Campus Comedies: A Critical Examination of "Vladimir" and "Rooster"

In early March 2026, two new television comedies set on college campuses premiered: Netflix's *Vladimir* and HBO's *Rooster*. *Vladimir*, featuring Rachel Weisz and John Slattery, explores the complexities of modern sexual politics within a liberal arts college's literature department. In contrast, *Rooster*, starring Steve Carell, follows a detective novelist who becomes a writer-in-residence to support his daughter, a professor at the same institution. Both shows aim to depict contemporary college life but have been criticized for lacking fresh insights into the realities of higher education.

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Historically, television has struggled to accurately portray the dynamics of college life. While there have been notable exceptions, such as *The Paper Chase* in the 1970s, most portrayals tend to focus on superficial aspects of student life or the mid-life crises of professors. Critics argue that both *Vladimir* and *Rooster* fall into this pattern, offering a limited view of college experiences. The shows primarily reflect a literary aesthetic characterized by traditional settings and themes, rather than engaging with the complexities of modern student and faculty interactions.

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Both series adopt a literary tone, with *Rooster* particularly evoking the styles of authors like John Updike and Philip Roth. The shows attempt to address contemporary issues, such as generational misunderstandings and cultural critiques. For instance, *Rooster* features a scene where Carell's character faces backlash from students for the sexist undertones in his writing, highlighting the tensions between traditional narratives and modern sensibilities. However, the humor often veers into mockery rather than genuine exploration of these themes.

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Julia May Jonas, the creator of *Vladimir*, draws from her experiences as a novelist and educator. In an interview with *The Guardian*, she expressed frustration with students who dismiss classic literature as misogynistic or racist without engaging with its broader themes. This perspective is reflected in *Vladimir*, where a character challenges students to find deeper connections in the texts they study. Such moments provide a glimpse into the potential for meaningful discourse in academia, contrasting with the more superficial humor found in *Rooster*.

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While both shows have garnered attention for their star-studded casts and engaging premises, critics have pointed out their shortcomings in delivering authentic representations of college life. The lack of depth in exploring the experiences of students and faculty has led to discussions about the broader implications of how higher education is portrayed in popular media.

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There is a noticeable gap in the representation of diverse perspectives within the college environment in both shows. Critics argue that the narratives do not adequately reflect the complexities of student life today, particularly regarding issues of race, gender, and socio-economic status. This oversight raises questions about the authenticity of the portrayals and the potential impact on viewers' understanding of contemporary higher education.

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• “I encountered a form of criticism that was like, ‘This is misogynist, this is racist, this is heteronormative,’” — Julia May Jonas, Creator of *Vladimir*

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• “Their dominant textures are brick, wood paneling, and tweed.” — Critic on the aesthetic of *Vladimir* and *Rooster*

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• “But even though their take on modern college students isn’t savage, it does mock them, glibly.” — Critic on the portrayal of modern college students in *Rooster*

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