After twenty-six years of the modern superhero film and over fifteen years deep in the Marvel Cinematic Universe, the way we think of the movie business is entirely different. The methodology of making superhero comics has, in many ways, been transferred into the making of movies. With the height of the MCU being Avengers: Endgame getting further away, we are in an odd period of weakening returns but still a dominant draw for audiences. The Marvel method of making these films is even more interesting as you read the trade magazines and websites, and now there are journalistic books written, docuseries, and long-form podcasts about the behind-the-scenes history of Kevin Feige and his stewardship of adapting these characters into the most profitable and overwhelming uber franchise of all time. While other universes have been attempted, and there is DCEU now transitioning into the DCU along with popular shows like The Boys on streaming, it’s the MCU that feels like the bulk of the source for satire in the new HBO series The Franchise more than anything else. The series, produced by Sam Mendes, Jon Brown, and Armando Iannucci, follows a crew working on a cinematic entry to a big superhero movie universe that is safe to say with little confidence in them. The show’s central character is Himesh Patel‘s Daniel, the film’s first assistant director, as he barely keeps things together and on schedule while making this film.
We’re introduced to Daniel as Dag (Lolly Adefope) starts her first day on the crew. From there, we meet the frazzled Director Eric (Daniel Brühl), who’s struggling with his identity, making this big effects movie instead of a more artistic film with more meaning. Brühl is hilarious with his aloof and unconfident performance for this clearly talented Director. However, he seems completely out of sorts in this type of production, with all the power being in the hands of the big producer who we never see yet hear in name only. Daniel then has to navigate the two leading actors in this production, Adam, the superhero played by Billy Magnussen, and Richard E. Grant as Peter, the antagonist. And much like their characters, they do not get along. There is a ton of humor from Adam trying his best to become the character and do his best in an almost golden retriever way. Then you have Peter, who pretty much hates this movie and thinks it’s a joke and a paycheck and is ready to get back to doing more serious work. He revels in making jokes at Adam’s expense. His character reminded me of Alan Richman in Galaxy Quest. The same type of satiric energy is on display here.
Things are thrown for a loop when their producer is fired and replaced with Anita (Aya Cash), an ambitious woman in a very tenuous role since she’s a woman but also thinks superhero movies aren’t good and would instead be making A24-like films. Anita has a history with Daniel that makes for some awkward moments between the two that Dag really exploits. Adefope’s Dag, at times, really works sometimes as a POV character in terms of her reactions to what’s going on. She gave me a lot of good laughes while watching this series. Anita also has a boss, and it’s Pat, played by Darren Goldstein, who works as the heavy hand they all have to navigate around. He’s the voice of whoever this Feige-like Studio head is. He’s funny as he’s either a bad cop or a worse cop for Daniel and the crew. The rest of the crew that we see have amazing little moments of humor throughout the eight episodes if you pay attention to the background.
When explaining this show to people, I use the pretty simple descriptor of “this show is like Veep but about making a Marvel movie,” and while that’s a bit reductive, I think it works to let people know what to expect humor-wise. With a mainly European cast, the humor does skew a bit more British than Veep felt. It gave me flashbacks of growing up and watching BBC comedies on PBS with just smart and witty humor that will raise your eyebrows and get better as you know more things about moviemaking, but you also don’t. In the end, it’s still a workplace comedy. From script changes every episode, the tortured VFX people being crushed by crunch, and even SDCC Hall H panels, so much is lampooned that each episode is better than the last. The show also has some pretty good guest appearances that I won’t get into, but they were very welcome surprises.
From reading this, I think you can tell I really enjoyed this show. The taste may vary, but I think at this point, a satire about the behind-the-scenes of the superhero franchise making is even more critical than a comedic take on superheroes itself. In so many ways, this genre of the film industry has changed not only Hollywood but also the entertainment industry itself. The geeks won even though, honestly, they didn’t know, and they lost it once it happened. Seeing Daniel’s struggles as First AD on this, knowing the material, being frustrated and stressed, and almost accepting he won’t live his dream of being a director is a very deep watch, and being comedic works better than making it some type of drama. All that and it comes on the same night as The Penguin – THERE’S META LEVELS TO THIS FOLKS! The Franchise is HBO doing what they do best again, an well-written and performed television series that sets itself apart from what everyone else is doing, even poking at itself.
Score: A
