Louis C.K.'s departure from Better Things does nothing to diminish the show's quality, and instead it returns as witty, beautiful, and impactful as ever. The show's take on motherhood is head-and-shoulders above other American programs in terms of authenticity, and Pamela Adlon's roman-a-clef of Sam Fox still makes for one of the small-screen's most complex characters. At one hand tender, while undeniably tough-as-nails, Adlon's female voice is a singular one, and she's only gotten better as a filmmaker. Using really polished visual tactics (including one that intercuts scenes from the transformation sequence in An American Werewolf in London), the show presents its theme on aging and melancholy in very sublime ways, and it never feels like it's preaching to the choir. This third season almost didn't happen, but we can be relieved that even after one of the show's co-creators exited in disgrace, it's chief voice only grew more omniscient.