Can you believe it? Little Bobby is all grown up in King of the Hill season 14, which takes us back to the beating heart of Middle America. It’s not surprising considering the show had a release date of August 4 – almost exactly 16 years after it initially stopped airing in 2009. Set in the fictional town of Arlen, Texas, we’re picking back up with Hank (Mike Judge) and Peggy (Kathy Najimy) as they move back to town after Hank’s retirement, while Bobby (Pamela Adlon) is making a new life for himself as a fully-fledged adult,
The new Hulu show (which is also available on Disney+ in the UK and Australia) has been praised as being charming and a slow-grower, much like the original series when it debuted in 1997. It’s both ridiculous and familiar all at once, managing to incorporate a brand-new world while keeping tabs on everything that made the comedy the animated success story it was. As we know, the world has changed a great deal since 2009 (let alone 1997), and it’s almost strange to see a version of Middle America largely unaffected by politics.
But that’s not the change I think we need to keep an eye on. Cultural, societal and political shifts while King of the Hill has been off air go without saying, yet the biggest change affecting the show itself is the rise of streaming services. It’s not something the comedy has ever had to deal with before, and according to its creators, the viewing landscape has undoubtedly changed what we’re watching in season 14.
King of the Hill season 14’s switch to streaming has undeniably changed what we’re watching, say creators
“Everybody’s trying to figure out how to match audience viewing behavior to the way business models used to work,” showrunner Saladin K. Patterson told The Hollywood Reporter. “So, a microcosm of that is this whole thing that a season is 10 episodes now, and that certainly affects the stories we can tell, but not all in a bad way. In some ways, 10 episodes is creatively more refreshing than having to do 22 episodes. Trust me, the unspoken secret that we always had was it’s hard doing 22 episodes, and by time you get to episode 17, you’re starting to repeat yourself probably. But monetarily speaking, that was a great model. Now for streamers like Hulu and Disney+, it’s a little different.”
He continued, “When we were breaking out the season arc, it certainly made us skip ahead, I think, in a way that we wouldn’t necessarily have skipped ahead in the first 10 episodes under the broadcast model. Think about the Connie ( Lauren Tom) and Bobby relationship. We wanted the season to end with them getting together, so that meant, along the way, we had to jump that relationship ahead faster than we would have had we had 22 episodes to get them together. That fit to how we brought the stories and what we had to pick and choose in terms of what we showed.
“The word that comes to the top of my head is it makes you be more ‘efficient.’ It also makes you figure out, assuming I want to get from A to B, what in between has to be shown to make it make sense when we get to B. Versus if I had to get to A to H, I have B, C, D, E, F and G to hit along the way. It makes us have to be a little more selective with what we have our characters experience if we’re trying to get them to the same place by the end of a season.”
Of course, the fact the King of the Hill reboot is streaming on Disney+ and Hulu rather than one of the other best streaming services around also changes what we’re seeing. In Patterson’s own words, the comedy never hugely pushed the boundaries of speaking out, but now season 14 is so heavily tied to family-friendly brands, that’s even more constricted.
“On the one hand, the Hulu execs for the show were fans of the original, so we all were on the same page in terms of wanting to recapture what made the original special,” he explained. “But there were situations where the Disney of it all put some limiters on us that I know Fox would not have, even though we were on Hulu and streaming, which theoretically has broader S&P [standards and practices] than Fox. But for us, staying true to the show meant we weren’t ever going to be too gratuitous with the curse words and things, but we do take some liberties. The characters do curse in ways they can’t curse on broadcast.
“That being said, Hulu still made us go through and pull out all the F-bombs because they don’t want the TV-MA label, and it’s fine.”
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