Critic Reviews

It's also, judging by the pilot, flawlessly art-directed, full of well-chosen period music and--for a drama about a country searching for its bearings in its bicentennial year--a lot of fun.

This series about suburban angst circa 1976 exhibits rare depth for the procedural-packed web, and includes plenty of nifty touches, from the pop-song score and "Boogie Nights" fashions to the first-rate cast.

It's rather a bold, retro step for CBS to attempt this kind of show in the era of reality television and domestic fights that appear to be actual and spontaneous rather than cooked up by a writer. But the airwaves are so choked with reality that a return to fantasy seems strangely refreshing and, ironically, even more realistic.

Once you get beyond the show’s homages, both to 1970s style and “Desperate Housewives,” this proves to be a groovy little summer soap opera.

The relative tameness of Swingtown makes the unease it provokes more inviting: You tune in to see the bodies and stick around for the minds.

The show itself, sad to say, is not done well enough to work. But it's not dull, and it's worth watching if only to try to figure out what CBS could have been thinking--beyond, "No one's going to confuse this with NCIS."

Swingtown has ’70s mystique, but not much mystery.

Swingtown is far from a great show, but until it feels obligated to give killjoy lip service to the downside of sexual freedom--note the transformation on Molly Parker’s postcoital face at the end of the pilot--here’s hoping it has its chance to be rompish and fun and a pain in the side of standards and practices.

Since Swingtown isn’t even peekaboo, much less dirty, I wish I could say that it’s played for laughs. But I don’t know what it’s played for.

Swingtown can't decide whether the '70s were transformative or deformative; there's a distinct ironic edge, applied mostly through the use of music.... But that edge isn't nearly sharp or funny enough (unlike "Weeds"), which tends to muddle the point of view.