Hacks Recap: It’s Wine O’Clock Somewhere

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I’m sorry to say, it appears we’ve encountered our first discordant note this season. We find ourselves caught in a tension between two contrasting viewpoints: Deborah, who meticulously adjusts herself to fit the mold suggested by data and focus groups, versus Ava, who harbors a touch of snobbery and feels left out as her previous colleagues at On the Contrary receive invitations to the Hill. However, our efforts seem to mainly revolve around plucking the most accessible fruits from the modern comedy tree, focusing on a TikTok star known for silly dances, resulting in a narrative that seems to lead nowhere.

Initially, Deborah’s ratings were exceptional, but she has slipped to fourth position lately. The network is organizing a focus group to address this problem. Deborah seems puzzled by compliments from Gen-Z, while praise from her older male peer about abandoning the desk to show off her legs doesn’t need an explanation. This situation is quite typical for a focus group discussion, where viewers tend to point out minor and often unimportant aspects. Interestingly, this episode appears to highlight that regular people (those not in the industry) can be just as predictable as professionals imagine them to be.

Based on the group and data analyzed, it appears Deborah excels with male viewers but struggles to appeal to our key advertising demographic: women aged 25 to 45. However, let’s not forget that women are a significant consumer group! Jimmy proposes boosting Deborah’s ratings by inviting DJ onto the show, which I believe would have made for a more engaging half-hour. Deborah, on the other hand, expresses reluctance towards using her pregnant daughter as a ratings tool, claiming it to be exploitative. Instead, they consider finding a star who resonates with our primary audience, as LaineyGossip might put it, the Minivan majority – perhaps someone like Jennifer Garner or Kristen Bell. In the Hacks world, she’s set to play Tinkerbell in a live-action adaptation (though in our world, that project may no longer be happening due to Disney halting its live-action remakes; thank you for your efforts, Rachel Zegler!).

The issue with this clickable face is that she’s devoted to Kimmel. Deborah gracefully accepts this loss by waiting at a high-end market, where Kristen often shops, to create an “unintentional” encounter. (For Los Angeles residents, could you clarify L.A. Grocery & Café’s place in the upscale grocery scene? Is it like a less trendy Erewhon or an East LA response to Brentwood’s Country Mart, or perhaps something else entirely?)

I enjoy watching celebrities portray exaggerated versions of themselves, and Kristen seems open to this. For instance, when Deborah mentioned they don’t involve their publicists in scheduling so as not to disturb them, Kristen replied, ‘They won’t be bothered. I only collaborate with people who are passionate about their work.’ Later, despite the fact that appearing on Deborah’s show would mean missing her therapy session, she agreed. ‘Last week, she told me I’m too kind and struggle with boundaries,’ Kristen said, ‘so I think cancelling on her might really catch her attention.’

However, Deborah’s triumph doesn’t last long. The following day, Kimmel confronts her in the parking lot, claiming Kristen as his: “I gained full custody when Conan passed away. I paid my dues. I changed to a Samsung phone so she wouldn’t be the only one with green bubbles.” He intimidates her with a form of harassment (it involves horse porn) that drove James Corden back to England. It seems this writers’ room has a strong dislike for James Corden. Isn’t it fascinating how they express their feelings?

Deborah’s win doesn’t stand for long. The day after, Kimmel tracks her down in the parking lot, insisting Kristen is his: “I got full custody when Conan died. I served my time. I switched to a Samsung phone so she wouldn’t be the only one with green bubbles.” He intimidates her using a type of harassment (it involves horse porn) that sent James Corden scrambling back to England. It appears this writers’ room isn’t fond of James Corden at all. Isn’t it intriguing how they express their feelings?

In the meantime, Kayla has a strategy up her sleeve. It’s not just about getting Mary-Kate and Ashley back into acting; she wants to kick things off by involving Tia and Tamera because, as she puts it, “twins listen to other twins.” What’s intriguing is that she’s found a TikToker from Alberta, known as Dance Mom (Julianne Nicholson! She’s quite popular), who resonates strongly with their target audience, considering her username is “Dance Mom” itself.

