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Is it wrong that my enjoyment of The Sarah Silverman Program is derived almost exclusively from the fact it happens to be really well art directed? Most comedies these days are either extremely lo-fi (It’s Always Sunny…, Curb, and to a lesser extent The Office), shot 3-camera, or generally just very boring looking. SSP, for reasons that are mostly Schrab related, looks fantastic — especially for Comedy Central. Is this a reason to watch week after week? Probably not, but it’s a start. More after the jump…

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For me, Sarah Silverman’s stock has consistently declined since the release of The Aristocrats. By the time her new Comedy Central show premiered last week I was very much on the Okay-I-Get-It side of the fence, which might explain why it took me five days to get around to watching it. To my surprise I didn’t hate it, though Silverman herself left me pretty cold. The real reason to tune in is Rob Schrab who is significant to me because he penned on the of the greatest comic books ever, and who may be significant to you because he started Channel 101 and co-wrote Monster House. His influence on the series is what sells it. In one scene in particular a cop is arguing with an off-camera neighbor (Schrab) about noise. The exchange goes something like this:

COP: Look, I’m sorry!
NEIGHBOR: Yeah, you say that, but you don’t mean it.

That made me laugh really hard. Schrab wrote and directed four of the series six episodes and because of that, I’m going to stick around — even if when all is said and done, The Sarah Silverman Program ends up being little more than 2007’s Stella.