The Biggest Latinx TV Show To-Date, TGLS was a new chicano flavor of sitcom as bouncy x lowrider as iconic opening trampoline credits – though w. [early] clichés, one badly-written character: Angie, & ~domestication of its NSFW comedian, a groundbreaking feat of positive representation and hispanosphere authenticity/diversification on-screen – bold cultural topics brought to life by character-owning performances and (very) funny jokes often peppered with dark, savage undertones and impossibly made casual and universally-accessible by major audiences. 7.5/10.

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Plot Synopsis: Assembly-line worker and family man George (comic George Lopez) is promoted to manage an airplane parts factory in Los Angeles. George is clearly devoted to his wife, Angie, and their children, Max and Carmen, but his live-in, insensitive, difficult mother makes things complicated.

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The Official CLC Best #GeorgeLopez Episodes: 1. Now George Noahs Exactly What’s Going On, 2. Angie Gets Tanked, 3. George Negoti-ate It, 4. George Can’t Let Sleeping Mexicans Lie, 5. The Show Dyslexic, 6. Sabes Quake, 7. George Enrolls Like That, 8. It’s A Cliffhanger By George, 9. George Helps Ernie See The Cellu-Light, 10. Dubya Dad and Dating, 11. What George Doesn’t Noah, 12. George Drives The Batmobile, 13. Long Time No See, 14. Team Leader, 15. Girl Fight, 16. No Free Launch, 17. George Discovers How Mescaled Up His Life Would Be W/O Benny, 18. Max’s Big Adventure, 19. George Decides To Sta-Local Where It’s Familia, 20. Sabes Gay, It’s George’s Fantasy Episode

*Possible Spoilers Ahead*

Season-By-Season Reviews: S1 – 4.2/10 / S2 – 7.6/10 / S3 – 8.5/10 / S4 – 8.7/10 / S5 – 8.2/10 / S6 – 5/10

S1 – Though it lays out a canvas of likeable and well-cast/acted characters from dyslexic rascal-tyke Max to rebellious teenage diva Carmen to hilarious loser-manchild Ernie [MVP & funniest character in the show, by far] to ultimate bad-grandma yet layered tragic/hardship single-mom Benny (whose performance is sensational and amongst the best of any sitcom ever) to spoiled hypocritical superiority-complex princess/housewife Angie (the one dislikable character on the show, later on at least), ends on a better note than it begins, and the presence of a Major Name Latinx TV Show based on Mega-Comedian George Lopez is a refrescante change of flavor and celebration-worthy *groundbreaking, still to-date the biggest EVER for the Latinx communidad – cultural representation on TV, S1 is tragically the worst season of TGLS – domesticating its comedian’s raunchy NSFW routines into a charcuterie of über-formulatized sitcom clichés only referential by transition-audio-playback, made even worse by the laughable 4-episode 1.5-hour length more of an amuse-bouche leading into better seasons. 4.2/10.

S2 – Though still comparatively-tame for Lopez, ~clichéd, and there’s a palpable misandry superiority-complex/hypocrisy (primary through the writing & dialogue of Angie, a major one for e.g. being how she feigns the victim when George tells a little white lie about a mural and literally quotes she ‘never lied in their entire relationship to George’, when she only went out with him as an evil demon cheerleader making bets about “dogfights” in a contest of going out with the biggest losers in the school and never told him for a cool decade.. and claiming being a housewife is harder than working [no job you can do in your pajamas is that hard..]. There’s literally a line where she says ‘As a woman, I try not to feel superior.. but you guys make it very hard’. WTF.) vexes, S2 of GL fixes problems with S1 – a huge ~30-ep order fleshing out the characters and letting each actor/ress own their role while dialing up the dysfunction – all under a cathartic umbrella arc of emotional/theme/cultural weight in the fatherhood arc feeling impressively more like an addictive TV soap-opera for ~mature-demo’s, peppered with mostly-successful jokes. 7.6/10.

