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King of the Hill is coming back after more than fifteen years off the air. That’s a long time. Long enough that most reboots would either reinvent everything or try too hard to make noise. But this one isn’t loud. The 14th season will arrive on August 4, 2025, with ten episodes released all at once. No countdown. No cliffhangers. Just a quiet drop on Hulu in the US and Disney+ internationally through the Star hub.
It doesn’t feel like a return that’s meant to change anything—more like something that had been left open and is finally being finished, but without fanfare. The tone is familiar. The rhythm, the pauses, the looks between characters that say more than the words are all still there. What’s new seems to slide in without disrupting much. That might be the point.
Format and release without rush or pressure
This time around, there’s no weekly rollout. Every episode drops the same day. Streaming makes that possible, of course, but here it feels natural—no big build-up or flashy premieres. King of the Hill just appears on the platform the way it always handled change, quietly, without urgency. It arrives, and whoever wants to watch will find it there. Some will binge. Others might space it out. There’s no right pace.
The trailer was released in July and didn’t go viral. It didn’t need to. It showed enough. A few glimpses of updated animation, scenes that barely feel like scenes, just everyday moments. Hank is standing in a gender-neutral bathroom, frozen. Bobby is in a kitchen, plating food like he’s done it forever. Everything is slightly offbeat, slightly slow. Exactly as it should be.
Where and how to watch
In the United States, Hulu is the exclusive home for the revival. For audiences outside the US, Disney+ will carry the season through its Star section. Unlike older international releases, there’s no delay this time. Episodes of King of the Hill go live globally at the same time. In the US, new episodes are expected to be available starting at 12:00 AM Eastern Time. The shift makes a difference, even if it’s subtle. It treats longtime fans in different countries as part of the same conversation.
No extra apps or packages required. No subscription tiers locked behind paywalls. Just press play and it begins.
Familiar places with small changes
Season 14 picks up more than a decade after the finale. King of the Hill brings Hank and Peggy back to Arlen, Texas, after some time living abroad. Not for travel or leisure, but because they were working in Saudi Arabia selling propane. It’s strange. Unexpected. But also not unbelievable. Something about that fits the Hill family logic.
Bobby is now 21. He’s moved to Dallas. Works as a chef. No longer the awkward middle school kid, though some of that spirit still lingers. His adult version isn’t jarring. He’s older, sure, but still Bobby. He brings a kind of confidence that feels earned, not forced. The kitchen scenes reflect that, precise, quiet, and focused.
Arlen itself hasn’t changed much. A few new elements here and there. Tech stuff. New signs, different outfits. But it still feels like the same town. Static. Familiar. Slightly stuck in time.
New topics through the same lens
The revival dips into modern life. Rideshare culture, craft beer, video calls, and public restrooms with inclusive signage. King of the Hill folds these things into its world without making them the main focus. It brings them in without pointing at them. The show doesn’t try to explain the world. It shows characters trying to live in it with all their confusion and resistance intact.
That’s where the tension lives. Not in big events or dramatic changes, but in the small gaps between generations, values, and expectations. Hank isn’t going to adjust overnight. Neither is Dale. Peggy tries but often misses the mark. Bobby, meanwhile, just moves through it all like he’s always belonged to a different timeline.
Returning voices and quiet goodbyes
Most of the original voice cast is back. Mike Judge as Hank. Kathy Najimy as Peggy. Pamela Adlon voicing Bobby. Stephen Root. Lauren Tom. The rhythm of their voices hasn’t changed much. That’s part of the continuity. Even when jokes land differently, the tone remains.
Some changes were necessary. Johnny Hardwick, the voice of Dale, died before the season was completed. He had already recorded six episodes. From the seventh on, Toby Huss steps in. The switch isn’t played up. It’s handled quietly with care. The voice shifts, but the character doesn’t.
Jonathan Joss, who voiced John Redcorn in the original series, passed away recently. He appears in a few episodes. His absence won’t be addressed directly in the story, at least not now, but it will be felt. There’s a weight to those voices that goes beyond dialogue.
What’s been shown so far
The opening sequence was first shared during the ATX TV Festival. It uses a kind of time-lapse effect, not flashy, just natural aging. The years pass. Characters move. Nothing dramatic. Just slow change. It’s one of the few animated intros that captures time as a texture, not a plot.
The trailer for King of the Hill includes glimpses of small moments. Hank was staring at a bathroom sign. Bobby focused on a dish. Dale is rambling about something no one asked. There’s no highlight reel. No standout scene. The show has always avoided those. It favors awkward silences over punchlines.
A few posters and stills have surfaced online. Some fans have picked apart the backgrounds looking for clues. Others just nodded and said This is the right time.
Why the King of the Hill revival resists the reboot label
Calling this a reboot doesn’t feel right. It doesn’t reset anything. It doesn’t modernize or update its characters in any flashy way. King of the Hill just picks up again, with the same tone, the same pacing. The characters simply continue living with all their odd habits and outdated fears intact.
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The world around them is different, sure. But they aren’t trying to keep up. They’re reacting, stumbling, refusing, adapting in their own slow way. That’s the rhythm of King of the Hill. It doesn’t speed up. It doesn’t push too hard.
The show returns not to catch up but to stay still while everything else moves faster. And somehow that still works.
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