Joining a handful of exceptions that manage to be consistently funny and profoundly affecting, Michael Schur’s exquisite new comedy, “A Man on the Inside,” earns the infamous descriptor [hilarious and heartfelt].
While it isn’t as rich and strange as “The Good Place,” “A Man on the Inside” is nevertheless a pleasure on most every level, and, as before, Schur wants more than just to make you laugh. To the extent that it’s sentimental, it’s also clear-eyed, genuine and conceptually rigorous.
Not only is “A Man on the Inside” stuffed full of feel-good and laugh-out-loud bits, including a fist fight, several very eventful happy hours and some truly chaotic moments involving Charles’ nonchalant grandsons, but the show actually works as a true mystery.
The second season of “A Man on the Inside” represents another triumph from series creator Michael Schur. .... This is low-key, endearing, stress-free viewing at its best. The quiet humor is soothing, and the moments that have your eyes glistening are well-earned and artfully executed.
With Schur as the primary guiding force behind the scenes and the 76-year-old Danson as adept as ever at handling light comedy and poignant dramatic beats, “A Man on the Inside” is one of the best new comedies of 2024. If you’re into warmhearted yet sharply delivered shows such as “Ted Lasso” and “Shrinking,” this is right up your alley.
It’s charming and sweet, and full of characters who appear to be multimillionaires with impeccable taste in home furnishings. It’s funny, but you won’t annoy your neighbours laughing at it. Stripped of these expectations, though, there is a tenderness here that will sneak up and quietly obliterate you if you’re not careful.
Danson is the keystone. He has perfect comic pitch, yet can still evince just enough sadness to make Charles, a retiree-turned-amateur shamus, seem like an actual person.
As frequently as A Man on the Inside wants to make you laugh, it also wants to make you cry. Though the line between emotional manipulation and outright mawkishness is the most precarious of all, the series generally stays on the right side.