On its surface, the Netflix comedy series Nobody Wants This is a standard example of the “opposites attract” premise. Kristen Bell is Joanne, a freewheeling podcaster whose expertise in sexual advice has made her a popular pundit, but a relatively unsuccessful bachelorette; Adam Brody is Noah, a young rabbi who’s just exited a potential marriage to a woman pushed upon him by his domineering family. While it wouldn’t seem that the two would have anything in common, it’s evident early enough that both have a “no-nonsense” approach to life; Joanne has reveled in the opportunity to be outspoken about taboo topics, and Noah has found that it's easier to connect with his community when his advice is practical in regards to the application of faith in everyday life.
While the star power of two charismatic, self-deprecating actors is a critical component to why Nobody Wants This is so entertaining, the best decision made by series creator Erin Foster is that it doesn’t ask either character to “solve” an issue that could be a roadblock in their relationship. While Joanne might be inspired to be more careful in her articulation of personal experiences in a public forum, she isn’t going to choose a new profession that doesn’t involve the discussion of sexual behavior. Similarly, Noah doesn’t suffer any doubts about his faith, even if he’s encouraged to accept the spirit of the Torah, if not every organized tradition.
While the premise may seem subversive, the romance between Joanne and Noah isn’t intended to be transgressive. Joanne may have dedicated much of her podcast to the definition of what an “ideal match” would look like, but Noah isn’t someone she could’ve conceived for a hypothetical prompt. Similarly, Noah’s attraction to a non-Jewish woman isn’t unusual, as his prominent role within his circle of the synagogue has given him few opportunities to interact with those of different faiths. The question that Nobody Wants This has asked isn’t “why” these two characters would be attracted to one another, but “how” they’re supposed to toggle their relationships without a significant behavioral adaptation.
Since Nobody Wants This is a dramedy and not a farce, it’s necessary for the show to create characters that are engaging without any heightened situational humor that would break from reality. Any conflicts that emerge are related to the foundational characteristics that make Joanne and Noah so engaging. Despite being praised for her unfiltered comments, Joanne cares about the way that she’s perceived, and believes in personal sacrifices for the sake of conflict resolution. Noah’s an honest person who believes he can’t accept a leadership position without a complete commitment to its responsibilities, a quality that has advanced his prominence within his community.
Anything beyond early flirtations means that these two unshakeable qualities will be in conflict, as Noah’s too bookish to mask what being Jewish entails to Joanne, and she’s too self-conscious to lead him astray if it would result in consequences for his family and friends. Yet, both characters are in careers where they’ll be most successful if happy, and to deny themselves fulfillment would be to admit defeat. Nobody Wants This is smart enough to avoid the types of comic misunderstandings that the rom-com genre is built on, as to imply a simple solution to an ideological barrier would be dishonest.
Although the chemistry between Bell and Brody is a magic trick, the casting of two prominent television performers in vulnerable roles is an interesting wrinkle. Bell has appeared in enough recurring shows that Nobody Wants This has challenged her to create a new persona that doesn’t rely on associations with other characters that she has portrayed. Brody, a former teen idol who rose to prominence thanks to The O.C., is given the opportunity to play not just a more mature character, but one that could feasibly be believed as a leader and role model.
While it’s so far avoided the types of overt setups intended for resolution in subsequent seasons, Nobody Wants This is the rare comedy series that has the potential to grow. Additional time spent on both Noah’s ascent towards being a head rabbi and Joanne’s relationship with her active audience would give the show an opportunity for more nuance in its future; additionally, entertaining side characters played by Justine Lupe and Timothy Simons would naturally be given beefed-up roles. Nobody Wants This has established a trajectory where maturation is inevitable.