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The two share an agent who suggests, in a flash of insightful desperation, that Deborah hire Ava as a writer. Ava is an up-and-coming comedic writer who, because of an offensive tweet she posted, has been rejected by the Hollywood establishment. Deborah, a pioneering comedian in the Joan Rivers vein, has stalled in her career: A Vegas residency that finds her performing the same set, show after show, has brought her wild wealth and creative stagnation. The women of Hacks come together because they both need something from each other professionally. Hacks, like several other recent works, expands the notion of what it means to be a couple in the first place.
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Deborah is Ava’s boss that complexity is awkward, and also the point. Hacks’s version is more complicated-and only in part because Deborah and Ava aren’t interested in each other romantically. In the earlier versions, the desire is romantic. The difference is the means of the togetherness. They make clear that these people who are separate would rather be together. The scenes all do elegant narrative work. If the scene seems familiar, that might be because it is an ironized version of the famous scene between Meg Ryan and Billy Crystal in When Harry Met Sally-which was itself a riff on the famous scene between Ingrid Bergman and Cary Grant in Indiscreet: the phone, the night, the interplay of intimacy and distance. Burns, in this relationship, are a form of tenderness. “Well, you certainly have the complexion,” Deborah murmurs in reply. “I think I could play a dead body,” Ava muses.
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Both are watching Law & Order: Criminal Intent. The two comedians, one in her 70s and the other in her 20s, are chatting on the phone late one evening, Ava from her Las Vegas hotel room and Deborah from her Vegas mansion. A scene midway through Hacks finds the show’s protagonists, Deborah and Ava, in bed together-but not in bed together.