The Studio Laughs to Keep From Crying

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In a unique twist, the satirical series titled The Studio manages to insert its head so deeply into its own world that it emerges on the other side with an authentic and sincere feel. This is no accident. While there’s no scarcity of television shows poking fun at Hollywood’s shallow side, from The Other Two, Barry, to The Franchise produced by Armando Iannucci last year, what sets Apple TV+’s new half-hour comedy apart is its decision to blend satire with a genuine affection for the industry it mocks. The combination is striking in its authenticity: Yes, Hollywood can be a ridiculous and harmful business that demands mockery in numerous ways, but there’s an undeniable charm about it that keeps us captivated.

In simpler terms, the character Seth Rogen’s Matt Remick represents a contradiction in the series “The Studio.” He’s a movie executive who, despite his passion for cinema and belief in the harmony of art and commerce, is ultimately naive about the harsh realities of the industry. Throughout the series, we see him make idealistic statements about the film business, enjoy classics like “Goodfellas,” and argue that profits can support creative risks. However, it’s hinted that his optimism will be shattered as the story unfolds.

The CEO, portrayed by Bryan Cranston with a mustache in Continental, comments on your unconventional filmmaking approach as ‘elitist nonsense.’ Instead of focusing on maximizing profits for the studio, you seem more interested in this,” he says, pointing to a Kool-Aid movie project and a Spike Jonze film about diarrheal zombies. “Throughout the season, Remick grapples with both professional and existential struggles as he manages a major modern film studio.”

“His insecurities and desire for validation hinder him from excelling in his role,” the text continues. “He avoids confrontations and delegates difficult tasks to his colleagues such as Martin Scorsese’s backstabbing or informing Anthony Mackie that his movie’s ending is poor.”

“His team includes Sal Saperstein (Ike Barinholtz), a cunning second-in-command; Quinn (Chase Sui Wonders), a creative executive; Maya (Kathryn Hahn), a marketing chief trying to appear youthful; and Patty (Catherine O’Hara), the mentor he usurped,” it explains.

“Though Remick may never achieve his dream of using the studio’s resources to promote art, there’s a dark satisfaction in watching him struggle against the reality that he’s merely a number cruncher.

The show, titled The Studio, is reminiscent of the satirical style found in shows like Entourage and Silicon Valley, sometimes veering towards an overly familiar tone. The series is filled with appearances by notable figures, such as Scorsese, Mackie, Olivia Wilde, Ron Howard, Charlize Theron, and others, all portrayed in roles that subtly twist their public images. Even Netflix CEO Ted Sarandos makes an appearance, which is intriguing given his role as a streaming competitor. Additionally, the Hollywood insider Matt Belloni also appears, emphasizing The Studio‘s ability to capture the unique and exclusive atmosphere of Hollywood as a mysterious, closed-off community.

Despite its glitzy camaraderie possibly losing your interest, “The Studio” manages to keep you engrossed in two distinctive ways. Firstly, the show’s raw audacity is striking, as each episode presents a unique challenge for the crew. However, some episodes go beyond the ordinary sitcom format by introducing captivating cinematic tricks, like the second episode that takes place on a Sarah Polley movie set during an ambitious one-take scene, which surprisingly turns out to be an extended single take itself. Similarly, the fourth episode pays tribute to neo-noir genre with Remick dealing with a missing reel of film on set. On paper, these twists might seem overly cute, but “The Studio” executes them so brilliantly that you can’t help but be captivated. Additionally, the show’s second appealing aspect is its unabashed embrace of its own foolishness. Unlike other shows that rely on witty, ironic intelligence, “The Studio” revels in being a broad comedy with a lead character who wholeheartedly embraces the silliness of its world, often finding fresh humor within its comedic situations.

In “The Studio”, a pattern of escalating turmoil recurrently unfolds, with the show’s unique humor stemming from the repeated emphasis or ‘double-down’. This is evident in a mid-season episode where Remick, along with an oncologist portrayed by Rebecca Hall, attends a medical charity gala. The comedy arises from contrasting the superficiality of Remick’s profession against the more meaningful work of medicine. Being a Hollywood romantic and deeply insecure, Remick can’t resist responding when his peers at the gala look down on him. He persistently argues for the societal importance of the entertainment industry, an argument that is theoretically valid but also absurd given the context of cancer research. As Remick holds onto his self-importance, there’s a cyclical impact: His initial arguments are humorous, then cringe-worthy, then repetitive and annoying – only to become funny again. This reminds one of the “Kristen Schaal is a horse” bit, where repetition drives the absurd humor, and at some point, your mind starts accepting the commitment displayed.

The comedy series often portrays scenarios reminiscent of a stress-induced heart attack, encompassing elements such as pressure, disaster, and humiliation. This is amplified by a dynamic directing approach that maintains the characters and camera in constant motion. Seth Rogen performs admirably, handling multiple roles including starring, producing, writing, and co-directing alongside frequent collaborator Evan Goldberg. They share the creator credit with Peter Huyck, Alex Gregory, and Frida Perez. The visual style leans towards the cinematic aesthetic of New Hollywood films from the mid-’60s to early ’80s, a period that Rogen seems to admire. This design choice may suggest a thematic idea, considering it mirrors the decline of the classic studio system, which was significantly influenced by the rise of television. The production carries a melancholic, nostalgic undertone, hinting at a hope for a better future from the perceived demise of today’s Hollywood, while simultaneously presenting material that is notably dumb.

In a melancholic manner, The Studio occasionally reflects on the charm of Los Angeles, such as when it gazes upon Remick and Patty’s tranquil garden in the Hills at the end of the pilot episode. This scene carries a poignant feel today, given the city’s recent wildfire destruction, yet it enhances the show’s overall eerie atmosphere. Despite its comical portrayal of dim-witted characters, The Studio expresses a sense of sorrow that perhaps the golden age of its subject matter has passed. Early in the series, Quinn, the young executive, laments, “I’m 30 years too late to this industry.” Toward the end of the season, an episode featuring The Continental crew at the Golden Globes, includes a brief joke where Remick is puzzled by influencers on the red carpet, causing him to ponder, “What’s happening to this town?” Though these statements are presented humorously, they contain a hint of genuine despair. It would be too clichéd to call The Studio a love letter to Hollywood; instead, its tender portrayal of an industry in decline makes it more like a farewell postcard from the end of an empire.

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2025-03-25 20:55