Why "Malcolm" is such a stand-out series

cranstonfan

New member
To explain why "Malcolm In The Middle" is a stand-out television series would require many paragraphs, which is what will follow in this post. And rather than comment upon the largesse of the entire series, I'll concentrate upon the most recent seasons and why, despite lesser ratings, they are a testament to the show's greatness.

The marvelous adaptations for the young cast's inevitable growth spurt is only one of many accomodations that creator Linwood Boomer has facillitated during the program's run. It's important to recognize "Malcolm In The Middle" first and foremost as an ensemble piece, something the writers discovered after the experimental (and in my humble opinion, least fulfilling) first season. By "ensemble piece," that denotes a stark contrast from other family-oriented sitcoms, which features the parents as the main characters with maybe the oldest kid as a point of focus. The rest of the family serves as wallpaper, with each episode including an obligatory bit where one of the younger kids struts before the camera, hits the mark, spouts some smart-aleck line and saunters away as the studio audience brays cued laughter.

None of this is the case with "Malcolm." The show is shot in single-camera format, as are feature films, with no laugh track or conventional limitations. That's why each episode plays out a bit like a movie rather than a television show. And each character is as important to the show as the next. Which brings up the inevitable Francis question. Why (despite the online hints that actor Chris Masterson is pursuing other ambitions right now) has the elder son been most recently relegated to a mere supporting role, which endangers the pristine chemistry the series has devised?

It can be attributed to the fact that his storylines were almost always off-site affairs, whether at the Grotto, at Lavernia's logging camp or even Marlin Academy. Those storylines were diversionary asides which always complimented the main gist of each episode, so if a single component of the show's gestalt had to be compromised, then de-emphasizing Francis was the least deadly course. Especially since it's still possible to pop him (or possibly him with Piama) in as guests in the main household from time to time. If, as some suggest, rumors are true, then it will be necessary to deal with Francis in due fashion. But if that means he settle into a career-minded field and have a baby with Piama, the writers might just throw us a curve ball; they're famous for doing that kind of thing.

The best story development to come from the most recent two seasons is would-be "Krelboyne" Dewey's accidental placement into the "Busey" class. While not the runaway genius that Malcolm is, Dewey has evolved into certainly the wisest of the brothers, and that bit about being a musical progeny is a fun touch. It mirrors the second season's revelation that bully Reese has a talent for gourmet cooking, only Dewey's gift has more potential. It could potentially carry the series for another couple of seasons while Malcolm goes to, say, a local senior college that just happens to be in town or near town.

Speaking of Malcolm, it's no fun to pick on him. Frankie Muniz does a great job of bringing him to life, and he always has. But since the character has gone from being the center of the show to merely the put-upon narrator, it would be nice to breathe new life into the character and give him some of the wide-eyed wonder he enjoyed/endured during the show's salad days. As for Justin Berfield, all I can say is "Keep doing what you're doing!" Berfield has weathered the Reese character in a comic grace not previously seen in other growing performers. He's the series' definite unsung hero.

That brings us to Hal and Lois. Jane Kaczmarek's sixth consecutive Emmy loss last night (at the time of this writing) was just about as disappointing as it was each time before, but by now we're used to it. Bryan Cranston's non-nomination for a second year in a row was genuinely frustrating. Not to denigrate the other (and talented) nominees involved, but it'd be nice to see at least one (if not both) of these fantastic performers honored for these once-in-a-lifetime roles. But Emmy stuff aside, what about how they fit into "Malcolm In The Middle" now? It's simple. They're the anchor that hold the ensemble cast in its comic brilliance. They don't need to change a thing. Lois and Hal are the parents that nobody Will ever admit they had, but their friends next door had. And were cool, in their own odd way.

Many thanks to Linwood Boomer for turning some of his own childhood remembrances into scripts for one of the best television comedies in a long time....
 

Wemboy

New member
Can't really add much to that, but those are some very interesting thoughts, sums up the appeal of the show nicely. It certainly is testament to the genius of the actors, writers and everyone involved that the show has been able to retain it's original vitality throughout so much change. Each of the young actors in particular have stepped up to the plate and contributed greatly to the show as their roles have changed. I'd have to disagree about season one though, it's the second best in my opinion (after series 2), but it is less of an ensemble piece than later seasons. That's what brings the series down in my estimation and what makes season 2 the best, because by that point the other characters had developed a bit more, and the focus shifted a bit from Malcolm.

As for the stuff about the awards, we just have to hope that next year will be the year that MITM finally gets the full credit it deserves and wins one of the "big" emmy's, like best actress, or even best comedy series. They clearly only gave an emmy to Everybody Loves Raymond because it was a long running series that was coming to an end, so that might happen to MITM aswell.
 

yardgames

Retired Administrator
Excellent thoughts, cranstonfan. I, too, disagree that seaosn one was the lowest point of the show; I think it was important to it in a different way, and many a classic moment has come from seaosn one. For example, Malcolm's "chat" with Caroline, the paint falling on the Porsche, Hal's rollerskating dance, and Malcolm pushing Lois down the waterslide.

But there are certainly other great memories, and I enjoy that they've made the cast all as important as they are. For me, it's hard to pinpoint the reasons MITM is so great; you did the impossible, as far as I'm concerned.

About the Emmys, it doesn't make too much of a difference--they're so non-prestigious anymore now because the Academy doesn't really take performances into effect that much; like you said, Everybody Loves Raymond just won because it's ending. So is something ending good enough for it to get it's kajillionth Emmy?
 
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