Chaotic driving tests, a broken HVAC system, a barrage of sweaty, miserable people: this sitcom takes us to the lowest depth of humanity — the DMV.
The new CBS series comes to you from Dana Klein, known for writing for series like “Friends” and “Kath & Kim.” This time, Klein has just missed the mark.
From a painfully unfunny, self-deprecating main character to a jagged and abrupt plot, this show just can’t seem to get it right.
Set in an unremarkable East Hollywood DMV, the show follows the cast of colorful characters and among them, a five-year veteran driving examiner named Colette, played by Harriet Dyer, who is established as the main character.
Dyer does what she can, but acting can only go so far in compensating for bad writing.
Every moment Colette is on screen, something embarrassing or awkward happens to her. Self-deprecating humor is only funny for so long before it becomes annoying and depressing; this sitcom has yet to find the balance.
The plot around Colette’s parasocial relationship with the new hire, Noa, is weak and repetitive. Her fixation on him lasting for the entirety of the first episode comes across as more creepy than amusing. Not to mention, it gets old fast.
In the second episode, Colette attempts to get a date with Noa under the guise of helping him foster a dog, sketchy behavior from an annoying, obsessive character.
The only character I found to be somewhat enjoyable was the new office manager, Barbara.
In the first episode, Barb begins her first day on the job and is thrown right into the middle of conflict as she is faced with government consultants, who are evaluating the four local DMV branches, determining cost-cutting measures, including the threat of closure or full automation.
Molly Kearney does an incredible job playing the relatable, overworked employee-turned-boss.
As she is faced with the evaluation, and the later HVAC system failure during episode two, Barb’s dramatic expressions and chaotic personality brought the only real laugh I had while watching.
The show aims for mockumentary-style workplace absurdity but ends up feeling more mean-spirited than witty.
Worse yet are the misplaced and overused innuendos. Vic, the office pervert, has no problem making everyone in the office, and everyone watching, uncomfortable with these innuendos.
And the attempts at a comedic, edgy tone fail. The screen writers don’t know when jokes should happen or when to end them.
When compared to some of the classics — “The Office” and “Parks and Recreation” for example, this sitcom just doesn’t hold up: it’s mediocre comedy from a mediocre show.
To borrow from Ron Swanson himself, “I don’t want to seem overdramatic, but I don’t really care what happens here.”