REVIEW: ‘The Franchise’ Episode 8 — “Scene 117: The Death of Eye”

The Franchise Episode 8 ends and does so with the expected, wilted impact of a series that wants to dig deep into the toxicity of the studio franchise domination and always draws up short. The cast, as usual, is strong, and it’s a shame that such an impressive ensemble has to be wasted on a premise that never sticks the landing. And while the finale allows for some fun and even a sense of optimism, it never gains a strong enough sense of self to make us care.

The central drama of The Franchise Episode 8 happens when Anita (Aya Cash) learns that the studio might be pulling Tecto. To save her career, she reaches out to Daniel (Himesh Patel) and Dag (Lolly Adefope) for help. Daniel believes the best bet is to shelve Eric’s (Daniel Brühl) ideas and the darker energy he brings to the film. Daniel thinks they should recut it to engage with the comic it’s based on and be sillier and lighter. He wants to lean into the spirit of its source material, which will allow the more ridiculous moments of the story to play better instead of asking audiences to take it too seriously.

Eric catches wind of this after a miscommunicated event shuts the studio down. While it would seem that the crew largely agrees that Daniel is running the show, they all know not to let the actual director know that. Eric goes full mean-spirited narcissist in his dressing down, calling Daniel a “bitter man” who can’t live up to his dreams of being a director. It’s a miserable sequence as no one steps up to Daniel’s aid, despite Anita and Dag being in on the initial plan.

All of this ends up being for nothing, however. They learn that instead of being pulled from release, the film is pulled into the summer tentpole slot due to an issue with another of the franchise films. They’re overjoyed, but Eric can’t let Daniel’s actions — and his perceived threat against his ego — go, so he fires him. It’s both pitiful and momentary relief when Daniel goes to call, but even that can’t go uninterrupted. Shane learns of Daniel’s efforts and gives Daniel a once-in-a-lifetime opportunity to say what he wants and get it due to how badly the studio wants Daniel to get out of his car. And while we don’t hear his request, it’s hopefully promising.

But despite the suggestion that Daniel might get what he’s always wanted, we don’t care enough about these characters for it to feel like a win. More than anything, based on how the show is written, it feels more like another indicator that the machine continues to run no matter the personal disasters. None of the individual relationships, such as the ones between Anita and Daniel or Daniel and Dag, see or earn any growth. They’re all just as tired and stressed as they were before. And perhaps that’s the most honest the series will be able to be.

Part of the frustration of the series, unfortunately, stems from the platform it airs on. You’re telling me that a series written and airing on HBO doesn’t see the hypocrisy of not needling further, considering the David Zaslav of it all? Where a studio that shelved an entire, completed superhero film is producing a series revolving around the horror of the behind-the-scenes of these tentpole films? If The Franchise truly wanted to paint an elaborate, scathing picture, turn inwards. They could have the fictional film Tecto actually be axed after the laborious efforts. That would at least be the pinnacle of bad things that could happen in the series.

All of which may not be a fair assessment of what is, ultimately, a comedy, albeit a very dark comedy. When it’s operating at its full potential, The Franchise succeeds in delivering a potent bite. Most notably, anything concerning the overworked, increasingly depressed VFX worker asked to perform feats of magic and miracles to help cover the ineptitude of higher creatives or a studio trying to create fantastical works on a budget. That, and Adam’s (Billy Magnussen) persistent, deeply bound well of insecurity as someone on the cusp of the public eye, makes for the most impactful storylines.

Everything all clearly stems from some truth. From how women are treated in front of and behind the scenes of these productions (and the film community at large) to how smaller, arthouse directors are utilized to build prestige while stifling their creativity. It’s just that even when the show aims for honesty through revealing elements, it’s never that funny about it. It’s a comedy without the laughter. And not just because it plays in moral grays. As an example, Barry is pitch black comedy and it still wrangles plenty of discomforting laughs. The Franchise flounders in forgetability because it’s boring.

The Franchise Episode 8 offers little laughs, a game cast, and a story that never gets as ugly as it should. All of which to say, it sticks to the lane it paved itself throughout the series run.

The Franchise Episode 8 is out now on HBO.