Tracey Ullman in state of disillusion within TV’s ‘State of the Union’
By Jillian Mapes, Assistant Managing Editor
May 19, 2008 | 7 p.m.
The sketch comedy show, which recently premiered at the 10 p.m. Sunday slot on Showtime, scrapes the bottom of the satirical barrel, slinging stereotypical criticisms of America at every random turn.
The show’s pilot begins with a confusing whirlwind of characters, albeit narrated by the oddly familiar voice of American TV/film actor Peter Strauss (2005’s film “xXx: State of the Union”). “State of the Union” quickly establishes itself as a day-in-the-life, mockumentary “portrait” of America by displaying grossly exaggerated human interactions shoved between tacky camera shots of American landscapes.
It is obvious that famed English comedienne Tracey Ullman (“The Tracey Ullman Show,” which later spun off as “The Simpsons”) remains faithful to her ole standby — playing the ridiculous roles of all characters present — as the show jumps face-first into a steaming pile of haughty judgments. While Ullman’s shtick has garnered her success in the past, “State of the Union” proves that this dog needs to learn a new trick … or two.
Although Ullman is gunning hard for laughs, the novelty of her easy comedic jabs wore off on American audiences long ago. Sure, it’s great to possess the ability to laugh at oneself, but no American would be self-effacing enough to cackle as much as Ullman sees fit. Her cavalcade of skits pokes fun at everyone from farmers and rednecks to businessmen and politicians. Ullman portrays American women as emotionally erratic, American men as shallow, Midwesterners as highly unintelligent (what an original assessment) and most Americans as possessing no couth.
And don’t even get Ullman started on American media, which she bashes numerous times through imitations of shameless broadcast journalists, and most notably, Greco-American blogger/columnist Arianna Huffington. Within one skit in the pilot of “State of the Union,” Ullman portrays a broadcast reporter who would stoop as low as to demand live footage of an executed prisoner in a coroner’s office. Americans are self-aware enough to realize that today’s media — within the U.S. and other cultures alike — overstep boundaries, but Ullman’s overstatements such as this are overly critical.
Ullman’s criticism within “State of the Union,” though it seems at times in defense of foreigners, could also be somewhat offensive to immigrants. She breaks from America-bashing long enough to provide audiences with a weak and unflattering impersonation of British “soccer star and underwear salesman” David Beckham, whose brief appearance seems haphazardly placed in the show’s chaotic lineup of time-stamped comedy sketches. Ullman also makes a mockery of Indian culture and paints a portrait of ignorance through a Bollywood-inspired dance number in a pharmacy, complete with laxative “jokes” and forehead bindis.
Although Ullman’s “State of the Union” is disappointing in comparison with her 1990s success on Fox and HBO, a small sliver of hope could exist for the program if the show had more organization to its format. Too many characters and mini-plotlines make it difficult to follow, which adds to the audience’s uncertainty.
“State of the Union” leaves audiences with several questions. The most overwhelming question is, "Why would Ullman emigrate to the U.S., which she recently did, if she thinks so little of its culture?" Perhaps equally as concerning is the questioning of Ullman’s suggestion within the show that Ryan Seacrest serves as some sort of ambassador of American culture.
Both inquiries remain equally baffling, but Showtime doesn't seem to mind. The network just picked up "State of the Union" for its second season.
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