Bill Lawrence Says Shows Must Have Jokes to Be Called Comedies
Is Comedy Dying? TV Writers Debate the Line Between Laughs and Drama
Hollywood’s top comedy writers spar over the definition of humor in the age of prestige television.
At Variety’s “A Night in the Writers Room: Awards Season Edition,” a panel of acclaimed comedy writers tackled a burning question: Is there a clear distinction between comedy and drama? The lively discussion, moderated by Variety’s Michael Schneider, revealed a range of perspectives on the evolving landscape of laughter on TV.
Nick Bakay, co-creator of the Max hit “Bookie” starring Sebastian Maniscalco, firmly believes in a clear line. “There’s absolutely a line between comedy and drama,” Bakay asserted. “And drama should not enter into comedy.” He expressed frustration with shows that prioritize dramatic elements over genuine humor,citing “Ally McBeal” as an example. “There are no jokes in this!” he exclaimed.”Comedy should still involve joke writing once a week.”
Bill Lawrence, the creative force behind beloved comedies like “Scrubs,” “Ted lasso,” and this year’s “Shrinking,” offered a more nuanced view. While acknowledging the importance of jokes, Lawrence argued that shows can successfully blend humor with pathos and drama. He pointed to “Succession” as an example, praising its “darkly funny” writing. “I think you can do any type of show that has pathos and drama and emotion and call it a drama if you want,” Lawrence explained. “But I think to call it a comedy, you better be joke-forward and arguably have some big, serious laughs — or at least be attempting it in every shot.”
Brian Jordan Alvarez, creator and star of FX’s “English Teacher,” emphasized the importance of “joke density” in his writers’ room.
The conversation also touched on the challenges of balancing humor with serious themes. Lawrence recalled pitching “Scrubs” to a network executive who doubted the feasibility of combining broad comedy with emotionally resonant storylines.”I think you can if you turn the lights down and play an indie song,” Lawrence quipped, a response that didn’t land well with the executive.
Jen Statsky, a writer on “Hacks,” reflected on her experience writing for Jimmy Fallon, where the focus was on churning out a high volume of jokes daily. “Which is so different from what we’re talking about now … sometimes you make a comedy with no jokes,” she observed.
The panel also offered a glimpse into upcoming projects. Nahnatchka Khan and Sally Bradford McKenna, showrunners of the forthcoming series “Laid,” teased their darkly comedic premise: a woman whose sexual partners begin dying in chronological order.The lively discussion highlighted the ongoing evolution of comedy, demonstrating that the line between laughter and drama is increasingly blurred. As television continues to push boundaries, one thing remains certain: the quest for humor will always be a driving force in storytelling.
Is Comedy Dying? TV Writers Debate the Line Between Laughs and Drama
Hollywood’s top comedy writers spar over the definition of humor in the age of prestige television. At Variety’s “A Night in the Writers Room: Awards Season Edition,” a panel of acclaimed comedy writers tackled a burning question: Is there a clear distinction between comedy and drama? The lively discussion, moderated by Variety’s Michael Schneider, revealed a range of perspectives on the evolving landscape of laughter on TV.
Nick Bakay, co-creator of the Max hit “Bookie” starring Sebastian Maniscalco, firmly believes in a clear line. “There’s absolutely a line between comedy and drama,” Bakay asserted. “And drama should not enter into comedy.” He expressed frustration with shows that prioritize dramatic elements over genuine humor, citing “Ally McBeal” as an exmaple. “There are no jokes in this!” he exclaimed. “Comedy should still involve joke writing once a week.”
Bill Lawrence, the creative force behind beloved comedies like ”Scrubs,” “Ted Lasso,” and this year’s “Shrinking,” offered a more nuanced view. While acknowledging the importance of jokes, Lawrence argued that shows can successfully blend humor with pathos and drama. He pointed to “Succession” as an example, praising its “darkly funny” writing. “I think you can do any type of show that has pathos and drama and emotion and call it a drama if you want,” Lawrence explained.”But I think to call it a comedy, you better be joke-forward and arguably have some big, serious laughs — or at least be attempting it in every shot.”
Brian Jordan Alvarez, creator and star of FX’s “English Teacher,” emphasized the importance of “joke density” in his writers’ room.
The conversation also touched on the challenges of balancing humor with serious themes. Lawrence recalled pitching “Scrubs” to a network executive who doubted the feasibility of combining broad comedy with emotionally resonant storylines. “I think you can if you turn the lights down and play an indie song,” Lawrence quipped, a response that didn’t land well with the executive.
Jen Statsky,a writer on “Hacks,” reflected on her experience writing for Jimmy Fallon,where the focus was on churning out a high volume of jokes daily. “Which is so different from what we’re talking about now … sometimes you make a comedy with no jokes,” she observed.
The panel also offered a glimpse into upcoming projects. Nahnatchka Khan and Sally Bradford McKenna, showrunners of the forthcoming series “Laid,” teased their darkly comedic premise: a woman whose sexual partners begin dying in chronological order.
the lively discussion highlighted the ongoing evolution of comedy, demonstrating that the line between laughter and drama is increasingly blurred. As television continues to push boundaries, one thing remains certain: the quest for humor will always be a driving force in storytelling.