The Studio Recap: Going Full Fincher

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Previous episodes of “The Studio” have consistently shown Matt Remick’s passion for cinema. In the episode titled “The Missing Reel,” we discover that Matt not only cherishes movies but also the physical medium they were once produced on – film. The script by Peter Huyck begins with Matt expressing his deep affection for this art form, even appreciating the dance of grain when an image remains static. He shares these romantic ideas about the past with a projectionist (Alan Barinholtz), believing that they share a mutual respect for traditional movie-making methods. However, the projectionist voices his discontent, stating bluntly that film is a nuisance for him, as digital technology allows him to simply press a button instead.

Despite its many admirable aspects, films do possess certain disadvantages as well. For instance, someone could steal an entire roll and vanish it forever, which unfortunately befalls the film “Rolling Blackout,” directed by Olivia Wilde in the noir genre that revolves around the solar-panel industry in Los Angeles. Although some might see similarities to “Chinatown,” Matt remains enthusiastic about the project, despite his frugal nature and reluctance to host a wrap party. This heightens the concern of losing an entire reel.

Initially, Wilde is upset about the missing item and takes offense when Matt proposes one of their crew members might be responsible for its disappearance. However, she firmly believes someone has taken it. As Matt doesn’t want the loss to become public knowledge during filming, he decides to find it with Sal as his partner. They are under pressure too; if they can’t locate it before production wraps up at day’s end, it will be reported missing. After Wilde gives them a farewell hug, they begin their investigation. Matt needs a coat for the chilly weather and a hat to hide an unsuccessful dye job, making him appear as though he’s the protagonist of a noir movie.

Instead of merely being so, only occasional self-conscious nods prevent “The Missing Reel” from becoming an overt noir satire. Now donning a trench coat and fedora, Matt assumes the traditional private investigator’s role by narrating via notes on his phone. While he claims this is simply acting upon his therapist’s advice, he exudes the air of a classic noir protagonist. The brooding lighting and music make this episode of The Studio the most gritty and tough-as-nails yet.

Title “The Vanished Reel” isn’t a heavy or more dramatic episode compared to its predecessors, but it does carry some weight. The movie is precariously clinging as a choice for directors who favor it, and an incident like this could serve as the industry’s justification to abandon the medium entirely. Sal warns him saying, “You’d be the one to end film,” and Matt understands this deeply.

Despite Matt appearing like a detective, it’s Sal who gives off that vibe. The case pertains to an area where he has specialized knowledge. He detected alcohol on Wilde but couldn’t pinpoint the brand (and he’s known for his ability to identify liquors by their scent). Isn’t this a hint, you might think? However, just as Sal is about to delve deeper into this clue, they are called away for a private discussion with Fred, the camera assistant, who has some confidential information to share.

Fundamentally, Fred affirms that the reel vanished following its loading, possibly during a 20-minute timeframe when the vehicle carrying it was left unsupervised. However, Fred also discloses that Wilde has taken on a “Fincher-like” approach with Zac Efron in the production of Rolling Blackout, making him perform numerous takes of a single scene involving the donning of a hat. Could it be that Efron is the culprit behind the reel’s disappearance?

It seems that Matt’s intended friendly approach doesn’t resonate with Efron, who responds frostily towards him due to his secret hope for a wrap party. Now, imagine someone wealthy enough owns one of the rare Corvettes; could they possibly contribute funds for such an event? Instead of embarrassing Matt, this subtle jab instead stirs his curiosity and leads him to inspect Efron’s trailer. There, he discovers an envelope stuffed with cash, forcing him into hiding when the actor reappears. When a woman named Evelyn arrives to collect the money as a costume designer, Matt concludes that she’s caught up in Zac Efron’s deceitful scheme, which he now refers to as “Zac Efron’s wicked web.

Jumping into Matt’s vintage Corvette, they start their journey following Evelyn initially to the Smoke House, later to Chateau Marmont. En route, Sal indicates a social media post depicting a person with a tattoo near the van suspected of being involved in the stolen reel incident. This appears to be an intriguing lead; however, Matt is so engrossed in the Evelyn-Efron theory that he decides to infiltrate the hotel disguised as a waiter, delivering room service to Efron’s room. Unfortunately, he encounters an unwelcome situation: Sal turns out to be present with Efron, and they are celebrating a secret wrap party – one from which Matt and Wilde have deliberately been omitted.

Efron isn’t too happy that Matt is around, but becomes genuinely worried when he discovers the missing reel. On the other hand, Sal is anxious about Matt. The hair color change and classic cars suggest either a midlife crisis or some other concerning situation. Matt then apologizes for acting strange, only to spot someone with a matching tattoo, which was also in a suspicious social-media post. The mystery is solved!

If not for the fact that Wilde’s suspect’s ink was a temporary film-set tattoo like those used for gang members in “Rolling Blackout”, this case could be cracked. The tattoos fade over time or can be removed with rubbing alcohol, which ultimately solved the mystery. Sal was correct about Wilde’s alcohol scent and right to question the brand. Olivia Wilde, it seems, played a role in her own film by wearing the tattoo for her cameo, but later removed it to avoid association with the photograph.

In a surprising turn of events, Matt and Sal arrive precisely as Wilde is trying to capture the final scene for the movie. They present their argument against her: Wilde wasn’t satisfied with how the climactic gunfight appeared on the reel, so she manipulated the situation to reshoot it. Wilde denies this claim, but having the reel as evidence makes her position weak. Under pressure, she eventually admits that she had been holding onto the footage to include her cameo. However, once caught, she decides to destroy the entire reel, including her own appearance. Matt pursues her, but his efforts are in vain. He tells her, “Forget it, Olivia.” It’s Chinatown. Just another imitation of Chinatown” (Bookends again). She discards the reel regardless. Fortunately, Matt saves the day by selling his car to Efron to finance the reshoots, ensuring he won’t be known as the one who ended a film’s production for now. At least, not just yet.

And … Action!

Occasionally, The Studio includes dialogues or storylines that subtly hint at its fictional setting. For instance, take shows such as Rolling Blackouts and the drama being created by Sarah Polley in the second episode, which further support this notion.

Indeed, I’m delighted to share that Alan Barinholtz, who gracefully portrays the projectionist, is my father. He’s not just an accomplished actor but also an attorney, juggling both careers quite impressively. Recently, you might have seen him on St. Denis Medical, adding his charm to the series.

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2025-04-09 17:55