As someone who has spent countless hours immersed in the world of superhero movies, I must admit that “The Franchise” episode 2 has struck a chord with me. The behind-the-scenes look at the making of a superhero film is a rare treat, and Tony Roche’s writing perfectly encapsulates the chaos, tension, and absurdity that often lurk beneath the glossy surface of these blockbusters.
In the 2000s, there was a significant shift in the approach to superhero movies, moving away from the exaggerated and cartoonish elements often found in comic books and toward a more realistic and grounded style. This transition can be seen in films like the Bryan Singer X-Men series, the Nolan Batman trilogy, the Snyderverse, and many entries in the MCU. Costumes and designs were made less flashy, with muted colors replacing the bright and bold comic-book aesthetics. For instance, Hugh Jackman’s Wolverine didn’t wear his iconic mask until the third Deadpool movie this year, which was a half-CGI creation that, to be fair, demonstrated that some comic elements can look unrealistic in live-action.
However, it’s worth noting that an invisible jackhammer, one of Tecto’s unique abilities, could appear extremely absurd, especially when enlarged to IMAX proportions. This is becoming increasingly evident as Tecto seems to fall into the category of lesser-known superheroes who only get their own movies after the more popular heroes have run out. The second episode of “The Franchise,” penned by Tony Roche, a veteran writer from “The Thick of It” and “Veep,” and directed by Liza Johnson, primarily delves into the challenging filming of the scene where Tecto will first use his invisible jackhammer. Adam, the actor portraying the superhero, grapples with the idea conceptually: would Tecto, for instance, be able to perceive the invisible jackhammer? He also worries that he might come across as rather foolish, a concern that intensifies when faced with his co-star Peter, who spends the episode complaining about his billing in the credits, causing trouble, and delivering sharp remarks.
As a die-hard movie enthusiast, I can’t help but feel a palpable sense of unease among the unsung heroes behind the scenes, especially poor Daniel who’s got his vape hooked up and meditation tape blaring during his morning commute. The impending arrival of Anita, the new producer at the end of episode one, has stirred an existential dread. After all, she declined a chance to work with Sofia Coppola on Tecto, and now she’s determined to make her mark, stirring up the complacent production that’s been moving sluggishly. With Maximum Studios breathing down her neck, the specter of layoffs looms large.
She goes about establishing her authority by scheduling an emergency meeting first, which is canceled as soon as the crew arrives. It sets in motion a wave of panic: Eric frets that his artistic vision will be further compromised, or worse, that he will be “stripped and flogged” in front of his staff (an indignity that is reserved for Daniel later in the episode), while Adam fears he will be “cut out” like a tumor and replaced with Kit Harington. It’s at least a kick up the arse for everyone to just get on with the day’s shoot and the silliness with the invisible jackhammer, which appears on-set as something like a bright green pogo stick. The scene requires a big stunt for Adam and Peter to be hoisted into the air at “warp speed,” at which they have three attempts before Peter’s spine gives in, per his contract. Billy Magnussen shines here, treating the stick/jackhammer like a very phallic extension of Adam’s manhood.
On Dag’s second day on set, she finds herself disenchanted. She questions Daniel, “Could this not be a dream factory? Could it be a slaughterhouse instead, where we all have blood on our hands, and fat on our faces, eating sandwiches…” Under pressure, Daniel reacts harshly to her words, apologizing for his behavior later, but acknowledges the truth in what she says. The conversation inspires him to confront Anita about Eric’s missing mossmen, who were cut due to budget constraints, leaving only a few extras that need digital duplication for the jackhammer scene. We also learn how they became acquainted: they had a six-month affair before Anita started a relationship with an unnamed Australian actor. Given their past, it’s understandable that Daniel might harbor some resentment.
Instead of keeping the mossmen, Anita instead enlists Daniel for the previously mentioned whipping incident at the open-air food court. Here, Daniel is exploited as a public fall guy for the production’s issues thus far, reminding me of that joke about scooping elephant droppings from the first episode. This act at least allows the filming to carry on, and Daniel swiftly reasserts his authority on set in an attempt to save his career. Behind closed doors, they both acknowledge that the “invisible jackhammer” plot is a bust – it was lousy in the comics, Daniel notes, and it’s even worse on camera. Anita suggests reaching out to Shane, whose influence is represented by Bryson, to persuade him to scrap this idea. However, Shane doesn’t respond, weakening Anita’s perceived power. To add salt to the wound, Maximum Studios has also scrapped another of their lesser projects, The Sister Squad. As Pat puts it, “It’s like having a lovely pet and brutally crushing its head with a hammer.
Currently, it’s not just Daniel who’s overwhelmed with excessive worry; Anita shares the same fear that Tetro might meet the same unfortunate fate as its seemingly overly-feminist sister franchise. This sets a high bar for the upcoming season – not only are Daniel and his team pushing themselves to their limits, but they’re doing so for a film that may never make it to the big screen. However, those who care about the end result, aiming to bring about change in the face of questionable creative decisions, find themselves hindered by bureaucracy and fear. In essence, this episode echoes the same lesson as its predecessor: creating superhero movies is a struggle, everyone involved is undervalued, and it takes a certain level of insanity to work on one – and I for one am surprised.
Post-Credits Scenes
In another brilliant delivery by Richard E. Grant, “He seems to have an allergy to performing, as his sneeze just ruined the take.
Delighted greatly at the time Daniel Brühl spent chatting with Eric, as he mentioned the name of director Christopher “Chris” Nolan. I can’t help but wonder what Nolan’s upcoming film titled “Tecto” might resemble.
Daniel didn’t chuckle as he informed Dag that the third AD had taken their own life. It’s possible that the VFX specialist could be next.
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2024-10-14 06:54