Ricky
Gervais' "After Life" was a bittersweet little gem, but the first
season basically told a reasonably complete story. As a consequence, the
second six-episode run feels as if it's essentially retracing old
territory -- moving in places, but with less urgency, and more prone to
silly detours to flesh out the run.
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| Img Source: Netflix |
Gervais'
formula of two seasons and out (plus a follow-up special) worked well
enough for the original "The Office" and "Extras." But his filmography
has been more uneven of late, with "After Life" very much in keeping
with the writer-producer-star's outspoken atheism and darker, if not
irredeemable view of life.
As a brief recap, the first season
found Gervais' Tony sleepwalking through his days after his beloved
wife died of cancer, consoling himself by watching old videos and home
movies, with a faithful dog (Eho's a good girl? You are) as a companion.
By
the end, Tony's outlook had brightened, showing traces of generosity
toward coworkers at the local newspaper where he grudgingly churned out
human-interest stories, and finding a potential new romance in the
nurse, Emma (Ashley Jensen, splendid as always), looking after his
dementia-stricken dad (David Bradley).
The
new season, however, finds Tony backsliding, again wallowing in grief
to the point of endangering his relationship with Emma, who
understandably struggles with his behavior. This continues, notably,
despite the advice that Tony seems intent on ignoring from his cemetery
pal Anne (Penelope Wilton), who chides him not to mess things up.
In
the most uncomfortable real-life echo, the aforementioned newspaper is
struggling financially -- at a moment when that industry is painfully
unraveling -- posing an additional challenge to Tony's boss and
brother-in-law, Matt (Tom Basden), whose marriage is falling apart even
as he presides over the paper's woes.
From
there, though, Gervais keeps veering into the semi-absurd, with
over-the-top subplots such as Matt's sessions with an abusively
self-absorbed therapist, who spends way more time talking about himself;
and Tony's bizarre mail carrier (Joe Wilkinson), who doesn't respect
conventional boundaries.
Granted, Gervais' material has always oscillated between the poignant and outlandishly quirky characters, and as his Golden Globe hosting stints
suggest, he has embraced being a provocateur. That said, the gags don't
feel nearly as fresh as, say, the first-season bit that involved Tony
hiring a prostitute (Roisin Conaty) because he was too listless to clean
his flat.
Conceptually, it's hard
not to admire the audacity of building what's ostensibly a comedy around
crippling depression, featuring a protagonist who finds no comfort from
religion or any of the usual balms used to provide comfort and ease
such pain.
Even
so, the balance feels a bit off in this latest go-round. And while
"After Life" eventually reaches a relatively satisfying place, the show
meanders -- lost in a sort of narrative purgatory -- longer than it
should in getting there.
"After Life" begins its second season April 24 on Netflix.
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