Leave ’em wanting more

As a film enthusiast with over three decades of binge-watching various genres under my belt, I must say that “Colin from Accounts” has managed to carve out a special niche for itself in my heart and in the pantheon of great sitcoms. Much like how the British weather is unpredictable but always charming, this Australian comedy has delivered an unexpected yet delightful blend of humor and emotion that resonates with viewers.

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In much the same way that The Simpsons accurately capture the essence of various cultural aspects in the Western world, they also excel at depicting the quintessential elements of a classic British sitcom.

In the eleventh series, Homer Simpson discovers “Keep Quiet,” a British comedy that mimics classic American humor with a dysfunctional family getting drunk and arguing, as well as a mother acting as the voice of reason. As the show ends, the host acknowledges it as England’s longest-running series and announces, “Today, we are airing all seven episodes.”

After watching the entire second season of “Colin from Accounts,” an Australian comedy about a couple who bonded over a car accident and an injured dog (with Colin being the lovable title character), I found myself contemplating. The first appearance of real-life married pair Patrick Brammall and Harriet Dyer as Gordon and Ashley, the dog-crossed duo, was one of the unexpected hits towards the end of 2022. Luckily for fans, the second series maintains its charm, filled with witty tragi-comic lines and notable moments such as a Kevin Bacon cameo, a trip to Gordon’s family, and Colin seemingly imitating Paul McCartney.

As a die-hard sitcom enthusiast, I’ve got to admit that the comedy series from Colin in Accounts is so brilliant, I’m worried it might have to wrap up if it’s to secure its place among the timeless classics of the genre. Just like Fawlty Towers, it sets the bar high with its concise yet impactful episodes – a testament to John Cleese and Connie Booth’s mastery of storytelling. They wisely decided to cap their brilliance at only 12 episodes, understanding that sometimes less is more when it comes to leaving a lasting impression.

Ricky Gervais and Stephen Merchant chose not to continue “The Office” beyond two seasons, despite having the opportunity. Both were busy with other projects – Gervais and Merchant also produced only two series of “Extras”. However, this small team consisting of Cleese, Booth, Gervais, and Merchant managed to leave a profound impact on comedy in just 26 episodes collectively, which is significantly less than the number of episodes the American adaptation of “The Office” ran for.

Leave ’em wanting more

Other authors have dared to step away from large audiences and substantial paychecks prematurely, leaving us yearning for more – a testament to the quality of the content that The Young Ones seemed to encapsulate the early 1980s in its brief 12-episode run, while Spaced exerted the same influence on the turn of the century despite airing only 14 times.

Subsequently, it’s unfortunate when series continue past their creative peak, and we might refer to these instances as “jumping the shark.” This term originates from an incident in the later seasons of ‘Happy Days,’ where The Fonz performed a stunt involving jumping over a live shark on water skis. Despite his jacket still being worn, the rest of the show fell short of its initial brilliance.

In good old Blighty, as a film aficionado, I’d often exclaim “Allo ‘Allo!” when reminiscing about David Croft and Jeremy Lloyd’s daring French resistance sitcom. Remarkably, it outlasted even the Second World War itself by four years! While ‘Bread’ saw its zenith with an astounding 21 million viewers for Aveline’s wedding in 1988, it sadly limped towards a lackluster conclusion after 74 episodes. There are countless other examples, but I trust you catch the gist.

Absolutely, there are instances that defy the norm, like “Rev” and “After Life,” which delivered exceptional third seasons. There’s no denying the greatness of “Blackadder” in its fourth series. I must also acknowledge “Dad’s Army,” which remains cherished even after 80 episodes.

From a movie enthusiast’s perspective, let me share an observation I’ve gathered from comedy history: The long-running series “Last of the Summer Wine” demonstrated that there’s only so many times we can find humor in a bathtub rolling down a cobblestone street. It’s better to end with a grand finale, rather than a weak farewell, and call it a day. I appreciate the show, but I’d prefer for “Colin from Accounts” to wrap things up now, instead of stretching it out until it becomes less entertaining.

2024-09-06 16:36

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