The flex is the Clarence Worley should have died at the end award for Alice: the sickest ending ever would have Big J come out of the lake, hold her under, and leave nobody. — Chris Ryan
The problem is that the cops are there and would see it, when the whole point is that Jason is a myth nobody believes.
The hosts debate whether the ending happens or is in her imagination, since he should be dead; the second one comes out in 81 but is set in 84, and in later movies Jason becomes a supernatural specter killed multiple times.
Dressed to Kill has the same double ending, with Michael Caine's character coming back before Nancy Allen's character realizes it was a dream in the hospital.
De Palma is rejected here in favor of Dressed to Kill’s commercial freedom; Scarface is an alternative, and producer George Litto’s Filmways position is credited with enabling Blow Out.
Redford or Hoffman are imagined in a 1970s version, but neither would supply Travolta’s particular lightness and finesse. — Wesley Morris
Travolta is imagined in Tom Hanks’s 1980s roles, Romancing the Stone, Beverly Hills Cop and Amadeus, praising his combined dancing and everyman abilities. — Wesley Morris
Purple Rain is jokingly floated and doubted, while Manhunter receives enthusiastic support as a hypothetical Travolta vehicle.
Travolta in No Way Out and Field of Dreams is imagined; Field of Dreams versus Bull Durham suitability is disputed, including whether he looks like a baseball player.
Travolta in Die Hard is enthusiastically supported; missing an action vehicle around 1986–1988 is considered a lost opportunity.
Nancy Allen is the recasting target despite admiration for Dressed to Kill and Carrie; repeated casting of a romantic partner is compared to Sondra Locke, while Allen is said to improve in the second half. — Bill Simmons
Lange is initially considered the only proposed actor suited to the character’s ditziness; Allen’s apparent dullness is defended as manipulation plus genuine hospital sedation.
Allen is defended through her attentive eyes in the bar scene; the alternatives might project too much intelligence and professionalism, including Lange’s light rather than ditzy Tootsie performance. — Wesley Morris
Sarandon remains a possible alternative, but Allen’s Bronx background makes her believable as Philadelphian in a way Lange may not. — Chris Ryan
Margot Kidder and Carrie Fisher are proposed then rejected as different or too smart; Allen’s lightness is defended as exactly right, while the desire for a new actress persists.
Harrison Ford is proposed as capable of the lead but acknowledged to produce a different performance. — Wesley Morris
Roy Scheider could make it work as a more 1970s film; Redford is doubted as too beautiful and insufficiently East Coast, while Pacino and Gere remain conceivable. — Wesley Morris
Stallone is jokingly the worst case because he would rewrite the material.
The invited producer agrees Allen works better by the end despite disliking her early performance. — Bill Simmons
