Welcome to a new Sitcom Tuesday! This week, I’m continuing my look at The Big Bang Theory (2007-2019, CBS), which is currently available on DVD/Blu-Ray and streaming!

The Big Bang Theory stars JOHNNY GALECKI as Leonard, KALEY CUOCO as Penny, SIMON HELBERG as Howard, KUNAL NAYYAR as Raj, MELISSA RAUCH as Bernadette, MAYIM BIALIK as Amy, and JIM PARSONS as Sheldon.

Season Four is a transitional year for The Big Bang Theory, as Melissa Rauch’s Bernadette and Mayim Bialik’s Amy officially join the cast midseason as regulars. Eventually, their inclusion will pivot the show away from its original “four nerds and a hot girl” setup into a more familiar couple-based rom-com construct. But this year is not fully there yet, and we’re only starting to comprehend the change, as Amy and Bernadette are only starting to integrate into the ensemble. And fortunately, they’re additive as characters. Amy is hilarious, transforming from a distaff carbon copy of Sheldon to a more empathetic yet still quirky, and therefore more human, variation, while Bernadette begins to take on some of the comic edge she’ll need to deal with Howard (and his mom) as they plan to marry. What’s more, Sheldon and Howard being in real romantic relationships is implicitly thesis-fulfilling, enabling stories about their struggles with new social scenarios in which they’re uncomfortable. And whenever Penny is there to directly guide them, which is less often than before but more than any season hereafter, Big Bang is doing exactly what it’s always promised… Of course, not everything looks bright — now that Leonard and Penny have split, the show is resorting to more clichés with them (i.e., “The Boyfriend Complexity,” most notably), culminating in a weak arc where Leonard dates Raj’s sister Priya, someone who’s supposed to be more innately compatible with Leonard but always seems more like a device than a character. In fact, Leonard and Penny will never again enjoy consistently great, character-specific material, and that downshift, which will soon apply to others too, is felt here… Again, though, it’s still early. The show may be tiring on some fronts and growing less explicitly affiliated with its original premise, but almost every story boasts some level of situation-backing, usually through the great Sheldon Cooper character, or at least the general interest of the series at large, with its nerdy, sci-fi/fantasy-lovin’ bent. Those intertwined elements will continue to assert the show’s individuality in the years to come, even as its relationship focus invites more generic fare, less personalized to the leads and/or Big Bang’s initial Penny-sparked situation. Season Four, in sum, is transitional but enjoyable — benefiting from its new regulars while only hinting at the less ideal shifts soon to accelerate in the series’ middle era.

 

01) Episode 64: “The Robotic Manipulation” (Aired: 09/23/10)

Sheldon asks Penny to join him on his first date with Amy.

Teleplay by Steven Molaro & Eric Kaplan & Steve Holland | Story by Chuck Lorre & Lee Aronsohn & Dave Goetsch | Directed by Mark Cendrowski

My choice for this season’s Most Valuable Episode (MVE), “The Robotic Manipulation” opens this transitional collection with the year’s best and most explicit exploration of the premise, as Sheldon seeks Penny’s guidance in navigating a new social experience related to his struggle in forming relationships. Here, he actually takes her with him on his first date with Amy… his first ever date, period. This is a textbook idea for situation-satisfaction, with Penny’s sheer presence reiterated as the catalyst for change, helping the socially stunted Sheldon (the supreme ambassador for all the guys, who share this basic awkwardness) slowly become more of a “normal” person, capable of the human qualities necessary to sustain real human bonds, including of the romantic sort. Now, Amy is still in her original and fairly raw form — depicted entirely as another Sheldon — but that’s fun and funny in its own right, reinforcing the show’s star character and the singular symbol of its unique comic identity by acting as both a mirror to it and a device (at this juncture) to spark his further evolution by challenging him in weekly story. In other words, while she herself will grow more personalized throughout this year, she’s already serving a vital function, and this smart premiere is proof. Meanwhile, there are big character-rooted and situation-validating laughs in the subplot as well, as Howard’s own nerdiness and social dysfunction are on display when he decides to use a massaging robot to pleasure himself — leading to an embarrassing scenario that only emphasizes the ways in which these geeks yearn for physical connections that are foreign to them. Accordingly, this entry is a terrific opening to a season that’s not quite on its level all the time (to wit, Penny and Sheldon aren’t juxtaposed one-on-one as often as they used to be, now that Amy is around), but it’s still strong in the context of the run as a whole. And there’s nothing else on this list that’s as narratively perfect for premise or character as this classic, my obvious MVE.

