THE CATEGORY
CABINET

They called this the apex for Del Frisco's Steakhouse, while locating Butler's and Foxx's career peaks in other movies.

They endorse several 1985 peaks, while placing Vietnam films, Martin Kove, and movie knives elsewhere.

They place Ferrell near his 2004–08 peak, make a case for Reilly, and discuss Cohen’s Borat year, NASCAR movies, and other individual peaks. There is no single category winner.

They frame the movie as an Apex Mountain for American ingenuity.

They treat the movie itself as the apex example of the die-hard-ripoff wave rather than an apex for Keanu or Sandra Bullock.

They suggest this may be the peak of Seth Green's run, though the movie itself is also discussed as a Mini Cooper showcase.

They criticized the absent Philadelphia flavor, the wasted Viola Davis role, and Nick's general ineptitude without choosing one clear loser.

They discuss the deleted reaction to Co’s death, the tie-in game, similarities to Missing in Action, stereotypes, and ineffective mortars without choosing one winner.

They discuss obscure cultural references, homophobic jokes, corporal punishment, and Cal’s comment about Carly being unconscious, without choosing one winner.

The most dated element discussed is Goldstein’s casting and performance choices as Vasquez.

They again single out the teenage daughter scenes as the part that has aged worst.

They single out Danny's stalking behavior as the part that plays worst now.

They praised several things including the stars swapping roles, Philadelphia as a setting, Regina Hall's presence, and the exposition around Clyde's skill set.

Kyle praises Trautman; Bill favors the scene reading Rambo’s military résumé, with villain cues, dialogue, and parody scenes also discussed.

They praise the racing footage, Leslie Bibb, trademarking catchphrases, and commercial breaks during crashes without selecting a single winner.

They agree the phrase and its lasting cultural shorthand have aged best.

Several things are praised, but the discussion never settles cleanly on one single winner.

They praise how impressive the movie feels once you learn how little money and infrastructure it had behind it.

They moved off Colm Meaney and gave the edge to Gregory Itzin's over-the-top warden.

Charles Napier is favored, but they debate whether his name recognition disqualifies him as a “that guy.”

Gary Cole, Ted Manson, Ian Roberts, Jack McBrayer, and Greg Germann are discussed as different levels of recognizable supporting actor.

Mark Rolston, who plays Drake, is the clear that-guy pick, with Paul Maxwell’s Van Leuwen as a secondary mention.

They settle on Joe Morton as the strongest 'that guy' performance in the film.

They pick Debbie's sleazy boss as the standout 'that guy' performance.

The main hypothetical was the original Foxx-Butler role assignment, with Darabont's abandoned directing version also discussed.

They highlight Travolta as the best alternate-casting idea, with the other options treated as lesser what-ifs.

They discuss reported alternatives for Cal and Jean Girard, and Reilly’s missed chance to play Brick in Anchorman. No replacement wins.

Hanks as Hudson wins the forced choice by a 2–1 majority, with Cruise as Hicks the other vote.

The casting sidebar focuses on Remar being replaced by Biehn and Paxton’s near-miss elsewhere.

The room leans Hanks overall, while also floating Cruise in Kevin Bacon’s role as a way to put both stars in the movie.

They closed by agreeing Butler clearly won the movie.

They agree Stallone wins the movie.

They agree Ferrell won the movie, while acknowledging McKay’s contribution.

The room cannot settle on a single winner, landing on a Cameron-versus-Weaver split with Paxton as a personal favorite.

They explicitly choose Sandra Bullock as the movie's winner, with a nod that Keanu is also in the conversation.

They debate the leads, but the final answer is that Jim Belushi won the movie.

They agreed Clyde's briefly seen cellmate steals the most from limited screen time.

They pick Steven Williams for his indoor aviators and the moment he blocks Trautman from leaving.

After a broad supporting-cast debate, they agree on Molly Shannon. Gary Cole is considered too central to qualify.

Apone gets the Dion Waiters-style vote as the most memorable supporting character.

They choose Walter Cronkite as the most memorable supporting presence.

They again land on Joe Morton as the most impactful supporting presence for the award.

The hosts favored the judge's sudden cell-phone explosion, while also praising the prison-cell and parking-lot scenes.

After reviewing the scenes, they choose the jungle killing montage, especially Rambo emerging from the mud.

