The Studio Recap: Free Parking

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To date, it appears that The Studio hasn’t demonstrated much enthusiasm for developing a continuous narrative. For example, there haven’t been any updates regarding the Kool-Aid movie since its premiere or Sarah Polley’s film after the second episode. Each production has stood independently, but this doesn’t imply that events in one episode don’t impact subsequent ones. For instance, although Matt secured the studio head position over Sal, who believed he had a chance at it, their friendship has been strained somewhat. The emotional conversation they have near the end of “The Missing Reel” suggests that this is an ongoing issue they will need to address further.

In “The War,” the fifth episode (penned by co-creator Frida Perez), we begin to witness the repercussions of Matt’s promotion. Sal remains in his previous position while Quinn advances. However, it seems there might not be space for both on the team. The parking area certainly doesn’t accommodate them both. As the day begins, Matt, Sal, and Quinn arrive at work, each driving a vehicle fitting their characters. Matt drives a classic car that likely cost a fortune, Sal a noisy Porsche, and Quinn a practical yet chic Mini Cooper convertible. The first two vehicles comfortably fit into their designated spots, but Quinn is denied entry to the garage due to it being occupied by a visiting Netflix production filming a series about the Battle of Waterloo. Although she’s been there for five years and has risen to Creative Executive, she must endure the long trek from the distant parking lot back to the office.

Apart from her current issues, Quinn is keen on proposing an idea to Matt. It’s about a low-budget slasher movie that Owen Kline (the actor) has written for himself. After his success with the indie black comedy “Funny Pages,” he wishes to direct this film as his next project. However, Sal is currently working on his own slasher movie and is nearly convinced to bring Parker Finn (another actor) on board, who is also known for creating “Smile.” While their project’s premise might resemble that of “Smile,” Sal believes they can still pull it off. Perhaps Quinn could lend a hand to help Sal with this? That seems acceptable, doesn’t it?

Quinn and Sal seem uninterested in the idea of hiring Finn for the project. Given the circumstances, it’s not surprising they feel this way. Quinn swiftly voices his reservations about bringing Owen Kline on board, while Matt sees his credentials – Cannes, A24, an endorsement from the Safdies – as strong selling points. However, Sal does not share this view. As for Wink, it’s not the kind of movie that caters to a crowd of pansexual mixologists residing in Bed-Stuy. Is Sal correct in his assessment, or is he out of touch with current trends? One might even wonder if he’s a bit behind the times… perhaps even… uncool?

If there’s one term that instantly irritates Matt, it’s “weak” or “unimpressive.” He strives hard to avoid being labeled as such. Therefore, despite initial hesitation, he consents to interact with both Kline and Finn. However, beyond their hearing range, Sal and Quinn engage in a heated debate. According to Sal, she should acknowledge her position within the hierarchy. On the other hand, Quinn perceives things differently. She finds it hard to move past the issue. In her perspective, Sal is under scrutiny. Her frustration escalates to the point where she questions, “Why was I given this promotion if I can’t voice my opinions in meetings?” As far as Quinn is concerned, Sal has a mark on his back, symbolizing potential confrontation.

Could it possibly matter if she found out he was responsible for two children under his care? Indeed, Sal doesn’t appear particularly bonded with Skye and Bella, who seem engrossed in their phones rather than their father during lunch at Musso & Frank. One of them is brash, dismissing him as outdated, while the other acts childishly, but they both drain energy in unique ways.

Upon Sal’s return from lunch, Quinn devises a plan. As Petra (Keyla Monterroso Mejia), Matt’s assistant, departs for the day, Quinn begins manipulating Matt’s schedule. This necessitates skipping a meeting with Finn to socialize with Chris Hemsworth instead, which upsets Finn, who came to Continental expressly to meet Matt. In response to this, Sal decides to undermine Quinn and Matt’s meeting with Kline. He initiates this by commenting on Kline’s youthful appearance, and his actions escalate as he takes control of the meeting, discussing the compromises an independent-minded filmmaker like Kline would have to make working for Continental. Unsurprisingly, this deters Kline and causes Matt to reconsider his position.

It’s important to recall that this installment is titled “The Conflict,” and at this juncture, the sides have been clearly defined. Quinn has interfered with Sal’s ventures, and Sal believes she should stay in her position and let her chance come (which he doubts will ever happen). However, Quinn is cowardly but passionate about filmmaking, a point that Sal counters. They don’t simply create films; they are involved in the movie-making industry. Lastly, as a final jab, Sal labels Quinn a “D-Girl,” a derogatory term with ties to “The Sopranos.

Quinn feels she must take things to a higher level, and following a humorous scene where she unintentionally guides a group of Napoleonic-era extras, she positions a golf cart in Sal’s area. This triggers a series of events. Parking on the Waterloo set causes Sal’s clothing to be splattered with chili. With his attire now messy, he struggles to console an upset Finn, who storms off from their encounter. In a later altercation between Quinn and Sal, he hurls a burrito at her but misses, instead hitting a moving golf cart that then smashes into and demolishes the Waterloo set.

When our actions spark an HR probe, Quinn and Sal realize that collaborating is the wiser choice to steer clear of trouble. However, it wasn’t until Sal confided in me that he found a connection with Quinn – much like his daughters, they both make him feel overlooked and outdated. I empathize with him, but I also challenge him for not acting as a mentor towards me. His expertise could prove valuable to me, while my fresh, art-house-inspired insights might bring him new ideas. (I’ll even snag his parking spot in the process.)

It’s unfortunate they didn’t see the implications earlier, but without that, we wouldn’t have had such an amusing installment. “The War” serves as insightful critique on the perils of ruthless behavior, even in a ruthless business environment. Finn and Kline could have created decent low-budget slasher films. However, when they do, it won’t be for Continental. Yet, this series showcases Ike Barinholtz and Chase Sui Wonders brilliantly and offers an entertaining exploration of escalating tension and sabotage, reaching its humorous climax as Netflix’s simulated Waterloo crumbles. Will they be allies in the future? It’s plausible, though given the current situation, it seems equally likely that The Studio will overlook this episode’s events by the time the next one airs. For now, at least, the team has solidified, and Quinn can take a leisurely stroll from her Mini Cooper to her office while enjoying her burrito.

And … Cut!

• Ghosts that wink could be scary but the face Sal makes is disturbing in other ways.

In this episode, it seems as though Keyla Monterroso Mejia is poised for a major breakthrough moment. However, while she doesn’t secure such a scene here, she still delivers some impressive performances.

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2025-04-16 18:54