Exploring Character Dynamics in "What We Do In The Shadows": A Deep Dive into "P.I. Undercover: New York"
Tonight’s episode of What We Do In The Shadows, titled “P.I. Undercover: New York,” serves as a fascinating case study in the significance of character development within a long-running comedy series. The episode juxtaposes a somewhat lackluster A-plot involving a TV crime show’s invasion of Staten Island with a brilliantly crafted B-plot that highlights the awkwardness and vulnerability of Colin Robinson. This contrast underscores how character dynamics can elevate or diminish comedic storytelling.
The A-plot, centered around the crew of a fictional crime show, feels somewhat superficial. While it features the talented Kevin Pollak and offers a few meta-commentary moments about television production, it largely sidelines the main characters—Laszlo, Nandor, and Guillermo. Instead of allowing them to engage meaningfully with the plot, they mostly serve as spectators, fawning over Pollak’s character and delivering a series of jokes that, while amusing, lack depth. This reliance on celebrity cameos and industry satire detracts from the core essence of the show, which thrives on the unique interactions and relationships among its characters.
In stark contrast, the B-plot shines a spotlight on Colin Robinson and Nadja, creating some of the most memorable comedic moments of the season. Colin, portrayed by Mark Proksch, has always been the oddball of the group, not just due to his Energy Vampire persona but also because he lacks a consistent scene partner. This episode, however, pairs him with Nadja, played by Natasia Demetriou, leading to a dinner date that is both cringe-worthy and hilarious. The awkwardness of Colin’s attempts to reconnect with an old friend, Joel (Zach Woods), is compounded by the unexpected romantic interest from Joel’s wife, Becky (Kim Quindlen). Proksch expertly navigates Colin’s discomfort, making the dinner party a masterclass in comedic timing and character vulnerability.
Colin’s character has always been a source of humor, but this episode reveals a deeper layer of loneliness and longing for connection. As he fends off Becky’s advances, the situation escalates to the point where Joel implores Colin to sleep with his wife, leading to one of the episode’s standout lines: “If it’s any consolation, I’ll be there the whole time, I’ll have—” to which Colin quickly retorts, “It’s no consolation.” This exchange encapsulates the absurdity of the scenario while highlighting Colin’s awkward charm.
Nadja’s role as Colin’s wingman adds another layer of complexity to the episode. Her desire to practice human small talk while supporting Colin creates a dynamic that is both entertaining and insightful. Nadja’s character has always been adaptable, and her interactions with Colin reveal a surprising chemistry. The two become the most “normal” characters in a room filled with escalating tensions, showcasing how their unique quirks complement each other. Nadja’s commentary and attempts at human interaction provide a humorous counterbalance to Colin’s energy-sucking antics, making their partnership a delightful surprise.
The performances of Woods and Quindlen as Joel and Becky further enrich the episode. Woods, known for his ability to portray deadpan misery, effectively illustrates the discontent in Joel and Becky’s marriage without veering into melodrama. Quindlen’s portrayal of Becky adds depth to the narrative, as her unexpected attraction to Colin becomes a pivotal twist. The reveal that she is drawn to Colin, rather than repulsed, is executed with finesse, making the audience reconsider their assumptions about her character.
While the A-plot features Nandor and Laszlo’s misadventures in the world of television production, it often feels like a distraction from the more engaging B-plot. The humor derived from their antics, including quick kills of production assistants and Nandor’s over-the-top commentary, lacks the emotional weight that character-driven comedy provides. Even the charismatic Matt Berry, who plays Laszlo, struggles to elevate lines that merely describe the television industry rather than satirize it. The episode’s reliance on familiar tropes, such as Guillermo’s fanboy enthusiasm for the show, feels underwhelming compared to the rich character interactions in the B-plot.
The episode also includes clever visual gags and meta-humor that fans of the series have come to love. From Colin reading a comment about the show as “winsomely compelling copaganda” to Nadja’s hilariously awkward attempts at small talk, these moments add layers of humor that resonate with the audience. The physical comedy, particularly in the murder scenes involving Nandor and Laszlo, showcases the show’s knack for blending horror and humor seamlessly.
In summary, “P.I. Undercover: New York” exemplifies how character dynamics can shape the comedic landscape of a series. While the A-plot may falter in its execution, the B-plot’s exploration of Colin Robinson’s loneliness and Nadja’s supportive role creates a rich tapestry of humor that resonates deeply with viewers. The episode serves as a reminder that, in a long-running comedy, it is often the characters and their relationships that drive the narrative forward, creating moments of genuine laughter and connection.