After an extended scene rundown, the hosts agree on the family dinner and baby-Jesus prayer scene, with the bar scene also praised.

The motion-tracker and ducts sequence gets the clearest endorsement as the movie’s most rewatchable stretch.

The room ultimately settles on the re-entry sequence as the scene they most want to watch again.

They land on the New Year's Eve sequence as the standout scene, with the breakup mentioned as the closest alternative.

Bill gave the overacting nod to Darby for his greasy, heightened villain performance.

They rename the overacting category for Rambo 2’s underacting and refer back to their earlier discussion.

Her exaggerated performance is the answer, with the hosts stressing that the commitment makes it funny rather than weak.

Paxton’s energetic Hudson performance is treated as the clearest overacting winner.

They single out the Ukrainian brother for the most over-the-top performance.

They explicitly call out Modine's acting as the over-the-top performance in the movie.

Their one big question was how much darker the ending should have gone, especially around Nick's fate at the recital.

They ask what happens to Murdock and Rambo afterward, then debate Stallone versus Schwarzenegger.

Questions cover Cal and Carly’s future, slingshot drafting, product placement, the Playgirl shoot, and praying to baby Jesus.

They leave open how good Daniel really is and who the best non-sensei ally would be in a real fight.

They end by batting around impossible wish-logic questions without reaching a firm answer.

The conversation ends on whether Burns is fundamentally a good actor and what his career choices meant.

After correcting the weapon mechanics, they landed on the steak bone as the piece of memorabilia to own.

Kyle wants the red headband and Co’s necklace; Bill wants the machine gun and ammunition belt.

Different hosts want the Wonder Bread outfit, Ricky’s car, Reese’s wardrobe, or the stuffed cougar. No shared winner is selected.

They agree the most desirable prop would be the movie-worn astronaut suit.

They identify the bomb trigger as the most memorable prop, with the golden watch also mentioned.

They choose a Mother's baseball jersey or related memorabilia over the sneakers as the best keepable item.

They picked the 'too old for this shit' line as the best quote in the movie.

When the podcast returns to quote talk, they again identify the poor-people/no-assholes line as the strongest quote in the movie.

The quoted line about poor people having no assholes is singled out as the best quote, with several other Eddie Murphy lines also admired.

CR chose Truman’s camera-line as his favorite quote, while Bill highlighted the security-guard exchange.

They pick Han Solo's skeptical line about the Force as the best quote.

The most memorable line for them is Cole’s declaration that he fears being nothing more than being hurt.

Two hosts independently proposed a Philadelphia shadow sequel with Hanks and Washington in the lead roles.

They choose John Travolta as Rambo’s sidekick and also propose Born in the USA as the closing song.

They largely want to preserve the cast, director, and locations, while joking about a serious Christopher Nolan version.

The room most strongly endorses Costner as Hicks, with Barrymore as Newt as another appealing swap.

The room likes the idea of Tom Cruise taking the Jack role most of all.

They again favor DiCaprio in Wahlberg's role while also imagining Cruise in Norton's part.

Their nitpicks ranged from the opening setup and Nick's handshake to the impossible surveillance, bomb, and tunnel logic.

They question Rambo’s short prison sentence, upkeep of his physique, precise helicopter targeting, and survival after sewage exposure.

They question Ricky’s missing fortune, the team-owner handover, the points-title conflict, and the final race’s professional stakes.

They point out several implausible mechanics and staging details without settling on one single nit.

They call out the crane-kick callback getting neutralized and the post-production dubbing as the biggest nitpicks.

They pick at the plot logic around the rushed marriage, Paris, and Heather’s offscreen wedding claim.

They directly singled out Clyde's blood-and-lessons line as the movie's worst-best life lesson.

Bill says the villains should kill Rambo when they can; Kyle celebrates making an unglamorous workplace a fun hangout.

They playfully disagree about first-or-last ambition versus accepting other finishes and winning for yourself, then note that some parents never change.

They pick the disaster-to-triumph line as the episode’s best life lesson.

They settle on Hopper's line about luck and guts as the film's best life lesson.

They select Bernie's parting advice as the movie's best life lesson.

They bounced between Clyde's overcomplicated decade-long revenge design and the implausible prison-tunnel logistics without locking one in.

They frame the film’s biggest weak link as the repeated failure to simply kill Rambo when he is vulnerable.

One host has no weak link; another thinks Sacha Baron Cohen’s exaggerated French accent slows his delivery. No shared winner is chosen.

