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 defined cozy, feel-good comedy, the idea of Levy diving into anxiety-fueled, crime-adjacent humor felt like a wild swing. But what makes this particularly fascinating is how Levy didn’t just change genres—he reinvented the role of music in comedy. Personally, I think this is where Big Mistakes truly distinguishes itself, and it’s not just about the score; it’s about how the score thinks.
One thing that immediately stands out is the collaboration between Peaches and Nora Kroll-Rosenbaum. Their electrocrash-meets-orchestral score isn’t just background noise—it’s a character in its own right. Take the scene where Nicky tries to steal a necklace from his dead grandmother. The thumping beats and melodic scratches don’t just heighten the tension; they become the tension. What many people don’t realize is how rare this is in comedy. Most shows treat music as a sidekick, but here, it’s the co-pilot, steering the emotional rollercoaster without ever hijacking the laughs.
If you take a step back and think about it, this approach is revolutionary. Levy himself admitted during a FYSEE event that comedy is ‘delicate,’ and tweaking the wrong element can kill the joke. But what this really suggests is that he and his team understood something deeper: comedy doesn’t have to play it safe. By blending techno-synth with suburban New Jersey, they’ve created a world that feels both absurd and hyper-real. It’s like Grand Theft Auto crashed into a sitcom, and somehow, it works.
A detail that I find especially interesting is how the score mirrors the show’s themes. Big Mistakes is about characters who are in over their heads, and the music captures that perfectly. The pulsating beats during Nicky’s eulogy, for instance, aren’t just funny—they’re a metaphor for the chaos these characters can’t escape. This raises a deeper question: why don’t more comedies take this kind of risk? In an era where dramas like Succession and The White Lotus dominate the soundtrack conversation, Big Mistakes proves that comedy can be just as bold.
From my perspective, this is what makes the show a contender for Emmy gold. It’s not just about the laughs or the plot—it’s about the innovation. When Levy said, ‘We could have so much fun with this score,’ he wasn’t exaggerating. They’ve redefined what a comedy can sound like, and in doing so, they’ve created something unforgettable.
But here’s the thing: this isn’t just a win for Big Mistakes—it’s a win for television as a whole. If you’re a creator, this show is a reminder that rules are meant to be broken. If you’re a viewer, it’s a wake-up call to expect more from your entertainment. Personally, I think this is the kind of risk-taking that deserves recognition, not just at the Emmys, but in every conversation about what makes great TV.
So, will Big Mistakes sweep the awards? Only time will tell. But one thing’s for sure: its score isn’t just memorable—it’s a game-changer. And in a world where so much content feels interchangeable, that’s not just interesting—it’s essential.
