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The Rewatchables · March 25, 2025

Blue Chips

host Bill Simmons host Chris Ryan host Van Lathan

What aged best: Authentic basketball
Casting what-if: Friedkin wanted Nolte
Weakest link: Point-shaving subplot

All 42 categories

Roger Ebert
Dion Waiters Award Louis Gossett Jr.
Scorsese or Spielberg Scorsese

The Stephen A. Smith Hottest Take Award · 1:23:37

Make a sequel

Bill Simmons: Blue Chips 2 should have happened, either continuing Butch and Neon in the late 1990s or making Butch a coach in the late 2000s.

Van Lathan: A present-day sequel with the former players hosting a podcast is proposed, with Tommy Alter imagined as Tony.

The Coach Finstock Award for Best Life Lesson · 1:56:24

Cheat without shame

Bill Simmons: The cynical lessons are to cheat without shame, or simply cheat and win because nobody cares.

The film

Blue Chips (1994)

Directed by William Friedkin · Sports

108 minutes

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Cast

Selected cast credits · Film reference

Nick Nolte Pete Bell

Ed O'Neill Ed

Mary McDonnell Jenny

J.T. Walsh Happy

Alfre Woodard Lavada McRae

Louis Gossett Jr Father Dawkins

Shaquille O'Neal Neon

Larry Bird Himself

Bob Cousy Vic

Anfernee (Penny) Hardaway Butch

Everything from the episode

In the order the hosts got to it. Open a row for the discussion.

13:24

Half-Assed Internet Research

Real basketball cast and games; Friedkin and Nolte preparation; production history

In the discussion (12)

Approx. transcript time · 00:13:24Read transcript

Friedkin’s basketball enthusiasm reportedly included considering a one-third Celtics purchase and consulting Cousy, explaining the latter’s appearance.
The production reportedly used real players, coaches and games before six thousand spectators, but authentic play alone does not solve basketball’s cinematic difficulty. — Van Lathan
Anthony C. Hall is described as both actor and player; many real coaches and college stars supplied the basketball cast.
A claimed Kevin Garnett appearance cannot be located and his youth raises doubt; Geert Hammink is recognized. — Bill Simmons
Shelton reportedly developed the script in 1981, with studio delays before White Men Can’t Jump revived interest; Lansing brought in Friedkin while Shelton made Cobb. — Bill Simmons
Basketball was reportedly filmed at Frankfort High using full competitive games plus set plays; Knight repeatedly disrupted planned endings by coaching to win. — Bill Simmons
A $35 million budget and $26 million gross are reported; later home-video value and enduring cultural references are offered as qualifications. — Bill Simmons
Shaq’s reported worst-new-star Razzie nomination is rejected as unfair because his performance is good. — Bill Simmons
Friedkin’s reported claim that sports films cannot reproduce a real game’s unpredictable suspense is dismissed as sour grapes, with successful sports movies offered as the objection. — Bill Simmons
Shaq reportedly wore very thin soles to reduce height differences; framing him farther from Nolte and Mary McDonnell is discussed as another solution. — Chris Ryan
Shaq’s last college game is recalled as an Indiana loss to the team featuring Knight and the actor playing Ricky; Indiana’s subsequent Final Four loss to Duke is also recalled. — Bill Simmons
Butch’s Chicago gym is identified as Mount Carmel High School, and the crew including Shaq reportedly stayed at a Lafayette Howard Johnson’s for two weeks. — Van Lathan

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17:00

Picking Nits

College calendar; recruiting timeline; reporter surveillance; fictional schools; late-night ending

In the discussion (17)

Approx. transcript time · 00:17:00Read transcript

The deserted walkable neighborhood beside a giant arena raises doubts about its Los Angeles geography; UCLA and USC associations conflict. — Van Lathan
Indiana’s authentic uniforms and Knight’s participation seem surprising in such a bleak portrait when other teams are fictional. — Van Lathan
Bird casually shooting and retrieving rebounds after multiple back surgeries is doubted. — Van Lathan
Algiers is described as ordinary West Bank New Orleans, not the remote swamp journey implied by the recruiting trip.
The coaches barely remember a game they won last year, unlike Mind the Game’s detailed recollections of individual plays. — Van Lathan
A two-title coach facing dismissal after limited losing is questioned, with multiple disappointing Tony-era seasons offered as a qualification. — Bill Simmons
Western U apparently has no conference tournament; the treatment of an NIT season as successful also feels wrong for this program.
Neon’s tutoring, SAT results and immediate class attendance have an unclear and seemingly compressed calendar, despite a defense that he could already pass the exam. — Bill Simmons
The recruiting calendar is unclear: elite players would mostly be committed already, and Butch’s high school is still playing after Western’s season ends; AAU is offered as a possible explanation. — Chris Ryan
The Dolphins nickname feels wrong for a Los Angeles school never shown near the beach, though a coastal-location defense is offered and Pepperdine’s Waves are recalled.
Jacksonville University and the College of Mount St. Vincent are supplied as real examples using a dolphin mascot, tempering the naming complaint.
Ed O’Neill’s reporter having photographs of every recruiting violation and sophisticated surveillance-like technology seems implausible for a local reporter in 1994. — Bill Simmons
A local reporter devoted to exposing the beloved program would face intense hostility; a national reporter might make more sense, though the character is understood as a major Los Angeles journalist. — Bill Simmons
Freddie calling under-the-table recruitment his personal hell seems melodramatic, followed by an imagined failed Oklahoma State coaching tenure. — Chris Ryan
Indiana and Bobby Knight appear with real identities while other schools and the NCAA are fictionalized; universal real names would improve the film. Knight’s influence is only speculated as an explanation. — Bill Simmons
The ending’s children are playing outside late at night and fail to recognize supposedly famous Pete; a stranger interrupting their game would be unwelcome. — Bill Simmons
The late-night ending sparks jokes about social problems and how a disruptive stranger might be received today.

