Taking Another Swing at Swingtown, First Thoughts on Fringe, Prescribing In Treatment's Emmy Chances and More!
Grant Show and Miriam Shor, Swingtown
Question: In reference
to your recent comments about
Swingtown, Sunday nights after
Cold Case would be the ideal time in the CBS sked for
Swingtown. Honestly, with its constant use of period music, clothing and styles of its characters and all around decor,
Swingtown could just as easily be an episode of
Cold Case permanently stuck in the '70s (and with the murder yet to happen). If CBS were to contemplate bringing it back, which I know is a long shot, it doesn't take a rocket scientist or a network programmer to see where it would fit in. Ah, but then I see that as just being plain logical.
— Matthew S.
Matt Roush: And I take it you don't find a great deal of logic in everyday network programming? (To be fair, CBS' scheduling tends to make more sense than most.) To argue your point — while admitting that I probably wouldn't mind if at least a few of the show's more generic characters were mysteriously offed — Swingtown may hit many of the same nostalgic buttons as the more evocative Cold Case episodes, but what makes Swingtown such a risk on CBS's part is that it isn't a procedural and it is heavily serialized, two things that make it an odd man out and probably a less than perfect fit with Cold Case. Although I guess it's also true that The Unit, which will soon be taking up residence on Sunday after Cold Case, is also a somewhat incompatible neighbor with its military action theme. (It may suffer most from airing opposite NBC's football games in the fall.) But otherwise, that's probably as good a time period as any if Swingtown were given an extension. Anyway, more discussion of Swingtown follows. Swing along.
Question: As a teacher of history, I found myself reading
your review of the CBS show
Swingtown with much disbelief. There are many of us who are nostalgic for the 1970s and see quite a lot of good in an overly maligned era. Granted, I am fully aware of the numerous political, social and economic issues of the period and do not view this history with rose-colored glasses. I leave that to those who worship the 1930s, '40s, '50s, '60s and '80s. While the 1970s was a turbulent time where most people were bitter and disullisioned with a world that no longer seemed to be working, it was also a courageous era of brutal honesty and artistic brilliance. What would the medium of TV be without
Mash, The Mary Tyler Moore Show, All in the Family, Monty Python's Flying Circus, Saturday Night Live, Columbo, Taxi, WKRP In Cincinnati, Lou Grant, Masterpiece Theatre and countless others? In film, the 1970s saw the rise of directors Coppola, Lucas, Spielberg, Lumet, Scorcese, De Palma, and Altman. Musical genres were expanded and created with artists like David Bowie, Elton John, Brian Eno, Kraftwerk, Bob Marley, Led Zeppelin, Black Sabbath, AC/DC, Santana, The Ramones, The Clash, Elvis Costello, Blondie, Chic, Donna Summer and others. Is there a plethora of forgettable and embarrassing trends? Certainly. What truly frightens me, however, is the full acceptance of this idea that commenting on clothes, hair and interior design makes an individual brilliant. I teach high school students and expect that type of analysis from them. As one matures, the brain is supposed to develop the ability to critique at a higher level. Your review of the 1970s as a historical time period would fit perfectly in the average high school newspaper. As an "adult" male, you should be ashamed of yourself.
— Michael R.
Matt Roush: Hmmm. Lighten up, maybe? Sorry, prof, but the only shame I would feel is if someone had accused me of taking Swingtown this seriously. My approach in that review was to adopt a tone in keeping with what I felt to be the shallowness of the show itself. The obviousness of the music choices, the transparency of the plotting, the fact that design cues in clothing as well as interior design are asked to substitute for actual character development, all gave me the ammo to make jokes about an era that I do look back on with some fondness: Saturday night CBS TV to be sure, and the accomplishments by the mavericks of American cinema as well, with Chinatown probably ranking as my No. 1 film of all time. Those cultural accomplishments have little to do with the content of Swingtown, from what I can tell. And while I admit to being glib in the review, if Swingtown had tackled the era with even a fraction of the sophistication that, say, characterizes Mad Men's approach to the '60s, I guarantee I would have attempted to write a less shameful review. And finally, a defense of the show.
Question: I'm not a "swinger," so I'm not speaking out of loyalty to a lifestyle, but
Swingtown is fun. I liked the first episode and have tuned into each new one with delight. I'm not even DVR-ing it; I am watching it live. I have not done that since
Buffy. Love the cast, the different age groups, the different perspectives, the great music and cool clothes. Would I wear that stuff? No, but it is cool to see it on TV. They are walking a great line. If it was on FX (or cable) all we would see is nudity. I have never really been a fan of CBS. They normally cater to the older set, but I'm proud of them for at least trying to break out of that mold. I hope they can keep it up (pun intended), given all the people I am sure are picketing because it offends their delicate sensibilities. My advice to those who don't like it: Turn the channel. I grew up in the '80s, so I'm not as familiar with this era, but I was talking to my mom about this show. She said the world changed so much in a short time frame, and the show seems to capture on a small scale what she was talking about: tthe struggle for freedom in your personal sphere against what others' expectations were/are of you. This show is the coming-of-age of a generation. Let the rest of us enjoy a fun guilty pleasure, one I hope that stays on the air.
