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Phoebe Waller-Bridge is a revelation as the title character: a sardonic, impulsive young woman navigating life in London, bluntly narrating her exploits (and sexploits) to the camera while quietly dealing with profound pain.Conclusively proving that laugh-out-loud comedy doesn't have to equal low emotional stakes, season three of FX's anti-rom-com was a triumphant followup to its groundbreaking sophomore season.

The power struggle between Bob Odenkirk's decent-yet-slippery Jimmy, his stern brother Chuck (Michael Mc Kean) and his shrewd, conflicted girlfriend Kim (Rhea Seehorn) was gripping, and though Jonathan Banks's Mike felt more than ever like he was in a different show, the two halves meshed thanks to exemplary writing and production. But the most admirable and unusual thing about the show, which became even more evident in Season 2, is its ability to not only depict sex well, but to tell stories through sex. Martin's novels for the first time, showrunners David Benioff and D. Weiss delivered a spectacular run of episodes that were less about buildup and more about emotional payoff from prior seasons.

With Claire and Jamie no longer newlyweds, and both of them going through dramatic changes in their own lives, the role of sex in their relationship changed, with Claire experiencing her first pregnancy and Jamie slowly recovering from rape, an issue explored with a nuance that's rare in television. The tragedy of Hodor's death, the evolution of Sansa into a chilly, ruthless power player, the breathtaking cinematography of "Battle of the Bastards"…

Whishaw's nuanced performance—he's a long way from Bond's Q here—anchors a sometimes slow but consistently gripping spy drama.

are no longer just out of college, and forcing them to develop some self-awareness made for one of the show's most satisfying seasons yet.

While the constituent parts of felt familiar, the show's execution was fresh and philosophically sophisticated, with Thandie Newton's fiery Maeve emerging as a standout as she became conscious of the fact that she was a machine on a programmed loop.

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