As a passionate admirer of the captivating series “Matlock”, I find myself deeply moved by the insightful and thought-provoking narratives it presents. The show’s creator, Jennie Snyder Urman, has an extraordinary talent for weaving intricate stories that not only engage but also resonate with our shared human experiences.
This season, the CBS show “Matlock” featuring Kathy Bates has been captivating audiences. Filled with wit, suspense, and charm, it’s become clear that this isn’t a reboot. While there are legal cases and the main character, Madeline “Matty” Matlock, shares a name with the original show, it’s much more than a gender-swapped revival of a classic series or just another procedural where cases are solved in unexpected ways each week. Instead, this “Matlock” centers around a septuagenarian character who isn’t exactly who she appears to be at her law firm, offering a fresh and intriguing take on the legal drama genre.
In the initial episode, which aired in September, Matty Matlock isn’t the struggling, elderly woman with financial troubles as she seems, raising her grandchild alone. Instead, she’s Madeline Kingston, a wealthy woman who casually quotes rapper Meek Mill about being rich, and she indeed possesses a mansion and a chauffeur to confirm it. However, this wealth and demeanor hide a more troubling truth. She is a grieving mother, whose daughter perished in the opioid crisis, and she infiltrates the law firm Jacobson Moore with the intent of bringing down both the firm and the Big Pharma client she believes responsible for her daughter’s demise.
However, her clever scheme, aided by her 12-year-old grandson Alfie (Aaron D. Harris) and supported by her husband Edwin (Sam Anderson), relies on exploiting society’s persistent undervaluation and neglect of elderly women. In the law firm, she works under Olympia (Skye P. Marshall), a shrewd junior partner who aspires for higher positions at Jacobson Moore and is also estranged from Julian (Jason Ritter), with whom she has two children. Notably, her father-in-law Senior (Beau Bridges) heads the firm. Matty also shares an office with two young lawyers: Sarah (Leah Lewis), a high-strung achiever, and Billy (David Del Rio), a working-class success story struggling with feelings of inadequacy.
Her plan does not include developing affection for her colleagues Sarah and Billy, or growing to appreciate and admire her team leader Olympia, who is a young Black woman known for her exceptional abilities. As they tackle case after case – such as in episode three titled “A Guy Named Greg,” where a young female lawyer accuses a male lawyer of sexual harassment at their firm; or the unconventional class-action lawsuit against a corrupt prison system led by female inmates, one being a recovering addict, in “Claws” episode five – Matty finds herself growing more emotionally entangled, making her quest to avenge her daughter’s death even more challenging than she initially thought.
In addition to overseeing the pilot and multiple subsequent episodes, including the latest episode six titled “Sixteen Steps,” which focuses on two married mothers battling a baby formula manufacturer for their newborn’s death, Kat Coiro has a prime position. She not only directs the series but also serves as an executive producer.
Born in Manhattan and raised in Florida, Coiro, who initially pursued a career as an actress, appearing on shows like Charmed, Judging Amy, Law & Order: SVU, and many others, discovered her true passion behind the camera at an early stage. While juggling various roles on set, she transitioned into writing, directing short films, and eventually creating her own independent feature films such as Life Happens in 2011 and And While We Were Here in 2013. This led to her directing numerous TV shows, including Girlfriends’ Guide to Divorce, Brooklyn Nine-Nine, Modern Family, Girls5Eva, and the Marvel series She-Hulk: Attorney at Law. Coiro, a married mother, also achieved both box office and streaming success with the 2022 film Marry Me starring Jennifer Lopez.
Below, Coiro speaks to The Hollywood Reporter about how she found her happy place with the surprising CBS breakout hit Matlock alongside Bates and show mastermind Jennie Snyder Urman, as well as behind-the-scenes insight on why this show, which is now on Thanksgiving break and already renewed for a second season, works and what fans can expect when the season returns in January.
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How did you get connected to Matlock?
It’s actually a funny story. I met Kathy Bates for a film that never ended up getting made, but we really connected and kept in contact. And then when my agent sent me the script of Matlock with Kathy attached, it was kind of like the universe bringing us back together. And I met Jennie, and she’s a dream. So I ended up doing the pilot back in 2023 before the strike. And usually I’ll do a pilot, maybe do one or two episodes, but, with this show, I was like, “Jennie, I want to come and do as many as possible because I love working with you guys on the show.” And I ended up coming back and doing half the season, which was just so fun.
