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The scene to be shot was from the first episode of Season 3, in which various members of the Roy family—the dysfunctional media dynasty whose power struggles the show acidly chronicles—have just disembarked from the yacht on which, in the Season 2 finale, they bobbed in gilded captivity. Two planes had been positioned together on the tarmac: a Boeing , rented at a price of more than a hundred thousand dollars, and a smaller Falcon business jet.
Tracks had been laid for a dolly shot. The temperature was already climbing into the eighties, and a crew of more than two hundred people bustled about the runway, perspiring in high-visibility vests. The scene hinged on a surprise. In the final moments of the previous episode, Logan Roy, the volatile patriarch, was aboard the yacht, watching a live stream of Kendall Roy, one of his four ambitious offspring, at a press conference in New York, where he had been sent to publicly shoulder the consequences of a scandal in the cruise-ship division of Waystar Royco, the family conglomerate.
Instead of offering himself up as a sacrifice, however, Kendall had stuck the knife into his father. So why is there a second plane? The show, a word-of-mouth hit, is known for its faithful depiction of the bountiful resources and anesthetized habits of the very wealthy.
In general, the show makes affluence look vaguely diseased, and emphasizes the ways in which even the very rich cannot be entirely insulated from the drudgery of inconvenience. At the Florence terminal, the drawbacks of private plane travel—being ferried in cramped vans to wait on a scorching, gritty, noisy airport apron, as opposed to sharing a large, air-conditioned terminal with commercial passengers—were identical to the drawbacks of shooting high-end television in an inhospitable location.
