The season finale of Looking culminates in a single, extended take, perhaps three minutes in all, at the end of a lovers' quarrel. From the confines of an elevator, the camera follows Patrick (Jonathan Groff) and Kevin (Russell Tovey) down a concrete corridor and into the fluorescent glare of a parking garage, pausing and picking up again as the argument tumbles toward its crescendo. The scene, near the end of a narrative arc in which HBO's unassuming dramedy emerged as one of the best shows on television, is a fitting vision of the halting, awkward paths we follow into adulthood—regret-ridden, perhaps, but also, as Patrick remarks earlier, "oddly liberat[ing]." Despite the tight quarters, it breathes, in part because the episode suggests, aesthetically and thematically, the relief that comes with knowing it won't all work out as expected. Indeed, with "Looking for Home," Looking sticks the landing on a brilliant season by dredging up its every disappointment, its every raw detail, recalling the line from Joan Didion's "Goodbye to All That": "That was the year, my 28th, when I was discovering that not all of the promises would be kept, that some things are in fact irrevocable and that it had counted after all, every evasion and every procrastination, every word, all of it."