'Hacks' shocking season 4 finale has me hopeful season 5 could be the show's best yet — here's why
"Hacks" season 4 finale just wrapped up on Max, bringing to a close a chapter of the hit comedy drama that has, frankly, been treading water at times.
Don't get me wrong, the show remains excellent. A relatively stale season of Hacks is still one of the funniest things on TV or the best streaming services.
But now I'm more excited for the future of the show than ever, because the end of season 4 — including its shocking climax — has me hopeful that this show is ready, like its main character Deborah, to finally get back to its peak.
Let me reiterate: At no point has this show been bad.
But the first two seasons of "Hacks" are some of the best from a comedy series ever. They were brilliant, fresh and constantly had you on alert for what was coming next.
The past two seasons, though? Well, as Deborah made the transition from the queen of standup to the queen of late-night TV, the show entered a bit of a holding pattern.
In retrospect, this holding pattern may have occurred because the show knew it didn't want Deborah's story to end there. But it still felt like the show's writers were finding excuses to keep the late-night show storyline going.
That storyline ended with a bang in last week's penultimate season 4 episode, and now Deborah can't work at all, let alone on a late-night talk show.
That penultimate episode marked the end of one era of "Hacks," and this season finale is all about transitioning to the next era of the show.
We see Deborah and Ava leave Hollywood and Vegas behind to recreate their Vegas years in Singapore. We get the not-so-subtle metaphor of the Tropicana imploding while everyone watches.
But with the episode about to end, Ava and Deborah seem ready to split again, continuing the push-pull, will-they-won't-they of their mother-daughter/mentor-mentee relationship that we've seen all season long. The cycle seemed set to repeat, with Ava headed back to Los Angeles with her tail between her legs and Deborah once again a "hack," but this time in Singapore instead of Vegas.
However, "Hacks" chose that moment to remind us why this show is so good. Ava wakes up to Jimmy calling to say that TMZ is reporting that Deborah is dead.
That's the kind of twist "Hacks" used to hit us with. I was immediately brought back to season 1, when Ava spends a whirlwind, possibly perspective-changing night with a guy in Vegas, only to find that he'd jumped to his death while she was getting coffee.
Of course, Deborah isn't dead, something we knew given that the show was renewed for season 5.
But she's is pissed about the TMZ obituary saying she killed late-night TV and then retired to Singapore, and she's ready to get back to the top of the comedy world — consequences be damned.
That's a show I'm looking forward to watching, and it's why I can't wait for "Hacks" season 5.
Stream "Hacks" now on Max
Malcolm has been with Tom's Guide since 2022, and has been covering the latest in streaming shows and movies since 2023. He's not one to shy away from a hot take, including that "John Wick" is one of the four greatest films ever made.
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Los Angeles Times
33 minutes ago
- Los Angeles Times
‘The biggest mistake of my life': 6 actors on typecasting, comedy idols and more
Hailing from some of today's funniest TV series, six actors gathered recently for an uninhibited conversation about what it takes to make people laugh at The Envelope's Emmy Roundtable for comedy actors. In Netflix's 'Running Point,' Kate Hudson plays Isla, a woman who becomes pro basketball's first girl boss when she takes over the family franchise. In ABC's 'Abbott Elementary,' Lisa Ann Walter portrays Melissa Schemmenti, a tough grade school teacher in Philly's underfunded public education system. With Hulu's 'Mid-Century Modern,' Nathan Lane takes on the role of Bunny, an aging gay man who brings together a chosen family when he invites two friends to reside in his Palm Springs home. 'Hacks' co-creator Paul W. Downs does double duty as Jimmy, the manager to legendary comedian Deborah Vance (Jean Smart) in the Max series. Bridget Everett, creator of HBO's 'Somebody Somewhere,' plays Sam, a cabaret singer who moves back to her family's sleepy Kansas town to take care of her dying sister. And David Alan Grier stars as Dr. Ron, a devoted physician and cranky veteran who's seen it all in the overrun ER of a small-town hospital in NBC's 'St. Denis Medical.' The talented group spoke with The Times about their respective shows, typecasting and the risks one takes to make great comedy. Read on for excerpts from our discussion — and watch video of the roundtable below. The best comedy pushes boundaries, which means it can also skirt