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The series centers on Stahr, Hollywood’s first wunderkind studio executive in the 1930s as he climbs to the height of power pitting him against his mentor and current head of the studio Pat Brady.
Quirks aside, The Last Tycoon brings out the best in Fitzgerald's work. The inner turmoil of Fitzgerald's genius mixed with Hollywood glamor and intrigue make for a feast for the eyes and the mind.
Melodrama has its pleasures, and some viewers will doubtless happily be caught in the stories' myriad threads. And some performances win out over the material.
The show looks beautiful enough and has been so well-cast that those qualities can sometimes be enough when you're looking for a streaming option on a hot summer weekend.
While most of the time, it seems to be aiming for semi-historically accurate realism, it's also steeped in enough fantasy to make it hard to know how to engage with it, or even whether to trust it.
Admirable care went into the costumes and settings; the script, not so much. There is quite a bit of awkward, didactic dialogue here. Nuance, apparently, had not yet been invented in the 1930s.
The Last Tycoon is so sumptuous that it's easy to overlook how pedestrian the story often is. That's not immediately apparent because what's onscreen is stunning.