In the not-too-distant future, before he accidentally kills Stephen King (so far as his defense attorney claims), Tim becomes married to Zola, by the way. Call this fantasy if you'd like, but that's what happens. Tim is also the screenwriter for the movie that eventually pairs Zola and Joe again, years after Hollywood Minute. He pens a full-blown musical, which incredibly, neither actor has done before despite exhibiting ample talent in that regard, Zola in particular.
But this is well before that happens. As Zola dreams of working with Joe, Tim dreams of working with Zola, and the odd journey involves the making of Hollywood Minute, and dreaming that Joe and Zola will one day work together again. Got it?
Tim spends a lot of time bugging Ozzie, his reluctant best friend, about these things. Sometimes Ozzie has no idea why he humors Tim so much. Maybe because he's morbidly interested to know how it'll all end. Probably in hilarious tragedy, right? Except even though life tends to work that way, sometimes it doesn't. It's just that, life works in slow motion.
Joe's next big project after Albatross was Bounty, the movie where he began to realize what every actor knows: he's become a "type." He's the young actor who's supposed to make historical dramas relevant again. Except as Christian Fletcher, Joe is given very little direction, has no real sense of character other than to be solemn, and so his performance is listless, the movie flops, and his career instantly begins to flag. Does anyone at all notice Bounty? It's not even that it's a bad movie, per say. As usual, lively Robert Speed injects vitality into it, as he does in another of Joe's films, Impulse (more on that later), and maybe he's even the inspiration for Joe's best performance, the instantly legendary Savage Curtain (more on that later, too).
Fantasy status of Joe and Zola in relation to Bounty: Retrograde. No, actually Zola is a contrarian. Ah, just like Tim. She liked him in it. To be clear, Joe is the third member of a fantasy love triangle.