“Transparent,” when it arrived on Amazon in 2014 , did what great TV does: It made the medium bigger.

Most obviously, it made room for more kinds of characters. The story of Maura Pfefferman (Jeffrey Tambor), a senior citizen coming out to her adult children as transgender, it was one of the first series to signal the rapid cultural shift toward transgender visibility over the next five years. From there, the other Pfeffermans unpacked their own their sexual, spiritual and gender identities, as well as family baggage that stretched from present-day Los Angeles back to pre-Holocaust Germany.

But it also expanded TV’s ambitions. It was not Amazon’s first series, but it was its first artistic success, much like “Orange Is the New Black” on Netflix. (“Orange” was also an early series to foreground a transgender character, and maybe it was not coincidence that it took a new format to reflect this new awareness.)

If “Orange” suggested streaming could produce a more expansive, broad-canvas kind of TV, “Transparent” suggested it could also create a more specific, intensely granular form of art. It was a big Jewish family argument of a show, passionate in its voice and striking in its grace. It was testament to life as a continuing education, a poem about the difficulty and the necessity of being honest with the world and one’s self.

The spirit of radical honesty requires that I say up front: The feature-length “Transparent Musicale Finale,” now on Amazon, is not nearly “Transparent” at its best. But it is definitely “Transparent” at its most.