Ask Matt: A Streaming Bloat Epidemic, ‘Modern’ Love, What to Call ‘Matlock’ & More
Welcome to the Q&A with TV critic — also known to some TV fans as their “TV therapist” — Matt Roush, who’ll try to address whatever you love, loathe, are confused or frustrated or thrilled by in today’s vast TV landscape. (We know background music is too loud, it’s the most frequent complaint, but there’s always closed-captioning. Check out this story for more tips.)
One caution: This is a spoiler-free zone, so we won’t be addressing upcoming storylines here unless it’s already common knowledge. Please send your questions and comments to [email protected]. Look for Ask Matt columns on most Tuesdays.
Streaming’s Slow Bloat (But Yay to Modern and Studio)
Question: Having watched a whole heap of new limited series like Happy Face, Good American Family, Zero Day, Long Bright River and The Residence, they all share the same problem: interesting ideas but padded out ridiculously, which negates their value. Why can’t we return to the telemovie format? Why does everything have to be dragged out unnecessarily? And one-hour-long episodes are at least 20 minutes too long. In the case of The Residence, this should have been a 30-minute show over 8 episodes easily. I love a good whodunit, but this one just tested my patience, and I didn’t even care for who the culprit was. It’s a shame, as the premise to all of these shows looked good, but the padding of each episode makes me run for a CBS formula drama where it moves super quick.
On a more positive note, I want to really commend Hulu for Mid-Century Modern. The snobs who lament laugh-track sitcoms (editor’s note: or, more accurately, multi-cam sitcoms filmed in front of a studio audience) can go away. I binged through this in a whole night and laughed harder than I have in years at any comedy show. Simple, but just a real joy to watch, and I wish TV was more innocent like this, and kudos to seeing an LGBTQ sitcom like this. We need more of this! Not everything has to be a complex mosaic of intellectual stimulation like Severance, we can praise a laugh track. But then, Apple TV+ gave us The Studio, another comedy, which just gave me confidence that there’s some amazing storytelling in Hollywood. Both shows, in the last week, have reminded me why I love TV. — Sean V.
Matt Roush: To consume that much streaming TV, you must love it. And good for you. These are all excellent points, and I’ve heard that complaint about The Residence in particular from other viewers. Liked the set-up and the cast, but did it have to go on so long? I feel this gripe applies even more to the dramas referenced here, many of which (the true-crime docudramas, especially) in the golden age of network TV-movies and miniseries would likely have aired over two nights maximum, on Sundays and Mondays typically. Not sure that Zero Day with its many twists could have been much more condensed, and I found Long Bright River compelling, though I wish Peacock had scheduled the episodes weekly, or maybe in two-hour weekly blocks — but I understand the impatience amid the glut of so much new streaming product.
And I really appreciate that you could see the value in both the old-school charms of Mid-Century Modern done the old-fashioned (some would say “classic”) way and the more sophisticated cringe-comedy satire of The Studio. There should be room for both.
Matlock Is NOT a Reboot!
Question: Sorry for the rant, but I hate reboots. When Matlock first began airing, I decided to try it. Kathy Bates, Beau Bridges, and Jason Ritter being in it made me feel I shouldn’t prejudge. So far, I like it. Mainly because IT’S NOT A REBOOT. IT’S A GIMMICK. If the show were called Smith or Bates, it would be the same show. I have other problems with the show. Like, how do they keep this going for years, and how does she not go to jail for practicing law under a false identity, etc.? But it’s like nails on a chalkboard to me when people claim it’s a reboot when it’s obviously not one. Why do people have to constantly misidentify the type of show it is? And couldn’t they have done the show without the gimmick? Every time I see the “Based on …” credits, it’s really annoying to me. — Edward H.
Matt Roush: Totally agree that the new Matlock defies categorization and should maybe be referred to as a “re-imagining” if anything. It’s basically a legal dramedy with a unique undercover twist, and I imagine the “based on” credit is a contractual matter that allows them to use the trademarked name. Depending on how many seasons the show goes, the Matlock gimmick will eventually seem sillier than it is even now, but it did help the show get attention and break through, which nowadays is harder than you’d think. When most of us heard that CBS was developing a distaff version of Matlock, it sounded so corny, even with a great talent like Kathy Bates on board. The reality is something entirely different, and I’m willing to suspend disbelief for as long as necessary, although at some point, if and when her masquerade is exposed, there will have to be consequences.
Question: I love this new Matlock, but I’m curious. Can she legally appear in court as a lawyer using the name Matty Matlock, which is a name she made up and not her real name? — Scott S.
Matt Roush: Most legal experts (including the few I’ve seen weigh in on the subject) would say no. I’m a bit fuzzy on just how Madeline Kingston (the real name of Bates’ character) was able to create a false identity and credentials that would pass muster in a ritzy New York law firm. This is obviously a fantasy, but should there come a time that reality intrudes, if and when her cover is blown, I’ll be fascinated.
Renewal Angst
Question: What the heck is the hold-up on renewing The Equalizer? I love the personal character development as much as the stories each week! The cast is very well-rounded in terms of age and race. I couldn’t care less about any kind of spin-off. Bring on the Queen! — Laura
Matt Roush: As with the recent wave of CBS cancellations that have created such a furor in this column, this situation has nothing to do with the quality of the show or its ratings — although the scheduling move to 10/9c on Sundays is usually a sign that the show isn’t the priority it once was. The Equalizer was in the same bind a year ago and didn’t get an official renewal for a fifth season until late April. The industry trades explain that it’s because The Equalizer (like the FBI shows) originates from an outside studio, making negotiations trickier the longer a show airs and becomes more expensive. In the days when network ratings were bigger and mattered more, we used to have to wait until the network Upfronts in May to learn the fate of most “on the bubble” shows. I expect once a deal is made (or not) for a sixth season, we’ll learn its fate soon.
Bad Choice, Chosen!
Comment: I have watched all four seasons of The Chosen and have avidly enjoyed it. It came as quite a shock to learn that I will no longer be able to see it, because I cannot get out to go to a theatre, and I do not stream anything. Not very nice of (series creator) Dallas Jenkins to forget about people such as myself! — Judith L.
Matt Roush: I sympathize with those who can’t or won’t join the streaming revolution, but The Chosen will still be available for free, eventually. Just not on a network TV channel. After the upcoming theatrical release of the fifth season, followed by the 90-day exclusive streaming window on Prime Video, the episodes will be available for free on The Chosen‘s app — and I’d think as well on thechosen.tv website (which currently is only making Season 4 available). Whether the episodes will ever find their way back to a linear channel, that might require a miracle.
And Finally …
Question: On Tracker, the character of Bobby Exley (played by Eric Graise) was replaced by another tech expert, his cousin Randy (Chris Lee), who said Bobby was away doing something. I was wondering what happened: Is Eric returning to the show, or did he quit or was he fired? — Stanley T.
Matt Roush: The network hasn’t explained the actor’s recent absences, but CBS assures us we’ll see Bobby again in the April 13 episode. Graise’s name was never taken off the opening credits, and characters like these are often regarded as “recurring regulars” who aren’t necessarily in every episode, but at least they won’t have to put Colter Shaw on the case.
That’s all for now. We can’t do this without your participation, so please keep sending questions and comments about TV to [email protected]. (Please include a first name with your question.)
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