Two episodes in, and Matlock is already throwing enough plot at the wall to shingle a courthouse. Madeline “Matty” Matlock (the always magnificent Kathy Bates) continues her charade at the prestigious (and conveniently gullible) law firm, pulling off legal heists with the finesse of a seasoned con artist, not a septuagenarian supposedly past her prime. The show’s central question – how long can she keep this up? – is addressed head-on, though the answer seems to be “longer than anyone with a lick of common sense would expect.”
We’re treated to anxiety dreams, conveniently timed wake-up calls, and a grandson who’s less a legal prodigy and more a plot-device puppy dog. But hey, it works. The “Oceans Eleven”-style montages showing Matty’s machinations are a fun touch, spoon-feeding the audience just enough information to keep us hooked without insulting our intelligence.
While the male characters remain thinly sketched (Billy’s (David Del Rio) sole purpose seems to be Sarah’s apology enabler), the female characters are showing some intriguing wrinkles. Olympia (Skye P. Marshall) and her not-so-terrible ex Julian (Jason Ritter) demonstrate that divorced couples don’t have to be walking clichés, which is a refreshingly mature touch.
Matty’s tearjerker monologue to Olympia was a masterclass in manipulation disguised as heartfelt vulnerability. Bates delivers it with such raw emotion that even the audience might need a tissue. The show continues to explore real-world legal issues with surprising nuance, avoiding the over-the-top theatrics of other legal dramas.
It’s this blend of sharp writing and compelling performances that sets Matlock apart. However, Matty’s risky phone call in Olympia’s car suggests that her luck might be running out sooner than she thinks. We’ll see if she can keep tap-dancing her way out of trouble.
