Mass media is imagined stopping at early cable, radio and scarce personal video cameras; the speaker accepts a record-store career in that world and recalls the music of 1984–85.
Everybody probably thinks their childhood moment of games or cable TV was perfect.
Keith Gordon is proposed as having extreme performance variation: praised here and in Dressed to Kill, criticized in Back to School, with a mixed reconsideration of Christine and a positive Jaws 2 mention.
Gordon is praised as a director, particularly A Midnight Clear; The Chocolate War credit is uncertain, and his acting persona is compared to a darker off-brand Matthew Broderick.
Craig’s addressed contribution questions immediate romance with the first man she meets as weakening empowerment and preventing an exploration of fame’s loneliness.
A revision gives Billie Jean prior history with Hubie and a triangle with Lloyd; his souvenir-store inheritance is mocked.
Helen Slater prompts debate among this film, Supergirl and The Secret of My Success, with box-office failures weighed against the Michael J. Fox opportunity.
City Slickers is counteroffered; expectations for Slater are compared to Elizabeth Shoe and Kelly Preston, with a hypothetical Working Girl role.
Honda Elite scooters are endorsed and Lou Reed’s 1985 advertisement is recalled.
Billie Jean’s self-haircut is called unmatched and immediately iconic, leading to COVID haircut memories.
Peter Coyote is weighed against Ken Burns narration and E.T.; E.T. is preferred.
Billie Jeans prompt comparison of the film, song and tennis player, with uncertainty about the filmmakers’ reaction to the shared name and a Billy the Kid interpretation.
Fair being fair and short-haired women are proposed; specific haircut memories remain uncertain.
Sturby Beach and Corpus Christi movies are endorsed; Yeardley Smith’s apex is The Simpsons, Barry Tubb’s Top Gun, and Keith Gordon’s Christine; Joan of Arc has other peaks.
Too many detectives pursue a shoulder shooting, and Hubie repeatedly interferes without an obstruction charge.
The children should be caught quickly because they stay in Corpus Christi and revisit the same places.
An expensive unlocked scooter in a trailer park is questioned, though the purchase itself is supported.
Breaking into the district attorney’s house by chance, his absence and the private shopper stretch belief.
Remaining safely at Lloyd’s house or borrowing gas money seems easier than the hostage plan, with returning the sisters home offered as an explanation.
Rally sharpshooters apparently obeying the district attorney and the final Binks hostage plan are called absurd.
Billie Jean leaving without charges is questioned; Piat’s wrongdoing and falsely attributed simultaneous robberies are possible explanations.
Cutting her hair after recording the tape would better protect anonymity; driving a plated station wagon among repeated destinations strains the chase.
A Corpus Christi prestige version would make Piat a major drug dealer behind a shop front and put Binks into a fentanyl storyline; Billie Jean is proposed as its title.
A sequel would turn Lloyd into a Jack Horner-style VHS pornography producer.
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