After Dramatic Roles, Matt Bomer Finds His Comedy in 'Mid-Century Modern'

Matt Bomer is hilarious. Actually, he's really amusing.

You can be excused for not truly connecting the "White Collar" and " Fellow Travelers an actor known for their humorous side, however.

I have acquaintances from my college days who were surprised when I jumped into the world of theater right after graduation," he shares with me. "They would say, 'Wow, what’s going on?'

Which, to be honest, might be the question both fans and critics are pondering as they spot Bomer in advertisements throughout the city promoting Hulu’s newest multicamera sitcom, " Mid-Century Modern .”

In this week's episode, which premieres on Friday, Bomer appears alongside Nathan Lane, Nathan Lee Graham, and the late Linda Lavin In a comedy set in Palm Springs, crafted by "Will & Grace" creators Max Mutchnick and David Kohan, the storyline revolves around a straightforward concept. After losing their dear friend George, Bunny (played by Lane) invites his buddies Arthur (portrayed by Graham) and Jerry (acted by Bomer) to move into his extravagant desert house, which is reminiscent of one inspired by Dinah Shore, along with his mother Sybil (characterized by Lavin).

Amidst the laughter from the canned laughs, physical comedy gags, and snappy banter ("In Palm Springs, everything is so flamboyant that even the Joshua Trees seem gay!"), this endeavor marks quite a departure for an actor known for portraying complex LGBTQ+ figures in works such as "The Normal Heart," "The Boys in the Band," and "Doom Patrol."

While enjoying coffee at Café Gratitude in Larchmont on a pleasant, sunlit Sunday, Bomer openly discusses what initially attracted him to "Mid-Century Modern."

I feel extremely thankful for having had the opportunity to play these wonderful characters who delve into themes of repression," he remarks. "There’s nothing I’d rather keep doing, and I aspire to take on similar roles again sometime in the future. However, following 'Fellow Travelers,' I recall reflecting that I must venture into comedy next; laughter seems essential now. It appears my motivation stemmed quite personally from this desire.

The initial concept for "Mid-Century Modern" was described as "the gay 'Golden Girls.'" The pilot episode envisioned three elderly gay men residing together in Palm Springs, forming a selected family similar to what was shown in another popular series from the 1980s set in Miami, which had already been perceived as having strong undertones of LGBTQ+ themes. During discussions about casting Jerry’s part with producers Mutchnik and Kohan, fellow producer Ryan Murphy suggested including an unforeseen candidate: Bomer.

Years back, when Lane initially encountered Bomer, his publicist, Simon Hall, was starting a relationship with the actor (they've since gotten married). Lane recalls making a joke to Hall at the time, saying something along the lines of "You can never complain about anything ever again," as he reflected on how friendly and pleasant Bomer seemed. However, introducing an actor who is significantly younger—Bomer being 47 compared to Lane’s 69 and Graham’s 56—seemed likely to drastically change the essence of the series.

I was thinking, 'Wait, what? Am I supposed to play his grandfather?'" remarks Lane with a seasoned touch of self-mocking humor. "What am I getting into here? However, Max and David have previously collaborated with Matt on 'Will and Grace' and really enjoyed working together. After considering this, I felt somewhat uneasy. Are we turning into the Golden Girls? Or should we not?

It was a valid question, which both creators grappled with.

Max and I had a discussion, and we thought, 'Why not make him 63, with the persistent joke being that among his group of friends, he appears to be only 45?' " explains Kohan. However, they quickly discarded this notion as it seemed too much like a single-gag concept.

Rather than keeping him as an ex-boyfriend, they transformed Jerry into a younger romantic partner who joined the friend circle post-breakup with George. Now, Jerry’s innocent enthusiasm, filled with youthful curiosity, became not just about perspective but also age dynamics.

A former Mormon named Jerry starts each day with an upbeat attitude, often dressed in snug T-shirts and brief shorts. He serves as the unwitting core figure of the series. This adds contrast to Arthur’s understated wit, Bunny’s frenetic behavior, and Sybil’s sharply sarcastic personality.

The creators based Jerry’s character on figures such as Rose Nylund, Edith Bunker, and Woody Boyd. Consequently, before starting production, Bomer adhered strictly to his preparation routine. He explains, "I limited myself to watching just three episodes of 'The Golden Girls,' three episodes of 'All in the Family,' and three episodes from the season when Woody appeared on 'Cheers.'"

