HBO’s latest comedy ‘The Franchise’ offers biting satire but little more
A satirical look behind the scenes
HBO’s newest comedy series, “The Franchise,” tackles the chaotic inner workings of a fictional superhero movie production, drawing inspiration from the tumultuous nature of the genre. The series, led by Jon Brown and enriched by the experienced hands of industry veterans, dives into the beleaguered life of the cast and crew working on the movie “Tecto: Eye of the Storm.”
While the show’s premise promises a scathing critique of the blockbuster movie industry, it ultimately delivers more criticism than novelty, channeling its energy into a well-trodden path of industry cynicism.
The setup: chaos and control
The fictional world of “Tecto: Eye of the Storm” is a microcosm of a sprawling studio empire, where continuity errors and plot holes are the norm. Prestigious directors and actors, usually praised for their creative genius, find their contributions dismissed or overruled. This chaotic environment calls into question the very fabric of the superhero genre and the creative sacrifices made in the name of profit.
But rather than providing fresh insight, “The Franchise” opts for a cynical portrayal of the film industry, a reflection more of its creators’ frustrations than a revelation for the audience.
Industry reflections and meta-commentary
The series is hardly the first to criticize the state of modern media. Shows like “The Boys” and “Hacks” have already delved into the absurdities and excesses of Hollywood. Even the Marvel Cinematic Universe (MCU) has turned the lens on itself with self-aware projects like “Deadpool” and “She-Hulk: Attorney-at-Law”.
However, “The Franchise” carves out its place with sharp, eloquent cynicism, boosted by a cast and crew experienced with such biting comedy. Executive produced by Armando Iannucci and featuring writers from earlier successes like “Veep” and “The Thick of It,” the series showcases characters reminiscent of political functionaries bumbling through an aimless institution, full of crude language and bitter moments.
Characters caught in the storm
At the center of the mayhem is Daniel, portrayed by Himesh Patel, the first assistant director who tries to keep the set running while the actual director, Eric (Daniel Brühl), engages in pointless battles over product placement. Supported by the inept third AD, Dag (Lolly Adefope), Daniel juggles personal dynamics and on-set disasters. The lead actor, Adam (Billy Magnussen), and the self-absorbed villain, Peter (Richard E. Grant), add layers of absurdity with their quirks and egos. Pat (Darren Goldstein), the brutish studio overseer, adds to the chaos with his tasteless interventions.
Despite the humorous setup, the show struggles to evolve beyond its initial premise. It revels in sharp rhetoric, like Peter’s chant, “Nose clips on, let’s eat [expletive], amen,” or Nick Kroll’s cameo characterization of the production as a “BFOGT: Big Fight Over Glowy Thing.”
A closer look at the genre critique
“The Franchise” zooms in on the superhero genre’s oversaturated landscape, especially in the post-“Avengers: Endgame” era. It touches on industry issues like the push for fewer releases as dictated by studio mandates and the exhaustive demands of interconnected storylines. A subplot showcasing Katherine Waterston’s character’s struggle with online harassment adds a poignant layer to these critiques.
The balance of satire and storytelling
However, the relentless pessimism and limited scope can make “The Franchise” feel claustrophobic. With most of the story confined to the set, characters’ lives outside the production are barely explored. Even seasoned director Sam Mendes’ fluorescent-lit aesthetic strips away glamour, emphasizing the workers’ relentless hustle over fostering deeper narrative connections.
The series risks losing depth by underdeveloping its characters’ personal arcs. Daniel’s past romantic involvement with his new boss (Aya Cash) lacks emotional weight, as both characters remain preoccupied with managing the film’s chaos.
By focusing narrowly on industry lampooning, “The Franchise” becomes more of a witty reaction to current trends than a standalone entity.
Final thoughts
The first episode of “The Franchise” airs on HBO and Max on Oct. 6 at 10 p.m. ET, with new episodes every Sunday. Offering a blend of sharp humor and pointed industry critique, it’s a series tailored for fans of insider Hollywood satire.
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