Welcome to a new Sitcom Tuesday! This week, we’re continuing our coverage of Two And A Half Men (2003-2015, CBS), which is currently available on DVD and Peacock!
Two And A Half Men stars CHARLIE SHEEN as Charlie, JON CRYER as Alan, and ANGUS T. JONES as Jake. With JENNIFER TAYLOR as Chelsea, MARIN HINKLE as Judith, CONCHATA FERRELL as Berta, and HOLLAND TAYLOR as Evelyn.
Charlie Sheen’s penultimate season continued Men’s winning streak as America’s most-watched sitcom. But just as in Six, there’s an ongoing decline in the series’ quality, primarily due to a dwindling ability to play in story with the premise and these characters, who are becoming increasingly detached from both episodic plot and the ribald-often-crude sense of humor that is now defining the show beyond those narratively crucial elements of its situation. For example, Seven furthers the arc of Charlie trying a serious relationship, and this entire essay is going to sound like a retread of last week’s, for all the same issues from Six persist — only accelerated — for although putting the lascivious bachelor in a long-term commitment is itself a form of growth, Chelsea (Jennifer Taylor) still has no personality, and she doesn’t help contribute character-based story, which only sometimes has anything to do with the specifics of the heretofore well-defined Charlie. Instead — and even more than in Six — they’re subjected to clichéd ideas and soapy narrative turns that aren’t well-motivated by things that are unique to them or the series. Accordingly, the arc remains a drag, for it’s not truly an exploration of the primary figure — Charlie, who upholds every single aspect of the premise… Meanwhile, Alan, who by now is an equal partner in the show’s operations, has officially become the heightened comic force. As the usually unattached Charlie is now tied down, Alan flits from girl to girl, narratively and comedically existing in the way that we would otherwise expect of his brother. Now, I appreciate this evolution when it seems like Charlie and Alan’s characterizations have influenced the other, but it’s seldom suggested. And for as good as Jon Cryer is (he earned another Emmy nod for this work here), and for how necessary it was that Alan be able to carry more comic story, Men’s design nevertheless demands the centralization of its star, Charlie. So, as Charlie continues to be used poorly while Alan occupies more of his space, the show’s situation feels discarded, especially as its comedy is also becoming even more deliberately crass — and no longer as a direct extension of the leads, for they aren’t being evidenced well enough in active story to imply the link… Fortunately, there are still a few strong segments in Seven relative to the series’ baseline. It’s just fewer than before, for Men is very obviously on the decline…
01) Episode 141: “Whipped Unto The Third Generation” (Aired: 09/28/09)
Chelsea convinces Charlie to let Alan’s girlfriend move into the house.
Written by Mark Roberts | Directed by James Widdoes
This is a decent “buddy comedy” offering that reminds of the premise — and even has a winking reference to The Odd Couple — by putting Charlie and Alan in conflict when Alan requests his girlfriend (Melissa) be allowed to move into the house. And it’s fun when the brothers both get kicked out by their women, who join forces, taking advantage of this season’s Charlie/Chelsea arc, and in episodic terms, uniting the two disparate but well-juxtaposed men.
02) Episode 142: “Mmm, Fish. Yum.” (Aired: 10/05/09)
Alan helps Judith’s mom care for the new baby.
Teleplay by Susan Beavers & Eddie Gorodetsky & Jim Patterson | Story by Chuck Lorre & Lee Aronsohn & Don Foster | Directed by James Widdoes
Last season’s “Judith maybe had Alan’s baby” story essentially fizzles out this year, after some labored and unpleasant narrative maneuverings to set it up. It’s terrible storytelling that has never had anything to do with these characters, but this entry, which peripherally involves the tot, nevertheless manages to make this list because of a strong guest performance by Annie Potts as Judith’s mom. She’s hilarious and memorable and the reason I can even cite this one. Well, I suppose I also appreciate the subplot where Jake tries to blackmail Charlie for running over Chelsea’s beloved cat — one of the only details we know about her character.
03) Episode 145: “Give Me Your Thumb” (Aired: 11/02/09)
Charlie is mad when Alan suggests Chelsea get a breast reduction surgery.
