The tension between art and commerce is a tale as old as time, and perhaps the most dramatic clashes in recent history have played out in Hollywood. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz explore how moviemaking and the business behind it have been depicted over the decades, from Lillian Ross’s classic 1952 work of reportage, “Picture,” to Robert Altman’s pitch-black 1992 satire “The Player.” In “The Studio,” a new Apple TV+ series, Seth Rogen plays a hapless exec who’s convinced that art-house filmmaking and commercial success can go hand in hand. At a moment when theatregoing is on the decline and the industry is hyper-focussed on existing I.P., that sentiment feels more naïve than realistic. And yet the show’s affection for the golden age of cinema is infectious—and perhaps even cause for optimism. “Early auteurs were people who knew Hollywood and could marshal its resources toward the benefit of their vision,” Cunningham says. “I wonder if now is the time for people who are seasoned in the way of Hollywood to really think about how it can be angled toward making art.”

Read, watch, and listen with the critics:

“The Studio” (2025–)
“Veep” (2012-19)
“The Player” (1992)
“The Pat Hobby Stories,” by F. Scott Fitzgerald
“Picture,” by Lillian Ross
“Why Los Angeles Is Becoming a Production Graveyard,” by Winston Cho (The Hollywood Reporter)
The New Yorker’s Oscars Live Blog

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“The Studio” Pokes Fun at Hollywood’s Existential Struggle

Critics at Large | The New Yorker

“The Studio” Pokes Fun at Hollywood’s Existential Struggle