These 9 Matt Remick moments from The Studio reflect his love for good films

The Studio looks at Hollywood from the inside and never lets anyone off the hook. Over ten episodes, it follows Matt Remick, who gets promoted to head of a major film studio without warning. He takes the job hoping to make smart movies, but ends up greenlighting a Kool-Aid Man blockbuster and dealing with chaotic pitches from directors who think they’re geniuses.

The show moves through awkward press events, failed casting meetings, and marketing disasters without ever slowing down. Each episode focuses on one meltdown and shows how everything goes wrong quickly.

What makes it land is how normal the madness feels. People talk over each other, make bad choices, and hope no one notices. There are big names in every episode, and they add to the noise. The stories feel like things that actually happen in studios that run on panic and last-minute decisions.

There’s no big moment where everything works out. Things barely hold together, and that’s the point. It’s not about fixing anything. It’s about surviving the next meeting and pretending you have a plan. The show never flattens the absurdity. It just lets you sit in it until it gets too loud to ignore.

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These 9 Matt Remick moments from The Studio reflect his love for good films

1. The Promotion

Matt Remick is promoted after his mentor is pushed out, so he ends up running a major studio without warning. He wants to make something that matters, but the boss tells him to greenlight a Kool-Aid movie.

Matt brings in Scorsese with a Jonestown script but ditches it to please the board. Scorsese crashes a party and calls him a coward. The whole thing starts loud and messy, setting up Matt as someone who wants to do good work but keeps backing down when the money people talk. It shows how fast good ideas get killed in this place.

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2. The Set Disaster

Matt visits Sarah Polley’s set to offer support during a complex tracking shot and instead ruins everything. He blocks equipment and steps into the shot, and the crew tries to work around him until they can’t anymore.

The entire episode plays out in one take, which makes the disaster feel worse by the second. Matt wanted to be helpful, but ended up causing delays and injuries. By the end, he gets kicked off the set. It makes him realize that good intentions are worthless if you don’t understand how the job works. That lesson hits hard and sticks.

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3. The Note

Matt’s job is to give Ron Howard notes on a motel scene that slows down the film, but he avoids it because he’s scared to offend. He fumbles through meetings and stalls until he gets called out.

Ron finally receives the note and tells him off in a quiet, yet brutal, way. He agrees to cut the scene, but makes it clear Matt’s hesitation wasted time. The episode illustrates how challenging it is to provide honest feedback when you’re unsure of your standing. It also proves that being direct matters more than being liked.

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4. The Missing Reel

A reel vanishes from Olivia Wilde’s film, so Matt and Sal start playing detectives. They wear fake badges and sneak into a party trying to track down who took it. None of their theories work.

Olivia admits she hid the reel to force a reshoot, then throws it down a hill. Matt sells his car to replace the footage. The episode plays like a noir spoof, but the stakes are real. It shows how far a director will go to protect the version of the film they believe in. It also shows how Matt continues to pay for every mistake.

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5. The War

Sal and Quinn both want to hire different directors for a horror movie called Wink. They start deleting calendar invites and blowing up each other’s meetings. It turns into a fight about more than just a movie.

They wreck a Netflix shoot and nearly get in trouble with HR. It ends with them teaming up, but only after real damage is done. The story illustrates how office disputes can escalate into studio disasters. Ego gets in the way of good decisions, and Matt watches it all happen without knowing how to stop it.

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6. The Pediatric Oncologist

Matt brings his girlfriend Sarah to the studio and tries to show her what his day looks like. She works in pediatric oncology, so nothing impresses her. He offers coffee and set tours, and nothing lands.

She reminds him that real people deal with real problems and studio drama isn’t serious. He gets quiet. The episode slows everything down and puts Matt’s work in a harsh light. It makes clear how empty the job can feel next to something that saves lives. That contrast sits with him and doesn’t go away after she leaves.

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7. Casting

The team starts arguing over whether Ice Cube should play the Kool-Aid Man. Some think it’s a big win, others think it’s a problem. They also use AI for animation, which upsets the writers.

At Comic Con, the trailer bombs. Cube walks out, and fans turn on the project. The episode illustrates how clueless studios can be when attempting to address problems with buzzwords. Matt looks like he’s learning something, but never speaks up when it matters. It reinforces the show’s point that bad ideas often prevail simply because no one stops them.

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8. The Golden Globes

Matt attends the Globes, hoping Zoe Kravitz will thank him in her speech. He even tries to rewrite her teleprompter to make it happen. When she wins, her mic cuts out, and no one hears a word.

Everyone else has fun, but Matt spirals. He corners Ted Sarandos in a bathroom and gets nothing out of it. The episode illustrates how much people chase credit that never materializes. Matt wants to feel seen and fails again. It’s not dramatic, but it resonates because most wins in this world are hollow.

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9. CinemaCon

The team arrives in Vegas for CinemaCon with a big presentation coming up. Everyone takes mushrooms to loosen up, and things fall apart fast. Griffin disappears. Zoe gets stuck. Sal trips too hard.

Matt tries to hold it together as the studio faces an Amazon buyout. The scenes get messy and loud, and nothing feels stable. It becomes clear that nobody is ready to lead. Chaos follows him all through and takes the audience on a ride.

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