teddyhose
Joined Sep 2012
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teddyhose's rating
I love Martha Kelly and wanted to see her at her best in this leading role. But while I appreciate the message, emotional crescendos, and unique character design, boy does this series posit a very all-or-nothing, - as someone said in the user review here titled "Boring and superficial" - "American" way of interpreting life.
It does feel very much for the type of person who most American media and ads cater to, the person whose life is either work or play in a polarized sense, and assumes the same for everyone else who maybe don't fit that same mold. It wants to be diverse but falls on outdated tropes, as Black characters are either the service person in a throuple, the sassy coworker, or Somalian pirates, for example. It wants to be enlightening, but the setup is a little too, again, polarized in presenting all-or-nothing characters and situations. So it has to drag you way down first to then enlighten you with some type of healing message, which feels like an infomercial with a dramatic display of inconvenience in the "before" scene, followed by the person's life changing by the "after" product being sold. "Is this you?" Not really.
The last episode (not a spoiler) centers on a Scrooge-type character building a report on how feeling is suspicious and nefarious, and it's like really? Ok, One Flew Over the Cuckoo's Nest, Animal House, Brazil, etc. Wannabe. Again, it feels kind of outdated in its setup of a cold, unfeeling world.
There's just too much sensationalizing of emotion here for me, instead of believable, realistic nuance, besides a few strong moments like the climax of the hiking sisters episode, for example. Some of us know how to be sad without making it so on the nose, and that's how we deal with it, with a dark or self-deprecating humor for example. It's what makes comedians like Martha Kelly or Conan O'Brien so lovable and relatable. It feels like the creator chose her for that element, but didn't really know how to allow it to take the lead.
No, he had to make the literal end of the world happen so he could cheer everyone up at the end. And that's giving, dare I say, toxic positivity vibes, tbh.
It does feel very much for the type of person who most American media and ads cater to, the person whose life is either work or play in a polarized sense, and assumes the same for everyone else who maybe don't fit that same mold. It wants to be diverse but falls on outdated tropes, as Black characters are either the service person in a throuple, the sassy coworker, or Somalian pirates, for example. It wants to be enlightening, but the setup is a little too, again, polarized in presenting all-or-nothing characters and situations. So it has to drag you way down first to then enlighten you with some type of healing message, which feels like an infomercial with a dramatic display of inconvenience in the "before" scene, followed by the person's life changing by the "after" product being sold. "Is this you?" Not really.
The last episode (not a spoiler) centers on a Scrooge-type character building a report on how feeling is suspicious and nefarious, and it's like really? Ok, One Flew Over the Cuckoo's Nest, Animal House, Brazil, etc. Wannabe. Again, it feels kind of outdated in its setup of a cold, unfeeling world.
There's just too much sensationalizing of emotion here for me, instead of believable, realistic nuance, besides a few strong moments like the climax of the hiking sisters episode, for example. Some of us know how to be sad without making it so on the nose, and that's how we deal with it, with a dark or self-deprecating humor for example. It's what makes comedians like Martha Kelly or Conan O'Brien so lovable and relatable. It feels like the creator chose her for that element, but didn't really know how to allow it to take the lead.
No, he had to make the literal end of the world happen so he could cheer everyone up at the end. And that's giving, dare I say, toxic positivity vibes, tbh.
I like how I was not ready at all for Joe Pera Talks with You on Adult Swim, waiting for the Too Many Cooks-like twist or to find Pera coming out of character in an interview somewhere on YouTube. Like the Rickroll, where what started as a joke turned into Rick Astley tour dates for a new generation, Adult Swim seemed to have recognized it was time for something genuine.
It goes without saying that Joe Pera marked a turning point. Whereas Adult Swim tended to go for offbeat, grotesque, and/or brash humor, Pera hit the reset button to keep the program evolving.
It reminds me of how Miles Davis did the same with a restrained, ambient approach to jazz, adding space to the scene after a wave of fast-paced, fluttering notes a la Charlie Parker and the like. Slint leaned into the heaviness of spoken word and bassy tones, toward the end of the 80s hardcore punk era with bands barking through guitar distortion. Even in ancient Greece, sculptures fluctuated through fantasy and realist periods through their grandiose vs. Lackluster poses.
Once the loud performers exhaust their audiences, the quiet ones cautiously walk on stage to remind them to visit the people they are beneath the ringing in their ears. That would be one Joe Pera.
It goes without saying that Joe Pera marked a turning point. Whereas Adult Swim tended to go for offbeat, grotesque, and/or brash humor, Pera hit the reset button to keep the program evolving.
It reminds me of how Miles Davis did the same with a restrained, ambient approach to jazz, adding space to the scene after a wave of fast-paced, fluttering notes a la Charlie Parker and the like. Slint leaned into the heaviness of spoken word and bassy tones, toward the end of the 80s hardcore punk era with bands barking through guitar distortion. Even in ancient Greece, sculptures fluctuated through fantasy and realist periods through their grandiose vs. Lackluster poses.
Once the loud performers exhaust their audiences, the quiet ones cautiously walk on stage to remind them to visit the people they are beneath the ringing in their ears. That would be one Joe Pera.