Pamela Adlon's comedy wraps up its five-season run with big family moments, a trip to London, lots of cooking and generally all of the things that make the show so beloved.
has been a gift, a perspective of probing personal specificity and detailed universality, littered with moments and insights that pop up in the most unexpected of everyday interactions. This last slate of episodes representsat its best, with Adlon offering one final refinement on how to see her world and ours — complete with laughter and almost guaranteed tears — before going off to the next step in her storytelling journey.is a strange exercise.
It’s a general restlessness that will feel recognizable for viewers who have spent the last two years in various forms of quarantine, though it’s interesting that Adlon and her small cadre of writers made the decision not to set thisseason in a COVID-19 world. You can sense the real world lurking just off-screen through stylistic modifications like an increased number of FaceTime conversations or scenes shot either on phones or on small digital cameras presumably to minimize crew size.
A 23andMe-style genetic test at the start of the season — one that mirrors Adlon’s own appearance on PBS’instigates some reflection from Sam, Marion and especially Phyllis, leading to a multi-episode arc in London, which continues the show’s great success with out-of-comfort-zone trips to locations like British Columbia and New Orleans.things. Sam’s love of art and cooking remain front and center.
The show’s missteps are so rare that the occasional episode that feels perhaps a hair too sitcom-y stands out; the eighth episode, featuring guest star Casey Wilson and a heightened confrontation on an airplane — one that nods in the direction of our COVID-19 realities without making it literal — stands out not for being “bad,” but just “conventional.” It’s one episode out of 10 and it’s a good episode of TV, just not a greatepisodes, and the finale is an all-timer.
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