Smart, Funny, and More Relevant Than Ever

Read Time:6 Minute, 33 Second

MOVIE REVIEW
King of the Hill: S14
TV-14 –

Genre: Animated Comedy
Year Released: 2025
Runtime: 10 x 22m episodes
Writer(s): Mike Judge, Greg Daniels, Saladin K. Patterson, and others
Cast: Mike Judge, Kathy Najimy, Pamela Adlon, Johnny Hardwick, Stephen Root, Lauren Tom, Toby Huss
Where to Watch: releasing August 4, 2025, on Hulu

RAVING REVIEW: After more than a decade off the air, KING OF THE HILL returns with its long-awaited fourteenth season—and somehow, it feels like it never left. From the very first episode, the rebooted series strikes a balance between nostalgia and relevance, honoring the character-driven heart of the original while evolving enough to fit the world as it is now. This isn't just a return to a greatest hits compilation; it's a thoughtful extension of the lives we left behind in Arlen, Texas. And by the end of these ten episodes, it’s clear the show still has something to say.

Season 14 picks up after Hank and Peggy’s extended stay in Saudi Arabia, where Hank has been working a propane job to build their retirement fund. The couple returns to Arlen only to find that the town—and the people they knew—have changed. Dale’s paranoia hasn’t dulled, Boomhauer’s cool-guy mystique is still intact, and Bill remains Bill. But the tone is different. There’s a real effort here to show growth in the characters, particularly in Bobby, who’s now in his 20s and living in Dallas, pursuing a culinary career.

The premiere episode, “Return of the King,” handles the transition skillfully, getting viewers up to speed without getting bogged down in exposition. From there, each episode stands on its while contributing to an overall arc that feels more serialized than past seasons. It’s a change that works, giving the show a slightly more modern shape without losing its episodic charm. The writing team clearly understands the delicate balancing act required to revive a legacy series: don’t break what works, but don’t be afraid to challenge it either.

The most significant evolution in tone stems from how the show portrays its characters. There’s a noticeable effort to engage with more timely issues—such as cultural appropriation, pitfalls of the gig economy, and changing gender dynamics—without turning into a lecture. The episode “Bobby Gets Grilled” is a good example. It takes a swing at cancel culture, authenticity, and family dynamics while still finding space for Dale to go off the rails at a presidential library. It’s chaotic, but smartly so, and the show never forgets to be funny first.

Bobby’s storyline in this season is one of the most rewarding aspects of the revival. He's still quirky, still drifting through life in his own unique way, but he’s not frozen in time. His evolving relationship with Connie feels honest and bittersweet, particularly in later episodes when adult expectations and romantic confusion begin to surface. Watching Bobby try to balance ambition, identity, and growth is surprisingly moving—especially for a character long used as the show’s punchline. This season lets him shine, and it’s about time.

On the other hand, Hank is still Hank, but even he has changed—just enough. His uptight, traditionalist nature hasn’t softened, but it’s now contrasted against a world that has moved even further away from his ideal. His attempts to be useful and remain a guiding presence are more effective now that the show acknowledges his limits. In episodes like “No Hank Left Behind,” his rigid belief in values gets hilariously—and at times painfully—challenged by environments that leave him feeling obsolete. These moments strike a balance between humor and introspection.

Peggy, as always, is Peggy. Her ego remains unmatched, but this season offers a few cracks in that facade. “Peggy’s Fadeout” and “A Sounder Investment” both dive into her insecurities in ways that the original series never fully explored. It’s satisfying to see the show give her more room to struggle and fail, rather than just rebound with overconfidence. The writers clearly understand that while Peggy often sees herself as the smartest person in the room, her real strength is in how she deals with being wrong—and she gets a few chances here to grow.

The supporting cast also gets their moments. Connie’s dynamic with Bobby carries more emotion than I was expecting. Dale continues to be the show’s wildcard, and while Johnny Hardwick’s voice work was reportedly completed before his passing, it’s a joy to hear him again (although there’s something still different there.) The character feels slightly more self-aware, but he hasn’t lost his edge. Boomhauer and Bill receive less screen time overall, but when they appear, it’s always in service of the story. No one feels shoehorned in just for nostalgia’s sake.

The animation has been subtly updated—it’s cleaner, more fluid, and a touch more stylized without losing the recognizable look of the original. It’s a natural evolution, not a reinvention. And the voice work remains as sharp as ever. Mike Judge slips back into Hank and Boomhauer with ease, and Pamela Adlon continues to bring complexity to Bobby. Toby Huss and Lauren Tom are reliable as ever, and Stephen Root’s Bill still finds ways to be pathetic and lovable in equal measure.

This new season also benefits from Saladin K. Patterson’s involvement as showrunner. Known for his work on THE WONDER YEARS reboot, Patterson brings a clear vision to the revival—one that embraces change while respecting legacy. That’s no small task, especially with a series as beloved as KING OF THE HILL. But by giving each episode its own purpose while maintaining a cohesive tone across the season, Patterson and the team have managed to craft something that feels earned.

While not every episode hits as hard, and some characters inevitably get less focus (or none at all) than others, the season as a whole is surprisingly strong. There’s a confidence to the storytelling, a willingness to be weird, heartfelt, and occasionally dark. It ends in a way that leaves room for more, and if this is what KING OF THE HILL looks like in 2025, it’s worth continuing.

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[photo courtesy of 20TH TELEVISION ANIMATION, 3 ARTS, HULU]

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