Teleplay by David Richardson | Story by Chuck Lorre & Mark Roberts | Directed by James Widdoes
Alan’s job as a chiropractor is seldom used for story because it has little to do with either his character or the premise, but it’s deployed smartly here to emphasize Charlie, who’s annoyed to learn that Alan has professionally encouraged Chelsea to alleviate the pressure on her back by getting a boob reduction. This is a great way to put the contrasting brothers in conflict, thereby highlighting Charlie’s characterization, which is too often incidental to Seven’s storytelling. Oh, and it’s fun to see Alan and Evelyn in extended scenes together as well. (Steve Hytner guests.)
04) Episode 146: “Untainted By Filth” (Aired: 11/09/09)
Charlie and Alan get drunk and wake up in the bed of a strange woman.
Teleplay by Susan Beavers & Eddie Gorodetsky & Jim Patterson | Story by Chuck Lorre & Lee Aronsohn & Don Foster | Directed by James Widdoes
Mike And Molly’s Katy Mixon makes her first of three appearances this year as one of Charlie’s goodtime girls, showing up here in a memorable entry where he and Alan get drunk and wind up in bed with this strange woman. It’s a quintessential Men story, given the show’s oversexed ethos, and it pairs excellently with a subplot where Chelsea is concerned about Charlie’s storied sexual past — a believable worry based on his character and the very conflict of this half hour.
05) Episode 147: “Gorp. Fnark. Schmegle.” (Aired: 11/16/09)
Charlie fights his temptation to hit on Chelsea’s attractive friend.
Teleplay by Don Foster & Susan Beavers & Eddie Gorodetsky & Jim Patterson | Story by Chuck Lorre & Lee Aronsohn & Mark Roberts | Directed by James Widdoes
My pick for this season’s Most Valuable Episode (MVE), “Gorp. Fnark. Schmegle.” is the best at using Seven’s particular arc for its star, Charlie, in a script that feels comedically indicative of the series’ overarching ethos, while also featuring an idea that directly stems from his guiding characterization, which, again, isn’t used often enough for the cultivation of episodic story by this point in the run. Here, he must fight the urge to hit on Chelsea’s visiting, vulnerable friend (Tricia Helfer) — surmising that perhaps this is a test set up by his fiancée to challenge his fidelity. That concern helps bring Alan into the mix, as the loser patsy whose persona is reiterated in relation to Charlie’s, rendering this a decent showing for both. And with a teleplay that is especially sex-obsessed but also character-rooted, the big laughs are both situationally earned and identity-revealing. Not a gem, but easily Seven’s finest ambassador.
06) Episode 150: “Warning, It’s Dirty” (Aired: 12/14/09)
Charlie’s advice gets Jake in trouble with his girlfriend on Christmas Eve.
Teleplay by Lee Aronsohn & Don Foster & Eddie Gorodetsky | Story by Chuck Lorre & Mark Roberts | Directed by James Widdoes
Another of Seven’s true highlights, this Christmas offering features the first appearance of Evelyn’s sometimes boyfriend Marty Pepper, played by the stellar Carl Reiner, whose presence adds a bit of dignity to the proceedings, enhancing the humor of his otherwise low-brow, crass material. However, aside from the fun of his guesting, I appreciate the A-story of Charlie giving Jake advice as Jake cheats on his regular girlfriend (Tinashe) when she’s out of town. That’s a play to the “bachelor uncle” part of the premise, where Charlie is an unideal role model.
07) Episode 151: “Fart Jokes, Pie, And Celeste” (Aired: 01/11/10)
Jake mourns his breakup, while Alan befriends Herb.
Teleplay by Susan Beavers & Eddie Gorodetsky & Jim Patterson & David Richardson | Story by Chuck Lorre & Lee Aronsohn & Don Foster & Mark Roberts | Directed by James Widdoes
The Charlie/Jake story from the previous episode continues here, as the half man moons over the loss of his girlfriend after he followed Charlie’s rascal advice. It works for the same reason the prior does — it plays to their unique premised relationship. Meanwhile, there are laughs in the A-story where Herb and Alan strike up a friendship, much to Judith’s consternation. It lets Jon Cryer and the hysterical Ryan Stiles be silly together, in an idea-led but fun framework.
