Duvall receives yes responses, challenged by Nashville and Annie Hall and by whether the film improved her opportunities; Popeye supports a qualified answer.
Caretakers receive an affirmative response; bartenders named Lloyd are raised without an explicit resolution.
Axe murderers are rejected with So I Married an Axe Murderer mentioned; Nicholson and Kubrick are rejected, with 2001 favored for Kubrick.
The old woman and bear-costume scene are offered as disturbing imagery rather than failed effects; the woman’s identity remains uncertain.
Cutting the snowcat phone call is proposed and its length disputed; leaving the hotel occasionally is defended as making the return more intense.
Stories of Duvall’s stress, illness and harsh treatment during repeated takes are discussed with concern and compared with Nicholson’s response.
Conspiratorial readings are criticized; Room 237 is defended as a portrait of interpretation, and nostalgia for freer online film discussion complicates the objection.
The treatment of Duvall becomes the final reluctant aged-worst selection after a debate about the social danger of conspiracy thinking.
