Poignant, hilarious, loaded with a super-sharp script … the second outing for this midlife comedy is even more fantastic than the first

Middle age is a brutal time of life. As those of us mired in it know, it’s perfectly suited to being mined for laughs (the unhinged type of laughs that are bound up with tears, crisis, and, inevitably, death.) But still too few comedy series take this pressured segment of time and squeeze it for all its acidic worth. Enter middle-aged joke machine Tina Fey, who with The Four Seasons – her zippy 2020s update of the 1980s film of the same name, co-created and written with Tracey Wigfield and Lang Fisher – has triumphed once again. The second season of her midlife comedy drama is even more perspicacious, poignant and hilarious than the first.

Again there are four fancy holidays split across the seasons, each one given two gag-packed episodes – a rigid but neat structural device that allows the big moments to happen off-screen. Meanwhile we get the aftermath soundtracked by an avalanche of Vivaldi and bracing jokes about sad lonely donkeys, secret vapes mistaken for thumb drives, and the tragicomedy of being an angry, unravelling fiftysomething man in a T-shirt printed with “Keep Calm and Fuhgeddaboutit”.

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Humankind, as TS Eliot’s bird said in Burnt Norton, cannot bear too much reality. That feels especially salient now, when we have more reality arriving in a day than we used to have to process in a year.

At the same time, unless you go the whole high-fantasy hog and offer 100% escapism via immersion in a completely alternative world, it is becoming trickier for your audiences to believe in you at all. Programmes set in the real world have to acknowledge the new way of it. Pure, frothy comedy just became that much harder to pull off – and it was never easy. But walking the line between too much reality and not enough is almost as difficult.