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29:47

Probably Unanswerable Questions

Jalen Rose’s absence; Ricky’s father’s church remarks

In the discussion (3)

Approx. transcript time · 00:29:47Read transcript

The absence of the Fab Five, especially Jalen Rose, is questioned; Rose is proposed as an actor who could have played Tony. — Bill Simmons
Ricky’s father’s church comments are examined for racial undertones without a confident conclusion; Beaver’s performance is praised.
Why Jalen Rose was absent is the remaining unanswered question. — Van Lathan

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32:41

Roger Ebert's review

In the discussion (1)

Approx. transcript time · 00:32:41Read transcript

Ebert’s stated score is three stars; the quoted review praises accurate tone and a cynical morality play about high-pressure college sports. No denominator is stated. — Van Lathan

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36:14

Perfect Age to See This Movie

12–16 in 1994; older nostalgia audience today

In the discussion (1)

Approx. transcript time · 00:36:14Read transcript

Ideal first-viewing ages range from twelve or thirteen through fourteen or fifteen to sixteen in 1994; today’s nostalgia audience might instead be middle-aged. — Bill Simmons

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37:39

Most Rewatchable Scene

Press conference; point-shaving review; Cousy free throws

In the discussion (23)

Approx. transcript time · 00:37:39Read transcript

Pete’s repeated opening tirade is nominated as an anti-motivational introduction, contrasting hunched vulnerability with Pitino’s smooth confidence. — Bill Simmons
Cousy’s free-throw conversation is nominated; a reported plan to alternate shooters failed when he made twenty-one straight, leaving Nolte’s complaint improvised. — Van Lathan
The kindly athletic director is interpreted as a deliberately incurious figurehead who would also lose his job after the scandal. — Bill Simmons
The free-throw sequence is defended enthusiastically; Cousy reportedly recalled the crew’s reaction as contrasting his accuracy with Shaq’s misses the prior day. — Bill Simmons
The recruiting trip is called the best fifteen-minute stretch, with Chicago highlights and rival coaches appearing at every stop. — Bill Simmons
Gossett’s brief recruiter-facing school role is praised for balancing cynical control of the process with concern for the player; other actors accept small parts. — Bill Simmons
Woodard’s blunt millionaire answer and demands for a job and house are recruiting-sequence highlights. — Bill Simmons
The Indiana recruiting stop introduces Larry Bird and his actual French Lick home; the cameo leads into a commercial-location anecdote.
Bird’s house shares the driveway from the Magic Johnson Converse commercial; mismatched eyelines are noticed, but Bird’s presence carries the scene. — Chris Ryan
Shaq visiting the elementary classroom is praised for his gigantic yet childlike presence. — Van Lathan
The barn basketball sequence is admired, while its abundance of elite players, half-court rules and geography are questioned.
Happy’s untraceable-money pitch and argument that players deserve compensation are admired as a precursor to modern collectives.
The payoff montage gives the mother a job and house, Ricky money and a tractor, and Neon an unsolicited Lexus; Neon remains the purest character. — Van Lathan
Butch’s homesickness scene is a candidate. — Van Lathan
Happy claiming ownership of Pete is a candidate; whether his point-shaving admission fits his earlier denial of wrongdoing is questioned.
Reviewing the 1991 point-shaving tape is a favorite, with comically obvious turnovers and clock checks; The Gambler’s version is considered better. — Bill Simmons
The tape-review confrontation is called the best scene, while the wording distinguishes best from most rewatchable. — Bill Simmons
Freddie’s detached needling of the assistant who recruited Tony builds the tape-review confrontation toward an explosion. — Bill Simmons
Pete’s rebuke to Tony is read as self-accusation; an explicit display of Tony’s leverage would better explain why he stays on the team. — Van Lathan
The final game offers Knight’s referee arguments and Hurley’s play, but the improbable alley-oop and droning score disappoint; Tupac, Beastie Boys or The Natural music are imagined alternatives.
The final press conference is nominated for Ed’s probing question and Pete’s confession, with the final declaration compared to A Time to Kill’s emotional climax. — Bill Simmons
Two explicit choices favor the press conference; another response prefers the point-shaving review and adds Cousy’s free throws. — Chris Ryan
The tape-review staging lets Freddie needle the foreground assistant while Nolte remains behind them. — Bill Simmons

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50:28

What’s Aged the Worst?

