It’s a strange truth that in order to effectively satirize something, you have to have a level of love for it – even if it’s just a little bit. You have to see the whole picture and understand not only where it falls short, but also where it succeeds, and why some people are fond of it while others despise it. Good satire doesn’t stem from indifference; it comes from disappointment, anger, and a desire to showcase not just how things fail, but how they could be improved.
Jonathan Swift wrote about people consuming babies out of fury. Jane Austen examined the plight of Georgian women and exposed all its miseries through humor. Fast forward a few centuries, shows like Yes, Minister, Yes, Prime Minister, and Spitting Image ridiculed politicians, bureaucrats, and cultural figures because they believed life could be less of a nightmare. The Thick of It, Veep, and Succession continue this esteemed tradition.
In contrast, The Franchise – despite its creative team being largely comprised of those behind the aforementioned trio – feels like it was put together by much wearier individuals motivated by less noble intentions. It follows the production of a second- or third-tier superhero movie by Maximum Studios (essentially Marvel) and all the chaos that ensues. Over its eight episodes, it delves into all the chaos that can occur in making a genre film.
There’s the esteemed director, Eric (Daniel Brühl), brought in for his gravitas, whose obsessions with indoor scarves and last-minute script changes constantly disrupt the process, aided by his loyal assistant, Steph (Jessica Hynes). Then there’s the overwhelmed first assistant director, Dan (Himesh Patel, adding humanity to the series filled with stereotypes rather than characters). He’s juggling directing duties along with everything else, including trying to maintain the story’s continuity while navigating the waters with the new producer, Anita (Aya Cash), who also happens to be his ex-girlfriend. There’s the executive Pat (Darren Goldstein) who demands revisions when, for instance, the studio decides there’s a “woman problem” and needs to enhance the female role by giving her a Stick of Maximum Potency. Pat approves: “Good words.”
Additionally, there’s the renowned theater actor Peter (Richard E Grant, thoroughly enjoying himself), in it for the money and the opportunities it provides him to toy with the insecure lead, Adam (Billy Magnussen). There are night shoots, complex stunts with only one chance for success, product placement demands, studio politics, negotiations for cameos from bigger stars, and essential crew members slowly unraveling.
Having a whale of a time … Richard E Grant in The Franchise. Photograph: PR
After the pilot episode, during which I not only failed to laugh but also couldn’t identify where the humor was intended (except for when Dan tells the timeless, perfect joke about the manure-shoveler at the circus), there are some decent – though never outstanding – lines and visuals scattered throughout. The sequence involving a fecal transplant leading up to the line “Will you do me a solid?” is commendable. The same goes for nearly everything uttered by Lolly Adefope (as the nonchalant, charmingly devastating third assistant director, Dag), who can put a remarkably effective comic twist on anything and is much needed here.
However, it primarily presents a tiresome string of obstacles and shortcomings. Apart from the circus joke and Dan’s occasional pleas to stay true to the source material, there’s no sense of affection for the art or the craftsmanship in which they’re all engaged. The creators of The Franchise seem to hold the endeavor in as much disdain as Peter, Anita, or Dag do (“Have you ever thought: ‘I’m destroying cinema’? What if this isn’t a dream factory? What if it’s a slaughterhouse?”).
It becomes increasingly repetitive and disheartening, especially since there’s minimal development in the relationships between the characters. They remain mere cogs in the gargantuan studio machine. Dan and Anita’s past isn’t explored much. Steph falls into “stress love” with one of the minor actors, but the emotional impact is lacking. There’s no downtime to relax or savor a moment of Dan’s triumph in extinguishing one (or 100) fires. The overall experience is, ironically, much like watching a second- or third-tier superhero movie. Relentless noise and fury ultimately signify not quite enough.
The Franchise is available on Sky Comedy and Now in the UK and Foxtel and Binge in Australia