Baroness von Sketch Show’s Final Season Goes Out With a Consistent and Perfectly-Timed Bang

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Baroness von Sketch Show’s fifth and final season starts tonight.

As
Baroness von Sketch Show
returns to IFC for its eight-episode (all of which were available to review) fifth and final season, it should come as no surprise that it ends the way it began: as consistent and pleasant (even in the face of unpleasant topics) as ever. One could even say that the series remains unflinchingly and quintessentially Canadian—especially when it comes to the accents and certain turns of phrase—which has always been a part of its charm, while still remaining comedically accessible to American audiences. As I wrote in my review of
Baroness von Sketch Show
’s fourth season: “Because, despite the aspects of the series that make it very specific and come from a very underappreciated perspective and demographic (again, in addition to the Canada of it all), it still is able to cover a large amount of the feminine perspective, regardless of race, ethnicity, and/or age.”
Naturally, that relatability remains in this final season, even with the major change in the landscape of the world. Filmed last fall, this season of
Baroness von Sketch Show
—which, in case you missed it, is still starring, created by, and written by Canadian sketch comedy quartet Carolyn Taylor, Meredith MacNeill, Aurora Browne, and Jennifer Whalen (who also serves as showrunner)—obviously exists in a glorious, pre-pandemic world. But even with that in mind, there are certain sketches that just kind of hit differently as they air in these quarantimes. For example, there’s a sketch set at an all-you-can-eat buffet that simultaneously creates an unintended longing for such a mundane experience
and
a reminder that buffets are hotbeds for the spread of disease. It’s definitely not the intent of the sketch to invoke the latter, but seeing it now in 2020 certainly inspires that added layer of dread… in a funny way! There’s also the series finale-opening sketch, set at what seems to be a 2021 New Year’s Eve party, which ultimately pings onto something that one can only imagine the
Baroness von Sketch Show
stars and writers never expected to ping onto, simply because the sketch comes from the (actually expected) place of 2020 being a terrible year.

Plus, throughout the entire season,
Baroness von Sketch Show
latches onto the understandable anxiety of parties and group gathering—to the point of discussing a hypothetical party in a terrible
Good Will Hunting
-inspired* sketch—which is natural fodder for the series that now also features an added layer of understandable anxiety thanks to current events.
Part of the relatability of
Baroness von Sketch Show
’s comedy when it comes to its specific pop culture references is its ability to take topics that have been talked about and done a million times before—whether it’s the
Good Will Hunting
“Genius Janitor” trope or the “Problematic Nature” of
Sixteen Candles
or the cyclical nature of when
Borat
is considered funny or not funny—and finds and leans into how played out it is while also adding something new.
Part of what allows
Baroness von Sketch Show
to remain applicable during these times, even when shot practically a year earlier, is that aforementioned relatability, as well as its commentary on systemic issues that just don’t seem to go away/remain prevalent, despite all the talk. The most biting sketch of the season (“Celebrity,” seen above) opens the second episode, as a game of Celebrity is ruined by the clue: “He’s famous. And he was charged with sexual misconduct.” As the characters in the sketch continue to guess which celebrity male this could possibly be—with clues narrowing it down, like “And he’s still working today,” which only widens the net—it only gets more depressing, which, in this case, only makes it funnier. (Funny because it’s true, funny because it’s sad; it’s all quite similar in its darkness to
Baroness von Sketch Show

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