Synopsis:
A group of aspiring actors and filmmakers in post-World War II Hollywood try to make it in Tinseltown—no matter the cost. Each character offers a glimpse behind the gilt curtain of the Golden Age, spotlighting the unfair systems and biases across race, gender and sexuality that echo into today.
Format: 7 episodes, streaming simultaneously on Netflix.
Cast: David Corenswet, Darren Criss, Jeremy Pope, Samara Weaving, Laura Harrier, Jim Parsons, Dylan McDermott, Holland Taylor, Patti LuPone, Jake Picking, Joe Mantello
Directors: Ryan Murphy (1), Daniel Minahan (2), Michael Uppendahl (3, 5), Janet Mock (4, 6), Jessica Yu (7)
Writers: Ryan Murphy (created by; 1–5, 7), Ian Brennan (created by; 1–7), Janet Mock (4, 6), Reilly Smith (6)
Many of Ryan Murphy’s projects highlight marginalized communities—whether it was Glee with Kurt Hummel and a diverse ensemble, or Pose in the 1980s ballroom scene. Hollywood goes a step further: it rewrites history to imagine a 1940s industry (and world) more accepting of different ethnicities and sexual orientations.
Hollywood follows veterans and newcomers who converge to bring a potentially culture-shifting film to life. Jack Costello (David Corenswet)—a former WWII serviceman, aspiring actor and soon-to-be father—takes work at a gas station run by Ernie (Dylan McDermott) that doubles as a high-end prostitution ring. Archie Coleman (Jeremy Pope), a Black, gay screenwriter, is recruited there too, where he meets aspiring actor Roy Fitzgerald (Jake Picking) and begins a relationship.
Raymond Ainsley (Darren Criss) is an aspiring filmmaker meeting with Ace Studios, where his girlfriend Camille Washington (Laura Harrier) is a contracted player stuck in stereotypical roles. Ace Studios is run by Ace Amberg (Rob Reiner), alongside executive Dick Samuels (Joe Mantello) and talent manager Ellen Kincaid (Holland Taylor), while Ace’s unsatisfied wife Avis (Patti LuPone) looks for purpose and daughter Claire (Samara Weaving) chases stardom.
While most characters are fictional, several real-life figures appear. Don’t worry if names like Rock Hudson, Vivien Leigh or Anna May Wong aren’t familiar—you won’t miss the gist.
The series sincerely explores the struggle of breaking in—especially if you’re marginalized. Some of the best moments live in the process: screen tests, table reads and creative debates. It’s not a granular “how movies are made” chronicle (very little actual filming is shown), but there’s enough to invest you in the film-within-the-show’s fate. The optimism is infectious.
The ensemble is excellent. Jeremy Pope is outstanding—fully aware his race and sexuality should preclude the chances he’s getting, yet pushing anyway. David Corenswet—so good in The Politician—is fantastic as naive, earnest Jack, struggling with the compromises chasing a dream demands. Veterans Patti LuPone, Holland Taylor and Joe Mantello crackle together; Dylan McDermott seems to relish playing Ernie, the improbably upbeat gas-station impresario/Hollywood fixer.
The most divisive turn may be Jim Parsons’s Henry Willson. It’s a far cry from Sheldon; Parsons plays the slimy, manipulative agent who coerces clients into sex in exchange for publicity and roles. Foul-mouthed and cruel, his molding of the naive Roy Fitzgerald into Rock Hudson is hard to watch and harder to look away from. He’s the second-biggest villain here—after the lawyer intent on killing the film.
The pacing wobbles at times—sudden time jumps cause whiplash and relationships leap ahead off-screen. One couple starts dating in one episode and is far more committed by the next; another character pivots 180 degrees in minutes. An extra episode might have helped, especially to show (not tell) evolving dynamics like Avis and Claire’s. The finale also gets a bit self-congratulatory, but the series has banked enough goodwill—and affection for its characters—to earn it.
Hollywood is a charming love letter to classic Hollywood filtered through modern sensibilities. With a stellar ensemble and a hopeful reimagining of what could have been, you’ll wish this rewrite of history really happened.
Hollywood releases on Netflix 1 May 2020.
Advance screeners provided for review.
