Hacks Stopped Being About Comedy

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In the first season, the series Hacks delved deeply into its unique, defined character. While it was indeed a comedy, it primarily explored the essence of comedy itself. Characters Deborah Vance, a veteran stand-up comic, and her young collaborator Ava Daniels, grappled with understanding what constitutes good or bad comedy, when it transcends being merely amusing to becoming ‘good’. Throughout their banter on topics like commercial endorsements, contemporary sensibilities, and political correctness, they also subtly competed against each other. The show, Hacks, not only displayed a dynamic between Deborah and Ava but also presented its own perspective on what defines good comedy – truth-telling, storytelling, and authenticity.

Initially, the core of ‘Hacks’ was a heartwarming yet oversimplified exploration of writing and the contrast between art and commercialism in one individual’s portrayal of their life story, set against the backdrop of Hollywood careers. Unlike other shows focusing on the chaos and absurdity of producing a show-within-a-show, ‘Hacks’ delved into therapy-driven self-awareness rather than technical craftsmanship. However, by season four, ‘Hacks’ has evolved from being a comedy series to a more genre-focused exploration of late-night television and the trajectory of a Hollywood career. The show has taken on a more cynical and generalized approach, straying from the unique aspects that once differentiated it from other inside-Hollywood productions. This shift hasn’t necessarily resolved all of ‘Hacks”s issues, but the series now appears to be driven by purpose and coherence in ways it hadn’t before. The tension between whether truth should be valued in comedy might not be a complex issue, but the question of whether a network late-night talk show can still remain popular – that is a challenge, and it has introduced a tension into season four that was previously absent from ‘Hacks’.

As a film aficionado, I’ve noticed an intriguing shift in the series ‘Hacks’. From a comedy centered around stand-up to a drama revolving around late-night television, it’s moved away from exploring what makes something funny. This theme was at the core of Ava and Deborah’s heated debates early on. They were always butting heads over whether to cater to a wide audience or delve into niche topics, and if audiences would accept Deborah sharing more personal, darker jokes about her life after years of safe, crowd-pleasing routines. However, season four swiftly lets go of this dilemma, and it’s stronger for it because the answer was never truly in doubt.

The goal is for Deborah Vance’s late-night program to reach the top spot on television, but Ava voices concerns about pandering to focus groups without delving into specific comedic strategies. Instead, changes are made to cosmetic aspects and show structure. Deborah attempts a new hairstyle that appears odd, and she adopts more daytime programming, including cooking segments with Antoni Porowski. Ava criticizes these adjustments. The factors that ultimately boost Deborah’s show to number one in the ratings have nothing to do with humor. Instead, the success of Deborah’s late-night show hinges on engaging interview segments and booking guests who have a good rapport with Deborah rather than promoting dull movie stars pushing new films. They also hire an influencer known as Dance Mom for humorous skits. Crucially, they opt to tape shows the day before instead of the same day, creating more dynamic promotional cycles that encourage viewers to watch live every night rather than waiting for clips on social media the following morning.

A less idealistic perspective on what constitutes success in the entertainment industry has emerged compared to the initial seasons’ belief that openness about one’s personal life leads to success. It doesn’t matter if Deborah reveals her innermost feelings to a nationwide audience every night; what truly matters is whether Dance Mom, a character specifically designed to elicit negative reactions, generates enough interest among younger viewers with an online presence to improve the show’s ratings. To emphasize this point, the current season introduces a social media manager whose role is to film Deborah at key moments and post updates on social media platforms. Everyone despises him, even the characters in the show Hacks hate him! However, they all recognize his necessity, as his presence serves as a grim reminder of how crucial he is for keeping the show running. The show Hacks has previously avoided exploring the tension between respecting and resenting the compromises inherent to the business; however, this tension becomes unavoidable now that Deborah is part of a late-night TV system rather than a stand-up comedian. Whether late-night television can regain its popularity remains uncertain, as the key to success lies in selling out – promotion, TikTok influencers, and buzzworthy interviews.

The nighttime backdrop transforms “Hacks” into a typical behind-the-scenes Hollywood series, sharing similar viewpoints and struggles as shows such as “The Newsroom,” “The Morning Show,” or “The Studio.” Most of the humor is derived from the duo’s extraordinary situations rather than their relationship. The subplot featuring Kayla and Jimmy, the agency team, takes on the majority of the responsibility for maintaining the show’s intended light-hearted, youthful, and trendy feel. Unfortunately, Kayla and Jimmy lack the necessary charm to shoulder this burden, especially since “Hacks” insists they should be both heroic and capable in every situation. By transitioning into a more familiar Hollywood narrative, “Hacks” has relinquished its unique aspects while simultaneously becoming more engaging in a snarky, sharp-edged manner. It now features more conflict and seems unconcerned with resolving it all.

The comedy series “Hacks” consistently emphasizes the importance of authenticity, and this season appears to be more candidly critical about the entertainment industry that both Deborah and Ava have navigated throughout. Unlike previous seasons where it seemed audiences might reject Deborah’s new comedic persona, this time around, the show seems less concerned with maintaining a facade.

Previously, the back half of each season attempted to make it seem as though audiences might dismiss Deborah’s new persona, only to then present a heartwarming message that sincerity matters. However, “Hacks” has never been adept at pretending that Deborah’s courage and Ava’s growth won’t ultimately prevail. In contrast, the end of this season seems almost scornfully dismissive.

In this finale, Deborah stands up to her show and quits rather than firing Ava, which is portrayed as a sweet and loyal act. However, the essence of Deborah’s bravery lies in drawing an ethical line she will not cross and resisting network demands. This act is not about investing in comedy as an art form but rather about winning.

Furthermore, neither Deborah nor Ava claim that Deborah’s residency at a Singapore casino has comedic value or that it matters she’s so bored she’s falling asleep on stage. They’ve abandoned their high-minded ideals about what constitutes good comedy and the right way to do this job. Deborah can’t bear the thought of retiring quietly rather than going out on top, which is all about winning.

Perhaps this new direction for “Hacks” is a departure, but it might also be a reflection of what the show has always been – it’s just no longer hiding it as subtly as before.

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2025-05-30 21:54