02) Episode 65: “The Cruciferous Vegetable Amplification” (Aired: 09/30/10)

Sheldon decides to increase his lifespan by having a robot go out into the world in his place.

Teleplay by Chuck Lorre & Steven Molaro & Jim Reynolds | Story by Bill Prady & Lee Aronsohn & Steve Holland | Directed by Mark Cendrowski

The series’ central character — the boldest weapon in its proverbial arsenal — is beautifully displayed in this memorable outing that also, by showcasing him so well, can’t help but nod to the premise, for everything about his depiction speaks to the very social dysfunction that defines these guys and how they need to evolve. Here, Sheldon attempts to prolong his life by becoming healthier, before ultimately deciding that it’s futile; the only way to actually prevent himself from harm is to avoid going out into the real world, substituting his physical being with a robot attached to a monitor with a live video of his face on it (taken from the safety of his own room). This is explicit in its play to the situation, as Sheldon’s obsessive risk aversion has him retreating from regular human interaction, hiding instead behind science (literally). So, in addition to a funny sample of the year that features his characterization in crystal clear terms, this is also another thesis-affirming example of Big Bang, and a credit to this season’s quality.

03) Episode 68: “The Hot Troll Deviation” (Aired: 10/14/10)

Howard asks for Penny’s help in winning back Bernadette.

Teleplay by Bill Prady & Lee Aronsohn & Maria Ferrari | Story by Chuck Lorre & Steven Molaro & Adam Faberman | Directed by Mark Cendrowski

Season Four, much like Season Three, is another great showing for Howard, as his new relationship with Bernadette (introduced last year) does the same thing for him as Sheldon’s relationship with Amy is now doing for Sheldon: it forces Howard to evolve, accentuating his social weirdness in comic story and challenging him, per the series’ thesis, to work through it. That’s especially clear in this underrated excursion that is directly tied to the premise because it directly engages Penny, to whom Howard turns for assistance in reconciling with Bernadette, who we learn broke up with Howard after she caught him having sex with a character in a video game. That’s a very weird, yet very Howard, detail that not only plays to his elemental nerdiness (which defines all the guys and thus the whole series), but more importantly to his social dysfunction, as he’d instinctively pursue artificial connections before real human ones. By confronting this head on, the show, and his character, is able to win back Bernadette, thereby bringing her more formally into the cast, where she can hopefully continue to provide him with more situationally-specific stories like this. (Katee Sackhoff and George Takei guest.)

04) Episode 70: “The Apology Insufficiency” (Aired: 11/04/10)

Sheldon feels guilty after accidentally sabotaging Howard’s security clearance for a big project.

Teleplay by Bill Prady & Steven Molaro & Steve Holland | Story by Chuck Lorre & Lee Aronsohn & Maria Ferrari | Directed by Mark Cendrowski

This installment is a tour de force for the great Sheldon Cooper, as his fundamental lack of social skills and penchant for petty grievances result in him unintentionally revealing info to an interviewing FBI agent (Eliza Dushku) that prevents Howard from receiving a necessary security clearance. After this blunder, Sheldon tries to apologize — an action that we know is tough for him, given his lack of experience admitting error, due to his typical belief in his own superiority and his relationship-challenging struggle with empathy. He then chooses to consult Penny — her only scene here (as Kaley Cuoco was recovering from a serious injury) — which plays right to the situation’s intended setup, with her being the catalyst for his increased socialization. From there, Sheldon tries to make it right with a grand gesture — he gives Howard his seat on the couch, something of well-established personal importance to Sheldon. Thus, this gift — preceded by a rare display of a real human feeling, guilt — is a smart symbol of Sheldon’s growing regard for others, encouraged by Penny, and supported by details specific only to his character. And it’s all smartly sparked by a story that’s about both science and relationships — everything Big Bang promises to be. (Neil deGrasse Tyson also appears.)

05) Episode 71: “The 21-Second Excitation” (Aired: 11/11/10)

While the guys go to an Indiana Jones screening, Penny hangs out with Bernadette and Amy.

