In part it’s this sensitivity to the strain of living perpetually on the edge that gives the series such a bite. How many people fight to survive each day while the suits above them decide on a whim whether or not they’ll be able to afford their insurance premiums? Baklava may seem absurd, but in its heightened portrayal of workplace stress it comes closer to touching the very real feeling of life-ending anxiety over money than many straightforwardly serious works of art. The tension is unbearable, and it’s almost impossible not to relate to the feeling of living in crisis in the shadow of a higher-up’s petty obsessions and thoughtlessness. When his boss’s supply is cut off, Barry’s mission is complicated by Crown’s increasingly graphic suicide attempts. Crown (Heidecker), is indifferent to Barry’s struggles, completely consumed by his fixation on a local restaurant’s homemade baklava. In “Baklava”, piano salesman Barry (Wareheim) struggles to outperform his coworkers, desperate to win a performance bonus to pay his kidnapped daughter’s ransom and protect the city of Dallas from a terrorist threat. The show is an experience you can’t shake, a one-of-a-kind dive into the putrid, gaseous bowels of a national experiment that went wrong a long, long time ago. Bedtime Stories turns American culture inside out and puts on a puppet show with its skinless, dripping remains, transforming everything from greasy spoon diners to late-night infomercials into visions of revulsion and degradation. It’s often scary in the traditional sense, but that doesn’t explain its uniquely queasy appeal, or its off-kilter insights into everything from suburban fear of emasculation to the solipsistic fervor of fandom. Tim and Eric’s Bedtime Stories, a series of 11 to 21-minute shorts broadcast on Cartoon Network’s late night block, Adult Swim, takes that sensibility and brings it into focus through the lens of horror. If Tim and Eric’s successors share one thing with their inspiration, it’s a fundamental American-ness, an understanding of the world as stressful, obscene, and inescapably competitive. As they confront him in his office, Marcus is singularly fixated on winning the game by feeding as many eggs as he can to, uh, a larger egg? Just as the titular egg gives Marcus a NSFW happy ending - complete with presenting its bush, rear, and egghole - Marcus gives us a satisfying kicker: “You should be able to look at a little porn at work.Tim Heidecker and Eric Wareheim have been household names among stoners, dirtbags, and outsider comedy aficionados since their breakout success, 2006’s Tim and Eric Awesome Show, Great Job! Their straight-faced bathroom humor and surreal local access aesthetic are tremendously influential, their imprint visible everywhere from Andy Daly’s pitch-black Review to The Onion ’s prim and fussy Lake Dredge Appraisal. Feed Eggs is a lo-fi, bug-laden desktop game Robinson’s Marcus obsesses over, to the detriment of his co-workers. From comedy to the ring, sheer physicality brings the show to the next level.įrom “Santa brought it early” to “You can’t skip lunch,” ITYSL will never stop skewering office culture. ![]() Considering Robinson’s previous wrestling sketch in The Characters only teased matches with sound effects and cutaways, it’s huge fun seeing fighters actually body each other over benches and through toilet seats in ITYSL Mania III. ![]() But wait, there’s more! Wrestlers from Toilet Truck to Baby Duff suddenly overtake the park, unable to resist the perfect cushioned terrain for their brawls. Sam Richardson is an essential player in ITYSL, carrying some of the show’s strongest sketches including “Baby of the Year.” He guest stars as the pitchman for Pacific Proposal Park, complete with spongy soil specially designed for proposing knees.
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