‘The Studio’: Five Takeaways From the Debut of Apple’s Hollywood Satire

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[This story contains some spoilers for the first two episodes of The Studio on Apple TV+.]

In today’s industry where intellectual properties rule, it seems entirely feasible that a movie studio would think about making a film based on Kool-Aid – the sweet drink with an anthropomorphic pitcher as its logo. This idea could even serve as the catalyst for the satirical series on Apple TV+ titled The Studio, which appears just outlandish enough to fit the bill.

In this revised version, I’ve aimed to make the language more conversational and easier to read while preserving the original meaning.

The first episode of the series, penned by creators Seth Rogen, Evan Goldberg, Alex Gregory, Peter Huyck and Frida Perez, introduces us to Matt Remick (portrayed by Rogen), a movie executive who steps into the leadership position at Continental Studios following the dismissal of Patty Leigh (Catherine O’Hara, whose character is based on former Sony Pictures head Amy Pascal). After a series of box office failures, Patty was ousted. Despite Matt’s claimed love for cinema and his ambition to create exceptional films, he only ascends to the top post after promising his boss (played by Bryan Cranston) that he would produce the Kool-Aid movie.

As a gamer, I find myself in a tricky predicament, not necessarily due to my meteoric rise in the industry – after all, I’ve been instrumental in creating Continental’s latest blockbuster franchise. However, the Studio seems to hint at a catch-22 situation for me. They say, “I got into this business because I love movies,” but now there’s an unsettling fear that my role is not about nurturing these cinematic masterpieces, but rather, potentially ruining them.

Here are a few takeaways from the opening two episodes of The Studio:

In the opening of the show, there’s a substantial number of recognizable appearances: The filming of a Continental movie is shown, featuring Paul Dano engaging in a dangerous fight sequence under the watchful eye of director Peter Berg. These characters are some of the initial ones viewers encounter in The Studio, even before Seth Rogen’s Matt makes his on-screen debut.

In this scenario, the director Nick Stoller, known for collaborating with Seth Rogen on projects like Apple’s series “Platonic” and the “Neighbors” movies, is depicted as a potential director for the movie titled “Kool-Aid“. However, the narrative primarily revolves around Martin Scorsese, who proposes an epic film about the Jonestown massacre to Matt. Enthused by the prospect of greenlighting a Scorsese production and believing he could turn it into his own “Kool-Aid” project, Matt impulsively purchases the idea. However, his marketing head (portrayed by an energetic Kathryn Hahn) brings him back down to reality.

At a gathering, Charlize Theron (who starred alongside Seth Rogen in “Long Shot”) and Steve Buscemi, who were set to feature in Scorsese’s movie, were present. In this event, Matt had to convey to Scorsese that his Jonestown project wouldn’t materialize, and the $10 million earmarked for the script was intended to terminate the film production. As Scorsese wept in the background, Theron delivered a sharp remark (“Get out of here!”), and Buscemi, unaware of what had just occurred, cordially welcomed Matt and expressed his excitement about collaborating with him on what would presumably be Scorsese’s final film. That must have stung.

In this next adventure, I find myself sharing the screen with Sarah Polley and Greta Lee – they grace our set as the director and lead actress in a high-profile film Continental is producing (details coming up). Throughout the season, there are plenty more exciting cameos to look forward to!

Regarding the CEO’s name: The character, Griffin Mill, played by Cranston, seems to be a playful reference to the character Griffin Mill from the 1992 film “The Player,” directed by Robert Altman and starring Tim Robbins. While Cranston’s character shares the same name, he is quite distinct from Robbins’ buttoned-down executive character in the original. It’s amusing to imagine Griffin Mill climbing the Hollywood ladder and eventually becoming a CEO with a fondness for turtlenecks and flashy jewelry – a picture that recalls the real-life show business legend Robert Evans, whom Cranston’s character is occasionally referred to as a “dime store Bob Evans” by O’Hara’s Patty.

In Veep’s DNA, the creators and I share a gritty truth: As writers and executive producers of the Emmy-winning HBO comedy, Gregory and Huyck, along with us fans, find resonance in an insight: the corrupting influence of their respective worlds – the entertainment industry for them, and politics for Veep’s characters – has a knack for transforming even the most noble individuals into caricatures of their own self-disgust.

In the first two installments, “The Studio” hasn’t quite captured the knack for elaborate swearing that “Veep” exhibited. However, when Patty says to Matt’s colleague and Continental executive Sal Saperstein (Ike Barinholtz), “You’re not as dim-witted as you appear, which isn’t saying much given your apparent dumbness,” it’s easy to envision Selina Meyer (Julia Louis-Dreyfus) uttering that same line to one of her aides on “Veep.” (Gregory and Huyck were also involved in the creation of “The Larry Sanders Show,” which effectively satirized the entertainment industry.)

Rogen and Goldberg appreciate extended, uninterrupted shots: The second episode is titled “The Oner,” and it revolves around Polley attempting to execute a lengthy, single-shot sequence that serves as the climax of her film. Remarkably, this 25-minute shot seems continuous, with any hidden cuts being skillfully concealed. It’s not just the second episode; there are numerous extended tracking shots in the premiere (and future episodes as well). Rogen and Goldberg directed all ten episodes of The Studio, and the extended take might be the show’s most distinctive visual trait. Their fondness for lengthy takes could also be seen as a tribute to The Player, which starts with an eight-minute tracking shot, where characters discuss another well-known single-shot scene from Orson Welles’ Touch of Evil.

It’s no secret that Martin Scorsese has excellent comic timing: This skill is something we’ve seen in various contexts, such as his appearances on talk shows, his previous self-portrayals, and even the TikTok videos he creates with his daughter Francesca. However, The Studio cleverly showcases this talent, making a scene in the premiere reminiscent of episodes from sitcoms like Seinfeld or Curb Your Enthusiasm.

As Matt and Sal attempt to avoid informing Scorsese that his Jonestown film project won’t happen, the director accuses them of lacking authenticity.

“I saw that look — it’s a furtive look. It was furtive,” Scorsese says.

“We were not being furtive,” Matt protests.

Oh dear, that’s sneaky,” Scorsese replies. “I know what sneaky means. If there’s one thing I understand, it’s sneakiness, alright?

Despite Scorsese shedding tears after Matt denies returning his script, Scorsese manages to capture one more shot prior to that moment – a shot that also references the location where The Studio is being screened: “Just return my movie to me so I can sell it straight to Apple, which I should’ve done from the beginning.

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2025-03-27 02:55