“One Mississippi” premiered its first season on Amazon Prime on September 9 to strong reviews. As of this writing it has a 74 on MetaCritic and 88% freshness on Rotten Tomatoes. It’s a semi-autobiographical series from comedian Tig Notaro and co-creator Diablo Cody (“Juno,” “United States of Tara”). In recent years Emmy voters have embraced comedians who creatively take the reins, including Tina Fey (“30 Rock”), Louis C.K. (“Louie”), Lena Dunham (“Girls”) and most recently Aziz Ansari, nominated for four Emmys this year for his Netflix series “Master of None.” Will Notaro be next?
Notaro is already an Emmy nominee this year: Best Variety Special Writing for her HBO stand-up special “Boyish Girl Interrupted.” Will she add to that total next year? Check out some of the reviews below, and click here to discuss all things TV in our forums:
Maureen Ryan (Variety): “There are one or two slightly jarring notes, like a girlfriend who sometimes feels like a collection of Los Angeles stereotypes, but for the most part, the show does a fantastic job of knitting together Tig’s various realities: as a cancer survivor who has other health problems; and as a daughter grieving the loss of a parent while, at times, unexpectedly enjoying aspects of her trip down memory lane.”
Ellen Gray (Philadelphia Enquirer): “If you can, though, save a half hour (or more) for Friday’s Amazon release of the first season of ‘One Mississippi’ … So far, so hilarious. Notaro, who survived a version of these events several years ago, has added tragedy and time to make the kind of comedy that feels both fresh and familiar. She’s as appealing, and as low-key, an actress as she is a comedian.”
James Poniewozik (New York Times): “Many of TV’s best, most ambitious recent series — ‘Transparent,’ ‘Getting On,’ the new ‘Atlanta’ — are comedies that share the themes and stakes of drama. That’s especially true of ‘One Mississippi,’ a tender, occasionally funny, often moving entertainment about the grieving process.”
Alan Sepinwall (Hitfix): “As with Notaro’s deadpan affect, the show seems to be holding itself in reserve and refusing to engage, yet the impact — on both the serious and silly sides — ultimately lands just as sharply as one of the punchlines from Notaro’s act. It’s all easygoing until it’s anything but.”
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