Ike Barinholtz, Kathryn Hahn, Chase Sui Wonders and Seth Rogen in ‘The Studio’, now streaming on Apple TV+
Hectic and hilarious, writing and directing duo Seth Rogen and Evan Goldberg strike gold with Apple TV+’s newest show. The Studio is a heart-pumping romp through the gilded world of movie-making; a saga of one man locked in the eternal battle between art and commerce.
The man in question is studio executive Matt Remick (Rogen). He’s worked at the fictional film factory Continental Studios for decades – and running the show is all he’s ever wanted. But when the opportunity abruptly materialises, he quickly discovers just how difficult being the big dog is.
The problem is that Matt is a true cinephile. He lives and breathes movies, unable and unwilling to contain his childlike enthusiasm for auteur filmmaking and the traditions of classic Hollywood. After years in the biz, he still gushes over actors and directors, and dreams of making ‘proper films’ like Rosemary’s Baby, Annie Hall, or, as he tells his assistant as they zip through the studio lot on a golf cart, “Some great film that wasn’t directed by a pervert.”
Why is Matt’s love of films a problem, you might ask? Well, while he wants to deliver Sundance darlings, the powers that be have other ideas; namely, the studio’s chair, Griffin Mill (a delightfully odious turn from a fake-tanned Bryan Cranston), whose only concern is the bottom line.
To secure the head honcho gig in the first place, Matt goes against the angels of his better nature and strikes a Faustian deal, promising to usher in a lucrative film franchise based on the brightly-coloured American beverage, Kool-Aid. While it sounds ludicrous, a cinematic universe that swaps superheroes for soft drinks isn’t all that unthinkable in the same month we’re getting a Minecraft movie.
Seth Rogen and Catherine O’Hara in ‘The Studio’, now streaming on Apple TV+
What’s more, Matt’s unbridled fervour for filmmaking means he can’t help but insert himself where he’s not wanted – i.e. the creative process – and his adoration for auteurs makes it all but impossible for him to say no to any request, which, it turns out, is 90% of his job. As he tells his mentor/ousted predecessor (portrayed by Catherine O’Hara in fine form), “I got into this job because I love movies, and now I feel like it’s my job to ruin them.” This line apparently came straight from the mouth of a real-life studio exec during a meeting early in Rogen and Goldberg’s careers.
Joining Remick is a squabbling band of studio high-ups: Kathryn Hahn’s Gen Z-wannabe marketeer, a newly-promoted Chase Sui Wonders, and Ike Barinholtz as Matt’s drugged-up best friend and fellow executive. It’s one of the best comedic casts we’ve seen in a while, bolstered by a rapid-fire procession of celebrity cameos – from Martin Scorsese and Olivia Wilde to Zac Efron and Ron Howard – each playing a fictionalised version of themselves. They’re all good sports, and some are riotously self-effacing. Though these appearances come thick and fast, they never feel forced, unnecessary, or gratuitous, and help create a convincingly crazy portrait of what Tinseltown might actually be like, not a snack-sized, unsatisfyingly scaled-down facsimile of it.
This is a series made for film lovers, not just in subject but in style. Each episode is artfully composed of single-camera long shots that follow Remick and his cronies like an unseen character. This, in tandem with the exuberant and decidedly unrhythmic score, ups the ante in terms of sheer stressfulness. Who would’ve thought marketing meetings and wrap parties could be as panic-inducing as Carmy’s kitchen in The Bear?
Bryan Cranston and Seth Rogen in ‘The Studio’, now streaming on Apple TV+
The show really hits its stride in the second episode, when Matt and Sal (Barinholtz) visit the set of a film on the day of an all-important ‘oner’ (a long, continuous shot) – appropriately meta considering the episode also appears to be shot in one go. Remick’s puppy dog enthusiasm and complete lack of self-awareness cause absolute chaos, resulting in The Office levels of delightful cringiness (UK, not US).
Part of what makes Rogen and Goldberg’s lampoon of the industry so engaging is that they aren’t afraid to let their love for it shine through, too. The overall vibe is brimming with retro charm. Every frame oozes an irresistibly luxurious old Hollywood magic – whether it’s Matt cruising down palm-fringed boulevards in classic convertibles or having drinks at John Lautner houses with spellbinding vistas over the LA skyline. The world of The Studio is a ridiculous one, populated with buffoons, but you’re never left wondering what the allure of the place is.
This latest outing feels like a real step up for Rogen and Goldberg, who haven’t written and directed a film since the controversial and poorly-received 2014 comedy The Interview, instead focusing their efforts on producing. They make the transition to the TV format seem effortless, crafting years of industry experience into 10 frantic and farcical episodes. But while they’ve matured as craftsmen, their jokes certainly haven’t, as R-rated potty humour abounds. There are also plenty of esoteric cracks and references for film buffs, but not so many to put off those who aren’t swotted up on Hollywood lore.
The Studio is now streaming on Apple TV+.
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