The Comeback

HBO is letting everyone in on its best-kept secrets.

On Sunday night, the network premiered the second seasons of The Comeback and Getting On, two brilliant and dark half-hour comedies that don’t garner much attention. While Girls and Veep are the buzzier and more awarded HBO comedies, the November lineup is every bit as exciting.

The Comeback is making its TV return after its cancellation nine years ago. Starring Friends’ Lisa Kudrow as Valerie Cherish, The Comeback was a one-off series that depicted the life of a washed-up sitcom star getting her second chance. Created by Michael Patrick King (Sex and the City) and Kudrow, the show poses as raw footage of a reality TV show following Valerie’s television “comeback.”

Despite struggling to find an audience, The Comeback earned three Emmy nominations, critical acclaim and a cult following. The show’s legacy extended well beyond its 13-episode run in 2005. The Office, another show that premiered that year, used the documentary style that can be seen on series such as Parks and Recreation and Modern Family. The Comeback also has a trademark of painfully awkward moments, mostly because of Valerie’s misguided and fame-hungry nature, which are the cornerstones of shows such as Louie and Girls. And certainly, the series, focusing on the insecurities of a wealthy woman, was a predictor for all the programming on the Bravo network.

The Comeback deserves the opportunity to return because it managed to do so much in one season. Valerie Cherish remains one of the best-defined, most fascinating character studies on television. While her negative traits might make her seem monstrous on paper, Kudrow makes Valerie worthy to root for and ultimately sympathetic. And it helps that Valerie so often is put in humiliating positions, such as playing the role of “Aunt Sassy” in an unflattering jogging suit or dressing up as a large cupcake for a physical gag. Valerie has a litany of signature phrases and gestures, from “I don’t want to see that” to her pre-emoji prayer hands and patented timeout signals to the cameras.

It’s unsurprising that almost a decade later, HBO was curious about the state of the character. Cancellation after one season might seem like a failure, but HBO’s decision to revive the show and Valerie’s staying power prove otherwise.

HBO found a similar gem in Getting On, an adaptation of a British TV series, which premiered last year. It was a surprise that the show, which revolves around a floor of a hospital’s extended-care geriatric unit, was picked up for a second season, given the lack of attention it received. But Getting On is another example of a sharply written, well-acted series lacking audience support.

The ensemble in Getting On is the main strength of the show, with Alex Borstein (Family Guy) playing the insecure but well-meaning nurse Dawn and Laurie Metcalf (Roseanne) as the controlling and clinical Dr. Jenna James. But the true standout is a surprising one: Niecy Nash (Reno 911!), known primarily for comedic roles, flourishes as DiDi, a newly hired nurse who is a necessary and calming force amid the insanity around her.

Getting On derives its comedy from the seemingly everyday tasks of a hospital floor with elderly patients. The first season, which had six episodes, included scenarios such as an older couple having sex on the floor and an uncooperative, abusive patient, played by the exquisite June Squibb (Nebraska).

But more significantly, Getting On showed a lot of heart in its first season, despite its ostensibly grim nature. Weaved into the comedic moments was an intimate look at those in the last stages of their lives, making the show a lot more distinctive. It’s evident that, in addition to making the show funny, the creators work hard to make it feel genuine and touching.

I can understand why it’s difficult for shows like The Comeback and Getting On to catch on with audiences. It’s nothing new for high-concept series to fly over the heads of some viewers. (For instance, when The Comeback first aired, some people inexplicably construed it to be a reality show about Kudrow’s life.)

But the surprising decisions for these shows to see sophomore seasons demonstrate the power of originality on television. Because even though these shows are majorly underhyped and underwatched, by doing something different, a few people took notice.