Situation
comedies, or ‘sitcoms’, all follow the same format. As with any drama series,
each episode has a set structure. This structure is –
- Equilibrium - ‘normality’ for the characters and the setting.
- Disruption – this will be the basis of the story, i.e. if this event didn’t take place, this episode wouldn’t exist. This creates the storyline.
- Resolution – this resolves the problems of the episode, so we can return to,
- Equilibrium – back to normality, ready for the next episode.
This
structure creates a closed narrative, which means each episode can be watched
individually from all other episodes and it will still make sense, while having
an enclosed story unto itself. This means that audiences can quite easily jump
in and out of the series and be able to know what’s going on.
However,
because sitcoms are in a series format, and follow a set of characters
throughout, they have to have some overriding storylines, such as long-term
romances and other character relationships, as well as following characters
ambitions and life stories.
Characters
are obviously the main feature of sitcoms, as the stories are based entirely
around them. With this particular type of drama, certain character traits are
needed. For example, at least one character must have thwarted ambitions. They
must be striving for something, so the audience can watch them trying to attain
the thing they deeply desire. So often, comedy is found in their failed
attempts and through the things the characters do to obtain these goals. These
ambitions will run throughout the series, more often than not, adding to the
character as a whole. Nevertheless, sometimes, one episode can be exclusively
based on an aspiration gained at the start of the episode, with the resolution
being that the character no longer wants to obtain the goal, or they actually
achieve it. Therefore, the hopes and dreams of the characters are key to
sitcoms. A good example of this would be ‘Scrubs’, wherein the main character
is trying to become a doctor, but has many difficulties with his training.
These difficulties make for the comedy, as well as pushing forward the
storylines and the character.
Another
element of sitcom is the ‘comic trap’. This means that the characters are
forced together, giving reason and license to have diverse and, often, opposite
character types in a single situation. Contrasting characters give
opportunities for many comic situations, and their developing relationships
always make audiences want to watch the next episode. For example, the
dissimilarity between Leonard and Sheldon in ‘The Big Bang Theory’, make
watching those two characters try to live together compelling for an audience.
Scriptwriters
have to be able to find comedy in simple things and circumstances, because
while the comedy itself is regularly extraordinary, the situations and
characters need to be relatable. For instance, in ‘The Young Ones’, the
violence portrayed by the overly punk, Vyvyan, is implausible, and all the
damage he causes seems to be cleared up without explanation, which is
unrealistic. However, the situation of unruly students cooped together in a
flat, with the pressures of outside stimuli, such as parents, school and the
government etc, are utterly believable. As a result, the conditions work for a
basis of a sitcom.
Cultural
references, to politics, news, or media, are oftentimes included in sitcoms,
for many reasons. One reason concerns the above point of relatable content,
e.g. in ‘Steptoe And Son’, their money struggles, although very exaggerated for
most viewers, are important. In the same series, Harold shows great interest in
politics, giving more cultural references in mentioning the Prime Minister at
the time, and the policies that were being put forward. In a way, the whole series
is homage to the lack of care given by the government, in the fact that they
live in such poverty.
Other
cultural references are less hard-hitting, such as the ‘Scooby-Doo’ and ‘Dukes
Of Hazard’ references in ‘Spaced’. These pieces of common knowledge not only
lend themselves to making the sitcom relevant, but they also give the audience
the pleasure of being able to understand something maybe other people have
missed. It gives the audience a feeling of knowing, which is not only going to
make viewing more enjoyable, but it also additive, which is wonderful for
getting someone to return for the next episode.
Another
technique to bring the audience into the world of the characters is ‘breaking
the fourth wall’. This is seldom used, but it is where the characters talk as
though they know they are a part of a television show. References made the
about set, or to the camera, are the common ways of doing this, and it
literally breaks down the walls between reality and fiction, and between
character and viewer.
As a
whole, the goal of a sitcom is to be relatable, with characters striving for
something, while having something get in their way – often another character
that they are forced to share their space with. Sitcoms also have closed
narratives in each episode, as well as an overall arc.
