- Network: HULU
- Series Premiere Date: Mar 28, 2025
Critic Reviews
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The chemistry between the three men and Lavin ultimately defines what makes this series pop, even if the format feels like a bygone era of television.
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The series is a mostly delightful comedy that blends the wit of their groundbreaking sitcom with the charm of “The Golden Girls.”
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[Emphasis is] on the jokes, character development and performances, as well as maintaining a degree of informality that adds intimacy to the comedy. While “Mid-Century Modern” doesn’t always feel like a fully polished product, that may be exactly what everyone is after.
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Altogether, Mid-Century Modern is an island of charm floating in a tumultuous sea, anchored by top-notch comedy work and strong chemistry between Lane, Bomer, and Graham.
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[Linda Lavin was] unfailingly funny in a series that if not itself unfailingly funny, is as funny as one might reasonably expect.
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“Mid-Century Modern” offers a mix of comedic zingers and groan-worthy gags that stars Matt Bomer, Nathan Lane, Nathan Lee Graham and Linda Lavin do their best to elevate.
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The show keeps getting in its own way, mostly because the characters lack distinct personalities.
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Even when the corny situations are clearly beneath them, as when they vie for the attention of a hunky housekeeper (“We’re dangerously close to the plot of a porno”), the show balances its uproarious off-color saltiness with a squishy sentimentality that’s so old-school it’s almost refreshing.
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While “Mid-Century Modern” has plenty of laughs (and takes you away from contemporary troubles), there’s something a bit off with a series this specific. Finding that relevance (as “Will & Grace” did) may take time, even if that clock is barely ticking.
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Mid-Century Modern ends up being both blunt and bland, occasionally pushing the envelope in creative ways, but more often forcing its exceptional core cast to compensate for stale, predictable punchlines with boundless professionalism and ample energy.
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Mid-Century Modern feels old-fashioned, even for a four-camera sitcom, mainly because it can’t seem to portray its characters in a way that’s more appropriate for 2025 than 1995.