Welcome to a new Sitcom Tuesday! This week, I’m continuing my look at The New Adventures Of Old Christine (2006-2010, CBS), which is available on DVD and Amazon Prime.

The New Adventures Of Old Christine stars JULIA LOUIS-DREYFUS as Old Christine, CLARK GREGG as Richard, HAMISH LINKLATER as Matthew, EMILY RUTHERFURD as New Christine, and TREVOR GAGNON as Ritchie. With TRICIA O’KELLEY and ALEX KAPP HORNER as the Meanie Moms, and WANDA SYKES as Barb.

Although it doesn’t look it, The New Adventures Of Old Christine is a different show in Season Two than it was in One, as the central Christine characterization — once defined, from the premise, as a divorced single mom so willing to do good on behalf of her son that she’d subject herself to abject humiliation for his benefit — is moving away from this structurally implanted specificity and becoming more self-serving and inept: her own worst enemy. This is a broader depiction that feels closer to Late Stages Elaine Benes — which is unsurprising, given that one of Two’s new key scribes (Jennifer Crittenden) was a Seinfeld alum — and while the expansion of Christine’s personality for story is understandable, it’s an unmotivated shift at the expense of her character as established, for now that she’s becoming a more generally chaotic mess, and far less self-sacrificing than the setup calls her to be, both episodic plots and her function within them get less tethered to the situation and thus less earned by it. Oh, sure, some heightening is okay — a stronger cause-and-effect between character and narrative is usually welcome — but not to the detriment of the premise and not this early. (Two of the worst entries are “Oh God, Yes” where she’s self-obsessed and extremely bumbling for no good reason, and “Strange Bedfellows,” where her vapidity stands especially counter to her premised design.) Speaking of which, Old Christine is still playing to the show’s more literal high-concept “old Christine vs. new Christine” conception of itself here via the implied triangle between Richard and the two women — for instance, Two is bookended by ideas teasing the exes’ reconciliation — and there continues to be more rom-com dating stories about the difficulties faced by a divorced single mom, including an arc with Blair Underwood as Ritchie’s hot teacher. All of that is valid based on the series’ construction… but uninspired in actual practice, for, as noted last week, the literal application of the one-joke Christine-squared triangle remains stifling for all involved (it’s smarter for them when the show can be more low-concept about its title — Two is an improvement over One in this regard, but not fully ideal either), while Christine’s crush on the teacher, despite being wisely set at the school, doesn’t often deliver what we saw before: the kind of social embarrassment that enables a depiction of her anchoring character in corroboration of the premise.

In other words, Christine’s awkwardness in their encounters is less specifically tied to details about who she is, and while I’d argue that her effort to fight her attraction constitutes a level of self-sacrifice for Ritchie’s sake that is premise-adjacent, it’s comedically limp without motivated judgement and scorn from the moms based precisely on her definition and how she differs from them, and she’s accordingly not embarrassed as much with the same personalized, situation-affirming potency. So, I can’t pretend this idea is an A+ for either character or premise… That said, Season Two does make some real gains. Barb and Matthew both are deployed more frequently in story now, as each of their relationships with Christine gets notably fleshed out, granting the ensemble more ways to break away from the hacky central triangle. I appreciate this — both Hamish Linklater and Wanda Sykes help Julia Louis-Dreyfus bring the laughs, and in fact, I think this year, although lesser situation comedy, is ultimately funnier on foundational terms; it takes more risks and all the performances are more humorously poised. I’d say the character work around Christine is therefore better, as their comic personas are being refined. And though Christine, the most important character — and the only one who demands nuance to uphold the premise — was herself better displayed in One, Louis-Dreyfus continues to have her material-elevating skills spotlighted… and perhaps even more so now, proving Old Christine’s overriding and primary purpose as a showcase for her genius. On those terms, Two is a very good season of this show — bolstering the ensemble, bolstering the hahas, and further pushing out (albeit not entirely) the limitations of the literally implied triangle, all while its star shines bright. That may not be enough to counteract a loosening, weaker command on the title character and a reduced understanding of how the premise can best be reflected by her more exact utilization within story, but Two’s much better than any of the three remaining years. If it’s not always great sitcommery, it’s still highly watchable and often enjoyable, especially for a multi-cam from this era, and I’m happy to note that there are indeed a few hilarious half hours below.

