TV review: Paul Rudd's 'Living With Yourself'
Living With Yourself, an otherwise fun romp that matches Rudd with breakout Irish comic actress Aisling Bea . It first seems so effortless — two Paul Rudds! — that it's hard to see the eventual missteps that come. And they do, starting oddly enough in the third episode, a perfect example of how running with a good idea often leads to tripping.
Rudd plays Miles Elliot, who until recently had been a successful advertising agency idea man, married to Bea's Kate, an architect. The story is told in a series of flashbacks but when we first meet Miles and Kate, it's clear their marriage is tired, they are tired, bored, sleep-walking through their current existence, which includes a long run of trying unsuccessfully to get pregnant.
Created and written by Timothy Greenberg , the show features plenty of funny and clever material, including the notion that a move to the suburbs has coincided with a sapping of the central couple's will to live . Rudd's beaten-down ad man is struggling with ideas at his firm and looks constantly sleep-deprived, haggard and vacant.
This choice is...odd. Because it may work for an audience that is passively viewing and looking for laughs but, uh, why wouldn't Kate immediately see the difference in her two husbands ? Not even a comment? They may both be Paul Rudd, but they don't look exactly the same and it comes off as either lazy or just something the co-directors, Jonathan Dayton and Valerie Faris , couldn't work around.
Once Kate finds out it's less of an issue, but shouldn't Miles' co-workers also see the difference and comment on it?— it rushes into more dramatic territory less successfully, becomes less funny and trips over its flash-forward and backward conceptual tricks. All of a sudden a simple idea becomes too complex to pull off and two full episodes suffer in the writing probably because the POV trick has necessitated too many changes that come too quickly .
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