Superhero Chic: Why HBO’s ‘The Franchise’ Couldn’t Save Itself
In a move that has the entertainment industry’s finest pearls clutching tighter than a sample-size Balmain blazer, HBO has decided not to renew their deliciously satirical series “The Franchise” for a second season. Darlings, let me tell you – this is more dramatic than the front row shuffle at Fashion Week.
The series, which brought together the crème de la crème of creative talent – think Sam Mendes (whose eye for detail rivals that of Monsieur Lagerfeld himself) and Armando Iannucci (the wit behind “Veep,” serving looks and laughs in equal measure) – wrapped its eight-episode run with all the subtlety of a Met Gala entrance. The show, much like this season’s controversial prairie dress trend, proved that not everything that glitters finds its audience.
Speaking of ensemble casts, the series featured a lineup more diverse than a Savage x Fenty show, including the devastatingly charming Himesh Patel, the incomparable Aya Cash (whose red carpet moments have given us life), and Billy Magnussen (who, might I add, has been serving face and fashion at every premiere). The addition of Richard E. Grant and Daniel Brühl to the recurring cast was like adding vintage Dior to a contemporary wardrobe – absolutely essential and utterly fabulous.
The show’s premise – exposing the chaotic underbelly of superhero movie-making – was as bold as Alessandro Michele’s Gucci collections. It dared to ask how the cinematic sausage gets made, much like how we fashion insiders often peek behind the seams of couture creations. The result? A critical darling scoring 74% on Rotten Tomatoes – respectable, but perhaps not quite Virgil Abloh at Louis Vuitton levels of success.
HBO’s statement was as carefully crafted as a Chanel tweed jacket, expressing gratitude while firmly closing the door on future seasons. “We’re so grateful to have had the opportunity to work with the tremendously talented team,” they said, in what we in the industry recognize as the equivalent of “it’s not you, it’s me.”
While “The Franchise” may be hanging up its cape, like last season’s micro-bags, its commentary on the superhero industrial complex remains as relevant as ever. In an era where blockbuster franchises dominate the cultural conversation like maximalism dominated the SS24 runways, this satire served as a necessary mirror to our obsession with cinematic universes.
As we bid adieu to this ambitious project, one can’t help but wonder – in true Carrie Bradshaw fashion – if perhaps “The Franchise” was simply too haute couture for the ready-to-wear crowd.
