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Hacks Isn’t a Good Comedy
But it could be a great drama.
In “Yes, And,” season three’s penultimate episode, Deborah visits her alma mater, Berkeley, where she’s targeted by student protesters after clips of her older, racist material resurface on TikTok. Meanwhile, enormous swathes of the season are dedicated to the ongoing adventures of Jimmy and Kayla, Deborah’s agent and his assistant–business partner, which have always felt like they were happening on a completely different show:something in a similar ballpark as The Other Two but far less pointed and effective. Except that Hacks is clearly interested in being more serious than that, with constant gesturing toward bigger ideas about the nature of comedy, show business, “Middle America,” queer fandom, aging, and cross-generational bonds, as well as director of photography Adam Bricker’s visual compositions, which favor a melancholic pallor that droops over the smooth, glitzy glamour onscreen.
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