Kevin Can F* Himself

The cinematography in AMC’s Kevin Can F**k Himself cleverly applies universal design principles that bridge the physical and the virtual. The cinematography constructs visual spaces that drives the narrative through a deep understanding of design, spatial relationships, and the emotional power of light and space. Informed by architecture, the cinematography shapes environments for immersive storytelling—demonstrating how creativity and technical expertise influence our experience of the narrative.

Contrast

At its core, contrast refers to ‘difference’—the distinction between two comparable elements. Contrast can be likened to a graphite pencil, capable of being dull and sharp depending on how it is wielded. After just 10 minutes of watching, it’s clear that Kevin Can F**k Himself leans heavily into the sharper end of that metaphor. The series uses contrast in light, color, scale, and sound to express this principle. The show’s scenes transition from a traditional multi-camera sitcom format to a single-camera dark comedy, underscoring the jarring realities faced by the main character, Allison McRoberts (played by Annie Murphy), as she navigates her complicated life beyond the sitcom-like existence with her husband, Kevin (played by Eric Peterson).

Spatial Dynamics

The spatial relationships between the set and the actors in traditional multi-camera cinematography often feel constrained—limited by where cameras and actors can move. The absence of a literal “ceiling” on typical sitcom sets is implied through wide shots that occasionally feel intentionally too expansive, revealing the idea of a boom mic or glimpses of the camera in the frame. In contrast, wide shots in Allison’s reality open up the space, offering viewers a more realistic and authentic representation. Once the audience is introduced to Allison’s world, the camera becomes an unrestrained pair of eyes, much like an architect viewing their design from a bird’s-eye or worm’s-eye perspective. The viewer watches Alison meander along the street side of Worcester, Massachusetts, from the vantage point of the opposite side of the street and also has the opportunity to witness a bogus doctor’s visit from the point of view of the fly on the wall.

Spatial dynamics are central to cinematography, where the manipulation of space influences how individuals experience narratives. The manipulation of space within the frame amplifies the viewer’s emotional response, strengthening their connection to the story. In Kevin Can F**k Himself*, Allison’s reality feels expansive and shared, while Kevin’s is often framed within confined, claustrophobic spaces. Scenes of Kevin’s reality only exist within an interior space or, if outdoors, confined by either a boundary of buildings or a backyard fence. In contrast, Alison’s scenes take on the feel of real-world locations, whether the outward visual expanse of a highway underpass or the ability to witness distant environment activity through a liquor store storefront window. While in close range, the intimate nature of a woman rummaging through her purse places the viewer intently within that moment. In other close shots, the viewer notices the grime and rust of her porch railings and or the messy patched grout lines of her stairs, foreshadowing the reality of their patched home, life, and marriage.

Color Theory

Color theory, though often subtle, plays a critical role in lighting, set, and wardrobe design, influencing how viewers perceive and emotionally respond to scenes. According to the Interaction Design Foundation, color theory studies how colors interact and affect our emotions and perceptions. In this context, we’ll focus on three key elements: hue, saturation, and value.

• Hue refers to the base color (e.g., orange).
• Saturation describes the intensity or strength of that color (e.g., muted orange).
• Value refers to the lightness or darkness of the color (e.g., dark muted orange).

In many scenes, Allison’s and Kevin’s realities occur in similar locations and times of day. However, cinematographers use lighting to subtly alter each scene’s mood and atmosphere. While Kevin’s world is saturated with bold, vibrant hues and patterns yet with uniform hierarchy, Allison’s (and the other characters’ realities) share the same base colors but with differing tones and lesser saturation levels. This contrast is achieved mainly through the lighting techniques used during filming. Unrealized to many viewers, the bright, evenly saturated scenes of Kevin’s reality partly exist due to the overhead stage lighting common in sitcoms, which evenly washes the set and actors. This lighting is similar to a bright examination room with little visual differentiation. In scenes depicting Alison’s reality, directional lighting allows for intentional shadows and points of interest. This mirrors the ability of ambient lamps and directed fixtures to sculpt a narrative through light in a moody lounge.

The series’ second season is a pleasant surprise for viewers. It advances the plot and deepens the exploration of light and color’s role in shaping the characters’ evolving experiences and realities, leading to unexpected twists in the story. Through clever design choices, from lighting and contrast to manipulating space, the series draws viewers into the characters’ worlds, blurring the line between sitcom and dark drama. As the show progresses, its visual language continues to evolve, further highlighting the power of design in storytelling.

“Kevin Can F**k Himself” can be watched on Netflix and AMC+ (June 2025).