The television landscape is in constant flux, but few series have so acutely tracked its evolution – and anxieties – as “The Comeback.” Lisa Kudrow’s meta-comedy, after a nearly decade-long hiatus, returns for a final season not as a relic of a bygone era, but as a remarkably prescient commentary on the present. This isn’t simply a show *about* television; it’s a show grappling with what television, and the very act of creative work, might become in the age of artificial intelligence. The core question driving this season of “The Comeback” – can a machine truly replicate the messy, unpredictable, and ultimately human process of storytelling? – is one that resonates far beyond the confines of Hollywood.
Kudrow, who co-writes and stars, revisits Valerie Cherish, the eternally optimistic yet perpetually overlooked actress navigating a career that refuses to fully take off. The series initially premiered in 2005, shortly after the conclusion of Kudrow’s iconic role on “Friends,” and offered a satirical gaze at the burgeoning world of reality television. The 2014 revival, streaming as it did on HBO, turned its lens toward the rise of “prestige” television and its often-darker sensibilities. Now, in 2024, “The Comeback” confronts a new frontier: AI-generated content. This isn’t a distant, sci-fi threat; it’s a rapidly evolving reality that’s already impacting writers, actors, and the entire entertainment industry. The Writers Guild of America (WGA) reached a tentative agreement with the Alliance of Motion Picture and Television Producers (AMPTP) in September 2023, addressing concerns about the use of AI in scriptwriting, but the anxieties remain palpable.
Valerie Cherish in the Age of Algorithms
At 60, Valerie Cherish is still working, a feat in itself in an industry that often prioritizes youth. But her roles are increasingly…niche. She’s fresh off two episodes on the reality competition show “The Traitors” and stars in “Mrs. Hatt,” a cozy mystery series that airs on the streaming platform Epix. Her attempts to stay relevant are both endearing and painfully relatable: a floundering podcast, a futile social media strategy, and a series of product endorsements that yield little more than awkward photos. Valerie and her husband, Mark (Damian Young), have upgraded their living situation, moving to Sierra Towers, a landmark condominium complex overlooking the Sunset Strip, but Mark’s own career has hit a snag – a poorly timed joke cost him his finance job, though a generous severance package cushions the blow. He now dedicates his time to pickleball, a pursuit that seems to symbolize his own sense of adriftness.
The AI-Written Sitcom: “How’s That?”
The turning point arrives when Valerie’s manager, Billy (Dan Bucatinsky), presents her with an unexpected opportunity: a starring role in a new sitcom for a yet-unnamed network. The catch? The series, tentatively titled “How’s That?,” is being written by artificial intelligence. Brandon (Andrew Scott), the network executive, assures Valerie that the arrangement is “within the Writers Guild agreement,” but insists on secrecy. The premise of “How’s That?” is deliberately generic: Valerie’s character, Beth, runs a charming bed and breakfast in New England with her attractive nephew, Bo. The show is designed to be a comforting antidote to the complex, often-bleak narratives dominating streaming services. The writing, predictably, is bland and uninspired, yet the network believes it’s “good enough” for audiences craving escapism. The irony, of course, is that the human actors – Josh (John Early) and Mary (Abbi Jacobson) – are blissfully unaware of their algorithmic co-writer, while the writing assistant, Marco (Tony Macht), is simply hoping for a bigger house.
The series cleverly personifies the AI as “Al,” a remote worker no one actually meets, adding another layer of absurdity to the situation. Valerie’s former documentarian, Jane (Laura Silverman), reappears, now working as a cashier at Trader Joe’s after growing disillusioned with the struggles of independent filmmaking. Seeing Valerie’s new venture sparks a renewed sense of purpose in Jane, who picks up her camera once more. The return of Lance Barber as Paulie G., Valerie’s longtime nemesis, further enriches the show’s already complex tapestry of relationships. The absence of Robert Michael Morris, who played Valerie’s hairdresser Mickey and passed away in 2017, is acknowledged with the introduction of Jack O’Brien as Tommy, a character who fills a similar role.
A Human Manifesto in a Digital Age
“The Comeback” doesn’t shy away from the ethical and artistic implications of AI in entertainment. Director James Burrows, playing himself, succinctly captures the problem: AI can generate jokes quickly, but it lacks the nuance and surprise that comes from a collaborative, often-agonizing writing process. The show ultimately champions the value of human creativity, even in its flawed and imperfect form. Kudrow’s performance is particularly compelling, portraying Valerie as a sympathetic figure caught between a changing industry and her own unwavering commitment to her craft. She’s not a star, but she’s a professional, and she understands the importance of storytelling. As Valerie herself points out, being the first to star in an AI-written comedy is akin to “being the first one to eat an arm in the Donner Party.”
The show’s aesthetic has also evolved, moving away from the mockumentary style of previous seasons toward a more conventional sitcom format. This shift, paradoxically, allows for a greater sense of intimacy and realism. It’s a subtle but effective choice that underscores the show’s central theme: the importance of human connection in a world increasingly dominated by technology. The series doesn’t offer easy answers, but it raises key questions about the future of entertainment and the role of artists in a rapidly changing world. The show’s final act delivers a chilling revelation, solidifying its stance as a cautionary tale about the potential dangers of unchecked technological advancement.
As the final season concludes, “The Comeback” leaves viewers pondering the implications of its narrative. The show doesn’t predict a definitive outcome, but it does suggest that the fight for human creativity is far from over. The next step for the characters, and for the industry they inhabit, remains uncertain, but one thing is clear: the conversation about AI and its impact on art is only just beginning.
What did you reckon of the final season of “The Comeback”? Share your thoughts in the comments below and share this article with others interested in the intersection of television and artificial intelligence.
