These are not good times for television comedy in the United States. With the sitcom format practically banished and great modern classics such as ‘Curb Your Enthusiasm’ or ‘The Marvelous Mrs. Maisel’ recently completed, there is such a shortage of good comedy series that end up winning Emmy awards and Golden Globes, comedies that are not actually comedies, like from ‘The Bear’. The panorama is so bleak that it has led to the return of illustrious veterans such as ‘Frasier’ or Jerry Seinfeld (‘Unsweetened’), with quite discreet results.
Thank goodness we have ‘Hacks’ left (Max). The third season of our favorite series of 2022 continues to reach a very high level. The sentimental and creative couple, formed by Lucia Aniello and Paul W. Downs (he also acts, is Jimmy’s manager) has found a narrative thread to pull after having left the second season apparently closed: the thorn in the character’s side. of Deborah Vance for having failed as a young woman as a late night presenter, a format that has always been dominated by men. Now the challenge is double: for being a woman and for being older.
The comic and dramatic weight of the series continues to be based on the relationship between the characters of Deborah and Ava. However, the same dynamic based on antagonism, cultural and generational clash is not repeated. The relationship has evolved. It is more complex: a mix of friendship, sisterhood, humorous connection, mutual admiration and professional interest. A complexity that highlights one of the series’ strong points: Deborah and Ava are two of the best written characters in current television fiction. And both Jean Smart and Hannah Einbinder (who has just premiered the stand-up special on Max
‘Let’s catch the wind’) they continue to embroider it.
This third season begins by adopting the codes of the romantic comedy: the breakdown of a love and the rediscovery of a friendship, the breakup and the reunion. Then, it evolves towards social and political comedy, with ramifications towards the familiar: the dramatic and humorous tensions generated by professional ambition, by the attempts of a septuagenarian comedian to break the glass ceiling.
Starting from these two narrative impulses, the series ironizes with great ingenuity about topics such as meritocracy, competitiveness or fame (from gay iconicity to the culture of yes), reflects with acuity and phrases to frame about old age, relationships sentimental feelings or the moral responsibility of the comedian, explores the ins and outs and glamorous sewers of the entertainment industry, and launches a battery of gags, especially verbal, brighter than all the jewelry that Deborah takes off in the fifth episode.
The series includes the appearance of guest actors such as Helen Hunt, Christopher Lloyd or a hilarious Christina Hendricks, an obvious sign of the consolidation of the series, whose fourth season is already confirmed. Will he finally win the Emmy this year?
