Like most freshman comedies, Selfie is still going through some growing pains, stresses very much apparent in both of tonight’s episodes, “Even Hell Has Two Bars” and “Never Block Cookies”. Being two episodes created to a single writer (Brian Rubenstein), the strengths and flaws of both half-hours are remarkably similar – and as Selfie heads into uncertain waters regarding its future, act as great litmus tests to the show’s development into a three-dimensional series.
The biggest benefits to both episodes are when they pull back from Henry and Eliza a bit, giving life to characters like Sam and Terrance, while giving the show a chance to pull away from the central protagonists of the show. The central pair of Selfie still need a few tweaks to their current dynamic, which often forces the romantic comedy agenda on them at inopportune and/or painfully obvious moments. Although I appreciate Henry and Eliza joking about him riding up on a white horse, the show still took it kind of seriously, which is as disappointing as its abrupt walk-backs from scenes and situations that force both characters to contemplate their feelings for each other. There’s nothing wrong with telling a cliched love story, as long as it’s told in enthusiastic, satisfying fashion: right now, their budding “like like” (to borrow a phrase from Ted and Gooch) reeks of thumb-twiddling delay tactics, like the guy Eliza is sleeping with all of a sudden (Freddy, I think his name is?) or whatever female Bizarro version of Henry he nearly Uber-jacks on his way out of the bar in “Never Block Cookies” (the visual gag of a bar full of Charmoniques and Elizas was a great one, as well).
And while we’re on the topic of ‘Uber-jacking’, Selfie is still trying to be too cool for its own good, bringing back the social media logo bubbles in “Never Block Cookies”, and refusing to back away from silly terminology (like… Uber-jacking). There might be some people who use these phrases, but we’re all selective: nobody is popping off catchphrase after trendy catchphrase, stopping briefly only to breathe before the ‘trendy’ words come spewing forward again. Selfie‘s reflections on social media are best when they are quiet, like Henry and Eliza missing an opportunity to emotionally connect when their cell phones finally receive service at Casa del Saperstein, the first time in the whole series it felt like the arbitrary moment that keeps them from making out had a point, or reflected on something interesting.
That being said, there’s still plenty to like in both of these episodes, headlined by David Harewood’s larger presence in the episodes as Sam, who turns out to have a super-massive mansion and a very “new-age” approach to life. Sure, it’s easy, cliche humor, but there’s no denying the pleasure of watching him welcome random workers with a song and dance when he discovers Charmonique is not around (“Who will say hello to everyone? Who will I say hello to?” he wonders out loud) or awkwardly tries to find out if Henry has had any STD’s. They even find some pathos for the character, introducing his son-in-law (Samm Levine) as the son-in-law he doesn’t really want, but begrudgingly is accepting into his family and business – although again, sometimes it does feel like the show is pushing a story that can be told effortlessly by a show writing with confidence.
In other words, Selfie is slowly growing out of its premise, led by John Cho’s measured performance and Karen Gillan’s wild energy in the lead role (does she ever not wear black leggings or stockings, by the way?). There are tons of great gags in these episodes, be it Sam’s home or the evolution of Eliza’s outfit in “Hell” from business attire, to casual wear, to swimsuit, slowly removing pieces of clothing around the central piece. Its touches like those that really fuel these episodes beyond the average, fairly predictable plots – “Never Block Cookies” more so than “Even Hell Have Two Bars” – interspersing just enough personality from the supporting cast to keep it from feeling like two episodes going through the predictable motions of a romantic comedy. The ratings aren’t great, but the show’s creative potential still remains bright – let’s hope the show’s around long enough to fulfill it.
Photo via ABC
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