HBO Max’s new comedy series, “The Franchise,” rips the mask off the superhero movie industry, exposing the chaos and absurdity behind the CGI-laden spectacle. Created by Jon Brown and executive produced by the satirical genius Armando Iannucci (“Veep,” “Avenue 5”), this show is a hilarious and brutal takedown of the blockbuster machine.
The Franchise
“The Franchise” immerses us in the tumultuous production of “Tecto: Eye of the Storm,” a fictional superhero flick that’s a stand-in for every overblown comic book adaptation you’ve ever seen. This isn’t just a film set; it’s a microcosm of Hollywood excess and dysfunction. We meet Adam (Billy Magnussen), the insecure leading man who’s more obsessed with his “Doritos-shaped” physique than his acting. Then there’s Peter (Richard E. Grant), the veteran actor phoning it in with a thinly veiled contempt for the entire project. But the true heart of the show lies with Daniel (Himesh Patel), the perpetually stressed first assistant director juggling a mountain of logistical nightmares while secretly dreaming of directing his own masterpiece.
The show doesn’t pull any punches, landing jabs at every conceivable aspect of superhero moviemaking. We witness the clashing egos between actors and directors, the desperate attempts to appease the fickle whims of fans on Reddit, and the soul-crushing pressure to churn out sequels, spin-offs, and endless interconnected universes. In one episode, Eric (Daniel Brühl), the pretentious auteur director, tries to shoehorn “subtext” about fracking into the superhero narrative, much to the studio’s dismay. In another, we see producers scrambling to incorporate awkward product placement for a Chinese energy drink. And then there’s the truly bizarre moment when Adam asks his assistant for a fecal transplant, highlighting the absurd lengths these actors go to for their “craft.”
“The Franchise” truly shines when it skewers the tired tropes of the superhero genre. The writers take aim at the lack of meaningful female representation, often relegated to damsels in distress or scantily clad sidekicks. They also lampoon the relentless pursuit of franchise expansion, where every film feels like an extended trailer for the next installment. However, the show occasionally stumbles when its satire veers a little too close to reality. Some of the jokes about demanding actors and out-of-touch executives feel less like witty commentary and more like insider gossip, losing some of their comedic bite.
Despite these minor missteps, “The Franchise” is a consistently hilarious and insightful peek behind the curtain of superhero moviemaking. With its sharp wit, talented cast, and unflinching critique of the industry, it’s a must-watch for anyone who’s ever felt superhero fatigue. The show reminds us that while these films may be escapist fantasies, the reality of their creation is often far more entertaining.
Think “Entourage” meets “Veep” with a dash of “Sunset Boulevard” – a biting satire that will leave you laughing even as it makes you question the sanity of the entire Hollywood system.
