Ghosts (2021)

A cute B storyline in the premiere focuses on the class system rivalry between the main ghosts (i.e. those who are allowed to “live” upstairs in the manor) and the smelly and socially awkward spirits of 19th century cholera victims who are relegated to spend eternity in the basement, staring at the water heater. .... I do like that a program as comfortable and familiar as this one can continue to make us think and grow.

Even the most pompous personalities—cough, Asher Grodman’s finance bro Trevor Lefkowitz—thrive and grow and can be more-or-less content to be stuck somewhere for eternity as long as they’re with others who make it bearable. The fourth season of Ghosts, which premieres at 8:30 p.m. on Oct. 17, hammers this message home with the introduction of a novelty for an otherwise positive series that just happens to be about dead people: a legitimately scary ghost.

While the premiere episode is light on laughs, every joke still lands strongly as it maintains its signature style and flair, reminding us why we love this show. With Holland’s addition as Patience ramping up the comedic stakes, the Port and Wiseman sitcom is on its way back to exploring new, emotional landscapes across the Woodstone grounds for a season that feels every bit as exciting and fun as its first.

The ghosts begin as well-drawn archetypes (Viking, Scout troop leader, Prohibition-era singer, Wall Street bro) and the comedy is broad but often quite funny.

Ghosts is still a smart comedy with solid laughs that strikes the perfect balance between pathos and humor. But for it to take off, it has to effectively manage its deeper conversations of loss through strong, layered writing and give its cast room to deliver strong performances.

While it's perfectly OK, watching it is like drinking Aldi cava having tasted champagne.

Ghosts is more cute than funny. Though it must be given credit (if that's the right word) for breaking the broadcast-TV barrier on a particular euphemism for fellatio, which the ghosts use frequently without any awareness of its modern American significance. Now, on to the rusty trombone.

This show started off great but has slowly deminished. The constant joke of Jay not being able to talk to ghost in the house like Sam isstarting to wear thin andthe story lines for the new episodes is becoming very lack luster and hard to watch.

Not bad at all, just british show was better... This version is too exaggerated.

admirable [ ad-mer-uh-buhl ] adjective worthy of admiration; inspiring approval, reverence, or affection.

Ghosts struggles under the weight of a few things: Although the script is identical to the British version of Ghosts, the editing and performances are a serious cut below. There are a few exceptions: Utkarsh Ambudkar as the second lead is phenomenal and Rebecca Wisocky gives a more grounded and compelling performance as the matriarch ghost than we see in the British version. Outside of that, all of the performances are very broad and fail to sell just about any of the jokes, little thanks to workmanlike editing and direction that serves to deflate every punchline before it even comes. It's possible that the American take on Ghosts will improve with time, but given an overwhelming number of surface-level performances I think it's unlikely that this cast will ever deliver a warm, funny collective performance anywhere near what they're clearly aiming for. Again, except for Utkarsh Ambudkar and Rebecca Wisocky (who manage to improve on the original formula by grounding their performances without losing any of the accessibility or funny), every character is performing as if on stage for children rather than on screen for adults. It feels as though (almost) everyone involved is trying comedy for the first time and really struggling to find their footing. It's not even that the British series caught such a great bolt of lightning in a bottle; the original is a flawed show with substantial room for improvement, but it's carried by a phenomenal cast of comedians who sell all the jokes, good or bad, clever or broad. It's with that in mind that I say this version is a serious step down.

Had the unfortunate experience of this being on the TV at the laundry mat I was in. I couldn't believe how awful it was. A show targeted for adults that was written for children. The actors even annunciate like they're in a child's cartoon. Needless to say the "plot" of the episodes also play out like a child show. Very shallow, unbelievably surface level characters face and resolve an issue in a timely manner. All the while there's little in the way of comedy although I think the show is technically supposed to be a comedy. Add a bit of modern writing politics and agendas and you have pure modern dribble which no one will remember in five years. Apparently the British version is good so avoid this and give that a try.