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Barry Berkman is a former marine who left his job to work as a hit man with low rent. Barry killed many people at his life, one day someone came to him and asked him to kill a man in Los Angeles. He prepared his things and moved to Los Angeles, what he does not suppose is that he may be captured by theaters of L.A.
Over the course of the season, Barry amounts to something, locating a hit man's shared humanity not in his competence, his guilt, or his remorse, but in his delusional belief that he's a decent person.
The series likely wouldn't have worked with one-hour episodes. But in a half-hour's time, Barry maximizes its punching power while knowing when and how to drop in a sight gag.
You root for him more fiercely than you've ever rooted for a difficult TV antihero, because what he wants is so representative of all anybody wants, in the end.
The show never strays from its down-to-earth storytelling. If it's funny because it's true (or feels true, in this case), then that same principle works for the darker, laugh-less moments.
Barry is a series where Bill Hader confirms he's much more than a mugging sketch comic. He's a compelling actor with a unique voice who's created one of the best new shows of the year.