Kevin Can F**k Himself Season 2 Finale Recap: A Welcome End
By now it’s clear the only satisfactory ending possible to AMC’s Kevin Can F**k Himself is for Kevin to, in fact, f**k himself. In that sense (spoiler alert), the “split-com’s” second and final season is a success. But as they say, it’s about the journey, not the destination. And this journey was a bit more meandering than twisty, its genre experimentation perhaps better limited to a single season.
Kevin Can F**k Himself stars Annie Murphy as Allison McRoberts, an eye-rolling sitcom wife trapped in Worcester with her wise-cracking oaf of a husband, Kevin (Eric Peterson). Allison lives in Prestige Drama Land except when Kevin’s around. Then she’s in Kevin’s domain, Sitcom Land. It’s a man’s world, and that world is brightly lit, consequence-free and punctuated by an obsequious laugh track.
Prestige Drama Land, on the other hand, looks more like AMC siblings Breaking Bad and Mad Men: single-cam, no laugh track, muted colors, a general feeling of malaise and quote-unquote realism.
Both worlds feature goofy hijinks and absurd coincidences, and it’s the juxtaposition of genre treatments that makes these similarities apparent. But it’s also what makes the specifics of the plot and characters seem almost beside the point. Generic, in the literal sense: of a genre.
Kevin, Neil and Pete do “funny” stuff like Scotch-taping each other’s faces.
Robert Clark/Stalwart Productions/AMC
The rest of the cast is pulled from the pantheon of stock television characters, who either subvert or double down on their archetypes, depending on which world they
