Another "Master of None" (P)review
At this point, it would be easy to review season one of Aziz Ansari and Alan Wang’s Netflix original Master of None by simply reading a handful of the thousand reviews already published and regurgitating the words in a new order without saying anything original. Fear not, dear reader, because that is exactly what I have done. However, with season two just around the corner, and in the interest of exposing the underrated show to more people, a revisit is worthwhile.
Released in whole on November 6, 2015, season one has already by many been viewed, reviewed, and re-viewed. Having earned Ansari a Golden Globe nomination for Best Actor in a TV series and Ansari and Yang an Emmy win for Outstanding Writing in a Comedy Series, they are back at it again with season two set to arrive on Friday, May 12. If you have already enjoyed season one, consider this a hype article for season two; if not, this is a catch-up piece that I hope will inspire you to get off your lazy butt and plop right back down and watch five hours of TV before next Friday.
Master of None follows the lives of Dev Shah and his cohorts living out the Millennials’ life in New York City. The 10-episode pilot season spans more than two years, presenting Dev’s life with candor and humor.
Many viewers will recognize the lead actor (Ansari) from some of his other work—playing Tom Haverford in Parks and Recreation, playing Chet in 30 Minutes or Less (filmed in none other than Grand Rapids, Michigan), or performing standup in one of his Netflix standup comedy specials. Slightly less well known is his book titled Modern Romance, a well-researched reflection on society’s current dating milieu. Co-creator Alan Yang was a screenwriter and producer for Parks and Recreation before teaming up with Ansari again on this project.
Ansari seems to have drawn from all of his past experience, professional and personal, for this project. The character could well be Aziz himself. He and his character have much in common: both are second generation immigrants raised in South Carolina, make a living as entertainers, and have a deep appreciation of pasta (if Ansari’s IMDb bio is to be believed). On top of that, Dev’s parents in the show are played by Ansari’s actual parents. Perhaps the show is a window to a parallel universe, where instead of standup, he finds his start in commercials, and instead of striking that perfect combination of hard work and good luck required to have a successful entertainment career, he undeservedly peaks with a small role in a campy sci-fi flick. It could have happened, and if it did, it probably would have looked a lot like this.
Aziz created Master of None for Netflix, and it is well suited for its environment. The first thing the viewer may notice is that the episodes do not have a uniform length (something much easier to pull off when not shoving the story in a strict thirty-minute time slot between ads for fast food, electroshock ab exercisers, and heart medication). Also, armed with the knowledge that streamers often skip credits rolling in the final minutes of a show, one thoughtful person made the decision to show respect for the contributors with an extended introduction following the hook in each episode, listing the actors, writers, producers, and other makers. Perhaps some other shows have similar intros, but this one stands out in its sheer length and lack of visual distraction from each person’s name. And putting it after the hook makes it less skippable, though with the tasteful and varied musical selections—from hip-hop in one episode to honky-tonk in the next—who would want to miss a second?
Before going further, let the reader be warned: the very first scene of the show is a (non-graphic) sex scene, so it’s not exactly a family show. If you’re comfortable in general with “MA for Mature” shows coming from a relatively progressive stance—probably everyone reading this—great, maybe just don’t watch it with your parents. If it pushes a few of your buttons, however, I still encourage you to watch it, keeping two things in mind. First, it has always been the role of comedy to use humor to get people to actively reconsider things they usually don’t think about. (For example, maybe having multiple Indian main characters doesn’t turn a comedy into “an Indian comedy,” and maybe, despite our progress, women still do have a harder time than men in a traditionally patriarchal society. Whoa.) Second, we don’t want to throw out the baby with the bathwater. Having the ability to engage with media that makes you uncomfortable opens doors to great content and grants empathy for those that think differently than you.
Back to the show. As already mentioned, the show follows Dev through two years living in New York City. His friends Denise, Brian, and Arnold accompany him on the journey, along with Rachel, his girlfriend for the second half of the season. The characters complement one another well. Denise is a straight-talker that keeps everyone honest, Brian is ultra-friendly and genuine, and Arnold (my personal favorite) is the sassy weirdo with perfectly dry humor. Rachel is sweet and funny, a good pairing with Dev.
The thing that separates this show from others is that it intentionally (and unsubtlely) tackles meatier topics than “will or won’t Ross and Rachel get back together.” Like a business whose first objective is to make a profit but also strives to help its local community, Master of None's first objective is to tell an entertaining story, but also strives to unpack some of life’s complexities. Among other things, the show meaningfully engages with dating, marriage, parenthood, sexism, racism, treatment of the elderly, artistic fulfillment, the difficulty of getting older, and whether a TV show where the main character is motionless in a coma would be made worthwhile if it was played by Benedict Cumberbatch.
Three episodes from the inaugural season that stood out to me were “Parents,” “Hot Ticket,” and “Ladies and Gentlemen.” Here is my SparkNotes breakdown of each:
“Parents” (episode 2)
Basic plot: Dev and Brian go on lots of walks and learn more about their parents
Intro: “They Reminisce Over You” by Pete Rock and C. L. Smooth
Moral: Your parents are real people too
Best scene: Not a scene, per se, but the guitar storyline in whole
Outro: “Son of My Father” by Chicory Tip
Why it stood out: Nontraditional storytelling format for a comedy, and the parents are a delight
“Hot Ticket” (episode 3)
Basic plot: Dev has an extra concert ticket, but his date doesn’t go as planned.
Intro: “Merry Go Round” by Equatics
Moral: Don’t be the Indian guy at a Father John Misty show when a race war breaks out-- ok, no clear moral this time, but some good reflections on relationships
Best scene: “What’s that ‘Batch?” (30 seconds)
Outro: “Master of None” by Beach House
Why it stood out: Most laugh out loud moments
"Ladies and Gentlemen" (episode 7)
Basic plot: A series of events has Dev thinking about the modern face of sexism
Intro: “I Heard It Through the Grapevine” by The Slits
Moral: Sexism plays itself out in subtle ways, and handling it requires patience, listening, and empathy
Best scene: Walking home from the bar (2.5 minutes)
Outro: “Oh Bondage, Up Yours!” Xray Spex
Why it stood out: Had the clearest moral and still managed to be a very funny episode
The finale ties the season together in a beautiful anti-bow. It does a great job of referencing many of the themes and storylines woven through the previous episodes, but instead of resolving the open ends, it leaves them be. At its core is the theme of taking action before it’s too late. It starts with Dev and Arnold looking for a taco stand, but after spending hours looking for the perfect one, they find it to be out of food by the time they finally arrive. The stakes are then raised to Dev and Rachel’s relationship, and raised yet again to what they are doing with their very lives. It culminates in a great scene recalling an excerpt from Sylvia Plath’s The Bell Jar, which reflects on the simultaneous necessity and impossibility of choosing when faced with so many options—whether it is lunch, partners, or lives.
Though arguably too transparent at times, Master of None is undeniably genuine. As with all great comedies, it ultimately works because it is just plain funny. Among Netflix’s well-stocked shelves, Master of None is a refreshing and not-so-guilty pleasure. With just a week before the season two release, there’s no better time for you to sit down and catch up, nor any good excuse not to.