As a long-time fan of Armando Iannucci’s witty and biting political satire, I must confess that “The Franchise” left me feeling a tad underwhelmed, much like a superhero moviegoer disappointed by yet another blockbuster lacking substance.
Over the last few decades, comic book movies have become the most popular and widely debated art form. As a result, there’s hardly any small detail within this bold genre that hasn’t been scrutinized or dissected already.
Exploring fresh aspects within the realm of caped crusaders, be it in the context of superhero narratives or movie production, is showcased in “The Franchise.
Though Jon Brown, a seasoned vet from shows like “Succession” and “Veep,” is behind it, and boasting big-name producers like Armando Iannucci and Sam Mendes, this comedy series swiftly transforms into a captivating, fast-paced narrative that feels strikingly similar to the Marvel movie headlines section on Deadline. It’s brimming with intricate insights and an ever-unfolding momentum, and it seems as if Deadline’s parent company (or should I say THR’s) is secretly a producer, given the sheer number of references to the site.
The Franchise isn’t independent, but it originates from HBO, a corporate relative to DC Comics and the business behind the recent buzz about the successful new drama series, The Penguin, produced by DC Studios. Whether or not this revelation bothers you is up in the air, but under the pretext of satirizing “comic book movies” or “modern filmmaking,” the show seems to be aimed at Marvel more than 90% of the time. It’s less about biting the hand that feeds it and more about nipping at the annoying neighbor’s hand while still playfully accepting the one from the provider.
As a gamer, I’ve got to say, The Franchise is packed with incredibly talented folks, from behind the camera to in front of it. And let me tell you, that talent occasionally shines through in some hilarious, well-crafted jabs – at least for a few episodes. But as the season progresses, it starts to lose focus and becomes less engaging narratively, devolving into repetitive satire instead.
In a new comic-based film titled “Tecto: Eye of the Storm“, produced by Maximum Studios, Himesh Patel takes on the role of Daniel Kumar, who serves as the first assistant director. Despite being known for producing blockbuster movies, Maximum Studios is currently facing challenges as their latest announcements at Comic-Con have led them to a downward spiral. The studio seems to be grappling with issues like superhero overexposure and unsuccessful attempts at promoting diversity, making them in desperate need of new talent.
As a game enthusiast, I’ve got to admit that Tecto, the movie about a hero wielding an invisible jackhammer and earthquake-inducing gloves, doesn’t seem like my cup of tea, despite Eric (Daniel Brühl), the artistically daring German director, being at the helm. Adam (Billy Magnussen), the rising star, plays the lead role, while Richard E. Grant, a theater legend, appears to be… well, I’m not entirely sure if he’s the hero or the villain in this one. It’s all rather puzzling.>
It’s common knowledge that the first Assistant Director (AD) typically has the most crucial role on set. Currently, Daniel finds himself managing Eric’s ego issues, Adam’s insecurities, and Peter’s increasing hostility. However, when our project loses its producer, the newcomer unexpectedly is none other than Daniel’s former girlfriend Anita (portrayed by Aya Cash). Unlike her predecessor, she shows less inclination to serve as a buffer between the production and the volatile studio executive Pat (Darren Goldstein), who bears an uncanny resemblance to both Kevin Feige and Jeph Loeb in personality, quirks, and catchphrases that the entire audience will recognize.
Daniel requires assistance, yet no aid materializes with the arrival of Dag (Lolly Adefope). Initially labeled as a third assistant director, she appears more like a production assistant, albeit one who frequently interrupts superiors, criticizes the film, and strives for an executive producer credit. Her continued employment seems puzzling, especially since little is disclosed about her beyond her art history degree. In the series “The Franchise“, degrees are only brought up when characters want to emphasize their superiority over the project they’re working on.
