The series “The Studio,” created by Seth Rogen who also stars in it, and Apple TV+, tells a story about the film industry and what happens behind the scenes. In ten short episodes, it highlights current phenomena in the field such as gender-diverse casting alongside the immediate list of suspects – award ceremonies, directors to please, changing film technologies, and above all the big egos of everyone involved. The framework story is about making a fictional film called “Cola Aid,” named after the popular drink, a parody of hugely successful box office films based on dolls or video games.
At the center of the series is Matt Remick, who becomes head of the Continental studio, after the longtime head, Patty, is removed from her position by CEO Griffin Mill, who shows remarkable comedic abilities. Remick faces the demand to produce a movie that will succeed at the box office rather than a film, an artistic movie that succeeds in festivals. Beside him are his loyal friend Sal Sparstin, who also wanted the position but does not hold grudges and shows true friendship, marketing manager Maya, giving an extreme performance, and Kevin, an ambitious specialist.
The series is a tribute to Robert Altman’s film “The Player,” a biting Hollywood parody, and also includes a reference to Orson Welles’ “Touch of Evil” (1958), which uses the one-shot technique enhancing the documentary effect where the viewer feels part of the action in real time. In “The Player,” Tim Robbins plays Griffin Mill, the same name as Brian Cranston’s character in “The Studio,” showing one way the series interacts with the film.
In “The Player,” there were many cameo appearances by actors wanting to work under a genius director like Altman; only some appeared in the final version, many remained on the editing room floor. “The Studio” also has many guest appearances, starting in the first episode with Martin Scorsese playing himself. He proposes a film based on the real story of Jim Jones, the infamous cult leader whose followers committed mass suicide by drinking poisoned beverage, similar to the Cola Aid drink. The idea appeals to Remick, but clearly such a film would not be a box office hit. He has to disappoint the great director and choose a commercial version, in which “Cola Aid Man” is a family-friendly character.
“The Studio” moves between biting satire and affectionate embrace of the crazy world it describes. The manic energy of the characters reflects the hectic nature of the film industry but also its charm that excites the masses. This is a TV series that portrays the film world, demonstrating the shift in TV’s status from a medium considered inferior to cinema to a leading role. In the first episode, Scorsese says it would have been better to sell the film to Apple, as he indeed did with his film “Moonflower Killers,” also based on a true story, like the series itself appearing on a streaming service.
The series is full of rapid references to films, actors, and directors. Miss a moment and you miss a witty reference. Characters speak at machine-gun speed, punches follow one another accordingly. Sometimes charming, sometimes tiring. Not all episodes reach the level of the first episode, where Scorsese provides precise self-parody. The second episode about the Holy Grail of cinema, the “one-shot,” using one continuous shot throughout the episode, successfully recreates the energy and pressure on a film set. Also, the episode where all studio staff struggle to be politically correct in casting “Cola Aid Man” and his family is amusing and demonstrates the absurdity of always trying to please everyone.
“The Studio” also excels in inventing convincing fictional films representing Hollywood spirit faithfully. There is an overlong action film directed by Ron Howard as himself, a film about a pair of women, and a vampire warrior film starring Zoe Kravitz, giving a particularly exaggerated performance.
The final scene of the series is a distillation of a love song to films filling cinemas and providing moments of joy to viewers. One character tries to remember which film she saw as a child, as a way to escape a difficult home situation. She does not recall exactly which film it was, but it seems unimportant. The experience in the cinema is life-changing and inspiring. Ultimately, “The Studio” tells us there will always be films and a screen, big or small, to look at, and perhaps forget the outside world for a moment. Sometimes, that is all one needs.