Unbreakable Kimmy Schmidt - Netflix’s hit sitcom - has come to an end. Unlike many of the streaming service’s other series that met their demise a bit too soon, this critically acclaimed sitcom got to go out on its own terms, concluding after four seasons. While this is brief, this is a rare example of a show quitting while it’s ahead, leaving behind a delightful legacy that doesn’t feel drawn out or wearing out its welcome by the time we come to the end of it. In an age where some of even the most critically adored comedies begin to feel a bit stale and repetitive by the ends of their runs - with some famous shows still going to this day when they should have thrown in the towel years ago - Unbreakable Kimmy Schmidt manages to feel fresh and enjoyable from beginning to end.
The series is the second from Tina Fey, coming off her equally-acclaimed 30 Rock. The show has a very similar feel to 30 Rock, with Robert Carlock - show runner for 30 Rock - co-creating the series with Fey, and utilizing many of the same writers. In fact, despite being on Netflix, the series at first even feels like another NBC sitcom like 30 Rock. Fey had originally pitched the show specifically for NBC, who passed before she turned to Netflix. The first season plays things relatively safe, and while the next seasons don’t necessarily go into full-blown raunchy territory, they at least take advantage of their newfound freedom to do whatever they please. The humor gets a little darker, the subject matter is a little less safe, and the episodes are longer, with the occasional hour-long episode thrown in.
The series deals with the titular 29 year-old Kimmy (Ellie Kemper), who is rescued from an underground bunker where she was held captive by Reverend Wayne (Jon Hamm) for 15 years, who told her and three other women that the apocalypse has happened and they were the only survivors. Wanting to now see the world she was deprived of for most of her life, she moves to New York, getting an apartment with aspiring actor-singer Titus Andromedon (Tituss Burgess), owned by quirky landlady Lillian Kauschtupper (Carol Kane), and initially getting a job as a nanny for socialite Jacqueline Voorhies (Jane Krakowski).
Being set in New York, a lot of the show’s humor derives from what it’s like to live in the big city. A lot of Titus’ odd jobs include being a character in Times Square, to working on the cruise lines that depart from New York, to being an extra in movies and TV shows that are filmed in the area. Kimmy, a cheerful small town girl from Indiana, has to adjust to living in a city where everyone’s not as friendly as the quaint little neighborhoods that she’s used to. Like 30 Rock, the show’s a real treat for anyone who has ever lived in New York, as it manages to get the New York culture down to a tee. Oddly enough, while 30 Rock was a network television series and widely adored, its humor felt slightly more niche, as it was more of a satire of corporate networks; Kimmy Schmidt - on Netflix, where it had the freedom to do whatever it pleased - felt a little broader and its humor was a little more relatable to essentially any New York resident. This is not a knock on either show - as both are very enjoyable - it’s just that the network television tends to be a little more accessible and relatable than streaming and cable series, and this ended up feeling like the opposite.
The show has a consistently cheerful optimism to it, which is especially thanks to Ellie Kemper’s standout lead performance. Feeling like an even more innocent version of Erin from The Office, she gets hit with many different trials and tribulations throughout the series’ four seasons. She goes through multiple romances, switches through different jobs to stay afloat, and - the biggest challenge through the entire show - adjusting to life after literally living under a rock for the last fifteen years. Rather than being heavy-handed in dealing with a premise that can be really sensitive, Kemper plays Schmidt by constantly smiling ear-to-ear and always pushing forward even in the most challenging of times. Her naivety and can-do attitude leads to plenty of laughs throughout the show. A key element to a successful comedy is being positive in the face of an extremely negative situation or difficult challenge, and Kemper’s Schmidt embodies that element perfectly, setting the tone for the rest of the series.