The room settles on Burke’s absurd xenomorph-smuggling scheme as the movie’s weakest logic point.

They agree the weakest part is the movie's need to stretch the ending around the bus-jump physics and extra final-act material.

They view Joan's New Year's Eve involvement with a married man as the weakest part of the movie.

Bill's pick was Den of Thieves for a full Butler double feature, with RocknRolla mentioned as another option.

They favor First Blood as the companion film, with Cobra and Rocky IV also discussed.

The discussion leans toward Anchorman after considering Blades of Glory, Step Brothers, Cars, and Days of Thunder.

Alien is the consensus double-feature companion, with Platoon as a secondary option.

They end up recommending First Man as the stronger companion watch.

They explicitly agree that Die Hard is the best double-feature pairing for Speed.

They only seriously developed sequel ideas, with Bill pitching posthumous booby traps and Van insisting Nick should face consequences.

They prefer a domestic Die Hard or Sudden Death-style sequel and discuss returning characters from First Blood.

They discuss a hypothetical European Formula One sequel but conclude the original should remain alone.

They mark the movie as untouchable for sequel or spin-off treatment.

They brainstorm sequel and spinoff possibilities, but no single follow-up concept is formally agreed upon.

They brainstorm multiple spin-off directions, but no single concept becomes the clear choice.

Bill's Butler-as-Bond argument dominated the category and was treated as the night's wildest take.

Bill prefers rewatching Missing in Action 2’s final fight; Kyle argues that Predator borrows heavily from Rambo 2.

Takes include starting a NASCAR podcast, Talladega as the funniest sports movie, its aging better than Anchorman, and a preference for less glossy comedies.

The room’s hottest take is that Aliens functions better as a Vietnam movie than Full Metal Jacket.

Sean argues the movie should have been an even bigger deal because both child stars were coming off performances he believes merited Oscar wins.

They land on Robert Evans as the funniest alternate-world fit, with Byron Mayo also mentioned.

They shared background notes including Butler's law degree, the original NC-17 cut of the cell killing, and the meaning of the Nomos alias.

They discuss filming locations, home-video sales, on-set stories, and the body count without selecting an award winner.

Research topics include unpaid brand placement, NASCAR driving lessons, Ferrell’s musician father, and the dinner-scene shoot. These are claims made in the episode.

The one researched fact they surface is that Travolta commuted by plane during the shoot.

The research segment circles around the makeup and effects team, with Rick Baker named and Stan Winston discussed as the closest comparator.

They briefly cite a few production facts and the Robert Downey Jr. cameo, but no single research point is treated as a winner.

Bill identified Clyde stripping during the arrest as the movie's most deliberate visual flourish, with the ending fire image mentioned as another strong shot.

They favor the mud-wall reveal, with knife sharpening and the bandana shot also nominated.

The crane move into Ricky’s car and the slow-motion crash receive praise; no final shot is selected.

They favor the Venice-to-Alps transition as the standout shot while mentioning Sutherland's body as another option.

They single out the shadowy Nikki images and the bedroom-corner framing as the film’s most cinematic visuals.

They choose the flashy 360 camera move around Patty and the lawyer as the standout shot.

"Eminence Front" was the only song singled out as the clear needle-drop choice.

They explicitly decline to name a best needle drop and introduce a worst-needle-drop award instead.

They explicitly create a new category and pick Frank Stallone’s ending song as the worst needle drop.

The closing song emerges as the choice after discussion of Journey, AC/DC, Audioslave, and other soundtrack picks.

They identify the "Spirit in the Sky" cue as the clear needle-drop winner.

They narrow the montage songs down and settle on 'Living Inside My Heart' as the best needle drop.

Van jokingly proposed "Shut the Hell Up, Nick," but they did not seriously settle on a replacement title.

They prefer the simpler Rambo 2 title over the official longer title.

They favor the existing title over the reported alternatives High, Wide, and Handsome and Red, White, and Racing.

The room agrees that Aliens is the best title and no alternative tops it.

They conclude the existing title works best and should not be changed.

They conclude the released title works better than the original theatrical title suggestion.

They joked about Clyde Shelton and Nick Rice retaining the names from the original casting, without choosing a best name.

Ricky Bobby wins; the discussion then compares the name’s appeal with Ron Burgundy.

