Hollywood loves stories about himself, movies and shows that satirize the process of making films, which have fun with Tinstown's difficulty and absurdity. And yet, from Bowfinger to the "Disaster Artist" and "Babylon", The best movies moving movies have something in common - Original Loveube to the cinema and enthusiasm for making art. Even when we have TV shows that view some of Hollywood's worst trends, like last year's "franchise" or this year's "studio", the disappointment of the main character in the industry stems from the original Loveube to art form and its capabilities.

What makes the "studio" stand out, especially compared to a pretty disappointing "franchise", is how it is playing on a popular HBO show for filming and the search for the Ardwar - "Accompaniment". If you are not familiar, Enturage was a show in the mid-200s created by Doug Elin and chronicized the rise of the Ardwar of Vincent Chase (Adrian Granier) as he moved in Hollywood with his close group of friends and his agent. The show became popular because of the showing of male friendship and relationship, as well as her satire for Hollywood life and Cavalkad of homes from big stars that emerge as themselves. It was a show so good and popular that even earned it Movie treatment of movies And inspired Korean drama remake.

Where HBO's "franchise" has tried to satirize the current landscape obsessed with superhero and the many problems with production that plague blockbuster projects, Armado Janucci's production has withdrawn most of their shots and failed to say much that even those with industry knows.

It's not the "studio". The show created by Seth Rogen and Evan Goldberg is as "escorting" the era of the Twitter movie (it can also be a secret sequel to the "player") and rules.

In the Studio, Seth Rogen is played by Matt Remik, CEO of the medium -sized studio, who suddenly becomes the head of the fictional studio of Continental. Matt is a movie Nord who dreams of helping to make the next great movie and discover the next Martin Scorsese, and who is forced to respect the mandates of the CEO (Brian Cranston) who believes the future lies in finding the next great piece of IP-like, for example. This becomes a thread to run throughout the season, and is just as funny and depressed as you expect.

Similar to "Enturage", "Studio" is filled with homes that help sell satire as based on real people and real events. We see both actors playing invented characters, like Catherine O'Hara as a mentor of Matt and his former boss, of celebrities playing themselves. Ron Howard depicts his comedy chops, to Scorsese by making a pleasant strange and funny performance that will break your heart by the end of the first episode, to a surprising traction with Netflix CEO Ted Sarandos, making a fascinating show in a show, Baseball. On the acting front, we even get the arrival of Adam Scott, Olivia Wilde, Charlize Theron and Anthony Soft among many others, showing that Rogen has a very good will in Hollywood and also painting a picture of the "Studio" as set up in our reinforced version of our reality.

More than just Kimos's parade, the Studio is a deep -love -love show, clearly made by people who love Hollywood despite many problems and a show done for this particular moment in time. The series does not focus only on the specific traps of contemporary Hollywood - its obsession with IP, impurities businessmen who have a study despite humiliating art, etc. - But the way industry is approaching the baseball is felt for the era of film Twitter.

Like that or not, we live in a time when a large part of the audience in moviegoing is at least somewhat aware of the specific parts of the process of making moviememake. The remaining are not just a nebulous part of production; They are widely reported and talk about even people who have no idea how integral and common. Film budgets and box office results are no longer for the crowd that reads with diversity, and people pay attention to Cinemacon presentations as much as they do for Hall H. trailer drops.

When the Studio devotes an entire episode to have fun, and also to return the on-technique as a film making technique, it does it with the knowledge that the audience will know what it means-or at least to understand when the show jokes about no one cares about the pretentious one-country. This allows the series to be satire for the industry and also lubricant respect for art form. Of course, jokes for CEO of the studio trying to mask Kool-Aid's husband-to-Aid movie as an art film in Martin Scorsese for the Estonstown massacre is funny, but the show can also bring visually astonishing tribute to "Chinatone". It is the beauty of the "studio" and why is the best Hollywood satire on TV.