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 Five brings Big Bang into its middle era, where the show is no longer about a “normal” person befriending a group of nerds whose social dysfunction has heretofore precluded them from real relationships. By now, three of the four guys have romantic partners in the main cast, turning this ensemble hangout comedy into a more generic three-couple show, with stories accordingly built on relational dramas that, while sometimes motivated by their awkwardness, inevitably hit certain beats common to all rom-coms. That is, the stories simply become more familiar, less conceptually personalized to the specifics of these characters and the premise. We’re starting to see this with Howard and Bernadette, who are headed to the altar but get episodic plots that don’t have much to do with his being a geek unaccustomed to these new interpersonal scenarios. And this has also long been a problem for Leonard and Penny, who reunite at midseason for no particular reason — a continuation of their contrived breakup in Three, which was driven less by their characterizations (and the premised differences between them) than a conveniently timed dispute over commitment… which any sitcom’s lovers could offer. Since then, their usage has favored clichés. Fortunately, the series’ primary comic force, Sheldon, is still helpful because of his vivid definition, and since he’s the boldest ambassador for the situation, the fact that he can still be distinctly displayed means scripts always have a way to be uniquely self-affirming. What’s more, his girlfriend Amy has now developed into a special comic force in her own right — a Sheldon offshoot who’s awkward and quirky like him (due to a shared lack of experience) yet nevertheless more aware of her need for human connection, thereby making her overeagerness for it its own source of tension. Amy proves to be additive not only with Sheldon (as their romance is inherently premise-corroborating), but also with her pal Penny, whose centricity evokes the original thesis. Thus, with Sheldon used well, Amy helping, Penny still in the mix, and the show always able to play to the guys’ collective depiction via their nerdy interests and/or scientific pursuits (see: Howard’s space gig), Big Bang remains an enjoyable situation-based endeavor, capable of delivering strong identity-reflecting samples.

 

01) Episode 95: “The Isolation Permutation” (Aired: 11/03/11)

Sheldon must comfort Amy after she feels left out of Bernadette’s wedding planning.

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

Season Four already proved that Amy Farrah Fowler was a brilliant addition to the regular cast, given her proximity to Sheldon, the series’ most potently comedic character, and what their relationship inherently could supply in terms of explicit situation-exploration. But she’s also come to develop quite a clear and funny personality in her own right, and Season Five frequently benefits from reiterating the key distinction that last year wisely established — how she, unlike Sheldon, consciously craves human bonding with others, both romantic and otherwise. This understanding of her character makes for several amusing and uniquely well-motivated interpersonal conflicts between Amy and other members of the main ensemble, like here, when she’s upset that Bernadette has excluded her from wedding planning. And why? Because Amy’s hunger for connection is so overbearing that it’s weird — a continuity-backed reflection of her social awkwardness. This is a great idea for her character — in a smart story that acknowledges the year’s overarching Howard/Bernadette engagement arc and also sets up more forward movement in Sheldon/Amy’s relationship, as his efforts to comfort her lead to some “cuddling” — a sign of progression both for them and his centralized situation-defining depiction.

02) Episode 96: “The Ornithophobia Diffusion” (Aired: 11/10/11)

Sheldon tries to get rid of a bird outside his window.

Teleplay by Bill Prady & Steven Molaro & Eric Kaplan | Story by Chuck Lorre & Dave Goetsch & Anthony Del Broccolo | Directed by Mark Cendrowski

Although I’m typically not a fan of animals on sitcoms because they’re gimmicky narrative devices that aren’t an effective substitute for actual characters, I enjoy this entry’s A-story. Sheldon confronting an obsessive phobia and then learning to show empathy for another living creature, especially one to which he’s initially unaccustomed, is a play to the premise. His journey to caring about something other than himself (or his direct family) is a sign of the emotional maturation that the series promises to follow, and accordingly, Sheldon vs. Lovey Dovey can be extrapolated out as a form of situation comedy. Additionally, the subplot with Leonard and Penny — despite finding the idea itself ordinary and uninspired, I at least appreciate its ending suggestion that one of the reasons they aren’t together is his natural tendency to be diffident instead of assertive. That’s a premise-related character trait that gives him a track on which to evolve, and a way to motivate their inevitable reconciliation. If that notion was employed with more consistency, the material for them this season would be a lot less trite.

