In season 4, Frankie (Hannah Alligood) has moved back home, so it's a full house again with single parent/on-screen character Sam (Pamela Adlon) and little girls, Max (Mikey Madison) and Duke (Olivia Edward). "Phyl" (Celia Imrie) is as yet driving her own little girl, Sam, insane. It's the blustery season in L.A.— extremely stormy.
After two straight Emmy gestures, Adlon got hurdle for season 3, the best one of all. Possibly voters at last acknowledged "Better Things" was about them, or a lot about them. … still is. The 4th remains that firmly watched picture of a little world, kept to certain L.A. Postal divisions overwhelmed by "the business," where a feeling of disquiet, neurosis, and "tsoris" stalks each word and activity. Sam is turning 50, so twofold that sense. That it's coming down constantly makes a difference.
"Things" is still about how the little stuff is actually the large stuff, and how generational clashes play out much as they have since mothers have had girls. In the mean time, the parody, likewise power, is as yet refracted through that "business," or as somebody calls attention to Sam, "It's 'Logan's Run' here," to which she answers, "No doubt, and we're the dead individuals."
Still great? Obviously — beside a bothering sense that Sam and "Things" are remaining set up. Latency is a piece of the joke with the exception of that we think we definitely know the punchline. Network programs are about excursions too yet through the early scenes, this one appears as though it might be stuck in impartial.