What Did Critics Think of Suddenly Susan?

When Suddenly Susan premiered on NBC in September 1996, television critics found themselves facing a sitcom that defied easy categorization. The show, starring Brooke Shields as Susan Keane, a San Francisco magazine writer suddenly single after being left at the altar, generated a mixed critical response that ranged from cautious optimism to outright dismissal. The critical reception wasn't just about the show's quality—it reflected broader questions about Shields' transition from model to actress, NBC's Thursday night comedy strategy, and the state of network sitcoms in the late 1990s. The critical landscape was particularly divided on Shields' performance. Many reviewers acknowledged her physical presence and undeniable charisma while questioning her comedic timing and range. The San Francisco Chronicle noted that "Shields brings a certain star quality to the role, but her delivery often feels wooden, as if she's still learning the rhythm of sitcom acting." This sentiment echoed across multiple publications, with critics struggling to reconcile the Brooke Shields they knew from magazine covers with the actress attempting to carry a half-hour comedy. However, not all reviews were negative. Entertainment Weekly offered a more generous assessment, praising Shields' "natural warmth and vulnerability" while acknowledging that the show itself needed work. The review suggested that with the right material and supporting cast, Shields could develop into a competent sitcom lead. This more optimistic view proved prescient, as Shields would indeed improve over the show's four-season run. The supporting cast received more consistent praise, particularly David Strickland as the eccentric photographer Todd, Kathy Griffin as the sharp-tongued reporter Vicki, and Judd Nelson as Susan's boss Jack. Critics frequently noted that these actors often elevated the material, with Strickland's manic energy and Griffin's acerbic delivery providing much-needed comic relief. The New York Times observed that "the supporting players are so strong that they occasionally make you forget the show's central weakness: its lead." The writing drew criticism for its inconsistency. Early episodes relied heavily on Shields' physical comedy and the "fish out of water" aspects of Susan's new single life, but reviewers found the humor often predictable and the situations contrived. The Washington Post described the show as "a collection of familiar sitcom tropes wrapped around a movie star trying to prove she can do more than just look pretty." This critique pointed to a fundamental challenge: the show struggled to find its voice while simultaneously serving as a vehicle for Shields' career reinvention. One aspect that critics consistently praised was the show's production values and San Francisco setting. The magazine office provided a visually interesting backdrop, and location shooting gave the series a distinctive look compared to many studio-bound sitcoms. This attention to visual detail was particularly notable given that many critics expected a more generic, cheaply produced vehicle for the former model. As the show progressed through its first season, critical opinion began to shift. By mid-season, several reviewers noted improvements in both Shields' performance and the writing. The show's willingness to address more substantive issues—including Strickland's character's struggles with depression and Susan's complicated relationship with her ex-fiancé—earned grudging respect from critics who had initially dismissed the series as lightweight fluff. The critical response to Suddenly Susan must be understood within the context of NBC's "Must See TV" Thursday lineup. Critics compared it not just to other new shows but to established hits like Seinfeld, Friends, and Frasier. This comparison often worked against the show, as critics held it to an unfairly high standard. The Chicago Tribune noted that "while Suddenly Susan may not reach the heights of NBC's comedy giants, it provides solid entertainment and shows potential for growth." By the time the first season concluded, the critical consensus had evolved from skepticism to qualified approval. While few critics would call it a masterpiece, many acknowledged that it had found its footing and that Shields had grown more comfortable in the role. The show's renewal for a second season was seen as justified, if not entirely enthusiastic.

