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Date Posted: Monday, December 26, 08:23:51pm
Author: Lij
Author Host/IP: adsl-99-57-3-15.dsl.bltnin.sbcglobal.net / 99.57.3.15
Subject: Jane Espenson getting good reviews - Husbands

http://husbandstheseries.com/


"Husbands" was created by Jane Espenson, best known for her writing on “Buffy the Vampire Slayer.” It’s an eleven-part series so far, distributed free on the Web. And yet this mini-est of series (thirty-five minutes total) is what its own characters might describe as “totes adorbs.” After a night of partying in Las Vegas, a gay couple wake up married. Since both of them are famous (one is a tabloid personality, the other a celebrity athlete), they agree to make a go of it—if only for the cause of marriage equality. Brady, the sports star (played by Sean Hemeon), worries that if they don’t they’ll “be Britney.”

“On the upside,” purrs his husband, Cheeks (played by . . . Cheeks), sprawling on the bed and shooting him a puckish glance, “we’d be Britney.”

This is classic opposites-attract stuff, with a gay spin. Brady is a butch worrywart; Cheeks is a tart diva (or maybe a diva tart). On a nothing budget, Espenson and her teensy cast score laughs, and also give us streaks of romance. Cheeks is the standout, a confident flibbertigibbet who regards himself as a modern Blanche DuBois, preening for the best Webcam angle. He’s got his own credo to uphold. “I stand for something, too, you know,” he complains. “I’m all about me! I mean, about individuality, not trying to make America comfortable with me.”

Web-only TV is a new phenomenon. I always want to recommend these series, the way that Cheeks and Brady want to support gay marriage. (“So important. So . . . abstract.”) The sad truth is that, so far, most Web series are worth watching only in theory. “Husbands” is one notch better, and not only for the way it puts two gay men center stage. But, if camp is not your thing, here’s another worthy experiment to toss five dollars at: Louis C.K.’s terrific new hour of comedy, streamed straight from his Web site. Both projects suggest a future in which audiences might cut out the middleman, supporting artists online, free of network demands. Given current TV economics, that utopia can’t arrive too soon.

Read more: http://www.newyorker.com/arts/critics/television/2012/01/02/120102crte_television_nussbaum#ixzz1hh56FQJr

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