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2008-09 Midseason
Damages Season Two
80
13: Fear Is Real
33
Game Show in My Head
34
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Extras
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Starring Ricky Gervais, Ashley Jensen, Stephen Merchant, and Shaun Williamson
The six-episode second (and likely final) season of the HBO-BBC co-production includes guest appearances by Orlando Bloom, Daniel Radcliffe and David Bowie.
| GENRE(S): | Comedy |
| CREATED BY: |
Ricky Gervais Stephen Merchant |
| FIRST AIR DATE: | January 14, 2007 |
All critic scores are converted to a 100-point scale. If a critic does not indicate a score, we assign a score based on the general impression given by the text of the review. Learn more...
The average user rating for this tv show is 8.9 (out of 10) based on 21 User Votes
Note: User votes are NOT included in the Metascore calculation.
Mark B. gave it a9:
I can't believe Dave C. Laugh tracks? His comment needs a laugh track. He's either an astronomical genius (effecting in the reader that disorienting feeling of a missed punchline in order to illustrate his point about the necessity of a laugh track) or...well...I just don't know...Regarding the show: brilliant.
Glen H. gave it a10:
The funniest sitcom since Seinfeld, this show is absolutely imperative watching. Really makes the audience take a second look at how we view celebs, I think this is a very important production by the best comedy duo since Larry and Jerry. Hilarious cameos, great stories, amazing physical comedy from Merchant. Extras has it all, though it might not be for everyone (ie. if you love Raymond, King of Queens, etc.) There's no laugh track, the jokes aren't written like that and a studio audience would ruin the subtle awkward moments that you'll be laughing at anyway.
Perspicacious C. gave it an8:
Despite conflicting Metacritic user ratings, I think we can at least all agree on one thing Ricky Gervais did right: end Extras at Season 2.
Kev K. gave it a10:
As with the other comments, I am amazed by Dave C's comments. Everybody loves Raymond? 'You havin' a laugh!?'. Season 2 of Extras ups the ante of the already brilliant first and bears up to numerous re-viewings. Massively funny, genius scripting.
Jim B. gave it a3:
I just have to support "sean w", one of the only reviewers of both professionals and public that I actually agree with. Season 2 is so far inferior it is frightening. I say frightening because up to that point everything Gervais & Merchant had done was of such a high caliber that I felt convinced they had their finger firmly on the pulse of not only what makes a comedic concept work but also of the pitfalls so typically experienced by other successful comedy creations that they seemed determined never to fall into it. That is, of fearing the loss of greater public appeal and so resorting to cheap clichéd one-joke formulas to replace genuinely intelligent and insightful comedy. But incredibly after episode 1 which actually maintains the same level of quality and intellect of all of Season 1, the rest of the Season 2 descends into committing this very crime Gervais (semi-autobiographically through Milman) identifies. Every subsequent episode features the scenario of Milman going to the next level of utter humiliation in the most extreme and absurd of circumstances. David Bowie breaking into song of the sorry state of Milman’s life to a crowded winebar, a standing ovation to the destruction of his sitcom’s toy doll at the BAFTA’s by Richard Briers followed by his ex-girlfriend, Patricia Potter’s angry award acceptance speech revealing embarrassing personal information of his sex life, ruining a stage play by running around trying to avoid the scripted gay kiss while being pushed back on stage by Ian MacKellen... sorry, am I missing something? What happened to the “write about what you know” philosophy both Gervais and Milman so passionately preached and practiced up to that point? Granted, Series 1 had its ludicrous comic scenes, but they served as moments of light relief from the weightier themes of the main plot. Series 2 on the other hand seemed to have snatches of the weightier message in a plot of nonsense. So what happened? Is this simply yet another case of the writer becoming so pressured to maintain the same level of success that rather than taking the riskier line of forcing us to see the world through his eyes, the vision actually becomes adjusted for the perspective and wider appeal of the broader audience? Or did the BBC actually do in real life to Ricky Gervais with Extras what they were doing to Andy Milman with When the Whistle Blows, that of taking the story out of his hands and making it into their own homogenized product? There certainly seems to be an uncannily striking parallel. Somehow I don't think this latter ‘conspiracy theory’ is the more realistic option as, unlike his fictitious counterpart, in real life Gervais' writing talent had been so well established from the success of The Office and Series 1 of Extras that I doubt anyone would have dared interfere with whatever idea he next concocted. A dangerous recipe. Therefore, and judging by the reviews of the great majority, it seems Gervais' work was predestined to be deemed genius by the BBC, media critics, and general public alike before anyone would ever stop to consider whether it really had any further merit. Bizarrely though, Gervais committing the very same sin that he had so consistently been condemning in Extras creates such a paradox that it transforms Extras from being a mere comedy series to being more like that of a perfect crime comparable to the one seen in the movie se7en, where self-destruction is the final stroke of genius that completes the masterpiece. Was the very self-destruction of Extras so perfectly preconceived and executed than rather than be a complete failure it is actually a work of genius? Maybe we’ll never know. In reality however I believe neither of the aforementioned scenarios are true. It appears to me that Gervais, who genuinely sees himself as just ‘the man on the street’, was so overwhelmed by the exponential growth of his overnight success that he became sidetracked from his true artistic cause to instead using his universally recognized and acclaimed profile to indulge the gratification of having his most revered celebrities act out his most wildly imaginative and ironic fantasies. He was a child in a candy store, and I suppose if any of us were to be in that position, would we be able to resist using the power of having our most enamored heroes at our mercy? Speaking for myself, very possibly not, so rather than cast the first stone, while frightened at the thought of losing one the world’s best comedy writers I will maintain my confidence in his artistic integrity, hope he comes to terms with his celebrity status, comes back down to earth and once again joins the human race, because I sure do love his take on it.
Matt C gave it a9:
Sounds like Dave C would prefer something like "When The Whistle Blows" so he knows when to laugh. Or he's taking advantage of internet sarcasm.
Eric C. gave it a10:
Wow. I don't even know what to say to Dave C. You need a laugh track to know what's funny? My god. No wonder you don't like this show. It slaughters people who need laugh tracks (you must be like Andy's fans in the bar). Oh well. So anyway... For people who have never watched Extras, it follows the same basics as The Office; create a character, and torture him with struggles to succeed and uncomfortable situations. They do it perfectly with a great cast (Merchant is awesome in a starring role this time, not just a cameo like in The Office) and a relatable storyline of a man who is held back from his dream by self centered, conformist snobs who run the film industry. He also screws things up for himself a lot, though. The second season is undeniably superior to the first, in that the characters develop some depth and a steady storyline forms (Andy's tv show). I have to admit, though, that the crown jewel of the show, it's celebrity cameos, are not as insanely funny as in the first season. No actor here can match Ben Stiller trying to become a respected director or Patrick Stewart telling Andy about his screenplay, but a few come close. Amazing show that makes losing Arrested Development a little easier by reassuring us that there is such a thing as an intelligent comedy still out there.
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