Canonically Sally is basically in a coma from trauma, which is the setup of Texas 2, where her uncle, played by Dennis Hopper, goes looking for the family.
A joke has Sally dead of a cocaine overdose by 1976 after doing cocaine with Jenny Gump in San Francisco.
Where did the truck driver go? What were Leatherface's next couple of days like? Did this movie end hitchhiking? What happened to Marilyn Burns? Whose death would you want? Were the kids marked for death?
Where did the truck driver go: he just runs off away from his truck, the next 15 minutes with him could be its own movie, and he probably runs to the gas station, the worst possible place.
Leatherface's next couple of days after losing his brother are imagined as tape study with Sean Payton: thicker windows, a second chainsaw, maybe going electric.
The impact on hitchhiking: according to Ed Neal, Texas State Troopers thanked him because there were no more hitchhikers, though statistically it lasted a couple more years.
Read verbatim from the internet: on August 5th, 2014, at 65, Marilyn Burns was found dead by her brother at her home in Houston with no cause of death specified; the question of what happened is handed to Concepcion and Tyler for a deep dive.
Whose death would you want: Kirk's, because he does not see it coming and is dead before the sawing; the wheelchair guy's chainsaw death would be tough.
The least wanted is Pam's: a slow death on the meat hook with a gaping hole in her back, watching somebody else get killed and knowing she is next.
Earlier, one participant's unanswerable question is whether this movie ended hitchhiking.
Were the kids cursed or marked for death by the burning photo and the blood on the van and pushed toward the house, or was it random; one sees some voodoo in the burned picture, another finds it scarier if random.
Definitely not the mask or the clothes; the original chainsaw would be amazing at auction, and the hitchhiker's little pouch with the pictures, the We Slaughter Barbecue sign and the Polaroid photo are also wanted.
Last House on the Left is equally disturbing, not a good night but an interesting snapshot in movie history; The Help is offered as a joke before Halloween, chosen to compare how much it drew from this film; Deliverance, a road trip gone wrong, is the third pick.
Hooper is proposed and affirmed because he had the most career afterwards, a Hollywood hotshot for a while on the Universal lot with Spielberg, directing Poltergeist.
The ranking covers only comedies, excluding horror and science-fiction versions such as Face/Off, Freaky (called actually really liked), Nine Lives with Kevin Spacey trapped in a cat, and The Cobbler with Adam Sandler. — Bill Simmons
Asked for thoughts, the reply places it in the latter days of Meg Ryan's arc, a film that felt like a favor but was enjoyable; it made the playoffs but is not a round-two movie. — Juliet Litman
The anecdote is presented under the Steven Seagal award name: the hosts say Ruffalo almost left the project during Thriller rehearsals because he hated the rehearsal process and choreography, and had to be talked into staying. — Bill Simmons
It is called funny because he came up through Broadway plays; he is joked to be a serious-plays guy, not a musicals guy, and his Thriller is called a mail-in that makes the scene more fun. — Bill Simmons
Ebert was not impressed: two stars, saying Jennifer Garner is a charmer but the victim of a charmless treatment. — Juliet Litman
Ebert could not buy the magazine office, professionals not noticing a 13-year-old mind, Jenna's spectacularly bad redesign being accepted, and emotional and sexual puzzles; he said it should have been a musical. His points are called decent. — Bill Simmons
He liked Garner, which is credited for getting two stars out of him. — Bill Simmons
Wesley Morris, then at the Boston Globe, called it a contagious but dopey first star vehicle for TV's Jennifer Garner, tailor-made for women who lust for dream houses, dream jobs and dream hubbies; a host guesses that if asked now he would call it one of his favorites of the last 25 years. — Bill Simmons
Dopey can still be fun; Ebert's logic points are correct but part of the genre, and the office looks like the Working Girl set. — Bill Simmons
The big party where the Six Chicks show up is a first pick; school cliques like an "A squad" at Bronx High School of Science and college "BPs" are recalled. — Bill Simmons
Jenna being mean to Beaver hurts, and seven minutes in heaven is joked to be banned in 50 states in 2026. — Juliet Litman
Tom Tom becoming Judy Greer is called one of the best teen-to-adult castings; Greer reportedly disagrees, and young Jenna reads as Hilary Swank to one participant, which is disputed. — Bill Simmons
Jenna waking up at 30 (cell phone, checking her body, the hockey player, "I'm Jenna Rink, big-time magazine editor") is great, a mission statement for Garner recalling Hanks in Big. — Bill Simmons
Visiting Matt requires suspension of disbelief since he doesn't react as if she were on drugs. — Bill Simmons
The dress-up montage uses Whitney Houston; Lips Like Sugar by Echo and the Bunnymen was reportedly planned but could not be licensed. — Bill Simmons