03) Episode 97: “The Flaming Spittoon Acquisition” (Aired: 11/17/11)

Sheldon finds himself forced to make a change when Amy goes out with Stuart.

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

As noted, stories where Sheldon and Amy have to navigate their romantic relationship tend to be intrinsically situation-affirming, especially when the focus comes on Sheldon and his difficulty handling these new socially intimate predicaments into which Amy is eager to push them both. Here, he finds himself having an impossible-to-hide reaction when Amy goes out on a date with the recurring Stuart (Kevin Sussman), whose convenient presence is nevertheless part of the show’s established continuity and therefore a reflective aspect of the series’ identity. This makes Sheldon jealous — an indication of human feelings that force him to take his relationship with Amy to the next level… well, the next level Sheldon-style. He promises to be her official boyfriend. But, of course, this means that she must sign a Relationship Agreement — a gag that speaks to his clinical, black-and-white understanding of the world, mirroring his often-referenced Roommate Agreement with Leonard. It’s another comically absurd attempt to systematize human interactions, minimizing nuance and vulnerability — and that’s quintessential Sheldon, making this a very fine episode for his character. (Josh Brener guests.)

04) Episode 99: “The Shiny Trinket Maneuver” (Aired: 01/12/12)

Penny helps Sheldon buy Amy a gift to apologize for hurting her feelings.

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

“The Shiny Trinket Maneuver” is the most textbook-like sample in Five of how the show is still able to naturally explore its premise through its still-novel Sheldon/Amy relationship. Its story finds socially tactless Sheldon insulting Amy by unknowingly diminishing her (as he often does in his rigid, unfeeling way), and then follows his efforts, with the help of Penny — the premised catalyst for his encroaching humanity — to apologize to Amy with a gift, a token of his sincerity and another custom with which he remains somewhat unfamiliar. Fans remember this plot because of its fun climax where he gives Amy a tiara and she is thrilled, for she, also socially weird, finally gets to be a princess. It’s a funny glimpse into Amy’s character, who is both an offshoot of Sheldon and a figure now cultivated to oppose him via her more evolved empathy and essential understanding of her need for human connection (which Sheldon is only very slowing learning), evidenced here. Accordingly, this is a memorable showing for Sheldon and Amy, not to mention the situation, with Penny capably used to support — just as the series promises. (Incidentally, Mayim Bialik was Emmy nominated for her work in this offering.)

05) Episode 101: “The Beta Test Initiation” (Aired: 01/26/12)

Leonard and Penny decide to try a beta test version of their relationship.

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

After a Leonard/Penny-focused 100th episode that I find to be endemic of their increasingly clichéd and unindividualized usage in Five (where their scenes are largely nondescript since the material is not unique enough to their depictions), this follow-up continues them on the path of reconciliation, with the two enacting a “beta test” of their resumed relationship. I like this idea because of its scientific coloring, which sits upon Leonard’s basic nature, and even though the reasons for their hesitancy still aren’t well-rooted in the situation (i.e., their premised differences aren’t fully explored), it’s at least more personalized than most of what they get to do this year. Meanwhile, the subplots are also great for character and premise, with Sheldon debuting his “Fun With Flags” show that will become a running gag (evidencing his nerdy interests), and Raj falling in love with Siri — a bond that only accentuates his difficulty in forming connections with actual humans, despite an obvious desire. That’s a play to the direct premise, rendering this installment another smart outing for Big Bang, hinged around its own particulars.

06) Episode 105: “The Werewolf Transformation” (Aired: 02/23/12)

Sheldon struggles to be less regimented after his favorite barber is no longer available.

