In 2024, I wrote about Netflix’s surefire hit “Tires”: “I suspect the second season will be stronger as the writers hone the voice of this show and characters.” Because of content timing, we didn’t cover the sophomore outing, but it undeniably was, pushing the characters into more believable territory and adding the welcome comedic presence of Thomas Haden Church.
The third season, now on Netflix, takes the evolution of this incredibly watchable show to the next level, revealing that star Shane Gillis could be an interesting character actor in film someday by giving him relatable, funny arcs on a show built around his personality. In some of his better moments this season, I started to picture him in Alexander Payne or even Coen Brothers projects, and the thought made me smile. “Tires” still too often resorts to the easy (and arguably veers into offensive) joke, but it has gotten undeniably smarter and more nuanced with each season, reminding one why the workplace comedy remains such a tried-and-true format, especially when it’s populated by people who feel real.
The first season of “Tires” introduced viewers to the workers at an average Pennsylvania auto-repair shop: Manager Will (Steve Gerben), his cousin Shane (Shane Gillis), and mechanics Cal (Chris O’Connor) and Kilah (Kilah Fox). The show felt like little more than an extension of Gillis’ observational stand-up, complete with supporting characters and guest appearances from the same comedy sphere that he currently almost dominates (the only one from this world that’s arguably bigger is Nate Bargatze, who apparently has the cultural cache to open a theme park; I’d rather drink my way around Gillisland, for the record.)
Moving from what felt like a loose proof-of-concept six episodes in the first outing to 12 in the second, “Tires” developed its characters into something that felt significantly more three-dimensional, assisted by the new presence of Church as Shane’s dad, the owner of Valley Forge Automotive Center. Family, relationship, and business issues became a foundation for “Tires,” but it still often felt like a show that ran from anything that could be perceived as emotional or, God forbid, sentimental.
The third season still often has a habit of inserting a dick joke into a scene just as it’s starting to get serious, but Gillis is also willing to embrace relatable mid-life emotion more than he ever has before. His arc this season is that of a man who’s starting to worry that life has passed him by (Gillis himself is approaching 40), especially after he learns that an old flame is single again, leading him to wonder if he can have the love of which he always dreamed.
At the same time, Shane falls into bed with a younger character who calls him on his shit, someone saved in his phone as “Lucy the Lib,” a play on the political line that Gillis straddles as someone who’s clearly most popular in the largely Conservative sector of the comedy world but has always felt to me like someone most likely to poke fun at both sides of the aisle. Just the character of “Lucy the Lib” puts to bed the idea that this show can only embrace one political ideology as she’s never once portrayed as an object of mockery; if anything, Shane’s arc is one of a character who refuses to embrace what’s in front of him in favor of something that used to be, which could even be read as a criticism of people who want to turn back the clock to a time that wasn’t exactly great.
Gillis is the highlight of season three, but the season is greatly enhanced by a supporting cast that’s also improved across the board. Gerben’s acting has improved every season, and it was smart to give the on-the-rise Stavros Halkias more to do this season as the co-star of “Bugonia” and “Tony” has become a quiet MVP for auteurs already. Add in some of the best comedy podcast stars like Dan Soder and Bobby Kelly in extended arcs, and you have a season that’s also the show’s strongest in terms of casting.
It’s been remarkable to watch the creators of “Tires” feel like they learned a lesson from each season, tightening what works and discarding what doesn’t from the year before. It’s already gone from an amusing experiment to a solid comedy in its own right, one that could appeal to fans of more than just its star’s stand-up. At this rate, before it ends, it could be one of the best shows on TV.
Whole season screened for review. Now on Netflix.