Teleplay by Lee Aronsohn & Steven Molaro & Steve Holland | Story by Chuck Lorre & Bill Prady & Jim Reynolds | Directed by Mark Cendrowski

The A-story here about the guys camping out to see an extended cut of the first Indiana Jones film reinforces their collective definition as geeks who love such comic book fare — often prioritizing it over real human interactions — and the return of Sheldon’s nemesis Wil Wheaton is a fun bit of continuity that further helps the proceedings feel specific to Big Bang and its established particulars. However, more than that, I feature this entry because its subplot pairs the three women together for the first time — Penny, Bernadette, and Amy — which officially previews a common dynamic that will even start to be routinely deployed in the latter half of this year, as they bond over their romantic struggles. And this isn’t just prescient — it’s also revealing of where the show is at this precise moment, for Amy, who latches onto Penny, is still functioning most like a duplicate Sheldon, deriving humor and conflict in the same manner: through a lack of social grace that stems from her awkwardness due to minimal experience. Very soon, this will be refined — her overeagerness for friendship with Penny will stick, but she won’t operate as much like a proxy of her beau for scenes where she basically plays the nuisance.

06) Episode 73: “The Alien Parasite Hypothesis” (Aired: 12/09/10)

Amy finds herself dealing with newfound urges after meeting Penny’s ex-boyfriend Zack.

Teleplay by Lee Aronsohn & Jim Reynolds & Maria Ferrari | Story by Chuck Lorre & Steven Molaro & Steve Holland | Directed by Mark Cendrowski

This underrated installment is a key pivot for Amy — and a telling contrast to the sample above, where she was essentially another Sheldon. Here, a distinction emerges when Amy discovers newfound and uncontrollable urges — she’s sexually aroused by Penny’s ex-boyfriend Zack (Brian Thomas Smith). That’s a hilarious idea that elementally reiterates her social dysfunction via her clinical approach to, well, biology, due to a lack of personal experience. And it’s especially fun when Sheldon, oh-so-clinical as well, rationalizes that the only way to address Amy’s biological impulses is for her to fornicate with Zack — a proposal that ignores common human feelings, like affection and jealousy. But Amy’s urges themselves signal something grander that will increasingly separate her from Sheldon — she is more in tune with her own humanity than he is, and this will manifest itself not only through a guiding desire to have sex (in which he is much less interested), but also in a mere elevation of her need for and therefore understanding of people. That is, with such urges, she can no longer be a proxy Sheldon — she’ll be a similarly quirky and inexperienced nerd who nevertheless recognizes, more than he does, the necessity of human connection, rendering her often overeager in her pursuit of it (see: Penny) and creating more definable conflicts going forward, particularly with the still-robotic Sheldon. So, I count this as a vital moment for her refined, loosening, individualized usage.

07) Episode 74: “The Justice League Recombination” (Aired: 12/16/10)

The guys enlist Zack to join them in a New Year’s Eve costume party at the comic book shop.

Teleplay by Bill Prady & Steven Molaro & Steve Holland | Story by Chuck Lorre & Lee Aronsohn & Maria Ferrari | Directed by Mark Cendrowski

One of the year’s more popular selections, “The Justice League Recombination” is visually memorable because all the leads dress up as superheroes — a gag that emphasizes their comic book obsession and thus the nerdiness that colors their collective definition (and therefore the series at large). We’ve seen it before and we’ll see it again — it’s an easy form of situation comedy. But what fans also like about this episode is the forward momentum in Leonard and Penny’s inevitable reconciliation, which the show delays until the middle of Season Five, even though it’s already clear — per the rules of all ensemble hangout rom-coms who use their pilots to tease potential couplings — that their reunion is certain, for that relational construct is a tentpole of the format. Personally, I don’t much care about their material here. What I most like, rather, is how the show channels its nerd culture in a new and surprisingly social way, as the guys bully and then befriend Penny’s boyfriend Zack to have him join them in the comic shop’s group costume contest — an amusing notion that both contrasts his caricatured lack of brains with theirs (reiterating the men’s shared genius), but also indicates some premise-affiliated objectives, using these characters in ideas that valorize human relationships.

08) Episode 76: “The Love Car Displacement” (Aired: 01/20/11)

The group, including Amy and Bernadette, attends an out-of-town science conference.