The Evolution of Critical Opinion

The trajectory of critical response to Suddenly Susan offers an interesting case study in how television criticism can evolve over time. Initial reviews, written after viewing only a handful of episodes, often missed the show's potential for growth. As critics had more material to assess, many revised their opinions upward, recognizing that the series was finding its voice and that its ensemble was developing genuine chemistry. This evolution was particularly notable in coverage from major publications. The Los Angeles Times, which had initially dismissed the show as "a vanity project for a pretty face," published a follow-up piece midway through the first season acknowledging that "Susan Keane has become a more interesting character, and Shields has grown into the role in ways that seemed unlikely just months ago." This kind of critical course-correction was relatively rare in television criticism of that era, when shows were often judged on limited evidence and those judgments rarely revisited. The show's handling of David Strickland's character also drew increasingly positive attention from critics. What began as a quirky supporting role evolved into a more complex portrayal of mental health issues, with the show addressing Todd's depression in ways that critics found surprisingly nuanced for a network sitcom. The TV Guide praised this development, noting that "Suddenly Susan has found depth in unexpected places, particularly in its treatment of characters struggling with real problems."

Industry Context and Critical Expectations

Understanding the critical response to Suddenly Susan requires considering the television landscape of the late 1990s. Network sitcoms were facing increasing competition from cable, and critics were hungry for innovative, risk-taking comedy. Suddenly Susan, with its relatively conventional setup and movie star lead, didn't fit this mold of what critics wanted to celebrate. The show also faced the challenge of being part of NBC's powerful Thursday night lineup. Critics approached it with the expectation that it should match the quality of established hits, an unfair standard for any new series. This context helps explain why a show that many viewers found perfectly enjoyable received such mixed reviews from professional critics. The critical establishment's skepticism toward Shields herself also colored reviews. Many critics approached the show with the assumption that it was primarily a vehicle for a model trying to become an actress—a "vanity project" in industry parlance. This bias meant that the show had to work harder to earn critical respect, and even positive reviews often contained caveats about Shields' limitations as a performer.

Long-term Critical Legacy

In retrospect, the critical response to Suddenly Susan reveals much about television criticism in the pre-streaming era. The show's gradual improvement and eventual success (it ran for four seasons and 96 episodes) suggest that initial critical reactions, while not entirely wrong, often failed to account for how sitcoms develop over time. The show's handling of David Strickland's suicide in 1999 also became a point of critical reassessment. Reviews of the episodes dealing with his character's death noted the show's respectful and emotionally honest approach, with several critics acknowledging that Suddenly Susan had developed a depth they hadn't initially credited it with possessing. Today, Suddenly Susan is often remembered more for its place in television history—as Brooke Shields' successful transition to sitcom stardom and as the show that helped establish Kathy Griffin's comedy career—than for its critical reception. This shift in how the show is evaluated suggests that time, rather than initial critical response, may be the ultimate judge of a television series' worth.

Frequently Asked Questions

Was Suddenly Susan considered a critical success?

No, Suddenly Susan was not considered a critical success, though opinions were mixed rather than uniformly negative. While it found a solid audience and ran for four seasons, critics were initially skeptical of Brooke Shields' comedic abilities and found the writing inconsistent. However, many reviewers acknowledged that both Shields and the show improved over time, with some noting genuine growth in the performances and writing quality by the end of the first season.

How did critics compare Suddenly Susan to other NBC sitcoms?

Critics generally held Suddenly Susan to a higher standard than other new sitcoms because it aired as part of NBC's powerful "Must See TV" Thursday lineup alongside established hits like Seinfeld, Friends, and Frasier. This comparison often worked against the show, as reviewers expected it to match the quality of these comedy giants. Most critics acknowledged that while Suddenly Susan wasn't in the same league as NBC's top comedies, it provided solid entertainment value and showed potential for improvement.

What aspects of Suddenly Susan did critics consistently praise?

Critics consistently praised the supporting cast, particularly David Strickland as Todd and Kathy Griffin as Vicki. The San Francisco setting and production values also received positive mentions, with reviewers noting that the show looked more polished than many sitcoms of its era. Additionally, as the series progressed, critics began to appreciate its willingness to address more substantive issues, including mental health and complex relationship dynamics, in ways that added depth to what had initially seemed like a conventional sitcom.