As a seasoned movie buff who has witnessed the evolution of Hollywood from the golden age of cinema to the superhero-dominated era we find ourselves in today, I must admit that “The Franchise” strikes a chord with me. This HBO series, created by Jon Brown and executive produced by Armando Iannucci, seems to be a satirical commentary on the current state of filmmaking, drawing upon its creators’ rich experience in the industry.
Despite the title “The Franchise” from HBO’s latest comedy, there can be no confusion about which franchise Jon Brown (“Succession,” “Veep”) is referring to. The small but powerful team behind “Tecto: Eye of the Storm” represents a minuscule fiefdom within a vast empire. Despite an unseen puppet master pulling the strings, the storyline becomes a tangled mess of continuity issues. Actors are abruptly pulled off set for brief appearances in other productions on the drab, monotonous backlot as plot inconsistencies arise. Renowned directors and actors take on roles for financial gain, earning acclaim for their creative brilliance only to have their ideas disregarded or overruled. If this lackluster cinematic universe had a name, it might be the Bland Marvel Universe. But of course, it doesn’t need one.
The emergence of the superhero era has led to an abundance of critical commentaries, often bordering on fiction, about its impact. “The Boys” series, based on the comic of the same name, serves as a harsh critique of large corporations and their mass-produced content. (It shares an actor with another series titled “The Franchise,” namely Aya Cash.) Satirical TV shows such as “Hacks” and “The Other Two” have targeted the current state of blockbuster films. The Marvel Cinematic Universe itself has become self-referential, incorporating self-awareness in its works, like “Deadpool & Wolverine” and “She-Hulk: Attorney-at-Law,” which appear on Disney+.
In essence, ‘The Franchise’ offers not original perspectives on the issues plaguing mainstream culture, but rather the sharp skepticism that comes from being part of a comedy mentorship program. This half-hour show delivers its criticism with style and fervor, which propels it forward initially. However, it’s more about responding to cultural trends (with a loud, humorous voice) than creating something unique.
The show titled ‘The Franchise’ is overseen by Armando Iannucci, known for creating hit shows like ‘Veep’ and ‘The Thick of It.’ Many members of his writing team have worked with him before, such as Tony Roche who collaborated with him on ‘Veep’ and ‘In the Loop.’ This series, consisting of eight episodes, appears to share some similarities with its predecessors. The characters, much like those in his previous works, are small-time political figures caught up in a chaotic system. They also have a tendency to use strong language. After the first episode ends in an on-set mishap, one character exclaims angrily, ‘You blinded my eyes with your flash, you spineless bastard!’
In the film “The Franchise,” Daniel (Himesh Patel) serves as the closest character resembling a hero. He’s not the director, Eric (Daniel Brühl), who is more focused on quarrels over product placement. Accompanied by his third assistant director, Dag (Lolly Adefope), Daniel spends most of his time handling problems and managing personalities. The main character, Adam (Billy Magnussen), has altered his physique with injectable sheep hormones to resemble a Dorito, while the antagonist, Peter (Richard E. Grant), prefers to call his co-workers by their call sheet numbers. He also labels himself as “low-maintenance.” The studio’s representative, Pat (Darren Goldstein), is a boor who takes pride in his poor taste. When an artist mentions Ingmar Bergman, Pat seems confused and asks, “Which one’s Berg Man? The ice cube guy?
The fruit is low-hanging, but cathartic to snatch with such naked derision. Such are the pros and cons of “The Franchise”’s point of view, a caustic sneer blunted only by a palpable sense of exhaustion. “Nose clips on, let’s eat shit, amen” is Peter’s idea of a hype-up chant; when a minor hero, played by Nick Kroll, pops by for a guest appearance, he quickly assesses the gig as a “BFOGT: Big Fight Over Glowy Thing,” adding: “I’ve shot this scene three times in two years.”
The weary demeanor of “The Franchise” is rooted in a keen awareness of its specific context. It’s not merely about the grandeur of superheroes, as one might expect, but rather, it reflects the unique phase of late-imperial cinema that it finds itself in post-“Avengers: Endgame.” This includes dwindling box office revenues and a growing burden of interconnected narratives. References to streamlining an overcrowded release schedule, as per Disney CEO Bob Iger’s instructions, and accidents on the way home from night shoots, which were part of the narrative leading up to the near-strike by the trade union IATSE in 2021, can be found. A plotline involving Katherine Waterston’s character, a rare female protagonist, battling a torrent of online abuse, is particularly poignant. “The Franchise” may not appreciate what it observes, but its creators have undoubtedly spent years studying the industry, if not directly experiencing it.
As a movie lover, I must admit that the underlying pessimism in “The Franchise,” about the future of cinema and the struggle for authentic art amidst rigid systems, feels all too real. Yet, when stretched over four hours, it becomes an unyielding bleakness. The series never ventures beyond its claustrophobic soundstage, and brief phone calls are our only glimpse into the lives of the crew members outside its walls.
Improving character development could help lighten the heavy atmosphere in ‘The Franchise.’ Often, the less prominent cast members become lost amidst the more attention-grabbing stars. Ironically, it seems the show excels too well at portraying this hierarchy. Even when given a chance for a deeper plotline, such as Daniel’s past relationship with his new boss, the producer played by Cash, it fails to fully explore the potential tension or sparks. Instead, they are preoccupied with saving their floundering project. Unlike the mess it satirizes, ‘The Franchise’ maintains its focus on its critical mission. However, in doing so, the characters often serve as mere tools for this criticism.
On October 6th at 10 pm Eastern Time, the debut of “The Franchise” will be shown on both HBO and Max. Subsequent episodes are set to follow each Sunday.
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2024-10-06 18:17