“Unbreakable! They alive, dammit! It’s a miracle!” The biggest pop culture stamp of “Unbreakable Kimmy Schmidt” might have come from www.youtube.com/watch?v=CV9xF8CjhJk" rel="nofollow" target="_blank" href="https://www.youtube.com/watch?v=CV9xF8CjhJk">its irresistible autotuned earworm theme tune. But miracle is about right, in a lot of ways. Creators Tina Fey and Robert Carlock were coming off “30 Rock,” one of the greatest sitcoms ever, and facing difficult second album syndrome. They faced debuting on NBC, a network that is increasingly abandoning comedy, and had nothing to pair it with. And just to make their task more difficult, they’d written a show about an abused cult survivor trying to rebuild her life, hardly the most mainstream-friendly hook in the era where the premise of television’s biggest comedy is literally just the word ‘nerds.’ But it all worked out like a charm: Netflix picked up the show from the peacock, and when all thirteen episodes of ‘Kimmy Schmidt’ arrived, it was clear that Fey and Carlock hadn’t lost their touch. The heightened, mildly demented world of “30 Rock” is in place(we get a lost 30s musical called “Daddy’s Boy” and “Breaking Bad”’s Hank as a man who coaches gay actors on how to be straight), and the gag rate almost as high, but Ellie Kemper’s central performance, and Fey and Carlock’s compassion towards her, keeps the show away from being cartoonish. For a show that’s so gleefully silly, it proved to be surprisingly incisive and even moving about surviving and recovering from trauma (more on this here). It’s a miracle, indeed.