Her tree-house rampage does inspire her to take matters into her own hands with the special. They didn’t need to lay it on so thick in these scenes to show that Deborah is wounded and when she’s wounded, she lashes out. It’s a line so heavy-handed even Jean Smart can’t make it sound natural. “God, sometimes this town can just instantly remind you that you’re worthless,” she says just after the meeting. Unfortunately, the whole sequence feels a bit empty and on the nose. She slams down her drink, grabs a chainsaw, and heads out to massacre the neighbors’ tree house while Cher’s “Gypsys, Tramps & Thieves” blasts. Later, while wafting moodily around her mansion, martini in hand, she gazes out at where downtown Los Angeles should be and has an idea about what might make her feel better. Now, in an industry desperate to prove its wokeness, she’s more pigeonholed than ever, valued for her identity, not her ideas.ĭeborah knows the offer is trash and storms off.
When Deborah was young she had to scrap and fight or be shut out. It’s a moment that hits with a sickly crunch, capturing the discombobulating shift that women and other marginalized groups have faced in Hollywood.
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One studio’s interest is piqued, but they instead want to attach the director who “did the BLM Super Bowl ad for Duracell.” “He’s amazing,” Deborah is informed by a condescending blonde executive.ĭespite Jimmy and Deborah’s best schmoozing, the only offer they walk away with is a 30-minute special that would run as one episode of a series about women in stand-up that the production company has been “mandated” to put out, directed by the Duracell guy. Instead, they are looking for sexy shows written by guys wearing hoodies, like the crew Jimmy and Deborah watched walk out the door celebrating selling their series as they came in. But after a disheartening series of pitch meetings, Deborah, Ava, and Jimmy realize that producers are not especially interested in the confessions of a septuagenarian comic in flowing pants and an updo directed by a veteran of the Mary Tyler Moore Show. And she was just an intern”) who agreed to direct the special.
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She has a successful meeting with a former collaborator, Elaine Carter, a grizzled and eccentric old TV veteran (“It was her idea for Mary Tyler Moore to throw the hat. But it actually feels vulnerable and courageous for Deborah to put herself back at the mercy of the industry that rejected her, not out of ego or pride, but because she has a project that she truly thinks is great and wants people to see.ĭeborah is a small fish in a big pond now.
Until episode two, Deborah has insisted she’s happier performing for “regular people” and doesn’t care what the critics say. She and Ava have fought viciously about Ava’s coastal elitism, high-brow taste, and disdain for Deborah’s digestible punch lines and “Panera people” audience. could feel hypocritical or like a concession. She holed up in Vegas and made herself a big fish in a small pond.ĭeborah’s quest to conquer L.A. It’s clear that after losing her late-night show she dealt with rejection by removing herself from the big league of specials, TV, and late-night. She was too lowbrow, too campy, too fluffy, too girly, the way Joan Rivers, Lucille Ball, and Phyllis Diller all were at points in their careers. In the season premiere, she admitted to Ava that she was devastated by reviews of her final Palmetto show and that part of why she moved to Vegas was because she never felt taken seriously by L.A. He suspects she deliberately prices it too high because “she’s always secretly hoped she’d have a reason to come back here.” Over a gossipy team dinner, Marcus points out that she could easily sell the place if she dropped the price. This whole season has been fleshing out the chip on Deborah’s shoulder about being a “Vegas comic.” Supposedly, Deborah’s been trying to sell her the house for years but can’t because her hippie neighbors built a tree house in front of the skyline view that tanked the property value. It’s a nod to how little she has had to do with Hollywood these days. The house has fallen into disrepair because Deborah hasn’t been there since 2007. This episode begins with the gang moving off the tour bus into Deborah’s Los Angeles mansion.
Now, she and Ava must sell a special to the comedy gatekeepers of Hollywood. At the end of the last episode, Deborah decided the self-deprecating set was too good for just another Vegas residency or a tour. She and Ava figured out that the set can’t just recount trauma but must also interrogate Deborah’s mistakes and flaws. Inspired by some great dick and an encounter with her stalker in Memphis, Deborah made a breakthrough last episode.
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