1. It’s a modern-day “Odd Couple.”
Chloe and June are this generation’s Oscar and Felix. June is uptight and particular, while Chloe is just awful. The friendship between these mismatched roommates is central to Don’t Trust the B——: even when they’re locked in battle over a cute guy or something frivolous like reconnecting with family, Chloe and June are always looking out for each other. There’s real love here, but it’s totally twisted, which is why it’s such a delight.
2. There’s no other character like Chloe on TV.
Not since House have we seen a sociopath this lovable. Actually, Chloe is tough to diagnose — is she a misguided heroine, or an irredeemable monster with a heart of gold? Frankly, it doesn’t really matter: She’s a treasure. The joy of Chloe is that there’s always a method to her madness. Even when she’s nasty and vindictive, she has a greater plan. Sometimes the end doesn’t justify the means, but she’s doing her best by being the worst.
3. It showcases up-and-coming comedic talent.
Don’t Trust the B—— has its finger on the alternative comedy pulse, and that means a cast filled with under-the-radar comic talents finally getting the exposure they deserve. Eric Andre, who now has his own show on Adult Swim, is a staple of the L.A. comedy scene, but he’s only recently entered the mainstream. Like Happy Endings, this is a show that finds lesser knowns (often borrowing them from the Upright Citizens Brigade Theater stage) and uses them wisely.
4. The Beek.
Dawson’s Creek star James Van Der Beek has a great sense of humor when it comes to his clean-cut image and teen heartthrob past, which makes him one of the show’s highlights. He’s a scene-stealer because he’s always game — whether that means learning a complicated Dancing with the Stars scene or embracing self-deprecation to mock an actor’s fragile ego. It wouldn’t be nearly as fun if he weren’t playing himself.
5. But really, it’s a dream cast all around.
Krysten Ritter and Dreama Walker are indie darlings, and they’re bound to get bigger. That’s because they’re great in everything — check out Ritter in Amy Heckerling’s Vamps and Walker in the dark drama Compliance. If — perish the thought — Don’t Trust the B—— is canceled, I have no doubt they’ll move on to even greater projects, but let’s keep them on our TVs for a little while longer, please. And don’t even get me started on that supporting cast.
6. It’s a sitcom that tells a story.
You might not know it from the way ABC has shuffled around the episode order (grumble, grumble), but Don’t Trust the B—— is telling a story. It’s about June’s corruption, Chloe’s redemption, James’ attempt to reclaim fame, and Mark’s pursuit of June. While the jokes are great, there are also larger arcs at play, an important aspect of the sitcom that often gets dropped. Cutting the show off now would be unfair.
7. Speaking of, June/Mark needs to happen.
I love the subtle but persistent sexual tension between Mark and June, and you better believe I refuse to let Don’t Trust the B—— disappear without resolving this long-standing crush. I get it, June doesn’t see Mark that way, and Mark is distracted with his overbearing (sometimes ex-) girlfriend anyway. But come on, they’re obviously meant for each other, and someone on this show deserves a happy ending, right?
8. It pushes the boundaries of good taste.
And not with that lame “let’s see what we can get away with!” mentality. Yes, sometimes Don’t Trust the B—— is dark and offensive, but it all works within the context of the show. This isn’t about shocking audiences so much as finding the humor in the less savory parts of life. (You know, like pretending to be crippled to make your roommate’s mom forgive you for sleeping with her husband.) As such, the laughs are always earned, and never cruel.
9. It’s just fun.
Oh, sure. Most sitcoms are pretty fun, but this one has a particular goofball sensibility that puts it in line with ABC’s other great comedy, Happy Endings. In addition to heart and solid character relationships, Don’t Trust the B—— is seriously wacky and seems to exist in a heightened reality outside of our own. Best of all — and I’m not pointing fingers — no hokey voiceovers about the true meaning of family. That sort of thing gets old fast.