Initial diner meeting and Fiorentino back rub; the interrupted story’s missing payoff is compared with Halloween’s graveyard anecdote.
Second diner conversation, token-booth refusal and the dead-body sign; discovering Marcy has no burns adds unusually dark regret.
Terminal Bar, Garr, Club Berlin’s threatened haircut and O’Hara disrupting a remembered phone number.
The accidental van drop-off and circular return to work are defended as ideal nightmare resolution, despite production uncertainty.
Both final choices favor the second diner conversation and Surrender Dorothy story.

The most "year the movie came out" thing

Eighties Soho; Geffen Company; written phone numbers; Bronson Pinchot; $6.50 taxi fare

In the discussion (3)

Approx. transcript time · 00:49:35Read transcript

Vanished eighties Soho before its corporate retail transformation.
The Geffen Company credit; writing down phone numbers; young Bronson Pinchot.
A $6.50 taxi ride across Manhattan.

Is There a Better Title for This Movie?

After Hours; One Night in Soho

In the discussion (1)

Approx. transcript time · 00:52:57Read transcript

After Hours is defended as perfect; One Night in Soho also appeals. The relation of the title Lies to earlier source material remains uncertain.

What’s Aged the Best?

Arquette; future Home Alone parents; city eccentrics; mob; phone numbers; cab ride; witnessed shooting; Surrender Dorothy; Cheech and Chong

In the discussion (9)

Approx. transcript time · 00:55:30Read transcript

Rosanna Arquette in 1985.
O’Hara and Heard appearing together foreshadow their Home Alone parents, again searching for someone.
The cab driver, subway worker and two diner workers embody distinctive New York characters.
The candle-carrying vigilante mob is enjoyable.
Using plausible non-555 phone numbers.
The frantic cab ride captures a remembered shift toward reckless drivers, supported by a recounted Fran Lebowitz Blu-ray conversation.
Witnessing a shooting and immediately fearing blame creates a funny unexplained nightmare moment.
The Surrender Dorothy story remains hilarious.
Cheech and Chong bring their own comic world inside the Scorsese movie.

The Great Shot Gordo Award for Most Cinematic Shot

Falling keys; bouncing taxi; Marcy’s wink; descending crane; exiting gates

In the discussion (3)

Approx. transcript time · 01:00:16Read transcript

Keys dropping toward the camera; their danger may foreshadow Paul’s peril, though the shot is also admired as virtuosity.
The bouncing taxi with flamenco music; the favorite push-in on Marcy’s wink; a late crane shot descending toward Paul outdoors.
Paul exiting the gates.

The Butch’s Girlfriend Award for the Weakest Link in the Film

Paul could walk home or try another subway entrance

In the discussion (1)

Approx. transcript time · 01:04:52Read transcript

Paul could walk home, try another subway booth or jump a turnstile; rain and danger do not outweigh an angry mob.

What’s Aged the Worst?

Dunne’s unibrow; lost old Soho; canceled Last Temptation; Paul Hackett’s Jets association

In the discussion (2)

Approx. transcript time · 01:05:51Read transcript

Dunne’s unibrow; the loss of strange old Soho.
Canceling Last Temptation of Christ; Paul Hackett’s name evokes the Jets’ disappointing father-and-son offensive coordinators.

The Ruffalo / Hanna / Rubinek / Partridge Overacting Award

Griffin Dunne

In the discussion (1)

Approx. transcript time · 01:07:36Read transcript

Dunne’s sudden manic anger gains agreement; Will Patton is offered but countered as almost underacting.

The Stephen A. Smith Hottest Take Award

Top-three Scorsese; his eighties as best decade; Fiorentino missing from The Sopranos

In the discussion (3)

Approx. transcript time · 01:08:07Read transcript

After Hours is top-three Scorsese alongside Goodfellas and The King of Comedy.
Scorsese’s eighties may surpass his nineties and seventies; decade filmographies are compared, and the eighties argument receives agreement.
Fiorentino should have appeared on The Sopranos; several hypothetical roles are offered, followed by uncertainty about why her career stopped.

The Joey Pants “That Guy” Award

Dick Miller; Victor Argo; Larry Block

In the discussion (1)

Approx. transcript time · 01:19:17Read transcript

Dunne and Patton are ruled too recognizable; Dick Miller, Victor Argo and taxi driver Larry Block are the choices.

The Dion Waiters Award for Best Heat Check Performance

Linda Fiorentino

In the discussion (1)

Approx. transcript time · 01:20:39Read transcript

Fiorentino wins with agreement over a deep field including Garr, O’Hara, Patton, Bloom, Cheech and Chong, and Heard.

Cruise or Hanks?

Hanks

In the discussion (1)

Approx. transcript time · 01:21:35Read transcript

Hanks wins immediately.

Apex Mountain

Griffin Dunne; Rosanna Arquette in1985; plaster

In the discussion (6)

Approx. transcript time · 01:29:09Read transcript

Dunne and Arquette’s 1985 receive emphatic yeses.
Fiorentino’s later Last Seduction and Men in Black compete as peaks; television-first release reportedly barred her Oscar eligibility for the former.
Henry Miller is placed nearer Tropic of Cancer; Heard nearer Home Alone or Cutter’s Way; Cheech and Chong nearer Up in Smoke.
After Hours is initially the best late-night NYC movie, then The Warriors takes first for geographical range, with After Hours close behind.
Unranked additional late-night NYC candidates include Taxi Driver, 25th Hour, Saturday Night Fever, Cruising, Ghostbusters, American Psycho, Good Time, Uncut Gems and Bright Lights Big City; Go is discussed as an influence inheritor rather than a NYC candidate.
Plaster receives a yes. Garr’s Tootsie era is preferred for her; Soho alternatives are the last fifteen years or the earlier period when Basquiat was painting masterpieces.