Apone, Bishop, Spunkmeyer, and Vasquez are all nominated, but the room does not settle on one character name.

Bernie Litko is chosen as the most memorable character name in the movie.

They briefly debate a few names, but Handsome Rob is the pick that gets stated most clearly.

Chosen gets the edge because the name is so on-the-nose, though Sato is also mentioned as a strong option.

Shake and Bake is proposed as the racehorse name, with Magic Man and El Diablo also mentioned.

They decide Rick Jack would make the strongest racehorse name, ahead of Southport.

They land on Purple Cobras as the cleanest name option from the movie.

The hosts settle on The Rake as the best racehorse-style name from the film's options.

They agree Damien Thorne is a strong racehorse-style name, with 'Damien' itself carrying the most menace.

They briefly propose horse names and choose Cable 54.

They imagine a limited series built around the alphabet crimes, and separately like the idea of a Taggart-and-Rosewood spinoff.

They agree a Titanic series is possible, though Van thinks the movie version remains definitive.

They imagine versions of the story as prestige TV, but treat the question more as a thought experiment than a true vote.

They decide the movie is too compact and fast-moving to stretch into a 10-episode remake.

They think the concept absolutely could be revived as a prestige series or sequel, ideally still featuring Bradley Cooper.

They think the movie could work as a limited series, but only if it stayed contained rather than stretching into multiple seasons.

The carousel whorehouse won for location because it was such a memorable, absurd setting.

They explicitly pick Terminal Bar as the scene-stealing location.

They choose the custom-built all-glass office building as the location that steals the movie.

They admire the restaurant/bar location but do not land on a winner.

They explicitly name the Chemosphere as the movie's signature location.

They identify the cursed burial-ground location as the scene-stealing setting.

They share a few research notes about the original screenplay and character names, but no award winner is selected.

The research segment surfaces multiple behind-the-scenes stories, with the PGA wives banquet anecdote standing out most.

The most unbelievable production story was Michelle Williams asking Ledger and Gyllenhaal to kiss in front of her to help her performance.

They move into research and discuss Scorsese’s Kafka influence, the real-life Cafe Central scene, and the production background around the cast.

They move through the script history, casting misses, effects work, and Spielberg's behind-the-scenes notes.

The segment turns into a trivia dump about production facts rather than a single clear winner.

They agreed Cruise would have been a phenomenal Clyde and spent the category building out that version.

They choose Cruise, imagining Rambo’s airplane stunt inspiring his later stunt work.

The hosts agree on Hanks, imagining his Southern comic performance and a Forrest Gump-like Ricky Bobby. Cruise’s real driving skills do not change the pick.

The room immediately chooses Cruise, calling it the easiest Cruise-or-Hanks decision.

They only briefly speculate that Cruise could fit a Japanese-side role like Chosen, without a firm answer on the broader matchup.

They land on Cruise and Hanks as the best theoretical swap, with a preference for Cruise in the Travolta role.

They joke that the first few minutes are the obvious bathroom break window, with a later fight segment as a possible alternative.

The opening setup is treated as the safest pee-break window, with the final jog sequence also mentioned as a good spot.

They picked the long party conversation as the clearest spot to leave for a bathroom break.

No safe pee-break moment is identified; they explicitly say to stay in your seats.

They say the film drags enough that the sleeping-in-the-car material is the obvious pee-break spot.

They describe the midmovie stretch as the natural low point and implied bathroom break window.

They dig into the Sugar Bowl references, including the loss, team context, and Falco’s stats.

They trade a batch of production facts, with De Niro's cat behavior and the reunion Zoom standing out most.

They spend most of the category on the conflicting stories about why Costner’s nude scene was cut and a few related production facts.

The segment centers on Ruddy’s producer history and the production choices that shaped the movie.

They share assorted production trivia about the remake, the campaign bus, and Paula Abdul’s involvement.

Bill rattles through a stack of behind-the-scenes facts about the real cases, the production, and the cast.

With Craig as tiebreaker, Hanks gets the nod over Cruise for Coach Gaines.

They favor Collinsworth for play-by-play commentary, while acknowledging Quentin as another strong option.

They choose Scott Hansen as the ideal commentary voice over Romo or Collinsworth.

Chris Collinsworth was picked for the imaginary commentary track, with Romo treated as the alternative.

They lean toward Chris Collinsworth as the best hypothetical commentary voice.

