Matt Williams’s family comedy makes room for money troubles and people who do not always deserve the last word. We recommend Roseanne for its earned warmth, with a reservation about the relentless sharp remarks.
Fi1m perspective
In Roseanne (1988), money troubles remain inconvenient and nobody has to become gracious before we are allowed to like them. Williams created a comedy about a working-class Illinois family whose financial difficulties matter to the writing. The programme is funny and prickly, and we recommend it for the warmth it earns without excusing every unpleasant remark. These people can behave badly without the writing insisting that they secretly mean well.
Williams’s stated preference is for characters who think and behave amusingly, rather than for jokes that could be handed to anyone. His writing draws on blue-collar Midwestern life, and Roseanne gives that experience a useful purpose: financial pressure affects how this family gets along. We felt for them because the programme took their money worries seriously. Their bad manners do not make those worries any less pressing.
He joined The Cosby Show (1984) as a writer and producer before creating Roseanne, but his place in the latter needs care. Williams left after 13 episodes, so a judgement of the whole programme cannot simply be treated as a judgement of his writing. Producers Marcy Carsey and Tom Werner were collaborators on both programmes. The creator credit matters, but it does not make every successful performance or every wearing exchange his personal achievement.
With Carmen Finestra and David McFadzean, Williams formed Wind Dancer Productions and went on to co-create and executive produce Home Improvement (1991). The family ensemble remained central to his television work. He later directed Where the Heart Is (2000) and produced What Women Want (2000), taking on different responsibilities in feature films.
The weakness in Roseanne is worth keeping in view: constant readiness to wound can make an evening with this family tiring. There is a point when another sharp reply tells us little that the previous one did not. Sara Gilbert’s performance is a particular reason to stay, though the appeal is not confined to her. Start with Roseanne for Williams’s contribution to family comedy, and allow a little patience for relatives who rarely leave a remark unanswered.
Biography
Matt Williams is an American television writer, producer and creator. He created the sitcom Roseanne (1988) and served as a writer and producer on The Cosby Show (1984) and its spin-off A Different World (1987). He co-created and executive produced Home Improvement (1991) with partners at Wind Dancer Productions.
Williams graduated from the University of Evansville and did postgraduate work in theatre at the University of New Orleans. He began his career as an actor before moving into writing, including the play Between Daylight and Boonville. His film credits include producing What Women Want (2000) and Bernie (2012), and directing and producing Where the Heart Is (2000). He has received a Peabody Award and Emmy nominations for his television writing.
Williams is an adjunct associate professor at Columbia University School of the Arts. He is married to actress Angelina Fiordellisi.