the edge of offensive. How do you know if you've gone too far, or haven't pushed it enough? Downs: In the 'Hacks' pilot, Jean Smart's character, Deborah Vance, says there is no line. I think there's nothing off limits, because it's really about execution and thoughtfulness. The thing that makes edgy comedy not funny is when it causes harm, when it's something that's punching down, when it's not something that can bring people together. That, to me, isn't worth it. But there's nothing that's too taboo, because that's what comedy is for. It's to examine things, explore things, get close to the edge. Everett: I think that comedy is about making people feel good. I want to make people feel joy. So as long as I'm not hurting anybody's feelings, I think everything's on the table. Grier: I don't think you know the edge and that's why it's dangerous. I've done things where I thought, 'This is too much,' and things where I thought, 'We didn't go far enough.' So you have to play that game. My intention is never to anger and offend, but you do have to put yourself in that position and take a chance, especially with comedy. You can prescreen it, but who are you prescreening it to? Sixty-year-old white women? High school kids? You have to take a chance. Hudson: I'm not a stand-up [comedian], so it's fun to watch people walk that line. It's exciting. What are they going to say? Is it going to be offensive? Is it not? Is it going to be brilliant? That's part of what's fun about being an audience of adult comedy. But I don't like mean comedy. It's really hard for me to see. I've been asked to do roasts a million times, and I just can't do it. It just doesn't move me in any way. Lane: I was asked. This was the biggest mistake of my life. ... A Friars [Club] Roast that was going to happen. [Jerry Lewis] was going to be roasted. And Richard Belzer said to me, 'Oh, Nathan, would you be a part of it? Would you do it? It would mean a lot to Jerry.' And I'm like, 'Oh, yeah, sure. I'll do the roast.' And then I'm suddenly there and I'm sitting next to Paul Shaffer and Jeff Ross, who apologized in advance for what he might say. And I realized then that, 'Oh, you're not getting up and just roasting this person. You're attacked. You're on the dais.' So I thought, 'Oh, what have I gotten into?' And I had asked them, 'Please let me go first.' And I had worked out jokes. I had a couple of writers help me, and there was an initial joke, which was, 'The only reason I agreed to do this was because I thought by the time it happened, Jerry would be dead.' Walter: I'm on a show that's got a lot of kids, and families can watch it together, which was [creator] Quinta Brunson's intention. But there are things that the kids won't get and that adults get. Melissa Schemmenti gets bleeped out regularly because she curses. She's South Philly! As a comic, I only am interested in edge, that's where I want to live … It's easier to make a point and get ears when you're making people laugh. And we do that on the show quite frequently. They'll do a storyline about the school-to-prison pipeline, but it's not ham-fisted, it's not preachy. It's edgy and it's all within jokes. Anytime you're making people laugh, I think you can say whatever you want. What's the strangest or most difficult skill you've had to learn for a role? Hudson: In 'Almost Famous,' [director] Cameron [Crowe] wanted me to learn how to roll cigarettes fast with one hand. And so I was learning how to roll, and I got really good at it really fast. And then when we were doing camera tests, I was doing it and I was smoking. And he was like, 'No.' And I was like, 'What? I just spent months trying to learn how to do that!' Then I started rolling my own cigarettes and got into a really bad habit and then spent years trying to quit. Downs: On 'Broad City,' I had to learn and do parkour. It's high skill level and high risk. You know, when you jump off buildings and roll around ... [leap] off chairs and over fire hydrants. I did it, but not a lot of it ended up onscreen. Just the most comedic moments. I jumped between buildings and they didn't even put it in! Lane: When I did 'Only Murders in the Building,' they said, 'So you have a deaf son and you're going to have scenes with him in ASL [American Sign Language].' It was challenging. I had a coach and I would work with him. And the wonderful young actor, James Caverly, who is Deaf ... he was very supportive. If I had to become fluent, it would've taken six months to a year to do it well. But I had an advantage; they said, 'Oh, your character is embarrassed by having a deaf son, so he didn't learn it until later in life. So he's not that good at it.' But it was a great thing to learn. I loved it. Grier: I did an episode of a sitcom in which it was assumed, unbeknownst