‘Loot’ Review: A Hilarious Workplace Sitcom Where Maya Rudolph & Joel Kim Booster Shine

Comedy shows have gotten a little dark of late, with bleak scenarios or introspective sad-com direction replacing belly laughs. Even Apple TV+’s crowning jewel “Ted Lasso” leaned toward heavier material in its second season. Of course, many sitcoms still serve plenty of jokes, and “Loot” falls into the latter camp. Combining a fish-out-of-water premise with a workplace location is hardly a new conceit. However, creators Alan Yang (“Master of None,” “Little America”) and Matt Hubbard (“30 Rock,” “Forever”) have crafted a charming venture that effectively utilizes its strong ensemble to maximum impact.

Molly Novak (Maya Rudolph) lives a gilded existence as the wife of a tech billionaire who casually gifts her a superyacht for her birthday. At Molly’s party, her life unravels when she discovers her husband of 20 years, John (Adam Scott), has been unfaithful, and there is no paying for this messy situation to disappear without denting his bank account. In a move that nods to the real-life divorce of Melinda and Bill Gates, Molly is awarded $87 billion in the divorce settlement (they had no prenup), making her the third richest woman in the world. A whirlwind of drinking her way across the globe and into the tabloids is the backdrop to Molly’s soon-to-be rock bottom mood. Reality soon snaps its fingers, and even the ultra-wealthy get a wake-up call — in this case, it is a literal phone conversation.

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The no-nonsense Sofia Salinas (Michaela Jaé Rodriguez) is on the other end of the line with a polite request that leaves the billionaire little wiggle room. Molly is surprised to learn that she is requesting an in-person meeting to discuss the charity foundation that bears Molly’s name. Seeing this as an opportunity to do something with her life, Molly takes a hands-on approach to philanthropy that leads to small victories, public humiliation, and an exploration of the unhoused crisis in Southern California. 

Again, the set-up of an ultra-wealthy person having to leave the safe space of their sprawling mansion, private jets, and luxury spas is hardly breaking the wheel. Thankfully, from the jump, “Loot” depicts Molly as out of touch but not clueless to the point of caricature. The ensemble cast that boasts familiar faces is quickly introduced, and the charitable foundation setting combines a range of personalities that click immediately.

Constantly at Molly’s side is assistant Nicholas (Joel Kim Booster), who has been with her through this entire divorce saga, from partying in Berlin to weeping in a candy closet (okay, entire room) in her home. Booster is fresh off the success of “Fire Island,” and Hubbard wrote the gay Asian character from the Midwest with the stand-up comic in mind. It is a layered role that mixes spiky retorts and (initially) reluctant kindness. Nicholas doesn’t like to be vulnerable in front of others but will gladly dish out advice — even if he pretends otherwise. What could easily have been a cliche bitchy well-dressed gay PA is far more nuanced, and several sub-plots allow Booster to flex a range of comedic and emotional beats.

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Yang and Hubbard have worked on some of the best ensemble comedies in recent memory — including “Parks and Recreation,” “30 Rock,” and “The Good Place” — and one element that separates good from great in this genre is characters who can bounce off each other in an array of pairs and groups. Early on in “Loot,” it is evident that various combinations of the foundation team are a hit, whether the chalk-and-cheese Molly and Sofia pair to the odd-couple friendship between Nicholas and IT expert Howard (Ron Funches). 

Okay, these two examples sound like variations on the same theme, but the middle ground shared is not simply repeating storylines. Throw recently divorced accountant Arthur (Nat Faxon) into the mix, adding to the off-kilter options. Arthur is incredibly awkward and quick to fire off a dad joke, which is endearing to one particular person in this Los Angeles office. 

Howard is also Molly’s cousin, and this exploration of the family she has barely interacted with in years is another fruitful avenue. “The most famous cheated-on woman on the planet” is how Howard refers to his cousin, and romance is a sore subject at first. One will-they-won’t-they that is established in the first episode, and while you can see many of the beats ahead of time, it is a well-executed source of tension — and the chemistry crackles. 

Over the last few years, Rudolph has won multiple Emmys for her voice acting on “Big Mouth” and guest appearances on “Saturday Night Live,” but Molly offers the chance to show her range. Yes, plenty of laugh-out-loud sequences take advantage of Rudolph’s top-tier reaction skills, but she also excels in quieter vulnerable moments. 

The divorce has stripped Molly of an identity that was little more than a shell; her trajectory across the season is an emotional rollercoaster of self-discovery. Whenever John appears (whether on TV or in-person), it tips Molly off-balance, and Scott is one actor who is equally strong at playing sweethearts (think “Parks and Rec” and “Severance”) as he is at playing assholes (see “Step Brothers” and “The Good Place”). 

Apple TV+ continues to grow an impressive roster, and as with other titles in its library, the soundtrack is full of recognizable bangers. The ‘90s are well represented throughout, with tracks from Lauryn Hill, Daft Punk, and Mary J. Blige, among others, asking to be turned into a playlist. Jennifer Dehghan’s production design (particularly in Molly’s home and the foundation office) and Kirston Mann’s costume design add an authentic and lived-in aesthetic that nods to the extreme wealth that is in contrast to every other character without access to famous chefs.  

Workplace sitcoms are a storied part of television history, and to succeed within this subgenre is to throw some curveballs amid the expected twists and turns. Yang and Hubbard are experienced writers in this genre, but they are not just doing paint-by-numbers arcs. The last time they co-created a series was the wonderfully weird afterlife comedy, “Forever,” which also happened to be Rudolph’s most recent TV (live-action) lead role. While “Loot” is undoubtedly more conventional, it also makes some big swings regarding its social message and setting. 

Tension bubbles to the surface whenever the charitable foundation’s mission is threatened, and Rodriguez, as the moral compass, is also given space to own her preconceived notions of Molly’s messy fame and step outside of the rigid box. It is a tricky line to walk, showing the local community projects and the riches on display (no doubt boosted by the Apple TV+ budget) in Molly’s “Selling Sunset” ready home, designer closet, and extravagant modes of travel. 

Extreme wealth, an “eat the rich” mood, and self-serving philanthropy is addressed that might seem at odds with the streamer it airs on (although every streamer is owned by a multi-million or billion corporation). In addition to a well-plotted arc, Yang and Hubbard have already factored a Season 2 storyline into the mix that has only left me wanting more. [A-]

“Loot” debuts on Apple TV+ on June 24.