The Greatest Showman #725: Dislocated Jaw

"War is the great savior... poof."

"War is a great hero, a melting pot..."

"War is a melting pot; it can..."

"War is great redemption, hahahaha..."

"War, sorry, I'll do it again."

"War is a great savior and a crucible that tempers true heroes. There's no distinction between high and low on the battlefield. No matter what kind of rubbish you were when you came here… I'm done. Why don't you answer the next lines?"

"I don't have lines. I don't have lines here!"

Ha ha ha ha.

The whole set was laughing uncontrollably, as though a switch had been flipped, and then the laughter just wouldn't stop. Renly looked at Alexander with an innocent expression, while Alexander could barely stand up straight from laughing. Renly spread his hands in helplessness. The lines for this scene were entirely Alexander's one-man show, but Alexander had asked Renly to play the opposite role. As a result, he had forgotten the next part, leading to some errors. Renly couldn't help but feel helpless.

The crew caught Renly's "I'm innocent" look and laughed along. Paul, the director, attempted to regain control of the scene several times, but it was clear that it wasn't going to be easy.

The scene had been shot seventeen times. To be precise, it was fifteen times before the laughter finally subsided. Then, in another attempt, Alexander's lines didn't meet expectations. Finally, on the seventeenth try, they managed to finish the scene.

However, as soon as the "Ka" was heard, Alexander threw himself onto the bed next to him, pounding the bedboard in frustration, and shouted, "Renly, damn it..." Clearly, once again, Renly's eyes had nearly broken his performance, but fortunately, he managed to hold it together. Once filming wrapped, though, he finally let out his frustration.

Renly, the object of the curse, stayed calm. He scanned the crew, searching for the drama manager, Abby Mills. "Abby, what are we shooting next?"

Abby gave him an "okay" gesture, signaling that Renly shouldn't worry. "You don't have any lines in the next scene. Just cooperate with the performance." She then clapped her hands to gather the other main actors. "Okay, you're up."

In the next scene, Pharrell introduces Cage to Team J, while also introducing Team J to Cage—though this isn't a typical social situation. Pharrell discovers that Team J is playing poker and gambling, activities he despises, and so he punishes them, allowing the players to showcase their personalities.

The first part of the scene is straightforward—introduce the team members. The development of their characters will come later in the plot.

Team J consists of Kaya Scodelario as Nancy, Tony Wei as Kimmel, Paul Walker as Griff, Donald Glover as Ford, Rami Malek as Ske Na, and Will Poulter as Kunz.

In the original script, the team members had relatively vague roles, essentially serving as background characters. This approach works for a commercial film as long as the main protagonists, Cage and Rita, have enough depth to support the overall story. However, in this version, the crew aims to make adjustments, fine-tuning the characters.

Nancy takes on the role of the provocateur, constantly challenging Cage. As a woman in the military, she must be tough to earn her place. Kimmel brings the comedy and doesn't discriminate against overweight people, although it's undeniable that they often provide the comedic relief. Ford serves as the warm, friendly presence, a minority in the team who helps break stereotypes and bonds the team together.

Griff and Skinner are the main combatants. Griff is the first to help Cage on the battlefield but dies unexpectedly, leaving a profound impact on Cage. Skinner is brave and fearless, initially looking down on Cage, but later supports him in battle.

Kunz is the silent, ruthless character, always ready for action, but he eventually sacrifices himself heroically to save Cage.

The six members of Team J have relatively simple, straightforward roles that are fleshed out through their interactions with Cage. Their development serves to highlight Cage's character as well, offering a more dynamic and engaging narrative.

For an art film, this level of character exploration would be insufficient, but for a commercial film, it's a substantial improvement.

Before the scene officially starts, the director and the drama manager gather the actors to discuss the camera movements and shooting process. However, when it comes to character performance, both Paul and Abby are at a loss. They call over the screenwriters, Derek and Billy, but neither has much experience with character analysis. In the end, they ask Renly, the executive producer, to give a brief character breakdown to help the actors get a better grasp of their roles.

After the discussion, the actors head to their positions to prepare for the scene. Group scenes are challenging not only because of the scheduling but also due to the actors' cooperation. Even a small mistake can cause the whole scene to collapse, requiring a complete restart. This scene is especially important as it marks the second appearance of Team J, so everyone is a bit nervous.

"Start shooting!"

Farrell steps forward, followed by Cage. However, his footsteps halt when he reaches the compartment door and looks at the soldiers inside. Farrell enters and blows his whistle, signaling all the soldiers to stand. Ford and Kimmel on the right immediately stand up, covering their cards with the blanket; Nancy stuffs her poker cards under the pillow and jumps off the bed.

"Team!" Pharrell shouts, "This is Private Cage." He walks to the center of the room, turning to face Cage. "Private Cage, this is Team J."

Griff, standing nearby, eyes Cage with mild disdain and points out, "Isn't that an officer's uniform?"

Cage's face falls, and his expression darkens as he struggles to process his emotions. Skinner, stepping out from behind Cage, wipes sweat from his forehead with a towel after his workout. With a smirk, he quips, "He's showing us his handcuffs," his baby face twisting into an oddly indifferent and contemptuous expression, which is out of place but somehow amusing.

Cage looks down at his handcuffs, unsure how to explain himself. Pharrell, however, moves on, continuing his lecture. "I think everyone had a very fulfilling morning."

Ford hides his baseball glove, Griff secretly stashes a Playboy magazine, and Kimmel and Nancy pretend nothing is amiss. Kunz, in the back, silently places his machine gun on the bed.

Pharrell, ignoring these subtle actions, says meaningfully, "I'm very proud to see such a skilled group of soldiers. Tomorrow, you'll be the tip of the spear, the blade of the sword… Ass/butt thorn." His last line, meant to be serious, comes out oddly, and he spots Kimmel trying to hide his playing cards under the covers.

At this moment, Paul Walker, trying to keep his composure, notices Renly's expression just as the camera passes by him. Renly's expression is a grimace, his eyes slowly crossing in a way that is so slow and deliberate it's almost surreal. Paul is certain he's seeing things.

But that's not all.

Suddenly, Renly's head slumps to the side with a "click," reminiscent of a zombie's head snapping down. The unexpected movement startles Paul, who gasps loudly.

This outburst disrupts the scene. Paul quickly covers his mouth, realizing he's not alone in his reaction—Donald, standing on the other side, also bursts into laughter.

"Ka!" The director calls for a stop, right after Alexander's awkward "Ass/butt thorn" line. Everyone looks at Alexander, who spreads his hands with a confused expression. "What happened to your ass/stock?"

"Hahaha!" The laughter erupts, with even Will at the far end of the group struggling to keep a straight face.

Alexander, both angry and amused, turns to Paul and Donald, asking, "Seriously, guys, what's wrong? Is there something wrong with my ass?"

Paul waves his hands, pointing at Renly, who, after returning to his normal expression, smiles innocently. Renly raises his hands, showing the fake handcuffs. "I'm just standing here, doing my part for the role."

His sincerity is so convincing that no one can help but believe him.