 

01) Episode 15: “The Answer Is Maybe” (Aired: 09/25/06)

Christine tries to help reconcile Richard and New Christine.

Written by Adam Barr | Directed by Andy Ackerman

After a premiere that (again) re-established the status quo of Richard and Christine being platonic coparents following last year’s cliffhanger that teased the opposite, Two’s sophomore entry goes about reuniting Richard and New Christine — with help from Old Christine, whose instinct to do something nice for her ex is the kind of motivation that speaks to the original conception of her character but isn’t always present throughout the remainder of this season. Her depiction here is thus a reminder of who she’s supposed to be, reaffirming the premise beyond the mere structural resumption of Richard/New Christine’s relationship. More than that, this episode also starts the two-parter with Scott Bakula as New Christine’s father — whom Christine unknowingly begins dating amidst her adoption of a new “say yes to life” attitude that works for her character and opens up bolder comedic possibilities (there’s a fun set piece where Julia Louis-Dreyfus gets to do some slapstick in a tight dress on a date), before awkwardly learning his identity at the end of this half hour… More on that below.

02) Episode 16: “Come To Papa Jeff” (Aired: 10/02/06)

Christine is uncomfortable dating New Christine’s father.

Written by Jeff Astrof | Directed by Andy Ackerman

With the reveal that Old Christine is dating New Christine’s father, the second half of this two-parter gets to explore the characters’ discomfort with this comic contrivance, which is supposed to mimic the type of uncomfortable scenarios related to more permanent premised particulars — and, to its credit, it does have situation affiliation to both the high-concept wrinkle and the key ensemble members upholding it. Oh no, this idea isn’t fully individualized, mind you — we’ve seen one regular date another’s parent elsewhere — and the reason for their awkwardness here has more to do with the very log line than true personal specifics about the characters. However, this is a funny teleplay that calls upon the established relationships within the main cast, without having to resort to the tension of the central triangle featuring Richard and the two Christines (as they’re not romantic rivals in this case), so it’s valid sitcommery that plays to Old Christine’s identity in a way that’s at least fresh inside the series itself. And that’s great.

03) Episode 18: “Separation Anxiety” (Aired: 10/16/06)

Christine eagerly takes in Barb after Barb separates from her husband.

Written by Danielle Evenson | Directed by Andy Ackerman

Although it isn’t the funniest on my list, this offering boasts one of the most interesting explorations of the Christine character — enabling a flawed depiction via a self-obsession that reflects her natural drift in Season Two but without feeling too extreme or unmotivated, for it’s emotionally buyable and connected to the givens of the situation, which are reinforced in the process. Specifically, Christine realizes that her eagerness to take care of Barb after Barb separates from Pete — and anger when Barb is cavalier about the split and doesn’t need much coddling — is because she was projecting her own post-marriage experience and was excited to commiserate. That’s a smart idea that starts with seeming altruism from Christine — as she’s designed to be — but then nuances it with an ulterior motive that actually makes sense and doesn’t fight the premise, instead supporting it while keeping the central character the driving comic force. Additionally, this is the beginning of the year’s increased development of Barb, and her friendship with Christine — a huge boon to this series that’s entirely positive.

04) Episode 19: “The Champ” (Aired: 10/23/06)

Christine can’t help but be drawn back to Stan the Sad Dad.

Written by Kari Lizer & Adam Barr | Directed by Andy Ackerman

The innately amusing Andy Richter is back again in this installment as Stan, the Sad Dad introduced in the series’ second episode — for which Julia Louis-Dreyfus won her Emmy — and it’s mostly more of the same from him, with Christine feeling extra humiliated for sleeping with someone that both she and the people around her already recognize as pathetic. It works again not only because Louis-Dreyfus and Richter elevate their material, but also because it’s a rom-com story that makes her embarrassed and takes place at the school, where the Meanie Moms are obviously watching… Additionally, it’s another enjoyable yet telling example of how her character is changing in Season Two — as she’s becoming more of a pathetic mess herself… the embarrassing one as much as she is the embarrassed. In this entry, her depiction doesn’t yet clash against the series’ premise, so it’s a success — using continuity to support its idea.

05) Episode 20: “Playdate With Destiny” (Aired: 11/06/06)

Christine wins a playdate for Ritchie with the teacher on whom she has a crush.

