Paul Rudd. Will Ferrell. Eighties costumes. 'The Shrink Next Door' reunites a comedy dream team, but sadly, the Apple+ show is no 'Anchorman.' Alan Sepinwall's review.
is billed as a dark comedy, but mostly it’s just dark, and sad, and fairly repetitive. After a 2010 prologue hinting at an ugly end to Ike and Marty’s many interwoven relationships, the story proper begins in 1982. Marty has recently inherited his rich parents’ fabric business in New York’s garment district.
Both leads have worked in more serious or understated keys before , and it’s not hard to see this working as a more straightforward psychological thriller about a doctor co-opting his patient’s life so gradually and thoroughly that his victim feels like he’s being done a favor. But Pratchett, Showalter, and company can’t resist hedging their bets and leaning into the Burgundy and Fantana of it all.
Sequences like those seem designed to satisfy viewers assuming they’re getting more of Rudd and Ferrell in full Adam McKay/Judd Apatow mode. But they’re too infrequent and not really funny enough to really turn this into. And they undercut the psychological realism of the rest of the show.
Phyllis comes across as the most fully-human main character, but the nature of the story means Hahn’s not around a lot. At one point, Marty details one of the many horrifying aspects of life with Dr. Ike that he’s just grown used to. “Getting used to it is really your superpower, huh, Marty?” Phyllis observes. There are aspects ofthat are much too easy to get used to, as the show feels content to repeatedly hit certain notes.
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