Just three? He elaborates, "I wanted to be inspired by and show respect through tribute, without simply reproducing them."

Be it losing composure during pickleball games or being smitten with Donny Osmond — besides energetically busting moves to Salt-N-Pepa tunes and charmingly interacting with an attractive younger beau — Bomer’s character Jerry combines whimsicality with stability. This aligns well, as his profession is that of a flight attendant.

That speaks volumes about him," Bomer states. "He frequently motivates everyone else to venture out into the world and take action. He doesn’t wish to remain idle in the desert. Instead, he desires an exhilarating existence filled with adventures like visiting Fire Island or attending concerts. More often than not, he’s the catalyst who leads them into wild situations.

While the title might evoke memories of past eras, "Mid-Century Modern" feels quite current. As Bomer explains to me, this isn’t your parents' multi-camera sitcom. He notes, “The dialogue sounds just like how my friends speak.” Furthermore, it doesn’t shy away from incorporating R-rated material, presenting complex dimensions for its characters.

However, despite setting up a "Queer Holiday" romance in the pilot episode and having characters discuss this topic, PrEP And when it came to topics like promiscuity, there was one joke that stood out as being particularly risqué—it revolved around a well-known figure in the drag community. Coco Peru (acting as a motelier), a fragile Jerry, and a cocktail that resembles a gin fizz. This segment was also Bomer’s most cherished part of that initial episode.

“He’s the type of character who appears incredibly gracious, kind, and optimistic on the surface,” he explains. “However, if you delve deeper, he tends to crumble quite quickly. At this moment, Arthur is prompting him to examine his inner self more closely. This leads to a breakdown where Jerry ends up spilling his drink all over himself.”

Muthnick and Kohan were equally saddened by the departure of the scene since it encapsulated in microcosm the comic antics that Bomer was tasked with executing throughout the series' initial season.

Mutchnick remarks, "I occasionally refer to Matt as a triple Lutz performer." He adds, "The level of challenge involved is quite significant. Not only does he interpret the material accurately, but he also needs to execute physically demanding tasks. Furthermore, his exceptional talent allows him to add an extra layer of interpretation. This multifaceted approach earns him impressive scores."

As Graham articulates, Bomer "possesses the skill to put himself in awkward situations and be entirely frank and utterly vacuous. Yet, he portrays that naivety exceptionally well."

However, occasionally a high-scoring move needs to be eliminated.

"It was a compromise with the studio," Kohan states.

However, the mere existence of "Mid-Century Modern," both in writing and performance—which garnered significant laughter from audiences—indicates its progressive nature. This is precisely why Bomer, who has spent years immersed in era-specific productions focusing largely on closets and traumas, finds himself so comfortable among this uproariously humorous group.

Furthermore, Bomer’s wish to explore comedy and celebrate queerness became even more pressing and essential than he might have imagined. They not only filmed an episode on election night but also had to address Lavin's passing over the holiday period. (This tragedy necessitated reshaping the final three episodes, resulting in the season finale being renamed "The Show Must Go On.")

Juggling both performing and internalizing it simultaneously is not an experience I would impose on anyone," Bomer states. "We will certainly miss her. Her leadership was marked by a serene, humble, and poised elegance. She didn't get caught up in her own methods; she focused on being part of the group. Even now, it feels surreal when I think about it honestly. The whole situation was deeply distressing, but I am grateful for our mutual support during this challenging time.

Adding to that the challenge of working through the wildfires that scorched Los Angeles in January, you end up with a wildly amusing sitcom coming into existence amidst extremely difficult conditions.

As he reflects on this wild journey, Bomer, characteristic of Jerry, displays an equally wistful and optimistic outlook.

He mentions that it helped him maintain an open heart," he states. "It feels as though I approached this entire experience akin to a playful puppy, much like a golden retriever—enthusiastic and eager to collaborate with my role models. Over the period of shooting, the world gradually took on increasingly dystopian undertones reminiscent of Orwell’s narratives. Hence, having a character who compelled me, even for part of each day, to remain emotionally accessible, view circumstances optimistically, and sustain enthusiasm and positivity proved very healing.

This tale initially surfaced in Los Angeles Times .