
"Modern Family works because it does something the network sitcom hasn't managed in years: It offers a comic equation for almost every audience segment, while never blanding out the characters for mass consumption. Its gift to us is a postmodern modern family"
-Ken Tucker in his EW review of Modern Family
Reading Ken Tucker's review of ABC's
Modern Family, my new favorite show of the fall season, I couldn't help but roll my eyes at the last line. The overeagerness of reviewers and critics to describe everything in popular culture as "postmodern" frustrates me to no end. Such a label seems even more absurd when one looks at how much time Tucker spends discussing the complexity of the characters and the depth and "genuineness" of the show--characteristics which seem somewhat at odds with postmodernist aesthetics. Still, Tucker's review forced me to consider my own thoughts on the aesthetics of the show and the meanings behind the show's signifying practices.
Surely the most commonly discussed aspect of the show is its structure as a mockumentary, a genre that seems to be everywhere lately (crossing genres and media from NBC's new comedy
Parks and Recreation to the recently released and well-received horror film
Paranormal Activity). The mockumentary is interesting in its use as satire, but I think it is currently being revised to establish a sort of genuineness in much the same way that
cinéma vérité functions in the Modernist film tradition. Perhaps the mockumentary is evidence of a sort of nostalgia, a way for postmodern texts to attempt to discover/point to a sort of Real. But of course, the only Real it can point to is its own constructedness, and I would certainly argue that this is the way the mockumentary fuctions in
Modern Family. This metatextual quality of the show is interesting in light of the plethera of reviews that discuss its realistic depiction of family life.
The aspect of the show that I find most interesting is the casting. Because the show draws from a pool of actors so identified without other family sitcoms (
Married with Children's Ed O'Neil most notably but also Shelley Long in a recent episode), the show almost feels haunted by the ghosts of family sitcoms past. Again, I think this reminds the viewer of the show's consructedness and its position within a tradition of such shows.
Likely because I am interested in representations of masculinity and sexuality in popular culture, I am fascinated by the representation of Mitchell and Cameron, the show's hilarious gay couple. I must say that I am thrilled to see gay characters who are overweight and not especially attractive. I really tire of gay characters who look like they walked off of an Abercrombie and Fitch photoshoot only to whine about how they cannot get a boyfriend because they are so unattractive. It is important to have a more complex and varied representation of gay men in popular culture
1. Still, I would argue that their very deviation from the stock A&F gay character reasserts the concept of the stock character in the viewer's mind. Though maybe this is a good thing; perhaps it does ask the viewer to confront such expectations.
I am not sure how to end this post. I guess that I will end by saying that I think that I agree with Tucker's use of the word "postmodern," but there is absolutely nothing postmodern about the families in the show. What is postmodern is the show and its structure. It is formally postmodern more so than thematically postmodern, and it is certainly not postmodern based on anything Tucker cites in his review.
That said, it is an incredibly amusing show. Like I said, it is my favorite show of the fall season, and I would encourage you to watch it. It is on Hulu!
1 *Note* I am not unaware that in many ways these characters are still perpetuating existing and problematic gay stereotypes. I do not care. That is not the focus of this post. My comments about them have to do with their physical appearance; I am not discussing other aspects of their constructions as characters at the moment.