6 Horrifying Realities Of Living In A Sitcom Universe

Goofy ol' Raymond refuses to properly pack for a trip because that's "a woman's job" -- but without the benefit of the unseen audience's reaction, all we see is a genuinely frustrated and downtrodden wife, furious at her husband's petty behavior. And so on -- from the heights of Frasier to the depths of 2 Broke Girls and Two And A Half Men, every "comedy" show is secretly a collection of awkward scenes featuring hateful people who only ever laugh when they're being sarcastic (or insane). If they didn't share those giant lavish apartments, there's no way these people would put up with each other.

In the more modern style of single-camera style sitcoms (that is, the ones without laugh tracks), the only difference is that there's no soul-crushing pauses -- characters in Brooklyn Nine-Nine or 30 Rock just humorlessly jump right to the next line, completely ignoring the previous slapstick comedy beat or creative insult. You almost have to admire the ones who continue to quip in such a world, knowing that their wit will always be met with stone-faced indifference.

Then The Horror Sets In ...

Such convenience comes with a dark price. Namely, somebody is making a killing by trading out babies for older children of similar race and eye color. Frequently in this universe, you may head over to your friends' house to realize that their child looks a little different than they did the day before -- because it's literally another kid. When Will Smith's aunt and uncle in The Fresh Prince tired of having a small version of baby Nicky, they apparently traded him in for a much older model to start the next season. Only Jazz is brave enough to mention anything, while Will just looks uneasy. A fourth wall-breaking joke, or hints of something more sinister?

In Boy Meets World, Cory's little sister Morgan seems to disappear in season two, only to re-emerge as a different, significantly older girl a season later. When asked about her absence, she comments that it was the "longest time out [she'd] ever had." Presumably, she was referring to the dungeon basement where the Matthews picked her up when trading in the younger, original daughter.

An even clearer example is in Full House, when Uncle Jesse's twins have a sudden growth spurt while their cousin Michelle remains the same size. Is she supposed to be a dwarf?

Modern Family provides more evidence of a vast baby-swapping conspiracy when Cam and Mitchell celebrate their daughter's second birthday ... only to mention that she's three a few months later. Clearly, they're speeding up the rate of her birthdays so as to avoid arousing suspicions when they inevitably switch her (which they did).

On the other hand, the baby swaps in Growing Pains and Family Ties are so laughably obvious that they seem to imply this business isn't even underground. Chrissy Seaver blossoms from basically a newborn child to a 5-year-old girl in the space of one season ...

... while Andy Keaton goes from a bald baby to a young man with a glorious mane of hair in the same time period.

At that point there's really no way to keep the swaps hidden, and the only logical explanation is that nobody gives a shit. We can only hope that those newborn children being dumped are treated well as they themselves are "grown" for future trades.

But it's not like the therapists themselves are immune to the howling calls of their erections. Frasier's Frasier Crane sleeps with something like 63 women -- and still often complains he just doesn't get enough play with the ladies. Even regular schmuck Ted Mosby from How I Met Your Mother mentions dating 30 women to his increasingly uncomfortable children, going into great detail about relationships that went nowhere. Apparently, all that strain broke more than just his penis.

Female sitcom characters are also well above the average: We've mentioned how Phoebe from Friends had 32.5 sexual partners, while the most promiscuous Golden Girl had a pelvis-destroying 165. Given the fact that 110 million Americans have an STD at any given time, there's no way Blanche didn't have to contend with some nasty-ass bugs.

You might say that we're slut-shaming here, and that there's nothing wrong with slingin' some genitals around now and then. But these people seem to live in a world in which anything less than a new sexual conquest each month is a source of deep shame and anxiety. Workaholic Liz Lemon dates at least 16 people over 30 Rock's run, and is treated like a lifeless nerd. J.D. from Scrubs is derided because he's "only" had sex with nine women, and goes on to sleep with six more. Do these people have no other hobbies? Are they trying to fill the cold void caused by their oddly humorless friends?

After all, it's not like they can go out and make new ones, since ...

