Since its creation, Burke’s theory of psychology and form has become a keystone concept in the field of communication. The essential elements of Burke’s theory of form can be applied to almost any type of artistic expression. Because of this, additions to Burke’s theory of form have massive and widespread implications. Recently, FX Network’s sitcom Louie has presented a new opportunity to study and expand the theoretical implications of Burke’s theory of psychology and form. Scholars have suggested that failure to adhere to Burke’s concept of conventional form—which exists within his theory of form—could yield unfavorable results. However, Louie earned significant critical acclaim and has been lauded for deviating from conventional sitcom form, has earned a significant critical acclaim. Louie’s success, despite its deviation from conventional sitcom form. Louie’s success, despite its deviation from conventional sitcom form, has created a paradox within our understanding of form. In response to this paradox, this thesis observed the essential formulaic structures of Louie—through the lens of Burke’s syllogistic form, qualitative form, conventional form, repetitive form, and Minor/Incidental form—and compared them to the essential formulaic structures of conventional sitcoms. Doing so has prompted me to make two claims. First, I contend that well-received attempts to subvert from the conventional form of a genre serve as an indicator of progression, and that Burke’s theory of form serves as the tool by which that progress can be measured. Second, I contend that Louie used its unique formulaic structure—which it achieved through subverting Burke’s theory of conventional form—as a tool, which helped it relate to victims of the Great Recession and subsequently respond to the exigence created by it.