Television’s identity crisis has never been more apparent than in early 2025, as the medium wrestles with its own reflection in fascinating — and sometimes jarring — ways. Take, for instance, the curious case of two shows that couldn’t be more different in their approach to storytelling.
“Poker Face” feels like a breath of fresh air, precisely because it’s not trying to reinvent the wheel. The show’s creator, Rian Johnson, has embraced an almost defiantly old-school approach that’s surprisingly refreshing in our era of heavily serialized narratives. Remember when TV didn’t require a notebook to keep track of plot threads? “Poker Face” does.
What’s particularly fascinating about the show’s production is its wonderfully chaotic casting process. Rather than locking down guest stars months in advance (the way most shows do), Johnson’s team operates with a “fly-by-the-seat-of-your-pants” approach that somehow works brilliantly. They’re literally booking talent week to week — a method that would give most production coordinators heart palpitations. Yet this seemingly haphazard strategy has resulted in some incredible gets: Fred Armison, Nick Kroll, John Mulaney. Sometimes the best plan is barely having one at all.
Meanwhile, across the dial (though who actually turns dials anymore?), The Big Bang Theory universe has taken an unexpected detour into much darker territory. “Georgie & Mandy’s First Marriage” — a title that somehow manages to be both specific and vague — has veered into surprisingly complex waters with its exploration of Meemaw’s gambling operation.
The transformation of Meemaw’s character serves as a perfect metaphor for television’s current growing pains. What started as a quirky character trait has morphed into a sobering examination of addiction and family dynamics. She’s gone from lovable eccentric to someone willing to threaten legal action against her own family — quite the journey from her initial appearances.
Some longtime fans aren’t thrilled with this darker turn. But perhaps that’s the point? Television, like its audiences, grows up. Sometimes that means trading comfortable laughs for uncomfortable truths.
Natasha Lyonne’s approach to her character in “Poker Face” offers an interesting counterpoint. She’s found a way to add depth without sacrificing accessibility, crafting detailed backstories that inform her performance without overwhelming the episodic structure. “It’s somebody who has lost interest in themselves and gained interest in their fellows,” she notes, describing her character’s evolution with characteristic insight.
As we move deeper into 2025, with streaming services continuing to reshape viewing habits and traditional networks scrambling to adapt, these contrasting approaches to television storytelling feel particularly relevant. “Poker Face” demonstrates that sometimes looking backward is the best way to move forward, while the Big Bang universe suggests that even the most comfortable franchises need to evolve — even if that evolution occasionally leads to darker places.
The real trick, it seems, isn’t choosing between old and new approaches, but finding fresh ways to combine them. After all, television’s greatest strength has always been its ability to surprise us — whether that surprise comes wrapped in nostalgic comfort or challenging new directions.
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