![]() ![]() Penelope’s final exchange with her mother is moving, a credit to Machado as well as the always terrific Moreno. Rather than an overly angry spat leading to a trite resolution, each character gets to say their peace and does so in a loving manner. Lydia is adamant the family not miss church, but Penelope is more forgiving of the leniency. The same could be said for Episode 3’s deft balancing of a generational divide: religion. READ MORE: 7 New Netflix Shows to Binge Watch in January 2017, and The Best Episodes of Each We do just that, as her points are as educational as they are entertaining. Slowly and steadily her anger rises along with her awareness, but never does she go so comically overblown that we can’t take her seriously. (For those of you too young to remember such work, think of “The Carmichael Show” as a prime example.)Įpisode 2 tackles modern sexism, specifically in regards to “mansplaining.” The oft-misconstrued word gets an accurate definition and a prescient example in the half-hour examination, buoyed by a well-layered performance by Machado. Though a tad weighty, it pays dividends down the line, as “One Day at a Time” throws itself into topical content akin to Lear’s classic series. Told in largely episodic fashion, Kellett and Royce push through a lot of key exposition and heavy dramatic moments in the pilot episode. Instead, its content and characters been adeptly updated for a new generation - even those who don’t think they can stomach an old school sitcom. ![]() No, it’s not shot like a documentary, nor does it offer meta commentary on its actors or make any other easy grab for popular comedy tricks for younger viewers. The two developers, along with Lear as an executive producer, have taken the long-retired sitcom and revamped it for modern America. If that’s true, then “ One Day at a Time” is the mosquito preserved in amber, and showrunners Gloria Calderon Kellett and Mike Royce the experts extracting Norman Lear’s DNA. Many networks, including broadcast, have invested heavily elsewhere, even as “The Big Bang Theory” continues to dominate ratings and “Fuller House” nets (presumably) big numbers for Netflix.Ĭombine the new generation’s disdain for the format with the fact most critics dislike its most popular entries, and it’s no surprise stories keep circulating that the genuinely great multi-cam sitcom is dying a dinosaur impossible to resurrect respectably, no matter what mad scientist wants to open a park. Younger viewers brought up on movies and single camera series reject the bright lights and laugh tracks associated with one of America’s longest-running TV genres. With a few successful exceptions, multi-camera sitcoms have been on life support critically and commercially for years. ![]()
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