08) Episode 152: “Yay, No Polyps!” (Aired: 01/18/10)
Charlie’s plan to avoid visiting Chelsea’s parents isn’t successful.
Teleplay by Don Foster & Mark Roberts & Jim Patterson | Story by Chuck Lorre & Lee Aronsohn | Directed by James Widdoes
There are two comical notions contained in this basically bifurcated excursion. The first is a wonderful character setup where Charlie the scoundrel lies about having a colonoscopy to get out of visiting Chelsea’s parents. That’s an amusing, believable story based on his characterization, allowing him to create conflict due to his own flaws. The second half of the entry is more idea-led, as Chelsea’s parents come to Malibu — her racist mother (Meagen Fay, who appeared last year) and her closeted father, played by the very funny Stacy Keach, who recurs a bit this season (with John Amos as his beau) and elevates this otherwise clichéd plot.
09) Episode 159: “I Called Him Magoo” (Aired: 05/10/10)
Alan plans an intimate evening with Lyndsey, while Charlie hires a hooker to act like a girlfriend.
Teleplay by Don Foster & Susan Beavers & Mark Roberts | Story by Chuck Lorre & Lee Aronsohn | Directed by James Widdoes
According To Jim star Courtney-Thorne Smith makes her second of two appearances this season here as Lyndsey, Alan’s on-again-off-again love interest for, well, basically the rest of the series. She sort of takes on the personality of whatever an episode needs her to be, but initially, she’s caustic and blunt, which gives her an actual comic shape that works well for Men and its emerging tonal identity, especially as Alan becomes more and more of a goof. Also, Charlie shines in this subplot, which reconciles his overarching characterization with this season’s arc of him seeking monogamy, as he hires a hooker to role play as a girlfriend. Funny!
10) Episode 160: “Gumby With A Pokey” (Aired: 05/17/10)
Charlie has hallucinations of past girlfriends while on marijuana.
Teleplay by Don Foster & Mark Roberts & Eddie Gorodetsky & Jim Patterson | Story by Chuck Lorre & Lee Aronsohn & Susan Beavers & David Richardson | Directed by James Widdoes
One of the best outings for Charlie from the latter half of Sheen’s tenure, this installment finds his character getting high and hallucinating about all the women he’s done wrong — from Chelsea and Mia to many episodic one-offs. It’s not a terribly original idea (for instance, we’ve seen something similar on Frasier, where it was more insightful), but it’s perfect for him and plays well this season. Also, the scenes with Jake and Alan lean into crude humor — a defining attribute of the series that’s no longer revealing for the leads but concertedly fulfills Men’s crass reputation, which exceeds them. (Martin Mull returns as the pharmacist and ZZ Top appears.)
Other notable episodes that merit mention include: “That’s Why They Call It Ball Room,” which creates a conflict between Charlie and Chelsea by providing new information about her, while also boasting a jokey subplot that features clips from Alan and Judith’s old wedding video, along with “For The Sake Of The Child,” which has the brothers at odds in a way that reinforces the premise but a little too generically and without enough character or narrative support, “Captain Terry’s Spray-On Hair,” which is amusing because it puts Charlie in unusual sexual territory and includes some funny sight gags for Alan, and “Ixnay On The Oggie Day,” where Charlie sleeps with Chelsea’s friend after their breakup — a solid character idea — and Alan pleasures a woman for money. Also, I don’t like these entries, but they’re worth citing: “818-jklpuzo,” which basically claims the yuk-yuk notion of Mia being a bad singer, “Tinkle Like A Princess,” where Charlie (in character) marries a floozy after his breakup with Chelsea, and “Aye, Aye, Captain Douche,” which I only bring up because of the hysterical gag of Charlie throwing up on a baby in a stroller — an audacious display of his characterization and this series’ increasingly vulgar (and shocking) sense of humor.
*** The MVE Award for the Best Episode from Season Seven of Two And A Half Men goes to…
“Gorp. Fnark. Schmegle.”
Come back next week for Season Eight! And stay tuned for a new Wildcard Wednesday!