THE CATEGORY
CABINET

In a side comparison of cartel movies, the hosts treat Sicario as a top-tier entry but acknowledge Scarface's longer cultural tail.

They run through a lot of what-ifs, but end up affirming that Juliette Lewis was the right casting choice.

They conclude that Tom Hanks would have worked, but Michael Keaton is the best alternate casting for Griffin Dunne’s role.

They discuss that Gabrielle Union had athletic credentials and auditioned for Monica, but they do not land on a formal winner here.

They cite Francis Lawrence's muted-viewing of The Pianist as the inspiration for the movie's sparse sound and eerie quiet.

The evil cop won for feeling like he belonged in a different movie entirely.

In a broader Chicago-movie discussion, they choose Ferris Bueller’s Day Off as the best use of Chicago as a city.

They riff on softball in movies and TV, but no final single softball category winner is chosen here.

They say the late movie labor sequence becomes the biggest third-act collapse.

They joke that Han Solo is the character who could have plausibly carried a cigarette and made it work.

The hosts identify the movie’s familiar 80s-style loser-guy/relationship trope, but do not name a formal winner.

They agreed Ennis would have benefited from having a dog, and renamed the flex category around that idea.

Clint Smith wins for recurring across multiple Eddie Murphy projects and reappearing here as the third barbershop guy.

They agree the award is for scenes that exist to flatter the star, using The Mule and similar examples as the model.

They use the award to praise Greg Henry as the De Palma regular who always fits this world.

The lesson they drew was to never underestimate a horny alien.

The hosts treat Blue Chips as the favorite college basketball movie in the conversation, while still praising 70s entries like One on One.

They frame it as a month for comeback vehicles like The Wrestler, but do not pick a winner.

When comparing ensemble comedies, Anchorman came out ahead while Best in Show stayed in the conversation.

They discuss whether the movie could be remade as a Netflix series and decide it is better as a two-hour movie.

They end by talking through how the movie might be reimagined, but the discussion is really a final defense of De Mornay's performance.

They answered immediately that the movie had effectively already been remade as The Newsroom.

They think a series could work if it added more perspective or aftermath, even though neither host really wants it made.

They think the premise could work as a modern series built around media attention, recruiting, and the consequences of Scott's transformation.

They agree it could not really work as a scripted 10-episode remake and would only make sense in another format.

They agree the story should not be stretched into a ten-episode series.

They agree enthusiastically that the movie could be remade as a Netflix series and would both watch it.

They reject the idea of stretching the movie into a Netflix series and say the franchise should be left alone.

They agree the concept could work as a limited series, but jokingly pivot to a Red Dawn-meets-Hoosiers basketball version.

They agree the movie works as a film and would not benefit from being stretched into a series.

They agreed the material could easily be expanded into a long-form Netflix series, especially with Bounty Law content.

They agree the story could absolutely work as a prestige limited series with more crew backstory and added plot material.

They decide the story is already covered well enough by Dear White People, so a remake is unnecessary.

The speakers lean against a TV remake, even though they joke they would watch almost anything Soderbergh made.

They answer no when asked whether the film could be remade as a long Netflix series.

They brainstorm a few TV adaptations, but end up agreeing the movie is already the right length and scope.

They answer yes, noting the story has effectively already been remade as a modern Vudu series.

They agree the core joke and structure would not sustain ten episodes, even though they compare it to adjacent TV-style therapy stories.

They agree a stripped-down 'Kumite' series could work as a remake or expansion.

They answer flatly that the movie could not be remade as a 10-episode Netflix series.

They reject a straight TV remake, though Mallory thinks a draft-focused Hard Knocks concept could work.

They reject the premise of remaking the film as a series, joking that only a Carla Jean’s mom spinoff would work.

Mann rejects the idea outright, calling the prospect depressing and insisting the film should remain a movie.

They conclude it could work as a Netflix series because the world and supporting characters are rich enough to sustain more time.

They agree the movie would not work well as a 10-episode Netflix series, aside from a Brigham spinoff they would watch.

They agree it could work as a series if the young-relationship portion and chemistry are preserved.

They mention a worst-meltdown idea named for Chris Paul, but it stays hypothetical in this segment.

Chris presents Sean Penn brought my own pack as his flex-category choice, with a few other quick side awards mentioned.