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continues to hit its tsk-tsk-inducing stride as a fictionalized Mondo scrapbook of American controversy.

The three protagonists (portrayed by actor/writer/producer/creators Rob Mc Elhenney, Glenn Howerton, and Charlie Day), and their perpetually marginalized female cohort, Dee (Kaitlin Olson), are neighborhood friends and co-owners of the sickly copper-green dive bar Paddy's Pub; we look on with cringe-ready smiles as they stumble ass-backward into issues like homelessness, gun control, cocaine abuse, and child molestation.

The now cult-iconic musical season finale “The Nightman Cometh” also put the running gag of Charlie's (Day) muddled, stalkerish affection for a local waitress (Mary Elizabeth Ellis) in self-absorbedly ramshackle terms. (We get the sense that if any member of the Paddy's Pub crew ever went “straight,” the comic house of cards would collapse; the beauty of the grostquerie is such because there are no foils, and everyone on screen aside from occasional bystanders views the reckless activity as normal and healthy.) As the big plans of “The Gang Buys a Boat” illustrate, the roles within the quintet are as stratified as ever, which promotes predictability (if I told you what becomes of their dilapidated vessel it would hardly be a spoiler).

And crisscrossing emotions in season five toward the waitress's engagement formed possibly the most satisfying plot arc the show had ever achieved, particularly when the diversion of the D. But it also allows for nuanced, pixilated characterizations that would bog high-concept sitcoms down.

Dee's reductive bitchiness and catty nature were problematic in earlier seasons, but she's been steadily molded into a token of womanhood so singularly repugnant that we have to dismiss all suspicions of phallus-centricism.

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