Reviews

Hidden Hills

Stephen Tropiano

Even more problematic is the moment when it's time for the episode's moral message, delivered with the subtlety of a bumper sticker.


Hidden Hills

Airtime: Tuesdays, 9:30pm EST
Cast: Justin Louis, Paula Marshall, Dondre T. Whitfield, Tamara Taylor, Kristin Bauer
Display Artist: Susanne Daniels, Peter Segal, Ric Swartzlander
Network: NBC
Creator: Ric Swartzlander
Amazon

Welcome to Hidden Hills (population 12,000), a community in western Los Angeles and setting for NBC's new situation comedy about marriage, sex, and other hazards of suburban living. The series focuses on two 30-something couples, Doug Barber (Justin Louis), who doubles as the show's narrator, his wife Janine (Paula Marshall), and their close friends and neighbors, Zack and Sarah Timmerman (Dondre T. Whitfield and Tamara Taylor). In between going to work and chauffeuring the kids back and forth from school, both couples are trying to keep the passion fires burning. Zack and Sarah have no problem finding time alone. Doug is not so lucky: he's feeling neglected by Janine, who is either on the telephone or too tired to fool around.

The network airwaves are currently cluttered with domestic sitcoms (The World According to Jim, My Wife and Kids, 8 Simple Rules for Dating My Teenage Daughter, etc.), so Hidden Hills tries to put a new spin on the genre by shifting the focus from the kids and the challenges of child-rearing to something a little spicier: Mommy and Daddy's sex life (or, in the case of the Barbers, the lack of one). And, in an obvious attempt to capitalize on the popularity of adult-oriented cable comedies like The Mind of the Married Man, which this show closely resembles, Hills tries to be edgy and provocative by tackling the subject of sex from a male point of view.

But don't expect any of the frank sex talk, nudity, or quality writing that's become the trademark of HBO and Showtime's original series like Sex and the City or Married Man. After all, this is NBC. So while creators Peter Segal and Ric Swartzlander may think they're pushing the network TV envelope, what they've penned is another uninspired, sophomoric comedy that has little to offer viewers in the way of laughs, let alone insights into male-female relationships.

The series pilot opens with Doug sitting in front of the television watching a news report about a problem plaguing many couples with children: lack of interest in sex. It's been over five weeks since Doug and Janine have been intimate. As our Doug explains, "Balancing family and career is tough enough, but add a second career and any chance of romance is pretty much screwed." His life becomes even more complicated when he meets his new assistant coach, Belinda Slypich (Kristin Bauer), who, according to the buzz around town, has her own porn website. "Porn Mom" sends a horny Doug's imagination into overdrive. He begins to have sexual fantasies (but only the PG-13 kind) about Belinda, whom he imagines squeezing a wet sponge over her tightly fitted blouse and sitting in a chair while water rains down on her à la Flashdance.

Doug admits his fantasies are not exactly original. No argument here. Like their male characters, series creators Segal and Swartzlander, are clearly trapped in a perpetual state of adolescence. What age group does this series taregt? The comedic situations are unoriginal (i.e., Doug and his pals get caught ogling Porn Mom's website), and the visual gags and physical humor are better suited for some high school teen comedy than a so-called adult primetime sitcom (Doug flings dog poop into the neighbor's yard, Doug gets hit in the balls by a softball).

Even more problematic is the moment when it's time for the episode's moral message, delivered with the subtlety of a bumper sticker. Though the men have acted like total buffoons, their wives are the recipients of this week's big lesson. When a nameless mom overhears Janine, Sarah, and a third woman express their disapproval of Belinda and her porn site, she chastises them for judging Porn Mom without really "knowing" her. Janine then realizes that it's not right to "judge a book by its cover" (better write that one down, folks), so she allows Porn Mom to drive their kids home from the game.

Perhaps as a way of compensating for their sheer lack of originality, Segal and Swartzlander keep the one-camera comedy (as opposed to a three-camera in-studio series like Will & Grace and Frasier) moving. There's lots of fast camerawork and cutting, as well as Doug's ongoing narration. But the quick pace only provides the writers with more screen time to fill with more bad jokes, which add up to one dull half-hour. If ever a show needed a laugh track, it's this one.

As for the cast, they are all doing the best the can with the material, though the talented Marshall, a veteran of several failed series (Snoops, The Steven Weber Show), appears, like her character, somewhat distracted -- like she really isn't listening to what co-star Louis is saying. Perhaps she knows the inevitable fate this turkey is bound to suffer and is contemplating her next move. My only hope is that a "For Sale" sign goes up quick and she gets out Hidden Hills as soon as possible.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

Keep reading... Show less
Culture

Net Neutrality and the Music Ecosystem: Defending the Last Mile

Still from Whiplash (2014) (Photo by Daniel McFadden - © Courtesy of Sundance Institute) (IMDB)

"...when the history books get written about this era, they'll show that the music community recognized the potential impacts and were strong leaders." An interview with Kevin Erickson of Future of Music Coalition.

Last week, the musician Phil Elverum, a.k.a. Mount Eerie, celebrated the fact that his album A Crow Looked at Me had been ranked #3 on the New York Times' Best of 2017 list. You might expect that high praise from the prestigious newspaper would result in a significant spike in album sales. In a tweet, Elverum divulged that since making the list, he'd sold…six. Six copies.

Keep reading... Show less

Under the lens of cultural and historical context, as well as understanding the reflective nature of popular culture, it's hard not to read this film as a cautionary tale about the limitations of isolationism.

I recently spoke to a class full of students about Plato's "Allegory of the Cave". Actually, I mentioned Plato's "Allegory of the Cave" by prefacing that I understood the likelihood that no one had read it. Fortunately, two students had, which brought mild temporary relief. In an effort to close the gap of understanding (perhaps more a canyon or uncanny valley) I made the popular quick comparison between Plato's often cited work and the Wachowski siblings' cinema spectacle, The Matrix. What I didn't anticipate in that moment was complete and utter dissociation observable in collective wide-eyed stares. Example by comparison lost. Not a single student in a class of undergraduates had partaken of The Matrix in all its Dystopic future shock and CGI kung fu technobabble philosophy. My muted response in that moment: Whoa!

Keep reading... Show less
Books

'The Art of Confession' Ties Together Threads of Performance

Allen Ginsberg and Robert Lowell at St. Mark's Church in New York City, 23 February 1977

Scholar Christopher Grobe crafts a series of individually satisfying case studies, then shows the strong threads between confessional poetry, performance art, and reality television, with stops along the way.

Tracing a thread from Robert Lowell to reality TV seems like an ominous task, and it is one that Christopher Grobe tackles by laying out several intertwining threads. The history of an idea, like confession, is only linear when we want to create a sensible structure, the "one damn thing after the next" that is the standing critique of creating historical accounts. The organization Grobe employs helps sensemaking.

Keep reading... Show less
9
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image