Awards Daily’s Megan McLachlan examines why TV Comedy’s third season has become so pivotal for a show.
It was only a year ago that Ted Lasso‘s third (and final?) season left some fans and critics scratching their heads. How did the team forgive Nate so quickly? What happened to Zava? What do you mean Keeley didn’t end up with Roy?
Given the hype, Jason Sudeikis and his team were bound to disappoint someone. But compared to the glowing reviews from seasons 1 and 2, Ted Lasso Season 3 didn’t necessarily end the series at the top of its game. (Although one wonders whether leaving things open for potential spin-offs while buttoning up storylines was a creative trap.)
Fast-forward to now: Last year’s critical and ratings darling, the comedy to unseat Ted Lasso at the Emmy’s, The Bear, is now facing its own share of what the kids call backlash in its third season. “Tomorrow,” the reflective and meditative season opener, features very little dialogue against a persistent soundtrack from Trent Reznor and Atticus Ross that almost puts you in a musical trance commensurate to a sound bath. It’s a ballsy move for a show that’s become known for its 30-minute panic attacks, some even shot in real-time, and I knew immediately after watching this episode that reactions to the new season were going to be different from the previous ones.
Critics, of course, came out with their kitchen knives.
“The Bear Season 3 Review: What was the Point?”
“The Bear Season 3 Review: Unbelievably Frustrating”
“The Bear is Not a Good Show”
Ouch. A little harsh, but it’s also giving, “Deja vu, cousin!”
What is it about a comedy’s third season that’s become so tenuous? Typically, it’s the second you have to worry about, especially in the drama category (Westworld comes to mind along with NBC’s Heroes, the ultimate cautionary tale). But with comedies becoming more nuanced and complex, as Ted Lasso and The Bear have proven, viewers’ expectations have risen to drama levels, and it’s the third season that can be roughest critically. Plus, there’s the pressure to remain in fans’ consciousness, especially with so many new TV obsessions nipping at the last one’s heels. Shows like The Bear haven’t had a break (it’s rumored they even shot seasons 3 and 4 together) and have to churn out another season before people lose interest.
But probably the most likely scenario for why the third season has become so divisive is that it’s when these shows grow comfortable and start to expand outside of their comfort zones. Season 1 is about finding an audience, Season 2 is about flexing and showing everything you want to do, and Season 3 is when you push characters and boundaries. For The Bear, the restaurant is open…now what? Of course, there’s a lot you can do, but it fulfilled the goal of two seasons worth of television (Reservation Dogs is also a comedy that culminated at the end of Season 2 after it sent the rez dogs to California—fulfilling a Season 1 promise). Of course The Bear Season 3 is going to have a different dynamic (as it should!).
With so many third-season entries in comedy this year, it’s interesting to see the varying levels of responses and growth.
For example, Abbott Elementary‘s third season also took its own share of risks, including giving its lead a new job (even if she ends up back in her previous position by the end of the season). This is a bold move that pays off in its character development of Janine (Quinta Brunson) and how that pushes her to pursue a relationship with Gregory (Tyler James Williams) by the end of the season. Some fans on Reddit have vented their frustration with this third season, but I tend to share writer Valerie Ettehofer’s belief that the show is “breaking sitcom rules in the best way.”
Netflix’s Girls5Eva Season 3 actually tackles the idea of outgrowing its fans and pushing itself more creatively when the foursome hits the road and confronts past mistakes (“Sweet’N Low Daddy”) that may be nostalgic but painful for the group. But let’s hope it’s not its last, like another female-driven Netflix comedy that never got a fourth season.
For the murder mystery Only Murders in the Building, the chemistry between the leads ultimately outweighs the somewhat predictable storyline in its third season, with critics and audiences suspending disbelief just to hang with Steve, Martin, Selena — and Meryl.
And MAX’s Hacks seems to be riding high off its Season 3 finale that toils with returning to Season 1 dynamics, before completely flipping the switch and turning the tables on Deborah (Jean Smart). Many have called the finale twist something that completely changes the energy of the show, acting as both the perfect series ending and one ripe with potential for future episodes.
What’s most interesting is how some of these third seasons have higher audience expectations than others. Why do we care so much about The Bear compared to others? Maybe the Hulu series is more scrutinized because it’s trying to do so many things at once, while the others are mostly just straight-up comedies (although some have called for shows like Hacks to increase the drama).
But it’s like we’re completely missing the point of The Bear. As Carm pushes himself toward perfection he cannot achieve, he’s not enjoying himself or the bumps along the way. And maybe that’s what we should be doing, too.
