As a long-time aficionado of the superhero genre, I must confess that “The Franchise” has both captivated and frustrated me. The show initially caught my attention with its clever satire on industry practices, particularly the jabs at pandering to Chinese backers and the ongoing “woman problem.” Richard E. Grant’s portrayal of a Shakespearean actor slumming it in franchise projects was a delight, reminiscent of Alan Rickman in “Galaxy Quest,” but with a unique twist that made his character downright nasty and hilarious.
Is it serendipitous or merely coincidental that “The Franchise,” an HBO sitcom critiquing how comic book movie franchises are impacting cinema, is following “The Penguin,” a spin-off of a comic book series, on our screens? And, while I acknowledge the comparison might be like comparing apples to oranges, what does it say when “The Penguin” is generally considered superior in almost every aspect?
Title “The Franchise” showcases the tumultuous filmmaking process of “Tecto: Eye of the Storm,” a new addition to Maximum Studios’ cinematic universe. The series predominantly portrays the turmoil from the viewpoints of 1st assistant director Daniel (Himesh Patel), an ardent comic fan striving for a good movie; and 3rd assistant director Dag (Lolly Adefope), who views it as nothing but mediocre. The acclaimed director Eric (Daniel Brühl) is an egomaniac, longing for a call from Christopher Nolan. Aspiring actor Adam (Billy Magnussen) aims to reach the A-list by playing the earthquake-inducing character Tecto, while his classically trained co-star Peter (Richard E. Grant) looks down upon the material. The studio head Pat (Darren Goldstein) is preoccupied with the summer blockbuster “Centurions 2,” neglecting this spiraling production that requires more attention.
The series, showrun by “Succession” writer Jon Brown, has its origins in a meeting between two of its executive producers, “Veep” creator Armando Iannucci and “Skyfall” director Sam Mendes, where Mendes shared stories about the absurd challenges from his time working within the James Bond franchise. Many of the show’s stories of troubles within the franchise machine have some basis in reality. And yet much of the satire feels tired, like yesterday’s Twitter Discourse reheated. By the end of the first season, the talented actors and snappy dialogue can’t quite save “The Franchise” from exhaustion.
Not the strongest super-spoof
One problem that “The Franchise” encounters in distinguishing itself is that viewers are just as saturated with superhero spoofs as they are with traditional superheroes. Even the major franchise productions often have a high level of self-awareness, either brilliantly or subtly, depending on one’s point of view. This raises doubts about how much bite “She-Hulk: Attorney at Law” truly possesses when it humorously and brutally mocks Kevin Feige more effectively than the franchise itself does.
The best genre satires come from a place of knowledge, and while this crew of writers knows how to put together creative profanities and compelling Sorkin-style walk-and-talks, I’m inclined to question how much they really know or care about the debates around the superhero genre. The “superheroes are killing cinema” perspective expressed through Dag mostly seems to come down to “this stuff is silly” — which it undoubtedly is, but I don’t consider silliness a problem, and it’s not the problem Martin Scorsese was talking about in the articles that kickstarted this interminable argument five years ago. The question of how seriously to take this stuff gets further muddled when Daniel talks about Eric’s vision being a “dark and gritty” one, despite everything we see on set looking more like the camp of James Wan’s “Aquaman” than the self-seriousness of Zack Snyder’s “Batman v. Superman.”
In the 2020s, it seems like industry satire, particularly concerning superhero movies, feels somewhat outdated. Jokes about catering to Chinese investors might still elicit a chuckle, yet isn’t it true that the Chinese market has shown less enthusiasm for American films post-COVID? The episode revolving around Maximum’s “woman problem” also appears antiquated at first glance, considering how much Marvel and DC have progressed in terms of inclusivity over the past decade. However, this episode turns out to be the strongest, as its central focus on how fans treat women within these franchises remains strikingly relevant today.
In “The Franchise,” it’s the dual actors portraying these characters that make it most entertaining. The concept of a renowned actor like Shakespeare dabbling in franchise projects is nothing new – Alan Rickman in “Galaxy Quest” set the bar high – but Richard E. Grant fits this role flawlessly, and his character’s particular knack for being hilariously rude stands out. He yearns to be canceled, yet can’t because everyone anticipates him to be unprofessional, unprepared, and politically incorrect. Billy Magnussen, on the other hand, is an excellent choice for an actor who resembles a “Chris”-level star but falls short. A gag about his superhero steroid routine generates one of the biggest laughs, while his reunion with an old sitcom colleague is another memorable moment.
The ending falls apart
Even though the Sam Mendes-directed premiere of “The Franchise” had numerous apparent jokes, it was still skillfully crafted for a half-hour. This made me open to watching the series, and I found a few more robust episodes in the middle of the season appealing. However, as the first season came to an end, my annoyance with its superficial approach towards cultural criticism outweighed my admiration for its humble comedic merits.
In a nod to recent superhero movie debacles, the season conclusion merges elements from the disputes surrounding Zack Snyder’s departure from “Justice League” and the sudden cancellation of “Batgirl.” These situations offer ample material for satire, shining a light on the less savory aspects of the superhero film industry – and, indeed, HBO’s parent company Warner Bros. Discovery. Unfortunately, the season finale fails to deliver the hard-hitting critique it promises by opting for emotional manipulation instead of directly tackling the corporate antagonists from those stories.
As a gamer, I found that the game could have had a softer ending if it had a tone and message more akin to “The Fall Guy,” celebrating the madness behind creating even an average blockbuster. However, “The Franchise” insists on being critical, which means the lack of impact where it counts leaves me feeling unfulfilled. With Maximum Studios churning out superhero movies for eternity, “The Franchise” has plenty of storylines to continue for more seasons, but I’m not keen on sticking around (though, I might still catch clips of Richard E. Grant’s standout performances).
“The Franchise” premieres on HBO and Max on October 6.
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2024-10-02 06:30