I stumbled upon Mid-Century Modern purely by chance—mere minutes before filing a pitch with my editor—and what began as casual curiosity swiftly bloomed into full-blown admiration.
★★★★☆
With a premiere on March 28 on Hulu, this breezy new sitcom is precisely the kind of television we didn’t realise we were missing: smart, sentimental, and unapologetically camp in a sea of emotionally muted prestige dramas.
Created by Will & Grace duo David Kohan and Max Mutchnick and directed by the legendary James Burrows, Mid-Century Modern is a nostalgic, golden-hued homage to classic multicam comedies—reimagined through a proudly queer, contemporary lens. The premise is refreshingly simple: three gay best friends of a ‘certain age’—Bunny (Nathan Lane), Jerry (Matt Bomer), and Arthur (Nathan Lee Graham)—move in together in Palm Springs after the sudden loss of a close friend. Joining them is Bunny’s acerbic, no-filter mother, Sybil (the late, great Linda Lavin), and together they form a chosen family, bound by wisecracks and heart—navigating grief, friendship, aging, and identity—with plenty of sass and sparkle.
If it sounds like The Golden Girls had a martini-drenched fling with Will & Grace, you’re absolutely right—and the show knows it. Mid-Century Modern wears its influences on its sequined sleeve, paying homage without parody. It’s not trying to reinvent the sitcom wheel; instead, it lovingly revs the engine of what made the format endure: great characters, sharp one-liners, and that elusive alchemy of comedy and heart. In an era overrun by grim prestige melodramas and chaotic reality TV, this series feels like a perfectly mixed cocktail—bubbly, biting, and just strong enough to leave a glow. It offers 25-minute servings of delicious escapism bursts: bright, campy, self-aware, and surprisingly moving.
And what a cast it is. Nathan Lane as Bunny Schneiderman is, unsurprisingly, a scene-stealing marvel. He delivers every line with the effortless precision of a Broadway veteran and the timing of a masterclass, turning sarcasm into an art form. Nathan Lee Graham’s Arthur brings a dazzling, flamboyant energy to the trio, balancing Bunny’s dry, deadpan quips with theatrical flair.
But it’s Matt Bomer who delivers the most unexpected performance. As Jerry Frank, Bomer dials down the suave to reveal a character full of quiet heartbreak and unresolved grief. In standout episodes—especially three, five, and seven—he brings a surprising tenderness to Jerry’s struggles with his estranged daughter and the scars left by religious rejection. It’s a revelation: layered, vulnerable, and quietly mesmerizing.
And then there’s Linda Lavin, sitcom royalty in her final television role—a bittersweet gift to the genre she helped define. As Sybil, she’s a whirlwind of motherly menace and seasoned sass, flipping between chaos and wisdom with a single arched brow. Her dynamic with Lane crackles with chemistry and comedic timing honed over decades. Episode nine’s tribute to Lavin, following her real-life passing, lands as a heartfelt elegy—funny, moving, and beautifully understated. Her send-off is funny, touching, and perfectly timed—just like her.
The writing leans into classic sitcom tropes—a flirtation with a hunky housekeeper here, a dinner party spiraling into chaos there—but it does so with a wink and remarkable finesse. Mid-Century Modern thrives in its fusion of nostalgic structure and modern sensibility: innuendo-laced cheeky dialogues, whip-smart banter, and tender emotional undercurrents. It’s silly when it wants to be, sharp when it needs to be, and unafraid to confront deeper themes like grief, chosen family, and the ache of growing older in a youth-obsessed culture.
What sets Mid-Century Modern apart is its unapologetic queerness. There’s no token straight character to provide ‘balance’, and no watering down for mass-market appeal. Instead, we get a cast of fully realized, joyfully queer characters played by openly gay actors—allowed to exist, to mourn, to flirt, to be ridiculous, and to be real. In a cultural climate where LGBTQ+ rights are again under threat, that quiet defiance feels both radical and comforting.
Yes, the pacing starts off a bit slow, admittedly. The pilot feels like it’s still finding its rhythm, and the background laugh track can feel jarring at first. But by episode three, the ensemble hits its groove; the punchlines land, the dynamics feel lived-in, and Palm Springs transforms from pastel backdrop to a character of its own. Whether it’s Arthur’s obsession with Donny Osmond or Jerry’s designer-cloaked loneliness, the show uncovers surprising emotional depth beneath its glossy veneer.
In a world inundated with brooding dramas and relentless reboots, there’s something wonderfully subversive about a show that just wants to make you laugh—and succeeds. With its retro-chic aesthetic, heartfelt performances, and queer-forward storytelling, Mid-Century Modern is warm, witty, and unmistakably rewatchable. The reception says it all: 7.6 on IMDb, 86% on Rotten Tomatoes, and a glowing 95% approval from Google users. The people aren’t just watching—they’re in love.
Sure, a few jokes might miss the mark, and the throwback tone won’t be for everyone. But for those of us who grew up on classic sitcoms, or just crave television that doesn’t demand a think piece after every episode, this is your jam. So here’s to Bunny, Jerry, Arthur, and Sybil. Here’s to linen suits, poolside gossip, glittery heartbreak, and laugh-out-loud honesty. Here’s to classic comedy with a queer, sun-soaked twist—and hopefully, it’s just the beginning.
The Verdict
Mid-Century Modern is a charming, queer-as-hell sitcom that feels like a warm hug from your most fabulous gay uncle. It’s comfort TV with a cocktail twist and we’re already begging for Season two.
Words by Khushboo Malhotra
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