Given that it was her shingle for 20 years, Comedy Central has sent surprisingly little straight up comedy. But with the "Big Lake" network down his old school - I think this is the phrase - with multiple cameras, shot-before-and-audience and / or laugh-tracked a series in which the characters take the usual three-walled space sitcom: living room, kitchen, a workplace and a place where people eat and / or drink.
Chris Gethard is the prodigal hand, a scholar of Wall Street, which was more an idiot, bankruptcy of his bank and his own parents in one fell swoop. Now he plans to sleep on the couch until he pays them back, a prospect that would drive him and his comrades worked comedy - Horatio Sanz and Chris Parnell, former castmates on "Saturday Night Live" - to what are known in the trade as "harebrained schemes".
The tradition only goes so far here, however - not surprising, given that the series executive producers of Will Ferrell and Adam McKay. (Besides, they are for "Eastbound and HBO in the Down", another show on his return home in disgrace.) Like most of Ferrell's own work, this is a fairly abstract comedy about a male child communication, and to the extent that sense raises his head, this is only for the fact that it can be kicked down. You really do not feel for any of these characters, but you should not. They walk to the jokes.
Gethard has distracted naive animation that reminds me more than any man I know SpongeBob. Because it is convenient disillusioned former history teacher, Parnell embodies another pervert smooth, and Sanz, 100 kg lighter than the "SNL", is an energetic dope who gets the most return from the lines. (From the final day: "She fell ill at the last minute, so she had with somebody.") And their relationship once the situation is moving, is attractive, if not entirely convincing, but what sold me on this experiment when 14-year-old Dylan is Blue, but for his brother's right-child Gethard, revealed its dark side, and a gun, and I was a little scared.
Traditional to its core and its cast of ABC Family "Melissa and Joy," with the participation of former child star Melissa Joan Hart of "Clarissa" and "Sabrina, the Teenage Witch", and Joey Lawrence of "Blossom." Indeed, a number almost provocative use of space as old as toothpaste, and two children suddenly in the care of a relative ill-equipped to care for them. Hart's aunt, who takes them, its dual character is just a choice between the shoes: "Smart They say, independent, bright political future, they say, 'the former bad girl - she was back." Lawrence is in charge of Charles work, going to put order in chaos and in pairs with Hart.
I admit that as a fan of "Clarissa" and "Sabrina" - although frighteningly far beyond the target audience - I was a little dope when it comes to Hart, I screamed in my heart when I first heard about this show. It may not be destined to play Lady Macbeth, or even Rosalind, but she can decorate the TV screen. The sense of comic tunes sure, for instance, when she becomes the guardian of the stakeholders of a teenage girl when he heard the call: "This is your education, nothing is more important - Oh, it's my day!" At the same time it preserves the form of embarrassment, that, although he stops her to become completely invisible in its parts, but also keeps its recognizable and real.
Old chestnut room, however, show wanted to be modern and humor sometimes pushes farther than you would expect from a family comedy: a wretched joke niece Hart is in trouble for writing poems, rhyming the name of the principal in a creative way that has not passed and Miss Lant. He caught me short. Nevertheless, I'll watch it again.
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