Written by Jennifer Crittenden | Directed by Andy Ackerman

Season Two’s arc with Blair Underwood as Ritchie’s teacher Mr. Harris, who shares a mutual attraction to Christine, is introduced in the premiere and then continued in this outing, which has fun making her uncomfortable with their obvious feelings for each other — something that she doesn’t want to indulge because it could threaten Ritchie’s spot at the school. As discussed, that’s a sign of her premised instinct to self-sacrifice for the sake of her son… but it never really sparks the kind of public humiliation that yields big comedy or is predicated on individual particulars having to do with her situation or personality. And yet, it ultimately affords the Emmy-nominated Julia Louis-Dreyfus a lot of material, as she gets to play awkward and socially graceless — attributes that are becoming more generically exaggerated for Christine here in Season Two, but at least accentuate its star’s strengths. Indeed, this is a laugh-filled half hour.

06) Episode 27: “Let Him Eat Cake” (Aired: 01/22/07)

Christine takes credit for New Christine’s birthday present idea to Richard.

Written by Jonathan Goldstein | Directed by Andy Ackerman

For as much as I have criticized the literal application of The New Adventures Of Old Christine‘s high-concept premised wrinkle — of Christine becoming the Old Christine when positioned near her ex-husband’s new lover of the same name — by recognizing it to be a constraining narrative construct that puts the two women in direct opposition, thereby keeping the trio in a clichéd triangle that doesn’t yield much story that’s fresh or personalized, I must give credit to this installment for boasting the best explicit play to this structural precept in episodic story. Why? Well, mostly because it smartly avoids romantic implications for Old Christine and her ex, instead predicating the “Old Christine vs. New Christine” conflict on a clash of egos — and without making Old Christine look heightened or ridiculous, but still emotionally sincere given their history, for we understand that she (rightly) has complicated feelings about her ex and his new girlfriend. This means the show is exploring its situation in a manner that works for the character… and, what’s more, it’s also a great show for New Christine, who displays some rare backbone when she is more overtly antagonistic to her predecessor — a dynamic that I’m glad isn’t the status quo (that would be predictable and limiting in its own right), but it’s fun here as a well-motivated one-off. So, this is a strong sample for both character and premise — one of the only times that the high-concept gimmick is uniquely utilized in an overt fashion.

07) Episode 28: “Sleepless In Mar Vista” (Aired: 03/12/07)

Christine reunites with Burton while high on sleeping pills.

Teleplay by Danielle Evenson | Story by Allan Rice | Directed by Andy Ackerman

As you’ll increasingly discover with these Old Christine lists, sometimes the best entries are the ones that simply let Julia Louis-Dreyfus clown, for, I’ll reiterate, the show’s ultimate goal is to be a comedic showcase for her, and most of the time, that’s enough. I note that here because it’s obviously the reason I’m highlighting this outing, which otherwise claims a trite story (inspired by The Mary Tyler Moore Show, which it even arrogantly name-checks) about Christine getting high on sleeping pills and acting a fool — explored in her decision to resume a relationship with her beau from the first season, Burton. Now, none of that rom-com stuff is particularly original or clever, and neither is the intoxication routine (or how it’s motivated), frankly, but what can I say? Louis-Dreyfus is hysterical. That’s what I come to see, and since Christine’s depiction is not counteracting the premise (her broadness is due to the pills), I’m fine with it.

08) Episode 31: “The Real Thing” (Aired: 04/09/07)

Christine accidentally blasts details of her relationship with Ritchie’s teacher to the school.

Teleplay by Jeff Astrof & Danielle Evenson | Story by Charles Zucker | Directed by Andy Ackerman

This may be the best of the Mr. Harris arc in terms of laughs. Its log line itself is, again, nothing you haven’t seen before — an accidental email blasts the progressively inappropriate nature of Christine’s rapport with Ritchie’s teacher to the school — but because it’s situated at the locale where the leading lady is most primed to be humiliated, it feels within the spirit of the series’ identity, and something that, since it’s a relatable accident, doesn’t strain our perception of her. What’s more, this episode features some terrific guest appearances — from Jane Lynch as the school’s ethics counselor who ups the stakes and increases Christine’s embarrassment, to Dave Foley as Tom, Christine’s latest awkward date. Both are quite funny and, like so many of the performances on this show, they help improve what might otherwise be a routine affair.