They choose Gus Johnson as the ideal over-the-top play-by-play voice for a commentary track.

CR picks the nightclub sequence as the most rewatchable, with the others offering different scenes as alternatives.

The room settles on the cocktail party sequence, with the final heist mentioned as the strongest alternative.

The hosts settle on the entire doomed sailing-trip stretch, especially the final 50 minutes, as the movie's most rewatchable run.

The hosts split between the corridor shootout and Benihana, with the final shootout getting the head nod as the most rewatchable scene.

The hosts explicitly choose the drive-in as the movie's most rewatchable element.

Chris points to the whole early Dennis-Ramond stretch through the elevator fight as most rewatchable, with the elevator confrontation singled out as especially great.

Their main nitpicks are plot complexity and a few continuity/logic problems, with the soggy-cigarette gag serving as the funniest example.

They nitpick the movie's timeline and a few logic gaps around clothing and the toilet.

They flag several continuity and logic issues, led by the strange Denver draft-pick setup for Frank Cushman.

They raise several story-level complaints, especially that the film leaves the gay relationship underexplored and the legal setup underdeveloped.

They spend a long stretch pointing out story logic issues, especially the rushed timeline and the unclear mechanics of the ending.

They spent a long stretch on plot and logic complaints without selecting a single nitpick winner.

They choose the refrigerator meltdown as the movie’s best food-and-drink moment.

They throw out a few options, but no single food-or-drink gag clearly wins the room.

They favor the wine seduction sequence, with the untouched pasta getting an honorable mention.

After a couple of possibilities, they land on the Tom Collins as the best food-and-drink choice.

They singled out the coffee spill and the straight-Stoli pour as the film's best food-and-drink beats.

Homemade prison booze gets the nod as the memorable food-and-drink detail.

They praise the practical-effects era, plus the movie's physical LA feel and the performances as the things that have aged best.

They treat the castle reveal on the date as the best stage/location moment, while spending a long stretch praising the song.

They mostly agree the best part is Patty repeatedly outthinking Drake and standing up to Carter.

They landed on the score as the most enduring element, with Ledger's performance also singled out.

They pick the adult, restrained reactions to the affair as the movie's best stage because the characters behave more maturely than in a modern version.

They admire the inventive scene where the romance is crosscut with game commentary and the police song.

They settle on Sal’s pepperoni pizza as the best food moment, while also noting the beer drinking in the film.

They explicitly pick the beers and beer-date scene as the best use of food and drink.

They initially pick the pizza gag, though dim sum gets raised as a strong alternative because it is more visible on screen.

They pick Robocop's organic food paste as the best food-and-drink bit in the film.

The punch at the bar gets singled out as the best food-and-drink moment.

The mashed-potato table scene wins the food award without much debate.

The lone Oscar discussion lands on Don Ameche’s win for Cocoon.

They settle on production design as the film’s most Oscar-worthy element, with stunts also getting consideration.

They give the single Oscar to cinematographer Conrad Hall for his extraordinary New York and Paris imagery.

When forced to choose a single Oscar, they settle on the screenplay rather than any individual performance.

They gave the Oscar to the script and credited Gudegast for sustaining the movie’s inventive structure.

They say the only Oscar-like winner would be the marketing campaign rather than any person involved in the film.

The room picks the Waffle House scene as the most memorable food-and-drink moment.

They chose the campsite food sequence, especially the elk and beans, as the movie's best food-and-drink use.

They pick aspirin as the memorable consumable prop tied to McClane’s headache and recovery.

They pick the hard-boiled eggs as the standout food-and-drink detail.

Bill initially leaned toward the Chinese food, but the room moved to George Kennedy's all-time ballpark eating sequence.

They pick the Oreos-and-ramen sequence as the standout food-and-drink moment, with the hot dog scene as the runner-up.

They frame the supporting dad role as an Andy Richter-type part and settle on that casting lane.

They discussed several possibilities, but Levinson, appearing in the film, emerged as the best-matching casting callout.

They decide the assault sequence needed better handling and that the movie's intimate violence was poorly staged.

They discussed several recasting options but treated Season Hubley as the key successful casting choice in the movie.

They praise the casting, especially for getting Joey Pants as Guido and building a very strong ensemble around him.

When they revisit who truly carries the film, the conversation circles back to Palminteri’s central performance.

