The film’s churn didn’t stop with the director. Gail Parent and Neal Israel were the original co‑writers on Eberhardt’s incarnation of the script, but after rapid‑fire rewrites by Richard Kramer their names disappeared from the credits. This is a classic instance of studio rewriting and credit reshuffling under time pressure — a form of contract and creative manipulation endemic to the era when executives could greenlight accelerated schedules and reassign creative duties to meet marketing windows. The end result reinforced the critical narrative: reviewers lambasted the finished product as a TV movie masquerading as a theatrical release, with People magazine specifically castigating Paramount chief Tartikoff for “passing off this made‑in‑six‑weeks quickie as a feature film.” The critical backlash (including Siskel & Ebert’s Two Thumbs Down and scathing pieces in The New York Times and The Washington Post) cemented the production’s reputation as a cautionary tale of executive overreach, rushed production and the erasure of original creative contributors.
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