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“I Watched Every Episode of Full House and I Want to Die,” wrote The Daily Beast’s Ben Collins in a piece that profiled Ryan Alexander-Tanner, whose blog Full House Reviewed meticulously eviscerates the nostalgic sincerity with which many of us look back on the show. Others reviled the show and its ba-dum-dum one-liners, insufferable morality, and grating cuteness from the start.
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We relished in shouting its unusual preponderence of catchphrases along with its characters (“you got it dude!”), found relief from the ever-edgier and more mature TV fare in its unabashed earnestness and strict family-friendliness, and delighted in the novelty of watching its child-star actors come of age-us doing the same along with them. So many of us grew up on this show and were rapt with its wholesome charms. (Nor to the milkman, the paperboy, and probably not even evening TV.) By the time Carly Rae Jepsen gets to those lyrics in her version of the show’s earworm theme song for Fuller House, I’d venture that those people are bleeding from the ears. Of course, there is the contingent that never had a desire to ever find out whatever happened to predictability. Fans purportedly clamored for the show to come back, and here it is, exactly the way we remembered it. In theory, that should ensure that we’re not disappointed by the revival. The brilliance-if the word could be applied to the world of the Tanners-of Fuller House is how close it adheres to the original.
What exactly are we expecting when they arrive? suddenly going to be cursing like Julia Louis-Dreyfus on a HBO series? Sex scenes featuring John Stamos (a person can dream)? A sudden allergy to Very Special Lessons set to twinkly music at the tail-end of an episode?
Was Fuller House ever going to come back with sudden comic intelligence? Razor sharp dialogue? Angsty observations on the human condition? Was D.J. Lost in all of this, however, is what we want from these reboots. Eyeing a guaranteed audience, studios reboot old shows. Exhausted from their efforts to shed their ties to embarrassing old roles, these casts lean into the fanfare and agree. Fans campaign to reunite these shows’ casts. This is all to say that Fuller House is so exactly a replica of the original Full House that the show’s first episode goes so far as to split-screen the new leading trio of ladies recreating, frame-by-frame, a scene acted out by Saget, Stamos, and Coulier in the Full House pilot 29 years ago.įuller House is arriving at the peak of one of pop culture’s most exhausting and misguided trends: the nostalgic reboot.Ĭherished relics from our past, frozen in time with beepers and scrunchies and shoulder pads and John Stamos’s devastatingly handsome face, are, with the rise of the Internet and its memes and outlets for binging old shows, newly celebrated. (Mary-Kate and Ashley Olsen’s Michelle is referenced by name only.) al.-make sporadic cameos throughout the season. Pretty much the entirety of the original cast-Bob Saget, John Stamos, Dave Coulier, et. Noticing that she’s overwhelmed, sister Stephanie (Sweetin) and kooky BFF Kimmy (Barber) move in with her. Tanner is widowed, and moves back into the iconic San Francisco Painted Lady. The new comedy reunites cast members Candace Cameron Bure, Jodie Sweetin, and Andrea Barber for a gender-reversal of the original Three Men and a Baby plot. Club called it “like a porn parody without the porn.” Entertainment Weekly said it’s “lazily constructed kitsch that isn’t worth your time or affection.” Regarding its pilot, The Hollywood Reporter wrote, “It’s doubtful that there will be a more painful 2016 TV episode.”
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