Welcome to a new Sitcom Tuesday! This week, I’m continuing my look at Modern Family (2009-2020, ABC), which is currently available on DVD/Blu-Ray and streaming!
Modern Family stars ED O’NEILL as Jay, SOFIA VERGARA as Gloria, JULIE BOWEN as Claire, TY BURRELL as Phil, JESSE TYLER FERGUSON as Mitch, ERIC STONESTREET as Cam, SARAH HYLAND as Haley, ARIEL WINTER as Alex, NOLAN GOULD as Luke, RICO RODRIGUEZ as Manny, and AUBREY ANDERSON-EMMONS as Lily.
Although Modern Family’s third season lacks the novelty and excitement of the series’ more situation-specific first year, this is another fine collection. Nothing here is bad — every episode has a few things to recommend, largely due to well-defined characters and clear relationships that are well-established. Everyone is capable of existing in a variety of low-concept domestic stories, regardless of how tailored those are to their individual, premised dynamics. To that point, while there’s nothing bad here, not everything is great, for the show simply consumes too many ideas to ensure that they’re all fresh, exciting, and unique. Indeed, with three, four, or sometimes even five narrative threads per half hour — but fewer premised tenets in explicit foundational support — it’s getting less likely for any episode to be fully, cohesively excellent. (Even when there’s an overarching unity of plot, proximity, or theme.) Fortunately, Three is still better than most; in fact, it’s quite good, with some of the strongest half-hour samples outside the series’ conceptually more consistent debut season. It’s also got a few elevating character arcs — including a second adoption attempt for Mitch and Cam. That’s a notion that reminds us of their “non-traditional” household (even as the show is normalizing it), thus utilizing Modern Family’s distinguishing premised attributes. Also, a story about Claire running for town council is a decent use of her character — she’s the neighborhood busybody, after all — and it provides welcome focus for a handful of episodes. It’s all helpful, for, regardless of any premised particulars, this is still a low-concept show that ultimately lives and dies by how it’s able to feature its leads. Season Three is one of the series’ best showings on that front, and based on what I see below, I’d say this is the second-strongest list of the entire run (behind only One’s).
01) Episode 50: “When Good Kids Go Bad” (Aired: 09/21/11)
Jay and Claire both seek to be proven right while Cam and Mitch plan an announcement.
Written by Jeffrey Richman | Directed by Michael Spiller
The series’ 50th excursion cleverly parallels the pilot, for they both culminate with Cam and Mitch making an announcement about the expansion of their family. In the series’ premiere, the couple debuted their new daughter, and here, they reveal their plans to adopt again — a season-long story arc that grants an underlying narrative direction for several of their episodic plots. It’s a great setup because it emphasizes their “non-traditional” family dynamic — a key aspect of the series’ situation and one of the primary details that makes Modern Family a unique sitcom in the subgenre. Meanwhile, this entry is also fun because it’s got good character ideas, like exploring the differences between Gloria and Jay when it comes to parenting Manny, along with Claire’s control-freak need to be right. The latter is especially well-applied because it’s also affiliated to Jay, reasserting the series’ overarching extended family design and the anchoring relationships that uphold it. In that regard, this is a sublime display of the series’ situation — particularly by the standards of Season Three, which is seldom as perfectly, cohesively reflective. For that reason, I think this is my best option for MVE (Most Valuable Episode). Although there are funnier, gaudier choices, nothing stands out as being so well-crafted as a sample of the series — especially in this season, which is partly defined by the Cam/Mitch arc.
02) Episode 55: “Treehouse” (Aired: 11/02/11)
Phil builds a treehouse while Cam proves to Mitch he can get a woman’s phone number.
Written by Steven Levitan | Directed by Jason Winer
Leslie Mann guest stars in this memorably funny offering as a woman whom Cam thinks that he’s picked up in a bar — all part of an attempt to prove to Mitch that he isn’t so obviously gay. It’s an amusing notion that’s naturally dependent on the premised aspect of their characterizations, and it therefore is a specific play to the series’ situation. Additionally, the subplot with Jay and Gloria hanging out with his friend and his friend’s girlfriend (Chazz Palminteri and Jennifer Tilly) emphasizes the “non-traditional” dynamic between Jay and Gloria, for it calls upon their differences. That’s another specific and distinguishing tenet of the series’ situation. Lastly, Ty Burrell gets to clown in a subplot where Phil tries to build a treehouse — a fine idea for his quintessential example of the bumbling patriarch. Oh, and Kevin Hart guests as his neighbor. (Also, Eric Stonestreet won an Emmy for his work this season, thanks to this submission. Julie Bowen also won again this year, as did the series as a whole.)
03) Episode 57: “Punkin Chunkin” (Aired: 11/23/11)
An old neighbor throws Phil into an identity crisis while Jay and Gloria disagree over parenting.