to me, that I was very proficient playing an upright bass. This is not true. I played cello as a child. I had to play this upright bass and as a jazz musician. It was horrible. Your fingers swell and blister and bleed. Of course, I went along with it because that's what we're all supposed to do. But by Day 4, my fingers were in great pain. I never mastered it. But I did want to ask them, 'Who told you I could play?' Everett: I did a little trapeze work, but since the knee thing, I can't anymore … [Laughs] Lane: This was the independent film about the Wallendas, right? Everett: The truth is I've never had to do anything. Really. I had to rollerblade once in a Moby video, but that doesn't seem like it's going to stack up against all this, so maybe we should just move on to the next person. I would do trapeze, though. I'll do anything. Well, not anything. Can we just edit this part out in post? Hudson: I'm in love with you. Walter: In a movie I did where I started out as the nosy neighbor, I found out that I was going to be a cougar assassin and I had to stunt drive a Mustang and shoot a Glock. It was a surprise. Literally. When I got to set, I saw my wardrobe and went, 'I think I'm playing a different character than what I auditioned for.' ... They put the car on a chain and I got T-boned. I was terrified, but then I was like, 'Let's go again!' That was the most dangerous thing until I had to do a South Philly accent as Melissa, and do it good enough so that South Philly wouldn't kill me. That was probably more dangerous. Let's talk about typecasting. What are the types of roles that frequently come to you, where you're like 'Oh, my God, not again!' Lane: Oh, not another mysterious drifter. Hudson: Rom-coms. If I can't get a job doing anything else, I can get a job doing a romantic comedy. When you have major success in something, you realize the business is just so excited [that] they want you in them all the time. It really has nothing to do with anything other than that. It's something that I'm very grateful for, but you're constantly having to fight to do different things. I'd be bored if I was constantly doing the same thing over and over again. But it's just how the business works. Once you're in that machine, they just want to keep going until they go to somebody else. Walter: I can't tell you how bored I am with being the gorgeous object of men's desire. I named my first production company Fat Funny Friend … But as a mother of four in Los Angeles, I didn't really have the luxury of saying, 'I want to branch out.' But I did say, 'Can I play someone smart?' My father was a NASA physicist. My mother was brilliant. I was over doing things I could do in my sleep, always getting the part of the woman who sticks her head out of the trailer door and goes, 'I didn't kill him, but I ain't sorry he's dead!' ... It's like, 'Can I play someone who has a college education?' And I did, finally, but it took Quinta to do it. Grier: I've found that the older I've gotten, the roles I'm offered have broadened. And I've played a variety of really challenging great roles because I'm old now. That's been a real joy because I didn't really expect that. I just thought I'd be retired. I did. So it's been awesome. Lane: There was an article written about me, it was sort of a career-assessment article. It was a very nice piece, but it referred to me as the greatest stage entertainer of the last decade. And as flattering as it was, I can find a dark cloud in any silver lining. I felt, 'Oh, that's how they see me?' As an 'entertainer' because of musicals and things [I did] like 'The Birdcage' or 'The Lion King.' I'd been an actor for 35 years and I thought, 'I have more to offer.' So I wound up doing 'The Iceman Cometh' in Chicago ... and that would change everything. It was the beginning of a process where I lucked out and got some serious roles in television, and that led to other things. But it was a concerted effort over a period of 10, 15 years, and difficult because everybody wants to put you in a box. Is it difficult in the industry to make the move between drama and comedy? Walter: It's a lifelong consternation to me that there is an idea that if you are known comedically, that's what you do. We are quite capable of playing all of the things. Grier: I remember seeing Jackie Gleason in 'The Hustler.' I loved it. He was so great. Robin Williams also did serious. I think it's actually harder when you see serious actors try to be comedians. Downs: One of the things about making 'Hacks' is we wanted to do something that was mixed tone, that it was funny and comedic but also let actors like myself, like Jean, all of these people, have moments. Because to us, the most funny things are right next to the most tragic things. Hudson: And usually the