‘Shifting Gears’ Review: Tim Allen and Kat Dennings Are Stuck in Neutral in ABC’s Family Sitcom

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In the past week, Fox debuted the fresh comedy “Going Dutch,” revolving around a conservative father (Denis Leary) and his estranged liberal daughter (Taylor Misiak), who are compelled to reconcile. The father’s outdated views are evident as he expresses dismay over no longer being able to use the term “midget.” However, in the episodes I’ve watched so far, he hasn’t made any jokes about people’s pronouns, which seems like a step forward.

This week, I’m excited to dive into “Shifting Gears,” where I find myself watching a father-daughter reconnection story starring Tim Allen as a conservative dad and Kat Dennings as his estranged liberal daughter. You can tell the dad is stuck in the past because he complains that it’s not acceptable to say “dwarf” nowadays. Instead of poking fun at someone’s pronouns, he claims he won’t, stating that he dislikes everyone equally. Frankly, I find this somewhat progressive, even if his approach could use a bit more finesse.

Despite it being early in the year, there seems to be a sense that something isn’t quite right with the scriptwriting process for the old television comedy series.

A comedy featuring a single camera, set against the backdrop of various countries and the military, “Going Dutch” attempts to offer some diversity in mood and presentation. However, does it achieve this goal consistently? Not always.

Shifting Gears leans towards traditional multi-camera style, presenting a rather straightforward sitcom format. The studio audience erupts in cheers upon Tim Allen’s initial screen appearance, while it’s expected that home viewers will join the cheer. Kat Dennings’ debut scene also receives applause, but it seems more like a polite gesture.

The title and concept of the show “Shifting Gears” appear to revolve around changing perspectives in life and attitude, but the two episodes given to critics hint at a focus on delivering precisely what viewers anticipate rather than offering something new or unexpected. Essentially, if you’re yearning for a humorous series featuring an irritable Baby Boomer who goes on tangents about various topics due to his discontent with today’s youth, “Shifting Gears” caters to that desire. If this sounds unappealing, your viewpoint on the show is unlikely to change.

Allen portrays the character Matt, a traditional widower who manages a garage, although it’s more accurately described as a “rustomod” if those details are significant to you. Matt is known for his lengthy discussions about various topics, often leaving employees like Gabe (Seann William Scott) and Stitch (Daryl Mitchell) either entertained or exasperated. A woman with one line in a single scene, who identifies as a lesbian, is also present to signify that Matt has no issues with homosexuality.

Riley (Dennings), initially destined for law school and a successful career, took an unexpected turn when she got pregnant in high school and relocated to Las Vegas with a musician specializing in the bass. This move is considered a major deviation from expectations, as Matt, who accepts diversity such as lesbians and those using specific pronouns, shows no appreciation for bass players.

It’s clear that Matt isn’t mistaken, as we can see from the fact that Riley, fed up with her husband’s prolonged absences and infidelities, has decided to move back to Los Angeles with her son Carter (played by Maxwell Simkins) and daughter Georgia (Barrett Margolis). While I’m not entirely certain about this, it seems that Riley and Matt have been estranged for many years, not even exchanging words at her mother’s funeral. Now, Riley finds herself in a new phase of life and must work on healing old wounds while figuring out what the future holds for her.

Matt’s perspective isn’t incorrect either, as the show tends to favor his emotional standpoint more strongly. In “Going Dutch,” it’s clear that while Misiak’s character may seem a bit immature, it’s Leary’s character who will likely undergo change and growth throughout the storyline. It’s unclear whether this was the original plan by creators Mike Scully and Julie Thackery Scully or if it evolved with Tim Allen’s involvement, but “Shifting Gears” generally aligns itself comfortably with Matt’s perspective.

The show shares similarities with “Last Man Standing” if Nancy Travis’ character were to undergo the transformation seen in “Kevin Can Wait.” In this alternate version, Tim Allen’s character Matt is the last rational person left on Earth, constantly bewildered by others’ struggles – such as driving, learning, or debating Pluto’s status. (It’s not like Matt ranting will bring back Pluto in the cosmic order, but someone should clarify that there are situations where “dwarf” is appropriate.) Nevertheless, he isn’t necessarily incorrect about anything, and the show takes care to present Matt’s political views as subtly unclear, making it plausible for him to join you for dinner, even if you know who he voted for. As for Riley, she doesn’t spend her time advocating for trans rights or flaunting her AOC tattoo on her bicep.

In a different phrasing: When Riley proposes they discuss like mature individuals, Matt responds sharply, “Seen the news lately? That’s hardly the case nowadays.” However, Shifting Gears longs for an enchanting reality where such behavior is possible, largely by creating a blurry and ambiguous atmosphere, making it seem as if events are unfolding on Pluto, which still lacks official planetary status.

Instead of relying on depth or intricacy, “Shifting Gears” leans heavily on the captivating personalities of its main actors to mask areas that are either illogical or simply unengaging. The filmmaker seems intent on showcasing his physical transformation – portraying himself as a classic car with a modern sheen – by wearing form-fitting t-shirts and expressing frustration in a way that appeals to the audience. It’s not that he isn’t skilled at this, but there’s a hint of what could be if any of his lines were humorous lingering in the background.

Just like Denning’s characters, her exceptional timing – a mix of deadpan and sing-song – was showcased in 138 episodes of 2 Broke Girls, briefly diverted to two seasons of the relatively improved Dollface. Now, she is back on the expansive landscape of broadcast. There’s not much depth or complexity that can be attributed to her characters, so Denning primarily relies on her familiar wit and sarcasm.

Beyond the main cast, the show’s sets thus far seem to lack distinctiveness, merging into a monotonous backdrop. Only Margolis’s passion for true crime podcasts managed to elicit a genuine chuckle from the two episodes I viewed; it remains unclear what Simkins is portraying as his character seems limited to just “anxiety,” a trait discussed frequently (Matt doubts the existence of “anxiety”). Scott, who is a talented and dynamic actor, appears to be underutilized with a role primarily characterized by being “amiably dumb,” but there may be potential for development given hints of a romantic interest in Riley. Mitchell, however, lacks even this shallow depth and a scene where Matt struggles to describe Stitch’s disability is one of several instances that left me feeling despondent.

It’s surprising, but as I tuned into Shifting Gears, I found myself yearning for more instances where my spirit seemed to falter. This might sound peculiar, but it’s an emotion that the series managed to evoke in me, and that’s something worth noting. Not so long ago, ABC was synonymous with family comedies, setting the industry standard with shows that shared a common core yet had unique perspectives and viewpoints. To be honest, while watching Shifting Gears, I often felt it was like Last Man Standing, only without the courage to openly declare itself as such.

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2025-01-08 17:55