Lady Dynamite

Netflix

                Is there a way to explain, or even review Lady Dynamite, a show that bends the definition of comedy itself? Maria Bamford is a well-known alternative comic, voice actress, former commercial spokesperson, and mental illness activist who just released the second season of this, her semi-autobiographical show. Based in the weirdest and most marginal sub-set of comedy itself, the show is a blend of timelines, conventions, and oddities. I think I will simply place a clip below this paragraph to illustrate just how unimaginably complex this show is:

            Right? How am I supposed to explain that? The first season of the show delved into Maria’s stressful and always hectic professional life, her mental breakdown and diagnosis of Bipolar II, and eventual return to Los Angeles where she slowed down her life and met now husband Scott Marvel Cassidy. The first season was critically acclaimed and featured a really talented cast, including Mary Kay Place, Ed Begley Jr, Mo Collins, Ólafur Darri Ólafsson, Fred Melamed, and Ana Gasteyer, in her best role to date. A lot of Bamford’s life was used in writing the show, though she only starred in it and executive produced. Weirdly enough Arrested Development’s Mitchell Hurwitz put the deal together and is co-listed as its creator, alongside Emmy winner Pam Brady.

            The second season is much more off-the-wall than the first. I was encouraged to watch the first scene of the second season, just to understand the earnest weirdness that propelled it. I was not disappointed. A lot of great holdovers from the first season show up in the second: a split storyline between multiple timelines, biographical information that sheds light on her mental illness, pugs doing Werner Herzog impressions, and the return of Icelandic actor Ólafur Darri Ólafsson as her real life husband, Scott. I will not lie here, the future scenes were a lot to take. Absurdist comedy is definitely one of my favorite forms of the craft, but between Ana Gasteyer’s constant euphemisms and harsh language, the wobbly camera, and the bright and obnoxious visuals, it was quite a bit to take in. The actual finale is able to calmly and assertively bring all the season’s threads together for a cohesive and satisfying end.

            Overall, I think Maria Bamford is accomplishing the many goals that she sets up in the show: she’s self-improving, de-stigmatizing mental illness, giving a platform to alternative comedy, and heading a female created show that kicks butt. You should also look into her stand-up comedy which is wacky and weird in the best of ways.