The Features and Narrative Conventions Of Sitcoms

Situation comedies, or ‘sitcoms’, all follow the same format. As with any drama series, each episode has a set structure. This structure is –

• Equilibrium - ‘normality’ for the characters and the setting.
• Disruption – this will be the basis of the story, i.e. if this event didn’t take place, this episode wouldn’t exist. This creates the storyline.
• Resolution – this resolves the problems of the episode, so we can return to,
• Equilibrium – back to normality, ready for the next episode.

This structure creates a closed narrative, which means each episode can be watched individually from all other episodes and it will still make sense, while having an enclosed story unto itself. This means that audiences can quite easily jump in and out of the series and be able to know what’s going on.

However, because sitcoms are in a series format, and follow a set of characters throughout, they have to have some overriding storylines, such as long-term romances and other character relationships, as well as following characters ambitions and life stories.

Characters are obviously the main feature of sitcoms, as the stories are based entirely around them. With this particular type of drama, certain character traits are needed. For example, at least one character must have thwarted ambitions. They must be striving for something, so the audience can watch them trying to attain the thing they deeply desire. So often, comedy is found in their failed attempts and through the things the characters do to obtain these goals. These ambitions will run throughout the series, more often than not, adding to the character as a whole. Nevertheless, sometimes, one episode can be exclusively based on an aspiration gained at the start of the episode, with the resolution being that the character no longer wants to obtain the goal, or they actually achieve it. Therefore, the hopes and dreams of the characters are key to sitcoms. A good example of this would be ‘Scrubs’, wherein the main character is trying to become a doctor, but has many difficulties with his training. These difficulties make for the comedy, as well as pushing forward the storylines and the character.

Another element of sitcom is the ‘comic trap’. This means that the characters are forced together, giving reason and license to have diverse and, often, opposite character types in a single situation. Contrasting characters give opportunities for many comic situations, and their developing relationships always make audiences want to watch the next episode. For example, the dissimilarity between Leonard and Sheldon in ‘The Big Bang Theory’, make watching those two characters try to live together compelling for an audience.

Scriptwriters have to be able to find comedy in simple things and circumstances, because while the comedy itself is regularly extraordinary, the situations and characters need to be relatable. For instance, in ‘The Young Ones’, the violence portrayed by the overly punk, Vyvyan, is implausible, and all the damage he causes seems to be cleared up without explanation, which is unrealistic. However, the situation of unruly students cooped together in a flat, with the pressures of outside stimuli, such as parents, school and the government etc, are utterly believable. As a result, the conditions work for a basis of a sitcom.

Cultural references, to politics, news, or media, are oftentimes included in sitcoms, for many reasons. One reason concerns the above point of relatable content, e.g. in ‘Steptoe And Son’, their money struggles, although very exaggerated for most viewers, are important. In the same series, Harold shows great interest in politics, giving more cultural references in mentioning the Prime Minister at the time, and the policies that were being put forward. In a way, the whole series is homage to the lack of care given by the government, in the fact that they live in such poverty.

Other cultural references are less hard-hitting, such as the ‘Scooby-Doo’ and ‘Dukes Of Hazard’ references in ‘Spaced’. These pieces of common knowledge not only lend themselves to making the sitcom relevant, but they also give the audience the pleasure of being able to understand something maybe other people have missed. It gives the audience a feeling of knowing, which is not only going to make viewing more enjoyable, but it also additive, which is wonderful for getting someone to return for the next episode.

Another technique to bring the audience into the world of the characters is ‘breaking the fourth wall’. This is seldom used, but it is where the characters talk as though they know they are a part of a television show. References made the about set, or to the camera, are the common ways of doing this, and it literally breaks down the walls between reality and fiction, and between character and viewer.

As a whole, the goal of a sitcom is to be relatable, with characters striving for something, while having something get in their way – often another character that they are forced to share their space with. Sitcoms also have closed narratives in each episode, as well as an overall arc.