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For much of the series so far—which has been cannily released by HBO Max in weekly drops of two episodes, allowing it to build word-of-mouth attention while also offering just the right dose of binge-viewing satisfaction—it has felt like the writers have been erring more towards the looser, distractible spirit of Ava’s approach to comedy. We’ve been taken on unlikely tangents, including a trip to the Nevada desert to track down an antique pepper shaker and a promotional appearance at a pizza parlor. The details that flesh out the characters often prove to be more hilarious than the broader sweeps: Deborah refilling the canisters of her at-home soda fountain or throwing her iPad in the pool after watching a video from the a capella group that is threatening to steal her regular Vegas slot; Ava referencing Busy Philipps’s Instagram stories or branding a fusty, posh antique dealer “Lemony Snicket.” Then there is the generous time given to its supporting cast: Carl Clemons-Hopkins as Deborah’s beleaguered assistant Marcus; Kaitlin Olson as Deborah’s neglected, wayward daughter, who ropes Ava in to help her flog the hideous, bauble-like earrings and necklaces she designs under her brand D’Jewelry; and Meg Stalter as the overfamiliar agent’s assistant. “We gotta go the clurb, girlie!” Stalter shrieks down the phone to Ava during a moment of crisis.
Yet while the parallels between Deborah and Ava’s personalities become clearer over the course of the series, when it comes to comedy, their approaches couldn’t be more different. For Deborah, nothing is off-limits; her critique of the Twitter transgression that got Ava canceled is simply that the joke wasn’t funny enough. Ava is instinctively averse to Deborah’s willingness to punch down, and resents the latent, internalized misogyny that underpins many of Deborah’s jokes. But their biggest hurdle in reaching creative symbiosis is their differing ideas on the perfect formula for a joke. Every joke needs a punch line, Deborah argues. “The traditional joke structure is very male,” Ava responds.
Trying to make a comedy about comedy can be a minefield. For every The King of Comedy or Obvious Child, there are a dozen other self-indulgent messes that fall at the first hurdle: Namely, the writing lacks the off-the-cuff energy that makes good stand-up feel so electric. It helps in this instance that Hacks’ three showrunners—Lucia Aniello, Jen Statsky, and Paul W. Downs, best known for their work on Broad City—all have backgrounds in the comedy circuit. Perhaps more importantly in this instance, though, Deborah’s gags are supposed to be a little hokey or dated, and the knowingly hollow gusto with which Smart (in a spectacularly funny performance that continues her so-called “Jeanaissance,” following standout performances in Fargo, Watchmen, and Mare of Easttown) delivers them becomes part of the joke. When it comes to Ava’s pithy, purposefully tweet-length observations about millennial life, too, the writers are very clearly poking fun at themselves.
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