“The Atlanta of FX is like a box of chocolates,” he wrote, considering the whitest guide imaginable for an Atlanta of FX review. "You never know what you're going to find."
Going back to the misbehaving comedian's namesake show we won't talk about anymore, the most intriguing part of FX's brand of comedy has been the half-hour shows with no discernible format or singular tone. Your average episode of Pamela Adlon's Better Things could sometimes be three serious panels or one silly cohesive story, it could focus on Adlon's Sam or any of her daughters, it could make you laugh or cry. Reservation Dogs is currently in the midst of a flawless second season of episodes ranging from hilarious road trip installments to unique musings on grief.
Creator: Donald Glover
Stars: Donald Glover, Brian Tyree Henry, LaKeith Stanfield
None of these FX half-hours has exploited the possibilities of this jack-in-the-box flexibility quite as effectively as Atlanta at its peak (although, once again, Reservation Dogs is coming very close), and no Atlanta season has tapped into its potential for the eclecticism with such aggressiveness. like the third. For more than 10 episodes last spring, you went crazy for Atlanta, she wrote, considering the most technologically antiquated description of watching television imaginable, and you didn't know what country the main characters were going to be in. You didn't know if the main characters the characters were going to be in the episode.
Always a challenging show, in the best way possible, Atlanta's third season was even more challenging, and even if I thought the season's aggressive tactics paid off: "Sinterklaas is coming to town," "The Old Man and the Tree ", " Cancer Attack” and “Tarrare” are all icy classics, though they are among the season's most “traditional” episodes; it's easy to see why some viewers found it off-putting and why Emmy voters didn't know very well. well how to handle a show that was previously a favorite I had spent a long time waiting for Atlanta to come back, and figuring out what Atlanta really was if it wasn't a show about Earn, Alfred, Darius and Van was a tall order.
The wait has been a lot less long for Atlanta's fourth and final season, which arrives on September 15, and the best service a critic can provide is to make sure fans know the series is back, and then walk away. Of course, I will do more than that.
I can quickly tell that the gang is back in Georgia, a fact emphasized by the title of the premiere, "The Most Atlanta." The three episodes sent out to critics feature a variety of main characters, though given that the show improved visibility for all of its stars, it's not surprising that LaKeith Stansfield's Darius is used sparingly and Zazie Beetz's Van appears only in the premiere. . That doesn't mean they won't return or there won't be standalone episodes later in the season, nor does it mean the grab bag approach has completely disappeared.
“The Most Atlanta” was written by Stephen Glover and directed by Hiro Murai and is absolutely top-tier Atlanta, the rare recent episode where all four leads have full storylines. It's a slice of existential nonsense with a comedic underpinning in which Alfred mourns a favorite underground rapper, Darius tries to return a deep fryer, and Earn and Van visit a phone store in Atlantic Station. It has elements of fun horror, shades of Jean-Paul Sartre (I called it "No Exes" in my notes, which will make sense later), and it's a better Twilight Zone episode than anything in the recent Twilight Zone reboot. This being Atlanta, much of the plot is driven by elements of racial misunderstanding and, as has been the case recently, an intrusive "Karen" serves as villain and catalyst.
The second episode, "The Homeliest Little Horse," written by Ibra Ake and Angela Barnes, is also Karen-driven, but it's also the most Earn-driven episode in a while. Glover received a quirky lead actor Emmy nomination this year for a season in which he was barely a supporting actor, but this is a top-tier showcase for his dramatic depth. Through the exploration of Earn's experiences in therapy, the episode feels like an interrogation of the "Karen" phenomenon, both about the process of scapegoating and a technique of evasion. It's some of Glover's best acting work to date and I appreciated that the installment seemingly answers some questions that go back to the show's origins and then makes you question what you think you've learned.
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