Last week, FX launched its new subsidiary, FXX, with its two most popular sitcoms: “It’s Always Sunny in Philadelphia” and “The League.”

FX has a clear strategy: to build a station around sitcoms with large followings to get the experiment off to a rip-roaring start.

The strategy indicates sitcoms’ meteoric rise from cute niche format to one that can carry an entire station. The rise is attributed to a progressive method: comedic socialism.

Socialism has a basic tenet: equality. Individuals work together to create a scenario where they pursue their own ends. No individual is more important than the other. In comedic socialism, equally important characters also work together to pursue their own ends.

FXX’s launch proves the success of the concept. FXX went live Monday and averaged 10 times the audience of its predecessor, Fox Soccer, according to adweek.com. “Sunny” premiered to 760,000 viewers on Tuesday and “The League” followed with 790,000 on Wednesday. Both shows increased their viewership in the 18-34 demographic the channel is targeting, according to TVline.com.

The comedic socialism model is notably apparent in “Seinfeld.” In the show, supporting characters have their own storylines, proving an equal ground. In “Seinfeld,” Elaine’s, George’s and Kramer’s storylines are as important as Jerry’s. Sometimes the plots intersect, other times they are disparate.

But even as they pursue their own ends, equitable characters are united by a collective dynamic. “Seinfeld” could be four different shows if the foursome didn’t gather in Jerry’s apartment to confide, conspire and influence one another.

In the 2000s, the “Seinfeld” revolution was stabilized. The best sitcoms adopted character equality.

“Modern Family,” winner of three straight Emmy Awards for Outstanding Comedy Series, gives equal time to three immediate families. They are brought together by the concept of being an untraditional extended family.

“Two and a Half Men,” the most watched sitcom of the 2000s, gives equal time to all “two and a half men.” They share bloodline and a home.

In each case, a main character is still responsible for bringing another together. “Modern Family”’s Jay Pritchett is the patriarch. “Two and a Half Men”’s Charlie Harper is the homeowner who takes in his brother Allen and nephew Jake.

When it premiered in 2005, “Sunny” pursued an anarchist concept: no main character.

The show is about five depraved underachievers who come together in their workplace, a dilapidated Irish bar. No character hires the others or runs the bar.

“Sunny” was one of the most popular shows on television when “The League” premiered in 2009, making it safe to try the same experiment. “The League” revolves around six friends who compete in a fantasy football league. No character brings the others into the league because they start it together.

Some vanguard trends become fads as fast as they come onto the scene. Others change their industry and evolve as time goes on. Comedic socialism fits the latter category.

“Seinfeld” adds a density to sitcoms that go beyond the main character. “Sunny” and “The League” eliminate the main character altogether. While the main character is not yet obsolete, “Sunny” and “The League” will almost certainly inspire a generation of imitators.

Jarrad Saffren is a senior political science major. His column appears weekly. He can be reached at jdsaffre@syr.edu.

Published on September 12, 2013 at 12:16 am