The apple with a razor blade is named first as the best food-or-drink detail, with the ham sandwich getting an honorable mention.

The corn is chosen as the best food/drink use because it literally becomes a lethal weapon in the climax.

They choose the naked hot dog Seagal grabs and waves around during the bar fight as the best food prop moment.

They chose the food presentation and the very specific popcorn as the best food-and-drink bit.

They decide cereal is the movie's standout food/drink detail.

They gave the food-or-drink award to the Big Kahuna Burger, while acknowledging the $5 milkshake as a major challenger.

Mina uses the flex slot to flag Michael Rapaport’s casting as a likable friend as the weakest aging point.

They treated the opening Secret Service/Reagan material as a bonus flex-style category and praised it as a separate movie inside the movie.

They discuss several candidates for the flex slot, with no single clean consensus beyond admiration for the opening stunt work.

Van improvises a long, comic explanation for being seen leaving the Tropic Motel with two young white women.

Rob frames the category around the film’s improvised intimacy-coordination approach, which the hosts treat as a successful but strange workaround.

Van uses his flex slot for a custom top-five of impossible sports-movie endings, led by Rocky II at number one.

Rob argues the Chicago setting should have included the Smashing Pumpkins, and the others debate alternative cameos and soundtrack choices.

They raise a few nitpicks, including the two-week Wally World closure and the logistics of the ending, but do not settle on one winner.

They spend the section on logic gaps, especially Tony's demo trip and a few implausible convenience points.

They focus their nitpicks on the implausibility of the car-accident logistics and Fletcher sabotaging the live performance.

They raised several continuity and plausibility issues, mostly about the kidnapping plan, hospital recovery, and character behavior.

They trade a list of nitpicks, including the family bathing scene, the helicopter not being heard, and the implausible file reference, without settling on a single winner.

They speculate about where the relationships go next, but don’t land on a single clean next-day outcome.

This was played as an absurd future-imagining bit rather than a real, supported narrative answer.

They said the obvious answer for the next-day follow-up is John Wick 2.

They joke about Joe’s future, but no concrete next-day outcome is established in the transcript.

They predict the couple tries to go on with life briefly, but ultimately ends in divorce.

They answer the category by summarizing Frank’s later life and the eventual debunking of the legend.

They argue the film needed at least one more explicit sex beat, ideally the planned shower scene, plus a masturbation beat for Sam.

They decide the movie does not need a fuller sex scene because the glimpses already fit the film's restrained, teasing tone.

They explicitly decide the movie does not need a better sex scene, while acknowledging a couple of places where the film could have gotten weirder.

They argue the movie would have benefited from an explicit Brendan Fraser-Nona Gaye sex scene.

They concluded the movie did not need an added or improved sex scene and moved on without naming a winner.

They joked about the sex scene prompt but did not support any clear winner beyond the existing old-lady encounter.

They single out the suited golf-range sequence as the funniest unintended bit, with Wigand’s wall-staring also called out.

Drunk Tom Cruise is selected over the other examples of accidental comedy.

The room settles on the beach volleyball sequence as the funniest unintentionally comic stretch, with the bite also named as a strong contender.

They pick the absurd senator-on-TV and other internet-tech moments as the funniest unintended comedy.

They point to a few moments, but the boat/mast attack on Quint draws the strongest laughter and most attention.

They point to Andre the Giant’s delivery as the biggest source of accidental comedy, with his unintelligible line readings adding to the effect.

The redhead Serena is named the clear Dan Waiters pick because she has the movie-star juice and feels tailor-made for the category.

They landed on Lonigan’s henchmen because the no-lines presence still stands out.

They explicitly give the Dan Waiters Award to Linda Fiorentino from a very deep supporting lineup.

They choose the diner chef as the movie’s best waiter-type presence.

They treat Chris Cooper as the easy choice for the category.

They agree Kristen Wiig is the best scene-stealing supporting performer in the category.

They agreed more Black characters were unnecessary because this movie's body count was already too high.

Van and the others agree David Lindhagen is the character that should have been cast as a Black man.

Van argues the movie does not need more black characters, while noting that the existing black nurse is portrayed as a consummate professional.

Van argues the movie should have had a much more visible Black presence around the football world and in the body-swap premise.

Van rejects the premise and says the movie is already packed with enough material without adding more Black characters.

Van pitched an all-black-cast race-war version of the movie as the answer to the prompt.