Danny McBride's HBO series are 'feel-good, quasi-black comedies in which the good feeling is delayed as long as possible — but it comes,' writes critic LATimesTVLloyd
, in which McBride’s Neal Gamby schemes to become a high school principal. It completes what McBride has described as a “misunderstood angry man trilogy,” though I would argue that if anyone misunderstands Kenny Powers, Neil Gamby and Jesse Blumstone, it is Kenny, Neil and Jesse.
The series do achieve something like depth over the long run, and if it’s only a matter of the characters becoming familiar,more recognizably human — more understandable, more forgivable. There is a carefully placed hole at the center of many McBride characters — not just the ones he plays but most of the ones he writes — that only love can fill. As a writer, he’s a sentimentalist at heart, which is what makes his comedies, for all their low humor and violence, basically old-fashioned.
I can see why some might find McBride difficult. Even when well-intentioned, his characters tend to be mired in old ways of thinking, which means there are elements of machismo, misogyny and racism in the humor. Though we’re clearly meant to find these attitudes pathetic — these are creatures of arrested development, children in the bodies of adults — the jokes still take some processing, and the irony may be lost on some.
His alter egos are self-contradictory and, one might even say, complex. They are vulgar and puritanical. They cannot admit a weakness or a mistake without half taking it back. They complain of their suffering in order to appear strong, and lie implausibly to cover themselves — though if there’s one thing recent years have taught us, it’s that a lot of people will buy your implausible lies.
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