If you have a keen eye as a viewer, you’ll notice just how bad *The Hawk* is. It isn’t made to be enjoyed, but rather to be forgotten very, very quickly.
According to Netflix, *The Hawk*—created by Will Ferrell, Harper Steele, and Chris Henchy—is an "absurd" work, and Wikipedia classifies it as a "comedy." Why, then, does it make you sleepy for much of the series? To be fair, there are moments that elicit the occasional laugh, and most of them come courtesy of Molly Shannon, who ought to be declared the main attraction of... well, whatever this is. It’s not just that Shannon, in the role of Stacy, appears more alert and expressive (which she certainly is!); it’s also that she brings a lively, dynamic touch to her foul-mouthed dialogue.
Creators: Will Ferrell, Chris Henchy, Harper Steele
Stars: Will Ferrell, Molly Shannon, Jimmy Tatro
When she threatens to crack open her husband Lonnie’s (Will Ferrell) head and shit inside it (they are in the middle of a divorce), the reaction is a mix of surprise and amusement, thanks to the bitterness, specific details, and gestures with which Stacy delivers the line. There are other equally raw and colorful warnings that Stacy delivers with punch; one could compile them, edit them into a three-minute clip, and post it online. That short video might well prove more entertaining than this ten-episode comedy.
I admire how *The Hawk* portrays Lonnie: a talented but self-centered, ambitious, and overconfident golfer—so obsessed with professional success that he ends up sacrificing his personal relationships. He doesn’t think twice about beating his own son, Lance (Jimmy Tatro), on the golf course, nor does he regret missing the funeral of his longtime friend, driver, and caddie if attending means losing the chance to qualify for the PGA Tour and, eventually, the US Open. Lonnie isn’t exactly a likable character, but that isn’t really a problem; I’d argue that we need more unlikable protagonists in our series and movies.
No, the problem is that Lonnie simply isn't as funny as he thinks he is. Ferrell plays him as a loudmouthed buffoon who won't stop running his mouth, seemingly believing that his ceaseless chatter will somehow yield the occasional funny joke. The moments where he is even remotely amusing are the ones that offer a glimpse into his mind. These "inner" images are an extension of his narcissism, yet they are presented like a colorful, incredibly tacky music video. At one point, Lonnie tries to manipulate these internal thoughts to avoid facing the difficulties his son is going through.
It is one of the few scenes that actually works well in a series where most elements feel like nothing but noise. To make matters worse, *The Hawk* ruthlessly discards characters and plotlines, as if striving for the label of "disposable algorithmic trash." Natalie (Katelyn Tarver), Lance’s fiancée, has a tense relationship with Stacy; both women vie for Lance’s exclusive affection. For instance, Natalie wants Lance to kiss her after winning a match, rather than kissing his mother, Stacy. However, this tension leads nowhere particularly interesting, and Natalie vanishes from the series entirely following a revelation.
That revelation, too, is of little consequence, serving only to pave the way for the character's exit. Sam (Fortune Feimster), Lonnie’s new caddie, has a shady past and a criminal record. A suspicious-looking individual follows her and slaps a sticker reading "U O Me" (You owe me one) onto Lonnie’s bus. Given that Lonnie was kicked off the tour following his previous caddie’s death in the first episode, one might expect Sam’s past to come back to haunt them—perhaps leading to her arrest at a critical moment and once again jeopardizing Lonnie’s dream.
"Well, you were wrong," *The Hawk* declares with total nonchalance. The identity of the suspicious guy is revealed with that same casualness, and both Sam’s past and his current obligations are cast aside. And what about the "U O Me" sticker? Curiously, it is never mentioned or commented on again: did Lonnie fail to see it, or did Sam rip it off before he could? Given the attitude of indifference that characterizes *The Hawk*, its most apt visual representation is the character of Radford (David Hornsby), Stacy’s current lover. Nothing seems to move or rattle him. When Stacy confesses her infidelity, he simply... smiles. Radford might as well be a ghost; his presence is inconsequential. He seems mentally detached from his surroundings, and one would have to mentally detach oneself, too, to endure this failed comedy. Because, if one starts to analyze it even a little, one is forced to ask questions like: "Who is this play actually for?" and "What message does it convey—if any?"
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