Teleplay by Bill Prady & Steven Molaro & Jim Reynolds & Maria Ferrari | Story by Chuck Lorre & Todd Craig & Gary Torvinen | Directed by Mark Cendrowski

“The Werewolf Transformation” is a Sheldon-showcase that earned Jim Parsons his annual Emmy nod (the show was also nominated as Outstanding Comedy Series again as well), and it’s no surprise that it was chosen for submission, because it’s got another classic story designed to reinforce his comedically excellent depiction by playing against it — challenging it. Here, that fun occurs when Sheldon decides not to get his regular haircut after he’s unable to see his regular barber. This disruption in the natural order of Sheldon’s life throws him entirely off-balance. And as he tries then to break this essential robotic-like rigidity and become more casually malleable (you know, like a “normal” person) — accepting that things don’t always have to be just so — it proves absurd, thereby corroborating his elemental characterization as an unyielding comic force with premised dysfunction that manifests itself in his interactions with the world. Accordingly, this is a dynamite reflection of Sheldon’s character — and because he’s the boldest and most rewarding part of The Big Bang Theory, not to mention the loudest ambassador for everything that’s intended to be presented within the premise, this is a winning display of the series and what makes it special: in a word, Sheldon. While he’s not the show’s exclusive draw at the moment, more and more this will come to be the case in this middle era…

07) Episode 106: “The Weekend Vortex” (Aired: 03/08/12)

Sheldon chooses to play video games with his friends instead of hanging with Amy.

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

As with the above-cited offering where Sheldon slighted Amy and then had to apologize, “The Weekend Vortex” is another perfect display of how the show can find tension in their relationship through his character — a conflict also enabled by the temperamental distinction between the two that has been smartly cultivated since last year. Specifically, Amy has come to have a craving for enhanced connection — primarily with her boyfriend, Sheldon — that is far beyond what Sheldon is consciously able to provide himself (for he’s more socially dysfunctional and less aware of those needs), and given his basic self-centered and un-empathetic approach to the world, this often results in her having her feelings hurt. That happens here when he chooses to play video games — a hobby that speaks to the guys’ collective definition — instead of joining her at an important family function. It’s then up to Penny to help Amy tell him how she feels. Of course, Amy ends up trumped by a confession from Raj that plays to the show’s changed ensemble dynamics, for he’s the only one not in a regular relationship and often gets excluded as a consequence. So, this is, again, a rewarding character show — and a winning example of the series in this particular season.

08) Episode 107: “The Transporter Malfunction” (Aired: 03/29/12)

Penny surprises Leonard and Sheldon with a pair of rare Star Trek collectibles.

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

More and more, this series will come to predicate situation comedy less on the premise and its explicitly promised conflicts or cast dynamics, and more exclusively on Sheldon (its boldest character) and the scientific and/or sci-fi-lovin’ nature of the regulars at large, which is the easiest and most fundamental difference between Big Bang and most ensemble hangout multi-cams in this subgenre. Both of those things — Sheldon and their geekiness — drive the appeal of this memorable outing, where Penny gives Leonard and Sheldon a pair of rare Star Trek toys that Sheldon is compelled to play with after a dream that features the voice of Spock (Leonard Nimoy). Sheldon then ends up breaking his toy and replacing his broken one with Leonard’s still intact copy — a fun and childlike display of his self-interest, along with his love of sci-fi that they both share as scientists. In particular, Sheldon’s regard for Star Trek has been established in several classic entries already, so it’s a perfect reiteration of his character, with details that emphasize his specificity (even in relation to everyone else). The dream is a gimmick, but a charming series-reinforcing one, rendering this another show that only Big Bang could do.

09) Episode 108: “The Hawking Excitation” (Aired: 04/05/12)

Sheldon is desperate to meet his idol, Dr. Stephen Hawking.

