Note: This article contains spoilers for episode 3 of The Studio.
Episode 3 of The Studio: A Hilarious Glimpse Behind Filmmaking
The third installment of The Studio, titled “The Note,” delivers a unique blend of comedic genius, cringe-worthy moments, and sharp Hollywood satire. In this episode, Matt and his team are tasked with screening Ron Howard’s latest action thriller, Alphabet City. Despite its initial brilliance as a neo-noir masterpiece, the film is marred by a tedious, lengthy 45-minute motel sequence that becomes a central point of conflict. Matt must summon the courage to deliver the uncomfortable news to the renowned filmmaker that his favorite scene should be cut.
The Impressive Guest Appearances of Ron Howard and Anthony Mackie
Ron Howard’s remarkable presence in “The Note” reinforces the show’s knack for featuring A-list directors in entertaining cameos. Throughout the series, it cleverly plays against the public personas of famous filmmakers. In the premiere episode, the artistic integrity associated with Martin Scorsese was humorously contrasted with Matt’s absurd project of creating a Kool-Aid movie. In this episode, Howard’s image as the industry’s “nice guy” is amusingly pitted against the difficult task of delivering disappointing feedback. Howard’s background in sitcoms shines through, as he adeptly balances obliviousness and indignation.
Chase Sui Wonders: A Star on the Rise
Chase Sui Wonders’ portrayal of Quinn Hackett, Matt’s creative executive, has felt somewhat underwhelming until now; however, in “The Note,” she finally claims her moment in the spotlight. When Matt, Sal, and Maya hesitate to critique Howard’s work, Quinn boldly volunteers to confront him. Yet, when she arrives to find her favorite actor, Anthony Mackie, present, her confidence crumbles. Wonders masterfully encapsulates Quinn’s starstruck demeanor, showcasing her comedic timing against Mackie’s unease.
Meanwhile, Ike Barinholtz also delivers a standout performance as Matt realizes that the emotional motel sequence is rooted in Howard’s personal grief. He plans for Sal to feign having a dead cousin to persuade Howard to cut the scene. The outcome is an exquisitely awkward showdown between real grief and forced empathy, with Barinholtz fully embracing the discomfort. Howard and Mackie’s on-screen chemistry surprises viewers, culminating in a comedic twist when Mackie admits that he too dislikes the motel segment.
Visual Brilliance and Meta-Commentary in The Studio
Embracing a Unique Cinematic Style
While “The Note” may not boast the technical brilliance of last week’s impressive episode-long oner shot, it continues to innovate visually, elevating itself above typical sitcom standards. For example, during a casual conversation between Matt and Patty, the backdrop features crew members testing a snow machine, adding an enchanting visual element to a standard dialogue scene. The juxtaposition of snowflakes falling in sunlit Los Angeles, with the Hollywood sign subtly framed, highlights the enchanting nature of filmmaking that this series embodies.
In this episode, The Studio masterfully intertwines its narrative with the filmmaking process, drawing attention to its constructed nature. After extensive discussions about the incessantly dull motel sequence, the episode concludes with Matt emulating that very sequence in a shot-for-shot recreation around the studio lot. Although the episode may lack the intricate plot development present in prior installments, the swift resolution of conflicts – with Matt and Ron reconciling with a quick phone call – does not detract from its comedic essence. “The Note” is a delightful 30-minute experience, marked by an ensemble cast that collaborates effectively, with both Howard and Mackie infusing abundant humor throughout.
New episodes of The Studio are available for streaming on Apple TV+ every Wednesday.