Luke Wilson is proposed as an interesting Norman whose ordinary attractiveness would create less confidence in him. — Mallory Rubin
Claire is imagined forgiving Norman after seeing him sail and reconsidering the benefits of their life.
Repeating the exact method used to kill his mistress is called an insulting way for Norman to try to kill Claire. — Mallory Rubin
Using cello strings is proposed as a more character-specific hypothetical murder method. — Chris Ryan
The film is called an even stronger warning against affairs than Fatal Attraction because supernatural revenge destroys Norman’s life and kills him. — Mallory Rubin
The hottest take assigns the wife half the blame because of the heat, fireplace screen and escape circumstances, while still acknowledging the husband is not blameless. — Bill Simmons
The opposing response emphasizes intoxication, drugs and a late-night alcohol trip before the blame discussion moves on. — Bill Simmons
A lower-stakes take argues that a genius ending with only four movies can still have an excellent career.
Asked for any other Apex Mountains, the Australian director is floated; the following 'Yeah' only confirms his name (transcribed 'Cukovic' and 'Vukatech'), not an Apex verdict, so he is not counted as an affirmative answer. — Bill Simmons
Sequels and a planned Legally Blonde 3; Bend and Snap nail-salon scene; no suitors for Elle; lecherous law professor; pool-boy stereotype; reshot ending; Bruiser the Chihuahua
The 2003 sequel Red, White and Blonde, a 2009 direct-to-DVD spinoff and the musical preceded a Legally Blonde 3 reportedly coming next year with Reese and Mindy Kaling involved; it feels like a mistake. — Bill Simmons
The Bend and Snap nail-salon scene is really bad and unappealing, though it became its own phenomenon.
Nobody hits on Elle except Luke Wilson and the lecherous professor; at Harvard she would be asked out constantly. — Bill Simmons
The horny law professor would not happen in a 2021 version and is visible coming for 90 minutes. — Bill Simmons
The pool boy gay stereotype is the part most criticized, was a flaw 20 years ago and is not funny. — Bill Simmons
The reshot ending is poorly done, with a wig and a long zoom on her face; it could have ended after the trial with the epilogue. — Bill Simmons
Bruiser is added late: Chihuahuas are very turn of the century, evoking Taco Bell.
The third response chooses Gene Hackman for a master performance appreciated even more after his retirement. — Andy Greenwald
The closing Hackman case weighs the romantic image of retirement against his later Welcome to Mooseport role and naval-thriller writing. — Andy Greenwald
The final tribute says Hackman's performance in this movie will endure. — Andy Greenwald
Locations, literary and film influences, announcer voices, cast scheduling, Hackman's behavior, Bill Murray, the real house, period products, and Margot's cigarettes
The address 111 Archer is a real Harlem location near 144th Street. — Chris Ryan
Royal's unnamed hotel is represented by the Waldorf Astoria. — Chris Ryan
The film presents itself as an adaptation of a book that never existed, including visible page turns. — Chris Ryan
The discussion cites Louis Malle, the French New Wave, and Orson Wells among the film's influences; other names in the segment are sensitive to transcription errors. — Chris Ryan
An internet claim says Danny Glover, Luke Wilson, and Owen Wilson declined Ocean's Eleven roles to appear in this film; the speaker explicitly labels the claim uncertain. — Chris Ryan
The shoot was arranged around the cast's limited availability. — Chris Ryan
The soundtrack remains central, including the Clash, Bob Dylan music from Pat Garrett and Billy the Kid, and Vince Goraldi's Peanuts music. — Andy Greenwald
The soundtrack creates nostalgia for an Upper West Side New York that the participant did not literally experience. — Andy Greenwald
Luke and Owen Wilson's separate performances are praised as unusually strong and precisely suited to their different energies. — Andy Greenwald
The Eli Cash New York Times Magazine cover is singled out as a visual detail that has aged well. — Chris Ryan
Henry and Etheline's relationship remains sweet, recognizable, and naturally evolving. — Andy Greenwald
Touchstone and producer Barry Mendel's choice to fund and trust Anderson is praised because the resulting film retained its detailed vision. — Andy Greenwald
The recreated book covers and the way they fill the frame exemplify production choices that became iconic. — Andy Greenwald
The physical comedy still works alongside the film's more cerebral humor. — Andy Greenwald
Henry's sudden fall at the archaeological site is chosen as the film's purest physical laugh. — Andy Greenwald
One concluding answer is the soundtrack. — Chris Ryan
The other concluding answer is Barry Mendel and the broader decision to invest in Wes Anderson. — Chris Ryan
Debra Winger was cast and got pregnant, forcing the production to remove her and scramble for replacements; one host doubts the movie works with Winger because he had too much history with her from too many 80s movies, whereas Holly Hunter was unknown to him, tiny, seemingly crazy and passionate, unlike any actress he had seen; Harrison Ford could be seen in the William Hurt role, and Luke Wilson is floated as a joke.
Brooks's search for a female heroine brought him to Debra Winger, who probably wishes she had waited nine months, since she would have been nominated again and the hosts would be talking about the Winger decade after Urban Cowboy, An Officer and a Gentleman and Terms of Endearment; Winger and William Hurt are two sides of the same coin, huge 80s stars a moderately interested 2019 moviegoer would struggle to place.
Todd Phillips for one host: he is bigger than Apatow by box office though nobody thinks of him that way, his next film is a Joker movie, and he will probably be Oscar-nominated this year as a producer of A Star Is Born with partner Bradley Cooper; Cooper's Toronto premiere speech crediting Phillips's note of belief made Cooper Ali (as transcribed) and Phillips Jackson.
The Ringer ran a Mike Powell profile of Phillips at launch in summer 2016 with Cooper and others quoted going to bat for him; his real skill, learned from Ivan Reitman, is choosing people at the right time, as with Ferrell and writing for Vaughn; the vote is Todd Phillips.
Another host goes Vince Vaughn for variety, calling him incredible with every line quotable.
Tic-tac-toe, three different answers; sorry Luke Wilson; a joke about whether a note saying nobody believes in you like I believe in you should have been given in 2012 to the host then running the Triangle at Grantland.
