The film presents a uniquely narrated journey through the life of pop icon Robbie Williams, with his life story being conveyed through the lens of a chimpanzee, symbolizing his perception of being “less evolved.”

In 1982, we meet Young Robert, portrayed by Carter J. Murphy, who is trying to find his way in the world while growing up in Stoke-on-Trent. During a football game with friends, he experiences humiliation after a fall, setting the tone for his later struggles. Returning home to his parents Peter (Steve Pemberton) and Janet (Kate Mulvany), as well as his supportive nan Betty (Alison Steadman), we learn that Peter harbors dreams of stardom himself, often singing Frank Sinatra tunes. But Peter’s harsh belief that success is only for the innately talented weighs heavily on Robert. Fortunately, Betty lifts Robert’s spirits, assuring him of his potential.

Robert’s journey takes a turn when he participates in a school play, “Pirates of Penzance,” where he captivates the audience with his singing prowess and improvisational skills. Yet, despite these moments of triumph, Robert battles with critical inner voices that materialize into unsettling visions. Meanwhile, Peter pursues a stand-up comedy career, changing his name from Williams to Conway. His departure from the family propels Robert into a smaller living situation with Janet and Betty, holding onto remnants of his father’s memory.

As a teenager (Jonno Davies), Robert remains determined to carve out a musical career, but a school counselor dashes his dreams, urging him to focus on academics instead. His best friend Nate (Frazer Hadfield) has less grand aspirations, but a surprise twist awaits when Robert hears a radio announcement of an audition for a boy band.

He seizes the opportunity and meets the demanding manager Nigel Martin-Smith (Damon Herriman), who is unimpressed during his initial audition but is ultimately intrigued when Robert confidently acts as if he’s already secured the position. Robert’s excitement multiplies when he receives a call from Peter, wanting to reconnect. However, their meeting reveals Peter’s true motives, echoing his self-serving nature rather than genuine paternal concern.

After learning that he failed his exams, Robert’s spirits lift when Janet informs him that he nevertheless got into the band he auditioned for. Joining the group known as “Take That,” he befriends his bandmates: Howard Donald (Liam Head), Jason Orange (Chase Vollenweider), Mark Owen (Jesse Hyde), and the ambitious Gary Barlow (Jake Simmance). It is soon decided that Robert will be known as Robbie, a moniker he isn’t fond of, and Nigel places Gary in charge of songwriting, much to Robbie’s dismay.

As the band kicks off their journey playing gay clubs, Robbie feels an intoxicating sense of belonging with the enthusiastic audience. However, this high is quickly marred by Nigel’s authoritarian tactics, which stifle Robbie’s burgeoning star power. Despite a string of early successes, including their first commercial hits, Robbie begins to grapple with his darker impulses, succumbing to substance abuse and self-destructive behaviors.

The story takes a melancholy turn when during a live performance, Robbie succumbs to his addictions, reflecting on his tumultuous journey as he struggles to keep pace with what the band demands from him. Following a pivotal decision to move forward without him, Robbie spirals further into despair, culminating in a dramatic car accident that forces him to confront the insidious voices from his past.

Amidst a chance encounter with Nicole Appleton (Raechelle Banno), a romance blossoms but is overshadowed by external pressures that lead to an unexpected pregnancy and subsequent abortion—a decision that deepens Robbie’s emotional turmoil. Their relationship deteriorates further after a troubling encounter with Liam and Noel Gallagher, where past rivalries surface and remind Robbie of the ever-looming challenges that fame presents.

In a heartfelt visit to his mother and nan, the family dynamic shifts as incapacitating illness takes hold of Betty, leading to poignant revelations about connection and regret. Moving forward, Robbie seeks new collaboration with Guy Chambers (Tom Budge) who ignites a spark of creativity in Robbie but doesn’t eradicate the cloud of addiction that looms.

An epiphany strikes during an interview with Michael Parkinson (John Waters), where Robbie’s triumphs and failures play out onscreen, navigated through a haze of sadness about lost relationships, primarily with Nicole and Nate. When tragedy strikes with Betty’s passing, Robbie’s world spirals into grief. Yet, amidst this despair, he finally resolves to seek help.

As he embarks on his journey to rehab, Robbie confronts his self-loathing tendencies that were exacerbated by his “Robbie” persona. His determination leads to healing and reconnections with Gary and others, yielding a renewed sense of purpose.

Ultimately, Robbie’s comeback performance at the esteemed Royal Albert Hall is imbued with emotional content, culminating in a joint performance with Peter while he recalls his identity as a performer. He hears the applause not just from the audience but also from the echoes of his past selves, finally feeling a sense of self-acceptance. With unwavering resolve, he asserts that he is indeed a “fucking entertainer” and proud of being “the fucking best,” encapsulating a journey not just of fame, but of redemption and discovery.