2025 has offered a diverse array of shows, ranging from medical dramas in emergency rooms, survival stories involving cannibals lost in the wilderness, action series featuring superheroes fighting evil forces, to mystery thrillers revealing deep-seated government secrets. However, none have caused me as much anxiety as Apple TV+’s The Studio, a humorous take on the seemingly less intense world of film production.
Episode after episode, I found myself wriggling and gasping, even clutching my breath. Between book chapters, I needed to gather my courage to continue. There were instances when I struggled to see the screen clearly – not because I was hiding my eyes, but mostly due to the uncontrollable fits of laughter. While The Studio‘s brand of cringe humor might not appeal to everyone, it eases somewhat in the latter part of the season, yet remains too intense for easy watching or casual viewing. However, for those ready to sync with its erratic rhythm, this comedy is a serious competitor for the best new shows of 2025.
As a devoted film enthusiast myself, I find myself in the shoes of Matt Remick (Seth Rogen) in this captivating series. From an external perspective, he might appear to be a man of wealth and power, casually spending millions on classic cars or summoning Martin Scorsese for meetings. Yet, there’s a side to him that resonates deeply – a heartfelt passion for cinema that overshadows his role as the chief of Continental Studios. This ardor, an unusual trait for someone whose career demands prioritizing profits, unfortunately, becomes his Achilles’ heel.
As a gaming enthusiast, I can relate to Matt’s passion when he talks about transforming his corporate-enforced game feature into a director’s creative masterpiece, or when he compares observing Sarah Polley at work to being on the set of “Boogie Nights” with Paul Thomas Anderson. He genuinely believes himself to be the most artistically supportive executive in the entire Hollywood industry, and his conviction is genuine.
At the very least, it seems that he genuinely intends what he says. The writers Rogen, Goldberg, Huyck, Gregory, and Perez skilfully extract humour from the contrast between Matt’s idealistic artistic aspirations and his harsh professional realities. Often, this takes the form of making grand promises to his idol but then disappointing him later, or receiving harsh criticism from a renowned director in front of everyone else. Despite his efforts to be supportive, Matt is so eager to fit in with his creative peers that he overlooks their indulgence of his unwanted advice or clumsy presence because he is the one signing their paychecks.
Shows with misguided bosses are commonplace, but what sets The Studio apart to almost unbearable (yet complimentary) levels of cringeworthy discomfort is its cinematography. Goldberg and Rogen, who directed all ten half-hour episodes, opt for long, dynamic shots that track the characters as they move through corridors or in and out of conference rooms. Although they don’t quite reach the length of the 18-minute shot from an episode of The Bear, you’ll notice a similar impact. With minimal cuts to provide relief, we are drawn deep into Matt’s continuous state of panic in his life.
One scenario has Matt, accompanied by his ambitious protege Quinn (Chase Sui Wonders), rowdy VP of production Sal (Ike Barinholtz, usually impressive), fashion-forward marketing head Maya (Kathryn Hahn, not fully utilized), grappling with the ideal ethnic balance for a blockbuster cast. However, they soon encounter an even larger dilemma concerning AI. Meanwhile, others depict him feeling resentful as Ted Sarandos is repeatedly thanked in speech after speech, or rushing from Burbank to West Hollywood in a nod to ‘Chinatown’, a storyline revolving around the hunt for a costly stolen film reel.
If the plotlines in this new series don’t seem believable, considering a well-known executive like Matt should have foreseen the marketing conflict that seemed obvious to many (like a storyline about an experienced executive failing to anticipate a marketing dispute), it still highlights the struggle between art and commerce. Matt longs for the days of classic Hollywood, just as his closest creative partners do, including his mentor Patty (Catherine O’Hara), who was forced out of her prestigious studio job because she refused to produce films like “The Kool-Aid Movie”. Quinn expresses frustration, saying she’s too late for this industry, but in reality, she might be underestimating. The gritty footage, muted color schemes, and vintage costumes in “The Studio” reflect the New Hollywood era, emphasizing the contrast between Matt’s nostalgic dreams and the contemporary challenges he faces.
However, much like Matt, the show maintains an unyielding grip on the ambition to flourish in Hollywood. Even amidst their most trying times, it persistently emphasizes the joy that Matt finds in rewatching Goodfellas, or the peculiar charm of observing Quinn strutting across a film set with extras dressed as a marching band following behind her.
In the same vein as Matt, the series clings tenaciously to the aspiration for success in Hollywood. Despite the characters’ hardships, it consistently highlights moments that remind us of Matt’s delight in watching Goodfellas repeatedly, or the unique allure of seeing Quinn traverse a film set as extras in marching band costumes pass by.
Later, we have the star appearances: Many of these famous figures portray less appealing versions of themselves, yet their presence here speaks volumes about the positive reputation Seth Rogen has built over his 25-year career. Compared to the sharp satire seen in shows like HBO’s Barry or The Other Two, or reality where a CEO is erasing entire films for tax benefits, The Studio appears surprisingly optimistic.
As a gamer, I can’t help but find it ironic that the climax of our season unfolds not in a gaming arena, but on a stage meant for movie conventions. Instead of us pulling off an epic move or a game-winning strategy, we’re delivering a high-stakes pitch – more like a sales presentation than a virtuosic feat. Truth be told, even Matt may dream of being an artist, but in this moment, it feels like his true profession.
Admittedly, the narrative isn’t as uplifting as the one where an underdog creative genius triumphs over doubting executives to bring their vision to fruition. Yet, standing there on that stage, our team united by the sweat and tears we’ve invested in this studio, these projects, and each other – it feels like a poignant scene from a game. There’s a certain charm to it, a testament to our shared journey.
There’s a common understanding that when you see a movie on the screen, you don’t realize the countless tiny pieces moving, the clashing viewpoints, and the small catastrophes happening behind the scenes – it’s almost a wonder how they manage to make them at all. The same can be said about the work done by those who support the people behind these movies. It might not be glamorous, but someone has to take care of it. If we’re fortunate, that person could be like Matt. Ideally, we get to witness him at work, sharing our emotions – gasping, crying, and laughing – alongside him throughout the process.
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2025-03-08 06:24