Jenna saving the party with Thriller is an iconic rom-com scene; the green modified Versace dress became a yearly Halloween costume, though her dancing starts stiff and Ruffalo drags his foot while the Gollum actor bangs it out. — Bill Simmons
Asked by name whether Michael Jackson's baggage complicates the scene now, the reply is no; the surprise is that everyone at a 2004 party knew the whole dance. — Juliet Litman
Wesley Morris wrote that watching the cast dance like ghouls made him cringe: "the amateurness isn't cute, it's scary." — Bill Simmons
It recalls bar mitzvahs and the Cha-Cha Slide; Arlene the secretary joining is a favorite moment. — Bill Simmons
The Liz Phair montage with Razzles and the Brooklyn Bridge, and Love Is a Battlefield with the nice Six Chicks, are included; one more scene of Jenna advising the 13-year-olds is wanted. — Bill Simmons
Jenna's class-of-2004 pitch is rewatchable as probably the worst publishing idea of all time, while Lucy's heroin-chic idea sounds pretty good. — Bill Simmons
Jenna and Lucy having it out, with Judy Greer lights out, is the last pick; the wedding scene is excluded and Vienna is saved for later. — Bill Simmons
The other pick is the first scene waking up in the apartment: the umbrella gag, the physical comedy, and the slip with the jacket as the defining look. — Bill Simmons
Both agree the first 25 minutes, from the closet until she gets to work, are excellent. — Bill Simmons
Surprise at a cell phone ring; Courteney Cox magazine cover; Rudy Giuliani office photo; flip phone; Liz Phair's Why Can't I; Garner's MTV Movie Awards and Teen Choice nominations
An ASR-unclear item about the phone ('so many m's on the phone ... he wants a decision now') and being surprised by a cell phone ring are offered; the slip dress is called a little 1997. — Bill Simmons
Jenna's office wall has a photo with Rudy Giuliani, from when that was just the 9/11 mayor, not a joke. — Juliet Litman
The flip phone, with colored screens arriving around 2002-2003, and the twice-used Liz Phair song are picks. — Juliet Litman
Garner's performance earning MTV Movie Awards and Teen Choice Awards nominations, possible only in a three-year vortex, is offered as a winner, but the same speaker then defers: 'I think you're right with Liz Phair.' — Bill Simmons
Lucy is Jenna's Darth Vader, pulling her to the Six Chicks from the 13th birthday party. — Bill Simmons
A tangent asks whether Jenna Rink would have had a bat mitzvah and is Jewish, with Kathy Baker recalled from Picket Fences and Street Smart, and a Jewish-themed pilot with Adam Friedland still only in text messages. — Juliet Litman
Jennifer Garner's hairstyles, including chopsticks in the hair, track the character's evolution and add a feminine touch. — Juliet Litman
J.Lo magazine covers; the Six Chicks; Kathy Baker as the mom; wardrobe color shifts; Billy Joel; Ruffalo's wardrobe; luxury references; New York exteriors; the pink slip dress; the 61 Fifth Avenue apartment
Obviously and unquestionably the J.Lo magazine covers in a Garner movie, right as J.Lo is about to split from Ben Affleck, whom Garner is about to date. — Bill Simmons
Near the end Jenna takes down the J.Lo Sparkle covers; the hosts say that five months later Garner and Affleck debuted at Fenway for Game 1 of the World Series, which the speaker says they attended. — Bill Simmons
The hosts say the J.Lo relationship didn't go over with the fan base because she was an unabashed Yankees fan from the Bronx; showing up at the 2004 World Series with Garner, who had a 100 percent approval rating, is a Nick Hornby moment. — Bill Simmons
The Six Chicks as a gimmick: a group of mean girls in a rom-com has a 100 percent success rate, and the name works. — Bill Simmons
Asked about the mechanics, the answer is that row position reflects closeness to the center of power, so the one on the periphery got pushed out. — Juliet Litman
Mean Girls and the Plastics arrived a week later, which is said to have hurt this movie. — Juliet Litman
Kathy Baker as the mom is great casting that looks like mother and daughter, with a good line about not regretting her mistakes. — Bill Simmons
Ariana Grande's thank u, next video homages this movie, with the dream house. — Bill Simmons
Wardrobe shifts to warmer colors as Jenna softens and darker as Lucy turns ruthless; Garner has reportedly worked with the costume designer, Susie, about ten times since. — Bill Simmons
The green Thriller dress reportedly ended up in a costume warehouse and was spotted on a Sex and the City extra, looking different. — Bill Simmons
Billy Joel from the mid-2000s on has aged incredibly, and the 1987 mixtapes are well done. — Bill Simmons
Matt's girlfriend, an attractive anchorwoman moving to Chicago, introduces the term commuter couple and belittles his vitamin-bottle photos. — Bill Simmons
Ruffalo's wardrobe (Adidas, CBGB shirt, well-fitted pants) and his pendant light are still in style. — Bill Simmons
Luxury references like St. Barts and the San Ysidro Ranch remain aspirational. — Bill Simmons
New York locations such as 444 Madison and 61 Fifth avoid anything gimmicky; the movie shows a sunny, crime-free New York without acknowledging 9/11. — Juliet Litman
The pink slip dress is something people would wear now. — Juliet Litman
The apartment at 61 Fifth, 7C, in Greenwich Village would rent for about $55,000 a month now; an Alec Baldwin and Hilaria sighting nearby follows. — Juliet Litman
