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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.

In the first episode of Hacks, the show’s premise is laid out with the familiar beats of a generational comedy. We meet the once legendary comedian, Deborah Vance (Jean Smart), who is now delaying her retirement with a lucrative, if creatively unfulfilling, nightly show at a hotel on the Las Vegas strip, while spending her days sunbathing and playing blackjack at her eerily immaculate mansion in the middle of the desert. We meet Ava (Hannah Einbinder), a down-on-her-luck millennial comedy writer in Los Angeles whose burgeoning career has flatlined following a controversial tweet about a closeted gay senator. With Deborah’s show at immediate risk of being canceled and Ava without any show at all, both are at a crossroads. After being set up for a meeting by their shared agent at Deborah’s palatial home, they trade barbs so vicious that they very nearly part ways for good. Thankfully, a final insult unlocks their shared sense of humor.

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