What attracted you so strongly to this show?
This show is unique in its structure, as it carries a comfortable vibe similar to procedurals, yet transcends far beyond that. It features Matty’s hidden identity, making it both a traditional procedural and an engaging serialized drama. Themes such as the unnoticed aspect of aging, a woman re-entering her career with a fresh perspective, the concept of justice, and a character grappling with profound loss and coping mechanisms are all thoughtfully explored. To top it off, there’s a touch of humor that adds an enjoyable layer to the show. Personally, I found working on something so multi-dimensional yet lighthearted incredibly rewarding. The humor, in my opinion, enhances the depth of the storyline.
How did you approach directing the pilot episode, which sets the tone for the show?
The collaboration on this project was exceptional, as Jennie’s clear vision helped blend our thoughts into a single creative mind. One unique aspect of this production is the attention paid to the characters’ subtle reactions and interpersonal connections, which were already set in the pilot. In every episode, I’ve emphasized the importance of capturing the significance behind even the smallest gestures like hand touches, ensuring they are adequately filmed. Matty possesses a unique ability to discern human nature, making her somewhat like a human lie detector. Given the multiple agendas at play, she must carefully observe how everyone interacts, and therefore, the camera work should reflect this perspective. Many scenes may appear simple on the surface, but they actually require numerous shots due to the many subtle looks exchanged and intricate details we are capturing from Matty’s point of view.
Are there any episodes that have aired that were most challenging for you?
Working on this series has been an ongoing test due to the fact that we intentionally hid the main plot twist, making it appear as if the story was straightforward. The pilot episode resembles a fish out of water in the workplace setting and runs for an hour. However, the ending presents an unexpected turn that changes everything. Balancing this secrecy with subtle hints throughout the show proved to be a challenge. If you analyze the pilot carefully, you’ll notice that each action was meticulously planned. The pilot is always challenging because of its intricate nature. Furthermore, episode six marked our first extensive foray into flashbacks, which we discussed extensively. Our goal was to seamlessly integrate these flashbacks into the show while ensuring they felt unique and essential to the overall narrative. In summary, creating this series has been an enjoyable challenge.
After directing the first episode, you also helmed the second one. This installment continues to unfold the significant revelation. How did you navigate the second episode now that the secret has been exposed?
Indeed, it’s no secret to most viewers now, but in Matty’s world, the enigma persists. Once more, I found myself immersed in a fascinating conversation with Kathy about the intricate distinctions between Matty Matlock and Madeline Kingston. It’s not just a matter of physical appearances or accents; it’s the subtle nuances in behavior that make them two distinct characters.
The trick society kind of plays on all of us is that women at a certain age are useless.
It’s crucial to include Kathy’s perspective in the series, as she, being someone who has gone through a phase of invisibility (as you can see from her interview with The New York Times), now finds herself becoming visible again thanks to this show. This program beautifully demonstrates that even in their 70s, individuals can be lively and relevant. Society often overlooks the rich experiences of older women, but this show flips that notion on its head by highlighting their vitality.
There’s been an increase in this occurrence in Hollywood, and I believe it’s largely due to having more women taking on key roles.
Absolutely! Jennie has an impressively organized vision for the entire show, making collaboration a delight. I suspect that her initial interest was sparked by societal perceptions of women. It’s also worth noting that she brings a uniquely feminine perspective to this topic, being both a woman and one who isn’t in her seventies. However, as we all age, the way women are treated is a concern that resonates with us all, regardless of whether we’re directly involved or simply observing.
How do you choose which episodes you direct? How is that decision made?
Initially, I watched episodes 1, 2, 4, and 6. After a brief pause, I returned to catch episodes 12, 14, 16, 18, and 19. My aim was to immerse myself fully in the show as it’s something I truly admire. Working alongside Kathy is an absolute joy, and our entire cast is fantastic. However, working with Kathy is like attending a masterclass daily, and I’ve been thankful for every minute I’ve been able to observe her.
As a gamer pondering over a legendary NPC (Non-Player Character) in my favorite game, I can’t help but wonder: If I hadn’t crossed paths with this character before, would I have felt more starstruck when teaming up for quests later on?
