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Its branched-off farce becomes the star’s creative adversary, chopping up his comedic flow. At his sharpest, Fielder’s Nathan makes a viewer want to curl up in a corner even as they’re laughing. But the second season’s broader excursions sprawl beyond his control, with jokes dragging far beyond the zone of discomfort into blank boredom.
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This is arguably the point of it all — Fielder trying to set up the most extreme contrast between the task at hand and what his fictionalized self really cares about — but comedically, it doesn’t quite mesh. The season’s biggest laughs rarely have anything to do with his struggle for connection. And at the same time, the ridiculousness of how he tries to address the crash problem undercuts any attempt to play the personal material — including a discussion of whether Nathan is on the autism spectrum — even vaguely seriously.
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