Teleplay by Lee Aronsohn & Steven Molaro & Steve Holland | Story by Chuck Lorre & Bill Prady & Dave Goetsch | Directed by Anthony Rich

With the entire seven-person group, which now officially features both Bernadette and Amy, heading to an out-of-town science conference, this is the first installment in Four that previews what the show will become in its middle era: a three-couple ensemble hangout comedy, where progressional relationship beats increasingly guide plot in a more familiar and often generic style. It’s still novel and exciting here though, especially with a science conference backdrop that enables a climax where most of the regulars sit on a public panel, arguing about all the shenanigans from the night before. Namely, Howard is jealous of Bernadette’s ex, which leads to a series of bed-hopping maneuvers in the hotel, with Leonard and Penny’s attempted hookup being interrupted before it can begin. It’s a mildly farcical scenario, driven by relationships — fueled by the premise-affiliated insecurity that the inexperienced Howard would have — and it showcases this full cast, which Big Bang will enjoy for the remainder of its run.

09) Episode 83: “The Herb Garden Germination” (Aired: 04/07/11)

Sheldon and Amy decide to spread gossip in their group as a social experiment.

Teleplay by Bill Prady & Steven Molaro & Steve Holland | Story by Chuck Lorre & Eric Kaplan & Eddie Gorodetsky | Directed by Mark Cendrowski

This is another ensemble outing that resembles what we’ll see in the middle years, as several couples dominate the proceedings and generic relationship progressions often inform plot. Indeed, this is the one where Howard proposes to Bernadette and she accepts — giving this half hour the sort of major romantic development that’s common to all these hangout rom-coms, a subgenre into which Big Bang is more rapidly sliding, in accordance with its premised setup as a show about relationships. To that point, what I enjoy about this episode is that it also features Sheldon and Amy conspiring to conduct a social experiment on their pals — they spread gossip in the group and then observe its effects. That’s an amusing idea that plays to their shared definition as clinical observers of life rather than folks who actually live it; they view a collection of humans as something to study rather than people to love — which makes for a motivated character-driven conflict that also acknowledges the show’s premise. So, it’s a winning display of their personalities (Sheldon’s especially) and, therefore, the series’ core themes.

10) Episode 84: “The Agreement Dissection” (Aired: 04/28/11)

Sheldon goes out on the town with Penny, Amy and Bernadette.

Teleplay by Chuck Lorre & Steven Molaro & Eric Kaplan | Story by Bill Prady & Dave Goetsch & Eddie Gorodetsky | Directed by Mark Cendrowski

Jim Parsons won his second Emmy for his work in this entry. (Incidentally, Johnny Galecki was also nominated this year, as was the show for Outstanding Comedy Series.) It’s another Sheldon-focused affair that delights in putting the typically rigid, socially awkward menace in a new social scenario, as he accompanies the women for a “girls’ night out” and observes them getting drunk, later even joining Amy on the dance floor. Those are easy laughs that are nevertheless fun because of him. However, speaking of Sheldon and Amy, he then opens up to her in a terrific scene at her apartment that furthers Four’s refinement of her portrayal, distinguishing her from Sheldon as someone who more obviously yearns for connection. And it’s a sign of his growth as well, progressing their relationship slowly and charting a course for the rest of the run. What’s more, the inciting incident for Sheldon going out is him being kicked out for the night after Leonard’s girlfriend Priya (Aarti Mann) finds a loophole in Sheldon’s comedically draconian (and oft-referenced) Roommate Agreement — a running gag that intrinsically reinforces Sheldon’s unique depiction, which has come to define this whole series, where he serves as its most potent ambassador in offerings like this, entirely shaped around his distinct comic character.

 

Other notable episodes include: the closest to my list, “The Zazzy Substitution,” where Sheldon breaks things off with Amy and has a rush of feelings he’s never felt before, “The Desperation Emanation,” which deals with Sheldon’s fears that his relationship with Amy is getting too serious, and “The Thespian Catalyst,” where Sheldon turns to Penny to teach him acting (a character-specific pairing that also relates to her basic function in the premise as the one who has to show him how to empathize with others). All three are great displays of his characterization, particularly in this era. I’ll also take this space to cite: “The Benefactor Factor,” which memorably guests Jessica Walter in a story where clinical Sheldon tries to push Leonard to go against his innate humanity, “The Toast Derivation,” which has a decent idea for Sheldon about human connection as he seeks to replace all his friends, and “The Engagement Reaction,” which stands out due to Bernadette, as she stands up to Howard and his mother after the latter has a heart attack upon news of their engagement.

 

*** The MVE Award for the Best Episode from Season Four of The Big Bang Theory goes to…

“The Robotic Manipulation”

 

 

Come back next week for Season Five! And stay tuned tomorrow for a new Wildcard!