The Studio
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Worse yet, Matt worries he might become one of them if he isnt already.
you could see it on Matts face in the episodes first moments.
Its not the last time hell wear that expression.
In theory, thingsshouldbe looking up for Matt.
Sometimes, you have to make compromises in this business.
But just how great does that compromise have to be?
Of course, Matt can only do so much about this poverty of creativity.
Hes an exec but hes not the head of the studio.
Until, suddenly, he is.
It turns out that CEO Griffin Mill (Bryan Cranston) has shown up unannounced.
Whats more, studio head Patty (Catherine OHara) is nowhere to be found.
Could a change be coming?
Could Sal soon be the one in charge of Continental?
Sal thinks so but then so does Matt.
But whatever happens, they promise it wont get in the way of their friendship.
Matts filled with conflicting emotions, but theyre notthatconflicting.
I did, Matt tells her.
But I also meant it.
That mix of sincerity and maneuvering has served Matt well so far, but will it last?
When Matt meets Griffin, the boss doesnt take long to get to the news.
Yes, Pattys out, and yes, Matts up for the job.
Matts response: Thats exactly the sort of film theyshouldbe making.
Can he do it?
If Matt doesnt immediately realize hes made a Faustian bargain, it becomes clear soon enough.
Meeting with his inner circle, Matt finds the Kool-Aid idea gets a mixed reception.
This proves a bit easier said than done.
Like much of this episode, its a crude but perceptive observation.
Barbie has sex appeal, as well as thematic depth and cultural resonance.
Kool-Aid Man … well, he bursts through walls and says, Oh, yeah.
Nicholas Stoller would like to pitch for it.
Mitch wont even ask the other guys.
Sal advises a one-for-them, one-for-me strategy.
The one-for-them should be squared away.
Then, mid-meeting with Scorsese, a lightbulb goes off.
Scorsese (also playing himself) has an idea for an ambitious movie about Jonestown.
Thats the cult whose members famously took their own life drinking poisoned Kool-Aid.
What if Scorsese just calls the movieKool-Aid?Thatcould be Matts Kool-Aid movie!
Matt says he can get fucked because hes got a real filmmaker.
(Again, Stoller is being an excellent sport.
This dismissal will have consequences.
The Scorsese decision will have even more immediate consequences when Maya flips out at the idea.
(Even Maya and the rest of the team cant pronounce his name.)
First stop: Pattys, where Matt fights his old mentor, alternating between rage and despondency.
Shes also pretty mad at Matt, whom she accuses of stabbing her in the back.
Matts eager to mend fences and to get her to help him bring Stoller back to the Kool-Aid movie.
Its another instance of Matt being capable of sincere emotions while simultaneously serving his own interests.
He does seem to care about Patty.
He also cares about what she can do for him.
Fortunately, that feeling is mutual.
Beneath the high emotion, Patty remains a canny operator.
The meeting ends in a hug followed by an unexpectedly inspiring talk.
When you make a good movie, Patty tells him.
She then goes on to tell him hell make a great studio head because he had the best teacher.
Regardless, Matt still has to do some killing of his own.
This performance, its inauthentic, the director tells him.
Then, the truth comes out (after Matt passes the buck to Sal).
This leaves Scorsese shocked and angry.
He lays into Matt even before learning that Matt had schemed to kill the movie.
They know great movies when they see them.
They just dont know how to get them made.
IfThe Studiowas all snark and no heart it might grow tiresome.
Thats still possible, right?
And … Cut!
That private home has its own ties to movies.
Youll recognize it from the originalHouse on Haunted Hill,Blade Runner, and other films.
Pattys striking home is theHarvey House, which was built in 1949 and designed by John Lautner.
(Its home to Mitch Glazer and Kelly Lynch in real life.)
Mayas inability to pronounce anyones name (or even common words) seems likely to become a running gag.
Mayas outfits seem even more likely to be a highlight of future episodes.
I killed one of Warrens movies in 88, and he never slept with me again.
One episode in and this is starting to feel like one of the most quotable shows on television.
If the latter, its not the only homage.
If the former, what happened in the years in between?
Will this become clearer with future episodes or is it best not to overthink it?
