Tina Fey’s ‘The Four Seasons’ Takes a Step Outside the Comedy Icon’s Comfort Zone, but Doesn’t Thrive There: TV Review

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Tina Fey’s unique writing style, evident in shows like “30 Rock,” extends to an entire collection of series under her production. Although Fey didn’t have direct control over shows like “Mr. Mayor,” “Great News,” “Girls5Eva,” and the Peacock revival of “Saved by the Bell,” they all share a striking similarity, embodying absurd yet well-structured comedies filled with jokes. These series often feature music scored by composer Jeff Richmond, who is also Fey’s husband and a frequent collaborator across her projects. Richmond, along with many other recurring names in Fey’s productions, helps maintain a common genetic makeup while nurturing talent over time.

In the latest venture from Tina Fey, the Netflix miniseries “The Four Seasons,” there’s a continuation of her signature style. Working together with Tracey Wigfield, a former star of “30 Rock” who has since produced “Great News” and “Saved by the Bell,” as well as Lang Fisher, back from Feyworld after co-creating “Never Have I Ever,” Tina Fey takes on a role. She portrays a cranky, critical woman, reminiscent of Liz Lemon, accepting her middle age. Joining her are familiar faces such as Steve Carell, her partner in “Date Night,” and Will Forte, playing Paul L’astnamé.

In contrast to nearly two decades of original works, “The Four Seasons” represents a significant shift. Firstly, it’s an adaptation rather than an original piece, drawing inspiration from the 1981 film by Alan Alda, who makes a cameo and serves as a producer in this modern rendition. While shows like ‘Saved by the Bell’ were technically reboots, this one feels more like a complete transformation while maintaining some familiar characters. Tina Fey’s acting company welcomes new faces such as Colman Domingo, Marco Calvani, and Kerri Kenney-Silver. The most striking change is the shift towards a dramatic-comic tone, swapping quick humor for a more somber portrayal of long-term marriage. Although “The Four Seasons” offers keen insights into adult relationships, it sometimes struggles to find its footing in this new, more serious rhythm. It’s clear that the creative minds behind Fey are striving to broaden their range, which inevitably brings growing pains.

In “The Four Seasons,” I found myself following the lives of three sets of couples throughout a year, with four delightful getaways marking each season. During Nick’s (Carell) unexpected announcement to leave Anne (Kenney-Silver) on the eve of their 25th wedding anniversary, it stirred a sense of unease in Jack (Forte) and Kate (Fey), who often reflect on their own relationship by empathizing with others’. Similarly, Danny (Domingo) and Claude (Calvani)’s contrasting personalities – with Claude being hot-tempered and Danny cool – are put to the test when Danny’s health issues cause Claude to retreat into her work. The aftershocks of Nick’s decision unravel over a picturesque weekend at a countryside home (Spring), an unlucky sojourn at an eco-resort (Summer), a family gathering at a liberal arts college (Fall) and, ultimately, a snowy ski vacation (Winter). Akin to the more modest “The White Lotus,” each journey serves as a crucible for emotions.

As a film enthusiast, I must admit that “The Four Seasons” owes its music credit to Richmond, but it’s the timeless classical pieces named after the series that truly set the tone. The symphony of strings is intermittently broken by moments of silence, and these silences serve as a stark reminder of sound’s crucial role in Tina Fey’s humor. Absence makes the heart grow fonder, and this couldn’t be truer when it comes to understanding the significance of sound in comedy.

Visually, “The Four Seasons” carries the flat, slightly artificial aesthetic that is characteristic of a sitcom. The three seasons were respectively directed by Fisher, Oz Rodriguez, and the married duo Robert Pulcini and Shari Springer Berman; Richmond and Domingo shared duties for Fall. However, aurally, the show isolates sight gags like a pedal-powered bar or a haphazardly staged play, leaving the viewer questioning the authenticity of the world presented on screen.

Essentially, Nick’s choice poses common dilemmas: Is he seen as timid for abandoning a lifelong pursuit, or courageous for venturing into uncharted territories? Does his decision evoke disgust from friends due to a typical midlife crisis, complete with a flashy sports car and younger companion, or does it spark envy for the freedom he now enjoys? Furthermore, the separation raises pragmatic concerns, such as how the group should balance their individual relationships with both Nick and Anne, given that their shared trips are no longer a duo.

The depiction of Nick’s new girlfriend, Ginny (played by Erika Henningsen), is less harsh compared to the characters of children in Tina Fey’s biting “SNL” sketch “Meet Your Second Wife,” but it’s barely so. In her initial appearances, Ginny is a wellspring of casual jokes about Burning Man and beach yoga. Once more, the inconsistent tone has an impact: it’s acceptable for a character purely designed for comedy to be a simplified stereotype, such as the dim-witted assistant in “30 Rock.” However, when employed in a more serious context, this same approach can border on being unkind.

In the TV show “The Four Seasons,” the dynamics among the characters are subtly complex. The friendship between Danny and Kate, both seasoned cynics, is particularly engaging. This bond is a recent development, with Oscar-nominated Domingo joining the ensemble of comedians. The portrayal of Danny and Claude’s marriage is casual yet clear, contrasting with their friends who are grappling with loyalty issues. The show features a queer, interracial couple, a notable change from the original film, but one that’s largely allowed to unfold naturally. Jack and Kate’s issues aren’t as obvious or immediate as others; in the brief, half-hour episodes, their conflicts are often expressed through dialogue rather than action. “Everyone else gets the best of you,” Kate laments about her people-pleasing husband, a poignant line that offers insight into their unique struggles, given the many relationships explored within the show.

Initially, “The Four Seasons” seems to be finding its rhythm and becoming comfortable, but Fey, Wigfield, and Fisher unexpectedly add a dark twist that the show struggles not to crumble under. Since “Scenes From a Marriage,” television has shown itself capable of exploring monogamy closely due to its length allowing for the portrayal of deep companionship. However, “The Four Seasons” feels compelled to intensify its ordinary, intriguing storyline – if not through humor, then by introducing an unsettling change. Fey and her team may not be as skilled at character development as they are at pure comedy, but this could simply be due to a lack of experience in that area.

All eight episodes of “The Four Seasons” are now streaming on Netflix.

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2025-05-01 10:17