Missing hip-hop; unknown Neon; slur; Jenny’s wardrobe; Pete’s coaching and likability

In the discussion (17)

Approx. transcript time · 00:50:28Read transcript

The lack of hip-hop is considered a missed opportunity for a 1994 basketball movie. — Bill Simmons
Quotation marks around Penny in the opening credit are disliked; consistent naming is preferred.
Neon remaining unknown despite recruiting infrastructure, military service and junior college is implausible; the spectacular new class should attract national reporting. — Chris Ryan
The press-conference slur for Chinese people ages badly, as does the premise that China has little interest in basketball.
Neon’s joke to Jenny and Pete is enjoyed, but it is considered likely to be cut today. — Van Lathan
Butch failing to run the motion offense is called absurd. — Van Lathan
McDonnell’s hairstyle and clothing are criticized as making the 41-year-old actor look much older and less attractive, with disagreement about Jenny’s appeal.
Jenny’s ongoing involvement is interpreted as love of basketball and her role as the moral compass. — Bill Simmons
Marques Johnson’s character inviting Jenny for drinks and wings is interpreted as a possible romantic approach. — Bill Simmons
Pete’s shame and confession are contrasted with a contemporary expectation of persistent denial. — Bill Simmons
Cousy being called Vic is disliked; playful alternatives closer to his own name are proposed. — Van Lathan
Dicky V’s scene is considered about forty seconds too long, despite recognition of his prominence.
Pete’s constant shouting and weak technical coaching prompt speculation that Freddie supplies the real tactical knowledge. — Chris Ryan
The complaint about McDonnell’s unflattering styling continues against disagreement that she still looks attractive; Dances with Wolves is used as a comparison.
Pete calling Happy about Butch is admired on paper for showing that Pete now works for the booster and has lost control. — Bill Simmons
Pete is criticized as too unlikable and spineless to root for; the defense is that helplessness is the point and winning changes how a volatile coach is perceived.
Ricky requesting only $30,000 and a tractor feels too modest for a major program; $50,000, $75,000 or $100,000 would fit better. A possible farm bill is offered as an explanation. — Chris Ryan

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51:56

The Ruffalo / Hanna / Rubinek / Partridge Overacting Award

J. T. Walsh; Tony’s defending assistant

In the discussion (1)

Approx. transcript time · 00:51:56Read transcript

Happy is immediately nominated for the named overacting award, with the assistant coach defending Tony offered as competition. — Bill Simmons

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56:08

The Slow Ride / Kid Cudi – Pursuit of Happiness Award for Best Needle Drop

All Along the Watchtower

In the discussion (1)

Approx. transcript time · 00:56:08Read transcript

Hendrix’s All Along the Watchtower is selected as the rare moment where music energizes the film, accompanying the campus walk to Tony. — Bill Simmons

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1:00:46

The most 1994 thing

Local sports TV; young Shaq and Penny; VHS tapes

In the discussion (2)

Approx. transcript time · 01:00:46Read transcript

The abrasive local sportscaster represents early provocative sports commentary. — Bill Simmons
Young, lean Shaq and young Hardaway, VHS game tapes and small low-quality coaching-room televisions are period markers.

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1:02:27

What’s Aged the Best?

Authentic basketball; cameos; young Penny; Friends of the Program

In the discussion (6)

Approx. transcript time · 01:02:27Read transcript

Tony failing television class and Tarkanian doubting a recruit’s academic fit are enjoyed. — Chris Ryan
The UCLA-like setting is connected to O’Bannon’s later compensation lawsuit; this is a reported causal claim from the discussion.
Fictional college names are enjoyed, with Western University also recalled from One on One and uncertainty about the Texas opponent’s name. — Chris Ryan
Ricky’s returning-ball driveway hoop, Friends of the Program, the rules quotation and brooms used as shot blockers are praised.
Authentic coaching adjustments and strong Pitino, Bird and Cousy appearances hold up; the Richard Pitino credit and locker-room confidentiality sign are noticed. — Bill Simmons
Young Hardaway’s size, explosiveness, handling and unselfishness are praised as an unusually distinctive point-guard combination.

