THE CATEGORY
CABINET

They conclude the movie doesn’t really need a sports scene, though they riff on possible alternatives.

They choose Kelly Lynch as the improbable but perfect small-town doctor.

The hosts give the casting award to Tia Carrere, calling her the movie’s Bond-girl-style villain role.

Bill explains the test-screening-driven reshoot that replaced the original revenge-heavy ending with the romantic cottage ending.

They assign the unexpected cameo award to Chris Guest.

The room settles on the absurd yacht-and-champagne rich-guy behavior as the thing they just enjoy most.

They use the award to spotlight Quinn Culkin’s extremely wooden performance as the sister.

The hosts settle on the apartment's unreal size and personality as the thing they just enjoy most.

The room settles on the Brookstone mall storefront and nostalgic shopping-mall vibe as the most 1990 element of the movie.

Bill says his personal joy is any movie that hints at a tunnel, because it means the story may actually go into the tunnel.

The room settles on Will Smith at his smoothest as the thing they simply enjoy most.

They agree the easy pleasure here is watching post-high-school kids drift around a small town.

The hosts only use it as a proposed category for a movie that ends sooner than expected, without picking an actual winner.

They single out the taped-mouth image as the movie's most striking visual beat, with the silhouetted staging also getting praise.

They pick the first shot of Stallone hanging on the cliff as the coolest cinematic shot.

Bill says it nudged Superbad thanks to the baby-and-'not at the table, Carlos' bits.

They chose the blood-washing scene in Jimmy’s bathroom as the best bathroom moment.

They like the multiverse-style idea of dropping a favorite character into a different movie, but no winner is chosen.

They consider it for the wildest line of dialogue in a movie, but do not pick one.

They use this odd next-day category to talk through what probably happens after the movie, especially Charlotte leaving her husband.

They imagine Roy’s future as some kind of media insider or Chicago sports-radiotalker after prison.

They define it as the background character whose life is indirectly affected by the plot, using the Boyhood example as the template.

They settle on Jalen Rose as the most understandable name for the actor-who-is-just-here-for-the-paycheck idea.

They like the idea of honoring a performer who leaps off the screen, but never name a winner.

They sketch a category about an actor who underperforms in one movie but would be better imported from another role, without choosing a winner.

They agree this suggested category would fit the question of whether a movie is still rewatchable, with Joel’s take on Tropic Thunder as the motivating example.

Chris tallies Peck's killings and sexual relationships and argues his murders-to-wives-fucked ratio is the night's stat line.

The hostage is identified as the character who feels like she is in a slightly different movie than everyone else.

Dan Hedaya is chosen as the person who feels like he is in a completely different movie than everyone else.

Bullock gets the award for playing the role as if it were a different kind of movie.

They settle on Paul Calderon as the character you'd expect to die first in a horror-movie version.

They identify Species as the clearest example of a movie that works largely because the lead is hot.

They bring up a bad-accent category and cite Costner and Cage as examples, but do not pick a single winner.

They joke about whether a movie might be better as a Menachem Golan production, but treat it as a one-off gag rather than a settled award.

They identify Jeff Goldblum as the most surprising casting choice, while also citing Christopher Guest and Olympia Dukakis as odd but memorable.

They frame it as a salute to the crew member or assistant having the worst day on a difficult production.

They joke that Simon Baker doesn’t look like a Jared Cohen and give that name choice the award.

The hosts agree the movie did not need a better sex scene, or really any sex scene at all.

Mallory argued for a webisode-style Migs masturbation bonus feature rather than a traditional sex scene, and the room did not pick a stronger alternative.

They decide the movie does not need a better sex scene and leave the category effectively blank.

They agree the movie should have pushed harder on the sexiness after such a strong opening scene.

They agree the movie's fake-looking inhaler usage is the most obviously botched production choice.

They mention the category but do not really resolve it beyond noting Scorsese's movies as the obvious reference point.

They agree the movie would have benefited from a more explicit Baldwin-Macpherson sex scene early on.

Craig says Embry is the obvious example of a young actor who once seemed destined to be a star.

They settle on Keanu Reeves in Always Be My Maybe as the best example of an actor playing a heightened version of himself.

They bring it up as a category for suddenly shouted movie lines, but do not choose a definitive example.

They describe it as the scene where the audience feels compelled to yell at the movie, but don't pick a winner.