Mike McCahill Guest Contributor Where the theatrical romcom seems to be undergoing a moment of crisis – struggling to honor the patented formulas of yore while meeting the demands of the modern multiplex crowd – TV looks to have adapted more rapidly and skilfully to the recent remapping of gender relations and personal boundaries.
One creative response has been to engineer intentionally cringier, Larry David-influenced variations on the romcom theme: shows reliant upon the acquired taste of foot-in-mouth, where far from star-crossed lovers make altogether unsmooth progress towards happiness, traversing an ever-shifting minefield of social mores.
Eight-part Aussie comedy “Colin From Accounts” – currently wooing BBC viewers after debuting on Antipodean streaming service Binge late last year – follows in the footsteps of the much-adored Sharon Horgan/Rob Delaney vehicle “Catastrophe.” Again, we watch – sometimes through fingers – as frazzled folk inch awkwardly towards intimacy, only this time they’re united not by accidental pregnancy, but the stray dog that lends the show its name.
One early indicator of the determinedly perverse course the show plots through modern love is that “Colin From Accounts” thereby sticks itself with perhaps the least appealing title in 21st century television.
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