16 Best TV Shows Similar to The John Larroquette Show

In one of A Man on the Inside creator Michael Schur’s previous series—The Good Place—there’s a moment when one character explains that, as humans, we all know that we will someday die. That means we all walk around a little sad, even during our happiest moments. That kind of melancholic joy is where his newest series dwells. It’s a show with lots of laughs, excellent characters, and the pervasive knowledge that there is an end somewhere out on the horizon. For most of A Man on the Inside’s characters, that end feels close indeed. That’s because the action primarily focuses on a Senior Living facility in San Francisco, Pacific View Retirement Community. That’s where private investigator Julie Kavalenko (Lilah Richcreek Estrada) sends her newest hire, Charles Nieuwendyk (Ted Danson). The mission is simple enough. Someone stole a necklace from Evan Cubbler’s (Marc Evan Jackson, doing WASP with a side of withering contempt as only he can) mother Helen (Danielle Kennedy). He wants it back and the thief hauled in. Charles, lost in many ways after the death of his wife, sees it as an opportunity to honor his daughter Emily’s (Mary Elizabeth Ellis) request he finds something to spark his passion. Julie thinks she can’t find anyone his age nearly as spry or capable of using a phone. Stephanie Beatriz and Mary Elizabeth Ellis discuss fashion and wallpaper. Specifically, how pastels and neutrals are great for both. (Colleen E. Hayes/Netflix) In other hands, this could be an invitation to a bunch of jokes about how older adults are weird and/or gross and/or dumb. Thankfully, Schur and his collaborators Emalee Burditt and Morgan Sackett are not other hands. While there are some “this person/these people are weird” bits, they’re personality, not age-based. The show doesn’t pretend the bulk of the cast isn’t seniors but they don’t use that to other anyone. That’s not surprising given Schur plays in the same kind of “humane, but hilarious” sandbox as Bill Lawrence (Scrubs, Shrinking), although Schur typically trends gentler and less ribald. Continue Reading →

Sometimes, there’s nothing wrong with a television show or film from a creativity or execution standpoint. Sometimes, it just has bad timing. It’s still unclear which--or how much of each--is true of St. Denis Medical after screening the six episodes (1-5, 7) provided to critics. Certainly, the series’ choice of the mockumentary with interspersed talking heads format does suffer for timing. There’s little to no freshness left in the approach made storytelling structure du jour back when the American incarnation of The Office entered its imperial era in 2006. While by no means ubiquitous, the subsequent critical and/or ratings successes of shows like Modern Family, Parks and Recreation, What We Do in the Shadows, and Abbott Elementary have made the subgenre’s pleasures familiar. That doesn’t mean it can’t work. After all, both Shadows and Abbott continue to be two of the more consistent pleasures on TV. But it does give a new show playing in that sandbox a bit tougher time. That acknowledged, the format still can give great performers an excellent stage. So St. Denis Medical’s sweet and pleasant but not hilarious vibes suggest that the familiar—perhaps tired—subgenre isn’t the only issue here. Of course, there might be a gulf between what appeals to this critic and what the show wants to do. At this juncture, it seems to be looking for a slower, gentler pace. A show that’s less a joke machine and more a “love and learn with laughs” style throwback. Lead nurse Alex’s (Allison Tolman) stymied efforts to get to her daughter’s musical in the pilot, capped by a milkshake and pep talk from veteran doctor Ron (David Alan Grier) supports this. Continue Reading →

Shrinking Season 2 picks up a bit down the road from where Season 1 ended in time, but it immediately reconnects with its final moments. That is when Jimmy’s (Jason Segel) client Grace (Heidi Gardner) took his guidance a bit too much to heart and violently interrupted the negative patterns in her communication with her husband. Speaking of picking up right where things left off, when I last reviewed the show? I was almost certainly a bit too harsh. Overall I recommended the series. Still, I spent much of the review vocalizing about the ways it didn’t get mental health concerns or therapy right. It can be hard to review something that revolves around your job. That’s why so many podcasters reviewing Nobody Wants This spend a considerable portion of their reviews talking about how unrealistic the show’s depiction of podcasting is. (That show’s depiction of Judaism is another matter, one I should’ve been a little more on top of, perhaps. But that’s a discussion for another day.) As I had just stopped being a therapist—perhaps for good—to write full-time, I think I was especially activated by the show’s rather…flippant depiction of the field. Jessica Williams and Christa Miller spend time in the most chaotic, best appointed therapist office ever. (AppleTV+) In Shrinking Season 2, several consequences of Jimmy’s “psychological vigilantism” come home to roost, not just with Grace. That helps refine my perspective. Additionally, with distance, the depiction of Jimmy’s rock bottom, briefly glimpsed at the beginning of Season 1, feels more honest. For once, it seems as though “tell, not show” was the better avenue to capturing his downward spiral of addiction, self-hatred, parental abdication, and general interpersonal awfulness. Continue Reading →

