‘The Studio’: Martin Scorsese, Nick Stoller, And Kool-Aid Kick Off Seth Rogen’s New Apple TV+ Comedy
Severance Season 2 may have wrapped last week, but Apple TV+ has already premiered a captivating, comedically daring, critically-acclaimed new series worthy of renewed streaming subscriptions: The Studio.
From longtime pals and creative partners Seth Rogen and Evan Goldberg, the stellar showbiz satire stars Rogen (who also serves as writer/director/EP) as Matt Remick, the newly promoted head of Continental Studios. Ever since Matt toured the studio as a kid, film has been his life. He’s dreamed of a day when he finally had the power and resources to create great films at his fingertips, but when that day finally arrived, it came with the crushing realization that his love of “artsy-fartsy filmmaking bullshit” should come second to “making the studio as much money as possible.” As CEO Griffin Mill (Bryan Cranston) bluntly explained, “At Continental, we don’t make films. We make movies — movies that people want to see.”
With the help of his colleagues — Sal Saperstein (Ike Barinholtz), Quinn (Chase Sui Wonders), Maya (Kathryn Hahn), and Patty (Catherine O’Hara) — Remick chaotically attempts to prove, as he told Variety, that “prestige films and box-office hits are not mutually exclusive.” As he navigates the industry via boardrooms, parties, set visits, award shows, and insider chats, The Studio transforms into a star-studded series jam-packed with A-list celebrity guests. And it hits the ground running in Episode 1 with an all-time great: Martin Scorsese.
From the second you see Peter Berg direct Paul Dano in a dramatic blockbuster scene mere minutes into The Studio‘s 44-minute pilot, “The Promotion,” it’s clear that you’re in for a wild ride. But nothing can properly prepare you for the creative Scorsese, Nicholas Stoller, Steve Buscemi, Charlize Theron, and *checks notes* Kool-Aid storyline that awaits.
Despite Remick’s unshakable desire to bring auteur-driven cinema to screen, he knows he can only land his dream job if he agrees to serve up a Kool-Aid movie that makes the studio billions. So he says “Oh yeah!” (literally) to appease the big boss while secretly setting out to create a work of art and avoid becoming a sell-out. Shortly after his dreams of Wes Anderson or Guillermo del Toro directing the red drink on the silver screen are instantly dashed, Griffin slaps an imminent deadline on the decision that pushes Remick to meet with Nick Stoller. Though Stoller’s wholesome pitch about a family Kool-Aid man who exists in a world of corporate logos like Velveeta and Chef Boyardee leaves Remick feeling discouraged, he agrees to a deal and clings to hopes that his upcoming pitch meeting with Scorsese will offer a new path to cinematic greatness.
In a picture-perfect twist that gets funnier and funnier the more time you spend processing it, Scorsese pitches a film about Jonestown…the cult massacre…where everyone died….by drinking…Kool-Aid! You see the wheels in Remick’s head turn as he desperately tries to connect the dots. Once he arrives at an outrageous solution to his problems, he agrees to give the legendary filmmaker a massive budget and offers to buy gus screenplay for $10 million. There’s just one catch: He has to call the Jonestown film Kool-Aid. Deal!
“I DID IT! I DID IT! I GOT MARTIN SCORSESE TO WRITE AND DIRECT THE KOOL-AID MOVIE,” Remick screams through the office moments before telling Stoller to “get fucked!” As is often the case on The Studio, for a fleeting moment it seems everything’s going Remick’s way — he even gets invited to Charlize Theron’s big party! But as is also frequently the case, Remick’s luck is short-lived, and his impressively threaded victories unravel in a spectacularly stressful fashion.
When Marty decides the lead role of Jim Jones belongs to Buscemi, marketing chief Maya deems it the “worst case scenario.” The team argues that Scorsese’s idea will bankrupt them and begs Remick to go with Stoller. But he doubles down and commits to making great art —until he’s summoned to Griffin Mill’s office for an update, that is. Under pressure from his higher up, he distances himself from his “arthouse bullshit,” pitches Stoller’s idea, and claims he bought Scorsese’s screenplay specifically to kill it in defense of Kool-Aid’s rep. Another show might end the episode here, with Remick feeling defeated, the Scorsese deal squashed, and the Stoller screenplay back on. But The Studio refuses to spare an ounce of discomfort, anxiety, awkwardness, or laughter. It pushes storylines to the extreme in ways that leave characters frazzled and fans hooting, hollering, and cringing on their behalf.
Naturally, to recover from the disastrous day, Remick and Sal head to Charlize Theron’s big bash where they immediately bump into…Scorsese! Thanks to their truly horrible poker faces, the legendary director quickly catches onto the derailed business deal, says he plans to sell the film to Apple, then calls Remick “another run-of-the-mill faceless, talentless, spineless suit” after realizing he killed the project. The Continental duo makes a swift escape (as Sal whispers “I love The Departed!”), but when Scorsese breaks down sobbing, Charlize orders them to “get the fuck out.” They follow orders, but because The Studio is relentless they run into Kool-Aid star Steve Buscemi on their way out the door. He gushes over the deal and drives the final nails into their Episode 1 coffins by revealing Kool-Aid is going to be Scorsese’s LAST MOVIE!
From start to finish, The Studio‘s first episode and its specific cameos are smart. But the show wouldn’t have sold viewers nearly as hard, as fast without Scorsese’s delightful acting, humor, and willingness to go all out. The impressive casting is a testament to Rogen’s own talent and reputation, and as the season progresses, you’ll see him remarkably achieve his character’s dreams of making great art. The series is a love letter to cinema with refreshing self-awareness, edge, and a whole lot of heart. On top of sharp writing, it features stunning cinematography, wardrobe, and set design. The performances are top-notch. The camera work is compelling — with long, continuous shots and motions designed to mirror frantic energy and pacing. And the score heightens emotions and drastically raises the stakes.
No matter how many brutal blows The Studio dishes or how hard the industry commentary hits, Remick and Rogen’s passions, hope, and perserverance ring true. So heading home after the Scorsese catastrophe, making martinis, and comfort-watching Goodfellas because “Marty’s the GOAT” is the perfect ending to the episode.
New episodes of The Studio premiere Wednesdays on Apple TV+.