S3 – Though Benny/Randy is a mixed-arc and Angie continually hypocritizes (so blatant about it too: e.g. yelling and playing the victim that George parents behind her back on good ideas like teaching them manners, but her doing it 10x more while lying/gaslighting about it on thing spending George’s money like $500 cell phones), S3 is the second-best season of TGLS – amplifying the cultural themes, wowing with multiple all-time episodes of the show (Tanked, Disneyland, Weekend At Benny’s, Dubya, Dad, and Dating), introducing the best character of the show in Bryan Fisher’s pretty boy x jock athlete Jason alongside cleverly making the A-tier presence of Cubano cardiologist Vic a major cast one groundbreakingly bloom-evolving Latinx representation on-screen with anti-stereotype positive diversification, and freeing a looser/funnier George, all culminating in the best arc and finale of the entire show: the funny, dramatic, heartbreaking, tragic, and wildly-entertaining/addictive Carmen-Zack romance [thanks to a fantastically-detestable bad boy in Trevor Wright’s Zack Powers, pure emotion for GL like in the daughter-puzzle runaway flashback (one of, surprisingly, the saddest and best sitcom scenes of all-time), and twisted modern hispanosphere Romeo-Juliet.]. 8.5/10.

S4 – Again missing an opportunity to capitalize on an exciting cliffhanger from the previous season in S3’s Carmen finale arc (making her annoying and hypocritical just like Angie instead of analyzing why kids runaway and how traumatic an experience that must’ve been for her and everyone, but her aggravations can be attributed to youth and the puzzle of coming-of-age; what’s Angie’s excuse?) and beginning with a bad 3-5 episode run, TGLS finds its footing and makes up 10x more with fantastic mini-arcs in succession [Colorado, Linda, & The Return x Athletics x Legal Guardianship Of Great Character: Jason leading up to – yet another, the writers certainly knowing how to pressurize and keep your attention into the next season – another epic cliffhanger for the Best Season Of The George Lopez Show. 8.7/10.

S5 – Finally sticking the landing on season-openers while also making it even better by the house-fire arc pushing the already-tragic Benny to her limits characterizationally having lost everything for de/reconstruction (only to be put in jail soon afterwards, gosh the writers must have a hard-on for bullying her XD), S5’s one sin of awful writing kicking George out of his own house he’s the sole bill-payer for by a supposedly ‘compassionate’ Angie turning a blind eye to her husband’s childhood-revisited trauma [+ hypocritically/egotistically always downgrading George and saying she’s ‘always right’ > him (when George has single-handedly saved *HER* family countless times she was dangerously wrong about: Ray being a conman on her niece’s inheritance, the school board siphoning endless $ from them for vacations like the space-launch, her father being cheated on by a gold-digger he was going to marry, etc.). Oh, and the unspeakable hypocrisy of never telling George she actually left him and gave up on their marriage because all he said was Benny was moving in with them to help them pay some bills.. yet wants Benny to stay and even kicks George out of the house when he complains about her microagressions and bonafide emotional abuse? God, one of the worst and most aggravating characters in TV history] is overlookable in one of the best seasons of TGLS – the funniest jokes/scenes/dynamics of the show through all-time great series-arcs like community college and the introduction of new spoiled rich manipulative girl Veronica (her and Ernie’s scenes, FTW!), depth/weight for multiple characters like Benny and Max and literalized in Ernie’s move-out and weightgain, a wacky high-octave hyperenergized George, & wild fun episodes on boob-jobs, life-swaps, and internet pervs culminating in the biggest cliffhanger and most epic finale ever on the show [6 cliffhangers leading into the show’s final S6!]. 8.2/10.

S6 – Though its very last scene ends on a very anticlimactic whisper we had to double-take on by how zero impact/closure it was, Angie ~ruins at least half the season being given inexplicable spotlight dominance with hypocrisy-laden egotistical/overpowered arcs like being able to go impossibly toe-to-toe and win in a living-without-money contest than George (whose entire character and jokes for 5+ seasons were how poverty-stricken he grew up) x vetoing him from spending *HIS* work-raise $ on something for himself so she can buy shoes x claiming she actually does more work than George when she never cooks or cleans and is so lazy (even while running a failing home-business it’s said multiple times is barely breaking even) they have to actually hire a maid – again with George’s money, yet she can’t even let him enjoy having a makeshift-mom for a week – to do any of her [only] jobs, and crying about beauty & aging she can no longer weaponize/manipulate with while claiming she’s pure and feminist, Carmen’s presence is missed [even with a good Veronica filling her screentime], and Max has lost ~all his charm being written into a bizarre, ungodly-horny, boring, awkward teenager whose only schtick is hitting on his own cousin, S6 does handle the behemoth herculean cliffhanger multi-arcs of S5 well – along with a few standout episodes on crucial social/cultural themes like racism and stereotypes, and a finale arc finally giving the overwhelmingly-tragic characters [especially the most important ones: George finally getting the validation and love he craved while becoming the boss of the whole factory, Benny finding a good man and finally expressing her love/support for George] happy endings. 5/10.

Official CLC Score: 7.5/10