Despite the aforementioned lack of jokes, the show is never too intense, with the eight half-hour installments flowing by breezily. The characters are entertaining and worth spending time with, and the miniseries boasts well-written banter, immersive settings, and, best of all, Antonio Vivaldi’s eponymous violin concertos acting as a comforting companion throughout this journey.

Part White Lotus without fatalities, part Gilmore Girls on HRT or Golden Girls with men, The Four Seasons is Fey and her writing and acting ensembles on fine form, everything informed by her rigorous intelligence, wit and experience.

Though hardly revolutionary, The Four Seasons is an entertaining watch enlivened by its ace cast.

It's a hit-and-miss proposition that works every time Kerri Kenney-Silver is on screen.

That’s how most of the show is: legible but vague, relatable to many people but maybe not as many as it thinks. It’s a show about spouses and best friends, the closest bonds and deepest relationships, but the show itself doesn’t have any of that intimacy or intensity.

The Four Seasons isn’t a horrible show, but considering the talent it has in front of and behind the camera, it’s a letdown that never finds a unique voice or clear purpose.

Despite all the undeniable talent involved in “The Four Seasons,” its real failure is one of untapped imagination.