When I first heard about Dan Levy’s Big Mistakes, I’ll admit I was skeptical. Coming off the heels of Schitt’s Creek, a show that practically redefined wholesome humor, Levy’s pivot to an anxiety-fueled comedy felt like a wild gamble. But what makes this particularly fascinating is how he’s not just changing genres—he’s redefining what a comedy score can be. Personally, I think this is where Big Mistakes truly shines, and it’s all thanks to the collaboration with Peaches and Nora Kroll-Rosenbaum.
One thing that immediately stands out is the show’s score. It’s not just background music; it’s a character in its own right. The techno-synth beats, the pulsating rhythms—it’s like the show is constantly on the brink of chaos, and the music is both the catalyst and the safety net. What many people don’t realize is how difficult it is to balance a score that enhances comedy without overwhelming it. Levy nails it when he says, ‘Comedy is so delicate that if you remove, or if you tweak, or if you sabotage anything, you compromise the laugh.’ This raises a deeper question: why don’t more comedies take this kind of risk?
From my perspective, the genius of the score lies in its ability to amplify the tension without stealing the spotlight. Take the scene where Nicky tries to steal a necklace from his dead grandmother. The thumping beats and melodic scratches don’t just accompany the action—they elevate it, turning a classic gag into something almost cinematic. If you take a step back and think about it, this is the kind of innovation that separates Big Mistakes from the pack. It’s not just funny; it’s memorable.
What this really suggests is that television scoring is due for a revolution, especially in comedy. For too long, we’ve associated banger scores with dramas like Succession or The White Lotus. But Big Mistakes proves that comedies can—and should—be just as bold. A detail that I find especially interesting is how the score mirrors the show’s themes: it’s chaotic, unpredictable, and utterly captivating. It’s like the music is saying, ‘Buckle up, because this ride is anything but ordinary.’
In my opinion, this is the kind of show that Emmy voters should be paying attention to. It’s not just about the laughs—though there are plenty of those—it’s about the risks taken and the boundaries pushed. The score doesn’t just make the show better; it defines the show. And in a landscape where so many series play it safe, Big Mistakes is a breath of fresh air.
Looking ahead, I can’t help but wonder if this will spark a trend. Will more comedies dare to experiment with their scores? Will we see more collaborations between electrocrash musicians and composers? Personally, I hope so. Because if Big Mistakes teaches us anything, it’s that sometimes, the biggest risks lead to the most unforgettable moments.
So, as we gear up for Emmy season, let’s not forget the shows that dare to be different. Big Mistakes isn’t just a comedy—it’s a statement. And in my book, that’s worth all the awards.
