Welcome back to Sitcom Tuesday! While we gear up for our upcoming coverage of Arrested Development, I wanted to revisit a classic sitcom and offer a fresh perspective on a piece from our blog’s archives. It’s always interesting to look back and see how our views evolve over time, especially when it comes to television analysis. Please keep in mind, this is a revisit of older thoughts, and my approach to television criticism has grown and changed over the years.
Let’s dive back into: The Ten Best The John Larroquette Show Episodes of Season Three: https://jacksonupperco.com/2018/04/03/the-ten-best-the-john-larroquette-show-episodes-of-season-three/
Previously, I revisited The John Larroquette Show‘s first season a couple of years ago (you can read that here), and my overall assessment remains consistent. Season one of The John Larroquette Show, John Larroquette’s post-Night Court project, established itself as the most memorable. This was largely due to its strong, unique tone that allowed for a rich premise, injecting both comedic depth and narrative purpose into the portrayal of its main character, John Hemingway, and the eccentric staff of a bus station in Manhattan.
However, in the pursuit of improvement and broader appeal, the network introduced changes that unfortunately detracted from the show’s initial charm. These adjustments, intended to refine the series, instead diluted what made the first season so distinctive, leaving it as the undisputed high point of The John Larroquette Show.
My renewed interest in revisiting The John Larroquette Show stems from Mitchell Hurwitz’s involvement. Before becoming the creative force behind Arrested Development, Hurwitz honed his sitcom skills within the Witt-Thomas Productions, known for hits like The Golden Girls. His presence became increasingly significant during The John Larroquette Show‘s run. Season Three marked Hurwitz’s ascent to executive producer, his first such role in a sitcom. This promotion coincided with noticeable improvements over Season Two. These enhancements came from narrative shifts that streamlined the ensemble dynamics and, arguably, Hurwitz’s own emerging comedic sensibility.
Season Three of The John Larroquette Show embraces a more relaxed and experimental approach. This season features fantasy sequences, self-aware, theatrical humor, and even whimsical stunts, such as an entire episode featuring Betty White playing a fictionalized version of herself in a musical production of The Golden Girls. While these elements might sometimes stray from deep character development, and Season Three doesn’t fully recapture the focused brilliance of the first season, this newfound freedom and imaginative spirit reignites a certain mojo that had been missing. For those anticipating Arrested Development, Season Three of The John Larroquette Show offers a glimpse into Hurwitz’s comedic ethos—a blend of creative freedom and unique comedic appeal that would become even more pronounced in his later work.
Stay tuned for more sitcom explorations next week! And don’t miss a new Wildcard piece tomorrow!