Written by Ben Karlin | Directed by Michael Spiller
For Modern Family, where episodic plots yearn for anything that can justify their coexistence, holidays are heaven-sent. They provide narrative focus, and often, a unity of time, place, and action that’s most conducive to situation comedy. What’s more, holidays are such a symbol of the family subgenre that they’re perfect for a series looking to distinguish itself within those contours. “Punkin Chunkin” is particularly great because it’s so character-oriented, with a handful of introspective ideas — including an A-story where Phil feels like a letdown after a former neighborhood kid who viewed him as his role model returns as a billionaire (played by Back To You‘s Josh Gad). There’s also a reliable subplot that’s hinged upon Jay and Gloria’s “non-traditional” family arrangement via the radically different approaches they have with Manny. All of this (and several other threads) converge in a memorable punkin-chunkin centerpiece where the centralized Dunphy trio of Jay, Claire, and Mitch — the harsh “realists” — are contrasted against their idealistic “dreamer” partners, thereby accentuating all the individual character dynamics inside this ensemble, reinforced both by this installment and the situation at large.
04) Episode 58: “Express Christmas” (Aired: 12/07/11)
The family hurries to throw an impromptu makeshift Christmas.
Written by Cindy Chupack | Directed by Michael Spiller
One of the series’ strongest Christmas offerings, Season Three’s entry benefits from a notably fresh idea as an overarching, unifying guide: the family must rush to prepare a last-minute but early Christmas, after they all realize they won’t be able to spend the actual day together this year. This setup allows for every single subplot to connect to this one goal — which makes the whole half hour structurally sound. And with the conscious decision to break the cast off into unique pairings, the character-combinations help give this excursion an extra novelty, showing off the individual personalities well, along with, again, the strength of the ensemble as a collective. In particular, it’s fun to see Mitch and Alex paired (their task is to purchase the tree), Luke with Gloria (their task is to get the ornaments and decorations), and Manny with Phil (the grocery-shoppers). Naturally, pretty much everything gets bungled in the process, but we know it’s all going to be okay in the end. I mean, it’s Modern Family — and in classic form.
05) Episode 61: “Little Bo Bleep” (Aired: 01/18/12)
Claire prepares to debate her opponent while Mitch and Cam try to cure Lily of a bad habit.
Written by Cindy Chupack | Directed by Chris Koch
Among the year’s funniest, “Little Bo Bleep” has two major centerpieces that help it stand out. One is alluded to in the title — Lily has recently taken up saying the f-word (the one that rhymes with truck), and this is especially concerning as she is about to be a flower girl in a wedding. The parental fear of toddler embarrassment is a simple idea that isn’t really original, but it’s grounded in actual reality — an example of the show normalizing one of its “non-traditional” family dynamics with a funny subplot that’s so everyday that they become widely relatable. That’s the show’s raison d’être right there. Equally comedic, however, is Claire’s town council debate against her opponent — played by Arrested Development’s David Cross — which gets ugly when he dives into personal things about her and her family. It’s a rich bit of public humiliation — the kind of humor Modern Family does well, for even though its mockumentary design isn’t a literal part of its situation, it’s still an aesthetic that was made to indulge “cringe.” And because it’s personalized to the particulars of the characters, it’s great — the high point of this political arc.
06) Episode 63: “Aunt Mommy” (Aired: 02/15/12)
Claire and Phil offer to provide a donor egg to Cam and Mitch.
Written by Abraham Higginbotham & Dan O’Shannon | Directed by Michael Spiller
Although this installment may not be as flashy as some others, it’s one of the most uniquely Modern Family samples on this list, with ideas that play upon the most individualized aspects of the series’ situation. Namely, the A-story stems from the year’s primary arc of Mitch and Cam preparing to have another kid — a notion that speaks directly to their “non-traditional” family dynamic as two gay adults living in suburbia with their adopted daughter — and this time it calls upon some earned and specific interpersonal conflict, for it ropes in Claire and Phil. During a drink-heavy dinner with Cam and Mitch, Claire offers to provide a donor egg so they could have a baby with both parents’ genes — a proposal that both couples come to regret the next morning, culminating in an awkward centerpiece that plays up tensions related precisely to the most special aspects of this situation. This is exciting; it’s rare for the series to indulge premise-backed ideas so explicitly at this point in the run. And it’s the kind of thing only a show with this premise and these characters could do, rendering it an ideal depiction of the series.
07) Episode 64: “Virgin Territory” (Aired: 02/22/12)
Jay is upset when Mitchell confesses something, while Alex reveals one of Haley’s secrets.
Written by Elaine Ko | Directed by Jason Winer
Several narrative threads — not all, but the major ones — are united in this entry by the general theme of revelations. For instance, Mitch spoils Jay’s day by revealing that a hole-in-one he once got was only the result of Mitch kicking it into the cup for him. It’s a small trivial conflict but it involves one of the situation’s tentpole relationships, where there’s always implicit tension that usually acknowledges the parts of the premise that make their familial dynamic unique, for Mitch is always struggling to connect with his dad. Meanwhile, if Gloria’s discovery that Claire sneaks off to the shooting range to relieve stress is not particularly interesting, there’s plenty of humor and heart when Phil discovers — because of Alex’s inadvertent response to the prospect of Haley being a virgin — that his eldest daughter has now had sex with her boyfriend. It’s a moment of signified growth for the Haley character, but it’s treated both comedically and with sensitivity, in a way that helps humanize the typically goofy Phil. So, it’s a smart showing for him and their family — a fresh, reality-rooted, dare I say “modern,” play to a relatable happening.
