‘Edgy Laughs’ Review: Nathan Lane and Matt Bomer Star in Hulu’s Cutting-Edge 1987 Comedy
The architecture-inspired title of Hulu's Mid-Century Modern , a sitcom that has virtually no connection to architecture, brings forth an atmosphere that feels both vintage and contemporary, steeped in nostalgia but still very much relevant today, lagging slightly behind the cultural trends yet remaining perpetually fashionable.
Even though the title doesn’t have much to do with the show’s plot, it’s clear why producers Max Mutchnick and David Kohan were drawn to it. Mid-Century Modern is a stylistic homage to the most classic multicam setups from the '80s and '90s, which were popularized by the renowned James Burrows. Here, under his direction, this style has been updated for today’s more forward-thinking and casual streaming landscape.
Mutchnik, Kohan, and Burrows pioneered new territory with Will & Grace , but like the Soap In the 1980s, they encountered numerous obstacles due to the state of broadcast television at the time. Regardless of their vintage approach, Mid-Century Modern It’s straightforward to recognize the freedom its makers experience by seemingly having no restrictions, in completely abandoning double meanings and wordplay, and simply starting with the punchline, “You don’t seem sad; you just appear as an unwilling participant.”
Will Truman would absolutely never do that. I mean, Jack likely would.
It happens that what Mid-Century Modern Lack is, well, grace. Not the character portrayed by Debra Messing, but that air of near-elegance which used to accompany the farce. Will & Grace At its height, with no limitations or constraints to artisticly twirl around, Mid-Century Modern turns out to be straightforward yet uninteresting, sometimes venturing into innovative territory, but mostly relying on its outstanding ensemble to make up for tired and foreseeable jokes through their unwavering dedication and high spirits.
The hesitant participant in this scenario is Nathan Lane's character, Bunny Schneiderman, who finds himself grappling with the challenge of expressing his sorrow during the memorial for his long-time friend George. Bunny, along with George and their previous Vogue Fashion columnist Arthur (Nathan Lee Graham) and flight attendant and former Mormon Jerry (Matt Borer) were once an unbreakable duo, but over time, distances, and with the loss of George, they've grown distant from each other.
Feeling isolated and concerned about who will clear his internet browsing history posthumously, Bunny extends an invitation to Jerry and Arthur to move into his residence in Palm Springs. Together, they’ll create their own familial bond and mutual support network, overseen by Bunny’s outspoken mother, Sybil (played by Linda Lavin). Known for her unfiltered remarks and knack for concealing her son's cherished Fig Newton cookies, she adds a distinctive flavor to their household dynamics. Motivated by individual circumstances as well as plot-driven necessities, both accept his offer.
Lavin died in December Having finished three-quarters of the season, it falls upon Mutchnick and Kohan to pay tribute to the revered stage and screen icon through the appropriately solemn and moving piece titled "Here's to You, Mrs. Schneiderman."
The show had up until then been a warmly depicted homage to the bold brass notes. Alice The star, known for their precise put-downs and sharp compliments, elicits loud laughter from an admiring crowd with each line. Should the show aim to evoke nostalgia for classic TV comedies, this performer delivers a role worthy of numerous supporting-actress Emmy victories—a feat she might well achieve today were it not for fierce competition reminiscent of the talented actresses from the 1980s. The Golden Girls , a show Mid-Century Modern Is making a strong effort to imitate. It remains uncertain whether her emotions will lead to one final nomination, but there's a balanced mix of joy and sadness in witnessing Lavin perform so admirably at this stage.
On the
Golden Girls
Firstly, Bomer’s portrayal of Jerry mirrors Betty White’s depiction of Rose, but replaces her tales of St. Olaf with anecdotes from his Latter-day Saints background. This highlights the challenge of crafting a character like Rose—innocent yet perceptive—as Jerry appears more as an accumulation of quirky idiosyncrasies rather than a fully realized individual.
Interestingly, despite not being inherently suited to sitcom acting, Bomer delivers commendable performances once he moves beyond the weak “amiable bumbling” jokes that fail to engage even the viewers. Prior to Lavin's untimely passing casting a shadow over the latter part of the season, the most emotionally resonant moments arise from Bomer’s work. His character enjoys heartfelt interactions with a closeted young Mormon and shines particularly brightly in an episode where Billie Lourd plays his estranged daughter.
Graham and Lane adapt easily to the style, delivering every punchline forcefully as though they take pride in presenting jokes about pillow queens, starfishing, and a bar called Fisty’s. Their humor aligns closely; one compensates for hidden self-doubts through excessive confidence, while the other amplifies external uncertainties with added layers of Jewish stereotypes. There's genuine chemistry among the trio, but their habit of having Lane, Bomer, and Graham perform meticulously planned musical numbers at the end of episodes grows tiresome swiftly. A cold open paying tribute to Chicago elicited the loudest chuckle throughout the 10-part series.
The main actors, along with the skilled professionals directing behind the scenes—additional producers include Ryan Murphy, Don Roos, and Suzanne Martin—are attracting such a notable ensemble of guest stars. Pamela Adlon particularly shines in her role as Bunny’s sister (a part that one can imagine could easily be expanded into a recurring position should a second season occur). Other familiar faces like Richard Kind, Judd Hirsch, and Rhea Perlman add to this appealing lineup. Stephanie Koenig stands out similarly. English Teacher results in a less impressive cameo as a parody of a Republican congresswoman, with her single episode clearly demonstrating that this series excels at humor unrelated to current issues.
Instead, Mid-Century Modern feels more comfortable with straightforward, scenario-based storylines. One episode takes place predominantly in a bar (or “typical bar setting”) in Fire Island, another unfolds during a cross-country flight (or “standard plane setup”), and several others feature scenes where the group hangs out at Bunny’s home in Palm Springs, which appears to attract many attractive men that they chase after in what is intended to come across as endearingly aggressive behavior. My observations focused more on amusing actions performed by the main actors rather than humorous elements crafted by the series itself; quite a number of episodes falter due to recurring jokes and repetitive content, failing to escalate the comedy into a satisfying finale.
The series is committed to showcasing genuine emotion, pausing the comedy at various moments to emphasize heartfelt scenes that can be summed up with, "We've been through a lot to reach this point where we can genuinely find humor in these situations without pretense." This approach is certainly valid! Mid-Century Modern Perhaps the most outstanding show from 1987 that could not have realistically been produced during that year. It fills a cultural gap in a manner that signifies both progress and regression simultaneously, though likely leaning more towards the latter.
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