My above usage of the descriptive term “schmuck” for Marty might sound harsh, kicking him while he’s down, especially for how long it went on, but it’s honest-this is the tragedy of being a schmuck, of trusting too much, of being minimized when you think you should be accommodating. But even a friendship like this is a two-way street. Ike is a therapist with many of his own problems, including undiagnosed narcissism. Ike’s wife Bonnie ( Casey Wilson) feels about these pseudo-cons, or what other patients experience ( Sarayu Blue appears later on for a few scenes as another patient, but her scenes, sweet as they are with Marty, feel shoehorned). The dynamic makes the same point over and over, and the narrow plotting doesn’t allow too much room for how Dr. It allows for more opportunities to drain money from Marty, although Marty tells himself that this is normal, an act of kindness and empowerment from his new best friend. Ike expands his control, and gets between his relationships with Marty’s sister and his employees, including getting a job as a consultant at the curtain business. In the first few episodes of the miniseries (the first three premiere on November 12), Dr. Ike realizes how much he can use Marty and his money. Ike doesn’t suggest so much as tell him what to do, and it empowers Marty as much it doesn’t make him autonomous, just ever faithful to his new friend. Marty initially was sent by his sister Phyllis ( Kathryn Hahn, who is fiery and heartfelt here, but don’t get too attached) to face anxiety, along with his own problems related to his father's passing and gift of the family curtain business, and a disastrous romantic relationship that shows conflict-averse Marty acting as a total pushover. It goes back to 1981, to the beginning days of their relationship with the first red flag, in which Marty finds a new friend with his therapist, Dr. The opening moments of “The Shrink Next Door” begin in the 2010s, with Marty committing an act of backyard sabotage after a lavish party that Rudd’s character has hosted, in a home that we learn does not belong to him. It’s an easy binge at the very least, also because its story only slightly focuses on other lives affected by Dr. It’s unfathomable, really, that this is something people will tune into each week, as they won’t get a great deal of progression but the same spectacle. The interest of the story gets stretched out, and it becomes so repetitive, while the punchiness of any shoehorned humor is lost in the process (Ferrell sings later on as if a last-minute bid to save advertising). It’s told over eight 40-minute episodes, when it only has just enough story and ideas for a Sundance-anointed, 100-minute dramedy. What’s most maddening about this character study, however, is the packaging. And they’re intriguing because they’re so brutal, at least the first few times, before they become redundant, before they prove to be almost all that this weirdly plain saga can offer. These displays of manipulation and gaslighting unfold like the lightest burn from a psychological thriller, while struggling to shake the air of an “SNL” skit as they both use bottom-jaw-heavy New Yawk accents. Ike take over Marty’s life piece by piece, check by check. Ike to suggest something that is actually letting Dr. The conversation initially sounds like Dr. How did it happen? Will Ferrell’s Marty Markowitz, as delicate a man-child as any he’s played before, consults with his slick, charismatic therapist Dr.
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