She’s not only a fantastic performer, but also remarkably down-to-earth, friendly, and humble – qualities that undoubtedly contribute to her brilliance. Her interactions with the guest cast are exceptional. Many people might expect to feel intimidated in her presence, but she effortlessly creates an atmosphere of comfort. Moreover, she’s incredibly grateful for her success and remains gracious. Despite her numerous awards and years of experience, she approaches every situation as if it’s brand new, with the same excitement, curiosity, and enthusiasm. This infectious energy would likely put anyone at ease, even without a personal encounter.
Back to the show’s direction, what kind of tone have you set for other directors?
I have a meeting with every director and just kind of walk them through what I consider to be top tips. And there was a small visual Bible that we, the DP and I, made of shots that really work for the show and shots that maybe don’t apply to this show. And Jennie has such a strong hand in every episode also, so she works very closely with the other directors. But, yeah, the continuity has been a gift, because a lot of times in broadcast, you have a new director every week, and that can be part of the challenge for the directors, for the actors in keeping that continuity.
You’re well-known for being the director of the series. However, what other aspects of the production do you have a hand in? To give an example, do you play a role in the casting process as well?
Absolutely! Our primary cast members were all selected during the initial pilot episode, a process that was highly collaborative between me, Jennie, and other producers. We believe we’ve found the ideal people for these roles as they perfectly embody and elevate the characters as written. Chemistry among the cast is crucial in making a successful show, and we were fortunate to have found a group that works seamlessly together.
“This is unique because it’s not common to see relationships between older and younger women, or interracial ones, portrayed on screen.
This relationship, as portrayed in the first six episodes, stands out as something quite distinct. Matty grapples with the complexities of deceiving Olympia, yet she genuinely admires her and learns from her. Similarly, Olympia appreciates Matty and eventually relies on her, despite her initial reservations. What makes this series particularly intriguing is that they are learning from one another, even though there’s an underlying deception between them. Both characters show mutual respect for each other, adding depth and complexity to the narrative.
Let’s discuss episode four titled “The Rabbit and the Hawk” featuring the widower character. This episode might not have been favorable for the legal team, but it served as a warning bell for Matty and could potentially be a turning point for the entire series.
It seems that Matty failed to account for the emotional impact on numerous individuals when devising her plan. She likely believed her mission was straightforward – infiltrate big pharma, find an answer, avenge her daughter’s death, and seek justice. However, with each episode, a person’s life hangs in the balance, their dignity at stake. The pilot itself introduces a man who has been falsely imprisoned and fights for compensation with his daughter, eventually winning. This victory, though, shows Matty entered something far more complex than she initially expected.
In a sense, episode four, featuring the grieving widower, seems to me as if it’s delving into emotionally risky terrain for Matty. Though her intentions may be clear, her actions impact real people, and she deceives this man about being a widow herself. This episode, I believe, marks a turning point in the season, serving as a transition from the pilot and the character reintroductions in episode two, as well as Matty’s initial courtroom experience in episode three. The emotional involvement of Matty with the widower in this episode makes me question whether she is ready to make such sacrifices for her daughter.
In episode six, which I also direct, we introduce a same-sex couple who are depicted as parents for the first time. It’s incredibly rewarding to have the opportunity to portray such a reality and emphasize that they are not defined solely by their sexuality, but rather by their shared humanity.
This story returns to the importance of diversity within the writing team and production crew, as well as the commitment to narrate tales centered around ordinary people. The two main characters experienced something harrowing, which forms the heart of the narrative. It’s not about their specific identities or labels; rather, it’s a strong message for viewers to see such stories being told. I am honored to be part of a series that tackles numerous viewpoints in an intentional manner, starting from the top leadership down.
Even though there are many episodes left before the show resumes in 2025 and reaches its final episode that you’ll direct, where do you think this story might lead us?
The show is titled “Matlock.” Matt will always be the main character. However, what’s been particularly engaging as the series progresses is that each principal character gets their time to shine, and we get to witness them grow and develop fully. Characters like Sarah, Billy, Julian, and Senior, who initially supported Matty and Olivia’s storyline, are now stepping into their own narratives, becoming more complex and interesting. I believe the audience will appreciate this development.
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Matlock will air on December 5 and 12 for episodes seven and eight, followed by a hiatus until January 30. In the interim, check out THR’s conversations with lead actress Kathy Bates and executive producer Jennie Snyder Urman.
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2024-11-30 19:55