09) Episode 32: “Faith Off” (Aired: 04/16/07)

Christine intervenes when Richard is hired to do some construction work for a Meanie Mom.

Written by Adam Barr | Directed by Andy Ackerman

The Meanie Moms are never again utilized as well as they were in Season One, when the show’s situation was freshest and Christine was more frequently getting embarrassed at the school, corroborating the premise and her corresponding characterization. But this is one of the better uses of them in Two, mostly due to Christine’s own paranoia, as she can’t help but intrude after she learns that Richard is doing some construction work for Lindsay — an opportunity to both explore Christine’s inferiority complex based on who she is in relation to the other moms (which hits directly at her basic design), and, as it turns out, to also add a little emotional depth to Richard and his dynamic with Christine, which is surprisingly appreciated, as her fear about his immaturity when it comes to their relationship enables some nuance for both, for she realizes he’s more competent than she gives him credit for being. Underrated.

10) Episode 33: “My Big Fat Sober Wedding” (Aired: 04/23/07)

Christine agrees to be the group’s designated driver at their old friend’s wedding.

Written by Jonathan Goldstein & Katie Palmer | Directed by Andy Ackerman

My choice for this season’s Most Valuable Episode (MVE), “My Big Fat Sober Wedding” is the funniest sample of the series, evidencing Old Christine’s commitment to comedy and — quality of situation comedy notwithstanding — basic success with it. However, it’s a great character showing as well, for although it doesn’t look like a typical segment, taking place away from the regular sets and with guests who never again appear, it’s such a key building show for the ensemble, further fleshing out the shared history of Christine, Richard, and Barb as college pals (with Matthew attached as Christine’s brother), and even expanding on the comedic prospects of New Christine, who’s mired in a narratively obvious subplot designed to once again split her and Richard that nevertheless allows her to also motivate personality-specific humor. Meanwhile, Old Christine is, rightfully, at the center of it all, as she’s embarrassed over and over again… and not because she’s a self-serving Elaine-lite or a generically outrageous bumbler. No, she’s trying to do the right thing for others here — she’s even willing to be the designated driver and not drink! — and even though she’s certainly broader and less emotionally realistic than she was in Season One (putting her foot in her mouth with chronic clumsiness, and generally getting regarded by all as a hard-drinking chaotic goof), she’s not uselessly inept, or mean, or at odds with the premise, which actually feels spiritually well-invoked via her humiliation in a rom-com plot where she realizes that her old pal, with whom she once had a sexual tryst, is fixated on her even at his own wedding, much to the aggravation of his new bride (Rachael Harris)… Okay, I’m not crazy about the groom saying the wrong name in his toast — that Friends cliffhanger looms too large — but the idea of drama related to Christine’s name is situation-affiliated, and having her positioned in a fakakta triangle where she’s not romantically interested in the guy is a mirror to her usual setup. And again, as Christine is made uncomfortable repeatedly while still striving to be a good person, her depiction is totally in accordance with the premise’s implications. So, with her smart usage, and the ensemble also gaining depth and adding hahas, this ends up being the most laugh-laden half hour of the whole series: a showcase for its star, her cast, and the type of comedy of which Old Christine is capable on this, its very best day.

 

Other episodes that merit mention include: “The Passion Of The Christine,” the season premiere that introduces Mr. Harris and boasts some fun school-set discomfort, but settles the latest Old Christine/Richard teased reconciliation with some forced rom-com clichés, “Women ‘N Tuition,” which has an appropriate financial dilemma for a struggling divorced mom and a lot of moments for Julia Louis-Dreyfus to be funny (as her character continues to shed some of her positive traits and become broader overall), and “Mission: Impossible,” which has another conflict where Christine’s efforts to do the right thing for Ritchie belie a more self-serving aim and a competitiveness with Richard. I’ll also take this space to cite “Crash,” which uses the Meanie Moms but spares Christine of the kind of humiliation that we want from stories set at school, “Endless Shrimp, Endless Night,” where we learn more about Matthew as Christine nobly but awkwardly tries to help him, and “Friends,” where Jane Lynch returns and the show again sets up a contrived but naturally premise-related Old Christine/Richard reconciliation.

 

*** The MVE Award for the Best Episode from Season Two of The New Adventures Of Old Christine goes to…

“My Big Fat Sober Wedding”

 

 

Come back next week for more Old Christine! And stay tuned tomorrow for a new Wildcard!