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1:05:31

Nick Nolte’s 200-Page Pete Bell Novel Award for Most Ridiculous Commitment to a Movie

Nolte’s 200-page Pete Bell novel

The panel proposes a new category here.

In the discussion (2)

Approx. transcript time · 01:05:31Read transcript

A proposed Nick Nolte’s 200-Page Pete Bell Novel Award recognizes the reported character novel given to Friedkin, whose response was lukewarm.
The award name is debated against Nicole Kidman’s proposed neurosurgery classes, with a suggestion to combine names like the overacting award. — Chris Ryan

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1:07:01

The Great Shot Gordo Award for Most Cinematic Shot

Press-conference camera push; Algiers court

In the discussion (2)

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

The camera push through the audience toward Pete’s press-conference confession is selected. — Bill Simmons
The Algiers basketball setting is another admired image, with jokes about its exaggerated remoteness. — Bill Simmons

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1:07:36

The Den of Thieves Benihana Award for Scene-Stealing Location

Butch’s Chicago gym

In the discussion (1)

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

The Dennis Benihana scene-stealing location discussion favors Butch’s Chicago gym over the Algiers court; an elevated viewing track helps the basketball footage. — Bill Simmons

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1:09:18

Sequel, Prequel, Limited Series, or All-Black Remake

Streaming series; Butch coaching; Pete’s return against Ricky or Western

In the discussion (5)

Approx. transcript time · 01:09:18Read transcript

A sequel with Butch coaching, drawing on Hardaway’s real coaching career, is proposed as Butch’s Boys.
The premise is considered especially well suited to an eight-episode streaming series from 2012 onward. — Van Lathan
An early-2000s sequel would return Pete to coaching with Neon as assistant against Ricky, now the dirtiest college coach.
A 2025 variation pits Butch against Ricky with Neon assisting; the heckler would host an influential Take a Hike podcast calling for coaches’ firings. — Van Lathan
Another sequel sends Pete to Montana State to rebuild honestly, then face Western and Freddie in a 15-versus-2 tournament matchup, recalling Friday Night Lights’ school rivalry. — Van Lathan

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1:09:34

Chest Rockwell / Brock Landers Award for Best Character Name

Butch McRae; Neon Boudeaux

In the discussion (1)

Approx. transcript time · 01:09:34Read transcript

Butch McCray is favored as a versatile character name; Ricky Rowe is solid and Neon Boudeaux the classic alternative. A claim that Butch was initially written white is discussed.

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1:10:31

The Vincent Chase Award: Are We Sure This Character Is Actually Good at Their Job?

Pete Bell

Flex pick · Chris Ryan

In the discussion (3)

Approx. transcript time · 01:10:31Read transcript

An explicitly invited CR flex questions Pete’s recruiting and coaching despite two titles: household-object demonstrations, indignation about expected payments and a simplistic defensive adjustment are criticized. — Bill Simmons
The rigid offense fails to adapt to Hardaway’s gifts; pick-and-rolls and alley-oops are suggested instead of forcing players into the system. — Van Lathan
Poor conditioning compounds the lack of tactical sophistication. — Bill Simmons

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1:12:50

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

Point-shaving subplot

In the discussion (1)

Approx. transcript time · 01:12:50Read transcript

The point-shaving subplot is the declared weak link: obvious evidence goes unnoticed, and Happy’s sabotage conflicts with boosting the program. — Van Lathan

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1:15:49

John Belushi White Guy Dancing in Baptist Church Award

Nick Nolte

The panel proposes a new category here.

In the discussion (1)

Approx. transcript time · 01:15:49Read transcript

Nolte’s church dancing receives a proposed John Belushi White Guy Dancing in Baptist Church Award. — Chris Ryan

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1:22:01

Best Possible Starting Five from the Actual Players in the Movie

Penny, Houston, Lynch, Cheaney, Shaq; Hurley sixth man

The panel proposes a new category here.

Flex pick · Bill Simmons

In the discussion (4)

Approx. transcript time · 01:22:01Read transcript

The flex asks for the best starting five from the actual basketball players appearing in the film, clarifying that the players rather than their fictional characters are eligible. — Bill Simmons
An initial lineup includes Shaq, Penny, Bobby Hurley and Calbert Cheaney; Allan Houston joins the core. Pre-accident Hurley is praised, but wanting Penny to handle the ball pushes Hurley out.
The final proposed five is George Lynch, Allan Houston, Penny, Shaq and Calbert Cheaney, with Hurley as sixth man. The lack of a conventional power forward is defended because Shaq anchors the team. — Van Lathan
Ricky is suggested as a floor-spacing reserve; the lineup is criticized for insufficient shooting without Hurley, and Ricky is jokingly called a locker-room liability.

