{"id":1167995,"date":"2026-02-12T04:04:07","date_gmt":"2026-02-12T04:04:07","guid":{"rendered":"https:\/\/www.polygon.com\/?p=552379"},"modified":"2026-02-12T04:04:07","modified_gmt":"2026-02-12T04:04:07","slug":"how-the-righteous-gemstones-brought-sci-fi-to-church-with-the-magic-of-jetpacks","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/how-the-righteous-gemstones-brought-sci-fi-to-church-with-the-magic-of-jetpacks\/","title":{"rendered":"How the Righteous Gemstones brought sci-fi to church with the magic of jetpacks"},"content":{"rendered":"
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As it barrels through its characteristically outlandish fourth and final season, Danny McBride\u2019s HBO comedy The Righteous Gemstones <\/em>has cemented a reputation for itself. Yes, it\u2019s side-splittingly funny. Yes, its \u201cfailchildren of a crumbling empire<\/a>\u201d narrative is surprisingly relevant. Yes, there is a core of sincerity<\/a> at the center of the madness. But Gemstones<\/em>\u2019 legacy wouldn\u2019t be complete without talking about the bold ways McBride and co. spend the budget on ridiculous props<\/a> and movie-level set pieces<\/a>. It\u2019s the best-looking comedy on television because of the care put into the details of the production, and because you see every single dollar on the screen.<\/p>\n

Season 4 has continued that tradition with aplomb, opening with a Civil War flashback episode that included a long, chaotic battle sequence edited to look like one extended take. It\u2019s one of the biggest action pieces on TV this year so far, and involved 100 background actors, 20 reenactors, 13 stunt performers, and 12 horseback wranglers. (McBride is happy to hold up the HBO \u201cbig battle\u201d mantle until Game of Thrones<\/em> prequel series A Knight of Seven Kingdoms<\/em>: The Hedge Knight<\/em><\/a> premieres later this year.)<\/p>\n

But the second episode upped the ante even more, as the core Gemstones (McBride, Edi Patterson, and Adam DeVine) were strapped to jetpacks and sent flying around the cavernous North Charleston Coliseum & Performing Arts Center. The scene is one of the best examples yet of the Gemstone childrens\u2019 ostentatious excess \u2014 they are ostensibly holding an event to honor the legacy of their late mother, but instead, of course, make it all about them. A lesser show would have green screened the whole thing, but not Gemstones<\/em>: While stunt performers were used for the most dangerous parts, all three cast members flew as high as 50 feet in the coliseum to capture the high-wire act.<\/p>\n

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It was a big challenge for supervising stunt coordinator Cory DeMeyers (Rebel Ridge<\/em>) and his stunt team. While he had never worked on a jetpack sequence before, his wirework experience as a stuntman and time spent shooting a similar (but ultimately reshot) sequence in Netflix\u2019s Project Power <\/em>made him confident in what to do. Along with director Jody Hill and VFX supervisor Bruce Branit, the first step: sitting down with a bunch of G.I. Joes and choreographed the sequence with the toy soldiers.\u00a0<\/p>\n

\u201cIt [helped us] come up with the concept of like, OK, how are we going to do this?\u201d DeMeyers told Polygon. \u201cWhat is the actual performance? Are they rising together? Opposite, spinning, changing position?\u201d<\/p>\n

After briefly considering using real jetpacks (\u201cmore trouble than it was worth\u201d) and green screens (\u201cnot the vibe\u201d), the team settled on a classic, but taxing practical stunt approach: 13 different wire rigs, two high-speed winches from a team that works with Cirque du Soleil, old school hand-operated stunt lines, and over 7,000 feet of tech line weaved around the 100-foot-tall coliseum. In all, DeMeyers and his team had three weeks of rigging, testing, and rehearsing \u2014 a blessing in the fast-paced world of television shooting.<\/p>\n

\u201cI do not know how I got our [Unit Production Manager] and our line producer to agree to that,\u201d DeMeyers says. \u201cIn television, it never really feels like you have enough time. But [the Gemstones <\/em>team] are trying to give you as much time as they can while still allowing every other department to put as much on screen as possible. They’re very much about making sure everybody has what they need to be successful.\u201d<\/p>\n

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A post shared by Cory DeMeyers (@corydemeyers)<\/a><\/p>\n<\/div>\n<\/blockquote>\n<\/div>\n<\/figure>\n

The Civil War battle from the first episode helped DeMeyers execute within the time he had \u2014 the two sequences were shot \u201cback-to-back, with a couple of days in between.\u201d That meant he could bring the rigging team to Charleston early to help with some of that sequence, before sending them to the coliseum to get started scouting and wiring the place. But the design of the coliseum itself \u2014 and the necessities for filming an evangelical extravaganza there \u2014 posed its own problems.<\/p>\n

\u201cThey\u2019re rigging for a rock-and-roll\/television show with their lighting setups,\u201d DeMeyers says. \u201cSo now we have 7,000 feet of line that we have to put up in the air. We have to be able to fly our actors 50 feet up at times and our stunt people 50 feet up at times, but we also have to fly them like 75, 80 feet across the entire coliseum. And so how do you do that when you have 150 lights on grids up in the air?\u201d<\/p>\n

The answer: color-coded rigs (to keep all 13 of them straight), and some old-fashioned theater tricks. Because the majority of the jetpack sequence has Danny McBride\u2019s character flying higher than the other two in the middle, with Adam Devine and Edi Patterson level on either side of him, the team set up one system for both Devine and Patterson, and a different one for McBride. But the team only had two winches, instead of four. With two, you can control flight in two dimensions, while four allows you to move in three. Since the characters were flying both vertically and horizontally, that\u2019s where the theater techniques came in: Counterweights and strong arms.<\/p>\n

