Series cast summary: | |||
Ed O'Neill | ... |
Jay Pritchett
(176 episodes, 2009-2017)
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Sofía Vergara | ... |
Gloria Delgado-Pritchett
(176 episodes, 2009-2017)
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Julie Bowen | ... |
Claire Dunphy
(176 episodes, 2009-2017)
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Ty Burrell | ... |
Phil Dunphy
(176 episodes, 2009-2017)
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Jesse Tyler Ferguson | ... |
Mitchell Pritchett
(176 episodes, 2009-2017)
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Eric Stonestreet | ... |
Cameron Tucker
(176 episodes, 2009-2017)
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Rico Rodriguez | ... |
Manny Delgado
(174 episodes, 2009-2017)
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Nolan Gould | ... |
Luke Dunphy
(173 episodes, 2009-2017)
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Sarah Hyland | ... |
Haley Dunphy
(171 episodes, 2009-2017)
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Ariel Winter | ... |
Alex Dunphy
(168 episodes, 2009-2017)
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Aubrey Anderson-Emmons | ... |
Lily Tucker-Pritchett
(126 episodes, 2011-2017)
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Told from the perspective of an unseen documentary filmmaker, the series offers an honest, often-hilarious perspective of family life. Parents Phil and Claire yearn for an honest, open relationship with their three kids. But a daughter who is trying to grow up too fast, another who is too smart for her own good, and a rambunctious young son make it challenging. Claire's dad, Jay, and his Latina wife, Gloria, are raising two sons together, but people sometimes believe Jay to be Gloria's father. Jay's gay son, Mitchell, and his partner, Cameron, have adopted a little Asian girl, completing one big -- straight, gay, multicultural, traditional -- happy family. Written by Jwelch5742
Scripted shows that employ a documentary format often use the P.O.V. talking-head shot as a gimmick to put more visual variety into the show, and to create a style of story-telling that they hope will keep your attention without having to improve the plot or characterizations. You can tell because they often go back to the interview at the most weakly-written moments. This is one problem, but not the major one, with Modern Family. The aspects that disturb me the most are these: they're supposed to be modern families and there are no working mothers (do the writers misunderstand the term "post-feminist era"?) except for a few temporary jobs in single eps. Also there are no poor or even lower-middle-class characters. Actually, I do remember one character who was poor, but of course he was a one-time character on a Christmas episode. I'm sick of the characters whining about first-world problems like not being able to buy the "perfect gift" for their spouse on their birthday. What's so tragic about buying the iPad the day before or after their birthday? I realize this is a satire, but the writers don't seem to have that much contempt for the people they're satirizing. They don't seem to be TRYING to show how spoiled and self-centered many upper-middle-class are (it just comes out that way). That's not part of the satire, except maybe with the character of Haley (Sarah Hyland). Another thing that bothers me is that Claire (Julie Bowen) comes off as a lot crazier than the writers seem to intend. She's ALWAYS breathlessly freaking out, and it's more irritating than funny. In real life she's be at least an OUTpatient in some psychiatric facility. The gay couple (Eric Stonestreet and Jesse Tyler Ferguson) are gay stereotypes, especially Cameron, but since I hate political correctness and they're actually funny it doesn't bother me much. It would be nice, however, if the show did what it could to improve America's perception of gay people. Since Camoron is a prissy, whining, crying drama queen, the other character, Mitchell, could be the antithesis of a gay stereotype. The comedy could come from people thinking the character is straight. Manny's (Rico Rodriguez's) character doesn't resemble any human being on the planet. He's too cartoonish (sitcoms have always had kids who act like adults and adults who act like kids) and neither funny nor well-acted. On the positive side, Ed O'Neill is amazing as Jay Pritchett. As he was in "Married, With Children", he's like a comedy machine, delivering every line perfectly. To sum up, Modern Family is funny and entertaining but not particularly witty and intelligent, and uses a kind of soft-edged, sentimental satire that flatters, but doesn't challenge, the audience's ability to laugh at itself.