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1:23:37

The Stephen A. Smith Hottest Take Award

Make a sequel; Shelton could make it great; Ricky’s imagined future

In the discussion (4)

Approx. transcript time · 01:23:37Read transcript

Blue Chips 2 should have happened, either continuing Butch and Neon in the late 1990s or making Butch a coach in the late 2000s. — Bill Simmons
A present-day sequel with the former players hosting a podcast is proposed, with Tommy Alter imagined as Tony. — Van Lathan
Ricky’s constant sexual preoccupation inspires a deliberately crude hypothetical about increasingly adventurous behavior after a knee injury.
Ron Shelton directing could have made the good Friedkin film an all-time great basketball movie by adding fun and removing the self-righteous tone. — Van Lathan

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1:26:02

Recasting Couch

Costner, Hackman or Gossett as Pete; Laettner as Ricky; Texas setting

In the discussion (8)

Approx. transcript time · 01:26:02Read transcript

A Shelton–Costner sports trilogy is imagined, with Costner playing a quieter Boeheim-like coach whose clean program is corrupted and whose edge recalls No Way Out.
Hackman is suggested as Happy, followed by a joke that Jenny would dress better for Costner.
Nolte’s resemblance to Bobby Knight and Jack Cates makes Pete hard to like; a defense places him among the era’s overbearing coaches, while Costner remains intriguing. — Van Lathan
Nolte is defended as perfect for this version of Pete. Hackman could play a Norman Dale losing control, while Pacino could suggest Pitino or Calipari, although excessive acting is a concern.
Lou Gossett is floated as Pete Bell. — Chris Ryan
A Black coach is considered plausible for the 1990s; the casting is explained instead as a deliberate effort to make Pete resemble Bobby Knight. — Bill Simmons
Los Angeles feels incidental beyond good weather and discussion of Big East television dominance; an SMU-like Texas setting with Happy as an oilman is suggested. — Bill Simmons
Christian Laettner as Ricky alongside Shaq and Penny could have better captured the era, followed by speculation that Shaq would object.

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1:26:38

Casting What-Ifs

Friedkin wanted Nolte; Nolte wanted Friedkin

In the discussion (1)

Approx. transcript time · 01:26:38Read transcript

Friedkin reportedly wanted only Nolte for Pete; Nolte reportedly wanted to work with Friedkin after missing Sorcerer in the 1970s.

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1:27:00

The Danny McBride Award for Playing Yourself

Rick Pitino

In the discussion (1)

Approx. transcript time · 01:27:00Read transcript

Rick Pitino is the agreed choice, with Bobby Knight and Tark also considered. The transcript renders the spoken first name as Richard.

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1:27:13

The Joey Pants “That Guy” Award

Unnamed assistant defending Tony; J. T. Walsh disputed

In the discussion (3)

Approx. transcript time · 01:27:13Read transcript

J. T. Walsh is immediately chosen, then disputed as too great an actor to count as a That Guy; Marques Johnson is another suggestion. — Bill Simmons
Silk Cozart as Slick is considered, with White Men Can’t Jump recalled; Anthony C. Hall is another suggestion. — Bill Simmons
The unnamed assistant who defends Tony is called the real answer, although nobody supplies his name or a certain other credit. — Bill Simmons

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1:28:04

The Dion Waiters Award for Best Heat Check Performance

Louis Gossett Jr.

In the discussion (3)

Approx. transcript time · 01:28:04Read transcript

Happy/J. T. Walsh, the two blondes, Lou Gossett, Larry Bird and Bob Cousy are candidates; Shaq is rejected for too much screen time. — Chris Ryan
Alfre Woodard is added as eligible for two scenes and one of the film’s best lines. — Chris Ryan
Lou Gossett is preferred for an intense roughly three-minute appearance recalling An Officer and a Gentleman; Cousy is considered too prominent across about four scenes. — Chris Ryan

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1:31:38

Kevin Spacey Limo Scene Award for Craziest Foreshadowing of a Real-Life Event

Pete’s tirade and San Diego State’s UNC loss

The panel proposes a new category here.

Flex pick · Bill Simmons

In the discussion (1)

Approx. transcript time · 01:31:38Read transcript

Craig’s flex compares Pete berating the team at halftime to San Diego State’s coach against UNC; the ensuing discussion says SDSU lost by 27 after trailing by about 38. — Bill Simmons

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1:34:38

Call Russillo for an Unprepared Take

Successful second call: Ricky’s ruthless negotiation

The panel proposes a new category here.

In the discussion (3)

Approx. transcript time · 01:34:38Read transcript

A first call goes straight to voicemail; a suggestion to try again leads to a successful call requesting an unprepared Blue Chips take. — Bill Simmons
The caller recalls seeing the film at college and finding Ricky the most ruthless and prepared negotiator; Shaq’s character understands the situation while Nolte is shattered by the requested benefits. — Bill Simmons
The short cameo ends abruptly after a question about the posting date; persistence and Craig’s second-call suggestion are credited for the format finally working.