\u201cWe put the winches on one axis, and then we operated hand lines with counterweights the same way they used to do it in stage productions,\u201d he explains. \u201cSo up and down might be on counterweights and a stuntman on a line helping you travel upwards smoothly on this counterbalance system. But forward would be programmed speed, and timing would be on the high speed winch, or vice versa.\u201d<\/p>\n

An unexpected wrinkle for DeMeyers and the stunt team was the Gemstones\u2019 ostentatious costuming. There are a few different outfits they wear during the flying sequences, including extravagant angel wings and astronaut outfits. The astronaut suits were easy, but the wings were a \u201cpain in the butt.\u201d In rehearsals, the team used makeshift wings made out of PVC pipes and foam to recreate the right size, but they realized later the weight was off and had to make late adjustments to account for the approximate 50 pounds of weight from the jetpack prop (made by production designer Richard Wright\u2019s team, complete with lights and fans inside) and the costumes.<\/p>\n

\"\"<\/p>\n

While stunt performers were used for the crashes, McBride, Devine, and Patterson (the only one of the trio without prior harness-flying experience in her career) did \u201cmost of our flying,\u201d DeMeyers says, including moments where they send the actors flying towards walls to get their genuine reactions (stopping them just before impact, of course, with stunt performers swapping in for that part). That includes the final shot of the episode, where McBride flies \u201c50 to 75 feet up in the air\u201d towards a hanging disco ball \u2014 he did the flying himself.<\/p>\n

\u201cAll three of them \u2014 Danny, Adam, and Edi \u2014 were just champions in that sequence,\u201d he says. \u201cThey were nervous for sure, but we brought them in for a rehearsal day beforehand and gave them an opportunity to fly a little bit.<\/p>\n

\u201cYou can make people as comfortable as possible in a harness, and a day might be all right, but when you’re in that harness testing for an entire day and then shooting for two or three days [\u2026] And they weren’t just flying in harnesses for three, four days. They were also carrying an additional 50 pounds while doing it. And that doesn’t necessarily feel the best, but it looked amazing and we accomplished everything we set out to accomplish and it was safe, and I think it looks good.\u201d<\/p>\n

One of the most important elements for the team to get right was the jetpacks crashing during the Gemstones\u2019 rehearsals, because it was a unique opportunity to recreate where real jetpack technology is at right now. The programmable winches use a node-based program (\u201clike you were editing a slow motion timeline\u201d) that allowed the team to be exact with the way jetpacks can sputter and sway.<\/p>\n

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\u201cWe\u2019ve all seen jetpacks now,\u201d he says. \u201cThey really exist in our world, and if you watch \u2018em, they don\u2019t necessarily fly the way that you had imagined them when you were a kid.\u201d<\/p>\n

During the jetpack sequence, McBride\u2019s character bowls into a group of dancers, hitting one directly in the back with his helmet. The performer hit, MaryGrace Colburn, was a first-time stunt performer \u2014 a former dancer who had worked on the show as a PA and had talked to DeMeyers about getting into stunts. (It\u2019s not uncommon on the show: DeMeyers says the crew are encouraged to try out other jobs they\u2019re interested in.) This was her first real opportunity, and she did so well that it put a serious scare into her coordinator.<\/p>\n

\u201cShe took the hardest hit out of all the girls, and it was her first job ever,\u201d he beams. \u201cFrom the audience, I was standing back watching the whole thing, and she sold it so well, I thought she bounced her face off the ground. I was like, Oh my God, we killed MG. She broke her nose. This is her first job. She’s never going to want to do stunts again. <\/em>And one of our other girls starts to crawl over to her and check on her. And their acting was so good, because as soon as they called cut, both girls jumped up with the biggest smiles on their faces and high fived each other and were stoked.\u201d<\/p>\n

That spirit of collaboration and giving everyone their time to shine is a big part of what makes Gemstones <\/em>special, especially because it runs so counter to the instincts of the characters within the show. And as episode 2\u2019s jetpack sequence showed, when you work like that, the sky\u2019s the limit \u2014 or maybe, a disco ball is.<\/p>\n

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New episodes of <\/em>The Righteous Gemstones air Sunday nights on HBO.<\/em><\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

As it barrels through its characteristically outlandish fourth and final season, Danny McBride\u2019s HBO comedy The Righteous Gemstones has cemented a reputation for itself. Yes, it\u2019s side-splittingly funny. Yes, its \u201cfailchildren of a crumbling empire\u201d narrative is surprisingly relevant. Yes, there is a core of sincerity at the center of the madness. But Gemstones\u2019 legacy wouldn\u2019t be complete without talking about the bold ways McBride and co. spend the budget on ridiculous props and movie-level set pieces. It\u2019s the best-looking comedy on television because of the care put into the details of the production, and because you see every single dollar on the screen. Season 4 has continued that tradition with aplomb, opening with a Civil War flashback episode that included a long, chaotic battle…<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":1167996,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1167995","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"\nHow the Righteous Gemstones brought sci-fi to church with the magic of jetpacks | Arcader News<\/title>\n<meta name=\"description\" content=\"As it barrels through its characteristically outlandish fourth and final season, Danny McBride\u2019s HBO comedy The Righteous Gemstones has cemented a\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arcader.org\/news\/how-the-righteous-gemstones-brought-sci-fi-to-church-with-the-magic-of-jetpacks\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta 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