Is the classic workplace sitcom dead? Not quite, but it's definitely on life support. Enter CBS's "DMV," a show that tries to breathe new life into this familiar format. While it doesn't reach the comedic heights of a "MASH" or "Seinfeld," it offers a reasonably charming and often funny glimpse into the daily grind. But here's where it gets controversial: can "DMV" truly stand out in a world dominated by streaming giants and increasingly sophisticated comedy?
The show arrives at a time when the traditional 30-minute network sitcom feels like a relic. ABC's "Abbott Elementary" remains a bright spot, garnering Emmy nominations and proving the format isn't entirely extinct. However, the golden age of sitcoms, with iconic shows like "Cheers" and "The Cosby Show," feels like a distant memory.
"DMV," which premiered on October 13th, cleverly taps into the comedic potential of the workplace. It quickly establishes its characters with distinct traits and quirks, a common sitcom technique. Think of it as a spiritual cousin to "The Office," which masterfully mined humor from the mundane. Even shows like "The Studio" and the darkly comedic "Severance" (a surreal Apple TV+ offering that could be described as office horror) demonstrate the enduring appeal of workplace settings for comedy. And this is the part most people miss: the inherent relatability of shared work experiences, regardless of the specific job.
Thankfully, "DMV" doesn't try to be overly ambitious. It's set in the East Hollywood branch of the Department of Motor Vehicles, focusing on the interactions, frustrations, and surprising resilience of six employees. They navigate the unpredictable demands of the public (that's us!) and the looming threat of efficiency consultants (played by Gerry Dee and Reshma Shetty), who represent the relentless pursuit of optimization in late-stage capitalism. OK, maybe that is a little bit horrifying.
The ensemble cast is a key strength. Molly Kearney plays Barbara, the perpetually optimistic manager with a penchant for accidental double entendres (she affectionately refers to DMV headquarters as "Big Sac"). Harriet Dyer is Colette, the eager-to-please examiner who's a little too generous with passing grades and harbors a crush on the new heartthrob, Noa (Alex Tarrant). Tony Cavalero's Vic is an eccentric, water-guzzling dude-bro who loves to flaunt his physique. Gigi Zumbado's Ceci, the license photo taker, sees herself as a true artist. Reflecting on these characters, it's easy to see how efficiency might be a challenge in this particular DMV branch.
But the real standout is Tim Meadows, who portrays Gregg, a delightfully jaded employee who's seen it all. He approaches the role with a cool, understated comedic brilliance. Gregg's been around long enough to not care too much about the work itself, but he genuinely cares about his colleagues. In one episode, he takes Noa under his wing, teaching him the art of strategic slacking: moving slowly between tasks and never skipping a scheduled break. Gregg even pretends to smoke outside, even though he quit years ago, just to kill time. I, for one, would watch an entire show centered on Gregg. It's a perfect vehicle for Meadow's unique talent for calm comedy.
Now, nobody expects a sitcom to deliver a Kafkaesque exploration of bureaucratic nightmares. "DMV" prioritizes the interplay between its characters over any deep dive into government efficiency. Some jokes are admittedly low-hanging fruit, like the scene where Colette's elderly test-taker wreaks havoc with the car.
However, "DMV" maintains a brisk pace, and the performances from Meadows, Dyer, and Kearney are consistently strong. While the sitcom format may be evolving, there's still a place for its quick escapism and broad humor. Sometimes, you just want a few chuckles before calling it a night.
DMV
Starring Tim Meadows, Harriet Dyer, Molly Kearney, Tony Cavalero, Alex Tarrant, Gigi Zumbado, Gerry Dee, and Reshma Shetty. Airs Mondays at 8:30 p.m. on CBS; streams on Paramount+.
So, what do you think? Does "DMV" succeed in reviving the classic workplace sitcom, or is the format simply too outdated for modern audiences? And more importantly, is Tim Meadows a comedic genius, or am I just biased? Let me know your thoughts in the comments below!