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1:37:09

Apex Mountain

Shaq, Cousy and Pitino as actors; flunking TV; college basketball; Jenny as ex-wife

In the discussion (14)

Approx. transcript time · 01:37:09Read transcript

Nolte is rejected. Cheating in a basketball movie prompts alternatives from White Men Can’t Jump and Above the Rim. — Bill Simmons
Mary McDonnell and Bob Knight are rejected, with Knight’s 1987 championship after A Season on the Brink recalled as an alternative.
Flunking television in college is accepted, followed by a joke about doing it again in 1996. — Chris Ryan
Rick Fox’s brief role is placed in a strong acting run including Eddie, He Got Game and Oz, leading to a joke about an Oz rewatch. — Bill Simmons
The Gambler remains the choice for basketball point-shaving scenes. Uncut Gems is suggested for sports betting but distinguished from point shaving. — Chris Ryan
If widened to taking a dive in sports films, The Longest Yard and the devastating ending of The Color of Money are considered. — Bill Simmons
Shaq and Penny as a pair are rejected, but Shaq as an actor is accepted emphatically. — Bill Simmons
Bob Cousy and Rick Pitino as actors are accepted; Algiers is introduced with another joke about how difficult it is to reach. — Bill Simmons
Blue Chips is named a favorite college basketball movie for capturing a generation of players, though 1970s films including Fast Break remain an alternative preference. — Van Lathan
Recruiting-scene competition includes Moneyball’s first-base pitch to Chris Pratt’s character. — Van Lathan
Hoosiers’ apparently indifferent approach to Jimmy Chitwood is preferred as another recruiting scene. — Chris Ryan
He Got Game’s sexually charged Tech visit is another recruiting-scene choice.
Jenny is proposed as an apex movie ex-wife for helping with tape, recruiting and emotional support while remaining physically separate from Pete. — Chris Ryan
Jenny is compared with the wet-blanket sports-movie partner tradition; her final disappointment is defended because she has the film’s moral conscience. — Chris Ryan

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1:40:46

Cruise or Hanks?

Hanks initially; Cruise reconsidered as Pete or Happy

Flex pick · Chris Ryan

In the discussion (4)

Approx. transcript time · 01:40:46Read transcript

Hanks receives the initial choices; Cruise is doubted as someone who would be involved in college basketball. — Chris Ryan
Cruise could instead play Happy with Les Grossman or evil Jerry Maguire energy. — Bill Simmons
A further flex invitation leads to jokes about Cruise teaching Neon footwork in hidden platform shoes and being lifted to dunk. — Bill Simmons
Cruise as Pete with Jerry Maguire energy is reconsidered favorably, especially for the final broken-man speech; present-day Cruise becomes a possible choice. — Bill Simmons

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1:41:21

Scorsese or Spielberg?

Scorsese

In the discussion (1)

Approx. transcript time · 01:41:21Read transcript

Scorsese is chosen.

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1:41:23

What role would Philip Seymour Hoffman play?

Lexus deliveryman or Happy

In the discussion (2)

Approx. transcript time · 01:41:23Read transcript

Hoffman is suggested as the man delivering Neon’s Lexus. — Bill Simmons
Hoffman is also proposed as an excellent Happy. — Bill Simmons

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1:50:11

Is This Movie Better With…?

Walsh as Markinson; Nell in Algiers

In the discussion (2)

Approx. transcript time · 01:50:11Read transcript

J. T. Walsh’s A Few Good Men character Markinson is imagined responding to Pete’s press conference, followed by the heckler’s death-penalty line and suggestions for a drunk Cruise follow-up.
Happy is compared more to Jessup than Markinson; another joke inserts Nell into the Algiers woods while the coaches seek the gym. — Van Lathan

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1:52:01

Just One Oscar

Shelton’s screenplay; Walsh alternative

In the discussion (2)

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

Nolte seems obvious but may go too far; Shelton’s screenplay is preferred because of his sports-writing skill. — Bill Simmons
Walsh is another choice despite doubt that anyone deserves an Oscar, followed by further support for the screenplay if an award must be given. — Van Lathan

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1:52:42

What Piece of Memorabilia Would You Want From This Movie?

Tony’s 44 jersey; championship ring; TV/VCR and game footage

In the discussion (3)

Approx. transcript time · 01:52:42Read transcript

Pete’s prominently shown championship ring is attractive, but Tony’s number-44 blue Western jersey from the point-shaving game is preferred. — Van Lathan
A television–VCR combination with all the game tapes is another choice. — Bill Simmons
Unreleased practice and game footage is coveted, with over an hour of YouTube viewing proposed and Hurley in an Indiana uniform singled out. — Van Lathan

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1:54:37

The Andy and Red – Zihuatanejo Award for What Happens the Next Day?