Meanwhile, in Boy Meets World, not only do Cory's friends decide to become students at the exact same college as him, but so does their longtime teacher, Mr. Feeny (who still keeps showing up in Girl Meets World). It's freaky enough running into your teachers one time after school, let alone every day for the rest of your life.

And it's not just teachers -- in this universe, authority figures in general tend to be incredibly clingy. In shows like 30 Rock or Scrubs, higher-ups regularly sidestep an institution's hierarchy to get involved in the lives of one tiny group of workers. The Office is an entire series about an overbearing boss forcing his employees to slowly become his friends -- something that for about 90 percent of you would literally cause you to quit the job.

This isn't just about having a loyal gang around you -- when your entire world is limited to the same handful of people forever, nobody has any chance to grow or reinvent themselves. No one is expanding their horizons. Those kids you randomly got stuck in the same class with in first grade? They're your permanent life partners, whether you like it or not.

Unless, of course, they happen to randomly disappear ...

After a season or two of rarely being seen or heard by his family, Chuck went upstairs to get something from the attic, and was never seen or heard from again. An entire human being, erased from existence -- even his father had forgotten by the final episode, when he claims he only has two kids. It's as if he'd committed some unspeakable crime and in a way, he did: he was lame.

Similarly, in How I Met Your Mother, Ted had a sister who dropped off the face of the Earth. Topanga in Boy Meets World also had an older sibling who got unmade, with everyone acting like she never existed. Family Matters had Judy, the youngest daughter of the Winslow family, who survived three seasons before suddenly being no more. She was a victim of Urkel's popularity, sure, but also of her own forgettable personality. As a side note, she also has the weirdest career progression in all of IMDb:

It's disturbing how casually family members (and the occasional gay housekeeper) are removed and forgotten in this universe. Whether there's a supernatural force behind it or this is just a case of people being dicks, the implication is the same: Everyone who isn't rad as hell lives in constant danger of being "disappeared." This might explain the well-documented phenomenon where sitcom characters become more and more cartoonish as the seasons go by. It's not simple stupidity, it's desperate self-preservation.

This may also be why ...

In Family Matters, Urkel manages to literally destroy the house in certain episodes, and yet it's always repaired in virtually the very next scene. Even when he jetpacks through the roof, the damage is never mentioned again. It's unclear whether Urkel is attempting to kill himself or is just acting as Satan's instrument of chaos, but either way, Sitcom God ain't having it. The Winslows only get to escape this realm when He's done with them. Until then, nothing anyone does matters.

And it's not just that these characters can't further their life goals or impact the physical world -- they can't even remember anything long enough to influence emotional growth. In Arrested Development, Michael Bluth realizes that he can't use his son and dead wife as excuses to not date anybody new, and then does that exact thing two episodes later. In Happy Days, the Fonz jumps his motorcycle over a bunch of garbage cans on a dare, breaking his leg, and learns the difference between courage and stupidity. Cut to a later episode:

He jumps over a bunch of live sharks and lands unscathed, birthing a TV idiom. Not only does he forget the valuable lesson he'd learned previously but he's rewarded for it, as if the sitcom universe itself realized that it needed Fonzie to be dumb and impulsive in order to thrive, spawn imitators, and ensure its continued existence for several more decades.

And so it goes for everyone: As long as a show runs, the sarcastic dick will continue to be a stream of withering barbs, the stoner will keep getting high, the woman in the unhappy marriage will keep complaining about her fat, stupid husband, the selfish jerk will remain so despite learning a powerful lesson in unselfishness once a month.

Such is life in a sitcom; everyone locked in the same circle of witty but never-laughing friends, fearing their sudden disappearance and, all the while, trying to soothe their misery by constantly fucking.

And the whole time, none of them know they're being watched.

Jordan Breeding is a part-time writer, a full-time lover, and an all the time guitarist. Check out his band at http://www.skywardband.com or on Spotify here.

For more terrifying realizations about sitcoms, check out 7 TV Shows That Were Way Darker Than You Ever Realized and The 7 Most Soul-Crushing Series Finales In TV History.

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