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Maggie’s father, Fernando (Cheech Marin), owns a car-wash empire that he built with his own hands, but he’s deeply anti-immigration, telling Rob that he wants the United States to “build a wall and patrol it with cannons,” but his less-than-altruistic stance reveals a deep-seated animosity.
But for all the talk about revitalized formats and audience engagement this past fall, this doesn’t account for Work It and Rob, two midseason comedy offerings that are so awful they may in fact be harbingers of the Fall of Man.While this may be hyperbolic, Rob and Work It do symbolize how far the sitcom format has fallen, at any rate.It’s hard to perfectly capture the intense sense of fiery rage that I felt in watching these hackneyed and humorless failures. but, for reasons known only to CBS upper management, the network dropped the upside-down exclamation point, making copy editors everywhere sigh with relief—stars Rob Schneider as Rob, a sad sack and OCD-prone gringo who marries Maggie, a drop-dead-gorgeous Mexican-American woman (Claudia Bassols), after dating her for only six weeks. Rob, created by Lewis Morton (Big Lake, Futurama) and executive-produced by Eric Tannenbaum and Kim Tannenbaum (who can claim Two and a Half Men, Running Wilde, Brothers, and quite a few other sitcoms on their résumés), doesn’t exactly scream authenticity.He’s meant to provide some semblance of comic relief, his entrances and exits modeled after ’s Kramer, but without the deftness of Michael Richards, depth of character, or humorous dialogue.He’s a leech in a man’s form, who happily swills spoiled sangria and sneaks into Rob and Maggie’s bedroom.
“I wish you people wouldn’t use a leaf blower,” she complains at one point.