Tim Allen's latest sitcom, Shifting Gears, kicked off its second season on ABC this week, pulling in viewers with a heavy dose of throwback cameos that feel both comforting and a tad calculated. Starring alongside Kat Dennings as the estranged daughter Riley, Allen reprises his role as the gruff widower Matt, running a classic car restoration shop. But it's the guest spots that stole the spotlight in the October 1 premiere—Patricia Richardson from Home Improvement and Nancy Travis from Last Man Standing both showed up, blurring the lines between Allen's past hits and this new venture.
Indeed, the episode leaned hard into nostalgia. Richardson, who played Allen's wife Jill for eight seasons back in the '90s, appeared as a grief support group member, alongside other Home Improvement alums like Richard Karn and Debbe Dunning. Meanwhile, Travis's Charlotte character delivers a zinger, jokingly calling Matt a "slut" amid his budding romance with Jenna Elfman's Eve. It's all tied to Matt grappling with moving on after losing his wife, a plot thread that echoes the heartfelt family dynamics of Allen's earlier shows. Dennings holds her own as the sharp-tongued Riley, navigating teen grandkids and shop drama, but the real draw seems to be these crossovers.
However, not everything's seamless. The shared universe nod to Last Man Standing—hinted at in prior episodes—feels forced here, as if producers are mining Allen's catalog for easy sentiment. Season 2 bumps up to more episodes than the first's 13, with ABC betting on the formula. Seann William Scott joins as a regular, adding some fresh energy to the multicam setup, while recurring roles like Elfman's keep the romantic tension simmering.
Moreover, the premiere sets up Matt's big decision on love, weaving in these familiar faces to push him forward. It's classic Allen territory: tools, family squabbles, and a wink at conservative values. Yet, one wonders if these reunions signal a creative rut or just smart marketing in a streaming-saturated world.
As Shifting Gears accelerates into its sophomore run, it leaves us pondering whether Allen's brand of blue-collar humor still shifts the cultural gears or just idles in place.