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The rapid-fire, acid-tongued dialogue hasn’t changed, nor has the almost unfathomable ratio of zingers per minute. The show’s premise following Meyer as a bumbling, social-climbing lightweight of a politician, and it has evolved its storyline to the point where Meyer has stumbled her way into occupancy of the Oval Office as the President.
Veep can still contribute something of value to a pop-culture landscape in which noxious reality has finally out-crazied fictional satire: A much, much better class of insults.
Every year, it has seemed like Veep wouldn't be able to top itself, but the innovative and unrelenting comedy just kept doing it anyway, every year, without fail.
Bless Veep... for offering an escapist respite from the daily skirmishes of the campaign, while heaping pitiless, justified scorn on the people who are content to let our broken system stay broken.
What Veep nails - and what never gets dated - is the raging hostility at the core of it all. So here's to four more years of President Selina: Make America hateful again.
The familiar cast of gargoyles have retained an obsession with the rectal that reeks of the 18th century, but also of the production line: jokes manufactured with machine-tooled efficiency.
While Veep may have been on firmer ground when Selina was being abused by power rather than abusing it, Louis-Dreyfus still glows with brazen contempt for political or even polite convention and is almost endearing when Selena invariably stumbles.