The Franchise review: HBO series takes on superhero fatigue

PLOT: Follows the crew of an unloved franchise movie fighting for their place in a savage and unruly cinematic universe. The comedy series shines a light on the secret chaos inside the world of superhero moviemaking, to ask the question — how exactly does the cinematic sausage get made?

REVIEW: HBO has certainly struck gold with The Penguin, once again cementing the cable network as a powerhouse of original series in the age of streaming saturation. But for every great HBO drama, there are iconic comedies that the network has needed since the end of Veep. Blending the insider knowledge of acclaimed filmmaker Sam Mendes and the biting satirical wit of Armando Iannucci, HBO has their next hit series in The Franchise. Mocking the world of Marvel and other studio intellectual property, The Franchise looks at the behind-the-scenes tension while filming a comic book adaptation. Teasing the conflicting personalities, actor foibles and quirks, and the insane influence of producers and executives, The Franchise is the funniest series of the year and one that is bound to appeal to those getting tired of superhero movies as much as those who still enjoy them.

Over eight episodes, The Franchise chronicles the production of Tecto: Eye of the Storm, starring rising actor Adam Randolph (Billy Magnussen) as the earthquake glove-wielding Tecto opposite acclaimed actor Peter Fairchild (Richard E. Grant) as the villainous Eye. Directed by auteur Eric Bouchard (Daniel Bruhl), Tecto does not have a lot of support from the studio, namely the Kevin Feige-esque studio exec Pat (Darren Goldstein). When new producer Anita (Aya Cash) is brought in to reset the production, the crew responds by scrambling to salvage the movie and their careers. This includes First Assistant Director Daniel Kumar (Himesh Patel) and his new Third Assistant Director, Dag (Lolly Adefope). The crew encounters conflict with a rival production, temperamental cast, special guest stars, re-writes, Comic-Con announcements, continuity, product placement, cancel culture, and more. You know, all in a day’s work on a big-budget blockbuster.

Each episode is set on a specific production day and lampoons the overuse of CGI and the toll it takes on the VFX staff. Aside from Adam and Peter, the only other actors we meet are played by Katherine Waterston and Nick Kroll, as well as one guy in a mo-cap suit who serves as a placeholder for virtually every other role in the film. However, as each challenge is overcome, bigger ones are put in their way, forcing the crew to band together. Eric deals with hiccups and an obsession with Christopher Nolan. Daniel’s aspirations to become a director were at odds with his shared history with Anita when they both started in the business. There is also Eric’s script supervisor, Steph (Jessica Hynes), who harbors a crush on an actor on set, and assistant Bryson (Isaac Powell), who must run point as a yes-man for everyone else. The ensemble is all solid and very funny, especially when you take into context the franchise experience many of them have, including Aya Cash in The Boys, Richard E. Grant in Loki and Star Wars, Billy Magnussen in Aladdin and James Bond, Himesh Patel in Nolan’s Tenet, and especially Daniel Bruhl from multiple projects in the Marvel Cinematic Universe.

The Franchise will not be for everyone. The lingo and parlance of film sets may go over many viewers’ heads, but it was hilariously on point for someone like me who follows the daily details of Hollywood productions. Like Veep‘s skewering of politics, The Franchise does not pull any punches in giving the movie business a swift kick in the nuts. It also helps that the entire cast is having fun mocking projects that many of them have personally been involved with. In this era of set leaks, internet forum lambasting, and paparazzi photos taken out of context, this new series resonates more than it would have twenty years ago and benefits from the first-hand experience of Sam Mendes, who developed the series and directs the first episode. Mendes’ own experience with the James Bond franchise, Skyfall and Spectre, certainly inspired elements of this series. Still, The Franchise feels squarely aimed at the MCU, which is even funnier because HBO is part of Warner Bros, which controls the DC Universe.

While Veep‘s Armando Iannucci does not boast writing or directing credits on The Franchise, his signature style is clearly in play, having developed the story alongside Mendes. Iannucci’s last HBO series, Avenue 5, never found the audience it needed to stay on the air, but this series feels destined for greater success. Sam Mendes and Armando Iannucci’s story was developed by Jon Brown, who is credited as the series creator, showrunner, and writer on the pilot episode. Brown’s resume includes work on Iannucci’s Veep and Avenue 5 and on HBO’s Succession, giving him major credibility on this project. Subsequent episodes of The Franchise are directed by Liza Johnson, Tom George, and others with writers including Tony Rich, Rachel Axler, and Dillon Mapletoft. Everyone here seems to be having a lot of fun lambasting studio projects with very few punches pulled in, mocking faceless studio honchos all the way down to the day players and crew who never get the credit they are due.

The Franchise is a very specific and targeted send-up of the very industry and projects that the producers and crew of this series are a part of. There is a lot of potential for The Franchise to continue making fun of Hollywood blockbusters for seasons to come with this eight-episode season, never overstaying its welcome while still cramming in copious jokes at the expense of Hollywood studios. With great performances from everyone, led by a hilariously deadpan Himesh Patel, The Franchise should be HBO’s next big hit. I laughed out loud multiple times throughout the series, especially during the back half of the season, with the cameos (both real and fictional) making this a long-awaited satire of superhero fatigue.

The Franchise premieres on October 6th on HBO.