— Tanya
Matt Roush: Let me not be a spoilsport. Enjoy for whatever reason. Swingtown is at best a guilty pleasure, and so far this summer, actual pleasure of any sort on TV has been in miserably short supply. (Exceptions in my book: So You Think You Can Dance and In Plain Sight, minus the family stuff.) I merely wish some of the things you discussed with your mother — the coming-of-age of a generation stuff — were better reflected in the actual series. Instead, it adopts a tone that's awfully proud of its smarminess — remember the moment when Trina walks through the grocery holding her "melons" aloft? — when it isn't being laughably pseudo-intellectual (anything involving the precocious teenage daughter). That said, I do like the subplot involving the teenage boy's fascination with the troubled girl next door — that's a pretty original character — and not having seen this week's episode in advance, I'm always happy to see anyone playing Twister, which really does take me back to a simpler time.
Question: I read Mark's comments in
the last Ask Matt about the USA Network cross-promotion of
In Plain Sight on
Law & Order: Criminal Intent, and while it was a pretty cheesy cross-promotion, I felt it was harmless. Plus, every Dick Wolf show has done this sort of cross-promotion when getting started, so it was not unexpected that he would be a good corporate citizen and do it for another USA Network show. More of a problem is what TBS has done to take those on-screen promos we all find so annoying to the next level. I have stopped watching
Family Guy on TBS because of it. While the show is running, it suddenly freezes, and Bill Engvall walks on screen holding a remote, with
Family Guy "paused" in the background. He makes some sort of supposedly funny comment tying what just happened to his show ("Stewie would never do anything like that on
The Bill Engvall Show"), makes a pitch for his show, and then hits the remote to restart the
Family Guy episode, which goes right into a commercial break. I'm sure they will argue that it happened right at a commercial break so it's not really intrusive, but I find it incredibly tasteless, annoying and a whole other bunch of adjectives. Do you see any limit to how far the networks will take these things?
— Rick C.
Matt Roush: Just when I thought I'd heard everything. I haven't seen this one for myself, but I'd say that little trick goes beyond obnoxious to some new level of promo hell. And to answer your question, I guess I don't see a limit in the way networks will hawk their shows at the expense of their other shows. There's a price to pay for the way we tend to DVR through commercials these days, but it shouldn't be this steep.
Question: This may not be your field, but I was very curious about the Emmy eligibility of
In Treatment. Into what category would the exceptional actresses and actors playing Gabriel Byrne's patients fall? Supporting Actor/Actress? Guest Actor/Actress? Due to the show's unique format, I could see a case being made for either category. Their nominations might be a bit of a long shot, but their work has been so exceptional (especially young Mia Wasikowska's) that if they end up snubbed, hopefully it won't be because voters had no idea where to place them.
— Andrew
Matt Roush: Given that each of his patients was in at least one episode a week, they would all most likely qualify in the supporting actor/actress categories. In the handicapping I've seen from those who admire the show, the actors who seem to have the best shot at recognition are Gabriel Byrne (a no-brainer), Dianne Wiest, the aforementioned Mia Wasikowska and possibly Blair Underwood for his tragic role (who also qualifies in my book for a guest comedy actor nomination for his recurring role on The New Adventures of Old Christine).
Question: Thanks for
your comments on
Fear Itself. I, too, was turned off by the complete lack of hope. I loved
Twilight Zone,
Outer Limits,
Night Visions and even
Masters of Horror anthologies because they sometimes allowed that hope prevailed. I bookend this with last summer's TNT horror anthology that also seemed to go for the darker endings. I watched this last episode for Colin Ferguson, and I'll watch this week's for
Psych's James Roday and Maggie Wheeler, and then I'm skipping the rest of the run.
— Heidi
Matt Roush: It's not that I have anything against unhappy endings per se, but when I was given the first three episodes of Fear Itself to screen, they all began to seem predictably bleak, and the lack of surprise when things turn out badly for even the occasionally sympathetic character is a cardinal sin with an anthology like this. I'll try to keep an eye on the show for as long as it lasts because I would like to believe in the anthology format, and if the subject matter, director and cast intrigue me, I'll probably give it a shot again, albeit against my better judgment.
