Matlock (2024): A Fresh Take on Legal Dramas That Hardly Feels American
That was my constant thought while watching Matlock. I’m not exaggerating—I googled the production team and background often because the tone, pacing, and humor differed from the usual American TV formula. As it turns out, Matlock is indeed an American show that manages to stay refreshingly distant from the usual playbook. And that, in itself, is what I loved most about it.
To my surprise, Matlock somehow captures a distinctly British sense of humour, not through slapstick or obvious punchlines, but through carefully crafted dialogue filled with irony, self-deprecation, and biting wordplay. It’s subtle, sharp, and immensely satisfying—right up my alley. In fact, I couldn’t even find this level of verbal wit and layered humour in recent British dramas like Industry (2020).
While legal dramas often rely on rapid-fire dialogue, last-minute reversals, and high-stakes gambles to suggest characters’ brilliance, Matlock takes a different, more thoughtful path. It doesn’t try to overwhelm you with pretentious cleverness, nor does it cram in twists just for the episode to end. Instead, it lets viewers walk through the logic, often showing scenes of characters thinking and brainstorming legal angles in meetings. And sure, the cases do come with their fair share of twists, but the show’s real surprises lie in the quiet brilliance of its storytelling—in well-planted turns and moments of unexpected cleverness.
What’s even more impressive is its layered narrative structure. The primary arc follows Matlock infiltrating a law firm with a hidden personal agenda. The secondary line consists of standalone legal cases in each episode. And then there’s a third layer—her gradual rediscovery of purpose, connection, and friendship. The show explores how someone reenters life’s fast lane after stepping away from it, creating a rich interplay of professional intrigue and personal rediscovery. We, as viewers, watched the characters’ growth and struggles.
Matlock seldom relies on flashy aesthetics or trendy gimmicks. It’s driven mainly through story, performance, and dialogue. Kathy Bates is as sharp as ever, balancing the character’s depth and wit. Skye P. Marshall shines in her own right, providing poise and spark as one of the show’s anchors. Among the supporting cast, Jason Ritter portrayed a magnetic husband but a misbehaved trust-fund kid. At the same time, Sam Anderson delivered a brilliant performance as a loyal, supportive husband who remains his own person. The characters are thoughtfully written, and their profiles are designed cleverly to steer clear of the typical American TV trap of “everyone sleeping with everyone.”
All in all, Matlock is a rare gem—a legal drama that doesn’t shout, doesn’t rush, and yet captivates at every turn. It’s like a cup of strong British tea: not meant to dazzle you with the first sip, but it builds and leaves an impression. I am really looking forward to season two.
