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Ted Danson’s Netflix comedy is lost
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Ted Danson’s Netflix comedy is lost

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It’s hard not to have high expectations for Ted Danson and Michael Schur.

The actor and producer brought us comedy gold together on NBC’s “The Good Place,” and individually contributed to some of the best TV of all time. There’s Danson’s long “Cheers” career, plus “Curb Your Enthusiasm” and many more, and Schur’s string of sitcom successes with series like “Brooklyn Nine-Nine” and “Parks and Recreation.” So when the pair teamed up for a new Netflix mystery comedy, it surely meant bigger and better things, right?

Unfortunately, their new series set in a San Francisco retirement home, “A Man on the Inside” (streaming now, ★★ out of four), doesn’t have the spark of “Good Place” or “Brooklyn.” A lightweight mash-up of themes and ideas, the series feels like it’s still a sketch on the drawing board rather than a fully realized story with a beginning, middle and end. It all sounds good on paper, but it’s a shame in the execution.

It’s a shame because the story and the creatives involved had so much potential. Danson, still as charming and magnetic as ever, plays Charles, a mild-mannered retired professor who struggles to find a groove in his new life after his wife died from a long battle with dementia. He answers a newspaper ad saying he’s a spy – well, sort of like a spy. Private investigator Julie (Lilah Richcreek Estrada) is hired to recover a priceless necklace stolen from an old woman in the luxurious Pacific View community. Julie needs someone over 70 to move in with her and investigate what happened. Charles shows up with a working knowledge of a cell phone and a great eagerness to please, so she hires him.

Naturally, once inside, Charles is impressed by everything the place has to offer, from kind-hearted director Didi (Stephanie Beatriz) to gossip ladies Florence (Margaret Avery) and Virginia (Sally Struthers) to stoic backgammon champion Calbert ( Stephen McKinley Henderson). Charles tries to put his emotions aside and solve the case, while repairing his relationship with daughter Emily (Mary Elizabeth Ellis), which has been strained since his wife’s death.

If it sounds like there’s a lot going on, there is, and sometimes it’s all at war with each other. “Inside” feels like half a show, or maybe a third of three different shows that don’t add up to a whole. There’s one about a private detective and her “inside man” trying to solve a crime (also, incidentally, the plot of a 2008 episode of “Psych”); another is a soapy drama about all the juicy goings-on in Pacific View (complete with romantic jokes and double crosses); and a third is about Charles who, with the help of Calbert, rediscovers how to live without his wife.

Unfortunately, none of these dangling story threads are woven into anything complete. The mystery/crime element is sub-par and disappointing. The relationship drama between retirement homes appears one moment and disappears the next. Calbert barely registers in the first half of the series, but his friendship with Charles takes up most of the ending. The episodes often feel like a collection of scenes rather than a coherent part of a larger story. What we are left with is inherently dissatisfying because it is so weak.

“Inside” had to pick a path and stick with it, because there are some really great moments hidden among the disparate storylines. An episode in which Charles shows roommate Calbert all his favorite San Francisco sights is almost too melancholic and sweet, a neatly composed poem dedicated to living life to the fullest. These themes echo Schur’s other work, from the deeply philosophical ‘Good Place’ to ‘Parks’: his characters always want to do the right thing and live well. Charles certainly strives for both, but we never delve deep enough into his character (or anyone else’s) to find out what really makes them tick.

There are excellent stories to be told about aging, and Hollywood is slowly learning that life isn’t over after the Botox wears off. From Netflix’s ‘Grace and Frankie’ to Max’s ‘Hacks’, we’re starting to see stories about people over 65 who don’t resort to stereotypes and cheap jokes, and it’s wonderfully refreshing.

‘Inside’ only scratches the surface of those stories, but it could have delved so much deeper. I’ll wait and hope next time Schur and Danson will try something together again.