Kevin Can F*** Himself takes on big risks by going back and forth between genres, but the move pays off. The switch from multi-cam sitcom (complete with canned laughter and too-bright colors) to single-cam drama (necessarily gritty and low-lit) is more than just some gimmick, it’s a technical feat that doubles as a precise critique of both formats. 

And beyond the smooth transitions and incredibly flexible performances lies a complex and overdue appraisal of the long-suffering wives of American sitcoms. In the brightly-lit setup of a studio comedy, Kevin (Eric Petersen) looks like the endearing man-child you put up with for the laughs, but in the grim perspective of a drama, it becomes clear that he is a harmful man who has used the trope to get away with narcism and abuse. Tired of being the butt of the joke, Allison (Annie Murphy) breaks free from the strains of her marriage but soon realizes it’s never that easy, and leaving might never be enough. The series delves into dark depths, but it’s buoyed by ambition and layered performances, making it a stunning and searing watch.