Movies

‘The Studio’ lampoons the Hollywood showbiz machine with a deep bench of stars

BBG News

As I ventured into Hollywood’s bustling landscape in 1926, millions of opportunities awaited, and it seemed my only competition was the ranks of the intellectually unchallenged. Ben Hecht, a seasoned journalist and playwright, recognized this prospect and seized it, penning or collaborating on screenplays for films like “Scarface,” “Nothing Sacred,” “Twentieth Century,” “Notorious,” and “Wuthering Heights.” Yet, he never hid his disdain for the silver screen. In my own words, I’d say this venture promised riches, but the movie industry was a realm where one often found oneself surrounded by the unenlightened.

In the world of TV, I’m utterly captivated by “The Studio,” an outstanding new series from Seth Rogen, Evan Goldberg, Peter Huyck, Alex Gregory, and Frida Perez. Premiering this Wednesday on Apple TV+, it’s a rollercoaster ride! I, as Matt Remick, have spent 22 years working for the fictional Continental Studios, and suddenly find myself at the helm when my boss, Patty Leigh (played brilliantly by Catherine O’Hara), is let go by new CEO Griffin Mill (Bryan Cranston).

The twist? I’m supposed to back Mill’s new intellectual property acquisition – Kool-Aid. It seems that in this studio, we don’t produce films, we create movies – ones that audiences are eager to pay for. However, after declaring my intention to “rejuvenate cinema and make daring decisions,” the Kool-Aid news has me becoming a topic of ridicule. I can hardly wait for Wednesday night!

Griffin Mill is also the character Tim Robbins portrays in “The Player,” and it’s up to you if you perceive him as a relic of that character after three decades. Similar to many films about the movie industry, “The Player” (released in 1992, coincidentally the same year as “The Larry Sanders Show”) offers a critical perspective on its theme. Notably, like other productions, “The Player” employs the technique of incorporating real-life celebrities into its fictional world, a strategy later adopted by shows such as “The Studio.

To S.J. Perelman, the bustling town of Hollywood was seen as a dismal industrial city ruled by wealthy gangsters, lacking any ethical compass and having such poor taste that it corrupted everything it came into contact with. Financially speaking, Hollywood proved beneficial to Perelman, offering him inspiration for his comedic writings. However, Hollywood has been extremely profitable for Seth Rogen and Evan Goldberg, as they seem to have no difficulties in getting their films produced. Their irreverent, bawdy entertainment may be considered mainstream, although this could merely suggest that their movies have broadened the definition of what is mainstream – “movies,” not “films.

From my perspective as a passionate movie enthusiast, it’s intriguing how behind-the-scenes films and shows often appear authentic, leading one to believe there might be a grain of truth in them. Yet, it seems the creators manage to maintain a bird’s-eye view, detached from the chaos they depict.

It’s also no secret that inflated egos and incompetence are common themes in films about the film industry. Interestingly, in a comedic context, these flaws outshine genuine competence and selflessness.

As for my personal involvement in the movie business, it’s limited to casual encounters – being offered a drink in an office setting and taking a tour at Universal Studios. Both experiences were delightful, offering a charming glimpse into the world of cinema.

If we consider Matt’s agreement with Mill to play down to the least complex as a deal reminiscent of Faust, it appears to have no lasting effects beyond temporary chaos to maintain his job and some semblance of self-worth. I’m not convinced he’s the right fit for the position he coveted so much—or that this role suits him spiritually. Matt feels lonely, anxious, and desperate for validation, reaching the point of humiliation by tampering with the teleprompter at the Golden Globes. (You might cringe.) He lives in constant fear—of humiliation, of not being liked, of failing his parents, of confrontation—and this fear is evident when he avoids giving Ron Howard a note about the length of his movie in one episode. The artists distrust him and only tolerate him; they view him as a source of money, an obstacle, or a playful distraction while they work.

In the story, Sal Saperstein (Ike Barinholtz), a long-time acquaintance of Matt who once aspired for the studio head position, assists him despite their imagined rivalry. Quinn Hackett (Chase Sui Wonders), newly promoted to Matt’s old job, and Maya Mason (Kathryn Hahn), the head of marketing, also join in, each playing their roles with conviction. From a lofty vantage point, they all jump into the action; O’Hara delivers an exceptional debut performance, displaying distress, anger, and sadness, yet still managing to enhance Matt’s proposition for a production deal. Notable Hollywood figures such as Howard, Martin Scorsese, Sarah Polley, Charlize Theron, Anthony Mackie, Paul Dano, Greta Lee, Adam Scott, Zac Efron, Ice Cube, Dave Franco, and Zoë Kravitz make appearances. Rhea Perlman portrays Matt’s mother in the narrative.

In simpler terms, “The Studio” is a show that both honors and satirizes the movie industry, featuring a lively, rapid-fire comedy reminiscent of Mack Sennett silent films. The narrative structure follows various episodes, each contributing to a larger seasonal storyline. For instance, one episode sees Matt, dating a pediatric oncologist, attending a fundraiser where he defends movies against critics who question their content. Another episode showcases a power struggle between Sal and Quinn as they try to get their films produced. The team attends the Golden Globes, and there’s a humorous exploration of racial sensitivities when casting for a Kool-Aid movie. A missing reel of film becomes a film noir mystery, with Rogen investigating in a fedora and trench coat, narrating his findings into a tape recorder. (It’s unclear whether this specific episode was filmed on actual film, but it might have been for added meta-fictional effect.)

In the climactic two-act finale, a fast-paced comedy unfolds at a Las Vegas trade fair, where sneak peeks of the studio’s future films are showcased and everyone pushes their limits; Kravitz and Cranston deliver laugh-out-loud performances, with humor being a term I only use for extraordinary instances. The narrative gradually shifts – to some extent – from irony to sincerity as Matt learns it’s not just about him, wrapping up the series with a heartfelt finale that holds a unique significance for those who recall Disney’s Carousel of Progress. Despite its corniness, we choose to embrace it, letting it touch our hearts. This, in essence, is what films do – move us.

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2025-03-25 13:32

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