What ever happened to shows about nothing? Somewhere between a “yada yada yada” and “We were on a break!” sitcoms became more than just TV shows — they became part of the way we see the world. Sitcoms didn’t need cliffhangers or crazy plot twists to keep us coming back. Instead, they were built on ordinary late night conversations, awkward pauses and friendships held together by nothing but takeout boxes and excessive inside jokes.
The magic of sitcoms was found in the in-between. We laughed at the same characters week after week because they weren’t trying to be heroes or villains. Instead, they were scattered, relatable and defined by their quirks — Monica Geller’s obsessive organizing, Michael Scott’s painfully confused leadership or George Costanza’s continuous misfortune. Sitcoms argued about nothing, solved problems that didn’t need solving and turned everyday awkwardness into unforgettable television.
However, somewhere along the line, sitcoms started to shift. Maybe it was the pressure to be even bigger, flashier and more clever. Or perhaps charm isn’t something you can manufacture. Newer sitcoms often lean on over-complicated setups, forced humor or shallow characters.Whatever the reason, the sitcoms we keep coming back to hold something more simple — a little messiness, a lot of heart and a reflection of the connection and humor that made us fall in love with them in the first place.
Sitcoms are famous for their unique structure with key characters that carry throughout the seasons. Each episode is an array of skits. The storylines don’t need to build on each other and characters don’t often learn from their mistakes. In the classic “Seinfeld” series, Jerry remained selfish, Kramer remained problematic, George remained a cheapskate and Elaine remained mean-spirited throughout the entire show, cementing their iconic, realistic personalities.
Through the episodes, viewers and fans fall in love with the predictability of the plotline and their beloved characters.
“When I’m sick, I’ll watch ‘Friends,’” said senior Nola Stryker. “It’s just something that I find nostalgic.”
Sitcoms are the ultimate comfort show. Whether you’re sick or bored, everyone has a favorite show that they turn to and for many of us, that’s sitcoms.
“I view some of them as comfort viewing, if I just want to watch something familiar and lovely,” said former AP Seminar and Research teacher and librarian Eila Overcash.
The rewatchability of the genre is something that continues to be unmatched. Few other genres are as relatable, entertaining and consistently funny as sitcoms. A favorite episode can be rewatched countless times and it somehow never fails to provide the same cozy feeling experienced on the first watch. Barney Stinson from “How I Met Your Mother” will still be trying to pick up a girl and Micheal Bluth from “Arrested Development” will still be trying to keep his family together no matter what. Sitcoms are nothing if not reliable.
At their best, sitcoms felt effortless — characters we knew, and stories that didn’t have to try too hard. But now, new shows seem to overthink every punchline, trying too hard to chase the trends rather than featuring the simple charm that made previous sitcoms unforgettable.
Take reboots, for example. “Fuller House,” “That ’90s Show,” “Friends Get Together” and many others have all followed the same dead formula. So now that shows like “Modern Family” are facing speculations of a sequel, and it’s hard not to question if the magic will fade.
Reboots aim to bring back the magic of their originals, but more often than not, miss the mark entirely. More and more studios lean on sequels and old familiar titles instead of trying out something new. The results: watered-down and off paced sitcoms. Nostalgia can really only go so far. If sitcoms want to matter again, they should stop looking back and start finding a new rhythm.
But the current rhythm seems flawed. Modern sitcoms like “Young Sheldon” and “Abbott Elementary” are decent but they could never fill the footsteps of legendary past series. Recently, “A Man on the Inside,” a new sitcom, hit Netflix. The show stars Ted Danson who plays a retired professor turned undercover detective in a retirement home. Although Danson is a sitcom legend, his new show didn’t live up to the usual standard set by his role in “The Good Place.” While the concept was amusing, the show wasn’t worth the time.
“[Modern sitcoms] can feel really overdone and fake to the point where [they’re] not funny,” said Stryker.
These new series are not only lacking good humor but they seem incredibly stiff. Writers seem to now be relying on exaggerated jokes and overly quirky characters to replace their declining creativity.
Unfortunately, when watching new shows it’s becoming more evident that jokes are declining and characters are falling apart. Sitcoms once mastered the art of finding humor in everyday life. Perhaps the future of the genre lies in rediscovering that simplicity — balancing humor, heart and relatability.
