The King has re-entered the building, and what a surprise it is. King of the Hill seemed an unlikely choice for a reboot. Not because it lacks quality, the initial thirteen-season run is nothing short of comedic bliss, but because the show had a neat end. Returning for more but side-stepping the endless possibilities of nostalgia by ageing the characters and giving them new situations to play with is a masterstroke for the Mike Judge programme. One of many. The times, as Bob Dylan once noted, are changing. So too are the characters of much-beloved shows. Though few are daring enough to show the wear and tear of the world around them, King of the Hill’s fourteenth season is a delight. It captures the spirit of the previous season, that fine blur of morally sound story and blink-and-you’ll-miss-it humour with subtle jabs at why other shows that return are simply not as good.
Part of the charm comes from seeing how these classic characters were accidental predictions for the future. Judge is not a soothsayer, though is extremely smart in how these mainstays return. Dale Gribble’s crackpot conspiracy theorist trait is not amplified or changed; the times around him have. The same goes for Hank Hill. The situations of extreme embarrassment found throughout the season feel grounded in what we know of the world, but are alien to him following an eight-year absence from Arlen, Texas. Ageing the characters brings with it a new context for adventures in each of their lives. Playground bullies and little spats for Bobby, Joseph, and Connie, are now delicate and not-so-direct tiptoes through all life’s modern worries. We see Hank as the man refusing to adapt and Bobby as the already indoctrinated, and it creates a brilliant back-and-forth.
Each episode has a story worthy of the original run, from father and son beer brewing competitions to a fake funeral held to save face with new friends. Whatever the case, Judge stuck firm with the vision he had for the show, should it be revived. Bringing the characters up to speed with the modern world is an opportunity not just for a fresh batch of storytelling but for how these characters can still be moulded. Retirement does not suit Hill, and as much is explored. What is a hard-working family man to do when his time in the workforce ends? Unlike Hill, the show is never filling time. Each gag, throwaway or long developed, feels essential, and the humour of the programme is still dealt with that fine touch found in the very best episodes. It’s an unlikely masterstroke from Judge and company, whose decision to replace the late Johnny Hardwick is a hard one, but an ultimately necessary one.
Toby Huss is a vital replacement, keeping a much-beloved character going but never diminishing the time on-screen. King of the Hill moves at a satisfying pace with the remaining core characters, though there are moments where it feels as though the show does not want to go all in at once. Kahn Souphanousinphone and John Redcorn are welcome appearances, though tragedy behind the scenes has a gut-wrenching effect on this latest season. King of the Hill returning was incredible enough, but to see ten episodes of brilliant quality, despite all the heartbreaks in the lead-up, is a borderline miracle. It’s a comedy which both revives the core values of the show but brings them up to speed with the modern world. Few creatives are offering the same, and we can only hope King of the Hill offers the satisfying work Hank Hill would be proud of in future seasons.
