Ask Matt: Fall’s New Shows, ‘Frasier’s Second Season, ‘High Potential’ and 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, but there’s always closed-captioning.)
One caution: This is a spoiler-free zone, so we won’t be addressing upcoming storylines or developments here unless it’s already common knowledge. Please send your questions and comments to [email protected]. Look for Ask Matt columns on most Tuesdays.
Damning Sitcoms with Faint Praise
Question: Full disclosure: I want to see more and more sitcoms. I don’t want it to be a dying species! I went into Georgie & Mandy’s First Marriage with low expectations, so when I chuckled and smiled, I was genuinely surprised. Wasn’t too bad. I have always thought Emily Osment genuinely has great comedic timing. Could I see five seasons with this show? Maybe as a background show. Was it necessary? Probably not. When Annie Potts and Zoe Perry showed up midway through the episode, it dawned on me: A sitcom spinoff with Potts and Craig T. Nelson would have been a far funnier idea. I mean both legends have like 600-episodes combined of award-winning sitcom experience behind them and watching them banter is a show within itself. I also know both wanted to keep going, too (as per their interviews). I am going to assume this wasn’t about money or creativity but more so that Montana Jordan and Osment are far more marketable than Potts and Nelson.
Speaking of sitcoms, Frasier has nosedived somewhat in its second year. The writing and performances are too cringey. Something feels off, and I feel like I am watching one of the many Kelsey Grammer one-season duds from the last few decades. The cast are overplaying it too. Anders Keith is the only one who succeeds, but they barely give him much to do. Peri Gilpin‘s return is the only thing reminiscent of the great series. I wouldn’t be surprised to see this be pink-slipped soon. — Sean
Matt Roush: I found the first episodes of Georgie & Mandy to be likable enough, but never thought of asking “Was it necessary?”. (Is any spinoff?) The only real necessity here was CBS’s desire to hold onto some Big Bang Theory/Young Sheldon magic for as long as possible, notwithstanding the fact that Sheldon Cooper at whatever age was the comic engine that drove both of the previous shows. Speaking of age, I’d speculate that demographics drove the network’s comedy department to showcase the younger lovebirds over the more elderly couple, though no one doubts the comic chops of Annie Potts and Craig T. Nelson. Still, there’s a warmth in the relationship of Emily Osment and Montana Jordan that I find promising. More so than with Frasier, a reboot that truly wasn’t necessary and which tends to strand Kelsey Grammer adrift in a weak ensemble that isn’t up to the challenge. But I was amused to read Sean’s comment about Anders Keith, who plays (the absent) Niles and Daphne’s son David, in light of the following response.
This Sitcom Spawn Fell Too Far from the Tree
Question: Is there hope that the writers at Frasier will give Anders Keith and his character David a little more substance? Niles and Daphne deserve much more in their son than to put him on a steady path to becoming Jake from Two and a Half Men, which is what I’ve seen so far. — Todd P.
Matt Roush: Like most of the supporting characters in the Frasier reboot, David is underdeveloped, although I was somewhat reminded of David Hyde Pierce’s gift for physical comedy in the recent episode where David singlehandedly destroyed Frasier’s prize ham. Otherwise, he often seems a too-generic nerd foil, and like most of the new version, tends to make me pine for the classic original.
No Laughing Matter
Question: After watching Ghosts, and the preceding comedy show, Georgie & Mandy’s First Marriage, I wonder did anyone else notice the big difference between the two comedy shows? Ghosts was noticeably funny without the laugh track, while Georgie was extremely hard to watch with all the laughing at jokes that were not funny. Don’t they think that their viewing audience knows what’s funny and let them decide when and what they want to laugh at? — Carole L., Greenacres, FL
Matt Roush: The bottom line here is that Ghosts is a far superior comedy to Georgie & Mandy (though it’s early days), but did you miss the fact that twice in the Georgie pilot they made specific and jokey references to the presence of audience laughter (however sweetened), with Georgie expressing his preference for “laughin’ shows,” and later his father-in-law Jim conceding, “When you don’t hear people laughing, it’s hard to know what’s funny.” If you want to take this seriously—and why would you—this might come off as defensive, because the producers made a purposeful choice to move from Young Sheldon’s single-camera filmed style and back to The Big Bang Theory’s broader joke rhythm in front of a studio audience. (They will tell you the laughter you’re hearing is real, but it’s often sweetened—and if you want to see an extreme example of that, watch the Poppa’s House pilot, where a mere arched eyebrow could generate loud guffaws.)
