Mass media is imagined stopping at early cable, radio and scarce personal video cameras; the speaker accepts a record-store career in that world and recalls the music of 1984–85.
Everybody probably thinks their childhood moment of games or cable TV was perfect.
Keith Gordon is proposed as having extreme performance variation: praised here and in Dressed to Kill, criticized in Back to School, with a mixed reconsideration of Christine and a positive Jaws 2 mention.
Gordon is praised as a director, particularly A Midnight Clear; The Chocolate War credit is uncertain, and his acting persona is compared to a darker off-brand Matthew Broderick.
Peter is criticized for apathy, uncollected fees, accepting a bribe, sexual harassment, drinking and letting others push his car; the gym seems unsafe and worthy of foreclosure.
The defense is that he gives misfits a welcoming place, but the criticism remains that he says the right things without being a good person to spend time with.
Long is proposed as a possible generational Broderick: Accepted gives him Ferris Bueller-like charisma, Jeepers Creepers shows range, and his physical comedy improves every movie.
Stiller is proposed as Hollywood’s best nepotism beneficiary on his own merits; Ellison’s wealth, Bronny James, Shanahan, Curtis and Please Don’t Destroy prompt distinctions between opportunity and demonstrated ability.
Anna Beresnikov and Gretchen Moff are candidates; Michelle Williams is judged too central despite limited screen time, and Matthew Broderick’s youth-pastor character is praised.
Lonergan’s brief on-screen parenting comment is proposed and accepted as the choice.
