Hulu's Reboot is an enjoyable sendup of sitcoms (and reboots)

It takes Reboot only five minutes to epitomize its central thesis. In a meta twist, Sundance-acclaimed writer Hannah (Rachel Bloom) pitches the revival of a famous ’90s sitcom to Hulu executives who’ve just boasted about bravely renewing The Handmaid’s Tale. She explains why she wants to bring back the fictional Step Right Up with the same cast: “I fuck with it, but in a fun way.” Reboot is designed to mess around with sitcom clichés as well as to satirize Hollywood’s undying trend of resurrecting beloved TV shows (most of which are obviously best left untouched). To reiterate that point in the opening scene, Hulu employees then name around 20 sequels and reboots that have graced our screens over the last few years.

Packing a strong comedic punch right away, Reboot sets a high bar for the kind of snarky, scintillating humor to expect in its eight-part first season, which premieres September 20 with two episodes. The show goes after the industry itself in early outings to riotous results, taking frequent jabs at everything from studio and corporate mergers, the rise of TikTok stars, and the state of diversity in Hollywood. Reboot is drowning in wry and self-aware humor, boosted further by an exhilarating ensemble. So it’s disappointing when the show loses sight of its compelling absurdity as it goes on.

It’s difficult to skewer any genre without somewhat succumbing to its tropes. For every American Vandal (an excellent sendup of both true crime and mockumentaries), there is The Woman In The House Across The Street From The Girl In The Window (an awful attempt to lampoon literary thriller adaptations). Reboot’s satire and genuine character development benefit from sharp writing, but eventually dwindle because of a jumbled-up tonal shift. Despite this change, the show’s commentary and performances remain mostly enjoyable. Credit goes to series creator Steven Levitan, who brings his immense sitcom experience to bear on Reboot.

Levitan’s decades-long career includes Wings, Just Shoot Me!, and Modern Family. And each depicts the genre’s evolution, and that of the audience consuming it. That’s why Reboot is primed to cleverly examine how ’80s and ’90s television is “comfort viewing,” but the jokes (and the culture they thrived in) might not hold up today. The show drives this home by pairing Hannah with Step Right Up’s original and obnoxious head writer, Gordon (Paul Reiser). Both of them bring in their choice of staff writers; the group’s inevitably clash due to generational differences but find honest bonding moments, too.

The primary source of conflict (besides some personal drama) between Hannah and Gordon stems from Hannah’s edgier script for Step Right Up, which, if it really existed in its heyday, would’ve fit right in with the likes of Full House, Family Ties, or Married…With Children. But her updated take is exactly why the original cast agrees to sign on. As lead actor Reed (Keegan-Michael Key) describes it: “It’s the funniest thing you’ve ever ready, and yet you won’t laugh once.” The Yale drama school graduate hopes to finally be taken as a serious actor. His fellow co-stars Bree (Judy Greer), Clay (Johnny Knoxville), and Zack (Calum Worthy) have their own reasons to revisit their former gig.

The reunion prompts this dysfunctional group to deal with issues they had long abandoned, like Reed and Bree reckoning with their breakup. Clay seeks redemption for his actions while filming the original, and former child star Zack wants the independence of an adult, except his mom still accompanies him to set every day. For the most part, Reboot buoyantly tackles these serious issues and establishes an eccentric, unrestrained voice. The show peaks when it sinks its teeth into satire. Unfortunately, the momentum slows when Reboot pivots between being edgy and sappy, just like the format it’s mocking.

At least the cast is top-tier, none more so than Greer. As always, she colors her character with incredible depth even though she appears one-dimensional. Bree returns to Hollywood with renewed vigor but faces problems she didn’t anticipate, like the addition of social-media superstar Timberly (Alyah Chanelle Scott) to the ensemble. What starts off as antipathy morphs into a deeper relationship between the two women. Thankfully, Reboot gives Timberly her own agency, so she’s not a young Black actor lost while trying to prove her talent. Reiser and Bloom’s heartfelt dynamic grounds the show, too, and Worthy has a charming rom-com subplot with Krista Marie Yu’s Elaine, who serves as Hulu’s VP of Comedy even though she has no experience in the field.

These noteworthy performers keep Reboot afloat despite its uneven tone. Everyone is clearly having fun, and it’s just exciting to watch a capable cast deliver unflinching dialogue. (Who knew?) The biting insights into Hollywood’s business strategies are much appreciated. Even if you’re not a fan of the meta approach, Reboot still makes a striking first impression. Some would even venture to call it, in the words of old-school marketing, “Must-See TV.”