Vice Principals

Meticulously unhinged. [15 July 2016, p.62]

It subversively places white resentment at its center and dares us to look away, telling us that arson, violence, and outright bigotry are light comedy even as something in our minds tells us that’s not quite right. The show comes closer, in its twisted way, to suggesting why Americans embrace the politics of division than does much on-the-ground journalism.

There isn’t much that can pass for comedy here, but there’s plenty of compelling viciousness and two powerful performances.

It’s not a knowing satire like “Veep” or a subcultural ensemble riff like “Silicon Valley.” It’s a more obvious comedy about ignorance, insensitivity, ambition, and delusion, like “Eastbound & Down,” and it’s enjoyable if you don’t expect too much from it.

Vice Principals is as profane and outrageous as HBO comedies get. Once you realize where this is headed, you’ll want to stay after school just to see how it all plays out.

McBride is convincing, not surprisingly. He has a special knack for inhabiting the skin of imbeciles, and I mean that in a good way. Goggins proves he is one of the finest character actors working in television.

As to its relevance outside of disposable chuckles, there’s a lot to admire--namely Goggins and Hill’s propulsive direction--in this maniacal, hilarious, ass hole of a show.

The level of profanity here would likely give any real life vice principal a heart attack, and Gamby’s stupidity is world class. Eventually you realize he’s just a lonely, sad jerk in need of validation. Comedy, you’ll recall, is just tragedy upside down.

The first episode doesn’t begin to suggest how far Vice Principals will go and how funny it will become. However, you can readily appreciate the chemistry between McBride and Goggins.

Vice Principals is the story of an unlikely partnership, and Goggins and McBride prove deliriously entertaining in evoking Neal and Lee's rocky relationship and oft-guarded passions.