Once again, an attempt to show off young Hollywood talent becomes an unwitting document of deep and pervasive fractures across the industry.
appeared on television, nearly a decade ago, it was a wildly compelling disaster. The show, then on HBO, was conceived as a combination of competition and behind-the-scenes reality series: A panel of Hollywood experts selects a contestant from a group of eager first-time filmmakers, and the season follows that young director attempting to produce, shoot, and edit their first film.
But all that corporate politeness and input from stakeholders and just-circling-back language is riveting.’s newfound insistence that this be a supportive, nontoxic workplace means that all tensions and frustrations are buried six feet deep, and the season vibrates with the repressed energy of a hundred people trying to conceal their emotions. In a glorious late-season development, the production team foritself, accusing them of prioritizing good TV over making a good film.
There’s the unmistakable sensation of a balloon deflating by the end of the season, created by an underwhelming movie and a young director who’s meant to be heroic but instead comes off as checked out and uninsightful. This too is compelling. What happens when all the good intentions in the worldresult in a bad film? In one telling scene in the finale, Nanjiani is giving a talking-head interview clearly designed to be full of feel-good puffery about the power of cinema.
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