While Kemper embodies the series’ overall nature, the breakout star is without a doubt Tituss Burgess. In a role that was tailor-made specifically for him, Burgess is the show’s scene-stealer, with many of the best lines and visual gags. He arguably has an even more intriguing over-arching story than Kimmy herself, with many of his romantic pursuits and aspiring career aspirations being incredibly engaging, and easy to get emotionally invested in. Even one of the season’s cliff-hanger endings revolves around him. While this is titled Unbreakable Kimmy Schmidt, there are times where it feels equally like Burgess’ show as well. Burgess has stated in interviews that he’s essentially playing himself, which is what makes his character work so well and feel so natural. An openly gay Broadway singer and actor himself, Titus Andromedon is essentially an up-and-coming version of the actual Burgess, and giving the actor the freedom to just be him pays off in dividends. His singing voice is put to great use, playing for some hilarious laughs, and his larger-than-life presence makes for some wonderfully laugh-out-loud moments.
In supporting roles, both Carol Kane and Jane Krakowski both bring some fine moments to the show, and even have some solid storylines of their own. Both are talented comedians who can easily hold their own. Though I must admit, at times, their personalities can come off as a bit grating from time to time. Kane - like other supporting characters in the show - is meant to be more of a cartoon character, with a kindly old lady look to her, but actually being an extremely street-smart New Yorker, knowing to hold her own in some of the seedier environments. She gets a lot of good laughs in for the most part, though at times she can feel a bit overbearing, which can make her storylines feel a little less engaging from time to time.
The same goes for Krakowski. Playing an even more stuck-up version of her Jenna Maroney character from 30 Rock, part of her schtick is her holier than thou attitude, despite the fact she’s far from perfect herself. Like Jenna, the condescending, arrogant tone of her character can wear a bit thin from time to time, but she does progress as the show goes on, as part of her storyline revolves around her connecting with her family and easing up a bit. Her faults, like Kane’s, don’t bring the show down, so to speak, but they do tend to be some of the weak spots from time to time. The series still brings plenty of enjoyment despite some minor faults.
Once again, like 30 Rock, a lot of the series’ jokes feel like they come a mile a minute. This is one of those shows that benefits from repeat viewings. There are so many one-liners and throwaway lines that there are so many that feel easy to miss. One can definitely go back to an episode they already saw and catch so many jokes they miss the first time around. There are pop culture references galore. Though unlike shows in the vein of Family Guy, whose reliance on pop culture references tend to be worn thin and lead to dragged out cutaway scenes, Kimmy Schmidt’s references are extremely quick and whenever we are treated to a cutaway scene, it’s extremely fast and tends to be a nice little visual to support an already funny throwaway line, sometimes adding even a bit more depth to a character. There are many jokes that are play-on words and twist around popular colloquialisms that make the show feel endlessly quotable.
I will say, while the show’s extremely quick pace is mostly to its own advantage, it sometimes feels like this is the only pace in which the show knows how to operate, which was my one small gripe with 30 Rock as well. While I get the whole point is that everything is meant to be a bit exaggerated, everyone seems to have the same quick wit about them, making a lot of the same sort of jokes and sometimes having some of the same delivery. Kemper and Burgess are usually the two exceptions to the rule, but beyond them, most of the supporting characters seem to deliver jokes in the same sort of style. Everyone always has a bit of sass to them, almost always have the perfect comeback, or have the same wide array of pop culture knowledge as the next. Like I said, this leads to a lot of wonderfully executed jokes and one does benefit from repeat viewings, but it would be nice to see a bit of variety in a character’s comedic style. I understand this is more to fit in line with the overall tone of the show, but every so often, it does tend to wear a bit thin. However, the show is still incredibly enjoyable and is far from unwatchable despite a few of these said flaws, which honestly are more nitpicks than anything.
Despite a few gripes, Unbreakable Kimmy Schmidt is honestly one of Netflix’s funniest series, and one that will be missed for sure. It has an incredibly quick wit about it, with an endless array of jokes at its disposal, making for one of the most quotable shows in quite some time. It has some incredibly likable characters, especially thanks to delightfully funny performances from both Kemper and Burgess, who carry this show effortlessly in its four season run. With great story arcs, plenty of accessible humor, and an always positive demeanor, Unbreakable Kimmy Schmidt is a shining beacon of comedy that should not be missed.
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