Question: Please
let Teddy know that although Mary Murphy's voice can get annoying at times, she knows more about ballroom dancing than anyone else on the
So You Think You Can Dance panel. She also provides constructive criticism that actually helps the dancers improve — unlike any of the judges on
American Idol. It is much easier to put up with her idiosyncrasies when she is providing valuable input to the show and the contestants.
— Bobbi
Matt Roush: No argument that
So You Think You Can Dance has a great and informed and passionate group of judges, and as ear-blistering as Mary Murphy can be, I love her enthusiasm and her emotional responses to many of the dances and dancers. She helps make the show what it is, but I do think she has been encouraged a bit too freely to milk her shrill shtick to the point where it can get in the way of the enjoyment of the show at times. (But not seriously so; I'm loving this season.) Still, it's not uncommon to get mail like this, from Linda: "There are two people on TV that I mute as soon as I hear the sound of their voices: Mary Murphy and the Kaboo commercial guy. Both of them are too loud and obnoxius to be on television. I am so glad to hear I am not the only one who feels that way about MM. They need to turn down her mike. Her laugh is bad enough, but it also happens too frequently. Someone needs to tell her to
shut up!"
Kaboo? Is that a typo? Whatever, it made me laugh. As does Mary at times. Good luck getting her to put a sock in it, but this is one of those instances when you really do come to appreciate the volume control on your remote, no?
Question: I watched
Masterpiece Mystery! last night and it is no longer
Inspector Morse, but Robbie and his new sidekick. What is the sidekick's name, the one who was a theology student at Cambridge? I have seen him in other British shows and he is very compelling.
— Joyce E.
Matt Roush: That would be Laurence Fox co-starring as Hathaway with Inspector Lewis star Kevin Whateley in this follow-up series to the late Inspector Morse. Fox, the son of actor James Fox, was seen earlier this season on Masterpiece Classic as Cecil in the Room With a View remake, and his movie credits include Gosford Park, Elizabeth: The Golden Age and Becoming Jane.
Question: I've been a fan of the original
Password, and so when CBS decided to air a new edition with Regis Philbin (who I think is one of the best game show hosts from his days on
Who Wants to Be a Millionaire), I was pretty excited. The first few episodes, despite their frenetic pace with the elimination clock, felt like the relaxed, classic version on speed. Nonetheless, I've still found it enjoyable. My one major complaint is in regards to its bonus round. In it, players go through six levels with increasing difficulty that earns them increasing amounts of money, similar to the structure on
Millionaire. Unlike
Millionaire, however, players have only one "safe" level after which their earnings are secure: the second level (
Millionaire has them after the fifth and 10th questions). Structurally, this encourages the player to attempt the third and fourth level, but discourages them from ever reaching the fifth or sixth levels, as they would lose too much money. I would suggest either another "safe" level after the fourth round or another change in the mechanics of the show. If no one ever wins the big money, I really believe viewership will eventually wane (not to mention if terrible, yet attractive, celebrities like Shanna Moakler are used).
— Alex M.
Matt Roush: Personally, I still miss the more relaxed pace of "classic" Password, in which teams passed words back and forth, requiring strategy over speed. But I admit I loved the episode in which Betty White (widow of revered host Allen Ludden) showed she was still a Password master. Bless her heart. And you're probably right, if perhaps a little obsessive, in noting that as the difficulty increases and the margin for error shrinks while the stakes get higher in the bonus round, it's unlikely anyone's going to go for the biggest money unless they're utterly reckless and don't actually need the money. This same impossible-odds element with a huge penalty was also evident in CBS's Power of 10.
Question: Welcome back from your vacation. I have missed your column while you were away. I know you're not really into spoilers, but I was just wondering whether you have viewed J.J. Abrams'
Fringe yet. I watched the pilot today, and I just wanted to hear your thoughts on it. Being an
Alias lover, I adored it. That being said, it was slightly predictable in certain parts (the "for example" omitted for spoiler reasons). Despite that fact, I think this show has a great future, especially with the commericial-lite gimmick. What do you think?
— Amanda
Matt Roush: Your analogy to Alias is a good one. That's the show I most thought about while recently screening the Fringe pilot in a visit to Fox's offices — a very cloak and dagger process, because the network has yet to send screeners to critics in fear of more incidents of it leaking onto the Internet, which is where I gather you saw it. Anyway, I won't go into a detailed review here — too early, and I'd like to see a final cut when it gets closer to the September launch date — but my initial reaction was quite positive, and had me thinking and hoping that if Fringe is lucky and given the opportunity, it could grow into a cult phenom like Alias or even The X-Files, a show it resembles even more. The premise is a little too murky and the trappings a bit too sci-fi for me to predict that it will explode out of the gates the way Lost did. But wouldn't it be nice?