most classic. When you think about the movies that people know generation after generation, they're usually the ones that walk the line. And they're the ones that you just want to go back and watch over and over and over again. Everett: I haven't had a lot of experience with being typecast because I've been in the clubs for a long time doing cabaret. But on my show, Tim Bagley, who plays Brad … he's been doing the same characters for I don't know for how long. So we wrote this part for him, and one of the most rewarding things for me on this show was sitting behind the monitor and watching him get to have the moment he deserved ... It's one of the greatest gifts to me as a creator to have been part of that. It's a whole thing in my show. We're all getting this break together. We've all struggled to pay our rent well into our 40s. I waited tables into my 40s, but you don't give up because you love doing it. I'm sure many of you are recognized in public, but what about being mistaken for somebody else who's famous? Grier: I went to a performance of a David Mamet show on Broadway. I went backstage, and this particular day, it was when Broadway was raising money to benefit AIDS. There was a Midwestern couple there with their young son and they saw me, and the house manager said, 'This couple, they're going to give us an extra $1,000 if you take a picture with them. Would you mind?' I'm like, 'Yeah, cool.' So I'm posing and the dad goes, 'It is our honor to take a picture with you, Mr. LeVar Burton.' Now in that moment, I thought if I say no, people will die. So I looked at them and I went, 'You liked me in 'Roots?'' He said, 'We loved you.' Click, we took the picture. I'm not going to be like, 'How dare you?!' Walter: Peg Bundy I got a couple of times. But as soon as I open my mouth, they know who I am. I can hide my hair, but as soon as I talk, I'm made. Hudson: I've had a lot of Drew Barrymore. And then every other Kate. Kate Winslet, Katie Holmes ... I've gotten all of them. Walter: Do you correct them? Hudson: Never. I just say yes and sign it 'Cate Blanchett.' I'd love to know who everybody's comedic inspiration was growing up. Walter: My dad used to let me stay up and watch 'The Smothers Brothers Comedy Hour' and 'Laugh-In.' I got to see Ruth Buzzi, rest in peace, and Goldie Hawn and Lily Tomlin. Jo Anne Worley. All these funny women. That's what made me think, 'You can get a job doing this, the thing that I get in trouble for at school?!' Grier: My comedy hero was Richard Pryor. I was this Black little boy in Detroit, and George Jessel would come on 'The Mike Douglas Show' and he might as well have been speaking Russian. I'm like, 'How can this be comedy?' Then I saw Richard Pryor, and he was the first comic who I just went, 'Well, this guy's hilarious.' Downs: I remember one of the first comedies that my dad showed me was 'Young Frankenstein.' I remember Teri Garr, Cloris Leachman and Madeline Kahn. All of these women. I was always like, 'They're the funniest ones.' Hudson: My era growing up was Steve Martin, Martin Short, Albert Brooks, Mel Brooks. But women were, for me, the classics. Lucille Ball. Walter: There was a time when I was growing up where women really dominated comedy. They were your mom [nods at Hudson, Hawn's daughter], Whoopi [Goldberg], Bette Midler. The biggest stars of the biggest comedies were women, and then that all went away for a really long time. I think it found its way back with Judd Apatow and then he made 'Bridesmaids.' Hudson: I tried really hard to make edgy comedy and studios wouldn't do it. They wouldn't. It took Judd to convince the studio system that women are ready. That we can handle rated-R. In the '70s and '80s, there was a ton of rated-R comedy with women. But for some reason, it just all of a sudden became like, 'Oh, there's only 1½ demographics for women in comedy.' I always felt like it was an uphill battle trying to get them made. Then I remember when Jenji [Kohan] came in with 'Orange Is the New Black.' That was really awesome. Lane: Above all, it was always Jackie Gleason for me. He was such an influence. He was hilarious, and of course, very broadly funny, but then there was something so sad. It was such pathos with him. ... He was this wonderful, serious actor, as well as being Ralph Kramden. Everett: There's nobody that taught me more about how to be funny than my mom. She just had this way of being that I have used in my live shows. It's led to where I am now. She used to wet her pants [laughing] so she had to put towels down on all the chairs in the house. She just didn't care. That shows you to not care, to go out there. I live in fear, but not when I feel like she's with me. Grier: That's the edge. You're either going to weep or you're going to [laugh] until you urinate.
