SummaryWilliam Henry Devereaux, Jr. (Bob Odenkirk) who is in charge of the English department at a small Pennsylvania college is suffering from a midlife crisis in the dramedy adaption of Richard Russo's book Straight Man.
SummaryWilliam Henry Devereaux, Jr. (Bob Odenkirk) who is in charge of the English department at a small Pennsylvania college is suffering from a midlife crisis in the dramedy adaption of Richard Russo's book Straight Man.
With Leiberstein and Zelman at the helm, Lucky Hank does an attractive job of balancing salty comedy with bittersweet moments for an intimate, easily identifiable show that will be a new favorite for viewers.
Lucky Hank is a funny show with a fine cast. We hope it keeps its light tone as Hank’s life falls to pieces, at least the way he’s perceiving that it is.
Lucky Hank is a show you can hang around with, feel basically mellow, and just enjoy the ride. It’s not superlative, and I’m not sure it’s actually trying to say very much, but as an anachronistic detour onto the university campus as it never truly existed (and certainly doesn’t now), it’s an unreal reality that’s worth the visit.
Hank is the least compelling person there. ... Yet miraculously, it still manages to be extremely watchable. If the supporting characters manage to crowd out Hank, it could evolve into a new workplace dramedy hit.
Through only two episodes, it’s hard to tell if “Lucky Hank” could use a bit more of “Saul’s” eagerness to gaze into the darkness, or if it’d be better off dialing up its softer side. The “everything and the kitchen sink” approach taken by co-showrunners Aaron Zelman and Paul Lieberstein leaves enough room to pivot toward what’s working as the season goes on, but also too many questions about an amorphous story that could be described any which way: Is it a dark comedy? A light drama? A mid-life crisis cringe-fest, or an inspirational everyman saga?
“Lucky Hank” so accurately captures professorial ennui. But it might capture ennui a little too well, resulting in a show that seems to amble in no particular direction with little indication of when it might hit a stride. ... But Hank is the type of lovable curmudgeon that some viewers relate to so deeply that his mere involvement can create genuine stakes.
Oedenkirk’s always going to give you fair value. But there’s very little here that either suggests “bingeworthy” “destination TV,” or even the chance it might work its way towards that.