In the world of comedy, Will Ferrell is an iconic figure, especially for those of us who grew up in the 2000s. His work, particularly 'Anchorman,' has left an indelible mark on pop culture. So, when I heard about Ferrell's new Netflix comedy series, 'The Hawk,' I was naturally excited, expecting a hilarious ride. However, my enthusiasm quickly turned into disappointment as I delved into the show.
A Missed Opportunity
'The Hawk' had all the ingredients for a successful comedy: Ferrell's signature brand of humor, a familiar sports setting, and a promising premise. But from the get-go, it felt like the show was haunted by its own potential. Set in the world of professional golf, it evoked memories of Ferrell's earlier hit, 'Talladega Nights,' but failed to capture the same magic.
What's intriguing is the show's evolution. Initially reported as a veiled take on the controversial LIV golf tour, it underwent significant changes. Comedian Ramy Youssef's departure and the show's eventual focus on Ferrell's character, Lonnie Hawkins, shifted the narrative away from its original intent. The final product only briefly mentions the geopolitical aspects of LIV, choosing instead to center on Ferrell's character and his relationship with his son.
Comparison with 'Stick'
Interestingly, 'The Hawk' found itself competing with another golf-themed comedy, 'Stick,' starring Owen Wilson. While 'Stick' isn't flawless, it excels in explaining the intricacies of professional golf to newcomers, something 'The Hawk' sorely lacks. 'Stick' also feels less reliant on its star's persona, allowing the story to take center stage. In contrast, 'The Hawk' seems overly committed to glorifying Ferrell's character, Lonnie, at the expense of a compelling narrative.
The Problem with Lonnie
Lonnie Hawkins, a typical Ferrell character, is selfish and shameless, oblivious to the impact of his actions. While Ferrell's associates, Harper Steele and Chris Henchy, bring him to life, the show fails to provide a strong satirical bite or narrative drive. The death of Lonnie's caddy, Old Henry, serves as a weak inciting incident, and the introduction of Sam, a drifter, feels like a missed opportunity to explore a fun buddy comedy dynamic.
The show seems reluctant to attribute Lonnie's sudden resurgence to anyone but himself, making his character's arc feel random and unconvincing. Once Lonnie returns to the PGA circuit, he competes directly with his son, Lance, whose response to his father's hedonism is an interesting contrast. However, the female characters, including Lance's fiancée and Lonnie's ex-wife, are underdeveloped and lack depth.
A Lack of Edge
The biggest issue with 'The Hawk' is Lonnie himself. The show makes him grating without providing him with a real edge, leaving him stuck in an uncanny valley. A scene where Lonnie makes a homophobic remark to his son is a flash of genuine ugliness, but it's quickly undermined when we learn the traumatic memory was invented. 'The Hawk' seems unable to fully commit to making Lonnie a truly despicable character, instead opting for a softened version that feels unsatisfying.
A Missed Reflection
'The Hawk' doesn't feel like a reflection of its time, unlike Ferrell's earlier works that captured the essence of the Bush era. The show's theme of a nuclear family reuniting is half-heartedly pursued, and the lack of a strong narrative drive makes it feel aimless. Despite Ferrell's undeniable talent, 'The Hawk' fails to inspire the same enthusiasm as his classic works.
In my opinion, 'The Hawk' is a missed opportunity. It had the potential to be a satirical masterpiece, but instead, it floats along, lacking the bite and momentum needed for a truly memorable comedy. Personally, I think Ferrell's fans deserve better, and I can't help but feel disappointed by this lackluster offering.