Ricky farming; NBA careers for Butch and Neon; Jenny moving on; football scandal

In the discussion (5)

Approx. transcript time · 01:54:37Read transcript

Ricky’s title-card fate is a knee injury and farm work; his lack of character depth and limited basketball footage are criticized.
Ricky’s player type is compared with Matt Harpring, Austin Croshere and Gordon Hayward as a fading basketball archetype. — Bill Simmons
Butch and Neon are projected along their actors’ actual career arcs, although Neon would enter older and might make an All-NBA team; his spin-move question is read as quintessential Shaq personality.
Pete and Jenny seem unlikely to reunite; Marques Johnson’s character might return, while Jenny is urged to move away and update her wardrobe.
Vic suffering a heart attack is imagined, followed by speculation that the football program would also be exposed as corrupt. — Van Lathan

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1:56:24

The Coach Finstock Award for Best Life Lesson

Cheat without shame; film basketball wide

In the discussion (2)

Approx. transcript time · 01:56:24Read transcript

The cynical lessons are to cheat without shame, or simply cheat and win because nobody cares. — Bill Simmons
Shoot basketball scenes wide from a familiar viewing perspective rather than overcomplicating coverage.

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1:58:05

Best Double Feature

Above the Rim; The Program; One on One

Above the Rim

The Program

One on One

In the discussion (4)

Approx. transcript time · 01:58:05Read transcript

White Men Can’t Jump is initially proposed, then corrected to Above the Rim. — Bill Simmons
The Program is another double-feature choice. — Van Lathan
One on One should play first as a 1970s version of similar Western University themes; its soundtrack, Annette O’Toole and basketball scenes are praised. — Bill Simmons
Robby Benson’s genuine basketball skill and youthful appearance inspire jokes, with the film’s sexual-initiation scene also recalled.

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1:59:11

Who Won the Movie?

Shaquille O’Neal; Nick Nolte (split choices)

In the discussion (5)

Approx. transcript time · 01:59:11Read transcript

Nolte is the first explicit winner choice because his performance defines the film. — Bill Simmons
Cousy is a personal winner choice, defended for making ten consecutive free throws on camera despite an objection.
Cousy’s personal-win claim is repeated despite comparisons with Bird and Penny. — Van Lathan
Shaq receives two explicit winner choices, with the film called a lasting win and his most competent screen performance. — Van Lathan
Closing callbacks reiterate Cousy as a personal favorite, Nolte as the star choice and Shaq as the clear winner; Cousy’s free throws remain disputed and are not new ballots.

Podcast choices

Speaker not identified: Shaquille O’Neal
Speaker not identified: Shaquille O’Neal
Bill Simmons: Nick Nolte

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2:00:39

Producer review

Enthusiastic first viewing; nostalgia, basketball, pace and ending

In the discussion (4)

Approx. transcript time · 02:00:39Read transcript

The first-time response is enthusiastic, calling it an early top-five Rewatchables contender for nostalgia, ambition, romanticism, opening scene, pace, Happy’s speech and basketball. — Bill Simmons
The casual real-player and coach cameos are praised as a refreshing snapshot of an era, compared with an imagined contemporary football film. — Bill Simmons
Creedence Clearwater Revival, Jenny as a great ex-wife and Cousy’s natural acting are praised; Cousy’s shooting form receives a Stanley-from-The-Office joke. — Bill Simmons
The ending works because the film does not culminate in the decisive big game and the games matter less to the drama than usual; its conclusion follows the first game of a season. — Bill Simmons

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2:02:17

Is There a Better Title for This Movie?

Friends of the Program; The Recruits; retain Blue Chips

In the discussion (3)

Approx. transcript time · 02:02:17Read transcript

Friends of the Program is proposed, but the objection is that it shifts focus from the players toward boosters. — Bill Simmons
Where the Dolphins Swim is joked about; Blue Chips is defended as teaching the term, though the title should perhaps have been spoken in the film. — Bill Simmons
The Recruits and a setup using top-ten blue-chippers are proposed; Friends of the Program might instead work for a separate Happy-centered film. — Bill Simmons

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2:05:39

The Big Kahuna Burger Award for Best Use of Food and Drink

Shared nightly restaurant

In the discussion (1)

Approx. transcript time · 02:05:39Read transcript

The idea of everyone from work using the same restaurant every night is enthusiastically endorsed, followed by jokes about a colleague arriving with two women. — Chris Ryan

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More from the conversation

A future Boston film festival at the Coolidge Corner Theater is promoted, separate from this episode’s setting.

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

Panel members promote television and superhero-discussion podcasts, with teasing about avoidance of comic-book movies.

Approx. transcript time · 00:01:51Read transcript

Once disappointing compared with its potential, the film has become more endearing through nostalgia; its losing, compromise and career-collapse arc inverts an uplifting sports movie.