As a fan who’s not deeply invested in the Marvel vs. DC debate, I can see why the writers behind Brown and the Franchise opted to zero in on Marvel’s tribulations. It seems that during this prosperous era, DC Studios appears somewhat lost at sea, while Feige, particularly, has been the public face of Marvel’s unwavering course. Poking fun at something that may seem to be steered, rather than dwelling in the ongoing Superman and Batman recastings of DC, adds a touch of humor and rebellion. Occasionally, though, it feels like they’re deliberately avoiding anything amusing related to DC to focus on Marvel, which can come off as deliberate.
This comedy doesn’t offer much that hasn’t already been joked about on social media or satirized on shows like “The Boys,” “The Other Two,” “Reboot,” “Extras,” “Episodes,” or even numerous films. For instance, recall Judd Apatow’s “The Bubble,” a COVID-era parody of franchises that premiered on Netflix in 2022 and, as if by cultural consensus, has been completely overlooked? While watching “The Franchise,” I found myself thinking, “Gee, ‘The Bubble’ made this same joke and perhaps even did it better.
The targets aren’t lacking in potential, and it’s unlikely that Iannucci, Brown, and the other writers are unaware of how to brutally mock these targets with delightful vulgarity – though after watching enough of The Thick of It, Veep, and Succession, it’s hard to imagine that no one has called a despicable money man “Scrooge McFuck” before. If you found Iannucci’s less consistent show, Avenue 5, and felt the usual obscenity-laced dialogue was showing signs of wear, this won’t alter your perspective.
When The Franchise hones in on its objectives accurately, it performs fairly well. An episode showcasing Katherine Waterston as an Academy Award-nominated actress, whose brief appearance is humorously expanded upon due to Maximum’s “female-related issues,” brought to mind the Globby/Pixar plotline from The Other Two, in a positive sense. A segment where Eric’s reluctance towards product placement almost ignites a conflict with China contains some cleverly funny moments.
But one in which everybody gets caught up in another Martin Scorsese comment about superhero flicks killing cinema is thoroughly tepid. And another in which everybody is intimidated by the possible arrival of Christopher Nolan on set makes no sense at all, especially when Nolan is treated exclusively as a powerful but arty director and not as a man who’s directed and/or produced a BUNCH of features for DC. Several jokes about overworked VFX artists are almost astonishingly tone-deaf and unamusing.
As a gamer, I feel that just like my favorite game “Tecto”, The Franchise could benefit from a more consistent leadership. Mendes initially takes the helm, but after an impressive pilot marked by some daring backstage tracking shots, he hands over the reins, and subsequent directors fail to follow suit. Yet, consistency isn’t always the key. Trent Reznor and Atticus Ross provide the theme music for the premiere, which seems like leftovers from their “Challengers” score. Later episodes see a different composer trying to imitate them imitating themselves.
The series quickly transforms into a jumbled collection of straightforward sarcasm, largely due to the fact that none of the characters or their relationships are clearly established. While characters on shows like Veep and Succession may have sounded similar, you always knew who was allied with whom in each situation and could anticipate the ensuing drama or humor based on these pairings.
In this context, the characters’ performances mainly differ based on how loudly they speak (Goldstein excels at shouting) and whether they seem uncomfortable while making a superhero film (Dag feels uncomfortable, which restricts Adefope’s enjoyable acting range to some extent). However, these differences don’t add much depth to their roles.
Patel and Cash are convincing in their roles, but despite sharing a rich history, they lack any notable character development. The series occasionally hints at potential romantic undertones between them, yet it seems clear that no one involved harbors genuine emotions.
Actually, Magnussen’s Adam is filled with one form of insecurity per episode, and as a result, his was the character I found myself liking the most by the end of eight half-hours — at least in that way you’re allowed to “like” any of the characters on Iannucci-produced projects. Magnussen and Grant spar well throughout, with frequent interjections from Brühl, whose off-kilter line readings reliably made me chuckle.
As a devoted fan, I’m confident that a substantial number of us will eagerly embrace this series. It’s brimming with inside jokes and references that we can appreciate, along with moments that hint at behind-the-scenes knowledge, which adds to the humor. However, by the end, _The Franchise_ seems to offer little more than shallow satire of things some fans cherish and others have grown tired of.
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2024-10-02 06:25