In the days of the 24-hour news cycle, where shorter attention spans absorb less meaningful information, newspapers and magazines continue to shrink and the paperback has gone digital, writing professionals are hard pressed to find answers to the problems that threaten the future generation of scribes everywhere. Hank Moody is still living off the brand recognition from his prized work “God Hates Us All”, but as stubborn as he is, the realty that the industry is changing has led him away from penning another novel and into stage writing.
Hank is methodical, just as many writers are, when finally immersed in his work. He’s a professional when he has to be and an asshole whenever he isn’t trying to be. That is where we pick up the story in “Everybody’s A F**king Critic.” Weeks earlier, Becca revealed she was dropping out of college to become a writer and like any good dad, Hank tried to talk Becca into staying in school. Becca’s thirst to write is quenched now that she has a manuscript finished and her famous father, the established writer, is ready to give his constructive criticism. For a guy who has a way with words, he is tone deaf when it comes to telling his daughter everything will be all right. After Hank gives Becca a not so encouraging review, she storms off, soured on the idea of continuing her literary journey.
The younger generation might have trouble getting started, but even established writers are struggling to connect these days. Hank furiously rips through the script for the musical adaptation of his novel, only to get a taste of his own medicine. Stew gives Hank an ultimatum: produce a brighter, stronger script, one that will engage the younger audience or lose your job to Aaron Sorkin.
Californication misfired when they announced the guest stars for the upcoming season way back before the first episode of Hank Moody’s sixth installment began. A Hank/Aaron Sorkin rivalry would be one for the ages, a clash of screenplay adapting titans. For now, Hank is back to messing around with Faith, ensuring that he will most likely write a good script in the remaining three episodes and quell any of my excitement for a writers bro down, Californication style.
The episode predictably comes full circle when Hank has to swallow his pride and tell Becca his script was a dud. “It happens to us literary lions too,” Hank says. He finally gets the chance to tell her that he is proud of her work because no one else is doing that at her age. No matter how bleak the outlook is, Hank has to be the one to put a positive spin on things and whether he realizes it or not, it may be the reason people decide to stay in his life. When the asshole dad leaves his daughter with the cynical truth that her generation is “too busy texting, tweeting, facebooking and entitled to a life they don’t want to work for,” he comes up with a signature Hank Moody save, thanks to the words of Faith.
“If you are doing what you are born to do, then that is a good thing,” He says. “Anybody can be cynical, dare to be a optimist.”
Charlie can’t match Stew’s money, power or dong. So good ole Runckle decides to team up with his ex-wife’s ex-husband to give at least one of the two men a shot at winning Marcy back. When the crazed feminist Ophelia interrupts their plans, she uses a stun gun to neutralize Stew’s marbles and make Charlie piss his pants.