The quote of this essay title argues that the genre sitcom is incorrectly regarded as simplistic, and comparisons to other genres will uncover hidden complexity (Mills 2005:25-29). However, while there is truth in the claim that sitcoms are complex, it should be understood why this is the case, and what the relevance of other genres is as a point of comparison. It should instead be argued that the banality and trivialities of everyday life generally represented in sitcom may seem on the surface as simplistic, but contain hidden complexities built on the social and identity politics of class, gender, sexuality, age, and ethnicity. It is only through analysing sitcom as a distinct genre, situated within a specific wider socio-political context,
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Character driven plotlines are not mobilised by individual agency then, but the pre-given social and political aspects of identity. In analysing Steptoe and Son, Neale and Krutnik (1990: 256 – 257) outline how Harold is constrained by his class, but this is a prerequisite of the sitcom format, the situation or norm does not change. Creating character driven plots within the restrictions of the sitcom genre format, mirrors real-life personal agency within the confines of structural social and political frameworks. The disconnect between self and society that Wickham considers represents contemporary experiences (2013: 15, 27), can be evidenced in Unbreakable Kimmy Schmidt as Kimmy is culturally anachronistic after 15 years of isolation, Lillian struggles to resist gentrification of her lifelong neighbourhood, and Titus repeatedly tries to find work as an actor, and all three struggle to negotiate romantic relationships. The humour is derived of these contemporary tensions, recognisable to the viewer in a society of unemployable instability, fast changing and fragmented culture and technology, and insecure transient neighbourhoods under capitalism (Wickham 2013:33). Therefore, in terms of narrative complexity Unbreakable Kimmy Schmidt utilises contemporary social issues, unified only by the protagonists’ friendship to the titular character. This is representative of diversity within society and friendship networks, which in sitcom terms facilitates narrative complexity through everyday
Character driven plotlines are not mobilised by individual agency then, but the pre-given social and political aspects of identity. In analysing Steptoe and Son, Neale and Krutnik (1990: 256 – 257) outline how Harold is constrained by his class, but this is a prerequisite of the sitcom format, the situation or norm does not change. Creating character driven plots within the restrictions of the sitcom genre format, mirrors real-life personal agency within the confines of structural social and political frameworks. The disconnect between self and society that Wickham considers represents contemporary experiences (2013: 15, 27), can be evidenced in Unbreakable Kimmy Schmidt as Kimmy is culturally anachronistic after 15 years of isolation, Lillian struggles to resist gentrification of her lifelong neighbourhood, and Titus repeatedly tries to find work as an actor, and all three struggle to negotiate romantic relationships. The humour is derived of these contemporary tensions, recognisable to the viewer in a society of unemployable instability, fast changing and fragmented culture and technology, and insecure transient neighbourhoods under capitalism (Wickham 2013:33). Therefore, in terms of narrative complexity Unbreakable Kimmy Schmidt utilises contemporary social issues, unified only by the protagonists’ friendship to the titular character. This is representative of diversity within society and friendship networks, which in sitcom terms facilitates narrative complexity through everyday