At least once a season, I field this complaint that comedies with laughter on the soundtrack are somehow trying to convince people that something is funny when it’s not. That’s for each of us to judge, but one thing that can’t be denied is that this brand of TV comedy goes back to the very beginning of TV, and historically, the greatest hits from I Love Lucy to Cheers and original Frasier to Friends and Seinfeld to Everybody Loves Raymond and The Big Bang Theory have all played to a studio audience and featured audience laughter. I’m not defending Georgie & Mandy here, because it’s too soon to know if it will earn that laughter, but I respect this type of sitcom too much (when it’s done well) to dismiss it without argument.
A New Show That’s Reaching Its Potential
Comment: I am writing about the current fall TV season on broadcast television (yes, still hanging in there, but soon a memory of the past). I have to say I have been most impressed with High Potential. The cases are too easy to solve, but the series reminds me a lot of USA Network’s light-hearted crime heyday of the 2010s like Monk, White Collar, Psych, etc. Kaitlin Olson is a real treasure, too. Loved her in The Mick and Hacks, but she’s so engaging and likable. I could do with ridding the show of a couple of the supporting players, but this show has become appointment TV for me.
Surprisingly, I have enjoyed this more than two of the starrier dramas, Doctor Odyssey and Matlock. I am trying to figure out what Odyssey is trying to be, and no, as a fan of 9-1-1, this show is NOTHING like that. It has a severe case of identity crisis, and after the plastic-surgery-storylines in week three, I think I am out. Joshua Jackson has had some great TV runs with Dr. Death and Fatal Attraction and looks bored.
Matlock is slightly better, but it just feels like ChatGPT is writing the show. I love Kathy Bates but everything about this show so far feels clinical. I am also very miffed that So Help Me Todd, a show so creative and innovative, gets the pink slip for this generic drama. Also: Why is this show called Matlock if it shares NOTHING with that great courtroom drama. They could have called this Bates and nobody would have flinched. Again, it feels like Chat GPT just came up with it. It just shows star power can only bring you so much. — Linda C.
Matt Roush: OK, there’s a lot to unpack here, but I love that we’re discussing network TV again in an actual fall season. First, High Potential, which I’ve championed from the start, and am glad to say I’m still enjoying. (This week’s episode even had a few twists I didn’t see coming.) The reference to classic USA Network procedurals makes sense, and with this joining light mystery shows with quirky protagonists like Elsbeth and Will Trent, you sense this kind of show has become a network priority.
I can only recommend Doctor Odyssey as the guiltiest sort of guilty pleasure, it’s so mind-numbingly ridiculous, but I’ll defend Matlock (about which I have tended to hear mostly good feedback) for its layered twist and for NOT being a clone of the Andy Griffith series. The most obvious reason for calling the show Matlock is to cash in on its IP (intellectual property) name-recognition value, but also because it’s the role Kathy Bates is playing (and playing well) to disarm her new colleagues. If any show feels to me like it’s being written by a computer program, it’s Doctor Odyssey, which has so little connection to real life (or real luxury cruises) it’s laughable.
What Will Katy Do Next?
Question: We love Katy Mixon. Loved her in American Housewife. Can we look forward to seeing her again soon? — Sandra R.
Matt Roush: As far as I can tell, she hasn’t landed an ongoing series role since Housewife ended in 2021, but you can see her next on Nov. 13 when Netflix premieres the holiday comedy Hot Frosty (sounds like a romcom version of Frosty the Snowman), playing opposite Lacey Chabert, Schitt’s Creek’s Dustin Milligan, Craig Robinson, Lauren Holly and Brooklyn Nine-Nine’s Joe Lo Truglio.
And Finally …
Question: After last week’s episode of Superman & Lois that completely depressed me, I was wondering if there are any good stories coming for the character of Jordan, now that his brother has powers and seems to be better at it. Is he really condemned to be the screwup of the family? I think Alex Garfin is really good in the role, and since we have so few episodes to go before the end, I was hoping he would have his moment to shine in this final season. I’m really invested in his character’s journey and thought it was refreshing to see the anxious kid be the hero for once. Anything you can hint that will give Jordan’s fans a little bit of hope that his character will have a storyline worth watching for the rest of the season? Not just cry on his mother’s shoulder? — Androuska
Matt Roush: Even if I knew where Jordan’s storyline was going, I probably wouldn’t share because this isn’t a spoiler column (something worth mentioning at the busy start of a TV season). I will however comment on this fan’s distress by noting that whatever insecurities and anxiety Jordan is currently experiencing, especially with his brother Jonathan finally gaining his own powers, that’s par for the course at the start of an eventful season. Especially a final season, during which I’d imagine they’ll give each of the Kents meaty material to play before the premature series finale.
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] or shoot me a line on X (formerly Twitter) @TVGMMattRoush. (Please include a first name with your question
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Matlock (2024) where to stream
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