For the first time in their TV careers, writer-directors Ricky Gervais and Stephen Merchant have found themselves at the mercy of the critics. Lazy, derivative, and formulaic were just some of the words used to describe their new series LIFE’S TOO SHORT. Of course, such criticism is inevitable when any performer, writer, or director tries their hand at something new. After all, we are British. Some of the critique is justified however, and LIFE’S TOO SHORT is undoubtedly the weakest of their TV projects so far. But let’s not count Gervais and Merchant out just yet; they have proved before that their best work comes when given the opportunity to develop characters over time. And this may continue to be the case as the BBC announced last week that LIFE’S TOO SHORT is to receive a second series, despite disappointing viewing figures (Alan Partridge must be furious).
For those who have missed it, LIFE’S TOO SHORT centres on Warwick Davis, a dwarf actor whose career and personal life is in crisis. In the midst of a divorce and facing a gargantuan tax bill, Davis moves from one humiliation to the next, sometimes due to sheer bad luck, sometimes because of his own arrogance and desperation.
In real life, of course, Davis is showbiz’s premier dwarf actor, and has found relative notoriety from both cult nonsense (such as the LEPRECHAUN films) and blockbuster movies (HARRY POTTER, anyone?). But, just as Gervais and Merchant’s celeb buddies have done before, Davis is happy to lampoon his persona, making light of not only himself, but the situations in which a celebrity dwarf might find himself.
As identified in a number of reviews, the biggest problem with LIFE’S TOO SHORT is that it trades off Gervais and Merchant’s previous work too readily: whilst the faux-documentary style and ritual degradation of celebrities was key to the success of THE OFFICE and EXTRAS respectively, by now it feels as if the duo are treading water, and relying on a formula.
Though it may indeed be a formula (someone does a Ricky Gervais impression, works himself into an impossibly awkward situation, a celebrity acts like a dick, awkward silences all round) there’s no denying it works. And it’s damn funny. Gervais and Merchant aren’t Britain’s biggest comedy export since Monty Python for nothing. And it’s not just the funnies that they do exceptionally well; their major strength lies in writing conclusions, which they do better than anyone else. Consider the heartbreaking climax of THE OFFICE, in which David Brent finds salvation and Tim and Dawn finally make good on their flirtations. Without this the series would be nowhere near as complete or effective. And how about the final moments of EXTRAS? Andy’s Celebrity Big Brother revelation offers an emotional depth and warmth to what had been essentially a very cold and distant (but no less funny) show until that point. In both cases, Gervais and Merchant proved their abilities as writers, directors, and performers. Rarely does comedy have such thematic and emotional substance, and as a result both THE OFFICE and EXTRAS feel as if they have been composed perfectly, with logical, satisfactory narratives and character arcs.
So whilst LIFE’S TOO SHORT has been criticized for its derivative nature, it’s likely that Gervais and Merchant have an overall plan for the series, and their previous efforts suggest they know exactly what they’re doing. However, there are issues that the duo would benefit from addressing: as funny as it is to have Johnny Depp and the likes showboating, it remains predictable and surplus to requirements; LIFE’S TOO SHORT was far more effective when deviating from the ‘Gervais-Merchant Formula’ and focusing on its own unique elements, such as Davis’ visit to his crooked spirit guide and interactions with gormless PA Cheryl (Rosamund Hanson), and his moronic accountant/solicitor (Steve Brody). The show also hinted at the emotional depth for which THE OFFICE is so fondly remembered: as despicable as Davis often is, his disastrous wooing of Amy (Kiruna Stamell) was relatively touching, and is a promising aspect of the series moving forward. And let’s not forget, Davis has done a fine job in his first major leading role since WILLOW. Sure, he may be doing his best David Brent voice, but with time he should be able to develop the character and make it his own.
Overall, it’s too soon to disregard LIFE’S TOO SHORT. Ricky Gervais and Stephen Merchant have proved before that they‘re in for the long haul, and always with a plan of action. Though there’s work to be done if they’re to redeem LIFE’S TOO SHORT, they’ve got the talent to do so; the show is unlikely to be remembered as their finest hour, but if their previous work is any indication, by the time it concludes it will also be far from the disaster the critics are prematurely dismissing it as.
