Hacks co-creator, co-showrunner, executive producer, writer, director, and actor Paul W. Downs says the series has been building up to the events of season four for a long time. The fourth season of Hacks focuses on Deborah Vance finally accomplishing the near-impossible: hosting a late-night show. And, of course, nothing about the experience will be easy.
“We always knew we wanted Deborah to get her white whale, to get this late-night show. But like with stand-up, we’ve always said that this is a show about the wig-off moments. You know, the behind-the-curtain moments,” said Downs during a press conference hosted by Max. “So, there is a lot of behind-the-scenes drama and comedy that happens at a late-night show. So, it was really fun to explore that and also to, I mean, write what you know as writers writing a comedy show. So, it was easy.”
Season four picks up at a pivotal point in Deborah and Ava’s personal and professional relationship. Max’s super-short synopsis reads, “Tensions rise as Deborah and Ava endeavor to get their late-night show off the ground and make history in the process.” And that’s putting it very mildly, based on the season four teasers.
Series stars Jean Smart and Hannah Einbinder also took part in the season four press conference, discussing Deborah and Ava’s evolving relationship, among other topics. The following is a spoiler-free takeaway from the press conference.
Season four premieres on Thursday, April 10, 2025, at 6pm PT/9pm ET on Max.
Jean Smart and Hannah Einbinder Talk Hacks Season 4
On season four serving up new sides of Deborah Vance:
Jean Smart: “Well, I give credit to the writing for that. I mean, it continually amazes me that they are able to find more and more for us and also keep this dynamic going, because I think that’s a lot of the fun for the audience is this relationship. And the fact that they’ve been able to keep that the way they have … because that was my biggest fear after the first season, was that, ‘Well now that they’re kind of friendly and working together, is that going to be as much fun for the audience to sort of see them butting heads?’ But it’s amazing to me that it continues in the same vein and just gets better and better. And meaner and nastier.”
Ava’s evolution into head writer of a late-night series:
Hannah Einbinder: “I think Ava is in a position, I think, [where] her hand has kind of been forced. I think a lot of people ask me, like, ‘Has Ava turned bad or is she, you know?’ No, I think she has to kind of speak Deborah’s language. I think her hand has been kind of forced, and I think she still has her core. I think she still retains that spirit but just kind of has to play ball.
And so, it’s been really cool to get to play the adversarial thing. It’s obviously, like, you know when we have to fight, Lucia calls cut and we’re just like [hugging]. It’s like, ’I’m sorry!’ But it’s fun to kind of traverse this winding road with the two of them.”
On the devastating LA fires claiming the house used as Deborah’s home:
Jean Smart: “The beautiful mansion that was built in 1930, I think. It’s been sitting there and been touched by fire [for] 100 years almost and it burns. It was really sad. And we had just finished shooting there, I think, the week before or something. And to envision those beautiful rooms and that beautiful fountain and the backyard and the couple that lived there and their dog. I mean, they’re safe, thank God. But yeah, that was shocking.”
On the tough love versus nurturing approach to acting:
Jean Smart: “I was just going to say it’s interesting because I’ve been talking about this with, I have a 16-year-old and he’s in the drama department at his school, and he just finished this weekend playing a part in the school musical.”
Hannah Einbinder: “Beautifully.”
Jean Smart: “Beautifully, yes, of course – stole the show. I don’t know where he got that; I can’t imagine. But his teacher is rather … can be verbally abusive, and it’s very upsetting as a parent, and I don’t agree with it either. As an actor, I’ve never had that in my experience. Certainly, when I was in school, no one ever spoke to me like that. I don’t see how you can possibly get good results out of somebody or have someone be able to work, you know, in that environment.
I’m the same. I mean, some people, I think, probably don’t mind it that much. It’s, I don’t know, I guess it’s sort of the cliché of the crazy directors screaming and yelling or the drama teachers saying you need to suffer for your art. It’s like, why? I don’t. I never got that. You know, it’s like, ‘Tell us your most private moment. It’ll make you a better actor.’ Really? No, I don’t think so. Just tell me what to say, thank you. It’ll be fine. Just calm down. You know, so that’s that for me. I like warm and cozy.”
Hannah Einbinder: “Yeah. I think we’re really inherently sensitive people. And I myself am really attuned to reading into even the twitch of an eyebrow. […] So, I really am, I think, like gentle and supportive. Although I will say, like I have, and we all actually have, a background in athletics. We’ve all had coaches. And I think I do kind of like having that sort of coach dynamic a little at times. But I think that can also exist with support.”
Jean Smart: [Laughing] “So I can yell at you on the set now?”
Hannah Einbinder: “Yeah. Please. By all means.”
Jean Smart: “Finally? After five years, I think you could have told me sooner.”
On the importance of including multiple queer characters, especially in the current environment:
Hannah Einbinder: “Very, very meaningful. And we always have, and I’m sure that that will always be a part of all of our work. I mean, Jean’s first acting role, Last Summer at Bluefish Cove, was a lesbian play.”
Jean Smart: “Started my whole career, yeah, kissing a girl.”
Hannah Einbinder: “It’s important now more than ever. And I really do think in the face of such a horrendous fascist crackdown on our community, it’s really important for people to be able to see themselves, see themselves fully, and see themselves in a way that is fully realized. And so, yeah, it is really, really meaningful to be a part of it.”
Co-creator, co-showrunner, EP, writer, and director Lucia Aniello: “And also, it feels like no matter what legislation or whatever tries to pass or does pass, at the end of the day we are reflecting society and gay people exist, trans people exist, non-binary people exist, and there’s nothing anyone can do to stop them from existing. And so, good luck.”
On the shift in how the senior community is depicted on TV:
Jean Smart: “I think it’s happening because of me. [Poses] I get a little uncomfortable when the subject comes up, because I feel like I don’t want to be like the poster child for older actresses. But certainly, it’s nice to be able to play a character where you show that people have the same kinds of hopes and dreams and desires and everything that they do when they’re 30. So, for people to be able to see that and get used to that, is just because it’s not something we used to see in film and television. But why not? You know, it’s like Lucia was saying, that’s part of real life. And no, it’s great, it’s great. And if our show has helped with that a little bit, then bravo, you know?”
On Deborah continuing to grow and open her heart to new experiences:
Jean Smart: “I think that that’s been a great thing to see on the show because she was a person who just hung on to anger and hung on to bitterness and resentment. And to see her being able to maybe let go or at least recognize that, you know, it’s important. Because it’s shocking how long it takes you in life to learn stuff. I mean, it really is true. You think, ‘Oh god, why didn’t I figure that out, you know, 30 years ago?’”
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