During the late 1990s to the mid-2000s, television dramas reached unprecedented levels of creative and dramatic heights that their comedy counterparts could not come close to matching. This creative jump could be attributed to the expansion of cable stations such as HBO and Showtime, which later gave way to original programming on stations such as FX and AMC. These cable stations allowed show writers to develop more subtle characters and storylines because they did not need to get tens of millions of viewers each week to justify the show's existence.
In addition, these cable stations allowed for darker characters and plots to develop, since they did not have to abide by the same decency standards network stations were forced to follow. Unlike network shows, cable shows can show heavy drug use, intense violence and nudity — all of which can add depth to the dramatic storylines. These new shows could freely develop without fear of the Federal Communications Commission fining or restricting them.
The changing nature of the American zeitgeist — specifically, the national mood created by Sept. 11 — may also account for the darker and more complex dramas created during this time.
Some critically acclaimed television programs ran during this time period. "The Wire" (2002-2008) received extraordinary praise for both its character depth and its social commentary, which examined the state of the drug war and sordid life in Baltimore. "The Sopranos" (1999-2007) was a groundbreaking show that used extensive metaphors and plot devices to challenge fundamental psychological questions of psychology — for example, whether or not people could actually change. "Six Feet Under" (2001-2005), "The West Wing" (1999-2006), "24" (2001-2010), "Lost" (2004-2010), "Damages," "Dexter" and "Deadwood" (2004-2006) are just a few of the other dramatic programs that challenged the known boundaries of television dramas.
Television comedies during the 1990s through early 2000s mostly relied on standard plotlines and jokes instead of venturing into the daring limits tested by many current comedies. The top television comedies of that time were mostly standard sitcoms, such as "Frasier" (1993-2004), "Friends" (1994-2004) and "Everybody Loves Raymond" (1996-2005). While these programs were widely beloved and garnered praise at the time, as the series progressed, they tended to rely heavily on recycled scenarios. These types of shows rarely challenged the status quo.
The shift from that type of hackneyed comedy programs to the arguably higher-quality comedies of today was a gradual change brought on by a few bold shows. One of these programs, "Arrested Development" (2003-2006), brought about the rapid-fire dialogue currently being used by shows like "30 Rock" and "Family Guy." Another, the United Kingdom's "The Office" (2001-2003), allowed comedy shows to create fully developed characters and push the limits of awkward humor.
These transformed comedies were not hugely popular at first, but they quickly found dedicated fan bases, and later found more viewers when released on DVD. The immense popularity of "Family Guy's" DVD sets actually got the show back on the air after it was canceled early in its run. That feat is particularly impressive — very few canceled shows get a second chance on the air. "Family Guy" and its kin proved that there was an audience out there for smart comedies without laugh tracks or studio laughter.
Flexibility in the viewing medium for television shows may have also helped quality comedies gain traction. Viewers who want to watch a quick episode at their convenience might turn to lighter fare, and the more popular comedies become online, the more comedies are likely to be produced. Julie Dobrow, Tufts professor and director of the Communications and Media Studies Program, said, "It seems to me, the interesting thing about television is how we are consuming it now. It's when we can, not just when it airs. It's on our computers at a private time. This will start to affect the types of programs produced by Hollywood."
While critics acknowledge that shows like "Mad Men" and "Breaking Bad" are still running at a high creativity level, most dramas aren't as risky or rewarding as the shows that ran during drama's golden era. The likely reason? Even risqué moves by current dramas are no longer innovative or novel; it's all been done.
While dramas have declined, many high-quality comedy programs have developed in the past few years. Comedy television seems to be entering a golden age.
One especially groundbreaking comedy is FX's "Louie." Louie C.K. writes, produces, edits, stars and directs every single episode of the show. This is an incredible feat, yet somehow, Louie C.K. manages to maintain a high level of quality. The show, which is composed of vignettes spliced with bits of Louie's stand-up comedy, has an extraordinary range of ideas and themes. The show is unpredictable; it changes stories with every episode and subverts television conventions with each scene, yet it also offers a poignant look at the life of a divorced father with two daughters living in New York, trying to understand the strange world around him.
The freedom HBO offers allows Larry David to push similar comedic boundaries with his show "Curb Your Enthusiasm." David, who is the former show runner for "Seinfeld" (1989-1998) has found comedic gold in his petty observations and grudges.
Even though "Curb" has been on the air for many years now, the show continues to produce high-quality episodes that blend comedy and substance. This season's "Palestinian Chicken" episode was given an A+ rating from Meredith Blake, an AV Club television critic. The episode garnered critical praise for combining hilarity with an insightful look at the modern Jewish-American identity.
Sitcoms are not the only ones making an impact in recent years. Variety shows like "The Daily Show with Jon Stewart" and "The Colbert Report" not only attract huge numbers of viewers each night, but also make a social impact by informing viewers on important political topics. These programs elevate themselves beyond mere entertainment: They have become a sort of 21st-century version of muckraking.
While many critics and fans argue that the quality of Fox's "Glee" is inconsistent, it does not change how revolutionary the show is and how it impacts the entire entertainment industry. Very few, if any, shows boast that they've not only attracted an enormous viewership each week but also made money in the realms of live music, recorded music and film.
That a musical comedy can not only make it on the air, but also thrive the way "Glee" has, testifies to how special these past few years have been for TV comedies. Also, despite being a comedy, "Glee" isn't afraid of tackling larger issues.
In contrast, some shows have been able to explore darker side of comedies. "South Park" is known for its use of vulgarity within its social satire, "Family Guy" regularly tests how far it can take coarse humor during its episodes, and "It's Always Sunny in Philadelphia" incorporates many social taboos into their storylines. These shows depict things that would be unacceptable to have in a comedy even just a few years ago. They have storylines that include abortions, prostitutes, crack use and other activities that can easily offend viewers.
This golden age of television comedy not only includes shows that push the limits but also shows that have an astonishingly high levels of humor and character development, despite having been on the air for a few years already. Shows of this kind include "30 Rock," "How I Met your Mother," "Parks and Recreation" and "Community," which consistently land on critics' "best of" lists and earn nominations for major awards.
This golden age of comedy does not seem to be ending anytime soon, with new shows on the horizon also showing massive potential. Ricky Gervais' and Stephen Merchant's new series, "Life's Too Short," is coming to BBC later this year. Gervais and Merchant have already created memorable comedies together, such as the original "The Office" and "Extras" (2005 - 2007), so it wouldn't be surprising if these comic geniuses created yet another hit.
The current state of comedies on television gives viewers something to smile about. These past few years have fostered shows that push boundaries, delve deeper and above all, make people laugh.