08) Episode 67: “Election Day” (Aired: 04/11/12)
The family does last-minute campaigning for Claire on Election Day.
Written by Ben Karlin | Directed by Bryan Cranston
Claire’s Election Day is a wonderful uniting principle, as every thread here is related to this idea, with members of the family either voting or campaigning. And, in pure Modern Family form, there’s a general comedy-forward brand of light chaos, as Claire knocks out her front teeth and then does an interview with dental implants that make her sound drunk. Guaranteed laughs. Other funny ideas include Mitch and Cam campaigning around town with a loud speaker that causes problems for them as natural gossipers, Phil attempting to drive seniors to the polls but getting delayed by the previously introduced Walt (Philip Baker Hall), and Jay trying to vote while avoiding an ex-girlfriend whom he ghosted (Stephanie Faracy, also of Back To You). These are all comedic notions that work well together because of the plot-justification that supports them: Claire’s election — culminating finally in her loss. That’s a seemingly sad end to an arc that’s ultimately triumphant and purposeful, for it’s used to buck up Haley, who’s been worrying about her future after a series of college rejections. Accordingly, everything about this half hour is narratively tight — taking advantage of a story that’s also a unique reflection of this season.
09) Episode 71: “Tableau Vivant” (Aired: 05/16/12)
The family tries to set aside their squabbles to participate in Alex’s living art project.
Written by Elaine Ko & Jeffrey Richman & Bill Wrubel | Directed by Gail Mancuso
One of the easiest things Modern Family can do to set an episode up for success is create an event where a bunch of subplots, even if they’re not otherwise related by theme or narrative interest — can converge by sheer proximity. And since story, essentially, is dramatic conflict, it means a bunch of different clashes come together — a surefire way to create comic crescendos and thus a centerpiece. Interestingly, the centerpiece occurs three-quarters through this offering, as Alex has recruited everyone to participate in her living art project, a recreation of Norman Rockwell’s “Freedom From Want” — an iconic representation of an American family that’s a foundational piece of culture for Modern Family to play against. Seemingly to suggest its own messy “modernity” but really to reframe everything inside itself as an extension of normal. And indeed, all the personal beefs resolve by the end, reinforcing a happy status quo that is ultimately a fundamental part of this series’ appeal. So, this is another smart, well-crafted reflection of self.
10) Episode 72: “Baby On Board” (Aired: 05/23/12)
Mitch and Cam prepare to adopt their second child.
Written by Abraham Higginbotham | Directed by Steven Levitan
Season Three’s finale culminates the season-long arc about Mitch and Cam’s decision to expand their family with another child. Here, they’re fully preparing to adopt a son, only for their dreams to be dashed in a story that’s surprisingly handled with the right balance of humor and heart — thanks, in large part, to Gloria, whose presence helps enable a telenovela-like attitude that leavens the drama with genuine comedy. And it sets up another arc that the show is preparing for next season — Gloria’s own pregnancy, which I’ll talk more about next week. In the context of this season though, this is a very smart way to handle the shift between Three’s macro narrative interests and Four’s, accenting a few of Modern Family’s most individualized elements in the process: the gay couple and its (new) Columbian matriarch. Meanwhile, Ed O’Neill has one of his best showings ever in a subplot where Jay and Manny take young Lily to her recital, and he’s forced to intervene when she refuses to perform. It’s a bit of cuteness that actually delivers laughs as well — a terrific encapsulation of the series’ current ethos.
Other notable episodes that merit mention include: “After The Fire,” which has several funny ideas, including a premise-backed conflict regarding Gloria serving as a mother-figure to Mitch and therefore upsetting Claire in the process, and “Leap Day,” a holiday/event show that has a natural reason to gather the family together for comedic crescendos. There’s also a few more “Honorable Mention” worthy outings, including “Phil On Wire,” which has a handful of nevertheless disconnected comic centerpieces, “Go Bullfrogs!,” which boasts amusing subplots for both Claire and Phil, and “Me? Jealous?,” which I like because of the interplay between the Jay/Gloria and Cam/Mitch households. Also, there are two major on-location shows this year — neither is terrible, neither is great, but the more memorable of the two is “Disneyland” — and lastly, I just want to mention “The Last Walt,” but only for its subplot with Jay and Cam’s father, which plays directly to a core part of the series’ premise.
*** The MVE Award for the Best Episode from Season Three of Modern Family goes to…
“When Good Kids Go Bad”
Come back next week for Season Four! And stay tuned tomorrow for a new Wildcard!