It is rare that a program juvenile enough to elicit headshaking and embarrassing enough to make viewers cringe a program that is lazy to a blatantly noticeable degree can continue to entertain over the many years it has been on the air. Straddling a dangerous zone between all of these categories, Workaholics keeps delivering surprisingly consistent entertainment value and true heart.
Now in its fourth season, Workaholics has opted to stick to the same trademark brand of humor it has been using since its 2011 debut. The combination of slapstick comedy, absurd antics and natural dialogue tied together by a group of actors with tangible chemistry has allowed this outwardly ridiculous comedy to survive for almost 50 episodes.
Its also no surprise that Workaholics has found its core fan base in men ages 18 to 24, as this demographic likely relates to the post-collegiate trio on the show. The main characters Adam Demamp (Adam DeVine), Blake Henderson (Blake Anderson) and Anders Holmvik (Anders Holm), who are also the creators and writers of the show display onscreen personalities that are exaggerated versions of their true selves. In fact, they hardly even bothered to make the names of their characters much different from their own. The history of their friendship they did sketch comedy before Comedy Central offered them a television show also plays into their dynamic on Workaholics. Their rapport is definitely one of the main reasons why this comedy has succeeded: It brings a certain realism to the characters that counteracts the often overly absurd plotlines.
Operating as a standard sitcom, the series narrative leaves little room for character or plot development. Instead, every story arc is reset at zero by the end of each episode; any harm done is gone, any rewards gained are lost and newfound friends are never heard of again. But this is perfectly acceptable because the common theme of young adults struggling into maturity is strong enough to keep the show engaging. Indeed, this season has already seen the boys ruin a baby shower with a cooler of ecstasy, attempt to hire a gigolo for their boss, film a documentary about drug dealer Karls (Kyle Newacheck) genital removal surgery and get tricked into pledging a fraternity.
It is not these misadventures, however, that make Workaholics so enjoyable, but rather the characters reactions to whatever situation they find themselves in. They are similar to the crew from Its Always Sunny In Philadelphia (2005-present) in their selfishness, immaturity and ignorant disregard for the feelings of those around them. Yet they are also much more likeable: their empathy and good-hearted nature often shines through, making their sophomoric exteriors consistently endearing.
Like a raunchier and bolder version of The Office (2005-2013), Workaholics is often most impressive when it removes the boys from their shared cubicle at a telemarketing company and forces them to have interactions with the world outside the workplace. Whether they are failing to attract college students to a party at their rundown home or ruining childrens birthday parties by arriving as intoxicated clowns, their absurdity is accentuated when compared to the more normal actions of others.
When it premiered, Workaholics seemed unlikely to last even a season. Its fortunes have changed since then: the comedy was recently renewed for a fifth. The show will continue to be successful as long as the writers remain enthusiastic and keep digging up fresh ideas for episodes. This being said, with DeVine, Anderson and Holm all now in their thirties, they are moving further away from the youthful characters they portray something that may effect the viewership down the road. For now, it seems the program will continue to shock viewers with hilarious antics, but it is doubtful that this will work forever.
