Mickey (Gillian Jacobs) and Gus (Paul Rust) are lonely and single in Los Angeles. She’s a program manager at a radio station; he’s a tutor to a 12–year-old actress on a supernatural teen-TV show called Wichita. They meet in their neighborhood convenience store — she’s at the cash register when she realizes she’s out of money, Gus offers to pay. They’re both coming off busted relationships.
They’re ripe for love, right? As the new Netflix comedy Love asserts, however, love is more complicated — more fraught, more dangerous, more ridiculous, more unpredictable — than that. Co-created by Rust, Judd Apatow, and Lesley Arfin, this new 10-part series premiering Friday plays it for laughs, and plays for keeps: It wraps some serious and moving moments into half-hour segments. It’s a show that’s structured like a sitcom but frequently works like a low-stakes drama that just gets more emotionally expensive. After you’ve watched all 10, Love stays with you like a memory you can’t — or don’t want to — shake.
Jacobs gives the show’s most overtly amazing performance — it’s far beyond what she was asked to do on Community, and she’s more than up to the challenge. She’s been terrific in a small role on Girls, in some indie films, and in the slightly underrated Walk of Shame (2014), but Love really allows her to show a range of moods and tones, frequently within a single half-hour, that accumulates to give us a portrait of a woman in command, and in crisis.
They’re ripe for love, right? As the new Netflix comedy Love asserts, however, love is more complicated — more fraught, more dangerous, more ridiculous, more unpredictable — than that. Co-created by Rust, Judd Apatow, and Lesley Arfin, this new 10-part series premiering Friday plays it for laughs, and plays for keeps: It wraps some serious and moving moments into half-hour segments. It’s a show that’s structured like a sitcom but frequently works like a low-stakes drama that just gets more emotionally expensive. After you’ve watched all 10, Love stays with you like a memory you can’t — or don’t want to — shake.
Jacobs gives the show’s most overtly amazing performance — it’s far beyond what she was asked to do on Community, and she’s more than up to the challenge. She’s been terrific in a small role on Girls, in some indie films, and in the slightly underrated Walk of Shame (2014), but Love really allows her to show a range of moods and tones, frequently within a single half-hour, that accumulates to give us a portrait of a woman in command, and in crisis.
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