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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.

With all of these diversions, the deepening of Deborah and Ava’s relationship almost sneaks up on us. In the show’s superb eighth (and most recent) episode, directed by Appropriate Behavior’s Desiree Akhavan, Deborah finally tries out some of Ava’s new material, returning to the dingy club in Sacramento, California, where she first made a name for herself. An anecdote about one of her fellow comedians who was subject to the club owner’s unwanted sexual advances back in the ’70s is glossed over by Deborah with typically acerbic humor. But the story hits differently for Ava, who challenges Deborah about why she never confronted this behavior once her star had risen. Clearly, the comment gets under Deborah’s skin. She goes off-script to offer him $1.69 million if he promises to never step foot in a comedy club again, inviting him onstage for full, humiliating effect. (After double-checking whether that offer bars him from podcasts—it does—the guy begrudgingly accepts.) The episode’s revelations felt less like a punch line and more like a subtle tribute to the female comedians who paved the way for women like Ava, and to those who gave up on their dreams due to the oppressive boys club of the comedy world.

It brings to mind Joan Rivers: A Piece of Work, the 2010 documentary about the comedian who is the most obvious precedent for Deborah’s character. Throughout the film, Rivers offers surprisingly candid insights on the grit and determination it took not simply to rise to the top of her field as a woman, but (even more grueling) to stay there. It’s a remarkable, unvarnished portrait of a complex character whose comedic patter can include ruthless criticisms of others’ appearances, but who is ultimately always willing to turn the joke back on herself, mocking her plastic surgery or the suicide of her husband with bracing, acid-tongued wit. Whatever life threw Rivers, she used comedy to make sense of the bad times and to get her back on her feet.

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