The Riches Hurts so Good
The Riches Hurts so Good by Roxanne McDonald
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Like a vicious drinking binge and next day’s hangover combined, “The Riches” brings us the deepest of delightful depravity. |
The Malloys turned Riches are the Gatsbys on smack. The father is a self-proclaimed attorney who has good news and bad news—good news: he got a job. Bad news: he got a job. The mother is an ex-con (thanks to taking the rap for Dad) who is a stay-at-home dope slamming mess. And the kids are instant ACAs. Even the neighbor is oddly depraved, codependent and clueless as she is thus far.
Bring on the angst. If you have the composition for it. That is, if you liked, loved, or were just engrossed in the HBO series, Carnivale, by executive producers Dawn
Prestwich and Nicole Yorkin, now producing “The Riches,” you will be hooked like a looky-loo who cannot get enough of the grotesque. If you can handle the similar gut-wrenching involvement with the [emotionally] macabre, you will program your TiVo to catch every minute of every episode.
The critics agree, as the continuing promos on FX rightfully boast, that “The Riches” is the best new television series. And the numbers, if they hold as strong next Monday (at ten p.m.), also concur: “The Riches” debut episode, “Bring on the Lie,” according to Reuters and Nielsen Media Research, “averaged 3.8 million total viewers and 2.5 million adults 18-49 in its debut at 10 p.m.”
It may never be another “Nip/Tuck”, but FX networks has done it again, bringing us mature plots, gross and engrossing characters, and stellar deliveries by the way of Minnie Driver, Eddie Izzard, and company.
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