"Champagne Papi" is the distraction Van needs, but it’s not the “Atlanta” we came for.
Although in many senses, this season serves as an epilogue for the show, the lack of progress in Nick and Jess’s relationship hinders the otherwise-enjoyable premiere.
“Atlanta’s” sixth episode, “Teddy Perkins,” is a Frankenstein monste, a masterpiece that will likely become known as “Atlanta”’s best episode.
At its halfway point, “Atlanta: Robbin’ Season” is going nowhere (like Alfred’s hair).
The pilot of “The Crossing” provides a lot of questions, but it fails to define the context in which these questions exist. Moving forward, the series will need to do a lot of world-building and character development for any of its revelations to have some weight.
What ensues in “Helen” are inevitably racist interactions, a much needed wakeup call for Van, and Earn acting like a bigger baby than his apparently invisible daughter (seriously, where is Lottie?).
“Atlanta” is back in all its glorious strangeness, and seems to have been worth the wait. Don’t believe me? Just wait until “Alligator Man,” the episode’s titular character (Katt Williams), proves you wrong.
Even “Atlanta” is not immune to the pitfalls of a second season: It rehashes old material by reframing it in slightly different contexts.
You know you’re famous when a white woman starts crying over the lyrics of your rap song.
The course of true love never did run smooth, but it sure packed a punch.