho would rewrite the American-comedy rule bookhis first big break.

 

Sanders was also a training ground for a whole series of directors who would spread the faux-documentary style. One of the most accomplished was Ken Kwapis, who later did episodes of both Freaks and Geeks and The Office.

 

Joel Hodgson’s The TV Wheel always gets treated as a footnote (and is rarely seen) but when you consider its influence, it’s a hell of a big footnote. His somewhat clumsy attempt to regain his reputation after being ousted from MST3K, it’s a pretty funny stab at reinventing sketch comedy.

Two of its writers were Apatow and Paul Feig. Feig also performed on the show (which only lasted one episode), nailing it as the sleazy magic-catalog pitchman in the almost perfect “Pumpernickel.”

 

Feig and Apatow were the guiding forces behind yet another groundbreakingand at the time unappreciatedseries, Freaks and Geeks, which launched the careers of Apatow stock-company members Jason Segel, James Franco, and Seth Rogen. It also featured a series of cameos by Hodgson as the uncoolest hipster ever.

 

Of all the directors who did episodes of The Office—and there were some pretty big names, including Harold Ramis, Joss Whedon, and J.J. AbramsFeig probably had the biggest impact.

 

Geeks’ inspired casting was largely the work of Allison Jones, who did a similarly brilliant job on Arrested Development and on Apatow’s breakout film, The 40 Year Old Virgin. Her deft touch gathering ensembles got her The Office gig.

 

And Virgin was Steve Carell’s breakout film too, of course, which happened pretty much simultaneously with the debut of The Office.

 

Ricky Gervais’ original British Office series was obviously the basis of the American off-shoot, and Greg Daniels, who would produce, write, and direct episodes of the series, was mainly responsible for developing it for American TV. But if you want an explanation for why The Office is so distinct from Gervais’ series, and why it blew almost everything on TV out of the water, I don’t think you have to look any farther than the pedigree outlined here.

 

To study The Office is to cross paths with pretty much everything that’s been great in American comedy over the past 30 years. And that was no random accident.

—Michael Gaughn

making The Office

Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, marketing, product design, a couple TV shows, some commercials, and
now this.