Movies about filmmaking have always intrigued moviegoers throughout history, and Apple TV+ has finally stepped up to the plate to bring us a comedy series on the same topic, especially during one of the most difficult times for the film industry. Seth Rogen plays a struggling executive at Continental Studios, a once-grand film production company that has been struggling mightily to keep up with the changing world. Episodes 1 and 2 of The Studio, which premiered together during pilot week, are simply hilarious and entertaining, showing great potential for the series to easily become one of the best comedies of recent times.
The Studio opens outside a cabin in a snowy forest, where a dramatic shootout is taking place. At the end of the fast-paced action sequence, it is revealed that it is actually a film shoot. Between takes, our protagonist, Matt Remick, takes a moment to gather his thoughts before approaching Paul Dano (who recently starred in The Fabelmans and Dumb Money), who plays the lead role in the action film being shot.
Creators: Alex Gregory, Peter Huyck, Evan Goldberg
Stars: Seth Rogen, Catherine O'Hara, Ike Barinholtz
Matt is an executive at Continental Studios, an established name in the film industry, and happens to be the executive producer of this particular film, justifying his presence on set. However, instead of talking about the project itself, Matt praises Paul's acting skills and, even more so, his directing abilities, which somewhat surprises the actor himself. While the film's director, Peter Berg (real-life director of films like Hancock and Patriots Day), thanks Matt for attending the shoot, the protagonist mentions that he has some ideas of his own. Peter, obviously, declines the executive's kind offer, stating that he has enough ideas for the moment.
This kind of polite rejection is what pains Matt the most in his current life, because although he has successfully broken into the film industry, he is evidently stuck in the wrong role. Matt is a dedicated film buff and doesn't hesitate to say that he has embraced cinema as his wife in life, having dedicated all his time and effort to the world of cinema. He has dedicated his entire life to watching films of all kinds and has been in the industry for over twenty years, starting as a production assistant and rising to studio executive. But even in his current position, which requires him to primarily oversee financial and production matters, Matt still yearns to make his own films, or at least to have his creative input taken seriously during conception and filming. While he doesn't always come up with the best ideas, what bothers him even more is when directors and actors immediately dismiss his advice just because he's a studio executive.
While working in the film industry, especially as an executive, is often associated with a life of glitz and glamour, Matt misses that excitement in his own career. He still waits for celebrities to invite him to their exclusive parties, but nothing of the sort has happened yet, as his secretary, Quinn, makes clear. His only friends seem to be Quinn and a fellow studio executive, Sal Seperstein, who, naturally, turns out to be his rival in the race for the corporate ladder. Having chosen to work in the film industry because of his immense love and fascination with cinema, Matt is further frustrated by Continental's latest decisions, which, in his view, are simply bizarre. Despite dreaming of working on innovative and exciting films that would transform 21st-century American cinema, Matt has to attend meetings with toy companies like Jenga and Rubik's Cube simply because his employers want to make movies that will be popular with children and generate revenue. This is clearly a nod to the questionable Minecraft movie, scheduled for release later this year.
Amidst such circumstances, Matt Remick has to deal with an emergency after returning from filming, as his boss and fellow studio head, Patty Leigh, is out of the office while the company's CEO, Griffin Mill, has arrived for an unannounced visit. Griffin is the typical corporate boss who doesn't like to wait for anyone or anything, so Matt fears that Patty's absence will cause problems for the entire team. There's also no way to contact the studio head, as she hasn't received any calls since the night before, so Matt and Sal try to find a solution. However, that's when Matt receives shocking news from Quinn: Patty Leigh has been fired from her position as studio head, which immediately sparks his hopes for a personal promotion.
Despite wanting to tell captivating stories and be involved in important studio films, Matt quickly changes his views and principles as soon as he meets personally with CEO Griffin. Inspired, or rather jealous, by the immense success of Barbie, Griffin wants to make a similar film, with similar financial success, based on a fictional character beloved by children, so he has made the strange decision to make a deal with Kool-Aid. Believing that the beverage company's mascot, the Kool-Aid Man, would be an ideal subject for a new Continental Studios film, the ambitious CEO wants Matt to oversee this multi-million dollar project.
In return, he gives Matt the opportunity to become the studio's new head, and although the protagonist finds it an absurd idea, he accepts solely for the money and the respect his new position would bring him. Thus, Matt Remick must put aside his passion for good filmmaking to become the new CEO of Continental Studios. After taking over as studio director with the understanding that he would oversee Kool-Aid's new film project, Matt decides to try to create something heartwarming and captivating about the flavored drink.
Sal and the other members of his team, who handle the business side of new projects, such as social media promotion and merchandise sales, believe Nicholas Stoller would be the most suitable director for the film due to his work on children's animated films such as The Muppets and Storks. Matt isn't convinced, but needs to schedule a meeting when Griffin asks him to have a director ready before a final agreement with Kool-Aid's representatives. Nicholas Stoller presents a detailed story about the Kool-Aid Man and his family that wouldn't entertain anyone over the age of ten, so Matt decides to take a different route.
Having always admired legendary filmmaker Martin Scorsese, he approaches him about a new project with his studio, and Marty himself enthusiastically introduces him. He's been interested in making a new drama thriller about the Jonestown massacre, and Matt sees great potential in this plan. Jim Jones's followers in the People's Temple cult had drunk poisoned Kool-Aid to commit suicide, so Matt sees Scorsese's film idea as an interesting take on the famous American beverage. While it's definitely not the absurdist film his studio CEO wants to make, Matt is confident he can convince everyone, including Griffin, to greenlight the project. He then reaches an agreement with Scorsese, convincing him to simply title the film "Kool-Aid" so that the financial deal with the company can also be finalized.
The veteran director not only agrees to direct the film, but also begins casting, selecting Steve Buscemi for the role of Jim Jones. This decision is immediately challenged by Maya, the head of marketing, who reminds Matt that Buscemi is definitely not a popular face with young audiences, despite being a great actor. As Griffin Mill had already established, Continental Studios doesn't seek to make good films remembered for their stories or performances, but simply to produce mediocre or even bad films that generate revenue in various ways. Therefore, the marketing team is constantly asked to make decisions based on financial gain rather than creative prospects, something Maya and her team aren't convinced about.
For a long time, Matt has insisted that he won't give in to his corporate boss's demands or allow his studio to produce absurd films just to make money. However, his stance quickly changes when Griffin visits the studio to speak with the team overseeing the project. When asked about the story they're considering, Matt recounts the one Nicholas Stoller told him, in which the Kool-Aid Man and his family are going through an identity crisis, rather than telling him about the plot of the Jonestown massacre. However, Griffin had already heard rumors about Matt's plans, so he reminds him that the studio shouldn't get involved in projects that would tarnish the image of his new partner, the Kool-Aid company. In response, Matt lies, saying he bought Scorsese's script just to ensure the film would never be made, so that the Kool-Aid name would never again be associated with a cult murder. While this wins him favor with Griffin, it also demonstrates how Matt will do anything for his corporate bosses, despite his bold claims to the contrary.
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