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When “Key & Peele” made its debut on Comedy Central in 2012, it involved a lot of yelling. Texturepacker mac serial junkie. The show’s signature Anger Translator sketches were predicated on the contrast between the button-down cool of Jordan Peele’s Barack Obama and the volcanic squawks and wails of Keegan-Michael Key’s Luther, the man hired to express the president’s hidden emotions. Mr. Key also got to pump up the volume as Mr. Garvey, the volatile substitute teacher bedeviled by his white suburban students. Two of the show’s most vivid characters, the mean girl Meegan (Mr. Peele) and her boyfriend, Andre (Mr. Key), spent their time shouting at each other outside clubs.
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Now in its fifth season, which will have its premiere on Wednesday night, “Key & Peele” has experienced a shift in tone and volume. There are still sketches built around escalating violence and invective, like Wednesday’s opener, a football locker-room scene in which two players pound each other mercilessly while hollering clichés about teamwork. But overall, the show feels quieter, more reflective and, if anything, even more cerebral than before. When Luther the Anger Translator does make an appearance, he’s relatively subdued, taken aback at being out-angered by Hillary Rodham Clinton’s translator, Savannah (brilliantly played by Stephnie Weir of “The Comedians”). “Well, you know how it is to campaign for president,” Clinton (Kate Burton, who played the vice president on “Scandal”) says to Obama, after which Savannah snarls, “Right now you are the dead skunk I’ve got to step over.”
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The contemplative mood is abetted by a significant change in the show’s format that began last season. Interstitial segments that had Mr. Key and Mr. Peele talking to a live audience have been replaced by short scenes of them joking around as they take what appears to be a never-ending drive through the desert. These casual exchanges, sometimes almost surreal in their inconsequentiality, set up the subsequent sketches in loopy, indirect ways. Mr. Peele’s passenger-seat riff on being ashamed that he’s half white leads into a sketch about wanting to infiltrate that whitest of institutions, the a cappella group.
Changing the show’s connective tissue from staged banter to something more cinematic makes sense, because one of the hallmarks of “Key & Peele” has always been its craftsmanship, the care with which it’s assembled and executed. The sketches are often straightforward — dueling anger translators, a white cop shooting black men that are holding anything at all in their hands, a conversation that disintegrates because every topic contains spoilers. But they never feel simple or routine, partly because of the wit and subtlety of the writing but also because of the attention paid to costume and production design, the panache of Peter Atencio’s directing (he’s done almost every episode) and the performing skills of Mr. Key and Mr. Peele, which exceed those of the usual stand-up comedian.
None of this means the show has moved away from topicality or hot-button issues, but here, too, there’s sometimes a more oblique approach. One short, hilarious sketch in the new episodes, featuring Mr. Key as a stereotypical jovial black gent who stops to do a coin trick for a young white boy, makes a cogent statement about race relations with just a few lines of dialogue and some hundred-dollar bills. (It’s reminiscent of the brilliant and much more elaborate “Negrotown” sketch, released by Mr. Key and Mr. Peele as a YouTube video in May, in which a depressingly realistic encounter between a white cop and a black man out for a walk metamorphoses into a Disney-style musical about a paradisiacal African-American town, turning “Song of the South” on its head.)
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The best in this regard is a new Meegan and Andre sketch, considerably quieter than its predecessors, that takes us back to their first date. Andre is introduced to Meegan’s toxic behavior in the way she mistreats their inoffensive chain-restaurant waiter, and, as always, he’s appalled but unable to tear himself away. It’s about infatuation and self-absorption, and doesn’t necessarily have anything to do with race — Mr. Peele’s acid portrayal could be of an ego monster of any color. On the other hand, the waiter is white, and it matters, though you couldn’t exactly say why, or wouldn’t want to try. That zone of ambiguity is what sets “Key & Peele” apart — it leaves us to read the cultural cues ourselves, and isn’t that concerned if we can’t keep up.