THE CATEGORY
CABINET

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

The dropship pilot Ferro is the main pick, with Spunkmeyer also mentioned in the crash sequence.

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 riff through a set of alternate castings, with Gandolfini as Nice Guy Eddie and Dennis Farina as Joe Cabot standing out most.

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 conclude there is no good fit because everyone in the movie seems like they belong in the same tonal world.

They pick the armored guards because their brief appearance feels like it belongs to a different film entirely.

Bill and Chris both point to Judd Hirsch as playing the movie like he wandered in from a different genre.

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.

They explicitly award it to Al Martino, with Carlo's actor mentioned as the only other serious option.

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

They pick Mendez’s wife for feeling like she belongs in a different, more melodramatic movie.

They pick Willie Nelson because his presence and line readings make him feel like he’s in his own movie.

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 award the Linda Partridge to Seymour Cassel as Dusty, with Larry Pine mentioned as another notable supporting presence.

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.

They ultimately view Rob Lowe here as maybe not the absolute hottest he's ever been, while Demi Moore's hotness is spread across multiple films.

The room settles on G-Money's green velour Adidas suit as the clearest 1991 artifact.

They like the idea of inserting a character from another movie into the one under discussion and use Jesus Shuttlesworth in Hoosiers as the example.

They explicitly rename the category for Neil Patrick Harris and then discuss Tyler Perry as another contender.

They frame it as a recommendation category for similar films, but it remains undeclared.

The hosts point to the moment the precog seizes Cruise as the point where the film levels up into its biggest set piece.