THE STORY – Follows a legacy Hollywood movie studio striving to survive in a world where it is increasingly difficult for art and business to live together.
THE CAST – Seth Rogen, Catherine O’Hara, Ike Barinholtz, Chase Sui Wonders, Kathryn Hahn, Dewayne Perkins & Bryan Cranston
The TEAM – Seth Rogen, Evan Goldberg (Creators/Directors/Writers), Peter Huyck, Alex Gregory & Frida Perez (Creators/Writers)
In various mediums, Hollywood has typically been displayed through the lens of glamorization. The stars, the sets, and the magic conjured up to make the films we see every day. For many, one of the first displays of Hollywood in media that caught our eye was HBO’s “Entourage,” and while it was entertaining, it was a very misguided look at the highs and lows of the industry. Sure, there were some truths to be found within the series since it was vaguely inspired by Mark Wahlberg’s real-life experiences, but let’s be real: it’s all a fantasy. One person who most likely agrees with this is actor, producer, and writer Seth Rogen. Not only for being the punchline of a randomly malicious episode-long gag but also as someone who’s navigated this business for decades now in every area you could imagine when it comes to production. It seems Rogen and creative partner Evan Goldberg have taken their collective frustrations with Hollywood and decided to poke fun at it with their new Apple TV+ series “The Studio.”
“You know I got into this because I love movies, but now I have this fear that my job is to ruin them,” says the newly appointed president of the fictional film studio Continental Studios, Matt Remick (played by Rogen). Rogen’s character is constantly talking about bringing change to Continental Studios, pursuing projects made both by auteur filmmakers and based on massively successful IP. Pretty quickly, Matt learns that’s not, in fact, what the job entails as he’s immediately reminded by the CEO of the studio Griffin Mill (Bryan Cranston) that his job is to make “Movies, not films!” While Matt’s heart is undoubtedly in the right place, he’s a bumbling fool inadvertently causing havoc amongst his coworkers and the productions of films taking place at Continental Studios.
There’s a somewhat interesting conversation “The Studio” brings up about whether the suits are indeed artists (they’re not) and if they hold any type of creative claim to the projects they put their money towards (they don’t). It’s a hilariously honest depiction of how ego can often get in the way of developing great films and how studios in this current state of filmmaking have only worsened. Every episode of “The Studio” essentially plays off the same episodic structure following Matt’s daily life at the studio before devolving into slapstick hijinks we’d all come to expect from a Rogen and Goldberg production. There are constant fires that need to be put out, whether it’s finding the right director for a project, getting the courage to give a respected filmmaker notes on their final cut of a film, or prepping for major events such as Cinemacon.
“The Studio” is, for better or for worse, blatantly self-referential, constantly remarking on real-life trends in the industry and the films they are referencing in the series. From talking about the power of a good one shot as the series is filmed in the vein of Emmanuel Lubeski’s “Birdman” (which is mentioned) or the heightened spoofing of the drama Elaine May experienced while working on “Mikey and Nicky” through the use of another contemporary director. It often goes back and forth from being abrasive at times to often working in harmony with the situational comedy that transpires. For those who are obsessive about film, these references are notable, but they also have to endure it being explained to them like they’re one of the general audiences who’d tune into the series. It’s clear that the team behind “The Studio” knows the demographic it’s targeting and could’ve pumped the breaks on name-checking, even if it’s a known trademark of their work. It’s easy to be cynical when the comedy series is whipping out cameos of famous actors and directors from every angle, but that cynicism dispels rapidly whenever we get to see legends like Martin Scorsese have fun with the material given to them.
Everyone in the cast is as dependable as Rogen, who never pushes himself out of his comfort zone and smartly surrounds himself with an ensemble filled with hilarious comedic talents. Barinholtz’s character, a creative for Continental Studios, often steals the show. He’s a loser father and raging substance abuser that, for some reason, every talent that is involved in the studio seems to like hanging around, unlike Rogen’s character. There’s a standout episode where Barinholtz and Chase Suit Wonder’s Quinn Hacket, a young creative at the studio, get to trade blows with their varying perspectives on what the job is supposed to be, leading to catastrophic results. It’s also always a delight to see actors like Catherine O’Hara or Kathryn Hahn pop up and nail every line reading. The show’s true star, though, is its rotating door of cameos, as mentioned earlier, as they give “The Studio” a blended sense of reality, which allows it to be “Entourage” for this new generation.
Even though the ten episodes waver in quality, the stars who inhabit this series make it, at the least, a watchable experience that will intrigue those in and who love the industry wanting to keep tuning into the next episode. Even when “The Studio” does teeter on annoyance, something quite earnest about the series is more than evident. It’s a breezy ten episodes that only show the love Rogen and Goldberg have for the industry they’re in outweighs the vexation often caused by it. It may not be the smoothest first season, but the highs are very high. Most importantly, there’s room to grow with future seasons, and by the end, plenty of viewers will likely be ready to see whatever projects Continental Studios has cooking up in their future slate.
THE GOOD – An entertaining exploration of the real pain behind making films. The humor mostly lands as it’s performed by a well-rounded ensemble of comedic talents and star-studded cameos.
THE BAD – Rogen and Goldberg’s self-referential style of humor can be grating, especially since it’s clear who the series’ intended audience is.
THE EMMY PROSPECTS – Outstanding Comedy Series, Outstanding Directing in a Comedy Series, Outstanding Writing for a Comedy Series, Outstanding Cinematography for a Series, Outstanding Picture Editing for a Comedy Series
THE FINAL SCORE – 6/10