Yahoo
5 hours ago
- Yahoo
Todd Chrisley Channels Donald Trump In First Press Conference
Todd Chrisley has wasted no time in entering fight mode after his release from prison. The Chrisley family patriarch shared a few thoughts with the public as he enjoyed the first few hours of his newly minted presidential pardon after spending 2+ years behind bars. Todd Chrisley and his wife, Julie Chrisley, got lucky on May 27 when President Donald Trump informed their prison reform activist daughter, Savannah Trump, about his decision to let her parents walk free. The Chrisley family and their legal team held a press conference in Nashville to discuss this development. The family appeared alongside attorneys Alex Little and Zack Lawson in Nashville on Friday. Savannah opened the event by describing her parents' pardons as delightful. As always, she expressed gratitude to the Trump administration and others who helped secure their release. But she minced no words for the Department of Justice, which she claimed has been politicized. As soon as the younger Chrisley was done, Todd began his speech by thanking everyone for their support. He shone the light on Savannah, who was at the forefront of their fight for freedom from prison, acknowledging the battles she fought while their situation went on. As reported by TMZ, Todd also reaffirmed his belief that he was wrongfully convicted. Todd wasted no time in hitting the ground running. During his press conference, the reality star expressed his intention to highlight the injustices federal inmates experienced nationwide. He specifically showed interest in the poor conditions Black inmates are subjected to, with a promise to expose every irregularity in the prison system. As the briefing went on, the reality star got chatty with a reporter who asked him if he felt any remorse for his actions, which got him locked up. In response, Todd jokingly suggested that a reporter who inquired about his remorse might be affiliated with CNN, echoing a familiar tactic used by Trump. Todd also shared bits from his daily prison life, revealing that he maintained a routine that included working out for over an hour, reading, and speaking with Savannah every day. While Savannah got the golden opportunity to speak with her doting dad every day, her mom could not enjoy the luxury. As reported by The Blast, Savannah revealed in a March episode of her podcast that her parents, who were serving time at separate federal prisons at the time, had not spoken to each other since their sentence began. Todd served his time in Florida, while Julie was held in a federal correctional center in Kentucky. Savannah described the situation as a challenge, noting that it should never be that way. The 27-year-old clarified that the lack of dialogue between her parents was absolutely not of their doing but instead a testament to the inefficiency of the prison system. She slammed the correctional facility for never making "anything easy" for inmates, including her mother and father. When news of Todd and Julie's presidential pardon landed on Savannah's table, she joyfully contacted her parents to inform them about their homecoming. "They didn't believe it. I think it literally just came in from nowhere," the podcaster detailed during the press conference. As shared by The Blast, Savannah recalled receiving the presidential call that her parents were coming home while she went shopping. Savannah expressed her gratitude to Trump and his administration, stating that she would always be thankful for their support. She shared her excitement about the preparations she and her siblings were making for their parents' return, including gathering clothes and organizing their room upstairs. Overwhelmed with emotion, she encompassed her feelings with a simple word: "speechless." The podcaster responded to her critics who alleged that she had used unethical means to obtain President Donald Trump's signature on the pardon documents. "I didn't have to do anything. I simply stood firm in my beliefs and convictions, fighting for my parents and what is right," she emphasized to the naysayers. The Blast shared last year that during her resentencing hearing last September, the matriarch of the Chrisley family became emotional as she addressed her family in court. Reflecting on her time behind bars, she expressed deep remorse for her actions that led to the family's current situation. In a heartfelt apology, she conveyed her feelings to the court and specifically to her older children, Savannah and Chase, who were present. Julie acknowledged the significant impact her incarceration had on her family, stating, "This has been the most difficult part of my life," and she lamented not being able to repay her children for their struggles. She concluded by sharing that she had been working on developing new skills to strengthen her bond with her family. Julie bagged a seven-year prison sentence alongside her husband in 2022, who got a twelve. She served her time at the Federal Medical Center in Lexington, Kentucky, until her presidential pardon three days ago. Will Todd Chrisley live up to his promises on prison reforms?
Yahoo
10 hours ago
- Yahoo
'Hacks' is returning to HBO Max for Season 5. Could it be the last?
