In addition to its beyond catchy theme song, Netflix’s new show, “Unbreakable Kimmy Schmidt,” offers a fresh yet racy addition to comedy television. Tina Fey and Robert Carlock partnered up again after “30 Rock” to tell the story of Kimmy Schmidt, who was rescued after spending fifteen years in an underground apocalypse cult. The show follows Kimmy’s adjustment to a new decade as she builds a life for herself in New York City. With thirteen short episodes in its first season, “Kimmy Schmidt” is hysterically funny on the surface and presents television with an underrated and strong heroine.
Without giving too much away, Kimmy begins her new life in New York with little more than a purple Jansport and a struggling/wannabe Broadway performer as her roommate. She quickly finds work as a nanny for the wealthy Voorhees family and strikes up an unlikely friendship with socialite Mrs. Voorhees. As Kimmy navigates her new life, viewers are privy to a tough and surprisingly rational woman for somebody with less than an eighth grade education. Kimmy has many humorous firsts, like when she kisses a boy, takes her first selfie, explores a night club and navigates through a love triangle; but what stands out are Kimmy’s moments of absolute wisdom. From “taking it ten seconds at a time” to handling Mrs. Voorhees’ shockingly brilliant yet unruly stepdaughter to saving the day at her trial, Kimmy is oddly poised for a thirty-year-old woman who spent half of her life underground. Clearly Kimmy does not know everything, but she is confident and does not let anything faze her.
What I find most interesting behind “Kimmy Schmidt” is its inception and disregard for being “PC.” NBC had commissioned and then rejected Fey and Carlock’s script for “Kimmy Schmidt,” and so it ended up on Netflix, which does not have a Standards and Practices division. (This department is responsible for the moral, ethical and legal implications of network programming.) As you can imagine, without network restrictions, Fey and Carlock take “comedy” to a whole new level. The writers make fun of different races and their jokes are often offensive and disrespectful. “Kimmy Schmidt” does defy certain “white” stereotypes, as evidenced by Kimmy’s choice of men in the season finale. However, and in an attempt to avoid spoilers, the show’s treatment of Native Americans is discourteous and summed up by the fact that the Lakota experience is told through the perspective of a “white” character who is struggling with her identity. “Kimmy Schmidt” has gotten some backlash for its racial jokes, so I would not be surprised if the writers go in a slightly different direction next season. Given the surprises in the season finale, there is definitely a ton of material for the writers to work with.
Although I do have some critiques of “Kimmy Schmidt,” it is a quick, easy and funny watch. Ellie Kemper as Kimmy is charming and a joy to watch onscreen, and her co-stars are equally as dynamic and entertaining. Certain scenes still make me chuckle and I encourage everyone to check out the show!