Audiences have welcomed Steve Carell’s stint as writer Greg Russo thus far in HBO’s Rooster. His awkward charm, dry sarcastic wit and child-like innocence is a hilarious marriage that evolves into comedy near-gold, all whilst supported by an emotional character-driven plot. Aiming to unpack the difficulties of teaching, being a father and the fallout of infidelity, Rooster has captured a sincerity within Greg that becomes tangible, as if one may accidentally bump into him whilst grocery shopping or overhearing his desperate pleas for time with his daughter whilst studying in the library.
Of course, much of this can be attributed to Carrell’s years of comedic training, but a rich premise, created by Bill Lawrence of Ted Lasso and Shrinking fame, encourages growth in a studious environment lending to this very nature. Rooster‘s college campus setting lends an air of unknown and excitement, replicating the essence that drives many young adults towards academic success and late-night partying in such environments. This blend of complicated relationships, college and chaotic antics is undeniably relatable, even if the series’ approach towards such is atypical.
Episode 3 of Rooster, titled “White Whale,” follows Greg’s first day of teaching, only to be mirrored by his daughter Katie’s (Charly Clive) beginning of academic suspension. The character’s parallel adventures throughout the episode lend a bizarre energy. Pumped with gusto and a fast-paced tempo, episode 3 delivers some of the best comedic moments yet. Such moments are largely linked to Greg’s clumsiness, and his choice of wording being more traditional and out of touch. Unfamiliar with the changing world and new societal norms, especially those on a college campus, Greg lands himself in constant trouble with students. From accidental insults to inappropriate touching, although unintentional, Carrell puts the acclaimed author through the ringer in an eccentric 30 minutes. Similarly to his other work, audiences can expect non-stop laughter and double-takes at his hilarity which shows no creative limitations.
On the other hand, Charly Clive’s Katie struggles with boredom and uncertainty, unable to grapple the free time she now possesses, spiraling thinking of Archie’s (Phil Dunster) affair, and the unfortunate announcement of Sunny’s (Lauren Tsai) pregnancy. Throughout the episode, Clive shows impeccable comedic timing that rivals the mastery of Carell, whilst also infusing Katie with a crumbling ego and severe mental confusion, selling the character’s circumstances impeccably. Both Clive and Carell deliver perfection here: while their laughs may stem from outlandish circumstances, their struggles and insecurities are terrifyingly relatable and make Rooster surprisingly sincere. Phil Dunster contributes immensely in this department, although immerses himself slightly more in his pompous Archie. But this switch from comedy to drama, laughs to sorrow, or even ridiculousness to sincerity, exudes a quiet confidence within the cast, who each expel a wonderful chemistry and show great understanding of their assignments.
Much like the prior episodes, the third is a resounding success. The 30 minute laughs never verge on boring, stereotypical or rehashes of Lawrence’s other television outings. Instead, Rooster remains distinctively different, allowed to stand on its own legs and carve a unique path that immerses viewers. At times the series comes close to theatrical improv, possessing such a seamless flow that one may question if a script was even written, or if this magic was a creation of magnetic chemistry and naturally gifted comedians giving birth to a miracle. By the end of Rooster fans are guaranteed to crave more and beg for bloopers, of which there will undoubtedly be plenty of. Each cast member, including limited additions such as Dean Riggs (Alan Ruck) and Walter (John C. McGinley) brings their A-Game and then some, a true achievement for all involved.
Questions may rightfully be raised around the weekly release, however, which stutters a near-unstoppable momentum. Rooster would have benefited from being released all at once in hopes of going viral and the circulation of ‘funny moments’ to latch onto new viewers through TikTok or Instagram Reels, much like Peacock’s Ted recently has. In a fashion, it’s a shame online discussion around the series is so limited, as it stands out as the best work of nearly all involved, especially Steve Carell, who hasn’t hit such comedic heights since the days of Dunder Mifflin. Simplistic in execution, but filled to the brim with laughter, Rooster shows no sign in slowing down its obscurities and extravagant humour.
