It’s a common sentiment that the Department of Motor Vehicles feels like a slice of hell. The combination of long lines and tedious paperwork contributes to a palpable tension between employees and patrons alike. With the launch of her new CBS sitcom, “DMV,” Dana Klein is shining a light on the behind-the-scenes antics at an East Hollywood DMV. Here, a quirky team of driving examiners, photo-takers, and document handlers strive to navigate their day while managing their sanity and job security. Initially, the series seems rather formulaic, but as it develops, its potential begins to emerge.
The pilot kicks off inside a car, where the optimistic and accommodating examiner Colette (Harriet Dyer) is administering yet another driving test. Her co-workers, the cynical former teacher Gregg (Tim Meadows) and weightlifting enthusiast Vic (Tony Cavalero), have dubbed her “Easy Pass” due to her leniency. However, the unsettling vibe of the driver in the front seat is casting a shadow over Colette’s usually upbeat spirit. On top of the tension of the driving exam, Colette is also preoccupied with the new manager, Barbara (Molly Kearney), who is hell-bent on preventing further budget cuts that threaten the beleaguered branch. At the same time, Colette is gathering the courage to approach Noa (Alex Tarrant), the attractive new document processor she longs to connect with.
As with many pilots, “DMV” stumbles out of the gate. With impending changes threatening the East Hollywood location, viewers witness Colette’s awkwardness and eccentricities as she navigates uncomfortable situations. Barbara’s mission to save the DMV from automation is laden with a brand of toxic positivity that often misses the mark. Meanwhile, portrait taker Ceci (Gigi Zumbado) is obsessed with Cardi B, and Gregg’s philosophy leans toward maximum inefficiency. The inaugural episode presents a snapshot of DMV life but lacks the depth to establish a compelling narrative. Yet, in the second episode, “Stay in Your Lane” (which critics had four to review), the show slowly begins to carve out its identity.
In Episode 2, the DMV team arrives at work on a blistering hot day. Barbara warns them against tampering with the air conditioning, but Colette takes it upon herself to ensure Noa is comfortable. Riding high after a brief conversation with him about dogs, she is determined to stop him from becoming another victim of “Wash Out Wednesday,” a phenomenon where many employees quit midweek. Despite the pleadings of Gregg and Vic, who serve as Colette’s wise-cracking sounding boards, she cranks up the AC, resulting in a total blackout that throws the DMV into disarray.
Episode 4, titled “Don’t Kill the Job,” stands out as the most relatable and amusing installment. After running into an old acquaintance and feeling inadequate about her own life, Colette pretends to be a DMV customer instead of an employee. Barbara, Vic, and Ceci attempt to assist Colette in this far-fetched plan, but their well-meaning meddling spirals into chaos. Left to juggle her deception while ensuring her colleagues aren’t overburdened, Colette must confront her need for societal validation and question whether she is truly satisfied with her current position or if she is meant for something more.
set against a familiar backdrop and sprinkled with surreal moments, “DMV” has all the ingredients to evolve into a solid workplace comedy. While it may not immediately hit the mark, as the cast finds their footing and the characters’ backgrounds become more fleshed out, it has the potential to turn into a delightful weekly watch.
“DMV” debuts on October 13 on CBS, with new episodes airing weekly on Mondays.