Another chapter has closed for the comedy duo on Hacks — but where the laughs will take them next is anyone's guess. Season 4 of the HBO Max series focused on Deborah Vance (Jean Smart) finally achieving her lifelong dream of hosting a late-night show, with collaborator Ava (Hannah Einbender) by her side as her head writer even as a betrayal on Deborah's part derailed their often rocky partnership. Now, going into Season 5, Deborah and Ava are back on track — or as on track as their roller coaster of a work relationship can really be. Meanwhile, Hacks is already readying its fifth season, with HBO Max announcing its next installment on the same day as the Season 4 finale. There's definitely more drama — and absolutely more laughs — headed our way. Here's a look back at what happened in Season 4 and what we know so far about Season 5. (Warning: Spoilers ahead!) To understand the drama of Season 4, we really have to unpack what happened in Season 3. With Ava's help, Deborah won the battle to replace a longtime late-night host — a role she's been desperate for ever since she lost out on it decades earlier. But when it came time for Deborah to set up her staff, she didn't give Ava the job of head writer, blaming the network for wanting someone more experienced. However, it was really Deborah who didn't want Ava in the role — she was terrified of any potential Ava-related setbacks that could derail her dream. When Ava found out, she felt betrayed — but decided to do things the Deborah Vance way. She blackmailed Deborah, telling her that she would reveal that Deborah slept with studio executive Bob Lipka (Tony Goldwyn) to secure the late-night gig if she didn't give her the head writer job. Deborah obliged, but it led to a very tense relationship between her and Ava for most of Season 4, with an HR representative (Michaela Watkins) needing to supervise the duo's every interaction. But when Ava threatened to quit the show after a season of stress, Deborah finally came to her senses, realizing her relationship with Ava was what broke her out of her comedy rut — and got her the late-night job — in the first place. Ava and Deborah went back to being thick as thieves, until Ava unintentionally leaked damaging information about the network's toxic culture to the press — leading Bob to demand that Deborah fire her, or lose the late-night show entirely. While it initially seemed like Deborah would once again sacrifice Ava to save herself, she did the exact opposite. She publicly shamed Bob and the studio, protected Ava and declared she was done with late-night — putting Ava ahead of her lifelong dream. Unfortunately for Deborah, the late-night show she left also came with a noncompete clause, meaning she couldn't do any comedy — TV, standup, even TikTok — for 18 months. Workaholic Deborah, however, found a loophole: She could do standup if it was through a translator, leading her to grab Ava and head to Singapore for a residency at a casino. Unfortunately, the experience was pretty miserable for Ava, who watched as Deborah devolved into the cheapest comedic version of herself. She told Deborah she was leaving — only to find out in the morning that TMZ had reported Deborah dead. Fortunately, it was a case of a prepublished obituary — and Deborah was very much alive. But, while she didn't mind being dead on TMZ, she did hate that they used the word 'retired' to describe her. Fueled by ambition and rage, Deborah told Ava they were heading back home — she wasn't giving up her comedy career without a fight. There's more of Deborah and Ava to come, per an announcement from HBO Max on May 27. While Smart previously told Variety she would be 'surprised' if the show didn't receive a renewal, co-creator Paul W. Downs told TV Insider, 'We feel so lucky that we get to do a fifth season of comedy. We're like, it shouldn't be this way, but we feel really fortunate because it's so rare. We feel incredibly lucky.' The only bad news? It's quite possible that Season 5 could be its last. 'We pitched five seasons. Even in the pitch of the whole series, we pitched the very last scene, the finale," co-creator Lucia Aniello previously told Fast Company. 'Suzanna Makkos, who bought the show [for WarnerMedia], stopped us before we got there. She was like, you don't have to pitch anymore. I'm going to buy the show.' That plan was echoed in other interviews as well, with the creative team — which also includes Jen Statsky — telling the Hollywood Reporter that five seasons was always the ideal. 'We pitched the very last scene in the very last episode when we were pitching the show, and we've always had a pretty clear vision of what the tentpoles of each season would be,' Downs said. Right now, the only thing we know for sure is that Smart and Einbinder will reprise their roles as Deborah and Ava. We don't have a release date yet, and it's not going to film immediately — Smart will be spending the summer on the Broadway show Call Me Izzy. Since its premiere in May 2021, Hacks has released its seasons with significant gaps. Each season has taken at least a year to return, with a two-year wait between Seasons 2 and 3. Season 1 debuted on May 13, 2021, Season 2 followed on May 12, 2022, and Season 3 didn't arrive until May 2, 2024.