Approx. transcript time · 00:03:28Read transcript

Shaq’s star rollout and Hardaway’s emergence enhance the film’s appeal; legal athlete compensation makes its recruiting conflict easier to assess retrospectively.

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A first theatrical viewing with family and a nicknamed friend recalls high expectations during a shift toward more sophisticated sports films.

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The easy watch touches poverty and NCAA restrictions without going deeply into either; modern attitudes could reverse Happy and Pete’s moral roles.

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College basketball’s prominent long-term stars and distinctive programs made the real-player and coach cameos meaningful; recruiting once carried optimistic institutional loyalties.

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Friedkin’s bleak moral outlook complicates the fan-service premise; Shaq’s immediate multimedia ambitions drew backlash despite college-generated celebrity.

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Coaches, recognizable team styles and stars staying several years gave the period a rich college-basketball identity.

Approx. transcript time · 00:11:58Read transcript

Nolte is seen as central; a Shelton-directed version is imagined as warmer and funnier, while Nolte fits the irascible coach.

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The performance mixes Bobby Knight with Jack Cates but gains depth when professional and romantic setbacks humble the supposedly all-powerful coach.

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Wide basketball shots are preferred over frantic coach-perspective coverage; older television, Coach Carter and The Way Back offer comparisons, and widescreen helps this film.

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The Indiana game is favored for easily followed Hurley playmaking; his accident and unrealized professional potential are discussed.

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Practices and specific coaching instructions are considered the most authentic basketball material.

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Recruiting-compensation jokes lead to debate over whether the movie predicted influencer-era selling out or merely stated that players deserved pay; gambling helps preserve Happy’s villainy.

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Happy’s diving-board confidence, leisure wardrobe and forceful booster behavior dominate the discussion; his source of wealth is uncertain and the pool guests’ ages are disputed.

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Butch’s difficulty in the motion offense and familiar basketball-practice terminology evoke memories of coaching drills.

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Nolte’s renewed stardom and Knight preparation are recalled; Shaq is praised while other athlete performances divide opinion, with modern camera exposure suggested as improved preparation.

Approx. transcript time · 00:26:55Read transcript

Cobb is criticized as persistently unwatchable despite promising ingredients.

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The 1990s are proposed as the strongest sports-film decade, with many examples and a repeatable modest-budget business model.

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Sports culture, agents and marketing expanded dramatic subjects; later documentaries and freely available footage competed with fictional sports films, though Air is defended.

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Mid-2000s sports films are described as increasingly formulaic one-star inspirational projects.

Approx. transcript time · 00:35:31Read transcript

Cousy’s accent leads to uncertain claims about French immigration, corrected toward his parents’ immigrant background without resolving his birthplace.

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Ricky’s money-and-girls motivation and injury prompt jokes imagining his later life and politics.

Approx. transcript time · 00:48:11Read transcript

New Orleans scenes are jokingly limited to Susie Q or Baby Please Don’t Go; House of the Rising Sun and later local rap are alternative musical cues.

Approx. transcript time · 00:49:56Read transcript

Outbreak is offered as a favorite Walsh scene and Breakdown as a restrained contrast; Happy is considered the fullest expression of Walsh’s style.

Approx. transcript time · 00:52:18Read transcript

Pouring a drink and immediately watching game film invites personal teasing and an Around the Horn joke.

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Hardaway’s early accolades and Finals appearance prompt an uncertain recollection of a Proposition 48 magazine cover.

Approx. transcript time · 01:08:50Read transcript

The payment is estimated at $63,000 in contemporary money, followed by jokes about buying Jenny a blouse.

Approx. transcript time · 01:21:47Read transcript

The Friday morning recording schedule is jokingly blamed on Craig’s optimism about a San Diego State tournament game.

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LSU’s talent under Dale Brown prompts jokes about recruiting inducements; a claim that Chris Jackson was from the Northeast is corrected to Mississippi.

Approx. transcript time · 01:33:49Read transcript

Hurley’s head-up traditional point-guard style prompts discussion of whether it survives, with Bronny, Garland, Scoot, Maxey and Reed Sheppard compared.

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A first-time viewer is invited to respond, and Ricky’s consecutive jumpers on a dirt road are offered as a rival athletic feat to Cousy’s free throws.

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Friedkin working outside his expected genre is praised for making the sports imagery distinctive, with a joke that directors should try every genre before specializing.

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Other Friedkin films and possible future Rewatchables are discussed, including The French Connection and To Live and Die in L.A.; the latter’s credits are compared with Mulaney’s Netflix show.

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A future Boston show and Coolidge Corner film festival are promoted; Boston/heist programming is distinguished from this episode, with Oz and late-night coaching jokes.

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The closing conversation covers a father’s festival plans, a new golden-retriever puppy, living near Coolidge Corner, ticket information and teasing about Boston.

Approx. transcript time · 02:07:18Read transcript