I was anticipating that this seemingly naive character would reveal herself to be more clever than she appeared (“I can’t believe this is Los Angeles, just like in the ‘Sex and the City’ L.A. episodes!”), but it never happened. She remained… Dance Mom. Although I do appreciate the interactions between Kayla and Jimmy, as many women, including Jimmy, struggle with imposter syndrome, but this part of the story didn’t develop much. Given all the drinking, starting with the spontaneous lunchtime margarita, I expected a drunken mishap, either that day or later on camera, after both Kayla and Jimmy offered her tequila shots to boost her confidence, unaware that the other had already done so. (A somewhat accidental resemblance to Kaylie Hooper sabotaging ‘America’s Kids Got Singing’).

Let’s watch the cyberbullying.”)

As a film enthusiast, I must admit that Deborah’s pitches feel somewhat reminiscent of a daytime talk show rather than the vibrant energy required for a late-night slot. With dreams as vast as hosting a late-night program since her early years, one might expect a more captivating arsenal of ideas to fill the hour with engaging content. It’s surprising that her concepts seem to be rooted in a vague resemblance to Johnny Carson’s approach, with only a gender switch. Where are the innovative segments like “Carpool Karaoke” or “Day Drinking”? These are elements that could truly set her apart and make her show stand out among the stars.

She treats the data with utmost importance, taking it at face value – she dons long hair extensions down to her waist and carves open the desk’s front to reveal her alluring ankles for the audience, while deceitfully expressing fondness for bread during a cooking demonstration alongside Antoni. Not very impressive!

Remarkably, Deborah and Ava decide against Dance Mom following a mediocre audition performance of hers. (“She has a substantial online presence.” “Much like Charles Manson!”) Later that night, Deborah encounters Ava and her romantic partner in an unexpected confrontation. Trying to belittle Ava for something that appears to be benefiting her greatly, Deborah fails miserably, given the fact that Emily and Dev are quite charming. Despite Deborah’s feeble attempts at ridicule, which were weakened by her recent transgressions, Ava retaliates sharply by dismissing their past relationship as “just writing jokes for her.” Furthermore, she deals a final blow when it is revealed that Emily and Dev aren’t following Deborah’s show because Ava advised them to wait until it improves.

The following day, tensions resurface between Deborah and Ava, as Deborah’s response to Ava’s joke about wine o’clock – a reference to an afternoon drink – was met with disdain. It seems that you can’t expect quality work from someone who doesn’t value their audience appropriately. This disagreement intensifies, prompting Stacy to retrieve the “sound-off jar” containing close to $4,000 in change, as a means of cooling things down.

As a dedicated cinephile, I must say, Ava gracefully navigates her loss with a level of maturity and professionalism that’s truly commendable. Yet, beneath that composure, she cleverly swaps the wine-o’clock prompt for a humorous quip about extended breaks, keeping the industry on its toes due to the potential for subtle sabotage. Poor Deborah, who had memorized the wine-o’clock line, stumbles over it, leading to a heated argument in front of the studio audience. Ava advises Deborah to share more of herself with the audience, which only escalates Deborah’s fury into a scathing remark, “How did letting you get to know me work out, you arrogant, manipulative witch?”

In the chaos that ensues, Stacy, in her attempt to intervene, trips over a wire and falls flat on her face. With blood trickling from her lips, she angrily chides both Ava and Deborah, “You two are both mistaken (quite unexpectedly). Ava is snobbish, while Deborah is fixated on data.” The Dance Mom is then called onto the stage, much to Ava’s dismay.

The crowd seems to adore her, but I’m skeptical that such a response is genuine. Ava appears uneasy, and it feels like we’re being compelled to endure the entire dance routine. Despite hints of something extraordinary happening (perhaps a surprising move or an unexpected act), it turns out to be just another TikTok dance. Deborah seems pressured into participating, and Ava in that pencil skirt looks rigid and uncomfortable. Ava seems longing for escape, and I can’t blame her. The combination of a cooking segment with Antoni and Dance Moms feels like it was designed for daytime television (in a derogatory sense).

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2025-05-02 06:56