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Well-played as the characters remain, we care less about them, not more. For Big Love, that's big trouble.
The performances by the three lead actresses (and by Amanda Seyfried as Paxton and Tripplehorn's eldest daughter) are so strong, and the nuances of life in such a complicated relationship so endlessly fascinating.
Even when it's not working on all levels, Big Love is usually a joy to just look at.
It's free ballin'. But it's balanced, too, by time lavished on the women's concerns at home. (It's all those children, thankfully, whose perspectives we're spared).
Against the odds, this series looks to be evolving into something unexpected: an ensemble hour with true provocative flair.
Seems poised to dig deeper than ever into the characters' choices, or lack thereof.
Season 3 is so sharp, so tautly executed and so entertaining that Big Love has finally, after two hit-and-miss seasons, proven itself worthy of the network's self-important slogan, "It's not TV. It's HBO."
If Big Love took a few jabs at polygamy during its first two seasons, it delivers the knockout blow in this, its darkest year yet.
The third season is usually the make-or-break year for television shows, wherein the writers either run out of ideas and wind up repeating themselves or prove that their original concept has legs. For Big Love it was definitely the latter.
More happens on this show in one episode than in an entire season on other shows.
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