As lead writer for The Draftland Scene, Darren Franich occupies a unique space between film criticism and industry analysis. His work interrogates Hollywood’s evolving identity, with particular focus on:
Successful angles engage Franich’s fascination with creative destruction:
"Every franchise death creates space for weirder rebirths – that’s the Apes lesson execs still ignore." – Franchise Fatigue analysis
We’ve followed Darren Franich’s evolution from institutional critic to idiosyncratic industry analyst with fascination. Beginning his career at Entertainment Weekly in 2009, Franich honed his voice across 14 years as a critic and columnist, dissecting blockbusters and indie darlings with equal rigor. His 2023 transition to Substack’s The Draftland Scene marked a shift toward long-form essays that blend cultural criticism with wry observations about Hollywood’s evolving landscape.
This dual review exemplifies Franich’s ability to find connective tissue between disparate films. His analysis of Soderbergh’s Presence and the animated Dog Man reveals a critic obsessed with Hollywood’s middle class – projects too eccentric for franchises yet too polished for arthouse circles. Franich positions January releases as the last bastion of cinematic surprise, arguing that films like M3GAN and The Beekeeper thrive precisely because they escape the "mummifying" pressures of awards season or universe-building.
What makes this piece essential reading is its defense of mid-budget filmmaking. Franich tracks Soderbergh’s late-career productivity against streaming economics, noting how the director’s workmanlike approach (10 features since 2017) contrasts with Hollywood’s increasing reliance on fewer, bigger bets. The animated Dog Man analysis becomes a springboard to discuss IP adaptation strategies, praising the film’s "chunky-smooth" visual style as antithetical to Disney’s polished house aesthetic.
In this 2024 analysis, Franich dismantles conventional wisdom about franchise fatigue through the Planet of the Apes series. His thesis – that the series thrives by "constantly murdering heroes and destroying civilization" – challenges studio risk-aversion. The piece stands out for its historical framing, contrasting the Apes franchise’s 56-year evolution with modern cinematic universes’ rapid burnout.
Franich’s deep dive into production budgets reveals a key insight: the series’ relative thrift ($160M for 2024’s Kingdom vs. $300M+ superhero tentpoles) allows creative destruction. He positions the films as anti-Marvel – willing to kill off protagonists and reset timelines rather than preserve marketable IP. This article became essential reading for studio executives navigating the post-superhero era, cited in trade analyses of "smart franchise management."
Franich champions filmmakers like Soderbergh who maintain productivity outside traditional systems. A 2023 essay on Magic Mike XXL’s legacy analyzed how collaborative directing models could revitalize mid-budget filmmaking. Pitches should highlight directors blending artistic ambition with industrial pragmatism – think Robert Rodriguez’s Hypnotic or Rose Glass’s genre pivots.
His Dog Man review spotlights interest in non-Disney animation styles. The piece praises the film’s "Claymation Nintendo" aesthetic as rebellion against corporate house styles. Successful pitches might explore studios like Laika or directors pushing boundaries in adult animation (e.g., Charlie Kaufman’s Anomalisa follow-ups).
While Franich engages with franchises, he skewers lazy reboots. A 2025 takedown of Disney’s Snow White remake criticized its "algorithmic nostalgia." Pitches about legacy sequels must address creative renewal – how Twisters reimagines disaster tropes, not just box office prospects.
"Franich’s work reminds us that criticism at its best is cultural cartography – mapping the fault lines between art and commerce." – The Ankler Editorial Board, 2024
While Franich avoids awards circuits, his influence manifests through industry citations. The Planet of the Apes analysis was referenced in Universal’s 2024 investor presentation as evidence of franchise "course correction." His 2020 essay collection The Late Show became required reading in USC’s Cinema Studies program, cementing his academic relevance.
At PressContact, we aim to help you discover the most relevant journalists for your PR efforts. If you're looking to pitch to more journalists who write on Entertainment, here are some other real estate journalist profiles you may find relevant:
