Sydney instead decides to use the political capital she gained by voting for a carried interest bill opposed by the financial lobby to challenge elder statesman John for his Senate seat, throwing his path to the White House into doubt. After some initial reluctance, Kate decides to join Sydney’s campaign, causing a rift with Lauren, while also causing Kate to question her own political choices and beliefs. 

Burgess entertainingly shows how the interactions of lobbyists and those they work with in Congress are inextricably intertwined, and lip service is paid to Kate’s decision to follow her heart instead of her head and work for Sydney’s campaign, but there aren’t many well-reasoned arguments here. In their stead is a lot of lively dialogue, which also helps to offset labored jokes about, for instance, the restaurant chain Chili’s and its ultra-large margaritas.

The appealing performers—Gillian Jacobs (Kate), Aya Cash (Lauren), Eisa Davis (Sydney) and Zach Grenier (John)—bat Burgess’s lines around like expert tennis players, with Grenier providing an hilarious caricature of an entrenched politician oozing smugness from his very pores. But even Thomas Kail’s savvy direction and Anna Louizos’ equally smart set design can’t disguise the fact that Kings is a sitcom masquerading as something more substantial.