Two years ago, when the Comedy Apple TV + Buddy “Platonic” series made its debut, it looked like a refreshing version and amused with a non -romantic relationship between a man and a woman. I say that because the married couple Francesca Delbanco and the Nicholas Stoller television program had literally had no intention of giving in to an overused and tired trope in the Rom / Dramedy genre, which “Platonician” seemed to fall at the beginning. At the end of the first episode, however, it had become clear that Will and Sylvia (co -stars of the “neighbors” Seth Rogen and Rose Byrne) – two former college friends who bring together his forties after a fall – will never be a couple. The absence of this romantic spark (or all kinds of physical attraction) was a very welcome relief and an intriguing premise on which to rely. There is much more to extract from the chaotic, original and sometimes destructive friendship of the hilarious duo than a love story cliché and saccharin.
After season 1 established this fertile and gentle fertile and gentle boyfriend chemistry between the two protagonists in the summer of 2023, season 2 of the broadcast (a must for fans of Rogen’s other The famous Apple TV + Comedy series, “The Studio”) continues to make its way on this same road filled with gag. Now, Will is about to marry a CEO of control and strict with a low sexual appetite, which makes Sylvia worried to lose him again, in the same way as when he married for the first time to a woman whom she could not bear. Thus, Sylvia makes an effort to support the will this time despite the obvious signs that her new relationship (and her potential marriage) is heading for disaster. Does it intervene to save him from finding himself in another emotional crisis? Or does it let the situation be played, hoping that he will learn from his error the second time? Well, a bit both.
Platonic Season 2 is an even more silly and wilder stroll than the first
The drama of Will’s wedding in season 2 does not take the scene for a short time, because the screenwriters of the show are (wisely) quickly to solve it and make more space for a comedy and more inclusive intrigue. One of the advantages of this approach is that it gives the screen to the screen for support, allowing their individual arcs to complete the loop next to our heroes. The secret MVP in this regard could be the adorable husband of Sylvia, Charlie (Luke Macfarlane, offering a charming performance as he did in the “brothers” of Stoller), who fights against his own quarantine / career crisis. His search for fulfillment is both icy and familiar to many of us who were (or are always) stuck in jobs that destroy our souls, even if they provide a reliable source of income.
At the other end of the ladder, there is Sylvia’s eccentric girlfriend, Katie (Carla Gallo), who savor the freedom that her recent divorce gave him, living in a recklessly and dangerously like if there was no tomorrow. (The screenwriters of the show do not even hesitate to make fun of the fact that she tends to forget her family and that she is a mother.) She directs a podcast, drinks day each time she wants, and offers ridiculous brand slogans (do not ask, do not wonder.
Make no mistake, however, the main attraction here remains Rogen and the unbeatable duo of Byrne. The pair is completely synchronized over a successful wavelength of humor, offering moments of laughter with regard to the dozen. This, of course, largely depends on the material which is given to them, and the writers of the series know so well the current social and cultural landscape of Los Angeles that the jokes and the liners never seem to stop coming. This deliberately understands the orchestrating “awakened” dialogues and grumpy situations just so that they can later make fun of them and exchange them for laughter. It is rare to have such a self -show today that the two sometimes feel cringing teeth while making fun of your own awkwardness. It is a fine line to walk that the most current comedies refuse to do, leaning towards a more politically correct tone or double an inappropriate tone shamelessly.
Under the endless absurdity, Platonic has a real depth
Without a doubt, pleasure is the engine that leads “Platonician”. But under the spiritual jokes and the Slapstick-Y decorations, there is a real and reflected depth which leads to a light but incisive self-reflection. Whether it is Sylvia’s desire to get out of her role as a housewife / full -time after 13 long years, even if it is only for occasional work of planning of parties, or the inability of Will to put his disorderly life in order instead of crashing into one of the house of his friends each time he grants something major, the series always includes severe truths. And sometimes, to recognize these schemes of misfortune and dissatisfaction, we must carefully examine the people we surround ourselves, in addition to looking inward. To do this, the writers of the show frequently ask the question of whether Will and Sylvia’s friendship are in fact more harmful than beneficial for their personal life. Naturally, they leave us to decide, because the rupture of these two would permanently end the series.
But the truth is that, as long as one is open to constructive criticism and advice on how to improve and accept the other person with all their faults, so there is always room for reconciliation and maintenance of a living and well functional friendship. If there is a deep message to withdraw from the “platonic” beyond its value of pure entertainment, it is that it does not matter how spoiled and tumultuous our lives, we can always find someone of support that can help us to balance everything, while marking on the walk and enjoying its most bizarre moments with us.
“Platonic” is currently streaming on Apple TV +.
