Kenny’s effortless move from comic book to drums is appreciated; the more-Black-people answer is no despite criticism of Wendell’s treatment. — Bill Simmons
Research covers Berenger’s keyboard practice, Laurance learning bass, enthusiastic concert extras, filming locations, Schneider’s German music career and Joey Balin as the lounge singer; more of Joanne’s late unraveling is desired. — Bill Simmons
Berenger’s claim that a scene showed the band mocking the Beatles on Ed Sullivan is contradicted by Davidson, who says it was never shot; the disagreement prompts jokes about unreliable production memories.
Paré is declared at Apex and praised for unusually convincing lip-syncing and stage movement; Rami Malek is compared, while Chalamet and Kilmer are distinguished as actual singers. — Bill Simmons
Apex is affirmed for Paré and Beaver Brown, rejected for Berenger and Barkin, and directed toward Laurance’s television role; the Jersey Shore film question is uncertain and compared with the TV show. — Van Lathan
Rimbaud and 1957 Chevrolets are rejected for Apex; Schneider’s German career is considered a stronger peak. — Bill Simmons
Nitpicks question the limited attention to Eddie’s disappearance without a body; local news reach and the band’s uncertain fame are counterarguments. — Bill Simmons
The polished, multi-camera color footage of the early-1960s college concert is considered implausible. — Van Lathan
Season in Hell sounds too conventional to justify its supposedly shocking avant-garde reputation.
A complaint that Frank learns piano impossibly fast is corrected: he already plays and Eddie teaches a rock approach rather than the instrument itself.
The band members are considered unlikely friends outside music, with Sal and Doc the possible exception. — Chris Ryan
A hip-hop retelling is proposed, while the difficulty of writing genuinely appealing fictional-band songs is emphasized. — Chris Ryan
Remake ideas include an older band rediscovered through TikTok, a presumed-dead rapper, a female singer and a found-tapes viral campaign resembling The Blair Witch Project.
On the Dark Side is chosen for an original-song Oscar; the actual nominees are discussed and a second Yentl nomination is proposed for displacement, with a Fame digression.