With his first HBO special, the writer-comedian disarmingly balances satire, straight comedy, and old-fashioned pathos.
The show’s fourth season is a mad blend of pop-cultural references and meta-gags, some of which land and some of which don’t.
As the series progresses toward its climax, its frequent tonal shifts distract from the substance of the story.
The series displays some of the inevitable wear of a concept that has already gotten more mileage than anticipated.
The series manages to make its 10 half-hour episodes feel much longer than they actually are.
The series proves that it’s still got plenty of life left in it, even after a decade in the deep freeze.
Despite some improvements that streamline the storytelling, the series is still trying to do a little too much all at once.
The series is buoyed by a sharp script but fails to develop a real sense of momentum.
The show’s second season is structured less around storylines than around feelings.
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As a locked-room mystery set 30,000 feet in the air, the series does a decent job of keeping you guessing.
The series doesn’t extrapolate on everything it has to say, but it nevertheless remains an intoxicating shot of imagination.
The show’s second season exudes even more of the breezy freshness of a back-to-basics TV series than the first.
Thrilling and cheesy in equal measure, the series breezes toward its finish as a particularly well-oiled drama.
The series is far better when it focuses on its characters’ shenanigans than on social commentary.
The show’s most powerful moments come from its small cultural specificities.
The show’s temporal structure deftly elucidates the devastating legacy of the cult at its center.
The initial narrative groundwork that’s laid out is intriguing, but rumblings of societal discontent receive mere lip service.
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The show’s true resonance lies in its exploration of the Chosen One trope.
The series is formally playful, deftly balancing its absurdity with healthy doses of sincerity.