After six about 20-minute episodes of the Shane Gillis-Steve Gerben-created sitcom Tires, one can begin to understand why Netflix would want to work with him. He has a certain charisma and some acting chops. In one scene during the first episode, Gillis’ character, also named Shane, tries to snow a very unhappy reporter. In the sequence, Gillis has to convey to the audience that he doesn’t mean a word he’s saying and is using the moment to humiliate his boss and cousin Will (Gerben) while playing authentic convincingly enough that one can see why the reporter might fall for it. It’s not an easy lift, but Gillis makes it work. The story is fine enough for a hangout comedy. Will is a failure whose father owns several tire stores. Either as punishment or because it’s where he can do the least harm, Dad has exiled Will to manage one of the two lowest-performing branches of the chain. Physically slight and coded as a kind of nerd, Will doesn’t fit in with the mechanics, including their seeming ringleader, Shane. To save the shop and his job and earn his dad’s affection, he spends every episode of a “marketing” idea that derails spectacularly.  Catch a glimpse of Steve Gerben. (Netflix) The bad news is that, despite a sound enough premise, everything the show says or tries has the shape of jokes without actually including a laugh line. It’s the essence of humor without any of the pesky chuckles. Continue Reading →

Netflix’s new romance limited series offers a thoughtful, warm adaptation of the 2009 novel. The hook of author David Nicholls’ 2009 novel is irresistible. Readers catch up with two former classmates who are something more than friends but not quite lovers on the same day, July 19, every year from 1988 to 2008. It’s no wonder it has managed two adaptations in the 15 years since its release—first as a 2011 movie directed by Lone Scherfig from a script by Nicholls himself and now as a limited series created by Nicole Taylor, with only one Nicholls’ script among the fourteen episodes. Dexter Mayhew (Leo Woodall) is handsome, charismatic, and just rich enough not to worry about making a plan for his future. Emma Morley (Ambika Mod) is also quite attractive—although she can’t (or won’t) see it—and from a working-class background that makes her feel as though she can’t pursue her clear goal for the future: to become a writer. They travel in different circles, but on the night of graduation, they end up falling into her bed. While they kiss plenty, it never goes further, Emma preferring to chat despite her massive and evident crush on Dexter.  Continue Reading →

In 1983, a group of crooks broke into a vault at the Heathrow International Trading Estate in London, patrolled by Brink’s Mat security conglomeration. The Brinks company was already famous for a famous robbery, one that was carried out in the '50s in the North End in Boston, an incident that turned into a charmingly strange movie by William Friedkin in 1978. Continue Reading →

At the end of Minx’s first season, setbacks and rivalries split the Bottom Dollar team apart. Doug (Jake Johnson) and Tina (Idara Victor) still have the company but no Minx or resources to print the magazines they retain. Joyce (Ophelia Lovibond) has the Minx name and rights plus centerfold towards Jack of All Trades Bambi (Jessica Lowe) and photographer Richie (Oscar Montoya). Continue Reading →

Unstable appears to be a deeply personal show for lead actor and co-creator Rob Lowe. After all, it revolves around a father/son duo played by Lowe and his real-life son, John Owen Lowe. Rob Lowe’s headlined worse stuff than this, for sure. Nonetheless, you’d think a series that seems rooted in something this personal would be more engaging to watch. At least, it might take some bold swings. Tragically, Unstable is a mostly just average comedy that leaves little in the way of an impression for good or ill.  Continue Reading →

Considering the number of statues, attention, and fans the series has collected over two seasons, it may feel odd to call Ted Lasso Season 3 a chance at a comeback. However, given the backlash that seemed to accumulate during the back half of the second season, it isn’t entirely off the mark. Viewers and critics (not this one, make of that what you will) expressed frustration with the show’s messier tone and longer episodes. Additionally, even as the show pierced it, people’s appetite for Ted’s (Jason Sudeikis) positivity had rapidly grown thin in some quarters. Continue Reading →

There is something delightfully ghastly about Netflix fictionalizing the existence of that last Blockbuster location on Earth. It’s the streaming equivalent of you or I parading the carcasses of our slain enemies through the town square. Alas, this “really rubbing salt in the wound” touchdown dance of a move is about the only thing unique about the sitcom. Continue Reading →

Hulu’s new series How I Met Your Father attempts to recreate the magic of the - wait for it! - legendary status of the original series How I Met Your Mother (HIMYM for short). This update proves a nostalgic ride for fans of the original series and an enjoyable journey for newcomers, even if it lacks some of the fresh qualities of its predecessor.   Continue Reading →

The formula isn’t a new one: the hot, hyper-competent wife who gave up her master’s track to marry the boorish, underachieving man-child. Just add three cameras and some annoying in-laws/neighbors, and you could be watching King of Queens, Everybody Loves Raymond, or (God forbid) According to Jim. Some shows have put a unique spin on the formula, the most successful being Gloria Calderon Kellett’s One Day at a Time reboot. But overall, when you see a three-camera sitcom, you usually know what you’re getting. It’s like gas station coffee or dinner at Applebee’s. It’s just there. Continue Reading →

NBC’s streaming app Peacock plays a strong hand in the nostalgia game. It’s the streaming home of The Office. It’s rebooted sitcom classics like Saved by the Bell and Punky Brewster. Adding to the nostalgia trip is its new original comedy Girls5eva. Created by Meredith Scardino and executive produced by Tina Fey and Robert Carlock, Girls5eva might first look like pure bubblegum pop fluff, but it digs deeper as a comedic exploration of pop music’s problematic past. Continue Reading →