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

With an unforgettable guest appearance by real-life genius (and nerd) Stephen Hawking, this excursion naturally validates the guys’ characterization as a collective, in which their scientific pursuits and geeky interests color all of their similarly shaded depictions, distinguishing Big Bang from other familiar series in its ensemble hangout subgenre. Like Spock, Hawking’s presence alone is situation-validating on simple terms. Fortunately, “The Hawking Excitation” is a terrific showing for Sheldon as well, evidencing known character traits like his obsessiveness and fanaticism, along with his belief in his own superiority as a brilliant scientist, which makes him jealous and indignant when others, like Howard, are rewarded with things he isn’t — like the chance to talk shop with Dr. Hawking. More than that, it’s fun to see Sheldon so determined to meet Hawking that he would prostrate himself to Howard — a show of humility, however forced, that reinforces his character by comedically playing against it. And with the script allowing Howard to delight in this reversal in dynamic, explicitly suggesting that Sheldon is a “condescending jerk” who deserves this treatment, it provides Sheldon some reflection that hits to the premised arc of all the guys, but especially Sheldon, as his ability to connect with others’ thoughts and feelings is a creep towards empathy and thus increased humanity, allowing for better relationships. And so, while the guest turn by Hawking may be a fundamental gimmick that would always stand out because of its sheer subject matter, it’s really this installment’s use of Sheldon, plus his positioning with the ensemble and how it plays to the premise, that renders it a true gem — and an easy choice to be this year’s MVE (Most Valuable Episode).

10) Episode 111: “The Countdown Reflection” (Aired: 05/10/12)

Howard recalls the lead up to his wedding as he prepares to launch into space.

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

Five’s finale boasts a unique narrative structure, with Howard sitting on a rocket ship ready for takeoff, telling his fellow astronauts about the lead-up to his recent wedding. It’s a gaudy choice that spruces up an otherwise fairly routine rom-com story that features a big development, a wedding. And, frankly, I don’t think this half hour is as truly exceptional as some of the others on this week’s list. However, there are a lot of fine moments; I especially like Sheldon’s words at the ceremony, which are emblematic of his character and where he currently exists at this point in the run, most notably in contrast to Amy. In particular, I also love the final scene of the year — with the cast holding hands as Howard takes off into space. It seems like a typical sign of the touchy-feely camaraderie of these hangout rom-coms, but it’s elevated by two special things. One is Howard’s specific career pursuit, which is scientific and thus speaks to Big Bang’s elemental premised distinction. And the other is that Sheldon holds Amy’s hand — it’s a show of affection that’s rare for him, indicating both his regard for Howard and his regard for Amy. It’s the subtlest form of cultivated (but perhaps always present) humanity that the series has heretofore offered, and it’s so smart and revealing — a symbol of just what a rich character he’s been and still is… five seasons later. For that alone, I spotlight this entry.

 

Other notable entries include: “The Infestation Hypothesis,” which plays on Sheldon’s obsessive-compulsive phobias in an amusing story that involves both Penny and Amy, “The Friendship Contraction,” a standard but situationally appropriate Leonard vs. Sheldon show, utilizing the much-discussed Roommate Agreement to reiterate Sheldon’s social rigidity, “The Rothman Disintegration,” which again hinges on Amy’s overeagerness for Penny’s friendship and Penny’s difficulty in leveling with her, and “The Stag Convergence,” which finds jeopardy in Howard and Bernadette’s pending nuptials by forcing her to confront just how socially dysfunctional he used to be — you know, the premise! I’ll also take this space to cite “The Wiggly Finger Catalyst,” where Penny, in an explicit display of the premise, tries to help Raj in a romantic relationship (after Four’s awful cliffhanger where the show teased a sexual tryst with them that thankfully didn’t happen), “The Good Guy Fluctuation,” a popular outing where Sheldon struggles to prank the guys (I wish it all felt more specific to the characters), and “The Launch Acceleration,” which I enjoy simply for the ideal Sheldon/Amy scenes.

 

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

“The Hawking Excitation” 

 

 

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