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The Department of Motor Vehicles rarely inspires laughter. Yet Dana Klein’s new CBS sitcom, DMV, dares to mine humor from long lines, paperwork and office grudges. Set in an East Hollywood branch, the series follows a ragged team of examiners, photo takers and clerks as they juggle bureaucracy, budgets and awkward romances.
A fresh look at an infamous workplace
DMV drops viewers into a space most of us visit once every few years, then forget. Klein’s show turns that shared annoyance into a setting for character-driven comedy. The tone mixes cringe and warmth, with scenes built around everyday absurdities.
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The pilot feels like a tour of the building: behind-the-window interactions, exam routes and the hum of fluorescent lights. The early episodes lean on familiar sitcom beats while slowly shaping a distinct voice.
Characters who carry the series
Main staff and the actors who play them
- Colette (Harriet Dyer) — an optimistic driving examiner who tries to please everyone.
- Barbara (Molly Kearney) — the newly promoted manager with a stubborn focus on saving the branch.
- Gregg (Tim Meadows) — a disgruntled former teacher who prefers inefficiency.
- Vic (Tony Cavalero) — a gym-obsessed, blunt co-worker who doubles as comic foil.
- Noa (Alex Tarrant) — a new documents processor who sparks Colette’s interest.
- Ceci (Gigi Zumbado) — a portrait photographer more passionate about pop culture than IDs.
These personalities clash and complement one another. The ensemble work is key: individual quirks add color, while the group dynamic fuels the comedy.
Episode highlights and turning points
The show doesn’t hit its stride immediately. The opening episode aims to establish the setting and stakes — a threatened budget and office tension — but it’s in later installments that the series becomes more confident.
Notable early episodes
- Pilot — Introduces Colette and the staff while hinting at deeper tensions about automation and funding.
- Episode 2 — “Stay in Your Lane” — A hot day and an overzealous attempt to make a colleague comfortable spiral into an office blackout.
- Episode 4 — “Don’t Kill the Job” — The funniest and most grounded entry so far, centering on Colette pretending to be a customer to avoid embarrassment.
Those early episodes reveal the show’s potential: a steady build from broad workplace antics toward more emotionally resonant moments.
Where the comedy lands—and where it misses
DMV finds humor in routine frustration. Scenes often hinge on small failures: misfiled documents, awkward eye contact, or managers spinning positivity to save jobs. When the cast locks into rhythm, the jokes land with surprising tenderness.
Yet some early jokes feel generic. The pilot sometimes prioritizes setup over payoff. As a result, the series needs a couple of episodes to move beyond establishing gags and explore character depth.
Strengths:
- Relatable setting that invites observational humor.
- A cast comfortable with awkward, human moments.
- Scenes that balance absurdity with genuine feeling.
Areas to watch:
- Initial episodes that rely on workplace clichés.
- The show’s tonal shifts as it finds its voice.
Why this DMV could become appointment TV
This sitcom has the building blocks of a durable workplace series. Its arc leans into the slow discovery of character backstories and small stakes: paychecks, dignity and the fear of being replaced by automation. Over time, those modest conflicts can yield steady laughs and real empathy.
Viewers who enjoy series that grow into themselves may find DMV particularly rewarding. The series improves as actors settle into roles and the writers unpack the micro-drama of everyday public service.
Practical info: when and how to watch
DMV premieres on CBS on Oct. 13. New episodes air weekly on Mondays.
