"It's the relatability of people sanded down by capitalism, forced to go into cubicles or other office spaces in the same way that so many viewers do every Monday, and it usually allows for a bit of perspective. Think your job sucks? At least you don't work at the DMV. That's the setting for what's almost certain to be a hit for CBS, one of the few places a half-hour comedy can still register respectable numbers."
"That underrated and consistently funny NBC hit balanced the drudgery of working at a big box store with the relatable characters who need that job to make ends meet (and, like the creator's very funny "St. Denis Medical," was a subversively pointed show in terms of social commentary). "Superstore" used encounters with customers as sort of quick punchline asides, cutting to them for a laugh before going back to the main cast. "DMV" works the same way with people at this Hollywood Department of Motor Vehicles just for an hour or two used as humorous tangents to the main plot."
DMV is a workplace comedy set in a Hollywood Department of Motor Vehicles that mines the dreariness of service jobs for humor and perspective. The show centers on three DMV employees and uses the customers as brief comedic tangents around the main cast. The tone recalls Superstore with its balance of drudgery and empathetic, relatable characters who need their jobs to get by. Early episodes rely on some familiar, less effective jokes, but the series demonstrates confidence after only four episodes. With refinement of its strengths, the show could become a regular CBS half-hour staple.
Read at Roger Ebert
Unable to calculate read time
Collection
[
|
...
]