Few writers and producers have the same style of house style as Tina Fey, so much so that the signature of the creator of "30 Rock" extends to the entire performance universe under her umbrella. Fey didn't perform the revival of "Mr. Mayor," "Good News," "Girls5eva," or Peacock Revival, but all of these series have unique family similarities. They are ridiculous, effective, joking comedy, often scored by composer Jeff Richmond, who is also the husband of the rich husband. Richmond is just one of many names that have recurred in the Fey project, a consistent roster that guarantees shared DNA and can develop experienced talent over time.

Fey's latest effort is the Netflix miniseries Four Seasons, which partially extends this Mo. Fey co-created the show with "30 Rock" alumnus Tracey Wigfield, who continued to lead the "Good News" and "Save Bells" and Lang Fisher, who returned to Feyworld after co-creating "I Never Have Me". (David Miner and Eric Gurian's midstream stations are also executive products.

But the "four seasons" also mark a sharp breakthrough in tradition in the past two decades. First, it's an adaptation from a resume marked by original ideas, assuming that Vivaldi, the 1981 film directed by Alan Alda, who gained credibility as a cameo and producer in this update. (Technically, "Save by the Bell" is a reboot, although in reality it's more like a personality transplant that happens to carry several characters.) Fey's track company expanded to include newcomers Colman Domingo, Marco Calvani, Marco Calvani and Kerri Kerri Kenney-Silver. Most notably, this tone tends toward a dramatic attitude, with quick punch-punch lines to a more melancholy long-term marriage. The “Four Seasons” will eventually provide some keen insights into adult relationships, but also work to address this awkward new rhythm. Fey Brain Trust is clearly working to expand its tracks – which inevitably brings some growing pain.

The “Four Seasons” are tracked every year in the lives of three couples, divided into four trips, each with its own two episodes. When Nick (Carell) announces his intention to leave Anne (Kenney-Silver) on the eve of their 25th wedding anniversary, it rattles both Jack (Forte) and Kate (Fey), who tend to afford the state of their own union by commisaging over others', as well as Danny (Domingo) and Claude (Calvani), whose opposing temperatures (Claude runs hot, Danny cold) are tested when Danny's health problems lead interior designers to bury themselves at work. The ripple of Nick's action takes place on a weekend at the Country House (Spring), at the Eco Resort (Summer), at the Liberty Academy's Family Weekend (Autumn), and the ultimate ski vacation (Winter). Like the humble version of "White Lotus", every vacation can be used as a pressure cooker.

While Richmond still praises the music of the series, the “Four Seasons” soundscape is naturally dominated by iconic classical works, named after the performances. Between strings, it’s mainly silence – nothing makes you realize the importance of sound to humor school. Visually, the “Four Seasons” have a flat, slightly artificial look of a sitcom. (Three seasons are divided by Fisher, Comedy Fixture Oz Rodriguez and Duo Duo Robert Pulcini and Shari Springer Berman; Richmond and Domingo are assigned separately for fall.

After all, the question Nick decided to raise was Quotidian's. Is he a coward who promises his lifelong commitment to work, or is he brave enough to draw a new path? The textbook's midlife crisis shocked his friends until he fantasizes about sports cars and young girlfriends, or is he jealous of Nick's freedom? Split also brings more practical questions like how the group stays in separate contact with Nick and Anne, as the couple’s traveling in the stream stage is no longer a couple.

Nick's New Flame Ginny (Erika Henningsen) portrays are more kinder than the literal kids in Fey's delicious harsh "SNL" sketch "Meet Your Second Wife". Before she became a complete person, Ginny was a simple crack font about Burning Man Attendance and Beach Yoga. Here, the chaotic tone is lost again: it is nice for pure comedy characters to become a narrow archetype, like the Airhead Assistant on "30 Rock", but in a more serious context, the same approach can become cruel.

In terms of dynamics within other groups, the “Four Seasons” are more subtle. What makes the most sense is the platonic bond between Danny and Kate, two tired cynics whose life rapport has masked Oscar nominee Domingo’s recent membership in the comedian’s crew. The openness of Danny and Claude's marriage also emerges in factual ways, even when it comes to faithful wrestling with their friends. (The existence of a queer, interracial couple is one of the most significant changes in the film, but allows themselves to speak in a large way.) Jack and Kate’s problems appear more subtle and slowly than other pairs. Sometimes the episodes are brisk and sometimes they are articulated rather than displayed in their tensions. "Everyone else got the top version of your personality," Kate sighed at her fun spouse. It's a great line, but because many other relationships share the spotlight, it's our main way to understand their particular dilemma.

Just as "Four Seasons" begins to settle down and find their own path, Fey, Wigfield and Fisher throw in a morbid twist, the show is too unstable to bear to succumb to its weight. Since “Scenes in Marriage,” television has proven to be the ideal medium for putting monogamy under a microscope. Its length provides space for recreating the feeling of intimacy. However, the “Four Seasons” cannot resist blowing up its mundane bets, and if not a joke, it will not cause an unstable turn. Fey&Co. Not yet skilled as skilled as pure comedy. Again, they have hardly much practice.

All eight episodes of "Four Seasons" are now streaming on Netflix.